Originally presented as the author's Thesis (doctoral)--Universität, Leipzig, 2002. / Includes bibliographical references.

Portable, handheld, and wearable devices are an integrate part of everyday life, yet there is no well-established text inputmethod for devices with very small screens. Speech to text has been a quick fix, but entails privacy concerns and can beobtrusive. Chord keyboards bring various advantages for application in a mobile environment, as they require fewer keys andcan thus be small and portable. The aim of this work is to suggest an alternative to the QWERTY keyboard, suitable for textentry on devices of all sizes, shapes and mobility requirements. A one hand operational chord keyboard was developed andevaluated in a small user study with regard to its social acceptability. Learnability showed to be a concern that discouragesuse, while social aspects did not seem to be an issue.

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Playing‐related pain is a common and serious problem among pianists. Information on cause and prevention is extremely limited due to a lack of scientific research. The purpose of this study was to (1) review and describe risk factors for piano‐related pain among college students and piano teachers that were reported in my previous two research studies, (2) justify the use of an ergonomically modified keyboard as a potential solution for reducing playing‐related pain, and (3) test and evaluate the effectiveness of an ergonomically modified keyboard for alleviating pianists' pain. Both study populations reported high prevalence rates for playing‐related pain: 86 % for college students (n = 35), 91 % for piano teachers (n = 47). For both populations, statistical analyses confirmed that pianists with small physical size (hand size) were more prone to pain. This finding helped rationalize the use of an ergonomically modified keyboard (the key width is 1/16 narrower than the standard) for small‐handed pianists as an ergonomic intervention. To test the effectiveness of an ergonomically modified keyboard, 35 college students played identical music on both the reduced-sized keyboard and the standard keyboard. Observations of video‐recorded performances revealed that small-handed pianists can avoid extreme stretching of their hands when playing on the modified keyboard. Statistical analysis of questionnaire data confirmed that the modified keyboard helped small‐handed pianists to play with less pain and tension. These results warrant the serious consideration of adopting ergonomic principals into the world of piano.

The analysis of Arne's six keyboard concertos uses the 1981 Oxford University Press edition of the musical scores. This edition relies totally a set of separate printed on parts that was published by Harrison & Company of London in 1793, and is the earliest known extant material for the concertos; the autograph MSS scores of Arne's concertos are not extant. The analysis first deals with Arne's general structural process, then examines the formal structure of the works in more detail, with particular attention given to the utilization of ritornello format and the influence from the Torelli-Vivaldi tradition. A discussion of the concertos' residual Baroque characteristics as well as several galant traits is included. Considerable attention is given to Arne's excellence in melodic writing, as well as to his fondness for the interval of an octave and to a particular rhythmic kernel. Also included is an analysis of a discarded movement from Concerto No. 1.The analysis of Arne's four symphonies uses the 1973 Oxford University Press edition of the musical scores. This edition relies totally on the set of printed parts from the 1767 John Johnston [London] edition, and is the earliest known extant material for the symphonies; the autograph MSS scores of Arne's symphonies are likewise lost or destroyed. As with the concertos, the analysis of the symphonies first looks at Arne's general structural procedures, then treats individual musical forms, with significant attention given to sonata form. An examination of Arne's remnant Baroque characteristics is included. As with the concertos, a substantial portion of the analysis is given to Arne's melodic writing.A short biography of Arne is included. This chapter discusses other instrumental works of Arne, as well as his more important vocal works. / School of Music

The present study is an attempt to enlarge upon the proposition that the age of Frescobaldi was, like all others, an age of transition, in his case the transition from Renaissance to Baroque. His position within this change is central, both in time and importance. In our first two chapters, the various categories of keyboard works which he enriched will be considered, with their prehistories, his contributions, and analyses of individual pieces. In chapter I the works mainly of instrumental origin will be dealt with, and in chapter ll those of more vocal derivation. In the final chapter, the information thus gleaned will be used to demonstrate his exact position within the transition, particularly with regard to its two most important aspects, the harmonic field and the interaction of vocal and instrumental elements.

This thesis deals with design of numeric keyboard, which can be connected to personal computer or laptop through USB interface. This numeric keyboard can be also configured using application for operating system Windows. Backlight pattern generator is also part of this application. Theoretic part deals with various types of keyboards, switches and closer description of USB interface. Practical part deals with sole design of circuit that detects keystrokes and sends information about active switches through USB, description of used components, description of microcontroller service routine and description of the application for backlight pattern generating. At the end of this thesis are described results of measurements which were made to choose mechanical switches with shortest debounce time and keyboard response to key press.

This thesis is focused on the side-channels in the cryptology. The main attention is paid to the side-channels, which allow an attack on a computer keyboard. Especially the acoustic side-channel is focused on. Through this channel are demonstrated two attacks on the keyboard. At first, the method of recognizing is described. The neural network was used for the recognition. Then, the demonstration attacks on the keyboard are described. The first demonstration is an attack in laboratory conditions and the other in terms of household conditions. The thesis describes two attacks from the record, through data recognition by neural networks to evaluate the actual demonstration of attack. The following describes the recommendations for disabling attack. The results are supplemented by graphs and discussed.

This study describes a set of salient formal norms for the eighteenth-century Spanish keyboard sonata through an application of Hepokoski and Darcy's sonata theory, William Caplin's form-functional theory, and Robert Gjerdingen's schema theory. It finds that particular thematic types, intra-thematic functions, and rhetorical markers characterize this repertoire. In order to trace the development of these norms throughout the eighteenth century, this work is organized into two parts. The first part (Chapters 2 and 3) examines the mid-century Spanish keyboard sonatas of Sebastián de Albero (1722–1756), Joaquín Ojinaga (1719–1789), and their contemporaries. The second part (Chapters 4 and 5) examines the late-century Spanish keyboard sonatas of Manuel Blasco de Nebra (1750–1783) and his contemporaries.