Each composition in the following document has resulted from my desire to explore problems and possibilities that are to be found in the various ensembles and/or techniques chosen. For each new composition a particular issue or set of issues was established at the outset and dealt with from different angles at all stages of the works' creation. [1] Chansons Precieux: In these three songs I was interested in reducing my material choices to a minimum and also in creating a small fragment for the text which could be exploded into syllabic utterances. These were, over the course of the three songs, utilized in small groups. Only in the final song is the entire text revealed. [2] Across The Gorge Is The Bridge: Synthesized and concrete sounds constitute the palette of this tape piece. In processing the sounds I selected evolutionary characteristics with the intention of exploiting these characteristics in a particular manner - the notes in the piece are of extremely long duration (c. 12') and so the evolution takes place at a very slow pace. In a sense time is slowed down in the work, almost to the point of absolute stasis. [3] Triangle: Here I examined the concept of an imagined triangular pathway in which each intersection of two lines consisted of the same object viewed in a different way. The lines themselves are manipulations of the object. The original inspiration for this piece came from reading about Stonehenge and other such prehistoric laboratories designed as viewing points for the sun and moon and their risings and settings at key times of the year. [4] Anya Manas: A small item, in this case a chord, is never presented literally, but begins its life in this piece by already having been bent, altered, linearized and otherwise mutilated. Eventually the chord has completely lost its own sense of its own reality. "Anya Manas" is a Sanskrit saying that refers to a state of mind in which confusion of identity prevails. [5] Wo Weilest Du?: This work involved the desire to eliminate such traditional concepts as motivic development, regular phrasing and clear form. Sound objects appear, vanish and may or may not return later. There is no formal goal or climax. The piece simply begins and ends where it does. The title is German and means where are you waiting? It comes from Wagner's Tristan und lsolde. / Arts, Faculty of / Music, School of / Graduate

[no abstract included] / Arts, Faculty of / Music, School of / Graduate

Med utgångspunkt från boken Omforma : Nya strukturer för designbranschen, har jag undersökt arbetssituationen för en mönsterdesigner 2017 och hur det går att koppla till svensk mönsterhistoria. Ett exempel jag tittar närmare på är kollektionen Signerad textil som visades på NK 1954. Jag reflekterar också över samtidens besatthet av mönster från 50- och 60-talet och vad det kan skapa för konsekvenser för nu verksamma formgivare.  I det gestaltande arbetet har jag skapat en varierad mönsterkollektion där jag försöker reflektera och utmana min egen designprocess.

This thesis attempts to create an application to determine head rotation angle in video recorded from a security camera. The application consists of three parts: face detection, facial landmarks detection and determination of person's head rotation. The face detection has been implemented using Viola-Jones and HOG algorithms. Facial landmarks detection has been done using algorithm based on active shape model. Two methods to calculate the head rotation angles have been used: the first method works with anthropometric head features. The second method uses Perspective-n-Point algorithm to find the right rotation angles. Finally, all algorithms implemented have been tested and the proper parameters have been determined.

Master´s thesis deals with current problems of face detection and its parts in the infrared thermographic spectrum. Most previously published literature deals with the detection in the visible spectrum, making the thermographic detection range an interesting alternative. The work deals with the processing of image signals, images and faces in thermographic spectrum, selected methods of face detection and its parts and also deals with practical system design for detecting facial parts in this spectrum and its subsequent testing.

Arnold Schoenberg's String Quartet No. 1, Op. 7 stands out as being the first chamber music piece to use a vast number and variety of extended string techniques within one composition. This paper examines a brief history of extended string techniques in chamber music, analyses the unique ways in which Schoenberg applied extended string techniques to manipulate motives in his Op. 7 quartet, and ultimately shows that Schoenberg's use of extended string techniques influenced future composers to employ even more extended techniques and special effects in their own twentieth-century chamber music.

Among the Voices Voiceless is a composition for flute (doubling piccolo), clarinet (doubling bass clarinet), viola, cello, percussion, piano, and electronics, based on the poem "What would I do without this world faceless incurious" by Samuel Beckett. The piece is a setting for disembodied voice: the vocal part exists solely in the electronics. Having no physical body, the voice is obscured as the point of empathy for the audience. In addition, instrumental solos compete for focus during the work's twenty minute duration. In passages including a soloist, the soloist functions simultaneously as antagonist and avatar to the disembodied voice. Spoken word recordings and electronic manipulation of instrumental material provides further layers of ambiguity. The companion critical essay "Among the Voices Voiceless": Setting the Words of Samuel Beckett proposes the distillation of Beckett's style into the elements of prosaicness, repetition, fragmentation, ambiguity, and symmetry. Discussions of Beckett's works such as Waiting for Godot and Molloy demonstrate these elements in his practice. This framework informs the examination of two other musical settings of Beckett's poetry: Neither by Morton Feldman and Odyssey by Roger Reynolds. Finally, these elements are used to analyze and elucidate the compositional decisions made in Among the Voices Voiceless.

The Grundgestalt (Ger: 'basic shape') is a term coined by Arnold Schoenberg to describe the basis for coherence within a musical composition. Although neither precisely defined, nor adequately supported by examples from his literature, the Grundgestalt remains an important facet of Schoenbergian theory. Composed of several gestalten that occur repeatedly, Schoenberg's Grundgestalt functions as a germinating factor within a piece that allows its motivic, thematic, and rhythmic information to become more accessible through their frequent repetition and diverse presentation. In addition to Schoenberg's definition, the first part of this dissertation discusses the individual findings of Schoenberg's pupils Josef Rufer and Rudolf Réti. Subsequently developed by the contributions of David Epstein, Walter Frisch, Patricia Carpenter, Michael Schiano, and Brent Auerbach, their combined efforts then attempt to illustrate the organicism of the Grundgestalt, to clarify its terminology, and to refine the framework of its analysis. Based upon the framework described in the previous chapter, the second half of this dissertation presents the criteria for the determination of the Grundgestalt. Beginning with a derivation of Brent Auerbach's proto-Grundgestalt analysis that catalogs the various voice-leading strands of a given composition into a summary chart that tracks the frequency of each motive's occurrence within its underlying musical segments, the analysis then evaluates the basis for each motive's hierarchy through a relative valuation according to the principles of cardinality and individuality. Following a subsequent expansion of the rules governing the organic map that Auerbach proposed to provide a visual representation of the hierarchy described in the proto-Grundgestalt analysis, summary chart, and relative valuation, Part III this dissertation uses that data to specify the location of the Grundgestalt in Johannes Brahms' Trio, Op. 114. A subsequent analysis of Brahms' Quintet, Op. 115 then provides the information necessary to qualify the Trio as emergent Grundgestalt archetype, and the Quintet as a cyclic Grundgestalt archetype.

This text outlines recent developments in my artistic practice. The two underlying themes of this work are my intonation practice, with and emphasis on just intonation, as well as the Japanese mouth-organ shō, which I am currently learning to play. The text discusses these topics, along with four of my recent works: Hypothermia for bass drum (2020) for gran cassa and electronics; Stycke för cembalo och elektronik (2021) for harpsichord and electronics; Breathing, bowing (2022) for viola da gamba and electronics; and Solo #1 (2022) for shō and unfiltered sawtooth waves. In these four pieces, I have explored different ways for the electronics to relate to and interact with the respective acoustic instruments with regards to intonation, spectromorphology and timbre. Both the pieces and the two underlying themes have not only been ventures into new aesthetic and technological areas, but they have also shaped my outlook on composition and the relationship between composer and musician. / <p>The presentation refers to my graduation concert, where two of the pieces discussed in this text were presented: <em>Breathing, bowing</em> and <em>Solo #1</em>. Along with these pieces, during the concert a newly composed ensemble piece was presented with me playing the shō alongside Johan Arrias (soprano saxophone), Gard Nergaard (hardingfela) and Vilhelm Bromander (contrabass).</p>

No description available.