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Citizen Science (CS) ist eine Methode, die in den letzten Jahren in der Wissenschaft weltweit an Bedeutung gewonnen hat. Obwohl viele Studien diese Daten mit denen von akademischen Forschenden verglichen, gibt es immer noch Bedenken hinsichtlich ihrer Qualität. In meiner Doktorarbeit zielte ich darauf ab die Methode CS für eine Vogelart mit einem großen Repertoire, der Nachtigall (Luscinia megarhynchos), als Anwendungsfall auf der Grundlage der Dialektforschung zu evaluieren. Ich untersuchte, ob die drei vermeintlichen Hauptgründe für schlechte Qualität (Anonymität, Unerfahrenheit und fehlende Standardisierung) zu unvollständigen, zeitlich oder räumlich verzerrten und ungenauen bioakustischen Daten führten. Dazu analysierte ich nicht-standardisierte CS-Aufnahmen, die mit einem Smartphone über die 'Naturblick' App erstellt wurden, welche einen eingebauten Mustererkennungsalgorithmus enthielt. Ich konnte in meiner Doktorarbeit zeigen, dass mit der Methode CS valide Daten für die bioakustische Forschung gewonnen werden können. Meine Ergebnisse zeigten, dass Anonymität, mangelnde Erfahrung und Standardisierung nicht zu geringer Qualität führten, sondern zu einem großen Datensatz, der genauso wertvoll war wie jene von akademischen Forschenden. Die Ergebnisse sind von großer Bedeutung für künftige CS-Projekte zur Verbesserung der Qualität und des Vertrauens in diese Daten. / Citizen science (CS) is a method that has been increased in science worldwide in recent years. Although many studies have compared these data with those of academic researchers, there are still concerns about their quality. In my doctoral thesis I aimed to evaluate the method of CS for a bird species with a large repertoire, the nightingale (Luscinia megarhynchos), as a use case based on dialect research. I investigated whether the three main assumed reasons for poor quality (anonymity, inexperience and lack of standardisation) led to incomplete, temporal or spatial biassed and inaccurate bioacoustic data. Therefore, I analysed non-standardised CS recordings, which were generated with a smartphone via the 'Naturblick' app, which contained an in-built pattern recognition algorithm. In summary (Chapter V), my doctoral thesis showed that the method CS could be used to generate valid data for bioacoustic research. My findings showed that anonymity, lack of experience and standardisation did not lead to low quality but in fact to a large dataset, which was as valuable as ones from academic researchers. The results are of great relevance for future CS projects to improve the quality and the trust in these data.

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Birdsong is one of the most astounding natural sounds which profoundly shaped our evolutionary thinking since the 19th century. Despite a strong interest in birdsong for over 100 years, our understanding of birdsong ecology and evolution over large spatial and phylogenetic scales is still very fragmentary. Answering many basic questions requires a global synthesis covering vast diversity of extant bird species and adoption of multidisciplinary approaches. In presented dissertation thesis, my co-workers and I have explored important patterns in macroecology and macroevolution of song in passerines (Order: Passeriformes), the most diverse and widespread bird order. We have focused on three key song phenomena: (1) song complexity, (2) song frequency and (3) the presence of song in female birds. We have exploited birdsong "big data" available on public citizen science databases and other open sources in order to fill several important gaps in the current knowledge. These data were analysed by a combination of phylogenetically-informed cross-species analyses and spatial macroecological approaches. Since the publication of Darwin's seminal work, elaborated songs are generally agreed to be the result of sexual selection. We developed a simple but reliable song complexity metric to explore a global diversity in...

Birdsong is one of the most astounding natural sounds which profoundly shaped our evolutionary thinking since the 19th century. Despite a strong interest in birdsong for over 100 years, our understanding of birdsong ecology and evolution over large spatial and phylogenetic scales is still very fragmentary. Answering many basic questions requires a global synthesis covering vast diversity of extant bird species and adoption of multidisciplinary approaches. In presented dissertation thesis, my co-workers and I have explored important patterns in macroecology and macroevolution of song in passerines (Order: Passeriformes), the most diverse and widespread bird order. We have focused on three key song phenomena: (1) song complexity, (2) song frequency and (3) the presence of song in female birds. We have exploited birdsong "big data" available on public citizen science databases and other open sources in order to fill several important gaps in the current knowledge. These data were analysed by a combination of phylogenetically-informed cross-species analyses and spatial macroecological approaches. Since the publication of Darwin's seminal work, elaborated songs are generally agreed to be the result of sexual selection. We developed a simple but reliable song complexity metric to explore a global diversity in...

Ce mémoire porte sur le fruit de mon travail accompli lors de ma maîtrise en composition instrumentale de l’Université de Montréal. J’y présente mon approche poétique envers lacomposition où des expériences imaginées de paysages et de déroulements sont évoqués par des éléments musicaux. J’y discute également des méthodes que j’utilise pour parvenir aux agencements intervalliques afin de créer ces expériences. J’y traiterai aussi de ma nouvelle approche intervallique vis-à-vis la modalité à travers les modes multicycliques, la majorité de mon travail ayant été le développement de ce système. J’y aborderai ensuite les explorations hors mode dans des stades moins avancés, mais qui m’ont amené des solutions pour des procédés intervalliques moins réalisables dans un contexte strictement modal, à travers des traitements de cellules, des jeux d’intervalles purs et des sonorités provenant des idiomes folkloriques Européen de l’est, précisément des Balkans. Enfin, j’analyse également la forme de chaque œuvre composée lors de ma maîtrise en approfondissant davantage sur l’imaginaire extramusical qui détermine la forme ainsi que le caractère de chaque groupe thématique, y compris le choix du mode s’il y a lieu. / This memoir elaborates on the outcome of my work during my master's degree in the instrumental composition program of Université de Montréal. It begins with a presentation of my poetic approach towards composition, where experiences of landscapes and happenings within them are illustrated through musical devices. What follows is a discussion of all methods I apply to harness the power of intervals to create these experiences. A significant chapter will be devoted to a rather intervallic approach towards modality in the form of multicyclical modes, as most of my work of this master's degree focuses on development of their use. The next chapter focus on all my explorations outside the modal structures, which are at earlier stages of development but have already given me solutions to procedures that are less applicable in a strictly modal context. That includes the treatment of cells, working with just pure intervals and integration of colours derived from the folk traditions of Eastern Europe, more specifically the Balkans. Finally, there will be a chapter that analyzes every individual work included here while digging deeper into the extra-musical imagination behind every work, determining its form and the character of all the sections including the mode of choice if there is one.

Olivier Messiaen is regarded as one of the most significant composers of the 20th century. His compositions are performed regularly and his teachings have influenced many well-known composers like Boulez and Stockhausen. This study focussed on his use of rhythm in his piano compositions. I supplied a short biography of the composer along with a brief discussion of his compositional techniques. Thereafter his rhythmic techniques were examined through relevant music examples from his piano repertoire. Particular attention was given to works from the Vingt Regards sur L’Enfant-Jésus along with Cantéyodjayâ, Mode de valeurs et d’intensités and Neumes rythmiques from his experimental period (1949-1951). In Mode de valeurs et d’intensités he revolutionized the serial treatment of duration, pitch, intensity and attack. His other rhythmic techniques include Indian rhythms, Greek meter, added values, augmentation, diminution, non-retrogradable rhythms, polyrhythm, chromatic scales of duration, personnages rythmiques, symmetrical permutations, rhythmic neumes, rhythmic canon and prime numbers. / Dissertation (MMus (Performing Arts))--University of Pretoria, 2008. / Music / unrestricted