abstract: Phantom Sun is a ten-minute piece in three sections, and is composed for flute, clarinet in b-flat, violin, cello, and percussion. The three-part structure for this work is a representation of the atmospheric phenomenon after which the composition is named. A phantom sun, also called a parhelion or sundog, is a weather-related phenomenon caused by the horizontal refraction of sunlight in the upper atmosphere. This refraction creates the illusion of three suns above the horizon, and is often accompanied by a bright halo called the circumzenithal arc. The halo is caused by light bending at 22° as it passes through hexagonal ice crystals. Consequently, the numbers six and 22 are important figures, and have been encoded into this piece in various ways. The first section, marked “With concentrated intensity,” is characterized by the juxtaposition of tonal ambiguity and tonal affirmation, as well as the use of polymetric counterpoint (often 7/8 against 4/4 or 7/8 against 3/4). The middle section, marked “Crystalline,” provides contrast in its use of unmetered sections and independent tempos. The refraction of light is represented in this movement by a 22-note row based on a hexachord (B-flat, F, C, G, A, E) introduced in measure 164 of the first section. The third section, marked “With frenetic energy,” begins without pause on an arresting entrance of the drums playing an additive rhythmic pattern. This pattern (5+7+9+1) amounts to 22 eighth-note pulses and informs much of the motivic and structural considerations for the remainder of the piece. / Dissertation/Thesis / Masters Thesis Composition 2017

The performance of supervised machine learning algorithms is highly dependent on the distribution of the target variable. Infrequent values are more di_cult to predict, as there are fewer examples for the algorithm to learn patterns that contain those values. These infrequent values are a common problem with real data, being the object of interest in many _elds such as medical research, _nance and economics, just to mention a few. Problems regarding classi_cation have been comprehensively studied. For regression, on the other hand, few contributions are available. In this work, two ensemble methods from classi_cation are adapted to the regression case. Additionally, existing oversampling techniques, namely SmoteR, are tested. Therefore, the aim of this research is to examine the inuence of oversampling and ensemble techniques over the accuracy of regression models when predicting infrequent values. To assess the performance of the proposed techniques, two data sets are used: one concerning house prices, while the other regards patients with Parkinson's Disease. The _ndings corroborate the usefulness of the techniques for reducing the prediction error of infrequent observations. In the best case, the proposed Random Distribution Sample Ensemble reduced the overall RMSE by 8.09% and the RMSE for infrequent values by 6.44% when compared with the best performing benchmark for the housing data set.

Credit scoring is very important process in banking industry during which each potential or current client is assigned credit score that in certain way expresses client's probability of default, i.e. failing to meet his or her obligations on time or in full amount. This is a cornerstone of credit risk management in banking industry. Traditionally, statistical models (such as logistic regression model) are used for credit scoring in practice. Despite many advantages of such approach, recent research shows many alternatives that are in some ways superior to those traditional models. This master thesis is focused on introducing ensemble learning models (in particular constructed by using bagging, boosting and stacking algorithms) with various base models (in particular logistic regression, random forest, support vector machines and artificial neural network) as possible alternatives and challengers to traditional statistical models used for credit scoring and compares their advantages and disadvantages. Accuracy and predictive power of those scoring models is examined using standard measures of accuracy and predictive power in credit scoring field (in particular GINI coefficient and LIFT coefficient) on a real world dataset and obtained results are presented. The main result of this comparative study is that...

abstract: American Primitive is a composition written for wind ensemble with an instrumentation of flute, oboe, clarinet, bass clarinet, alto, tenor, and baritone saxophones, trumpet, horn, trombone, euphonium, tuba, piano, and percussion. The piece is approximately twelve minutes in duration and was written September - December 2013. American Primitive is absolute music (i.e. it does not follow a specific narrative) comprising blocks of distinct, contrasting gestures which bookend a central region of delicate textural layering and minimal gestural contrast. Though three gestures (a descending interval followed by a smaller ascending interval, a dynamic swell, and a chordal "chop") were consciously employed throughout, it is the first gesture of the three that creates a sense of unification and overall coherence to the work. Additionally, the work challenges listeners' expectations of traditional wind ensemble music by featuring the trumpet as a quasi-soloist whose material is predominately inspired by transcriptions of jazz solos. This jazz-inspired material is at times mimicked and further developed by the ensemble, also often in a soloistic manner while the trumpet maintains its role throughout. This interplay of dialogue between the "soloists" and the "ensemble" further skews listeners' conceptions of traditional wind ensemble music by featuring almost every instrument in the ensemble. Though the term "American Primitive" is usually associated with the "naïve art" movement, it bears no association to the music presented in this work. Instead, the term refers to the author's own compositional attitudes, education, and aesthetic interests. / Dissertation/Thesis / M.M. Composition 2014

In this project, Anton Forsberg has arranged and performed music (mainly from the jazz idiom) for a growing ensemble, focusing on the guitar’s role and function in different musical settings and contexts. Arranging and orchestrating the guitar in different ways to explore different ways of featuring it has been a central part of the project. The process of choosing musicians, planning repertoire, arranging, rehearsing as well as a description of the final result of every individual composition finally chosen for the final musical recital is described. The result of the project is described both in terms of arranging and in terms of Anton’s work as guitarist and musical director in the different musical contexts through explanations of different choices of guitars, orchestration, strategies for rehearsal-leading and different difficulties experienced along the course of the project. In the end, Anton concludes that the arranging became the main focus point during the project, rather than the guitar and its different possibilities of sound. He also describes what the realization of the project has taught him within the different parts of it, as well as his thoughts on what to do differently when encountering similar projects in his future music career.

Definir e implementar un SDK que integre las principales características definidas por Ensemble Interactions (EI). Para ello, se analizarán e implementarán los patrones descritos por E.I. De esta forma, la investigación brindará el marco teórico necesario para el correcto entendimiento de EI y los seis patrones principales que lo definen. La interpretación de los resultados obtenidos en el análisis de los patrones será fundamental debido a que esta será la base que respaldara los artefactos que se realizaran a lo largo del proyecto. Asimismo, la implementación se dividirá en entregables: Desarrollar un SDK que permita la conectividad entre los dispositivos mediante WiFi y Bluetooth, así como implementar dos pruebas de concepto que implementen los patrones descritos por EI, por último, desarrollar una aplicación final que integre las características principales de Ensemble Interactions. Con respecto a los riesgos presentes en el desarrollo del proyecto, se ha remarcado el hecho que, actualmente, no existe una aplicación que integre todos los conceptos descritos por EI en los dispositivos Apple, por lo cual plantear el desarrollo de una aplicación que lo haga es un reto significativo. Asimismo, un riesgo fundamental del proyecto es la correcta interpretación de los patrones y su implementación. / Nowadays, there are not many tools that allow IOS developer community implement applications oriented to multi-display environments and, additionally, to fulfill what is described by Ensemble Interactions and the design patterns defined for these environments, which are concepts that propose the joint work of all available devices in the same environment. On the other hand, of the few tools that allow the development of such applications, some have been implemented by large companies that also develop mobile devices and limit their tools to work with only those devices from their own. Therefore, this paper seeks to implement a tool that allows IOS developer communitydevelop mobile applications for multiple devices environments that meet what is described by Ensemble Interactions and design patterns. This tool base the interaction between devices on a Wi-Fi network without access to the internet and Bluetooth. Then, in the first chapter the project and its management will be discussed. Then, the theoretical framework on which this work is based. The third chapter will analyze in detail the current status of all tools and technologies that allow the development of multi-display environments applications. Then, the fifth chapter will describe the methodology employed in the development of this project and the results obtained. In the sixth chapter, the final product of labor and management measures taken during its development will be presented. Finally, conclusions and recommendations proposed in this work are listed.

El presente proyecto tiene como finalidad el desarrollo de un análisis competitivo de tecnologías que permiten conexión y envío de mensajes entre dispositivos iOS y Android. Estas tecnologías son exploradas según sus capacidades, limitaciones y efectividad en el desarrollo de aplicaciones móviles. Además, son sujetas a medidas de tiempo de conexión y tiempo de envío de mensajes para dar a conocer cuál tecnología conviene en qué situación. Las tecnologías son luego documentadas mediante diagramas de arquitectura de alto nivel, que incluyen diagramas de despliegue, componentes y secuencia. Finalmente, estas arquitecturas son comprobadas con pruebas de concepto para verificar su correcta elaboración y para servir de guía de implementación para proyectos en el futuro. Los resultados obtenidos en el análisis permitirán sintetizar los usos de las tecnologías frente a diferentes escenarios. / The main objective of this project is the development of a competitive analysis of technologies that allow connection and sending of messages between iOS and Android devices. These technologies are explored according to their capabilities, limitations and effectiveness in the development of mobile applications. In addition, they are subject to connection and message delivery tests to figure out which technology is more convenient in a variety of situations. The technologies are then documented through high-level architecture diagrams, which include deployment, component, and sequence diagrams. Finally, these architectures are verified with proofs of concept to ensure their correct elaboration, and to serve as guide for implementing projects in future work. The results obtained in the analysis will provide a record of how these technologies react in different scenarios.

Hailstones and Birdcages is a composition of approximately thirteen minutes' duration and is scored for two flutes and piccolo, two oboes and english horn, three Eb clarinets, E clarinete, bass clarinet, two bassoons, two Eb alto saxophones, Bb tenor saxophone, three Bb trumpets, four F horns, three trombones, euphonium, two tubas, and three percussionists. Four instruments--one each of flute, oboe, Bb clarinet, and trombone--are used in concertante like fashion, and there are prominent solo passages for the first bassoon, as well. The work is a single movement in three sections, fast - slow - fast, with ritornello. and employs a free use of the total chromatic. Technically, the work is within the capabilities of an above-average high school or average college wind ensemble

The aim of this study, is to describe and analyse the sense making processes that are supposed to lead to music understanding among students at an upper secondary school with a fine arts program in music. In focus for my study is the teachers and the students’ lifeworld inside this program. I want to find out more about their thoughts in words and action, and in what different ways the interaction between the teachers and students takes place. Of interest is also the interaction between the students themselves. The method I have chosen for this qualitative study is based on observations of some music lessons. As a complementary to the observations, I have also performed interviews with two teachers and six of the students that are studying their last year at this music program. The selection of the informants is limited to only this group of students and their teachers. The observations and the interviews took place during autumn 2017. My idea to choose this group of student informants at the age of 19, is that they probably have a greater experience of music education compared to younger students. And that they more easily can describe their music understanding and development. Some conclusions I have made from this study, is that many of the students I interviewed connects music learning to a musical instrument. It seems that they don’t value knowledge in singing as a tool to develop music skills. Through the diversity of music topics, the students are studying during their three years in this music program, it seems every individual acquires a good general knowledge of music.

Bedömningsportfölj, en studie om elevers reflektioner över ämnet musik i årskurs5 och 6, behandlar mellanstadieelevers arbete med portföljer under en period iskolan. Syftet är att studera hur elevernas reflekterande förmåga kan utvecklas närde skriver en bedömningsportfölj. För att göra detta har elever fått föraportföljanteckningar under varje vecka projektet pågått. Till studien hör ocksåfokusgrupper som arrangerats i slutet av perioden, för att ge en mer allmän inblicki elevernas upplevelse av att arbeta med portföljer. Resultatet visar på djupareförståelse hos eleverna för sitt musikaliska arbete och på förmågor att identifieraoch lösa problem. De kan även formulera förbättringsområden hos sig själva och igruppen, samt föreslå förbättringar. Dessutom kan eleverna identifiera det som deuppskattar i sina arbeten. Vikten av det sociala samspelet mellan eleverna och hurdet kunde påverka lärandet kom också fram i studien. Portföljerna ger en brainblick i elevernas tankegångar och kompletterar det som hörs och syns pålektionerna.