Dissertationen zum Thema „Computer and violin music“
Geben Sie eine Quelle nach APA, MLA, Chicago, Harvard und anderen Zitierweisen an
Machen Sie sich mit Top-50 Dissertationen für die Forschung zum Thema "Computer and violin music" bekannt.
Neben jedem Werk im Literaturverzeichnis ist die Option "Zur Bibliographie hinzufügen" verfügbar. Nutzen Sie sie, wird Ihre bibliographische Angabe des gewählten Werkes nach der nötigen Zitierweise (APA, MLA, Harvard, Chicago, Vancouver usw.) automatisch gestaltet.
Sie können auch den vollen Text der wissenschaftlichen Publikation im PDF-Format herunterladen und eine Online-Annotation der Arbeit lesen, wenn die relevanten Parameter in den Metadaten verfügbar sind.
Sehen Sie die Dissertationen für verschiedene Spezialgebieten durch und erstellen Sie Ihre Bibliographie auf korrekte Weise.
Lee, Terry Alan. „Grancloud, a real-time granular synthesis application and its implementation in the interactive composition Creo“. Thesis, connect to online resource, 2009. http://digital.library.unt.edu/ark:/67531/metadc12151.
Der volle Inhalt der QuelleBell, Jeffrey C. „Present Absence: A work for string quintet and live electronics“. Thesis, University of North Texas, 2001. https://digital.library.unt.edu/ark:/67531/metadc2822/.
Der volle Inhalt der QuelleWallace, Frank James. „Graduation recital compositions“. Thesis, University of British Columbia, 1990. http://hdl.handle.net/2429/42046.
Der volle Inhalt der QuelleGalvan-Herrera, Rafael. „Graduate violin recital“. FIU Digital Commons, 2008. http://digitalcommons.fiu.edu/etd/3443.
Der volle Inhalt der QuelleChernova, Elena. „Graduate Violin Recital“. FIU Digital Commons, 2006. http://digitalcommons.fiu.edu/etd/2168.
Der volle Inhalt der QuelleKim, Seong Ae. „Sonata for Violin and Piano“. Thesis, State University of New York at Stony Brook, 2013. http://pqdtopen.proquest.com/#viewpdf?dispub=3589708.
Der volle Inhalt der QuelleMy dissertation piece is a three-movement work of 20 minute duration for violin and piano that draws significantly from elements of traditional Korean culture, especially folk dance and folk music, and secondarily from Korean folk theater and visual arts using rhythmic patterns and gestures from folk dance and melodies from folk music and extended instrumental techniques that mimic the sounds of Korean traditional music and the music that typically accompanies Korean traditional dances.
The formal shape and material intentions of the piece— the fast-slow-fast tempo profile of the three movements, typical of so much Western music, is anchored conceptually in Korean ideas of "Heung" (communal joy-exploding energy) and "Han" (suffering-repressed energy). Each movement will make reference to a different folk music genre, the first movement alluding to "Sanjo," the second to "Gut," and the third from "Pungmul" (see chart). In addition, each movement will contain gestures from the Korean folk dances "Taepyongmu," "Sal puri," and "Sangmo Dolighi," all of which have different ceremonial functions in traditional Korean society. Each movement will also have its own characteristic folk rhythm pattern. The first movement will be based on an explicit Korean folk tune, while the overarching emphasis thematically in the three movements respectively will be "Garak" (melody), "Puri" (loosening), and "Nori" (fun).
Billing, Sally. „Bacewicz : the violin concertos“. Thesis, City University London, 2006. http://openaccess.city.ac.uk/8473/.
Der volle Inhalt der QuelleFoale, Maria. „Efficiency of movement in violin bowing“. Master's thesis, University of Cape Town, 2006. http://hdl.handle.net/11427/8137.
Der volle Inhalt der QuelleIncludes bibliographical references (leaves 72-75).
This dissertation presents a study and critical analysis of violin bowing technique. The works of some of the great twentieth century violin pedagogues were studied and their ideas on efficiency of movement, posture and balance in violin playing are highlighted. Motion analyses comparing linear and non-linear bowing styles were conducted using digital motion-tracking techniques.
Ya, ng Semi C. Miss. „Violin Etudes: A Pedagogical Guide“. University of Cincinnati / OhioLINK, 2006. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1146083212.
Der volle Inhalt der QuelleHo, Frank Kwantat. „The violin music of Karol Szymanowski (Poland)“. Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2000. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp01/MQ59725.pdf.
Der volle Inhalt der QuelleHiew, Alexandra T. „Towards a Pedagogical Reference Work for Violinists Informed by Current Music Psychology ResearchTowards a Pedagogical Reference Work for Violinists Informed by Current Music Psychology Research“. University of Cincinnati / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1380619860.
Der volle Inhalt der QuelleCollins, Susan May. „The violin and piano music of Raymond Hansen /“. Access electronically, 2005. http://www.library.uow.edu.au/adt-NWU/public/adt-NWU20051110.160444/index.html.
Der volle Inhalt der QuelleMacAdam-Somer, Batya. „Program notes Masters recital, October 3, 2009 /“. Diss., [La Jolla, Calif.] : University of California, San Diego, 2009. http://wwwlib.umi.com/cr/fullcit?p1470608.
Der volle Inhalt der QuelleAvailable via ProQuest Digital Dissertations. With accompanying disc containing sound files of the thesis recital in 44K stereo. and 96K formats.
Bruderer, Conrad David. „A study of twentieth-century violin and viola duos : including critical reviews and analyses of selected works /“. Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 1998. http://wwwlib.umi.com/cr/ucsd/fullcit?p9839494.
Der volle Inhalt der QuelleVita. Includes a "critical review" of approx. 200 scores of violin and viola duos, with bibliographical information. Includes analyses of the following works: Divertimento op. 37 no. 2 by Ernst Toch; Three madrigals by Bohuslav Martinu; Variations op. 57 by Wallingford Riegger; Ideas and transformations no. 1 by Kenneth Gaburo; Duetto (1986) by Goffredo Petrassi; Little canonic suite (1970) by Ingolf Dahl; and Duo concertante by Paul Chihara. Includes bibliographical references (leaves 360-370). Discography: leaves 181-212.
Parsons, John Lewis. „Stylistic change in violin performance 1900-1960 : with special reference to recordings of the Hungarian violin school“. Thesis, Cardiff University, 2005. http://orca.cf.ac.uk/55396/.
Der volle Inhalt der QuelleMcLennan, John Ewan Physics Faculty of Science UNSW. „The violin music acoustics from baroque to romantic“. Awarded by:University of New South Wales. Physics, 2008. http://handle.unsw.edu.au/1959.4/43805.
Der volle Inhalt der QuelleBagley, Paul Michael. „Mysticism in 20th and 21st century violin music“. Thesis, University of Maryland, College Park, 2014. http://pqdtopen.proquest.com/#viewpdf?dispub=3643907.
Der volle Inhalt der Quelle“Mysticism,” according to the Oxford dictionary, can be defined as “belief in or devotion to the spiritual apprehension of truths inaccessible to the intellect.” More generally, it applies to the aspects of spirituality and religion that can only be directly experienced, rather than described or learned. This dissertation examines how mysticism fits into the aesthetic, compositional, and musical philosophies of four prominent composers of the 20th and 21st centuries—Ernest Bloch, Olivier Messiaen, Sophia Gubaidulina, and John Zorn, with a cameo by the Jewish composer David Finko—and how their engagement with the concept of mysticism and the mystical experience can be seen in a selection of their works featuring the violin: Bloch's Baal Shem suite and Poème mystique; Finko's Lamentations of Jeremiah, Zorn's Kol Nidre, Goetia, All Hallow's Eve, and Amour fou; Gubaidulina's In tempus praesens; and Messiaen's Quartet for the End of Time. These works exemplify the mysticism shared by these composers, despite their different religious and cultural backgrounds, particularly their belief in the transcendental nature of music. This belief is expressed in their works through programmatic, melodic, harmonic, rhythmic, and formal elements, all of which display, to a greater or lesser degree, the influence of mystical philosophy and symbolism.
Barton, Pamela Sage. „Gender roles in the violin music of Bach“. Thesis, California State University, Long Beach, 2016. http://pqdtopen.proquest.com/#viewpdf?dispub=10111173.
Der volle Inhalt der QuelleIn Johann Sebastian Bach’s Partita No. 3 in E Major BWV 1006, French societal values for gender roles can be found. This report examines such ideals from the perspective of gender and sexuality and the ways it represents power, politics, and human expression. I will observe various Bach and feminist scholars such as Susan McClary and apply their analysis to gender roles in the Baroque era. I will also use analysis of Bach’s Partita No. 3 to critique these gender roles and to further develop the concept of women’s role in music, thus informing my own interpretation of the piece for my recital performance. These gender roles during the Bach’s time reveal women to be limited to mainly the domestic sphere. Ultimately this domestic role reinforces the patriarchal foundation of music.
By including female roles in the academic discussion of Bach’s music, inclusivity is achieved. There is a great deal of research available on gender roles during the Baroque era suggesting that some women were involved in music but were ultimately restricted by the patriarchy. Women and their roles are studied but are often portrayed as an exception, an afterthought, or a side-note within the male narrative. If music is regarded as a medium of expression and freedom, it seems only fair to recognize those who faced oppression in order to uphold music’s transcendent and progressive properties. By investigating their roles I intend to broaden historical significance where it is due.
Tu, Kuan-Chang. „In the Fingertips: A Discussion of Stravinsky's Violin Writing in His Ballet Transcriptions for Violin and Piano“. University of Cincinnati / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1337288174.
Der volle Inhalt der QuellePalamara, Jason Andrew. „Dysphonia, for solo violin, chamber ensemble and live electronics“. Diss., University of Iowa, 2015. https://ir.uiowa.edu/etd/1718.
Der volle Inhalt der QuelleHouglum, Daniel Patrick. „Sola fides sufficit: Concerto for violin and ensemble“. Diss., University of Iowa, 2015. https://ir.uiowa.edu/etd/1633.
Der volle Inhalt der QuelleOvaska, Johanna. „Hypermobility and violin playing : How hypermobility affects my violin playing“. Thesis, Kungl. Musikhögskolan, Institutionen för klassisk musik, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-3293.
Der volle Inhalt der QuelleChan, Tzu-Ying. „John Playford's The Division Violin: Improvisation and Variation Practice in English Violin Music of the Seventeenth Century“. Thesis, University of North Texas, 2017. https://digital.library.unt.edu/ark:/67531/metadc1011780/.
Der volle Inhalt der QuelleRobertson, Chika. „Twentieth-century violin technique : a new pedagogical approach“. Thesis, Kingston University, 1999. http://eprints.kingston.ac.uk/20636/.
Der volle Inhalt der QuelleJakubowski, Kelly Joan. „"Informed spontaneity" a theoretical approach to the enhancement of creativity in performance /“. Columbus, Ohio : Ohio State University, 2009. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1243788323.
Der volle Inhalt der QuelleSeymour, Rebecca. „Issues of performance practice in the violin works of Johannes Brahms (1833-1987) /“. [St. Lucia, Qld.], 2005. http://www.library.uq.edu.au/pdfserve.php?image=thesisabs/absthe19278.pdf.
Der volle Inhalt der QuelleChung, Wonsoon. „The role of solo violin in the orchestral compositions of Richard Strauss /“. Thesis, Connect to this title online; UW restricted, 1997. http://hdl.handle.net/1773/11416.
Der volle Inhalt der QuelleGorby, Roderick B. „An Appalachian Fantasy for Violin and Orchestra“. Ohio University / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1275451979.
Der volle Inhalt der QuelleHutchison, Callie. „An Introduction to Hindustani Violin Technique“. Diss., The University of Arizona, 2014. http://hdl.handle.net/10150/321309.
Der volle Inhalt der QuellePyykönen, Krista. „Many Memories, Many Stories : Participatory Music Project for Elderly People with Dementia – Music Pedagogical Applications for Elderly Care“. Thesis, Kungl. Musikhögskolan, Institutionen för klassisk musik, 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-1378.
Der volle Inhalt der QuelleBilaga: 1 DVD
Wollston, Silas. „The instrumentation of English violin-band music,1660-1685“. Thesis, Open University, 2009. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.518202.
Der volle Inhalt der Quellevan, den Bogerd Nicolette Maria Madeleine. „Musicien Francais| Nationalism and tradition in Claude Debussy's violin sonata“. Thesis, California State University, Long Beach, 2014. http://pqdtopen.proquest.com/#viewpdf?dispub=1526967.
Der volle Inhalt der QuelleThis paper investigates how Debussy redefined French nationalism and tradition in music by drawing a connection between nationality and authenticity using World War I and the German oppression to justify his ethnocentrism in music. Debussy's last work, the violin sonata, is used as an example to demonstrate these changes. The first chapter surveys the cultural context in relationship to Debussy in his late years before and after World War I. Chapter 2 provides an analysis of Debussy's late works, and includes the sonata for cello and piano and the sonata for viola, flute, and harp. An analysis of the violin sonata is provided in chapter 3. The following chapter is a critical study of nationalism in relationship to Debussy and his music. The focus is on his musical and political preferences. The final chapter reveals the concept of nationalism redefined by Debussy as he uses it in the violin sonata.
Saitis, Charalampos. „Evaluating violin quality: player reliability and verbalization“. Thesis, McGill University, 2014. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=121419.
Der volle Inhalt der QuelleCette thèse aborde le problème de l'évaluation perceptive des violons par des violonistes. La méthodologie de ce travail repose sur trois séries d'expériences contrôlées durant lesquelles des violonistes expérimentés ont eu accès à des instruments de différents modèles et de différentes époques et ont décrit leurs évaluations en répondant à une liste de questions ouvertes. Le travail s'est tout d'abord intéressé à la préférences globale pour se concentrer ensuite sur l'évaluation de certains attributs perceptifs du violon. Deux approches distinctes mais complémentaires ont été menées : une investigation systématique de la cohérence des jugements de préférence, et une analyse linguistique exploratoire des concepts exprimés lors de la verbalisation des préférences des instrumentistes.La première expérience avait pour but d'évaluer la cohérence des jugements de préférence exprimés par un même musicien, ainsi que d'un musicien à l'autre. Cette expérience a montré que les jugements des violonistes sont cohérents à l'échelle individuelle, et qu'il existe des différences significatives de ces jugements entre les musiciens. La deuxième expérience avait pour objectif de mieux comprendre l'origine des différences de jugements inter-individuelles et de mesurer si certains attributs des instruments influencaient les jugements de préférence. Les résultats de cette étude on montré que, bien que les violonistes s'accordent sur les qualités recherchées d'un instrument—principalement richesse du son et de façon moindre la dynamique—la perception de ces qualités varie fortement d'un individu à l'autre. La troisième expérience menée pour cette thèse s'est donc concentrée sur l'évaluation de la richesse et de la dynamique dans un contexte de jeu libre (jeu d'une oeuvre musicale du répertoire classique) ainsi que dans un contexte de jeu plus contraint (jeu de certaines notes dans certains registres). La différence de perception de la richesse dans des tâches de jeu et d'écoute (à partir d'enregistrements sonores des tâches de jeu) a aussi été étudiée. Les résultats de ces études ont suggéré que la variabilité inter-musicien est grandement diminuée par le fait de spécifier le matériau musical et la technique du jeu: plus la tâche est contrainte et précise, plus les instrumentistes sont cohérents avec eux-mêmes et plus ils sont d'accord entre eux.Enfin, à partir des discussions recueillies lors des deux premières expériences, un schéma de catégorisation illustrant les liens complexes entre les concepts de la pratique musicale (la réponse, la clarté, l'équilibre), les attributs de l'instrument (la facilité de jeu, la richesse, la projection) et certains thèmes sous-jacents (le toucher, le son et leur pertinence pour chaque individu) a été établi. Une analyse psycho-linguistique du lexique utilisé pour décrire la qualité a dévoilé la diversité des procédés linguistiques utilisés, s'organisant globalement en quatre champs sémantiques (dimensions de la perception): un axe texture-température (smooth vs. rough), un axe action-présence (résonant vs. assourdi), un axe taille-volume (profond vs. plat) et finalement un axe lumière (sombre vs. brillant). La richesse, associée à la quantité perçue, dans le son, d'harmoniques de basse et moyenne fréquence, a été identifiée comme étant un facteur perceptif primordial dans l'évaluation de la qualité des violons.
Lee, Sunny. „The unique expression of Shostakovich's violin writing /“. Thesis, Connect to this title online; UW restricted, 1994. http://hdl.handle.net/1773/11436.
Der volle Inhalt der QuelleBlaker, Suzanne Leslie. „A Survey of Suzuki Violin Programs in Community Music Schools in The United States“. Connect to resource, 1995. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1225905109.
Der volle Inhalt der QuelleMeyer, Hwa-Soon. „A computer system to improve violin intonation /“. Access Digital Full Text version, 1993. http://pocketknowledge.tc.columbia.edu/home.php/bybib/1154319x.
Der volle Inhalt der QuelleTypescript; issued also on microfilm. Sponsor: Robert Pace. Dissertation Committee: Harold Abeles. Includes bibliographical references (leaves 93-45).
„Violin Virtuoso: A game for violin education“. Thesis, 2012. http://hdl.handle.net/1911/70262.
Der volle Inhalt der QuelleDuBois, R. Luke DuBois R. Luke DuBois R. Luke DuBois R. Luke. „Applications of generative string-substitutions in computer music ; Growing pains : for mandolin and electronics ; Repeat after me ; Biology I/II/III /“. 2003. http://music.columbia.edu/%7Eluke/dissertation/.
Der volle Inhalt der QuelleRepeat after me for flute and electronics; Biology I/II/III for violin. First work is a commentary to accompany the three scores. Department: Music. Includes bibliographical references (leaves 98-101). Pro Quest Digital Dissertations Online; Subscription required. Also available via the World Wide Web;
Percival, Graham Keith. „Computer-assisted musical instrument tutoring with targeted exercises“. Thesis, 2008. http://hdl.handle.net/1828/1081.
Der volle Inhalt der QuelleKoo, Yunkyong. „Doctoral thesis recital (violin)“. 2010. http://hdl.handle.net/2152/15889.
Der volle Inhalt der QuelleBrankovic, Marina. „Master's thesis recital (violin)“. 2012. http://hdl.handle.net/2152/19190.
Der volle Inhalt der Quelletext
Lee, Yunji. „Doctoral thesis recital (violin)“. 2014. http://hdl.handle.net/2152/28160.
Der volle Inhalt der QuelleMcCullough, Colleen. „Doctoral thesis recital (violin)“. 2010. http://hdl.handle.net/2152/11546.
Der volle Inhalt der Quelletext
Sabouri, Pasha. „Doctoral thesis recital (violin)“. 2010. http://hdl.handle.net/2152/11584.
Der volle Inhalt der Quelletext
Luce, Anna. „Master's thesis recital (violin)“. 2011. http://hdl.handle.net/2152/16374.
Der volle Inhalt der QuelleSung, Kyoung Joo. „Doctoral thesis recital (violin)“. Thesis, 2014. http://hdl.handle.net/2152/24508.
Der volle Inhalt der QuellePartain, Turner. „Master's thesis recital (violin)“. 2011. http://hdl.handle.net/2152/16468.
Der volle Inhalt der QuelleLin, Christabel. „Artist diploma recital (violin)“. Thesis, 2014. http://hdl.handle.net/2152/24596.
Der volle Inhalt der QuelleNam, Soo Jin. „Master's thesis recital (violin)“. 2010. http://hdl.handle.net/2152/11565.
Der volle Inhalt der QuelleTsai, Stacy Heng-Chen. „Master's thesis recital (violin)“. 2010. http://hdl.handle.net/2152/11622.
Der volle Inhalt der Quelle