Dissertations / Theses on the topic 'Art and music'
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Mokhtabad-Amrei, Seyed Abdolhossein. "Iranian contemporary art music." Thesis, Goldsmiths College (University of London), 2008. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.500084.
Full textCleveland, Chad L. "The music of art /." Online version of thesis, 2009. http://hdl.handle.net/1850/11203.
Full textIbbett, David Roger. "Towards an integrated art music." Thesis, University of Birmingham, 2015. http://etheses.bham.ac.uk//id/eprint/6485/.
Full textMarch, Neil. "Developing an urban art music." Thesis, Goldsmiths College (University of London), 2015. http://research.gold.ac.uk/11458/.
Full textSkevk, Therese. "Art and Music Profile School." Thesis, Umeå universitet, Arkitekthögskolan vid Umeå universitet, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-135474.
Full textWillgoss, Richard Adrian. "Creativity in Art Music Composition." Thesis, The University of Sydney, 2018. http://hdl.handle.net/2123/20586.
Full textGaines, Adam W. "Work of Art : the life and music of Art Farmer." Virtual Press, 2005. http://liblink.bsu.edu/uhtbin/catkey/1317924.
Full textRanyard, Marie Phyllis. "Transcontextual mechanisms in contemporary art music." Thesis, City University London, 1997. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.264241.
Full textHarrison, Jack Pascal. "Thoughts on art and country music." The Ohio State University, 1989. http://rave.ohiolink.edu/etdc/view?acc_num=osu1314211662.
Full textGroscost, Donald. "Music and art : an analogical approach /." Online version of thesis, 1987. http://hdl.handle.net/1850/10432.
Full textRobinson, Chelseigh. "Music and Art: Exploring Cross-Pollination." Digital Commons @ East Tennessee State University, 2013. https://dc.etsu.edu/honors/115.
Full textAnderson, Virginia de Vere. "Aspects of British experimental music as a separate art-music culture." Thesis, Royal Holloway, University of London, 2004. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.408200.
Full textPitkänen, Johanna. "Metsän väki - Forest Dwellers : creating a collaborative, semi-improvised performance that combines music, visual art, dance and performance art." Thesis, Kungl. Musikhögskolan, Institutionen för klassisk musik, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-2121.
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Magriel, Nicholas Fairchild. "Sarangi style in North Indian art music." Thesis, University of London, 2002. https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.271640.
Full textJeffery, Lucy. "Beckett : art, music and the creative process." Thesis, University of Reading, 2018. http://centaur.reading.ac.uk/80440/.
Full textWood, Kenneth Edward. "An investigation and analysis of selected Victorian art songs /." Full text (PDF) from UMI/Dissertation Abstracts International, 2000. http://wwwlib.umi.com/cr/utexas/fullcit?p3004204.
Full textBelda, Angel. "PAINTING MUSIC : Creating a new performance to explore the relation between music and painting." Thesis, Kungl. Musikhögskolan, Institutionen för klassisk musik, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-4206.
Full textAdkins, Mathew. "The art of assemblage." Thesis, University of East Anglia, 1997. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.389371.
Full textLee, Deborah. "Modelling music : a theoretical approach to the classification of notated Western art music." Thesis, City, University of London, 2017. http://openaccess.city.ac.uk/17445/.
Full textCorzatt, Adam David. "NAÏVE ART AND ITS REFLECTION IN SWEDISH MUSIC." Case Western Reserve University School of Graduate Studies / OhioLINK, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=case1238767722.
Full textFure, Ashley Rose. "Boundary Notions: A Sonic Art Portfolio." Thesis, Harvard University, 2013. http://dissertations.umi.com/gsas.harvard:10962.
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Shank, Jennifer Sue. "THE EFFECT OF VISUAL ART ON MUSIC LISTENING." UKnowledge, 2003. http://uknowledge.uky.edu/gradschool_diss/397.
Full textRobson, Tristram Newton Fatkin. "The Irish harp in art music c1550-c1650." Thesis, Durham University, 1997. http://etheses.dur.ac.uk/9354/.
Full textGargarian, Gregory Mark. "The art of design expressive intelligence in music." Thesis, Massachusetts Institute of Technology, 1993. http://hdl.handle.net/1721.1/12559.
Full textCox, Gareth. "The Development of Twentieth-Century Irish Art-Music." Bärenreiter Verlag, 1998. https://slub.qucosa.de/id/qucosa%3A37165.
Full textCorzatt, Adam David. "Naive art and its reflection in swedish music." Cleveland, Ohio : Case Western Reserve University, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=case1238767722.
Full textTitle from PDF (viewed on ) Department of Music Includes abstract Includes bibliographical references and appendices Available online via the OhioLINK ETD Center
Isted, Lisa. "Modal structures in European art music (1870-1939)." Thesis, Boston Spa, U.K. : British Library Document Supply Centre, 1993. http://ethos.bl.uk/OrderDetails.do?did=1&uin=uk.bl.ethos.386226.
Full textTuomi, Scott Lawrence. "Finnish art song for the American singer." Diss., The University of Arizona, 2001. http://hdl.handle.net/10150/289889.
Full textWong, Yee Sik. "The art of accompanying classical ballet technique classes." Diss., University of Iowa, 2011. https://ir.uiowa.edu/etd/1192.
Full textHands, Rachel M. "The Nature and Value of Accessibility in Western Art-Music, 1950-1970." University of Cincinnati / OhioLINK, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1236091441.
Full textMidgren, Sven. "Folk as Art : my development as an artist." Thesis, Kungl. Musikhögskolan, Institutionen för folkmusik, 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-1501.
Full textBilaga: 1 DVD
Crookes, Deborah. "Conceptualizing entrepreneurship in music: A project-based view of entrepreneurship in high art music performance." Thesis, Mälardalen University, School of Sustainable Development of Society and Technology, 2008. http://urn.kb.se/resolve?urn=urn:nbn:se:mdh:diva-851.
Full textThe concept of entrepreneurship in research and society has been firmly rooted in the realm of economics and business. This narrow focus excludes a large number of entrepreneurial acts that occur outside of economic contexts. The discipline of high art music performance is rich with innovative acts that challenge the boundaries of conventional practices. However, these acts largely go unnoticed because of the strength of the bond between entrepreneurship and economics. In this research paper, a literature review will be used to examine how entrepreneurship can best be conceptualized in the discipline of high art music performance. It is argued here that a project-based view of entrepreneurship (Lindgren & Packendorff 2003) provides a valuable conceptualization to understand entrepreneurship in high art music performance. This conceptualization is then applied to three case studies of Canadian high art music performers. The case study uses the musicians' narrative accounts to provide illustrations of the project-based nature of entrepreneurship in music performance. It is hoped that the findings from this investigation provides further support for a project-based view of entrepreneurship and a starting ground to develop more effective tools to support and develop entrepreneurship in music through education and policy development.
Tarikci, Abdurrahman. "Analysis Of Turkish Art Music Songs Via Fractal Dimension." Phd thesis, METU, 2010. http://etd.lib.metu.edu.tr/upload/12611567/index.pdf.
Full textl (sofyan rhythmic form) to check the statistical significance. Next, fractal dimensions of the these songs are calculated by using two different method and two different scattering diagrams. In the first method, fractal dimensions are calculated via two different box sizes. As for second method, successively decreased box sizes are used. In addition, standard deviation and mean values of the fractal dimensions are calculated to check the relation between fractal dimension and maqam. T test and F test are applied to check the statistical significance. After these calculations, it is verified that fractal dimension can be used as an information source concerning the Turkish art music songs which are nonlinear dynamical systems. Moreover, it is showed that maqams can have their own fractal dimension for low resolutions. On the other hand, it is seen that for high resolutions all songs have almost same fractal dimension.
Mearns, Lesley. "The computational analysis of harmony in western art music." Thesis, Queen Mary, University of London, 2013. http://qmro.qmul.ac.uk/xmlui/handle/123456789/8676.
Full textWright, Allan. "Frank Zappa's orchestral works art music or "bogus pomp"? /." Connect to e-thesis, 2007. http://theses.gla.ac.uk/492/.
Full textDisque, J. Graham, and D. Henderson. "Using Art, Literature, Film and Music in Counselor Education." Digital Commons @ East Tennessee State University, 1995. https://dc.etsu.edu/etsu-works/2837.
Full textChung, Fiona, and 鍾雅妍. "Music composition and creative writing: exploration and application of frames in music and word." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2007. http://hub.hku.hk/bib/B40987863.
Full textChung, Fiona. "Music composition and creative writing exploration and application of frames in music and word /." Click to view the E-thesis via HKUTO, 2007. http://sunzi.lib.hku.hk/hkuto/record/B40987863.
Full textLin, Yanyan. "The Art Songs of Huang Zi: A Selective Study." The Ohio State University, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=osu1594938239554979.
Full textVan, Der Sluys Jaime. "The art of delivering lyrics| Inspired by Carmen McRae." Thesis, California State University, Long Beach, 2017. http://pqdtopen.proquest.com/#viewpdf?dispub=10263118.
Full textThis paper is a study of Carmen McRae’s unique style of delivering lyrics by analyzing her use of phrasing, stylistic elements, and personal connection, in an effort to apply these techniques to a modern-day vocal performance. The paper provides vocalists with a guideline in order to understand, emulate, and implement Carmen McRae’s techniques. Analyzing McRae’s interpretation of a song is important in today’s musical climate because the modern jazz singer has limited resources pertaining to how to perform a song with lyric interpretation as the primary focus.
Panyaniti, Rawin. "Bartók as ethnomusicologist and composer: folk music and art music influences on his musical language." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1998. http://hub.hku.hk/bib/B31223278.
Full textSzabo, Moira. "For the love of music : avenues of entry into the world of western art music /." Thesis, Connect to this title online; UW restricted, 2001. http://hdl.handle.net/1773/11342.
Full textStolp, Mareli. "Contemporary performance practice of art music in South Africa : a practice-based research enquiry." Thesis, Stellenbosch : Stellenbosch University, 2012. http://hdl.handle.net/10019.1/71885.
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ENGLISH ABSTRACT: In this dissertation, I examine contemporary South African art music performance practice and the social function it fulfils. Performance practice is understood in this study to mean an art practice or cultural item constituted by three types of 'role-players': performers of art music, composers of works in the art music genre and audiences that assimilate and respond to these works when performed. My own position as a performing artist in South Africa has suggested most of the research questions and problems dealt with in this dissertation, which was approached as a practice-based research study. Practice-based research, an emergent kind of research which aims at integrating practical and scholarly work, is becoming increasingly prevalent in academe internationally, although the present study is one of the first examples of such an approach in South Africa. Drawing on contemporary interpretations of the theories of phenomenology articulated by Edmund Husserl and Maurice Merleau-Ponty, my position as a performer of art music in South Africa and the personal experiences I have had as a practitioner within this art practice are interrogated. While I was involved in a variety of practical engagements during the course of this study, all of which have contributed on some level to the final research product, the research design comprised five 'performance projects' that were designed to interrogate specific issues in contemporary art music performance practice in South Africa. The knowledge gained through these performance projects are presented together with theoretical work in this dissertation. An attempt is made to explicate these subjective experiences gained through practice and interrogate them through the application of social theory, ultimately translating them into an objective research outcome which is presented discursively. In this sense, the research project is approached according to a two-pronged strategy: subjective experiences generated through practice are examined through the use of social theory, ultimately resulting in a discursively articulated research outcome. I suggest in this dissertation that art music practice in contemporary South Africa has been and has remained a cultural territory largely inhabited by white South Africans. I further argue that this practice has shown little transformation since the end of apartheid in South Africa, in spite of the political, social and cultural transformation that has characterized the country since the beginning of democracy in 1994. Drawing on the theories of Homi Bhabha and Regula Qureshi, I posit that contemporary art music performance practice is providing an ideological counter-environment to predominant socio-cultural realities in post-apartheid South Africa. Qureshi suggests that the art music practice of a society 'constitutes a meaningful, cultural world for those who inhabit it'(Qureshi 2000: 26). Such a 'world within a society' is here interpreted as providing a counter-environment within which white South African identity can be articulated, negotiated and propagated.
AFRIKAANSE OPSOMMING: In hierdie proefskrif ondersoek ek die uitvoeringspraktyk van kontemporêre kunsmusiek in Suid-Afrika en die sosiale funksie wat dit vervul. Uitvoeringspraktyk word in hierdie studie geïnterpreteer as ‘n kunspraktyk of kulturele item wat uit drie 'rol-spelers' bestaan: uitvoerders van kunsmusiek, komponiste van werke in die kunsmusiek genre en gehore wat kunsmusiek assimileer en daarop reageer wanneer hierdie werke uitgevoer word. My eie posisie as uitvoerende kunstenaar het gelei tot die navorsingsvrae en navorsingsprobleme wat hierdie studie informeer. As sulks neem hierdie studie die vorm aan van ‘n praktyk-gebasseerde navorsingsstudie. Praktyk-gebasseerde navorsing is ‘n ontwikkelende soort navorsing wat internasionaal toenemend beoefen word. Hierdie studie is een van die eerste Suid-Afrikaanse voorbeelde van hierdie tipe navorsing in musiek. Die fenomenologiese teorieë van Edmund Husserl en Maurice Merleau-Ponty is gebruik om my persoonlike ervarings as uitvoerder van oorwegend kunsmusiek in Suid-Afrika te kontekstualiseer. My betrokkenheid by verskeie praktiese projekte gedurende die studietydperk, sowel as vyf praktiese projekte wat spesifiek vir die doeleindes van hierdie studie onderneem is, het deurgaans die studie geïnformeer. Hierdie projekte is aangepak om die bestudering van spesifieke aspekte van Suid-Afrikaanse uitvoeringspraktyk van kunsmusiek te fasiliteer. Die kennis wat deur middel van die praktiese werk ingewin is, is deurgaans in hierdie proefskrif met teoretiese werk versterk. Daar is gepoog om die subjektiewe ervarings van die uitvoerder aan te vul deur die toepassing van sosiale toerie, met die uiteindelike doel om hierdie ervarings in ‘n objektiewe en diskursief-artikuleerbare navorsingsresultaat te omskep. Die navorsing in hierdie proefskrif volg dus ‘n tweeledige benadering: subjektiewe, persoonlike ervarings wat deur praktyk gegenereer word, word deur middel van sosiale teorie benader, wat lei tot die uiteindelike navorsingsresultaat soos in die proefskrif aangebied. Ek stel dit in hierdie proefskrif dat kunsmusiekpraktyk in kontemporêre Suid-Afrika min bewyse van transformasie toon, ten spyte van die veranderende politiese- en sosio-kulturele omstandighede in Suid-Afrika sedert 1994. Dié praktyk word steeds gekenmerk deur deelname en ondersteuning vanuit die wit bevolkingsgroep. Die teorieë van Homi Bhabha en Regula Qureshi word gebruik om die argument te onderskryf dat kontemporêre kunsusiekpraktyk ‘n omgewing skep wat dien as ideologiese teenpool vir die sosio-kulturele realiteite van Suid-Afrika vandag. Qureshi is van mening dat ‘n gemeenskap se kunsmusiekpraktyk ‘n 'betekenisvolle, kulturele wereld skep vir die wat dit bewoon' (Qureshi 2000: 26). Hierdie 'wereld binne ‘n gemeenskap' word in hierdie proefskrif vertolk as ‘n 'ideologiese teen-omgewing' waarvandaan wit Suid-Afrikaanse identiteit geartikuleer, onderhandel en bevorder kan word.
Lee, Myung-Ji. "The Art of Borrowing: Quotations and Allusions in Western Music." Thesis, University of North Texas, 2016. https://digital.library.unt.edu/ark:/67531/metadc849772/.
Full textLinekin, Kim. "The modern popular song as a literary art form." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp01/MQ37216.pdf.
Full textIgarashi, Yoko. "Japanese Poetry in Western Art Song." Thesis, Boston University, 2012. https://hdl.handle.net/2144/12426.
Full textWestern art songs written on Japanese poems, Tanka, appeared in the early twentieth century as a late manifestation of Japonisme, the Japanese influence on Western art and music. The songs discussed in this dissertation include Japanisches Regenlied (1909) by Joseph Marx, Three Japanese Lyrics (1912-13) by Igor Stravinsky, Petits Poi!mes Japonais (1919) by Francesco Santoliquido, and Romances on Texts by Japanese Poets (1928-32) by Dmitri Shostakovich. Japonisme emerged as a significant movement in late-nineteenth-century Western art when Japanese artworks were first exported to Europe. Under the influence of these works, Western painters soon adopted Japanese techniques especially from traditional wood-block prints (Ukiyo-e). The appreciation of Japanese art and culture eventually emerged in Western music as a part of Orientalism and exoticism, first in opera, then in Debussy's music, and lastly in art songs. The Japanese poems used in Western art songs examined here are most commonly referred to as Tanka (a short poem), a genre that flourished between the third and tenth centuries. Because of the unique characteristics of the Japanese language, translating Japanese poems into European languages requires a certain imagination. The purpose of this dissertation is to explore the relationship between the original Japanese poems and their translations into European languages, and to discuss their transformation. The introduction provides a brief overview of Japonisme in Western art in the late nineteenth century. Chapter One focuses on the basic elements of Japanese poetry in order to outline the characteristics unique to the Japanese language. Considering Japanese influence within the category of "Orientalism" and "Exoticism" in music, Chapter Two explores the evidence for Oriental and exotic influences on Western music. Chapter Three focuses more specifically on Japanese influences in Western music. A detailed study of poems and translations, and their relationship to music is the core focus of Chapter Four. Chapter Five concludes that Tanka vanished from Western art songs soon after the songs under consideration were composed.
Gulati, Sankalp. "Computational approaches for melodic description in indian art music corpora." Doctoral thesis, Universitat Pompeu Fabra, 2016. http://hdl.handle.net/10803/398984.
Full textLa descripció automàtica d’enregistraments musicals és crucial per interactuar amb grans volums de dades i per al desenvolupament de noves eines per a la pedagogia musical. La melodia és una faceta fonamental en la majoria de les tradicions musicals i, per tant, és un component indispensable per a la descripció automàtica d’enregistraments musicals. En aquesta tesi desenvolupem sistemes computacionals per analitzar aspectes melòdics d'alt nivell presents en la música clàssica de l’Índia (MCI), a partir dels quals descrivim i interconnectem grans quantitats d'enregistraments d'àudio. La descripció de melodies en la MCI, complexes i amb una base teòrica ben fonamentada, va més enllà de l’anàlisi estàndard de contorns de to (“pitch” en anglès), i, per tant, és un tema de recerca molt interessant i tot un repte. Analitzem les melodies dins del seu context tonal, identifiquem patrons melòdics, els comparem tant amb ells mateixos com amb altres enregistraments, i, finalment, caracteritzem el context melòdic específic de la música IAM: els rāgas. Tots els anàlisis s’han realitzat utilitzant metodologies basades en dades, amb un corpus musical de mida considerable. Iniciem la tesi recopilant la col·lecció més gran de MCI obtinguda fins al moment. Aquesta col·lecció comprèn enregistraments de qualitat amb metadades de música Hindustani i Carnatic, les dues grans tradicions de la MCI. A partir d’aquí analitzem el to predominant i normalitzem la peça pel context tonal. Un element important per a descriure melodies és la identificació d’unitats temporals rellevants, per la qual cosa detectem les ocurrències de nyās svaras en la MCI, que serveixen com a marques identificadores dels patrons melòdics més destacats. Utilitzant aquestes característiques melòdiques, extraiem els patrons melòdics recurrents més destacats. Aquests patrons són els blocs que construeixen les estructures melòdiques, tant en la improvisació i com en la composició. Per tant, són fonamentals per a la descripció de col·leccions de música MCI. Proposem partir d’un enfocament no supervisat que utilitza eines d'anàlisi basades en sèries temporals per descobrir patrons melòdics en grans col·leccions de música. En primer lloc, hem realitzat un anàlisi supervisat extensiu sobre la similitud melòdica, que és un component fonamental per al descobriment de patrons. A continuació, millorem els resultats (respecte al millor competidor segons l’estat de la qüestió) explotant les característiques peculiars dels patrons melòdics de la música MCI. Per identificar patrons musicalment rellevants, explotem les relacions entre els patrons descoberts mitjançant un anàlisi de xarxa. Extenses proves realitzades amb músics professionals revelen que els patrons melòdics descoberts són musicalment interessants i significatius. Finalment, fem servir els nostres resultats per al reconeixement de rāgas en actuacions gravades d'IAM. Proposem dos enfocaments nous que capturen conjuntament el to i els aspectes temporals de la melodia. El primer enfoc utilitza patrons melòdics, l’aspecte més important per als éssers humans a l’hora d’identificar rāgas. Utilitzem els patrons melòdics descoberts i fem servir tècniques de modelatge de temes (“topic modeling” en anglès), on considerem que la interpretació d’un raga és similar a la descripció textual d’un tema. En el nostre segon enfocament, proposem utilitzar el “time delayed melodic surface”, una característica innovadora basada en coordenades de retard que captura l’evolució melòdica del rāga. Amb aquests enfocaments demostrem una precisió sense precedents per al reconeixement de rāgas en el conjunt de dades més gran utilitzat mai per a aquesta tasca. Encara que el nostre enfocament està basat en les característiques de les melodies MCI i la tasca en qüestió, creiem que la nostra metodologia es pot estendre fàcilment a altres tradicions de la música on la melodia és rellevant. En general, hem incorporat nous mètodes computacionals per a l'anàlisi de diversos aspectes melòdics per a interpretacions de MCI, a partir dels quals descrivim i inter-connectem gran quantitat d'enregistraments de música. En aquest procés hem recopilat dades i hem desenvolupat diverses eines que poden ser utilitzades per a diferents estudis computacionals per a MCI, específicament en la caracterització de rāgas, composicions i artistes. Les tecnologies resultants d'aquest treball d’investigació són part de diverses aplicacions desenvolupades dins el projecte CompMusic que pretén millorar la descripció, l’experiència auditiva, i la pedagogia de la MCI.
La descripción automática del contenido de música grabada es crucial para la interacción con grandes colecciones de grabaciones de audio y para el desarrollo de nuevas herramientas que faciliten la pedagogía musical. La melodía es un aspecto fundamental para la mayoría de las tradiciones musicales, y es por tanto un componente indispensable para tal descripción. En esta tesis desarrollamos propuestas computacionales para el análisis de aspectos melódicos de alto nivel en interpretaciones musicales de Música Clásica de la India (MCI), con las que podemos describir e interrelacionar grandes cantidades de grabaciones de audio. Debido a su complejidad melódica y a su sólido marco teórico, la descripción de la melodía en MCI más allá de la línea melódica supone un interesante y desafiante objeto de investigación. Analizamos melodías en su contexto tonal, identificamos patrones melódicos, comparamos ambos tanto en piezas individuales como entre diferentes piezas, y finalmente caracterizamos el contexto melódico específico de MCI, los rāgas. Todos estos análisis se llevan a cabo mediante métodos dirigidos por datos en corpus de música de considerable tamaño y meticulosamente organizados. La tesis comienza con la confección y estructuración de los mayores corpus musicales hasta la fecha de las dos tradiciones de MCI, indostaní y carnática. Dichos corpus están formados por grabaciones de audio de alta calidad y sus correspondientes metadatos. De estas extraemos la línea melódica predominante y la normalizamos según la tónica de su contexto. Un elemento importante para la descripción de melodías es la identificación de unidades temporales significativas, para lo que proponemos detectar en música indostaní las ocurrencias de nyās svaras, marcas que delimitan patrones melódicos musicalmente prominentes. A partir de estas características melódicas, extraemos patrones melódicos recurrentes y musicalmente relevantes. Estos patrones son las unidades básicas con las que se construyen estructuras melódicas tanto en improvisaciones como composiciones, y por tanto son fundamentales para la descripción de colecciones de audio en MCI. Proponemos un método no supervisado basado en el análisis de las series temporales para el descubrimiento de patrones melódicos en colecciones musicales de tamaño considerable. En primer lugar llevamos a cabo un análisis supervisado en profundidad de similitud melódica, que es el componente crítico para el descubrimiento de patrones. A continuación mejoramos la propuesta más competitiva sirviéndonos de las características melódicas propias de MCI. Para identificar patrones musicalmente significativos, hacemos uso de las relaciones entre los patrones descubiertos mediante la implementación de análisis de redes. Exhaustivas evaluaciones auditivas por parte de músicos profesionales de los patrones melódicos descubiertos revelan que estos son musicalmente interesantes y significativos. Finalmente, utilizamos nuestros resultados para el reconocimiento de rāgas en interpretaciones grabadas de MCI. Proponemos dos métodos nuevos que captan conjuntamente los aspectos tonales y temporales de la melodía. Nuestro primer método se sirve de patrones melódicos, los principales indicadores para la identificación de rāgas por parte de oyentes humanos. Utilizamos los patrones melódicos descubiertos y empleamos técnicas de modelado de temas, en las que equiparamos la interpretación de un rāga a la descripción textual de un tema. En nuestro segundo método, proponemos una superficie melódica de tiempo de retardo, una característica nueva basada en las coordenadas de retraso que captan el contorno melódico de un rāga. Con estos métodos alcanzamos precisiones sin precedentes en el reconocimiento de rāgas en los mayores conjuntos de datos nunca usados para esta tarea. Aunque nuestra propuesta se fundamenta en las características de las melodías en MCI y la tarea en cuestión, creemos que nuestra metodología puede ser fácilmente aplicable a otras tradiciones musicales predominantemente melódicas. En resumen, hemos construido nuevos métodos computacionales para el análisis de varios aspectos melódicos de interpretaciones grabadas de MCI, con las que describimos e interrelacionamos grandes cantidades de grabaciones musicales. En este proceso hemos desarrollado varias herramientas y reunido datos que pueden ser empleados en numerosos estudios computacionales de MCI, específicamente para la caracterización de rāgas, composiciones y artistas. Las tecnologías resultantes de este trabajo de investigación son parte de varias aplicaciones desarrolladas en el proyecto CompMusic para la mejora de la descripción, experiencia de escucha, y enseñanza de MCI.
Andersson, Robert. "Spiritually uncontrolled art : exploring aesthetics of evil in contemporary music." Thesis, Högskolan i Gävle, Avdelningen för kultur-, religions- och utbildningsvetenskap, 2011. http://urn.kb.se/resolve?urn=urn:nbn:se:hig:diva-8368.
Full textPosner, David M. "Reviving a lost art : piano music of Russian-Jewish origin /." Access Digital Full Text version, 1988. http://pocketknowledge.tc.columbia.edu/home.php/bybib/10809193.
Full textJOHNSON, COURTNEY. "MORE THAN MUSIC VIDEOS: RAMMSTEIN AND THE ART OF REFERENCE." Thesis, The University of Arizona, 2008. http://hdl.handle.net/10150/190470.
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