This text is written with the purpose of examining the preschool's harmony and disharmony. What is happening in moments of interaction with others, children and educators, what is it in today's preschool that stands in the way of this interaction, and what will be the consequences of the development that leads us farther and farther away from this interaction? This text begins with three stories where in the first two I portrayed two situations of interaction, one from my experience of the world of music and one from the preschool. The third describes what will illuminate one of the essay's more conflicting situations.In my text, I have produced an analogy between the preschool's practice and the musical practice, initially with the aim of letting music be supportive in explaining the unseen and the elements that can be difficult to understand in the preschool, but this work has come to featurethe musical sphere increasingly throughout the text’s development. The experience of the music has been able to explain situations in preschool, putting words to phenomenon that sems to be without words, but it has also let the musical aspect itself be explained. In my investigation of the harmony, I have mainly been inspired and led by Marcia Sá Cavalcante Schuback's collection of essays Praise to nothingness - essays on philosophical hermeneutics. Her description of nothingness and its events through inspiration, influence and improvisation has taken me and the text on a journey in how interaction in preschool can look and what it can create. Through her text, self -transformation has become a central concept in my text and thoughts.As I have come to the study of disharmony, I have looked at Foucault's concept of discourse.The discursive formations that have been and continue to be creating the preschool curriculum and conditions, and here I have also looked at the consequences of the increasingly efficiency, quality- and production-focused preschool that we see today. Marx's thoughts on alienationhave been allowed to lead the text's reasoning about the consequences of this development and I conclude my text by asking myself and you as a reader:"What will happen to our children?

This study explores the topic of music theory pedagogy in conjunction with the Kodály concept of music education and its North-American adaptation by Lois Choksy. It investigates the compatibility of the Kodály Method with post-secondary instruction in tonal harmony, using a theoretical framework derived from Kodály’s methodology and implemented as a teaching strategy for the dominant-seventh chord. The customary presentation of this concept is authenticated with an empirical case study involving four university professors. Subsequently, Kodály’s four-step instructional process informs a comparative analysis of five university-level textbooks that evaluates the sequential placement of V7, examines the procedure by which it is presented, and considers the inclusion of correlated musical excerpts. Although divergent from traditional approaches to tonal harmony, Kodály’s principles and practices are pedagogically effective. By progressing from concrete to abstract, preceding symbolization with extensive musical experience, conceptual understandings are not only intellectualized, but are developed and internalized.

This study explores the topic of music theory pedagogy in conjunction with the Kodály concept of music education and its North-American adaptation by Lois Choksy. It investigates the compatibility of the Kodály Method with post-secondary instruction in tonal harmony, using a theoretical framework derived from Kodály’s methodology and implemented as a teaching strategy for the dominant-seventh chord. The customary presentation of this concept is authenticated with an empirical case study involving four university professors. Subsequently, Kodály’s four-step instructional process informs a comparative analysis of five university-level textbooks that evaluates the sequential placement of V7, examines the procedure by which it is presented, and considers the inclusion of correlated musical excerpts. Although divergent from traditional approaches to tonal harmony, Kodály’s principles and practices are pedagogically effective. By progressing from concrete to abstract, preceding symbolization with extensive musical experience, conceptual understandings are not only intellectualized, but are developed and internalized.

This study explores the topic of music theory pedagogy in conjunction with the Kodály concept of music education and its North-American adaptation by Lois Choksy. It investigates the compatibility of the Kodály Method with post-secondary instruction in tonal harmony, using a theoretical framework derived from Kodály’s methodology and implemented as a teaching strategy for the dominant-seventh chord. The customary presentation of this concept is authenticated with an empirical case study involving four university professors. Subsequently, Kodály’s four-step instructional process informs a comparative analysis of five university-level textbooks that evaluates the sequential placement of V7, examines the procedure by which it is presented, and considers the inclusion of correlated musical excerpts. Although divergent from traditional approaches to tonal harmony, Kodály’s principles and practices are pedagogically effective. By progressing from concrete to abstract, preceding symbolization with extensive musical experience, conceptual understandings are not only intellectualized, but are developed and internalized.

La version intégrale de ce mémoire est disponible uniquement pour consultation individuelle à la Bibliothèque de musique de l’Université́ de Montréal (www.bib.umontreal.ca/MU). / Ce mémoire est une analyse de mon langage musical à travers trois œuvres récentes composées entre 2011 et 2013. Il présente une analyse en détail de trois compositions d’instrumentations différentes : - Akme, pour piano seul - Les Yeux d’une fille dans un cimetière, pour piano, violon, violoncelle, flûte et clarinette - Epitafe, pour orchestre Avec des exemples musicaux tirés de ces trois compositions, j’étudie plusieurs volets de mon approche de la composition musicale, notamment les influences extra-musicales, la forme, la mélodie, l’harmonie et l’orchestration. En guise d’introduction, on retrouve également un chapitre qui traite de la place que les influences extra-musicales, la forme et la métrique occupent dans mon travail en général. / This memoir is a musical analysis of my musical language through the study of three of my recent works that were composed between 2011 and 2013. It presents a detailed analysis of three compositions of varied instrumentation : - Akme, for solo piano - Les Yeux d’une fille dans un cimetière, for piano, violin, cello, flute and clarinette - Epitafe, for orchestra With musical examples taken from these works, I study various components of my approach to musical composition such as extra-musical influences, form, melody, harmony and orchestration. As introduction to these studies, we find a chapter that speaks of the role that extra-musical influences, form and musical time holds in my work as a composer in general.

The purpose of this thesis is to contrast Wagner's usages of the ninth, eleventh, and thirteenth intervals and chords, as found in Die Walküre, Act I and Götterdämmerung, Act I.

La version intégrale de ce mémoire est disponible uniquement pour consultation individuelle à la bibliothèque de musique de l'Université de Montréal (www.bib.umontreal.ca/MU) / Ce mémoire présente les résultats de mes deux années d’études à la maîtrise en composition instrumentale à l’Université de Montréal. J’ai concentré mes recherches sur l’intégration du synthétiseur dans la musique de concert instrumentale, en plus de tenter de développer un langage personnel, en particulier en ce qui a trait à l’harmonie et au rythme. Ce texte présentera une analyse de ces différents éléments, à travers l’étude du corpus d’œuvres composées en vue de ce mémoire. En ce qui concerne la recherche sur l’intégration du synthétiseur, il sera question de la relation entre cet instrument électronique et les instruments acoustiques traditionnels, que ce soit par opposition, fusion ou dialogue musical. De plus, les problématiques propres à cet instrument seront abordées (programmation des sonorités, interprétation, notation, etc.). / This masters thesis presents the results of my two-year study in musical composition at Université de Montréal. My research focused on developing an original and personal musical language, with an emphasis on harmony and rhythm. It focused also on the integration of the synthesizer in a traditional concert setting. This paper will analyze these elements by studying a body of pieces composed for this masters degree. Regarding the study of the synthesizer, this text will be about the relationship between this electronic instrument and the traditional acoustic instruments, whether it be opposition, blending to an ensemble or musical dialogue. Furthermore, some questions about this instrument will be addressed (patch programming, live interpretation, notation problems, and so on).

Ce mémoire fait état de ma démarche de compositeur à l'intérieur d'un cadre plus large qui inclue une démarche de direction. Croyant que ces disciplines vont de pair, j'ai consacré ma maîtrise à composer du matériel pour orchestre et pour chœur, deux ensembles qui exigent la présence d'un chef. Je pouvais ainsi approfondir ma connaissance de ces « instruments » à l'intérieur du cadre rigoureux offert par la Faculté de Musique de l'Université de Montréal. Parallèlement, mes activités de chef ont aussi eu une influence sur ma compréhension de ces ensembles et donc sur mon écriture. Ce travail récapitule donc le matériel que j'ai écrit pour ces ensembles, prenant soin de souligner à la fois où mon expérience d'écriture grandie, et où mon expérience de chef impacte mes choix de composition. / This work is about the composition part of a larger ambition that also includes conducting. Believing that those two disciplines are closely related, I took most of my time as a master's student composing for orchestra and for choir, two ensembles that require a conductor. This way I could deepen my understanding of those "instruments" with the help of rigorous teachers at Université de Montréal's music faculty. At the same time, my conducting activities also had an influence on my understanding of those ensembles therefore on my composition. This work goes through the material I wrote for those ensembles, pinpointing where I felt my experience as a composer was growing, and where my experience as a conductor influenced my composition choices.

JUHAŠČIKOVÁ, Daniela: Man being God in the conception of Comenius [Záverečná práce] / Daniela Juhaščiková - Univerzita Karlova v Praze. Husitská teologická fakulta; - Supervisor: ThDr. Kamila Veverková, ThD. - Degree. Magistr.- Praha: HTF UK, 2011. s. 71. The work Man being God in the conception of Comenius si about Comenius view to man. The purpose of my research was to find out in his literacy his opinion to man like Image of God. This work was about man position in frnot of God. What is purpose of human being. And if man still have rights to have image of God altohough we are siners. The results of my research, that I find out Comenius pricips. Princip of moving in relation to centre, and second princip is harmony. This two princips have Gods creations, only when they are in relationship with Him. And also people are able to be on Image of God when they are in relationship with Him. Keywords Man - Creation- God - Comenius - Whole - Being - The purpose of being - Harmony - Restitution.

(česky) Hlavním předmětem diplomové práce je nástin a charakteristika hudebního života a analýzy hudebních aktivit na dvoře Josefa Adama knížete ze Schwarzenbergu s teritoriálním zaměřením na oblast Českého Krumlova v období 2. poloviny 18. století jako příslušníka vyšších vrstev společnosti. Osvíceného knížete s hlubokým zájmem o společenský a umělecký život, štědrého mecenáše umění a především hudebního znalce a vynikajícího organizátora hudebního programu na svých panstvích. Jedním z úkolů je rovněž zachytit drobný příspěvek do problematiky studia šlechtické hudební kultury (období baroka a klasicismu) a socioekonomického okruhu s touto kulturou související či vzájemně se ovlivňující na konkrétním příkladě schwarzenberského dvora v souboru označovaném jako dechová harmonie. Společně s vývojem souboru dechové harmonie dojde ke stručné charakteristice divadelních aktivit a schwarzenberské hudební sbírky, úzce provázaných s hudebním provozem na dvoře Josefa Adama knížete ze Schwarzenbergu. Abstract (in English): The main aim of the diploma thesis is to provide characteristics of the musical life and analysis of the musical activities at the court of Prince Joseph Adam of Schwarzenberg, who belonged to higher society, with territorial focus in the area of Český Krumlov during the second half of the...