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This diploma thesis describes a development of a human access to the nature, a degree of an inspiration by the nature in the works of landscape architecture, but also a reasons why people were turning away from the nature or looked up to the nature in the certain periods. But the key chapters deal with the possibilities of an inspirations by a natural elements in the specific works of a garden art and also the ways of interpretation. A proposal of a model object reflects a theme of this thesis and is based on the acquired informations. The design solution connects the model object with a surrounding landscape by application of some selected approaches described in the theoretical part. The proposal is documented by a plan, perspectives and cross-sections.

The meaning of this work is the explanation of a particular life expression, which is presented by moment of now, that inside itself encapsulates cause and consequence. The focus of this work is to define the influences which have effects during artistic creation which is a compilation of physiologic and psychological phenomenons of a particular person. For this purpose I reflected on my activity to date as an artist, secondly I looked up and read relevant literature and met with people, who willingly helped me with this work. The finding of my continuous and retrospective cognition is that artistic creation is closely related to life experiences, individual perception and subjective benefits and experiences. Therefore, a person can set out his lifelong goal of whom he wants to be and what he would like to achieve. He would know almost automatically, what he should do in accordance with his deep-rooted and previously tested abilities and thus he would behave as such at a present moment. It is desirable to pursue one´s chosen vocational skills, preferably most of one´s free time to ensure one´s professional growth in a particular field. However, it is necessary to pay attention to one´s personal life, which can have the deciding impact on the final consequence.

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The dissertation on The Cobbler (Švec,) Miller´s dance (Mlynářská) and the Plough (Ruchadlo). Motifs of work and crafts in Czech folk dances deals with the theme of folk dances pertaining to motifs of work and crafts, namely dances with movements depicting and imitating work movements. It is based on the detailed study of records and descriptions of Czech folk dances in collections, manuals of social dances and other sources.The variations of dances appearing repeatedly in the sources, were compared. The study revealed three principal ways of how the work motif is employed: in the songs' lyrics; the dancers' movements resemble a certain activity ; the work process is imitated intentionally. It became evident that there is a connection between the incidence of these dances and the social and political context of the period.

In this work, the author addresses how, in different ways, western composers can be inspired and influenced by the concepts of the rhythmic systems used in both North Indian (Hindusthani) and South-Indian (Carnatic) classical music. Numerous examples are given in the text from the works of various European, American and Canadian composers who received inspiration and creative material from Indian rhythms in different ways. Among these illustrations are classics of 20th century music composed by luminaries such as Olivier Messiaen, Miloslav Kabeláč and Philip Glass (among others) - for whom the highly advanced systems of rhythm from India became a major impetus for the development of their musical language. The author himself is a long-term student and performer of Indian classical music, and in this text, through examples from his own compositions, he reveals and explains different compositional techniques influenced and inspired by the systems of rhythm in Indian music.

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The overall focus of the MA Thesis Actor´s Inspiration are predominantly the sources of inspiration for the various stagings the author took part in during his studies at DAMU. Based on his experience, he compares various directors, their approach to work and what inspires them. He also elaborates on what inspires him personally during his creative activities.

This dissertation deals with flute works by the Czech composer Jiří Teml. It takes into account the complete list including the information about their premieres and recordings. The opening chapter offers an insight into the composer‘s biography connected with his complete works‘ overview. The crucial section of the text is dedicated to the extramusical inspiration of Jiří Teml and its impact on the interpretative approach to his music. Jiří Teml likes the non-musical fields of art and he often reflects them in his own creative process. The Titles of a great number of his compositions (Commedia dell’arte, Pantomime, Hommage à Michelangelo, Kafka…) find their origin from the domain of fine arts, theatre or literature. The composer himself admits that the extramusical content is crucial for him and his art. The author of this text asks whether and how this phenomenon can influence the interpretation of Teml‘s music. This dissertation is methodologically based on the personal interviews of the author with the composer Jiří Teml and on her personal artistic experience.

Since the beginnings of musical art, composers have been reflecting on the social topics of their time. We can mention the great industrial revolution and Honneger's composition inspired by the Pacific 271 steam locomotive. Radioactive decay is one of the basic phenomena in the universe thanks to which our Earth is kept in balance. The first part of this work deals with a brief history and current trends in working with numbers as well as with generative music and reflections of the natural environment in music. The second part explores the history of radioactivity in conjunction with music and presentes a few examples of direct evidence that throughout the history of music, radioactivity has already been dealt with by composers. It also outlines a possible linkage of the two themes and refers to the art form of soundscape. The third part describes scientific measurements and shows on a few specific musical examples the practical possibilities of using radioactive data in compositional practice.