Relevant bibliographies by topics / Musical analysis

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers
  6. Reports

Academic literature on the topic 'Musical analysis'

Author: Grafiati
Published: 4 June 2021
Last updated: 29 July 2024

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Journal articles on the topic "Musical analysis"

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Yanuar, Dani. "Interaksi musikal dalam pertunjukan Kesenian Topeng Betawi." Dewa Ruci: Jurnal Pengkajian dan Penciptaan Seni 14, no. 1 (July 17, 2019): 10–18. http://dx.doi.org/10.33153/dewaruci.v14i1.2532.

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Penelitian ini membahas mengenai interaksi musikal dalam pertunjukan kesenian Topeng Betawi. Fokus permasalahan menitikberatkan tentang bagaimana jalinan interaksi musikal yang terjadi di antara para pemain musik dalam sajian gending pokok pertujukan kesenian Topeng Betawi. Metode yang digunakan dalam penelitian ini adalah deskriptif analisis yakni metode dengan cara menggambarkan atau melukiskan objek yang dikaji berdasarkan data-data yang diperoleh, yang kemudian dilakukan analisis terhadap data tersebut. Penelitian ini menerapkan teori interaksi musikal yang dirumuskan oleh Benjamin Brinner. Teknik pengumpulan data diperoleh melalui studi lapangan, perekaman audio-visual, dan studi pustaka. Hasil analisis dari penelitian ini dapat disimpulkan (1) Pemain rebab sebagai pimpinan yang memiliki kewajiban untuk mengkoordinasi jalannya pertunjukan. (2) Tata letak instrumen musik dari masing-masing penyaji didasarkan atas pertimbangan kelancaran pesan musikal. (3) Pesan musikal merupakan tanda yang kemudian mendapat respon dari pemain musik yang lain. (4) Struktur gending dipengaruhi jenis irama yang dimainkan. (5) Respon musikal merupakan wujud dari motivasi masing-masing pemain musik. ABSTRACTThis study discusses the musical interaction in Topeng Betawi art performances. The focus of the problem focuses on how the fabric of musical interaction that occurs between the musicians in the musical staple grain Performace Topeng Betawi arts. The method used in this research is a descriptive analysis of the methods by describing or depicting an object under study based on the data obtained, which then conducted an analysis of the data. This research applies the theory of musical interaction formulated by Benjamin Brinner. Data collection techniques gained through fieldworks, audio-visual recording, and literature. Analytical results from this study can be concluded (1) Player fiddle as a leader who has the obligation to coordinate the course of the show. (2) The layout of musical instruments from each presenter is based on the consideration of the smoothness of the musical message. (3) Book musicals is a sign that later received a response from the other music players. (4) The structure of the musical influenced the type of rhythm being played. (5) Response musical is a form of motivation for each music player.
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Vukićević, Nataša M. "НАСТАВА МУЗИЧКЕ КУЛТУРЕ И ПОЗИТИВНО ОБРАЗОВАЊЕ – ОД ДОЖИВЉАЈА ДО ИСХОДА У ОБЛАСТИ МУЗИЧКОГ СТВАРАЛАШТВА И СЛУШАЊА МУЗИКЕ." Узданица XX, no. 3 (2023): 241–56. http://dx.doi.org/10.46793/uzdanica20.s.241v.

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This paper analyses experiential aspects of teaching music in the context of the well-being education and creating a stimulating environment for learning, development and psychological well-being of lower-grade pupils. The analysis involves music classes held with fourth-graders who were expected to connect a literary text with a corresponding musical composition they listened to. The research was conducted in the primary school “17. Oktobarˮ in Jagodina in September 2023. In accordance with the research topic which encompasses pupils’ achievement in two areas, musical creativity and listening to music, the content analysis was applied. The research results were analysed in relation to the choice of musical composition which pupils considered appropriate for the poem “Three Blind Miceˮ by Peđa Trajković. The qualitative analysis dealt with pupils’ choice of the musical characteristics based on which they connected the given composition with the poem. It can be concluded that pupils’ creative activities, a positive pedagogical atmosphere, open approach and constructive feedback contribute to the development of a pupil’s musical perception and better achievements in the area of listening to music.
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Kharlov, Andrei Vladimirovich. "INCANTATIONS: MUSICAL APPROACH TO NON-MUSICAL GENRES ANALYSIS." Manuscript, no. 4 (April 2019): 141–45. http://dx.doi.org/10.30853/manuscript.2019.4.29.

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Xu, Yexiaxin. "Social Media Marketing Strategy in Chinese Musical Theatre Industry." Communication, Society and Media 6, no. 4 (October 21, 2023): p15. http://dx.doi.org/10.22158/csm.v6n4p15.

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The usage of social media in the context of musical theatre marketing continues to grow. More and more musical theatre production companies in China are using social media tools such as Weibo to provide various services and interact with customers. In an effort to help understand how the current musical theatre industry conducts social media marketing and the future development direction, this paper describes a case study which applies content analysis to examined posts on Weibo sites of five top musical theatre production companies: Seven Ages, Shanghai Culture Square, Musicals, Focustage, and Amazing Musicals. The results provide insights into the characteristics of social media marketing strategies of musical theatre production companies and changes after covid-19 pandemic. The study results add to the rapidly evolving field of social media within the musical theatre industry marketing context. Moreover, it advocates for an active role for the musical companies to explore and actively participate in the customer and musical fan communities on social media.
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Das, Joanna Dee, and Ryan Donovan. "Special Issue: Dance in musical theatre." Studies in Musical Theatre 13, no. 1 (March 1, 2019): 3–7. http://dx.doi.org/10.1386/smt.13.1.3_2.

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This special issue of Studies in Musical Theatre examines the role of dance in musical theatre from a variety of perspectives. Given the scholarly turn from textual analysis to performance analysis, even studying musicals without extensive dance per se can benefit from understanding how movement shapes meaning. The introduction below explains some key themes that have emerged in the six articles that follow. One is the question of genre: what exactly is musical theatre dance? Another is auteurship: what is the role of the choreographer in shaping musicals? A third is technology, which reminds readers that choreography extends beyond human bodies. Finally, the articles all consider questions of methodology and history – how do we best study musical theatre? While there are several other areas of potential inquiry not covered in these six articles, this special issue, the first in the field to focus on dance in musical theatre, aims to help define and cohere an important subfield.
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Edgar, Andrew. "Adorno and Musical Analysis." Journal of Aesthetics and Art Criticism 57, no. 4 (1999): 439. http://dx.doi.org/10.2307/432150.

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EDGAR, ANDREW. "Adorno and Musical Analysis." Journal of Aesthetics and Art Criticism 57, no. 4 (September 1, 1999): 439–50. http://dx.doi.org/10.1111/1540_6245.jaac57.4.0439.

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DeBellis, Mark. "Musical Analysis as Articulation." Journal of Aesthetics and Art Criticism 60, no. 2 (May 2002): 119–35. http://dx.doi.org/10.1111/1540-6245.00060.

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Jenkins, J. Daniel. "The Early Years of the American Musical in Vienna." Journal of Austrian-American History 6, no. 1 (May 18, 2022): 89–103. http://dx.doi.org/10.5325/jaustamerhist.6.1.0089.

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Abstract The individual most responsible for bringing the American musical to the Viennese stage was Marcel Prawy (1911–2003). Born into a Jewish Austro-Hungarian noble family, Prawy moved to the US in the late 1930s. While his first love was opera, he also developed an appreciation for the Broadway musical. He returned to Vienna after World War II and produced musical revues in local theaters that included showtunes. Upon becoming a dramaturge at the Vienna Volksoper in 1955, he began overseeing productions of American musical theater, which were among some of the earliest productions of American musicals on the European continent. The article reviews archival documents at the Prawy archive, housed at the Wienbibliothek, to better understand Prawy’s early efforts to bring American musical theater to the Viennese stage. The focus will be on the two earliest musicals Prawy produced, Kiss Me, Kate and Wonderful Town. The analysis will consider how Prawy packaged, promoted, and “sold” the American musical to his Viennese audience. A close reading of some of Prawy’s translations of libretti will be part of the analysis, revealing interesting insights into how Americans and American culture may have been viewed by the Viennese audience.
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Rigopoulou, Faye. "Still Here? Aging Female Vocalities in Musical Theatre." IASPM Journal 14, no. 1 (March 18, 2024): 113–33. http://dx.doi.org/10.5429/2079-3871(2024)v14i1.8en.

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Musical theatre has a complex relationship with ageing (and especially female ageing). As youth has always been at the forefront of musicals, essentialist approaches to ageing in articulation and enactment of ageing musical characters often lead to aesthetic peripheries and creative stagnation. Aiming for a deeper understanding of how female ageing vocalities are perceived, dramaturged and performed in musical theatre, the article takes under consideration viewpoints from ‘outsiders’/ageing performers who work ‘at the centre’ of the musical theatre industry (West End and Broadway).Through a close analysis of two ageing female characters (Madame Armfeldt and Grandma) in the musicals A Little Night Music and Billy Elliot, this article discusses and critiques preconceptions of ageing in the dramaturgy and performance of these roles, and it argues that musicals frequently fail to give agency to the voice of their ageing women.
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Dissertations / Theses on the topic "Musical analysis"

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Lascabettes, Paul. "Mathematical Models for the Discovery of Musical Patterns, Structures and for Performances Analysis." Electronic Thesis or Diss., Sorbonne université, 2023. http://www.theses.fr/2023SORUS578.

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L'objectif de cette thèse est de fournir des modèles mathématiques pour la compréhension et l'analyse de représentations symboliques de la musique. En particulier, cette thèse se décompose en trois parties : comment découvrir les motifs musicaux~? Comment ces motifs sont-ils organisés avec la structure musicale ? Et finalement, comment ces motifs sont-ils joués durant la performance musicale ? Tout d'abord, cette thèse se focalise sur la tâche de découverte de motifs musicaux. Les travaux antérieurs permettent de distinguer deux approches : l'approche séquentielle et l'approche multidimensionnelle. Nous proposons une méthode pour développer l'approche multidimensionnelle. En particulier, nous montrons que la théorie de la morphologie mathématique s'adapte très bien à l'approche géométrique, ce qui permet d'obtenir des résultats mathématiques pour la découverte de motifs musicaux. En seconde partie, nous nous intéressons à la tâche de segmentation musicale. Nous proposons deux méthodes, l'une reposant sur l'homogénéité et l'autre sur la répétition, qui sont les deux caractéristiques principales à étudier pour découvrir la segmentation d'une pièce. La méthode reposant sur l'homogénéité utilise les filtres morphologiques pour détecter les blocs sur la diagonale de la matrice d'auto-similarité. Nous développons aussi une méthode reposant sur la quasi-répétition sans intersection pour obtenir la segmentation hiérarchique d'une pièce. La troisième partie est dédiée à l'analyse de la performance musicale avec des outils informatiques. Nous nous focalisons sur la base de données MazurkaBL qui contient des annotations de plus de 2000 performances de 46 Mazurkas de Chopin. Pour analyser cette base de données, nous proposons de représenter une performance musicale dans un 2-simplexe, ce qui permet de caractériser et d'interpréter l'expressivité musicale d'une performance. Ensuite, nous montrons comment la théorie du transport optimal peut être utilisée pour comparer des performances musicales
The purpose of this thesis is to provide mathematical models for the understanding and analysis of symbolic representations of music. In particular, this thesis is divided into three parts. How to discover musical patterns? How are these patterns organized within the musical structure? And finally, how are these patterns performed during musical performance? First, this thesis focuses on the musical pattern discovery task. Previous work identifies two different approaches: the sequential and geometric approaches. We propose a method for each of these two approaches. We propose a method for developing the multidimensional approach. In particular, we show that the theory of mathematical morphology is well suited to the geometrical approach, making it possible to obtain mathematical results for the discovery of musical patterns. In the second part, we focus on the musical segmentation task. We propose a method based on homogeneity and one based on repetition, which are the two main features to be studied in order to discover the segmentation of a piece. The homogeneity-based method uses morphological filters to detect blocks on the diagonal of the self-similarity matrix. We also develop a method based on almost repetition without overlaps to obtain the hierarchical segmentation of a musical piece. The third part is dedicated to the computational models for music performances. We focus on the MazurkaBL dataset, which contains annotations of over 2000 recorded performances of 46 Chopin Mazurkas. To analyze this dataset, we propose to represent a musical performance in a 2-simplex, allowing us to characterize and interpret the expressivity of a performance. Then, we show how the theory of optimal transport can be used to compare musical performances
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Chai, Wei 1972. "Automated analysis of musical structure." Thesis, Massachusetts Institute of Technology, 2005. http://hdl.handle.net/1721.1/33878.

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Thesis (Ph. D.)--Massachusetts Institute of Technology, School of Architecture and Planning, Program in Media Arts and Sciences, 2005.
Includes bibliographical references (p. 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.
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LaFleur, Brandon Kyle. "Musical Colors| On Establishing a Methodology for Color Applications in Musical Analysis." Thesis, University of Louisiana at Lafayette, 2017. http://pqdtopen.proquest.com/#viewpdf?dispub=10271870.

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This thesis explores the potential advantages of incorporating color into musical analysis and musical concepts into art analysis. Music and the visual arts are vehicles of expression using two different perceptible waves as a medium. By comparing the physical attributes of these waves, analogous terminology between the disciplines is highlighted. Terminology parallels allow us to identify relationships between musical ideas and sonorities and color theory concepts and color harmonies. Cross-modal relationships have been explored in synesthetically inspired works in both disciplines. In Scriabin?s Prometheus, the luce presents the colors to the audience. These colors emphasize the harmonic, formal, and mystical elements of the piece. Messiaen?s Des Canyons aux etoiles features chords that were specifically included to paint the colors of the places he had visited. Sonata No. 6 by Ciurlionis is a painting that includes the three major sections of sonata form with the color changes to match. Symphony verte by Valensi includes complex structural variations and the various shading and saturations found in the timbral diversity of a symphony. Accounting for the bimodal aspects of these pieces provides us with a more concise holistic understanding of the artist?s purpose.

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Harrison, L. "Music analysis and musical perception : studies in the psychology of musical structure." Thesis, Lancaster University, 1988. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.328316.

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De, Paiva Santana Charles. "The Musical Piece as an Instance : essays in Computer-Aided Musical Analysis." Thesis, Paris 6, 2016. http://www.theses.fr/2016PA066672.

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A partir d'une interprétation musicologique de la notion scientifique de "modélisation et simulation'', cette thèse présente une approche d'analyse assistée par ordinateur où les partitions musicales sont reconstruites à partir de processus algorithmiques et simulées avec différents paramètres à partir desquels des variantes, appelés instances, sont générés. L'étude d'une pièce musicale par modélisation et simulation signifie comprendre l'oeuvre en la (re) composant de nouveau, en brouillant les limites entre le travail analytique et créatif. Cette approche est appliquée à trois études de cas: 1. une technique isolée, la "multiplication d'accords'', utilisé par Pierre Boulez (1925- 2016), qui a été explorée à travers le prisme formé par les théories de H. Hanson, S. Heinemann et L. Koblyakov; 2. La pièce "Spectral Canon pour Conlon Nancarrow" (1974) du compositeur américain James Tenney (1934-2006) à laquelle la simulation computationnelle à partir de différents paramètres a été prise à ses conséquences ultimes quand un "espace d'instances" est explorée a partir de stratégies de visualisation graphique; 3. Et enfin "Désordre" (1985), le première étude pour piano de l'austro-hongrois György Ligeti (1923-2006) dans laquelle les concepts de "tonalité combinatoire" et "décomposition en nombres premiers'', appliqué aux durées, ont été utilisés pour maximiser le potentiel de production d'instances
From a musicological interpretation of the scientific notion of “modeling and simulation”, this thesis presents an approach for computer-aided analysis where musical scores are reconstructed from algorithmic processes and then simulated with different sets of parameters from which neighbouring variants, called instances, are generated. Studying a musical piece by modelling and simulation means to understand the work by (re)composing it again, blurring boundaries between analytical and creative work. This approach is applied to three case studies: an isolated technique, Pierre Boulez Chord Multiplication, which is explored through the prism formed by the theories of H. Hanson, S. Heinemann and L. Koblyakov; the piece Spectral Canon for Conlon Nancarrow (1974) by the american James Tenney (1934-2006) to which the computational simulation from different sets of parameters was taken to its ultimate consequences when a “space of instances” is created and strategies of visualisation and exploration are devised; and finally “Disorder”, the first piano study written by austro-hungarian György Ligeti in which the concepts of “combinatorial tonality” and “decomposition prime numbers”, applied to durations, are used to maximize the potential that a model has to produce different variations of the original piece
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De, Paiva Santana Charles. "The Musical Piece as an Instance : essays in Computer-Aided Musical Analysis." Electronic Thesis or Diss., Paris 6, 2016. http://www.theses.fr/2016PA066672.

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A partir d'une interprétation musicologique de la notion scientifique de "modélisation et simulation'', cette thèse présente une approche d'analyse assistée par ordinateur où les partitions musicales sont reconstruites à partir de processus algorithmiques et simulées avec différents paramètres à partir desquels des variantes, appelés instances, sont générés. L'étude d'une pièce musicale par modélisation et simulation signifie comprendre l'oeuvre en la (re) composant de nouveau, en brouillant les limites entre le travail analytique et créatif. Cette approche est appliquée à trois études de cas: 1. une technique isolée, la "multiplication d'accords'', utilisé par Pierre Boulez (1925- 2016), qui a été explorée à travers le prisme formé par les théories de H. Hanson, S. Heinemann et L. Koblyakov; 2. La pièce "Spectral Canon pour Conlon Nancarrow" (1974) du compositeur américain James Tenney (1934-2006) à laquelle la simulation computationnelle à partir de différents paramètres a été prise à ses conséquences ultimes quand un "espace d'instances" est explorée a partir de stratégies de visualisation graphique; 3. Et enfin "Désordre" (1985), le première étude pour piano de l'austro-hongrois György Ligeti (1923-2006) dans laquelle les concepts de "tonalité combinatoire" et "décomposition en nombres premiers'', appliqué aux durées, ont été utilisés pour maximiser le potentiel de production d'instances
From a musicological interpretation of the scientific notion of “modeling and simulation”, this thesis presents an approach for computer-aided analysis where musical scores are reconstructed from algorithmic processes and then simulated with different sets of parameters from which neighbouring variants, called instances, are generated. Studying a musical piece by modelling and simulation means to understand the work by (re)composing it again, blurring boundaries between analytical and creative work. This approach is applied to three case studies: an isolated technique, Pierre Boulez Chord Multiplication, which is explored through the prism formed by the theories of H. Hanson, S. Heinemann and L. Koblyakov; the piece Spectral Canon for Conlon Nancarrow (1974) by the american James Tenney (1934-2006) to which the computational simulation from different sets of parameters was taken to its ultimate consequences when a “space of instances” is created and strategies of visualisation and exploration are devised; and finally “Disorder”, the first piano study written by austro-hungarian György Ligeti in which the concepts of “combinatorial tonality” and “decomposition prime numbers”, applied to durations, are used to maximize the potential that a model has to produce different variations of the original piece
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Ahnlund, Josefin. "Statistical Analysis of Conductor-Musician Interaction : With a Focus on Musical Expression." Thesis, KTH, Datorseende och robotik, CVAP, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-187755.

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The kind of interaction occurring between a conductor and musicians while performing a musical piece together is an unique instance of human non-verbal communication. This Musical Production Process (MPP) thus provides an interesting area of research, both from a communication perspective and by its own right. The long term goal of this project is to model the MPP with machine learning methods, for which large amounts of data are required. Since the amount of data available to this master thesis stems from a single recording session (collected at KTH May 2014) a direct modeling of the MPP is unfeasible. As such the thesis can instead be considered as a pilot project which examines pre-requisites for modeling of the MPP. The main aim of the thesis is to investigate how musical expression can be captured in the modeling of the MPP. Two experiments, as well as a theoretical investigation of the MPP, are performed to this end. The first experiment consists of a HMM classification of sound represented by expressive tone parameters extracted by the CUEX algorithm, and labeled by four emotions. This experiment complements the previous classification of conducting gesture in GP-LVM representation performed by Kelly Karipidou on the same data set. The result of the classification implicitly proves that expression has been transferred from conductor to musicians. As the first experiment considers expression over the musical piece as a whole, the second experiment investigates the transfer of expression from conductor to musician on a local level. To this end local representations of the sound and conducting gesture are extracted, the separability of the four emotions are calculated for both representations by use of the Bhattacharyya distance and the results are compared in search for correlation. Some indications of correlation between the representations of sound and gesture are found. The conclusion is nevertheless that the utilized representations of conducting gesture do not capture musical expression to a sufficient extent.
Interaktionen mellan en dirigent och musiker under ett musikframförande är en unik instans av mänsklig icke-verbal kommunikation. Denna “musikproduktionsprocess” (MPP) utgör därför ett intressant forskningsområde, både ur ett kommunikationsperspektiv såväl som i sin egen rätt. Det långsiktiga målet med detta projekt är att modellera MPP:n med maskininlärningsmetoder, vilket skulle kräva stora mängder data. Då den tillgängliga datamängden härstammar från ett enstaka inspelningstillfälle (KTH, maj 2014) är en direkt modellering av MPP:n inom detta examensarbete ej möjlig. Arbetet bör istället betraktas som ett pilotprojekt som undersöker förutsättningar för att modellera MPP:n. Huvudfokuset för detta examensarbete är att undersöka hur musikaliskt uttryck kan fångas i modelleringen av MPP:n. Två experiment och en teoretisk utredning av MPP:n utförs i detta syfte. Det första experimentet utgörs av HMM-klassificering av ljud, representerat av expressiva tonparametrar framtagna genom CUEX-algoritmen och uppmärkt med fyra olika känslor. Detta experiment kompletterar den tidigare genomförda klassificeringen av dirigentrörelse i en GP-LVM representation av Kelly Karipidou på samma datamängd. Resultatet av klassificeringen bevisar implicit att musikaliskt uttryck överförts från dirigent till musiker. Då det första experimentet undersöker musikaliskt uttrycköver musikstycket i sin helhet är målet för det andra experimentet att undersöka överföringen av musikaliskt uttryck från dirigent till musiker på en lokal nivå. För detta syfte tas lokala representationer för ljud och dirigentrörelse fram, separabiliteten mellan de fyra känslorna kalkyleras via Bhattacharyya-avståndet och resultaten jämförs på jakt efter korrelation. Vissa indikationer på korrelation mellan representationerna för ljud och dirigentrörelse kan iakttas. Slutsatsen är dock att de tillämpade representationerna för dirigentrörelse inte fångar musikaliskt uttryck i tillräckligt hög grad.
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Harper-Scott, J. P. E. "Elgar's musical language : analysis, hermeneutics, humanity." Thesis, University of Oxford, 2004. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.402979.

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Hellaby, Julian. "Musical performance : a framework for analysis." Thesis, Birmingham City University, 2006. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.441553.

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Renfrew, Mary Claire. "Exploring the 'I' in musician : investigating musical identities of professional orchestral musicians." Thesis, University of Edinburgh, 2016. http://hdl.handle.net/1842/29570.

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The lived experiences of professional orchestral musicians are under-­‐researched by scholars in both music and psychology, who are interested in the world of the professional orchestra and the careers of classical musicians. Framed within a Social Constructionist paradigm, the research in this thesis is concerned with investigating the subjective meanings and individual experiences of a group of ten classical orchestral musicians. Interpretative Phenomenological Analysis was the methodological framework chosen to design and analyse a set of open-­‐ ended interviews with the musicians, which allowed reflexivity and flexibility throughout the research process. Three superordinate themes were identified from a close reading and IPA analysis of the interview data: ‘Musical Foundations’, ‘Struggle: “The Never Ending Quest”’ and ‘Thank You For The Music’. ‘Musical Foundations’ examines the process of musical identity construction for the ten participants, from its early beginnings in childhood, through adolescence and their time in the professional orchestra. Different facets of musical identity construction are outlined and becoming an orchestral musician is viewed as essentially a social process shaped by social interactions, building on a sense of possessing certain ‘innate’ characteristics. ‘Struggle: ‘The Never Ending Quest”’ illustrates the challenges the musicians encountered within the profession and the impact that being a professional orchestral musician had on other aspects of their lives (e.g. personal and social). The fear and conflict the ten musicians experienced is outlined and how the musicians coped and ‘survived’ within the professional orchestra is demonstrated. In addition, the central importance of the identity of ‘orchestral musician’ within the participants’ lives is illustrated. The last theme, ‘Thank You For The Music’ outlines why the musicians continued within the profession despite the struggles summarised by the previous theme. This chapter highlights the autonomy and control the musicians felt they gained within their orchestras and the physiological and emotional connections they experienced with both the profession and classic music itself. Common to all three superordinate themes is their reported power struggle between the musicians and the orchestra, and between the individual and the collective. Another common issue was how central the identity of ‘orchestral musician’ was for all participants, impacting all aspects of their lives. The professional musicians constructed, negotiated and maintained their musical identities in accordance with both their own expectations and those of the classical music genre itself. The research in this thesis raises awareness of the importance of the orchestral musician identity in the musicians’ lives and how an understanding of this can help gain an insight into other aspects of the participants’ lives. Recommendations are made for further research regarding: the lived experiences of classical music students, investigation of current teaching practices in conservatoires and further exploration of the professional structures within an orchestra.
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Books on the topic "Musical analysis"

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White, John David. Comprehensive musical analysis. Landham, Md: Scarecrow Press, 2003.

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Essays in musical analysis. Oxford [England]: Oxford University Press, 1989.

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Burkhart, Charles. Anthology for musical analysis. 4th ed. New York: Holt, Rinehart and Winston, 1986.

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Francis, Tovey Donald. Essays in musical analysis. Oxford [England]: Oxford University Press, 1989.

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T, Hutcheson Jere, ed. Musical form and analysis. Madison, Wis: Brown & Benchmark, 1995.

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Kaufman, Shelemay Kay, ed. Cross-cultural musical analysis. New York: Garland, 1990.

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Mathes, James R. The Analysis of Musical Form. Upper Saddle River, NJ: Prentice Hall, 2006.

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Cook, Nicholas. Musical analysis and the listener. New York: Garland Pub, 1989.

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Cook, Nicholas. A guide to musical analysis. London: J.M. Dent, 1987.

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Cook, Nicholas. A guide to musical analysis. London: Dent, 1987.

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Book chapters on the topic "Musical analysis"

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Neuwirth, Markus. "Musical Analysis." In The Routledge Handbook of Music and Migration, 128–30. London: Routledge, 2023. http://dx.doi.org/10.4324/9781003309437-32.

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Lehman, Frank. "Analyzing Musical Metamorphoses." In Film Music Analysis, 173–201. New York: Routledge, 2024. http://dx.doi.org/10.4324/9781003001171-9.

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Che, Rui, Xingda Li, Dongfang Li, and Yujing Guan. "Musical Intelligence Analysis." In Recent Advances in Computer Science and Information Engineering, 671–76. Berlin, Heidelberg: Springer Berlin Heidelberg, 2012. http://dx.doi.org/10.1007/978-3-642-25792-6_102.

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Beach, David. "Schenker’s Conception of Musical Structure." In Schenkerian Analysis, 3–27. Second edition. | New York ; London : Routledge, 2019. | Previous edition published under title: Advanced Schenkerian analysis.: Routledge, 2019. http://dx.doi.org/10.4324/9780429453793-1.

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Sethares, William A. "Consonance-Based Musical Analysis." In Tuning, Timbre, Spectrum, Scale, 189–210. London: Springer London, 1998. http://dx.doi.org/10.1007/978-1-4471-4177-8_9.

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Giraud, Mathieu, Richard Groult, and Florence Levé. "Computational Analysis of Musical Form." In Computational Music Analysis, 113–36. Cham: Springer International Publishing, 2015. http://dx.doi.org/10.1007/978-3-319-25931-4_5.

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Saint-Dizier, Patrick. "A Rhetoric Analysis of Musical Works." In Musical Rhetoric, 127–66. Hoboken, NJ, USA: John Wiley & Sons, Inc., 2014. http://dx.doi.org/10.1002/9781119004998.ch5.

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Dickensheets, Janice. "Narrative Analysis, the Sonata Cycle and Implications for Performance." In Musical Topics and Musical Performance, 124–49. London: Routledge, 2023. http://dx.doi.org/10.4324/9781003218340-7.

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Godøy, Rolf Inge. "Chunking Sound for Musical Analysis." In Computer Music Modeling and Retrieval. Genesis of Meaning in Sound and Music, 67–80. Berlin, Heidelberg: Springer Berlin Heidelberg, 2009. http://dx.doi.org/10.1007/978-3-642-02518-1_4.

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Maddage, Namunu Chinthaka, Changsheng Xu, Chin-Hui Lee, Mohan Kankanhalli, and Qi Tian. "Statistical Analysis of Musical Instruments." In Advances in Multimedia Information Processing — PCM 2002, 581–88. Berlin, Heidelberg: Springer Berlin Heidelberg, 2002. http://dx.doi.org/10.1007/3-540-36228-2_72.

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Conference papers on the topic "Musical analysis"

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Poon Chong, Peter, and Terrence Lalla. "APPLYING FUZZY QFD MCDM TO EVALUATE MUSICAL INSTRUMENTS." In International Conference on Emerging Trends in Engineering & Technology (IConETech-2020). Faculty of Engineering, The University of the West Indies, St. Augustine, 2020. http://dx.doi.org/10.47412/bgmj4037.

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This paper exhibits a method to improve the quality of musical instruments with the application of two Multi-Criteria Decision Making models, Technique of Order Preference by Similarity to Ideal Solution (TOPSIS) and Analytic Hierarchy Process (AHP) in a Quality Function Deployment (QFD) Environment. A fuzzy analysis approach was also included to accommodate qualitative data in music. The QFD was constructed with literature based on optimizing the manufacture of musical instruments. At this phase of the research, the paper focused on the physical parameters and perceived qualities of musical instruments. The proposed modified QFD was developed to identify the product features chosen by the market and aid the manufacture of musical instruments. A standard QFD recognized and scored factors to develop and manufacture musical instruments. It accommodated some core engineering variables for the musical instruments but overlooked some feature stakeholder needs. For example, the musician may not have 100% gratification while playing the instrument as the manufacturer fails to capture acoustic features to psychologically satisfy the musician’s audience. Using fuzzy logic, QFD and MCDM increased the model performance by expanding the data set. It offered the manufacturer of musical instruments a mode to capture and analyse behavioural linguistic data covering more customer requirements. Hence, the approach increased the range to correlate the physical features and psychological behaviours of musical instruments. It allowed non-technical persons to provide an improved form of reliable information. This modified QFD can also be applied to develop other products involving linguistic data.
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Malik, Rakesh, Partha Pratim Roy, Umapada Pal, and Fumitaka Kimura. "Handwritten Musical Document Retrieval Using Music-Score Spotting." In 2013 12th International Conference on Document Analysis and Recognition (ICDAR). IEEE, 2013. http://dx.doi.org/10.1109/icdar.2013.170.

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Kuuskankare, Mika. "Towards Real-time Score Analysis in PWGL." In Simpósio Brasileiro de Computação Musical. Sociedade Brasileira de Computação - SBC, 2021. http://dx.doi.org/10.5753/sbcm.2021.19424.

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In this paper, we introduce an original approach to computerized music analysis within the graphical computer-assisted composition environment called PWGL. Our aim is to facilitate the realtime analysis of interactive scores written in common Western music notation. To this end, we have developed a novel library that allows us to analyze scores realized with the help of ENP (the graphical music notation module of PWGL), and to visualize the results of the analysis in realtime. ENP is extended to support the display of supplementary information that can be drawn on top of the score as an overlay. The analysis backend is realized with the help of our builtin musical scripting language based on pattern matching. The analysis results are presented directly as a part of the original score leveraging the extensible and interactive visualization capabilities of ENP. In this paper we describe the current state of the library and present, as a case study, a fully functional application allowing for the realtime analysis and display of voice leading errors according to the counterpoint rules developed mainly in the Renaissance and Baroque eras.
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Magalhaes, Tairone, Felippe Barros, and Maurício Loureiro. "Iracema: a Python library for audio content analysis." In Simpósio Brasileiro de Computação Musical. Sociedade Brasileira de Computação - SBC, 2019. http://dx.doi.org/10.5753/sbcm.2019.10418.

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This paper introduces the alpha version of a Python library called Iracema, which aims to provide models for the extraction of meaningful information from recordings of monophonic pieces of music, for purposes of research in music performance. With this objective in mind, we propose an architecture that will provide to users an abstraction level that simplifies the manipulation of different kinds of time series, as well as the extraction of segments from them. In this paper we: (1) introduce some key concepts at the core of the proposed architecture; (2) list the current functionalities of the package; (3) give some examples of the application programming interface; and (4) give some brief examples of audio analysis using the system.
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Souza, Mila Soares de Oliveira de, Pedro Nuno de Souza Moura, and Jean-Pierre Briot. "Tempo estimation via neural networks - a comparative analysis." In Simpósio Brasileiro de Computação Musical. Sociedade Brasileira de Computação - SBC, 2021. http://dx.doi.org/10.5753/sbcm.2021.19420.

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This paper presents a comparative analysis on two artificial neural networks (with different architectures) for the task of tempo estimation. For this purpose, it also proposes the modeling, training and evaluation of a B-RNN (Bidirectional Recurrent Neural Network) model capable of estimating tempo in bpm (beats per minutes) of musical pieces, without using external auxiliary modules. An extensive database (12,333 pieces in total) was curated to conduct a quantitative and qualitative analysis over the experiment. Percussion-only tracks were also included inthe dataset. The performance of the B-RNN is compared to that of state-of-the-art models. For further comparison, a state-of-the-art CNN was also retrained with the same datasets used for the B-RNN training. Evaluation results for each model and datasets are presented and discussed, as well as observations and ideas for future research. Tempo estimation was more accurate for the percussion-only dataset, suggesting that the estimation can be more accurate for percussion-only tracks, although further experiments (with more of such datasets) should be made to gather stronger evidence.
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Folorunso, S. O., O. O. Banjo, J. B. Awotunde, and F. E. Ayo. "Machine Learning Analysis of Music Based on Music Information Retrieval Tasks." In International Workshop on Social Impact of AI for Africa 2022. AIJR Publisher, 2024. http://dx.doi.org/10.21467/proceedings.157.3.

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Music Information Retrieval (MIR) methods extracts from music high-level information like classification, musical feature extraction, song similarity and tonality. Musical genre is one of the orthodox methods of describing musical content and a significant part of MIR. At present, few MIR research has been done on Nigerian songs. So, this paper proposed to build a genre classification model based on Mel Spectrogram of audio songs. The process first converts ORIN audio dataset to Mel Spectrogram and extract numerical information from it using the Histogram of Oriented Gradient (HOG) and apply machine learning (ML) models to accurately categorize the songs into different genres of Apala, Fuji, Juju, Highlife and Waka. Support Vector Machine (SVM) with 4 different kernels, with 10- cross validation method were applied and assessed based on Accuracy and Receiver operating characteristics (ROC).
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Lee, Jong In, Dong-Gyu Yeo, Byeong Man Kim, and Hae-Yeoun Lee. "Automatic Music Mood Detection through Musical Structure Analysis." In 2009 2nd International Conference on Computer Science and its Applications (CSA). IEEE, 2009. http://dx.doi.org/10.1109/csa.2009.5404218.

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Ferreira, Leonardo, Estela Ribeiro, and Carlos Thomaz. "A cluster analysis of benchmark acoustic features on Brazilian music." In Simpósio Brasileiro de Computação Musical. Sociedade Brasileira de Computação - SBC, 2019. http://dx.doi.org/10.5753/sbcm.2019.10444.

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In this work, we extend a standard and successful acoustic feature extraction approach based on trigger selection to examples of Brazilian Bossa-Nova and Heitor Villa Lobos music pieces. Additionally, we propose and implement a computational framework to disclose whether all the acoustic features extracted are statistically relevant, that is, non-redundant. Our experimental results show that not all these well-known features might be necessary for trigger selection, given the multivariate statistical redundancy found, which associated all these acoustic features into 3 clusters with different factor loadings and, consequently, representatives.
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González, Yubiry, and Ronaldo Prati. "Characterization of the sonority associated to woodwinds instruments through spectral analysis." In Simpósio Brasileiro de Computação Musical. Sociedade Brasileira de Computação - SBC, 2019. http://dx.doi.org/10.5753/sbcm.2019.10452.

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The sonority is one of the definitions widely used by musicians when trying to define the color or timbral balances associated with individual or groups of instruments , such as for ensembles or orchestras. This definition obeys to subjective musical parameters associated with "color balance", "sound amplitude", among others. In the field of musical acoustics, it is well known that the sounds coming from musical instruments depend on several acoustic physical parameters such as Intensity, Frequency, and the number of harmonics, as well as other aspects including, association with its manufacturing process, such as geometry and materials used for construction. This work presents, from a spectral analysis of the timbre with the use of Fast Fourier Transform (FFT), Spectral Power Density (DPE) and Spectrograms, the characterization of the subjective concept of "sonority", for some instruments of the Woodwind family: Piccolo flute, transverse flute, clarinet and oboe. It is concluded that the stage of sound evolution as the attack and sustenance, allow the establishment of harmonics whose powers are fundamental to define the timbric "color" associated with each instrument, as well as the number of harmonics allowed to establish parameters of "sound identity", useful for the generation of a coefficient extracted from the obtained spectral analysis, which allows to advance in the characterization of the Sonority. The generalization of the method is suggested for all families of musical instruments.
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Costalonga, Leandro, Daniel Coura, Marcus Vinícius Das Neves, Fabiano Costa, and Helder Rocha. "NESCoM Research Report (2019)." In Simpósio Brasileiro de Computação Musical. Sociedade Brasileira de Computação - SBC, 2019. http://dx.doi.org/10.5753/sbcm.2019.10437.

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The NESCoM is a multidisciplinary research center formed by musicians, engineers and computer scientists. The main research interest lies with sonology, audiotacticle musical analysis, ubiquitous music, interactive multimedia installations, and the design of computer music technology in general. Overall, the common ground for the NESCoM projects lies with the human-aspects, both cognitive and motor, behind a musical activity. This can come, for instance, in the shape of an audiotactile analysis of musical interaction applied to a new digital musical interface designed to overcome human physical constraints or the composition of a cinema soundtrack based on perceptual models of the audience. In this paper, it is reported a short description of the ongoing projects of the NESCoM and the future works.
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Reports on the topic "Musical analysis"

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Zuo, Lingyan, Fengting Zhu, Rui Wang, Hongyan Shuai, and Xin Yu. Music intervention affects the quality of life on Alzheimer’s disease: a meta-analysis. INPLASY - International Platform of Registered Systematic Review and Meta-analysis Protocols, December 2021. http://dx.doi.org/10.37766/inplasy2021.12.0055.

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Review question / Objective: Inclusion criteria: population: 1) A randomized controlled study on the impact of music intervention on the QOL of patients with AD; 2) The participants in this study is patients with AD; 3) There is no significant difference among age, gender and education background in sorted groups before analysis which make these groups comparable; intervention: 1)Intervention Modality Music-based intervention; comparison: 1) All data were sorted into two groups: the music intervention group and the control group without any music intervention; outcome: 1) The indicators evaluated in the literature included the score of QOL-AD or WHOQOL-BERF scale, at least one of the two scales summarized in selected publications; language: 1) Only articles published in English and Chinese were considered. Exclusion criteria: 1) The participants were not diagnosed with AD; 2) Non-musical intervention;3) Non-RCTs; 4) No specific values for outcome variables; 5) Articles lacking original data; 6) Repeat published reports; 7) Full text could not be obtained.
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Hagel, Stefan. Understanding early auloi: Instruments from Paestum, Pydna and elsewhere. Verlag der Österreichischen Akademie der Wissenschaften, October 2021. http://dx.doi.org/10.1553/oeai_ambh_3.

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Starting from data on the ‘Paestum’ or ‘Poseidonia’ aulos established by Paul andBarbara Reichlin-Moser and Stelios Psaroudakēs, the ‘Pydna’ aulos, and comparable finds ofearly, mainly six-hole one-hole-shift, doublepipe fragments, possible musical interpretations ofthis important instrument type of the early Classical Period are considered. Probable pitchesand intervals are assessed by means of well-tested software and confirmed experimentally;the required double reeds of a much longer type than known from later periods are shownto be substantiated by iconographic and literary testimony. The harmonic analysis of theinstruments proposes the notion of a rudimentary tetrachordal structure, with equallydivided tetrachords, which is both plausible in terms of music-ethnological parallels and thedevelopment of ancient musical theory. Some of the studied instruments appear to adhereto an early pitch standard, seemingly coinciding with the typical cithara octave. Criticalevaluation of literary sources finally leads to a cautious interpretation as ‘Lydian’ instruments.
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Manhiça, Anésio, Alex Shankland, Kátia Taela, Euclides Gonçalves, Catija Maivasse, and Mariz Tadros. Alternative Expressions of Citizen Voices: The Protest Song and Popular Engagements with the Mozambican State. Institute of Development Studies (IDS), November 2020. http://dx.doi.org/10.19088/ids.2020.001.

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This study examines Mozambican popular music to investigate three questions: Are notions of empowerment and accountability present in popular music in Mozambique? If so, what can these existing notions of empowerment and accountability reveal about relations between citizens and state institutions in general and about citizen-led social and political action in particular? In what ways is popular music used to support citizen mobilisation in Mozambique? The discussion is based on an analysis of 46 protest songs, interviews with musicians, music producers and event promoters as well as field interviews and observations among audiences at selected popular music concerts and public workshops in Maputo city. Secondary data were drawn from radio broadcasts, digital media, and social networks. The songs analysed were widely played in the past two decades (1998–2018), a period in which three different presidents led the country. Our focus is on the protest song, conceived as those musical products that are concerned with public affairs, particularly public policy and how it affects citizens’ social, political and economic life, and the relationship between citizens and the state.
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Heynderickx, Haley. A Musical Analysis of the Past: America is in the Heart by Carlos Bulosan Re-told through the Craft of Folk Songs. Portland State University Library, January 2015. http://dx.doi.org/10.15760/honors.179.

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Wang, Xiao, Hong Shen, Yujie Liang, Yixin Wang, Meiqi Zhang, and Hongtao Ma. Effectiveness of Tango Intervention on Motor Symptoms in Patients with Parkinson's Disease: A Protocol for Systematic Review and Meta-Analysis. INPLASY - International Platform of Registered Systematic Review and Meta-analysis Protocols, May 2022. http://dx.doi.org/10.37766/inplasy2022.5.0009.

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Review question / Objective: Parkinson's disease (PD) is a degenerative neurological disease caused by the loss of dopaminergic neurons in the pars compacta of the substantia nigra of the brain, resulting in lesions in the basal ganglia. The main motor symptoms of PD include resting tremor, rigidity, akinesia or bradykinesia and postural instability. As an exercise intervention based on musical accompaniment, tango dance has shown positive effects on the rehabilitation of motor symptoms in PD patients in recently. In this study, we systematically reviewed the efficacy of tango intervention in alleviating the motor symptoms of patients with PD. Condition being studied: Parkinson. Information sources: The following electronic databases will be searched: PubMed, Cochrane Central Register of Controlled Trials (CENTRAL), Web of Science Core collection, and China National Knowledge Infrastructure Database (CNKI) and WanFang Database.
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Buene, Eivind. Intimate Relations. Norges Musikkhøgskole, August 2018. http://dx.doi.org/10.22501/nmh-ar.481274.

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Blue Mountain is a 35-minute work for two actors and orchestra. It was commissioned by the Ultima Festival, and premiered in 2014 by the Danish National Chamber Orchestra. The Ultima festival challenged me – being both a composer and writer – to make something where I wrote both text and music. Interestingly, I hadn’t really thought of that before, writing text to my own music – or music to my own text. This is a very common thing in popular music, the songwriter. But in the lied, the orchestral piece or indeed in opera, there is a strict division of labour between composer and writer. There are exceptions, most famously Wagner, who did libretto, music and staging for his operas. And 20th century composers like Olivier Messiaen, who wrote his own poems for his music – or Luciano Berio, who made a collage of such detail that it the text arguably became his own in Sinfonia. But this relationship is often a convoluted one, not often discussed in the tradition of musical analysis where text tend to be taken as a given, not subjected to the same rigorous scrutiny that is often the case with music. This exposition is an attempt to unfold this process of composing with both words and music. A key challenge has been to make the text an intrinsic part of the performance situation, and the music something more than mere accompaniment to narration. To render the words meaningless without the music and vice versa. So the question that emerged was how music and words can be not only equal partners, but also yield a new species of music/text? A second questions follows en suite, and that is what challenges the conflation of different roles – the writer and the composer – presents? I will try to address these questions through a discussion of the methods applied in Blue Mountain, the results they have yielded, and the challenges this work has posed.
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Möllenkamp, Andreas. Paradigms of Music Software Development. Staatliches Institut für Musikforschung, December 2014. http://dx.doi.org/10.25366/2022.99.

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On the way to a more comprehensive and integrative historiography of music software, this paper proposes a survey of the main paradigms of music software development from the 1950s to the present. Concentrating on applications for music composition, production and performance, the analysis focusses on the concept and design of the human-computer-interaction as well as the implicit user.
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Sedeño Valdellós, A., J. Rodríguez López, and SR Acuña. The post-television music video. A methodological proposal and aesthetic analysis. Revista Latina de Comunicación Social, March 2016. http://dx.doi.org/10.4185/rlcs-2016-1098en.

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Flanagan, Aidan, and Robert Weldon. Overview of MUSiC and Neutron Multiplicity Counting Analysis with the NoMAD Detector. Office of Scientific and Technical Information (OSTI), August 2023. http://dx.doi.org/10.2172/1994106.

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Білоус, О. С. Український фольклор як засіб морально-естетичного становлення особистості школяра. ПДПУ ім. К. Д. Ушинського, 2002. http://dx.doi.org/10.31812/123456789/3317.

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The article deals with the meaning of folklore as the means of a moral-aesthetic making of a pupil’s personality. The author’s conclusions are based on the opinions of famous pedagogues and musicians. The curriculum in Music analysis, the recommendations concerning the broadening of a used repertoire of a folk music creative work in the practice of a compulsory school at the expense of introduction of the material of an folk creative work are given.
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