The subject of this diploma thesis is the Employer's Strategy for Employing Parents on Parental Leave. The theoretical starting points of the thesis map the area of equal opportunities policy, the concept of family policy and employment policy in the Czech Republic. In addition, the work focuses on the personal and working life of parents on parental leave, describes the development of personal and work satisfaction, the motivation of parents to return to work and the expectation of parents from the employer. The last part of the theoretical framework focuses on employers' strategy, focuses on the social responsibility of organizations in the context of the topic, the motivation of employers to employ parents, their expectations of cooperation, and examples of different approaches to employing parents in the private and public sectors. The aim of the research part of thesis is to identify the causes that prevent parents from taking part in the labor market during parental leave and to educate and broaden their qualifications and to identify opportunities that lead to facilitating access to the labor market for parents on parental leave. The research problem looks at the perspective of parents (women) employed in the private and public sectors. The problem is processed through qualitative research....

Aide à la conception de légendes personnalisées et originales : proposition d'une méthode coopérative pour le choix des couleurs Les utilisateurs s'approprient aisément les outils cartographiques numériques pour se construire leur propre carte. Cependant, l'accès aux outils ne suffit pas pour concevoir une légende cartographique de qualité. Il est nécessaire de savoir comment faire de bons choix de représentation graphique, en particulier de bons choix de couleurs. Une expertise cartographique comportant des connaissances en sémiologie graphique et en perception des couleurs (contrastes et harmonies) est nécessaire : soit l'utilisateur possède ces connaissances, soit les outils doivent les lui apporter. Dans ce contexte, nous cherchons à aider les utilisateurs à concevoir des légendes personnalisées et originales, en nous concentrant sur l'aide au choix des couleurs. Nous proposons une méthode de conception coopérative en quatre phases reposant sur des interactions homme-machine : 1- choix d'une source d'inspiration, 2- acquisition des préférences de l'utilisateur sur les sources d'inspiration, 3- interprétation des préférences et construction de légendes adaptées, 4- retouche de légendes. Deux stratégies de conception sont envisagées en utilisant deux types de sources d'inspiration : des échantillons de carte et des toiles de maîtres. En partant du constat que des désaccords entre l'utilisateur et le système peuvent se produire, nous proposons d'utiliser des techniques de dialogue homme-machine pour améliorer l'adaptation du système à l'utilisateur. Le modèle de dialogue ainsi proposé est implémenté dans le prototype COLorLEGend (COLLEG) / Helping users to make on-demand and original legends : proposition of a cooperative method to choose colours Current cartographic tools allow technically novice and expert users to make maps. However resulting legends may be of poor quality because users do not know how to make good choices of graphic representation and especially good choices of colours. Cartographic expertise including semiologic rules and colour perception knowledge (contrasts and harmony) is required. If users are not experts, cartographic tools should other them this expertise. In this context, we want to help users to design customized and original legends, by helping them to select suitable colours. We propose a cooperative method in four stages : 1- selection of an inspiration source, 2- identification of user's colour preferences on inspiration sources, 3- interpretation of preferences and design of suitable legends, 4- refinement of legends. Two legend design strategies, based on map samples and master paintings, are used. However, conflicts between the user and the system may appear. Therefore we propose to rely on human-machine dialog techniques in order to better adapt the process to the user. A dialog model is implemented and the prototype COLorLEGend (COLLEG) is presented

Goal of this master thesis is to study harmonization based on knowledge of given melody and to design a system which will meaningfully automate this activity. In the work there is covered basics of music theory needed for this topic and previous other approaches to this problematic. There is also covered machine learning, neural networks and recurrent neural networks. In the end, there is outlined design of the system, how to make it work and how to use it. Three experiments were executed with the system. Harmonization of the melodies were unpleasant though. A possible cause might be relatively small used neural network of the system.

Title: Cover Song Identification using Music Harmony Features, Model and Complexity Analysis Author: Ladislav Maršík Department: Department of Software Engineering Supervisor: Prof. RNDr. Jaroslav Pokorný, CSc., Department of Software Engineering Abstract: Analysis of digital music and its retrieval based on the audio fe- atures is one of the popular topics within the music information retrieval (MIR) field. Every musical piece has its characteristic harmony structure, but harmony analysis is seldom used for retrieval. Retrieval systems that do not focus on similarities in harmony progressions may consider two versions of the same song different, even though they differ only in instrumentation or a singing voice. This thesis takes various paths in exploring, how music harmony can be used in MIR, and in particular, the cover song identification (CSI) task. We first create a music harmony model based on the knowledge of music theory. We define novel concepts: a harmonic complexity of a mu- sical piece, as well as the chord and chroma distance features. We show how these concepts can be used for retrieval, complexity analysis, and how they compare with the state-of-the-art of music harmony modeling. An extensive comparison of harmony features is then performed, using both the novel fe- atures and the...

[ES] La revolución estética que ha visto el siglo XX, donde surgieron multitud de propuestas, llegó de forma dispar a las distintas formaciones instrumentales. Mientras la música sinfónica y de cámara vivió un renacer auspiciado por las nuevas técnicas compositivas, la orquesta de vientos quedó estancada en un aparente contexto de tonalidad y modalidad que, lejos de evolucionar a la par que las otras formaciones, ha experimentado un aparente retroceso hacia posturas estéticas más conservadoras. El presente trabajo surge de la necesidad de evolucionar el repertorio actual para orquesta de vientos, profundizando en sus posibilidades tímbricas y desarrollando un repertorio que aborda la composición para orquesta de vientos, desde una perspectiva actual que desarrolle algunas de las corrientes estéticas principales de la vanguardia musical de los siglos XX y XXI. A continuación, se elabora un análisis detallado de los procesos compositivos abordados en cada una de las obras a estudio, sin perder la perspectiva del objetivo fundamental; la composición de dos obras que desarrollen el potencial sonoro de la formación orquestal de vientos y percusión dentro de un estilo contemporáneo. Previamente, se exponen algunas de las aportaciones más importantes al género realizadas por distintos compositores, que han supuesto una vinculación real y significativa de las nuevas propuestas compositivas de los siglos XX y XXI con la formación de vientos en su concreción orquestal o de gran ensemble. Se destacan especialmente aquellas propuestas de autores relacionados estrechamente con el repertorio de vientos, especialmente en su vertiente bandística. Paralelamente se referencian otros trabajos de autores significativos dentro del repertorio orquestal y camerístico, que han realizado contribuciones esporádicas a la orquesta/ensemble de vientos. Contribuciones que por su originalidad o estilo enmarcado en las corrientes estéticas compositivas de los siglos XX y XXI, implican un hecho destacado para el género de vientos y percusión. / [EN] The aesthetic revolution that the twentieth century has seen, where a multitude of proposals arose, reached the different instrumental groups in a disparate way. While symphonic and chamber music lived a rebirth sponsored by new compositional techniques, the wind orchestra was stuck in an apparent context of tonality and modality that, far from evolving at the same time as the other formations, has experienced an apparent retreat towards postures more conservative aesthetics. The present work arises from the need to evolve the current repertoire for wind orchestra, deepening its timbral possibilities and developing a repertoire that addresses composition for wind orchestra, from a current perspective that develops some of the main aesthetic currents of the avant-garde musical of the twentieth and twenty-first centuries. Next, a detailed analysis of the compositional processes addressed in each of the works under study is elaborated, without losing the perspective of the fundamental objective; the composition of two works that develop the sound potential of the orchestral wind and percussion formation within a contemporary style. Previously, some of the most important contributions to the genre made by different composers are exposed, which have meant a real and significant connection of the new compositional proposals of the 20th and 21st centuries with the formation of winds in their orchestral or large ensemble concretion. Especially noteworthy are those proposals by authors closely related to the wind repertoire, especially in its band aspect. At the same time, other works by significant authors within the orchestral and chamber repertoire are referenced, who have made sporadic contributions to the wind orchestra / ensemble. Contributions that for their originality or style framed in the aesthetic compositional currents of the XX and XXI, imply an outstanding fact for the wind and percussion genre. / [CA] La revolució estetica que ha vist el segle XX, on van sorgir multitud de propostes, va arribar de manera dispar a les diferents formacions instrumentals. Mentre la música simfonica i de cambra va viure un renaixement afavorit per les noves tecniques compositives, l'orquestra de vents va quedar estancada en un aparent context de tonalitat i modalitat que, lluny d'evolucionar al mateix temps que les altres formacions, ha experimentat un aparent retrocés cap a postures estetiques més conservadores. El present treball sorgeix de la necessitat d'evolucionar el repertori actual per a orquestra de vents, aprofundint en les seves possibilitats tímbriques i desenvolupant un repertori que aborda la composició per a orquestra de vents, des d'una perspectiva actual que desenvolupi alguns dels corrents estetiques principals de l'avantguarda musical dels segles XX i XXI. A continuació, s'elabora una analisi detallada dels processos compositius abordats en cadascuna de les obres a estudi, sense perdre la perspectiva de l'objectiu fonamental; la composició de dues obres que desenvolupin el potencial sonor de la formació orquestral de vents i percussió dins d'un estil contemporani. Previament, s'exposen algunes de les aportacions més importants al genere realitzades per diferents compositors, que han suposat una vinculació real i significativa de les noves propostes compositives dels segles XX i XXI amb la formació de vents en la seva concreció orquestral o de gran ensemble. Es destaquen especialment aquelles propostes d'autors relacionats estretament amb el repertori de vents, especialment en la seva vessant bandística. Paral · lelament es referencien altres treballs d'autors significatius dins del repertori orquestral i de cambra, que han realitzat contribucions esporadiques a l'orquestra / ensemble de vents. Contribucions que per la seva originalitat o estil emmarcat en els corrents estetics compositives dels XX i XXI, impliquen un fet destacat per al genere de vents i percussió. / Fayos Jordán, JM. (2022). La orquesta de vientos como medio de aplicación y desarrollo de las técnicas compositivas actuales. Una propuesta performativa [Tesis doctoral]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/183185 / TESIS

The “statement” from senior decision-maker is a section in the sustainability           report, where the most “senior decision-maker” of the institution (such as CEO,            chairman, or equivalent senior position) gives the personal view about the           relevance of sustainability to the ​institution and its strategy for addressing           sustainability. Such a statement is one medium used by company leaders to            communicate their attitudes and values to stakeholders in sustainability reports.          Under commercial circumstances, sustainability is also referred to as Corporate          Social Responsibility (CSR). This paper analyzes Chinese and Nordics senior decision-makers’ perception of CSR within the banking sector. The research sample consists of statements of senior decision-makers from sustainability reports of four Chinese banks, respective four Nordic banks. Previous studies show that CSR conception is influenced by cultural and social backgrounds. By analyzing respective Chinese/Nordic senior decision-maker’s statement, this study isaimingtofindout how Chinese/Nordic culture and social concepts are promoted in their respective bank institutions, and therefore lead to different CSR focus and strategies. The results from the study show that Chinese senior decision-makers’ statements are strongly influenced by t​raditional Chinese philosophy and social background, especially Confucian and Taoism, as well as​Xi Jinping’s guidelines delivered at the 19th National Congress of the Communist and the 13th Five-Year Plan. In relation to the Nordic senior decision-makers the gender equality and racial equality were noted. Senior decision-makers of Chinese banks mainly focus on “social stability and progress”, “economic responsibility”, and “customers”,while         senior decision-makers of Nordic banks mainly focus on “economic responsibility”, “customers”, and “environmental protection”. / 公司资深决策者(首席执行官，董事长，或同等级别)会在可持续发展报告中 用一个章节来申明他们的观点。这个章节的内容涵盖可持续发展与该公司组 织架构的相关度，以及该公司可持续发展的战略和对策。公司领导通过这种 形式对股东传达公司的态度和价值观。在商业环境中，可持续发展也经常被 称为公司社会责任(CSR)。 本论文分析了中国和北欧银行业资深决策者们对于企业社会责任的认知。本 论文的研究对象是银行可持续发展报告中资深决策者的陈述观点，它们分别 取自4家中国银行和4家北欧银行。现存的研究指出公司社会责任这一概念以 及对其的认知受到文化和社会背景的影响。通过研究中国和北欧不同银行资 深决策者在可持续发展报告中的陈述及观点，本论文意在深入理解文化和社 会因素是如何在公司中得到，并最终影响公司社会责任的实践和战略。 研究结果显示中国传统哲学和社会背景深刻影响中国银行业资深决策者对于 可持续发展的陈述和观点，特别是儒家思想，道家思想，​和​习近平​在​19大​的 报告，​以及​中国​第​十三​个​五​年​规划。而在北欧，可持续发展报告主要受到性 别平等和种族平等方面​的​影响。在银行可持续报告中，中国的资深决策者主 要关注“社会平稳和发展”，“经济责任”，和“客户”，而北欧的资深决策者主 要关注“经济责任”，“客户”和“环境保护”。

No description available.

In this paper, I explore the early musical language of McCoy Tyner. Today, Tyner is recognized mostly for his use of quartal harmony and pentatonic scales despite having made recordings in his early career that reflect a more mainstream approach. In an effort to expand how Tyner is represented, I argue that Tyner's early style was characterized by a graceful balance of tradition and innovation, a masterful blend of bebop syntax with pentatonic melodies and quartal harmonies. The recordings that I analyze and discuss are: "Effendi," "Cousin Mary," and "Newport Romp." I transcribed and analyzed selected portions of these recordings in order to better understand his early musical language as a soloist from 1962 to 1963. A portion of this paper is focused on the early reception of Tyner, which acknowledged him as an accomplished mainstream player with a firm grasp of the jazz tradition. Ultimately, my analysis shows that Tyner's early style was a balance of tradition and innovation, incorporating bebop syntax, pentatonic melodies, and quartal harmonies.

Goal of this master thesis is to study harmonization based on knowledge of given melody and to design a system which will meaningfully automate this activity. In the work there is covered basics of music theory needed for this topic and previous other approaches to this problematic. There is also covered machine learning, neural networks and recurrent neural networks. In the end, there is outlined design of the system, how to make it work and how to use it. Four experiments were executed with the system. Harmonization of the short melodies were unpleasant. Harmonization of longer melodies were overall more successful though. A possible cause might be relatively small used neural network of the system.

No description available.