Chromatic Fantasy and Fugue in D Minor

Soitinnus : Piano.

Statistical Analysis of Spectral Images

Tämä diplomityö liittyy Spektrikuvien tutkimiseen tilastollisen kuvamallin näkökulmasta. Diplomityön ensimmäisessä osassa tarkastellaan tilastollisten parametrien jakaumien vaikutusta väreihin ja korostumiin erilaisissa valaistusolosuhteissa. Havaittiin, että tilastollisten parametrien väliset suhteet eivät riipu valaistusolosuhteista, mutta riippuvat kuvan häiriöttömyydestä. Ilmeni myös, että korkea huipukkuus saattaa aiheutua värikylläisyydestä. Lisäksi työssä kehitettiin tilastolliseen spektrimalliin perustuvaa tekstuurinyhdistämisalgoritmia. Sillä saavutettiin hyviä tuloksia, kun tilastollisten parametrien väliset riippuvuussuhteet olivat voimassa. Työn toisessa osassa erilaisia spektrikuvia tutkittiin käyttäen itsenäistä komponenttien analyysia (ICA). Seuraavia itsenäiseen komponenttien analyysiin tarkoitettuja algoritmia tarkasteltiin: JADE, kiinteän pisteen ICA ja momenttikeskeinen ICA. Tutkimuksissa painotettiin erottelun laatua. Paras erottelu saavutettiin JADE- algoritmilla, joskin erot muiden algoritmien välillä eivät olleet merkittäviä. Algoritmi jakoi kuvan kahteen itsenäiseen, joko korostuneeseen ja korostumattomaan tai kromaattiseen ja akromaattiseen, komponenttiin. Lopuksi pohditaan huipukkuuden suhdetta kuvan ominaisuuksiin, kuten korostuneisuuteen ja värikylläisyyteen. Työn viimeisessä osassa ehdotetaan mahdollisia jatkotutkimuskohteita.

St. Petersburg Court Chant and the Tradition of Eastern Slavic Church Singing

The present study examines the repertory of liturgical chant known as St. Petersburg Court Chant which emerged within the Imperial Court of St. Petersburg, Russia, and appeared in print in a number of revisions during the course of the 19th century, eventually to spread throughout the Russian Empire and even abroad. The study seeks answers to questions on the essence and composition of Court Chant, its history and liturgical background, and most importantly, its musical relationship to other repertories of Eastern Slavic chant. The research questions emerge from previous literary accounts of Court Chant (summarized in the Introduction), which have tended to be inaccurate and generally not based on critical research. The study is divided into eight main chapters. Chapter 1 provides a survey of the history of Eastern Slavic chant and the Imperial Court Chapel of St. Petersburg until 1917, with special emphasis on the history of singing traditional chant in polyphony, the status of the Court Chapel as a government authority, and its endeavours in publishing church music. Chapter 2 deals with the liturgical background of Eastern chant, the chant genres, and main repertories of Eastern Slavic chant. Chapter 3 concentrates on chant sources: it introduces the musical notations utilised, after which a typology of chant books is presented. The discussion continues with a survey of the sources of Court Chant and their content, the specimens selected for closer analysis, the comparative materials from other repertories, and ends with a commentary on some chant sources that have been excluded. The comparative sources include a specimen from around the beginning of the 12th century, a few manuscripts from the 17th century, and printed and manuscript chant books from the early 18th to early 20th century, covering the geographical area that delimits to the western Ukraine, Astrakhan, Nizhny Novgorod, and the Solovetsky Monastery. Chapter 4 presents the approach and methods used in the subsequent analytical comparisons. After a survey of the pitch organization of Eastern Slavic chant, the customary harmonization strategy of traditional chant polyphony is examined, according to which a method for meaningful analysis of the harmony is proposed. The method is based on the observation that the harmonic framework of chant polyphony derives from the standard pitch collection of monodic chant known as the Church Gamut, specific pitches of which form eight harmonic regions that behave like the usual tonalities of major and harmonic minor. Because of the considerable quantity of comparative chant forms, computer-assisted statistical methods are applied to the analysis of chant melodies. The primary chant forms and their respective comparative forms have been pre-processed into reduced chant prototypes and divided into redactions. The analyses are carried out by measuring the formal dissimilarities of the primary chant forms of the Court Chant repertory against each comparative form, and also by measuring the reciprocal dissimilarities of all chant versions in a redaction, the results of which are subjected to agglomerative hierarchical clustering in order to find out how the chant forms relate to each other. The dissimilarities are determined by applying a metric dissimilarity function that is based on the Levenshtein Distance. Chapter 5 provides the melodic and harmonic analyses of generic chants (chants used for multiple texts of different lengths), i.e., chants for stichera samoglasny and troparia, Chapter 6 of pseudo-generic chants (chants that are used for multiple texts but with certain restrictions), i.e., chants for heirmoi, prokeimena, and three other hymns, and Chapter 7 of non-generic chants, covering nine chants that in the Court repertory are not shared by multiple texts. The results are summarized and evaluated in Chapter 8. Accordingly, it can be established that, contrary to previous conceptions, melodically, Court Chant is in effect a full part of the wider Eastern Slavic chant tradition. Even if it is somewhat detached from the chant versions of the Synodal square-note chant books and the local tradition of Moscow, it is particularly close to chant forms of East Ukraine and some vernacular repertories from Russia. Respectively, the harmonization strategies of Court Chant do not show significant individuality in comparison with those of the available polyphonic comparative sources, the main difference being the part-writing, which generally conforms to western common practice standard, whereas the deviations from this tend to be more significant in other analysed repertories of polyphonic chant. Thus, insofar as the subsequent prevalence of Court Chant is not based on its forceful dissemination by authorities (as suggested in previous literature but for which little tangible evidence could be found in Chapter 1), in the present author’s interpretation, Court Chant attained its dominance principally because musically it was considered sufficiently traditional, and as a chant body supported by the government, was conveniently available in print in serviceable harmonizations.

Neural mechanisms underlying conscious and unconscious vision. Evidence from event-related potentials and transcranial magnetic stimulation

Vision affords us with the ability to consciously see, and use this information in our behavior. While research has produced a detailed account of the function of the visual system, the neural processes that underlie conscious vision are still debated. One of the aims of the present thesis was to examine the time-course of the neuroelectrical processes that correlate with conscious vision. The second aim was to study the neural basis of unconscious vision, that is, situations where a stimulus that is not consciously perceived nevertheless influences behavior. According to current prevalent models of conscious vision, the activation of visual cortical areas is not, as such, sufficient for consciousness to emerge, although it might be sufficient for unconscious vision. Conscious vision is assumed to require reciprocal communication between cortical areas, but views differ substantially on the extent of this recurrent communication. Visual consciousness has been proposed to emerge from recurrent neural interactions within the visual system, while other models claim that more widespread cortical activation is needed for consciousness. Studies I-III compared models of conscious vision by studying event-related potentials (ERP). ERPs represent the brain’s average electrical response to stimulation. The results support the model that associates conscious vision with activity localized in the ventral visual cortex. The timing of this activity corresponds to an intermediate stage in visual processing. Earlier stages of visual processing may influence what becomes conscious, although these processes do not directly enable visual consciousness. Late processing stages, when more widespread cortical areas are activated, reflect the access to and manipulation of contents of consciousness. Studies IV and V concentrated on unconscious vision. By using transcranial magnetic stimulation (TMS) we show that when early visual cortical processing is disturbed so that subjects fail to consciously perceive visual stimuli, they may nevertheless guess (above chance-level) the location where the visual stimuli were presented. However, the results also suggest that in a similar situation, early visual cortex is necessary for both conscious and unconscious perception of chromatic information (i.e. color). Chromatic information that remains unconscious may influence behavioral responses when activity in visual cortex is not disturbed by TMS. Our results support the view that early stimulus-driven (feedforward) activation may be sufficient for unconscious processing. In conclusion, the results of this thesis support the view that conscious vision is enabled by a series of processing stages. The processes that most closely correlate with conscious vision take place in the ventral visual cortex ~200 ms after stimulus presentation, although preceding time-periods and contributions from other cortical areas such as the parietal cortex are also indispensable. Unconscious vision relies on intact early visual activation, although the location of visual stimulus may be unconsciously resolved even when activity in the early visual cortex is interfered with.

Yritysvalmennuksen onnistumiset ja kehittämiskohteet Case: Start-up & Spin-off Factory -projekti

Tässä työssä tarkastellaan Start-up & Spin-off Factory -projektissa, pääsääntöisesti Kymenlaaksossa toimiville, yrittäjille suunnattua ja toteutettua yritysvalmennusohjelmaa. Työssä selvitetään ja käsitellään Start-up & Spin-off -projektin yritysvalmennuksen onnistumisia ja kehittämiskohteita sähköisen kyselyn sekä teemahaastatteluiden pohjalta. Start-up & Spin-off Factory -projektissa tuettiin innovatiivisten yritysten (21 yritystä) kasvua kiihdytysohjelmalla, jossa kokeneet sarjayrittäjät valmensivat uutta yritystä perustavia tai jo yritystoiminnan aloittaneita yrittäjiä, joiden tuotteille/palveluille haluttiin saada kasvua. Projektin tavoitteena oli edistää erityisesti kiihdytettävien yritysten nopeaa kansainvälistymistä auttamalla yrittäjiä pilottien, asiakkaiden, partnerien ja rahoituksen hankinnassa. Valmennettavat kokivat saaneensa lisäarvoa valmennuksesta omaksumalla uusia näkökulmia. He kokivat koulutuksen tuoneen yrityksen toimintaan lisää nöyrää asennetta ja lujaa uskoa tulevaisuuteen. Vertaistuen osuutta sekä verkostojen lisääntymisen mukana tullutta uusien kontaktien määrää pidettiin myönteisenä asiana. Vastausten perusteella valmennus selkeytti valmennettavien ymmärrystä liiketoiminnan kehittämisestä. Hissipuheen teko ja harjoittelu koettiin tärkeäksi ja jännittäväksi. Valmennus vahvisti luottamusta omaan tuotteeseen ja palveluun. Valmennuksen painottuminen ICT-alan firmoihin merkitsi valmennuksessa sitä, että teoriat ja esimerkit tulivat useasti tältä alalta. Toimialojen eroavaisuus tulisi huomioida valmennuksessa opetussisältöjen ja esimerkkien osalta. Kyselyn ja haastatteluiden mukaan valmentajien asiantuntemukseen oltiin tyytyväisiä. Lisäksi onnistuneena osa-alueena koettiin valmennuksen käytännön järjestelyjä. Kehitettävää puolestaan oli opetusmateriaalien, opetusmenetelmien ja koulutuksen keston suhteen. Kysyttäessä valmennuksen hyvistä ja huonoista puolista olivat vastaajat sitä mieltä, että valmennuksessa oli hyvä ilmapiiri ja valmennus oli käytännönläheistä. Pienryhmävalmennusta pidettiin hyvänä asiana, samoin kuin henkilökohtaistamista.