The thesis brings self-contained review of the bank regulation and control. The first part deals with the theory of the bank regulation and control and then the regulation and control of the bank sector in the Czech Republic is introduced. Next part deals with the brief analysis of the formation and development of the global financial crisis in the USA and chosen European countries. The last part introduces the changes in the field of the bank regulation and control that arose after the break out of the finacial crisis in the European Union. The conclusion of the thesis to a certain degree includes the attutide of the Czech Government and the Czech National Bank towards the newly introduced arrangements.

The thesis deals with a comparison between legislation of revenues in the Czech accountancy on one hand and in International Financial Reporting Standards on the other hand. Text concerns itself with the theoretical determination of revenues, the description of the Czech accounting regulation of revenue and the revenue recognition in IFRS. The thesis on the basis of general criterions compares revenues with respect to the Czech accountancy and with regards to IFRS and solves revenue recognition for chosen business activities. The main aims of the thesis are the analysis and the comparison of the current regulations of revenues in chosen accounting systems.

Toward the end of his life, from 1908 to 1909, Gustav Mahler (1860-1911) composed Das Lied von der Erde (The song of the earth). This piece is a cycle of six song movements based on seven poems selected from Die chinesische Flötem - Nachdichtungen chinesischer Lyrik (The Chinese flute - free adaptation of Chinese lyric poetry) by Hans Bethge. The Chinese verse was written by Li-Po (numbers 1, 3, 4 and 5), Tchang-Tsi (number 2), and Mong-Kao-Jen and Wang-Wei (combined in number 6). Subsequently, in 1921, Arnold Schoenberg reduced the work to a simple chamber version transcription from Mahler's original massive score for full orchestra, a version completed in 1983 by Rainer Riehn. While the main melodic material in the vocal parts was maintained, the orchestral parts underwent substantial changes. This dissertation explores Mahler's reconfiguration of textual material and the setting of these texts in the orchestral medium. After consulting the various textual editions, I establish misreading and translational differences from the original Chinese through its various Western European incarnations; how and why Mahler chose the Bethge edition; what influenced his specific selection of poetry; and how these poems inform one another and the work as a whole. I also explore the crucial role of instrumentation and orchestration in text setting, and how his instrumentation of these translated "exotic" texts stands in dialogue with the nineteenth-century tradition and emergent frames of nationality. This dissertation also focuses on Schoenberg's instrumentation, arrangement, and orchestration as re-conceptualized and restructured from Mahler's original six movements. While the dissertation synthesizes the views of various scholars, many original observations will be offered, as few articles substantively consider this transcription of one of the most revered and reviled composers of the late-nineteenth century by one of the most revered and reviled composers of the twentieth-century. The transcript version from Schoenberg and Riehn succeeds in that it not only maintains the original vocal melody and Chinese text, but also presents the key musical concepts and visions from Mahler's original fully orchestrated version with limited chamber instrumentation, economical re-composition, and a minimum of means.

The lecture recital was given on April 18, 1977. The subject was Adaptation of Handel's Castrato Airs for Bass, and it included a discussion of conventions peculiar to Handelian opera seria, concerns regarding adaptation of Handel's castrato airs and a comparison of adaptation practices in eighteenth- and twentieth-century presentations of Handel's operas. Three coloratura castrato airs and two virtuoso bass airs were performed at the conclusion of the lecture. In addition to the lecture recital, one operatic role and three recitals of solo literature for voice, piano and chamber ensemble were publicly performed. These included the role of "Samuele" in A Masked Ball, by Verdi, performed in English on March 19, 1975 with the Opera Theatre of North Texas State University, a program presented on November 24, 1975,of solo literature for voice, piano, and chamber ensemble, including works by J. S. Bach, W. Mozart, M. Ravel and G. Finzi, a program consisting of a set of works by R. Schumann presented on June 27, 1985, and a program presented on October 28, 1985,of solo literature for voice, piano, and chamber ensemble,including works by A. Caldara, G. Handel, H. Wolf, H. Duparc, C. Ives and S. Barber.

[pt] Nesta tese, proponho uma discussão sobre o trabalho de Rogério Duprat como arranjador de canções tropicalistas e sobre o modo como alguns de seus arranjos musicais dialogam com as palavras cantadas com as quais eles foram gravados no final dos anos 1960. Combinação de sons orquestrais, de clichês da música de cinema e de efeitos sonoros variados, os arranjos de Duprat conferem um caráter sonoplástico às gravações tropicalistas. Experiente compositor de música serial, eletroacústica e para computador, assim como de jingles e de trilhas sonoras para o teatro e o cinema, Duprat valeu-se de amplos conhecimentos da música de concerto europeia e da música popular do Brasil para fazer referências em seus arranjos a diversas obras e estilos musicais. Como um artífice, procurou compreender e responder às demandas dos compositores de canção, dos cantores, do produtor da gravadora, dos técnicos de gravação e de outros profissionais que acabaram por se tornar coautores de seus arranjos. Arranjos que também foram produzidos sob influência de agentes como John Cage, The Beatles, os poetas concretos e os compositores, regentes e instrumentistas do Música Nova, grupo paulistano de vanguarda de onde saíram Duprat e os demais arranjadores de canções tropicalistas. / [en] In this dissertation, I examine the work of Rogério Duprat as arranger for tropicalista songs and the way some of his musical arrangements dialog with the melodized words with which they were recorded in the late 1960s. As a mix of orchestral sounds, film music cliches, and sound effects, Duprat s arrangements give an audiovisual character to tropicalista recordings. As an experienced composer of serial, electroacoustic, computer, and advertising music, as well as theater and cinema soundtracks, Duprat employed his broad knowledge of Western concert music and Brazilian popular music in order to make audio references to diverse works and music styles interwoven into his arrangements. As a craftsman, he sought to understand and to answer the demands from song composers, singers, the record company producer, recording technicians, and other professionals that became collaborators of his arrangements. His arrangements were also influenced by agents such as John Cage, The Beatles, the concrete poets, and the composers, conductors and musicians of Música Nova, a São Paulo avant-garde group that was integrated by Duprat and the other arrangers for tropicalista songs.

This thesis deals with technological project of production of rotating parts, more design layout of the workplace light machining - turning in the company TOS KUŘIM - OS, a.s.. Workplace design is based on both the requirements of company and the principles of technological design. Part of this thesis is the design of three variants of machines arrangement, which are evaluated. Selected of the best option is further elaborated in detail the calculation of capacity, drawing documentation, and economic-technical evaluation.

The aim of the thesis was to propose a pump impeller with higher effectiveness and verify the proposal with the calculation using programs Gambit and Fluent. Three designed impellers were afterwards made using 3D printer and its characteristics were measured in a hydraulic laboratory in Kaplan Department of hydraulic machines. The proposal of a so called wideband impeller of the centrifugal pump was made with chaotic ordering of blade cascades, in one impeller occur blades with various input and output angles and different shapes of blades but all blades have got similar shape in a meridian sectional view of impeller. The thesis was divided into three parts. In the first part, a conforming transformation was theoretically described which was in the thesis used for the shape proposal of impeller blades. In the second part of the thesis final proposals and calculations of pump impellers were made. The third part of the thesis focused on the processing and evaluation of experimental measurement in the hydraulic laboratory and finally the results of the thesis were summarized in the conclusion.

This thesis deals with the optimization of technological layout of workplaces in company Petr Bližňák – Metal Fabrication. For optimization are used methods of technological designing. Process of our solution proposal is preceded by a literature search of the issue and explanation of basic concepts in designing. It is followed an analysis of the internal and external environment of the company and assess the current state of the company. Proposals for solution variants are based on calculations of capacitance to minimize manipulation distances and reduce production costs. In conclusion have been selected most advantageous variant and its technical-economic evaluation.

Musik kommt bei der Vertonung interaktiver Medien in vielerlei Weise zum Einsatz. Dabei stellt die interaktive Beeinflussung der Musik die größte Herausforderung dar. Dieser sogenannten nichtlinearen Musik wird eine flexible Wandelbarkeit abverlangt, sogar noch während sie spielt. Die vorliegende Arbeit geht auf einige medientheoretische Fragestellungen ein und stellt technische Lösungen vor. Es werden die unterschiedlichen Erscheinungsformen und Aufgaben der Musik in interaktiven Medien behandelt. Die technischen Herangehensweisen an nichtlineare Musik werden systematisiert und zwei Lösungsansätze vorgestellt, der Echtzeit-Arrangeur und das reaktive Orchester. Diese arbeiten auf der Ebene des Arrangements und der ausdrucksvollen Interpretation. Es werden Modelle zur Beschreibung interpretatorischer Merkmale entwickelt, die auch musikwissenschaftliche und musikpsychologische Relevanz und Anwendungen haben. / Music is applied in manifold ways in scoring interactive media. The biggest challenge in this respect is posed by the interactive manipulation of music. This so-called nonlinear music must provide for flexible mutability even while it is playing. The following research study addresses some media-theoretical issues and presents technical approaches. The different manifestations and functions of music in interactive media are treated. The technical approaches to nonlinear music are systematized, and two solutions to the problem of flexible mutability are elaborated: the Realtime Arranger and the Reactive Orchestra. These are shown to operate at the level of arrangement and expressive performance. Models are developed for the description of the performance features. These models are of relevance and have applications in the fields of musicology and music psychology.

As it stands, only one arrangement of Tchaikovsky's Piano Concerto No. 1, Op. 23 orchestral reduction exists, which is by Tchaikovsky himself. A number of critical editions of the piece exist, but none of them cover the subject of the material within the orchestral reduction. Tchaikovsky wrote the reduction from a compositional rather than a pianistic perspective, thus some passages present awkward technical challenges. The purpose of this dissertation is ultimately to contribute to the repertoire of accompanists by producing a new edition of Tchaikovsky's Piano Concerto No. 1. I created my arrangement through a process of practical trial and error as well as observing the strategies used by other arrangers of orchestral reductions. Through a series of carefully selected omissions, note rearrangements, visual adjustments, and editorial changes, I simplified the reduction as a whole. I sought to improve the readability of the music by reducing accidentals as much as possible and also incorporating small-print cues into the main staves. Each minor adjustment or major revision contributes cumulatively to the ease of execution of the accompanimental part as a whole. Although Tchaikovsky's reduction is authentic and authoritative, a newly revised and simplified version would be useful for collaborative pianists. Thus, I have chosen to create an alternative version of Tchaikovsky's reduction, while still retaining as much of the original material as possible. This edition focuses solely on the collaborative pianist's part.