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Dissertations / Theses on the topic 'Minimal music'
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Paterson, Alexis. "Minimal kaleidoscope : exploring minimal music through the lens of postmodernity." Thesis, Cardiff University, 2011. http://orca.cf.ac.uk/54427/.
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Both minimal(ism) and postmodern(ism/ity) are terms that occupy a peculiar space in contemporary discourse: in academic circles their characterisation is contested and debated in everyday life they have become so ubiquitous that everyone associates them with something, but not necessarily with any degree of consensus. Both become widely recognised terms during the latter half of the twentieth century: decades characterised by unprecedented globalisation of culture and communication. This thesis seeks to explore the emergence of these terms, and the events they sought to describe, but it does not attempt to impose a 'correct' definition on either term. Instead, the thesis investigates the discourse that surrounds each concept, assembling a network of ideas that characterise those terms. I will demonstrate that each label acts as a signpost to a flexible collection of theories and characteristics, and argue that minimalism can be seen as a significant cultural response to an emerging postmodernity. The structure of this thesis has been informed by the philosophy of Deleuze and Guattari, particularly their writings on rhizomatic thought. Their thinking is not the subject of this research, but is the inspiration for a particular attitude to ideas that has been used as a structuring device for the text: that is, a structure that hopes to demonstrate the interconnectedness of contemporary experience. The image of the kaleidoscope is used as a metaphor for this rhizomatic approach. While the physical object represents the 'totality that many regard postmodernity to be, the experience of viewing a kaleidoscope the constantly shifting parts and the resultant patterns that we recognise is imagined as an illustration of the way that postmodernity and minimalism can be understood. Three parts magnify these terms in increasing detail. The first explores postmodern discourse and its relationship to culture. The second examines the development of, and critical response to, minimalism. The third takes a single composer, Louis Andriessen, and attempts to show how the postmodern condition frames his creativity, and his particular response to minimalism. All of these parts contain connections within and between, each part. While these connections will often be alluded to, I have tried to avoid solidifying these relationships in a way that might appear too 'linear' so as to invite the reader to participate in the interpretive process, and to retain the openness so characteristic of Deleuzian thought.
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Blom, Diana. "Minimal music roles and approaches of teachers engaging students with a contemporary art music through composing activities /." Connect to full text, 2001. http://hdl.handle.net/2123/802.
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Thesis (Ph. D.)--University of Sydney, 2002.Title from title screen (viewed Apr. 24, 2008). Submitted in fulfilment of the requirements for the degree of Doctor of Philosophy to the Dept. of Music, Faculty of Arts. Degree awarded 2002; thesis submitted 2001. Includes bibliography. Also available in print form.
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Skretta, James Edward. "Perceiving meter in romantic, post-minimal, and electro-pop repertoires." Diss., University of Iowa, 2015. https://ir.uiowa.edu/etd/2013.
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Evans, Tristian. "Towards a theory of multimedia integration in post-minimal music." Thesis, Bangor University, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.520850.
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Blom, Diana Mary. "Minimal music: roles and approaches of teachers engaging students with a contemporary art music through composing activities." Thesis, The University of Sydney, 2001. http://hdl.handle.net/2123/802.
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Since it arose in the 1960s, the minimalist aesthetic has increasingly influenced composers of art and popular music around the world and, in turn, minimalist composers have drawn on the compositional ideas of Western popular music and several non-Western musics. Educationally, minimal music offers much potential for music in the classroom as it embodies a number of musical characteristics known to, and preferred by, students aged 9-18 years at primary, secondary and first year tertiary level. Socially, it offers teachers an opportunity to engage students, through composing activities, with contemporary society. The study aims, firstly, to analyse compositions by students aged 9, 12, 15 and 18 years and their teachers, seeking pastiche development of, and compositional expansion beyond, the musical concepts presented in a resource booklet of projects, The Pulse Music Album. Secondly, this study aims to investigate how nineteen participating teachers in three countries engage their students with minimalist composing activities stimulated through the resource booklet. The study attempts to determine why teachers adopt their particular roles and strategies by examining music qualifications, preferences and experience, teaching perspectives and teaching environments. It also seeks to identify reasons why one group of teachers submitted pieces which were pastiches of those presented in the projects and another group submitted compositions which moved well beyond pastiche into an expansion of these same musical concepts and argues for this as evidence of dialogue with contemporary society. Conclusions drawn from the findings note that while there are many commonalities between the backgrounds and approaches of both groups of teachers, there are clearly observed differences. These differences suggest approaches to classroom composition for consideration by practising classroom teachers, in-service instructors and teacher training institutions.
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Blom, Diana Mary. "Minimal music: roles and approaches of teachers engaging students with a contemporary art music through composing activities." University of Sydney. Music, 2001. http://hdl.handle.net/2123/802.
Full textAbstract:
Since it arose in the 1960s, the minimalist aesthetic has increasingly influenced composers of art and popular music around the world and, in turn, minimalist composers have drawn on the compositional ideas of Western popular music and several non-Western musics. Educationally, minimal music offers much potential for music in the classroom as it embodies a number of musical characteristics known to, and preferred by, students aged 9-18 years at primary, secondary and first year tertiary level. Socially, it offers teachers an opportunity to engage students, through composing activities, with contemporary society. The study aims, firstly, to analyse compositions by students aged 9, 12, 15 and 18 years and their teachers, seeking pastiche development of, and compositional expansion beyond, the musical concepts presented in a resource booklet of projects, The Pulse Music Album. Secondly, this study aims to investigate how nineteen participating teachers in three countries engage their students with minimalist composing activities stimulated through the resource booklet. The study attempts to determine why teachers adopt their particular roles and strategies by examining music qualifications, preferences and experience, teaching perspectives and teaching environments. It also seeks to identify reasons why one group of teachers submitted pieces which were pastiches of those presented in the projects and another group submitted compositions which moved well beyond pastiche into an expansion of these same musical concepts and argues for this as evidence of dialogue with contemporary society. Conclusions drawn from the findings note that while there are many commonalities between the backgrounds and approaches of both groups of teachers, there are clearly observed differences. These differences suggest approaches to classroom composition for consideration by practising classroom teachers, in-service instructors and teacher training institutions.
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Bougaïeff, Nicolas. "An approach to composition based on a minimal techno case study." Thesis, University of Huddersfield, 2013. http://eprints.hud.ac.uk/id/eprint/18067/.
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This dissertation examines key issues relating to minimal techno, a sub-genre of electronic dance music (EDM) that emerged in the early 1990s. These key issues are the aesthetics, composition, performance, and technology of minimal techno, as well as the economics of EDM production. The study aims to answer the following question. What is the musical and social significance of minimal techno production and performance? The study is conducted in two parts. The history of minimal music is traced from Satie in the 1890s to Plastikman in the 1990s, a central contribution to minimal techno. Plastikman is a stage name for the subject of the first part, a case study of minimal techno artist Richie Hawtin. A chapter on Liine, a company I founded with partners including Richie Hawtin, describes the performance software we developed for his 2010-2011 Plastikman Live tour. A chapter on minimal techno performance methods examines the structure of the Ableton Live set created for Plastikman Live. A theory chapter, based on Jacques Attali’s Bruits (2001), studies the relationship between technology, money, power and techno music production on both an individual and collective scale. The second part provides a detailed commentary on music I composed during the project in response to the theoretical issues raised. A final chapter discusses the overall thesis, and draws conclusions. Minimal techno, as it is practiced through Liine software, the Plastikman Live show, or through my own productions, is revealed to be a deeply improvisatory form of music. The relationship between body, mind and sound emerges as one of the major themes. Minimal techno production and performance can be seen as a reflection of the profoundly changing relationship between man and digital technology.
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Schlemmer, Tobias. "Annotating Lattice Orbifolds with Minimal Acting Automorphisms." Saechsische Landesbibliothek- Staats- und Universitaetsbibliothek Dresden, 2013. http://nbn-resolving.de/urn:nbn:de:bsz:14-qucosa-96517.
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Context and lattice orbifolds have been discussed by M. Zickwolff, B. Ganter and D. Borchmann. Preordering the folding automorphisms by set inclusion of their orbits gives rise to further development. The minimal elements of this preorder have a prime group order and any group element can be dissolved into the product of group elements whose group order is a prime power. This contribution describes a way to compress an orbifold annotation to sets of such minimal automorphisms. This way a hierarchical annotation is described together with an interpretation of the annotation. Based on this annotation an example is given that illustrates the construction of an automaton for certain pattern matching problems in music processing.
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Wu, Chia-Ying. "The aesthetics of minimalist music and a Schenkerian-oriented analysis of the first movement "Opening" of Philip Glass' Glassworks." connect to online resource, 2009. http://digital.library.unt.edu/permalink/meta-dc-10975.
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Schlemmer, Tobias. "Annotating Lattice Orbifolds with Minimal Acting Automorphisms." Technische Universität Dresden, 2012. https://tud.qucosa.de/id/qucosa%3A26138.
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Context and lattice orbifolds have been discussed by M. Zickwolff, B. Ganter and D. Borchmann. Preordering the folding automorphisms by set inclusion of their orbits gives rise to further development. The minimal elements of this preorder have a prime group order and any group element can be dissolved into the product of group elements whose group order is a prime power. This contribution describes a way to compress an orbifold annotation to sets of such minimal automorphisms. This way a hierarchical annotation is described together with an interpretation of the annotation. Based on this annotation an example is given that illustrates the construction of an automaton for certain pattern matching problems in music processing.
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Bauer, Cornelius. "Postminimalismus als kompositorischer Ansatz analytische Untersuchungen am Werk John Adams', Michael Torkes und Louis Andriessens bis ca. 1995." Regensburg Roderer, 2005. http://deposit.ddb.de/cgi-bin/dokserv?id=2793678&prov=M&dok_var=1&dok_ext=htm.
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Wu, Chia-Ying (Charles). "The Aesthetics of Minimalist Music and a Schenkerian-Oriented Analysis of the First Movement "Opening" of Philip Glass' Glassworks." Thesis, University of North Texas, 2009. https://digital.library.unt.edu/ark:/67531/metadc10975/.
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Philip Glass' Glassworks (1981) is a six-movement composition for two flutes, two soprano saxophones/clarinets, two tenor saxophones/bass clarinets, two French horns, violas, cellos, and the DX7 electric piano. Glassworks consists of six movements titled "Opening," "Floe," "Island," "Rubric," "Facades," and "Closing." This thesis covers the first movement "Opening." Repetition in musical minimalism confronts traditional prescriptive codes of tonal music and post-tonal music. While challenging the traditional codes, repetition in musical minimalism established new codes for listening to minimal music. This thesis explores the implications of these ideas.
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Ella-Meye, Francois. "Pour une approche heuristique du son d'or de Charlemagne Palestine : la reconstuction de Schlingen-Blängen." Thesis, Lille 3, 2017. http://www.theses.fr/2017LIL30001/document.
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La musique de Charlemagne Palestine semble transcender les approches musicales américaines comme européennes des vingtième et vingt-et-unième siècles. Si sa pratique de la musique drone prend ses racines dans ses années passées enfant à chanter des lamentations dans les synagogues en tant que choriste, puis jeune adulte dans son expérience de carillonneur à l'église Saint-Thomas de Manhattan, et plus tard dans les approches expérimentales post-cagiennes et son étude vocale de la musique hindoustanie, son oeuvre, qui à de nombreux égards évoque également certaines esthétiques musicales de l'avant-garde européenne, oscille entre musique, installation et performance. C'est au travers de l'étude de la pièce "Schlingen-Blängen" pour orgue, sous le prisme de l'heuristique musicale, que cette thèse tente d'appréhender la quête du "son d'or" du musicien contemporain new-yorkais d'origine, bruxellois d'adoptionThe music of Charlemagne Palestine seems to transcend both american and european musical mouvements of the twentieth and twentieth-first centuries. His approach of drone music finds its origins in his early years when he would participate in synanogue choirs, singing lamentations, as well as in his young adult years when he would work as a bell ringer in the church of Saint-Thomas in Manhattan. Later on, his experimental post-Cage music approach and his vocal studies of Hindustani music, all gave birth to a body of work that oscillates between music, installation and performance, not without recalling in various ways certain european avant-garde musical esthetics. The present doctoral thesis aims to study the piece "Schlingen-Blängen" for organ, via a musical heuristics approach, in order to apprehend the pursuit of the "golden sound" in the oeuvre of the New-York contemporary artist, based in Brussels
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Bauer, Cornelius. "Postminimalismus als kompositorischer Ansatz : analytische Untersuchungen am Werk John Adams', Michael Torkes und Louis Andriessens bis ca. 1995." Regensburg Roderer, 2006. http://deposit.ddb.de/cgi-bin/dokserv?id=2793678&prov=M&dokv̲ar=1&doke̲xt=htm.
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Pierce, Justin. "A Performance Guide to David Kechley's "In the Dragon's Garden" with an Investigation of the Saxophone-Guitar Duo Genre." Thesis, University of North Texas, 2019. https://digital.library.unt.edu/ark:/67531/metadc1609135/.
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American composer David Kechley was profoundly impacted by a 1990 trip to the Ryoan-ji Temple in Kyoto, Japan. The composer describes the finely raked, small white stones in the midst of fifteen large rocks in the Japanese Zen garden as "planned randomness." Kechley's inaugural composition for saxophone-guitar duo, In the Dragon's Garden, reflects his experience at the Ryoan-ji Temple. The use of minimalistic compositional techniques without literal repetition in the work represents a departure from the first generation of Minimalist composers, such as LaMonte Young, Steve Reich, Phillip Glass, and John Adams. An analysis of minimalistic compositional elements, combined with an interview with the commissioning ensemble, the Ryoanji Duo, provides insights into the interpretation and preparation of this complex work. Furthermore, this document contains helpful information pertinent to the saxophone-guitar duo. Details on balance and amplification, orchestration, and collaboration with the composer will supply performers and composers with essential knowledge needed to participate in this growing musical medium.
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Théol, Bruno. "HYPERREALISME, éloge du monde matériel : le Nouveau Roman français, le Photoréalisme américain, la musique minimaliste : expressions artistiques du monde matériel d’un quart de siècle 1950 - 1975." Thesis, Paris 10, 2019. http://www.theses.fr/2019PA100102.
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Les mutations du monde occidental au troisième quart du 20ème siècle sont spectaculaires. Les trente glorieuses connaissent une modernisation effrénée : industrialisation, progrès scientifique et technique, prolifération de nouveaux objets. Le monde de l’art, lui-même en effervescence, explore de nouvelles formes et de nouvelles techniques. La présente thèse établit le lien entre ces réalités concrètes et le renouvellement perceptible dans le Nouveau Roman français, le Photoréalisme américain et la musique minimaliste. Ces trois expressions artistiques sont puissamment marquées par l’émergence des biens matériels et par les techniques qui les produisent. Aussi ne s’agit-il pas d’un formalisme abstrait ni désincarné, comme on le soutient souvent, mais d’un formalisme matériel, ou matérialiste, lequel façonne une nouvelle perception du monde dont les caractères communs définissent, au-delà des distinctions liées à la nature différente des trois pratiques artistiques que sont la littérature, la peinture et la musique, le style hyperréaliste. Le peintre, le romancier et le compositeur, pratiquent la même approche, recherchent une unité réduite du champ d’investigation, exercent la sélection, la fragmentation et la focalisation, ferment l’espace de l’expression, préfèrent le dénuement, créent un espace autonome pictural, littéraire ou musical, évoluent dans la fugitivité, usent de l’écriture analytique et abusent de l’obsession, jouent avec la variabilité et expriment de préférence leur univers par le grossissement et la répétition. Le matériau est le plus souvent morcelé et hyper-développé, décentré, détaillé, fragmenté, marginalisé, focalisé, comme la terrasse de La jalousie de Robbe-Grillet, le compartiment de La Modification de Michel Butor, A Rainbow In Curved Air de Terry Riley, Etudes Chorégraphiques de Maurice Ohana, les Panties de John Kacere, 46 Chevy de Robert Bechtle, Toyota Showroom Window de Don Eddy, Flatiron Building Reflected In A Car With Figures In Bus de Richard Estes, titres de quelques-unes des œuvres hyperréalistesThe mutations of the western world during the third quarter of the twentieth century were spectacular. The years known as the "Glorious Thirty” saw rampant modernisation: industrialisation, progress in science and technology, and the proliferation of new objects. The art world, itself in turmoil, explored new forms as well as new techniques. The present thesis establishes the link between those concrete realities and perceptible renewal in the Nouveau Roman in France, in American photorealism, and in minimal music. Those three artistic expressions were intensely marked by the emergence of consumer goods and the techniques that produced them. It is therefore not a matter of abstract or disembodied formalism, as has often been upheld, but rather one of material or materialistic formalism, which shaped a new perception of the world whose common characters define—beyond any distinction related to the different natures of the three artistic practices, literature, painting and music—the hyperrealist style. The painter, the novelist and the composer have the same approach; they reduce their field of investigation to the minimum, fragmenting and selecting in order to focalise on a single unit; they prefer a bare environment, and create an autonomous space, whether pictorial, literary or musical; they move in a fugitive world; they use language that is analytical, and use obsession to excess; they play with variability, and prefer to express their world by enlarging and repeating it. Their material is most often split apart and hyper-developed, off-centred, detailed, fragmented, marginalised, focalised, like the terrace in Jealousy by Robbe-Grillet, the compartment in La Modification (Michel Butor), and also A Rainbow In Curved Air (Terry Riley), Etudes Chorégraphiques (Maurice Ohana), Panties (John Kacere), 46 Chevy (Robert Bechtle), Toyota Showroom Window (Don Eddy), or Bus with Reflection of the Flatiron Building (Richard Estes), the titles of some of the works referred to as hyperrealist
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Votta, Junior Alfredo. "A musica tintinabular de Arvo Part." [s.n.], 2009. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284022.
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Orientador: Denise Hortencia Lopes GarciaDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Arte
Made available in DSpace on 2018-08-14T23:08:27Z (GMT). No. of bitstreams: 1 VottaJunior_Alfredo_M.pdf: 13778431 bytes, checksum: cbba6684483b3568f6d78a26e474efea (MD5) Previous issue date: 2009
Resumo: O compositor estoniano Arvo Pärt, nascido em 1935 e radicado na Alemanha desde os anos 1980, tem sido objeto de atenção do mundo musical por sua peculiar linguagem modal baseada na técnica tintinnabuli, formulada e nomeada pelo próprio Pärt. Esta técnica se baseia na ideia de utilização exclusiva das três notas de uma tríade em ao menos uma das vozes da textura musical. Esta técnica tem sido utilizada por Pärt desde meados dos anos 1970. Sua obra apresenta também numerosas afinidades com a música medieval, arte estudada por Pärt nos anos de interrupção de seu trabalho composicional que se prolongaram de 1968 até 1976. O canto gregoriano ocupou lugar de destaque nestes estudos, sendo por esta razão importante para a compreensão de sua obra. São apontados também, por inúmeras fontes (trabalhos acadêmicos, encartes de gravações e textos críticos jornalísticos), vínculos da obra de Pärt com o minimalismo, que se manifestam sobretudo no ideal de stasis, nos processos aditivos e nos ciclos. As técnicas desenvolvidas por Pärt, bem como aquelas que se podem relacionar a ele, são fértil campo para a formulação de novas ideias composicionais e mesmo para o reencontro com ideias antigas que podem fertilizar a expressão musical atual.
Abstract: Estonian composer Arvo Pärt, born in 1935 and living in Germany since the 1980s, has been the object of close attention by the musical world due to his peculiar modal language based on his own tintinnabuli technique. This technique builds upon the exclusive use of the three notes of a triad in at least one of the voices of a given musical texture. Pärt has been using this method since the mid-seventies. His work displays great affinity with medieval music as well. The music of the Middle Ages was studied by Pärt during his period of compositional silence from 1968 to 1976. Since that includes especially Gregorian chant, this genre is crucial for proper understanding of Pärt's work. Numerous sources (academic papers, recordings' booklets and press writings) have also pointed resemblance of Pärt's compositions with minimalism chiefly due to the ideal of stasis, additive processes and cycles. Pärt-developed and -related techniques are a fertile environment for the creation of new compositional ideas and a new approach towards ancient ideas as a means to contribute with current musical expression.
Mestrado
Mestre em Música
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Wiséen, Martin, and Johanna Herbertsson. "The legality of music sampling in Sweden : Complicated issues demand complicated measures." Thesis, Internationella Handelshögskolan, Högskolan i Jönköping, IHH, Redovisning och Rättsvetenskap, 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:hj:diva-26787.
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The legality of music sampling is in Sweden unknown. The reason for this is mainly the lack of relevant case law and that the legislation and legislative history has not reach clarity within this subject. There are generally two different routes and perspectives on sample issues. The first main route is that samples should be judged according to the “common” copyright rules where originality, similarity and other factors need to be investigated. The second route is that sampling issues should be judged upon the neighbouring rights, and within these rules no other tests needs to be included. It is simply an infringement if it is proven that someone has in fact sampled a recording. American case law has inherent both views and most often are pending between these views. German case law however made it clear in the Kraftwerk case that the neighbouring rights are used within German law. Through this inconsistency the authors have not found any clear indications which rules a Swedish court would apply. Due to the relationship between Sweden and Germany, and that they are both members of the European Union the authors believe that Sweden will judge accordingly to the neighbouring rights. However, the authors believe that the neighbouring rights were created for the purpose to contradict piracy and not sampling disputes. Furthermore, neither the legislative history nor judicial literature gives any indications that the neighbouring rights should be used when a part of a work has been altered and used in a new work. The author’s personal beliefs are therefore that the neighbouring rights should not be applied on sampling cases. The “common” copyright rules should instead be applied which includes originality and similarity tests.
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Jelínková, Jana. "Rozpoznání hudebního slohu z orchestrální nahrávky za pomoci technik Music Information Retrieval." Master's thesis, Vysoké učení technické v Brně. Fakulta elektrotechniky a komunikačních technologií, 2020. http://www.nusl.cz/ntk/nusl-413256.
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As all genres of popular music, classical music consists of many different subgenres. The aim of this work is to recognize those subgenres from orchestral recordings. It is focused on the time period from the very end of 16th century to the beginning of 20th century, which means that Baroque era, Classical era and Romantic era are researched. The Music Information Retrieval (MIR) method was used to classify chosen subgenres. In the first phase of MIR method, parameters were extracted from musical recordings and were evaluated. Only the best parameters were used as input data for machine learning classifiers, to be specific: kNN (K-Nearest Neighbor), LDA (Linear Discriminant Analysis), GMM (Gaussian Mixture Models) and SVM (Support Vector Machines). In the final chapter, all the best results are summarized. According to the results, there is significant difference between the Baroque era and the other researched eras. This significant difference led to better identification of the Baroque era recordings. On the contrary, Classical era ended up to be relatively similar to Romantic era and therefore all classifiers had less success in identification of recordings from this era. The results are in line with music theory and characteristics of chosen musical eras.
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Powell, James. "Towards a complex minimal architecture through twentieth-century music." Thesis, 1996. http://hdl.handle.net/1911/14028.
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This thesis formulates a general theory of a complex minimal architecture, then achieves an initial manifestation by applying concepts and modulatory operations of twentieth-century music to the design of a concrete architectural object.
Complex minimalism involves the precise selection of a minimal number of concepts or forms, to which are applied a limited number of transformational processes in the service of generating a rich and meaningful architecture.
Starting with the fundamental notions of coalescence, the cloud, and comma, several sound-matter techniques of composition are analyzed, abstracted, and distilled. These notions, which include structure and ratio, are used in the selection of the materials and processes of the design project, resulting in a soft, translucent architecture of simplicity and spirit.
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Eaton, Rebecca Marie Doran. "Unheard minimalisms : the functions of the minimalist technique in film scores /." Thesis, 2008. http://www.lib.utexas.edu/etd/d/2008/eatonr88741/eatonr88741.pdf#page=3.
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Bennett, Mark. "A brief history of minimalism its aesthetic concepts and origins, and a detailed analysis of Steve Reich's The desert music (1984) /." 1993. http://catalog.hathitrust.org/api/volumes/oclc/35734258.html.
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Harlock, Emma. "Delicateness and freedom in composition : a cross-cultural exploration of timbre and texture through American minimalism and French spectralism." Thesis, 2019. http://hdl.handle.net/1959.7/uws:55933.
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This thesis explores the intersections between American minimalism and the school of French spectral music, from the perspective of a bass guitarist. Whilst there is ample literature exploring key composers and features of American minimalism, and some literature exploring French spectral music and experimental bass styles, there is little scholarly discussion of the relationship between. Adopting a practice-based research approach, five new musical artefacts have been created to fulfil the portfolio aspect of this thesis. These creative works, three electronic improvised pieces, and two scored pieces, address this gap in academic knowledge. My thesis outlines and provides context for ethical border crossing and the creation of new hybrid territories applicable to practice-based researchers using the framework outlined by Steven Nuss. It illuminates the relationship between American minimalism and French spectralism, but also their connections to American nu-jazz, ambient, and electronic artists, and explores the potential of these musical elements combined. This thesis outlines the intersections through an analysis of pre-existing works, focussing on: rhythm and pulse, harmonic stasis, improvisation, and aleatoric elements. This is then followed with an analysis of each creative work within the portfolio, where these musical characteristics from each seemingly contrasting genre are brought together to create new works in a hybrid territory. The term ‘delicacy’ stems from my personal approach to bass playing, slow, small musical gestures, as opposed to large, focally demanding gestures as often adopted by bass virtuosi. The term ‘freedom’ stems from improvisatory elements incorporated across the creative portfolio, from the improvised series Concept:FUTURE’, to aleatoric elements in the notated works that allows performers to determine certain parameters of the creative works. Ultimately, this thesis shows, through the creation of new scored and improvised works, the inherent connections between American Minimalism and French spectralism, with added influence from electronic and improvising virtuosi, and explores what happens when these styles are fused together.
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Šedinová, Pavla. "Výtvarný a hudební minimalismus." Master's thesis, 2011. http://www.nusl.cz/ntk/nusl-299981.
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Pavla Šedinová: Minimal art and minimal music Abstract: This thesis focuses on the theoretical description of minimalism in the fine arts and music. It follows the progression of minimisation in art in the first half of the twentieth century, which culminates in minimal art and minimal music, and compares its principles with multiplication in the work of Andy Warhol and Velvet Underground. At the same time the paper discusses the difference between American minimalism and its European and Czech parallels. The aim of this thesis is describing main concepts of minimalism that could be relevant for teaching purposes. The pedagogical part of the thesis focuses on the manner in which the obtained information about the fine arts and music could be utilised in teaching, particularly in Elementary Art Schools. The practical part demonstrates my own approach to minimalist principles.
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Chang, Jen-Kuang. "Minimum II." 2010. http://proquest.umi.com/pqdweb?did=2022316401&sid=5&Fmt=2&clientId=14215&RQT=309&VName=PQD.
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Thesis (D.M.A.)--University of Nebraska-Lincoln, 2010.Title from title screen (site viewed July 8, 2010). PDF text: vii, 141 p. : music ; 4 Mb. UMI publication number: AAT 3398299. Includes bibliographical references. Also available in microfilm and microfiche formats.
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Brady-Savignac, Charlotte. "Répétition et musicalité dans l’univers « underground » américain : interférences entre le cinéma structurel et la musique répétitive." Thèse, 2018. http://hdl.handle.net/1866/22053.
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Παπανικολάου, Παναγιώτης. "Ενίσχυση σημάτων μουσικής υπό το περιβάλλον θορύβου." Thesis, 2010. http://nemertes.lis.upatras.gr/jspui/handle/10889/3833.
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Στην παρούσα εργασία επιχειρείται η εφαρμογή αλγορίθμων αποθορυβοποίησης σε σήματα
μουσικής και η εξαγωγή συμπερασμάτων σχετικά με την απόδοση αυτών ανά μουσικό είδος. Η
κύρια επιδίωξη είναι να αποσαφηνιστούν τα βασικά προβλήματα της ενίσχυσης ήχων και να
παρουσιαστούν οι διάφοροι αλγόριθμοι που έχουν αναπτυχθεί για την επίλυση των προβλημάτων αυτών. Αρχικά γίνεται μία σύντομη εισαγωγή στις βασικές έννοιες πάνω στις οποίες δομείται η τεχνολογία ενίσχυσης ομιλίας. Στην συνέχεια εξετάζονται και αναλύονται αντιπροσωπευτικοί
αλγόριθμοι από κάθε κατηγορία τεχνικών αποθορυβοποίησης, την κατηγορία φασματικής
αφαίρεσης, την κατηγορία στατιστικών μοντέλων και αυτήν του υποχώρου. Για να μπορέσουμε να
αξιολογήσουμε την απόδοση των παραπάνω αλγορίθμων χρησιμοποιούμε αντικειμενικές μετρήσεις
ποιότητας, τα αποτελέσματα των οποίων μας δίνουν την δυνατότητα να συγκρίνουμε την απόδοση
του κάθε αλγορίθμου. Με την χρήση τεσσάρων διαφορετικών μεθόδων αντικειμενικών μετρήσεων
διεξάγουμε τα πειράματα εξάγοντας μια σειρά ενδεικτικών τιμών που μας δίνουν την ευχέρεια να
συγκρίνουμε είτε τυχόν διαφοροποιήσεις στην απόδοση των αλγορίθμων της ίδιας κατηγορίας είτε
διαφοροποιήσεις στο σύνολο των αλγορίθμων. Από την σύγκριση αυτή γίνεται εξαγωγή χρήσιμων
συμπερασμάτων σχετικά με τον προσδιορισμό των παραμέτρων κάθε αλγορίθμου αλλά και με την καταλληλότητα του κάθε αλγορίθμου για συγκεκριμένες συνθήκες θορύβου και για συγκεκριμένο μουσικό είδος.This thesis attempts to apply Noise Reduction algorithms to signals of music and draw conclusions concerning the performance of each algorithm for every musical genre. The main aims are to clarify the basic problems of sound enhancement and present the various algorithms developed for solving these problems. After a brief introduction to basic concepts on sound enhancement we examine and analyze various algorithms that have been proposed at times in the literature for speech enhancement. These algorithms can be divided into three main classes: spectral subtractive algorithms, statistical-model-based algorithms and subspace algorithms. In order to evaluate the performance of the above algorithms we use objective measures of quality, the results of which give us the opportunity to compare the performance of each algorithm. By using four different methods of objective measures to conduct the experiments we draw a set of values that facilitate us to make within-class algorithm comparisons and across-class algorithm comparisons. From these comparisons we can draw conclusions on the determination of parameters for each algorithm and the appropriateness of algorithms for specific noise conditions and music genre.