Dissertations / Theses on the topic 'Music techniques'
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Higginbotham, Lee Ann M. "Teaching techniques : suggested techniques in teaching music through performance in choir /." View online, 2008. http://repository.eiu.edu/theses/docs/32211131459702.pdf.
Full textOrtiÌz, Gabriela. "Compositional techniques in acoustic and electroacoustic music." Thesis, City University London, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.310446.
Full textBaumgartner, Richard. "Multipitch Analysis and Tracking for Automatic Music Transcription." ScholarWorks@UNO, 2004. http://scholarworks.uno.edu/td/84.
Full textWest, Kristopher C. "Novel techniques for audio music classification and search." Thesis, University of East Anglia, 2008. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.492940.
Full textEisenbeiser, Logan Ryan. "Latent Walking Techniques for Conditioning GAN-Generated Music." Thesis, Virginia Tech, 2020. http://hdl.handle.net/10919/100052.
Full textMaster of Science
Artificial music generation is a rapidly developing field focused on the complex task of creating neural networks that can produce realistic-sounding music. Beyond simply generating music lies the challenge of controlling or conditioning that generation. Conditional generation can be used to specify a tempo for the generated song, increase the density of notes, or even change the genre. Latent walking is one of the most popular techniques in conditional image generation, but its effectiveness on music-domain generation is largely unexplored, especially for generative adversarial networks (GANs). This paper focuses on latent walking techniques for conditioning the music generation network MuseGAN and examines the impact and effectiveness of this conditioning on the generated music.
Nix, Elizabeth Ashley. "Introducing Post-tonal Techniques to the Beginning Musician." Thesis, University of Louisiana at Lafayette, 2015. http://pqdtopen.proquest.com/#viewpdf?dispub=1585865.
Full textEach chapter of this thesis explores a technique commonly found in post-tonal piano repertoire for students Levels 1-3 (Magrath). Post-tonal techniques evaluated for difficulty are Nonwestern scales, polychords and clusters, polytonality, atonality, serialism, aleatoric music, and experiments in sound. There are some inherent difficulties for beginner pianists in each of these topics that are discussed in detail. The appropriateness of these styles for students is evaluated and elements that are conceptually advanced are altered so that earlier exposure to these techniques is possible. Where there are areas of pedagogical weakness or a lack of material for young pianists, compositions have been supplied in a methodical order, introducing and expanding upon new and creative methods of approaching these techniques.
Conrad, Wendie Joyce. "Music Literacy and Sight-Singing Techniques Used by Elementary and Middle School Music Teachers." Cleveland, Ohio : Cleveland State University, 2007. http://rave.ohiolink.edu/etdc/view?acc_num=csu1198290006.
Full textAbstract. Title from PDF t.p. (viewed on May 8, 2008). Includes bibliographical references (p. 75-82). Available online via the OhioLINK ETD Center. Also available in print.
Dargie, David John. "Techniques of Xhosa music: a study based on the music of the Lumko district." Thesis, Rhodes University, 1987. http://hdl.handle.net/10962/d1001975.
Full textJenkins, Bonnie L. "Beautiful choral tone quality rehearsal techniques of a director." Diss., Columbia, Mo. : University of Missouri-Columbia, 2005. http://hdl.handle.net/10355/4126.
Full textThe entire dissertation/thesis text is included in the research.pdf file; the official abstract appears in the short.pdf file (which also appears in the research.pdf); a non-technical general description, or public abstract, appears in the public.pdf file. Title from title screen of research.pdf file viewed on (November 8, 2006) Vita. Includes bibliographical references.
Arblaster, Winston Vaughn 1984. "Music Theory and Arranging Techniques for the Church Musician." Thesis, University of Oregon, 2010. http://hdl.handle.net/1794/10831.
Full textThe rising popularity of the use of "contemporary music" for worship in Christian churches has created an ever-growing body of music professionals who, coming largely from a rock-influenced folk idiom, are often untrained in music theory. As the style of music has shifted from the traditional model, stemming from classical genres, to one dominated by popular music, many of these musicians see theory education as impractical or at least unneeded given their particular stylistic approach. In order to address this issue, a method must be developed, departing from standard methods of theory pedagogy to one employing selected concepts and applications pertaining particularly to the context the contemporary worship setting and presenting them in a manner immediately beneficial to these musicians' vocational considerations. This thesis serves as a possible solution by proposing such a method and comparing it to the approaches of three major theory methods on these terms.
Committee in Charge: Dr. Jack Boss; Dr. Timothy Pack; Don Latarski
Gao, Boyang. "Contributions to music semantic analysis and its acceleration techniques." Thesis, Ecully, Ecole centrale de Lyon, 2014. http://www.theses.fr/2014ECDL0044/document.
Full textDigitalized music production exploded in the past decade. Huge amount of data drives the development of effective and efficient methods for automatic music analysis and retrieval. This thesis focuses on performing semantic analysis of music, in particular mood and genre classification, with low level and mid level features since the mood and genre are among the most natural semantic concepts expressed by music perceivable by audiences. In order to delve semantics from low level features, feature modeling techniques like K-means and GMM based BoW and Gaussian super vector have to be applied. In this big data era, the time and accuracy efficiency becomes a main issue in the low level feature modeling. Our first contribution thus focuses on accelerating k-means, GMM and UBM-MAP frameworks, involving the acceleration on single machine and on cluster of workstations. To achieve the maximum speed on single machine, we show that dictionary learning procedures can elegantly be rewritten in matrix format that can be accelerated efficiently by high performance parallel computational infrastructures like multi-core CPU, GPU. In particular with GPU support and careful tuning, we have achieved two magnitudes speed up compared with single thread implementation. Regarding data set which cannot fit into the memory of individual computer, we show that the k-means and GMM training procedures can be divided into map-reduce pattern which can be executed on Hadoop and Spark cluster. Our matrix format version executes 5 to 10 times faster on Hadoop and Spark clusters than the state-of-the-art libraries. Beside signal level features, mid-level features like harmony of music, the most natural semantic given by the composer, are also important since it contains higher level of abstraction of meaning beyond physical oscillation. Our second contribution thus focuses on recovering note information from music signal with musical knowledge. This contribution relies on two levels of musical knowledge: instrument note sound and note co-occurrence/transition statistics. In the instrument note sound level, a note dictionary is firstly built i from Logic Pro 9. With the musical dictionary in hand, we propose a positive constraint matching pursuit (PCMP) algorithm to perform the decomposition. In the inter-note level, we propose a two stage sparse decomposition approach integrated with note statistical information. In frame level decomposition stage, note co-occurrence probabilities are embedded to guide atom selection and to build sparse multiple candidate graph providing backup choices for later selections. In the global optimal path searching stage, note transition probabilities are incorporated. Experiments on multiple data sets show that our proposed approaches outperform the state-of-the-art in terms of accuracy and recall for note recovery and music mood/genre classification
Yi, Hyunji Evonne. "Left-hand Techniques and Pedagogy for Cellists with Hypermobility." Thesis, California State University, Long Beach, 2018. http://pqdtopen.proquest.com/#viewpdf?dispub=10786019.
Full textHypermobility refers to the capability of joints to exceed their medically expected range of motion. In the hands and fingers, this results in weaker connective tissues, causing joint laxity and the inability to properly place the left-hand fingers on the fingerboard. For cellists that have hypermobile fingers, the pedagogy and technique of the left hand must be approached with care through specialized foundational training. Playing the cello involves executing precise, repetitive motions for an extended period of time. Thus, mindlessly repeating a trial and error form of learning will prove futile, for as stretching muscles will allow for a greater range of flexibility, constantly allowing the fingers to become hypermobile will increase the laxity of the joints. This is contrary to the focused and firm strength cellists want in their left-hand fingers. Through the in-depth comparison of medical research in the functional anatomy of the hand and cello pedagogy, I will present an approach to the fundamentals of left hand technique for cellists with hypermobility.
Yee-King, Matthew John. "Automatic sound synthesizer programming : techniques and applications." Thesis, University of Sussex, 2011. http://sro.sussex.ac.uk/id/eprint/7612/.
Full textOhara, Yuko. "New sounds and extended composition techniques." Thesis, Brunel University, 2012. http://bura.brunel.ac.uk/handle/2438/7674.
Full textPayne, R. G. "Digital techniques for the analysis and synthesis of audio signals." Thesis, Bucks New University, 1988. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.234706.
Full textHensley, Lincoln. "Investigating Early Bluegrass Recording Techniques." Digital Commons @ East Tennessee State University, 2020. https://dc.etsu.edu/honors/597.
Full textJenkins, Glynn Edwin Fayrfax Robert Wilder Philip van Carver Robert Lupi Johannes Certon Pierre Sermisy Claudin de Johnson Robert Douglas Patrick. "Latin polyphony in Scotland, 1500-1560 (with studies in analytical techniques) /." Online version, 1988. http://ethos.bl.uk/OrderDetails.do?did=1&uin=uk.bl.ethos.380815.
Full textAppendix A (v. I, leaves 367-388) "presents information relating to William Finschear the elder, a burgess of Edinburgh and possibly scribe of the Dunkeld Partbooks." Vol. II contains editions with commentary of the following works: Robert Fayrfax, Ave Dei Patris filia; Philip van Wilder, Vidi civitatem; van Wilder, Aspice Domine; Robert Carvor [sic], Mass Dum sacrum mysterium; Carvor, Mass Sine nomine a 5; Johannes Lupi, Ad nutum Domini nostrum; Pierre Certon, Regina caeli; Claudin de Sermisy, O Maria stans sub cruce; Robert Johnson, Domine in virtute tua; Patrick Douglas, In convertendo Domini. Publisher's no.: DX 82363. Includes bibliographical references (v. I, leaves 448-456).
Jurkowski, Nicholas W. "Berio's Early Use of Serial Techniques: An Analysis of Chamber Music." Bowling Green State University / OhioLINK, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1251044362.
Full textBOUGHTON, REBECCA ANNE. "STRUCTURAL FUNCTIONS OF STRING TECHNIQUES IN CHAMBER WORKS OF ANTON WEBERN." University of Cincinnati / OhioLINK, 2002. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1018957114.
Full textAramburu, Roberto Horacio. "Expanding guitar production techniques : building the guitar application toolkit (GATK)." FIU Digital Commons, 2006. http://digitalcommons.fiu.edu/etd/1301.
Full textPetterson, Jill. "Extended flute techniques in three culturally different solo flute pieces." Master's thesis, University of Cape Town, 2011. http://hdl.handle.net/11427/12652.
Full textExtended playing techniques on the flute have long since captured the interest of flute players and composers alike. Whilst the physical development of instruments from different cultures took place independently of each other, it has been found that to some extent there have been lasting and mutual influences between different flute playing cultures, specifically (for the purposes of this dissertation) with regard to Western, Africa and Asian flutes and flute playing.
Mayo, Maxey H. (Maxey Huffman). "Techniques of Music Printing in the United States, 1825-1850." Thesis, University of North Texas, 1988. https://digital.library.unt.edu/ark:/67531/metadc500510/.
Full textStraw, Millard Michael. "Missouri high school music students' perceptions of recruitment techniques utilized by college and university music departments /." free to MU campus, to others for purchase, 1996. http://wwwlib.umi.com/cr/mo/fullcit?p9823326.
Full textRoberts, David. "Techniques of composition in the music of Peter Maxwell Davies." Thesis, University of Birmingham, 1985. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.392307.
Full textBrand, Yvonne-Marié. "Audition techniques of youth orchestras." Master's thesis, University of Cape Town, 2008. http://hdl.handle.net/11427/7781.
Full textThe aim of this study is to research and asess the audition techniques of youth orchestras globally. The researcher aims to provide more information regarding a very important tool in the education of young musicians from all walks of life. The researcher will make use of the opportunity to discuss important aspects regarding the audition procedures, which has to be examined closely in order to have well balanced youth orchestras. The researcher feels that it is imperative to also realise the important role that youth orchestras play in creating excellent professional orchestras. Furthermore, the researcher aims to create a model for audition procedures. The researcher will assess all information at her disposal in order to create a model that shee feels will ensure fair auditions. It must be emphasised that this is a proposed modrel only and it will not be implied that the model must be used in its entirety in order to create fair auditions. The researchers is fully aware of the fact that each orchestra has a unique set of circumstances which has to be taken into consideration when executing auditions.
Scott, Hugh R. R. "Multiresolution techniques for audio signal restoration." Thesis, University of Warwick, 1995. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.307347.
Full textStefik, Andreas Mikal. "An empirical comparison of program auralization techniques." Online access for everyone, 2005. http://www.dissertations.wsu.edu/Thesis/Fall2005/a%5Fstefik%5F121205.pdf.
Full textWhitehead, Jennifer Maxwell. "Perfecting Your Practice: Rehearsal Techniques and Strategies for the Undergraduate Singer." The Ohio State University, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=osu1366319504.
Full textPopp, Shaun R. "An examination of orchestration techniques used in wind band transcriptions of a cappella choral works." Thesis, The Florida State University, 2013. http://pqdtopen.proquest.com/#viewpdf?dispub=3596564.
Full textThe orchestration techniques used in wind band transcriptions of a cappella choral works have received limited attention from researchers. The primary purposes of this study were to (1) examine orchestration techniques used in wind band transcriptions of a cappella choral works, (2) note differences between original a cappella choral works and their wind band transcriptions, and (3) provide rehearsal suggestions for band conductors based on information gathered from comparisons of repertoire.
The researcher reviewed nine wind band transcriptions of a cappella choral works, as well as one a cappella choral transcription of a wind band work. The results of the investigations indicated that (1) transcribers use combinations of orchestration techniques - (a) basic part assignments, (b) complex part assignments, (c) dividing sections of the band to represent two or more vocal parts, (d) octave displacements and doublings, (e) incorporation of percussion, and (f) special effects - in wind band transcriptions of a cappella choral works, (2) transcribers adjust musical aspects of a cappella choral works - (a) bar lines and meters, (b) repeats, (c) tempo, (d) key, (e) rhythms, rests, and breath marks, (f) dynamics, (g) articulation and style markings, and (h) form and structure - during the wind band transcription process, and (3) many rehearsal implications - (a) tempo, (b) tone quality and intonation, (c) articulation and style, (d) phrasing, (e) dynamics, and (f) balance and blend - are gained from comparing wind band transcriptions to original a cappella choral works. Further research in this area might explore the orchestration techniques used in wind band transcriptions of accompanied choral works, choral transcriptions of wind band works, and original choral compositions with wind band accompaniment.
Root, Rachel Lorraine. "Choral rehearsal memory techniques /." Thesis, Connect to this title online; UW restricted, 2001. http://hdl.handle.net/1773/11251.
Full textGeels, Jessica L. "Tools for storytelling| Exploring the compositional techniques Crumb employs in Vox Balaenae." Thesis, California State University, Long Beach, 2015. http://pqdtopen.proquest.com/#viewpdf?dispub=1587280.
Full textGeorge Crumb's Vox Balaenae (Voice of the Whale) is one of his most well-known works for flute. In this project report, I analyze George Crumb's extra-musical indications, use of quotation, and extensive use of extended techniques and timbre to reveal how they help to tell the story of the piece. Crumb's work is organized in three large sections, the opening "Vocalise (...for the beginning of time)," the "Variations on Sea-Time," and the "Sea-Nocturne (...for the end of time)," and will be examined in order. For each section, I will explain the extended techniques indicated in the score. This will include an explanation of how to perform the technique, a description of the type of timbre it produces, and a summary of how that timbre affects the mood and forward momentum of the piece. I will also explore how the three instrumental lines interact with each other and demonstrate how Crumb layers the lines to bring the piece to its climax. In conclusion, it is only after an in-depth study of Vox Balaenae, such as this, that an informed and exhilarating performance can take place. This work ought to be included in every advanced flutist's list of standard repertoire.
Fujinaga, Ichiro. "Optical music recognition using projections." Thesis, McGill University, 1988. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=61870.
Full textCooper, Michelle L. "A MUSICAL ANALYSIS OF HOW MARY PRIESTLEY IMPLEMENTED THE TECHNIQUES SHE DEVELOPED FOR ANALYTICAL MUSIC THERAPY." Diss., Temple University Libraries, 2011. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/173335.
Full textPh.D.
This study examined how Mary Priestley musically implemented 15 Analytical Music Therapy (AMT) techniques for exploring conscious material, accessing unconscious material, and strengthening the ego. Using the Priestley archives at Temple University, the author listened to 96 recorded examples of individual AMT sessions with 31 adult clients that were made between the years 1975-1991 to examine and aurally identify the musical phenomena and patterns occurring in the musical implementation of AMT techniques. The results of the study present clinical considerations necessary for applying each AMT technique and the clinical/musical roles of the analytical music therapist. Finally, this study presents distinctions between traditional and contemporary AMT practice and implications for AMT training and supervision.
Temple University--Theses
Jurkowski, Nicholas. "Berio's early use of serial techniques an analysis of Chamber music /." Bowling Green, Ohio : Bowling Green State University, 2009. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=bgsu1251044362.
Full textKeast, Dan A. "Implementation of constructivist techniques into an online activity for graduate music education students /." free to MU campus, to others for purchase, 2004. http://wwwlib.umi.com/cr/mo/fullcit?p3144428.
Full textBeteta, Xavier. "Compositional Techniques in Rodrigo Asturias’s “El Banquete De Las Nubes”." University of Cincinnati / OhioLINK, 2006. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1148304483.
Full textKim, Junghyun. "Isang Yun's Duo for Viola and Piano (1976): A Synthesis of Eastern Music Concepts With Western Music Techniques." Diss., The University of Arizona, 2007. http://hdl.handle.net/10150/193670.
Full textDavies, Huw. "Towards a more versatile dynamic-music for video games : approaches to compositional considerations and techniques for continuous music." Thesis, University of Oxford, 2015. http://ora.ox.ac.uk/objects/uuid:3f1e4cfa-4a36-44d8-9f4b-4c623ce6b045.
Full textKim, Yeji. "Hybridity in Flute Music of Four Contemporary Composers." Bowling Green State University / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1351532629.
Full textBonacossa, Federico. "Materials and Techniques in D’improvviso da immobile s’illumina, for Bass Clarinet, Two Orchestras, Piano and Percussion." FIU Digital Commons, 2013. http://digitalcommons.fiu.edu/etd/989.
Full textO'Connor, Alexander J. "A Comparative Analysis of Rehearsal Techniques for Instrumental Ensembles During Group Playing." Wittenberg University Honors Theses / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=wuhonors1617960102315298.
Full textWorrall, David, and n/a. "SONIFICATION AND INFORMATION CONCEPTS, INSTRUMENTS AND TECHNIQUES." University of Canberra. Communication, 2009. http://erl.canberra.edu.au./public/adt-AUC20090818.142345.
Full textMitchell, David J. "A Performance Guide and Analysis of Compositional Techniques in Selected Percussion Music of Dave Maric." Thesis, The University of North Carolina at Greensboro, 2018. http://pqdtopen.proquest.com/#viewpdf?dispub=10639934.
Full textThe aim of this study is to provide insight into the percussion music of Dave Maric through an analysis of a trilogy of pieces with backing track, Trilogy (2000), Sense & Innocence (2002/2014), and Thrice Into Flames (2017). The present study examines Maric’s influences, analyzes his compositional style, and provides a performance guide. Brief biographical information is provided to introduce Maric. His compositional style is examined by analyzing tonal language and formal structures. The tonal language of these pieces combines octatonic scales and diatonic scales. In terms of form, Maric uses mathematical sequences to determine proportions between sections, including the Fibonacci sequence. The performance guide includes sticking suggestions, transcriptions of backing track cues, and additional comments.
Stewart, Richard Christopher. "Effective audio for music videos : the production of an instructional video outlining audio production techniques for amateur music videos." Instructions for remote access. Click here to access this electronic resource. Access available to Kutztown University faculty, staff, and students only, 1996. http://www.kutztown.edu/library/services/remote_access.asp.
Full textCherry, Amy Kristine. "Extended Techniques in Trumpet Performance and Pedagogy." University of Cincinnati / OhioLINK, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1242326372.
Full textTuresson, Eric. "STRATEGIC INTERNET MARKETING FOR MUSIC FESTIVALS IN OSLO : A qualitative case study on two music festivals practise of strategic Internet marketing." Thesis, Högskolan i Halmstad, Sektionen för ekonomi och teknik (SET), 2012. http://urn.kb.se/resolve?urn=urn:nbn:se:hh:diva-17979.
Full textDavies, Glynis L. "An analysis of Pat Metheny's and Lyle Mays's "Third Wind"| Arranging techniques and performance considerations." Thesis, California State University, Long Beach, 2015. http://pqdtopen.proquest.com/#viewpdf?dispub=1587274.
Full textThis paper explores the arranging techniques and performance considerations related to the transcription and analysis of "Third Wind" by Pat Metheny and Lyle Mays; it compares Metheny and Mays' original piece to the author's arrangement as performed at her Master's Recital. Biographical information about Metheny and Mays are used as a preface to their lives as composers and performers. Also included is an in-depth analysis of the original lead sheet, the author's arrangement, and the performance itself. The incorporation of wordless vocals, as used in the original, is also covered. The author wrote original lyrics for parts of the song that help to clarify her interpretation of this lengthy through-composed piece of music.
Postema, Darren Anthony. "Baroque and piccolo trumpet : an historical analysis with emphasis on performance practice and teaching techniques." Master's thesis, University of Cape Town, 1992. http://hdl.handle.net/11427/12686.
Full textThis dissertation is not only an historical comparison between the trumpets used in the baroque period and those used in our present century, but attempts to focus on how performance techniques have changed and the implications of these changes for trumpeters who wish to perform the baroque repertoire in an "authentic" style. The recent construction and availability of high quality prototype baroque trumpets, has enabled many to relearn the difficult art and has added yet another important dimension to the teaching pedagogy of trumpet.
Munger-MacKay, Ailene Annette. "Certain oboe techniques and ensemble pedagogy in selected woodwind chamber music of Heitor Villa-Lobos." The Ohio State University, 1993. http://rave.ohiolink.edu/etdc/view?acc_num=osu1248714649.
Full textDriedger, Jonathan [Verfasser], and Meinard [Gutachter] Müller. "Processing Music Signals Using Audio Decomposition Techniques / Jonathan Driedger. Gutachter: Meinard Müller." Erlangen : Friedrich-Alexander-Universität Erlangen-Nürnberg (FAU), 2016. http://d-nb.info/110085956X/34.
Full text