1900- och 2000-talet har gett mänskligheten många teknologiska revolutioner inom flertaletyrkesvärldar. Bland dessa så har utvecklingen inom musikindustrin florerat och gjort så att det idagblivit enkelt att sätta upp en hemmastudio för ett åtkomligt pris. Denna studie presenterar enundersökningsbaserad studie av hemmaproducenter inom rock och metal och deras preferenser ochåsikter om olika Digital Audio Workstations - DAW. Målet med studien var att se om dessaproducenter prioriterar specifika DAW över andra och vilken DAW som användes mest avproducenterna. Studien sammanfattar att den vanligaste DAW som användes av de deltagandeproducenterna var Apples Logic Pro, även om Steinbergs Cubase bara var ett par få procentenheterifrån, vilket gör dem minst lika populära baserat på studiens slutgiltiga resultat. Studien fann ocksåatt de vanligaste anledningarna till vilken DAW producenterna valt att arbeta i. Dessa var hur lätt detvar att manövrera programmet och hur pass bra programmet samarbetar med annan programvara.Andra stora faktorer var priset på programmet och kvaliteten på programmets interna plug-in.

Denna studie syftar till att undersöka hur en DAW och datorfokuserad musikskaparekan främja kreativitet med begränsningar, i detta fall att begränsa sig till ett fysisktinstrument. Tre datormusiker har fått spendera tid med en groovebox där vi tillsammansundersökt deras kreativa processer och hur denna typ av instrument kan tillföra till den.Detta har gjorts genom metoden fokusgrupper över en längre tid. Avsnittet tidigareforskning och teori innehåller en övergripande bild av fenomenen kreativitet och flowmed teorier kring kreativa begränsningar och flow i människa-datorinteraktion (MDI).Studiens mål är att bidra med kunskap om hur skapandeprocesser och kreativa projektkan ändras och förbättras. Det övergripande resultatet tyder på att det finns moment somkan förenklas och att begränsningen är en hjälp. Diskussionen lyfter fram att dettaområde föreslås utforskas vidare

This thesis aims to discuss the Collective Security Treaty Organization (CSTO) and the sources of Russia&rsquo / s influence over its other member-states. It focuses on the origins of the CSTO and the development of security cooperation within the CSTO framework. The thesis argues that although the CSTO continues to be a Russia-centric regional security organization, Russia&rsquo / s influence over the other CSTO member states has been gradually limited throughout the 2000s due to the increasing diversity in the threat perception of the other CSTO member states and the increasing penetration of the other regional security organizations into the post- Soviet space. Following the Introduction chapter, the second chapter discusses the origins of security cooperation within the framework of the CIS. The third chapter analyzes the CSTO in terms of its structure and activities since its establishment in 2002. The next chapter outlines the transnational challenges to the security of the post-Soviet states and their threat perception, as well as the efforts to promote regional security by the regional actors. The fifth chapter analyzes the increasing involvement of other regional security organizations, such as SCO, OSCE, and NATO into the post-Soviet space. The concluding chapter discusses the main finding of the thesis.

In this thesis, the author explored an alternative way of composing contemporary western art music, being inspired by thoughts regarding post-genre. The composition method incorporated the use of the Digital Audio Workstation (DAW) software Cubase. Musical gestures were recorded with two musicians which where used as samples in the DAW to compose the piece Lines. The role of the score was shifted by moving it’s realisation to after the aural result was completed. The process was inspiring and was perceived to work well for a textural piece of music. Using a DAW when composing contemporary western art music is something that could be explored by classically trained composers in favour of working solely in a notation software. The result was the digitally made recording of Lines and two scores; one aimed to reproduce the recorded version (where only violin and violoncello where used) and another where adjustments where made, mainly in the instrumentation, to facilitate live performances by string orchestras.

This thesis aims to scrutinize the Visegrad Quadruple Initiative as a device of the Central European countries in the process of involving into the re-negotiations in Europe and in world politics. The thesis argues that the Visegrad group was built in order to respond the demands of changing Europe and Euro-Atlantic structures, and thus to overcome the double process of transition and integration. However that was not the only reason to launch the Visegrad regional cooperation. The group produced an affirmative discourse that its members are distinguished from the other countries in transition, so that they are constantly one step forward to &lsquo / return to Europe&rsquo / . In the aftermath of the eastern enlargements of NATO and the EU alike, the original mission of the group, integration with the West, was achieved. That created a profound discussion about the survival of the group. As it is argued in this thesis, the group, as a prosperous and substantial regional cooperation, should rather continue to work in order to have more words to say in the re-negotiations processes. Another argument of the thesis is that the Visegrad group, taking Benelux group as a model in its continuity, is beneficial to produce a common foreign policy tendency among its members as long as the interests of its members are overlapping, otherwise the group is just being a political platform in which its members can share their views in such areas as regional regulations.

This thesis aims to scrutinize the Visegrad Quadruple Initiative as a device of the Central European countries in the process of involving into the re-negotiations in Europe and in world politics. The thesis argues that the Visegrad group was built in order to respond the demands of changing Europe and Euro-Atlantic structures, and thus to overcome the double process of transition and integration. However that was not the only reason to launch the Visegrad regional cooperation. The group produced an affirmative discourse that its members are distinguished from the other countries in transition, so that they are constantly one step forward to &lsquo / return to Europe&rsquo / . In the aftermath of the eastern enlargements of NATO and the EU alike, the original mission of the group, integration with the West, was achieved. That created a profound discussion about the survival of the group. As it is argued in this thesis, the group, as a prosperous and substantial regional cooperation, should rather continue to work in order to have more words to say in the re-negotiations processes. Another argument of the thesis is that the Visegrad group, taking Benelux group as a model in its continuity, is beneficial to produce a common foreign policy tendency among its members as long as the interests of its members are overlapping, otherwise the group is just being a political platform in which its members can share their views in such areas as regional regulations.

Submitted by Edileide Reis (leyde-landy@hotmail.com) on 2013-04-17T14:15:46Z No. of bitstreams: 1 Pedro Germano dos Anjos.pdf: 1264628 bytes, checksum: dc598589ddeb7c4648d07a8d79b15c95 (MD5) / Approved for entry into archive by Rodrigo Meirelles(rodrigomei@ufba.br) on 2013-05-09T17:35:21Z (GMT) No. of bitstreams: 1 Pedro Germano dos Anjos.pdf: 1264628 bytes, checksum: dc598589ddeb7c4648d07a8d79b15c95 (MD5) / Made available in DSpace on 2013-05-09T17:35:21Z (GMT). No. of bitstreams: 1 Pedro Germano dos Anjos.pdf: 1264628 bytes, checksum: dc598589ddeb7c4648d07a8d79b15c95 (MD5) Previous issue date: 2010 / A pesquisa tem por objeto o controle jurisdicional da execução orçamentária, no que pretende investigar a sua possibilidade e forma, baseando-se na configuração da norma constitucional orçamentária e na necessidade do diálogo constitucional entre os Poderes Públicos para a efetivação dos direitos constitucionais a prestações fáticas. Trata-se de discutir a responsabilidade cedida ao administrador para a gestão da res publica e sua participação através do Orçamento Público a fim de promover políticas públicas, particularmente no âmbito da discricionariedade administrativa. Igualmente, deve-se ter em conta a busca de uma alternativa jurisdicional e constitucionalmente possível ao controle efetivo do Poder Executivo, além do aspecto da legalidade formal. Para tanto, é caracterizada a norma constitucional orçamentária como norma de caráter duplo (princípio e regra), o que gera efeitos na sua aplicação mediante regras de precedência condicionada a par das razões definitivas institucionalizadas nas Leis de Orçamento Público. Além disso, conseqüências residem na sua aplicação como um processo hermenêutico instrumental da efetivação de necessidades públicas identificadas na Constituição Brasileira de 1988. A solução proposta reside na possibilidade constitucional, teórica e pragmática, de um controle jurisdicional de legalidade orçamentária, subsidiário e relativo às dotações de força constitucional, conceito desenvolvido nesse trabalho. Uma vez instituída uma regra de precedência entre as necessidades públicas e assumida a natureza instrumental do Orçamento Público, o Poder Judiciário não pode se furtar ao diálogo com os demais Poderes, protegendo o Orçamento ou superando-o em casos excepcionais, através da tutela objetiva dos direitos sociais (necessidades básicas) face os deveres públicos estatais. / Salvador

Music making and technological development has always been connected. The digital revolution has made advanced music production, writing and distribution tools universally accessible. New intelligent tools built on machine learning are entering the market potentially changing how we create music and interact with creative content.  The aim of this thesis project has been to find alternatives to existing interaction models manifested in modern DAWs (Digital Audio Workstations). Ideas developed through rough sketches and simple prototypes—the outcome consists of three concept videos proposing changes to three moments in the workflow of songwriters and producers. This thesis started with an idea of exploring the borderland between computer generated music and human creativity. Through desk research and interviews I learned that computational creativity exist and that there is a lot of different ways of defining creativity and art. Creating creative computers should not aim to replace humans creative abilities—it is rather about automating and creating tools that enhance our creative abilities.  To understand how songwriters and producers work the subject were investigated through semi-structured contextual interviews. The different ways of working and using tools were mapped out and potential opportunity areas were identified. This thesis have been a project that through sketching, mock-ups and simple prototypes questions how we use digital tools in music production. These concepts and sketches were continuously brought back to experts for feedback. The outcome consists of three concepts. They are presented through three short videos. These videos are now shared with a bigger audience and will act as an conversation starter for people interested in tools for digital music production.  1. Automating parts of the songwriting process and create a collaborative workflow between a you and a computer, through a conversational user interface.  2. A pressure sensitive touch surface that let you manipulate sound. It is an adaptive system that automatically detects active controls in your DAW—it maps these active controls from your computer screen down to a touch pad.  3. The third concept changes the way you organise and look for sound files. It is a automatised process where a software helps you compare different sounds to each other. It takes away most labels and focuses on mapping sound according to its auditory profile.

The aim of this work is to design an architecture of the embedded device that will be used for controlling DAW software in recording studio. First of all, attention is given to a brief summary of the necessary knowledge which is needed to design such kind of device. Af- ter that follows short survey of the existing solutions and description of protocols which can be used for communication with the recording software. Then, subsequent part of the thesis builds upon these foundations and further elaborates the device architecture by me- ans of decomposing it into several modules. In fact, two hardware modules are designed and manufactured, when each of them is conceived on a separate PCB with its own microcon- troller. Then the control firmware has been implemented for each of the modules. At the end of the work an aluminium enclosure, which holds both modules, is designed. The result of this work is a functional prototype of the assembled controller which can be used for the purpose of controlling DAW software.

Hlavním cílem této práce je obohatit hudební signály charakteristikami lidské řeči. Práce zahrnuje tvorbu audioefektu inspirovaného efektem talk-box: analýzu hlasového ústrojí vhodným algoritmem jako je lineární predikce, a aplikaci odhadnutého filtru na hudební audio-signál. Důraz je kladen na dokonalou kvalitu výstupu, malou latenci a nízkou výpočetní náročnost pro použití v reálném čase. Výstupem práce je softwarový plugin využitelný v profesionálních aplikacích pro úpravu audia a při využití vhodné hardwarové platformy také pro živé hraní. Plugin emuluje reálné zařízení typu talk-box a poskytuje podobnou kvalitu výstupu s unikátním zvukem.