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Liquid aprotic electrolytes with TiO2 a Al2O3 nanoparticles
Tomeš, Petr ; Krejza, Ondřej (referee) ; Sedlaříková, Marie (advisor)
The first part of this diploma thesis is dealing with conductivity of liquid electrolytes. The second part is about third generation gel electrolytes and thein conductivity. The electrolytes were inorganic salts LiClO4, LiBF4 and NaClO4 in an aprotic propylene carbonate (PC) -used as a solvent. Nanosized Al2O3 and TiO2 particles were, proportionally to the sample's volume, added to the both – blend and gel samples in an amount expressed by weight percentage (wt). Both liquid and gel electrolytes contained following amount on nanosorbent: 3,46% wt, 7,17% wt, 10,0% wt and 12,0% wt. The liquid electrolytes were gelled using commercially available precursor Superacryl (Spofa dental s.r.o.).
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Liquid aprotic electrolytes with TiO2 a Al2O3 nanoparticles
Tomeš, Petr ; Krejza, Ondřej (referee) ; Sedlaříková, Marie (advisor)
The first part of this diploma thesis is dealing with conductivity of liquid electrolytes. The second part is about third generation gel electrolytes and thein conductivity. The electrolytes were inorganic salts LiClO4, LiBF4 and NaClO4 in an aprotic propylene carbonate (PC) -used as a solvent. Nanosized Al2O3 and TiO2 particles were, proportionally to the sample's volume, added to the both – blend and gel samples in an amount expressed by weight percentage (wt). Both liquid and gel electrolytes contained following amount on nanosorbent: 3,46% wt, 7,17% wt, 10,0% wt and 12,0% wt. The liquid electrolytes were gelled using commercially available precursor Superacryl (Spofa dental s.r.o.).
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Comparing of work music director´s of clasical and contemporary popular music
Tomeš, Petr ; Smolka, Jaroslav (advisor) ; Rybář, Jaroslav (referee)
This thesis deals with the role of the music director in the process of producing music recordings. I thing above all about the work procedures during music recording of two different areas in contemporary music world, it means classical music and contemporary popular music and conditions and habits of music diretor´s work which results from them. My aim isn´t a strict limitation between these two areas which according to my opinion aren´t strictly given but I think about and follow some distinct differences in approach to making recording and I think of the role of the music director as itself.
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