This thesis focuses on the high dynamic range (HDR) imaging problematic. It describes process of capturing and storage of HDR images in brief. Main part of thesis deals with techniques of how to display HDR images on common visual display devices, which are not able to represent them directly. This process is called tone-mapping. It is firstly described in general and than the text focuses on several techniques of tone-mapping, mainly on tone-mapping using bilateral filtering.

This dissertation investigates how W. A. Mozart applies the concept of key characteristics—the affective properties of each tonality—as discussed by three of his contemporaries, Johann Mattheson, C.F.D. Schubart and G.J. Vogler, to four soubrette and four prima donna characters from four of his late Italian operas: La Contessa and Susanna in Le nozze di Figaro; Donna Anna and Zerlina in Don Giovanni; Fiordiligi and Despina in Così fan tutte; Vitellia and Servilia in La clemenza di Tito. The analytical method of this dissertation provides a hermeneutical tool to search for meanings in Mozart's music. The application compares the libretto text and its corresponding tonal center with the description of key characteristics on a micro level, to reveal significant dramatic and practical implications from Mozart's key usage in his operas.

The analytical literature posits a dichotomy between Copland’s “popular” and “serious” music. Despite different motivic and hannonic structures on the surface, however, these styles are consistent in their underlying use of tonality. Tonics in both styles are defined by the same set of tonicizing techniques; and tonics in both styles serve the same function — to define the changing scale-degree function of pcs that are emphasized in various ways as common to the collections of successive tonics. The most important of these changes in scale-degree function are summarized in pitch-class continuity graphs that show the relation of the changes to thematic and harmonic form. Detailed analyses, which cover two “popular” and two “serious” works by Copland, demonstrate the consistency between the two styles. Besides demonstrating an underlying stylistic consistency these graphs provide useful information about structure in Copland’s music because they confirm striking features of Copland’s thematic and tonal designs.

Thesis (Ph.D.) --University of Adelaide, Elder Conservatorium of Music, 2008. / "October 2007" Bibliography: leaves 168-170. Also available in print form.

This thesis develops an analytical approach to the instrumental music of Orlando Gibbons (1583-1625) based on close readings of historical theory sources, primarily by Thomas Morley, John Coprario and Thomas Campion. Music of the early seventeenth century can be difficult to analyse, since it falls between the more extensively studied and theorised practices of classic vocal polyphony and common-practice tonality. Although English music theory of this period is recognised as strikingly modern in many respects, innovative aspects of English compositions from the same period receive little attention in standard accounts of the seventeenth century. I argue that concepts taken from this body of historical theory provide the basic terms of a technical vocabulary for analysis, which should be further refined through application to real compositions. Successive chapters deal with common counterpoint models or patterns, imitative invention and disposition, cadential progressions, and overall tonal structure. I argue that these analyses show Gibbons's music to be a contribution to new ways of conceiving of instrumental polyphony and tonal structure, which deserves re-evaluation in the context of broader seventeenth-century trends. In particular, Gibbons's use of extended cadential expectations as an expressive element, fascination with sequential progressions, and sectional structuring by harmonic area have clear parallels with later practices. At the same time, early seventeenth century style allows the composer considerably more freedom of harmonic procedures and implications than the musical styles which immediately followed it. Analysis grounded in historical theory provides the best approach to understanding and appreciating this unique musical language.

In this mini-dissertation the writer analyzed Hubert du Plessis’ Drie Stukke vir Fluit en Klavier, opus 25. He researched why Du Plessis uses three shorter series of different lengths. The relationship between the series in this work was researched, as well as the characteristic applications of the series. It was found that Du Plessis uses shorter series of different lengths as his compositional tool, because they are manageable and can be manipulated for any specific requirement or need. With fewer notes in a series, if chromatic notes are avoided, the music will lean itself to an impression of tonality. It is interesting for the researcher how the feeling of tonality was portrayed through the use of different series and hence the given dissertation was researched. In true atonal music, composers usually disregard third and halftone intervals. Yet, tritones are often used in atonal music. In retrospect, Du Plessis uses more third and halftone intervals than tritones. There is only one tritone in this work (found in the second series), as opposed to the use of third and halftone intervals throughout all three series. The feeling of tonality is further enhanced through fragments of the series that one can place in a specific key. With this in mind, it is evident to get the impression of tonality as a result of fragmentation from the series. Another aspect of tonality that cannot be ignored was the composer’s use of bitonality. The serial techniques that Du Plessis used, was also researched. It was found that Du Plessis did not make use of any new innovations. All these techniques were already used by composers like Schoenberg, Berg, Webern and Dallapiccola. The most important techniques that Du Plessis used, were: <ul> <li>The use of all the forms of the series and their transpositions</li> <li>Overlapping series (that is when the last note of the series, becomes the first note of the next series)</li> <li>Combination of series (superimposition)</li> <li>The dividing of series between the instruments</li> <li>The repetition of notes in a series before all the notes have been used</li> <Li>Sometimes notes are put in a different order, thereby losing the correct order of the series.</li></ul> / Dissertation (MMus)--University of Pretoria, 2008. / Music / unrestricted

The analytical literature posits a dichotomy between Copland’s “popular” and “serious” music. Despite different motivic and hannonic structures on the surface, however, these styles are consistent in their underlying use of tonality. Tonics in both styles are defined by the same set of tonicizing techniques; and tonics in both styles serve the same function — to define the changing scale-degree function of pcs that are emphasized in various ways as common to the collections of successive tonics. The most important of these changes in scale-degree function are summarized in pitch-class continuity graphs that show the relation of the changes to thematic and harmonic form. Detailed analyses, which cover two “popular” and two “serious” works by Copland, demonstrate the consistency between the two styles. Besides demonstrating an underlying stylistic consistency these graphs provide useful information about structure in Copland’s music because they confirm striking features of Copland’s thematic and tonal designs. / Arts, Faculty of / Music, School of / Graduate

Beethoven's rich compositional language evokes unique problems that have fueled scholarly dialogue for many years. My analyses focus on two types of paradoxes as central compositional problems in some of Beethoven's symphonic pieces and piano sonatas. My readings of Beethoven's Piano Sonata No. 27 (Op. 90), Symphony No. 4 (Op. 60), and Symphony No. 8 (Op. 93) explore the nature and significance of paradoxical unresolved six-four chords and their impact on tonal structure. I consider formal-tonal paradoxes in Beethoven's Tempest Sonata (Op. 31, No. 2), Ninth Symphony (Op. 125), and Overture die Weihe des Hauses (Op. 124). Movements that evoke formal-tonal paradoxes retain the structural framework of a paradigmatic interrupted structure, but contain unique voice-leading features that superimpose an undivided structure on top of the "residual" interrupted structure. Carl Schachter's observations about "genuine double meaning" and his arguments about the interplay between design and tonal structure in "Either/Or" establish the foundation for my analytical approach to paradox. Timothy Jackson's reading of Brahms' "Immer leiser word meine Schlummer" (Op. 105, No. 2) and Stephen Slottow's "Von einem Kunstler: Shapes in the Clouds" both clarify the methodology employed here. My interpretation of paradox involves more than just a slight contradiction between two Schenkerian readings; it involves fundamentally opposed readings, that both result from valid, logical lines of analytical reasoning. In my view, paradoxes could be considered a central part of Beethoven's persona and philosophy. Beethoven's romantic endeavors and his relationships with mentors suggest that paradoxes might have been central to his bravura. Furthermore, Beethoven's familiarity with the politics of the French Revolution and Shakespearean literature suggest that paradoxes in some pieces (including the Ninth Symphony) could be metaphorical representations of his ideology. However, I do not attempt to explicitly link specific style features to extra-musical ideas. Modern Schenkerian scholars continue to expand and refine Schenker's formal-tonal models as well as his concept of interruption. In my view, by considering paradox as a focal compositional problem, we can better understand some of the formal-tonal issues and shifting allegiances in Beethoven's music and take another step beyond the rigidity of some paradigmatic formal-tonal prototypes.

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