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1
Chantler, John. „No Such Array : Developing a material and practice for electronic music performance“. Thesis, Kungl. Musikhögskolan, Institutionen för komposition, dirigering och musikteori, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-4170.
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I have been designing and building a set of battery powered hybrid synthesizer speaker objects that can be deployed in any location without the need for any additional infrastructure. Composing for and performing with the resulting system has become the focus of my artistic practice. This project brings together my interests in composition, design, synthesis, politics and performance to investigate new methods for performing and experiencing electronic music. The work takes the idea of the impossibility of an objective listener as its starting position and generates environments that give agency to the listener to create their own sonic experience of a given space. It also engages in questions of power and how this practice might work throughits entanglement in various power relations as a minor practice by introducing and opening up the conditions of possibility for other actions. This thesis traces the aesthetic roots of my undertaking in the work of others, including Okkyung Lee, Rie Nakajima, Tetsuya Umeda, Marginal Consort, Tony Conrad and Luc Ferrari. It also details my own experience creating work for the GRM's Acous- monium, the series of decisions made in creating my own alternative speaker orchestra, and the practical process of situated learning2 that I have undertaken to develop a performance practice via three stagings: at Röda Sten Konsthall in Göteborg, within a pedestrian underpass running below the E4 national highway, and at Järvafältet Nature Reserve, north of Stockholm.
2
Ciraulo, Christopher Samuel. „UEME : the underground electronic music experience“. Thesis, Massachusetts Institute of Technology, 2005. http://hdl.handle.net/1721.1/31198.
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Thesis (M. Arch.)--Massachusetts Institute of Technology, Dept. of Architecture, 2005.Includes bibliographical references (p. 120-121).
The global electronic music scene has remained underground for its entire lifespan, momentarily materializing during an event, a place defined by the music performed and the people who desire the experience. As festivals around the globe begin to take shape, the identity of electronic music defines itself almost instantaneously with a strict desire to return to its roots and find a new place to redefine itself in the next moment. The next moment is envisioned in Chicago. The city becomes a stage, through its current reputation as an event place, and through a new idea for an electronic music event alive within the interstitial spaces of the downtown. The art of electronic music, specifically the DJ and the sampling of music old and new, becomes the underlying process by which spaces are "sampled" to create a movement of light, sound and crowd through the dense architecture of Chicago's loop.
Christopher Samuel Ciraulo.
M.Arch.
3
Flanagan, Beavan. „Turning over, for 13 instruments, piano, electronic microtonal piano and electronics“. Thesis, McGill University, 2013. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=116997.
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Turning Over is a 13-minute composition for 13 instruments, piano, electronic piano and pre-recorded electronics. A strong emphasis on harmony, representing the result of two years of research into various intonation theories of the 17th, 18th and 20th centuries, is reflected in the subtle variations in intonation between the equal-tempered acoustic instruments and the just-intonation tuning of the electronics as well as the electronic piano. The musical discourse reflects philosophical concerns regarding the concept of essence in music and its illusive nature – this translates into a musical form that is in a constant state of transformation.Turning Over ('ressasser') est une composition pour 13 instruments, piano, piano électronique et sons électroniques d'une durée de 13 minutes. Un fort accent sur l'harmonie, qui est le résultat de deux années de recherche sur les théories du tempérament musical du 17e, 18e et 20e siècle, est reflété dans les variations subtiles de tempérament entre les instruments acoustiques et les éléments électroniques. Le discours musical reflète des préoccupations philosophiques concernant le concept de l'essence dans la musique et de sa nature illusoire – ceci se traduit dans une forme musicale qui est toujours en état de transformation.
4
Jacobson, Kurt. „Connections in music“. Thesis, Queen Mary, University of London, 2011. http://qmro.qmul.ac.uk/xmlui/handle/123456789/6020.
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Connections between music artists or songs provide a context and lineage for music and form the basis for recommendation, playlist generation, and general navigation of the musical universe. We examine the structure of the connections between music artists found on the web. It is shown that different methods of finding associations between artists yeild different net- work structures - the details of associations and how these associations are discovered impact the global structure of the artist network. This realization informs our associations framework - based on seman- tic web technologies and centered around a small RDF/OWL ontology that emphasizes the provenance and transparency of association statements. We develop the MuSim Similarity Ontology and show how, combined with the concepts of linked data, it can be used to create a distributed web-scale ecosystem for music similarity. The Similarity Ontology is evaluated against psychological models for similarity and shown to be flexible enough to accommodate each model examined. Several applications are developed based on the visualization of music artist network structures and the utilization of our associations framework along with other music-related linked data.
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Sheppard, Adam. „Aesthetic Practices in my Live Electronic Music“. Scholarly Repository, 2009. http://scholarlyrepository.miami.edu/oa_theses/202.
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Live music has the ability to unite individuals and affect them on both cognitive and emotional levels. Its time-honored tradition remains the true test of a musical work?s strength and longevity. Electronic music in particular has had some difficulty in establishing well-formed performance practices in its relatively short life span. The problem may not be one of sonic, but rather visual inhibition and general discontinuities between the audience and performers. In this paper I raise three questions of aesthetic value concerning live performance. Why do we go to live musical performances? How do we perceive sound? How do we correlate physical gestures? To answer, I make observations on selected works spanning the continuum of the field.
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Sosa, Ortega Jorge Raymundo Rudy Paul. „Refractions a collection of three pieces for solo instruments and fixed electronic media /“. Diss., UMK access, 2008.
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Thesis (D.M.A.)--Conservatory of Music and Dance. University of Missouri--Kansas City, 2008.First piece for amplified clarinet and fixed electronic media, the second piece for electric guitar and fixed electronic media, and the third piece for amplified high voice (soprano or tenor) and fixed electronic media. "A dissertation in music composition." Advisor: Paul Rudy. Typescript. Vita. Title from "catalog record" of the print edition Description based on contents viewed Apr. 14, 2009 Online version of the print edition.
7
Bassingthwaighte, Sarah. „Electroacoustic music for flute /“. Thesis, Connect to this title online; UW restricted, 2002. http://hdl.handle.net/1773/11390.
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8
Davies, Robin 1975. „Toolkit : specialized software tools for electronic music composition“. Thesis, McGill University, 2001. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=32905.
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This research presents new audio creation and processing tools for the virtual electronic music studio. The Tools were created by the author in the Max/MSP authoring environment. Some Tools model analog production techniques lost when studios moved inside computers, and provide additional functionality only possible in the digital world. Others make use of traditional processing ideas but add a level of control difficult to find in today's audio software plug-ins. The Tools are small, simple, real-time, and user-controllable devices for working with sound.
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Rawlinson, Julian Dean. „Interpretive electronic music systems : a portfolio of compositions“. Thesis, University of Edinburgh, 2011. http://hdl.handle.net/1842/5973.
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A portfolio of electronic music compositions employing adaptable controllers, graphic notation, and custom software performance environments. The portfolio is comprised of scores, recordings, and supporting software and audio files for the following: Short Circuit; Sample & Hold; Mute | Solo; NCTRN; Radio | Silence; and Please use the tramps provided. Supplementary files include alternative audio and video recordings of some of the works listed above, additional software documentation, and a video recording of a structured improvisation featuring the controllers and software used in this portfolio.
10
Payling, David. „Visual music composition with electronic sound and video“. Thesis, Staffordshire University, 2014. http://eprints.staffs.ac.uk/2047/.
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This research project investigated techniques for composing visual music and achieving balance in the relationship between sound and image. It comprises this thesis and a portfolio of compositions. The investigation began with an interest in the relationships between colour and sound and later expanded to include form and motion, the remaining factors of Thomas Wilfred’s lumia (1947). Working with a cohesive theme, such as lumia, proved to be an effective way of creating a coherent aesthetic in portfolio pieces. Other themes were therefore investigated including composing with visual and audio materials recorded from the single source of Thailand, the wave phenomena of refraction and diffraction and a filmed natural sunset interpreted in electroacoustic music. Two distinct compositional techniques were used, material transference, where qualities were transferred between sound and image, and compositional thinking, which assisted in creating audio-visual compositions that possessed musical qualities. Material transference proved to be the most productive technique during composing and it was discovered that effectuating it algorithmically created a strong bond between sound and image. Compositional thinking assisted in creating the form of the portfolio pieces and was found to apply to both video and music. Compositional thinking was found to be useful at the macro level, where structural form was designed, and material transference worked at a finer micro level, transferring individual qualities between sound and video objects.
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Cookney, D. „Masked : depictions of anonymity in electronic dance music“. Thesis, University of Salford, 2015. http://usir.salford.ac.uk/36101/.
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This thesis explores anonymity as an aspect of identity construction within electronic dance music (EDM). Its specific focus is on the production and control of image within genres that have arisen since the development and expansion of the club scene in the UK from the latter part of the 20th century and, then situated in visual culture and performance research, its examination of anonymity represents an area that, to date, has been overlooked in EDM. As part of this investigation, the thesis’ chapters notably analyse elements that are external to music recordings including record sleeve design and press interviews: components that are essential elements in the development and distribution of these performative identities. Following Thornton (1995), Rietveld (1998), Hesmondhalgh (1998a) and Gilbert and Pearson (1999), the research critically reviews a range of issues that are determined as associated with these representations – including the influence of technologies, a resistance to mainstream assimilation and the impact of collective ‘scene’ – while explaining some of EDM’s distinctions and hierarchies within a post-subcultural setting. To do this it uses case studies focusing on the approaches of Daft Punk, Burial, Zomby and SBTRKT: examples that are presented as unique demonstrations of image construction within the field. It also places the role of identity within a more expansive history of electronic music by aligning contemporary practice with the earlier presented image of Kraftwerk. Ultimately, and while observing this lineage of often counterintuitive practices, the thesis argues that the EDM producer’s separation from the high visibility ‘star system’ model favoured by pop and rock performers reflects commitment to a marginal status: a commitment also communicated through its visual aesthetics that reinforce an underground cultural context to celebrate the peripheral whilst, simultaneously, highlighting the EDM producer’s perceived condition as that which is inferior to his or her rock counterpart.
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Nicolls, Sarah Louise. „Interacting with the piano : absorbing technology into piano technique and collaborative composition : the creation of 'performance environments', pieces and a piano“. Thesis, Brunel University, 2010. http://bura.brunel.ac.uk/handle/2438/5511.
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This thesis explores the expansion of the piano performance environment, using technology to augment the sound, the playing area of the piano and its surroundings, and/or the performer's own body in controlling electronic elements of the music. In particular I examine the extension of piano technique and how this is affected by adding technology. I also discuss collaborative compositional processes in creating co-authored musical works and have given a critical appraisal of the different technological systems used in all of these pieces. I have also introduced ideas about developing the structure of the piano to better suit contemporary techniques and the addition of technological elements in piano playing. These ideas are represented by my own "Inside-out Piano", illustrated within the thesis. Throughout this work many new pieces for piano and live electronics have been generated and I hope these may also be useful as a resource for other pianists exploring their own interactions with the piano.
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Thiebaut, Jean-Baptiste. „Sketching music : representation and composition“. Thesis, Queen Mary, University of London, 2010. http://qmro.qmul.ac.uk/xmlui/handle/123456789/406.
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The process of musical composition is sometimes conceived of as an individual, internal, cognitive process in which notation plays a passive role of transmitting or recording musical ideas. This thesis questions the role played by representations in musical composition practices. We begin by tracing how, historically, compositional practices have co-evolved with musical representations and technologies for music production. We present case studies to show that the use of graphical sketches is a characteristic feature of the early stages of musical composition and that this practice recurs across musical genres ranging from classical music to contemporary electroacoustic composition. We describe the processes involved in sketching activities within the framework of distributed cognition and distinguish an intermediate representational role for sketches that is different from what is ‘in the head’ of the composer and from the functions of more formal musical notations. Using evidences from the case studies, we argue in particular that as in other creative design processes, sketches provide strategically ambiguous, heterogeneous forms of representation that exploit vagueness, indeterminacy and inconsistency in the development of musical ideas. Building on this analysis of the functions of sketching we describe the design and implementation of a new tool, the Music Sketcher, which attempts to provide more under-specified and flexible forms of ‘sketch’ representation than are possible with contemporary composition tools. This tool is evaluated through a series of case studies which explore how the representations constructed with the tool are interpreted and what role they play in the compositional process. We show that the program provides a similar level of vagueness to pen and paper, while also facilitating re-representation and re-interpretation, thus helping bridge the gap between early representations and later stages of commitment.
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Wyness, James. „Portfolio of compositions and a commentary“. Thesis, Available from the University of Aberdeen Library and Historic Collections Digital Resources. Restricted: no access to compostions, 2009. http://digitool.abdn.ac.uk:80/webclient/DeliveryManager?application=DIGITOOL-3&owner=resourcediscovery&custom_att_2=simple_viewer&pid=26428.
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Masone, Jolene. „The Contemporary Bassoonist: Music for Interactive Electroacoustics and Bassoon“. Thesis, University of North Texas, 2016. https://digital.library.unt.edu/ark:/67531/metadc849603/.
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As the bassoon has evolved over time, the music written for the instrument has evolved around it, and was many times the catalyst for its evolution. Bassoon music of the seventeenth through early twentieth centuries has defined much of the curricula for bassoon studies, and has established how we consider and experience the bassoon.
We experience, write, and consume music in vastly different ways than just a generation ago. Humans use technology for the most basic of tasks. Composers are using the technology of our generation to compose music that is a reflection of our time. This is a significant aspect of art music today, and bassoonists are barely participating in the creation of this new repertoire.
Performance practice often considers only the musical score; interactive electronic music regularly goes beyond that. The combination of technological challenges and inexperience can make approaching electroacoustic music a daunting and inaccessible type of music for bassoonists. These issues require a different language to the performance practice: one that addresses music, amplification, computer software, hardware, the collaboration between performer and technology, and often the performer and composer. The author discusses problems that performers face when rehearsing and performing interactive electroacoustic works for bassoon, and offers some solutions.
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McCulloch, Peter. „UNRAVEL: Acoustic and Electronic Resynthesis“. Thesis, connect to online resource, 2004. http://www.unt.edu/etd/all/Aug2004/mcculloch%5Fpeter/index.htm.
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Macrae, Robert. „Linking music metadata“. Thesis, Queen Mary, University of London, 2012. http://qmro.qmul.ac.uk/xmlui/handle/123456789/8837.
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The internet has facilitated music metadata production and distribution on an unprecedented scale. A contributing factor of this data deluge is a change in the authorship of this data from the expert few to the untrained crowd. The resulting unordered flood of imperfect annotations provides challenges and opportunities in identifying accurate metadata and linking it to the music audio in order to provide a richer listening experience. We advocate novel adaptations of Dynamic Programming for music metadata synchronisation, ranking and comparison. This thesis introduces Windowed Time Warping, Greedy, Constrained On-Line Time Warping for synchronisation and the Concurrence Factor for automatically ranking metadata. We begin by examining the availability of various music metadata on the web. We then review Dynamic Programming methods for aligning and comparing two source sequences whilst presenting novel, specialised adaptations for efficient, realtime synchronisation of music and metadata that make improvements in speed and accuracy over existing algorithms. The Concurrence Factor, which measures the degree in which an annotation of a song agrees with its peers, is proposed in order to utilise the wisdom of the crowds to establish a ranking system. This attribute uses a combination of the standard Dynamic Programming methods Levenshtein Edit Distance, Dynamic Time Warping, and Longest Common Subsequence to compare annotations. We present a synchronisation application for applying the aforementioned methods as well as a tablature-parsing application for mining and analysing guitar tablatures from the web. We evaluate the Concurrence Factor as a ranking system on a largescale collection of guitar tablatures and lyrics to show a correlation with accuracy that is superior to existing methods currently used in internet search engines, which are based on popularity and human ratings.
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Harvey, Sandi K. „The analysis of Okinawan popular music and identity in relation to other studies of southeast Asian popular music“. Thesis, Wichita State University, 2010. http://hdl.handle.net/10057/3720.
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This research attempts to use the creation of popular music in Okinawa as a symbolic resource to reveal attributes related to the making of identity. Popular music in non-Western societies is a useful unit of analysis that can explain how people respond to cultural change and can tell us much about cultural values. The origin of identity studies is both historical and political by nature. However, socio-cultural functions can further expand our understanding of both cultural and political resistance. Popular music as identity is not static and is always in flux.
Identity addresses the ongoing relationship between the global (capitalized market) and the local (maintenance of cultural heritage). Negotiation between the two is explained through the use of imagined communities and the concept of place and space. Only through a historical, social, political and economic context is identity making fully realized. The functions of popular music are expressive behaviors which shape and are shaped by social, historical, political and economic experiences.
In using the comparative method, the lyrical content and other important features of Okinawan popular music will be contrasted with other Southeast Asian studies. This research will highlight similarities, but will also reveal distinct differences between the formation of identity in both Okinawan and other Southeast Asian communities.Thesis (M.A.)--Wichita State University, College of Liberal Arts and Sciences, Dept. of Anthropology.
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Carroll, Adrian Dominic. „Beat-mixing Rock music: Rock and electronic dance music merge to create the Manarays“. Thesis, Queensland University of Technology, 2012. https://eprints.qut.edu.au/61231/13/61231.pdf.
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This research introduces the proposition that Electronic Dance Music’s beat-mixing function could be implemented to create immediacy in other musical genres. The inclusion of rhythmic sections at the beginning and end of each musical work created a ‘DJ friendly’ environment. The term used in this thesis to refer to the application of beat-mixing in Rock music is ‘ClubRock’. Collaboration between a number of DJs and Rock music professionals applied the process of beat-mixing to blend Rock tracks to produce a continuous ClubRock set. The DJ technique of beat-mixing Rock music transformed static renditions into a fluid creative work. The hybridisation of the two genres, EDM and Rock, resulted in a contribution to Rock music compositional approaches and the production of a unique Rock album; Manarays—Get Lucky.
20
Lotis, Theodoros. „Space and light in electroacoustic music“. Thesis, City University London, 2003. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.270609.
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Perez, Gonzalez Enrique. „Advanced automatic mixing tools for music“. Thesis, Queen Mary, University of London, 2010. http://qmro.qmul.ac.uk/xmlui/handle/123456789/614.
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This thesis presents research on several independent systems that when combined together can generate an automatic sound mix out of an unknown set of multi‐channel inputs. The research explores the possibility of reproducing the mixing decisions of a skilled audio engineer with minimal or no human interaction. The research is restricted to non‐time varying mixes for large room acoustics. This research has applications in dynamic sound music concerts, remote mixing, recording and postproduction as well as live mixing for interactive scenes. Currently, automated mixers are capable of saving a set of static mix scenes that can be loaded for later use, but they lack the ability to adapt to a different room or to a different set of inputs. In other words, they lack the ability to automatically make mixing decisions. The automatic mixer research depicted here distinguishes between the engineering mixing and the subjective mixing contributions. This research aims to automate the technical tasks related to audio mixing while freeing the audio engineer to perform the fine‐tuning involved in generating an aesthetically‐pleasing sound mix. Although the system mainly deals with the technical constraints involved in generating an audio mix, the developed system takes advantage of common practices performed by sound engineers whenever possible. The system also makes use of inter‐dependent channel information for controlling signal processing tasks while aiming to maintain system stability at all times. A working implementation of the system is described and subjective evaluation between a human mix and the automatic mix is used to measure the success of the automatic mixing tools.
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Grove, Benjamin J. „Cruise/Control for Wind Ensemble and Fixed Electronic Media“. Kent State University / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=kent1524481623531767.
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Chen, Chia-Chun. „Electronic music : an interactive CD-ROM for young people“. FIU Digital Commons, 2003. http://digitalcommons.fiu.edu/etd/2129.
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The purpose of this thesis was to create an electronic music CD-ROM for young people. The intent of this project was to encourage young people to learn about the basics of sound production, audio effects, and the history of electronic music. The methods used for making this CD-ROM included having interactive demonstrations, animations, graphics. and a variety of colors and text styles. Internet links for further information were also provided.
This was the first educational CD-ROM of its kind. Although there were Internet sites and a few CD-ROMs covering issues of electronic music, most were not interactive and were not designed for young people. It was expected that this CD-ROM would make the learning process more interesting and would hopefully lead young people to more advanced materials on electronic music.
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Bonneau, Paul G. (Paul Gregory). „A Capella Eletronnica“. Thesis, University of North Texas, 1995. https://digital.library.unt.edu/ark:/67531/metadc279371/.
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The intent of A capella Eletronnica is to explore the possibility of the human voice as the most versatile of musical instruments. The voice, capable of melodic, harmonic, percussive and rhythmic effects, is also employed for spoken text and conversational elements as musical sources. My aim was to enlarge this array of vocal techniques with the use of electronic processing and amplification.
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Gómez, Marín Daniel. „Similarity and style in electronic dance music drum rhythms“. Doctoral thesis, Universitat Pompeu Fabra, 2018. http://hdl.handle.net/10803/543841.
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This thesis presents original research carried out in the topic of electronic dance music (EDM) drum sequencing, a fundamental and yet underdeveloped subject in the music production literature. The work undertaken is focused in two main areas: similarity between drum patterns and modeling of drumming style. The study of pattern similarity is rooted in current knowledge on human processing of monophonic rhythms, and is expanded until a model capable of predicting similarity sensations of polyphonic drum rhythms is reached. With this model, RhythmSpace, a graphical system for the continuous real-time exploration of drum pattern collections, is developed. The second area of research, drumming style modeling, is approached from a statistical perspective, developing a generative model capable of learning styles from examples and creating original drum patterns in the learned styles. This model allows high-level musical flexibility, letting a musician combine and transform styles in real-time during the generative process. Taking advantage of this model, a style-based drum machine application, DrDrums, is implemented and evaluated in subject-based experiments.Esta tesis presenta una investigación original llevada a cabo en el área de la secuenciación de baterías de música electrónica de baile (EDM), un tema fundamental y al mismo tiempo poco desarrollado en la literatura de producción musical. El trabajo realizado se enfoca en dos áreas: la similitud entre patrones de batería y los estilos en la composición de patrones percusivos. El estudio de la similitud entre patrones se fundamenta en el conocimiento actual del procesamiento humano de patrones monofónicos, y es expandido hasta alcanzar un modelo capaz de predecir sensaciones de similitud en ritmos polifónicos. Con este modelo se ha creadoRhythmSpace, un sistema gráfico para la exploración en tiempo real de colecciones de patrones de batería. La segunda área de investigación, el estilo de composición de baterías, es abordada desde una perspectiva estadística, desarrollando un modelo generativo capaz de aprender estilos desde ejemplos y luego crear patrones originales en los estilos aprendidos. Este modelo estadístico permite una flexibilidad musical de alto nivel, haciendo posible que un músico combine y transforme estilos en tiempo real durante el proceso generativo. Usando este modelo se implementa DrDrums, una máquina de ritmos con inteligencia de estilo, que es evaluada experimentalmente con sujetos.
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Horn, Maria. „Pressure and movements : Gender constructions in experimental electronic music“. Thesis, Kungl. Musikhögskolan, Institutionen för komposition, dirigering och musikteori, 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-1637.
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The aim of this text is to examine the field of experimental electronic music with a focus on gender constructions and in particular electronic music's relationship to masculinity. What are some of the recurring ideals and group cultures? Can these suggest causes or in some way explain the gender imbalance in the field? Due to the expansiveness of the topic, the following text will be divided in to five sections which focus on some of its aspects. In "Male identification and control" gendered stereotypes are analyzed along with suggestions of how they may shape our relationship to technology. "Militaristic symbolism" examines the history of some tools used to make electronic music and its relation to militarism. "Neutrality" criticizes the idea of technology as neutral and "Defensive learning climates" goes in to analyzing the learning environments of electronic music and related technological fields. "Gendered expectations" focuses on how we are socialized to "perform our gender" and how gendered expectations shape us. “Concluding thoughts” will briefly summarize the previous topics and present ideas about how to work more practically with constructions of gender within experimental electronic music environments.1 CD
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Worth, Peter. „Technology and ontology in electronic music : Mego 1994-present“. Thesis, University of York, 2011. https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.550249.
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The Vienna based record label Mego is known for establishing an uncompromising, radically experimental electronic music in the 1990s. This thesis considers the work of various different artists on the label, examining in particular their approaches to technology. The artists discussed appear to share an approach that I describe as pragmatic or experimental, which I contrast with idealist or rational approaches. In the latter, music appears to be understood within the framework of a simplistic model of communication, where technology is seen as a medium that should be transparent, allowing the music to pass unaffected. In the pragmatic approach however, I claim that technology is not seen not as a medium for the communication of ideas, but rather as a source of ideas. Implications follow for the ontology of the music. In the simplistic model of communication, physical sound can be considered merely a representation of something more abstract: musical form conceived by the composer. But if music is materially constructed and based on experimentation with the technology at hand, then the sound should not be considered a representation; there is no preconceived idea for it to be a representation of. This concept, which I refer to as 'literalism', is explored in a number of musical examples, and I link it to a definition of noise.
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Kawamoto, Hideko. „Summer rain part 1, Summer rain - dawn, for two channel tape ; part 2, After the summer rain, for piano and two channel tape /“. connect to online resource. Access restricted to the University of North Texas campus, 2001. http://www.library.unt.edu/theses/open/20013/kawamoto%5Fhideko/index.htm.
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Gibson, Ian Stewart. „Voice analysis for music synthesis systems“. Thesis, University of York, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.298589.
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Corder, Nathan Anthony. „Determining Conditions| Towards an Aesthetic of Emergence in Live Electronic Music“. Thesis, Mills College, 2018. http://pqdtopen.proquest.com/#viewpdf?dispub=10822167.
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The concept of emergence, and/or emergent properties, is one that has gained resurgence within the realm of various branches of science and the humanities. Emergence is an idea that explains to/for us how dynamical systems, complexes of elements, bodies, and even concepts, begin to exhibit properties and behaviors that are at least seemingly greater than the sum of their parts- how irreducible, novel, complexities arise from constructs of fundamental entities. I argue that in some music of 20th and 21st century American experimentalists, we have music that is under-theorized and lacking in an appropriate contextualization in regards to emergent properties within music. I claim that a careful distinction between indeterminate forms and emergent properties is needed to further develop how we think about these works, and examine them in light of more recent philosophical and aesthetic developments. This paper does not aim to lay out a fully ontology or metaphysics of what emergence is in general, but rather works towards a working definition of a kind of emergence present within the music of various American experimental composers (John Bischoff, Tim Perkis, Chris Brown, David Tudor), and how to apply such a definition of emergence to an aesthetic framework of understanding live electronic music.
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Oliver, La Rosa Jaime Eduardo. „To un-button strategies in computer music performance to incorporate the body as re-mediator of electronic sound /“. Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 2008. http://wwwlib.umi.com/cr/ucsd/fullcit?p1453667.
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Thesis (M.A.)--University of California, San Diego, 2008.Title from first page of PDF file (viewed July 30, 2008). Available via ProQuest Digital Dissertations. Vita. Includes bibliographical references: P. 56-59.
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De, Jongh Martha Susanna. „A national electronic database of special music collections in South Africa“. Thesis, Stellenbosch : University of Stellenbosch, 2009. http://hdl.handle.net/10019.1/2370.
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Thesis (MMus (Music))--University of Stellenbosch, 2009.In the absence of a state-sponsored South African archive that focuses on collecting, ordering, cataloguing and preserving special music collections for research, the Documentation Centre for Music (DOMUS) was established in 2005 as a research project at the University of Stellenbosch. Music research in South Africa is often impeded by inaccessibility of materials, staff shortages at archives and libraries, financial constraints and time-consuming ordering and cataloguing processes. Additionally there is, locally, restricted knowledge of the existence, location and status of relevant primary sources. Accessibility clearly depends on knowing of the existence of materials, as well as the extent to which collections have been ordered and catalogued. An overview of repositories such as the Nasionale Afrikaanse Letterkundige Museum and Navorsingsentrum (NALN), the now defunct National Documentation Centre for Music and the International Library of African Music (ILAM) paints a troubling picture of archival neglect and disintegration. Apart from ILAM, which has a very specific collecting and research focus, this trend was one that ostensibly started in the 1980s and is still continuing. It could be ascribed to a lack of planning and forward thinking under the previous political dispensation, aggravated by policies of transformation and restructuring in the current one. Existing sources supporting research on primary materials are dated and not discipline-specific. Thus this study aims to address issues of inaccessibility of primary music materials by creating a comprehensive and ongoing national electronic database of special music collections in South Africa. It is hoped that this will help to alert researchers to the existence and status of special music collections housed at various levels of South African academic and civil society.
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Blinkhorn, Daniel. „Extra-musical consequence reconsidering antecedent/consequent motivations /“. Access electronically, 2005. http://www.library.uow.edu.au/adt-NWU/public/adt-NWU20060517.111654/index.html.
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Wandler, Heiko. „Elektronische Klangerzeugung und Musikreproduktion : Einflüsse auf die Musik des 20. Jahrhunderts /“. Frankfurt am Main [u.a.] : Lang, 2005. http://www.gbv.de/dms/weimar/toc/481909850_toc.pdf.
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Palamara, Jason Andrew. „Dysphonia, for solo violin, chamber ensemble and live electronics“. Diss., University of Iowa, 2015. https://ir.uiowa.edu/etd/1718.
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DYSPHONIA is a music and dance work, for violin soloist with a live chamber orchestra, including multiple laptops and a custom-built gesture detection system worn by a dancer. The piece was choreographed by Professor Charlotte Adams of the University of Iowa Dance Department and premiered at the Faculty Graduate Dance Concerts in February of 2015.
This piece is inspired by ongoing research into computer programming, gesture and music-making, artificial intelligence (AI), and creative algorithms. While the actual algorithms I developed for use in this piece are far from sentient, it is my hope that this piece may bring about discussion and further interest in creative AI. In our initial discussions, choreographer Charlotte Adams and I discovered that we both have witnessed a large number of people buying into immersive technologies without questioning the total cost to their well being, without questioning whether the technology has a positive impact on their lives, and without an understanding regarding the complex changes being wrought in our society due to the mass adoption of such technologies.
Thus we designed this piece around the technology itself, so that the union between the dancer and the prosthesis is brought about by the movement and action that takes place in the piece. The intent was to create a scene where the audience suddenly becomes aware that something new is happening, namely that the dancer’s glove has started to make noise and there is a new connection made between the music and the dance.
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Stewart, Rebecca. „Spatial auditory display for acoustics and music collections“. Thesis, Queen Mary, University of London, 2010. http://qmro.qmul.ac.uk/xmlui/handle/123456789/413.
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This thesis explores how audio can be better incorporated into how people access information and does so by developing approaches for creating three-dimensional audio environments with low processing demands. This is done by investigating three research questions. Mobile applications have processor and memory requirements that restrict the number of concurrent static or moving sound sources that can be rendered with binaural audio. Is there a more e cient approach that is as perceptually accurate as the traditional method? This thesis concludes that virtual Ambisonics is an ef cient and accurate means to render a binaural auditory display consisting of noise signals placed on the horizontal plane without head tracking. Virtual Ambisonics is then more e cient than convolution of HRTFs if more than two sound sources are concurrently rendered or if movement of the sources or head tracking is implemented. Complex acoustics models require signi cant amounts of memory and processing. If the memory and processor loads for a model are too large for a particular device, that model cannot be interactive in real-time. What steps can be taken to allow a complex room model to be interactive by using less memory and decreasing the computational load? This thesis presents a new reverberation model based on hybrid reverberation which uses a collection of B-format IRs. A new metric for determining the mixing time of a room is developed and interpolation between early re ections is investigated. Though hybrid reverberation typically uses a recursive lter such as a FDN for the late reverberation, an average late reverberation tail is instead synthesised for convolution reverberation. Commercial interfaces for music search and discovery use little aural information even though the information being sought is audio. How can audio be used in interfaces for music search and discovery? This thesis looks at 20 interfaces and determines that several themes emerge from past interfaces. These include using a two or three-dimensional space to explore a music collection, allowing concurrent playback of multiple sources, and tools such as auras to control how much information is presented. A new interface, the amblr, is developed because virtual two-dimensional spaces populated by music have been a common approach, but not yet a perfected one. The amblr is also interpreted as an art installation which was visited by approximately 1000 people over 5 days. The installation maps the virtual space created by the amblr to a physical space.
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Benetos, Emmanouil. „Automatic transcription of polyphonic music exploiting temporal evolution“. Thesis, Queen Mary, University of London, 2012. http://qmro.qmul.ac.uk/xmlui/handle/123456789/3368.
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Automatic music transcription is the process of converting an audio recording into a symbolic representation using musical notation. It has numerous applications in music information retrieval, computational musicology, and the creation of interactive systems. Even for expert musicians, transcribing polyphonic pieces of music is not a trivial task, and while the problem of automatic pitch estimation for monophonic signals is considered to be solved, the creation of an automated system able to transcribe polyphonic music without setting restrictions on the degree of polyphony and the instrument type still remains open. In this thesis, research on automatic transcription is performed by explicitly incorporating information on the temporal evolution of sounds. First efforts address the problem by focusing on signal processing techniques and by proposing audio features utilising temporal characteristics. Techniques for note onset and offset detection are also utilised for improving transcription performance. Subsequent approaches propose transcription models based on shift-invariant probabilistic latent component analysis (SI-PLCA), modeling the temporal evolution of notes in a multiple-instrument case and supporting frequency modulations in produced notes. Datasets and annotations for transcription research have also been created during this work. Proposed systems have been privately as well as publicly evaluated within the Music Information Retrieval Evaluation eXchange (MIREX) framework. Proposed systems have been shown to outperform several state-of-the-art transcription approaches. Developed techniques have also been employed for other tasks related to music technology, such as for key modulation detection, temperament estimation, and automatic piano tutoring. Finally, proposed music transcription models have also been utilized in a wider context, namely for modeling acoustic scenes.
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Stölzel, Ingrid Mobberley James. „Genius loci [electronic resource] = Spirit of place : for orchestra /“. Diss., UMK access, 2009.
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Thesis (D.M.A.)--Conservatory of Music and Dance. University of Missouri--Kansas City, 2009."A dissertation in music composition." Advisor: James Mobberley. Typescript. Vita. Duration: ca. 10:30. Title from "catalog record" of the print edition Description based on contents viewed Dec. 04, 2009. Includes program notes. Online version of the print edition.
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Shiota, Kazuaki. „The Signals From the Starlight“. University of Cincinnati / OhioLINK, 2006. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1152730522.
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Veblen, Nora Bryant. „MUSIC THERAPISTS’ PERCEPTIONS AND PRACTICES REGARDING MUSICAL AUTHENTICITY IN MUSIC THERAPY PRACTICE“. UKnowledge, 2018. https://uknowledge.uky.edu/music_etds/129.
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Music therapists are expected to provide live music for clients with diverse preferences, yet these therapists face many barriers preventing them from recreating client-preferred music in a way that adheres to the expectations of the genre, or with “musical authenticity.” The purpose of this study was to investigate music therapists’ perceptions and practices regarding musical authenticity. Survey responses (n = 904) indicated that music therapists highly value musical authenticity, but a major theme in the qualitative data revealed they often balance its importance with other factors. Descriptive survey data and qualitative themes revealed lack of training in functional musicianship and electronic technology as major barriers to musical authenticity. A major qualitative theme regarding therapists’ practices was the use of collaboration with clients and creative solutions. Most participants indicated use of non-electronic strategies and reported they had not used electronic technology to increase musical authenticity. Descriptive survey data and qualitative themes revealed frequent and effective use of recorded music. Finally, chi-square analyses revealed significant relationships between age and use of technology and iPad and between gender and use of technology. Music therapists would benefit from additional training, more research on authenticity, and music therapy specific guidelines for using music authentically.
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Farrugia, Rebekah L. „Spin-sters women, new media technologies and electronic/dance music /“. Diss., University of Iowa, 2004. http://ir.uiowa.edu/etd/112.
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Kavanaugh, Philip R. „Solidarity and drug use in the electronic dance music scene“. Access to citation, abstract and download form provided by ProQuest Information and Learning Company; downloadable PDF file 0.39 Mb., 70 p, 2006. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&res_dat=xri:pqdiss&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&rft_dat=xri:pqdiss:1435827.
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Nederberg, Annelie. „The corporeosonic composer : corporeality, feedback and movement in electronic music“. Thesis, University of Surrey, 2018. http://epubs.surrey.ac.uk/849804/.
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This artistic inquiry contributes to the field of performed and acousmatic electronic music by nuancing the relationship between musician and instrument as going beyond control into intimacy, immersion and shifting identities. The main streams of inquiry have been to explore conceptualisations of corporeality in electronic music and how such music can be created in relatedness with the gestural body. I have contextualised the inquiry with corporeality as movement (Sheets-Johnstone) and with the feedback works of Eliane Radigue. I have created a gestural feedback instrument, which has allowed me to explore the movements of the body and of electronic music in performance and composition and to explore the relatedness between musician and instrument. This instrument is explored practically and conceptually with the goal of reaching beyond technological descriptions and the concept control. Through my practice I have explored concepts such as touch (Peters and Parviainen), living individuals (Rodgers), behaviour (Smalley and Keep) and contemporary animism (Bird-David and Viveiros de Castro) in composed and performed music. The music and the performances have been analysed and the findings fed back into the research process. The inquiry is documented in video recordings, technical documentation and process notes. Symbolised by the concept the corporeosonic composer, I have outlined a nuanced form of relatedness between musician and instrument based on intimacy (Bennett) rather than control, and with an attitude in which movement is primary and sounds are seen as living, perhaps spiritual, agencies. Sounds thus leave the ontological status of objects to instead become subjects and dividual persons (Strathern). The relatedness between these sounding subjects and the musician has been conceptualised as corporeosonic states of relatedness, as different forms of literal and apparent touch (Peters), and as shifting identities within a context of contemporary animism (Willerslev and Hedeager).
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Velamazan, Mariano. „Designing playful learning experiences : Exploring embodied mathematics through electronic music“. Thesis, Umeå universitet, Designhögskolan vid Umeå universitet, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-124025.
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I present a research based project that asks for a discussion about the role of technology in education. It is a question about how to design learning experiences and how to improve the experience of learning through interactive objects. More precisely, this project tries to explore the possibilities of an embodied learning of math using music in a playful way. Superbleeper, the name of the product, is an electronic music instrument that is played using math concepts. It invites 3-6 year old children to play with the math they have to understand according to the Swedish curriculum. This math foundation for the youngest kids is about measurement, shape, patterns, time, change, quantity, sets and order. The tests carried out with children in different contexts show that electronic music can be a way to embody and enjoy the use of math concepts in a creative way.Pedagogical Interactive Math Visualizations
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Covington, Heather K. „Spirit in the Speakers: Collective Spirituality in Electronic Music Subcultures“. Digital Commons @ East Tennessee State University, 2013. https://dc.etsu.edu/honors/102.
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By definition subcultures harbor their own sets of norms and unique characteristics. From fashion to slang vocabularies, each subculture stands apart as a world of its own. In the subculture of psychedelic trance, an electronic music based subculture, such marking characteristics are taken beyond superficial expressions. Through repeated exposure to spiritual concepts, language, and rituals, thecommunity fosters spiritual practices and beliefs in individual members. Using in-depth interviews and extended participant observation, Iidentify patterns and commonalities, as well as divergences, in the spiritual practice and beliefs of subculture members. Ultimately psy-trance members draw on organized religious traditions while also distinguishing their activities and group from traditional religion. The role of music in collective ritual and the concept of lived religious experience provide insight into the beliefs and practices of the psy-trance subculture.
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Jap, Lilian. „Mapping detected periodic dance movements to control tempo in the music playback of Electronic Dance Music“. Thesis, KTH, Skolan för elektroteknik och datavetenskap (EECS), 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-251668.
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Engaging in the music set of one’s favorite artist or DJ is oftentimes leading to the result of a powerful and euphoric felt experience, a sensation partly also induced from dancing in beat to the music. In an attempt to simulate a similar dance experience, a user-study was designed in order to investigate when a user is let to dance in rhythm to a music playback and in addition, in control of a music playback tempo through the induced dance movements. A proof-of-concept prototype was built and tested in an initial study, followed by a main study where the prototype had been modified and 12 participants participated. A questionnaire was given containing various question statements to be rated through a Likert-scale regarding their subjective experience. Open-ended questions were also included to collect their own opinions. From the results, an enhanced engagement and enjoyment of the music could be identified when being able to manipulate the tempo.Att engagera sig i ett musikset av ens favoritartist eller DJ leder ofta till resultatet av en kraftfull och euforisk känsloupplevelse, en känsla delvis framkallat av att man dansar i takt med musiken. I ett försök att simulera en liknande dansupplevelse undersöker denna användarstudie när en användare dansar i rytm till musik och dessutom är i kontroll av tempot genom de skapade dansrörelserna. En proof-of-concept prototyp konstruerades och testades i en första studie, följt av en huvudstudie där prototypen hade modifierats och 12 deltagare deltog. Ett frågeformulär gavs med olika frågor som skulle bedömas via en Likert-skala, med avseende på deras subjektiva erfarenhet. Öppna frågor ingick också för att samla deras egna åsikter. Från resultaten kunde ett ökat engagemang och en förhöjd njutning av musiken identifieras när man kunde manipulera tempot.
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So, Ka Wai. „Sound and image : musical compositions in realization of intermedia“. HKBU Institutional Repository, 2010. http://repository.hkbu.edu.hk/etd_ra/1197.
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Shill, Gene. „Digital Sampling and Appropriation as Approaches to Electronic Music Composition and Production“. Thesis, Griffith University, 2016. http://hdl.handle.net/10072/370569.
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Through analysis, observation, critical listening, interviews and creative practice, this study explores how techniques of appropriation via digital music sampling are used for electronic musical composition and production. Included is an examination of literature and creative work focused on the Golden Age of Hip-Hop that explores early sampling processes and techniques. Through original compositions and an exegesis, the study provides unique and significant contributions to the field including the identification of four approaches to the design and construction of sample-based composition and associated techniques for achieving them using contemporary music technologies. The Golden Age of Hip-Hop is presented as a historical period of musical significance, not only for defining new genres and sub genres of music, but because of the influencing factors that emerging technologies had on new compositional processes and outcomes. Highlighting the lineage of digital sampling and appropriation in the Golden Age with contemporary approaches to electronic music composition is at the core of this study. The historical analysis is supported by the implementation of the identified approaches using contemporary techniques that further extend practices of digital sampling and appropriation.
I was initially attracted to the topic of this having come as a session saxophonist and record producer heavily influenced by the hybridisation of jazz and hip-hop. Both of these genres were influential factors in my musical development, with modern-day approaches to electronic music production heavily influenced and driven by the use of digital sampling and appropriation in order to construct musical works An overview of the art of remixing and how it serves as an apprenticeship within the realms of electronic music production, offers detailed insights into compositional approaches and habits of artists and producers when implementing digital samples of metric and non-metric timing to form a new work within electronic music production. Remixing is also supported by three legal parameters often associated to digital music sampling and appropriation, outlining how fragmented literal similarity, de minimis and the fair use doctrine have been developed to protect artistry, whilst allowing sampling through the democratisation of sampling technologies to flourish and challenge the assumptions of ownership, authorship and creativity. An in depth analysis of four case studies allow for an historical understanding of how digital sampling and appropriation formed the basis of some of the most influential recordings to have come out of the Golden Age of Hip-Hop and have continued to influence approaches to composition within modern-day electronic music production. In conjunction with the analysis of cases studies an overview of digital sampling technologies in the form of the Akai MPC 60 and the E-mu Systems SP-1200, offer great insight into the affordances emerging and developed technologies contributed to the compositional process, thus resulting in such formidable and influential outcomes.
Supported by the influencing factors of Hirsch’s theory of post-memory and Perchard’s theory of musico-cultural influences; the outcome of musical analysis resulted in the 4 approaches that can be defined as Lyrical Fragmentation, Cultural appropriation, Constructionist Collage and Improvised Remix. An exploration through composition outlines my use of metric, non-metric, temporal and textural variance, sonic sculpting techniques, and the exploitation of characteristics of sampled source material. These were motivating factors to create works based on the 4 approaches to digital sampling and appropriation. Finally, after ethical clearance (Musician Interviews GU Ref No: QCM/06/15/HREC) from the university, a survey was developed and distributed to select respondents asking them to answer questions related to the ideas in this study.
The data collected from the surveys presents as one of the most outstanding characteristics of this study. It validates the scope and concepts of this study whilst comprehensively outlining individual approaches to digital sampling and appropriation a compositional practice. This data further elaborates on the 4 approaches identified in this study and offers scope for further research.Thesis (PhD Doctorate)
Doctor of Philosophy (PhD)
Queensland Conservatorium
Arts, Education and Law
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Koch, Sven-Ingo. „Räume, Bewegungen = volumes, movements : for large orchestra /“. May be available electronically:, 2003. http://proquest.umi.com/login?COPT=REJTPTU1MTUmSU5UPTAmVkVSPTI=&clientId=12498.
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Harte, Christopher. „Towards automatic extraction of harmony information from music signals“. Thesis, Queen Mary, University of London, 2010. http://qmro.qmul.ac.uk/xmlui/handle/123456789/534.
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In this thesis we address the subject of automatic extraction of harmony information from audio recordings. We focus on chord symbol recognition and methods for evaluating algorithms designed to perform that task. We present a novel six-dimensional model for equal tempered pitch space based on concepts from neo-Riemannian music theory. This model is employed as the basis of a harmonic change detection function which we use to improve the performance of a chord recognition algorithm. We develop a machine readable text syntax for chord symbols and present a hand labelled chord transcription collection of 180 Beatles songs annotated using this syntax. This collection has been made publicly available and is already widely used for evaluation purposes in the research community. We also introduce methods for comparing chord symbols which we subsequently use for analysing the statistics of the transcription collection. To ensure that researchers are able to use our transcriptions with confidence, we demonstrate a novel alignment algorithm based on simple audio fingerprints that allows local copies of the Beatles audio files to be accurately aligned to our transcriptions automatically. Evaluation methods for chord symbol recall and segmentation measures are discussed in detail and we use our chord comparison techniques as the basis for a novel dictionary-based chord symbol recall calculation. At the end of the thesis, we evaluate the performance of fifteen chord recognition algorithms (three of our own and twelve entrants to the 2009 MIREX chord detection evaluation) on the Beatles collection. Results are presented for several different evaluation measures using a range of evaluation parameters. The algorithms are compared with each other in terms of performance but we also pay special attention to analysing and discussing the benefits and drawbacks of the different evaluation methods that are used.