Magistro studijų baigiamajame darbe išanalizuoti fleksografinių spausdinimo formų gamybos procesai, išnagrinėti ir atskleisti vaizdų rastravimo ypatumai, detaliai aprašyta originalo (projekto) paruošimo spausdinimui eiga ir spausdinimo formų gamyba. Eksperimentiškai ištirta rastravimo proceso režimų įtaka spausdinimo formų kokybei naudojant skirtingas skaitmenines plokštes. Nustatytos geriausios rastravimo programų versijos atskiriems atvejams. / In the MS thesis are analyzed procedures of the flexographic printing plates manufacturing. The peculiarities of the screening processes are revealed. The details of the workflow of the preparation of the originals (projects) for printing and the process of printing plates manufacturing are described. Experimentally is investigated the influence of the screening regimes on the quality of the printing plates using different photopolymeric plates. The best versions of the screening program for the particular cases were determined.

Bakgrund: Extern redovisning är till för att upplysa utomstående som har ett intresse för hur företaget har presterat, dess finansiella resultat, nuvarande ställning samt utveckling. Den externa redovisningen består av två delar, en frivillig och en obligatorisk del där den frivilliga delen är oreglerad. Informationen från den frivilliga redovisningen kan användas som ett verktyg för att minska andelen informationsasymmetri mellan företaget och dess intressenter. Det råder dock en teoretisk oenighet huruvida den frivilliga redovisningen bidrar till minskad informationsasymmetri eller ej där tidigare forskning menar på att informationen kan minska graden av informationsasymmetri. Men bevis har även hittats som stödjer att VD:n använder den frivilliga redovisningen för att visa upp en förfinad bild av företaget. På grund av oenigheten som råder i tidigare forskning har VD-brevet undersökts för att se om informationen är trovärdig eller om den är vinklad och därmed bidrar till asymmetri. Syfte: Syftet med studien är att undersöka huruvida informationen som skildras i VD-brevet är trovärdigt och autentiskt. VD-brevet undersöks genom att studera tonfallet och dess koppling till utvalda förklaringsvariabler och ta ställning till om VD-brevet är lämpligt som beslutsunderlag för investerare. Metod: Studien genomförs med en kvantitativ tvärsnittsdesign och en deduktiv ansats där data samlas in från företag listade på Stockholmsbörsens large- och mid cap listor för 2014. Studiens hypoteser testas med tre beroende tonfallsvariabler och fem förklaringsvariabler för att ta ställning till studiens undersökta problem. Resultat: Två av studiens framtagna hypoteser accepteras varav den ena ger stöd för den bidragande sidan till informationsasymmetri och den andra ger stöd för den motverkande sidan. Resultatet visar på problematiken kring informationsasymmetri och ger stöd för att båda teoretiska sidorna samexisterar i VD-brevet. Slutsatsen blir att kommunikationen i VD-brevet till stor del går att se som trovärdig men att investerare bör ta hänsyn till att informationen till viss del visar på användandet av strategiska kommunikationsverktyg som ifrågasätter trovärdigheten. / Background: Financial reporting aims to inform third parties who have an interest in how the company has performed, its financial results, current status and development. The financial reporting consists of two sides, a voluntary and amandatory side where the voluntary side is unregulated. The information from the voluntary reporting can be used as a tool to reduce information asymmetry between the company and its stakeholders. However, there is a theoretical discussion as to whether the voluntary reporting contribute to reducing information asymmetry or if the CEO uses the letter to present a misleading picture of the organization. On the basis of the disagreement between previous studies, the CEO’s letter has been examined to see whether the information is credible and authentic or if it is misleading and thus contribute to asymmetry. Aim: The purpose of the study is to investigate whether the information in the CEO’s letter is credible and authentic. The CEO’s letter will be investigatedby studying the tone and its link to the selected explanatory variables, to examine if the CEO’s letter is suitable as a decision basis for investors. Methodology: The study was conducted with a quantitative cross-sectional design and a deductive approach in which data has been collected from companies listed on the Stockholm Stock Exchange large and mid-cap listings for the year 2014. The study’s hypotheses were tested with three dependent tone variables and five explanatory variables allowing us to study the problem of whether the CEO’s letter increases or decreases the degree of asymmetry. Result: Two of the study’s hypotheses were accepted, where one supports the contributing side to the information asymmetry and the other provides support for the opposite side who argue that voluntarily information reduces information asymmetry. The result provides support for both sides to the theoretical discussion and indicates that in reality both sides coexist in the CEO’s letter. The conclusion is that the communication in the CEO’s letter to a large extent can be seen as credible but investors should take in to consideration CEO’s use strategic communication tools in some extent.

<p>This dissertation consists of two independent musical compositions and an article detailing the process of the design and assembly of an electric guitar with particular emphasis on the carefully curated suite of embedded effects. </p><p>The first piece, 'Phase Locked Loop and Modulo Games' is scored for electric guitar and a single echo of equal volume less than a beat away. One could think of the piece as a 15 minute canon at the unison at the dotted eighth note (or at times the quarter or triplet-quarter), however the compositional motivation is more about weaving a composite texture between the guitar and its echo that is, while in theory extremely contrapuntal, in actuality is simply a single [superhuman] melodic line.</p><p>The second piece, 'The Dogma Loops' picks up a few compositional threads left by ‘Phase Locked Loop’ and weaves them into an entirely new tapestry. 'Phase Locked Loop' is motivated by the creation of a complex musical composite that is for the most part electronically transparent. 'The Dogma Loops' questions that same notion of composite electronic complexity by essentially asking a question: "what are the inputs to an interactive electronic system that create the most complex outputs via the simplest musical means possible?"</p><p>'The Dogma Loops' is scored for Electric Guitar (doubling on Ukulele), Violin and Violoncello. All of the principal instruments require an electronic pickup (except the Uke). The work is in three sections played attacca; [Automation Games], [Point of Origin] and [Cloning Vectors]. </p><p>The third and final component of the document is the article 'Finding Ibrida.' This article details the process of the design and assembly of an electric guitar with integrated effects, while also providing the deeper context (conceptual and technical) which motivated the efforts and informed the challenges to hybridize the various technologies (tubes, transistors, digital effects and a microcontroller subsystem). The project was motivated by a desire for rigorous technical and hands-on engagement with analog signal processing as applied to the electric guitar. ‘Finding Ibrida’ explores sound, some myths and lore of guitar tech and the history of electric guitar distortion and its culture of sonic exploration.</p> / Dissertation

Many applications require automatic image analysis for different quality of the input images. In many cases, the quality of acquired images is suitable for the purpose of the application. However, in some cases the quality of the acquired image has to be modified according to needs of a specific application. A higher quality of the image can be achieved by Image Enhancement (IE) algorithms. The choice of IE technique is challenging as this choice varies with the application purpose. The goal of this research is to investigate the possibility of the selective application for the IE algorithms. The values of entropy and Peak Signal to Noise Ratio (PSNR) of the acquired image are considered as parameters for selectivity. Three algorithms such as Retinex, Bilateral filter and Bilateral tone adjustment have been chosen as IE techniques for evaluation in this work. Entropy and PSNR are used for the performance evaluation of selected IE algorithms. In this study, we considered the images from three fingerprint image databases as input images to investigate the algorithms. The decision to enhance an image in these databases by the considered algorithms is based on the empirically evaluated entropy and PSNR thresholds. Automatic Fingerprint Identification System (AFIS) has been selected as the application of interest. The evaluation results show that the performance of the investigated IE algorithms affects significantly the performance of AFIS. The second conclusion is that entropy and PSNR might be considered as indicators for required IE of the input image for AFIS.

Inspired by Lin and Huang’s (2009) rhythmic study of Chinese dialects, this study examines speech rhythm of 21 Chinese dialects from three perspectives, timing, melody, and phonological structure. The 21 dialects belong to four major groups of Chinese and their respective sub-groups. The four major groups are Mandarin, Wu, Min, and Cantonese. Nine duration-based and four pitch-based metrics are used to quantify timing and melody, respectively. Four phonological structure-based metrics are used to explore the relationships between syllable structure and timing and between tone structure and melody. All the metrics are paired up according to five categories, duration-only, pitch-only, duration-pitch, duration-syllable, pitch-tone, and each pair is subject to a correlation analysis. Then timing and melody patterns of the Chinese dialects are determined by correlation patterns of relevant metric pairs. The main findings of this study are as follows: 1) Timing and melody patterns of the Chinese dialects are far from homogenous across major groups and melody patterns are more distinct than timing patterns; 2) No single metric pair is able to quantify speech rhythm consistently for all the Chinese dialects; nonetheless, pitch-based metric pairs fare better than duration-based ones; 3) Syllable-timedness and melodiousness are correlated positively for all the major groups except for Wu; 4) Phonological structure plays little role in shaping timing and melody patterns of most Chinese dialects. The above findings are both expected and unexpected. They are expected in the sense that rhythmic perception invovles multiple acoustic cues, so it comes as no surprise that not all rhythmic metrics are successful in quantifying Chinese rhythm. They are unexpected for the reason that all the metrics are developed based more or less on phonological structure, yet the rhythmic patterns they reveal do not correspond to the structure affinity or group membership of the Chinese dialects. Overall, the findings suggest that pitch is a more import cue than duration to Chinese rhythm. As the first study of Chinese rhythm across multiple dialects and from different perspectives, this study not only lays a methodological foundation for future research but also contributes to our in-depth understanding of Chinese dialects. / Graduate / 0290 / yali@uvic.ca

Enhancing low light videos has been quite a challenge over the years. A video taken in low light always has the issues of low dynamic range and high noise. This master thesis presents contribution within the field of low light video enhancement. Three models are proposed with different tone mapping algorithms for extremely low light low quality video enhancement. For temporal noise removal, a motion compensated kalman structure is presented. Dynamic range of the low light video is stretched using three different methods. In Model 1, dynamic range is increased by adjustment of RGB histograms using gamma correction with a modified version of adaptive clipping thresholds. In Model 2, a shape preserving dynamic range stretch of the RGB histogram is applied using SMQT. In Model 3, contrast enhancement is done using CLAHE. In the final stage, the residual noise is removed using an efficient NLM. The performance of the models are compared on various Objective VQA metrics like NIQE, GCF and SSIM. To evaluate the actual performance of the models subjective tests are conducted, due to the large number of applications that target humans as the end user of the video.The performance of the three models are compared for a total of ten real time input videos taken in extremely low light environment. A total of 25 human observers subjectively evaluated the performance of the three models based on the parameters: contrast, visibility, visually pleasing, amount of noise and overall quality. A detailed statistical evaluation of the relative performance of the three models is also provided.

The purpose of the study was to determine whether students' timbre preferences in the sixth grade remain stable through the tenth grade. The investigation also examined whether gender, band instruction, or musical home environment makes any difference in influencing the stability of students' timbre preferences from grade six through ten. Students' timbre preferences at the beginning of the study were compared to their preferences four years later. The students' timbre preferences were obtained by employing Gordon's Instrument Timbre Preference Test (ITPT). A questionnaire was also utilized at the conclusion of the study to determine which students had musical home environments and which did not. All sixth grade students enrolled in a single school district took the ITPT. Each student's scores were tallied and ranked in order to determine their timbre preferences; four years later they were retested and their scores were ranked again.

Though cadences have long been recognized as an aspect of modality, Gallus Dressler's treatise Praecepta musicae poeticae (1563) offers a new understanding of their relationship to mode and structure. Dressler's comments suggest that the cadences in the exordium and at articulations of the text are "principal" to the mode, shaping the tonal structure of the work. First, it is necessary to determine which cadences indicate which modes. A survey of sixteenth-century theorists uncovered a striking difference between Pietro Aron and his followers and many lesser-known theorists, including Dressier. The latter held that the repercussae of each mode were "principal cadences," contrary to Aron's expansive lists. Dressler's syntactical theory of cadence usage was tested by examining seventeen motets by Dressler and seventy-two motets by various early sixteenth-century composers. In approximately three-fourths of the motets in each group, cadences appeared on only two different pitches (with only infrequent exceptions) in their exordia and at text articulations. These pairs are the principal cadences of Dressler's list, and identify the mode of the motets. Observations and conclusions are offered regarding the ambiguities of individual modes, and the cadence-tone usage of individual composers.

The present study explored whether musicians could (1) differentiate among the timbres of bass tubas of a single design, but constructed of different materials, (2) determine differences within certain ranges and articulations, and (3) possess different perceptual abilities depending on previous experience in low brass performance. Findings indicated that (1) tubas made to the same specifications and constructed of the same material differed as much as those of made to the same specifications, constructed of different materials; 2) significant differences in perceptibility which occurred among tubas were inconsistent across ranges and articulations, and differed due to phrase type and the specific tuba on which the phrase was played; 3) low brass players did not differ from other auditors in their perception of timbral differences.

This thesis centers around a certain twentieth-century compositionaI device, the method of composition with twelve tones. There are many terms to designate this device, for example: "basic set," "tone-row," "note-series," "serialism," "serial technique," "twelve-note series," "twelve-tone technique" or "twelve-tone method." TI is thesis is a methodical research demonstrating the contemporary conventional way of scientifically and artfully manipulating twelve equal tempered degrees of the chromatic scale to produce a desirable system. In order to arrive at any substantial conclusions, it is necessary to make a critical examination and evaluation of known twelve-tone compositional procedures from as many angles as possible, so as virtually to exhaust every practical and speculative potentiality included in the technique, that is, within the range and limits of our present needs. This examination and evaluation will also involve a comparative investigation of various uses of the device, in order to produce and suggest ideas for further theoretical insights. The ultimate purpose of this thesis is to pinpoint the "hows" and "whys" of Rochberg's use of the twelve equal tones in Sonata-Fantasia.