Thesis (Ph. D.)--University of Texas at Austin, 2003. / Vita. Includes bibliographical references.

Sound source localization depends on the auditory system to identify, recognize, and segregate elements of salient sources over distracting noise. My research investigates sensory mechanisms involved in these auditory processing tasks of an insect hearing specialist, to isolate individual sound sources of interest over noise. I first developed quantitative methods to determine signal features that the acoustic parasitoid fly Ormia ochracea (Diptera: Tachinidae) evaluate for host cricket song recognition. With flies subjected to a no-choice paradigm and forced to track a switch in the broadcast location of test songs, I describe several response features (distance, steering velocity, and angular orientation) that vary with song pulse rate preferences. I incorporate these response measures in a phonotaxis performance index that is sensitive to capturing response variation that may underlie song recognition. I demonstrate that Floridian O. ochracea exhibit phonotaxis to a combination of pulse durations and interpulse intervals that combine to a range of accepted pulse periods. Under complex acoustic conditions of multiple coherent cricket songs that overlap in time and space, O. ochracea may experience a phantom source illusion and localize a direction between actual source locations. By varying the temporal overlap between competing sources, I demonstrate that O. ochracea are able to resolve this illusion via the precedence effect: exploitation of small time differences between competing sources to selectively localize the leading over lagging sources. An increase in spatial separation between cricket song and masking noise does not reduce song detection thresholds nor improve song localization accuracy. Instead, walking responses are diverted away from both song and noise. My findings support the idea that the ears of O. ochracea function as bilateral symmetry detectors to balance sound intensity, sound arrive time differences, and temporal pattern input to both sides of the auditory system. Asymmetric acoustic input result in corrective turning behaviour to re-establish balance for successful source localization.

Länder och städer lägger allt mer fokus på att arbeta med det egna varumärket och har därmed fått ett mer företagsliknande seende med medborgarna som konsumenter. Samtidigt använder de sig i allt större utsträckning av evenemang som ett marknadsföringsmedel. Evenemang av olika slag har på så viss blivit ett kraftfullt kommunikationsverktyg. Men ännu finns det inte tillräckligt med studier kring hur evenemang påverkar platsen eller platsens befolkning.  Studiens huvudsyfte är att bidra med ökad förståelse för hur en plats kan kommunicera sitt varumärke genom ett evenemang som Eurovision Song Contest. Genom att analysera skapandet av 2013 års Eurovision koncept "We Are One" och se vilken typ av påverkan det kan ha på värdstaden.  Studien baseras på kvalitativ forskning i form av halvstrukturerade intervjuer med personer som har insyn i årets svenska produktion av Eurovision Song Contest.  Vår studie har ett varumärkesperspektiv på Eurovision Song Contest och utgår från teori om platsmarknadsföring med kringliggande teorier om varumärke och storytelling.  Vårt resultat visar att Eurovision Song Contest är en mäktig kommunikationsplattform som värdlandet och värdstaden kan använda utifrån ett eget specifikt syfte. Syftet kopplas till det som platsen är i behov av att jobba med som t. ex ekonomi, näringslivet, mediabilden etc. Konceptet skapas med hjälp av storytelling metoden där varumärket framställs genom en berättelse, genom vilket det går att urskilja ett budskap värdlandet vill kommunicera. Vi kan konstatera att evenemang har en tendens att ge en kortsiktig effekt och för att arbeta mer långsiktigt krävs det att medborgaren får ta en större del i processen för att evenemanget ska skapa mervärde för platsen och dess medborgare. Slutligen kan vi se att oavsett värdland förblir Eurovision en säljande plattform, där kommande värdländer kommer att avgöra tävlingens utveckling och framtid.

ABSTRACT "Music for the Mad: A study of the madness in Purcell's mad songs" Ester Lebedinski, Uppsala University, Sweden, Department of Musicology, 2009. Madness was a stock topic in seventeenth-century drama, and music a compulsory feature on the Restoration stage. Henry Purcell's contributions to the latter are abundant, and include the popular combination of madness and music in his mad songs for Thomas Durfey's comedies. This essay aims at exploring the depiction of madness through music, verbal text and dramatic context in Purcell's mad songs for Durfey's plays A Fool's Preferment (1688), The Richmond Heiress (1693) and part I and III of The Comical History of Don Quixote (1694 and 1696 re­spectively). Particular emphasis is laid on text illustration and the songs' placement in the dramatic context. Madness is discussed as a deviation from the accepted norm, as the anormal demarcated from the normal. Conclusively, Purcell's mad songs are characterized by their variousness e.g. rapid changes between keys, styles, moods and subject matters, as opposed to the relative conti­nuousness of songs not depicting madness, and their sometimes exaggerated word paintings. Purcell's music does not independently express madness, but the illustration of madness is linked to the verbal text and the dramatic context, highlighted and completed through Pur­cell's music.

The poetry of Tang, and the chis of Song are both the greatest literary styles in Chinese literature. Chis was widespread in Tang Dynasty, Five Dynasty and Ten-Kindom preiod, and Song Dynasty. During these periods, the names of chis had been changed and the amount had enlarged as well. Some of chis were used quite often and became the top ten songs. However; some of them only used few times, then disappeared. From those chis, the rise and fall of the dynasties, the news of societies and their cultural orientation were revealed. The relationship of the tune and the content of chis was the source of the authors¡¦ inspiration. Therefore, the relationship of the tune and the content of chis is important. To be the researcher of chis, it is necessary to realize the origin of chis and make a thorough understanding of them. So as to the study of chis. In the dissertation, the researcher started from quantitative and qualitative methods, as well as counted the number of tunes, sorted by ¡§the rules of chis¡¨ of¸U¾ð (Qing Dynasty) and 838 tunes of chis. It was concluded that the authors of chis in Tang Dynasty, Five-Dynasty and Ten-Kindom period and Song Dynasty often used traditional culture and folk tales as metaphor and construct the principles of chis. This dessertation was divided into six parts. Except of introduction and conclusion, there are four chapters which contain one dynasty respectively. Tang Dynasty, Five-Dynasty and Ten-Kindom preiod, and Song Dynasty, were three important periods when chis emerged, expand and mature. The development of chis was discussed in chapter two, three, and four, respectively. By studying initial chis of the authors in these three periods, the relationship of the tune and the content of chis was concluded in chapter five, which is the major point of this dessertation. Hopefully, the relationship among the different authors, various places, and dynasties could be revealed. Therefore, to study ¡§ how did the people at that time handle the tune of chis?¡¨ is very important. The authors of the tonal pattern and rhyme scheme was the tune of chis, which was formed in the court music of Sui Dynasty. In Five-Dynasty and Ten-Kindom preiod, court music, foreign music and folk music combined into chis. This new literature style described the happiness or sadness of the people at that time and sutisfied their emotional needs. The conclusions of this dessertation 1.The relationship of the tune and the content of chis is determined. 2.The tune of chis is related to its content when it initialed. However, the tune and its content were enlarged and changed in Song Dynasty. 3.The sentences in chis were similar to those in poetry. The intertextuality might deserve to be discussed in further study.

Ricky Ian Gordon (1956-) is one of America¡¦s most distinguished contemporary composers. Though successful in writing for opera, dance, theater and film, he has gained great recognition for his song compositions. Composed in 1992, Genius Child is a song cycle of 10 songs which sets the poems of American poet, Langston Hughes (1902-1967). The study is divided into five parts for discussion: An overview of Gordon¡¦s life, art music of Gordon, an introduction to poet Langston Hughes; the background to composing Genius Child; and music analysis of six selected songs from Genius Child. By analyzing six songs from Gordon¡¦s Genius Child, the study is to discuss how Gordon tightly combines music and poems together through vocal, melody, rhythm and other music techniques, which enables to depict the poem¡¦s conception. Gordon often properly utilizes simple rhythms and relaxing genre of music, and integrates them with the textures and harmonies of classical music, to create elegant music with style. His music can appropriately reflect the conception and deep meaning of the poet writing a poem. In addition, Gordon adds popular music elements into music to express the styles of popular music, reflecting modern urban life.

The development of Taiwanese folk songs comprises not only cultural implication of Taiwan, but also the reflection of social phenomenon. The research of Taiwanese folk songs is the same as Taiwan history research. Through the meaning of those songs, we can comprehend the different ideologies and policies between each authority. In the research, we also can understand there are a lot of difficulties for Taiwanese in pursuing the democracy and seeking the belonging and identification. This research analyzed the Taiwanese folk songs with the political history in the background. There are various types of Taiwanese folk song in the history. For the research, I separate it into 3 periods: the Japanese colonization period (1895-1945), the Martial law period (1946-1986), and the rescind martial law up to the party turn-over period (1987-2000). This essay aims to understand the relevance between the Taiwanese folk songs and the state ruling, including constitutional order and policies. We also try to account for the effect of the state ruling as well as the surveillance and pacification on the society. Following this proposition, this studying can help us to understand the difference between the various regimes¡¦ organization and the cultural policies. What is the figuration of the development of Taiwan society? How the state affects the lives of people? How people question the legitimacy of state and expression their challenge in folk songs?

Love has been one of the most important issues in human life for all time. It means strong emotional and physical connections and lets people indulge themselves in its joy, depression, anticipation, and striving. Among popular music nowadays, there are always descriptions about love in most of songs, which called ¡§Love Songs¡¨. The goal of this study is to observe how the users interpret the gendered implications in love songs when they are listening to them. Furthermore, this study tries to find out the relation between users¡¦ interpretations of love songs and their love experiences and imaginations. Adopting the method of in-depth interviewing, this study interviewed 11 college students and collected related information. Through analyzing the interpretation toward specific love song lyrics of these interviewees and their explanations about their own love experiences and imaginations, this study finds that users will think about the gendered implications in the specific love song lyrics they chose when they are engaging in love song decoding. At the same time, they show their understanding toward the mainstream gender discourse. With the comparisons between users¡¦ decoding and mainstream gender discourse, this study categorizes the decoding of love songs of users into three positions: preferred, negotiated, and oppositional/ critical. Meanwhile, users will connect their love experiences and imagination about love relationship to the characters and plots in love songs, expressing their attitudes to the characters, including of identification, denial, projection, and question. Besides, study finds that there is a two-way interactive relationship between users; love songs decoding and their love experiences and imaginations. That is, not only users¡¦ love experiences and imaginations would influence their interpretations of love songs, users¡¦ interpretations of love songs would also influence their imaginations and anticipations toward love

Geschichte des Liedes, Begrifflichkeit, Klavierlied (geistlich-weltlich), Terminus "Klavier", Klavierlied im Umfeld der Orgel, Etablierung Orgellied (~1900), Reger und seine Schüler, Regers Zeitgenossen, Orgellied um 1930 (Pepping), Liedverbot NS-Zeit, Lied bis ~1960, Entwicklung 1960-2000, Nationalräume im Orgellied, das Orgellied im Kontext zu Chor-, Orchester- und Kammermusiklied, Instrumentierungen, Sonderformen, im Kontext zur kirchenmusikalischen Praxis, Index

published_or_final_version / Chinese / Doctoral / Doctor of Philosophy