Dissertations / Theses on the topic 'Master of Musical Arts'
To see the other types of publications on this topic, follow the link: Master of Musical Arts.
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the top 50 dissertations / theses for your research on the topic 'Master of Musical Arts.'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Browse dissertations / theses on a wide variety of disciplines and organise your bibliography correctly.
1
Collins, Cheri D. "Connecting science and the musical arts in teaching tone quality integrating Helmholtz Motion and master violin teachers' pedagogies /." Fairfax, VA : George Mason University, 2009. http://hdl.handle.net/1920/4544.
Full textAbstract:
Thesis (D.A.)--George Mason University, 2009.Vita: p. 157. Thesis director: James Gardner. Submitted in partial fulfillment of the requirements for the degree of Doctor of Arts in Community College Education. Title from PDF t.p. (viewed June 10, 2009). Includes bibliographical references (p. 145-156). Also issued in print.
2
Lebo, Cynthyny Ann. "Musical linguistics: How music and artistic creativity when delivered as a linguistic practice, help students master academic skills in English language arts." CSUSB ScholarWorks, 2012. https://scholarworks.lib.csusb.edu/etd-project/3389.
Full textAbstract:
This Masters project consists of two elements: 1) an integrated after-school program to improve student English language reading and academic outcomes for third graders' vocabulary development by incorporating music, artistic creativity and linguistics; 2) a pilot sample curriculum that demonstrates the approach for building student comprehension through musical theater and Science, Technology, Engineering, and Mathematics (STEM) content experiences. Called "Water Buddy", this is an after-school program uses singing, dancing, writing, and play to build reading and vocabulary skills. The goal is to improve learner academic outcomes by mastering the elemental building blocks of words, letters, symbols by making memorable the sound units, idioms, print conventions, and concepts that they were previously lacking.
3
Leffner, Josephine. "BLACK CATS, BERLIN, BROADWAY AND BEYOND: CABARET HISTORY IN THE MAKING." Master's thesis, University of Central Florida, 2006. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/2664.
Full textAbstract:
Cabaret as a genre has influenced and is influenced by musical theatre. As cabaret has evolved throughout history, musical theatre has often paralleled its journey. Cabaret thrived before the term "musical theatre" was coined and suffered hard times during the Golden Age of Musical Theatre. The correlation of the two genres cannot be denied, and exploring cabaret history will reveal how deeply the connection lies. My collaborator Debbie Tedrick and I will attempt to define cabaret through a two-woman cabaret show we will write, produce, and perform together. The show, Black Cats, Berlin, Broadway and Beyond, will be a one-act historical look at the genre of cabaret. It will include material garnered from historical research of the cabaret genre, specifically focusing on some of the famous women, songs, stories, lives, and important contributions. The cabaret show will cover information and art from cabaret's inception in the Paris Montmartre district in 1881 to its height in Germany during the Weimar Republic and will culminate with cabaret's insurgence into American culture up to, and including, the state of American cabaret today. American cabaret will be emphasized, but a portion of the show will explore American cabaret's European roots. My thesis will explore the triumphs and tribulations of putting together the show. As the culmination of my UCF studies, this project will test my abilities as a librettist, performer, creative artist, director, and collaborator. This thesis will include the actual show performances as well as a written monograph document recording the project's journey from its inception to conclusion.M.F.A.
Department of Theatre
Arts and Humanities
Theatre
4
Tedrick, Deborah. "BLACK CATS, BERLIN, BROADWAY AND BEYOND: THE GENRE OF CABARET." Master's thesis, University of Central Florida, 2006. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/2668.
Full textAbstract:
Music and Theatre have always captivated me. As a child, my parents would take me to live performances and cinematic shows and I would sit rapt, watching the theatrical events and emotional moments unfold before my eyes. Movie musicals and live shows that combined music and theatre were my favorite, especially theatrical banter and improvisation or sketch comedy. Some of my favorite youthful memories were my annual family summer trips to Las Vegas to visit my grandparents for six weeks. As a youngster, I got to experience the "old school" Las Vegas, replete with extravaganza, spectacle, cabaret, circus, lounge and nightclub acts, stand-up comedy, intimate revues, and all things marketed under the guise of entertainment, art, or both. Those summers, while not overtly planned as academic or educational in nature, proved, in retrospect, to be the training ground for what was to become my passion: the art of the cabaret genre. As a person who has always loved theatrical diversity, I am drawn to cabaret as an art form. Anything that fuses other forms interests me, and cabaret amalgamates many of the artistic forms I have grown to love. I come from a unique background of classical, jazz, musical theatre and pop styles, and have studied these styles in both the piano and vocal arena. The cabaret genre allows me to realize fully the stylistic variety of performance techniques with which I excel. My mother is a classical singer and my father a jazz pianist; during my youth they would perform at the piano, "meeting in the middle" so to speak in the world of Musical Theatre, through the fusion of cabaret, classical, jazz, and pop. Growing up hearing a song like "Summertime," from Gershwin's Porgy and Bess, equally artistically rendered as both a classical aria and a jazz tune in my home was rich fodder for the vital informal education I received by being the offspring of musicians. It is due to this musical legacy that was passed on to me through my parents that I learned to explore the myriad of possibilities one can achieve through artistic musical and theatrical interpretation. Beyond the freedom of stylistic variety, cabaret performance also allows conventions such as direct interaction in the form of the proverbial "lowered fourth wall," allowing me to use my improvisational acting and interactive skill set as well as my musical skills. Cabaret is generally more intimate and personal in nature and I enjoy the camaraderie cabaret affords. Cabaret is interactive and intellectual and I am drawn to those aspects; I like the fusion of interactive banter and intellectual artistry. Also appealing to me is the "insider" sense cabaret not only allows but also encourages. Recalling my youthful memories of the Vegas shows in which the performer spoke directly to audience members, I remember the sense of belonging I felt at the recognition of some of the inside jokes. I knew I wanted to be involved with any aspect of music and theatre that would allow me the freedom to go with the moment, to reach people differently on any given day, to change with the times, and adapt to my audience and to the shifting world around me. I knew I had found a home in this intimate, insular, interactive, and intellectual art form known as cabaret. For these reasons and more I have chosen the genre of cabaret to be my intended thesis research project. I will produce, direct, and perform in a cabaret show, which will be the thesis performance. For the performance aspect of my thesis, in collaboration with my thesis partner, Josephine Leffner, I will perform a one-act chronological, historical, and stylistically varied cabaret show. The show will include material garnered from historical research of the cabaret genre, specifically settling on some of the famous women, songs, stories, lives, and important contributions. The cabaret will cover information, music, and spoken-word art from cabaret's inception in the Paris Montmartre district in 1881 to its height in Germany during the Weimar Republic. The show will culminate with cabaret's insurgence into American culture up to and including the state of American cabaret today. While my performance will focus mainly on American cabaret, a portion of the show will explore cabaret's European roots. Creating and performing this show will educate me further on the genre itself, as well as expand my performing skills through the varied styles in which I will perform within the realm of a single evening's entertainment. Creating and performing the show will also challenge me as a producer, director, promotional and administrative coordinator, music director, arranger, vocal director, collaborator, vocalist, pianist, actor, and writer. The show is intended as a kind of "Cabaret 101," in that the intended audience is treated to a night of variety entertainment with some historical background on the genre of cabaret. The audience is not expected to have any prior academic or experiential knowledge of cabaret in order to understand or enjoy the show. The cabaret intellectual will also be able to enjoy the show, as the songs, poems, skits, and sketches are intended to amuse and delight both the novice and the experienced cabaretist. For the research and analysis portion of my thesis monograph document I will provide information on cabaret's roots in France and Germany, as well as include informative research on American cabaret, its history and its current trends. I will have several chapters dedicated to the historical research and to other items such as the formatted libretto, documentation of a performance report from my thesis committee head, and a list of references used throughout the research and libretto chapters. I will include a structural and role analysis of the show itself and my contributions to it as outlined by the parameters of my graduate studies program. Several chapters of appendices will be included as information pertinent to the show such as costume, props, lighting lists as well as band and technical needs for the show itself. An introduction and conclusion will be created to bookend my document solidly and reveal myself as a person as well as a performer. This section will include reflective information on my intentions, triumphs, and tribulations, and will be codified through the opening and concluding perspectives. Through the process of writing the thesis monograph document I will create a public and personal record of the process, research, performance challenges, and decisions made throughout this journey. This document will be used as historical help to me should I need to refer to my thesis for later personal or professional use. The document will also be on record for the UCF theatre department, as I apply not only my performance training (as exhibited through the show itself) but also the research and critical thinking skills required of a masters degree candidate at a conservatory training program such as this one. Beyond its use for myself or for the department, I write this monograph document for others whose love and interest in studying the genre of cabaret match my own.M.F.A.
Department of Theatre
Arts and Humanities
Theatre
5
Williams, Belinda Raylene. "May you never feel the same about mental illness again -- : community theatre's contribution towards deinstitutionalising and destigmatising people with mental health problems : a case study: Lillian." Thesis, Queensland University of Technology, 2001.
Find full textAbstract:
This thesis investigates the field of arts-in-health in Australia by using Lillian 2000 as its primary case study. 'Arts-in-health' is a term coined by Sally Clifford in her Masters thesis (1997, p.3) to define participation-based community arts projects in healthcare settings. This research seeks to develop Clifford's work by analysing an arts-in-health project's impact on the community and its participants. Lillian is a rock musical written by Michael Bishop in collaboration with mental health patients at the Launceston Hospital in Tasmania in 1989. Over the past eleven years Lillian has been performed several times by a variety of people ranging from mental health workers and patients/clients, to community theatre groups and high school students. As a community theatre project, the musical aims to overcome public fears and destigmatise mental illness by raising community awareness and understanding about mental health issues. Issues addressed in this research include: the benefits of arts-in-health projects in healthcare settings; the need to combat negative stereotypes of mentally ill people proliferated by the media; a community theatre project's capacity to effect social change; and the discursive and ideological developments within mental healthcare - moving away from therapy to health promotion.
6
Smith, Felicity. "The Music of Rene Drouard de Bousset (1703-1760): a Source Study and Stylistic Survey, with Emphasis on His Sacred Output : a thesis submitted to the New Zealand School of Music in fulfilment of the degree of Master of Music in Musiology." New Zealand School of Music, 2008. http://hdl.handle.net/10179/1114.
Full textAbstract:
Rene Drouard de Bousset (1703-1760) was an admired composer and an organist of renown. This thesis examines this musician's life and work, and attempts to bring Bousset's music, hitherto largely unknown, to the attention of musicologists and performers today. Primarily a source study, the thesis makes a survey of all known copies of Bousset's published works, addressing questions of dates, reprints and corrections. Historical context and musical style are also discussed. Particular emphasis is given to Bousset's sacred music in the French language two volumes of sacred cantatas and eight settings of Odes sacrees by Jean-Baptiste Rousseau - and its place within the French tradition of Psalm paraphrase settings. The figure of J.B. Rousseau is also examined, as the librettist of Bousset's Odes, and as an important literary contributor to French music at the turn of the eighteenth century. The source study is supplemented by a catalogue in the style of the Philidor Oeuvres database produced by the Centre de Musique Baroque de Versailles, containing all Bousset's known works, extant and lost. This exposition of Bousset's compositional output is prefaced by a biographical overview assembled principally from eighteenth century publications and archival documents. Volume II of this thesis comprises a critical performing edition of Bousset's first volume of Cantates spirituelles (1739).
7
Fermelin, Fredrik. "Master essä." Thesis, Kungl. Konsthögskolan, 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:kkh:diva-21.
Full textAbstract:
Kapitel 1-5 är ett gestaltande utav de processer som en konstnärlig praktik består utav, i ful litterär form. Texten består även av ett inledande förord och en eftertext.[I examensarbetet ingår utställningen "Taking care of business":] Material: gelatin, senap, kontorsstolar, rökelse, laser, binärljud, robotdammsugare, kalender Teknik: installation perfromance
8
Degges, Douglas Ross. "Master of fine arts thesis." Thesis, University of Iowa, 2012. https://ir.uiowa.edu/etd/2854.
Full textAbstract:
In the course of studying painting for the past three years at the University of Iowa, I have found collaborating with other artists to be a great way for me to try on different hats. Two of these collaborations in particular, The Old Man Study Group with Hamlett Dobbins (Memphis, TN) and The Coracle Drawing Club with David Dunlap (Iowa City, IA), have given me the license and opportunity to pretend to be someone else. These collaborative projects have asked me to consider, and at times adopt, even if only for a moment, the interests and concerns of another maker. A few months into these two projects, I noticed that the work I was making on my own, in the isolation of my own studio, was suddenly open to the world's innovations, and not just my own.
9
Torres, Nuñes del Prado Paola. "Aphopenial Codex : Master Essay." Thesis, Kungl. Konsthögskolan, 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:kkh:diva-294.
Full text
10
Cameron-Caluori, George. "Philosophy and musical criticism." Thesis, University of Ottawa (Canada), 1988. http://hdl.handle.net/10393/5314.
Full text
11
Métois, Eric. "Musical sound information : musical gestures and embedding synthesis." Thesis, Massachusetts Institute of Technology, 1997. http://hdl.handle.net/1721.1/29125.
Full text
12
Mulinder, Guy. "Master of Fine Arts Thesis in Playwriting." Thesis, University of Canterbury. Humanities, 2011. http://hdl.handle.net/10092/5236.
Full text
13
Stjerne, Olle. "Master essay." Thesis, Kungl. Konsthögskolan, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:kkh:diva-332.
Full textAbstract:
In this essay my aim is to understand the machinations of the action of taking a photograph and putting it in circulation, and what the role of a sculpture becomes in a world where this is possible. In a general sense, how does instant representation through photography activate sculpture? Can sculpture change photography, or is the connection a one-way feed? Can it be that this connection determines our lives to such an extent that the success of one medium informs the strength of the other?Nej
14
Norin, Karl. "Master essay." Thesis, Kungl. Konsthögskolan, 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:kkh:diva-68.
Full textAbstract:
Mitt examensarbete består av en nerkyld utställning och en skriftlig essä som behandlar mejans arkitektur ur ett rättviseperspektiv.[I examensarbetet ingår utställningen "Hobby deluxe/blood web/Schengen tour":] Jag ställer ut tre målningar av syntetisk päls som är bestrukna med båtepoxy och gjutna i en vakuumpåse. Dessa visas på en svampmålad vägg.
Examensarbetet består av en skriftlig del och en gestaltande del. Alternativ titel anger namnet förden gestaltande delen.
15
Horowitz, Damon Matthew. "Representing musical knowledge." Thesis, Massachusetts Institute of Technology, 1995. http://hdl.handle.net/1721.1/61530.
Full text
16
Porter, Alastair. "Evaluating musical fingerprinting systems." Thesis, McGill University, 2013. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=117191.
Full textAbstract:
Audio fingerprinting is a process that uses computers to analyse small clips of music recordings to answer a common question that people who listen to music often ask : "What is the name of that song I hear ?" Audio fingerprinting systems identify musical content in audio and search a reference database for recordings that contain the same musical features. These systems can find matching recordings even when the query has been recorded in a public space and contains added noise. Different audio fingerprinting algorithms are better at identifying different types of queries, for example, queries that are short, or have a large amount of noise present in the signal. There are few comprehensive comparisons of fingerprinting systems available in the literature that compare the retrieval accuracy offingerprinting systems with a wide range of querys.This thesis presents an overview of the historical developments in audio fingerprinting, including an analysis of three state-of-the-art audio fingerprinting algorithms. The thesis introduces factors that must be considered when performing a comparative evaluation of many fingerprinting algorithms, and presents a new evaluation framework that has been developed to address these factors. The thesis contributes the results of a large-scale comparison between three audio fingerprinting algorithms, with an analysis recommending which algorithms should be used to identify music queries recorded in different situations.Le système d'empreinte audio est un procédé qui analyse de courts extraits de musique avec un ordinateur pour répondre à une question courante: « Quelle est le nom de cette chanson que j'écoute? ». Les systèmes d'empreintes audio identifient le contenu musical d'un enregistrement et cherchent des documents sonores possédant les même traits musicaux au sein d'une base de données de référence. Ces systèmes sont capables de fonctionner même si les requêtes qui leur sont transmises sont enregistrées dans un espace public, avec de nombreuses sources de bruit extérieur. Les différents algorithmes d'empreinte audio se distinguent par le type de requête qu'ils peuvent traiter: certains se concentrent sur des requêtes de courte durée, d'autres sont optimisés pour pouvoir être performant même dans des conditions de bruit très défavorables. Dans la littérature, il existe peu d'études comparatives poussées traitant spécifiquement des performances des systèmes de reconnaissance par empreinte audio dans un large éventail de cas.Cette thèse présente une vue d'ensemble de l'histoire du développement des systèmes d'empreinte audio. Cette thèse introduit en suite des facteurs qui doivent être pris en compte lors de l'évaluation comparative de plusieurs algorithmes pour la reconnaissance par empreinte audio. De plus, ce travail présente un nouveau cadre d'évaluation développé afin d'incorporer ces facteurs. Cette thèse combine les résultats d'une comparaison à grande échelle de trois algorithmes d'identification d'empreinte audio avec une analyse recommandant lequel de ces algorithmes est le plus efficace pour identifier la plus grande variété d'extraits audio.
17
Palencar, Christian L. "Puppet Master." Kent State University / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=kent1524495452335687.
Full text
18
Troyer, Akito van. "Score instruments : a new paradigm of musical instruments to guide musical wonderers." Thesis, Massachusetts Institute of Technology, 2017. http://hdl.handle.net/1721.1/120882.
Full textAbstract:
Thesis: Ph. D., Massachusetts Institute of Technology, School of Architecture and Planning, Program in Media Arts and Sciences, February 2018.Cataloged from PDF version of thesis.
Includes bibliographical references (pages 167-190).
Advancements in technology have made musical instruments, especially electronic instruments, accessible to the masses. As a result, music-making has become more widespread and convenient. However, the blackboxing practices of commercial Digital Musical Instruments (DMIs) have conditioned many users to produce only specific styles of music. Furthermore, as many of these commercial instruments produce sound through loudspeakers, rather than the body of the instrument, players lose the physical and tactile connection to sound and music. Consequently, these DMIs inhibit understanding of the relationship between musicality and our everyday physical world, and cut players off from exploring a more extensive range of musical possibilities. Despite the multiplication of music-making tools, music-making practices still operate on the same principles. The production of music requires instruments to generate organized physical sound energies that follow the schema of a score. This dissertation studies a new class of Interactive Music Systems (IMSs) called Score Instruments that embed both instrument and score into a single unified interface. Score Instruments reopen the range of possibilities offered by everyday sounds and objects as musical bricolage tools to bring players into a personalized, guided, and open-ended use of the instrument. Players of Score Instruments are called Musical Wonderers, as the instruments encourage them to focus on exploration to build their own musical language, rather than on the technically correct realization of music. The dissertation describes the concept of Score Instruments. Two instances of Score Instruments demonstrate how the techniques and criteria translate into specific IMSs. City Symphonies is a massive musical collaboration platform that encourages players to listen to their cities and create music with environmental sounds. MM-RT is a tabletop tangible musical instrument that employs electromagnetic actuators and small permanent magnets to physically induce sounds with found objects. Both projects exemplify how Score Instruments can simultaneously stimulate open creativity and provide meaningful direction and constraints that guide users to learn underlying principles about music and the physical world. The design investigations and historical perspective of this dissertation offer a future of music-making practice that is based on exploration and designed to broaden the definition and variety of music.
by Akito van Troyer.
Ph. D.
19
Albawardy, Reema. "Costume Designs for "Urinetown| The Musical"." Thesis, The George Washington University, 2015. http://pqdtopen.proquest.com/#viewpdf?dispub=1599645.
Full textAbstract:
Urinetown: The Musical by Greg Kotis and Mark Hollman was produced by the Department of Theatre and Dance at George Washington University in the Fall of 2014. The show opened on October 30, 2014 at the Dorothy Betts Marvin Theatre, part of the George Washington University in Washington DC. It was directed by Muriel Von Villas along with costume designer Reema Albawardy, lighting designer Carl Gudenius, and set designer Kirk Kristlibas. This thesis explores the costume design process for Urinetown: The Musical and the challenges of working with a large cast and dealing with many quick changes.
20
Severn, Edwin Philip. "Doctor of musical arts in performance critical commentary." Thesis, University of Salford, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.537556.
Full text
21
Rosenbaum, Eric (Eric Ross). "Explorations in musical tinkering." Thesis, Massachusetts Institute of Technology, 2015. http://hdl.handle.net/1721.1/97970.
Full textAbstract:
Thesis: Ph. D., Massachusetts Institute of Technology, School of Architecture and Planning, Program in Media Arts and Sciences, 2015.Cataloged from PDF version of thesis.
Includes bibliographical references (pages 171-174).
This thesis introduces the idea of "musical tinkering," exploring how to engage people in playfully creating and experimenting with their own musical instruments and compositions. I discuss the design and study of two new tools for musical tinkering, MelodyMorph and MaKey MaKey. MelodyMorph is an iPad app for making musical compositions on the screen. MaKey MaKey is an invention kit that lets you transform everyday objects into physical-digital musical instruments. Two themes of musical tinkering, the loop and the map, are woven throughout this thesis. Loops are feedback processes. They range in scope from rapid iterative design, through interpersonal interaction and creative emergence, to longer-term personal transformation. Maps are active visualizations. We use them to externalize our thought processes, and we fluidly manipulate them as we tinker, linking graphical or tangible symbols to musical sounds. I use loops and maps as the basis for design concepts for musical tinkering tools and to analyze musical tinkering as a learning process. I present case studies of middle school students tinkering as they use MelodyMorph to compose musical stories, reconstruct tunes from video games, and make musical cartoons. I also present case studies of MaKey MaKey, showing how people have used it to tinker with music "in the wild," in my own workshops, and in the work of other educators. Through these case studies I characterize musical tinkering using the concepts of musical landscape-making, musical backtalk, and musical inquiry. I show that loops and maps intertwine in the processes of collaborative emergence, inventing new maps for new instruments, and tinkering with musical ideas and musical attitudes. Finally, I conclude with visions for remaking the landscape of musical tinkering in the future.
by Eric Rosenbaum.
Ph. D.
22
Holbrow, Charles J. "Hypercompression : stochastic musical processing." Thesis, Massachusetts Institute of Technology, 2015. http://hdl.handle.net/1721.1/101838.
Full textAbstract:
Thesis: S.M., Massachusetts Institute of Technology, School of Architecture and Planning, Program in Media Arts and Sciences, 2015.Cataloged from PDF version of thesis.
Includes bibliographical references (pages [66]-70).
The theory of stochastic music proposes that we think of music as a vertical integration of mathematics, the physics of sound, psychoacoustics, and traditional music theory In Hypercompression, Stochastic Musical Processing we explore the design and implementation of three innovative musical projects that build on a deep vertical integration of science and technology in different ways: Stochastic Tempo Modulation, Reflection Visualizer, and Hypercompression. Stochastic Tempo Modulation proposes a mathematical approach for composing previously inaccessible polytempic music. The Reflection Visualizer introduces an interface for quickly sketching abstract architectural and musical ideas. Hypercompression describes new technique for manipulating music in space and time. For each project, we examine how stochastic theory can help us discover and explore new musical possibilities, and we discuss the advantages and shortcomings of this approach.
by Charles J. Holbrow.
S.M.
23
Ollivier, Michèle. "M'entendez-vous? : essai de sociologie du langage musical." Thesis, University of Ottawa (Canada), 1988. http://hdl.handle.net/10393/5298.
Full text
24
Chai, Wei 1972. "Automated analysis of musical structure." Thesis, Massachusetts Institute of Technology, 2005. http://hdl.handle.net/1721.1/33878.
Full textAbstract:
Thesis (Ph. D.)--Massachusetts Institute of Technology, School of Architecture and Planning, Program in Media Arts and Sciences, 2005.Includes bibliographical references (p. 93-96).
Listening to music and perceiving its structure is a fairly easy task for humans, even for listeners without formal musical training. For example, we can notice changes of notes, chords and keys, though we might not be able to name them (segmentation based on tonality and harmonic analysis); we can parse a musical piece into phrases or sections (segmentation based on recurrent structural analysis); we can identify and memorize the main themes or the catchiest parts - hooks - of a piece (summarization based on hook analysis); we can detect the most informative musical parts for making certain judgments (detection of salience for classification). However, building computational models to mimic these processes is a hard problem. Furthermore, the amount of digital music that has been generated and stored has already become unfathomable. How to efficiently store and retrieve the digital content is an important real-world problem. This dissertation presents our research on automatic music segmentation, summarization and classification using a framework combining music cognition, machine learning and signal processing. It will inquire scientifically into the nature of human perception of music, and offer a practical solution to difficult problems of machine intelligence for automatic musical content analysis and pattern discovery.
(cont.) Specifically, for segmentation, an HMM-based approach will be used for key change and chord change detection; and a method for detecting the self-similarity property using approximate pattern matching will be presented for recurrent structural analysis. For summarization, we will investigate the locations where the catchiest parts of a musical piece normally appear and develop strategies for automatically generating music thumbnails based on this analysis. For musical salience detection, we will examine methods for weighting the importance of musical segments based on the confidence of classification. Two classification techniques and their definitions of confidence will be explored. The effectiveness of all our methods will be demonstrated by quantitative evaluations and/or human experiments on complex real-world musical stimuli.
by Wei Chai.
Ph.D.
25
Clark, Alan. "Brown study an original musical recording." Honors in the Major Thesis, University of Central Florida, 2012. http://digital.library.ucf.edu/cdm/ref/collection/ETH/id/673.
Full textAbstract:
For a year and a spring semester, I have been in the works of a school music project. I set out to make a record of ten self-penned songs. Along the length of the project, I would discover musicians and recording artists. I notated my songs on a staff and recorded demos to assist players of drums, electric bass, French horn, and violin. I play guitar, percussion, synthesized instruments, and do all of the singing on Brown Study, the record's title. The technology used to create the songs include a Tascam 2488 (home digital recording device), computers, printers, cell phones and i-phones, amplifiers, microphones and headphones, and a drum machine. This is my first attempt at collaborating with other musicians. At the defense I will be presenting 4 songs: "Runaway," "Lonely Heart," "Topsy Turvy," and "Friendliest Advice." Each song has a particular history and story to tell containing influences and aesthetic philosophies. My gift is to be shared with whoever will listen upon completing and distributing the full-length album.B.A.
Bachelors
Arts and Humanities
Music Education
26
Weinberg, Gil 1967. "Expressive digital musical instruments for children." Thesis, Massachusetts Institute of Technology, 1999. http://hdl.handle.net/1721.1/62942.
Full textAbstract:
Thesis (S.M.)--Massachusetts Institute of Technology, School of Architecture and Planning, Program in Media Arts and Sciences, 1999.Includes bibliographical references (p. 87-92).
This thesis proposes to use technology to introduce children to musical expressivity and creativity. It describes a set of digital musical instruments that were developed in an effort to provide children with new tools for interaction, exploration and enjoyment of music. The thesis unfolds a multidisciplinary theoretical background, which reviews a number of philosophical, psychological, musical, and technological theories. The theoretical background focuses on enlightening a number of personal musical experiences and leads towards the formulation of three musical concepts that inform the design of the digital musical instruments. The musical concepts are: High and Low-level Musical Control, Immersive and Constructive Musical Experiences and Interdependent Group Playing. The thesis presents the embodiment of these concepts in digital musical instruments while emphasizing the importance of novel technology as a provider of creative and expressive musical experiences for children.
by Gil Weinberg.
S.M.
27
Overholt, Daniel James 1974. "The Emonator : a novel musical interface." Thesis, Massachusetts Institute of Technology, 2000. http://hdl.handle.net/1721.1/62353.
Full textAbstract:
Thesis (S.M.)--Massachusetts Institute of Technology, Program in Media Arts & Sciences, 2000.Includes bibliographical references (p. 75-77).
This thesis will discuss the technical and artistic design of the Emonator', a novel interactive musical interface which responds to gestural input with realtime aural and visual feedback. A user interacts with the Emonator by manipulating the surface formed by a bed of rods at the top of the Emonator. The user's movements are analyzed and used to control several music and sound generation engines as well as video streams in real-time. The Emonator is an interesting musical experience for both amateur and professional musicians. It is also versatile, working well as a stand-alone interface or as part of a larger interactive experience.
by Daniel James Overholt.
S.M.
28
Hughes, Adam Lefever. "Assai| Historical Contexts of a Contested Musical Term." Thesis, The University of North Carolina at Greensboro, 2017. http://pqdtopen.proquest.com/#viewpdf?dispub=10264065.
Full textAbstract:
This study seeks to establish the feasibility of assai as a moderating term in more cases than is typically assumed. Since evidence of concurrent competing definitions for the term assai exists from the mid- to late-18th century, understanding and putting into practice a composer’s indications according to his own understanding of the term becomes murky where the word assai is concerned during and beyond the time when the two definitions exist concurrently. Through investigation of musical scores, examining such features as ornamentation, the relative brilliance of the work, tonality, meter, and structure, the characteristics of a piece of music that are crucial to navigating the multivalent qualities of the word assai are identified and tested against the actual musical content of examples from works of J. S. Bach, Domenico Scarlatti, W. F. Bach, J. C. F. Bach, Johann Friedrich Agricola, C. P. E. Bach, W. A. Mozart, F. J. Haydn, Ludwig van Beethoven, Frédéric Chopin, and Franz Liszt.
29
Jensen, Christina René. "Master essay : a part of the garden." Thesis, Kungl. Konsthögskolan, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:kkh:diva-331.
Full text
30
Wong, Vivian Lola. "MACMAHON'S MASTER THEOREM AND INFINITE DIMENSIONAL MATRIX INVERSION." Master's thesis, University of Central Florida, 2004. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/4443.
Full textAbstract:
MacMahon's Master Theorem is an important result in the theory of algebraic combinatorics. It gives a precise connection between coefficients of certain power series defined by linear relations. We give a complete proof of MacMahon's Master Theorem based on MacMahon's original 1960 proof. We also study a specific infinite dimensional matrix inverse due to C. Krattenthaler.M.S.
Department of Mathematics
Arts and Sciences
Mathematics
31
Campbell, Spencer Evison. "Automatic key detection of musical excerpts from audio." Thesis, McGill University, 2011. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=96769.
Full textAbstract:
The proliferation of large digital audio collections has motivated recent research on content-based music information retrieval. One of the primary goals of this research is to develop new systems for searching, browsing, and retrieving music. Since tonality is a primary characteristic in Western music, the ability to detect the key of an audio source would be a valuable asset for such systems as well as numerous other applications.A typical audio key finding model is comprised of two main elements: feature extraction and key classification. Feature extraction utilizes signal processing techniques in order to obtain a set of data from the audio, usually representing information about the pitch content. The key classifier may employ a variety of strategies, but is essentially an algorithm that uses the extracted data in order to identify the key of the excerpt.This thesis presents a review of previous audio key detection techniques, as well as an implementation of an audio key detection system. Various combinations of feature extraction algorithms and classifiers are evaluated using three different data sets of 30-second musical excerpts. The first data set consists of excerpts from the first movement of pieces from the classical period. The second data set is comprised of excerpts of popular music songs. The final set is made up of excerpts of classical music songs that have been synthesized from MIDI files. A quantitative assessment of the results leads to a system design that maximizes key identification accuracy.La prolifération de grandes collections de musique numérique a récemment mené à de la recherche qui porte sur la récupération d'information musical d'après le contenu. Un des principaux objectifs de ce travail de recherche est de développer un nouveau system qui permet de chercher, feuilleter et récupérer de la musique numérique. Étant donné que la tonalité est une des principales caractéristiques de la musique occidentale, l'habilité de détecter la tonalité d'une bande sonre serait un outil indispensable pour un tel system et pourrait mener à maintes autres applications. Un model de détection de tonalité typique comprend deux principaux éléments : l'identification des structures et la classification des tonalités. L'identification des structures comprend des techniques de traitement de signaux afin d'obtenir de l'information à partir d'une bande sonore, cette information porte typiquement sur le contenu du ton. Un classificateur de tonalité peut servir plusieurs fonctions, mais est essentiellement un algorithme qui traite l'information extraite d'une bande sonore afin d'identifier sa tonalité.Cette thèse vise à revoir les techniques de détection de tonalité existantes, ainsi que implantation d'un tel système. Diverses combinaisons de classificateurs et d'algorithmes de télédétection et de reconnaissance seront évaluées en utilisant trois différentes bandes sonores d'une durée de 30 secondes. La première bande sonore comprend des extraits de musique classique. La deuxième bande sonore comprend des extraits de musique populaire. La troisième bande sonore comprend des extraits de musique classique créés avec un synthétiseur employant l'interface numérique des instruments de musique (MIDI). Une analyse quantitative des résultats mènera à un système qui optimise la détection de tonalité.
32
Meine, Rodrigo. "Restrições e liberdade em composição musical : memorial de composição." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2012. http://hdl.handle.net/10183/61262.
Full textAbstract:
O presente memorial consiste em uma reflexão sobre os atos criativos de um conjunto de composições, acompanhado das respectivas partituras e de registros audiovisuais. A reflexão tem início com o estabelecimento do referencial teórico, prossegue com uma abordagem de cada uma das quatro composições e é encerrada por meio de algumas conclusões a respeito dos trabalhos realizados. O enfoque adotado para a investigação é o conceito de restrições, cuja definição como elemento norteador do ato composicional, no contexto deste memorial, é elaborada no capítulo inicial. Os capítulos seguintes investigam as composições individualmente, ressaltando, à luz do conceito-chave, fatores técnicos e estéticos presentes ao longo do ato criativo e elucidando retrospectivamente decisões composicionais cujo resultado são as partituras apresentadas. O capítulo conclusivo delineia breves generalizações a respeito do trabalho realizado como um todo, assim como aponta aspectos passíveis de considerações futuras.This paper consists in a reflection about the creative acts of a set of compositions, together with their respective scores and audiovisual recordings. The discussion begins with the establishment of the theoretical framework, proceeds with an approach of each of the four compositions and is closed by a few conclusions about the work carried out. The approach taken for the research is the concept of constraints, whose understanding and definition as a guiding element of the compositional act, in the context of this paper, is elaborated in the opening chapter. The following chapters discuss the compositions individually, noting, in light of the central concept, technical and aesthetic factors present during the creative act and retrospectively elucidating compositional decisions whose results are the presented scores. The concluding chapter outlines brief generalizations about the work as a whole as well as pointing aspects that may be subject to future considerations.
33
Jing, Jing. "Fossil Peonies and Birds Master of Arts in Studio Art Thesis." Digital Commons @ East Tennessee State University, 2011. https://dc.etsu.edu/etd/1281.
Full textAbstract:
Because of influences of Chinese flower-and-bird paintings, I created a series of fossil peonies and birds paintings. This paper describes the concept of this series, materials, creative process, cultural and contextual influences, and the artists who inspired my works. Several problems I encountered during the creative process were addressed and have been solved to my satisfaction. My concept was influenced by my desire to combine Western painting techniques with Eastern topic and style.
34
Farbood, Morwaread Mary. "A quantitative, parametric model of musical tension." Thesis, Massachusetts Institute of Technology, 2006. http://hdl.handle.net/1721.1/34182.
Full textAbstract:
Thesis (Ph. D.)--Massachusetts Institute of Technology, School of Architecture and Planning, Program in Media Arts and Sciences, 2006.Includes bibliographical references (leaves [125]-132).
This thesis presents a quantitative, parametric model for describing musical tension. While the phenomenon of tension is evident to listeners, it is difficult to formalize due to its subjective and multi-dimensional nature. The model is therefore derived from empirical data. Two experiments with contrasting approaches are described. The first experiment is an online test with short musical excerpts and multiple choice answers. The format of the test makes it possible to gather large amounts of data. The second study requires fewer subjects and collects real-time responses to musical stimuli. Both studies present test subjects with examples that take into account a number of musical parameters including harmony, pitch height, melodic expectation, dynamics, onset frequency, tempo, and rhythmic regularity. The goal of the first experiment is to confirm that the individual musical parameters contribute directly to the listener's overall perception of tension. The goal of the second experiment is to explore linear and nonlinear models for predicting tension given descriptions of the musical parameters for each excerpt. The resulting model is considered for potential incorporation into computer-based applications. Specifically, it could be used as part of a computer-assisted composition environment. One such application, Hyperscore, is described and presented as a possible platform for integration.
by Morwaread M. Farbood.
Ph.D.
35
Krom, Matthew Wayne. "Machine perception of natural musical conducting gestures." Thesis, Massachusetts Institute of Technology, 1996. http://hdl.handle.net/1721.1/61823.
Full text
36
Atkinson, Victoria. "Unravelling the musical in art : Matisse, his music and his textiles." Thesis, University of Essex, 2017. http://repository.essex.ac.uk/21219/.
Full textAbstract:
From flamenco guitarists to parlour pianists, Matisse’s images of music-making often appear within decorative scenes of gleaming carpets, multi-coloured costumes and lavishly embroidered wall hangings. All of these textiles and more comprised what he called ‘ma bibliothèque de travail’, a working library of inspiration that he maintained throughout his career. ‘I am made up of everything I have seen,’ he remarked, to which he might have added, ‘and heard.’ Practising, performing, listening and concert-going: music, like textiles, was a lifelong pursuit. But his passion for them is not simply of anecdotal significance, nor does it explain their mere co-existence as the subject-matter of his art. Rather, just as music and textiles are interwoven at every stage of his life, so too is their structural and conceptual significance in his work. In a series of case studies, a single textile from his working library is paired with the art it inspired: the kasāya robe and 'The Song of the Nightingale'; the Moghan rug and the Symphonic Interiors; and the Bakuba velours and 'Jazz'. In each case, visual form is found to have musical counterpart, both in the textiles themselves and as represented by Matisse. This opens up new, more imaginative possibilities of interpreting his visual musicality, which is found to be metaphysical, modal and motivic in concept. Finally, these separate strands are drawn together in a single synoptic analysis of the Chapel of the Rosary, the artist’s self-proclaimed masterpiece and ‘total’ work of art. This thesis explores the expansive musical space created by the reduced visual form of textiles. Considered together for the first time, these enduring and inseparable continuities of Matisse’s art – music and textiles – suggest not only a means of unravelling his own visual musicality, but point towards a much-needed methodology for interpreting this notion more broadly.
37
Robertson, Hannah. "Testing a new tool for alignment of musical recordings." Thesis, McGill University, 2014. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=121523.
Full textAbstract:
Audio-to-audio alignment of musical recordings is the mapping of events in one recording to their corresponding events in other recordings of the same underlying musical piece. Among other applications, musical audio-to-audio alignment is used for: comparing and analyzing musical performances; finding different performances and arrangements of a musical work in a database; discovering musical motifs in field recordings of folk music; automatically synchronizing multiple takes (re-recordings of specific excerpts) in a recording studio; and aligning a musician's performance to a score in realtime, for purposes of interactive performance such as automated accompaniment. This thesis investigates audio-to-audio alignment by an algorithm that has not previously been applied to music, the continuous profile model (CPM) (Listgarten et al. 2005).In this thesis, the CPM is used to align pairs of recordings (pairwise alignment) as well as groups containing more than two recordings (multiple alignment). A standard evaluation methodology is used to systematically compare pairwise alignment by the CPM to pairwise alignment by dynamic time warping (DTW), the algorithm most frequently used for audio-to-audio alignment of music. The evaluation methodology is then generalized to multiple dimensions in order to compare two approaches to multiple alignment: simultaneous multiple alignment with the CPM and iterative pairwise alignment with DTW.L'alignement audio-audio des enregistrements sonores est le mappage de certains moments dans un enregistrement aux moments correspondants dans d'autres enregistrements de la même pièce musicale. Parmi d'autres applications, l'alignement audio-audio sert à: comparer et analyser des performances musicales; trouver de plusieurs performances et arrangements d'une oeuvre musicale dans une base de données; découvrir des motifs musicaux dans des enregistrements de terrain de la musique folk; synchroniser automatiquement de multiples prises (réenregistrements d'extraits spécifiques) dans un studio d'enregistrements; et aligner une performance d'un musicien qui utilise une partition en temps réel pour permettre des performances interactifs avec des ordinateurs, par exemple, l'accompagnement automatisé. Dans cette thèse, on examine l'alignement des enregistrements musicaux accompli par un algorithme qui n'a auparavant jamais été appliqué à la musique qui s'appelle le « modèle du profil continu » (« continuous profile model » ou « CPM » en anglais) (Listgarten et al. 2005).Cette thèse examine la CPM pour les alignements deux à deux et les alignements multiples des enregistrements sonores. On emploie une méthodologie standard pour comparer systématiquement l'alignement deux à deux accompli par le CPM à l'alignement deux à deux accompli par la « déformation temporelle dynamique » (en anglais, « dynamic time warping » ou « DTW »), l'algorithme le plus souvent employé pour l'alignement audio-audio de la musique. La méthodologie d'évaluation est ensuite généralisé à plusieurs dimensions à comparer deux approches pour l'alignement multiple: alignement multiple simultanée par le CPM à itérative alignement par paires avec DTW.
38
Pashenkov, Nikita 1975. "Optical turntable as an interface for musical performance." Thesis, Massachusetts Institute of Technology, 2002. http://hdl.handle.net/1721.1/62364.
Full textAbstract:
Thesis (S.M.)--Massachusetts Institute of Technology, School of Architecture and Planning, Program in Media Arts and Sciences, 2002."June 2002."
Includes bibliographical references (leaves 80-82).
This thesis proposes a model of creative activity on the computer incorporating the elements of programming, graphics, sound generation, and physical interaction. An interface for manipulating these elements is suggested, based on the concept of a disk-jockey turntable as a performance instrument. A system is developed around this idea, enabling optical pickup of visual information from physical media as input to processes on the computer. Software architecture(s) are discussed and examples are implemented, illustrating the potential uses of the interface for the purpose of creative expression in the virtual domain.
Nikita Pashenkov.
S.M.
39
Lefford, M. Nyssim 1968. "The structure, perception and generation of musical patterns." Thesis, Massachusetts Institute of Technology, 2004. http://hdl.handle.net/1721.1/28781.
Full textAbstract:
Thesis (Ph. D.)--Massachusetts Institute of Technology, School of Architecture and Planning, Program in Media Arts and Sciences, 2004.Includes bibliographical references (p. 149-151).
Structure distinguishes music from noise. When formulating that structure, musical artists rely on both mental representations and sensory perceptions to organize pitch, rhythm, harmony, timbre and dynamics into musical patterns. The generative process may be compared to playing a game, with goals, constraints, rules and strategies. In this study, games serve as a model for the interrelated mechanisms of music creation, and provide a format for an experimental technique that constrains creators as they generate simple rhythmic patterns. Correlations between subjects' responses and across experiments with varied constraints provide insight into how structure is defined in situ and how constraints impact creators' perceptions and decisions. Through the music composition games we investigate the nature of generative strategizing, refine a method for observing the generative process, and model the interconnecting components of a generative decision. The patterns produced in these games and the findings derived from observing how the games are played elucidate the roles of metric inference, preference and the perception of similarity in the generative process, and lead us to a representation of generative decision tied to a creator's perception of structure.
M. Nyssim Lefford.
Ph.D.
40
Su, David(David Dewei). "Massively multiplayer operas : interactive systems for collaborative musical narrative." Thesis, Massachusetts Institute of Technology, 2019. https://hdl.handle.net/1721.1/123644.
Full textAbstract:
Thesis: S.M., Massachusetts Institute of Technology, School of Architecture and Planning, Program in Media Arts and Sciences, 2019Cataloged from PDF version of thesis.
Includes bibliographical references (pages 74-79).
Music, narrative, and social interaction have long been intertwined. The objective of this thesis is to create a platform, designed for interactive multiplayer operas, that explores the potential for technology-enabled systems to facilitate creativity through expression, the emotional affordances of musical storytelling, and the spatiotemporal boundaries of copresence. A variety of design experiments for collaborative musical narrative are implemented and evaluated. The work also introduces a real-time lyrical conversation system, with user interfaces that allow for simultaneous musical and narrative expression with a high degree of granularity. These experiences are encapsulated by an overarching lyrical multiplayer narrative opera platform. This project seeks to provide a novel means of creating and understanding multi-user, interactive music systems in which users participate in active and collaborative music-making in conjunction with narrative engagement.
by David Su.
S.M.
S.M. Massachusetts Institute of Technology, School of Architecture and Planning, Program in Media Arts and Sciences
41
Castillo, Keith Anthony. "Relational database for the Master of Arts in Education Instructional Technology Program." CSUSB ScholarWorks, 2003. https://scholarworks.lib.csusb.edu/etd-project/2189.
Full textAbstract:
This project was created to develop a database for students and teachers to allow accurate, efficient and reliable tracking of student's academic information. The database was designed specifically for faculty and students within the Master of Arts in Education, Instructional Technology Program at California State University, San Bernardino.
42
Stedman, Kyle D. "Musical Rhetoric and Sonic Composing Processes." Scholar Commons, 2012. http://scholarcommons.usf.edu/etd/4229.
Full textAbstract:
This project is a study of musical rhetoric and music composition processes. It asks the questions, "How does the nature of music as sound-in-time affect its rhetorical functions, production, and delivery?" and "How do composers approach the task of communicating with audiences through instrumental music?" I answer these questions by turning to the history of musical rhetoric as practiced in the field of musicology and by interviewing composers themselves about their composition practices--approaches that are both underused in the rhetoric and composition community.
I frame my research participants' responses with a discussion of the different degrees to which composers try to control the eventual meaning made from their compositions and the different ways that they try to identify with their audiences. While some composers express a desire to control audiences' emotions and experiences through the use of forms and careful predictions about an audience's reactions to certain genres and influences, other composers express a comfort with audiences composing their own meanings from musical sounds, perhaps eschewing or transforming traditional forms and traditional performance practices. Throughout, I argue for the importance of considering all of these perspectives in the context of actually hearing music, as opposed to taming and solidifying it into a score on a page.
These composers' insights suggest the importance of understanding musical rhetoric as an act based in sound and time that guides meaning but can never control it. They also suggest new ways of teaching English composition courses that are inspired by the experiences and practices of music composition students. Specifically, I argue that English composition courses should better rely on the self-sponsored literacies that students bring to classrooms, stretch the ways these courses approach traditional rules of composing, and approach digital tools, collaboration, and delivery in ways that mirror the experiences of music students.
43
Jacobs, Bryan. "Coloring regret: emotional prosody as a metaphor for musical composition." Thesis, McGill University, 2008. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=18765.
Full textAbstract:
Coloring Regret is a musical composition written for 21 musicians, one sound technician, and electronics. This essay is an analysis and description of the compositional tools and methods developed during the compositional process. The piece attempts to explore a relationship between emotional expression in the human voice and emotional expression in music. The inspiration for this work came from current research in emotional prosody which suggests that there are identifiable components to human speech that allow listeners to accurately interpret a speaker's emotional state. Audio files in which actors portray outbursts of emotional energy were analyzed and categorized, then later transcribed for acoustic instruments. An omni-present lament motive suggested a specific path through a previously developed harmonic “gravity” system. The final composition implies a journey from the “Vocal Sound Object World”- with a dramatic vocal, textural, and naturalistic electronic component – to the “Traditional Pitch and Rhythm-based World” dominated by clear rhythms, timbres, and pitches.Coloring Regret est une composition musicale écrite pour 21 musiciens, un technicien du son et électronique. Cet essai est une analyse et description des outils et méthodes de composition développés pendant le processus compositionnel. La pièce tente d'explorer un rapport entre l'expression émotionnelle dans la voix humaine et l'expression émotionnelle en musique. Cette pièce à été inspirée par des recherches récentes en prosodie émotionnelle qui suggèrent que des composantes identifiables de la parole humaine permettent à un auditeur d'interpréter précisément l'état émotionnel d'un locuteur. Des fichiers audio dans lesquels des acteurs illustrent des débordements d'énergie émotionnelle ont été analysés et catégorisés, puis transcrits plus tard pour des instruments acoustiques. Un motif de lamentation omni-présent a suggéré un parcours spécifique à travers un système harmonique 'gravitationnel' développé auparavant. La composition finale implique un périple partant du -Monde des Objets Sonores Vocaux-, avec une composante électronique vocale, texturale et naturaliste dramatique, vers le -Monde Traditionnel du Rythme et des Hauteurs- dominé par des rythmes, timbres et hauteurs clairs.
44
Boyes, Graham. "Dictionary-based analysis/synthesis and structured representations of musical audio." Thesis, McGill University, 2012. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=106507.
Full textAbstract:
In the representation of musical audio, it is common to favour either a signal or symbol interpretation, where mid-level representation is an emerging topic. In this thesis we investigate the perspective of structured, intermediate representations through an integration of theoretical aspects related to separable sound objects, dictionary-based methods of signal analysis, and object-oriented programming. In contrast to examples in the literature that approach an intermediate representation from the signal level, we orient our formulation towards the symbolic level. This methodology is applied to both the specification of analytical techniques and the design of a software framework. Experimental results demonstrate that our method is able to achieve a lower Itakura-Saito distance, a perceptually-motivated measure of spectral dissimilarity, when compared to a generic model and that our structured representation can be applied to visualization as well as agglomerative post-processing.Dans la représentation du signal audio musical, il est commun de favoriser une interprétation de type signal ou bien de type symbole, alors que la représentation de type mi-niveau, ou intermédiaire, devient un sujet d'actualité. Dans cette thèse nous investiguons la perspective de ces représentations intermédiaires et structurées. Notre recherche intègre tant les aspects théoriques liés à des objets sonores séparables, que les méthodes d'analyse des signaux fondées sur des dictionnaires, et ce jusqu'à la conception de logiciels conus dans le cadre de la programmation orienté objet. Contrairement aux exemples disponibles dans la littérature notre approche des représentations intermédiaires part du niveau symbolique pour aller vers le signal, plutôt que le contraire. Cette méthodologie est appliquée non seulement à la spécification de techniques analytiques mais aussi à la conception d'un système logiciel afférent. Les résultats expérimentaux montrent que notre méthode est capable de réduire la distance d'Itakura-Saito, distance fondé sur la perception, ceci en comparaison à une méthode de décomposition générique. Nous montrons également que notre représentation structurée peut être utilisée dans des applications pratiques telles que la visualisation, l'agrégation post-traitement ainsi qu'en composition musicale.
45
Walker, Seth. "Musical Spirituality: The Transformative Power of Popular Music." Honors in the Major Thesis, University of Central Florida, 2007. http://digital.library.ucf.edu/cdm/ref/collection/ETH/id/1050.
Full textAbstract:
This item is only available in print in the UCF Libraries. If this is your Honors Thesis, you can help us make it available online for use by researchers around the world by following the instructions on the distribution consent form at http://library.ucf.edu/Systems/DigitalInitiatives/DigitalCollections/InternetDistributionConsentAgreementForm.pdf You may also contact the project coordinator, Kerri Bottorff, at kerri.bottorff@ucf.edu for more information.Bachelors
Arts and Humanities
Humanities
46
Chinburg, Jenna. "The Perception of Trust Between Athletic Trainers and Musical Performing Artists." Thesis, San Jose State University, 2017. http://pqdtopen.proquest.com/#viewpdf?dispub=10634918.
Full textAbstract:
Trust is a crucial element for a successful patient-clinician relationship. Athletic trainers may care for musical performing artists who demonstrate unique needs compared to traditional patients. In order to provide the best care, athletic trainers must establish a basis of patient-centered care and build solid professional relationships with performers. By improving overall patient-clinician relationship factors with respect to this population, trust may be implemented and sustained. The purpose of the study was to determine factors that established or diminished trust between drum corps members and their athletic trainers. The study included 12 semi-structured interviews in which Drum Corps International (DCI) members defined and analyzed the perception of trust held within this population in relation to athletic trainer interaction. Trustworthiness techniques of member checks, triangulation, external auditing, connoisseurship, and negative case analyses were used. The qualitative methods determined perception of trust through emergent themes and the effect of trust on the patient-clinician relationship. The study further identified factors that maintained or inhibited the aspect of trust between performer and athletic trainer. Accessibility, clinical competence, dependability, comfort, and having a plan of action were found to be the most prominent themes and promote success within this relationship. Overall, trust plays a role in determining patient rapport, compliance, and timely return-to-play through the patient-clinician relationship in the performing arts setting.
47
Fabio, Michael A. S. M. Massachusetts Institute of Technology. "The chandelier : an exploration in robotic musical instrument design." Thesis, Massachusetts Institute of Technology, 2007. http://hdl.handle.net/1721.1/39342.
Full textAbstract:
Thesis (S.M.)--Massachusetts Institute of Technology, School of Architecture and Planning, Program in Media Arts and Sciences, 2007.Includes bibliographical references (leaves 169-173).
This thesis presents several works involving robotic musical instruments. Robots have long been used in industry for performing repetitive tasks, or jobs requiring superhuman strength. However, more recently robots have found a niche as musical instruments. The works presented here attempt to address the musicality of these instruments, their use in various settings, and the relationship of a robotic instrument to its human player in terms of mapping and translating gesture to sound. The primary project, The Chandelier, addresses both hardware and software issues, and builds directly from experience with two other works, The Marshall Field's Flower Show and Jeux Deux. The Marshall Field's Flower Show is an installation for several novel musical instruments and controllers. Presented here is a controller and mapping system for a Yamaha Disklavier player piano that allows for real-time manipulation of musical variations on famous compositions. The work is presented in the context of the exhibit, but also discussed in terms of its underlying software and technology. Jeux Deux is a concerto for hyperpiano, orchestra, and live computer graphics.
(cont.) The software and mapping schema for this piece are presented in this thesis as a novel method for live interaction, in which a human player duets with a computer controlled player piano. Results are presented in the context of live performance. The Chandelier is the culmination of these past works, and presents a full-scale prototype of a new robotic instrument. This instrument explores design methodology, interaction, and the relationship-and disconnect-of a human player controlling a robotic instrument. The design of hardware and software, and some mapping schema are discussed and analyzed in terms of playability, musicality, and use in public installation and individual performance. Finally, a proof-of-concept laser harp is presented as a low-cost alternative musical controller. This controller is easily constructed from off-the-shelf parts. It is analyzed in terms of its sensing abilities and playability.
Michael A. Fabio.
S.M.
48
Hammond, Edward Vickers 1974. "Multi-modal mixing : gestural control for musical mixing systems." Thesis, Massachusetts Institute of Technology, 2000. http://hdl.handle.net/1721.1/69188.
Full textAbstract:
Thesis (S.M.)--Massachusetts Institute of Technology, School of Architecture and Planning, Program in Media Arts and Sciences, 2000.Includes bibliographical references (p. 51-53).
The hi-end tools available to today's sound designers give them almost limitless control over audio processing. Devices such as Yamaha's new digital mixers and Digidesign's Pro-Tools computerized editing workstations allow users in a small studio to accomplish tasks which would have required racks full of gear only seven years ago in a professional studio. However, the evolution of the interfaces used with these systems have not kept pace with the improvements in functionality. With all of their complexity, the new digital mixing consoles still look like the old analog mixers, with the addition of an LCD screen. This thesis will introduce a new type of concept called Multi-Modal Mixing that aims to enhance current systems and point to a new standard of audio control.
by Edward Vickers Hammond.
S.M.
49
Feldmeier, Mark Christopher 1974. "Large group musical interaction using disposable wireless motion sensors." Thesis, Massachusetts Institute of Technology, 2003. http://hdl.handle.net/1721.1/33547.
Full textAbstract:
Thesis (S.M.)--Massachusetts Institute of Technology, School of Architecture and Planning, Program in Media Arts and Sciences, 2003.Includes bibliographical references (p. 113-114).
One of the difficulties in interactive music and entertainment is creating environments that reflect and react to the collective activity of groups with tens, hundreds, or even thousands of participants. Generating content on this scale involves many challenges. For example, how is the individual granted low latency control and a sense of causality, while still allowing for information retrieval from all participants so that the environment responds to the behavior of the entire group? These issues are particularly pertinent in the area of interactive dance. To address these issues, a low-cost, wireless motion sensor has been developed. The sensor is inexpensive enough to be considered disposable, allowing it to be given away to participants at large dance events, enabling the dancers to participate concurrently in a realtime, interactive musical performance. The sensors are either worn or held by participants and transmit a short RF pulse when accelerated past a certain threshold. The RF pulses are received by a base station and analyzed to detect rhythmic features and estimate the general activity level of the group. These data are then used to generate music that can either lead or follow the participants' actions, thereby tightening the feedback loop between music and dancer. Multiple tests of the system have been conducted, with groups ranging from fifteen to 200 participants. Results of these tests show the viability of the sensors as a large group interaction tool. Participants found the interface intuitive to use, effectively controlling such aspects of the music as style, tempo, voicing, and filter parameters. These tests also demonstrate the system's ability to detect both the activity level and dominant tempo of the participants' motions, and give considerable insight into methods of mapping these data to musical parameters that give participants direct feedback as to their current state. Furthermore, it is shown that participants, if given this direct feedback, will synchronize their actions and increase in activity level, creating a mutually coherent and pleasing outcome.
by Mark Christopher Feldmeier.
S.M.
50
Grindlay, Graham Charles. "The impact of haptic guidance on musical motor learning." Thesis, Massachusetts Institute of Technology, 2007. http://hdl.handle.net/1721.1/41562.
Full textAbstract:
Thesis (S.M.)--Massachusetts Institute of Technology, School of Architecture and Planning, Program in Media Arts and Sciences, 2007.This electronic version was submitted by the student author. The certified thesis is available in the Institute Archives and Special Collections.
Includes bibliographical references (p. 75-80).
Skilled musical performance provides one of the best demonstrations of the upper limits of the human motor system's capabilities. It is therefore not surprising that learning to play an instrument is a long and difficult process. Teachers and education researchers alike have long since recognized that while learning rate is dependent on the quantity of practice, perhaps even more important is the quality of that practice. However, for non-trivial skills such as music performance, just gaining an understanding of what physical movements are required can be challenging since they are often difficult to describe verbally. Music teachers often communicate complex gesture by physically guiding their students' hands through the required motions. However, at best, this gives a rough approximation of the target movement and begs the question of whether technology might be leveraged to provide a more accurate form of physical guidance. The success of such a system could lead to significant advancements in music pedagogy by speeding and easing the learning process and providing a more effective means of home instruction. This thesis proposes a "learning-by-feel" approach to percussion instruction and presents two different systems to test the effect of guidance on motor learning. The first system, called the FielDrum, uses a combination of permanent and electromagnets to guide a player's drumstick tip through the motions involved in the performance of arbitrary rhythmic patterns. The second system, called the Haptic Guidance System, uses a servo motor and optical encoder pairing to provide precise measurement and playback of motions approximating those involved in snaredrum performance. This device was used in a pilot study of the effects of physical guidance on percussion learning.
(cont.) Results indicate that physical guidance can significantly benefit recall of both note timing and velocity. When subject performance was compared in terms of note velocity recall, the addition of haptic guidance to audio-based training produced a 17% reduction in final error when compared to audio training alone. When performance was evaluated in terms of timing recall, the combination of audio and haptic guidance led to an 18% reduction in early-stage error.
by Graham C. Grindlay.
S.M.