The diploma thesis "Potential of Indian Tourism Outbound to the Countries of Visegrad Group" deals with the recent trends in Indian outbound tourism, especially in relation to the countries of Visegrad Four. For a better understanding of the issue, the thesis seeks to analyze the consumer behaviour of the Indian tourists, especially on the trips to long-haul destinations, it also describes some of the conditions of travelling from India to the Visegrad Group countries such as transport and the offer of Indian travel agencies. The thesis also deals with the analysis of inbound tourism to the countries of the Visegrad Group from India and common promotional activity of these countries called The European Quartet - One Melody on Indian market. Important part of the thesis is the publication of results of my own survey conducted amongst Indian citizens in order to study the perception of the countries of Visegrad Group and the consumer behaviour of Indian people when travelling. In the very end, the potential of the development of Indian tourism outbound to the countries of Visegrad Group was evaluated.

The Marian songs of Sepekov is the title for a handwritten Hymnal, which nobody comprehensivly examined and never publish. I discovered this manuscript when I was researching materials for my Bacherol thesis. The hymnal contains 489 czech-language pages from which I composed 43 songs with the organs accompaniment or songs in a four-part adjustment. The transcript od melodic line, next processing of melody and composition of polyphony give the readers an insight into the period of the formation of manuscript and it zooms miracles for which the manuscript was created. The historical events, which were accured in 18th century in Sepekov and were an integral part of the life of people from sepekov, are component of Marian songs. The whole Hymnal is built on devotion, supplication, prayers and the love of the pilgrims to Pana Marie from Sepekov. The pilgrimages, which they performed to this marian's place, were a seal of approval of their belief and it was culmination of their spiritual life for most of them.

In der vorliegenden Arbeit werden die Schreientwicklung von Säuglingen und die dabei auftretenden Regularitäten und Gesetzmäßigkeiten untersucht. Es wurde dazu eine Analyse von Grundfrequenzverläufen (Melodien) in Säuglingsschreien der ersten 5 Lebensmonate von 30 medizinisch unauffälligen monozygoten Zwillingen durchgeführt. Diese Studie belegt, daß der Säuglingsschrei weit mehr ist, als nur ein angeborenes biologisches Alarmsignal, das Ausnahmesituationen in der Kommunikation vorbehalten bleibt. Die gefundenen Gesetzmäßigkeiten in der Entwicklungen der Schreimelodie berechtigen, den Säuglingsschrei in eine Reihe mit frühen Nichtschrei-Vokalisationen als essentielle Wegbereiter für den Spracherwerb zu stellen. Den durch umfangreiche Studien anderer Autoren bereits nachgewiesenen Perzeptionsleistungen junger Säuglinge können durch die hier gefundenen, komplexen Leistungen bezüglich der Melodieentwicklung im Schrei nunmehr auch ebenbürtige Produktionsleistungen gegenübergestellt werden. Die analysierten 1700 Schreimelodien wurden durch einen Vergleich in Ähnlichkeitsklassen eingeteilt. Es wird ein Klassifizierungssystem vorgeschlagen, das sechs Ähnlichkeitsklassen (Melodietypen) definiert, die auf prinzipiellen Formeigenschaften (langsamen Modulationseigenschaften) der Schreimelodien beruhen. Die Formeigenschaften der Melodietypen sind also bis auf lineare Transformationen der Zeitachse und einem konstanten Shiftwert in der Frequenzachse (bei ungeändertem Frequenzhub) invariant. Alle Schreimelodien wurden eindeutig den gebildeten Melodietyp-Klassen zugeordnet und ohne irgendwelche Skalen-Transformationen in Frequenz oder Zeit dargestellt. Die Konsistenz aller im Rahmen der vorliegenden Studie durchgeführten Untersuchungen hat die vorgeschlagene Klassifizierung gerechtfertigt. Es konnte gezeigt werden, daß die Synchronizität und die Konkordanz in der Melodieentwicklung für die Zwillinge eines Paares deutlich größer ist als für nichtverwandte Zwillinge gleichen Geschlechts und Alters. Die Monozygotie der Zwillinge und die damit erhaltene höhere Synchronizität der Entwicklung ließen die Universalität der Entwicklung wesentlich prägnanter hervortreten, als dies bei einer durchschnittlichen Population der Fall gewesen wäre. Es konnte eine kontinuierliche, gesetzmäßige Melodieentwicklung bei allen Zwillingen nachgewiesen und in Form eines Entwicklungsdiagramms dargestellt werden. Es wurde eine höhere Konkordanz und Synchronizität zwischen den monozygoten Zwillingen der gleichen Paare bezüglich der Art der erzeugten Melodietypen und deren absoluten Häufigkeit in einem bestimmten Alter gefunden. Dies und die ebenfalls nachgewiesene Fähigkeit der Zwillinge zur hohen formähnlichen Reproduktion der Melodien sind ein starkes Argument für die Beteiligung genetischer Faktoren an der Erzeugung der Melodietypen nach einem internen zerebralen Programm. / The cry development of babies and the regularly occurring phenomena and principles are discussed in the present paper. The time variations of the fundamental frequency (melodies) in babies cries in the first five months of life was analyzed in 30 medically normal monozygotic twins. This study documents that the baby s cry is far more than only an innate biological alarm signal which is reserved to exceptional situations of communication. The developmental principles of the cry melody found justify the categorization of the baby s cry on the same level as other early noncry vocalizations as essential precursors for the acquisition of speech. The perceptual capacity of young infants as already demonstrated by extensive studies of other authors can now also be compared to equivalent cry production on the basis of the complex phenomena found with regard to cry melody development of melody in the cry. The 1,700 cry melodies analyzed were classified into similarity classes by means of a comparison. A system of classification defining six similarity classes (melody types) which are based on fundamental form characteristics (slow modulation properties) of the cry melodies was suggested. The form characteristics of the melody types are invariant apart from linear transformations of the time axis and a constant shift value in the frequency axis (with unchanged frequency hub). All cry melodies were unequivocally assigned to the classes of melody type formed and visualized in frequency or time without any scale transformations. The consistency of all the investigations conducted in the present study justify the suggested classification. It could be shown that the synchronicity and the concordance in the melody development for monozygotic twins is very much greater than that for unrelated twins of the same sex and age. The monozygosity of the twins and the greater synchronicity of the development thereby attained resulted in the universality in the development being manifested very much more distinctly than would have been the case in an average population. A continuous regular development of melody could be demonstrated in all twins and depicted in the form of a development diagram. A greater concordance and synchronicity between the monozygotic twins of the same pair was found with regard to the characteristics of the melody types produced and their absolute frequency at a certain age. This and the likewise demonstrable ability of the twins to reproduce the melodies in a highly similar form are very strong arguments corroborating a role of genetic factors in the production of the melody types according to an internal cerebral program.

Karl-Birger Blomdahl (1916-1968) and Ingvar Lidholm (1921- ) were two leading figures in modern Swedish music. While studying in Stockholm they created a study circle known as the Monday Group. Regarded as anti-romanticists, Blomdahl and Lidholm revitalized musical creation by prioritizing compositional technique (as in hantverk, i.e. craft), melodic line and Gestalt concepts such as organicism. Following a study of this shared historical, aesthetic and theoretical framework, this thesis proposes a detailed analysis of thirty works by Blomdahl and Lidholm, dating from the 1940s. Based on the initial aesthetic and theoretical context and also on the theories of Schenker and Meyer, the analytical method used enables a graphical and textual representation of the compositional coherence and dynamic of the respective works. This thesis establishes the essential melodic, tonal and organic divergences in the musical languages of Blomdahl and Lidholm. Additionally, this thesis shows that the notions of linearity, dissonance and counterpoint have a deeper significance in Blomdahl’s and Lidholm’s respective musical languages than is to be found in many texts dating from this period. Finally, this thesis highlights aesthetic and compositional components that significantly invigorate modern music in Sweden.

The thesis describes a new database of uzun havas, a non-metered structured improvisation form in Turkish folk music, and a system, which uses Variable-Length Markov Models (VLMMs) to predict the melody in the uzun hava form. The database consists of 77 songs, encompassing 10849 notes, and it is used to train multiple viewpoints, where each event in a musical sequence are represented by parallel descriptors such as Durations and Notes. The thesis also introduces pitch-related viewpoints that are specifically aimed to model the unique melodic properties of makam music. The predictability of the system is quantitatively evaluated by an entropy based scheme. In the experiments, the results from the pitch-related viewpoints mapping 12-tone-scale of Western classical theory and 17 tone-scale of Turkish folk music are compared. It is shown that VLMMs are highly predictive in the note progressions of the transcriptions of uzun havas. This suggests that VLMMs may be applied to makam-based and non-metered musical forms, in addition to Western musical styles. To the best of knowledge, the work presents the first symbolic, machine-readable database and the first application of computational modeling in Turkish folk music.

Qu'est-ce que la mélodie ? Si cette question délicate a animé de nombreux débats esthétiques du XVIIe siècle au début du XXe siècle, peu de spécialistes se sont aujourd'hui risqués à une étude de la mélodie, appliquée au répertoire contemporain. Parfois considérée comme illégitime, voire archaïque après 1945, la mélodie n'a pourtant que provisoirement disparu de l'espace musical et non sans laisser quelques scories riches de sens. Ce travail tente justement d'éclairer les enjeux et les différentes mutations de la mélodie, synthétisées à travers trois directions poursuivies par les compositeurs : premièrement, les résistances, illustrant la promotion d'un mélos généreux et prépondérant, qu'il soit ou non marqué par le néoclassicisme ; deuxièmement, les ruptures, nourries par le pointillisme sériel, puis par la dissolution du degré dans la masse sonore et par la recherche d'une fusion entre harmonie et timbre, d'où la mélodie ne subsiste que par bribes éparses ; troisièmement, les résurgences, caractérisées après 1960 par un dépassement de la modernité radicale et de ses prescriptions anti-mélodiques, allant parfois jusqu'à la citation ou recherchant une forme de communication nouvelle, pouvant être en lien avec l'expression du sacré. / What is melody? Despite the fact that this subtle question was largely debated upon from 17th to early 20th century from an aesthetic viewpoint, few specialists nowadays dare to study melody in contemporary repertoire. Sometimes regarded as illegitimate or even archaic after 1945, melody has only temporarily vanished from the musical scene, leaving some meaningful residues. This study aims at highlighting what is at stake in the diverse mutations of melody along three directions followed by composers : firstly, resistances exemplifying the promotion of a generous melos, whether it be marked by neoclassicism or not ; secondly, breaks nourished by punctual music, and then by the dissolution of degree in the sound mass and by the quest for a fusion between harmony and timbre, from which melody only survives through scattered fragments ; thirdly, resurgences characterized, after 1960, by an overcoming of radical modernity and its anti-melodic prescriptions, and sometimes taking the form of a quotation or looking for a new way of communication, which can be related to the expression of the sacred.

Ce travail met en évidence les manifestations lyriques et élégiaques dans le corpus des dix-sept mélodies d’Henri Duparc, à travers une analyse des discours poético-musicaux. Du point de vue conceptuel, le transfert de la notion de lyrisme, de la poétique vers la musique, permet de construire une représentation du lyrisme duparcien, située à la croisée du lyrisme poétique et des possibles de la structuration musicale. La première partie décline les différentes facettes de ce lyrisme à travers les moyens stylistiques du lyrisme poétique (l’élévation et la répétition) et du lyrisme musical (la "voix-violon", les posés de voix, la recomposition, la brièveté, l’emphase). La deuxième partie – la lecture interprétative des textes poétiques – expose quatre situations élégiaques, les plus représentatives du style duparcien. Ce prisme révèle la démarche compositionnelle d’Henri Duparc : il travaille par thématiques, qu’il traite plusieurs fois sous différents angles, pour en montrer les différentes facettes émotionnelles. En dégageant les idées dramatiques d’Henri Duparc à partir de sa correspondance, la troisième partie démontre que les mélodies constituent pour ce compositeur un laboratoire d’expérimentation de ce qu'il a lui-même nommé le "drame d’âme", qui s'élaborait au sein du projet de "La Roussalka", son unique drame lyrique, inachevé, puis détruit. Ces mélodies mettent en évidence les limites compositionnelles de ce musicien en matière de drame lyrique, élaboré sans action extérieure, sans enchaînement de situations dramatiques et sans personnage. Au terme de cette étude, les mélodies apparaissent donc comme la forme la plus aboutie dont il était capable. / This dissertation highlights lyric and elegiac works in the corpus of seventeen melodies of Henri Duparc, through an analysis of the poetic and musical speeches. From the abstract point of view, the transfer of the notion of lyricism, from poetics to music, helps to build a representation of Duparc’s personal lyricism, that lays between the poetic lyricism and the possibilities of the musical structure. The first part of this study presents the various ways of lyricism through stylistic means of poetic lyricism (elevation of thought and repetition) and of musical lyricism (the idea of "violin-voice", the level of the voice, the rewriting of the works, the brevity, the bombast). The second part - the interpretative reading of the poetic texts – sheds lights on four elegiac situations, which are the more representative of the composer’s style. This prism reveals the Henri Duparc’s approach of composition: he works by themes, which he handles several times under different angles, to show the various emotional sides. Revealing Henri Duparc's dramatic ideas from his correspondence, the third part demonstrates that his melodies establish for this composer a laboratory of experiment of what he called himself the "drama of the soul", which he developed within the project of "La Roussalka", his unique operatic drama, unfinished then destroyed. These melodies highlight the limits of this musician writing skills regarding operatic drama, developed separate from action, without sequence of dramatic situations and without characters. At the end of this study, the melodies appear as the most accomplished shape in which Henri Duparc was proficient.

The focus of this master's thesis is an automatic creation of organ overtures for church songs from both theoretical and practical points of view. Organ overture is a short introduction to a church song. According to the fact that it can be described by a finite set of rules, it is possible to use techniques for solving Constraint Satisfaction Problems. An effective instrument to develop such system can be C++ programming language and Gecode library.

Die Bayerische Staatsbibliothek hat im Sommer 2016 ein Projekt zur automatischen Notenerkennung (Optical Music Recognition, OMR) gestartet. Dieser Beitrag beschreibt zunächst die Funktionsweise und die Qualität von OMR-Programmen und geht dann auf die bisherigen Erfahrungen der Bayerischen Staatsbibliothek mit OMR ein. Anschließend werden die Anwendungsszenarien skizziert, die die Bayerische Staatsbibliothek aufsetzend auf den OMR-Daten entwickeln wird. / During summer 2016, the Bavarian State Library has started a project on optical music recognition (OMR). This paper describes the functionality and quality of OMR programs at first and then depicts the OMR-experiences of the Bavarian State Library. Finally, the use case scenarios are outlined that the Bavarian State Library will implement on top of the OMR data.

Cochlear implant (CI) devices afford many profoundly deaf individuals worldwide partially restored hearing ability. Although CI users achieve remarkable speech perception with contemporary multichannel CI devices, their music perception ability is generally unsatisfactory. Improved CI-mediated music perception ability requires that the underlying constraints hindering processing of music-relevant information need to be identified and understood. This study puts forward a systematic approach, informed by the neurocognitive mechanisms underlying music perception in normal hearing (NH), for investigating implant-mediated music perception. Psychoacoustical experiments were used to explore the extent to which music-relevant information delivered to the central auditory system following peripheral electrical stimulation supports music perception. Task-specific stimuli and test procedures were developed to assess perception of pitch, rhythm and loudness information, both as separate and in combined form, in sound-field listening conditions. CI users’ unsuccessful judgement of the musical character of short, novel single-voice melodies suggests that insufficient information reaches the central auditory processing system to effect a unified musical percept. This is despite sound field frequency discrimination behaviour being better than had been expected and rhythm perception ability with regard to short tone sequences of varying pitch and rhythmic complexity being comparable to that of NH listeners. CI listeners also performed similarly to NH listeners during pitch-dependent loudness perception tasks. Within the framework of a hierarchical, modular processing system underlying music perception, it appears that early pitch processing deficits propagate throughout the music processing system to exert an overriding inhibitory perceptual effect. The outcomes of this study not only underline the importance of delivering sufficient pitch information to the electrically stimulated auditory system but also show that music perception in CI-mediated hearing should be investigated and understood as the outcome of an integrated perceptual system. / Thesis (PhD)--University of Pretoria, 2011. / Electrical, Electronic and Computer Engineering / Unrestricted