This study seeks to answer the question of if there is a relationship between the types of music listened to and the level of aggressiveness, particularly in young people detained in the County Juvenile Home of Dallas, Texas.

This work deals with computer simulation of a guitar combo. The complete simulation is divided into separate blocks and then transfer characteristics and frequency responses of each block are obtained from a circuit analysis of analogue prototype. After their aproximation, the transfer characteristics are implemented as waveshapers and frequency responses are simulated using digital filters designed according to their analogue prototypes. Designed algorithms are implemented as plug-in mudule in language C++.

This work deals with a computer simulation of an acoustic room using its impulse response. Two different approaches to the simulation are described with their pros and cons and then the work is focused on the physical approach, which uses room’s impulse response during the simulation. Several methods for the extraction of the impulse response of the acoustic room are mentioned with their conditions of use. The detailed description of various algorithms for a real time convolution computing is followed by the cost analysis of frequency domain block convolution algorithms. Several algorithms are chosen, implemented and tested in Matlab environment. Then the most effective of them is chosen to be implemented in VST technology as the plug in module for real time room simulation.

This thesis deals with a simulation of analogue audio effects using the nonlinear models that replace the analogue nonlinear devices in discrete domain. The thesis describes Volterra system model and simplified Volterra system model that can be realized in two ways, either Wiener model, or Hammerstein model. The method for the analysis and modeling of audio and acoustic nonlinear systems is presented in this thesis. This method allows through knowledge of the input swept-sine signal and the response of the analogue nonlinear system to the input signal to determine the coefficients of the discrete nonlinear system. This allows simulating the analogue nonlinear system in discrete domain. The method was first tested and then used successfully for simulation of the analogue nonlinear system in discrete domain. Concretely, it was simulated a musical guitar effect of the type of distortion. Last part of this thesis is devoted a description of VST technology and an implementation of VST plug-in module, which realizations Hammerstein model.

In text linguistics coherence is seen as one of the key factors in communication and textual interpretation. Text linguistics, as an inter-disciplinary field of study concerning the textuality of texts in conjunction with coherence, can probably be of great importance in current musicology, especially as the problem concerning musical meaning, is still an ongoing debate. The design of a musical model of coherence relations is a new field of study and can not be connected to present day language models, therefore a new model should be invented. It should be kept in mind that adaptations in text linguistics can be of great influence in musicology today and on music in its relation to language. Musical interlocution forms the basis for musical coherence relations as method of musical communication. Musical communication has its origin in the top/cohesive surface of the musical text and disseminates to the lower/coherensive surface of the musical text. Although there is an interaction between musical cohesion and coherence, coherence relations are more concentrated on the lower level. Musical illocution and musical blended perlocution function within the coherensive musical and word texts. The listener plays a big role in this process, because musical coherence is the platform for musical interpretation. As listeners design a word text around the music text, musical blended perlocution through association results. The addition of associative meaning to the musical text has the result that the linguistic perlocution and the musical perlocution intermix with one another. One must keep in mind that perlocution differs in language and music. It will be indicated that musical coherence relations have a dual character. It will be argued here that the principles of musical textuality, adjusted from those text linguistically practised by De Beaugrande&Dressler (1981) and Carstens (1997, 2000, 2009), as well as the three musical functions, adapted from Austin's (1962) determination in language, figure strongly in J.S. Bach's Schübler Chorales. / Thesis (DMus)--University of Pretoria, 2009. / Music / unrestricted