This study first narrates on the importance of theory of lü-lü (theory of tone generation) in the history of Chinese music from the Chou Dynasty (ca. 400 B.C.) to the Chin Dynasty (ca. end of 19th century), its symbolism and ramification. The main body of this study is devoted to critical translation of Huang Ti-Pei's Perspectives of Chinese Music, particularly those sections which give chronological narratives and comparative critiques of major theories of lü-lü, in order to provide the western scholarship with documents toward understanding the evolution of tone system of Chinese music. The study concludes with a comparison of Chinese tone systems from ancient time to present, and offers comments on comparison of tone systems between the eastern and western musics.

<p>Touch-tone interfaces are today widely used in help-centers and support services. Studies have shown that interfaces like these have many limitations and are therefore hard to design. MVAS is a voicemail interface using touch- tone input for navigation. Today, shortcomings in the interface limit the users’ ability to use the functionality in a satisfying way. This thesis describes a mainly qualitative study which evaluates and tests the interface of MVAS to come up with how the interface should be designed to be easier to use. The results show that the usability of MVAS is poor but the functionality of the same is both impressive and appreciated. The suggested redesign of the system, based on the identified usability problems, considers both the interaction model used in the interface as well as the conformity to the set of heuristics used in the evaluation. The proposed redesign keeps all the functionality in the system intact and also makes the functionality more explicit through improving the usability. A more explicit structure will facilitate usage of a larger portion of the functionality. However, the limitation of the key-pad affects the redesign so the most favorable design is unreachable. If the interaction model is changed or furthered developed to allow speech input the limitations experienced with the current redesign will diminish and a higher degree of usability can be reached.</p>

Touch-tone interfaces are today widely used in help-centers and support services. Studies have shown that interfaces like these have many limitations and are therefore hard to design. MVAS is a voicemail interface using touch- tone input for navigation. Today, shortcomings in the interface limit the users’ ability to use the functionality in a satisfying way. This thesis describes a mainly qualitative study which evaluates and tests the interface of MVAS to come up with how the interface should be designed to be easier to use. The results show that the usability of MVAS is poor but the functionality of the same is both impressive and appreciated. The suggested redesign of the system, based on the identified usability problems, considers both the interaction model used in the interface as well as the conformity to the set of heuristics used in the evaluation. The proposed redesign keeps all the functionality in the system intact and also makes the functionality more explicit through improving the usability. A more explicit structure will facilitate usage of a larger portion of the functionality. However, the limitation of the key-pad affects the redesign so the most favorable design is unreachable. If the interaction model is changed or furthered developed to allow speech input the limitations experienced with the current redesign will diminish and a higher degree of usability can be reached.

Der Beitrag verfolgt die Entwicklung der Skrjabin’schen Harmonik von dessen Früh- bis zu dessen Spätwerk. Ausgehend vom der Struktur des Einzelklangs (›Chopin-Akkord‹, ›Skrjabin-Akkord‹) werden die Tendenzen aufgezeigt, die folgerichtig ein neues Klangfortschreitungssystem nach sich ziehen. Der äquidistante Quintenzirkel wird durch andere, ebenfalls äquidistante Zirkel ersetzt. Es entstehen symmetrische Tonsysteme, an die später u.a. Olivier Messiaen anknüpft. Als entscheidend gilt dem Autor die Idee der ›Verdichtung‹ – ein Begriff, den Sigmund Freud in seiner Theorie der Traumdeutung ausgearbeitet hat. In dessen Sinne wird die Klangsprache Skrjabins als Verdichtungsarbeit interpretiert. / This article traces the development of Scriabin’s harmonic practice from his early work to his late work. Proceeding from the structure of individual chords (e.g., the “Chopin chord,” the “Scriabin chord”), tendencies will be shown that consequently lead to a new system of harmonic progression: the equidistant circle of fifths is replaced by other circles that are also equidistant. The result is symmetrical tone-systems that later influence Olivier Messiaen, among others. The author places special emphasis on the idea of “condensation” (Verdichtung), a term developed by Sigmund Freund in his theorizing of the interpretation of dreams. In this sense Scriabin’s harmonic language is thus interpreted as a process of condensation.