Dissertations / Theses: 'Musical composition'

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Markham, Karen. "Musical composition." Thesis, Durham University, 1993. http://etheses.dur.ac.uk/2018/.

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Alexander, Christian David. "Musical composition." Thesis, University of Bristol, 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.247192.

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Boardman, Gregory. "Musical composition : PhD." Thesis, Keele University, 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.269183.

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Steenhuisen, Paul Brendan Allister. "Musical composition, Wonder, with document." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk2/tape15/PQDD_0007/NQ34628.pdf.

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Goss, Stephen. "Musical composition : 'Dreamchild' and 'Arcadia'." Thesis, Goldsmiths College (University of London), 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.313725.

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Linker, Saravia Ricardo Daniel. "Nature, spirituality and musical composition." Thesis, University of Bristol, 2016. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.730825.

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Leach, Jeremy L. "Algorithmic composition and musical form." Thesis, University of Bath, 1999. https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.571612.

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Throughout history, art has continued to defy the attempts of scholars and analysts to understand it and reduce it to a set of logical principles. As one of many art forms, music has probably attracted the most attention from formal methods of study and analysis. Analysis leads to models and theories of aspects of musical behaviour, and algorithmic composition is the practice of composing according to a set of rules, processes or principles. The goal of this thesis is to elucidate some fundamental aspects of simple intra-musical meanings. If they can be formulated, then it might be possible to construct an algorithm which can compose music that can be described as 'meaningful' according to certain criteria. This thesis proposes that such intra-musical meanings are closely related to the role of repetition and variation in music, as well as Gestalt grouping principles, and are often what makes music interesting to listen to. The main contribution of this thesis is the development and evaluation of three algorithmic composition systems that attempt to impart a degree of 'meaning' in their output.

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Wood, Stephen J. "Composition portfolio." Thesis, University of Salford, 2006. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.491047.

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Johnson, Daniel S. "Musical Motif Discovery in Non-Musical Media." BYU ScholarsArchive, 2014. https://scholarsarchive.byu.edu/etd/4081.

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Many music composition algorithms attempt to compose music in a particular style. The resulting music is often impressive and indistinguishable from the style of the training data, but it tends to lack significant innovation. In an effort to increase innovation in the selection of pitches and rhythms, we present a system that discovers musical motifs by coupling machine learning techniques with an inspirational component. The inspirational component allows for the discovery of musical motifs that are unlikely to be produced by a generative model, while the machine learning component harnesses innovation. Candidate motifs are extracted from non-musical media such as images and audio. Machine learning algorithms select the motifs that best comply with patterns learned from training data. This process is validated by extracting motifs from real music scores, identifying themes in the piece according to a theme database, and measuring the probability of discovering thematic motifs verses non-thematic motifs. We examine the information content of the discovered motifs by comparing the entropy of the discovered motifs, candidate motifs, and training data. We measure innovation by comparing the probability of the training data and the probability of the discovered motifs given the model. We also compare the probabilities of media-inspired motifs with random motifs and find that media inspiration is more efficient than random generation.

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Gato, Gonçalo. "Algorithm and decision in musical composition." Thesis, Guildhall School of Music and Drama, 2016. http://openaccess.city.ac.uk/17292/.

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Through a series of creative projects this doctorate set out to research how computer-assisted composition (CAC) of music affects decision-making in my compositional practice. By reporting on the creative research journey, this doctorate is a contribution towards a better understanding of the implications of CAC by offering new insights into the composing process. It is also a contribution to the composition discipline as new techniques were devised, together with new applications of existing techniques. Using OpenMusic as the sole programming environment, the manual/machine interface was explored through different balances between manual and algorithmic composition and through aesthetic reflection guiding the composing process. This helped clarify the purpose, adequacy and nature of each method as decisions were constantly being taken towards completing the artistic projects. The most suitable use of algorithms was as an environment for developing, testing, refining and assessing compositional techniques and the music materials they generate: a kind of musical laboratory. As far as a technique can be described by a set of rules, algorithms can help formulate and refine it. Also capable of incorporating indeterminism, they can act as powerful devices in discovering unforeseen musical implications and results. Algorithms alone were found to be insufficient to simulate human creative thought because aspects such as (but not limited to) imagination, judgement and personal bias could only, and hypothetically, be properly simulated by the most sophisticated forms of artificial intelligence. Furthermore, important aspects of composition such as instrumentation, articulation and orchestration were not subjected to algorithmic treatment because, not being sufficiently integrated in OpenMusic currently, they would involve a great deal of knowledge to be specified and adapted to computer language. These shortcomings of algorithms, therefore, implied varying degrees of manual interventions to be carried out on raw materials coming out of their evaluations. A combination of manual and algorithmic composition was frequently employed so as to properly handle musical aspects such as cadence, discourse, monotony, mechanicalness, surprise, and layering, among others. The following commentary illustrates this varying dialogue between automation and intervention, placing it in the wider context of other explorations at automating aspects of musical composition.

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Mui, Kwong-chiu Mui Kwong-chiu Mui Kwong-chiu Mui Kwong-chiu Mui Kwong-chiu Mui Kwong-chiu Mui Kwong-chiu Mui Kwong-chiu Mui Kwong-chiu Mui Kwong-chiu Mui Kwong-chiu Mui Kwong-chiu Mui Kwong-chiu Mui Kwong-chiu Mui Kwong-chiu Mui Kwong-chiu. "Crossing the musical divides a collection of my musical creations /." Click to view the E-thesis via HKUTO, 2005. http://sunzi.lib.hku.hk/hkuto/record/B3157788X.

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Roddie, Matthew. "Composition." Thesis, University of York, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.323691.

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Wan, Elysa (Elysa Q. ). "Musical interfaces : design and construction of physical manipulatives for musical composition." Thesis, Massachusetts Institute of Technology, 2007. http://hdl.handle.net/1721.1/40935.

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Thesis (S.B.)--Massachusetts Institute of Technology, Dept. of Mechanical Engineering, 2007.
Includes bibliographical references (leaf 19).
Currently, musical composition is considered to be a high-level skill that is inaccessible to young children. There is a "high floor" for children who want to create a piece of music because they must learn a way of recording and remembering the notes, their sequence, etc, such as musical notation. Our project explores tangible designs that will make music composition simple to learn and practice while also building an intuition about complex musical concepts. Three original designs of tangible interfaces for musical composition are introduced and the merits and limitations of each are explored using non-functional form models. Audio processing is performed on a peripheral computer running an audio program written specifically for each system. A "Wizard of Oz" approach was used to study user interactions with each design. Music Blocks are designed to be physical representations of inherently intangible musical notes. Each block represents a single note, and the user can modify its pitch and duration by changing the physical shape of the block. They resemble wooden building blocks and suggest the parallels between building structures and the organization of musical compositions and its melody. The Music Glove introduced the idea of using a sound recording instead of a musical note as the musical unit in a composition. This introduced rich ideas about nesting and recursion. At the same time the glove interface highlights the role of personal expression, interaction and affect in musical composition and performance. Here physical inputs of the system were related to the rhythms, tempos, and the tone of the composition. The system was more gestural, performance-oriented and more suited to spontaneous improvising. The Musical Leaves interface is a melding of the concepts for the Music Blocks and Glove. The individual Leaves reflect the modular structure and organization of the composition. At the same time, the Leaves can be manipulated in real-time to change pitch and volume and as a result are deeply expressive and flexible.
by Elysa Wan.
S.B.

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Mui, Kwong-chiu, and 梅廣釗. "Crossing the musical divides: a collection ofmy musical creations." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2005. http://hub.hku.hk/bib/B3157788X.

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Bashaw, Howard Eugene. "Musical composition, The silent dragons, with document." Thesis, University of British Columbia, 1989. http://hdl.handle.net/2429/29331.

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The Silent Dragons is an 18-minute work for chamber ensemble and male chorus. The voice part has no literary or linguistic content, but uses phonemes for their sonic and expressive character. Compositional activity is organized into two essential layers; texture and drone. In its many forms, the textural layer persists throughout the entire composition and is perceived as the concurrence of two distinct continuums; the continuum of cumulative rhythmic effect in which the listener registers and interprets change in the total attack rhythm, and the continuum of textural transformation in which one perceives transitions from one overall textural condition to another. Both continuums arise from the consistent change in the structure of successive textural sonorities. Unlike texture, the drone lasts just one half the composition's overall length and is positioned temporally in the textural layer as a central segment. Both texture and drone are structured similarly in ternary form; the ternary form of the drone is contained within the ternary form of the textural layer. In this sense, and in the impression they make, texture and drone, respectively, provide the composition with primary and secondary forms of continuity. Each continuity has a strategic interim destination, an event, that activity 'must' proceed to and recede from; these destinations are, therefore, climatic in nature and are perceived as the two most significant events in the composition. Apart from sonority, texture and drone are distinguished primarily with reference to tonality; the textural layer is essentially non-tonal and is perceived, by and large, in terms of color and rhythm. The drone, however, is designed to induce a sense of tonality by means of heterophonic and linear relationships that conduce to perceptions of pitch emphasis and, ultimately, pitch centricity.
Arts, Faculty of
Music, School of
Graduate

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Casewit, Niccolo Werner. "Related explorations in architectural and musical composition." Thesis, Massachusetts Institute of Technology, 1987. http://hdl.handle.net/1721.1/78965.

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Thesis (M. Arch.)--Massachusetts Institute of Technology, Dept. of Architecture, 1987.
MICROFICHE COPY AVAILABLE IN ARCHIVES AND ROTCH.
Includes bibliographical references (p. 71-76).
Architecture has been described as "frozen music." To be sure, architecture has many physically static features, yet it can best be understood as a process in motion and as motion. Both architecture and music share attributes of qualitative movement. A composition unfolds in phases of tension and repose, extension, and arrival. Explicit patterns of organization are defined by proportions, gradients of texture and intensity, and through the experience of space in time. RELATED EXPLORATIONS ... is an inquiry and a proposed demonstration of a parallel process of composition. A landscape, a sonata, and a building design are "composed" synesthetically with respect to their temporal qualities. An agricultural site in Northern Massachusetts is chosen for a new community of artists. The project accommodates artist housing, studios, workshops, and facilities for performances and exhibitions. Perceptual qualities of the site, programs, and formal strategies are illustrated with diagrams, notations, and original photography. Musical scores and design drawings are presented together to aid direct comparison of the mediums. A cassette recording of the sonata for violin in D-major is included with this submission (30 minutes). The cassette will be shelved with the thesis manuscript in Rotch Library.
by Niccolo Werner Casewit.
M.Arch.

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Perks, Richard. "Combining musical identities through composition and improvisation." Thesis, Brunel University, 2013. http://bura.brunel.ac.uk/handle/2438/7545.

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This research project aims to: - Examine how my musical identity as Music-maker can be fused with those of contributing improvising musicians, throughout the collaborative process. - Form creative methodologies/strategies to sufficiently accommodate the improvisatory approaches of others around my own work. - Develop appropriate communication methods, including original notational systems; and explore ways in which technology can be harnessed, to help fulfil the above objectives. This research intends to explore the extent to which improvisation may be incorporated into compositions, by means of practical experiment and investigation. The written commentary will accompany a portfolio of audio recordings and scores. Key works demonstrating various approaches and techniques employed will be examined in detail. An appendix disc of supplementary audio recordings and videos will also be provided to show piecedevelopment and the evolution of my music-making practice. My point of origin straddles that of a professional guitarist experienced in an array of improvised music(s), including: rock, jazz, fusion and contemporary improvisation, and that of a composer interested in collaborative projects which take advantage of the eclectic experience and skill sets of the musicians taking part.

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Wells, Robert. "Musical composition : creative social and educational practices." Thesis, University of Southampton, 2014. https://eprints.soton.ac.uk/371692/.

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This commentary documents the changes in my compositional practice. It explores the rationale for my move towards collaborative compositional approaches, and the variety of processes that I have used. The work occurs in a range of environments, and involves diverse participants, highlighting the relevance of this work for people of all backgrounds, ages and skill levels. By altering the nature of the composition process and its context new arenas for educational and social practices have emerged. This commentary describes some of the benefits and challenges that arise from working in these new ways.

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McLintock, Brian Thomas. "Musical expression in automated composition of melodies." Thesis, Virginia Tech, 1987. http://hdl.handle.net/10919/45809.

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Music composed by computers has always been lacking in "musical" qualities: mood, emotional expression and a sense of purposefulness or goal. A musical expert system, called EMOTER, is the first attempt to address these important musical aspects. EMOTER receives as input a list of moods (e.g., happy, lively) and generates melodic passages intended to evoke those moods in an organized, coherent fashion. EMOTER composes the basic units of music called phrases.

The program uses the mood-specification from a theory due to Deryck Cooke to derive a few motifs (very primitive melodic material) exemplifying the moods and computes a number of musical attributes to guide its compositional choices. A theory of emotion due to Leonard Meyer further helps plan the phrase. The theory states that an emotional response is stimulated in a listener when expectations about the progression of the music are first established and then inhibited (with the understanding that the expectations will eventually be fulfilled). A melodic passage is composed using the selected motifs, attributes and emotional theory to create a "skeletal" phrase. This is embellished and developed (also using the attributes and theory) to flesh-out the bare melodic material into a passage that embodies the musical characteristics of the mood-specification.

Results with EMOTER are excellent. Many musical phrases comparable to music of normal composers are generated from a single mood-specification. More theory is needed, however, before the full complexities of human-composed music are sufficiently captured in code for EMOTER to pass a Turing test in music composition.

Master of Science

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Continanza, Christopher. "Musical machines driving algorithmic composition with chaotic equations /." Click here for download, 2008. http://proquest.umi.com/pqdweb?did=1568973941&sid=1&Fmt=2&clientId=3260&RQT=309&VName=PQD.

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Silva, Jeferson Colling da. "Septeto para cordas, piano e acordeom : planejamento e processo composicional." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2017. http://hdl.handle.net/10183/169486.

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Este trabalho consiste em dois volumes, sendo o primeiro um memorial de composição e o segundo a partitura e gravação do Septeto - para cordas, piano e acordeom, peça que foi composta no segundo ano do curso de mestrado. O memorial inicia com breve comentário sobre o processo de composição e aspectos técnicos do Quinteto para cordas e piano, composição desenvolvida no curso de mestrado durante o primeiro ano e relevante para a posterior composição do Septeto. Relativo ao Septeto, são abordados o planejamento de sua da forma e conteúdo expressivo, seguido da descrição e comentários a respeito do processo de composição de cada movimento. O memorial passa então a uma seção mais analítica que tem como objetivo demonstrar recursos usados na busca de identidade expressiva de cada movimento e de unidade para o todo. Essa análise trata dos desafios e soluções referentes às conexões dos diversos materiais encontrados na música, dos critérios para a organização das alturas, da orquestração, do uso do ritmo e métrica, bem como das referências musicais que estimularam o processo criativo. Ao final é feita uma avaliação crítica do processo composicional e dos resultados alcançados.
The Septet for strings, piano and accordion was composed during the second year of my master’s course and consists of seven movements, with a total duration time of 53 minutes. The volume I of this paper will present and analyze the composition of the Septet and the volume II present the scoring and record of thenpiece. This paper starts with a brief commentary about the composition process and technical aspects of the Quintet for strings and piano, a piece created during my first year of the master’s course and relevant to the later composition of the Septet. Concerning the Septet, it will be addressed the planning of its form and its expressive content, followed by a description and commentary of each movement’s composition process. After that, this project will analyze the resources used in the pursue of the expressive identity of each movement and the pursue of a sense of unity for the whole piece. The analysis addresses the challenges and solutions found in the process of connecting the diverse nature of the different movements, as well as discuss the criteria used for determining the pitch structure, orchestration, use of rhythm and metrics, and musical references that stimulated the creative process. At the end, a critical evaluation of the compositional process and the achieved results will be made.

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Copini, Guilherme de Cesaro 1985. "Musica espectral = o tempo musical conforme Gerard Grisey." [s.n.], 2010. http://repositorio.unicamp.br/jspui/handle/REPOSIP/283993.

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Orientador: Silvio Ferraz Mello Filho
Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
Made available in DSpace on 2018-08-15T06:08:20Z (GMT). No. of bitstreams: 1 Copini_GuilhermedeCesaro_M.pdf: 72399274 bytes, checksum: b14afa1acbdd94ff753cf3f23123d8d2 (MD5) Previous issue date: 2010
Resumo: A música é uma arte temporal e seu principal material, o som, só pode existir e ser percebido quando a dimensão tempo é considerada. Assim, acredita-se que a discussão acerca da relação som-tempo na música é importante para o compositor contemporâneo. Gérard Grisey, compositor e cofundador de uma das mais importantes escolas de composição da segunda metade do século XX (a Música Espectral), apresenta uma singular visão do fenômeno musical, particularmente diante do seu desenvolvimento no tempo. Seu pensamento é fundamentado principalmente em pesquisas no campo da acústica e psicoacústica, ou seja, na estrutura física do som e na maneira como o som é percebido, respectivamente. O objetivo principal desta pesquisa é expor as reflexões de Grisey em relação ao tempo musical. Outro objetivo é a composição de uma peça original baseada nestas reflexões. Justifica-se tal recorte pela evidente atenção dada ao tema 'tempo em música' por importantes compositores do século XX (como por exemplo, Messiaen, Boulez e Grisey). Tal importância pode ser verificada tanto na obra musical, quanto teórica destes compositores. Inicialmente foi realizado aprofundamento teórico por meio do estudo dos textos produzidos pelos principais representantes e estudiosos da Música Espectral. Em seguida iniciou-se a redação da dissertação, que teve como foco a filosofia composicional de Grisey, e a composição da peça original, baseadas nas características e técnicas identificadas na primeira etapa da pesquisa
Abstract: Music is a temporal art, and its primary object, the sound, can only exist and be noticed when the dimension time is considered. Then, one believes that the discussion about sound-time relation in music is important for the contemporary composer.Gérard Grisey, composer and cofounder of one of the most important schools of composition of the second half of the 20th century (the Spectral Music), shows a singular understanding toward the musical phenomenon, especially about its development over time. His understanding is mainly based in researches in the field of acoustics and psychoacoustics, in other words, in the physical structure of sound and how it is perceived, respectively. The main objective of this research is to expose the thinking about musical time by Grisey. Another objective is to compose an original musical piece based on this thinking. This outline is justified by the evident attention that important composers of the 20th century (as Messiaen, Boulez and Grisey) gave to the subject "time in music". Such importance can be verified either in their musical and theoretical works. Initially, a study of the main bibliography produced by the leading composers and experts in Spectral Music was accomplished. Then the writing process of the thesis began, which was focused on the compositional philosophy of Grisey, and the composition of the original musical piece, based on the characteristics and techniques identified in the first part of this research
Mestrado
Musica
Mestre em Música

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Boagey, Susan Barbara. "Musical composition in primary schools : Learning with learners." Thesis, Open University, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.536079.

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Dixon, M. J. C. "T.W. Adorno's critique of post-war musical composition." Thesis, University of Cambridge, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.598562.

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This dissertation offers an analysis and interpretation of Theodor W. Adorno's critique of post-war musical composition with reference to the essays Das Altern der neuen musik (1956), Musik und Technik (1958), Vers une musique informelle (1962) and the posthumously published Ästhetische Theorie. My interest in these particular writings resides in the fact that from them it is possible to construct a picture of Adorno's understanding of what it is to compose. My principal contention is that this understanding depends on a rigorous application of a subject-object dialectic in the context of compositional practice. This dialectic also underpins Adorno's attitude to political praxis. In the course of this dissertation I argue that Adorno's use of 'critique' must be understood within the Western Marxist tradition. Accordingly, Adorno's critiques of post-war composition are more than sophisticated commentaries on current trends and tendencies within the European musical avant garde, but actually attempt to change the attitudes of composers with regard to their activity and to negate prevailing compositional tendencies and ideologies. They are, therefore, theoretical interventions into compositional practice. I demonstrate in particular how the subject-object dialectic is used by Adorno to redescribe traditional compositional concepts such as technique, métier, convention, and genius in terms of the objective requirements of the work. Two issues which arise as part of Adorno's attack on serialism - the 'new' and the integration of technology into the composition - can also be theorised in terms of a subject-object dialectic. I show that Adorno's understanding of the relation of technology and composition is also indebted to the Marxist distinction between the forces and relations of production. Adorno's reliance on conceptual paradoxes can be seen as obstructing the efficacy of his theory in practical compositional terms. I argue against this view and seek to defend Adorno's Aesthetic Theory and his compositional manifesto Vers une musique informelle against critiques by Albrecht Wellmer and Raymond Guess.

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Belshaw, Simon. "Generative systems and disruptive processes in musical composition." Thesis, University of Hertfordshire, 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.421281.

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Manesh, Daniel (Daniel M. ). "Exquisite Score : a system for collaborative musical composition." Thesis, Massachusetts Institute of Technology, 2016. http://hdl.handle.net/1721.1/105976.

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Thesis: M. Eng., Massachusetts Institute of Technology, Department of Electrical Engineering and Computer Science, 2016.
This electronic version was submitted by the student author. The certified thesis is available in the Institute Archives and Special Collections.
Cataloged from student-submitted PDF version of thesis.
Includes bibliographical references (pages 91-92).
Exquisite Score is a web application which allows users to collaborate on short musical compositions using the paradigm of the parlor game Exquisite Corpse. Through a MIDI-sequencer interface, composers each contribute a section to a piece of music, only seeing a brief fragment immediately preceding their section. Exquisite Score went through many iterations and was tested by several students and musicians. Several short pieces were produced, some of which are included and analyzed here. Exquisite Score succeeds in providing a new way to create collaborative musical compositions that celebrate the novel and creative.
by Daniel Manesh.
M. Eng.

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Palau, Carolina Noguera. "Carnivalesque expressions in musical composition: a Colombian perspective." Thesis, Birmingham City University, 2011. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.573690.

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The aim of my research is to reflect and exploit through a set of compositions certain musical features of Colombian folk music, which although difficult to incorporate in the language of Western Classical Music, can expand it in creative and productive ways. The outcome of this project is a folio with a set of compositions exploring, through different and innovative forms and sounds, the conflictive relationship between Colombian folk music and contemporary musical languages.

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Ashworth, Philip James. "Developing an approach to large-scale musical composition." Thesis, Royal College of Music, 2014. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.633497.

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This accompanying commentary details my development of a large-scale approach to composition. Outlining my need to find a way of dealing more comprehensively with my material, the essay explores the nature of material itself and what it is to be large-scale. The works of other composers and theorists are examined and discussed alongside analyses of my composition portfolio

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Charles, Brigitte. "Gender and musical composition in the primary school." Thesis, University College London (University of London), 2003. http://discovery.ucl.ac.uk/10020420/.

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Riera, Robusté Joan. "Spatial hearing and sound perception in musical composition." Doctoral thesis, Universidade de Aveiro, 2014. http://hdl.handle.net/10773/13269.

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Doutoramento em Música
This thesis explores the possibilities of spatial hearing in relation to sound perception, and presents three acousmatic compositions based on a musical aesthetic that emphasizes this relation in musical discourse. The first important characteristic of these compositions is the exclusive use of sine waves and other time invariant sound signals. Even though these types of sound signals present no variations in time, it is possible to perceive pitch, loudness, and tone color variations as soon as they move in space due to acoustic processes involved in spatial hearing. To emphasize the perception of such variations, this thesis proposes to divide a tone in multiple sound units and spread them in space using several loudspeakers arranged around the listener. In addition to the perception of sound attribute variations, it is also possible to create rhythm and texture variations that depend on how sound units are arranged in space. This strategy permits to overcome the so called "sound surrogacy" implicit in acousmatic music, as it is possible to establish cause-effect relations between sound movement and the perception of sound attribute, rhythm, and texture variations. Another important consequence of using sound fragmentation together with sound spatialization is the possibility to produce diffuse sound fields independently from the levels of reverberation of the room, and to create sound spaces with a certain spatial depth without using any kind of artificial sound delay or reverberation.
Esta tese explora as possibilidades da Audição Espacial em relação à percepção do som e apresenta três composições acusmáticas baseadas numa estética musical que enfatiza esta relação e a incorpora como uma parte do seu discurso musical. A primeira característica importante destas composições é a utilização exclusiva de sinusóides e de outros sinais sonoros invariáveis no tempo. Embora estes tipos de sinais não apresentem variações no tempo, é possível percepcionar variações de altura, intensidade e timbre assim que estes se movem no espaço, devido aos processos acústicos envolvidos na audição espacial. Para enfatizar a percepção destas variações, esta tese propõe dividir um som em múltiplas unidades e espalhá-las no espaço utilizando vários monitores dispostos à volta da plateia. Além da percepção de variações de características do som, também é possível criar variações de ritmo e de textura que dependem de como os sons são dispostos no espaço. Esta estratégia permite superar o problema de “sound surrogacy” implícito na música acusmática, uma vez que é possível estabelecer relações causa-efeito entre o movimento do som e a percepção de variações de características do som, variações do ritmo e textura. Outra consequênça importante da utilização da fragmentação com a espacialização do som é a possibilidade de criar campos sonoros difusos, independentemente dos níveis de reverberação da sala, e de criar espaços sonoros com uma certa profundidade, sem utilizar nenhum tipo de delay ou reverberação artificiais.

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Pendley, James. "Visualizing sound : a musical composition of aural architecture." [Tampa, Fla] : University of South Florida, 2009. http://purl.fcla.edu/usf/dc/et/SFE0003152.

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Owen, Trefan. "Life Cycle: A Musical Composition in Four Movements." OpenSIUC, 2014. https://opensiuc.lib.siu.edu/theses/1510.

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Life Cycle is a modern musical composition written for chamber orchestra. Life Cycle is scored for flute, clarinet, electric guitar, viola, cello, glockenspiel, vibraphone, marimba and drum kit. This composition is composed in four movements, each representing a different phase of the composer's musical life-journey. Life Cycle infuses elements and techniques from the Classical idiom with jazz, pop and rock idioms.

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Roth, Alec R. "New composition for Javanese gamelan." Thesis, Durham University, 1986. http://etheses.dur.ac.uk/917/.

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The Akademi Seni Karawitan (ASKI), in Sukarta, Central Java, one of Indonesia's leading performing arts institutes, has in the last few years (1979-1985) been the centre of a radical experimental movement exploring and extending the resources of traditional gamaeln music (karawitan). The purpose of this thesis is to describe and analyse this development and resulting new works. The term used for the creative process and the resulting compositions themselves "komposisi", leading some observers to conclude that Western influence is a decisive factor. Closer investigation, however, raises important questions, e. g. Is the Western concept of "composition" compatible with traditional karawitan? Why are young Javanese musicians expressing their creativity in this way? The context of the traditional music system and recent cultural change which form the background to the experimental movement are examined in 5 preliminary essays. Chapters 2 and 3 cover physical resources (gamelan) and conceptual resources (karawitan) providing the point of departure for the young composers. The very different creative role of the "composer" in traditional karawitan is then outlined in Chapter 4. Recent changes affecting the traditional arts are examined in Chapter 5; and in Chapter 6, the aesthetic and artistic goals of ASKI's director S.D. Humardani are discussed, together with the initial steps in putting these into effect. In Chapter 7, the new creative process is examined, while in Chapter 8 twenty-one compositions are subjected to systematic analysis, making extensive use of written and recorded musical examples. Questions of form and structure are raised in Chapter 9; and in Chapter 10 six representative works are given in full, recordings being provided on cassette, and translated editions of the composers' original notations in an appendix. The problems of critical evaluation are raised in Chapter 11, which goes on to consider the implications of these new compositions in a wider context.

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Bousted, Donald. "Rhythmic, diatonic and microtonal structures in musical composition : method and notation (compositions 1993-1998)." Thesis, University of Huddersfield, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.247383.

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Hoover, Amy K. "Functional Scaffolding for Musical Composition: A New Approach in Computer-Assisted Music Composition." Doctoral diss., University of Central Florida, 2014. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/6290.

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While it is important for systems intended to enhance musical creativity to define and explore musical ideas conceived by individual users, many limit musical freedom by focusing on maintaining musical structure, thereby impeding the user's freedom to explore his or her individual style. This dissertation presents a comprehensive body of work that introduces a new musical representation that allows users to explore a space of musical rules that are created from their own melodies. This representation, called functional scaffolding for musical composition (FSMC), exploits a simple yet powerful property of multipart compositions: The pattern of notes and rhythms in different instrumental parts of the same song are functionally related. That is, in principle, one part can be expressed as a function of another. Music in FSMC is represented accordingly as a functional relationship between an existing human composition, or scaffold, and an additional generated voice. This relationship is encoded by a type of artificial neural network called a compositional pattern producing network (CPPN). A human user without any musical expertise can then explore how these additional generated voices should relate to the scaffold through an interactive evolutionary process akin to animal breeding. The utility of this insight is validated by two implementations of FSMC called NEAT Drummer and MaestroGenesis, that respectively help users tailor drum patterns and complete multipart arrangements from as little as a single original monophonic track. The five major contributions of this work address the overarching hypothesis in this dissertation that functional relationships alone, rather than specialized music theory, are sufficient for generating plausible additional voices. First, to validate FSMC and determine whether plausible generated voices result from the human-composed scaffold or intrinsic properties of the CPPN, drum patterns are created with NEAT Drummer to accompany several different polyphonic pieces. Extending the FSMC approach to generate pitched voices, the second contribution reinforces the importance of functional transformations through quality assessments that indicate that some partially FSMC-generated pieces are indistinguishable from those that are fully human. While the third contribution focuses on constructing and exploring a space of plausible voices with MaestroGenesis, the fourth presents results from a two-year study where students discuss their creative experience with the program. Finally, the fifth contribution is a plugin for MaestroGenesis called MaestroGenesis Voice (MG-V) that provides users a more natural way to incorporate MaestroGenesis in their creative endeavors by allowing scaffold creation through the human voice. Together, the chapters in this dissertation constitute a comprehensive approach to assisted music generation, enabling creativity without the need for musical expertise.
Ph.D.
Doctorate
Computer Science
Engineering and Computer Science
Computer Science

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Essilfie, George. "LOST & FOUND AN ELECTRO-ACOUSTIC MUSICAL COMPOSITION REFERENCING A DAY IN AN AFRICAN VILLAGE: A COMMENTARY ON A MUSICAL COMPOSITION." UKnowledge, 2019. https://uknowledge.uky.edu/music_etds/153.

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Electro-acoustic music composition makes it possible for composers to manipulate sounds with the computer with either alone or both live and prerecorded sounds. From the end of the 19th century when the first electronic devices for performing music were developed up till today, transformations in music technology keep surfacing and the possibilities with working with sounds have become endless. Electro-acoustic music has the ability to conjure mental images using vast sound manipulation techniques using the DAW(Digital audio workstation) and sound amplification through loudspeakers. Every space in our environment has its unique sound/s. Lost and found through these techniques provides an insight to a space which seems distant by geographical location but closer through sound.

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Enrique, Gras Germán. "O compositor frente à sua peça." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2010. http://hdl.handle.net/10183/31450.

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O presente memorial está dividido em duas partes, a primeira trata da situação do compositor de frente à sua própria peça. Partindo do modelo tripartite da semiologia de Jean Jaques Nattiez, é proposto um deslocamento do observador com o intuito de oferecer uma ferramenta analítica a ser utilizada pelo compositor na análise de seu próprio trabalho. Após a formulação teórica, esta primeira parte é encerrada por uma breve análise de uma das peças do portfólio apresentada como uma primeira aproximação ao funcionamento do modelo analítico e como exemplo das questões que estão se debatendo tais como material, objeto musical entre outros. Esta análise é seguida por uma critica composicional que por sua vez dá lugar a alguns comentários de outra das peças do portfólio. A segunda parte trata do problema composicional especifico que fora trabalhado durante o mestrado; a saber, o relacionamento entre tempo e forma. Num primeiro momento se estabelece um debate teórico para logo dar lugar à análise de outra peça do portfólio que exemplificará o funcionamento de um dispositivo formal proposto como possível solução ao binômio tempo/forma.
This text is divided into two parts, the first dealing with the situation of the composer in front of his own work. Based on the tripartite model of semiology proposed by Jean Jaques Nattiez, a shift of the observer is proposed in order to provide an analytical tool to be used by the composer in the analysis of their own work. After the theoretical formulation, the first part concludes with a brief analysis of a piece of the portfolio presented as a first approach to the operation of the analytical model and an example of the issues with which at deals, such as material and musical objects. This analysis is followed by a compositional critique, which in turn gives rise to some comments on an other piece of the portfolio. The second part deals with the specific compositional problem that has been worked during the Masters investigation: namely, the relationship between time and form. At first a theoretical debate is established that in turn give rise to the analysis of another piece of the portfolio that exemplifies the performance of a device formally proposed as a possible solution to the binomial time/form.

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Smethurst, Reilly. "Persevere: Musical Harmony after Lacan’s Panthéon Period." Thesis, Griffith University, 2017. http://hdl.handle.net/10072/368181.

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Composition, music-mathematical theory and the surnames of major European figures are not often deemed important in the so-called post-historical, post-modern or post-patriarchal era. In spite of this, I persevere with two things: a slow-paced, philological study of the doctrine of Jacques Lacan and the composition of non-octave music. As a young man, Lacan received a Catholic education that was hostile to Enlightenment philosophies. As an elderly man, Lacan declared himself an anti-philosopher and a non-progressive. He never let go of the Trinity or philological notions of the Letter qua mystery material or severe threat to common understanding. Unlike the tragedian Sigmund Freud, Lacan considered his work comic-pathetic, hence the incessant parade of insults and mockery. This is frequently overlooked by Anglophone academics. To correct this, I place an emphasis on the comic-pathetic Father figures that Lacan composed at the Panthéon from 1972 to 1980. Of secondary interest are Lacan’s four discourse-schemas from 1969 and his schema of capitalism from 1972.
Thesis (PhD Doctorate)
Doctor of Philosophy (PhD)
Queensland Conservatorium
Arts, Education and Law
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Gregorio, Joseph. "Concerto for Piano and Orchestra and Sonata Form in Sergey Prokofiev's First Piano Concerto: An Analysis from the Perspective of Hepokoski and Darcy's Sonata Theory." Diss., Temple University Libraries, 2018. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/540539.

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Music Composition;
D.M.A.;
This dissertation comprises two parts: an original composition, Concerto for Piano and Orchestra; and an essay that analyzes the form of Prokofiev’s Piano Concerto No. 1 in D-flat Major, op. 10. Concerto for Piano and Orchestra is cast in three movements and scored in two versions: In “Version A,” members of the orchestra are at times called on to use their voices to sustain the phonemes [m], [ŋ], and [v] on pitch and to create an intense whisper on the vowel [æ]. “Version B” is an alternative realization that uses instruments only. The first movement, unable to produce a recapitulation and continually interrupted at decreasing intervals of time by increasingly intense outbursts from percussion, brass, and wind instruments, is an extreme deformation of a sonata-concerto form. It proceeds attacca to the second movement, which is built in a large ternary form. The third movement is a concerto adaptation of James Hepokoski and Warren Darcy’s “expanded Type 1” sonata form. The concerto’s total duration is approximately 30 minutes. The essay considers the form of Prokofiev’s Piano Concerto No. 1 from the perspective of Hepokoski and Darcy’s Sonata Theory, as laid out in their seminal 2006 treatise. It finds that Prokofiev’s Piano Concerto No. 1 is a highly individualized instance of Hepokoski and Darcy’s “Type 3” sonata form with introduction-coda frame. The essay’s analysis is preceded by a glimpse at Prokofiev’s experiences with sonata form during his youth, as well as brief reviews of the conceptual backdrop of concerto form as Prokofiev would have received it and of the basics of Sonata Theory.

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Brookes, Derek Roy. "The Musical Expression of Joy." Thesis, The University of Sydney, 2018. http://hdl.handle.net/2123/20032.

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Abstract The aim of this practice-based research project is to explore the creative possibilities of composing music that expresses the emotion of joy. This exegesis of my portfolio of compositions will consist of three parts: In Part I, I will give an account of the compositional method I used to create my portfolio. In Part II, I will (a) explain how I applied this method in each composition, and (b) provide reflections on what I learnt from the performances of my work. In Part III, I will attempt to describe the contribution this project has made, in terms of the extent to which it: (a) achieved the goal of expressing joy in musical terms; and (b) helped to develop my own ‘voice’ and capacity as a composer.

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Lima, Flávio Fernandes de. "Desenvolvimento de sistemas composicionais a partir da intertextualidade." Universidade Federal da Paraíba, 2011. http://tede.biblioteca.ufpb.br:8080/handle/tede/6602.

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Made available in DSpace on 2015-05-14T12:52:31Z (GMT). No. of bitstreams: 1 arquivototal.pdf: 9863228 bytes, checksum: 4cdfbd78377e3f6087696a1ffe177bd1 (MD5) Previous issue date: 2011-09-30
Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES
This work deals with the creation of Compositional Systems using the Theory of Intertextuality. It shows the hierarchic possibilities between systems, plannings, and works. Three systems were created, and from them, five plannings directed the creation of musical works of three compositions for diverse instrumental formations. These systems and their respective plannings focus on the manipulation of various intertexts, resulting in many degree of abstraction: from literal quotations of musical lines, up to a total disintegration of these intertexts, with complete abscence of their original characteristics. The procedures of intertextual manipulation were based upon the works of Harold Bloom and Joseph Straus, who defined revisionary ratios, which were interpreted and utilized on this dissertation.
Este trabalho trata da criação de sistemas composicionais, a partir das teorias da Intertextualidade. Foram mostradas as possibilidades hierárquicas entre sistemas, planejamentos e obras. Três sistemas foram definidos, e a partir dos mesmos, cinco planejamentos orientaram a criação de peças musicais para três grupos de formações instrumentais distintas. Esses sistemas e seus respectivos planejamentos focalizaram na manipulação de diversos intertextos, resultando em vários graus de abstração: desde a citação integral de linhas musicais, até a total desintegração dos intertextos, descaracterizando-os por completo. Os procedimentos de manipulação intertextual foram baseados nos trabalhos de Harold Bloom e Joseph Straus, que definiram as proporções revisionárias, as quais foram interpretadas e utilizadas no presente trabalho.

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Lam, Hon-chung. "Original compositions : elements of the musical space /." View the Table of Contents & Abstract, 2006. http://sunzi.lib.hku.hk/hkuto/record/B38293900.

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Thesis (M. Phil.)--University of Hong Kong, 2007.
Contents of accompanying CD-ROM and VCD are the same; contents of accompanying CDs are the same. Copy held in Special Collection lacks accompanying CD-ROM, VCD and CDs. Also available online.

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Davancens, Joseph. "Heave, Sway, Surge." Thesis, University of California, Santa Cruz, 2019. http://pqdtopen.proquest.com/#viewpdf?dispub=13810879.

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Heave, Sway, Surge(2014–19) is a musical composition for nine instruments that attempts to evoke the subjectivity of a body in motion by deploying sound-mass textures that rely on transitional acoustic states. It uses motion and force as its musical material and a system of notation in which acoustic parameters are represented vertically against horizontal time, with line segments plotting their continuous values; and shows discrete positions and configurations as tablature. The production of the score relied on a suite of software tools that formalizes musical materials, compositional processes and score structures in an object-oriented fashion, and typesets a score in PDF format for digital distribution and printing. This essay provides historical context for my aspirations with this work, discusses the modeling of instrumental performance parameters, details he notation system designed for the score, describes the architecture and development process of the software, and illustrates the decisions involved in the composition of the work.

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Ahn, Seungchul. "The Musical Moment: For String Quartet." Cleveland State University / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=csu1289579429.

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Muniagurria, Rodrigo Avellar. "Anamnesis." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2010. http://hdl.handle.net/10183/29234.

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Este memorial consiste na reflexão estética e técnica do processo de composição musical realizado na peça Anamnesis, pertencente à área da Música Eletroacústica Mista, que configurou o trabalho artístico do curso de mestrado. O trabalho escrito está dividido em três partes: a primeira aborda a postura do compositor frente aos sons e a música, suas motivações, expectativas, influências e inspirações estéticas; a segunda compreende reflexões composicionais sobre o processo criativo, a descrição de procedimentos e técnicas adotadas, além do relato de dificuldades encontradas; a terceira apresenta uma reflexão da experiência após a realização da obra em recital e após a escrita das duas primeiras partes deste memorial, com a finalidade de identificar as contribuições para o desenvolvimento do compositor e para o meio musical.
This Masters Dissertation comprises an aesthetical and technical reflection on the compositional process of Anamnesis, a live electroacoustic music composition. It is divided into three sections, of which the first discusses the positioning of the composer in relation to sounds and music, his motivations, influences and aesthetical inspirations. The second part reflects on the creative process and describes its procedures and techniques, as well as the difficulties that arose during the composition. The third and last part presents a post-recital reflection and a reflection on the first two parts of the Dissertation. Its aim is to identify the contributions that this Masters Dissertation might present to its writer as well as to the musical milieu.

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Lam, Hon-chung, and 林瀚聰. "Original compositions: elements of the musical space." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2006. http://hub.hku.hk/bib/B38972293.

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Penido, Gabriel Guimarães. "Memórias e identidade na composição musical : memorial de composição." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2013. http://hdl.handle.net/10183/81607.

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O presente trabalho consiste em uma reflexão sobre os procedimentos criativos de um conjunto de composições, relacionada aos conceitos de memória/memorial e identidade. Identidade que está conectada ao procedimento de criação musical e à busca por um conjunto de signos, atitudes e decisões que possam contribuir, de certa forma, para a constituição de uma identidade sonora. O primeiro capítulo compreende uma revisão sobre os conceitos de memória/memorial e identidade, abordando questões sociais, culturais, artísticas e, principalmente, musicais associadas a esses temas. Os capítulos seguintes investigam as composições individualmente, ressaltando o referencial específico e as considerações estéticas que envolveram o ato composicional. O capítulo conclusivo expõe os elementos, decisões e atitudes composicionais utilizadas e reutilizadas, que circundaram a criação das peças constituintes deste trabalho, com a finalidade de trazer à tona indícios de uma possível identidade entre as composições e, consequentemente, deste compositor.
This paper consists in a reflection on the creative procedures of a set of compositions, related to the concepts of memory/memorial and identity. Identity that is connected to the procedure of musical creation and to the search for a set of signs, attitudes and decisions that can contribute in some way to the constitution of a sonic identity. Entails a review on memory/memorial and identity, addressing social, cultural, artistic and, most importantly, musical issues associated to those themes. Then, it discourses about the compositions individually, relating the specific referential and aesthetic considerations involving the compositional act. The final chapter outlines the compositional elements, decisions and attitudes utilized and reused, which encircled the creation of each one of the works constituents of this paper, in order to expose indications of a possible identity between the compositions and, therefore, of this composer.

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Spearing, Robert. "A portfolio of compositions submitted for the degree of Doctor of Philosophy in Musical Composition." Thesis, University of Birmingham, 2010. http://etheses.bham.ac.uk//id/eprint/865/.

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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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Chapman, Gary. "Computer-based musical composition using a probabilistic algorithmic method." Thesis, University of Southampton, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.341603.

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Dissertations / Theses on the topic 'Musical composition'

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