A música gera conhecimento e tem significado porque opera com forma especial na percepção e na cognição humana. A educação musical é uma das alternativas que configuram uma sólida aprendizagem da música. Tem a função de acionar e desenvolver tanto a capacidade no indivíduo para compreender as relações que possibilitam a expressão, quanto os mecanismos cognitivos presentes nos processos de organização sonora. No mundo ocidental convivem, lado a lado, dois tipos de música e, consequentemente, dois tipos de abordagens educacionais, com características organizacionais próprias e diferenciadas, aqui denominadas tonal e não-tonal. A proposta desta pesquisa é identificar os meios de estruturação presentes na música tonal, na música não-tonal. Mais especificamente, identificar, analisar e comparar as formas de conhecimento musical existentes nas abordagens tonal e não-tonal, na aprendizagem. Como processo e tradição cultural, a prática da música tonal tem gerado e desenvolvido, nos individuas, modelos sonoros de organização e relações sonoras caracteristicas que, por sua vez, vem gerando hábitos e disposiçôes, orientando perceptiva e cognitivamente os indivíduos. As abordagens não-tonais convivem ou esbarram com os referenciais existentes na mente dos individuas tonalmente aculturados. Procurando ampliar a experiéncia musical, valorizam os processos criativos por meio da vivência e da prática musical. Tais abordagens têm contribuído de forma significativa para a eficiência da aprendizagem de um modo geral. Os processos estruturais são construidos e desenvolvidos gradativamente, como na abordagem tonal. A aprendizagem fundamentada na música do Século XX aponta caminhos e possibilidades perceptivas e cognitivas, em favor do conhecimento da música como um todo.

This dissertation provides a comprehensive description of the tonal and intonational phonology of Lhasa Tibetan (LT) in the Autosegmental-Metrical framework. It is based on recorded data elicited from members of the Tibetan-Canadian community in Ottawa and Toronto. The first two chapters of the dissertation contain background information about LT, a summary of previous research on LT tones and intonation, and an overview of the theoretical framework and conceptual tools used in the rest of the dissertation. The third chapter deals with word tonology. I establish that the prosodic structure of LT brings evidence for four main constituents at or below the word level: a) the mora encodes vowel length contrasts, b) the syllable is the tone-bearing unit (TBU), c) the prosodic word, which is maximally binary, delimits the application of most tonal processes, and d) the prosodic word group, which matches grammatical words, is the domain of downstep. This prosodic structure provides evidence against the universality of the Prosodic Hierarchy (Selkirk, 2002; Nespor and Vogel, 2007) in that it has no phonological phrase, but has two word-level constituents. I then argue that LT has three lexical tones (H, LH, and L) – L being limited to some suffixes – and propose that these lexical tones are subject to tone rules applying within the prosodic word and the prosodic word group. These tone rules are similar to those proposed by Duanmu (1992), but have been improved to accurately predict the tone patterns of long polysyllabic words. Based on phonetic evidence, I also come to the conclusion that LT no longer has stress, and that the stress pattern found in other Bodic varieties has been reinterpreted as a part of the tonal system. The fourth chapter analyses phrasal prosody. I argue that LT forms intonational phrases around clauses and marks them with final lengthening, pitch reset, and a limited set of boundary tones (H% and L%). Although communicative functions and information structure are mostly realized by means of final particles and morphosyntactic devices in LT, I show that boundary tones, focal tones, and deaccenting interact with word tones to form complex melodic patterns. In the fifth chapter, I present a phonologically-based F0 synthesis model to verify the adequacy of the proposed Autosegmental-Metrical model of LT. This F0 synthesis model consists of three main components: a) the tonal targets de ned in previous chapters, b) an F0 interpolation component based on the PENTA model (Xu, 2004), and c) an evaluation component allowing a comparison of the F0 contours of real LT utterances with resynthesized F0 contours of the same utterances. The F0 synthesis model is able to generate F0 contours that approximate the F0 contours of real LT recordings, suggesting that the proposed phonological model adequately captures the overall tonal and intonational phonology of LT.

Cetaceans are aquatic mammals that rely primarily on sound for most daily tasks. A compendium of sounds is emitted for orientation, prey detection, and predator avoidance, and to communicate. Communicative sounds are among the most studied Cetacean signals, particularly those referred to as tonal sounds. Because tonal sounds have been studied especially well in social dolphins, it has been assumed these sounds evolved as a social adaptation. However, whistles have been reported in ‘solitary’ species and have been secondarily lost three times in social lineages. Clearly, therefore, it is necessary to examine closely the association, if any, between whistles and sociality instead of merely assuming it. Several hypotheses have been proposed to explain the evolutionary history of Cetacean tonal sounds. The main goal of this dissertation is to cast light on the evolutionary history of tonal sounds by testing these hypotheses by combining comparative phylogenetic and field methods. This dissertation provides the first species-level phylogeny of Cetacea and phylogenetic tests of evolutionary hypotheses of cetacean communicative signals. Tonal sounds evolution is complex in that has likely been shaped by a combination of factors that may influence different aspects of their acoustical structure. At the inter-specific level, these results suggest that only tonal sound minimum frequency is constrained by body size. Group size also influences tonal sound minimum frequency. Species that live in large groups tend to produce higher frequency tonal sounds. The evolutionary history of tonal sounds and sociality may be intertwined, but in a complex manner rejecting simplistic views such as the hypothesis that tonal sounds evolved ‘for’ social communication in dolphins. Levels of social and tonal sound complexity nevertheless correlate indicating the importance of tonal sounds in social communication. At the intraspecific level, tonal sound variation in frequency and temporal parameters may be product of genetic isolation and local levels of underwater noise. This dissertation provides one of the first insights into the evolution of Cetacean tonal sounds in a phylogenetic context, and points out key species where future studies would be valuable to enrich our understanding of other factors also playing a role in tonal sound evolution.

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Et une quantification de la distorsion due à l’effet potentiel des OGVs et de celle due à l’asymétrie de l’entrée d’air sont proposées. Les effets de la distorsion sur l’aérodynamique sont mis en évidence avec notamment une modification importante des sillages des pales de la soufflante, des chocs et de la charge instationnaire exercée sur les différentes pales et aubes. Des prévisions Les objectifs en termes de réduction de la consommation et du bruit émis par les moteurs d’avions ont progressivement mené aux architectures à très grand taux de dilution (UHBR). Leur géométrie est caractérisée par une entrée d’air courte et par une réduction de l’espace entre la soufflante et les aubes du redresseur du flux secondaire (OGVs), entraînant alors une augmentation de l’inhomogénéité azimutale de l’écoulement au niveau de la soufflante. Cette inhomogénéité, appelée distorsion, pourrait impacter le bruit tonal généré par le module de la soufflante. Ce bruit est généralement supposé être dominé par le mécanisme d’interaction des sillages des pales de la soufflante avec les OGVs. En régime transsonique, le bruit de choc et le bruit de charge stationnaire deviennent également prépondérants. L’augmentation de la distorsion pourrait être à l’origine de nouvelles sources de bruit en interagissant avec les pales de la soufflante et l’objectif de cette thèse est d’évaluer leur contribution. Les effets de la distorsion sur les mécanismes de bruit déjà existants sont également analysés. Cette étude est réalisée à l’aide de simulations numériques des équations instationnaires de Navier-Stokes moyennées (URANS). Un module complet de fan est considéré sur 360 degrés et se compose d’un conduit d’entrée d’air, de la soufflante et des redresseurs des flux primaire et secondaire (IGVs/OGVs). Le redresseur du flux secondaire est typique des moteurs actuels avec un pylône intégré et deux entrées d’air différentes sont étudiées de manière à isoler les effets de la distorsion d’entrée d’air. La première est axisymétrique et ne produit donc pas de distorsion alors que la deuxième ne l’est pas et produit un niveau de distorsion typique de ceux attendus dans les moteurs UHBR. Une description acoustiques basées sur les approches directe et hybride sont réalisées et soulignent la contribution importante des sources localisées sur les pales de la soufflante sur le bruit amont. Le bruit aval reste dominé par les sources sur les OGVs mais est tout de même impacté par la distorsion d’entrée d’air via la modification des sillages. / Fuel consumption and noise reduction trigger the evolution of aircraft engines towards Ultra High Bypass Ratio (UHBR) architectures. Their short air inlet design and the reduction of their interstage length lead to an increased circumferential inhomogeneity of the flow close to the fan. This inhomogeneity, called distortion, may have an impact on the tonal noise radiated from the fan module. Usually, such a noise source is supposed to be dominated by the interaction of fan-blade wakes with Outlet Guide Vanes (OGVs). At transonic tip speeds, the noise generated by the shocks and the steady loading on the blades also appears to be significant. The increased distortion may be responsible for new acoustic sources while interacting with the fan blades and the present work aims at evaluating their contribution. The effects of distortion on the other noise mechanisms are also investigated. The work is based on full-annulus simulations of the Unsteady Reynolds-Averaged Navier-Stokes (URANS) equations. A whole fan module including the inlet duct, the fan and the Inlet and Outlet Guide Vanes (IGVs/OGVs) is studied. The OGV row is typical of current engine architecture with an integrated pylon and two different air inlet ducts are compared in order to isolate the effects of inlet distortion. The first one is axisymmetric and does not produce any distortion while the other one is asymmetric and produces a level of distortion typical of the ones expected in UHBR engines. A description and a quantification of the distortion that is caused by both the potential effect of the OGVs and the inlet asymmetry are proposed. The effects of the distortion on aerodynamics are highlighted with significant modifications of the fanblade wakes, the shocks and the unsteady loading on the blades and on the vanes. Both direct and hybrid acoustic predictions are provided and highlight the contribution of the fan-blade sources to the upstream noise. The downstream noise is still dominated by the OGV sources but it is shown to be significantly impacted by the inlet distortion via the modification of the impinging wakes.

Esta dissertação investiga o comportamento do acento nos compostos do idioma japonês. Os compostos do japonês falado em Tóquio apresentam apenas um acento, ou queda tonal H*L, por frase fonológica. Isso faz com que não se possa manter os acentos que estariam originalmente nas palavras simples. Apenas um acento sobrevive e seu local é de difícil determinação, porque, na maioria das vezes, não coincide com o local do acento anterior. Muitos linguistas já se debruçaram sobre esse tópico (McCAWLEY, 1965; SAITOU, 1997; KUBOZONO, 2001; TANAKA, 2001; LABRUNE, 2012) e com o auxílio dessas diferentes pesquisas, conseguimos estabelecer que diversos fatores influenciam no processo de acentuação dos compostos, especialmente aspectos morfológicos e fonológicos, como a fronteira de palavra e o pé fonológico. Assim, a acentuação do japonês não é determinada por cada membro do composto, mas pela distância em que a fronteira entre os membros está da margem direita da palavra. / This dissertation investigates the behavior of the accent of Japanese compounds. Compounds in Tokyo Japanese only have one accent, or pitch drop H*L, in a phonological phrase. Therefore, it cannot maintain the accent of the simple words which make it up. Only one accent survives and its location is hard to determine, because, most of the time, it does not coincide with the location of the previous accents. Many linguists have tackled this topic (McCAWLEY, 1965; SAITOU, 1997; KUBOZONO, 2001; TANAKA, 2001; LABRUNE, 2012) and with the help of these different analyses, we established that several factors influence the accentuation of a compound, especially morphological and phonological aspects, such as word boundary and phonological feet. Thus, the accentuation of Japanese compounds is not determined by each member of the compound in particular, but from the distance that the boundary between the compound \'s member is from the right margin of the word.

Esta dissertação investiga o comportamento do acento nos compostos do idioma japonês. Os compostos do japonês falado em Tóquio apresentam apenas um acento, ou queda tonal H*L, por frase fonológica. Isso faz com que não se possa manter os acentos que estariam originalmente nas palavras simples. Apenas um acento sobrevive e seu local é de difícil determinação, porque, na maioria das vezes, não coincide com o local do acento anterior. Muitos linguistas já se debruçaram sobre esse tópico (McCAWLEY, 1965; SAITOU, 1997; KUBOZONO, 2001; TANAKA, 2001; LABRUNE, 2012) e com o auxílio dessas diferentes pesquisas, conseguimos estabelecer que diversos fatores influenciam no processo de acentuação dos compostos, especialmente aspectos morfológicos e fonológicos, como a fronteira de palavra e o pé fonológico. Assim, a acentuação do japonês não é determinada por cada membro do composto, mas pela distância em que a fronteira entre os membros está da margem direita da palavra. / This dissertation investigates the behavior of the accent of Japanese compounds. Compounds in Tokyo Japanese only have one accent, or pitch drop H*L, in a phonological phrase. Therefore, it cannot maintain the accent of the simple words which make it up. Only one accent survives and its location is hard to determine, because, most of the time, it does not coincide with the location of the previous accents. Many linguists have tackled this topic (McCAWLEY, 1965; SAITOU, 1997; KUBOZONO, 2001; TANAKA, 2001; LABRUNE, 2012) and with the help of these different analyses, we established that several factors influence the accentuation of a compound, especially morphological and phonological aspects, such as word boundary and phonological feet. Thus, the accentuation of Japanese compounds is not determined by each member of the compound in particular, but from the distance that the boundary between the compound \'s member is from the right margin of the word.

A Child's life (symphony for band) is a work for concert band in three contrasting movements. It is programmatic and the movements are compositionally linked by a network of motives and a large-scale tonal plan. The piece gravitates around the pitch center C, branching out symmetrically within each movement to explore neighboring key areas. Though tonal, the piece incorporates much chromaticism and features techniques of contemporary and jazz composition. The total performance duration is approximately 22 minutes. / text

Populärmusik svämmar över av harmoniska förlopp hämtade ur både folk- och konstmusik, vilket har föranlett att inget samförstånd finns kring huruvida sådan musik bör analyseras. Det har emellertid gjorts analyser av angloamerikansk populärmusik utifrån neo-Riemanniansk teori, där musikanalytikerna menat att detta förfarande haft god förklaringskraft. Ambitionen med denna studie var att bidra till neo-Riemanniansk teoriutveckling. Detta genom att analysera ackordprogressioner från fyra svenska populärmusikaliska verk, där vedertagna analysverktyg, som exempelvis funktionsanalys, inte antogs vara fruktbara. Analyserna av ackordprogressionerna gjordes med utgångspunkt i neo-Riemanniansk teori, därefter tonalt (funktionsanalys) och modalt. Detta trefaldiga tillvägagångssätt ansågs vara relevant för att visa på olika analysmetoders fruktbarhet. Resultatet visade att neo-Riemanniansk teori enbart kan förklara förhållandet mellan två konsonanta treklanger, dock alla ackordförhållanden i denna analys, men inte ett musikstycke i sin helhet. Vid analys av låtar med septimackord hade ett neo-Riemannianskt förfarande inte god förklaringskraft, där i stället funktionsanalys kunde förklara ackordprogressioner bättre. Dessa två analysverktyg kompletterade varandra, medan musikexemplen var svåra att förklara modalt.