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Arbetets fokus är på atonalitet och tonalitet och hur dessa tonspråk påverkar fyra individer med en musikutbildning känslomässigt. Frågeställningens bakgrund består av tre grundparametrar som belyser känslor, tonal och atonal musik samt hur olika tonspråk tolkas till visuell media. En audiovisuell artefakt har skapats bestående av två olika kompositioner; en atonal och en tonal komposition som sedan har synkroniserats med en egen producerad kortfilm. Undersökningen har sedan genomförts med ett test där fyra respondenter fick lyssna och titta på den audivisuella artefakten. Detta test följdes sedan upp med en semi-strukturerad intervju som behandlade de fyra respondenternas upplevda känslor och deras förhållande till känslospektrumet; ångest, spänning och oförmågan av att slappna av. Utifrån resultatet av undersökningen påvisades en skillnad i upplevda känslospektrum mellan den respondent som besatt en erfarenhet och en vana av atonal musik och de övriga respondenterna. Det intressanta i denna upptäckt handlar om möjligheten att det inte är utbildning i sig som är avgörande för hur olika individer tolkar olika tonspråk, utan att en väg för att uppskatta atonal musik är en kombination av erfarenhet, vana och utbildning, för att kunna skapa en förmåga att se bortom generella stereotyper för musik. I en framtida och mer omfattande undersökning skulle ett fokus kunna läggas på de centrala begreppen erfarenhet och vana inom målgruppen utbildade; för att undersöka närmare om dessa upptäckter stämmer eller om det är tillfälligheter för denna studies resultat., Det finns övrigt digitalt material (t.ex. film-, bild- eller ljudfiler) eller modeller/artefakter tillhörande examensarbetet som ska skickas till arkivet.There are other digital material (eg film, image or audio files) or models/artifacts that belongs to the thesis and need to be archived.

In order to identify similarities and differences in the musical strategy used by Hillary Clinton, Donald Trump and Joe Biden, this study starts from the observation of 160 videos approved and paid by for them in the 2016 and 2020 presidential campaigns. The results show that all the candidates generally use pre-existing music extracted from sound and video banks. Most of Hillary’s spots (2016) got the piano as the main instrument, and Trump was the candidate who has used this least as the main instrument in both campaigns. Half of the spots observed are in minor tones, and this mode predominates in the ads of all typologies. In the case of comparative advertising, there is a remarkable cluster of ads that change from minor to major. Most contrast ads exploit musical juxtaposition techniques, especially to Hillary and Trump. Most of the contrast ads that include harmonic changes as musical juxtaposition techniques were released by Donald Trump. The study provides methodologies to extract data on the music of campaign ads, paying special attention to the harmony., Con el fin de identificar similitudes y divergencias en la estrategia musical empleada por Hillary Clinton, Donald Trump y Joe Biden, este estudio parte de la observación de 160 spots videográficos aprobados y financiados por dichos candidatos en las campañas presidenciales de 2016 y 2020. Los resultados muestran que los tres candidatos emplean, casi exclusivamente, música preexistente extraída de bancos de sonido y vídeo. La música de la mayoría de los spots de Hillary (2016) tiene el piano como instrumento principal, siendo Trump el candidato que menos emplea dicho instrumento en ambas campañas. La mitad de los spots observados están en tonalidades menores, y dicho modo predomina en los spots de todas las tipologías. En el caso de la publicidad comparativa hay un destacable segmento de spots que cambian de una tonalidad menor a una tonalidad mayor. La mayoría de anuncios de contraste explotan técnicas de yuxtaposición musical, sentando esta tendencia Hillary y Trump. La mayoría de spots de contraste que incluyen cambios armónicos como técnica de yuxtaposición musical son de Donald Trump. El estudio aporta metodologías para extraer datos sobre la banda sonora de los spots electorales, con especial atención a la armonía musical.

The research examines the effect of tonality on cross-border mergers and acquisitions (M&A) based on press release announcements. The impact of effective communication, tonality, and positive and negative words on the investor's behaviour and firm performance will be analysed to understand the impact on internal and external stakeholders. A comprehensive database of Swedish companies' press release announcements on cross-border M&A deals completed between 2016 to 2021 will be researched to build the hypothesis of nonfinancial factors, such as tonality being an influential factor in gaining share price and gaining a more significant market Share. Lastly, the study will build a correlation between the public press release by the company and the tonality effect on firm performance and the positive/negative tone effect on the cognitive ability of investors., This thesis aims to investigate whether the reported information in the press release is somehow connected to future stock market performance and firms' profitability and asses if the tonality influences investors when deciding to invest in a firm. Further, this study aims to analyse the effect of certainty, openness, and transparency on the employees' affective commitment to change.

Arbetets fokus är på atonalitet och tonalitet och hur dessa tonspråk påverkar fyra individer med en musikutbildning känslomässigt. Frågeställningens bakgrund består av tre grundparametrar som belyser känslor, tonal och atonal musik samt hur olika tonspråk tolkas till visuell media. En audiovisuell artefakt har skapats bestående av två olika kompositioner; en atonal och en tonal komposition som sedan har synkroniserats med en egen producerad kortfilm. Undersökningen har sedan genomförts med ett test där fyra respondenter fick lyssna och titta på den audivisuella artefakten. Detta test följdes sedan upp med en semi-strukturerad intervju som behandlade de fyra respondenternas upplevda känslor och deras förhållande till känslospektrumet; ångest, spänning och oförmågan av att slappna av. Utifrån resultatet av undersökningen påvisades en skillnad i upplevda känslospektrum mellan den respondent som besatt en erfarenhet och en vana av atonal musik och de övriga respondenterna. Det intressanta i denna upptäckt handlar om möjligheten att det inte är utbildning i sig som är avgörande för hur olika individer tolkar olika tonspråk, utan att en väg för att uppskatta atonal musik är en kombination av erfarenhet, vana och utbildning, för att kunna skapa en förmåga att se bortom generella stereotyper för musik. I en framtida och mer omfattande undersökning skulle ett fokus kunna läggas på de centrala begreppen erfarenhet och vana inom målgruppen utbildade; för att undersöka närmare om dessa upptäckter stämmer eller om det är tillfälligheter för denna studies resultat., Det finns övrigt digitalt material (t.ex. film-, bild- eller ljudfiler) eller modeller/artefakter tillhörande examensarbetet som ska skickas till arkivet.There are other digital material (eg film, image or audio files) or models/artifacts that belongs to the thesis and need to be archived.

Den ökade digitaliseringen har bidragit till en förändrad konkurrenskraft vilket har gjort det svårare för företag att uppnå unika fördelar och differentiering gentemot konkurrenterna. Den hårdnande konkurrensen har ökat kraven på företags sätt att tillmötesgå konsumenternas efterfrågan, behov samt utvecklandet av långsiktig lojalitet. Därmed har det blivit allt viktigare för företag att leverera ett högt kundvärde och något mer än enbart en produkt. Studien syftar till att skapa en ökad förståelse i hur företag uppnår differentiering samt konkurrensfördelar inom den digitaliserade konkurrensen. En kvalitativ forskningsmetod genomförs för att samla in text- och bildmaterial från Instagram samt hemsidor från fyra företag inom intimhygien-branschen. Det insamlade materialet har analyserats och jämförts som i sin tur lett fram till vilka marknadsstrategier företagen använder sig av för att uppnå digitaliserad konkurrenskraft. Av studiens resultat visade det sig att företagen använder följande dimensioner i sin marknadsföring; Etik och sociala normer, Ekologisk hållbarhet samt Tonalitet för att uppnå konkurrensfördelar inom den digitaliserade marknaden., The increased digitalisation has contributed to a changed competitiveness, which has made it more difficult for companies to achieve unique advantages and differentiate themselves from competitors. The intensifying competition has simplified companies' ways of meeting consumer demand, needs and achieving long-term loyalty. As a result, it has become increasingly important to deliver a higher value for customers and offer something more than just one product. The study aims to achieve an increased understanding of how companies achieve differentiation and competitive advantages in the digitized competition. A qualitative research method has been carried out by collecting text- and image-material from four companies in the intimate hygiene industry and their Instagram and websites. The collected material has been analyzed and compared, which in turn has led to the market strategies that companies use to achieve digitized competitiveness. The results of the study showed that companies use the following dimensions in their marketing; Ethics and social norms, Ecological sustainability and Tonality to achieve competitive advantages in the digitized market.

A sudden rise in right wing parties has occurred throughout Europe, and this is no exception in Sweden. The Sweden Democrats have gone from a small, extremist party with founders who have roots in nazism and fascism, into the third largest party in Sweden. This study have analyzed articles from 2005, 2006, 2013, 2014, 2018 and 2021 in two of the biggest newspapers in Sweden, Aftonbladet and Expressen in order to discover patterns in media material that showcases how traditional and established media outlets such as the ones mentioned have changed, or not changed, their coverage surrounding The Sweden Democrats. The aim of the study is to analyze the apparent normalization of The Sweden Democrats through frames such as labeling, tonality and topics present in news articles from Aftonbladet and Expressen throughout their rise to power.The research questions were: Quantitative research question: - Has The Sweden Democrats been normalized in Aftonbladet and Expressen from 2005 to 2021 based on labeling, topic and tonality? If so, how? Qualitative research question:- What is the discourse(s) and frames surrounding The Sweden Democrats in Aftonbladet and Expressen in the consecutive years? In order to answer the quantitative research questions, and to fulfill the aim of the study, a content analysis was first done in a large number of articles throughout the years. In order to answer the qualitative research questions, a framing analysis with purposive sampling followed the content analysis, in order to take a closer look into the frames and discourses present in the material throughout the years. The findings of the study showed that there has been a shift in tonality, topics and labeling throughout the years. The findings showcased that the party in the beginning were labeled as extremists, while gradually becoming labeled as neutral and eventually established in the later years. This showcased a normalization of the party in the media throughout their rise in power.

Den ökade digitaliseringen har bidragit till en förändrad konkurrenskraft vilket har gjort det svårare för företag att uppnå unika fördelar och differentiering gentemot konkurrenterna. Den hårdnande konkurrensen har ökat kraven på företags sätt att tillmötesgå konsumenternas efterfrågan, behov samt utvecklandet av långsiktig lojalitet. Därmed har det blivit allt viktigare för företag att leverera ett högt kundvärde och något mer än enbart en produkt. Studien syftar till att skapa en ökad förståelse i hur företag uppnår differentiering samt konkurrensfördelar inom den digitaliserade konkurrensen. En kvalitativ forskningsmetod genomförs för att samla in text- och bildmaterial från Instagram samt hemsidor från fyra företag inom intimhygien-branschen. Det insamlade materialet har analyserats och jämförts som i sin tur lett fram till vilka marknadsstrategier företagen använder sig av för att uppnå digitaliserad konkurrenskraft. Av studiens resultat visade det sig att företagen använder följande dimensioner i sin marknadsföring; Etik och sociala normer, Ekologisk hållbarhet samt Tonalitet för att uppnå konkurrensfördelar inom den digitaliserade marknaden., The increased digitalisation has contributed to a changed competitiveness, which has made it more difficult for companies to achieve unique advantages and differentiate themselves from competitors. The intensifying competition has simplified companies' ways of meeting consumer demand, needs and achieving long-term loyalty. As a result, it has become increasingly important to deliver a higher value for customers and offer something more than just one product. The study aims to achieve an increased understanding of how companies achieve differentiation and competitive advantages in the digitized competition. A qualitative research method has been carried out by collecting text- and image-material from four companies in the intimate hygiene industry and their Instagram and websites. The collected material has been analyzed and compared, which in turn has led to the market strategies that companies use to achieve digitized competitiveness. The results of the study showed that companies use the following dimensions in their marketing; Ethics and social norms, Ecological sustainability and Tonality to achieve competitive advantages in the digitized market.

A sudden rise in right wing parties has occurred throughout Europe, and this is no exception in Sweden. The Sweden Democrats have gone from a small, extremist party with founders who have roots in nazism and fascism, into the third largest party in Sweden. This study have analyzed articles from 2005, 2006, 2013, 2014, 2018 and 2021 in two of the biggest newspapers in Sweden, Aftonbladet and Expressen in order to discover patterns in media material that showcases how traditional and established media outlets such as the ones mentioned have changed, or not changed, their coverage surrounding The Sweden Democrats. The aim of the study is to analyze the apparent normalization of The Sweden Democrats through frames such as labeling, tonality and topics present in news articles from Aftonbladet and Expressen throughout their rise to power.The research questions were: Quantitative research question: - Has The Sweden Democrats been normalized in Aftonbladet and Expressen from 2005 to 2021 based on labeling, topic and tonality? If so, how? Qualitative research question:- What is the discourse(s) and frames surrounding The Sweden Democrats in Aftonbladet and Expressen in the consecutive years? In order to answer the quantitative research questions, and to fulfill the aim of the study, a content analysis was first done in a large number of articles throughout the years. In order to answer the qualitative research questions, a framing analysis with purposive sampling followed the content analysis, in order to take a closer look into the frames and discourses present in the material throughout the years. The findings of the study showed that there has been a shift in tonality, topics and labeling throughout the years. The findings showcased that the party in the beginning were labeled as extremists, while gradually becoming labeled as neutral and eventually established in the later years. This showcased a normalization of the party in the media throughout their rise in power.

The octatonic pitch set can be found in the works of many composers since the early nineteenth century, often with different characteristics of the pitch set being exploited by the composers. Much of the literature on octatonicism relates to specific instances in compositions or a specific composer’s approach to it rather than exploring octatonicism from a more holistic perspective. This dissertation serves as a holistic resource for the characteristics of the octatonic pitch set; whether as a scale, especially with regards to common practice harmony; or an unordered set. It does this by considering the contextual historical implications of the octatonic pitch set; the historic lineage of octatonic usage; and, significantly, with the goal of extracting specific compositional devices from the works of various composers that come from a variety of stylistic, historical, and harmonic perspectives. These compositional devices are learnable methods, or conventions that a composer can modify, build upon or implement into their own work. The contextual historical information, along with the description of the characteristics of the octatonic pitch set and, especially, the compositional devices are all intended to be both a single pedagogical resource and starting point for composers in relation to developing new octatonic compositional techniques and a holistic theoretical overview of octatonicism. The evidence, retrieved from third party analysis of select composers’ octatonic works, finds learnable compositional devices from broad stylistic backgrounds that can be reinterpreted and expanded into individualised compositional methods.

Диссертация посвящена проблеме установления эквивалентности перевода оригиналу пьесы Теннесси Уильямса «A Streetcar Named Desire» на основе текстовой категории тональности. Были проанализированы реплики главных персонажей на основании сопоставления маркеров текстовой категории по параметрам набора, комбинаторики, размещения. На основании информации поля тональности и подсчётов эквивалентности были сделаны выводы о творческом своеобразии перевода В. Неделина и его интерпретации подлинника., This master’s thesis studies the problem of establishing the equivalence of the translation to the original play “A Streetcar Named Desire” by Tennessee Williams based on the textual category of tonality. The lines of the main characters were analyzed based on the comparison of the textual category markers by the parameters of the set, combinatorics and placement. According to the information of the tonality fields and equivalence calculations, conclusions about creative originality of V. Nedelin’s translation and his interpretation of the original were drawn.

Owing to the ever-changing developments of battery and electric powertrain, vehicle electrification is the trend in the future. Without the presence of a combustion engine, masking effect from it reduces and noises from other components become perceivable. Among all, the cooling fan is one of the major noise sources. The design of cooling fan modules is usually carried out in the early stage before building prototype vehicles. Therefore, it is essential to come up with a method for selecting optimal fan design without performing complete vehicle testing. This is a Master's degree project in collaboration with Volvo Cars, with a focus on cooling fan noise at the charging state of electric vehicles. The main objective of this thesis is to understand the effects of fan installation. Three different setups of acoustic measurement are carried out, namely free-space, wall-mounted, and in-vehicle measurement. Correlations of these measurements are investigated through comparisons of the measurement results and the installation effects are identified through spectrum difference between free-space and in-vehicle measurement. Moreover, the implementation of spectral decomposition method enables the separation of source strength and propagation effect. Analyses of sound pressure levels are studied by looking into tonal and broadband components. In addition, sound power levels are determined by following ISO standards. Finally, a subjective rating session is held to understand the human perception of cooling fan noise., Med anledning av den pågående utvecklingen mot elektrifiering där bilarna går mot batterier och elmotorer för framdrivning så ändras ljudbilden. Utan förbränningsmotorer som tidigare maskerade mycket av ljudet från bilarna så framträder nya ljudkällor. En sådan är kylfläkten som allt mer blir en störningskälla. Vanligtvis sker designen av kylfläktsmodulen i en tidig fas innan det finns någon prototypbil att tillgå. Detta gör att det är viktigt att utveckla metoder för att i tidig fas kunna optimera designen av kylfläkten. Detta är ett examensarbete i samarbete med Volvo Cars med fokus på det ljud som uppstår vid laddning av eldrivna bilar. Uppsatsens huvudsakliga mål är att förstå fläktinstallationens påverkan på ljud genom att korrelera olika typer av mätningar. Detta genomfördes m.h.a tre separata konfigurationer, fritt-upphängd mätning, väggmonterad och installerad i bil. Korrelation undersöktes genom att jämföra mätresultat och analys av spektrumet. Analysen av ljudtrycksnivåerna genom att titta på dels de tonala komponenterna men också på bredbandsnivåerna. Utöver detta fastställs även ljudeffekten genom att följa gängse ISO standard. Slutligen så gjordes en subjektiv utvärdering för att få en förståelse av upplevelsen av ljudet från en kylfläkt.

Owing to the ever-changing developments of battery and electric powertrain, vehicle electrification is the trend in the future. Without the presence of a combustion engine, masking effect from it reduces and noises from other components become perceivable. Among all, the cooling fan is one of the major noise sources. The design of cooling fan modules is usually carried out in the early stage before building prototype vehicles. Therefore, it is essential to come up with a method for selecting optimal fan design without performing complete vehicle testing. This is a Master's degree project in collaboration with Volvo Cars, with a focus on cooling fan noise at the charging state of electric vehicles. The main objective of this thesis is to understand the effects of fan installation. Three different setups of acoustic measurement are carried out, namely free-space, wall-mounted, and in-vehicle measurement. Correlations of these measurements are investigated through comparisons of the measurement results and the installation effects are identified through spectrum difference between free-space and in-vehicle measurement. Moreover, the implementation of spectral decomposition method enables the separation of source strength and propagation effect. Analyses of sound pressure levels are studied by looking into tonal and broadband components. In addition, sound power levels are determined by following ISO standards. Finally, a subjective rating session is held to understand the human perception of cooling fan noise., Med anledning av den pågående utvecklingen mot elektrifiering där bilarna går mot batterier och elmotorer för framdrivning så ändras ljudbilden. Utan förbränningsmotorer som tidigare maskerade mycket av ljudet från bilarna så framträder nya ljudkällor. En sådan är kylfläkten som allt mer blir en störningskälla. Vanligtvis sker designen av kylfläktsmodulen i en tidig fas innan det finns någon prototypbil att tillgå. Detta gör att det är viktigt att utveckla metoder för att i tidig fas kunna optimera designen av kylfläkten. Detta är ett examensarbete i samarbete med Volvo Cars med fokus på det ljud som uppstår vid laddning av eldrivna bilar. Uppsatsens huvudsakliga mål är att förstå fläktinstallationens påverkan på ljud genom att korrelera olika typer av mätningar. Detta genomfördes m.h.a tre separata konfigurationer, fritt-upphängd mätning, väggmonterad och installerad i bil. Korrelation undersöktes genom att jämföra mätresultat och analys av spektrumet. Analysen av ljudtrycksnivåerna genom att titta på dels de tonala komponenterna men också på bredbandsnivåerna. Utöver detta fastställs även ljudeffekten genom att följa gängse ISO standard. Slutligen så gjordes en subjektiv utvärdering för att få en förståelse av upplevelsen av ljudet från en kylfläkt.

Статья представляет собой категориально-текстовой анализ стихотворения Байрона «Sun of the Sleepless». Полевым методом обследованы категории, входящие в понятие «локации», – тема, хронотоп, тональность., The article presents a categorical analysis of G. G. Byron’s «Sun of the Sleepless». The textual categories of the topic, chronotope, and tonality (which altogether constitute the so-called text location) are modelled by the field method.

The article is a part of research aimed at exploring the theme of love in the composition of the BTS group. The purpose of the article is a linguostylistic interpretation of this theme in the “pivotal” song “Fake Love” from the series of albums “Love yourself ”., Статья представляет собой часть исследования, направленного на изучение темы любви в творчестве группы «BTS». Цель статьи — лингвостилистическая интерпретация данной темы в «переломной» песне «Фальшивая любовь» из серии альбомов «Love yourself».

The report studies the problem of field modelling the text categories of topics, chronotope, tonality, and composition. Based on the material of the poem “Sun of the Sleepless” by G. G. Byron, these categories are described via the set, combinatorics, and placement of their markers., Доклад посвящен проблеме полевого моделирования текстовых категорий темы, хронотопа, тональности и композиции. На материале стихотворения Дж. Г. Байрона «Sun of the Sleepless» указанные категории описаны через набор, комбинаторику и размещение их маркеров.

With the upswing of populist, right-wing, and EU-skeptical parties and politicians in Europe, as well as the success of Donald Trump in the 2016 US presidential elections, the media and its role in democracies are, once again, under scrutiny. To investigate whether the media fulfill its role as the fourth estate, i.e. providing another level of control for government, or whether there is evidence of media capture, first, we introduce the Political Coverage Index (PCI), a new measure of the relative positioning of media within the political spectrum. In contrast to existing measures of political positioning (e.g., language similarities, explicit endorsements, mentions of ideological references), we utilize the tonality of articles and newscasts on political parties and politicians. Then, we apply the PCI to 35 opinion-leading media in Germany, on the basis of more than 10 million news items on political parties and politicians between 1998 and 2012. Lastly, we use the PCI to investigate whether the media fulfil its fourth estate role. Our findings show that the media outlets in our sample report more negatively on governing parties, which we interpret as suggestive evidence that media is fulfilling its role as fourth estate in democracies.

The summer of 2018 has gone down in history as one of the hottest summers in Sweden of all time. The forest was on fire in several places around the country and in retrospect, the fires have been described as the most extensive forest fires in Sweden in modern times. The purpose of this essay is to investigate the framing of the forest fires in both local and national press. The method we chose to conduct the survey was a quantitative content analysis of a total of 116 articles about the forest fires, 74 from the local newspapers Ljusdals-Posten and Mora Tidning, and 41 from the national newspapers Dagens Nyheter and Svenska Dagbladet.The results of the study showed that there were major differences in the reporting and framing of the forest fires between the local newspapers and the national newspapers. The local newspapers had a much greater focus on proximity in their reporting compared to the nationwide newspapers which focused much more on threats and conflicts. The result also showed that the local newspapers had a much more positive tonality in their reporting, unlike the nationwide newspapers which were predominantly negative., Sommaren 2018 har gått till historien som en av de varmaste somrarna i Sverige genom tiderna. Det brann i skogarna på flera platser runt om i landet och i efterhand så har bränderna beskrivits som de mest omfattande skogsbränderna i Sverige i modern tid.Syftet med denna uppsats är att undersöka hur gestaltningen av skogsbränderna såg ut i både lokalpress och rikstäckande press. Metoden vi valde för att genomföra undersökningen var en kvantitativ innehållsanalys. Totalt analyserades 115 artiklar som handlade om skogsbränderna. 74 från lokaltidningarna Ljusdals-Posten och Mora Tidning samt 41 från de rikstäckande tidningarna Dagens Nyheter och Svenska Dagbladet.Resultatet av studien visade att det fanns stora skillnader i rapporteringen om och gestaltningen av skogsbränderna mellan de lokala tidningarna och de rikstäckande tidningarna. De lokala tidningarna hade ett mycket större fokus på närhet i sin rapportering jämfört med de rikstäckande tidningarna som i mycket högre grad fokuserade på hot och konflikter. Resultatet visade även att de lokala tidningarna hade en mycket mer positiv tonalitet i sin rapportering till skillnad från de rikstäckande tidningarna som var övervägande negativa.

The summer of 2018 has gone down in history as one of the hottest summers in Sweden of all time. The forest was on fire in several places around the country and in retrospect, the fires have been described as the most extensive forest fires in Sweden in modern times. The purpose of this essay is to investigate the framing of the forest fires in both local and national press. The method we chose to conduct the survey was a quantitative content analysis of a total of 116 articles about the forest fires, 74 from the local newspapers Ljusdals-Posten and Mora Tidning, and 41 from the national newspapers Dagens Nyheter and Svenska Dagbladet.The results of the study showed that there were major differences in the reporting and framing of the forest fires between the local newspapers and the national newspapers. The local newspapers had a much greater focus on proximity in their reporting compared to the nationwide newspapers which focused much more on threats and conflicts. The result also showed that the local newspapers had a much more positive tonality in their reporting, unlike the nationwide newspapers which were predominantly negative., Sommaren 2018 har gått till historien som en av de varmaste somrarna i Sverige genom tiderna. Det brann i skogarna på flera platser runt om i landet och i efterhand så har bränderna beskrivits som de mest omfattande skogsbränderna i Sverige i modern tid.Syftet med denna uppsats är att undersöka hur gestaltningen av skogsbränderna såg ut i både lokalpress och rikstäckande press. Metoden vi valde för att genomföra undersökningen var en kvantitativ innehållsanalys. Totalt analyserades 115 artiklar som handlade om skogsbränderna. 74 från lokaltidningarna Ljusdals-Posten och Mora Tidning samt 41 från de rikstäckande tidningarna Dagens Nyheter och Svenska Dagbladet.Resultatet av studien visade att det fanns stora skillnader i rapporteringen om och gestaltningen av skogsbränderna mellan de lokala tidningarna och de rikstäckande tidningarna. De lokala tidningarna hade ett mycket större fokus på närhet i sin rapportering jämfört med de rikstäckande tidningarna som i mycket högre grad fokuserade på hot och konflikter. Resultatet visade även att de lokala tidningarna hade en mycket mer positiv tonalitet i sin rapportering till skillnad från de rikstäckande tidningarna som var övervägande negativa.

Автор статьи выявляет структурные и смысловые особенности цикла А. И. Солженицына «Крохотки». В результате анализа цикла произведений, проведенного в русле когнитивно-коммуникативного подхода, автор приходит к выводу, что жанр «Крохоток» обладает следующими типовыми характеристиками: трехчастной композицией, включающей повествовательный, лирический и философский компоненты; сложной организацией образа автора, где объединяются посредник, несущий слово Божие людям, представитель соборной (русской православной) общности и рассказчик, предельно близкий личности реального писателя; множественной адресованностью: себе самому (саморефлексия), читателю (учительное послание), Богу (исповедь, молитва); набором доминантных тональностей: благоговейной (по отношению к Божественному), обличительной (по отношению к земной власти и проявлениям низкого в человеке), учительной (по отношению к читателю-собеседнику). Типовые жанровые черты выступают объединяющей основой цикла «Крохотки», однако при наличии набора типовых черт каждая «крохотка» имеет ярко выраженный индивидуальный художественный характер и обладает собственной эстетической ценностью. Цикл разделен на две части, каждую из которых завершает молитва: благодарственная молитва за личное благополучие от имени авторского я заключает первую часть цикла; просительная молитва за благополучие России от лица автора как части русской православной общности заключает вторую часть цикла. При этом тематические и тональные совпадения молитв с произведениями каждой из частей цикла позволяют рассматривать их не только как финальные компоненты, но и как звенья, скрепляющие весь цикл «Крохотки» в целое кольцевое структурное и смысловое единство, в котором воплощается авторская картина мира., The author reveals the structural and semantic features of the cycle Miniatures by A. I. Solzhenitsyn. As a result of the analysis of the cycle of works carried out in line with the cognitive and communicative approach, the author comes to a conclusion that the genre of the Miniatures has a number of typical characteristics, i.e. three-part composition, including narrative, lyrical and philosophical components; a complex organisation of the author’s image, which brings together an intermediary who carries the word of God to people, a representative of the collegial (Russian Orthodox) community and a narrator who is extremely close to the personality of the real writer; multiple targeting: oneself (self-reflection), reader (teaching message), God (confession, prayer); a set of dominant tonalities: reverent (in relation to the divine), accusatory (in relation to state power and manifestations of the low in man), instructive (in relation to the reader-interlocutor). Typical genre features unify the cycle Мiniatures, however, despite a set of typical features, each “miniature” has a pronounced individual artistic character and its own aesthetic value. The cycle is divided into two parts, each of which ends with a prayer: a thanksgiving prayer for personal well-being on behalf of the author’s self concludes the first part of the cycle; a prayer for the well-being of Russia on behalf of the author as part of the Russian Orthodox community concludes the second part of the cycle. At the same time, thematic and tonal coincidences of prayers with the works of each part of the cycle allow us to consider them not only as final components, but also as links that bind the entire cycle of Miniatures into a whole circular structural and semantic unity, which embodies the author’s picture of the world.

Framing Neverland is a content analysis that examines how the documentary Leaving Neverland is portrayed in Swedish daily press between January 25 to May 20, 2019. It is through the questions “How does the framing of Leaving Neverland being perceived in Swedish daily press?” and “Does morning and evening presses differ in the framing?” the essay was designed. Entman's framing theory forms the basis of the study's theoretical framework and is supplemented with media logic and tabloidization, which is operationalized into variables in the study of 100 articles within Swedish daily press. The Swedish morning and evening newspapers are represented by the four largest daily newspapers in Sweden today; Aftonbladet, Dagens Nyheter, Expressen and Svenska Dagbladet. A cluster selection were made in the process of choosing the articles, because of the choice of newspapers which is the largest Swedish ones today, also a total selection when all published articles within the population have become objects for the survey. Previous research consists of framing theory and tonality of different subjects than this study, since similar essays traditionally relate to political and war reporting. Inspiration has been given from previous research on analysis tools to apply to this contemporary work which is at the intersection of popular culture and news content. The newspaper framing in general is relatively homogeneous, which explains some tabloidization among, what we call, the quality press. The commercialization of the media gives rise to this, but some differences remain. Aftonbladet is the newspaper with the most frequent reporting by Leaving Neverland and then comes Expressen. Which means that the evening press prioritize this topic as a higher news value than what the morning press does. However, it is possible to extract a result which shows that the content of the morning press is of a more critical nature towards Leaving Neverland. Together, the result is thus presented thr, Framing Neverland är en kvantitativ innehållsanalys som undersöker hur dokumentären Leaving Neverland gestaltas i svensk press mellan 25 januari till 20 maj 2019. Det är genom frågeställningarna “Hur ser gestaltningen av Leaving Neverland ut i svensk press?” samt “Skiljer sig morgon- och kvällspress i gestaltningen?” som uppsatsen utformats. Gestaltningsteori står till grund för studiens teoretiska ramverk och kompletteras med medielogik och tabloidisering, vilket operationaliseras till variabler i studien av 100 artiklar inom svensk press. Svenska morgon- och kvällstidningar representeras genom de fyra största dagstidningarna i Sverige idag; Aftonbladet, Dagens Nyheter, Expressen och Svenska Dagbladet. Det är således ett klusterurval som gjorts av de största tidningarna, men även ett totalurval då alla publicerade artiklar inom populationen har blivit objekt för undersökningen. Tidigare forskning består av gestaltning och tonalitet av annan slags karaktär än denna studie, då liknande uppsatser traditionellt sett förhåller sig till politisk- och krigsrapportering. Inspiration har givits från tidigare forskning gällande analysverktyg för att applicera på detta nutida verk som befinner sig i skärningspunkten mellan populärkultur och nyhetsinnehåll. Resultatet i studien visar att tidningarnas sammanslagna gestaltning generellt är relativt homogen, vilket förklarar viss tabloidisering bland “kvalitetspressen”. Mediernas kommersialisering ger upphov till detta, men vissa innehållsmässiga skillnader kvarstår. Aftonbladet är den tidning som står för största delen av nyhetsrapporteringen av Leaving Neverland och därefter kommer Expressen. Detta innebär att kvällspressen anser att detta ämne har ett högre nyhetsvärde än vad morgonpressen gör. Således går det att utvinna ett resultat som påvisar att morgonpressens gestaltning är av mer kritisk karaktär gentemot Leaving Neverland. Tillsammans redovisas följaktligen resultatet genom gestaltningsteori, medielogik och tabloid

Framing Neverland is a content analysis that examines how the documentary Leaving Neverland is portrayed in Swedish daily press between January 25 to May 20, 2019. It is through the questions “How does the framing of Leaving Neverland being perceived in Swedish daily press?” and “Does morning and evening presses differ in the framing?” the essay was designed. Entman's framing theory forms the basis of the study's theoretical framework and is supplemented with media logic and tabloidization, which is operationalized into variables in the study of 100 articles within Swedish daily press. The Swedish morning and evening newspapers are represented by the four largest daily newspapers in Sweden today; Aftonbladet, Dagens Nyheter, Expressen and Svenska Dagbladet. A cluster selection were made in the process of choosing the articles, because of the choice of newspapers which is the largest Swedish ones today, also a total selection when all published articles within the population have become objects for the survey. Previous research consists of framing theory and tonality of different subjects than this study, since similar essays traditionally relate to political and war reporting. Inspiration has been given from previous research on analysis tools to apply to this contemporary work which is at the intersection of popular culture and news content. The newspaper framing in general is relatively homogeneous, which explains some tabloidization among, what we call, the quality press. The commercialization of the media gives rise to this, but some differences remain. Aftonbladet is the newspaper with the most frequent reporting by Leaving Neverland and then comes Expressen. Which means that the evening press prioritize this topic as a higher news value than what the morning press does. However, it is possible to extract a result which shows that the content of the morning press is of a more critical nature towards Leaving Neverland. Together, the result is thus presented thr, Framing Neverland är en kvantitativ innehållsanalys som undersöker hur dokumentären Leaving Neverland gestaltas i svensk press mellan 25 januari till 20 maj 2019. Det är genom frågeställningarna “Hur ser gestaltningen av Leaving Neverland ut i svensk press?” samt “Skiljer sig morgon- och kvällspress i gestaltningen?” som uppsatsen utformats. Gestaltningsteori står till grund för studiens teoretiska ramverk och kompletteras med medielogik och tabloidisering, vilket operationaliseras till variabler i studien av 100 artiklar inom svensk press. Svenska morgon- och kvällstidningar representeras genom de fyra största dagstidningarna i Sverige idag; Aftonbladet, Dagens Nyheter, Expressen och Svenska Dagbladet. Det är således ett klusterurval som gjorts av de största tidningarna, men även ett totalurval då alla publicerade artiklar inom populationen har blivit objekt för undersökningen. Tidigare forskning består av gestaltning och tonalitet av annan slags karaktär än denna studie, då liknande uppsatser traditionellt sett förhåller sig till politisk- och krigsrapportering. Inspiration har givits från tidigare forskning gällande analysverktyg för att applicera på detta nutida verk som befinner sig i skärningspunkten mellan populärkultur och nyhetsinnehåll. Resultatet i studien visar att tidningarnas sammanslagna gestaltning generellt är relativt homogen, vilket förklarar viss tabloidisering bland “kvalitetspressen”. Mediernas kommersialisering ger upphov till detta, men vissa innehållsmässiga skillnader kvarstår. Aftonbladet är den tidning som står för största delen av nyhetsrapporteringen av Leaving Neverland och därefter kommer Expressen. Detta innebär att kvällspressen anser att detta ämne har ett högre nyhetsvärde än vad morgonpressen gör. Således går det att utvinna ett resultat som påvisar att morgonpressens gestaltning är av mer kritisk karaktär gentemot Leaving Neverland. Tillsammans redovisas följaktligen resultatet genom gestaltningsteori, medielogik och tabloid

Classic psychedelic drugs (serotonin 2A, or 5HT2A, receptor agonists) have notable effects on music listening. In the current report, blood oxygen level-dependent (BOLD) signal was collected during music listening in 25 healthy adults after administration of placebo, lysergic acid diethylamide (LSD), and LSD pretreated with the 5HT2A antagonist ketanserin, to investigate the role of 5HT2A receptor signaling in the neural response to the time-varying tonal structure of music. Tonality-tracking analysis of BOLD data revealed that 5HT2A receptor signaling alters the neural response to music in brain regions supporting basic and higher-level musical and auditory processing, and areas involved in memory, emotion, and self-referential processing. This suggests a critical role of 5HT2A receptor signaling in supporting the neural tracking of dynamic tonal structure in music, as well as in supporting the associated increases in emotionality, connectedness, and meaningfulness in response to music that are commonly observed after the administration of LSD and other psychedelics. Together, these findings inform the neuropsychopharmacology of music perception and cognition, meaningful music listening experiences, and altered perception of music during psychedelic experiences.

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.

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, 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 anpassa

Classic psychedelic drugs (serotonin 2A, or 5HT2A, receptor agonists) have notable effects on music listening. In the current report, blood oxygen level-dependent (BOLD) signal was collected during music listening in 25 healthy adults after administration of placebo, lysergic acid diethylamide (LSD), and LSD pretreated with the 5HT2A antagonist ketanserin, to investigate the role of 5HT2A receptor signaling in the neural response to the time-varying tonal structure of music. Tonality-tracking analysis of BOLD data revealed that 5HT2A receptor signaling alters the neural response to music in brain regions supporting basic and higher-level musical and auditory processing, and areas involved in memory, emotion, and self-referential processing. This suggests a critical role of 5HT2A receptor signaling in supporting the neural tracking of dynamic tonal structure in music, as well as in supporting the associated increases in emotionality, connectedness, and meaningfulness in response to music that are commonly observed after the administration of LSD and other psychedelics. Together, these findings inform the neuropsychopharmacology of music perception and cognition, meaningful music listening experiences, and altered perception of music during psychedelic experiences.

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, 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 anpassa

This paper is a reflection prior to the creation of a didactic proposal on the subject of music addressed to the 1st and 2nd grades of Compulsory Secondary Education. As a researcher, musicologist and secondary teacher, it is important to meditate about the methodological strategies we use. High Schools are disciplinary devices that organizes time and space in a functional and hierarchical way, under what is understood as “effective” (Foucault). In music teaching we find limitations that come from the use of History and the traditional grammar of Western Music as an exclusive reference, excluding the various significant contexts of a heterogeneous student public. Some official documents and the daily life in the 2nd grade of a public Secondary School are analyzed to deconstruct the normative habitat and offer an example of an interdisciplinarity proposal, through which students and teachers will be able to meditate about concepts such as interculturality, integration or inclusion., Este trabajo es una reflexión previa a la confección de una propuesta didáctica musical para 1º/2º de ESO (Educación Secundaria Obligatoria). Se trata de repensar las estrategias metodológicas como investigadora, musicóloga y profesora de secundaria. Esto resulta ineludible porque el instituto funciona como un dispositivo disciplinario que organiza el tiempo y el espacio de modo funcional y jerárquico, bajo la etiqueta de “eficaz” (Foucault). La enseñanza musical está plagada de limitaciones, derivadas del uso exclusivo de la Historia y de la gramática tradicional de la Música occidental como únicos referentes, excluyendo los diversos contextos significativos de un alumnado heterogéneo. A través de la investigación de documentos oficiales y de la realidad del curso 2º de ESO de un instituto público, deconstruiremos el hábitat normativo y ofreceremos un modelo de propuesta interdisciplinar a través de la cual el alumnado y el profesorado podrán revisar conceptos como interculturalidad, integración o inclusión.

В статье обсуждаются подходы к изучению и описанию дискурса, обусловленные функциями речи и разработанными в лингвистике и других областях гуманитарного знания моделями коммуникативной ситуации (М.М. Бахтин, Ю. Лотман, J. Habermas, М. Halliday). Они характеризуют содержание общения, его типовых участников, тональность, канал и акциональную природу. Эти подходы взаимодополнительны и дают возможность синтезировать достижения лингвистики текста, социолингвистики, прагмалингвистики и собственно теории дискурса. Их объединяющим центром является дискурсивная личность — человек как участник общения, проявляющий себя в разных типах коммуникативных ситуаций. Вместе с тем каждый из этих подходов преимущественно сориентирован на определенный тип личности и тип ситуаций. В рамках тематического подхода к дискурсу в фокусе оказывается содержание общения и основные форматы представления содержания в тексте и подтексте. Субъектный подход к моделированию дискурса сориентирован на установление и описание характеристик личностнообусловленного и статусно-обусловленного дискурса, в первом случае в поле зрения исследователей оказывается бытовое и бытийное общение, во втором — институциональное общение. Используя инструментальный подход к интерпретации дискурса, исследователи получают возможность выделить и описать доминирующую тональность общения. Режимный подход к дискурсу направлен на выявление характеристик канала и средств осуществления общения. Акциональное понимание дискурса дает возможность охарактеризовать поведение личности в разных коммуникативных ситуациях, инкорпорированное в систему социального взаимодействия участников общения в соответствии с принятыми в этой системе культурными прескрипциями.

Nostalgia is an emotion that is most commonly associated with personally and socially relevant memories. It is primarily positive in valence and is readily evoked by music. It is also an idiosyncratic experience that varies between individuals based on affective traits. We identified frontal, limbic, paralimbic, and midbrain brain regions in which the strength of the relationship between ratings of nostalgia evoked by music and blood-oxygen-level-dependent (BOLD) signal was predicted by affective personality measures (nostalgia proneness and the sadness scale of the Affective Neuroscience Personality Scales) that are known to modulate the strength of nostalgic experiences. We also identified brain areas including the inferior frontal gyrus, substantia nigra, cerebellum, and insula in which time-varying BOLD activity correlated more strongly with the time-varying tonal structure of nostalgia-evoking music than with music that evoked no or little nostalgia. These findings illustrate one way in which the reward and emotion regulation networks of the brain are recruited during the experiencing of complex emotional experiences triggered by music. These findings also highlight the importance of considering individual differences when examining the neural responses to strong and idiosyncratic emotional experiences. Finally, these findings provide a further demonstration of the use of time-varying stimulus-specific information in the investigation of music-evoked experiences.

El lenguaje artístico-musical está en constante transformación reflejando los cambios históricos de la sociedad humana. La evolución afecta todos los aspectos del lenguaje musical. Esta investigación enfoca en la vertiente armónica de la música en una época cuando el artista abandona los ideales clásicos preconcebidos para reemplazarlos por soluciones únicas, espontáneas e individuales, frutos de la libertad y la ingeniosidad de la mente suprema del genio creador. El mundo armónico de la música romántica está lleno de fenómenos caprichosos y relaciones armónicas impredecibles, ilusiones y sorpresas que se originan pero también causan la frustración de expectativas en el oyente (Meyer, 2000). La tonalidad pierde su función reguladora cediendo al mágico mundo del cromatismo, en el que cada acorde vale por sí mismo, por su calidad sonora y por la relación momentánea con su entorno; en el que se aprovecha la enarmonía para el engaño auditivo; en el que el proceso modulante es incesante; y en el que el único factor estable es el cambio. No obstante, obedeciendo a la dialéctica de las cosas aparentemente incompatibles, los fenómenos armónicos caprichosos e impredecibles se producen en el marco de un nuevo sistema armónico coherente basado en el cromatismo y que se distribuye uniformemente durante la época romántica., Musical artistic language is in constant transformation reflecting historical changes in human society. This evolution concerns every feature of musical language. This research focuses on the harmonic aspects of music, in a time when artists gave up preconceived classical ideals to replace them with unique, spontaneous and individual solutions, product of the liberty and the ingeniousness of the brilliant mind of the creative genius. El mundo armónico de la música romántica está lleno de fenómenos caprichosos y relaciones armónicas impredecibles, ilusiones y sorpresas que se originan pero también causan la frustración de expectativas en el oyente (Meyer, 2000). The harmonic world of romantic music is full of capricious phenomena, unpredictable harmonic relationships, creating illusions and causing surprises, but also leading to frustrated expectations in the listener (Meyer, 2000). Tonality loses its regulatory function giving way to the magic world of chromaticism, in which every chord is a value in itself, because of its sound quality, and its momentary relationship with its settings; in which enharmonic relations are used for aural deception, the modulating process is incessant, and the only stable factor is change. Nevertheless, following the dialectics of apparently compatible situations, the fanciful and unpredictable harmonic phenomena are generated in the time frame of a new harmonic system, coherently based on chromaticism uniformly distributed during the romantic period.

El lenguaje artístico-musical está en constante transformación reflejando los cambios históricos de la sociedad humana. La evolución afecta todos los aspectos del lenguaje musical. Esta investigación enfoca en la vertiente armónica de la música en una época cuando el artista abandona los ideales clásicos preconcebidos para reemplazarlos por soluciones únicas, espontáneas e individuales, frutos de la libertad y la ingeniosidad de la mente suprema del genio creador. El mundo armónico de la música romántica está lleno de fenómenos caprichosos y relaciones armónicas impredecibles, ilusiones y sorpresas que se originan pero también causan la frustración de expectativas en el oyente (Meyer, 2000). La tonalidad pierde su función reguladora cediendo al mágico mundo del cromatismo, en el que cada acorde vale por sí mismo, por su calidad sonora y por la relación momentánea con su entorno; en el que se aprovecha la enarmonía para el engaño auditivo; en el que el proceso modulante es incesante; y en el que el único factor estable es el cambio. No obstante, obedeciendo a la dialéctica de las cosas aparentemente incompatibles, los fenómenos armónicos caprichosos e impredecibles se producen en el marco de un nuevo sistema armónico coherente basado en el cromatismo y que se distribuye uniformemente durante la época romántica., Musical artistic language is in constant transformation reflecting historical changes in human society. This evolution concerns every feature of musical language. This research focuses on the harmonic aspects of music, in a time when artists gave up preconceived classical ideals to replace them with unique, spontaneous and individual solutions, product of the liberty and the ingeniousness of the brilliant mind of the creative genius. El mundo armónico de la música romántica está lleno de fenómenos caprichosos y relaciones armónicas impredecibles, ilusiones y sorpresas que se originan pero también causan la frustración de expectativas en el oyente (Meyer, 2000). The harmonic world of romantic music is full of capricious phenomena, unpredictable harmonic relationships, creating illusions and causing surprises, but also leading to frustrated expectations in the listener (Meyer, 2000). Tonality loses its regulatory function giving way to the magic world of chromaticism, in which every chord is a value in itself, because of its sound quality, and its momentary relationship with its settings; in which enharmonic relations are used for aural deception, the modulating process is incessant, and the only stable factor is change. Nevertheless, following the dialectics of apparently compatible situations, the fanciful and unpredictable harmonic phenomena are generated in the time frame of a new harmonic system, coherently based on chromaticism uniformly distributed during the romantic period.

Nostalgia is an emotion that is most commonly associated with personally and socially relevant memories. It is primarily positive in valence and is readily evoked by music. It is also an idiosyncratic experience that varies between individuals based on affective traits. We identified frontal, limbic, paralimbic, and midbrain brain regions in which the strength of the relationship between ratings of nostalgia evoked by music and blood-oxygen-level-dependent (BOLD) signal was predicted by affective personality measures (nostalgia proneness and the sadness scale of the Affective Neuroscience Personality Scales) that are known to modulate the strength of nostalgic experiences. We also identified brain areas including the inferior frontal gyrus, substantia nigra, cerebellum, and insula in which time-varying BOLD activity correlated more strongly with the time-varying tonal structure of nostalgia-evoking music than with music that evoked no or little nostalgia. These findings illustrate one way in which the reward and emotion regulation networks of the brain are recruited during the experiencing of complex emotional experiences triggered by music. These findings also highlight the importance of considering individual differences when examining the neural responses to strong and idiosyncratic emotional experiences. Finally, these findings provide a further demonstration of the use of time-varying stimulus-specific information in the investigation of music-evoked experiences.

El lenguaje artístico-musical está en constante transformación reflejando los cambios históricos de la sociedad humana. La evolución afecta todos los aspectos del lenguaje musical. Esta investigación enfoca en la vertiente armónica de la música en una época cuando el artista abandona los ideales clásicos preconcebidos para reemplazarlos por soluciones únicas, espontáneas e individuales, frutos de la libertad y la ingeniosidad de la mente suprema del genio creador. El mundo armónico de la música romántica está lleno de fenómenos caprichosos y relaciones armónicas impredecibles, ilusiones y sorpresas que se originan pero también causan la frustración de expectativas en el oyente (Meyer, 2000). La tonalidad pierde su función reguladora cediendo al mágico mundo del cromatismo, en el que cada acorde vale por sí mismo, por su calidad sonora y por la relación momentánea con su entorno; en el que se aprovecha la enarmonía para el engaño auditivo; en el que el proceso modulante es incesante; y en el que el único factor estable es el cambio. No obstante, obedeciendo a la dialéctica de las cosas aparentemente incompatibles, los fenómenos armónicos caprichosos e impredecibles se producen en el marco de un nuevo sistema armónico coherente basado en el cromatismo y que se distribuye uniformemente durante la época romántica., Musical artistic language is in constant transformation reflecting historical changes in human society. This evolution concerns every feature of musical language. This research focuses on the harmonic aspects of music, in a time when artists gave up preconceived classical ideals to replace them with unique, spontaneous and individual solutions, product of the liberty and the ingeniousness of the brilliant mind of the creative genius. El mundo armónico de la música romántica está lleno de fenómenos caprichosos y relaciones armónicas impredecibles, ilusiones y sorpresas que se originan pero también causan la frustración de expectativas en el oyente (Meyer, 2000). The harmonic world of romantic music is full of capricious phenomena, unpredictable harmonic relationships, creating illusions and causing surprises, but also leading to frustrated expectations in the listener (Meyer, 2000). Tonality loses its regulatory function giving way to the magic world of chromaticism, in which every chord is a value in itself, because of its sound quality, and its momentary relationship with its settings; in which enharmonic relations are used for aural deception, the modulating process is incessant, and the only stable factor is change. Nevertheless, following the dialectics of apparently compatible situations, the fanciful and unpredictable harmonic phenomena are generated in the time frame of a new harmonic system, coherently based on chromaticism uniformly distributed during the romantic period.

El lenguaje artístico-musical está en constante transformación reflejando los cambios históricos de la sociedad humana. La evolución afecta todos los aspectos del lenguaje musical. Esta investigación enfoca en la vertiente armónica de la música en una época cuando el artista abandona los ideales clásicos preconcebidos para reemplazarlos por soluciones únicas, espontáneas e individuales, frutos de la libertad y la ingeniosidad de la mente suprema del genio creador. El mundo armónico de la música romántica está lleno de fenómenos caprichosos y relaciones armónicas impredecibles, ilusiones y sorpresas que se originan pero también causan la frustración de expectativas en el oyente (Meyer, 2000). La tonalidad pierde su función reguladora cediendo al mágico mundo del cromatismo, en el que cada acorde vale por sí mismo, por su calidad sonora y por la relación momentánea con su entorno; en el que se aprovecha la enarmonía para el engaño auditivo; en el que el proceso modulante es incesante; y en el que el único factor estable es el cambio. No obstante, obedeciendo a la dialéctica de las cosas aparentemente incompatibles, los fenómenos armónicos caprichosos e impredecibles se producen en el marco de un nuevo sistema armónico coherente basado en el cromatismo y que se distribuye uniformemente durante la época romántica., Musical artistic language is in constant transformation reflecting historical changes in human society. This evolution concerns every feature of musical language. This research focuses on the harmonic aspects of music, in a time when artists gave up preconceived classical ideals to replace them with unique, spontaneous and individual solutions, product of the liberty and the ingeniousness of the brilliant mind of the creative genius. El mundo armónico de la música romántica está lleno de fenómenos caprichosos y relaciones armónicas impredecibles, ilusiones y sorpresas que se originan pero también causan la frustración de expectativas en el oyente (Meyer, 2000). The harmonic world of romantic music is full of capricious phenomena, unpredictable harmonic relationships, creating illusions and causing surprises, but also leading to frustrated expectations in the listener (Meyer, 2000). Tonality loses its regulatory function giving way to the magic world of chromaticism, in which every chord is a value in itself, because of its sound quality, and its momentary relationship with its settings; in which enharmonic relations are used for aural deception, the modulating process is incessant, and the only stable factor is change. Nevertheless, following the dialectics of apparently compatible situations, the fanciful and unpredictable harmonic phenomena are generated in the time frame of a new harmonic system, coherently based on chromaticism uniformly distributed during the romantic period.

The ability to extract meaningful relationships from sequences is crucial to many aspects of perception and cognition, such as speech and music. This paper explores how leading computational techniques may be used to model how humans learn abstract musical relationships, namely, tonality and octave equivalence. Rather than hard-coding musical rules, this model uses an unsupervised learning approach to glean tonal relationships from a musical corpus. We develop and test a novel input representation technique, using a perceptually-inspired harmonics-based representation, to bootstrap the model’s learning of tonal structure. The results are compared with behavioral data from listeners’ performance on a standard music perception task: the model effectively encodes tonal relationships from musical data, simulating expert performance on the listening task. Lastly, the results are contrasted with previous findings from a computational model that uses a more simple symbolic input representation of pitch.

Music is capable of eliciting a wide variety of sensations and emotions. Current models of tonality perception assume that musical elements (tones, chords, phrases) activate multiple mechanisms in the brain that give rise to these sensations and emotions. Previous research has primarily used subjective judgments from trained musicians to derive the fundamental dimensions of tonality. Importantly, this research has used feedback-free experimental paradigms in which the listener must be trusted as the expert witness to ground truth. The current research, by contrast, uses feedback-driven tasks to measure the sensitivity of listeners to variations in the physical properties of musical stimuli. In this dissertation, I investigate several notions of dimensionality in tonality specifically looking at sensitivity in both experts and novices. We focus on the sensitivity of listeners to variations in the global statistics of brief, rapid, randomly-ordered sequences of musical tones called tone-scrambles. Previous research (Chubb et al., 2013) has shown that (1) most listeners (roughly 70%) cannot hear any difference between tone-scrambles that differ only in degree three of the major vs. minor diatonic scale, and (2) the other listeners are highly sensitive to this difference. In chapter 1, I show that degree six of the diatonic scale splits the population in the same way as scale degree three. In chapter two, a large sample of listeners is tested in each of the “3” and “6” tasks previously investigated along with three other similar tasks, in each of which the tones to be discriminated differ by a semitone. Performance in all five tasks is strongly correlated showing that a single mechanism predominates in enabling judgments of semitone differences. In chapter three, I take a much closer look at two listeners, who are high-performers in the semitone tasks used in Chapter 2, to investigate the number of dimensions of sensitivity that enable tonal discrimination. Multidimensi

The article investigates the axiological modus, which is displayed in the text categories of evaluation and emotion. The author analyzes the axiological evaluation as a constituent element of a common textual modality that is building the sense superstructure above the general meaning. The paper defines such parameters of the text modal framework, enabling the transfer of axiological evaluation, as the usage of preevaluative benchmarks, connotation and condensation measure of the text. It also describes the explicit (metaphor; occasionalisms / individual author's words, neologisms, elements of spoken language, lexical units with qualifying semantics demonstrating value-positive or negative-value elements in the subject-object relationship) and implicit (integrative effects of global connectivity of the text, actualizing the secondary code meanings) textual methods of evaluation demonstrating. Much attention is paid to the tonality of the text as a functional-semantic category, reflecting the psychological mood of the author in the evaluation on emotional base. In this regard, the author highlighted pre-text ways of tonality expressing (units with the semantics of emotion, corroboration and willingness), its nucleus (emotional exclamations, emotional and expressive evaluation, words with suffixes of subjective evaluation, expressive intonation structures and stylistic means) and the periphery (neutral vocabulary with emotional connotation and emotionally expressive use, and neutral words for concepts about the emotions and the will). The article also draws conclusions about the priority and secondary of the rational and emotional axiological evaluation, their functional yield and interaction with transmitted objective cognitive information., Статья посвящена исследованию аксиологического модуса, который отображается в текстовых категориях оценки и эмотивности. Автор анализирует аксиологическую оценку как составляющий элемент общей модальности текста, который принимает участие в надстройке желаемого содержания над значением. В статье определяются такие параметры текстовой модальной рамки, которые способствуют передаче аксиологической оценки, как наличие предоценочных ориентиров, мера коннотативности и конденсиванности текста. Кроме того, рассматриваются эксплицитные (метафора, окказионализмы / индивидуально-авторские слова, неологизмы, элементы разговорной лексики, лексические единицы с квалификационной семантикой) и имплицитные (актуализация вторичных кодовых значений) способы демонстрации оценки текстом. Большое внимание в статье уделено также тональности текста как функционально-семантической категории, отражающей психологический настрой автора в оценках на эмоциональной почве., Стаття присвячена дослідженню аксіологічного модусу, що репрезентується у текстових категоріях оцінки та емотивності. Авторка аналізує аксіологічну оцінку як складовий елемент загальної модальності тексту, який бере участь у надбудові бажаного змісту над значенням. У статті визначаються такі параметри текстової модальної рамки, які сприяють передачі аксіологічної оцінки, як наявність передоцінних орієнтирів, міра конотативності та конденсованості тексту. Крім того, розглядаються експліцитні (метафора, оказіоналізми /індивідуально-авторські слова, неологізми; елементи розмовної лексики, лексичні одиниці з кваліфікаційною семантикою) та імпліцитні (актуалізація вторинних кодових значень) способи демонстрації оцінки текстом. Велика увага у статті приділена також тональності тексту як функціонально-семантичній категорії, що відображає психологічне налаштування автора в оцінках на емоційному підґрунті.

Music is capable of eliciting a wide variety of sensations and emotions. Current models of tonality perception assume that musical elements (tones, chords, phrases) activate multiple mechanisms in the brain that give rise to these sensations and emotions. Previous research has primarily used subjective judgments from trained musicians to derive the fundamental dimensions of tonality. Importantly, this research has used feedback-free experimental paradigms in which the listener must be trusted as the expert witness to ground truth. The current research, by contrast, uses feedback-driven tasks to measure the sensitivity of listeners to variations in the physical properties of musical stimuli. In this dissertation, I investigate several notions of dimensionality in tonality specifically looking at sensitivity in both experts and novices. We focus on the sensitivity of listeners to variations in the global statistics of brief, rapid, randomly-ordered sequences of musical tones called tone-scrambles. Previous research (Chubb et al., 2013) has shown that (1) most listeners (roughly 70%) cannot hear any difference between tone-scrambles that differ only in degree three of the major vs. minor diatonic scale, and (2) the other listeners are highly sensitive to this difference. In chapter 1, I show that degree six of the diatonic scale splits the population in the same way as scale degree three. In chapter two, a large sample of listeners is tested in each of the “3” and “6” tasks previously investigated along with three other similar tasks, in each of which the tones to be discriminated differ by a semitone. Performance in all five tasks is strongly correlated showing that a single mechanism predominates in enabling judgments of semitone differences. In chapter three, I take a much closer look at two listeners, who are high-performers in the semitone tasks used in Chapter 2, to investigate the number of dimensions of sensitivity that enable tonal discrimination. Multidimensi

In this project we sought to help establish whether Renaissance music (XV and XVI centuries), considered "modal", is substantially different from "tonal" music of later centuries or if, rather, it is the same tonal system that It evolved over time. For this, we analyze (tilde by diacrisis of the past) a representative group of works of the time, with special emphasis on the problem of harmonic functionality as an expression of syntactic differentiation but we also use other specific analytical criteria and qualitative methods such as Quantitative Our search, rather than fighting with the state of the matter at present according to the authorized writers, tried to refine and gather their theoretical results and ours in conclusions with a more generalizing and synthetic theorizing vision. There is a fundamental aspect, although collateral for the subject that concerns us here, that our research group has been examining for years in the projects already completed and that of the musical lexicon, an issue that we have considered a priority in musical theorization as a branch of musicology, given the denotative and explanatory power that is expected of him, as in any scientific field and, on the other hand, the little rigor with which it has been used, at least in part and not only in the musicological writings in the Castilian language. Let us revise, then, terms such as tonality, functionality, modalism, subjectivity, compass and metric, variety (varietas) and harmony in relation to the counterpoint., En este proyecto buscábamos ayudar a establecer si la música del Renacimiento (siglos XV y XVI), considerada “modal”, es sustancialmente diferente de la música “tonal” de siglos posteriores o si, más bien, se trata de un mismo sistema tonal que evolucionó en el tiempo. Para ello, analizámos (tilde por diacrisis del pretérito) un grupo representativo de obras de la época, haciendo especial énfasis en el problema de la funcionalidad armónica como expresión de diferenciación sintáctica pero también nos valimos de otros criterios analíticos específicos y de métodos tanto cualitativos como cuantitativos. Nuestra búsqueda, más que luchar con el estado de la cuestión en la actualidad según los tratadistas autorizados, trató de afinar y reunir sus resultados teóricos y los nuestros en unas conclusiones con una visión teorizante más generalizadora y sintética. Hay un aspecto fundamental, aunque colateral para el tema que aquí nos ocupa, que nuestro grupo de investigación viene examinado desde años atrás en los proyectos ya terminados y es el del léxico musical, un asunto que hemos considerado prioritario en la teorización musical como rama de la musicología, dado el poder denotativo y explicativo que se espera de él, como en todo campo científico y, por otra parte, el escaso rigor con que ha solido utilizarse, al menos en parte y no sólo en los escritos musicológicos en lengua castellana. Revisitámos, entonces, términos como tonalismo, funcionalidad, modalismo, tematicidad, compás y métrica, variedad (varietas) y armonía en relación con el contrapunto.

Zahlreiche Studien zeigen, dass Demenzerkrankungen bestimmte Bereiche des Gedächtnisses für Musik kaum beeinträchtigen. In diesem Zusammenhang wurde selten auf die Phasen einer beginnenden Alzheimer-Demenz (AD) eingegangen. Deshalb haben wir zehn PatientInnen mit leichter kognitiver Beeinträchtigung (Mild Cognitive Impairment, MCI), zehn mit beginnender AD und 23 gesunde Kontrollpersonen in Hinblick auf ihr explizites (semantisches) Gedächtnis für Musik, ihr Arbeitsgedächtnis für Musik und die emotionalen Klassifizierungen lustig/traurig in Abhängigkeit von der Tonart und der Notendichte eines Musikstücks untersucht. Eine neue Testbatterie wurde dazu entwickelt. MCI- und AD-PatientInnen wiesen zwar Defizite im Bereich des verbalen musikalischen Gedächtnisses auf, nicht aber bei musikalischen Wahrnehmungsaufgaben. Bei Arbeitsgedächtnisaufgaben waren die TeilnehmerInnen mit MCI und beginnender Demenz signifikant schlechter als die Kontrollgruppe. Beim Erkennen von Akkorden aber erzielte die MCI-Gruppe überraschenderweise dasselbe Leistungsniveau wie die Kontrollgruppe. Zudem konnten wir die populäre These widerlegen, wonach Dur im westlichen Kulturkreis mit „lustig“ und Moll mit „traurig“ klassifiziert werden. Vielmehr spielte in unseren Studien die Notendichte eines Stückes (rhythmische Komponente) einen entscheidenden Faktor.Die Ergebnisse der vorliegenden Studien zeigen, dass die graduell steigende Beeinträchtigung kognitiver Fähigkeiten während der präklinischen Phase einer Demenz spezielle musikalische Fähigkeiten bei PatientInnen mit MCI und beginnender AD ausspart. Dies deutet auf ein eigenes, spezialisiertes Gedächtnissystem für die Verarbeitung von Musik hin, das sich von anderen Bereichen wie dem verbalen oder dem visuellen Gedächtnissystem unterscheidet., Numerous studies have shown that some forms of memory for music are spared in dementia, but only few studies have investigated patients with early stages of dementia in this field. Therefore, we tested ten patients with mild cognitive impairment (MCI), ten patients with early stage Alzheimers disease (AD) and 23 controls with respect to the explicit (semantic) memory for music, the working memory for music and the emotional classification happy/sad in dependence of mode and note density in musical items. Up to now there was no suitable test for this purpose, therefore we created a new test battery that investigated the specific domains utilizing musical memory tasks. We found that the groups of MCI and early stage Alzheimers disease had deficits in exercises involving verbal memory for music, but showed unimpaired performances in musical tasks requiring the perception of musical properties. In respect to the working memory for music, participants with MCI and early AD showed significantly reduced proficiency as compared to controls in most of the presented tasks. However, in recognizing chords, MCI- participants surprisingly were as successful as controls. Furthermore, we did not find any indication in favour of the popular assumption that major in western cultures is associated to „happy” and minor to „sad”. Instead, we demonstrated that the note-density of a musical piece (rhythmic component) is the key factor for happy/sad judgements. Neither the diagnosis MCI or early AD nor the values on the geriatric depression scale had any influence on the attribution of emotional expressions to musical pieces.The results of these studies indicate that the gradual increase of the impairment during the preclinical phase of AD spares special musical abilities in MCI- and AD-patients and therefore support the notion of a specialized memory system for music, distinct from other domains., vorgelegt von Manuela Kerer, Abweichender Titel laut Übersetzung der Verfasserin/des Verfassers, Enth. u.a. 6 Veröff. d. Verf. aus den Jahren 2012 - 2013 . - Zsfassung in dt. und engl. Sprache, Text teilw. dt. und teilw. engl. Sprache, Innsbruck, Univ., Diss., 2014, OeBB, (VLID)129283

Listeners' expectations for melodies and harmonies in tonal music are perhaps the most studied aspect of music cognition. Long debated has been whether faster response times (RTs) to more strongly primed events (in a music theoretic sense) are driven by sensory or cognitive mechanisms, such as repetition of sensory information or activation of cognitive schemata that reflect learned tonal knowledge, respectively. We analyzed over 300 stimuli from 7 priming experiments comprising a broad range of musical material, using a model that transforms raw audio signals through a series of plausible physiological and psychological representations spanning a sensory-cognitive continuum. We show that RTs are modeled, in part, by information in periodicity pitch distributions, chroma vectors, and activations of tonal space--a representation on a toroidal surface of the major/minor key relationships in Western tonal music. We show that in tonal space, melodies are grouped by their tonal rather than timbral properties, whereas the reverse is true for the periodicity pitch representation. While tonal space variables explained more of the variation in RTs than did periodicity pitch variables, suggesting a greater contribution of cognitive influences to tonal expectation, a stepwise selection model contained variables from both representations and successfully explained the pattern of RTs across stimulus categories in 4 of the 7 experiments. The addition of closure--a cognitive representation of a specific syntactic relationship--succeeded in explaining results from all 7 experiments. We conclude that multiple representational stages along a sensory-cognitive continuum combine to shape tonal expectations in music.

During the early twentieth century, art music composers pushed Western tonality to the limits and eventually abandoned tonality altogether, creating a system that treated every pitch equally. This atonal system broke down all keys and harmonic progressions that are cornerstones of Western musical pitch hierarchy. Through an extensive review of current literature, this research aims to show that the concept of hierarchy, present in tonal but not atonal music, is central to music perception. This presentation will explore the role hierarchy in music perception through several means: examining the physical nature of sound on a mathematical basis, determining innate structures of music perception and investigating the neurobiology of tonal perception. Research will also seek to understand structural aspects of atonal music and how these structures are perceived, with the final conclusion that atonal musical structures do not facilitate music perception to the same degree as tonal structures since they lack fundamental pitch hierarchy.

Listeners' expectations for melodies and harmonies in tonal music are perhaps the most studied aspect of music cognition. Long debated has been whether faster response times (RTs) to more strongly primed events (in a music theoretic sense) are driven by sensory or cognitive mechanisms, such as repetition of sensory information or activation of cognitive schemata that reflect learned tonal knowledge, respectively. We analyzed over 300 stimuli from 7 priming experiments comprising a broad range of musical material, using a model that transforms raw audio signals through a series of plausible physiological and psychological representations spanning a sensory-cognitive continuum. We show that RTs are modeled, in part, by information in periodicity pitch distributions, chroma vectors, and activations of tonal space--a representation on a toroidal surface of the major/minor key relationships in Western tonal music. We show that in tonal space, melodies are grouped by their tonal rather than timbral properties, whereas the reverse is true for the periodicity pitch representation. While tonal space variables explained more of the variation in RTs than did periodicity pitch variables, suggesting a greater contribution of cognitive influences to tonal expectation, a stepwise selection model contained variables from both representations and successfully explained the pattern of RTs across stimulus categories in 4 of the 7 experiments. The addition of closure--a cognitive representation of a specific syntactic relationship--succeeded in explaining results from all 7 experiments. We conclude that multiple representational stages along a sensory-cognitive continuum combine to shape tonal expectations in music.

This thesis is concerned with the symphonies of the Swedish composer Allan Pettersson (1911–80). The aim of the thesis is to promote understanding of Pettersson’s music and compositional processes, through analyses of a selection of his symphonies. The thesis will also increase understanding of Pettersson’s view of music. My analytical point of departure is a reconstructed compositional problem built on Pettersson’s view of music; the analysed symphonies are regarded as solutions to the reconstructed compositional problem. Questions related to how these problems are solved in the symphonies are the main focus of the analyses. The analyses in this thesis suggest that Pettersson consciously worked with contrasts between the tonal and non-tonal. This is supported by the composer’s descriptions of his music. The contrasts in Pettersson’s music between the tonal and non-tonal are in most cases carefully integrated into his symphonies. These contrasts appear as parts of an organic whole and are central in the formation of this whole. The analyses suggest that the contrast non-tonal/tonal functions as tension and relaxation between larger and smaller sections, and between motifs. There are connections between the contrasts on different levels, which seems like a clear structural idea in Pettersson’s organic form. The analyses emphasis the multiple functions of tonality in Pettersson’s music. The analyses also propose that the contrast between tonal and non-tonal appears as a means of articulating contrasts between different themes and motifs. The analyses further show how Pettersson used carefully constructed systems of great complexity in his music.

This thesis is concerned with the symphonies of the Swedish composer Allan Pettersson (1911–80). The aim of the thesis is to promote understanding of Pettersson’s music and compositional processes, through analyses of a selection of his symphonies. The thesis will also increase understanding of Pettersson’s view of music. My analytical point of departure is a reconstructed compositional problem built on Pettersson’s view of music; the analysed symphonies are regarded as solutions to the reconstructed compositional problem. Questions related to how these problems are solved in the symphonies are the main focus of the analyses. The analyses in this thesis suggest that Pettersson consciously worked with contrasts between the tonal and non-tonal. This is supported by the composer’s descriptions of his music. The contrasts in Pettersson’s music between the tonal and non-tonal are in most cases carefully integrated into his symphonies. These contrasts appear as parts of an organic whole and are central in the formation of this whole. The analyses suggest that the contrast non-tonal/tonal functions as tension and relaxation between larger and smaller sections, and between motifs. There are connections between the contrasts on different levels, which seems like a clear structural idea in Pettersson’s organic form. The analyses emphasis the multiple functions of tonality in Pettersson’s music. The analyses also propose that the contrast between tonal and non-tonal appears as a means of articulating contrasts between different themes and motifs. The analyses further show how Pettersson used carefully constructed systems of great complexity in his music.

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.

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.