Dissertations / Theses on the topic 'Musical characteristics'
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Heaton, Pamela Florence. "Musical cognition in children with autism." Thesis, Goldsmiths College (University of London), 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.396246.
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Wang, Chao-hui. "Referentialism and musical characteristics in children's keyboard improvisation /." The Ohio State University, 2001. http://rave.ohiolink.edu/etdc/view?acc_num=osu1486474078050209.
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Walker, Timothy M. "Instrumental differences in characteristics of expressive musical performance." Connect to this title online, 2004. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1092430692.
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Thesis (Ph. D.)--Ohio State University, 2004.Title from first page of PDF file. Document formatted into pages; contains xii, 126 p.; also includes graphics. Includes bibliographical references (p. 118-126).
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Björkner, Eva. "Why so different? - Aspects of voice characteristics in operatic and musical theatre singing : Aspects of voice characteristics in operatic and musical theatre singing." Doctoral thesis, KTH, Tal, musik och hörsel, TMH, 2006. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-4198.
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This thesis addresses aspects of voice characteristics in operatic and musical theatre singing. The common aim of the studies was to identify respiratory, phonatory and resonatory characteristics accounting for salient voice timbre differences between singing styles. The velopharyngeal opening (VPO) was analyzed in professional operatic singers, using nasofiberscopy. Differing shapes of VPOs suggested that singers may use a VPO to fine-tune the vocal tract resonance characteristics and hence voice timbre. A listening test revealed no correlation between rated nasal quality and the presence of a VPO. The voice quality referred to as “throaty”, a term sometimes used for characterizing speech and “non-classical” vocalists, was examined with respect to subglottal pressure (Psub) and formant frequencies. Vocal tract shapes were determined by magnetic resonance imaging. The throaty versions of four vowels showed a typical narrowing of the pharynx. Throatiness was characterized by increased first formant frequency and lowering of higher formants. Also, voice source parameter analyses suggested a hyper-functional voice production. Female musical theatre singers typically use two vocal registers (chest and head). Voice source parameters, including closed-quotient, peak-to-peak pulse amplitude, maximum flow declination rate, and normalized amplitude quotient (NAQ), were analyzed at ten equally spaced subglottal pressures representing a wide range of vocal loudness. Chest register showed higher values in all glottal parameters except for NAQ. Operatic baritone singer voices were analyzed in order to explore the informative power of the amplitude quotient (AQ), and its normalized version NAQ, suggested to reflect glottal adduction. Differences in NAQ were found between fundamental frequency values while AQ was basically unaffected. Voice timbre differs between musical theatre and operatic singers. Measurements of voice source parameters as functions of subglottal pressure, covering a wide range of vocal loudness, showed that both groups varied Psub systematically. The musical theatre singers used somewhat higher pressures, produced higher sound pressure levels, and did not show the opera singers’ characteristic clustering of higher formants. Musical theatre and operatic singers show highly controlled and consistent behaviors, characteristic for each style. A common feature is the precise control of subglottal pressure, while laryngeal and vocal tract conditions differ between singing styles. In addition, opera singers tend to sing with a stronger voice source fundamental than musical theatre singers.QC 20100812
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Swangviboonpong, Dusadee. "Thai court singing : history, musical characteristics, and means of transmission." Thesis, SOAS, University of London, 2000. http://eprints.soas.ac.uk/28802/.
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This thesis deals with various aspects of Thai court singing, which is now widely found outside the court as well. Aspects include: genres; history; vocal techniques; performance contexts; influence of speech-tones on vocal melody; sources of vocal melody; degree of improvisation and variation; text setting; and teaching methods. Thai court vocal melodies that are created from khoonmelodies will share the lug tog(structural notes) with their khoonmelodies. Just as each instrumental melody created in this way will have its own characteristics, so too will the vocal melody. Each composer will create a different vocal melody from the same khoon melody according to their stylistic school and their own individual aesthetic. Although vocal melodies are not improvised, they can still vary in performance with the thaan(style) of the singer. This thesis explores the degree to which individual variation is possible, and the nature of that variation. Tanese (1988) proposed melodic formulae for the way Thai court vocal melodies are affected by the speech-tones of the lyrics. This thesis not only examines and adds to Tanese's formulae, but also shows an application of these formulae in the examination of metabole in songs. Word positioning has important implications for the use of yyan (wordless vocalisation), which has its own particular functions within a song, for example, allowing ornamentation that is free from the constraints of speech-tones. Different chan (metrical levels) of Thai court songs make use of different patterns of word positioning, and the patterns within each chanvary according to the number of rhythmic cycles in each thoon (section). The influence of the kloonpoetic form is found to be fundamental. Oral transmission is still the mainstay of the teaching of Thai court singing. Recent attempts at government homogenisation of teaching theory and practice are a threat to variety of styles and approaches in contemporary singing. Future research will be needed to assess the effect of these measures as time elapses.
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Pai, Shih-Yu Jade. "Discovering musical characteristics of children's songs from various parts of the world." Thesis, University of British Columbia, 2009. http://hdl.handle.net/2429/7207.
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Children’s songs are ubiquitous in every culture and every childhood. Children’s songs — songs composed, sung, or heard by children —share many musical characteristics, such as short phrases and a large number of repetitions. These similarities could be due to children’s external environment, including musical culture, and an internal impulse, or innate musicality. This study compares the musical characteristics of one hundred children’s songs from various parts of the world to further understand what characteristics are shared and what are unique to a song or region.
Studies of children’s music have been made by scholars from various fields, and hence different emphases: psychologists focused on the developmental process, ethnomusicologists studied children’s songs as a cultural component, and music educators were interested in children’s musical ability. Some studies also analyzed children’s songs’ structure, but often within the confines of a culture or even classroom. In this study, children’s songs of various cultures are transcribed and analyzed.
The analysis uses a comparative method inspired by Alan Lomax’s cantometrics. Five musical properties — tonality, meter, melody, structure and grouping, and means of ending — are analyzed in each song, and similar results are grouped and counted in order to have an idea of the abundance of a particular characteristic within the sample.
The results suggest that children’s songs in general share certain characteristics, but there is also much dissimilarity. Scale and meter appear to have a strong regional distribution, and small range is possibly a result of developmental limitation. It is still impossible to clearly disentangle the effects of cultural style and biological factors, but investigating the exceptions from the general brings us closer to the answer.
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Björkner, Eva. "Why so different? : aspects of voice characteristics in operatic and musical theatre singing /." Stockholm : School of Computer Science and Communication, Kungl, Tekniska högskolan (KTH), 2006. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-4198.
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Wills, Adrienne M. "Relationships Among Musical Home Environment, Parental Involvement, Demographic Characteristics, and Early Childhood Music Participation." Scholarly Repository, 2011. http://scholarlyrepository.miami.edu/oa_theses/243.
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The purpose of this study was to examine the musical home environment of preschool children aged 3 to 5 years enrolled in an early childhood music class. This study also examined how the musical home environment was affected by demographic characteristics, parental musical experience, and early childhood music instruction. Parents and primary caregivers (N = 103) of preschool children enrolled in three university-based early childhood music programs in Florida, New York, and Ohio were surveyed using a researcher-constructed measure, “Parents’ Use of Music with Preschool Students” (PUMPS). The PUMPS was intended to gather data related to demographic characteristics of the sample, participants’ experiences in early childhood music programs, the personal music experience of participants and information about how music was used in the home. Participants demonstrated that they provided a rich musical home environment for preschool children, having a variety of musical interactions with their children on a weekly basis (i.e., singing, listening to music, playing instruments, moving to music, utilizing music class activities and composition) and had a variety of musical materials in their homes including music instruments, musical toys, and music listening devices. Participants reported a higher frequency of singing, listening to music, and dancing in the home and a lower frequency of playing instruments, performing music class activities, and composing or reading music. Most of the sample had participated in music during their lifetime but the vast majority of the participants did not engage in musical activities at the time of the study. They did, however, value music and attend musical events. Factor analysis of the PUMPS subsets revealed three factors for musical home environment (Music Interactions, Musical Materials, and Child Attendance at Musical Events), two factors related to parental music experience (Music Participation and Value of Music), and one factor related to Early Childhood Music Experiences. Several independent variables significantly predicted musical home environment factors. Musical Interactions were related to adult gender, child age, ethnicity, and parent valuing music. Musical materials in the home were related to parental musical participation and ethnicity, while no significant predictors were found for child attendance at musical events. Ethnicity, child age, parental musical participation, and musical materials accounted for 37.8% of the variance in composite musical home environment scores, yielding a medium effect size.
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Woolley, Alan G. "The physical characteristics of mechanical pipe organ actions and how they affect musical performance." Thesis, University of Edinburgh, 2006. http://hdl.handle.net/1842/25337.
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Many organists believe that one of the main advantages of mechanical actions, i.e. those in which there is a direct and uninterrupted mechanical link from the key which the player moves to the pallet valve that admits air to the pipes, is that they allow the player to control the pallet and thus influence the initial sound of the pipe. This project looks at how the key and pallet actually move compared with what the player believes is happening. Measurements of the movement of the keys and, where possible, the pallets were made using LED and laser distance sensors, with the organists being asked to play in a variety of styles that they believed resulted in the keys moving at significantly different speeds. Sound recordings were made in order to compare the transients. The results showed that the key movement could be broken down into two distinct parts. The first part is the movement before pluck and thus before the pallet starts opening in which the flexibility of the action was taken up. The relative length of this movement varied very considerably even on short and rigid actions showing elongations when players believed that they were moving the key slowly. The movement after pluck, and thus during which the pallet was opening and admitting air to the pipes, did not vary greatly and in some cases, despite the player very deliberately trying to vary the speed, remained nearly constant. It could be clearly shown that attempts to vary the speed of key movement were, in fact, resulting in distinct rhythmic changes. The conclusion is that although players vary the time of the complete key movement, any difference occurs mostly in the part of the key movement before the pallet starts opening and thus cannot have any influence on the initial transient.
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Al-Badr, Ahmed. "The social context and textual/musical characteristics of the besta genre of southern Iraq." Thesis, University of Huddersfield, 2012. http://eprints.hud.ac.uk/id/eprint/19268/.
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Despite the extensive research by ethnomusicologists on a number of musical cultures, little attention has been given to Iraqi music. The term besta (literally, happiness) is used by Iraqis to signify the genre, which in formal Arabic is called ʾughniyeh. This thesis examines the besta genre in the community of the villages in Dhi-QAr province in southern Iraq. The aims of the study are: to place the songs of the area in their cultural context, classify the repertoire into different categories, develop an analytical methodology, analyse (recorded) examples of the besta song and archive the songs as rare examples f a somewhat endangered Iraqi genre. Two approaches were followed in order to achieve these objectives: an ethnographic approach, to study the local community and explore the social context of singing, and an analytical approach, to explore the musical characteristics of the besta songs. The analysis involves study of the songs’ texts and their melodic features. The results show that traditions are stronger than religious values in what is a completely male-dominated society, one in which women have little cultural role to play. Results of the analysis of the text identified poetic elements of the text such as the darmi as the dominant poetic metre, with parting as the main theme, and anguish and sadness as the central emotions of the texts. The results of the melodic analyses show that the intervallic structure of the songs’ melodies relies on a number of Iraqi and Arabic tetrachords, and that the Beyat tetrachord in particular is the most common among the songs. A number of structural characteristics of the melodies have been identified. Beside other patterns, the Maqsum is the most common accompaniment in the songs. It is hoped that the ethnographic and analytical approach developed in this study will lay the foundations for future studies of Iraqi and Arabic music.
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Yu, Youngmin. "Musical performance of Korean identities in North Korea, South Korea, Japan and the United States." Diss., Restricted to subscribing institutions, 2007. http://proquest.umi.com/pqdweb?did=1417807691&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.
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Keam, Glenda. "Exploring notions of national style New Zealand orchestral music in the late twentieth century /." Connect to this title online, 2006. http://hdl.handle.net/2292/56.
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López-Carromero, Amaya. "Experimental investigation of acoustic characteristics of radiation and playing gestures for lip-excited musical instruments." Thesis, University of Edinburgh, 2018. http://hdl.handle.net/1842/33207.
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The geometrical characteristics of acoustical radiation are of great importance in instrument design and synthesis, and multiple simplified models have been developed in the past to describe them. In this work two experimental methodologies are proposed and carried out, studying the frequency-dependent radiation in a collection of popular brass instruments with different grades of flaring, and making use of the axis-symmetry of these instruments. The first method uses a scanning linear array and is carefully designed to extract the linear properties of the radiation field. The results of this experimental method are a database of impulse responses distributed in space, and effectively covering a bidimensional on-axis section of the radiation field approximately 0.6 m by 0.9 m. These data can then be used for the validation of a number of simplified physical models used to describe the radiation of these types of instruments. The second method aims at visualising radiation for high amplitude excitation, where shock waves are generated inside the instrument due to non-linear propagation of the plane wave. In this case, the experimental methodology used, taking advantage of the strong density and temperature gradients generated in the air, is an on-axis schlieren optical system. General results of this visualisation show a strong increase in focused directivity at high frequencies and loud playing dynamics, due to the spectral enrichment typical of this family of instruments. The second section of this thesis focuses on the study of playing gestures in the trombone, and could also be applicable to other slide instruments. During glissando playing in the trombone the length of the cylindrical slide section within the bore is altered while waves are propagating. Slide velocities of 2 metres per second are not unusual and result in a (small but measurable) Doppler shift in the wave coming from the mouthpiece before it arrives at the bell. An additional effect is observed in terms of the volume of air within the instrument changing telescopically, leading to a localised change in DC pressure and a resulting flow, which generates infrasound components within the bore. The effects of these playing gestures are investigated in two different setups; one with a high frequency sinusoidal excitation generated by a compression driver, and another one using an artificial mouth to play the instrument. In both experiments the pressures at the mouth or mouthpiece, water key and bell were tracked using microphones and the position of the slide was tracked using a laser distance sensor. Both Doppler shifting and infrasound components were detected for both experimental setups, although the effect on a soft termination such as the artificial lips requires further examination.
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Ziemer, Tim Verfasser], and Rolf [Akademischer Betreuer] [Bader. "Implementation of the radiation characteristics of musical instruments in wave field synthesis applications / Tim Ziemer. Betreuer: Rolf Bader." Hamburg : Staats- und Universitätsbibliothek Hamburg, 2016. http://d-nb.info/110640467X/34.
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Cahill, Clark Jennifer L. "String student self-efficacy and deliberate music practice: Examining string students' musical background characteristics, self-efficacy beliefs and practice behaviors." Thesis, University of North Texas, 2008. https://digital.library.unt.edu/ark:/67531/metadc9116/.
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This study examined the musical background characteristics, self-efficacy beliefs, and practice behaviors of string students auditioning for an all-region orchestra in one large South-Central district. Purposes of the study were: (1) to describe the musical backgrounds and self-efficacy beliefs of high school string students, (2) to measure the relationship between self-efficacy scores and performance achievement, and (3) to describe the practice behaviors and thoughts of high and low self-efficacy string students. Questionnaires were given to 101 high school string students; 65 competed in all-region orchestra. Descriptive data from the questionnaire revealed information such as how many took private lessons and that those who did tended to have a higher sense of perceived self-efficacy in relation to playing their string instruments. Other descriptive items asked questions such as whether or not students started in public school and how much they practiced outside of orchestra. The relationship of summed self-efficacy scores to a competition ranking was found to be statistically significant and inverse. For all string participants (n=65) Spearman's rho was, rs= -.37, (p=.001) with 14% of the variance explained (r2 =.14). This inverse relationship documents the linear trend for students with better rankings (lower ranking numbers) to also tend to have higher self-efficacy scores. Observation and interview data of 8 higher and 8 lower self-efficacy sub-group students were also analyzed. The higher self-efficacy sub-group students tended to use more cognitive practice strategies, while the lower self-efficacy sub-group tended to use dissimilar and less advanced strategies. Understanding string students' musical background experiences and characteristics and the possible relationship self-efficacy may have with practice and achievement could benefit certain students. Helping these students gain a higher sense of perceived self-efficacy in their musical endeavors, or obtain certain characteristics that successful students share, could possibly enable them to develop and understand more complex practice strategies and compete more confidently.
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Cahill, Clark Jennifer L. "String student self-efficacy and deliberate music practice examining string students' musical background characteristics, self-efficacy beliefs, and practice behaviours /." connect to online resource, 2008. http://digital.library.unt.edu/permalink/meta-dc-9116.
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Brodhead, Daniel A. "Effects of instruction on first, second and third grade children's ability to decenter when assessed on discrimination between contrasting musical characteristics." FIU Digital Commons, 2004. http://digitalcommons.fiu.edu/etd/1812.
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This experimental study sought to determine the effect of instruction on the abilities of first through third grade children to single and double discriminate contrasting musical characteristics. Six samples were used.
The experimental variable consisted of four sessions designed to teach children to distinguish between fast/slow and smooth/choppy musical excerpts. Subjects were tested on their single/double discrimination abilities following the treatment sessions. Results show that first and second grade experimental groups scored significantly higher on single discrimination items than their control groups. On the double discrimination accuracy section the experimental second, third and control first graders were significantly higher than their counter-groups.
These findings demonstrated that the four treatment sessions have a profound effect on first and second grade children's abilities to make single discriminations. They also show that success in making double discriminations may depend more on the individual subjects. Further investigation would be beneficial.
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Benck, Filho Ayrton Müzel. "O frevo-de-rua no Recife : características socio-histórico-musicais e um esboço estilístico-interpretativo." reponame:Repositório Institucional da UFBA, 2008. http://www.repositorio.ufba.br/ri/handle/ri/9157.
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Esse estudo oferece características sobre o processo prático-interpretativo do Frevo-de-Rua pelos trompetistas profissionais no Recife. A caracterização faz-se através da pesquisa de survey entre os trompetistas e entrevistas semi-estruturadas com os alguns dos principais maestros de frevo no Recife. Como objetivo específico, visa verificar a existência da recorrência na escolha de estratégias prático-interpretativas do gênero. Sendo assim, delineia-se um estilo prático-interpretativo dos trompetistas de frevo-de-rua, descrevendo alguns de seus processos de realização dos parâmetros interpretativos: andamento, articulação, acentuação e dinâmica. Também são examinadas várias características importantes aos intérpretes músicais interessados a formar um ou ampliar seus conceitos interpretativos do gênero. Essa caracterização envolve: aspectos sociais, enfocando o frevo dentro de seu ambiente social; aspectos históricos, levantando alguns dos fatos importantes para o frevo-de-rua; aspectos musicais, examinando as origens, classes, conjuntos instrumentais característicos e uma análise de seus elementos estruturais.
Salvador
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Ai, Meilin. "An Introduction to Contemporary Characteristics in Twentieth-Century Piano Music for the Late-Intermediate Student: A Pedagogical Analysis of the Bagatelles, Opus 5 by Alexander Tcherepnin." Thesis, University of North Texas, 2019. https://digital.library.unt.edu/ark:/67531/metadc1505185/.
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Alexander Tcherepnin (1899-1977) was a Russian-born American composer, his musical style represents the modern and diverse features of much twentieth-century piano music. The purpose of this research is to conduct a comprehensive pedagogical analysis of Alexander Tcherepnin's Bagatelles, Op. 5 with the goal of introducing contemporary characteristics in twentieth-century piano music for the late-intermediate student. Chapter 2 contains overall biographical information regarding Alexander Tcherepnin and a discussion of the general compositional style of his piano works. Chapter 3 analyzes the Bagatelles, Op. 5 from the perspective of musical challenges concerning the contemporary characteristics, including contemporary harmony: interval of seconds, non-tertian chords, special use of the seventh chords, and ninth chords; contemporary rhythm and meter: shifted accents, asymmetric meter, meter change, and ostinato; modal melodic resources and tonalities; and other special tonalities. Chapter 4 has suggestions on fingering, pedaling, articulation, tone, dynamics and phrasing, and practicing procedures for individual technical difficulties. Studying the Bagatelles, Op. 5 provides a transition for the student from learning standard repertoire of the eighteenth and the nineteenth century, to contemporary repertoire through the combination of Russian compositional traditions with twentieth century repertory.
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Carlile, Solfa. "Characterisation in contemporary opera and music theatre." Thesis, University of Oxford, 2016. https://ora.ox.ac.uk/objects/uuid:dd3468ba-dba6-49c2-88d4-82c2bb23af5c.
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This doctoral research comprises a practitioner-based reflective enquiry to bridge the gap between theory and practice and enhance my compositional output. In tandem with the composition of my chamber opera, The Exile, I have undertaken research into characterisation within the context of opera and musical theatre, with a focus on both the delineation of individual characters and the context in which they appear. Parameters of the work are discussed in comparison with canonic works of both opera and music theatre. Contemporary uses of leitmotif, representation of speech and folk music within operatic works are acknowledged and their influence on the composition is presented along with musical examples. The conventional composer-librettist partnership is discussed, along with suggestions for how respective roles for composer and librettist have evolved in recent times. An insight into the collaborative compositional process is presented in the final chapter, as my work with librettist Gillian Pencavel is discussed. The Exile is an original work informed by this research and is a contribution to the repertoire as well as an investigation into many compositional techniques presented in this thesis.
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Robinson, Nathalie Gail. "An examination of the influence of visual feedback, aural feedback and reflection time on the pitch and duration characteristics of 9-year-olds' musical compositions :." Access Digital Full Text version, 1995. http://pocketknowledge.tc.columbia.edu/home.php/bybib/11792115.
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Thesis (Ed.D.)--Teachers College, Columbia University, 1995.Typescript; issued also on microfilm. Sponsor: Lenore Pogonowski. Dissertation Committee: Harold F. Abeles. Includes bibliographical references (leaves 235-239).
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Gängler, Thomas. "Semantic Federation of Musical and Music-Related Information for Establishing a Personal Music Knowledge Base." Master's thesis, Saechsische Landesbibliothek- Staats- und Universitaetsbibliothek Dresden, 2011. http://nbn-resolving.de/urn:nbn:de:bsz:14-qucosa-72434.
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Music is perceived and described very subjectively by every individual. Nowadays, people often get lost in their steadily growing, multi-placed, digital music collection. Existing music player and management applications get in trouble when dealing with poor metadata that is predominant in personal music collections. There are several music information services available that assist users by providing tools for precisely organising their music collection, or for presenting them new insights into their own music library and listening habits. However, it is still not the case that music consumers can seamlessly interact with all these auxiliary services directly from the place where they access their music individually. To profit from the manifold music and music-related knowledge that is or can be available via various information services, this information has to be gathered up, semantically federated, and integrated into a uniform knowledge base that can personalised represent this data in an appropriate visualisation to the users. This personalised semantic aggregation of music metadata from several sources is the gist of this thesis. The outlined solution particularly concentrates on users’ needs regarding music collection management which can strongly alternate between single human beings. The author’s proposal, the personal music knowledge base (PMKB), consists of a client-server architecture with uniform communication endpoints and an ontological knowledge representation model format that is able to represent the versatile information of its use cases. The PMKB concept is appropriate to cover the complete information flow life cycle, including the processes of user account initialisation, information service choice, individual information extraction, and proactive update notification. The PMKB implementation makes use of SemanticWeb technologies. Particularly the knowledge representation part of the PMKB vision is explained in this work. Several new Semantic Web ontologies are defined or existing ones are massively modified to meet the requirements of a personalised semantic federation of music and music-related data for managing personal music collections. The outcome is, amongst others, • a new vocabulary for describing the play back domain, • another one for representing information service categorisations and quality ratings, and • one that unites the beneficial parts of the existing advanced user modelling ontologies. The introduced vocabularies can be perfectly utilised in conjunction with the existing Music Ontology framework. Some RDFizers that also make use of the outlined ontologies in their mapping definitions, illustrate the fitness in practise of these specifications. A social evaluation method is applied to carry out an examination dealing with the reutilisation, application and feedback of the vocabularies that are explained in this work. This analysis shows that it is a good practise to properly publish Semantic Web ontologies with the help of some Linked Data principles and further basic SEO techniques to easily reach the searching audience, to avoid duplicates of such KR specifications, and, last but not least, to directly establish a \"shared understanding\". Due to their project-independence, the proposed vocabularies can be deployed in every knowledge representation model that needs their knowledge representation capacities. This thesis added its value to make the vision of a personal music knowledge base come true.
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Kang, Kyounglae Gina. "A STUDY OF THE THIRD PIANO SONATA OF CARL VINE (2007): THE MUSICAL CHARACTERISTICS OF THE THIRD SONATA COMPARED THROUGH THE FIRST SONATA AND SECOND SONATA AND PRACTICAL PERFORMANCE GUIDANCE." The Ohio State University, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=osu1338245430.
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Sant'Ana, Edson Hansen. "A concepção intervalar em Almeida Prado: um estudo em três obras pós-ruptura." Universidade Estadual Paulista (UNESP), 2017. http://hdl.handle.net/11449/152167.
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O objeto de estudo deste trabalho é o processo intervalar na construção composicional de Almeida Prado em suas três fases pós-ruptura, chamadas de Pós-Tonal, Síntese e Pós-Moderna. A concepção intervalar do compositor é demonstrada por análises realizadas em três obras, uma de cada fase pós-ruptura: Sonata n. 3, Cartas Celestes I e Noturno n. 7, respectivamente. A análise tem sua metodologia baseada em um recorte arbitrário que buscou compreender três intervalos básicos que podem ser somados a outros três intervalos enarmônicos como ampliação das possibilidades intervalares na escrita. O desenvolvimento teórico da pesquisa aprofundou-se a partir de um foco e uma análise intervalar que, conceitualmente, buscaram uma superação terminológica de uma formulação anterior nomeada como expressividade intervalar (SANT’ANA, 2009) para a atualização terminológica definida como intervalo característico. O embasamento teórico para essa concepção intervalar deu-se a partir das proposições de Boulanger (1926), Costère (1954, 1962), Forte (1973), Straus ([1990] 2013), Pousseur ([2005] 2009) e Menezes (2002). Como contextualização crítico-histórica, foi realizada uma revisão sucinta de tendências teórico-analíticas e seus problemas, reconsiderando-se as observações de Schoenberg ([1922] 2001, [1954] 2004), Kerman ([1985] 1987), Cook (1987, 2007) e Kramer (2015). Para se validar a construção e o caráter da ferramenta teórico-analítica aqui empreendida, utilizou-se a teoria de Lacey (2008) associada à visão teórico-musicológica desses autores. Com o processo analítico, apresentado no quarto capítulo, procurou-se demonstrar a grande incidência do(s) intervalo(s) característico(s) na construção estrutural das obras, desvelando-se um número variado de estratégias composicionais adotadas por Almeida Prado associadas a esses intervalos. Ainda no quarto capítulo, foi aplicada a ferramenta denominada régua intervalar, que pode ajudar na melhor compreensão dos intervalos com mais potencial de dissonância, os quais agem por meio de interação e contraste frente ao background aparentemente tonal dos intervalos mais consonantes ligados aos primeiros sete parciais (harmônicos) da série harmônica. Assim, em uma pesquisa futura, a ferramenta e a proposição analítica aqui desenvolvidas podem contribuir na compreensão e na sistematização dos tipos de objetos harmônicos pensados como entidades tímbricas que são moldados a partir dessa concepção intervalar.
The object of study this work is the interval process in the compositional construction of Brazilian pianist and composer Almeida Prado in his three post-rupture phases, called PostTonal, Synthesis and Post-Modern. The intervalar conception of the composer is demonstrated by analyses carried out in three works - one from each post-rupture phase (Sonata n. 3, Cartas Celestes I and Noturno n. 7). The analysis has its methodology based on an arbitrary crop that sought to understand three basic intervals that can be added to three other enharmonic intervals as an extension of the interval possibilities in writing. The theoretical development of the research was deepened from a focus and an interval analysis that, conceptually, sought a terminological overcoming of an earlier formulation named as intervalar expressivity (SANT'ANA, 2009) for the terminological update defined as a characteristic interval. The theoretical basis for this interval conception came from the propositions of Boulanger (1926), Costère (1954, 1962), Forte (1973), Straus ([1990] 2013), Pousseur ([2005] 2009) and Menezes (2002). As a critical-historical context, a brief review of theoretical-analytical trends and their problems was carried out, reconsidering the observations of Schoenberg ([1922] 2001, [1954] 2004), Kerman ([1985], 1987), Cook (1987, 2007) and Kramer (2015). To validate the construction and character of the theoreticalanalytical tool undertaken here, Lacey (2008)’s theory was used associated with the theoretical-musicological view, methodologically adopted in this work. Like the analytical process contained in the fourth chapter, one tried to demonstrate the great incidence of the characteristic interval (s) in the structural construction of the works, revealing a varied number of compositional strategies adopted by Almeida Prado associated to these intervals. Still in the fourth chapter, the tool called interval rule was applied, which can help in better understanding the intervals with more potential of dissonance that act through interaction and contrast against the seemingly tonal background of the more consonant intervals linked to the first seven (harmonic) partials of the harmonic series. Thus, in a future research, the tool and the analytical proposition developed here, can contribute to the comprehension and systematization of the types of harmonic objects thought as timbral entities that are shaped from this intervalar conception.
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Dobbs, Benjamin Michael. "Gewesener Magdeburgische Musicus: An Examination into the Stylistic Characteristics of Heinrich Grimm's Eight-Voice Motet, Unser Leben Wehret Siebenzig Jahr'." Thesis, University of North Texas, 2010. https://digital.library.unt.edu/ark:/67531/metadc33142/.
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Although Magdeburg cantor Heinrich Grimm was frequently listed among prominent musical figures of the early seventeenth century such as Heinrich Schütz, Johann Hermann Schein, and Michael Praetorius in music lexica through the nineteenth century, he has almost disappeared from modern scholarship. However, a resurgence in Grimm studies has begun in recent years, especially in the areas of biographical study and compositional output. In this study, I examine the yet unexplored music-analytic perspective by investigating the stylistic characteristics of Grimm's 1631 motet, Unser Leben wehret siebenzig Jahr'. Furthermore, I compare his compositional technique to that of his contemporaries and predecessors with the goal of examining the work from both Renaissance and Baroque perspectives.
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Grajter, Małgorzata. "Małgorzata Grajter, Relacje słowno-muzyczne w twórczosci Ludwiga van Beethovena [The characteristics of music-text relationships in Ludwig van Beethoven’s output] (Dissertationes Lodzienses de Musicae Theoria 3), Łódz: Akademia Muzyczna im. Grazyny i Kiejstuta Bacewiczów [2015], 274 S., Abb., polnisch, ISBN 978-83-60929-46-9 [Zusammenfassung]." Internationale Arbeitsgemeinschaft für die Musikgeschichte in Mittel- und Osteuropa an der Universität Leipzig, 2016. https://ul.qucosa.de/id/qucosa%3A16198.
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Liang, Yu-hsin, and 梁鈺昕. "The Musical Characteristics of Lullabies." Thesis, 2009. http://ndltd.ncl.edu.tw/handle/41000448411226143035.
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碩士國立成功大學
工程科學系碩博士班
97
Due to the faster pace of daily activities, people's life is more and more segmented. Furthermore, there’s various pressure added on people and it makes people suffer from insomnia in modern society. The lullaby used for coaxing children into sleeping possesses unique rhythm and soft melody. It may be helpful for people to relieve nervous situations and enhance sleep. So there must be some common characteristics which let people’s mind become peaceful and quiet in the lullabies of different cultures. Therefore, the goal of this research is to find out the common features of lullabies among different cultures and nationalities and figure out their model. This research focuses on two major features of lullabies: rhythm and melody. Using the ACF (Autocorrelation function) method and statistical analysis. Through the pitch and beat length obtained, the basic common characteristics among lullabies of various countries are deduced. The research shows that each note's pitch of the melody should be close to the ex-note's and the rhythm of lullabies is simple and repeated. The characteristics correspond with the feature of the lullabies which suppose to be peaceful and slow. If we compared the characteristics of lullabies with other kinds of music which are considered as smooth rhythm, we can find out that they have similar features. On the contrary, the songs which rhythm changes heavily are quite different from lullabies.
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Klemish, Kathleen Rae. "A comparison of the musical learning characteristics of the academically gifted child and the musically talented child." 1986. http://catalog.hathitrust.org/api/volumes/oclc/185040650.html.
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Thesis (M.S.)--University of Wisconsin--Madison, 1986.Typescript. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 114-117).
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"Characteristics of early musical environments associated with preschool children's music skills." STATE UNIVERSITY OF NEW YORK AT BUFFALO, 2009. http://pqdtopen.proquest.com/#viewpdf?dispub=3342135.
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Ting, Yun-chen, and 丁運琛. "Discussing the musical characteristics of Loyang based on Isang yun's artistic ideas." Thesis, 2008. http://ndltd.ncl.edu.tw/handle/f49ntq.
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Thornton, Lyndsey Michelle Brewer Charles E. "Musical characteristics of the songs attributed to Peter of Blois (c.1135-1211)." Diss., 2007. http://etd.lib.fsu.edu/theses/available/etd-04092007-163930/.
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Thesis (M.M.) Florida State University, 2007.Advisor: Charles Brewer, Florida State University, College of Music. Title and description from dissertation home page (viewed 2007). Document formatted into pages; contains 92 pages. Includes biographical sketch. Includes bibliographical references.
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Ziemer, Tim. "Implementation of the Radiation Characteristics of Musical Instruments in Wave Field Synthesis Applications." Doctoral thesis, 2014. https://slub.qucosa.de/id/qucosa%3A70588.
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In this thesis a method to implement the radiation characteristics of musical instruments in wave field synthesis systems is developed. It is applied and tested in two loudspeaker systems.Because the loudspeaker systems have a comparably low number of loudspeakers the wave field is synthesized at discrete listening positions by solving a linear equation system. Thus, for every constellation of listening and source position all loudspeakers can be used for the synthesis. The calculations are done in spectral domain, denying sound propagation velocity at first. This approach causes artefacts in the loudspeaker signals and synthesis errors in the listening area which are compensated by means of psychoacoustic methods. With these methods the aliasing frequency is determined by the extent of the listening area whereas in other wave field synthesis systems it is determined by the distance of adjacent loudspeakers. Musical instruments are simplified as complex point sources to gain, store and propagate their radiation characteristics. This method is the basis of the newly developed “Radiation Method” which improves the matrix conditioning of the equation system and the precision of the wave field synthesis by implementing the radiation characteristics of the driven loudspeakers. In this work, the “Minimum Energy Method” — originally developed for acoustic holography — is applied for matters of wave field synthesis for the first time. It guarantees a robust solution and creates softer loudspeaker driving signals than the Radiation Method but yields a worse approximation of the wave field beyond the discrete listening positions. Psychoacoustic considerations allow for a successfull wave field synthesis: Integration times of the auditory system determine the spatial dimensions in which the wave field synthesis approach works despite different arrival times and directions of wave fronts. By separating the spectrum into frequency bands of the critical band width, masking effects are utilized to reduce the amount of calculations with hardly audible consequances. By applying the “Precedence Fade”, the precedence effect is used to manipulate the perceived source position and improve the reproduction of initial transients of notes. Based on Auditory Scene Analysis principles, “Fading Based Panning” creates precise phantom source positions between the actual loudspeaker positions. Physical measurements, simulations and listening tests prove evidence for the introduced methods and reveal their precision. Furthermore, results of the listening tests show that the perceived spaciousness of instrumental sound not necessarily goes along with distinctness of localization. The introduced methods are compatible to conventional multi channel audio systems as well as other wave field synthesis applications.In dieser Arbeit wird eine Methode entwickelt, um die Abstrahlcharakteristik von Musikinstrumenten in Wellenfeldsynthesesystemen zu implementieren. Diese wird in zwei Lautsprechersystemen umgesetzt und getestet. Aufgrund der vergleichsweise geringen Anzahl an Lautsprechern wird das Schallfeld an diskreten Hörpositionen durch Lösung eines linearen Gleichungssystems resynthetisiert. Dadurch können für jede Konstellation aus Quellen- und Hörposition alle Lautsprecher für die Synthese verwendet werden. Hierzu wird zunächst in Frequenzebene, unter Vernachlässigung der Ausbreitungsgeschwindigkeit des Schalls gerechnet. Dieses Vorgehen sorgt für Artefakte im Schallsignal und Synthesefehler im Hörbereich, die durch psychoakustische Methoden kompensiert werden. Im Vergleich zu anderen Wellenfeldsyntheseverfahren wird bei diesem Vorgehen die Aliasingfrequenz durch die Größe des Hörbereichs und nicht durch den Lautsprecherabstand bestimmt. Musikinstrumente werden als komplexe Punktquellen vereinfacht, wodurch die Abstrahlung erfasst, gespeichert und in den Raum propagiert werden kann. Dieses Vorgehen ist auch die Basis der neu entwickelten “Radiation Method”, die durch Einbeziehung der Abstrahlcharakteristik der verwendeten Lautsprecher die Genauigkeit der Wellenfeldsynthese erhöht und die Konditionierung der Propagierungsmatrix des zu lösenden Gleichungssystems verbessert. In dieser Arbeit wird erstmals die für die akustische Holografie entwickelte “Minimum Energy Method” auf Wellenfeldsynthese angewandt. Sie garantiert eine robuste Lösung und erzeugt leisere Lautsprechersignale und somit mehr konstruktive Interferenz, approximiert das Schallfeld jenseits der diskreten Hörpositionen jedoch schlechter als die Radiation Method. Zahlreiche psychoakustische Überlegungen machen die Umsetzung der Wellenfeldsynthese möglich: Integrationszeiten des Gehörs bestimmen die räumlichen Dimensionen in der die Wellenfeldsynthesemethode — trotz der aus verschiedenen Richtungen und zu unterschiedlichen Zeitpunkten ankommenden Wellenfronten — funktioniert. Durch Teilung des Schallsignals in Frequenzbänder der kritischen Bandbreite wird unter Ausnutzung von Maskierungseffekten die Anzahl an nötigen Rechnungen mit kaum hörbaren Konsequenzen reduziert. Mit dem “Precedence Fade” wird der Präzedenzeffekt genutzt, um die wahrgenommene Schallquellenposition zu beeinflussen. Zudem wird dadurch die Reproduktion transienter Einschwingvorgänge verbessert. Auf Grundlage von Auditory Scene Analysis wird “Fading Based Panning” eingeführt, um darüber hinaus eine präzise Schallquellenlokalisation jenseits der Lautsprecherpositionen zu erzielen. Physikalische Messungen, Simulationen und Hörtests weisen nach, dass die neu eingeführten Methoden funktionieren und zeigen ihre Präzision auf. Auch zeigt sich, dass die wahrgenommene Räumlichkeit eines Instrumentenklangs nicht der Lokalisationssicherheit entspricht. Die eingeführten Methoden sind kompatibel mit konventionellen Mehrkanal-Audiosystemen sowie mit anderen Wellenfeldsynthesesystemen.
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HUANG, YING-CHAO, and 黃穎超. "The Vagabond with an Old Suitcase: Lu Jin-Shou’s Compositional Process and Musical Characteristics." Thesis, 2016. http://ndltd.ncl.edu.tw/handle/79637v.
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碩士國立臺灣師範大學
台灣語文學系
104
Lu Jin-Shou’s vocal compositions feature local Taiwanese color and humanistic concern. Both his early Taiwanese pop songs and his Hakka vocal music have strong vitality and document the lifestyle in Taiwan. This thesis focuses on Lu Jin-Shou’s compositional process and the characteristics of his music. The methodology is fieldwork and textual research. According to the interviews collected during fieldwork and the analysis of manuscripts and compact disc albums provided by the composer, I classify Lu’s composition into three categories: Taiwanese songs, Hakka songs (Hakka shiau-ke-jiu), and Chinese songs. The singers who collaborated with Lu or who have performed Lu’s music are listed in a chart along with their biographies. By using this chart, one can understand Lu’s background and compositional development. The second chapter of this thesis describes Lu’s compositional process and aspects of his participation in the production of Taiwanese pop song albums and his participation in Hakka music and shiau-ke-jiu making: this music is accessible and humorous, young and poetic, with a local identity and love for multiple ethnicities. In the essay, Lu’s songs are classified according to their characteristics into three parts. In third chapter, the first characteristic of these songs is the common memories in 1960s.In fourth chapter, the second characteristic is that the young and poetics after 1970s astonishing puppetry and being a key behind the scene for the popular singer, as well as being made for the female singers’ albums. The fifth chapter, titled “Local Identity and Love for Multiple Ethnicities,” shows the third characteristic of Lu’s music. Lu is a leader and promoter of Hakka pop music and shiau-ke-jiuhe. He masterfully creates new music by varying pre-existing songs. From the perspective of the history of Taiwanese pop music, Lu’s abundant output and ceaseless creativity, the multiple meanings embedded in his melodies and lyrics, and his contribution to the native language are worth examining. From such one can learn about the motivations behind Lu’s music and the spirit of his era.
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Bae, Kichung Martinů Bohuslav Martinů Bohuslav Elgar Edward. "Elgar and Martinů: the cello works and musical characteristics of two remarkable, self-taught, nationalistic composers /." 2006. http://hdl.handle.net/1903/9757.
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Liao, Wan-Ting, and 廖婉婷. "Music Theatre《The Dream of Sakamoto Ryoma》：The Characteristics of Japanese Traditional Music and My Musical Composition." Thesis, 2014. http://ndltd.ncl.edu.tw/handle/a4d3at.
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Wong, Cheng-Sin, and 翁承新. "Research on Gershwin's ” Rhapsody in Blue” and Further Applications of Its Musical Characteristics in Taiwanese Church Music." Thesis, 2016. http://ndltd.ncl.edu.tw/handle/33445776991790282770.
Full textAbstract:
碩士國立東華大學
音樂學系
104
The fusion of European classical music and traditional African music gave birth to Jazz. Jazz has already become an important musical form in the modern world; it has influenced both contemporary and Christian music. This thesis aims to investigate George Gershwin's Rhapsody in Blue, and within it attempt to discover the musical vocabulary commonly used by modern jazz, its conceptual fusion, and additionally raise possible ways that the vocabulary of classical music has entered the usical arrangement of contemporary Taiwanese Christian songs. This thesis is divided into four sections. The first section describes the motivations for this research, as well as its goals, content, method, and limits. The second section introduces Gershwin's life and outlines the history of jazz. The third section analyzes the musical form of Rhapsody in Blue, as well as discussing the primary melody, and its applicable musical features. The forth section interprets the performance of Rhapsody in Blue, as well as pointing out passages of the performance that merit special attention. The fifth section discusses the application of Rhapsody in Blue's musical features in Taiwan's Christian churches, as well as how these features were applied and concrete examples thereof. The sixth section is the conclusion.
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Lu, Hui-chuan, and 呂慧娟. "A Study of Isang Yun’s Compositional Ideas to Explore the Musical Characteristics of Rèak under East Asian Culture." Thesis, 2006. http://ndltd.ncl.edu.tw/handle/49990702695945167827.
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碩士東吳大學
音樂學系
94
The musical Ideas of German- Korean Composer Isang Yun (1971-1995) combined both the traditional music cultures of East Asia and the avant-garde compositional techniques of the West for which he had earned praises and a place on the world stage. This thesis takes Yun’s “Rèak”, written for Donaueschinger Musiktage in 1966, as an example to analyze how Yun melds the musical elements from both the East and West in his creation. The research focus of this thesis includes four domains, namely, philosophy, aesthetics, timbre as well as compositional techniques, each exemplified with the work of “Rèak”. The research method can be divided into three stages: (1) the collection of data; (2) the formation and transformation of the compositional force; (3) the analysis of the compositional Ideas and applications. The organization of this thesis is as follows: Chapter 1 introduces Yun’s life, composition style and characteristics at each stage of his career. Chapter 2 focuses on the cultural aspect and compares “Rèak” with two ceremonial traditions in Korean culture, in terms of the ceremonies, musical structure and traditional instruments. Chapter 3 investigates the impact of East Asian philosophy on “Rèak” through the perspective of Tao and Yin and Yang Principle. Chapter 4 discusses the concept, formation and compositional characteristics of “Haupttönetechnik” and analyzes its impact on “Rèak” through juxtaposition of the two productions. Lastly, the conclusion section provides a summary of the research findings in the process.
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i, chen chen, and 陳貞伊. "A Study of Musical Characteristics between Piano and Percussion in Bela Bartok’s Sonata for Two Pianos and Percussion." Thesis, 2007. http://ndltd.ncl.edu.tw/handle/66065441950414760999.
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Böhlke, Leonie, and Tim Ziemer. "Perceptual evaluation of violin radiation characteristics in a wave field synthesis system." 2017. https://slub.qucosa.de/id/qucosa%3A70631.
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A method to synthesize the sound radiation characteristics of musical instruments in a wave field synthesis (WFS) system is proposed and tested. Radiation patterns of a violin are measured with a circular microphone array which consists of 128 pressure receivers. For each critical frequency band one exemplary radiation pattern is decomposed to circular harmonics of order 0 to 64. So the radiation characteristic of the violin is represented by 25 complex radiation patterns. On the reproduction side, these circular harmonics are approximated by 128 densely spaced monopoles by means of 128 broadband impulses. An anechoic violin recording is convolved with these impulses, yielding 128 filtered versions of the recording. These are then synthesized as 128 monopole sources in a WFS system and compared to a virtual monopole playing the unfiltered recording. The study participants perceive the tone color of the recreated virtual violin as being dependent on the listening position and report that the two source types have a different ‘presence’. The test persons rate the virtual violin as less natural, sometimes remarking that the filtering is audible at high frequencies. Further studies with a denser spacing of the virtual monopoles and a presentation in an anechoic room are planned.
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Chang, Qing (Lily). "Performing Chinese contemporary art song: a portfolio of recordings and exegesis." Thesis, 2018. http://hdl.handle.net/2440/114437.
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This performance-based research project surveys Chinese contemporary art song from 1976 to the present, as represented in the work of four composers: Shi Guangnan (1940–1990), Lu Zaiyi (b. 1943), Shang Deyi (b. 1932), and Zheng Qiufeng (b. 1931). The songs, which are grouped into five categories according to their content – patriotic, nature, narrative, love and friendship – are documented, analysed and performed. A particular focus is placed on the interpretation and performance of musical elements that cannot be captured in notation, for example the use of certain vocal ornaments to emulate the four tones of Chinese pronunciation. The submission comprises four CD recordings and a 15,000-word exegesis. A short English commentary is delivered before each song on the CDs so that the listener is able to grasp its content. The interpretation of the songs is informed by consultations and interviews with the composers still living. The recordings provide guidance in the interpretation of this repertoire, and an enhanced understanding of the operatic style at the heart of Chinese art song. The study fills a gap in the knowledge of Chinese contemporary art song theory and practice.Thesis (Ph.D.) -- University of Adelaide, Elder Conservatorium of Music, 2018.
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Lin, Shih-Hsiang, and 林士翔. "A Study of the Relationship between Two Musical Rhythmic Characteristics and Heart Rate Variability (HRV) with Hardware Implementation for HRV analysis." Thesis, 2008. http://ndltd.ncl.edu.tw/handle/82727509670641476961.
Full textAbstract:
碩士國立交通大學
電機與控制工程系所
96
Heart rate variability (HRV) is a measure of variations in the heat rate. Over the last 25 years, HRV analysis has became more and more popular as a non-invasive research and clinical tool for indirectly investigating both cardiac and autonomic nervous system (ANS) function in both health and disease area. It is choused as the physiological indicator for observing musical effect on ANS modulation. In this study, the concept of two musical rhythmic features, tempo and complexity, modulating human ANS is proposed. The main findings in this work are as follows. The rhythm pattern with faster tempo and lower complexity is observed to decrease the LF/HF and SDNN measure significantly in the resting period after the loop listening rather than the stable resting state. In the hardware implementation part, a high accuracy and low cost QRS detector SoC is realized. By understanding the relationship between music and the function of ANS, we can improve our life and health by music – non-invasively and simply.
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Ishiguro, Maho A. "The affective properties of keys in instrumental music from the late nineteenth and early twentieth centuries." 2010. https://scholarworks.umass.edu/theses/536.
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The concept of key characteristics deals with the particular moods which different tonalities are believed to provide to music. Discussions regarding their existence and the validity of the phenomena have always been controversial because of a lack of fundamental reasons and explanations for them. Nevertheless, references to key characteristics have appeared in various fields of study and over many centuries: the Greek doctrine of ethos, writings of Guido d’Arezzo, Jean-Philippe Rameau’s Traité de l’harmonie, scribbles in Beethoven’s sketches, and several passages in Hermann von Helmholtz’s On the Sensations of Tones.
The attitudes and opinions towards key characteristics have varied in each period of its history. Among the ancient Greeks and Romans, the characteristics of modes were discussed among philosophers, namely, Plato, Aristotle, Lucianus and Cassiodorus. They were believed to affect moral development but were also associated with mysticism. In the Middle Ages and Renaissance, references to key characteristics can be found in the writings of numerous theorists, including Gioseffo Zarlino, Ramos de Pariea and Heinrich Glarean. The studies and discussions of key characteristics in those periods became so well explored as to result in the first appearance of a list of the characteristics of each mode.
In Germany and France especially, the discussion of key characteristics reached its peak in the first half of the eighteenth century, when it was studied as a part of Rhetoric. Theorists and composers equally showed their interest in the elements each key could offer to music and how to use keys advantageously in order to enrich the musical experience of the listener.
While key characteristics were studied commonly as a vital subject by composers in the eighteenth century and as a fundamental of musical education by many young musicians in the early nineteenth, this tradition had all but disappeared by the middle of the twentieth. The concept of key characteristics is no longer commonly taught in our musical institutions, and this desertion from such a traditionally significant discipline is ever puzzling and particularly interesting to me. In my thesis, I will focus on writings from the last half of the nineteenth century and the first half of the twentieth to determine the various paths taken in the study of key characteristics. I will investigate the writings and discussions of three scholarly groups—music theorists, composers and scientists—from late nineteenth and early twentieth centuries and discuss how the survival of the study of key characteristics was influenced by aspects of the time: popular aspects and aims in the fields of music theory; cultural and social expectations in the validity of phenomena; pronouncements of composers (Arthur Bliss, Alexander Scriabin, Olivier Messiaen, Arnold Schoenberg and Vincent D’Indy) in their musical styles; the rise of a naturalistic view of physical reality as a field and changes it brought to music and societies. I will also include a comparative summary of the status of key characteristics in various periods.
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Vaňátková, Kateřina. "Hudebně poslechové projekty v předškolním vzdělávání." Master's thesis, 2017. http://www.nusl.cz/ntk/nusl-356085.
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The aim of this thesis is to verify the effectiveness of children's listening activities in the preschool period from five to six years of age, to introduce the utilization of methodology connected with listening to the music by Jaroslav Herden in terms of preschool education, and to demonstrate the importance of motivation and integrative activities for the development of attention together with the overall harmonious development of children. In the theoretical part, I analyse the input of music into the consciousness of children in terms of basic psychological features and functions which are important for perception. I introduce basic musical abilities, particularly musical creativity and imagination. The theoretical part is concluded with the clarification of basic means of expression and shape features, which are important not only for the music perception as such, but also the music perception in an ontogenetic context. Moreover, I also present the philosophy of educational thinking concerning the listening activities proposed by Professor Jaroslav Herden. In the practical part, I introduce a comprehensive authorial project involving the methodology of Jaroslav Herden's music tailored to children who are aged from five to six years. This project was implemented into practice and evaluated...
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Tracy, David. "Acoustic phenomena as a model for music composition: representing acoustic phenomena in musical composition through the extrapolative and interpolative modelling of the phenomena's characteristics and behaviour." Thesis, 2014. http://hdl.handle.net/1959.13/1041443.
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Masters Research - Master of Philosophy (MPhil)The purpose of this research is to explore the relationship between acoustic phenomena and their incorporation into musical compositions. It seeks to identify composers that have represented acoustic phenomena in musical compositions through the examination of their work and compositional practices. This research attempts to explore new and existing methods of modelling acoustic phenomena for music through the creation of new musical works. Referencing acoustic phenomena is evident in the works of recent music composers such as Steve Reich, Alvin Lucier, Karlheinz Stockhausen, Gerard Grisey and La Monte Young. These composers either utilise the acoustic phenomena as a musical focal point or represent them in their compositional approach; these two approaches are achieved through the use of instrumental techniques, electronic mediums or by presenting phenomena as a natural acoustic occurrence. Compositional practices involve the modelling of the behaviour and characteristics of acoustic phenomena and the types of modelling approaches observed will be categorised as either extrapolative or interpolative. In addition to the observation of techniques utilised by these composers, this research addresses the potential use of acoustic phenomena such as phase shifting, resonance and delay as models for musical works. Models for particular acoustic phenomena are created in order to demonstrate their use in both interpolative and extrapolative ways and the resultant musical works will be used as case studies in order to analyse the effectiveness of the phenomena as models.
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Tzu-Ching, Yen, and 嚴子晴. "Phyllis Yen Violin Recital with a Supporting Paper On the Compositional Characteristics and Interpretation of Toru Takemitsu's Distance de Fée: A Musical Comparative Linguistics with Olivier Messiaen's Theme and Variations." Thesis, 2013. http://ndltd.ncl.edu.tw/handle/88bkaq.
Full textAbstract:
碩士國立交通大學
音樂研究所
101
This supporting paper presents an analysis on the compositional technique and characteristics of Toru Takemitsu's "Distance de Fée" in comparison with Messiaen's "Theme and Variations" in order to observe the inherited similarities and differences between the two composers, and suggestions for interpretation and performance are given whenever the author thinks appropriate. The author briefly introduces the life, the compositional periods, and the musical styles of Messiaen and Takemitsu respectively, and conducts analysis based on "temporal" and "color" concepts. Analysis based on temporal (rhythmic) concept particularly emphasizes on both the rhythmic structure and the sense of ‘time’, as well as the use of polyrhythms. Both incorporate multi-modes and polyrhythms into their work. Analysis on color (harmony) is focused on how Messiaen's "synaesthesia" (Synästhesie) renders his composition a rich spectrum of colors, and how Takemitsu inherited this sense of coloration. Messiaen's use of "les modes à transpositions limitées" is reminiscent of Takemitsu's techniques in the use of tone-row (e.g. motivic tone-row and diatonic scales); Messiaen's "groupe-pédale" may correspond to Takemitsu's common use of homophonic tone-row across multiple sections. In terms of the harmonic structure, both of them made extensive use of broken chords of triads and tetrad chords, while the voice leading between harmonies exhibits parallel chord movements or chromatic progressions. By addressing both the characteristic rhythmic and harmonic structure, the author manages to trace the influence, inheritance and re-creation of Japanese composer Toru Takemitsu for whom Messiaen's music is count as one of the most influential.
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Bobková, Petra. "Hudebně dramatické náměty pro spolupráci mateřské školy a rodiny." Master's thesis, 2016. http://www.nusl.cz/ntk/nusl-348252.
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The thesis will provide suggestion for cooperation of a kindergarten and a family in contemporary life conditions by the means of authorial musical dramatic script. The diplomate will partially utilise results of her bachelor's thesis that she will elaborate theoretically, methodically and practically. She will carry out the pedagogical-psychological characteristics of a preschool age child from the point of view of his or her ethical profile and aesthetic feeling creation especially through the medium of project teaching. The practical part will consist of authorial script that the student will design as an integration of musical, dramatic and artistic activities in a creative cooperation of preschool age children, parents, grandparents and other contributors. The results of this thesis will be realised artistically and publicly. The diplomate will examine the efficacy of this artistic aesthetic aim by the means of analysis authorial script, surveys and interviews with actors and the audience.
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Holmes, Lawrence John. "Dissociation of the anatomical, pharmacological and phenomenological characteristics of circling elicited by morphine and musicol applied to ventral mesencephalon." Thesis, 1986. http://spectrum.library.concordia.ca/5763/1/NL30705.pdf.
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