Dissertations / Theses on the topic 'Creating text and music'
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Kendrick, Paul. "Blind estimation of room acoustic parameters from speech and music signals." Thesis, University of Salford, 2009. http://usir.salford.ac.uk/15820/.
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The acoustic character of a space is often quantified using objective room acoustic parameters. The measurement of these parameters is difficult in occupied conditions and thus measurements are usually performed when the space is un-occupied. This is despite the knowledge that occupancy can impact significantly on the measured parameter value. Within this thesis new methods are developed by which naturalistic signals such as speech and music can be used to perform acoustic parameter measurement. Adoption of naturalistic signals enables passive measurement during orchestral performances and spoken announcements, thus facilitating easy in-situ measurement. Two methods are described within this work; (1) a method utilising artificial neural networks where a network is taught to recognise acoustic parameters from received, reverberated signals and (2) a method based on the maximum likelihood estimation of the decay curve of the room from which parameters are then calculated. (1) The development of the neural network method focuses on a new pre-processor for use with music signals. The pre-processor utilises a narrow band filter bank with centre frequencies chosen based on the equal temperament scale. The success of a machine learning method is linked to the quality of the training data and therefore realistic acoustic simulation algorithms were used to generate a large database of room impulse responses. Room models were defined with realistic randomly generated geometries and surface properties; these models were then used to predict the room impulse responses. (2) In the second approach, a statistical model of the decay of sound in a room was further developed. This model uses a maximum likelihood (ML) framework to yield a number of decay curve estimates from a received reverberant signal. The success of the method depends on a number of stages developed for the algorithm; (a) a pre-processor to select appropriate decay phases for estimation purposes, (b) a rigorous optimisation algorithm to ensure the correct maximum likelihood estimate is found and (c) a method to yield a single optimum decay curve estimate from which the parameters are calculated. The ANN and ML methods were tested using orchestral music and speech signals. The ANN method tended to perform well when estimating the early decay time (EDT), for speech and music signals the error was within the subjective difference limens. However, accuracy was reduced for the reverberation time (Rt) and other parameters. By contrast the ML method performed well for Rt with results for both speech and music within the difference limens for reasonable (<4s) reverberation time. In addition reasonable accuracy was found for EDT, Clarity (C80), Centre time (Ts) and Deutichkeit (D). The ML method is also capable of producing accurate estimates of the binaural parameters Early Lateral Energy Fraction (LEF) and the late lateral strength (LG). A number of real world measurements were carried out in concert halls where the ML accuracy was shown to be sufficient for most parameters. The ML method has the advantage over the ANN method due to its truly blind nature (the ANN method requires a period of learning and is therefore semi-blind). The ML method uses gaps of silence between notes or utterances, when these silence regions are not present the method does not produce an estimate. Accurate estimation requires a long recording (hours of music or many minutes of speech) to ensure that at least some silent regions are present. This thesis shows that, given a sufficiently long recording, accurate estimates of many acoustic parameters can be obtained directly from speech and music. Further extensions to the ML method detailed in this thesis combine the ML estimated decay curve with cepstral methods which detect the locations of early reflections. This improves the accuracy of many of the parameter estimates.
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Nowlain, Kristine. "Collaborative Storytelling through Contemporary Composition : Examining participation in the creation and performance of meaningful works through Judith Weir’s woman.life.song." Thesis, Kungl. Musikhögskolan, Institutionen för klassisk musik, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-2791.
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Through examining Judith Weir’s woman.life.song (2000), the work presented in this written reflection is centered on the power of collaboration and context to create meaningful art and music that express important and often underrepresented experiences. Through a musical and sociological analysis of this piece, it is examined how the personal is political and how the creation of music and art are therefore inherently political projects. This paper argues that musicians have a responsibility to consciously select our repertoire: a conscience based upon an understanding of intersectionality. Such consciousness must take into account structures of sexism and racism, which positions music in its socio-political context and actively challenges the concept of “quality” as it is constructed in the art music canon. Placing the composer and authors within their broader socio-political contexts, it is argued that lifting pieces such woman.life.song are important contributions of a musician’s participation in music. This paper draws upon work in sociology that centers on identity to examine how structures of power impact the voices that are heard and that are represented in the musical canon.Kristine Nowlain, sopran
Gustave Charpentier (1860-1956)
Depuis le jour
Ur Louise(Louise)
Libretto av G. Charpentier
Albert Dahllöf, piano
Mario Castelnuovo-Tedesco (1895-1968)
The Divan of Moses-Ibn-Ezra
1. When the morning of life has passed
2. The dove that nests in the tree-top
3. Wrung with anguish
Text av Moses-Ibn-Ezra (1058-1138)
Gustav Sondén, gitarr
Heitor Villa-Lobos (1887-1959)
Bachianas Brasileiras, no. 5 (Aria)
Text av Ruth V. Corrêa
Gustav Sondén, gitarr
Åke Uddén (1903-1987)
Tre sånger ur ”Les Chanson de Bilitis”
1. Tendresses
3. Chanson
Text av Pierre Louÿs (1870-1925)
Johanna Johnsson, piano
Gösta Nyström (1890-1966)
På Reveln
3. Havet Sjunger
Text av Ebba Lindqvist (1908-1995)
Johanna Johnsson, piano
Rebecca Clarke (1886-1979)
The Seal Man
Text ur A Mainsail Haul av John Masefield (1878-1967)
Albert Dahllöf, piano
W.A. Mozart (1756-1791)
Ach, ich Fühl’s
Ur Die Zauberflöte(Pamina)
Libretto av Emanuel Schikaneder (1751-1812)
KMH Kammarorkester
Judith Weir (f. 1954)
woman.life.song
1c. Edge (text av Toni Morrison, f. 1931)
2. Eve Remembering (text av Toni Morrison)
3b. The Mothership: when a good mother sails from this world (Stave II) – (text av Clarissa Pinkola Estés, f. 1945)
KMH Kammarorkester:
Sofia Winiarski, dirigent
Albert Dahllöf, piano
Andreas Nyström, slagverk
Astrid le Clercq, klarinett
Catrin Spångberg Johansson, altflöjt
Enno Leggedör, viola
Gustav Wetterbrandt, basklarinett
Henrik Wassenius, slagverk
Hugo Olsson, klarinett
Isabel Godau, violin
Johanna Moraeus, violin
Kajsa Nilsson, flöjt
Klara Källström, cello
Miia Roiko-Jokela, flöjt
Miriam Liljefors, harpa
Moa Nissfolk, gitarr
Ragnhild Kvist, viola
Simon Landqvist, slagverk
Svante Söderqvist, kontrabas
Viktoria Hillerud, cello
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Melander, Hanna. "Var ska jag börja? : En konstnärlig undersökning kring utgångspunktens betydelse vid låtskrivande." Thesis, Linnéuniversitetet, Institutionen för musik och bild (MB), 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-100844.
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Detta arbete handlar om min låtskrivandeprocess, och om hur den skiljer sig när jag skiftar min utgångspunkt mellan text, melodi + ackord och beat. Syftet med arbetet har varit att ta reda på vilken metod som fungerar bäst för mig när jag skriver låtar till mig själv som artist, för att kunna bli en mer effektiv och strukturerad låtskrivare i framtiden. Jag har skrivit totalt sex låtar. I två av låtarna har jag börjat med att skriva text, i två av låtarna har jag börjat med att skriva ackord och melodi, och i två av låtarna har jag börjat med att producera ett beat. Jag har fört loggbok under arbetets gång, och utifrån den sedan beskrivit processen och bedömt resultatet av låtarna. I en diskussion har jag sedan kommit fram till att den metod som fungerar bäst för mig är att börja med beat, eftersom jag då upplever att jag får som mest frihet och inspiration till att skriva låtens topline.
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Powers, Harold S. "Music as Text and Text as Music." Bärenreiter Verlag, 1998. https://slub.qucosa.de/id/qucosa%3A36794.
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Duwe, Menan Medeiros. "Campos textuais em dois processos colaborativos de criação na música contemporânea." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2015. http://hdl.handle.net/10183/129848.
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Esta dissertação é um estudo de dois processos de criação na música contemporânea, nos quais atuei junto com dois colegas: Dario Rodrigues Silva (pianista) e Lauro Pecktor (compositor). O primeiro processo foi a preparação da estreia da peça Doppelgänger, e o segundo foi a construção e apresentação da peça espaços submersos entre prédios. Em ambos os processos investiguei a função e os significados da partitura, avaliando a atuação dos músicos e suas ideias. As análises foram realizadas tendo como referencial teórico o Conceito de Obra Musical (GOEHR, 1992), o questionamento sobre a ênfase demasiada que a cultura ocidental de concerto coloca na escrita, um conjunto de investigações sobre colaborações entre performers e compositores e o conceito de Campo da Obra Musical (ÖSTERSJÖ, 2008). Como métodos, considerei os princípios da Pesquisa Artística (BORGDORFF, 2012; COESSENS, CRISPIN, DOUGLAS, 2009) da Autoetnografia Analítica (ANDERSON, 2006) e dos Estudos de Caso. Os dois processos foram descritos para em seguida serem analisados. Os principais recursos utilizados nas análises foram as gravações dos ensaios, a minha memória de pesquisador participante e as entrevistas realizadas com meus colegas. Como conclusão, observei que as partituras foram consideradas pontos de partida, textos em torno do quais foram criados campos textuais que emergiram da interação e do trabalho em grupo, confirmando que a atuação dos músicos (performers e compositor) é mais bem entendida como ciclos de criação e interpretação, conforme é proposto no conceito de Campo da Obra Musical.This dissertation is a study of two creative processes in contemporary music in which I have worked with two colleagues: Dario Rodrigues Silva (pianist) and Lauro Pecktor (composer). The first process was the preparation of the premiere of Doppelgänger, and the second was the construction and presentation of the piece espaços submersos entre prédios. In both processes I have investigated the function and meaning of the score, evaluating the musicians’ agency and ideas. The analyses were conducted under theoretical references of the Musical Work Concept (GOEHR, 1992), the questioning of super estimated role of score in the Western Concert Culture, a set of investigations about collaborations between composers and performers and the concept of The Field of the Musical Work (ÖSTERSJÖ, 2008). As methods, I have considered the principles of Artistic Research (BORGDORFF, 2012; COESSENS, CRISPIN, DOUGLAS, 2009), Analytic Autoethnography (ANDERSON, 2006) and Case Studies. Both processes have been described and then analyzed. Rehearsals recordings, my memory as participant researcher and interviews with my colleagues were the main resources used in the analysis. In conclusion, I observed that the score was considered a starting point, texts around which were created text fields through interaction and group work, confirming that the work of musicians (performers and composer) is best understood as creation and interpretation cycles, as proposed in The Field of the Musical Work.
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Gander, Jonathan. "Performing music production : creating music product." Thesis, King's College London (University of London), 2011. https://kclpure.kcl.ac.uk/portal/en/theses/performing-music-production(9d443c79-db0d-4c34-9f7d-de4f4bc5fb14).html.
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The purpose of this thesis is to investigate a particular form of cultural production; the creation of musical product, the pop song. Previous accounts have been dominated by casting the process as one of transmission in which the music of the artists is captured in a recording and the resulting object is released into the market. I argue that this portrayal of cultural production as a pipeline directs attention towards activities at either end: the recruitment of talented artists and the distribution and promotional efforts of the record companies. What happens in the ‘pipe’, how the product is created, is concealed, explained away by reference to stylised notions of technological and economic forces and the operation of unknowable creative talent. To open up this ‘black box’, an approach not previously applied to popular music production is used, actor-network theory. This thesis traces the formation and performance of moments in the production of musical product: songwriting, recording, mixing, mastering and live performance. Tracing the production of music is carried out through analysis of interviews conducted with the protagonists, the producers, engineers, studio managers and artists, and is supported by observation of studio sessions. The principal argument that I develop in the thesis is that musical product is not a discrete ‘thing’ to be diffused, but a networked entity indissociable from the roles and identities, qualities and practices of others that constitute and perform the production, reproduction and consumption of popular music. Accordingly in this thesis musical product is revealed as an achievement, not an a priori fact, and I examine how its constructed qualities are stabilised and shape the network of production and consumption. Following the construction of these qualities reveals how the various interests of the protagonists are translated through their enrolment in practices and systems of calculation into relational arrangements that perform the power of the producer. The contribution of this research lies not just in making visible what has previously been obscured, but also in the way that it illustrates the value in analysing organised activity as a performative association of relationally constructed roles, objects, and qualities, of, in this case, the musical product, colloquially known as ‘a pop song’.
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Jehan, Tristan 1974. "Creating music by listening." Thesis, Massachusetts Institute of Technology, 2005. http://hdl.handle.net/1721.1/42172.
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Thesis (Ph. D.)--Massachusetts Institute of Technology, School of Architecture and Planning, Program in Media Arts and Sciences, 2005.Includes bibliographical references (p. 127-139).
Machines have the power and potential to make expressive music on their own. This thesis aims to computationally model the process of creating music using experience from listening to examples. Our unbiased signal-based solution models the life cycle of listening, composing, and performing, turning the machine into an active musician, instead of simply an instrument. We accomplish this through an analysis-synthesis technique by combined perceptual and structural modeling of the musical surface, which leads to a minimal data representation. We introduce a music cognition framework that results from the interaction of psychoacoustically grounded causal listening, a time-lag embedded feature representation, and perceptual similarity clustering. Our bottom-up analysis intends to be generic and uniform by recursively revealing metrical hierarchies and structures of pitch, rhythm, and timbre. Training is suggested for top-down un-biased supervision, and is demonstrated with the prediction of downbeat. This musical intelligence enables a range of original manipulations including song alignment, music restoration, cross-synthesis or song morphing, and ultimately the synthesis of original pieces.
by Tristan Jehan.
Ph.D.
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Rhodes, Mahlon. "Music + Design: Creating Holistic Multimodal Music Experiences." Kent State University / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=kent157469738121486.
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Callahan, Lorenzo Lee Jr. "Creating an independent record label." FIU Digital Commons, 2003. http://digitalcommons.fiu.edu/etd/1977.
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The primary purpose of this thesis was to illustrate the creation of a successful independent record label. The research analyzed current music business trends in addition to general business literature. The guidelines of general business were adapted and transformed to meet the needs of a record label. Interviews with individuals that have expertise in music business were also conducted to accurately assist in the development of a record label. It was determined that several important elements must be addressed when starting a record label, they are: Your Business Description; Marketing Strategies; Analyzing the Competition, and Financial Planning concerns. Although these were the most important topics when creating your label, other sections were added to assist with record label development. With proper research and planning, your record label will have a higher rate of success.
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Davis, Luis Carlos. "Mascara: Creating, Producing and Analyzing a Counternarrative Film-Text." Diss., The University of Arizona, 2016. http://hdl.handle.net/10150/612430.
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Máscara is an analysis of an existing film about sicarios, hit men who have been part of organized crime in Mexico. Máscara and it is based on the lives of three sicarios. The first and youngest sicario, in his mid twenties, wears a white ski mask and goes by the alias La Liebre. The second one wears a red ski mask and goes by the alias of El Monstruo and is in late forties. The third one, in his sixties, wears a green ski mask and goes by the alias of El Tanque.
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Saffle, Michael. "Text as Music / Music as Text. Thomas Mann's «Doktor Faustus» and Beethoven's Sonata, op. 111." Bärenreiter Verlag, 1998. https://slub.qucosa.de/id/qucosa%3A37096.
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Soflin, Elizabeth Louise, and Elizabeth Louise Soflin. "Text as Music, Music as Text: Stuart Saunders Smith's Works for Percussion and Spoken Word." Diss., The University of Arizona, 2017. http://hdl.handle.net/10150/624573.
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American composer Stuart Saunders Smith (b. 1948) has been active in the composition of contemporary art music for over forty years, composing over 200 musical and interdisciplinary works. His music ties the experimental world of contemporary music to his experiences living, composing, and teaching in the northeastern United States. Many of his works have included spoken word as a percussion instrument, either alone or blended with instrumental percussion writing. Although not unique in blurring the boundaries between text and music, Stuart Saunders Smith’s texted percussion works manage to both belong to tradition and exist as a unique body of works, as can be seen by studying the context of their creation, technique in synthesizing music and text, and usage of text as melodic material.
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Fernando, Samantha A. M. "Music and text : centre and absence." Thesis, University of Oxford, 2014. http://ora.ox.ac.uk/objects/uuid:d4f7f4fc-7119-45e6-8c5b-ac0aa0909972.
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This dissertation examines Boulez's notion of 'centre and absence' in relation to his use of text in composition and how his ideas have acted as a springboard for my own compositions. Boulez's writings about 'centre and absence' are investigated as well as its implementation in two vocal works: Improvisation II of Pli selon Pli and Cummings ist der Dichter. This is followed by a detailed commentary on my own music, demonstrating why and how I became interested in Boulez's notion of 'centre and absence' and the effect this has had on both my vocal and my instrumental music. The culmination of this study is my work Sense of Place, for large ensemble, which uses the novel Invisible Cities by Italo Calvino as a 'centre and absence'.
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Harrington, Brian. "ASKNet : automatically creating semantic knowledge networks from natural language text." Thesis, University of Oxford, 2009. http://ora.ox.ac.uk/objects/uuid:1c7154d3-f7d1-493e-b521-4e5ceb540038.
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This thesis details the creation of ASKNet (Automated Semantic Knowledge Network), a system for creating large scale semantic networks from natural language texts. Using ASKNet as an example, we will show that by using existing natural language processing (NLP) tools, combined with a novel use of spreading activation theory, it is possible to efficiently create high quality semantic networks on a scale never before achievable. The ASKNet system takes naturally occurring English text (e.g., newspaper articles), and processes them using existing NLP tools. It then uses the output of those tools to create semantic network fragments representing the meaning of each sentence in the text. Those fragments are then combined by a spreading activation based algorithm that attempts to decide which portions of the networks refer to the same real-world entity. This allows ASKNet to combine the small fragments together into a single cohesive resource, which has more expressive power than the sum of its parts. Systems aiming to build semantic resources have typically either overlooked information integration completely, or else dismissed it as being AI-complete, and thus unachievable. In this thesis we will show that information integration is both an integral component of any semantic resource, and achievable through a combination of NLP technologies and novel applications of spreading activation theory. While extraction and integration of all knowledge within a text may be AI-complete, we will show that by processing large quantities of text efficiently, we can compensate for minor processing errors and missed relations with volume and creation speed. If relations are too difficult to extract, or we are unsure which nodes should integrate at any given stage, we can simply leave them to be picked up later when we have more information or come across a document which explains the concept more clearly. ASKNet is primarily designed as a proof of concept system. However, this thesis will show that it is capable of creating semantic networks larger than any existing similar resource in a matter of days, and furthermore that the networks it creates of are sufficient quality to be used for real world tasks. We will demonstrate that ASKNet can be used to judge semantic relatedness of words, achieving results comparable to the best state-of-the-art systems.
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Chinnery, Michael. "Creating a Christian based performing arts company." FIU Digital Commons, 2003. http://digitalcommons.fiu.edu/etd/2341.
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The art of song, dance, poetry and theatre have been implemented into today's church programs. Most church organizations have little knowledge of what producing a successful event requires. Knowing the correct market research tactics, securing proper facilities, budgeting or booking the artist, are some of the elements needed in producing a high quality event. A business plan and study of the arts program within church organizations were the methodologies used in this study. Surveys and interviews were used to collect data from church members. The goal of Living Waters Performing Arts Incorporated is to educate, empower, and build society through the arts and faith principles with the knowledge of performing arts production. By implementing the different elements that contribute to the success of an event, Living Waters Performing Arts Incorporated will produce high quality productions.
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Horner, Terry. "Creating a Sheet Music Web Site: The British Columbia Sheet Music Project." CAML, 2005. http://hdl.handle.net/2429/649.
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Suiter, Wendy. "Text manipulation voice with audio or acoustic augmentation /." Access electronically, 2007. http://www.library.uow.edu.au/adt-NWU/public/adt-NWU20080228.103431/index.html.
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Knapp, Christian. "Creating Music Visualizations in a Mandelbrot Set Explorer." Thesis, Linnéuniversitetet, Institutionen för datavetenskap, fysik och matematik, DFM, 2012. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-21135.
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The aim of this thesis is to implement a Mandelbrot Set Explorer that includes the functionality to create music visualizations. The Mandelbrot set is an important mathematical object, and the arguably most famous so called fractal. One of its outstanding attributes is its beauty, and therefore there are several implementations that visualize the set and allow it to navigate around it. In this thesis methods are discussed to visualize the set and create music visualizations consisting of zooms into the Mandelbrot set. For that purpose methods for analysing music are implemented, so user created zooms can react to the music that is played. Mainly the thesis deals with problems that occur during the process of developing this application to create music visualizations. Especially problems concerning performance and usability are focused. The thesis will reveal that it is in fact possible to create very aesthetically pleasing music visualizations by using zooms into the Mandelbrot set. The biggest drawback is the lack in performance, because of the high computation effort, and therefore the difficulties in rendering the visualization in real-time.
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Ings, Welby. "Talking pictures a creative utilization of structural and aesthetic profiles from narrative music videos and television commercials in a non-spoken film text : this thesis is submitted to Auckland University of Technology in partial fulfilment of the degree of Doctor of Philosophy, 2005." Click here to access this resource online, 2005. http://repositoryaut.lconz.ac.nz/theses/188/.
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Thesis (PhD) -- Auckland University of Technology, 2004.The digital copy of the exegesis, and the 2 CDs of images, props and environments created for the work have been removed from the thesis and are held by the Library's Digital Services Team. Also held in print (423 p. : ill. ; 25 x 27 cm. + 1 DVD of the film Boy (ca. 15 min.)), in Wellesley Theses Collection. (T 791.4372 ING)
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Venables, Philip. "'4.48 Psychosis' : opera as music and text." Thesis, Guildhall School of Music and Drama, 2016. http://openaccess.city.ac.uk/19415/.
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This is a practice-based research project about a new operatic adaptation of Sarah Kane’s 4.48 Psychosis (Methuen, 2000). The opera was written and the research conducted during a three-year Doctoral Composer-in-Residence scheme with the Guildhall School of Music & Drama (GSMD) and the Royal Opera House (ROH). This commentary, together with the score and supporting materials, outlines various compositional approaches to working with non-sung text in opera. This research expands the composer’s previous practice of working with spoken text in concert music, and places this opera in the context of that previous work and the work of other composers, theatre-makers and electronic music artists. Five specific approaches to non-sung text are discussed in detail, always with reference to the dramaturgy of Kane’s text and drawing on examples from the opera: four concerned with spoken text (the ‘Opera Thought-Bubble’, Voiceover, Mid-phrase Switching, Tape-cutting) and one concerned with visually-presented text (Percussion Dialogues). The five approaches are evaluated in context of the premiere performances of the opera in May 2016, and the potential for further practice-based research on this topic is discussed.
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Webster, Joshua. "Creating and Performing New Australian Works on the Hungarian Concert Cimbalom." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2013. https://ro.ecu.edu.au/theses/614.
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This thesis explores the creation and performance of five new Western Australian works for the Hungarian concert cimbalom. These include four solo works, and one duet, which were scored, analysed, performed, and recorded. This thesis is in two parts: this exegetical component, which details the background, development, and findings of the research, including the scores created, and the manual that was developed for composers’ use; and a practical component, which is an active representation of the research, included as video recordings. To assist the composition of the new works, a manual was developed for the composers’ use. This manual began with archival research into the extant literature, and was supplemented with my research and the findings from the collaboration process. The developments pertained to the areas of techniques, mallet selection, preparation, and compositional approach. The manual was a valuable tool throughout the creation and development of the works and remains a work in progress. A practice-led research framework was central to the project, allowing reflection both in-action and on-action. The project is divided into three areas: the development of a manual as a tool for composers; collaboration with composers on the creation of new works; and performance and recording of the new works. The practical component of the research includes studio recordings of four of the works, and a live performance of the fifth. These performances demonstrate both the creative outcomes of the project in the form of the works, and the research findings through the use of extended techniques and compositional approach. The exegetical component contains contextual information about the current cimbalom practices in Australia. As my interaction with the research was subjective in nature, I give extensive information about my musical background, and the bodies of knowledge I drew upon in the process. This provides a context for my interaction with the research, and an understanding of my methodological approach.
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Jansen, Rhyno. "The alchemy of sound : creating unbelievable believability through audiovisual fusion." Thesis, Stellenbosch : University of Stellenbosch, 2011. http://hdl.handle.net/10019.1/6561.
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Thesis (MPhil (Music))--University of Stellenbosch, 2011.ENGLISH ABSTRACT: This thesis represents an attempt to explore the use of metadiegetic film sound and its connection with qualities displayed by human physiology. Metadiegesis is chosen as the focus of this study, in order to point out the potential of film sound to be representative and not to slavishly imitate its visual counterpart. Therefore, because metadiegetic sound is deictic in nature, the first hurdle to clear was to navigate through a terminological minefield, allowing a clear glimpse of its true meaning and its connection with the filmic image. The researcher attempts to create hypothetical scenarios in order to analyse and discuss metadiegetic examples from films, convincingly utilised and less-convincingly so. The intention was to understand, clarify and disambiguate terminological uncertainties and inaccuracies. An exploration of asynchronous metadiegetic sound follows as refinement of the first step. This is done by resorting to existing examples in the form of extracts from films for demonstration purposes. As a result, the use of metadiegetic film sound is clearly defined and its use explained by attaching it to three concepts: a ‘story within a story’, external story space, and internal representation. It is argued that through these concepts, sound can be amalgamated with image to create a different realm, where sound and image tell more than an audio-visual story.
AFRIKAANSE OPSOMMING: In hierdie tesis poog die navorser om die gebruik van “metadiegetic” film-klank, en die verband wat dit met die menslike fisiologie hou, te verken. “Metadiegesis” vorm dus die fokuspunt van die navorsingstuk. Hierdie fokus beklemtoon film-klank se verteenwoordigende potensiaal, en die feit dat dit nie net ʼn slaafse nabootsing van die visuele aspek van film is nie. Aangesien “metadiegetic” klank dus deikties van aard is, is die eerste uitdaging om ʼn weg te vind deur ʼn terminologiese mynveld. Dit word gedoen in ʼn poging op ʼn duidelike begrip van die ware betekenis van “metadiegesis” te ontwikkel, en om die verband wat film-klank met die visuele aspek van film het, duidelik te maak. Die navorser poog in die eerste plek om hipotetiese scenario’s te skep om sodoende “metadiegetic” voorbeelde in films te analiseer en te bespreek. Die doel is om terminologiese onsekerhede en dubbelsinnighede te verstaan en te verklaar. Dan volg die verkenning van asinchroniese “metadiegetic” klank as verfyning van die eerste stap. Dit word gedoen deur gebruik te maak van film-uittreksels ter verduideliking van die bogenoemde stappe. Na aanleiding hiervan, is die gebruik van metadiegetiese film-klank duidelik gedefinieer, en die toepassing daarvan gekoppel aan drie konsepte: ʼn “storie binne-in ʼn storie”, “eksterne storie ruimte” en “interne verteenwoordiging”. Deur middel van hierdie konsepte kan klank saamsmelt met beeld om ʼn ander dimensie te betree, waar klank en beeld meer vertel as ʼn oudiovisuele storie.
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Stonier, Janet Elizabeth Thornhill. "Oral into written : an experiment in creating a text for African religion." Master's thesis, University of Cape Town, 1996. http://hdl.handle.net/11427/16127.
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Bibliography: pages 105-113.This study is a description, from the vantage point of a participant observer, of the development of a new, and probably unique, method of writing, teaching and learning about an oral tradition - a method which is grounded in ways of knowing, thinking and learning inherent in that tradition. It arose in the course of a co-operative venture - between two lecturers in African Religion and myself - to write a text for South African schools on African Religion (sometimes called African Traditional Religion). Wanting to be true to our subject within the obvious constraints, we endeavoured to write within an oral mode. The product, African Religion and Culture, Alive!, is a transcript of taped oral interchanges between the three authors within a simulated, dramatised format. The simulation provided the context for using the teaching and learning strategies employed in an oral tradition, but within a Western institution. We hoped in this way to mirror and mediate a situation in which many South African students find themselves: at the interface between a home underpinned by an oral tradition, and a school underpinned by a written tradition. In the book, knowledge is presented through myth, biographical and autobiographical stories, discussion, question, and comment. The choice of this mode of knowledge-presentation has been greatly influenced by the work of Karen McCarthy Brown. A further important requirement for us was to produce a text that would be acceptable to all the particular varieties of African religious practice. This need was met in a way that became the most important aspect of the method - the device of setting, as a core part of the work for students, a primary research component. Students are required to seek out traditional elders within their community and learn from them, as authorities on African religion and culture, the details of particular practice. This is a way of decentering the locus of control of knowledge and education, as well as of restoring respect for African Religion and preserving information in danger of being lost. The primary research component highlights fundamental issues relating to the 'ownership' of religion, knowledge, power, reality which are explored in the study. Also considered are the implications of writing about an oral mode while trying to preserve as much of the character of that mode - writing by means of speaking. Text as a metaphor provides a frame for examining the process and the product - in terms of text as document, as score, as performance, as intertextual event, and as monument and site of struggle. Suggestions are made for further research, both on the particular method of text-production under consideration, and also on the approach to teaching and learning about African Religion. Also considered is the relevance of this particular learning and teaching approach to the values inherent in the proposed new curriculum for education in South Africa.
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Belda, 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.
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This work seeks to explore the relationship between two arts: music and painting. The aim of this thesis is the creation and execution of an interdisciplinary performance in which music and painting dialogue live, "Painting music", to investigate how both arts relate and influence each other when they are part of a single artistic act and how performers and audience perceive this relationship. To do so, we will investigate interdisciplinary performances, synesthesia (union of perceptions) and the different ways in which painting and music can relate to each other.
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Olson, Ted. "Let the Music Be Heard: Creating New Appalachian Music Compilations for a New Generation." Digital Commons @ East Tennessee State University, 2014. https://dc.etsu.edu/etsu-works/1196.
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As a performer, teacher, and scholar, I have interpreted Appalachian music in a range of venues (classrooms, festivals, restaurants, and National Park Service campgrounds) and via a variety of media (books and periodicals, websites, films, and documentary recordings). In my presentation, I'll discuss how my efforts to interpret the music (and other aspects of culture) of Appalachia in multiple roles over twenty-five years evolved into my recent work as a producer and album notes writer on several historical albums containing neglected archival recordings or forgotten commercial records of Appalachian music. What compelled me to begin to work on such documentary releases of recordings was my sense that Appalachia's music has been stigmatized or romanticized over the years because it has not been effectively listened to or deeply understood (that is, interpreted in sufficiently informed contexts). I felt that if no one else was releasing the sort of illuminating, contextualized compilations of Appalachian music that I yearned to hear, then I could help create such releases. And, happily, the releases I've worked on thus far have had an impact both within and outside the classroom, both within and outside Appalachia.
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Handman, Deborah Fleenor. "Healing songs understanding and creating powerful music for the American church /." Online full text .pdf document, available to Fuller patrons only, 2001. http://www.tren.com.
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Parson, Laurel Jeanne. "Text-music relations in Richard Strauss's Im Abendrot." Thesis, University of British Columbia, 1991. http://hdl.handle.net/2429/42069.
Full textAbstract:
This thesis examines in detail the ways in which music and
text relate to and condition each other in Richard Strauss's Im
Abendrot (1948), the first of the Vier letzte Iieder.
The first chapter consists of an analysis and interpretation
of the text itself, a poem written by Joseph von Eichendorff.
Interpretation of the poem is based on its place in the context
of Eichendorff’s other poetry, as well as on internal details of
imagery and structure. An ostensibly slight alteration which
Strauss made in the poem produces a significant change of
Perspective and tone : in the last line of Eichendorff’s poem--Ist
das etwa der Tod?--death is contemplated from adistance; in
Strauss's version--Ist dies etwa der Tod?--the narrator stands at
its very threshold, anticipating with mixed emotions the profound
metamorphosis which is imminent. This reading of the poem is
further suggested by Im Abendrot's relation to the texts of the
three remaining songs in the cycle, and also by the connections,
conceptual as well asmusical, between the Vier letzte Iieder and
Strauss's early tone poem, Tod und Verklarung.
Subsequent chapters deal with aspects of Strauss’s musical
setting as they relate to the text, specifically in the areas of
formal/motivic, harmonic, melodic, and metric/rhythmic structure.
The concluding material raises some questions, arising as a
result of this specific analysis, about the nature of text-music
relations in general, and points to potential areas of further.
study.Arts, Faculty of
Music, School of
Graduate
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Ogonek, Elizabeth Anne. "The effect of text on compositional decisions." Thesis, Guildhall School of Music and Drama, 2017. http://openaccess.city.ac.uk/21242/.
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The topic of this dissertation is the complex and varied relationship between words and music. Through the transference of the sonic and semantic properties and narrative capabilities of language to my music, I have discovered numerous ways of relating the meaning of the music to its design. This has resulted in a portfolio of pieces that incorporates text into vocal music, music with narration, and instrumental music. Chapter 1 functions in two ways. The first main subchapter sets out a theoretical framework for my research field by showing how the similarities and differences between language and music can illuminate exploitable tensions. These ideas draw on the work of Charles Ives, Virginia Woolf, Klaas de Vries, and Morton Feldman. The second subchapter explains the relevance of different textual elements and their eventual outcomes in my music. Chapter 2 provides commentary on eight pieces: Running at Still Life, Falling Up, as though birds, Sleep & Unremembrance, The Mysteries of Jacob, Three Pieces for Guitar (To the Sea in a Sieve), Beautiful School, and Three Biographies. A description and analysis of each piece relates the musical material and compositional process to the overall topic of words and music. Finally, Chapter 3 draws conclusions based on the eight pieces and discusses possible methods of reclassifying the text/music relationship in light of these musical outcomes.
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Cairns, Robert J. "A test of selected aspects of Peter Webster's conceptual model of creative thinking in music." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp01/MQ28544.pdf.
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Muller, Linda. "Music as metaphor and mediator : creating an integrative paradigm for education." Doctoral thesis, University of Cape Town, 2006. http://hdl.handle.net/11427/8141.
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Includes bibliographical references (p. 251-283).The purpose of this thesis is to create an integrative paradigm for education based on music as metaphor and mediator. It proposes a meta-frame of inquiry to establish a meta-contextual perspective from within which a self-reflexive reframing process is expected to emerge. A system of ideas is presented, consisting of key concepts drawn mainly from the systems worldview and speculative musicology. From these, metaphoric maps are devised as a guide for mediating the proposed ideas in education contexts. It is an attempt to inspire metaphoric, aesthetic and intuitive modes of understanding and experiencing the world, along with the explanatory, which can affect a profound epistemological shift in the way we frame our inquiry.
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Jones, G. O. "British wind band music." Thesis, University of Salford, 2005. http://usir.salford.ac.uk/14908/.
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I have chosen to be assessed as an interpreter and conductor of British wind band music from the earliest writings for wind band up to, and including, the present day; a period covering 220 years of original compositions of wind band music, This critical evaluation represents asummary of my work on the four required projects of the DMA course, in which I hope to demonstrate an erudite knowledge, creative imagination and maturity of interpratation in the performance of wind band repertoire.
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Faria, Gomes Pedro. "Creating harmonic functionality in post-tonal music : a composer's perspective." Thesis, Royal College of Music, 2014. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.606558.
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The notion of harmonic ‘function’ was introduced by Riemann in 1891 to describe aspects of tonal music, but, as musical language evolved, its meaning and application developed beyond the premise of tonality. This study re-evaluates the relevance of harmonic functionality for composers today, through a reassessment of what may constitute functionality in post-tonal music and a practical exploration of the concept in ten new compositions. The general openness of harmonic systems since the 1980s has led composers across a variety of aesthetic standpoints to often combine diverse types of harmonic material in one same piece; this thesis argues that, within such a framework, harmonic functionality is potentially an important instrument of coherence, strength and inventiveness in the musical argument. The first part examines the main terminology, including the notions of ‘harmony’, ‘post-tonality’ and the origin and development of the idea of ‘harmonic functionality’. Several composers and theorists are considered, with a particular focus on Riemann. The second part centres on the ten compositions, particularly on Nachtmusik, with both detailed and large-scale analysis aiming to clarify how each piece informed specific aspects of the study. For the sake of comparison, aspects relating to harmonic functionality in other composers’ work are also discussed, namely in Stravinsky’s Requiem Canticles and Adès’ Polaris and Tevot. It is concluded that harmonic functionality is generally related to formal functions, and that the combined action of pitch and other parameters establishes functional properties very much depending on musical context. Certain elements play a central role in the definition of functionality: 1) sense of direction; 2) recurrence and change; 3) hierarchy; 4) pitch polarity; 5) extra-musical meaning. The creation of harmonic functionality in post-tonal music is a problem which composers often deal with intuitively in their practice, and the notion is still frequently considered in a strictly tonal sense by theorists; through the clarification and discussion of the process in post-tonality, its potential is likely to be more fully explored, both theoretically and practically.
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Merrill, John Bryce. "Making it, not making it: Creating music in everyday life." Connect to online resource, 2008. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&res_dat=xri:pqdiss&rft_dat=xri:pqdiss:3337133.
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Moon, Krystyn R. "Yellowface creating the Chinese in American popular music, 1850s-1920s /." Available to US Hopkins community, 2002. http://wwwlib.umi.com/dissertations/dlnow/3068189.
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Sargeant, Michael John. "The Green Man : creating, performing and educating through medieval music." Thesis, University of Sheffield, 2015. http://etheses.whiterose.ac.uk/12908/.
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Introduction to the Thesis and Show: In this thesis I argue the merits of an educational show serving as an introduction to medieval music. By placing differing forms of music in a given context e.g. ceremonial, military, sacred, song, mime and dance, the show helps to clarify the diversity of medieval music making. It is aimed at a general audience rather than early music specialists, and younger people in particular. I envisage the show either being performed entirely by a professional company, or through workshops by a student based ensemble. To this end I have devised a show entitled 'The Green Man'. The story unfolds against a score of arranged medieval music and new interpolations composed in period style. I outline the practical need for such a show by reference to developments in the early music movement, practical experience of teaching situations and general concerns. I then justify the arrangement of medieval music for theatrical purposes through historical precedence. Drawing on liturgical drama, court entertainments and early plays I show that my medieval predecessors reused music and used it for dramatic purposes. A section on the visual arts describes how this material can be used as a source for show design and a reference to notions of performance practice. The arrangement of the score and scenario are examined with regard to medieval compositional practices and literary sources. The score is included with an accompanying demonstration recording in CD format. The final section contains reports of the work in progress including the sound recording, drama workshops based upon sections of the show, and a music workshop utilising some of the work. A DVD supplement should be viewed in association with these.
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Summers, Moira, Carolin Dässel, and Marcus Lauer. "Creating a classroom culture which promotes positive attitudes and motivated learners." Georg Olms Verlag, 2018. https://slub.qucosa.de/id/qucosa%3A34626.
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Chapter and Analytical Short Films show the Scottish “aspects of quality” of music education. Four key capacities of comprehensive education: successful learners, confident individuals, responsible citizens, and effective contributors to society, and three key competences for comprehensive musicianship: listening, performing and composing.
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Emfietzis, Grigorios. "Discovering, creating and experiencing notions of theatricality in musical performance." Thesis, Brunel University, 2011. http://bura.brunel.ac.uk/handle/2438/6433.
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This thesis consists of a portfolio of musical compositions and a written commentary. The submitted works creatively challenge the form of a conventional concert by exploring methods of bringing to the fore the theatrical side of musical performance: its inherited or implemented conceptual and visual aspects. The portfolio is divided into three main categories. The first comprises a series of pieces that balance between music theatre and conventional concert practices. The second category includes works that reform many aspects of the traditional concert presentation, without breaking away from it. The third category includes works that experiment within the territory determined by the previous categories. The written commentary presents theoretically the compositional approach used throughout the portfolio and provides a brief philosophical background, such as is necessary to explain the underlying concepts, ideas, preoccupations and concerns. It also contains a comprehensive analysis of the submitted works, their aims, contextual links, applied methodologies, associations with other composers’ works and interconnections between them.
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Fearn, Raymond. "Text und Music in the Operas of Luigi Nono." Bärenreiter Verlag, 1998. https://slub.qucosa.de/id/qucosa%3A37153.
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Stanovick, Lucy. "Popular song as text in the lives of young adults." free to MU campus, to others for purchase, 2002. http://wwwlib.umi.com/cr/mo/fullcit?p3052218.
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Takano, Keiko. "Theatrical work using Japanese text : portfolio of compositions and commentary." Thesis, University of Sussex, 2011. http://sro.sussex.ac.uk/id/eprint/6949/.
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My main research was to write a theatrical work combining Japanese text with music that is to be performed as ‘shadow play' theatre. This was my first attempt to create such a large-scale work, writing both the music and the text. There have been discoveries during the process of working on this large project. Most significant was my awareness of what makes my creation more ‘individual' or ‘original' as a composer. Personal experiences and background are basically reflected on determinations of what is to be written next and how to process materials. In my case, these determinations often come out of my experience of the mixed cultural environment which is that of Japan, even if it is not my intention to be ‘Japanese'. Among the elements behind Japanese culture, I discovered key words which are time, space, colour and nuance, and these, particularly, became my strong concerns. The portfolio comprises seven works which I composed during the research period, which was from 2004 until 2010. The first part of this commentary will be a description of my thoughts on composition, particularly on what made my works individual and original. In the second part, I will be focusing on the details of my main work Kosatsuki for shadow play. The portfolio comprises the following seven pieces. • dialogues for ensemble (2004) • The brother sun, the sister moon for cello and piano (2005) • In the Gray Dawn for orchestra (2006) • The moon out of the blue for ensemble (2007) • Echoes from the inland sea for string quartet (2007) • Song of the Muro Women for voice and piano (2008) • Kosatsuki for shadow play theatre (2010) comprising a script and a score Recordings of the following pieces are also found on the CD enclosed. [mp3 files encoded and apended here] • dialogues for ensemble (2004) • The brother sun, the sister moon for cello and piano (2005) • The moon out of the blue for ensemble (2007).
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Afonso, João José do Vale. "Creating a dynamic music artist profile supported by waves of mashups." Master's thesis, Universidade de Aveiro, 2011. http://hdl.handle.net/10773/3681.
Full textAbstract:
Mestrado em Comunicação MultimédiaO advento da Internet provocou alterações em diversas áreas da sociedade entre as quais a industria musical. Neste campo, essas mudanças levaram a que todo um modelo de negócio tenha agora de ser repensado. As editoras parecem estar a perder o controlo sobre a partilha dos conteúdos mas também sobre a própria promoção de artistas e obras. Hoje em dia qualquer pessoa pode ser um critico de música e exercer influencia dentro das suas redes sociais. É neste contexto que surge o Urock, uma aplicação multiplataformas para a partilha e transmissão de conteúdos musicais que permite aproximação entre artista e público. A especificação deste projecto levantou várias questões, entre as quais como atrair novos utilizadores e lidar com a quantidade de informação e conteúdos que estes têm dispersos na rede. O advento da tecnologia de mashups poderá ser a resposta a este problema. O utilizador comum tem, normalmente, a sua informação mais concentrada num local da rede e controlo sobre os seus conteúdos. No entanto, o utilizador artista pode ter a sua informação dispersa por vários locais na rede e pode não ter controlo sobre os conteúdos que lhe dizem respeito. Por esse motivo, a presente investigação procura identificar quais os web services necessários para criar perfil de artista dinâmico. Na impossibilidade de desenvolver a aplicação Urock, foi conceptualizado e implementado um subproduto, o Musikki. Esta aplicação permitiu efectuar um estudo de caso que possibilitou avaliar um modelo de mashups proposto como hipótese de trabalho.
The advent of Internet introduced changes in several areas of society and the music industry is no exception. These changes are forcing to a redefinition of the industryʼs business model. Record labels seem to be losing their control over how music content is shared and even how the promotion of artists and works are made. Nowadays, anyone can be a music critic and influence their network friends on what music to listen to. It is in this context that the Urock project appears, a user-generated content cross-platform application specially oriented for publishing and broadcasting musical content. Its main objective is to help new or established artists to promote their work, creating a bidirectional communication channel between artists and audience. The specification of this project raised several issues, like how to attract new users and how to deal with the information and content they have scattered all over the Internet. The advent of mashup technology might be the solution to this problem. Typically, common users have their information concentrated in one or two locations and total control over their media content. However, the user artist might have his information and content stored in different locations and might not have full control over all their content. For this reason, this research aims to identify which web services can be combined to create a dynamic user profile. Due to time restrictions it was impossible to develop the Urock application. For this reason, Musikki, an Urock sub product, was conceptualized and developed. This application allowed the evaluation, by means of a case study, of the mashup model proposed as a working hypothesis.
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Lee, Phillip. "Designing and Creating a Complete Music Notation Application for the Tablet." Thesis, The University of Arizona, 2012. http://hdl.handle.net/10150/244415.
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Mobile devices have become ubiquitous, and are becoming replacements for personal computers as well. This brings many opportunities for software developers who want to fulfill the demands of productivity software on these new interfaces, particularly tablets. In this paper, we examine the advantages and disadvantages of the tablet, and document the software engineering and design of a mobile application for music notation, Symphony Pro. The two high-level aspects of developing a large-scale application are user interface design and software design. User interface design deals with a user-centric perspective, to allow ordinary humans to interface with the application smoothly, whereas software design deals with helping developers manage complexity in implementation.
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Villaume, Susan Kidd. "Creating context within text : an investigation of primary-grade children's character introductions in stories /." The Ohio State University, 1985. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487262513410054.
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Tedford, David. "Performing the canon or creating inroads a study of higher education orchestral programming of contemporary music." Diss., University of Iowa, 2015. https://ir.uiowa.edu/etd/1772.
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Robin, Brad. "Creating Musical Momentum: Textural and Timbral Sculpting with Intuitive Compositional Systems and Formal Design." Thesis, University of North Texas, 2016. https://digital.library.unt.edu/ark:/67531/metadc862829/.
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This dissertation explores the analysis and creation of compositions from the standpoint of texture and momentum. It is comprised of four chapters. The first presents a number of concepts as tools for analysis, including textural typography and transformation, perception of time and psychological engagement of an audience, and respiration as a metaphor for musical momentum. The second and third chapters apply these tools to Gerard Grisey's "Periodes" and "Partiels," and Brian Ferneyhough's "Lemma-Icon-Epigram." The fourth explores specific methodologies used in composing my dissertation piece, "Phase," including the application of number systems ranging from formal to local levels.
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Rodenberg, David. "Text/music relationships in five posthumous songs by Alexander Zemlinsky." Virtual Press, 2004. http://liblink.bsu.edu/uhtbin/catkey/1286426.
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This study centers on a 1907 collection of art songs for voice and piano composed by Alexander Zemlinsky. Although his small cycle of five songs was not published during the composer's lifetime and has not been given the scholarly attention that other pieces in his oeuvre have, it is well crafted and carries a high degree of expressive and emotional weight. The cycle sets the poetry of Richard Dehmel; a contemporary of Zemlinsky and the inspiration behind works of Arnold Schoenberg, Anton Webern and Richard Strauss as well. In these 1905 settings Zemlinsky experiments with an extremely chromatic language while exploring themes of love and betrayal in the poetry of Dehmel. This study examines this chromatic style and how it relates to the themes in the text. Through the detailed analysis of each of the songs the reader will see how, in spite of the free succession of harmonies that often obscure the tonal orientation, a central underlying tonic/dominant relationship is at the core of each song except the first. In this manner the songs display a subtle yet powerful exploitation of tonal ambiguity that brings out many of the nuances of Dehmel's poems.School of Music
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Shepherd, Janet. "Music, text and performance in English popular theatre 1790-1840." Thesis, University of London, 1991. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.284561.
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Baker, Michael. "Text-music relationships in the solo songs of Felix Mendelssohn /." Electronic version of abstract with link to full text (durable link) ProQuest publication number: AAT 3301349; ProQuest document ID: 1475168291; ISBN 9780549466246, 2007. http://proquest.umi.com/pqdweb?did=1475168291&sid=1&Fmt=2&clientId=12010&RQT=309&VName=PQD.
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Thesis (Ph. D.)--Indiana University, 2007.Computer printout. Includes abstract and vita. "Appendix, Scores for songs discussed in this dissertation": leaves 207-270. Includes bibliographical references (leaves 271-275).
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Knox, Marjorie. "Reading music and written text: The process of sight-singing." Diss., The University of Arizona, 2003. http://hdl.handle.net/10150/289944.
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The purpose of this dissertation is to examine the cues and miscues singers produce while reading musical text with written text. Analysis of the miscues focuses on defining the process and strategies singers use as they sight-sing a piece of music never before seen or heard. The research of Kenneth S. Goodman forms the basis for the procedures and methodology used in data collection and data analysis. Sight-singing data collected from eight singers, including all cues, miscues, asides, and specific notes, was transcribed on a musicscript. This data yielded 923 musical text and written text cues and miscues. Analysis provides the data that evolved into the Sight-Singing Musical Miscue Taxonomy, a tool for evaluating the miscues of singers orally reading music. A Musical Miscue Inventory Coding Form also was developed using the categories and sub-categories of the Sight-Singing Musical Miscue Taxonomy. The results of the eight singers' use of cues and miscues of the Sight-Singing Musical Miscue Taxonomy and the Musical Miscue Inventory Coding Form provides evidence for the parallel but distinct nature of sight-singing as two semiotic systems working in conjunction with each other-musical text and written text. The results also provide the means to establish a relationship between the sociopsycholinguistic transactive model of reading and the sociopsychomusical linguistic transactive model of sight singing. The findings of this research show that sight-singers utilize the same holistic process and strategies as readers do. The cueing systems, the cognitive strategies, and the learning cycles are the same.
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Payne, Alyson. "Creating music of the Americas in the Cold War Alberto Ginastera and the Inter-American Music Festivals /." Connect to this title online, 2007. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=bgsu1165436117.
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