The work become acquainted with history and rise databases globally. Construes philosophy structuralization, sorting and purpose using. Work further deal with concrete databases softwares intended directly to processing audio signals. Further treat of programmes that the make possible generation personal database structures. Work deal about SUSAS database and analysing its content. It is created self database of music signals, which includes several musical groups always similar in certain aspect. Speech database contains records from the SUSAS database and records from television programs, reality-shows, sports broadcasts, reports and documents, when speakers are subjected to stress and emotions. The work is a database program that can effectively classify all records and processes. The database can be freely extended. The resulting program was realized into Czech and English version.

Jules Massenet's mélodies feature a distinct vocal treatment regarding musical prosody through his eight song cycles, including Poëme d'Avril, Poëme Pastoral, Poëme du Souvenir, Poëme d'Amour, Poëme d'Hiver, Poëme d'un Soir, and Quelques Chansons Mauves, and a collection, Expressions Lyriques. These mélodies show the influence of the trend of salon music and the high-level poetry from the poetic movements of romanticism, Parnassianism, and symbolism. This study deals with Massenet's mélodies relating to the prosody idea, which is conspicuous in his vocal treatment. His melodic styles feature four distinct aspects of vocal treatment including lyrical, recitative or parlando, melodramatic, and déclamation rhythmée, and represent the idea of musical prosody of phonetic, syntactic, and semantic aspects. Massenet's other musical idioms such as harmony, form, and piano treatment, are also closely related to the prosody matter as a semantic aspect, reinforcing the poetic mood and content. In this study, each melodic style related to French versification is examined in detail. The musical analysis regarding the other musical idioms on selected examples presents the semantic feature of prosody idea. The brief review of French versification and opinions regarding the performance are included. Massenet's contribution to the genre of mélodie, with the prose melody and treatment of piano as an equal partner of voice line, is clearly demonstrated. With this contribution, Massenet should be recognized as the most influential composer to the climatic time of French mélodie led by Fauré, and Debussy, and Duparc.

Similarity computation is a difficult issue in music information retrieval tasks, because it tries to emulate the special ability that humans show for pattern recognition in general, and particularly in the presence of noisy data. A number of works have addressed the problem of what is the best representation for symbolic music in this context. The tree representation, using rhythm for defining the tree structure and pitch information for leaf and node labelling has proven to be effective in melodic similarity computation. In this dissertation we try to built a system that allowed to classify and generate melodies using the information from the tree encoding, capturing the inherent dependencies which are inside this kind of structure, and improving the current methods in terms of accuracy and running time. In this way, we try to find more efficient methods that is key to use the tree structure in large datasets. First, we study the possibilities of the tree edit similarity to classify melodies using a new approach for estimate the weights of the edit operations. Once the possibilities of the cited approach are studied, an alternative approach is used. For that a grammatical inference approach is used to infer tree languages. The inference of these languages give us the possibility to use them to classify new trees (melodies).

The purpose of this project has been to explore different methods that would bring melodic quality to melodies, in improvisations as well as compositions. Different standpoints on melody and melodicism, taken by different musical profiles, have been examined and from those standpoints different strategies have been formed. The goal of the project is to find out if skill in melodicism is something that can be gained through practice with concrete methods. The process of forming each method is described and the results of those methods are presented through outtakes from compositions and improvisations that I performed on my exam concert. The strategies that are explored are periodicity and idea development, flow of eight notes and sixteenth notes based on triads, pentatonicism and different forms of phrasing. Conclusion is made that all of the strategies serve their purpose, but it’s still a question if they do so for individual reasons or for the same reason, that all of the strategies simply are different variations of idea development. / <p>Repertoar, samtliga titlar komponerade av Rasmus Hansen:</p><p>Now or never</p><p>Spegel spegel på väggen där, jag har rätt du har fel</p><p>På Mammas fötter, på Pappas axlar</p><p>Cm</p><p>Out for a walk</p><p>Medverkande musiker:</p><p>Rasmus Hansen - Elgitarr</p><p>Linnea Jonsson - trumpet</p><p>Kalle Johansson - piano</p><p>August Eriksson - kontrabas</p><p>Kristian Remnelius - trummor</p>

The present study sought to confirm melodic expectancy patterns discovered in a previous investigation and to determine whether data would be affected by altering the rhythmic condition of the stimuli. The three problems of this investigation were to study expectancies generated by two-note stimulus intervals of equal duration; the expectancies generated by stimulus intervals presented with a long-short rhythm; and the expectancies generated by stimulus intervals presented with a short-long rhythm. Fifty subjects were asked to sing what they believed would be the natural continuation of the melody begun by a two-note stimulus interval. The stimulus intervals were grouped in rhythmic sets, one set of neutral-rhythm stimuli, one set of long-short stimuli, and one set of short-long stimuli. The interval from the second note of the stimulus interval to the first sung note was transcribed as the generated expectancy response interval. The data were examined in two basic ways, using response data as a whole and examining data for each stimulus interval separately. A third method of data evaluation concerned harmonic triads occurring in the response data. Both when considering response frequency as a whole, and when considering response data separately for each melodic beginning, no significant difference associated with rhythmic condition could be found. Smaller response intervals were generated much more often than large intervals. Some stimulus intervals, notably the major second ascending, were observed to be much more powerful generators than others. It was concluded from these results that in response to two-note stimulus intervals melodic expectancy can clearly be shown to operate, confirming the results of an earlier study, but that no effect of rhythm on melodic expectancy can be shown to operate.

This study attempt to analyze the style Albéniz, especially as expressed in Iberia Suite. As with all composers, his particular style is created out of his own combining and recombining the principal elements of music, arranging them in a certain way to suit his needs and taste. The musical elements are: rhythm, melody, and harmony. The study is organized in ten chapters.

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