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 musicalesThe 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'instancesFrom 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'instancesFrom 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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Ogata, Denise Mayumi. "Análise musical e processos harmônicos em Concert à quatre, de Olivier Messiaen." Universidade de São Paulo, 2016. http://www.teses.usp.br/teses/disponiveis/27/27157/tde-01022017-105225/.
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Esta dissertação desenvolve uma análise musical de Concert à quatre (1990-1991), obra composta por Olivier Messiaen para quatro solistas (flauta, oboé, violoncelo, piano) e grande orquestra, apresentando os procedimentos harmônicos e os principais elementos que caracterizam a linguagem do compositor. Busca identificar e compreender a utilização de conceitos estabelecidos por Messiaen, bem como investigar os processos que estruturam a harmonia de Concert à quatre, priorizando uma abordagem baseada na análise das vozes comuns. Destacando Vingt Leçons d\'Harmonie (1951) no interior do levantamento bibliográfico que relaciona estudos sobre a produção bibliográfica do compositor, associa-o com os principais elementos composicionais de Concert à quatre e aborda referenciais que remetem à formação teórico-musical de Messiaen. Utiliza a segmentação por conjuntos e o mapeamento de vozes comuns em sucessões de acordes como ferramentas analíticas. O resultado da análise demonstra como os Modos de Transposições Limitadas e seus subconjuntos estruturam a obra, concomitante à ocorrência de breves tonicizações e à formação de centros referenciais harmônicos, evidenciando alturas e intervalos recorrentes. Além disso, destaca o uso dos elementos finalizadores de seções e os constituintes de trechos transitórios, os quais consolidam a sonoridade gerada pelas seções.This work develops a musical analysis of Concert à quatre (1990-1), a work for four soloists (flute, oboe, cello, piano) and large orchestra, by Olivier Messiaen, presenting the harmonic procedures and the main elements that characterize his compositional language. Seeks to identify and understand the use of concepts established by Messiaen, as well as investigate the processes that structure Concert à quatre harmony getting priority to an approach based on analysis of common voices. Highlighting Vingt Leçons d\'Harmonie (1951) within the literature that relates studies on the bibliographic production of the composer, it associates this production with the main compositional elements of Concert à quatre and addresses references that refer to Messiaen\'s theoretical and musical studies. It uses sets segmentation and mapping common voices chord sequences as analytical tools. The analysis shows how the Modes of Limited Transposition and its subsets structure the work, being concurrent with the occurrence of brief tonicizations and forming harmonic reference centers, showing classes and recurring intervals. Furthermore, it emphasizes the use of the elements that are finishers constituent sections and transient portions, looking forward to consolidate the sound generated by each section.
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McLeod, Philip, and n/a. "Fast, accurate pitch detection tools for music analysis." University of Otago. Department of Computer Science, 2009. http://adt.otago.ac.nz./public/adt-NZDU20090220.090438.
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Precise pitch is important to musicians. We created algorithms for real-time pitch detection that generalise well over a range of single �voiced� musical instruments. A high pitch detection accuracy is achieved whilst maintaining a fast response using a special normalisation of the autocorrelation (SNAC) function and its windowed version, WSNAC. Incremental versions of these functions provide pitch values updated at every input sample. A robust octave detection is achieved through a modified cepstrum, utilising properties of human pitch perception and putting the pitch of the current frame within the context of its full note duration. The algorithms have been tested thoroughly both with synthetic waveforms and sounds from real instruments. A method for detecting note changes using only pitch is also presented.
Furthermore, we describe a real-time method to determine vibrato parameters - higher level information of pitch variations, including the envelopes of vibrato speed, height, phase and centre offset. Some novel ways of visualising the pitch and vibrato information are presented.
Our project �Tartini� provides music students, teachers, performers and researchers with new visual tools to help them learn their art, refine their technique and advance their fields.
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Mészáros, Tomáš. "Speech Analysis for Processing of Musical Signals." Master's thesis, Vysoké učení technické v Brně. Fakulta informačních technologií, 2015. http://www.nusl.cz/ntk/nusl-234974.
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Hlavním cílem této práce je obohatit hudební signály charakteristikami lidské řeči. Práce zahrnuje tvorbu audioefektu inspirovaného efektem talk-box: analýzu hlasového ústrojí vhodným algoritmem jako je lineární predikce, a aplikaci odhadnutého filtru na hudební audio-signál. Důraz je kladen na dokonalou kvalitu výstupu, malou latenci a nízkou výpočetní náročnost pro použití v reálném čase. Výstupem práce je softwarový plugin využitelný v profesionálních aplikacích pro úpravu audia a při využití vhodné hardwarové platformy také pro živé hraní. Plugin emuluje reálné zařízení typu talk-box a poskytuje podobnou kvalitu výstupu s unikátním zvukem.
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Patterson, Jason 1982. "Multidimensional Musical Objects in Mahler's Seventh Symphony." Thesis, University of North Texas, 2019. https://digital.library.unt.edu/ark:/67531/metadc1505248/.
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Gustav Mahler's Seventh Symphony seems to belie traditional notions of symphonic unity in that it progresses from E minor in the first movement to C major in the Finale. The repertoire of eighteenth and nineteenth century composers such as Haydn, Beethoven, and Brahms indicates that tonal holism is a significant factor for the symphonic genre. In order to reconcile Mahler's adventurous key scheme, this dissertation explores a multidimensional harmonic model that expands upon other concepts like Robert Bailey's double-tonic complex and transformation theory. A multidimensional musical object is a nexus of several interconnected chords that occupy the same functional space (tonic, dominant, or subdominant) and can be integrated into a Schenkerian reading. Mahler's Seventh is governed by a three-dimensional tonic object that encompasses the major and minor versions of C, E, and A-flat and the augmented triad that is formed between them. The nature of this multidimensional harmony allows unusual formal procedures to unfold, most notably in the first movement's sonata form. To navigate this particular sonata design, I have incorporated my own analytical terminology, the identity narrative, to track the background harmonic events. The location of these events (identity schism, identity crisis, and identity reclamation) is critical to the entire structure of the Seventh.
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Assumpção, Sérgio Eduardo Martineli de. "Ascendência retórica das formas musicais." Universidade de São Paulo, 2007. http://www.teses.usp.br/teses/disponiveis/27/27140/tde-23072009-204002/.
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Esta pesquisa tem como objetivo investigar as influências e traços da retórica na gênese das formas musicais. Parte-se do pressuposto de que, a partir do desenvolvimento de uma música instrumental autônoma, emancipada da palavra, a herança retórica contribuiu para a disposição formal do material sonoro, bem como para harmonizar coerentemente as relações entre forma e conteúdo. O estudo propõe uma visão da retórica grega e latina contraposta à abordagem tradicionalmente sistemática das formas musicais. Ambas são, então, relacionadas por meio dos conceitos retóricomusicais, estabelecidos e codificados preponderantemente no século XVIII, em consonância com a fundamentação aristotélica. Esta intersecção permite uma reavaliação das práticas analíticas, enriquecendo-as a partir da introdução da metáfora da oração e da função persuasiva que integram o processo composicional. Vislumbra-se, por tais procedimentos, a reavaliação das possibilidades semânticas ocultas pela codificação sintática.This research aims to investigate the influences and traces of rhetoric in the genesis of the musical forms. It is based on the assumption that, starting from the development of an autonomous instrumental music, emancipated from the word, the rhetoric inheritance contributed for the formal disposition of sonorous material, as well to harmonize coherently the relation between structure and content. The study proposes a vision of Greek and Latin rhetoric as compared to the traditionally systematic approach of the musical forms. Both are, then, related through rhetoric-musical concepts, established and codified predominantly in the eighteenth century, in consonance with the Aristotelic bases. This intersection permits a re-evaluation of the analytical practices, enriching them with the introduction of the metaphor of the oration and by the persuasive function that integrates the compositional process. One gains a glimpse, that through such procedures, of the re-evaluation of the semantical possibilities hidden by the syntactic codification.
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Gerhardt, Kris. "The tritone paradox : an experimental and statistical analysis /." *McMaster only, 2002.
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Marlin, Maggie. "Musical Theatre Handbook for the Actor." VCU Scholars Compass, 2009. http://scholarscompass.vcu.edu/etd/1774.
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MUSICAL THEATRE HANDBOOK FOR THE ACTOR By Maggie Elizabeth Marlin, MFA A Thesis submitted in partial fulfillment of the requirements for the degree of Master of Fine Arts at Virginia Commonwealth University. Virginia Commonwealth University, 2009 Major Director: David S. Leong Chairman, Department of Theatre Musical Theatre is a performance style deeply woven into the fabric of the American theatre. We live in time and social climate where over half of the productions open on Broadway right now are musicals. If actor training institutions profess a mission to prepare their students for a career in the entertainment industry, why are so many components of an actor’s skill set left to the side and considered peripheral? One can make the argument that their actor training program is exclusively for the theatre, and even more specifically for straight plays for the theatre. Of course, what your career preparation institution chooses to target is your prerogative and as long as that is clear to the incoming students who wish to specialize only in that one faction of the artist’s opportunities for work then my argument is moot. However, if you believe that actor training has a duty to prepare actors to work in an ever changing and transforming field and to be competitive in meeting the demands of various media, among many other areas of focus you should consider preparing your students to develop their craft for musical theatre as legitimately as you would for a classical or contemporary straight play. In this thesis I propose an approach to creating a role for musical theatre using as an example my character development technique for the role of Sally Bowles from a recent production of Cabaret. My desire is to illustrate a seamless continuation of the actor’s craft to meet the additional requirements of skills necessary to perform in a musical. Rather than signifying a separate style of acting for musical theatre which is identified as being altogether different and often dismissed as inferior to the craft of acting in a straight play, I hope to challenge the reader to consider a new perspective in which the foundation of musical theatre performance is built on the fundamentals of acting in a straight play.
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Meyer, Renier Jacobus. "Principles of orchestration and the analysis of musical gestures / Renier Jacobus Meyer." Thesis, North-West University, 2012. http://hdl.handle.net/10394/9787.
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Composing or arranging for orchestra is a skill which is hard to learn and hard to teach. Literature on orchestration is comprehensive in terms of rules of thumb and these heuristic tools are sometimes called principles of orchestration. However, a study of the literature on orchestration revealed that these 'principles' are not theories about the outcomes and effects of specific decisions made by composers. An exception is the work of George McKay who does indeed establish principles of orchestration to some extent.
Granting a few exceptions, literature on orchestration takes as point of departure recommendations about techniques of orchestration and illustrates these techniques with analyses of existing compositions for orchestra. In this study I invert the approach followed in the literature and take music analysis as a point of departure for my study. I used an existing and conventional analysis of Claude Debussy's Syrinx for solo flute from the book Sonic Design: The Nature of Sound and Music by Robert Cogan and Pozzi Escot (1976) as context for my own analysis of Syrinx in which the less familiar type of analysis – the analysis of musical gestures and musical forces – can be understood. This analysis formed the basis for my orchestral composition titled Ananke which is based upon musical gestures from Syrinx. A reinterpretation of Cogan and Escot's analysis of Debussy's Syrinx enabled me to identify the musical gestures I used as a basis for my orchestral composition.
Musical gestures are understood in this dissertation in terms of the theory of musical forces by Steve Larson. The objective in composing Ananke, based upon material from Syrinx by Debussy, is to explore different ways in which the musical gestures can be orchestrated in order to amplify the three musical forces namely musical gravity, musical magnetism and musical inertia. This process of composing the orchestral composition enabled me to construe principles of orchestration concerning musical forces and the different ways in which musical forces can be amplified. I found that the approach I followed in this study can indeed be employed in order to investigate and construe principles of orchestration, taking music analysis as a point of departure. This new approach to the study of orchestration opens up new possibilities in teaching and learning orchestration, as well as in composing or arranging for orchestra.Thesis (MMus (Composition))--North-West University, Potchefstroom Campus, 2013.
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Odom, Gale J. (Gale Johnson). "Four Musical Settings of Ophelia." Thesis, University of North Texas, 1991. https://digital.library.unt.edu/ark:/67531/metadc332625/.
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This paper presents a detailed comparative analysis of four important settings of Ophelia's song texts from Shakespeare's Hamlet composed by Brahms, Strauss, Chausson, and Pasatieri. Each of the first three represents a different facet of song composition during the period 1873-1919. The "Five Songs of Ophelia" by Brahms recall the simplicity of Volkslied. Strauss's "Drei Lieder der Ophelia" assume a more complex and formal demeanor, while Chausson's setting, "Chanson d'Ophelie," demonstrates French preoccupation with setting the natural speech rhythms of language. Pasatieri's "Ophelia's Lament," from 1975, uses operatic gestures within the context of piano-accompanied song. An interview with Pasatieri which defines this song as monodrama is transcribed in the appendix.
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Gerling, Fredi Vieira. "Performance analysis and analysis for performance : a study of Villa-Lobos's Bachianas Brasileiras No. 9." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2000. http://hdl.handle.net/10183/3621.
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This study of Villa-Lobos’s Bachianas Brasileiras No. 9 aims at gaining insight into the decision-making processes of translating a score into a musical performance. Chapter I presents a discussion of selected issues related to interpretative analysis. Chapter II is an overview of the approaches to recording comparison deemed relevant to the present study. Chapter III is a comparative study of the vocal and string versions of Bachianas Brasileiras No. 9, while Chapter IV offers a structural analysis of the work. Chapter V compares four recordings: the composer’s own with the Orchestre National de La Radiodiffusion Française—EMI 7243 5 66964 2 6; Odaline de la Martinez and the BBC Singers, LNT 102; Michael Tilson Thomas and the New World Symphony —RCA 09026-68538-2; and my own CD, Construção, Orquestra de Câmara Theatro São Pedro- Limited Edition (live recording made on December 11, 1995 in Bayreuth, Germany). This comparison utilizes data obtained with the software Tempo. The tabulation of these results is shown in graphs that compare how matters of tempo flexibility affect each performance. This multi-faceted study shows that although painstaking analysis can lead to insightful solutions, the fleeting nature of musical performance requires an open mind and imagination to deal with the often contradictory directives of the score.
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McGilvray, Douglas. "On the analysis of musical performance by computer." Thesis, University of Glasgow, 2008. http://theses.gla.ac.uk/451/.
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Existing automatic methods of analysing musical performance can generally be described as music-oriented DSP analysis. However, this merely identifies attributes, or artefacts which can be found within the performance. This information, though invaluable, is not an analysis of the performance process. The process of performance first involves an analysis of the score (whether from a printed sheet or from memory), and through this analysis, the performer decides how to perform the piece. Thus, an analysis of the performance process requires an analysis of the performance attributes and artefacts in the context of the musical score. With this type analysis it is possible to ask profound questions such as “why or when does a performer use this technique”. The work presented in this thesis provides the tools which are required to investigate these performance issues. A new computer representation, Performance Markup Language (PML) is presented which combines the domains of the musical score, performance information and analytical structures. This representation provides the framework with which information within these domains can be cross-referenced internally, and the markup of information in external files. Most importantly, the rep resentation defines the relationship between performance events and the corresponding objects within the score, thus facilitating analysis of performance information in the context of the score and analyses of the score. To evaluate the correspondences between performance notes and notes within the score, the performance must be analysed using a score-performance match- ing algorithm. A new score-performance matching algorithm is presented in this document which is based on Dynamic Programming. In score-performance matching there are situations where dynamic programming alone is not sufficient to accurately identify correspondences. The algorithm presented here makes use of analyses of both the score and the performance to overcome the inherent shortcomings of the DP method and to improve the accuracy and robustness of DP matching in the presence of performance errors and expressive timing. Together with the musical score and performance markup, the correspondences identified by the matching algorithm provide the minimum information required to investigate musical performance, and forms the foundation of a PML representation. The Microtonalism project investigated the issues surrounding the performance of microtonal music on conventional (i.e. non microtonal specific) instruments, namely voice. This included the automatic analysis of vocal performances to extract information regarding pitch accuracy. This was possible using tools developed using the performance representation and the matching algorithm.
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Pullinger, Stuart. "A system for the analysis of musical data." Thesis, University of Glasgow, 2010. http://theses.gla.ac.uk/2133/.
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The role of music analysis is to enlighten our understanding of a piece of music. The role of musical performance analysis is to help us understand how a performer interprets a piece of music. The current work provides a tool which combines music analysis with performance analysis. By combining music and performance analysis in one system new questions can be asked of a piece of music: how is the structure of a piece reflected in the performance and how can the performance enlighten our understanding of the piece's structure? The current work describes a unified database which can store and present musical score alongside associated performance data and musical analysis. Using a general purpose representation language, Performance Mark-up Language (PML), aspects of performance are recorded and analysed. Data thus acquired from one project is made available to others. Presentation involves high-quality scores suitably annotated with the requested information. Such output is easily and directly accessible to musicians, performance scientists and analysts. We define a set of data structures and operators which can operate on musical pitch and musical time, and use them to form the basis of a query language for a musical database. The database can store musical information (score, gestural data, etc.). Querying the database results in annotations of the musical score. The database is capable of storing musical score information and performance data and cross-referencing them. It is equipped with the necessary primitives to execute music-analytical queries, and highlight notes identified from the score and display performance data alongside the score.
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Sauvé, Sarah A. "Prediction in polyphony : modelling musical auditory scene analysis." Thesis, Queen Mary, University of London, 2018. http://qmro.qmul.ac.uk/xmlui/handle/123456789/46805.
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How do we know that a melody is a melody? In other words, how does the human brain extract melody from a polyphonic musical context? This thesis begins with a theoretical presentation of musical auditory scene analysis (ASA) in the context of predictive coding and rule-based approaches and takes methodological and analytical steps to evaluate selected components of a proposed integrated framework for musical ASA, unified by prediction. Predictive coding has been proposed as a grand unifying model of perception, action and cognition and is based on the idea that brains process error to refine models of the world. Existing models of ASA tackle distinct subsets of ASA and are currently unable to integrate all the acoustic and extensive contextual information needed to parse auditory scenes. This thesis proposes a framework capable of integrating all relevant information contributing to the understanding of musical auditory scenes, including auditory features, musical features, attention, expectation and listening experience, and examines a subset of ASA issues - timbre perception in relation to musical training, modelling temporal expectancies, the relative salience of musical parameters and melody extraction - using probabilistic approaches. Using behavioural methods, attention is shown to influence streaming perception based on timbre more than instrumental experience. Using probabilistic methods, information content (IC) for temporal aspects of music as generated by IDyOM (information dynamics of music; Pearce, 2005), are validated and, along with IC for pitch and harmonic aspects of the music, are subsequently linked to perceived complexity but not to salience. Furthermore, based on the hypotheses that a melody is internally coherent and the most complex voice in a piece of polyphonic music, IDyOM has been extended to extract melody from symbolic representations of chorales by J.S. Bach and a selection of string quartets by W.A. Mozart.
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Hainsworth, Stephen Webley. "Techniques for the automated analysis of musical audio." Thesis, University of Cambridge, 2004. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.616011.
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Hartquist, John E. "Real-time Musical Analysis of Polyphonic Guitar Audio." DigitalCommons@CalPoly, 2012. https://digitalcommons.calpoly.edu/theses/808.
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In this thesis, we analyze the audio signal of a guitar to extract musical data in real-time. Specifically, the pitch and octave of notes and chords are displayed over time. Previous work has shown that non-negative matrix factorization is an effective method for classifying the pitches of simultaneous notes. We explore the effect of window size, hop length, and other parameters to maximize the resolution and accuracy of the output.Other groups have required prerecorded note samples to build a library of note templates to search for. We automate this step and compute the library at run-time, tuning it specifically for the input guitar. The program we present generates a musical visualization of the results in addition to suggestions for fingerings of chords in the form of a fretboard display and tablature notation. This program is built as an applet and is accessible from the web browser.
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Larrieu, Maxence. "Analyse des musiques d'informatique, vers une intégration de l'artefact : propositions théoriques et application sur Jupiter (1987) de Philippe Manoury." Thesis, Paris Est, 2018. http://www.theses.fr/2018PESC0007/document.
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Cette thèse questionne l'analyse des musiques d'informatique. Ces musiques sont particulières dans la mesure où elles existent avec un medium tout à fait singulier, un medium numérique, que nous désignons tout au long de nos travaux par artefact. Notre réflexion part du constat que les moyens d’appréhension de ces artefacts sont nouveaux pour la théorie de l’analyse musicale. Nous posons alors en liminaire de nos travaux la question suivante : « comment analyser ces musiques à partir de leur artefact ? ». Notre thèse est une réponse à cette question en utilisant une pièce pionnière des années 1980, Jupiter, de Philippe Manoury, pour flûte et électronique, composée à l’Ircam avec Miller Puckette. Notre réponse se fait en trois temps. Dans un premier nous éclairons les artefacts en relevant cinq points de singularité qui leur sont propres et nous mettons en évidence un système clé dans l’étude des artefacts, le système Homme-Artefact-Son. Dans un deuxième temps nous apportons des réponses théoriques à la question. Nous montrons que les artefacts sont difficiles à saisir dans la mesure où ils se structurent en différents niveaux d’abstraction. Toute saisie doit alors se faire au sein d’un processus hautement dynamique, où des significations computationnelles, sonores et musicales se recouvrent autant que nécessaire. Un cadre conceptuel est ensuite proposé pour guider la description des artefacts. Enfin le dernier temps de notre thèse est dédié à l’analyse de Jupiter. Nous mettons en pratique les éléments de réponses que nous avons avancés. L’artefact de la pièce est entièrement démantelé et ensuite une analyse est effectuée, section par section, en confrontant l’écoute et la connaissance que nous avons acquise de l’artefactThis thesis question the musical analysis of computer music works. These works are particular insofar as they exist with a wholly singular medium, a digital medium, which we name artifact. Our reflection starts from the ascertainment that the means needed to understand the artifact are new for the theory of musical analysis. Thereby our work begins with the following question : « how does computer music works can be analyzed with the help of their artifact ? ». Our thesis intends to answer to this question through a pioneer work from the 1980s, Jupiter, composed by Philippe Manoury at Ircam with Miller Puckette. Our answer is built in three parts. At first, we enlighten artifact by defining five points of singularity which characterize them. In the same line we identify a key system in the study of artifact, the Man Artifact Sound system. The second part is dedicated to our answer. One of the main difficulties in studying artifact is that they are structured in different levels of abstraction, and each one has its own structure. Consequently, the understanding of artifact had to be done inside a highly dynamic process, where the computational, sound and musical significations overlap as much as necessary. A conceptual framework is then suggested by which artifacts can be described, taking into account the different levels of abstraction. In the last part we put into practice those last propositions in analyzing Jupiter. His artifact is entirely dismantled and then an analysis is carried out, section by section, in confronting the listening and the knowledge we get from the artifact
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Angelo, Bruno Milheira. "Minha música sendo outra : a narratividade como coisa composicional." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2014. http://hdl.handle.net/10183/97667.
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Esta tese apresenta estudos interpretativos sobre as obras musicais compostas pelo autor durante seu doutoramento: Introverso (piano), Ao Pó (clarinete em si , trombone, violoncelo, piano), Breviário das Narrativas Absurdas (vibrafone, piano), Coisas Pelo Ar (piano), O Desvão (2 clarinetes em si, clarone, piano), Epopeia Fantástica (oboé, trombone, percussão, violino, contrabaixo). A partir de uma perspectiva teórica hermenêutica, é realizada uma adaptação do conceito de narrativa musical a essas obras, alicerçando-a em extensa revisão bibliográfica sobre o assunto e estabelecendo procedimentos metodológicos para a elaboração de interpretações narrativas desse repertório. O objetivo geral do trabalho é conceber e fundamentar teoricamente interpretações que possam ser consideradas como transformadoras conceituais da música e continuadoras do processo composicional do autor. Esses procedimentos são complementados com definições reflexivas sobre o processo composicional, enfatizando o viés criativo e performático da disciplina ‘análise musical’. Assim, o produto desta tese pode ser dividido em três categorias: reflexão crítica sobre obras musicais compostas durante o curso de doutorado (apresentadas aqui em partitura e gravação audiovisual); interpretação analítica e narrativa dessas obras; fundamentação teórica e metodológica dessa interpretação. As três categorias são consideradas como complementares e imprescindíveis para o cumprimento dos objetivos desta tese, a qual o autor oferece como contribuição a debates pertinentes e correntes nas áreas de composição e teoria da música.This thesis presents interpretive studies on musical works composed by the author during his doctoral studies. From a hermeneutical perspective, the concept of musical narrative was adapted to the analytical necessities found in these works. This adaptation includes extensive bibliographic review on the issue of musical narrative; it establishes methodological procedures for the elaboration of analytical/narrative interpretations for this repertoire. The overall objective of this thesis is to conceive and substantiate theoretically these interpretations, considering them as conceptual and transformative actions on the music, and therefore a continuation of the author’s compositional process. For this purpose, the abovementioned procedures were complemented with reflexive definitions regarding this compositional process, emphasizing the creative and performing bias of musical analysis. Thus, the product of this thesis may be divided into three categories: publication and critical reflection on the musical compositions created during this doctorate (presented here as scores and audiovisual recordings); analytical and narrative interpretations of these works; implementation of theoretical and methodological foundations for these interpretations. These three categories are seen as complementary and indispensable for the purposes of this thesis, which is meant by its author as a consistent contribution for the current debates on musical composition and musical theory. The following compositions are included in this thesis: Introverso (piano), Ao Pó (B clarinet, trombone, violoncello, piano), Breviário das Narrativas Absurdas (vibraphone, piano), Coisas Pelo Ar (piano), O Desvão (2 B clarinets, bass clarinet, piano), Epopeia Fantástica (oboe, trombone, percussion, violin, double bass).
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Monteiro, Ricardo Nogueira de Castro. "Análise do discurso musical: uma abordagem semiótica." Universidade de São Paulo, 1997. http://www.teses.usp.br/teses/disponiveis/8/8139/tde-21012008-131652/.
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A dissertação \'Análise do discurso musical: uma abordagem semiótica\' discute e propõe soluções para a questão da aplicação do modelo de percurso gerativo de sentido à análise do discurso musical. A partir de uma exposição inicial onde se procura situar essa proposta analítica dentro da evolução da musicologia e da semiótica francesa, passa-se a uma discussão em profundidade da aplicação do modelo semiótico no que diz respeito à estrutura dos níveis fundamental e narrativo, tanto no que tange à organização sintática quanto semântica de cada patamar da significação. As explanações teóricas são fundamentadas diretamente a partir da análise de textos significativos do repertório ocidental, como a 5.a Sinfonia de Beethoven, a 4.a Sinfonia de Tchaikovski e a Fuga I do Cravo bem temperado de Bach. Em linhas gerais, o trabalho conclui por defender uma abordagem analítica que parte das aspectualizações presentes no nível de superfície para determinar a organização semântica do nível profundo no que diz respeito às modulações tensivofóricas e à ordenação de seu campo valencial. Postulada e justificada a presença de uma instância discretizadora responsável pela conversão das modulações em modalidades e das valências em valores, passa-se ao estudo do nível narrativo, que culmina com; a) a importante descoberta em nível musicológico do papel da dimensão semântica no processo de variação motívica e na geração da macroforma musical; b) uma investigação semiótica da paixão na música.The dissertation named\' Analysis of the musical discourse: a semiotical approach\' discusses the application on musical analysis of the model championed by lithuanian linguist Algirdas Julien Greimas which conceives the process of generation of meaning as a path from abstract oppositions to narrative structures and hence to the discourse itself, which is called meaning generation path. The first chapter brings a general exposition which situates its analytical proposal in terms of the historical development of both musicology and the french branch of semiotical studies, which is committed with Structuralism. On chapter II, a detailed application of the theoretical model is presented step by step with the help of commented examples regarding some of the most appealing compositions of western repertory such as Beethoven\'s 5th. Symphony, Tschaikovsky\'s 4th Symphony and the first fugue of Bach\'s Well-tempered keyboard. The conclusion suggests that a semiotical approach on music should start with considering the superficial aspects of musical discourse so that its tensive and phorical course can be inferred and conceived as a complex of modulations where its internal relationships of attraction and repulsion may be ordinated in terms of valence. Based on the hypothesis of the existence of an instance of discreteness which converts the valences of the fundamental level into values of the narrative level and modulations into modalities, the study of narrative brings forth two main contributions. First, a semantical approach which explains the relationship between theme and musical form and revolutionizes the concept of musical variation. Second, a semiotical research on passion in music.
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Obrecht, Alexander Guy. "The dawning of musical aspect in process." Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 2008. http://wwwlib.umi.com/cr/ucsd/fullcit?p3307165.
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Thesis (Ph. D.)--University of California, San Diego, 2008.Title from first page of PDF file (viewed July 14, 2008). Available via ProQuest Digital Dissertations. Vita. Includes bibliographical references: P. 286-294.
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Catlett, Mark. "THE MIND OF A SADOMASOCIST:A THEATRICAL ROLE ANALYSIS OF ORIN SCRIVELLO D.D.S." Master's thesis, University of Central Florida, 2005. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/3806.
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Mark Catlett will portray the role of Orin Scrivello D.D.S., as well as various other "cameo" roles, at Seaside Music Theater in Daytona Beach, Florida from January 13- February 13 2005. The role of Orin Scrivello will provide me with several acting challenges as well as multiple subjects and themes to research. The most challenging aspect of creating, developing and embodying the character of Orin will be his sadomasochistic nature and his blatant abuse towards Audrey. Sadomasochism is defined as "the deriving of sexual gratification, from being physically or emotionally abused". It is also defined as "a willingness or tendency to subject oneself to unpleasant or trying experiences". The psychology of sadomasochism is completely foreign to my life experience and will have to be deeply explored to fully realize the inner workings of Orin's behavior. To supplement the exploration of the psychology of sadomasochism, research will be completed on the following topics: • Sadomasochism in regards to the lead characters of Little Shop of Horrors. • The history of Little Shop of Horrors from its roots in the cult horror film of 1960, followed by the 1983 Off-Broadway production, segueing into the 1986 re-make film version, and culminating in the 2003 official Broadway production. Portrayal of Orin Scrivello D.D.S. also demands the creation of several other characters in the second act of the show. This will require me to develop several different characters ranging from the sadomasochistic dentist, to an ambitious entrepreneur, to even dressing in drag to portray a female florist customer. This will give me an opportunity to show versatility as well as research several different character personalities and dramatic structures. These characters come in and out of the florist shop very quickly, so the challenge will be to both perform a quick change of costume and also be able to completely switch characterizations within minutes. These characters should be different enough that the audience does not immediately realize it is the same actor playing all of these roles.M.F.A.
Department of Theatre
Arts and Sciences
Theatre
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Duggins, Pender Amy. "John Harbison’s Simple Daylight: A Textual and Musical Analysis." University of Cincinnati / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1312292109.
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Johnston, Dennis A. (Dennis Alan). "Trained Musical Performers' and Musically Untrained College Students' Ability to Discriminate Music Instrument Timbre as a Function of Duration." Thesis, University of North Texas, 1994. https://digital.library.unt.edu/ark:/67531/metadc935621/.
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The purpose of this study was to investigate the ability of trained musicians and musically untrained college students to discriminate music instrument timbre as a function of duration. Specific factors investigated were the thresholds for timbre discrimination as a function of duration, musical ensemble participation as training, and the relative discrimination abilities of vocalists and instrumentalists. Under the conditions of this study, it can be concluded that the threshold for timbre discrimination as a function of duration is at or below 20 ms. Even though trained musicians tended to discriminate timbre better than musically untrained college students, musicians cannot discriminate timbre significantly better then those subjects who have not participated in musical ensembles. Additionally, instrumentalists tended to discriminate timbre better than vocalists, but the discrimination is not significantly different. Recommendations for further research include suggestions for a timbre discrimination measurement tool that takes into consideration the multidimensionality of timbre and the relationship of timbre discrimination to timbre source, duration, pitch, and loudness.
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Laurier, Cyril François. "Automatic Classification of musical mood by content-based analysis." Doctoral thesis, Universitat Pompeu Fabra, 2011. http://hdl.handle.net/10803/51582.
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In this work, we focus on automatically classifying music by mood. For this purpose, we propose computational models using information extracted from the audio signal. The foundations of such algorithms are based on techniques from signal processing, machine learning and information retrieval. First, by studying the tagging behavior of a music social network, we find a model to represent mood. Then, we propose a method for automatic music mood classification. We analyze the contributions of audio descriptors and how their values are related to the observed mood. We also propose a multimodal version using lyrics, contributing to the field of text retrieval. Moreover, after showing the relation between mood and genre, we present a new approach using automatic music genre classification. We demonstrate that genre-based mood classifiers give higher accuracies than standard audio models. Finally, we propose a rule extraction technique to explicit our models.En esta tesis, nos centramos en la clasificación automática de música a partir de la detección de la emoción que comunica. Primero, estudiamos cómo los miembros de una red social utilizan etiquetas y palabras clave para describir la música y las emociones que evoca, y encontramos un modelo para representar los estados de ánimo. Luego, proponemos un método de clasificación automática de emociones. Analizamos las contribuciones de descriptores de audio y cómo sus valores están relacionados con los estados de ánimo. Proponemos también una versión multimodal de nuestro algoritmo, usando las letras de canciones. Finalmente, después de estudiar la relación entre el estado de ánimo y el género musical, presentamos un método usando la clasificación automática por género. A modo de recapitulación conceptual y algorítmica, proponemos una técnica de extracción de reglas para entender como los algoritmos de aprendizaje automático predicen la emoción evocada por la música
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Freyermuth, Jessie L. "An analysis of the musical interpretations of Nina Simone." Manhattan, Kan. : Kansas State University, 2010. http://hdl.handle.net/2097/4121.
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Radford, Ronald Laurie Charles. "An analysis of the Crying wave (a musical composition)." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp02/NQ37037.pdf.
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Kosek, Paul C. "Improved analysis of musical sounds using time-frequency distributions." Thesis, McGill University, 2005. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=83189.
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The objective of this research is to improve the analysis of musical sounds in comparison to traditional additive analysis, i.e. Fourier Analysis. Namely, the focus of this study is to improve the tracking of time-evolving partials. Traditional analysis methods assume constant amplitudes and frequencies over each successive frame in which a signal is analyzed. Tracking the time-evolution of these partials, however, can require the implementation of complex probabilistic techniques. This thesis presents an alternative method in which the Ambiguity Function, a distribution in both time and frequency, is used to create a clearer, more accurate representation that requires fewer complex methods to track partials. Through the use of a more accurate spectral representation and the inclusion of a chirp rate parameter, partials may be more readily followed based upon spectral parameters alone. This new method that is presented will build upon the traditional methods by first employing Fourier analysis to identify partials, and then utilizing the Analytic Signal and Ambiguity Function to improve individual spectral parameter estimations and partial tracking. The overall intent of this work is that through this method, one may create an improved spectral model that is more useful to musical analysis.
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Xaluva, Nomfundo. "An analysis of the musical style of Miriam Makeba." Master's thesis, University of Cape Town, 2009. http://hdl.handle.net/11427/8249.
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Includes bibliographical references (leaves 56-67).The motivation behind this study is to explore the musical style of the late Miriam Makeba. The intention is that it will add a valuable contribution to the study of South African musicians and those subsequent scholars, with a common interest, will use the work to further the analytical study of the musical style of South African jazz.
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Sowdon, Nancy, and Nancy Sowdon. "Mendelssohn's works for cello: a musical and technical analysis." Diss., The University of Arizona, 1988. http://hdl.handle.net/10150/624869.
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Felix Mendelssohn was a many-faceted individual. While known now primarily as a composer, in his time he was also important as a virtuoso pianist and conductor. His contribution to the musical life of his time and to posterity is significant.
As well as composing for nearly every genre (see Table 1) Mendelssohn was a popular soloist and dominated German conducting from 1830 until his death in 1847. Over the years his popularity has waxed and waned. The works of Mendelssohn were highly regarded during his lifetime and remained popular until about 1900.
Around 1900, however, there was a major shift in opinion. At this time, his music was considered to be mediocre. The rise of anti-Semitism in Germany during the twentieth century caused a further underrating of Mendelssohn's music in his
homeland. It is hoped that this, and other present-day studies, will offer a more objective view of his music.
As is true with most composers, in the body of Mendelssohn's compositions, one can find individual pieces to support either greatness or mediocrity. The music which is most familiar to the public: Italian and Scottish symphonies, the Hebrides and Overture and Incidental Music to A Midsummer Night's Dream orchestral overtures, and the String Octet in E-flat Major are undoubtedly some of Mendelssohn's best. On the other hand, his operas never have been effective. Even at the end of his life, he was still searching for the perfect libretto. But it is inconsistent writing within individual pieces which is the most frustrating aspect of Mendelssohn's music. The first cello sonata is one such example. Here a solid first movement is followed by two weak ones.
Included in the total number of pieces of chamber music on Table 1, are the four pieces that Mendelssohn composed for cello and piano. They consist of two short pieces and two sonatas, and were written over a sixteen year span (see Table 3, page 8). This paper aims to familiarize the reader with these cello works, investigate them in terms of the criticisms leveled at Mendelssohn's music, and examine their contribution and place in today's literature for the violoncello.
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Dickinson, J. "Musical-pictorial symbiosis : an intermedial approach to the analysis of selected musical readings of Paul Klee's art." Thesis, Bath Spa University, 2016. http://researchspace.bathspa.ac.uk/8228/.
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In 1954, Karl Heinz Stockhausen handed Pierre Boulez a copy of Paul Klee’s Bauhaus notebooks, 'Das Bildnerische Denken (Artistic Thought)' with the words, “You’ll see, Klee is the best teacher of composition”.(1) Since that time, several hundred composers including some of the twentieth century’s most influential and important, have cited Klee as a major influence and have composed works ‘connected’ in some way to his paintings. Also in 1954, Will Grohmann’s seminal monograph was published, which revealed the central role of music in the development of Klee’s theories and practice, an aspect of Klee’s art acknowledged by all subsequent scholarship. In comparison to the general literature concerning Klee, there exists a relatively small body of research which focuses exclusively on the influence of music in Klee’s art, and even less that concerns the reciprocal influence of Klee on music. In an attempt to determine the specific nature of Paul Klee’s contribution to musical composition, the aim of this thesis is to establish an analytical approach that reflects the symbiotic nature of that relationship. This thesis presents a triadic model which combines formal musical analysis (of selected musical readings of Klee’s art), formal analysis of the paintings from which they are derived (in the context of Klee’s theories and practice) and an intermedial narratological approach to the exchange of poetic/symbolic elements between the respective works. In addition to addressing the general question of Paul Klee’s musical legacy, this mode of study will provide new insights into the methodology of both the selected composers and Klee himself. (1) Boulez discusses this encounter in the introduction to La pays Fertile: Paul Klee Gallimard, Paris, (1989) translated for this thesis by G. Wilson.
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Humlová, Jana. "Marketingová strategie Musical production." Master's thesis, Vysoká škola ekonomická v Praze, 2013. http://www.nusl.cz/ntk/nusl-198472.
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This thesis deals with an arts marketing with a focus on musical theater. The theoretical part defines basic elements of the marketing process, with the main emphasis placed on marketing mix and its specifics in context of musical production. In this part of the thesis there is also description of marketing research. In favour of smooth transition to practical part, at the very end of theoretical part there is a summary of main competitors. The practical part is focused on the company operating in the theater Hybernia and on its marketing and communication activities. Based on the theoretical presumptions the marketing research had been realized and it had examined the customers of this company. The output of the research, analysis of the marketing mix and analysis of the competitors serve as basis for creating innovations in marketing mix.
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Gianelli, Andrea Mischiatti [UNESP]. "A disciplina análise musical em instituições de ensino superior da cidade de São Paulo." Universidade Estadual Paulista (UNESP), 2012. http://hdl.handle.net/11449/95123.
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Esta dissertação trata da situação e das condições da disciplina Análise Musical em determinadas instituições de ensino superior da cidade de São Paulo, principalmente nos aspectos referentes à metodologia e fundamentação teórica que embasa seu ensino. Está estruturada em duas grandes partes: 1) Considerações sobre a Análise, como uma subárea do campo musical e como disciplina específica em cursos superiores de Música, com apresentação de modelos teóricos que vem sendo utilizados; 2) Discussão sobre a Análise Musical como disciplina em instituições com curso de Música em nível superior na cidade de São Paulo. Nesta parte é também realizado um estudo crítico e interpretativo (análise qualitativa) a partir da investigação dos planos de ensino de Análise da FASM, UNESP e UNICSUL, para conhecimento da fundamentação teórica e dos procedimentos metodológicos de ensino e de avaliação de resultados na disciplina. Os dados foram coletados e analisados principalmente a partir dos referenciais teóricos de Calais (2007) e Triviños (2009). A Análise Musical está presente em nove de 11 instituições paulistanas que oferecem cursos superiores em Música. Nas três instituições selecionadas para estudo, as metodologias são baseadas em modelos tradicionais europeus e as bibliografias são constituídas essencialmente por teóricos estrangeiros e do século XX, como Schoenberg (1996), LaRue (1989), Cook (1987) Berry (1987, 1989), entre outros. Foi constatada a necessidade de publicações na subárea por autores nacionais, e que a considerem como objeto de estudo em si mesmo. A lacuna entre os conhecimentos analíticos e as realizações musicais práticas, por parte dos alunos, é um dos desafios apontados por docentes. A coleta e apreciação...
This dissertation deals with the situation and the conditions of the Musical Analysis course in certain institutions of higher education in the city of São Paulo, mainly in aspects related to methodology and the theoretical framework that underlies its teaching. It is structured into two main parts: 1) Considerations on Analysis, as a subarea of the musical field as a specific subject in music in higher education institutions, with the presentation of theoretical models that have been used; 2) Discussion about the Musical Analysis as a subject in higher education institutions with Music courses in São Paulo. This part also contains a critical and interpretative (qualitative analysis) study, based on the research of Analysis educational course plans of FASM, UNESP e UNICSUL, to gain knowledge of the theoretical and methodological procedures of teaching and assessment of results on this subject. Data was collected and analyzed mainly from the theoretical framework of Calais (2007) and Triviños (2009). Musical Analysis is present in nine of 11 institutions from São Paulo offering higher education courses in Music. In all three institutions selected for the study, the methodologies are based on traditional European models and bibliographies are composed mainly by foreigners and theorists of the twentieth century, such as Schoenberg (1996), LaRue (1989), Cook (1987) Berry (1987, 1989), among others. This study demonstrated the need for publications by national authors in the subarea, and the need to consider the Music Analysis as object of a study in itself. The knowledge gap between the analytical and practical musical achievements, by students, is one of the challenges identified by teachers. The collection and critical assessment of data needs to be made, from time to time, to observe trends, needs and challenges encountered, and thus, among... (Complete abstract click electronic access below)
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Fernandes, Cleyton Vieira. "Semiótica musical: princípios teóricos e aplicações sobre o discurso musical, sua produção e recepção." Universidade de São Paulo, 2014. http://www.teses.usp.br/teses/disponiveis/8/8139/tde-02062015-165108/.
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A semiótica, precisamente esta de cunho estruturalista da qual tratamos, propõe-se a compreender como o sentido se organiza em objetos dos mais variados modos de manifestação: verbal, visual, cinematográfico, musical entre outros. Nesta tese, propomos a sistematização de princípios semióticos capazes de dar conta do fato musical, termo cunhado pelo semioticista Jean Molino e amplamente divulgado por Jean-Jacques Nattiez. Para tanto, valemo-nos da semiótica de Greimas e de seus seguidores, procurando estabelecer uma interlocução com as correntes da análise musical que buscam a compreensão das estruturas discursivas e de seu sentido através da noção de linguagem conforme propõe Saussure.The structuralist semiotics, precisely this which we treat, aims at understanding how the meaning is organized in objects of various modes of expression: verbal, visual, cinematographic, musical and others. In this thesis, we propose a system of semiotic principles which are able to analyze the musical fact, a term established by the semiotician Jean Molino and widely spread by Jean-Jacques Nattiez. In order to do it, we make use of the semiotics of Greimas and his followers, trying to establish a dialogue with the currents of musical analysis seeking to understand the discursive structures and meaning through the notion of language as proposed by Saussure.
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Naylor, Graham M. "Musical and acoustical influences upon the achievement of ensemble." Thesis, Heriot-Watt University, 1987. http://hdl.handle.net/10399/1054.
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Roberts, G. W. "Vibrations of shells and their relevance to musical instruments." Thesis, Bucks New University, 1986. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.376443.
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Ribeiro, Mayara Kelly Alves. "Análise musicoterapêutica da experiência de composição musical: interfaces com o psicodrama." Universidade Federal de Goiás, 2014. http://repositorio.bc.ufg.br/tede/handle/tede/3206.
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Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES
The present study aimed to investigate whether the psychodramatic theory can broaden the understanding of the client’s expression through the musical composition experience during the music therapeutic process regarding the phase of music therapeutic analysis. A qualitative research was proposed involving two case studies which allowed a better practical understanding of the investigated theme. Data collection was performed in three phases: recruitment of research participants, initial interview, and music-therapeutic process. Two individual music therapeutic processes were carried out, in which the participants had 11 and 16 sessions with the researcher. During the sessions, the following musical experiences in music therapy were used: improvisation, receptive, re-creative, and composition, as well as psychodrama techniques adapted to music therapy. The results demonstrated that the initial goals were achieved and it was also possible to broaden not only the understanding of the music therapeutic analysis phase in the interfaces with psychodrama, but of the whole process as well. Moreover, some recommendations were established regarding the use of the musical composition experience, as well as its variations, among which the following can be mentioned: the need that the music therapist be attentive to the musical complexity of the experience to be used; the importance of the fact that the client has already tried the other musical experiences before performing the musical composition; the relevance of the music therapeutic analysis observing the proximity and repetition of the notes, the cadence, the rhythm, the song lyrics, and the involvement of the client in music-making. Finally, further studies on music therapeutic analysis should be developed having the psychodramatic theory as their foundation, since the analysis phase was benefited by the articulation between music therapy and psychodrama.
O presente estudo teve como objetivo investigar se a teoria psicodramática pode ampliar a compreensão da expressão do cliente por meio da experiência de composição musical no processo musicoterapêutico no que se refere à etapa de análise musicoterapêutica. Foi proposta uma pesquisa de orientação metodológica qualitativa, com realização de dois estudosde caso que possibilitaram melhor compreensão prática do tema investigado. A coleta dedados se desenvolveu em três etapas: recrutamento dos indivíduos, entrevista inicial e processo musicoterapêutico. Realizou-se dois processos musicoterapêuticos, em caráter individual, no qual os participantes tiveram 11 e 16 sessões com a pesquisadora. No decorrer dos atendimentos, foram utilizadas as seguintes experiências musicais em musicoterapia: experiências de improvisação, receptivas, recriativas e de composição e técnicas do psicodrama adaptadas para a musicoterapia. Os resultados demonstraram que os objetivos iniciais foram alcançados e que ainda foi possível ampliar não somente a compreensão da etapa de análise musicoterapêutica fazendo interfaces com o psicodrama, mas também de todo o processo. Ademais, foram estabelecidas algumas recomendações com relação ao uso da experiência de composição musical, bem como de suas variações, entre as quais podem mencionadas as seguintes: necessidade de que o profissional musicoterapeuta esteja atento à complexidade musical da experiência a ser utilizada; importância do fato de que o cliente já tenha passado pelas demais experiências musicais antes de realizar a composição musical; e relevância da análise musicoterapêutica observando a proximidade e a repetição das notas, a cadência, o ritmo, a letra da canção e o envolvimento do cliente no fazer musical. Por fim, sugere-se que sejam desenvolvidos mais estudos acerca da análise musicoterapêutica tendo como fundamentação a teoria do psicodrama, visto que a etapa de análise foi beneficiada pela articulação entre a musicoterapia e o psicodrama.
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Yeoh, Yun Yi Calista. "A musical analysis of Wanji-wanji, an Aboriginal travelling song." Thesis, The University of Sydney, 2022. https://hdl.handle.net/2123/29238.
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Many traditional Aboriginal Australian songs are no longer performed due to the complex history of colonial oppression of Aboriginal culture and the appeal of Western culture. In Australia, songs of the entertainment genre, known as a ‘corroboree’ have fared particularly badly (Turpin 2020, p. 250).
In this thesis, I present a musical analysis of one such song, Wanji-wanji, that was once performed over half the country (Turpin 2020). When different recordings of Wanji-wanji were played to Aboriginal elders, they never hesitated in their identification of it being the same song, though some noted it was sung differently to how they sang it. Through analysis and comparison of recordings of the song from different times and places, this thesis aims to identify elements that remain the same and elements that differ over time and location of this once popular song. To do so, this thesis analyses recordings from 15 different performances spanning 60 years across three different states: Western Australia, Northern Territory and South Australia.
The research finds that the number of melodic contours, setting of text to melody and ornamentation are exclusive to certain performances. These are elements that may attribute to singers’ claims that Wanji-wanji is the same but different. The identification of these musical features may shed light into what mechanisms function together to allow for a stable transmission, in contrast to stamps of regional identity or different periods of time.
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Bonneau, Gilles Simpson Christopher. "Playing upon a ground : an analysis of the improvisation technique of Christopher Simpson as presented in the Division-viol (1665), with an edited transcription of Simpson's musical examples /." Full text (PDF) from UMI/Dissertation Abstracts International, 2000. http://wwwlib.umi.com/cr/utexas/fullcit?p9983121.
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du, Plessis Janine. "Transformation Groups and Duality in the Analysis of Musical Structure." Digital Archive @ GSU, 2008. http://digitalarchive.gsu.edu/math_theses/66.
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One goal of music theory is to describe the resources of a pitch system. Traditionally, the study of pitch intervals was done using frequency ratios of the powers of small integers. Modern mathematical music theory offers an independent way of understanding the pitch system by considering intervals as transformations. This thesis takes advantage of the historical emergence of algebraic structures in musicology and, in the spirit of transformational theory, treats operations that form mathematical groups. Aspects of Neo-Riemannian theory are explored and developed, in particular the T/I and PLR groups as dual. Pitch class spaces, such as 12, can also be defined as torsors. In addition to surveying the group theoretical tools for music analysis, this thesis provides detailed proofs of many claims that are proposed but seldom supported.
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Boyes, Graham. "Dictionary-based analysis/synthesis and structured representations of musical audio." Thesis, McGill University, 2012. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=106507.
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In the representation of musical audio, it is common to favour either a signal or symbol interpretation, where mid-level representation is an emerging topic. In this thesis we investigate the perspective of structured, intermediate representations through an integration of theoretical aspects related to separable sound objects, dictionary-based methods of signal analysis, and object-oriented programming. In contrast to examples in the literature that approach an intermediate representation from the signal level, we orient our formulation towards the symbolic level. This methodology is applied to both the specification of analytical techniques and the design of a software framework. Experimental results demonstrate that our method is able to achieve a lower Itakura-Saito distance, a perceptually-motivated measure of spectral dissimilarity, when compared to a generic model and that our structured representation can be applied to visualization as well as agglomerative post-processing.Dans la représentation du signal audio musical, il est commun de favoriser une interprétation de type signal ou bien de type symbole, alors que la représentation de type mi-niveau, ou intermédiaire, devient un sujet d'actualité. Dans cette thèse nous investiguons la perspective de ces représentations intermédiaires et structurées. Notre recherche intègre tant les aspects théoriques liés à des objets sonores séparables, que les méthodes d'analyse des signaux fondées sur des dictionnaires, et ce jusqu'à la conception de logiciels conus dans le cadre de la programmation orienté objet. Contrairement aux exemples disponibles dans la littérature notre approche des représentations intermédiaires part du niveau symbolique pour aller vers le signal, plutôt que le contraire. Cette méthodologie est appliquée non seulement à la spécification de techniques analytiques mais aussi à la conception d'un système logiciel afférent. Les résultats expérimentaux montrent que notre méthode est capable de réduire la distance d'Itakura-Saito, distance fondé sur la perception, ceci en comparaison à une méthode de décomposition générique. Nous montrons également que notre représentation structurée peut être utilisée dans des applications pratiques telles que la visualisation, l'agrégation post-traitement ainsi qu'en composition musicale.
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Anderson, Alasdair J. "Analysis of musical structures : an approach utilising monadic parser combinators." Thesis, University of Glasgow, 2011. http://theses.gla.ac.uk/2353/.
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The work of this thesis seeks to further the use of computation in musical analysis. To a lesser extent it is hoped that it will provide some little evidence of a new angle on creating analytic elements through inference, and cast light onto some areas where analysis may be used anew. Parsers for musical information are small in number, none have been implemented in functional languages, nor using monadic combination techniques. Few analytic systems are capable of, or even consider it necessary to, represent semantic ambiguity, and this is even more true of parsing systems. The work herein presented provides a system of unique monadic parsers built on combination that are capable of delivering several different types and depths of results. Many computational-analytic systems are based on theories of similarity. The work presented here provides for analytic structures to be created through inference i.e. in the absence of known structures. This is believed to be the first instance of this type of structure generation in the field of music.