Harmony is the aspect of music concerned with the structure, progression, and relation of chords. In Western tonal music each period had different rules and practices of harmony. Similarly some composers and musicians are recognised for their characteristic harmonic patterns which differ from the chord sequences used by other musicians of the same period or genre. This thesis is concerned with the automatic induction of the harmony rules and patterns underlying a genre, a composer, or more generally a 'style'. Many of the existing approaches for music classification or pattern extraction make use of statistical methods which present several limitations. Typically they are black boxes, can not be fed with background knowledge, do not take into account the intricate temporal dimension of the musical data, and ignore rare but informative events. To overcome these limitations we adopt first-order logic representations of chord sequences and Inductive Logic Programming techniques to infer models of style. We introduce a fixed length representation of chord sequences similar to n-grams but based on first-order logic, and use it to characterise symbolic corpora of pop and jazz music. We extend our knowledge representation scheme using context-free definite-clause grammars, which support chord sequences of any length and allow to skip ornamental chords, and test it on genre classification problems, on both symbolic and audio data. Through these experiments we also compare various chord and harmony characteristics such as degree, root note, intervals between root notes, chord labels and assess their characterisation and classification accuracy, expressiveness, and computational cost. Moreover we extend a state- of-the-art genre classifier based on low-level audio features with such harmony-based models and prove that it can lead to statistically significant classification improvements. We show our logic-based modelling approach can not only compete with and improve on statistical approaches but also provides expressive, transparent and musicologically meaningful models of harmony which makes it suitable for knowledge discovery purposes.

Espetáculo cênico, divertimento e ritual cortesão simultaneamente, o balé de corte constituiu-se enquanto gênero de espetáculo em fins do século XVI, revelando-se extremamente popular e recorrente na dinâmica de corte francesa até fins do século XVII. Coerente às aspirações poéticas e artísticas humanistas de reconstituição do drama total grego antigo, o balé de corte propõe realizar a fusão das artes, unindo harmoniosamente poesia, música, canto, dança, pintura, cenários, maquinaria, heráldica, enfim, várias artes e artifícios, num grande espetáculo ao mesmo tempo erudito e agradável, sóbrio e divertido. Nesta complexa composição entremeada de tantas artes, a dança ocupava posição de destaque, como também o baile era atividade importantíssima na sociabilidade de corte. Tal espetáculo era realizado predominantemente no ambiente da corte e em reverência ao rei, contando com a participação efetiva - tanto na elaboração quanto na própria cena - dos cortesãos, damas, príncipes, rainha e do rei, estes que se colocavam em cena, dançando e desempenhando papéis os mais diversos. Partindo do estudo dos libretos e das relações/descrições de balés de corte produzidos entre 1610 e 1661 na corte francesa, propõe-se compreender como tal gênero se constrói enquanto representação prescritiva do poder no contexto do Antigo Regime baseado na noção alegórica de \"harmonia\". Assim, investiga-se em que medida o gênero e as composições analisadas constroem alegoricamente uma imagem de harmonia cósmica e política e, a partir de suas linguagens e recursos próprios, de que maneira colabora para reforçar modos de pensar, ser e agir cortesãos, bem como valores morais e pactos políticos que mantêm (artificialmente) o corpo social em ordem. / Scenic spectacle, divertissement and courtly ritual at the same time, the court ballet was composed, as spectacle genre, in the late sixteenth century, proving to be extremely popular and recurrent to the dynamics of French court until seventeenth century\'s last decades. According to the humanistic aspirations in reconstitution of the ancient Greek total drama, court ballet proposes a fusion of the arts, uniting harmoniously poetry, music, singing, dancing, painting, scenery, machinery, heraldry, finally, various arts and devices in a great spectacle, erudite and pleasant at once. In this complex composition of so many interlaced arts, dance occupied a prominent position, as well as dance was a very important activity in the sociability of the court. Court ballet was essentially performed in a courtly ambience and in reverence to the king, with the effective participation of the courtiers, ladys, princes, queen and also the French king in the stage, dancing and performing various roles. Based on the study of the libretti and descriptions of court ballets produced between 1610 and 1661 at the French court, this study proposes to understand how this court spectacle is constructed as a prescriptive representation of power in the context of the Ancien Régime, based on the allegorical notion of \"harmony\". Thus, we investigate how court ballet create an allegorical image of cosmic harmony and how it contributes to strengthen ways of thinking, being and acting of the courtiers, as well as moral values and political pacts that keep (artificially) the social body in order.

Made available in DSpace on 2014-07-29T16:25:13Z (GMT). No. of bitstreams: 1 Dissertacao Everton L L de Matos - pre textual.pdf: 210761 bytes, checksum: 94c893042cffcd3ee385dcb371a7c7c1 (MD5) Previous issue date: 2012-04-27 / The choro, he cultivates an instrumental genre improvisational style, has been transformed in the course of its history, both in melody and harmony. The first cries compounds possessed simple harmonies, making the soloists of the time to interpret differently from today. The different treatments harmonics, which have arisen over time, seem to have been one of the leaders of these different interpretations, which have been shown in an intense and characteristic improvisation. Apparently, there was an increase in these transformations of choro with the rapid development of technology and media from the mid-twentieth century. This circumstance, perhaps, brought a more intense and immediate contact of this musical genre with global genres such as jazz, for example, as a new and intense focus on improvisation, which has drawn attention to formal structures and performing hybrid performances. The intensification of cultivation of Jazz in the country and later the emergence of Bossa Nova in the mid-twentieth century, it seems, interfered markedly in the improvisation of gender, providing new composers to invest in new procedures related to this harmonic American genre. Given this circumstance, this study aimed to investigate the technical and cultural implications resulting from the interference of different harmonics in procedures related to the processes of improvisation and musical genre choro in this context not only seek melodic and harmonic innovations, but also processes of identity implicated in processes of cultural hybridization. / O choro, um gênero instrumental que cultiva o estilo improvisatório, sofreu transformações no decorrer da sua história, tanto na melodia, quanto na harmonia. Os primeiros choros compostos possuíam harmonias simples, fazendo que os solistas da época interpretassem de maneira diferente dos atuais. Os diferentes tratamentos harmônicos, que foram surgindo ao longo do tempo, parecem ter sido um dos principais responsáveis por essas interpretações distintas, que têm se evidenciado de forma intensa e característica na improvisação. Ao que tudo indica, houve um incremento nessas transformações do choro com o grande desenvolvimento da tecnologia e da mídia a partir de meados do século XX. Essa circunstância, possivelmente, trouxe um contato mais intenso e imediato desse gênero musical com gêneros globais, como o Jazz, por exemplo, assim como um novo e intenso foco na improvisação, o que tem apontado para estruturas formais e atuações performáticas híbridas. A intensificação do cultivo do Jazz no país e, posteriormente, o surgimento da Bossa Nova em meados do século XX, ao que tudo indica, interferiram de forma marcante na improvisação do gênero, propiciando aos novos compositores investirem em novos procedimentos harmônicos relacionados a esse gênero americano. Tendo em vista esta circunstância, esse trabalho teve como objetivo investigar as implicações técnicas e culturais resultantes da interferência de diferentes procedimentos harmônicos nos processos de improvisação relacionados ao gênero musical choro e, nesse contexto, buscar não apenas inovações melódicas e harmônicas, mas também processos identitários implicados com processos de hibridação cultural.

Na presente tese é resolvida a equação de difusão de nêutrons estacionária, bem como problemas de cinética, em geometria unidimensional cartesiana multi-região considerando o modelo de multigrupos de energia. Um dos objetivos e inovação neste trabalho é a obtenção de uma solução aproximada com estimativa de erro, controle de precisão e na forma de uma expressão analítica. Com esse tipo de solução não há a necessidade de recorrer a esquemas de interpolação, geralmente necessários em caso de discretizações do domínio. O fluxo de nêutrons é expandido em uma série de Taylor cujos coeficientes são encontrados utilizando a equação diferencial e as condições de contorno e interface. O domínio é dividido em várias células, cujo tamanho e o grau do polinômio são ajustáveis de acordo com a precisão requerida. Para resolver o problema de autovalor é utilizado o método da potência. A metodologia é aplicada em um benchmark que consiste na solução da equação de difusão como condição inicial e na solução de problemas de cinética para diferentes transientes. Os resultados são comparados com sucesso com resultados da literatura. A convergência da série é garantida pela aplicação de um raciocínio baseado no critério de Lipschitz para funções contínuas. Cabe ressaltar que a solução obtida, em conjunto com a análise da convergência, mostra a solidez e a precisão dessa metodologia. / In the present dissertation the one-dimensional neutron diffusion equation for stationary and kinetic problems in a multi-layer slab has been solved considering the multi-group energy model. One of the objectives and innovation in this work is to obtain an approximate solution with error estimation, accuracy control and in the form of an analytical expression. With this solution there is no need for interpolation schemes, which are usually needed in case of discretization of the domain. The neutron flux is expanded in a Taylor series whose coefficients are found using the differential equation and the boundary and interface conditions. The domain is divided into several layers, whose size and the polynomial order can be adjusted according to the required accuracy. To solve the eigenvalue problem the conventional power method has been used. The methodology is applied in a benchmark problem consisting of the solution of the diffusion equation as an initial condition and solving kinetic problems for different transients. The results are compared successfully with the ones in the literature. The convergence of the series is guaranteed by applying a criterion based on the Lipschitz criterion for continuous functions. Note that the solution obtained, together with the convergence analysis, shows the robustness and accuracy of this methodology.

Este trabajo se centra en la didáctica de la Armonía y en la propuesta de un modelo basado en la teoría del aprendizaje significativo (basado en las ideas del psicológo americano David Ausubel) que mejore la eficacia del proceso de enseñanza-aprendizaje en dicha área. La razón de tal propuesta estriba en la comprobada validez de la teoría sobre la que se sustenta y ls beneficios que ésta ha reportado en otras áreas del conocimiento. Por esa razón, partiendo de la hipótesis de que su aplicación en la asignatura de Armonía debe tener resultados similares, se abordó este proyecto. La investigación comienza haciendo un recorrido por el pasado y presente de las enseñanzas teóricas musicales, particularmente en lo que respecta a la Armonía. Dicho recorrido, en su parte final, descubre cómo en España, hasta hace muy poco, ha tenido gran peso la enseñanza armónica basada en la práctica tradicional del bajo cifrado, como así puede comprobarse al consultar la mayoría de tratados españoles publicados hasta la fecha, práctica que se ha mostrado insuficiente en la formación integral del graduado en Música, como así se exponen los hechos que se relatan seguidamente. Afortunadamente, durante los últimos años, al amparo de las nuevas directrices de nuestro sistema educativo, ha ido apareciendo una serie de trabajos en el campo musical que ha supuesto nuevas vías en la investigación e innovación pedagógica, en el propósito de subsanar las deficiencias que se exponen más adelante. La segunda parte de la tesis, como no podía ser de otra forma, está dedicada al estudio dirigido que se realizó durante el curso 2010-2011. Tal investigación se caracteriza por tener un enfoque mixto (cualitativo y cuantitativo). La información recabada, gracias a las distintas herramientas empleadas, fue, posteriormente, codificada y analizada con el programa AQUAD, e interpretada para la extracción de las pertinentes conclusiones. Las conclusiones extraídas ofrecen motivos suficientes para la aplicación del modelo propuesto en esta tesis doctoral y, por tanto, para validar la hipótesis de partida.

This thesis attempts to present a view of the Harmonist Society during its period in Indiana, 1814-1824 and to fit it into the framework of the times.

TITLE: The Ancient Ideal in the Concept of Miroslav Tyrš AUTHOR: Filip Novotný DEPARTMENT: Department of Physical Education, Faculty of Education, Charles University SUPERVISOR: PhDr. PaedDr. Ladislav Kašpar. Ph.D. ABSTRACT: The aim of the thesis is to describe the ancient ideal, which can be understood as a historical fact, when this ideal originates. Furthermore, this work describes how this ideal is manifested in art and how this ideal can be understood philosophically. The main aim of this work is to describe the ancient ideal in the concept of Miroslav Tyrš, who was inspired by the ancient world and modern philosophical directions. Sokol, who founded it as a physical education unity, was not a goal in itself, but a means of applying this ideal in Bohemia in the 19th century, which helped to shape democratic education in Bohemia, which helped to establish independent Czechoslovakia, when the falcons were numerous legion members. The methods used to elaborate this work are especially literary searches where both primary sources and secondary sources were used. Deduction methods, quantitative method, chronological method, probe method, qualitative method. The conclusion of this diploma thesis is that the falcon was not only a physical education organization, but it was an environment that prompted...

Harmony search method based optimum design algorithm is presented for the grillage systems. This numerical optimization technique imitates the musical performance process that takes place when a musician searches for a better state of harmony. For instance, jazz improvisation seeks to find musically pleasing harmony similar to the optimum design process which seeks to find the optimum solution. The design algorithm considers the displacement and strength constraints which are implemented from LRFD-AISC (Load and Resistance Factor Design-American Institute of Steel Construction). It selects the appropriate W (Wide Flange)-sections for the transverse and longitudinal beams of the grillage system among 272 discrete W-section designations given in LRFD-AISC so that the design limitations described in LRFD are satisfied and the weight of the system is confined to be minimal. Number of design examples is considered to demonstrate the efficiency of the algorithm presented.

Harmony search method based optimum topology design algorithm is presented for single layer lamella domes. The harmony search method is a numerical optimization technique developed recently that imitates the musical performance process which takes place when a musician searches for a better state of harmony. Jazz improvisation seeks to find musically pleasing harmony similar to the optimum design process which seeks to find the optimum solution. The optimum design algorithm developed imposes the behavioral and performance constraints in accordance with LRFD-AISC. The optimum number of rings, the height of the crown and the tubular cross-sectional designations for dome members are treated as design variables. The member grouping is allowed so that the same section can be adopted for each group. The design algorithm developed has a routine that build the data for the geometry of the dome automatically that covers the numbering of joints, and member incidences, and the computation of the coordinates of joints. Due to the slenderness and the presence of imperfections in dome structures it is necessary to consider the geometric nonlinearity in the prediction of their response under the external loading. Design examples are considered to demonstrate the efficiency of the algorithm presented.

Thesis (Ph. D.)--Kent State University, 2008. / Title from PDF t.p. (viewed Jan. 21, 2010). Advisor: Ralph Lorenz. Keywords: jazz, music, theory, George Macdonald, ballet, harmony, tertian, harmonics analysis, dissonance, consonance, orchestra. Includes bibliographical references (p. 130-140).