This thesis investigates the relationship between Hindemith’s music theory and his evolving compositional practice. It focuses on the first volume of his Unterweisung im Tonsatz (1937); both evaluating the very identity of the treatise and analysing how it may be applied to free composition. Above all, this work highlights the increased use of quartal pitch collections found in Hindemith’s Unterweisung-based compositions. Archival documents from the universities of Yale, Berlin, Buffalo, and the Frankfurt Hindemith Institute augment this process, and are used to revise our understanding of how Hindemith’s music theory originated, and how it relates to his practice and teaching. The dissertation begins by exploring the theoretical and intellectual climate of the Rundfunkversuchsstelle at the Berlin Hochschule für Musik within a critical commentary of Hindemith’s music theory. It then develops a new theoretical perspective of quartal pitch space, and atonal prolongation, to provide an analytical toolkit. The list of compositions in the Unterweisung appendix, which Hindemith felt most successfully demonstrated his theory in practice, structures the next three chapters. The Sonata for Solo Viola op. 25/1, a pre-Unterweisung composition, is followed by the Ludus Tonalis, which was published soon afterwards, which is investigated for its explicit theoretical connections. The third analytical chapter focuses on the Das Marienleben cycle as a work written before the Unterweisung, and subsequently revised with theoretical concerns. The final two chapters investigate the prominent decline in popularity experienced by Hindemith, both regarding his theory and compositions, from the 1950s. This is epitomised by a number of strongly-worded polemics published in The Music Review, much of which, it may be argued, is inaccurate or unduly critical. The thesis ends by constructing a Hindemith legacy based on a selection of archival documents and scores, together with a selection of trends in composition and music theory.

This thesis concerns with the recognition of music instruments from isolated notes. Music instrument recognition is a relatively nascent problem fast gaining importance not only because of the academic value the problem provides, but also for the potential it has in being able to realize applications like music content analysis, music transcription etc. Line spectral frequencies are proposed as features for music instrument recognition and shown to perform better than Mel filtered cepstral coefficients and linear prediction cepstral coefficients. Assuming a linear model of sound production, features based on the prediction residual, which represents the excitation signal, is proposed. Four improvements are proposed for classification using Gaussian mixture model (GMM) based classifiers. One of them involves characterizing the regions of overlap between classes in the feature space to improve classification. Applications to music instrument recognition and speaker recognition are shown. An experiment is proposed for discovering the hierarchy in music instrument in a data-driven manner. The hierarchy thus discovered closely corresponds to the hierarchy defined by musicians and experts and therefore shows that the feature space has successfully captured the required features for music instrument characterization.

Detta examensarbete är en kvalitativ studie vars syfte är att beskriva och förstå hur könsfördelningen ser ut i grundskolan i musikundervisningen utifrån fyra olika musiklärares perspektiv. Studiens syfte är att undersöka genusmönster i musik undervisningen och hur lärare förhåller sig till genusmönster och om hur lärare arbetar med stereotypiska könsfördelningar. Bakgrundsavsnittet, som är baserat på tidigare forskning i form av avhandlingar, skolans läroplan och annan litteratur, framkommer det att pojkar tar mera plats i klassrummen och dras gärna mer mot trummor och gitarr medan flickor är mer försiktiga och tar det som blir över eller väljer endera sång eller piano. Enligt forskningen kunde man konstatera att instrument och sång är könskodade. I metodavsnittet presenteras det att studiens resultat är baserat på kvalitativa intervjuer med fyra musiklärare som analyserats med kvalitativ innehållsanalys som metod. Studiens resultat visar att informanterna som arbetar som aktiva musiklärare generellt ser en skillnad på könen i form av dragning till olika instrument i högstadiet men att skillnader inte är stora i tidigare årskurser. Resultatet tar även upp hur informanterna arbetar med genus och hur de ser på skillnader och likheter i klassrummet / This thesis has been done at the department of education at Umeå university. The study’s aim is to explore and understand how the gender distribution in junior high school in music education look like from the perspective of four different music teachers. The purpose of the study is to study the awareness of stereotypical distributions in music and music education, how teachers work with stereotypical gender distributions and what development opportunities there are. The background section, which is based on previous research in the form of dissertations, the school curriculumand other litterature, shows that boys take more space in the classrooms and are more likely to be drawn to drums and guitars while girls are more cautious and take what is left or they choose either vocals or piano. In the method section it is presented that the study's results are based on qualitative interviews with four active music teachers who have been analyzed with qualitative content analysis as a method. The study's results show that the informants who work as active music teachers generally see a difference in the sex in the form of attraction to different instruments in high school, but that differences are not seen in previous grades. The result also addresses how informants work with gender awareness and how they view differences and similarities in the classroom

Aquesta tesi recull la recerca al voltant de les pràctiques musicals mitjançant xarxes d'ordinadors realitzada al Grup de Tecnologia Musical de la Universitat Pompeu Fabra a Barcelona entre l'any 2001 i el 2005. Parteix del treball dut a terme durant la última dècada dins del camp del Treball Cooperatiu amb Ordinadors (Computer-Supported Cooperative Work, CSCW) el qual aporta els mecanismes de col·laboració els quals, des de un punt de vista musical, poden ser estudiats en diversos escenaris: composició, interpretació, improvisació i educació.La primera contribució d'aquest treball és un anàlisi exhaustiu i una classificació sistemàtica del Treball Cooperatiu amb Ordinadors per Aplicacions Musicals. Aquest anàlisi es va centrar en la identificació de propostes innovadores, models i aplicacions, amb un especial èmfasi en la natura compartida de la comunicació mitjançant internet. El concepte d'Entorns Sonors Compartits va ser presentat i implementat en una aplicació prototip anomenada Public Sound Objects (PSOs).La segona gran contribució d'aquesta tesi consisteix en l'estudi del possibles mètodes per reduir les interrupcions degudes als retards inherents en la comunicació musical entre xarxes molt allunyades. A partir de l'experimentació i avaluació al laboratori les tècniques Network Latency Adaptive Tempo i Individual Delayed Feed-Back van ser definides i implementades dins del prototip PSOs.Al llarg del desenvolupament del PSOs es van haver de resoldre altres problemes, com per exemple, el disseny d'interfícies en funció del comportament per a aplicacions amb interfícies desacoblades, la superació dels diversos sistemes de seguretat de les xarxes informàtiques i les possibilitats d'escalabilitat de diverses aplicacions d'àudio per a web.Durant l'elaboració d'aquesta tesi es van discutir diferents perspectives per resoldre problemes relacionats amb la pràctica musical mitjançant ordinadors, aplicant diferents punts de vista provinents de l'estudi psicosocial dels processos de col·laboració musical al món de la informàtica i de la tecnologia musical. / This dissertation derives from research on musical practices mediated by computer networks conducted from 2001 to 2005 in the Music Technology Group of the Pompeu Fabra University in Barcelona, Spain. It departs from work carried out over the last decades in the field of Computer-Supported Cooperative Work (CSCW), which provides us with collaborative communication mechanisms that can be regarded from a music perspective in diverse scenarios: Composition, Performance, Improvisation or Education.The first contribution originated from this research work is an extensive survey and systematic classification of Computer-Supported Cooperative Work for Music Applications. This survey led to the identification of innovative approaches, models and applications, with special emphasis on the shared nature of geographically displaced communication over the Internet. The notion of a Shared Sonic Environments was introduced and implemented in a proof-of-concept application entitled Public Sound Objects (PSOs).A second major contribution of this dissertation concerns methods that reduce the disrupting effect of network latency in musical communication over long distance networks. From laboratorial experimentation and evaluation, the techniques of Network Latency Adaptive Tempo and Individual Delayed Feed-Back were proposed and implemented in the PSOs prototype.Over the course of the PSOs development other relevant and inspirational issues were addressed, such as, behavioral-driven interface design applied to interface decoupled applications, the overcome of network technology security features and system scalability for various applications in audio web services.Throughout this dissertation conceptual perspectives of related issues to computer-mediated musical practices dissertation were widely discussed, conveying different standpoints ranging from a Psycho-Social study of collaborative music processes to the Computer Science and Music Technology point of view.

The graduation thesis deals with possibilities of musical education in the homes of children and youth in South Bohemia. We focused on the offers of music activities, material equipment, kinds of teaching, and how could we present the results of the work. Next, the graduation thesis demonstrates the comparison of the private musical school, Yamaha, which works in five South Bohemian towns, and the competition of the musical teaching in the homes of children and youth. In the enclosure, we show photos and other materials, which specify the reviewing theme.

The work deals with the possibility of interconnecting the teaching of mathematics with music. The theoretical part focuses on the relationship between mathematics and music, student motivation, the theory of multiple intelligence and also on whether music can contribute to the development of mathematical thinking. The practical part delivers five lesson preparations, where the main topic is music education and several other ways to use music education in another mathematical topic. KEYWORDS Music in mathematics, rhythm in mathematics, musical instruments in mathematics, motivation, word problems, equations, intersubject relations, Gardner's theory of multiple intelligence.

Music Culture of the Elisabethan Convent in Prague Jakub Michl Abstract The Sisters of Saint Elizabeth (Elizabethan Nuns) were a spiritual order primarily focused on administering healthcare. Therefore, music was never the main focus of the order's activities, as it often was in others, particularly educational orders. However, thanks to the uninterrupted historical continuity of the Prague convent, which was exempted from the restrictions of Joseph II's era, many sources illustrating the convent music culture were preserved, including an extensive collection of music. The dissertation aims to describe this music culture in the context of the order structure and its personal hierarchy, as part of the city of Prague and its civic institutions, and in its everyday life and characteristics such as enclosure, hospital service and recreational activities. Music in convents was always tightly bound to liturgy. In the case of the Elizabethan order, significant music production was focused on the order's main liturgical feasts such as S. Elizabeth, S. Francis of Assisi, Porciuncula, Christmas, Epiphany, Easter and also memorial services for deceased patrons of the convent. The convent cooperated with many lay musicians and composers such as F. X. Brixi, Z. V. Suchý, F. X. Labler, J. N. Bayer, among others. At the...

This dissertation thesis is focused on music performance within the bounds of Order of the Cross with Red Star in the 18th century. The history of the Knight's Order rises from the first half of the 13th century and concerns the only original Czech church order. In the 18th century Knights of the Cross belonged to the most significant patrons of Art in Czech lands. Church and monastery of St. František in Prague, the center of the Order, became the most influential culture center. The charity work of the Order of that time influenced the creation of the extraordinary institution - the Order's menza that had the significant importance for operating of organ lofts of St. František Church because it provided the sufficient amount of singers and musicians. The research is exclusively based on non-music materials deposited in the Cross paper fond (Nr.195) consigned in the 1st department of the National Archives in Prague. According the information of the inventory department, the fond contains altogether 2315 cartons of paper material and 3306 books. Until now, the researchers have been interested in these sources only marginally which was caused mostly by its disorderliness and most important discoveries have been realized mostly just by lucky coincidences. The main part of this work is devoted to St....