Med utgångspunkt i min bristande notläsningsförmåga är syftet med föreliggande studie att undersöka vilka resurser utöver själva noterna som jag använder vid inlärningen av ett noterat musikstycke. Detta sker via videoobservation, dikterad loggbok, samt insamling av tidigare data. Tre olika övningspass á 20 minuter ligger till grund för resultatet. Dessa analyserades och bearbetades utifrån ett designteoretiskt perspektiv. I resultatet beskrivs vilka resurser jag använde, hur de användes, samt varför de användes. I diskussionsdelen belyses resultatet utifrån ett designteoretiskt perspektiv, jag resonerar kring behovet av att använda dessa resurser, samt diskuterar orsaken till min problematik och vägen framåt. / Based on my lacking ability to read sheet music, the purpose of this study is to examine what resources beyond the music notation I use in the process of learning a piano piece from sheet music. This is done through video observation, a dictated journal, and collection of previously available data. Three separate practice sessions of 20 minutes each is the basis for the result. These were analyzed and processed based on a design theoretical perspective. The result describes which resources I used, how they were used, as well as why they were used. In the concluding discussion section, I illuminate the result from the perspective of design theory, I argue regarding the need to use these resources, as well as discuss the cause of my problems and a possible way forward.

A presente dissertação expõe um estudo analítico da Sequenza I, para flauta solo, escrita pelo compositor italiano Luciano Berio (1925-2003), com foco nas duas edições da obra. A primeira, de 1958, faz uso de notação proporcional e foi publicada pela Editora Suvini Zerboni. Já em 1992, surge uma edição revisada pelo compositor, fazendo uso de notação rítmica tradicional, e que foi publicada pela Universal Edition. Dentre as diversas motivações para a realização deste trabalho, podemos citar a peculiaridade da reescritura da obra pelo próprio compositor, 34 anos mais tarde, focando suas alterações substancialmente na notação rítmica; um levantamento de questões referentes às práticas interpretativas com foco na obra para flauta transversal; e a representatividade da Sequenza I como um cânone do repertório para flauta, cujo estudo é indispensável ao flautista do século XXI. Colocando-nos tanto no papel de intérprete quanto de analista, buscamos reflexões acerca das práticas interpretativas, visto que procuramos nos desenvolver no domínio de ambas as áreas. Na conclusão, observamos haver um relacionamento de colaboração mútua entre análise musical e performance que realmente esclarece aspectos estruturais, e uma influência da experiência de Berio junto à composição eletroacústica na escrita desta obra para instrumento acústico. / This thesis presents an analytical study of Sequenza I for solo flute, by the Italian composer Luciano Berio (1925-2003), focusing on two editions of the work. The first one, from 1958, uses proportional notation and was published by Suvini Zerboni Editions. The second one, published by Universal Edition in 1992, was reviewed by the composer and uses traditional rhythmic notation. Among various motivations for carrying out this work, I mention the peculiarity of a composer rewriting his own work 34 years later, centering his changes mainly in the rhythmic notation; a survey of issues regarding interpretative practices and focusing on works for flute; and the representativity of Sequenza I as a canon of the flute repertoire, which study is indispensable to the Twentieth Century flautist. Placing myself both in the role of performer and analyst, I look for reflections concerning performance practices, as I seek to develop myself in both fields. In conclusion, I found a relationship of mutual collaboration between musical analysis and performance, which really clarifies structural aspects; and an influence of Berio\'s experience within electroacoustic composition in writing this piece for an acoustic instrument

La présente thèse concerne les mutations sociospatiales introduites par des tendances de financiarisation du système du logement grec au cours des deux dernières décennies. Comment les processus mondiaux de financiarisation se sont-ils accommodés à un contexte local pour développer leur version grecque ? Le but de notre travail est de mettre en lumière la transformation d’une économie autofinancée et basée sur les réseaux familiaux en marché hypothécaire. Notre hypothèse est que ces bouleversements du financement de la fabrique résidentielle, c’est-à-dire l’apparition de la finance comme un « nouvel acteur » sur les circuits de production du logement, vont de pair avec des dynamiques de précarisation du logement et des nouvelles géographies sociospatiales.Dans les années d’après-guerre, Athènes, ville méditerranéenne et périphérique de l’Europe du Sud, est caractérisée par une forte mobilité sociale, sur laquelle les circuits de production du logement ont fonctionné comme un «ascenseur social ». Depuis le début des années 1990, Athènes doit faire face à la fois à un nouveau contexte et à la persistance des structures préexistantes. C’est la première période d’un véritable développement du crédit au logement en Grèce qui fait notablement augmenté les prix des logements. L’analyse quantitative et qualitative, le cas d’étude ainsi que les entretiens semi-directifs mettent en valeur de nouveaux acteurs, représentations et pratiques, mais aussi de tendances de l’exclusion bancaire. Cette étude souligne l’importance de l’aspect géographique ainsi que le rôle signifiant de réseaux familiaux, de l’échelle du quartier et de la vie quotidienne dans l’analyse de la finance ainsi que l’interdépendance entre système financier et l’économie informelle. / The present thesis concerns the sociospatial mutations produced by the financialization trends of the Greek housing system in the past two decades. How are the global processes of financialization accommodated in a local context in order to generate a Greek version of financialization? Aim of the thesis is to shed light on the transformation of a self-financing economy, based on family networks to a mortgage market. The hypothesis is that these changes in the field of financing the residential urban fabric, or the emergence of finance as a "new actor" on housing production circuits, are associated with the precarization of housing and new sociospatial geographies.During the postwar decades, Athens, a Mediterranean city and, at the same time, a south European peripheral urban center, is characterized by strong social mobility, when housing production circuits functioned as a “social elevator”. Since the early 1990s, Athens is facing both new challenges and the persistence of pre-existing structures. It is the first time of a crucial expansion of housing credit in Greece, when housing prices have significantly increased. The quantitative and qualitative analysis, the case study and the semi-structured interviews highlight new actors, their actions, representations and practices as well as tendencies of financial exclusion. This study highlights the importance of the geography as well as the significant role of family networks, the scale of neighborhood and everyday life in analyzing finance and the interconnections of the financial system with the informal economy.

This dissertation aims to explore the functions and meanings of four frequently used dynamic accent markings (fp, rf, sf and sfp) in Beethoven’s early chamber music with the fortepiano, with the consideration of acoustic qualities and playing capabilities of instruments intended for the studied works. The sources of reference here include the three Op.1 piano trios, two Op.5 cello sonatas, and three Op.12 violin sonatas, using a modern critical edition in conjunction with the first editions published during Beethoven's lifetime. The study consists of two parts. The first part surveys historical aspects including: 1) the development of relevant instruments, namely the bow and the fortepiano, and 2) existing accentuation conventions, especially those found in selected works of Haydn and Mozart, and appropriate treatises from Beethoven's time. The second part of the study entails the examination of consistency and frequency of dynamic accent markings in general, and that of individual accent markings using specific musical examples. The process of this investigation shows that these signs have distinct meanings, and consequently, require different treatments for their respective executions in performance. It also implies that the acoustic qualities of the ensembles with instruments from Beethoven's time are the most important factor contributing to variations found in his use of the accent markings among the different genres. Such acoustic qualities include the quieter volume and faster decay of the fortepiano, as well as the larger sonority from the cello especially in the lower register, when compared with instruments made for today's concert halls. These insights not only illuminate the possible ways to realize each marking, but also clarify accent markings which could seem inconsistent to modern performers, in terms of acoustic balance, especially in combinations that include the cello.

Cette thèse s'inscrit dans le domaine de l'Interaction Homme-Machine (IHM). Nous explorons trois thèmes de recherche : les IHM sur Supports Mobiles, les Collecticiels et les Systèmes Mixtes. Dans ce cadre, nous visons à définir, concevoir (conception ergonomique et logicielle) et comprendre l'usage des systèmes mixtes collaboratifs sur supports mobiles (SMCSM). Les contributions de cette thèse couvrent le cycle de vie des interfaces. Tout d'abord, pour la phase d'analyse des besoins, nous élaborons une définition et une caractérisation des SMCSM. Nous montrons ainsi que de tels systèmes ne sont pas qu'une simple juxtaposition des trois thèmes. Nous identifions alors un nouveau découpage espace-temps et la dynamique des liens entre les mondes physique et numérique. Ensuite, pour la phase de conception ergonomique, nous développons une démarche de conception basée sur les scénarios en collaboration avec des psychologues-ergonomes. Nous définissons une notation de conception afin de représenter les scénarios projetés, qui décrivent l'utilisation de la future interface. Puis, pour la phase de conception logicielle, nous décrivons un modèle d'architecture pour les SMCSM. Nous adaptons le modèle PAC-Amodeus aux les collecticiels en explicitant les traitements informatiques des données contextuelles (localisation, orientation, etc.). De plus, nous développons trois techniques d'interaction générales sur une plate-forme matérielle dédiée aux SMCSM. Enfin, nous réalisons deux SMCSM : MAGIC, un système dédié à la fouille archéologique et TROC, un jeu d'échange. Nous rapportons les résultats de deux séries d'expériences menées avec le système TROC.

This document contains a synopsis of Toshi Ichiyanagi’s compositional style, a discussion of his musical philosophy, and an analysis of Trio Webster. Ichiyanagi is a renowned Japanese composer who studied in New York under John Cage’s mentorship. He is also the first composer to introduce Cage’s concept of chance operation to Japanese society. Trio Webster realizes the true exchange of Western and Eastern cultures, and it is accomplished because of Ichiyanagi’s unique experience and philosophy as an international composer. The concept of Japanese classical music and Japanese aesthetics are observed in Trio Webster which is the basis for the depth of the work. Eastern concepts, especially Japanese, can be ambiguous and may be difficult for Westerners to fully appreciate. This study shows the cosmos beyond the practical analysis of Trio Webster and is meant to serve as a guide for those who will perform the works of Ichiyanagi, especially Trio Webster, in the future. This study was facilitated through research and interviews with Ichiyanagi and members of the Webster Trio. Ichiyanagi’s interview is included as an appendix to this document.

Aida Slavic aus London berichtete über den derzeitigen Stand bei der Universalen Dezimalklassifikation UDK. Wobei sie einerseits auf die erreichte Qualität und Moder­nität des alten Systems eingeht und andererseits die erreichte Organisationsstruktur im Rahmen des UDC-Konsortiums schildert. Insbesondere zu beklagen ist nach wie vor, dass im deutschsprachigen Raum seit dem Ausscheiden der beiden Normungs­institute DIN und ÖNORM aus der UDK-Gestaltung sich keine Nachfolgestruktur zur Weiterführung der UDK gefunden hat.

In dem von der Deutschen Forschungsgemeinschaft geförderten Projekt PROBADO (http://www.probado.de) werden von drei universitären Informatik-Instituten und zwei Bibliotheken innovative Verfahren für nicht-textuelle Dokumente entwickelt und prototypisch für die Bereiche 3D-Architekturmodelle und Musikdokumente in bibliothekarische Arbeitsabläufe integriert. Tonaufnahmen und Musikalien stehen dabei im Mittelpunkt des Teilprojekts Probado-Musik, das von der Bayerischen  Staatsbibliothek und dem Institut für Informatik III der Universität Bonn (Arbeitsgruppe Professor Clausen) betreut wird. Die drei wichtigsten Ziele dieses Teilprojektes sind die weitgehende Automatisierung der Erschließung und Indexierung von Musikdokumenten, die Anwendung neuartiger inhaltsbasierter Suchverfahren für Musik und der Aufbau nutzerfreundlicher Oberflächen zur komfortablen Suche und Bereitstellung von diesen Musikdokumenten. Hierfür wurde ein Musik-Repository aufgebaut, das Musikdokumente in verschiedenen Formaten enthält. Dazu gehören eingescannte Notendrucke im TIFF- und JPEG-Format, Audio-Dateien im WAV- und MP3-Format sowie symbolische Musikformate wie Music-XML und die Ausgabeformate von OMR-Programmen („Optical Music Recognition“). Das Musik-Repository enthält mittlerweile ca. 100.000 Seiten von eingescannten Notendrucken und Audio-Dateien von mehreren Hundert CDs. Die dazugehörigen Metadaten werden aus dem Katalog der Bayerischen Staatsbibliothek und externen Datenquellen gewonnen und in einer FRBR-basierten Datenbank abgelegt. (Katrin Braun, Münchener Digitalisierungszentrum / Digitale Bibliothek, Bayerische Staatsbibliothek)

Thesis (D.M.A.)--University of Wisconsin--Madison, 1974. / Typescript. Vita. Description based on print version record. Includes bibliographical references (leaves 154-157).

A tablatura é um formato de notação musical alternativo para instrumentos de corda. Ela contém a posição exata (corda e casa) que necessita ser tocada para produzir um som desejado. A conversão da notação musical padrão (partitura) para uma tablatura de violão, também conhecida como transcrição, não é um processo simplificado. A razão é que cada nota da notação musical padrão pode ser tocada em diferentes posições no braço do violão. Desta forma este problema pode ser classificada como um problema de otimização combinatório. Neste trabalho, foi empregado um estudo comparativo de diferentes algoritmos: A*, algoritmos genéticos (AG), algoritmos genéticos com uso de subpopulações (AG-SP), otimização por colônia de formigas (ACO), e evolução diferencial (ED). Heurísticas baseadas nas buscas locais 2-opt e 3-opt para as abordagens AG, AG-SP e ED também foram inclusas. Os resultados experimentais com um conjunto de dados de 87 músicas monofônicas demonstraram que os algoritmos ACO, AG-SP 2-opt e AG 2-opt apresentaram os melhores resultados. Por fim, cada abordagem foi estatisticamente comparada utilizando o teste ANOVA em conjunto com o pós-teste de Tukey (Tukey post hoc), onde as análises demonstraram que há diferenças significativas entre os algoritmos avaliados. / A tablature is an alternative music notation format for string instruments. It contains the exact position (string and fret) witch needs to be played to produce the desired sound. The conversion of the musical staff notation (sheet music) to a guitar tablature, also known as transcription, is not a straightforward process. The reason is that each note on the music notation format can be played in different positions of the guitar fretboard. So this problem can be classified as a combinatorial optimization problem. In this work, we have employed a comparative study of different algorithms: A*, genetic algorithms (AG), genetic algorithms with use of subpopulations (AG-SP), ant colony optimization (ACO) and differential evolution (ED). I was also included heuristics based on local search 2-opt and 3-opt in the aproaches AG, AG-SP and ED. The experimental results with a dataset of 87 monophonic musics indicated that the approaches ACO, AG-SP 2-opt and AG 2-opt obtained the best results. Finally, each approach were statistically compared using the ANOVA with the Tukey post hoc, where the analysis indicated that there are significant differences between the evaluated algorithms.