This diploma thesis deals with design and implementation of complex software system for post-production of popular music. The system was implemented as a plug-in module in C++ language using JUCE application framework. The emphasis was on creating a well arranged and intuitive graphic user interface. The plug-in provides a set of audio effects and processors that can be connected into the desired graph structure. For less experienced users, there is a database of preset configurations usable for a variety of input signals.

By entering the diploma thesis is to create an architectural study of the sacral object and the Salesian community center in Brno - Líšeň. The first mention of the creating church appeared in 1987 and because of this reason Salesians came to this city, they focus on working with children and youth, according to Don Bosca. Their method od education was reflected in the overall project concept. The building will be linked to the existing object of the Salesian Youth Center, but it will also serve for a wider circle of believers. The consecration of the church will be a third divine person - the Holy Spirit. The object will be on the Horníková ulica, on the parcels no. 5037/30,32. On the plot with parc. No.5037/32 is currently a building, that is the property of the Nadácia pre radosť, and it will by removed during construction. The proposal is based on urban analyzes performed and responds to the surrounding buildings. It also affects the conditions of the building plot and uses terrain sloping. The proposal consists of one object that includes a church with a capacity for 400 seat and 100-standing persons with chorus, sacristy, adoration chapel and technical and hygienic backgrounds. Furthermore, there is a educational/multifunction room, workshop and store of religious products, farther the parish part with the apartments, office for priests and underground garage. In addition to the building, there was created paved areas for pedestrian which responding to existing communications. Due to the removal of the parking lot in the northern part of the solved territory, the existing parking lot was extended on the south side and there was also created a new communication for cars, which connects the Northern Street Horníková with Western. In this communication, it is necessary to create a suitable road signage to prevent the supply of vehicles and it must not be used as an abbreviation in the traffic jam at the 2nd grade road communication.

The 1994 publication of a new version of Carl Orff's Carmina Burana, arranged for winds, percussion and choruses by Juan Vicente Mas Quiles, created new possibilities for the performance of Orff's monumental work. This dissertation serves as a guide to the study and performance of the Mas Quiles arrangement of Carmina Burana. Chapter One presents a brief discussion of Carl Orff and his Carmina Burana, followed in Chapter two by a short discussion of Mas Quiles' and the other significant transcriptions and arrangements of Carmina Burana, Chapter three contains a review of the literature pertinent to the study Carmina Burana. In Chapter Four a detailed examination and comparison of the original Orff score with the Mas Quiles arrangement provides a framework with which the conductor may study and compare the two scores in preparation for a performance of the Mas Quiles arrangement. The scoring of the Mas Quiles arrangement is masterful in that the arrangement so closely maintains the textural, musical and aesthetic integrity of the work. The Mas Quiles version includes all of the movements, and all of the original elements: choruses, soloists and orchestral parts are preserved intact. The only substantive change is the judicious use of winds in place of the orchestral string parts. By comparison and analysis of Mas Quiles scoring techniques with the Orff original, the author concludes that the Mas Quiles arrangement is a viable and unique alternative to the Orff original and highly worthy of study and performance by conductors of advanced level ensembles.

Målet med detta arbete var att utveckla min kreativitet som gitarrist och inspireras att utforska bortom mina stilistiska gränser. Dessutom ville jag öka min förståelse för olika ljudbilder. En annan tanke jag hade var att undersöka om de dreampop-inspirerade gitarrsounden och spelteknikerna jag använder kan tillämpas på olika låtar och ändå behålla autenticiteten emot dreampop-genren. För att uppnå detta har jag analyserat och plankat gitarrpartierna och gitarrsounden i tio dreampop-låtar. Eftersom gitarrsoundet utgör en betydande del av genrens karaktäristiska element har arbetet fokuserat mycket på ljud och praktisk användning av effektpedaler. Det har innefattat utforskning av olika modulerande effekter och signalkedjor för att förstå i vilken ordning effekterna placeras. För att visualisera signalkedjorna för gitarrstämmorna har jag använt ett tabellsystem. Jag har identifierat fyra gitarrspelstekniker med sina unika ljudattribut som återkommer i de analyserade låtarna. Dessa tekniker och ljud har jag sedan tillämpat på egna arrangemang av befintliga poplåtar. Jag har spelat in ljudexempel av gitarrspelet i de analyserade låtarna och även spelat in mina egna arrangemang där både hela låtarna och separata gitarrspår finns tillgängliga för lyssning.  Arbetet har gett mig en ny förståelse för genrerna dreampop och shoegaze samt en förståelse för gitarrens roll inom dessa genrer. Dessutom har jag fått nya insikter i hur man kan arrangera med stora ljudbilder.

The main aim of this thesis was to investigate the occurrence of dolphins in Pacific waters adjacent to the Panama Canal in the context of biological, temporal and spatial factors. Acoustic data were collected at 101 sites at a range of distances and depths from the shipping region. Data were collected between March 2010 and April 2011 in a diurnal cycle over a total of 114 recording days. Received sound levels were split into 1/3 Octave bandwidths to study variation in sound pressure levels and then converted to spectrum density levels to show the sound components of the background noise in this region. Generalised Linear Models were used to relate dolphin whistle detections to temporal, spatial, environmental and acoustic variables. The major sources of background noise were biological noise from soniferous fish and snapping shrimp and anthropogenic noise from vessels characterised by mid to high frequencies produced by artisanal fishing boats. There was monthly and diurnal variation with some locations characterised by loud sounds in the mid to high frequencies at night. Whistle characteristics analysis revealed that the frequencies and range of the whistles were different to those previously reported under similar conditions. Whistles varied diurnally and in the presence of fish chorus and fishing boats. The study highlights a strong correlation between fish choruses and whistle detection. Temporal and spatial models showed that whistle detections varied monthly and in relation to fish noise and small vessel engine noise. Dolphins were distributed throughout most of the study area; however, whistle detections varied with distance from the coast. The results provide new knowledge about background noise composition in this region and provide the first information on the ecology of dolphin whistles in relation to this background noise, especially to fish chorus.

Le nombre croissant de travaux réalisés ces dernières années a montré que la bioacoustique est particulièrement intéressante pour le suivi d’espèces discrètes. L’émergence de dispositifs d’enregistrement autonomes, associée à de nouvelles méthodes d’analyse, ont récemment participé à l’accroissement des études dans ce domaine. Au cours des 30 dernières années, le Loup gris (Canis lupus), mammifère carnivore aux mœurs discrètes connu pour ses hurlements de longue portée, a fait l’objet de nombreuses études acoustiques. Ces dernières visaient notamment à améliorer son suivi, qui s’avère complexe du fait des grandes capacités de déplacement des loups, de l’étendue de leurs territoires et de la diversité des milieux dans lesquels ils vivent. Cependant, la bioacoustique passive a jusqu’alors très peu été exploitée pour le suivi du Loup. C’est dans ce contexte que la présente thèse s’est organisée autour de trois axes de recherche. Les deux premiers axes portent sur l’apport de la bioacoustique passive pour le suivi du Loup gris en milieu naturel. En combinant des analyses acoustiques, statistiques et cartographiques, le premier objectif a été d’élaborer une méthode pour l’échantillonnage spatial de vastes zones d’étude, afin d’y détecter des hurlements de loups à l’aide de réseaux d’enregistreurs autonomes. Ce même dispositif a ensuite permis, dans un second temps, de tester la possibilité de localiser les loups grâce à leurs hurlements. Les expérimentations conduites en milieu de moyenne montagne (Massif des Vosges) et de plaine (Côtes de Meuse), sur deux zones d’étude de 30 km² et avec un réseau de 20 enregistreurs autonomes, ont permis de démontrer l’intérêt de la bioacoustique passive pour le suivi du Loup gris. En effet, près de 70% des émissions sonores (son synthétique aux propriétés similaires à celles de hurlements de loups) ont été détectés par au moins un enregistreur autonome en milieu de moyenne montagne et plus de 80% en milieu de plaine, pour des distances enregistreurs– source sonore atteignant respectivement plus de 2.7 km et plus de 3.5 km. Grâce à un modèle statistique et à un Système d’Information Géographique, la probabilité de détection des hurlements a pu être cartographiée sur les deux zones. En moyenne montagne, elle était forte à très forte (>0.5) sur 5.72 km² de la zone d’étude, contre 21.43 km² en milieu de plaine. Les sites d’émission ont été localisés avec une précision moyenne de 315 ± 617 (SD) m, réduite à 167 ± 308 (SD) m après l’application d’un seuil d’erreur temporelle défini d’après la distribution des données. Le troisième axe de travail porte quant à lui sur l’application d’indices de diversité acoustique pour estimer le nombre d’individus participant à un chorus et ainsi contribuer au suivi de l’effectif des meutes. Les valeurs obtenues pour les six indices (H, Ht, Hf, AR, M et ACI) étaient corrélées avec le nombre de loups hurlant dans les chorus artificiels testés. De bonnes prédictions de l’effectif ont été obtenues sur des chorus réels avec l’un de ces indices (ACI). L’influence de plusieurs biais sur la précision des prédictions de chacun des six indices a ensuite pu être étudiée, montrant que trois d’entre eux y étaient relativement peu sensibles (Hf, AR et ACI). Finalement, les résultats obtenus avec les enregistreurs autonomes montrent le potentiel des méthodes acoustiques passives pour la détection de la présence de loups mais aussi pour les localiser avec une bonne précision, dans des milieux contrastés et à de larges échelles spatiale et temporelle. L’utilisation des indices de diversité acoustique ouvre également de nouvelles perspectives pour l’estimation de l’effectif des meutes. Prometteuses, l’ensemble des méthodes émergeant de ce travail nécessite à présent quelques investigations complémentaires avant d’envisager une application concrète pour le suivi du Loup gris dans son milieu naturel / The growing number of studies carried out in recent years has shown that bioacoustics is particularly interesting for the monitoring of secretive species. The emergence of autonomous recording devices, combined with new methods of analysis, have recently contributed to the increase of studies in this field. Over the last 30 years, many bioacoustic studies have been developed for the Grey wolf (Canis lupus), a secretive large carnivore known for its howls spreading over distances up to several kilometers. These researches notably aimed to improve its monitoring, which is complex because of the strong wolf dispersal capacities over long distances, the large extent of their territories and the various natural contexts in which they live. In this context, this PhD thesis was organized around three research axes. The first two axes focused on the contribution of passive bioacoustics for the Grey wolf monitoring in the field. By combining acoustic, statistical and cartographic analysis, the first objective was to develop a spatial sampling method adapted to large study areas for the detection of wolf howls by using autonomous recorders. Then, the same protocol was used to investigate the possibility to localize wolves thanks to their howls. Field experimentations, conducted in mid-mountain (Massif des Vosges) and lowland (Côtes de Meuse) environments, in two study areas of 30 km² and with an array of 20 autonomous recorders, demonstrated the high potential of passive bioacoustics for the Grey wolf monitoring. Indeed, nearly 70% of broadcasts (synthetic sound with similar acoustic properties to howls) were detected by at least one autonomous recorder in mid-mountain environment and more than 80% in lowland environment, for sound source-recorders distances of up to 2.7 km and 3.5 km respectively. By using statistical model and Geographic Information System, the detection probability of wolf howls was modeled in both study areas. In the mid-mountain environment, this detection probability was high or very high (greater than 0.5) in 5.72 km² of the study area, compared with 21.43 km² in lowland environment. The broadcast sites were localized with an overall mean accuracy of 315 ± 617 (SD) m, reducing until 167 ± 308 (SD) m after setting a temporal error threshold defined from the data distribution. The third axe focused on the application of acoustic diversity indices to estimate the number of howling wolves in choruses and thus to contribute to pack size monitoring. Index values of the six indices (H, Ht, Hf, AR, M, and ACI) were positively correlated with the number of howling wolves in the artificial tested choruses. Interesting size predictions based on real choruses were obtained with one of the indices (ACI). The effects of several biases on the reference values for the acoustic indices were then explored, showing that three of them were relatively insensitive (Hf, AR and, ACI). Finally, results obtained with autonomous recorders confirm the real potential of passive acoustic methods for detecting the presence of wolves but also for localizing individuals with high precision, in contrasting natural environments, at large spatial and temporal scales. The use of acoustic diversity indices also opens new perspectives for estimating pack sizes. All of the promising methods emerging from this thesis require now further investigations before considering a concrete application for monitoring the Grey wolf in its natural environment

Die Beschäftigung mit Hermann Kretzschmars Kompositionen bereichert das Gesamtbild dieser musikschriftstellerisch und musikpolitisch wirkungsmächtigen Persönlichkeit. In dem Beitrag werden Kretzschmars Bearbeitungen für Männerchor und deren Bezug zu seinen Schriften untersucht; seine Originalkompositionen für dieselbe Besetzung werden mit Rücksicht auf die Leipziger Harmonielehre der Mitte des 19. Jahrhunderts betrachtet, seine Chorsätze für gemischten Chor dienen als Dokument für Kretzschmars formale Ambitionen und für seine Arbeitsweise. Für die Geschichte der musiktheoretischen Unterweisung am Leipziger Konservatorium in der zweiten Hälfte des 19. Jahrhunderts kann Kretzschmars einseitig nur bestimmte Genres bedienendes Werk eine Quelle darstellen.

Thesis (Ph. D.)--University of Wisconsin--Madison, 1974. / Typescript and manuscript. Vita. For 2 choruses (SATB), 2 speakers, and instrumental ensemble (piano, harp, percussion, flute, oboe, bass clarinet, trumpet, horn, bass trombone, 2 violins, 2 violoncellos, and 2 double basses); performance also requires people to control slide projections and lighting changes. English words. Text for score is from Credo one and Credo two, by Gavin Arthur; text read by speakers before the beginning of the piece is by Jalal ud-din Rumi, a 13th-cent. mystical Persian poet. Includes performance instructions. Includes the compositions "Winter's not forever (on three poems by e. e. cummings) for soprano, female speaker, and six players" (leaves 124-148) and "--And it always will be (for percussion soloist with orchestra)" (leaves 149-186) by the author. "Winter's not forever": for soprano, speaker, flute, horn, bass clarinet, double bass, percussion, and piano/celeste. Description based on print version record.

Die Beschäftigung mit Hermann Kretzschmars Kompositionen bereichert das Gesamtbild dieser musikschriftstellerisch und musikpolitisch wirkungsmächtigen Persönlichkeit. In dem Beitrag werden Kretzschmars Bearbeitungen für Männerchor und deren Bezug zu seinen Schriften untersucht; seine Originalkompositionen für dieselbe Besetzung werden mit Rücksicht auf die Leipziger Harmonielehre der Mitte des 19. Jahrhunderts betrachtet, seine Chorsätze für gemischten Chor dienen als Dokument für Kretzschmars formale Ambitionen und für seine Arbeitsweise. Für die Geschichte der musiktheoretischen Unterweisung am Leipziger Konservatorium in der zweiten Hälfte des 19. Jahrhunderts kann Kretzschmars einseitig nur bestimmte Genres bedienendes Werk eine Quelle darstellen.

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