Dissertationen: „Music instruments in mathematics“

1

Zhang, Boyu. „Mathematical rhythmic structure of Chinese percussion music : an analytical study of Shifan Luogu collections /“. Turku : Turun Yliopisto, 1997. http://catalogue.bnf.fr/ark:/12148/cb38877189v.

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Teixeira, Alexandre Carlos da Silva. „Matemática na música a escala cromática e as progressões geométricas“. Universidade Federal de Goiás, 2015. http://repositorio.bc.ufg.br/tede/handle/tede/4727.

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This paper presents a proposal for relationship studies between mathematics and music, a relationship that has been established since the dawn of humanity, and could be seen more clearly from the studies developed by Pythagoras. We approach the evolution of music in the historical context and introduce the basics of music theory, essential to establishing relationships with mathematics. Our e orts were focused on instruments with strings, by which present a relationship between a musical scale, called Chromatic and geometric progressions; also we present a relationship between musical intervals and right triangles. We present a mathematical relationship between music and colors, through their respective frequencies of sound and light. Also we address the present mathematics in the construction of some instruments with strings, via Golden Proportion, and nished the work presented some proposals for activities that can be worked in the classroom, aimed at high school students.
Este trabalho traz uma proposta de estudos da relação existente entre a Matemática e a Música, relação esta que foi estabelecida desde os primórdios da humanidade, e pôde ser observada de forma mais clara a partir dos estudos desenvolvidos por Pitágoras. Abordamos a evolução da Música no contexto histórico e introduzimos as noções básicas de teoria musical, essencial ao estabelecimento de relações com a Matemática. Nossos esforços foram focados nos instrumentos com cordas, pelos quais apresentamos uma relação entre uma escala musical, denominada Cromática, e as progressões geométricas; também apresentamos uma relação entre intervalos musicais e os triângulos retângulos. Apresentamos uma relação matemática entre a Música e as cores, por meio de suas respectivas frequências de som e luz. Também abordamos a matemática presente na construção de alguns instrumentos com cordas, via Proporção Áurea, e nalizamos o trabalho apresentando algumas propostas de atividades que podem ser trabalhadas em sala de aula, voltadas para alunos do Ensino Médio.

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Karkar, Sami. „Méthodes numériques pour les systèmes dynamiques non linéaires : application aux instruments de musique auto-oscillants“. Phd thesis, Aix-Marseille Université, 2012. http://tel.archives-ouvertes.fr/tel-00742651.

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Ces travaux s'articulent autour du calcul des solutions périodiques dans les systèmes dynamiques non linéaires, au moyen de méthodes numériques de continuation. La recherche de solutions périodiques se traduit par un problème avec conditions aux limites périodiques, pour lequel nous avons implémenté deux méthodes d'approximation : - Une méthode spectrale dans le domaine fréquentiel : l'équilibrage harmonique d'ordre élevé, qui repose sur une formulation quadratique des équations. Nous proposons en outre une formulation originale permettant d'étendre cette méthode aux cas de non-linéarités non rationnelles. - Une méthode pseudo-spectrale par éléments dans le domaine temporel : la collocation à l'aide fonctions polynômiales par morceaux. Ces méthodes transforment le problème continu en un système d'équations algébriques non linéaires, dont les solutions sont calculées par continuation à l'aide de la méthode asymptotique numérique. L'ensemble de ces outils, intégrés au code de calcul MANLAB et complétés d'une analyse linéaire de stabilité, sont alors utilisés pour l'étude des régimes périodiques d'une classe particulière de systèmes dynamiques non linéaires : les instruments de musique auto-oscillants. Un modèle physique non-régulier de clarinette est étudié en détail : à partir de la branche de solutions statiques et ses bifurcations, on calcule les différentes branches de solutions périodiques, ainsi que leur stabilité et leurs bifurcations. Ce modèle est ensuite adapté au cas du saxophone, pour lequel on intègre une caractérisation acoustique expérimentale, afin de mieux tenir compte de la géométrie complexe de l'instrument. Enfin, nous étudions un modèle physique simplifié de violon, avec une non-régularité liée frottement de Coulomb. Cette dernière application illustre ainsi la polyvalence des outils développés face aux différents types de non-régularité.

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Swanson, Daniel F. „Music for nine instruments“. Virtual Press, 1985. http://liblink.bsu.edu/uhtbin/catkey/491438.

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MUSIC FOR NINE INSTRUMENTS is a single movement composition for flute, oboe, Bb clarinet, bassoon, horn in F, two violins, viola, and 'cello. The work is organized into six sections, each of which examines and utilizes the compositional material in unique ways. The syntax of the work is achieved by the employment of pitch-class sets. Two sets of pitches are used with their sub-sets. The properties indigenous to the two sets are that they are of seven and five-members respectively, the five-member set is not a subset of the seven-member set and, when the two sets are catenated, they form the universal-set of the twelve pitches of the chromatic scale. Additionally, the work exploits the individual characteristics of the instruments and explores, in various ways, the textural combinations available.
School of Music

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Wheeler, Tony. „Compositions for Chinese instruments“. Thesis, [Hong Kong] : University of Hong Kong, 1990. http://sunzi.lib.hku.hk/hkuto/record.jsp?B12986665.

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Menzies, Dylan. „New performance instruments for electroacoustic music“. Thesis, University of York, 1999. https://eprints.soton.ac.uk/371730/.

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Hoose, Shane Anthony. „Three movements for thirteen instruments“. Diss., University of Iowa, 2013. https://ir.uiowa.edu/etd/2521.

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Three Movements for Thirteen Instruments is a musical composition for large chamber ensemble, scored for flute, oboe, clarinet, bassoon, trumpet in C, horn in F, two percussion, two violins, viola, violoncello, and double bass. The composition is slightly over 15 minutes in duration and consists of three movements of contrasting character and thematic content that reflect the musical elements that most interest me at the moment: rhythm, counterpoint, melody, and tonality. The first movement is a developmental, syncopated fast movement. The second movement is slow and lyrical. The third movement is an incessant march that draws the work to a spirited conclusion. Three Movements for Thirteen Instruments was written for the University of Iowa Center for New Music Ensemble, and the ensemble has read it in order to secure ideas for orchestration.

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Karlsson, Mattias. „Räkna med musik : En undersökning om elever som spelar instrument har lättare för matematik“. Thesis, Växjö University, School of Mathematics and Systems Engineering, 2007. http://urn.kb.se/resolve?urn=urn:nbn:se:vxu:diva-1670.

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Denna uppsats handlar om elever som spelar ett instrument generellt har lättare för matematik, än de elever som inte spelar något instrument. Den försöker också ta reda på om det är någon skillnad på de elever som spelar efter noter och de som inte spelar efter noter.

Metoden jag använt är att jag har låtit 180 elever i årskurs 1 på gymnasiet kryssa i vilket slutbetyg från årskurs nio de fått i matematik, svenska och engelska. 59 av dessa elever läser på ett studieförberedande program och 121 elever läser på ett yrkesförberedande program, vilket ungefär motsvarar den procentuella fördelningen totalt i Uppsala. De har också fått ange om de spelar något instrument och i så fall även hur länge de spelat samt om de spelar efter noter.

Resultatet visar att betygen är betydligt högre för de elever som spelar ett instrument efter noter än vad det är för såväl de elever som spelar ett instrument utan att läsa noter samt för de elever som inte alls spelar något instrument. Det visar också att i den här undersökningen blir betygen bättre ju längre eleven spelat sitt instrument, samt att den ökningen är större för tjejerna än för killarna. Undersökningen visar dock inte tydligt att ökningen av betyget är större i matematik än vad det är i de andra ämnena. Emellertid visar den att spelandet av ett instrument verkar ha minst påverkan på engelska jämfört med matematik och svenska. Även om elever som spelar ett instrument har bättre betyg än de som inte spelar något instrument är det svårt att avgöra om det är de begåvade eleverna som börjar spela instrument eller om man faktiskt kan utvecklas intellektuellt genom att spela ett instrument.

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Zamborlin, Bruno. „Studies on customisation-driven digital music instruments“. Thesis, Goldsmiths College (University of London), 2015. http://research.gold.ac.uk/12312/.

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From John Cage’s Prepared Piano to the turntable, the history of musical instruments is scattered with examples of musicians who deeply customised their instruments to fit personal artistic objectives, objectives that differed from the ones the instruments have been designed for. In their digital counterpart however, musical instruments are often presented in the form of closed, finalised systems with apriori symbolic rules set by their designer that leave very little room for the artists to customise the technologies for their unique art practices; in these cases the only possibility to change the mode of interaction with digital instrument is to reprogram them, a possibility available to programmers but not to musicians. This thesis presents two digital music instruments designed with the explicit goal of being highly customisable by musicians and to provide different modes of interactions, whilst keeping simplicity and immediateness of use. The first one leverages real-time gesture recognition to provide continuous feedback to users as guidance in defining the behaviour of the system and the gestures it recognises. The second one is a novel tangible user interface which allows to transform everyday objects into expressive digital music instruments, and whose sound generated strongly depends by the particular nature of the physical object selected.

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Thorbjörnsson, Sofia. „Mathematics and music“. Thesis, Malmö högskola, Fakulteten för lärande och samhälle (LS), 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-35810.

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Syftet med undersökningen är att få en uppfattning om vilka matematiska aktiviteter som genomförs och kan genomföras under sångstunder på förskolor i Sverige och om de genomförs på ett sätt så att barnen arbetar mot målen i läroplanen. Detta eftersom mycket forskning tyder på att mycket matematikinlärning kan ske under sångstunder/musiklektioner. Teori och forskning säger att musik kan utveckla matematiken hos barn på många olika sätt.Min metod var att observera en sångstund på tre förskolor i en kommun och därefter intervjua förskollärarna som höll i sångstunderna.Resultatet visade att lärarna använde en hel del matematik under sångstunderna som det är, några mer medvetna om det än andra. Det visades även att pedagogerna anser att matematiken passar bra ihop med musik. Jag kan se vilka matematiska och musikaliska aktiviteter som genomfördes.Min önskan är att pedagoger ska ge barnen mycket matematikkunskaper under en sångstund. Det märks att där finns matematik till och med om vi inte lyfter det speciellt mycket. Tänk då vad som händer när pedagogen verkligen tänker på att lägga upp det matematiskt. Det jag i synnerhet ser i resultatet är att det är enkelt att få in matematik under sångstunderna och tycker därför att vi borde passa på att göra det.
The purpose of the survey is to get an idea of what mathematical activities thats being used and can be implemented in singing while at nursery schools in Sweden and if implemented in a way so that the children are working towards the goals of the curriculum. This is because much research suggests that much mathematics learning can take place during the singing moments / music lessons. Theory and research says that music can develop mathematics in children in many different ways.My method was to observe a time of singing at three preschools in a municipality and then interviewing the preschool teachers who held the singing moments.The results showed that teachers used a lot of math in time of singing as it is, some more aware of it than others. It was also shown that teachers believe that mathematics fit well with music. I can see what mathematical and musical activities that were carried out.My wish is that teachers should give children much mathematics skills during a time of singing. It is noticeable that there are math even if we do not lift it very much. Imagine then what happens when the teacher really think about doing it mathematically. What I particularly see in the results is that it is easy to get into math in singing moments and therefore think that we should take the opportunity to do so.

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Zhou, Jianping. „On Multinomial Models of Some Financial Instruments /“. The Ohio State University, 1996. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487935573770337.

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莫健兒 und Kin-yee Raymond Mok. „Confronting a different idiom: five compositions for Chinese instruments“. Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1999. http://hub.hku.hk/bib/B31223229.

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Lee, Elsa. „Sunan chui da : an investigation of the role of percussion in traditional Chinese music“. Title page, table of contents and introduction only, 1988. http://web4.library.adelaide.edu.au/theses/09MUM/09muml477.pdf.

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Tseng, Yu-Chung 1960. „Five Soundscapes for Acoustic Instruments and Taped Computer Music“. Thesis, University of North Texas, 1998. https://digital.library.unt.edu/ark:/67531/metadc935784/.

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Inspired by Chinese poems, the overall characteristics of the work reflect the assimilation of several non-Western musical and philosophical influences such as the use of pentatonic scale patterns, the principle of embellishing a single note, and the application of the I-Ching in dealing with active instrumental passages over a long-sustained computer music drone. Traditional Western compositional techniques such as aleatory counterpoint, serialism, and moment form are also employed in the treatment of thematic material, developmental processes and formal design.

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Lee, Sang Won. „Audience participation using mobile phones as musical instruments“. Thesis, Georgia Institute of Technology, 2012. http://hdl.handle.net/1853/44749.

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This research aims at a music piece for audience participation using mobile phones as musical instruments in a music concert setting. Inspired by the ubiquity of smart phones, I attempted to accomplish audience engagement in a music performance by crafting an accessible musical instrument with which audience can be a part of the performance. The research begins by reviewing the related works in two areas, mobile music and audience participation at music performances, builds a charted map of the areas and its intersection to seek an innovation, and defines requisites for a successful audience participation where audience can participate in music making as musicians with their mobile phones. To make accessible audience participation, the concept of a networked multi-user instrument is applied for the system. With the lessons learnt, I developed echobo, a mobile musical instrument application for iOS devices (iPhone, iPad and iPod Touch). With this system, audience can download the app at the concert, play the instrument instantly, interact with other audience members, and contribute to the music by sound generated from their mobile phones. A music piece for echobo and a clarinet was presented in a series of performances and the application was found to work reliably and accomplish audience engagement. The post-survey results indicate that the system was accessible, and helped the audience to connect to the music and other musicians.

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Sum, Ka Yi Kelly. „Musical compositions exploring real-time human-computer interaction with acoustic instruments“. HKBU Institutional Repository, 2008. http://repository.hkbu.edu.hk/etd_ra/887.

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Young, Nina. „Kashchei - for nine instruments and electronics“. Thesis, McGill University, 2011. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=103727.

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Kashchei is an original music composition scored for nine musicians and electronics with a duration of nineteen minutes. The analytical paper, presented in Volume 1 of this thesis, gives a general overview of the procedures and techniques used to create this piece. Volume 2 comprises the musical score. The electronics are available on the accompanying DVD. The inspiration for the work comes from the characters, visual representations, and sounds of Russian folklore – skazki. This work metaphorically represents the different layers of Kashchei, a prevalent villain in Russian fairytales who can only be defeated by breaking through several layers to reach his soul. The organization of the seven movement work narrates the layers around Kashchei's soul and is woven around a theme quoted from Rimsky-Korsakov's opera Kashchei the Deathless. The sonic environment created by both orchestration and electronics attempts to recreate the surrealism of fairytales and the sweeping gestures and vibrancy of Russian lacquer art.
Kachtcheï est une œuvre musicale pour neuf instruments et dispositif électronique, d'une durée de dix-neuf minutes. Une analyse technique de la composition, présentée dans le 1er Volume de cette thèse, fournit une vue d'ensemble des procédures et techniques utilisées dans la pièce. Le 2e Volume contient la partition musicale et la description de la composante électronique. L'œuvre a été inspirée par les personnages, les motifs visuels, et le caractère sonore de la folklore russe – skazki. Cette composition représente de façon symbolique les divers couches de Kachtcheï, un personnage désagréable qui réapparait fréquemment dans les contes de fées russe. Traditionnellement, le héros qui cherche à vaincre Kachtcheï doit franchir plusieurs couches avant d'y arriver à son âme sans doute vulnérable. Structurellement, chacun des sept mouvements de l'œuvre représente une des couches qui protègent cet âme et est basé sur un thème tiré de l'opéra Kachtcheï l'immortel de Rimsky-Korsakov. L'environnement sonore de l'orchestration et du dispositif électronique, ensemble, tente de recréer le surréalisme des contes de fées et les grands gestes et le dynamisme de l'art du laque russe.

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Ponce, Jason Benjamin. „Fractured bodies gesture, pleasure, and politics in contemporary computer music performance /“. Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 2007. http://wwwlib.umi.com/cr/ucsd/fullcit?p1447328.

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Thesis (D.M.A.)--University of California, San Diego, 2007.
Title from 1st page of PDF file (viewed Mar. 5, 2008). Available via ProQuest Digital Dissertations. Vita. Includes bibliographical references: P. 50-55.

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Baumbusch, Brian. „The lightbulb project| New music for new percussion instruments“. Thesis, Mills College, 2014. http://pqdtopen.proquest.com/#viewpdf?dispub=1549992.

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This thesis is about the process behind building, tuning, and composing music for a new set of metallophones called the "Lightbulb" instruments. This project began in 2011 and has continued to expand over the past two years: the first piece to be written for the instruments is titled Prana, and this thesis describes how the process of building and tuning the instruments informed the compositional process behind Prana. The premiere of Prana led to the formation of the Lightbulb Ensemble, which performs on these new instruments. The instruments and the group continue to develop.

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Bachratá, Petra. „Gesture interaction in music for instruments and electroacoustic sounds“. Doctoral thesis, Universidade de Aveiro, 2010. http://hdl.handle.net/10773/3547.

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Doutoramento em Música
Esta tese apresenta alguns aspectos em como o fenómeno do gesto musical pode ser compreendido na percepção da interação musical na música para instrumentos e sons electroacústicos. Através de exemplos de análise, classificação e categorização de diferentes relacões gestuais entre instrumentos e sons electroacústicos, pretende-se estabelecer modelos específicos de interacção que podem ser aplicados como método analítico assim como na composição musical. A pesquisa parte de uma variedade de definições sobre gesto musical na música em geral, na música contemporânea e na música electroacústica em particular, para subsequentemente incluir as relações entre dois eventos sonoros com características diferentes - o electroacústico e o instrumental. São essencialmente abordadas as relações entre gestos musicais através da análise de diversas características: altura, ritmo, timbre, dinâmica, características contrapontísticas, espectromorfológicas, semânticas e espaciais. O resultado da pesquisa teórica serviu de suporte à composição de diversas obras, onde estes aspectos são explorados sob o ponto de vista da criação musical.
This dissertation presents some aspects how the phenomenon of musical gesture can be understood in the perception of musical interaction in music for instruments and electroacoustic sounds. Through analytical examples, classification and categorization of different kinds of gesture relationships between instruments and electroacoustic sounds, the aim is to establish specific models of interaction that can be applied as analytical method, as well as in composition. This research departs from a variety of previous approaches to gesture in music in general, and more specifically contemporary music and electroacoustic music, in order to include the relations between two sound events with different characteristics - the electroacoustic and the instrumental. This research focuses on relations between musical gestures, through the analysis of several characteristics (pitch, rhythm, timbre, dynamics, contrapuntal, spectromorphologic, semantic and spatial). The result of theoretical research has served as basis for composition of various works, where these aspects are explored from the point of view of musical creation.
FCT

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Byeon, Gyewon. „Ch'angjak Kugak : writing new music for Korean traditional instruments“. Thesis, SOAS, University of London, 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.251959.

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The advent of Western influence has brought about many changes to Korean music. The most significant were the division of Korean musical culture into kugak (traditional Korean music) and yangak (Western music) and the rise of a new genre, ch'angjak kugak, "new compositions for traditional music". Kim Kisu, who was trained as a traditional court music performer in the early 20th century, was the first modem composer of music for traditional instruments. His music was written in staff notation incorporating various Western elements, including harmony, diatonic scales, and playing techniques based on Western instrument practices. Though he was trained as a court musician, his works demonstrated a desire to embrace Western culture and music in his compositions. Since Kim Kisu's innovations, many composers have been influential in the development of the genre. I focus on two of the most representative, Yi Sung-Chun and Yi Haeshik. Yi Sung-Chun, who is also a highly respectable educator, has sacrificed his musical life to expand the quantity and the quality of this genre. In the 1980s, he designed the improved 21-string kayagüm and has written significant and successful pieces for this instrument. His search for new sounds led him to break many of the old conventions surrounding traditional instruments, and to write more contemporary and modern music. Yi Haeshik, who is known for his use of the folk idiom in his works, has composed many pieces that borrow elements from traditional shamanistic music, sanjo, folksongs and more. His approach reflects a movement to find "Korean contemporary identity" within the folk tradition in Korea and other countries, and within the world of dance. The ch'angjak kugak genre has seen significant development in the years since its inception and the three composers I focus on - Kim Kisu, Yi Sung-Chun and Yi Haeshik - best demonstrate the progress of the genre

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Cooke, Alexander. „Algorithmic Stochastic Music“. Case Western Reserve University School of Graduate Studies / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=case1492096098674462.

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Nelson, David Paul. „Mrdangam mind the tani āvartanam in Karnatak music /“. Ann Arbor, Mich. : UMI Dissertation Information Service, 1991. http://catalog.hathitrust.org/api/volumes/oclc/36660333.html.

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Thesis (Ph. D.)--Wesleyan University, Middletown, Connecticut, 1991.
"A dissertation in music submitted in Partial Fulfillment of the Requirements for the Doctor of Philosophy ..." Includes bibliographical references (v. 1: p. 390-391).

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Yannavut, Wannapha. „An exploration of Thai traditional music for Western percussion instruments“. Diss., University of Iowa, 2016. https://ir.uiowa.edu/etd/3231.

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This study consists of five compositions/arrangements and one excerpt of a composition from the folk music of Thailand for Western percussion solo and ensembles. These compositions/arrangements were selected from Thai folk songs from the four regions of Thailand (central, northern, northeastern, and southern) in order to represent each region's culture and characteristics: Bats Eat Bananas for percussion ensemble, plus an excerpt for mallet percussion (from the central region); Long Mae Ping Fantasia for marimba solo and percussion ensemble (from the northern region); Mang Poo Tom Dok for percussion ensemble (from the northeastern region); and Krao Talung Dance for percussion ensemble (from the southern region). This study also includes a history of the selected folk songs and the instruments used, a brief introduction to traditional Thai percussion instruments and techniques, and a discussion of how these techniques can be adapted to Western instruments. The purpose of this study is to introduce Thai music into Western awareness through the medium of Western percussion instruments. It also serves to assist Thai musicians, especially percussionists, in bringing Western percussion to Thailand and also generating renewed interest among Thai audiences for their own folk music—not only creating a new fusion style of music but also helping keep traditional Thai music alive for future generations.

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Alvarez, Javier. „Compositional strategies in music for solo instruments and electroacoustic sounds“. Thesis, Boston Spa, U.K. : British Library Document Supply Centre, 1993. http://ethos.bl.uk/OrderDetails.do?did=1&uin=uk.bl.ethos.297125.

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Worrall, David, und n/a. „SONIFICATION AND INFORMATION CONCEPTS, INSTRUMENTS AND TECHNIQUES“. University of Canberra. Communication, 2009. http://erl.canberra.edu.au./public/adt-AUC20090818.142345.

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This thesis is a study of sonification and information: what they are and how they relate to each other. The pragmatic purpose of the work is to support a new generation of software tools that are can play an active role in research and practice that involves understanding information structures found in potentially vary large multivariate datasets. The theoretical component of the work involves a review of the way the concept of information has changed through Western culture, from the Ancient Greeks to recent collaborations between cognitive science and the philosophy of mind, with a particular emphasis on the phenomenology of immanent abstractions and how they might be supported and enhanced using sonification techniques. A new software framework is presented, together with several examples of its use in presenting sonifications of financial information, including that from a high-frequency securities-exchange trading-engine.

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Lewis, Joseph M. Jr. „The Development of Civil War Brass Band Instruments into Modern-Day Brass Band Instruments with a Related Teaching Unit For a High School General Music Course“. Bowling Green State University / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1431035985.

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Smith, Derek T. „Development and validation of a rating scale for wind jazz improvisation performance“. Diss., Columbia, Mo. : University of Missouri-Columbia, 2007. http://hdl.handle.net/10355/4684.

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Thesis (Ph. D.)--University of Missouri-Columbia, 2007.
The entire dissertation/thesis text is included in the research.pdf file; the official abstract appears in the short.pdf file (which also appears in the research.pdf); a non-technical general description, or public abstract, appears in the public.pdf file. Title from title screen of research.pdf file (viewed on December 13, 2007) Vita. Includes bibliographical references.

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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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Figg, Graham Elliot. „Just Intonation and the Revitalization of Neoclassicism: Three Works for Baroque Instruments“. Thesis, connect to online resource, 2008. http://digital.library.unt.edu/permalink/meta-dc-6113.

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Thesis (M.M.)--University of North Texas, 2008.
First work for harpsichord; 2nd work for baroque cello and harpsichord continuo; 3rd work for tenor and baroque ensemble (trumpet, cello, timpani, organ and harpsichord). System requirements: Adobe Acrobat Reader. Includes bibliographical references (p. 48-50).

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Koepp, Ronna Adema Fredrickson William E. „The effect of using a two-string teaching method versus a four-string teaching method on the performance of beginning fourth-grade orchestra students“. Diss., UMK access, 2004.

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Thesis (M.M. Ed.)--Conservatory of Music. University of Missouri--Kansas City, 2004.
"A thesis in music education." Typescript. Advisor: William E. Fredrickson. Vita. Title from "catalog record" of the print edition Description based on contents viewed Feb. 27, 2006. Includes bibliographical references (leaves 46-47). Online version of the print edition.

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Martinsson, Helena. „Instrumentdöden - vem bryr sig? : udda instruments förutsättningar i musik- och kulturskolan“. Thesis, Kungl. Musikhögskolan, Institutionen för musik, pedagogik och samhälle, 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-1967.

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The aim of the study was to find out how working conditions in different music schools and schools of arts are, or has been, for teachers on oboe and bassoon, and how the conditions may affect the regrowth of these instruments. The interviews were performed with teachers on bassoon and oboe; two active teachers and one former teacher. Experience shows that it can be difficult to recruit these instruments to orchestra courses for young people. An assumption was made in the study that the conditions for these instruments in the schools of music and arts are not the best, which was indicative of the survey. The results of the study show that the interviewed teachers on these instruments struggle with a whole series of problems such as poor facilities, too short teaching time, few students that require many hourly based employments and many time consuming journeys. It also shows that adaption has occurred to different conditions on different schools where also the recruiting of students works differently. The problem can be traced to scarce financial resources, absence of a national structure for music development or principals with indifference, ignorance or lack of mandate from the politics to take responsibility for a good qualitative development that leads to diversity and a vibrant music scene.
Syftet med studien har varit att ta reda på hur arbetsförhållanden på olika musik- och kulturskolor, där några pedagoger verkar eller ha verkat, påverkar återväxten för instrumenten oboe och fagott. Intervjuer har genomförts med två aktiva pedagoger och en före detta pedagog. Erfarenheter visar att det kan vara svårt att rektytera dessa instrument till orkesterkurser för unga. Ett antagande gjordes i studien att förutsättningarna på musik- och kulturskolorna för dessa instrument inte är det bästa vilket var vägledande för undersökningen. Resultatet av studien visar att intervjuade pedagoger på dessa instrument brottas med en hel rad problem såsom dåliga lokaler, för kort undervisningstid, få elever som kräver många olika timanställningar och många tidskrävande resor. Den visar också att anpassning har skett till olika förhållanden på olika skolor där även rekryteringen ser olika ut. Problematiken kan härledas till för knappa ekonomiska resurser, avsaknaden av en nationell struktur för musikens utveckling, eller chefers ointresse, okunskap eller avsaknad av uppdrag från politiskt håll att ta ansvar för en god kvalitativ utveckling som leder till mångfald och ett levande musikliv.

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Gerdes, Erin Marie. „Instruments of Praise: Sixteenth-Century Pedagogy, Lutheranism, and the 26 Fugae of Johann Walter“. Bowling Green State University / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1282176669.

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Myers, Arnold. „Characterization and taxonomy of historic brass musical instruments from an acoustical standpoint“. Thesis, University of Edinburgh, 1998. http://hdl.handle.net/1842/1824.

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The conceptual bases of existing classification schemes for brasswind are examined. The requirements of a taxonomy relating to the character of brass musical instruments as experienced by players and listeners are discussed. Various directly and indirectly measurable physical parameters are defined. The utility of these parameters in classification is assessed in a number of case studies on instruments in museums and collections. The evolution of instrument design since 1750 in terms of these characterization criteria is outlined.

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Burdett, Kimberley H. „A review of literature and texts relating to the percussion methods course including a proposal for a new text to meet concerns about course content and structure“. Columbus, Ohio : Ohio State University, 2007. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1180457064.

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36

Palmer, F. „Musical instruments at the court of Henry VIII“. Thesis, University of Surrey, 1986. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.371899.

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37

Erwin, Joanne (Joanne Hall). „Stability of Secondary String Teachers' Rehearsal Behavior“. Thesis, University of North Texas, 1992. https://digital.library.unt.edu/ark:/67531/metadc332546/.

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The purpose was to establish the stability of behavior of secondary string teachers. The research problems were (a) to establish the frequency of selected observable elements of content and instructional strategies; (b) to estimate the stability of observed teaching behaviors within and across rehearsals; and (c) to determine the stability of pacing within and across rehearsals. In conclusion, for the population observed, stability of behavior existed. The variable of multiple conduction, not given much attention in research or pedagogical literature, weighted heavily in frequency of occurrence. Demonstration and verbal imagery, encouraged by strong experts, received less than 3% of rehearsal time. Pacing should be considered an important variable in the instructional process and merits further definition and research.

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Van, Scoyoc Marilyn Linda. „The development and evaluation of electronic wind controller instructional materials and techniques for the instrumental music educator /“. Access Digital Full Text version, 1991. http://pocketknowledge.tc.columbia.edu/home.php/bybib/11168183.

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Thesis (Ed.D.)--Teachers College, Columbia University, 1991.
Typescript; issued also on microfilm. Sponsor: Harold F. Abeles. Dissertation Committee: Robert Pace. Includes bibliographical references (leaves 115-119).

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Cannon, Joanne. „Playable ambisonic spatial motion : music performance techniques and mappings for the extended bassoon /“. Connect thesis, 2009. http://repository.unimelb.edu.au/10187/7120.

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This research dissertation presents work undertaken to develop new performance techniques and mappings for the expressive control of spatial motion using Ambisonic projection. The dissertation reviews relevant research from the fields of Spatial Sound and Extended Instruments, and establishes playability as a useful set of criteria for a reflexive project methodology and evaluation. This reflexive research systematically investigates Trevor Wishart’s taxonomy of spatial motions through the development of new hardware, software, performance techniques and spatial motion analysis.

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Lindmark, Jeanette. „Nyckelharpan under 2000-talet : Ett instruments spridning och användning“. Thesis, Örebro universitet, Musikhögskolan, 2011. http://urn.kb.se/resolve?urn=urn:nbn:se:oru:diva-15858.

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I och med att nyckelharpan blivit allt populärare, har den spridit sig över Sverige och även utanför landets gränser. Som nyckelharpsspelman och lärare på nyckelharpa, väcktes ett intresse för att undersöka hur nyckelharpans spridning ser ut under 2000-talet. Syftet är att få vetskap om hur och till vilka nyckelharpan spridit sig och vilka nya användningsområden den kommit att få. Undersökningen genomfördes som litteraturstudier med jämförelser av litteratur nära knutet till ämnesområdet. Resultatet av undersökningen visar att nyckelharpans spridning under 2000-talet främst skett genom olika medier där Internet spelat en framträdande roll. Den globala spridningen är betydande med nya utövare, främst i USA men även i flera Västeuropeiska länder. Likaså kan man skönja en stor social spridning bland nyckelharpsspelarna. Studien visar även att nyckelharpan inte längre bara används som traditionellt folkmusikinstrument, utan nya användningsområden uppenbarar sig i dess väg genom olika musikgenrer allt ifrån konstmusik till rock.

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Mok, Kin-yee Raymond. „Confronting a different idiom : five compositions for Chinese instruments /“. Hong Kong : University of Hong Kong, 1999. http://sunzi.lib.hku.hk:8888/cgi-bin/hkuto%5Ftoc%5Fpdf?B22030414.

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Smith, Kimberly. „Perspectives on improvisation in beginning string pedagogy a description of teacher anxiety, confidence, and attitude /“. [Kent, Ohio] : Kent State University, 2010. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=kent1271081122.

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Thesis (MM)--Kent State University, 2010.
Title from PDF t.p. (viewed May 26, 2010). Advisor: Craig Resta. Keywords: improvisation; string instruments; pedagogy; teacher perspectives; reliability. Includes bibliographical references (p. 84-87).

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Harrison, Anna C. „Gender-knowledge and gender-typed preferences for musical instruments in middle childhood“. Thesis, Keele University, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.325825.

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44

Davis, Kimberly Nicole. „Man of many parts| A study of Buddy Collette's jazz vocabulary on multiple woodwind instruments“. Thesis, California State University, Long Beach, 2016. http://pqdtopen.proquest.com/#viewpdf?dispub=10108179.

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This paper is a study of Buddy Collette’s improvisatory style on four woodwind instruments: alto saxophone, tenor saxophone, clarinet and flute. Transcription and analysis of Collette’s solos provide examples of the vocabulary he generated and used on each of instrument. This paper also includes some of Collette’s significant life events, including contributions made to the Los Angeles jazz scene.

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45

Bowdery, Francis T. „Music for player piano : a study of seventeen selected examples“. Thesis, Loughborough University, 1995. https://dspace.lboro.ac.uk/2134/6989.

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From virtually the beginning of the twentieth century, musicians were sufficiently intrigued by the possibilities of the player piano to compose and specially arrange music for it. The aesthetic of 'automatic music' reaches back at least as far as JS Bach and forward to Conlon Nancarrow and Georgy Ligeti, as well as in developments in electronic popular and art music. This thesis makes a case study of seventeen compositions, arrangements and fragments from the period of the instrument's greatest commercial success, 1900-1927, including music by Bax, Busoni, Casella, Hans Haass, Hindemith and Stravinsky, and seeks to relate them to the broader range both of player piano compositions and music for other automatic musical instruments, as well as the stylistic developments of the time. A number of items are in score for the first time, and an attempt at a complete listing of the repertory for player piano is included.

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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.

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Hu, Ning. „Automatic Construction of Synthetic Musical Instruments and Performers“. Research Showcase @ CMU, 2013. http://repository.cmu.edu/dissertations/270.

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This thesis describes an approach to create high-quality music synthesis by automatically constructing an instrument model and a performance model; the latter module generates control signals from score input and drives the former module to produce synthetic instrumental sounds. By designing and applying appropriate machine learning techniques as well as domain knowledge, the instrument model and the performance model are constructed from acoustic examples and their corresponding scores for a musical instrument. The automated model is able to synthesize realistic instrumental performances from scores.

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Tucker, Zoe. „Emergence and Complexity in Music“. Scholarship @ Claremont, 2017. http://scholarship.claremont.edu/hmc_theses/101.

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How can we apply mathematical notions of complexity and emergence to music, and how can these mathematical ideas then inspire new musical works? Using Steve Reich's Clapping Music as a starting point, we look for emergent patterns in music by considering cases where a piece's complexity is significantly different from the total complexity of each of the individual parts. Definitions of complexity inspired by information theory, data compression, and musical practice are considered. We also consider the number of distinct musical pieces that could be composed in the same manner as Clapping Music. Finally, we present a new musical compositions to demonstrate some of these ideas.

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Lewis, Kevin D. „“The Miracle of Unintelligibility”: The Music and Invented Instruments of Lucia Dlugoszewski“. University of Cincinnati / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1321641867.

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Liu, Terence Michael. „Development of the Chinese two-stringed bowed lute 'erhu' following the New Culture Movement (c. 1915-1985)“. online access from Digital dissertation consortium, 1988. http://libweb.cityu.edu.hk/cgi-bin/er/db/ddcdiss.pl?8827170.

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Dissertationen zum Thema „Music instruments in mathematics“

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