Este trabalho estuda a obra de Itamar Assumpção, investigando os principais procedimentos de composição musical utilizados, bem como a relação que possuem com suas vivências pessoais de aprendizagem musical e teatral. Sua obra promove algumas sínteses de materiais musicais e poéticos da tradição popular brasileira e internacional, referencias que são reelaboradas no processo de criação de suas canções. São demonstradas e analisadas a confluência e a atrelagem que existe entre a ação da performance e oito matrizes composicionais identificadas ao longo das diferentes fases de sua obra. / This paper studies the music of Itamar Assumpção, exploring not only the compositional procedures employed, but also their relation to the artist\'s musical and theatrical life experiences. Assumpção\'s work harmonizes musical and poetic material from the Brazilian and international popular tradition, a synthesis that is reconstructed in the process of songwriting. This paper demonstrates and analyzes the confluence and interconnection between the act of performance and eight compositional structures identified throughout different phases of his work.

Este trabalho estuda a obra de Itamar Assumpção, investigando os principais procedimentos de composição musical utilizados, bem como a relação que possuem com suas vivências pessoais de aprendizagem musical e teatral. Sua obra promove algumas sínteses de materiais musicais e poéticos da tradição popular brasileira e internacional, referencias que são reelaboradas no processo de criação de suas canções. São demonstradas e analisadas a confluência e a atrelagem que existe entre a ação da performance e oito matrizes composicionais identificadas ao longo das diferentes fases de sua obra. / This paper studies the music of Itamar Assumpção, exploring not only the compositional procedures employed, but also their relation to the artist\'s musical and theatrical life experiences. Assumpção\'s work harmonizes musical and poetic material from the Brazilian and international popular tradition, a synthesis that is reconstructed in the process of songwriting. This paper demonstrates and analyzes the confluence and interconnection between the act of performance and eight compositional structures identified throughout different phases of his work.

George Crumb ist bekannt dafür, dass er in seinen Kompositionen mit einer großen Palette an Klangfarben arbeitet. Im Trio Vox Balaenae findet sich mit der Besetzung Electric Flute, Electric Cello, Electric Piano – drei Instrumentalgruppen plus elektronische Verstärkung – ein besonders vielfältiger Klangfarbenreichtum. Die vorliegende Analyse zeigt, dass ein wesentlicher Ausdruckgehalt des Stückes von den Klangfarben selbst transportiert wird. Als Rahmen für die hermeneutische Analyse dieser Klangfarbenstruktur dient Rebecca Leydons psychoakustischer Ansatz evidence of bodies: Timbre verweise grundsätzlich auf den Körper zurück, der den gehörten Klang hervorgebracht hat. So weist Leydon verschiedenen Klängen verschiedene Grade an Körperlichkeit zu und knüpft an das musikalische Spiel mit den verschiedenen Körperlichkeiten von Klängen dramaturgische Konzepte. Die vorliegende Analyse greift diesen Ansatz auf und entwickelt ihn weiter, um den Ausdrucksgehalt von Vox Balaenae herauszuarbeiten. / George Crumb is known for using a great variety of timbre in his compositions. This is most certainly true for his Trio Vox Balaenae for Electric Flute, Electric Cello, Electric Piano, a composition which employs three different types of instruments; winds, strings, and keys, with electric amplification. The presented analysis will show that the expressive content of the piece is transported by timbre. This timbral analysis builds on Rebecca Leydon’s psychoacoustic theory of timbre, which she calls ›evidence of bodies‹: namely, a sound’s timbre is the audible evidence of the material nature of the body which produced the sound. Following this, Leydon connects different degrees of embodiment to different timbres ranging from the disembodied to sheer materiality of matter. This allows her to reveal timbral trajectories in pieces from which narratives can be drawn. The presented hermeneutic analysis of Vox Balaenae builds on Leydon’s theory and explores further timbral trajectories and narratives in order to reveal the expressive content of the piece.

This thesis deals with an arts marketing with a focus on musical theater. The theoretical part defines basic elements of the marketing process, with the main emphasis placed on marketing mix and its specifics in context of musical production. In this part of the thesis there is also description of marketing research. In favour of smooth transition to practical part, at the very end of theoretical part there is a summary of main competitors. The practical part is focused on the company operating in the theater Hybernia and on its marketing and communication activities. Based on the theoretical presumptions the marketing research had been realized and it had examined the customers of this company. The output of the research, analysis of the marketing mix and analysis of the competitors serve as basis for creating innovations in marketing mix.

In diesem Artikel wird das Konzept des Tonsatzseminars an der Technischen Universität Dortmund vorgestellt, das Brücken zur Komposition bauen will. Jedes Semester endet mit einem Tonsatz-Konzert, das von Studierenden mit eigenen Kompositionen bestritten wird. Die Stücke entstehen in den Tonsatzseminaren. Seminar und zugehöriges Konzert sind jeweils einem bestimmten Thema gewidmet. Die Tonsatzseminare wurden umfassend dokumentiert: Die Stücke aller Teilnehmer*innen liegen schriftlich vor, wurden im Konzert aufgenommen. Begleitet wird der Kurs in den letzten Jahren von musikpsychologischen Tests zum Kreativitäts-Selbstkonzept, die Datenmaterial für statistische Auswertungen geliefert haben. Vor dem Hintergrund musikästhetischer Diskussion im 19. und 20. Jahrhundert hinsichtlich der Anteile von ›Inspiration‹ und ›Arbeit‹ am Kompositionsprozess werden musikpsychologische Untersuchungen zur musikalischen Wahrnehmung (Carl Stumpf) und neurowissenschaftliche Grundlagen der Kreativitätsforschung dargestellt. Diese Forschungen werden im Hinblick auf ihre pädagogische Bedeutung für das Tonsatzseminar reflektiert. / In this essay, we present the concept of the Tonsatz seminar at TU Dortmund University. This seminar aims to include the idea of composition. Each series of lessons concludes with a concert with students performing their own compositions created in the Tonsatz seminars. The seminars and the recorded concert are dedicated to a specific topic. All scores and the recordings are available. In recent years, the seminars have been accompanied by psychological tests on a self-concept of creativity providing data for statistical evaluations. Against the background of music-aesthetic discussions in the nineteenth and twentieth centuries regarding the relation between the concepts of »inspiration« and »work« in the compositional process, music psychological studies on musical perception (Carl Stumpf), and neuroscientific foundations of creativity are presented. These insights are reflected in terms of their pedagogical significance for the Tonsatz seminar in compositional techniques.

We often have to face the fact that several signals are mixed together in unknown environment. The signals must be first extracted from the mixture in order to interpret them correctly. This problem is in signal processing society called blind source separation. This dissertation thesis deals with multi-channel separation of audio signals in real environment, when the source signals outnumber the sensors. An introduction to blind source separation is presented in the first part of the thesis. The present state of separation methods is then analyzed. Based on this knowledge, the separation systems implementing fuzzy time-frequency mask are introduced. However these methods are still introducing nonlinear changes in the signal spectra, which can yield in musical noise. In order to reduce musical noise, novel methods combining time-frequency binary masking and beamforming are introduced. The new separation system performs linear spatial filtering even if the source signals outnumber the sensors. Finally, the separation systems are evaluated by objective and subjective tests in the last part of the thesis.

Das Credo aus Johann Nepomuk Davids Deutsche Messe von 1952 wird mit Blick auf das musikalische Handwerkszeug untersucht. Die Analyse zeigt einen abgezirkelten Bau der Komposition. Kontrapunktische Regeln halten David fest in einer als bindungslos empfundenen Zeit. Aus der Sicht eines „Enkelschülers“ Davids wird dies reflektiert als Fesselung einer Generation: Den Geburtsjahrgängen um 1900 wurde eine wesentliche kreative Lebensphase durch Diktatur und Krieg genommen. Die Besinnung auf alte Techniken aber wird zu einem Gefängnis der Kunstfertigkeit. Der kundige Musiktheoretiker David behindert den Komponisten David. / Das Credo from the Deutsche Messe of Johann Nepomuk David is scrutinized with regard to his compositional technique. The analysis reveals a calculated musical structure. The conventions of counterpoint trap David in a time seemingly unbound. From the view of one of David’s 'student’s students' this is expressed as a bondage of a generation: those born around 1900 were robbed of a significant part of their creative lives due to dictatorship and war. But his concentration on traditional techniques imprisoned him within his own workmanship. David’s theoretical expertise thus hinders David’s compositional ability.