The aim of my diploma thesis is to summarize my knowledge of the guitar chord playing during working in the institution Dům dětí a mládeže in České Budějovice where I have been teaching for four years. It is focused on readers who teach guitar chord playing as an after-school activity or who learn how to play on their own. In the first part of the thesis there is a concept about the lector's theoretical knowledge. The second part (containing particular lessons) deals with the methodology of teaching the very beginners with no musical education.

Este estudo se dedica a uma parte pouco conhecida dos trabalhos de Leonhard Euler (1707 - 1783) relacionado à música enquanto uma ciência matemática. Tais trabalhos mostram, em certo sentido, um lado pitagórico do pensador e também algumas contribuições do mesmo à teoria musical. O interesse deste matemático pelo assunto permeia várias obras e épocas de sua vida, mas neste trabalho focamos em três delas: um conjunto de nove cartas que compõem a obra Lettres a une princesse dAllemagne sur divers sujets de physique e de philosophie (1768) e dois artigos, Conjecture sur la raison de quelques dissonances generalement reçues dans la musique (1766) e De harmoniae veris principiis per speculum musicum repraesentatis (1774). Para possibilitar uma melhor compreensão desses textos, faremos uma revisão histórica do tratamento aritmético dado à música desde os tempos clássicos até o Renascimento com enfoque nas principais contribuições que levam à construção da escala da entonação pura ou justa, trabalhada por Euler nos originais estudados. Após a apresentação e análise desses trabalhos eulerianos, especialmente seus diagramas para representar sons e acordes e do seu expoente de um acorde para medir consonâncias, terminaremos essa dissertação refletindo sobre as implicações pedagógicas e históricas, bem como as potencialidades e limitações do uso de fontes originais de determinados mestres do pensamento matemático ocidental, nomeadamente o próprio Euler, na formação de matemáticos, professores e licenciados. / This present research takes a journey into a little know part of Leonhard Eulers works about music as a mathematical science. Those works show, at certain level, his Pythagorean thoughts and also his contributions to music theory. Eulers interest for this subject permeates many of his works through his lifetime (1707 - 1783), but here we focus on three of them: a set of nine letters from the book Lettres a une princesse dAllemagne sur divers sujets de physique e de philosophie (1768), and two articles, Conjecture sur la raison de quelques dissonances generalement reçues dans la musique (1766) and De harmoniae veris principiis per speculum musicum repraesentatis (1774). To allow a better understanding of his ideas, first we put on a historical review of the arithmetic treatment of music since the ancient Greece to the Renaissance Era pointing out the main contributions to the development of the pure just intonation scale, the one used by Euler on the works just mentioned. After presenting and analyzing these Eulers contributions, specially his diagrams to represent sounds and chords to the eyes and the concept of exponent of a chord to measure consonances, we conclude this dissertation thinking about the pedagogical and historical impact, and also the potential and limitations concerning the use of historical sources of the masters of mathematics, to the training of future mathematics and teachers.

Este estudo se dedica a uma parte pouco conhecida dos trabalhos de Leonhard Euler (1707 - 1783) relacionado à música enquanto uma ciência matemática. Tais trabalhos mostram, em certo sentido, um lado pitagórico do pensador e também algumas contribuições do mesmo à teoria musical. O interesse deste matemático pelo assunto permeia várias obras e épocas de sua vida, mas neste trabalho focamos em três delas: um conjunto de nove cartas que compõem a obra Lettres a une princesse dAllemagne sur divers sujets de physique e de philosophie (1768) e dois artigos, Conjecture sur la raison de quelques dissonances generalement reçues dans la musique (1766) e De harmoniae veris principiis per speculum musicum repraesentatis (1774). Para possibilitar uma melhor compreensão desses textos, faremos uma revisão histórica do tratamento aritmético dado à música desde os tempos clássicos até o Renascimento com enfoque nas principais contribuições que levam à construção da escala da entonação pura ou justa, trabalhada por Euler nos originais estudados. Após a apresentação e análise desses trabalhos eulerianos, especialmente seus diagramas para representar sons e acordes e do seu expoente de um acorde para medir consonâncias, terminaremos essa dissertação refletindo sobre as implicações pedagógicas e históricas, bem como as potencialidades e limitações do uso de fontes originais de determinados mestres do pensamento matemático ocidental, nomeadamente o próprio Euler, na formação de matemáticos, professores e licenciados. / This present research takes a journey into a little know part of Leonhard Eulers works about music as a mathematical science. Those works show, at certain level, his Pythagorean thoughts and also his contributions to music theory. Eulers interest for this subject permeates many of his works through his lifetime (1707 - 1783), but here we focus on three of them: a set of nine letters from the book Lettres a une princesse dAllemagne sur divers sujets de physique e de philosophie (1768), and two articles, Conjecture sur la raison de quelques dissonances generalement reçues dans la musique (1766) and De harmoniae veris principiis per speculum musicum repraesentatis (1774). To allow a better understanding of his ideas, first we put on a historical review of the arithmetic treatment of music since the ancient Greece to the Renaissance Era pointing out the main contributions to the development of the pure just intonation scale, the one used by Euler on the works just mentioned. After presenting and analyzing these Eulers contributions, specially his diagrams to represent sounds and chords to the eyes and the concept of exponent of a chord to measure consonances, we conclude this dissertation thinking about the pedagogical and historical impact, and also the potential and limitations concerning the use of historical sources of the masters of mathematics, to the training of future mathematics and teachers.

Johann Paul von Westhoff's (1656-1705) solo violin works, consisting of Suite pour le violon sans basse continue published in 1683 and Six Suites for Violin Solo in 1696, feature extensive use of multiple stops, which represents a German polyphonic style of the seventeenth-century instrumental music. However, the Six Suites had escaped the public's attention for nearly three hundred years until its rediscovery by the musicologist Peter Várnai in the late twentieth century. This project will focus on polyphonic writing featured in the solo violin works by von Westhoff. In order to fully understand the stylistic traits of this less well-known collection, a brief summary of the composer, Johann Paul Westhoff, and an overview of the historical background of his time will be included in this document. I will analyze these works, including a comparison between the works of Westhoff and those of other composers during his time, to prove that Westhoff's solo works establish multiple stops as a central factor of German violin playing of the time, and, thus, to promote Westhoff's works as a complement to the extant repertoire of unaccompanied violin music written in the Baroque era before Johann Sebastian Bach's solo violin works and Georg Philipp Telemann's twelve fantasias for violin solo. Furthermore, this project will help one to better understand the use and function of multiple stops in the German violin repertoire in the seventeenth century.

Object of this master thesis is the static verification and variant desing of roof structure of winter sport stadium in Jihlava city. The ground plan dimensions are 60 x 84 m The current structure is composite of truss main girders with parabolic lower chords, and purlins. Axial distances of main girders are 12m. Concrete columns are a support to main girders. The variant desing of roof uses truss girders and truss purlins. They are supported on existing concrete columns. All load bearing members of existing and new design structure have been evaluated according to actual normative rules. The static assessment of the existing structure is not satisfied from viewpoint of ultimate and serviceability limit states (in some elements). The static assessment of the new structure is satisfied from the viewpoint of both limit states.

This dissertation explores middleground functionality of six-four chords by combining a voice-leading approach with hypermetrical analysis. By acknowledging the functional ambiguity of certain six-four chords that do not fit into traditional classifications (Aldwell and Schachter's cadential, consonant, passing, and neighboring six-four), or that can be seen as fitting in more than one category, I show that our interpretation of deeper-level structures is contingent upon how we choose to hear the functionality of these harmonies. Three types of six-four chords are introduced: cadential/consonant, passing/cadential, and neighboring/consonant six-four, illustrated by works by Robert Schumann, Brahms, and Saint-Säens. Each pair refers to an ambiguity—the same chord invites two alternative harmonic interpretations. I call these chords nontraditional in the sense that they shed more light on the musical structure with their ambiguity, rather than when being wedged into a single type of a six-four chord. This approach renews the ways of hearing the malleability of nonconventional Romantic structures and permits us to trace the path of each work as a unique tonal trajectory from a listener's perspective.

Denna rapport är en del av ett examensarbete på avdelningen för "Byggteknik och design" med inriktning "husbyggnad, projektering och konstruktion" på Kungliga Tekniska högskolan i Stockholm, Sverige. Rapporten handlar om byggandet av ett tak för en skolbyggnad i byn Lwengo Basilla som ligger i sydöstra delarna av Demokratiska republiken Kongo. Skolprojektet finansieras av en ideell organisation i Sverige som heter "Elikia na Biso" och leds av Miza Landström. Designen och konstruktionen av skolan har tagits fram med hjälp av studenter från olika avdelningar inom Kungliga Tekniska högskolan (KTH). En grupp studenter från KTH hjälpte till att lägga grunden och väggarna i skolan. Nästa grupp av studenter skickades för att hjälpa till med byggandet av skolans tak. Denna rapport fokuserar på att dimensionera och konstruera taket på skolan med hjälp av lokala material på ett effektivt sätt. Stegen för att bygga en geringslåda (precisionslåda), samt sågning och spikning av takstolen, och uppsättning av takstolarna på rätt plats har beskrivits i detalj. Virket som användes till takstolarna var mycket mer hållbara än vad som förväntades, och detta förstärker stabiliteten och säkerheten av hela taket. Taket på den första skolan blev klar, och de anställda kommer att bygga taket på den andra skolan själva med de erfarenheter de fått under byggandet av den första skolan. / This report is a part of a thesis in the department of “Construction engineering and Design” with specialization in “house building, planning and construction” at the Royal Institute of Technology in Stockholm, Sweden. The report is about the construction of a roof for a school building in the village of Lwengo Basilla located in south eastern parts of Democratic Republic of Congo. The school project is funded by a non-profit organization in Sweden named “Elikia na Biso” headed by Miza Landström. The design and construction of the school has been put forth with the help of students from different departments of the Royal Institute of Technology (KTH). A group of students from KTH helped to lay the foundation and the walls of the school. The next group of students was sent to help with the construction of the school roof. The focus of this report is to dimension and construct the roof of the school using local materials in an efficient way. The steps of constructing a mitre box(precision box), the sawing and nailing of the roof truss, and raising the roof trusses into place are all described in detail. The timber used for the roof trusses was much more durable than what was expected, this ensures the stability and safety of the roof. The roof of the first school was finished, and the workers will build the roof of the second school by themselves with the experience they gained during the construction of the first school.

Treize Etudes Pour L?Orchestre is a thirteen-movement symphonic work for full contemporary orchestra. The purpose of this work has been to develop a sonic exploration of textural possibilities through the orchestral medium. The motivic materials of the whole piece were first utilized in pieces for one piano, piano and cello and two pianos combinations These smaller pieces ahs been included in the appendix section of this work. The orchestral work does not represent an orchestration of the smaller pieces, but an expansion of the material into different textural studies. Preparation for this work includes the study of twelve different bird sounds, first recorded and later musically transcribed to create thematic materials and secondary materials for this work; the study of production of fabric of sounds representing color spectrums and intensity through sound tapestries, and the sonic representation of water, a starry dark night and the jungle. The Treize Etudes Pour L?Orchestre is formally a through-composed work. The different musical materials created as motive unity of the whole work have been developed throughout it by means of using a variety of compositional devices and techniques including Schoenberg?s Klangfarbenmelodie, Messiaen?s ?Language Musicale?, Ives? quadraphonic effect, and Samuel Adler?s sound curtain technique, and, the use of folk-like materials; all within the parameters of acoustic instrumentation.

The aim of the thesis is the assessment of steel structure roofing winter stadium in Jihlava city and design of the variant solution of load bearing steel structure of the roof. The ground plan dimensions are 60 x 84 m The current structure is composite of truss main girders with parabolic lower chords, and purlins . Axial distances of main girders are 12 m and are supported on concrete columns. The alternative proposed solution uses arched truss main girders and truss purlins. They are supported on existing concrete columns. All load bearing members of existing and new design structure – main girders, purlins, roof bracing - have been evaluated according to actual normative rules. It is evident that the static assessment of the existing structure is satisfied from viewpoint of ultimate and serviceability limit states. The static assessment of the new structure is satisfied from the viewpoint of both limit states.