Nesta pesquisa propõe-se a elaboração de um modelo composicional a partir da integração de três técnicas analíticas: tematicismo, estratificação e refuncionalização. Tem-se por hipótese que essas ferramentas de análise musical, per se unilaterais, são passíveis de associação gerando um novo modelo de composição que engloba os aspectos temáticos, harmônicos, texturais e formais necessários para a estruturação de um discurso musical inserido em uma estética pós-tonal. Os procedimentos analíticos não são tomados como prescrições, tampouco empregados como moldes estanques, mas usados como ponto de partida para o trabalho composicional. O modelo assim estabelecido permite ser desdobrado para o campo da didática musical na medida em que pode ser empregado como estratégia pedagógica nos cursos de composição. Espera-se, além do aporte eminentemente técnico composicional gerado com a constituição desse modelo, ampliar o alcance das ferramentas analíticas aqui consideradas e, ao mesmo tempo, contribuir com o incremento da literatura incidente aos assuntos composicionais, posto que neste projeto estão envolvidas considerações sobre a estética musical contemporânea e o ensino da composição. / In this research was proposed the creation of a model to musical composition accomplished by setting together three analytical techniques: thematicism, stratification, and refunctioning. The basic hypothesis suggests that analytical tools, per se unilateral, could be associated in order to generate a new model to musical composition. In this model will be integrated the aspects thematic, harmonic, of the texture, and formal that are necessary to structure a post-tonal musical discourse. The analytical proceedings are not taken like prescriptions, neither employed in a rigid way, but used like starting point for the compositional work. So established model will allow be transported for the field of the musical education in so far as it can be employed like pedagogic strategy in the courses of composition. It is hoped, besides the technical contributions produced with the constitution of this model, to enlarge the reach of the analytical tools presented, and at the same time, to contribute with the growth of the literature about compositional issues, since this project also deals with aesthetical and pedagogical subjects.

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.

La presente tesis toma como referencia principal el paradigma de la Complejidad deEdgar Morin y las teorías de Heinrich Schenker. Como emergencia del sistema humanomente/cerebro, el Arte en general y la música en particular son considerados desde la perspectivade las organizaciones de nuestro universo. Así, todos los acontecimientos/eventos que seproducen en el interior/exterior de una composición tonal, lo hacen en función de suantagonismo y complementariedad, siempre de forma concurrente, tal y como articula lasnociones Edgar Morin, consiguiendo superar, a través de la noción de bucle, la dicotomíaoccidental.En las teorías tradicionales de la música, lo descriptivo, lo lineal y lo determinista son lasdirectrices pedagógicas y compositivas, lo que nunca ha sido útil salvo para conocer de formasuperficial el catálogo de situaciones horizontales, verticales y formales de la música tonal. Porel contrario, Heinrich Schenker trató de construir un edificio teórico basado en las ideas decoherencia y crecimiento orgánico, teniendo como pilar fundamental la asociación de ideas,entre las que destaca la Asociación Motívica, la noción de paralelismo y las similitudes ydiferencias entre la gramaticalidad y la funcionalidad de los acontecimientos de la composicióntonal, la cual se desarrolla a partir de tres niveles integrados de transformación-organización:background, middleground y foreground.En la simplificación de las teoría y procedimientos analíticos, llevada a cabo por losalumnos directos de Schenker, la idea de Crecimiento Orgánico es sustituida por la idea dereducción lo que ha llevado a lo que algunos consideramos una mala compresión de la teoría, yal rechazo por parte de aquellos que no profundizan en ella. A través de los gráficos originales deSchenker, se percibe con claridad que la organización músico-tonal se consigue a través de tresniveles interrelacionados e interaccionales, que parten del primero como fuente de lacomposición: background, Primer Nivel o Base Subyacente (relación estructural a gran escala),middleground, Segundo Nivel o Base Generatiz Media (relaciones estructurales a medio plazo),y foreground, Tercer Nivel o Base Generatriz de la Superficie (relaciones estructurales en elnivel local o temporal inmediato).Las nociones schenkerianas han sido trasladadas al paradigma de la complejidadmoriniana, viendo cómo encajaban sin ningún esfuerzo, del mismo modo que hemos trasladadolas nociones morinianas al paradigma schenkeriano, comprobando, felizmente, que las unas seembuclan en las otras en una relación dialógica, superando su aislamiento dicotómico ydemostrando que el todo es a la vez mucho más y mucho menos que la suma de las partes. Losprincipios morinianos dialógico, recursivo-retroactivo y hologramático nos ayudan a pensar laComplejidad de las organizaciones músico-tonales.Alcanzado nuestro objetivo, la composición tonal se muestra como organizacióninformacional/comunicacional/computacional, a través de los principios de la complejidadmoriniana: el principio dialógico, el principio recursivo-retroactivo y el principio hologramático.De este modo, llevamos a cabo una re-organización de los conocimientos schenkerianos, unainterdisciplinariedad que ofrece isomorfismos conceptuales, desde los que trascender el corpusteórico, hasta la aprehensión de la obra musical tonal en toda su dimensión, consiguiendodescubrir que lo que mantiene la unidad en el interior del organismo sonoro es lacoherencia, pero de la información que se produce y se transmite en el interior de sonido asonido, de relación a relación, de motivo inicial a motivo transformado, de parte a parte, departe a todo, de todo a parte, de todo a todo, es decir, la coherencia de la organizacióninformacional/comunicacional/computacional. / This thesis considers as primary reference the Complexity Paradigm of Edgar Morinand the theories of Heinrich Schenker. Art in general and music in particular areconsidered from the perspective of the organizations of ourinformational/communicational/computational organization universe as products of thehuman system/mind. Thus, everything that occurs inside and outside a tonalcomposition does so on the basis of its antagonism and complementarity, always in arecurrent way, as.Edgar Morin articulates notions, overcoming the Western dichotomy introducingthe notion of loop. Heinrich Schenker sought to construct a theoretical building basedon the ideas of coherence and organic growth, using as the fundamental pillar theassociation of ideas, Association Motivic, the notion of parallelism and the similaritiesand differences between the grammaticality and functionality of the events in the tonalcomposition, which develops from three integrated levels of transformationorganization:background, middleground and foreground.Shenker's notions have been transferred to the paradigm of Morin's complexity,so that they fit together with no effort, in like Morin's notions have been shifted intoSchenker's paradigm, with the happy result, of watching them loop together in adialogical relationship. The tonal composition appears as aninformational/communicational/computational organization, through Morin's principlesof complexity: the dialogic principle, the recursive-retroactive principle and thehologramatic principle. Thus, we've carried out a re-organization of the knowledge ofSchenker, an interdisciplin which offers a conceptual isomorphism, from which totranscend the theoretical corpus, to the apprehension of the musical/tonal compositionin all its dimensions, to discover that what maintains unity in the sonorous body isconsistency, but about the information that is produced and transmitted frominside one sound to another, from relationship to relationship, from the initialmotive to the transformed motive, from side to side, from a part to the whole, fromthe whole to a part, that is, the coherence of the informational, communicationaland computational organization.

The following thesis is written by students at the School of Engineering at Jönköping University, informatics, New Media Design. The background of this report is based on a project collaboration with Toxic Interactive solutions AB, who wanted help with creating an application for registering sick leave from work. Since these registrations for sick leave affects the income and work relations, the aspect trust within an application was chosen as a subject for the report. Furthermore we connected this to the feedback element to see how trust was affected by this factor. Also the design and tonality of the feedback was chosen as a subject for the study. Visual feedback connects to the user with information about their actions and a confirmation. Based on this, two questions were formed: [1] How does visual feedback affect trust in a mobile application? [2] Does the the tonality in the feedback affect trust for a mobile application? To answer these questions, user tests and interviews was performed with the users. Three prototypes were created with different levels of feedback: no feedback, feedback with formal tonality and feedback with informal tonality. These were tested on nine users for each prototype (27 users in total). Parallelly two interviews with experts of the area were performed for a deeper knowledge and comparability. Other than this relevant studies and theories have been studied. The results of this study show that feedback contributes to increased trustworthiness amongst users. Although there are many other reasons that will have an affect. A formal tonality in the feedback is perceived as slightly more trustworthy according to the user tests and user interviews conducted. An insight about the connection between the tonality and target groups and subjective preferences was revealed from the expert interviews. Also, theories studied about the formality of the language mentions that it should be adapted to the specific target group. The conclusions that can be made from the study shows that trust, feedback and tonality are all connected. all the results show that feedback in a system has a positive effect on the user experience. Feedback also means more trust from a user than when its absent. / Följande examensarbete har utförts av studenter på Tekniska Högskolan i Jönköping på kandidatpåbyggnadsprogrammet informatik, New Media Design. Bakgrunden till arbetet grundar sig i ett projekt från Toxic Interactive Solutions AB som önskade hjälp med att ta fram en mobilapplikation för hantering av sjukanmälningar. Eftersom sjukanmälningar påverkar inkomst och jobbrelationer var förtroende en aspekt som valdes som inriktning att studera. Vidare hur förtroende hos användare påverkas av feedback. Även hur feedbacken är utformad valdes att studera. Visuell feedback återkopplar till användare om deras utförda handlingar som en bekräftelse på att deras anmälningar i applikationen är genomförda. Grundat i detta formulerades två frågeställningar: [1] Hur påverkar visuell feedback i ett gränssnitt faktorn förtroende för en mobilapplikation? [2] Påverkar tonaliteten i feedbacken förtroendet för en mobilapplikation? För att besvara dessa frågeställningar utfördes observationer användartester uppföljt av intervjuer med användarna. Tre prototyper utformades med olika grad av feedback; ingen feedback, formell ton på feedback samt icke-formell ton på feedback. Dessa testades med 9 personer på varje prototyp för att utläsa eventuella skillnader på attityd till dem (totalt 27 tester/intervjuer). Parallellt utfördes två olika intervjuer med experter inom området för att få en djupare kunskap, samt att kunn jämföra med användartesterna. Utöver detta har relevanta studier och teorier studerats. Resultaten visar på att feedback bidrar till ökat förtroende, dock är det många olika aspekter som spelar in. En formell tonalitet i feedbacken upplevdes aningen mer pålitlig enligt användartester och användarintervjuer. En insikt om att detta är starkt kopplat till målgrupp och subjektiva preferenser konstaterades från båda expertintervjuerna som hölls. Även teori om formalitet i språk säger att språket bör anpassas till den specifika användaren. De slutsatser som kan utläsas från studien är att förtroende, feedback och tonalitet går att koppla till varandra. Samtliga delar tyder på att användning av feedback har en positiv inverkan på användarupplevelsen. Även när feedback är närvarande inger detta mer tillit än när den inte är befintlig.

Orientador: Francisco Elinaldo Teixeira / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-16T23:12:12Z (GMT). No. of bitstreams: 1 Carvalho_FranciscoEgydiode_M.pdf: 1016284 bytes, checksum: 212eacc09a57d8e76634395d3805721b (MD5) Previous issue date: 2010 / Resumo: O presente estudo tem como objetivo estabelecer uma aproximação entre cinema e música no que concerne aos mecanismos de produção de sentido articulados por ambas as artes. A partir dos conceitos de imagem-movimento e imagem-tempo, concebidos por Deleuze através das teorias de representação da matéria de Bergson, o estudo propõe defender a idéia de que a narrativa encampada pela imagem pode ser lida e compreendida também como uma partitura musical sinfônica, aproveitando, para tanto, os estudos de André Parente sobre a narratividade fílmica / Abstract: The goal of present study is to establish a bridge between cinema and music concerning in particular the generating mechanisms of articulated senses in both art forms. From the concepts of image-moviment and image-time, determined by Deleuze through Bergson's representation of matter theories, this work sets to defend the idea that the narration expropriated by image can be read and equally understood as a symphonic music score, taking advantage for such analysis of Andre Parente's studies about the filming narrative / Mestrado / Mestre em Multimeios

When talking about tonal music, we sometimes tend to take for granted the idea that the tonic should always be clearly established either at the beginning or the end. However, there are composers who sometimes deviate from the normal path by creating different types of riddles or tonal enigmas in their works. Some of these riddles can be solved later on as the piece progresses; yet others may need to bexplained with the help of some external references. This thesis examines three such examples, each of which poses its unique enigma. The second movement of Bruckner's Symphony No. 1 presents a dualism between Ab and F (paralleled by their dominants Eb and C); Brahms's Alto Rhapsody involves an enormous auxiliary cadence spanning 2/3 of the piece and a seemingly plagal cadence which turns out to be authentic with the V suppressed; and eventually, Grieg's setting of Dereinst, dereinst, Gedanke mein provides a paradoxical ending which may be understood as incorporating the composer's attitude towards the text.

HDR images have much wider range of luminance values, than photographs created and displayed in a standard 24-bit format. There are several ways to create images with high dynamic range, but this diploma thesis focuses just on one of them, and it is the method of composing out of series of standard photographs. The goal of the first part of the text consists of studying, understanding and eventually writing down the basic terms and knowledge in the subject of image composition and other processes, necessary to create HDR photographs. Next the procedure of creating images with high dynamic range, processing and converting them into viewable form, is described. The following chapter contains the design of the application, which creates this kind of photographs, and which is smoothly changing into its actual implementation afterwards. The process of experimenting and its results are presented and discussed firstly in their own chapter and secondly in the attachment. The conclusion contains the summary of the work and the options of possible expansion.

No description available.

The music of Jean Francaix is well known to those familiar with woodwind chamber literature. His long, successful career began in the 1930s when French composers rejected the excessively chromatic harmonies, intense emotionalism and grandiose proportions of late Romantic music. Embracing the concepts of neoclassicism, economy of means, clarity and objectivity, and a return to diatonicism and formal structures, the new "Classical" music contained the added spice of twentieth-century harmonic techniques including bitonality, modality, and quartal and quintal harmonies. Francaix has written many concertos and solos for woodwind instruments, but his enduring popularity resides in his chamber music for various combinations. His publisher for the last six decades has been B. Schott's Sohne who commissioned Francaix to write several chamber works in honor of his eightieth birthday. Two of his works for flute, Divertimento pour flute et piano and Suite pour flute seule, are known to professional flutists but not considered standards in the flute repertoire. The purpose of this paper is to call attention to the wide variety of Francaix's repertoire which is eminently suitable for concert and recital programming. The identification of formal and tonal elements in Francaix's two works for flute helps to place his prodigious output within the context of the prevailing musical and philosophical aesthetic in France of the 1920s through 1940s. An annotated list of Francaix's works with flute in a primary role is included as an appendix.

В данной магистерской диссертации исследуется категориальная специфика жанра (текстотипа) новостной заметки. Рассматриваются особенности выражения темы, хронотопа и тональности в новостных заметках на сайте агентства URA.Ru за декабрь 2017 г. Описано типологическое функционирование данных категорий; доказано, что набор категорий «тема + хронотоп + тональность» может быть признан необходимым и достаточным для описания новостной заметки как жанра публицистического функционального стиля. Полученные результаты анализа проявлений названных текстовых категорий ассоциированы со всем объемом сплошной выборки и транспонированы на весь жанр новостной заметки как текстотип. / This master degree thesis studies the categorical specifics of the news notes texts. The features of topical, chronotopical, and tonal representations in the news notes texts published on the URA.Ru website during December 2017 are considered. The typical functionality of the categories given is characterized, the set of such categories as theme, chronotope, and tonality being recognized as essential and sufficient to describe a news note as a genre of the newspaper style. The analysis results of the verbal representations of the text categories given were then associated with the entire continuous sampling, and transposed to the whole text type of the news notes.