Owing to the ever-changing developments of battery and electric powertrain, vehicle electrification is the trend in the future. Without the presence of a combustion engine, masking effect from it reduces and noises from other components become perceivable. Among all, the cooling fan is one of the major noise sources. The design of cooling fan modules is usually carried out in the early stage before building prototype vehicles. Therefore, it is essential to come up with a method for selecting optimal fan design without performing complete vehicle testing. This is a Master's degree project in collaboration with Volvo Cars, with a focus on cooling fan noise at the charging state of electric vehicles. The main objective of this thesis is to understand the effects of fan installation. Three different setups of acoustic measurement are carried out, namely free-space, wall-mounted, and in-vehicle measurement. Correlations of these measurements are investigated through comparisons of the measurement results and the installation effects are identified through spectrum difference between free-space and in-vehicle measurement. Moreover, the implementation of spectral decomposition method enables the separation of source strength and propagation effect. Analyses of sound pressure levels are studied by looking into tonal and broadband components. In addition, sound power levels are determined by following ISO standards. Finally, a subjective rating session is held to understand the human perception of cooling fan noise. / Med anledning av den pågående utvecklingen mot elektrifiering där bilarna går mot batterier och elmotorer för framdrivning så ändras ljudbilden. Utan förbränningsmotorer som tidigare maskerade mycket av ljudet från bilarna så framträder nya ljudkällor. En sådan är kylfläkten som allt mer blir en störningskälla. Vanligtvis sker designen av kylfläktsmodulen i en tidig fas innan det finns någon prototypbil att tillgå. Detta gör att det är viktigt att utveckla metoder för att i tidig fas kunna optimera designen av kylfläkten.  Detta är ett examensarbete i samarbete med Volvo Cars med fokus på det ljud som uppstår vid laddning av eldrivna bilar. Uppsatsens huvudsakliga mål är att förstå fläktinstallationens påverkan på ljud genom att korrelera olika typer av mätningar. Detta genomfördes m.h.a tre separata konfigurationer, fritt-upphängd mätning, väggmonterad och installerad i bil. Korrelation undersöktes genom att jämföra mätresultat och analys av spektrumet. Analysen av ljudtrycksnivåerna genom att titta på dels de tonala komponenterna men också på bredbandsnivåerna. Utöver detta fastställs även ljudeffekten genom att följa gängse ISO standard. Slutligen så gjordes en subjektiv utvärdering för att få en förståelse av upplevelsen av ljudet från en kylfläkt.

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Диссертация посвящена проблеме передачи эмоций при переводе с английского языка на русский. Из романа Ш. Бронтё «Джейн Эйр» методом сплошной выборки извлечены контексты, показывающие восприятие пространства главной героиней. Осуществлено сопоставление двух переводов (советского, выполненного В. Станевич, и современного, предложенного И. Гуровой) в опоре на эти контексты. / The work studies the problem of conveying emotions when translating from English into Russian. Within the analysis, the contexts showing the perception of space by the main character were extracted from the novel by Ch. Brontë “Jane Eyre” using the continuous sampling method. Then, based on these contexts, there was carried out a comparison of two Russian translations (the Soviet by V. Stanevich and the modern by I. Gurova).

This dissertation argues how motivic saturation on the musical surface complicates a conventional harmonic interpretation in Fauré's late chamber works. Using motivic segmentation and linear analysis, I illustrate how the abundance of foreground motives has far-reaching implications for tonal voice leading and overall coherence. The outcomes of motivic saliency are twofold, influencing harmonic progressions by 1) altering traditional syntax or 2) replacing traditional syntax to provide the primary form of tonal coherence. I unpack the voice-leading consequences of stratifying motives over one another and bring in two larger, emerging concepts: 1) key duality as disjunction between melody and bass and 2) tonal coherence from the tonal profile of motives. In the first case, either the melody or the bass projects its own center or key separate from the other parts, producing a sensation of key duality. In the second, a single motive furnishes the main source of tonal grounding by unfolding a structural harmony t

This thesis focuses on the high dynamic range (HDR) imaging problematic. It describes process of capturing and storage of HDR images in brief. Main part of thesis deals with techniques of how to display HDR images on common visual display devices, which are not able to represent them directly. This process is called tone-mapping. It is firstly described in general and than the text focuses on several techniques of tone-mapping, mainly on tone-mapping using bilateral filtering.

This dissertation investigates how W. A. Mozart applies the concept of key characteristics—the affective properties of each tonality—as discussed by three of his contemporaries, Johann Mattheson, C.F.D. Schubart and G.J. Vogler, to four soubrette and four prima donna characters from four of his late Italian operas: La Contessa and Susanna in Le nozze di Figaro; Donna Anna and Zerlina in Don Giovanni; Fiordiligi and Despina in Così fan tutte; Vitellia and Servilia in La clemenza di Tito. The analytical method of this dissertation provides a hermeneutical tool to search for meanings in Mozart's music. The application compares the libretto text and its corresponding tonal center with the description of key characteristics on a micro level, to reveal significant dramatic and practical implications from Mozart's key usage in his operas.

The analytical literature posits a dichotomy between Copland’s “popular” and “serious” music. Despite different motivic and hannonic structures on the surface, however, these styles are consistent in their underlying use of tonality. Tonics in both styles are defined by the same set of tonicizing techniques; and tonics in both styles serve the same function — to define the changing scale-degree function of pcs that are emphasized in various ways as common to the collections of successive tonics. The most important of these changes in scale-degree function are summarized in pitch-class continuity graphs that show the relation of the changes to thematic and harmonic form. Detailed analyses, which cover two “popular” and two “serious” works by Copland, demonstrate the consistency between the two styles. Besides demonstrating an underlying stylistic consistency these graphs provide useful information about structure in Copland’s music because they confirm striking features of Copland’s thematic and tonal designs.

Thesis (Ph.D.) --University of Adelaide, Elder Conservatorium of Music, 2008. / "October 2007" Bibliography: leaves 168-170. Also available in print form.

This thesis develops an analytical approach to the instrumental music of Orlando Gibbons (1583-1625) based on close readings of historical theory sources, primarily by Thomas Morley, John Coprario and Thomas Campion. Music of the early seventeenth century can be difficult to analyse, since it falls between the more extensively studied and theorised practices of classic vocal polyphony and common-practice tonality. Although English music theory of this period is recognised as strikingly modern in many respects, innovative aspects of English compositions from the same period receive little attention in standard accounts of the seventeenth century. I argue that concepts taken from this body of historical theory provide the basic terms of a technical vocabulary for analysis, which should be further refined through application to real compositions. Successive chapters deal with common counterpoint models or patterns, imitative invention and disposition, cadential progressions, and overall tonal structure. I argue that these analyses show Gibbons's music to be a contribution to new ways of conceiving of instrumental polyphony and tonal structure, which deserves re-evaluation in the context of broader seventeenth-century trends. In particular, Gibbons's use of extended cadential expectations as an expressive element, fascination with sequential progressions, and sectional structuring by harmonic area have clear parallels with later practices. At the same time, early seventeenth century style allows the composer considerably more freedom of harmonic procedures and implications than the musical styles which immediately followed it. Analysis grounded in historical theory provides the best approach to understanding and appreciating this unique musical language.