"Liszt's music, unlike that of Mozart, projects the man. With rare immediacy, it gives away the character of the composer. ... " (Brendel 1986, 3) The purpose of this study is to examine Liszt's song genre from an historical and stylistic standpoint as a reflection of Liszt's ongoing personality and style development. this end the following will be presented: - an overview of Liszt's life circumstances which reflect his personality development - a chronological classification ofLiszt's song genre - the songs viewed historically as a reflection of the man - characteristics in the revisions of the songs which reveal Liszt's ongoing developing style - a study of the development ofLiszt's harmonic and tonal language as agents of colour and textual imagery. Liszt's song oeuvre will be studied in relation to the man himself in order to revtal his motives, his values, the experiences that moved him, and the ways in which he reproduced them in music. / Department of Musicology / M.Mus.

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Submitted by Edisangela Bastos (edisangela@ufpa.br) on 2013-04-18T19:50:07Z No. of bitstreams: 2 license_rdf: 23898 bytes, checksum: e363e809996cf46ada20da1accfcd9c7 (MD5) Dissertacao_AvaliacaoAudiometricaPacientes.pdf: 5250268 bytes, checksum: a28385f4a2649f6226a3b1bb08578125 (MD5) / Approved for entry into archive by Ana Rosa Silva(arosa@ufpa.br) on 2013-04-19T15:13:19Z (GMT) No. of bitstreams: 2 license_rdf: 23898 bytes, checksum: e363e809996cf46ada20da1accfcd9c7 (MD5) Dissertacao_AvaliacaoAudiometricaPacientes.pdf: 5250268 bytes, checksum: a28385f4a2649f6226a3b1bb08578125 (MD5) / Made available in DSpace on 2013-04-19T15:13:19Z (GMT). No. of bitstreams: 2 license_rdf: 23898 bytes, checksum: e363e809996cf46ada20da1accfcd9c7 (MD5) Dissertacao_AvaliacaoAudiometricaPacientes.pdf: 5250268 bytes, checksum: a28385f4a2649f6226a3b1bb08578125 (MD5) Previous issue date: 2007 / Este estudo mostra a avaliação audiométrica, composta de audiometria tonal limiar e imitanciometria, em pacientes tratados de meningite por Cryptococcus gattii. Trata-se de um estudo tipo relato de casos. Foram avaliados seis pacientes com infecção comprovada do sistema nervoso central pelo Cryptococcus gattii, internados no Hospital Universitário João de Barros Barreto, entre janeiro de 2000 a novembro de 2007, para tratamento antifúngico. A idade dos pacientes analisados variou entre 12 e 37 anos. Três eram homens e três mulheres. Todos procedentes de municípios vizinhos, não sendo ninguém da capital Belém. As principais manifestações clínicas foram cefaléia e vômitos, presentes nas histórias de todos os pacientes, seguidas de febre e rigidez de nuca, cada uma delas ausentes em apenas um paciente, não coincidentes. O tempo de doença até o diagnóstico variou de 3 a 8 semanas. Dos três homens avaliados, dois apresentaram perda auditiva. Num deles a perda foi moderada e unilateral e no outro foi assimétrica e bilateral. Das três mulheres, apenas uma apresentou alteração auditiva. Nessa paciente houve apenas um rebaixamento leve numa freqüência isolada, de 4.000 Hz. Descreve-se achados audiométricos em relato de casos de pacientes tratados de meningite por Cryptococcus gattii. / This study shows the audiometric evaluation, composed by tonal audiometry and imitanciometry, in patients treated for Cryptococcus gattii meningitis. It was analyzed six patients with proven Cryptococcus gattii central nervous system infection, interned in the Hospital Universitário João de Barros Barreto, Belém, PA, Brazil, between January of 2000 and November of 2007, for antifungal treatment. The age of the analyzed patients ranged from 12 to 37 years-old. Three were men and three women. All of them originating from neighboring cities, nobody from the capital, Belém. The most common clinical findings were headache and vomiting, present in all the patients; fever and nuchal rigidity, each one absent in only one patient, not coincidents. The time of illness until the diagnosis varied from 3 to 8 weeks. Of the three evaluated men, hearing loss was presenting in two. In one of them deafness was moderate and unilateral and in the other it was bilateral and not symmetrical. Of the three women, only one presented hearing impairment. In this patient, occurred just a mild alteration in an isolated frequency, of 4.000 Hz. It is described audiometric findings in a relate of cases of patients treated for meningeal neurocryptococcosis due to Cryptococcus gattii.

Notre recherche a pour objectif de tester l’incidence de la pratique linguistique à l’oral sur les compétences en lecture d’apprenants de Français Langue Etrangère (FLE). A partir d’une hypothèse en psycholinguistique sur le rôle de la prosodie implicite dans le décodage de l’écrit en Langue Maternelle (Fodor, 2002), nous postulons qu’un travail poussé de correction phonétique centré sur la sensibilisation à la structure prosodique du français (via la Méthode Verbo Tonale, MVT) va non seulement améliorer la fluence des apprenants en parole spontanée et en parole lue, mais aussi faciliter le décodage de l’écrit. Nous pensons que cet apprentissage sera plus efficace s’il est proposé dès le niveau débutant. Pour tester ces hypothèses, nous avons mené deux études longitudinales avec des apprenants anglophones de FLE. Nous avons mesuré la fluence en lecture oralisée des apprenants avant et après la formation. Les résultats des analyses acoustiques et perceptives de la première étude (étude pilote) nous ont permis de confirmer nos hypothèses et d’appuyer nos choix méthodologiques. Dans la deuxième étude, nous avons souhaité approfondir les résultats obtenus dans l’étude pilote et valider expérimentalement l’efficacité de la MVT. Nous avons comparé l’impact de la MVT et de la méthode Articulatoire dans l’évolution de la fluence des apprenants. Nous avons également testé un des présupposés de la méthodologie SGAV (dont est issue la MVT) selon lequel l’écrit ne devrait pas être introduit avant que les paramètres prosodiques ne soient maitrisés, sans quoi le passage à l’écrit entrainerait une chute de la fluence des apprenants. Les résultats de cette seconde étude vont dans le sens de nos hypothèses : seuls les apprenants qui ont suivi les cours de correction phonétique via la MVT ont amélioré leur fluence en parole lue. De plus, l’introduction de l’écrit fait chuter la fluence des productions chez tous les apprenants. En conclusion, la maitrise de la prosodie constitue un prérequis nécessaire au passage à l’écrit en langue étrangère. / This study investigates the influence of oral training on reading out loud in French as a Foreign Language (FFL). Based on the implicit prosody hypothesis by Fodor (2002), we venture that working on the phonetic correction orally will improve speaking fluency, as well as reading fluency, and facilitate the decoding of the written test. We think that the impact of this training will be stronger with beginner than advanced learners. In order to test these hypotheses, we have conducted two longitudinal studies with English FFL students. We have measured the students’ fluency before and after training. The acoustics and perceptive results of the first study have confirmed our hypothesis and supported our methodology. In the second study, we follow up on these results on a larger-scale longitudinal study, designed to systematically compare the impact of two phonetics teaching methods on reading skills for FFL learners of French: the Articulatory Method (AM) and the Verbo-Tonal Method (VTM). We have also tested one of the presuppositions of the Structuro-Global Audiovisual Methodology (SGAV) – from which comes the VTM – according to which readings and writings activities should be delayed until students’ phonetic and prosodic skills have reached a basic and steady level. Our data support our hypotheses: only the students who have received VTM classes have improved their reading fluency. Furthermore, the introduction of reading activities during the training has caused a decline in all the students' fluency. Thus mastering second language prosody is essential before introducing reading or writing activities.

Cette thèse présente une étude expérimentale de la relation entre l'annotation des formes et des fonctions prosodiques en anglais britannique. Elle porte essentiellement sur le rôle de l'intonation dans la communication orale et le codage de cette contribution dans un système d'annotation. Elle se divise en deux grandes parties : une partie théorique proposant une revue de lecture analytique des principaux ouvrages portant sur l'intonation et faisant le point sur la façon dont la question de la relation forme/sens a été abordée dans le passé et une partie expérimentale décrivant la nouvelle méthodologie développée pour étudier cette thématique et les résultats obtenus. Cette méthodologie est basée sur le traitement automatique des données par l'intermédiaire de scripts, sur l'étude de deux grands corpus oraux (EUROM1 et Aix-MARSEC) et sur une procédure d'analyse par synthèse permettant de tester différentes théories de l'intonation et de les évaluer.

<p>A few aspects of aircraft noise were evaluated. These were (i) methods of subjective evaluations, (ii) effects of equalization and (iii) the effects of cognitive aspects.</p><p>In the first paper, sorting algorithms were used instead of conventional paired comparison method in order to reduce the number of pairs in the evaluation of subjective judgments. The quick sorting algorithm method revealed more than 99% correlation coefficient with paired comparison method although the method used N*log(N) evaluations instead of N(N-1)/2.</p><p>In the second paper, equalization effects on perception were evaluated in two steps, first with stationary aircraft sounds and second with non-stationary aircraft sounds.</p><p>The first experiment examined the effects of stationary sound segments respect to three different angle positions of the aircrafts relative to the observer (78.7°, 90° & 101.3°), two different SNR conditions (sounds having original broadband plus tonal components versus control broadband sounds having no tonal components) and two different flight conditions (arrival and take-off). Subjects were asked to scale five perceptual attributes (loudness, annoyance, hardness, power and pitch) using Borg CR100 scale. The angle condition showed highly significant effects on annoyance and hardness. Maximal effects were found at an angle of 78.7°. The SNR revealed a significant impact on loudness, power and pitch.</p><p>The second experiment analyzed the effects of tonal components and the problem of appropriate equalization. The spectrum of the signals was modified in two steps (buzz-saw, isolated BPF tone). Further EPNL-equalization, A-, B-, C-, D- and spectral broadband equalizations were applied to the synthesized sounds. Annoyance, loudness, hardness and pitch in the isolated tone conditions showed significantly stronger effects than the buzz-conditions on the perceived judgments. The EPNL-equalization led to a lower degree of differentiation between the spectral conditions compared to B- and C-level equalization.</p><p>In the third paper, the effects of aircraft sounds on children’s cognitive performance were investigated. Impact of aircraft noise on children cognition was found significantly higher in reading comprehensions than in basic mathematics and problem solving tests. It seems children are very sensitive to the modifications in the aircraft noise but further studies are necessary to compliment such a finding.</p>

本文旨在探討華語焦點變調，並以青年語者為主。本文分別檢驗三種不同的句型，第一類為焦點助動詞和焦點副詞，第二類為平坦結構，第三類則是其它類型的句子。在優選理論的架構下，本文分別提出韻律制約和聲調制約來詮釋華語的焦點變調。筆者透過並存音韻理論(Cophonology Theory)來說明焦點韻律結構的劃分是多個次語法的運作結果。焦點韻律結構的劃分有兩種，主要由(ALIGN-L(F, FP), ALIGN-L(FP, Ft))和(ALIGN-R(F, FP), ALIGN-R(FP, Ft))這兩組可移動的對整制約來決定，當它們在制約排序中移動到不同的位置時會形成不同的韻律結構劃分。本研究發現焦點詞組等同於語調詞組，因此提出另一個對整制約ALIGN-E(FP, IP)來解釋。排序最高的韻律制約則是[FTMIN & NON-FINALITY]，目的在於避免單音節音步出現在句末。至於聲調制約，筆者採用IDENT-BOT來處理三音節音步的變調結果。此外，焦點韻律結構的劃分會造成兩個相鄰的上聲出現在不同的音步之中，OCP-L(ft)可以確保此形式的保留。簡言之，本文藉由優選理論的觀點，以及韻律制約和聲調制約的互動，對華語焦點變調提出了一個整體分析。 / This thesis examines Mandarin focal tone sandhi among Taiwan youngsters. Three types of sentences are under investigation: Type A includes the focused auxiliary verbs and adverbs in a simple sentence, Type B the flat structure, and Type C the other types of structures. Under the framework of Optimality Theory, this thesis proposes prosodic constraints and tonal constraints to account for Mandarin focal tone sandhi. This thesis adopts Cophonology Theory to explain the subgrammars of focal phrasings. There are two types of focal phrasing patterns governed by the reranking of two sets of alignment constraints (ALIGN-L(F, FP), ALIGN-L(FP, Ft)) and (ALIGN-R(F, FP), ALIGN-R(FP, Ft)). The focal phrase pertains to a special kind of intonational phrase. This thesis proposes ALIGN-E(FP, IP) to explain this condition. The undominated constraint, [FTMIN & NON-FINALITY], is proposed to ban a monosyllabic foot in sentence-final positions. IDENT-BOT is adopted to deal with the tri-tonal strings such as (σ(σσ)) and ((σσ)σ) in non-focal and focal readings. In addition, focal phrasing may force adjacent L tones to appear in different feet. OCP-L(ft) is proposed to explain this situation. To conclude, based on the constraint-based theory, and the interaction of prosodic constraints and tonal constraints, this thesis has provided a theoretical generalization of Mandarin focal tone sandhi.

Aquesta tesi versa sobre la classi&#64257;cació automàtica de gèneres musicals, basada en l'anàlisi del contingut del senyal d'àudio, plantejant-ne els problemes i proposant solucions. Es proposa un estudi de la classi&#64257;cació de gèneres musicals des del punt de vista computacional però inspirat en teories dels camps de la musicologia i de la percepció. D'aquesta manera, els experiments presentats combinen diferents elements que in&#64258;ueixen en l'encert o fracàs de la classi&#64257;cació, com ara els descriptors d'àudio, les tècniques d'aprenentatge, etc. L'objectiu és avaluar i comparar els resultats obtinguts d'aquests experiments per tal d'explicar els límits d'encert dels algorismes actuals, i proposar noves estratègies per tal de superar-los. A més a més, partint del processat de la informació d'àudio, s'inclouen aspectes musicals i culturals referents al gènere que tradicionalment no han estat tinguts en compte en els estudis existents. En aquest context, es proposa l'estudi de diferents famílies de descriptors d'àudio referents al timbre, ritme, tonalitat o altres aspectes de la música. Alguns d'aquests descriptors són proposats pel propi autor mentre que d'altres ja són perfectament coneguts. D'altra banda, també es comparen les tècniques d'aprenentatge arti&#64257;cial que s'usen tradicionalment en aquest camp i s'analitza el seu comportament davant el nostre problema de classi&#64257;cació. També es presenta una discussió sobre la seva capacitat per representar els diferents models de classi&#64257;cació proposats en el camp de la percepció. Els resultats de la classi&#64257;cació es comparen amb un seguit de tests i enquestes realitzades sobre un conjunt d'individus. Com a resultat d'aquesta comparativa es proposa una arquitectura especí&#64257;ca de classi&#64257;cadors que també està raonada i explicada en detall. Finalment, es fa un especial èmfasi en comparar resultats dels classi&#64257;cadors automàtics en diferents escenaris que pressuposen la barreja de bases de dades, la comparació entre bases de dades grans i petites, etc. A títol de conclusió, es mostra com l'arquitectura de classi&#64257;cació proposada, justi&#64257;cada pels resultats dels diferents anàlisis, pot trencar el límit actual en tasques de classi&#64257;cació automàtica de gèneres musicals. De manera condensada, es pot dir que aquesta tesi contribueix al camp de la classi&#64257;cació de gèneres musicals en els següents aspectes: a) Proporciona una revisió multidisciplinar delsgèneres musicals i la seva classi&#64257;cació; b)Presenta una avaluació qualitativa i quantitativa de les famílies de descriptors d'àudio davant el problema de la classi&#64257;cació de gèneres; c) Avalua els pros i contres de les diferents tècniques d'aprenentatge arti&#64257;cial davant el gènere; d) Proposa una arquitectura nova de classi&#64257;cador d'acord amb una visió interdisciplinar dels gèneres musicals; e) Analitza el comportament de l'arquitecturaproposada davant d'entorns molt diversos en el que es podria implementar el classi&#64257;cador. / Esta tesis estudia la clasi&#64257;cación automática degéneros musicales, basada en el análisis delcontenido de la señal de audio, planteando sus problemas y proponiendo soluciones. Sepropone un estudio de la clasi&#64257;cación de los géneros musicales desde el punto de vista computacional, pero inspirado en teorías de los campos de la musicología y la percepción. De este modo, los experimentos persentados combinan distintos elementos que in&#64258;uyen en el acierto o fracaso de la clasi&#64257;cación, como por ejemplo los descriptores de audio, las técnicas de aprondiza je, etc. El objetivo es comparar y evaluar los resultados obtenidos de estos experimentos para explicar los límites de las tasas de acierto de los algorismos actuales, y proponer nuevas estrategias para superarlos. Además, partiendo del procesado de la información de Audio, se han incluido aspectos musicales y culturales al género que tradicionalmente no han sido tomados en cuenta en los estudios existentes. En este contexto, se propone el estudio de distintas famílias de descriptores de audio referentes al timbre, al ritmo, a la tonalidad o a otros aspectos de la música. Algunos de los descriptores son propuestos por el mismo autor, mientras que otros son perfectamente conocidos. Por otra parte, también se comparan las técnicas de aprendiza je arti&#64257;cial que se usan tradicionalmente, y analizamos su comportamiento en frente de nuestro problema de clasi&#64257;cación. Tambien planteamos una discusión sobre su capacidad para representar los diferentes modelos de clasi&#64257;cación propuestos en el campo de la percepción. Estos resultados de la clasi&#64257;cación se comparan con los resultados de unos tests y encuestas realizados sobre un conjunto de individuos. Como resultado de esta comparativa se propone una arquitectura especí&#64257;ca de clasi&#64257;cadores que tambien está razonada y detallada en el cuerpo de la tesis. Finalmente, se hace un émfasis especial en comparar los resultados de los clasi&#64257;cadores automáticos en distintos escenarios que assumen la mezcla de bases de datos, algunas muy grandes y otras muy pequeñas, etc. Como conclusión, mostraremos como la arquitectura de clasi&#64257;cación propuesta permite romper el límite actual en el ámbito de la classi&#64257;cación automática de géneros musicales.De forma condensada, se puede decir que esta tesis contribuye en el campo de la clasi&#64257;cación de los géneros musicales el los siguientes aspectos: a) Proporciona una revisión multidisciplinar de los géneros musicales y su clasi&#64257;cación; b) Presenta una evaluación cualitativa y cuantitativa de las famílias de descriptores de audio para la clasi&#64257;cación de géneros musicales; c) Evalua los pros y contras de las distintas técnicas de aprendiza je arti&#64257;cial delante del género; d) Propone una arquitectura nueva del clasi&#64257;cador de acuerdo con una visión interdisciplinar de los géneros musicales; e) Analiza el comportamiento de la arquitectura propuesta delante de entornos muy diversos en los que se podria implementar el clasi&#64257;cador. / This dissertation presents, discusses, and sheds some light on the problems that appear when computers try to automatically classify musical genres from audio signals. In particular, a method is proposed for the automatic music genre classification by using a computational approach that is inspired in music cognition and musicology in addition to Music Information Retrieval techniques. In this context, we design a set of experiments by combining the different elements that may affect the accuracy in the classification (audio descriptors, machine learning algorithms, etc.). We evaluate, compare and analyze the obtained results in order to explain the existing glass-ceiling in genre classification, and propose new strategies to overcome it. Moreover, starting from the polyphonic audio content processing we include musical and cultural aspects of musical genre that have usually been neglected in the current state of the art approaches. This work studies different families of audio descriptors related to timbre, rhythm, tonality and other facets of music, which have not been frequently addressed in the literature. Some of these descriptors are proposed by the author and others come from previous existing studies. We also compare machine learning techniques commonly used for classification and analyze how they can deal with the genre classification problem. We also present a discussion on their ability to represent the different classification models proposed in cognitive science. Moreover, the classification results using the machine learning techniques are contrasted with the results of some listening experiments proposed. This comparison drive us to think of a specific architecture of classifiers that will be justified and described in detail. It is also one of the objectives of this dissertation to compare results under different data configurations, that is, using different datasets, mixing them and reproducing some real scenarios in which genre classifiers could be used (huge datasets). As a conclusion, we discuss how the classification architecture here proposed can break the existing glass-ceiling effect in automatic genre classification. To sum up, this dissertation contributes to the field of automatic genre classification: a) It provides a multidisciplinary review of musical genres and its classification; b) It provides a qualitative and quantitative evaluation of families of audio descriptors used for automatic classification; c) It evaluates different machine learning techniques and their pros and cons in the context of genre classification; d) It proposes a new architecture of classifiers after analyzing music genre classification from different disciplines; e) It analyzes the behavior of this proposed architecture in different environments consisting of huge or mixed datasets.

"Liszt's music, unlike that of Mozart, projects the man. With rare immediacy, it gives away the character of the composer. ... " (Brendel 1986, 3) The purpose of this study is to examine Liszt's song genre from an historical and stylistic standpoint as a reflection of Liszt's ongoing personality and style development. this end the following will be presented: - an overview of Liszt's life circumstances which reflect his personality development - a chronological classification ofLiszt's song genre - the songs viewed historically as a reflection of the man - characteristics in the revisions of the songs which reveal Liszt's ongoing developing style - a study of the development ofLiszt's harmonic and tonal language as agents of colour and textual imagery. Liszt's song oeuvre will be studied in relation to the man himself in order to revtal his motives, his values, the experiences that moved him, and the ways in which he reproduced them in music. / Department of Musicology / M.Mus.

Tonalität ist eines der herausragenden prosodischen Mittel, das traditionell in der Poesie afrikanischer Tonsprachen eingesetzt wird, und Sprachminiaturen (z.B. Sprichwörter und Rätsel) gehören nicht zuletzt ausweislich ihrer weit verbreiteten tonalen Reimcharakteristik viel eher zur afrikanischen Poesie als etwa zur Prosa, wie es bislang herrschende Meinung war.