Dissertations / Theses: 'Musical/non-musical'

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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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Sebring, Ellen Irene. "Musical form in non-narrative video." Thesis, Massachusetts Institute of Technology, 1986. http://hdl.handle.net/1721.1/77318.

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Thesis (M.S.V.S.)--Massachusetts Institute of Technology, Dept. of Architecture, 1986.
MICROFICHE COPY AVAILABLE IN ARCHIVES AND ROTCH.
Includes bibliographical references (leaves 75-76).
"Musical Form in Non- Narrative Video" explores musical structure as a model for visual form over time, specifically in the creation of artistic video. Video is a medium in which sound and image coexist at the source as electronic signals, offering new possibilities of abstract synesthesia. Forms in which neither sight nor sound dominants facilitate a sensory experience of the content. A musical model for abstract form supports an effort to free video from the forward-impelled, linear narrative; to create a form which can be experienced many times on multiple levels. Musical parameters such as meter, dynamics and motivic development are correlated to visual parameters. Their application in my own videotapes is analyzed. Experimental form-generated pieces are outlined. "Aviary" and "Counterpoint" are video scores which present two different approaches to music image composition. A score system in which video and audio can be synchronized via SMPTE Time Code and MIDI Digital Audio Code is examined. Increasing videodisc distribution opens an avenue for serious artistic applications of music- image composition for a home, concert and exhibition medium. The videodisc medium also breaks down the linear impulse in favor of viewer choice with accompanying demands for formal growth.
by Ellen Irene Sebring.
M.S.V.S.

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Johnson, Brandon Paige. "Elements of excellence: A study of musical and non-musical factors common within non-conservatory college and university choral programs recognized for excellence." Diss., The University of Arizona, 2003. http://hdl.handle.net/10150/280289.

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This study explores commonalities found within six non-conservatory college/university choral programs recognized for excellence within art of choral performance. The study provides areas of reform for other choral directors in an effort to further develop choral singing in post secondary institutions of the United States. The participating institutions were selected by a survey of their peers and were limited, by category, as delineated by the Carnegie Foundation. The institutions chosen for participation include: Concordia College, St. Olaf College, Northern Arizona University, San Jose State University, Florida State University and The University of Illinois Champaign-Urbana. Interviews with the Directors of Choral Activities and of the Directors of the Schools of Music are used to collect musical and non-musical information. The author has provided a discussion of commonalities, recommendations for reform, and a literature compilation of the selected institutions choral performances, as a reference guide for current choral conductors. Areas of discussion include: rehearsal technique, literature, collaboration, funding considerations, and administrative concerns.

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Payne, Nicole, and Saravanan Elangovan. "Musical Training Influences Temporal Processing of Speech and Non-Speech Contrasts." Digital Commons @ East Tennessee State University, 2012. https://dc.etsu.edu/etsu-works/1565.

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Siddell-Strebel, Jeanne. "The effects of non-musical components on the ratings of performance quality /." Thesis, McGill University, 2007. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=102844.

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The purpose of this study was to determine whether certain non-musical components of a performance affect evaluator's performance quality ratings. Specifically, if there is an age at which point the presence of a music stand (i.e. an implied use of the score), the performers attractiveness, attire, stage behaviour and perceived level of accomplishment impacts performance ratings. Fourteen cellists were videotaped performing by memory, and then a second time with their music on a music stand, synchronizing their motions with the audio feedback from their first performance. The cellists and their performances were evaluated by 1024 individuals with no formal training in music ranging in age from six to fifty-five years old. Each evaluator was assigned to one of six groups: Visual only, Audio only, Memorized, Dubbed, Random 1, or Random 2. Results revealed that the presence or absence of a music stand had no impact on performance ratings. Performer attractiveness affected performance ratings for both sexes, although contrary to previous findings, being attractive was not advantageous. Dress had an inverse effect on ratings of female performers and poor stage behaviour affected ratings of both sexes. Although evaluators were unable to predict a performer's proficiency based solely on gesture, proficiency gestures made by musicians during performances affected ratings. Evaluators in the audiovisual conditions gave performers who appeared less accomplished significantly lower ratings than those in the audio only condition. Evaluators aged 13 were more critical than younger evaluators with their musical ratings and their ratings were also affected by the visual aspects of a performance. These results suggest that older non-musician evaluators use visual aspects to help their evaluations of subjective musical elements because they have a hard time hearing differences.

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Genuys, Grégoire. "Non-commutative homometric musical structures and chord distances in geometric pitch spaces." Thesis, Paris 6, 2017. http://www.theses.fr/2017PA066576/document.

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Nous étudions deux thématiques principales : l'homométrie non-commutative dans des produits semi-directs, et une notion de distance entre accords musicaux. deux melodies sont dites homométriques si elles possèdent le même ensemble d'intervalles : nous transposons cette notion a un enchainement d'accords et plus généralement a des produits semi-directs, ce qui permet d'élaborer un cadre pour l'étude de l'homométrie dans des groupes non-commutatifs, tels que le groupe diédral. nous définissons dans une deuxième partie une mesure de distances entre des accord musicaux n'ayant pas le même nombre de notes, a partir d'une distance basée sur le concept de voice-leading
We study two main topics: non-commutative homometry and the notion of distance between musical chords. Two melodies are homometric if they share the same set of intervals. We transpose this notion to a chord sequence and more generally to semi-direct products, which allows to build a framework for the general study of homometry in non-commutative groups, such as the dihedral group. In the second part we define a mesure of distance between musical chords of different cardinalities, from a distance based on the notion of voice-leading

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Ciciliani-Stiglmayer, Marko. "Dirty light : the application of musical principles to the organisation of light as an extension of musical expression into the non-figurative visual realm." Thesis, Brunel University, 2010. http://bura.brunel.ac.uk/handle/2438/5075.

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This thesis describes a number of compositions in which the objective was to investigate whether, and how far, the organisation of light can function as an extension of musical expression in the non-figurative visual realm. I explore the extent to which sound and light are compatible as media, in the sense of both being able to communicate a common set of ideas. The thesis begins by placing the discussion in a historical context, with an overview of the history of analogies between sound and light from Antiquity to the 19th century, as well as the history of Light Art. The second part of the thesis describes synaesthesia as a historically developed aesthetic concept and as a field of research that reveals interesting facts about the neuronal processing of stimulations from the senses. The third part forms the core of the research. It leads from a general historic discussion to more specific problems that emerged in my own work with sound and light. Light is a medium strongly characterised by purity; at first, light therefore seemed an inappropriate medium in which to offer plausible translations of different degrees of sonic noise. However, because of the importance that the inclusion of noise has taken in music since the 20th century, this would have meant a severe handicap in looking for a homological relationship between sound and light in artistic contexts. From a discussion of the broad implications the idea of dirt has in social and cultural contexts, the focus is eventually reduced to the aesthetic problem at hand. By means of a classification of three different sorts of noise, a more differentiated understanding becomes possible of the various functions that noise can have. Corresponding forms of ‘dirty light’ eventually become conceivable and artistically applicable. In the fourth part, six compositions and one audiovisual installation are discussed. Each of these works explores different relationships between the visual and sonic component. When appropriate, the various concepts of ‘dirty light’ that have been derived in the third part are reflected in the form of concrete examples. After discussing each work individually, certain practical problems are addressed that surfaced repeatedly under different performance circumstances. In the fifth part I pose the question of how far events that are conceived to be musical have to be based on sonic events. Common definitions of music that describe sonic events as its exclusive concern are questioned and a number of examples of music are discussed where the sonic outcome is hardly audible or even completely silent. I propose a notion that conceives music as a larger field of activity in which visual manifestations form an integral part. The seven audiovisual works form the practical component of this dissertation. As a result of this research a more differentiated understanding of the nature of the coupling of sound and light has emerged, alongside a comprehension of the at times strongly differing views on the general nature of cross-disciplinary works.

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Wright, Gary Kenneth. "A case study of an exemplary choral program: Non-musical issues of excellence." Scholarly Commons, 1996. https://scholarlycommons.pacific.edu/uop_etds/2692.

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The purpose of this study was to examine an exemplary choral program in detail, focusing on the non-musical aspects of the program. The study examined the school, the administration, the students, parents and community, director and accompanist. The study was undertaken in a school in western United States that recently appeared at the American Choral Directors Association national convention. Data were gathered by onsite visits, surveys, and interviews. These interviews were either video or audio taped and transcribed. The data were gathered and analyzed using grounded and emergent theory techniques. After data were coded, seven categories emerged: three categories of data generated by (and largely under the control of) the director, and four categories of data that were community driven. The director generated categories were: a charismatic choral director, clear goals, and recruiting procedures. The community controlled categories were: community expectations and awareness, the choir's privileged role in the community, administrative support, and money raising. This study found six non-musical factors present in this program that appear to explain its success: (1) A high level of community awareness and support. (2) A charismatic choral director who had both the ability and permission to raise large sums of money. (3) An adequate level of administrative support. (4) A support network that diffused some of the extraordinary pressures of running an exemplary choral program. (5) A unique way of providing the critical extra training that such a successful program needs. (6) A history of a strong feeder program that allowed the program to develop "critical mass" and become the class of choice for many of the student body. While this study focused on a single site, most of these six factors appear to be considerations leading to the success of any choral program. It is hoped that further research will lend support to the hypothesis that successful programs will exhibit the above six conditions.

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Ruddock, Eve. "Ballad of the never picked : a qualitative study of self-perceived non-musicians' perceptions of their musicality." University of Western Australia. School of Music, 2008. http://theses.library.uwa.edu.au/adt-WU2008.0103.

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Humans are a musical species and every culture has its music. However, twenty individuals out of a cohort of twenty-nine participants in this study judged themselves to be 'not musical'. Through their words, silences and responses, the story of music in the lives of these self-perceived non-musicians uncovered a musical world where concepts of performance, judgment and talent dominate. My investigation into individuals' perceptions of their musicality revealed a pervasive societal belief that individuals were either born 'musical' or they were not; their everyday reality was one where music was perceived as a performance, an object, something that only talented people can 'do'. I planned conversations with participants that aimed to reveal clues that could help to unravel a paradox that lies within music in our Western culture: every young human is intrinsically musical but only some are born with a gift to be musical. Participant convictions that they were not musical deterred some individuals from active engagement in music making. They felt as if they had been left out of the 'musical ballpark'. Details from conversations illustrated a constricting cultural imposition on individuals; this was perpetuated in many schools and also in private music teaching. Data revealed that current educational practice contributed to a denial of a natural birthright and alienated some individuals from being part of a musical community. As their stories revealed failed attempts to engage in music making, iterative contacts created a daunting quantity of data. But there was poetry in participant data. These self-perceived non-musicians simultaneously demonstrated their musicality in the rhythms of their narrative as they denied that they were musical; this emerged as a means to report the research whereby participants' words combined to tell a non-musician's tale. Compelling narrative revealed a society where educational practice does little to address individual musical development. While each story alone was specific and complex, once the stories became woven together as a complex and contradictory whole, the ballad of the never picked captured the essence of a distanced musicality in our Western society. Narrative drove towards meaning. Through interpretation and detailed qualitative analysis, understandings began to emerge from depths of experience and from friction existing within contradictions. Deep within narrative which evolved over a period of five years were perceptions that led to understandings of our cultural reality. Active involvement in this research became part of an emancipatory process for several participants where mutually reflective acts exposed unnecessary impositions from societal expectations. Participant voices uncover a bifurcated reality wherein the musical development of many individuals is undermined through an ignorance of holistic human potential; this musical-unmusical divide is perpetuated in educational practice.

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Lux, Violeta Alejandra Mayer. "Musical practices and non-democratic political systems : Popular music in authoritarian Chile 1973-1990." Thesis, University of Liverpool, 2009. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.533976.

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Roca, Roxanne Elizabeth. "Depictions of non-Western musical cultures in Disney's film music of the 1990's." Thesis, Boston University, 2012. https://hdl.handle.net/2144/12603.

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Thesis (M.M.)--Boston University
This thesis examines the depictions of non-Western musical cultures in the following Disney films: Aladdin (1992), The Lion King (1994), and Mulan (1998). Since these films are targeted at children, they need to be investigated in terms of what messages they communicate and how these messages are perceived by young audiences. This research includes close examination of the films in question, as well as literature on Orientalism, Exoticism, Disney history, and child aesthetics and cognition. Additionally, interviews were conducted with children aged four through eleven. This research highlights the importance of cross-cultural collaborations and further investigation into children's music.

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Nuti, Gianni. "Le corps qui pense : étude sur les tensions musculaires non fonctionnelles chez l'interprète musical." Paris 10, 2004. http://www.theses.fr/2004PA100036.

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Le but de cette recherche consiste à identifier et à qualifier le plus grand nombre de TMNF tensions musculaires non fonctionnelles qui souvent constituent, chez le musicien, le gap entre la pensée et l'action exacte. La naissance de TMNF peut se présenter comme le miroir d'une inadéquation à la tâche psychomotrice, d'un rapport déficitaire avec son propre corps, d'un malaise psychologique et psycho-social au lieu d'être la simple conséquence de problèmes musicaux ou technico instrumentaux contingents. A ce sujet on a employé une méthodologie mixte qualitative-quantitative : la passation d'un questionnaire de relèvement, le choix de trois guitaristes et de trois violonistes engagés à éxécuter des morceaux dénoncés comme cause de TMNF. On a réalisé d'enregistrements audio-visuels et relevés électromyographiques multiples, sur plusieurs faisceaux musculaires et rédigé des protocoles d'auto-analyse, d'observation et d'analyse. On a défini et administré un entretien de recherche pour tracer un tableau de l'histoire socio-familiale et du contexte actuel de la vie de chaque musicien ; un protocole d'observation spécialement conçu pour un musicien professionnel, un psychologue, un passioné de musique a accompli la recherche
The aim of thsi research consists in identifying and qualifying the greatest number of TMNF non-functional muscular tensions who often constitute, in the musician, a gap between the thought and the exact action. The birth of TMNF can be presented in the form of a mirror of one inadequacy at the psychomotor task, of an overdrawn relationship with its own body, of a psychological and psychosocial faintness instead of being the simple consequence of musical problems or technical-instrumental quotas. On this subject a qualitative-quantitative mixed methodology was employed : the making of a questionnaire of rising, the choice of three guitarists and three violonists engaged to carry out denounced pieces as causes TMNF. We have written some protocols of self-analysis, observation and analysis, we carried out recordings audio-visuals digitals and raised electromyographic multiples, on several bundles of muscle. We traced a table of the socio-family history and current context of life of each musician; a protocol of observation especially conceived for a profesional musician, a psychologist and a passionate man of music achieved the research

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Caldwell, George Neville. "Exploring the musical identities of adult self-defined 'non-musicians' : an interpretative phenomenological analysis." Thesis, Glasgow Caledonian University, 2014. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.658605.

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Much previous music psychology research has centred on quantitative findings related to musicianship, formal music education and instrument-learning across childhood, adolescence and adulthood. Also, a significant increase in the amount of psychology research into a specific sub-set of identity, namely musical identities, has recently evolved. The aim of the current thesis is to build upon and add to current data sets, through a qualitative exploration of musical identities centred on a currently un-researched group of participants, namely, adult self-defined 'non-musicians'. The present thesis documents an Interpretative Phenomenological Analysis (IPA) centred upon data collated through a single open question; semi-structured interviews; adult self labelled non-musician participants (n = 10), 7 of whom were male and three female. Ages ranged from 37 to 47 years of age. The subject matter, theory and methodological approach adopt an idiographic interpretative analytical stance, which seeks to broaden not only the participant base but also the methodological approach into research centred on adult 'non-musicians' within music psychology. Results reveal emergent, recurrent and overarching themes in direct relation to three central factors within their 'nonmusician' status. The first of which centres on: the impact of family influences on past and current musical identities, whereby an initial baseline of musical identity formation evolves; the second on the importance of relational and social communications in musical identities, which mediates the negotiation and maintenance of musical identities across time; and, the third on the importance of the centrality of music in everyday life, which relates to musicality more than musicianship and is seen as an essential element of being. Future research possibilities are also presented.

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Lewis, Andrew. "The Last 2500 Years: Defining, Dissecting and Directing the Less Linear Musical." Master's thesis, University of Central Florida, 2010. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/3797.

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Since the first recorded theatrical events, theatre has been presented in a linear fashion. It is no surprise that the majority of American Musical Theatre also follows a linear plot conception. Musicals that blatantly defy linearity are often called "concept" musicals. However, there is a small portion of concept musicals that do not abandon their linear plot altogether, but instead choose to skew the line in order to give the audience a unique perspective of the story being told. This mass categorization does not accurately take into account the extreme difference in structure of the two types of concept musicals. For this purpose, I explored the notion of a new structural category, the Less Linear Concept Musical, in hopes of identifying the unique characteristics and challenges associated with this type of musical. Beginning with Aristotle's "The Poetics" and ending in modern day Musical Theatre, I examine key events in the shaping of this musical theatre form, as well as define the form itself. The application of this research culminated in a classroom presentation of Jason Robert Brown's The Last Five Years, which I directed. I pose the question, "Can sound direction conquer the pitfalls found within the Less Linear Concept Musical?"
M.F.A.
Department of Theatre
Arts and Humanities
Theatre MFA

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Bretherton, Beatrice Emily. "The effects of musical tempo and non-invasive neuromodulation on autonomic control of the heart." Thesis, University of Leeds, 2017. http://etheses.whiterose.ac.uk/20495/.

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Music is viewed as conferring health benefits, with tempo being the most influential parameter for altering human physiology and psychology. However, this work has used stimuli that manipulate multiple musical parameters at a time. Therefore, this thesis investigated the effects of musical tempo manipulations on cardiovascular autonomic function and subjective responses. Tempo manipulations comprised of stepped (sudden) increases and decreases in the speed of a simple beat pattern and heart rate variability estimated autonomic balance. Shifts towards parasympathetic predominance occurred for the stepped decrease in tempo stimulus but not for the stepped increase in tempo. When using more musically sophisticated stimuli, greatest vagal tone occurred for the slowest tempo (60bpm) of the stepped decrease in tempo stimulus. Autonomic function did not differ between an experimental (melody and rhythm) and control group (rhythm only). However, the latter experienced greater subjective arousal than the former. Growing interest in wearable technologies led to the testing of a wearable device that combined relaxation music with transcutaneous vagal nerve stimulation (tVNS). tVNS is a non-invasive neuromodulatory technique that administers small electrical impulses to the outer ear to stimulate the auricular vagus nerve. Both stimuli individually promote shifts towards parasympathetic predominance. It was anticipated that music combined with tVNS would elicit the greatest shifts towards parasympathetic predominance. However, the sham was equally as effective as music only, tVNS only, and their combination at altering autonomic activity. Autonomic responses to all stimuli employed in the thesis were predicted by baseline LF%. These findings suggest that music and wearables may be susceptible to placebo effects.

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Leite, Matheus de Carvalho. "Música, comunidade e escola : relações vividas por professores não-especialistas em música." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2013. http://hdl.handle.net/10183/97690.

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O objetivo da pesquisa foi desvelar práticas musicais dos professores na comunidade e na escola, focando as relações entre a música, a escola e a comunidade. A metodologia adotada foi o estudo de caso, tomando como aportes teóricos reflexões de Setton (2010), Forquin (1993), Bozon (2000) e Souza (2012). As práticas musicais dos professores incluem o ato da escuta musical, as preferências musicais, a prática do canto, as experiências com aulas de Música, a prática de tocar ou não um instrumento musical, a participação em atividades musicais, interações com as bandas e conjuntos em atividade na comunidade, a percepção e a inserção em relação aos diferentes espaços onde a música está presente nas comunidades, os profissionais que trabalham com música em sala de aula, o quanto são contextualizadas em sua prática docente em sala de aula as experiências musicais dos alunos e dos professores. Os resultados contribuem para as atuais discussões no Brasil relativas ao contexto da Lei Federal no 11.769, de 2008, a respeito de práticas musicais e pedagógicas de professores nãoespecialistas em Música.
The objective of this research was to unveil the musical practices of teachers in the community and at school discussing the relationship between music, school and community. The methodology adopted was the case study, taking as theoretical support reflections upon Setton (2010), Forquin (1994), Bozon (2000) and Souza (2012). The musical practices of teachers include the act of music listening, musical preferences, the practice of singing, experiments with music lessons, practice playing a musical instrument or not, participation in musical activities, interactions with bands and ensembles active in community, awareness and inclusion in relation to the different spaces where music is present in communities, professionals who work with music in the classroom, how that in their teaching practice in the classroom musical experiences of students and teachers are contextualized. The results contributes to current discussions in Brazil relating to the context of Federal Law. º to 11.769/08 regarding the musical and pedagogical practices of teachers non-specialist in music.

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Morford, James B. "A study of the pedagogy of selected non-Western musical traditions in collegiate world music ensembles." Morgantown, W. Va. : [West Virginia University Libraries], 2007. https://eidr.wvu.edu/etd/documentdata.eTD?documentid=5099.

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Butler, Milton Louis 1947. "The effects of composer's ethnic identity on the stated musical preferences of university non-music majors." Diss., The University of Arizona, 1996. http://hdl.handle.net/10150/288700.

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Formal study of music in the United States is based on the Western art music tradition. Nevertheless, there is a philosophy rapidly spreading throughout the United States which holds that musics of many cultures must be taught in the schools. The underlying belief in multicultural music education is that the study of various cultures and their musics will affect our expectations, and consequently broaden our musical preferences. This study investigated the effects of ethnicity on the stated musical preferences of university non-music majors. It was conducted on two university campuses that are in the same area. One campus has a population that is predominantly white American and the other predominantly African American. The subjects were students enrolled in music appreciation classes on both sites. The subjects listened to musical examples from each of the Western art music style periods. They then completed a questionnaire which contained an ethnic attitudes dimension. A week later, they were asked to listen and respond to four musical examples. The playing of this series of musical examples was preceded by biographical information on fictitious composers. The data supported the alternative hypothesis which stated that ratings assigned to music of African American composers and white American composers by all listeners, without regard to ethnicity, would be significantly different. The value of Omnibus p was.002 and is significantly less than the stated alpha level of significance at.05. The data between ethnic groups supports the alternative hypothesis that ratings assigned by white Americans and African Americans would be significantly different. The Omnibus p here is equal to.02. There was no relationship found between the ethnic attitudes and musical preferences of white Americans and African Americans as stated in the null hypothesis. Non-hypothesized questions investigated the effects of the subjects' rank in school, gender, age, grade point average, and university attended. The data supports the conclusion that rank, age, and grade point average, for this investigation, were not significant. Conversely, the data does reveal that gender and universities were found to have a relationship to the ethnic attitudes and musical preferences of the subjects.

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VERGEZ, CHRISTOPHE. "Trompette et trompettiste : un systeme dynamique non lineaire a analyser, modeliser et simuler dans un contexte musical." Paris 6, 2000. http://www.theses.fr/2000PA066471.

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Le but de ce travail est de proposer un modele physique de la production du son pour les instruments de musique de type trompette. L'enjeu est, a terme, de livrer au musicien un veritable instrument de musique reproduisant le comportement d'un cuivre, tout en offrant des libertes et des possibilites d'expression nouvelles. La realisation de cet objectif necessite une approche pluridisciplinaire articulee autour de mesures, de modelisation et de simulations numeriques. Nous montrons comment un modele simple, complete par des relations semi-empiriques, reproduit une grande partie des comportements de la trompette. Nous montrons aussi que certaines relations empiriques peuvent etre justifiees par la prise en compte d'hypotheses plus complexes. Une interface de controle, permettant l'interaction en temps reel avec le modele, met en evidence sa richesse de comportements et rend possible son utilisation dans un cadre musical. Un etude theorique du modele selon le formalisme des systemes dynamiques est egalement menee. Elle permet d'expliquer, d'identifier ou meme de prevoir certains comportements du modele, ce qui est necessaire pour une utilisation musicale.

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Justino, Jussara Aparecida de Paula. "Educação musical humanizadora : uma experiência com crianças no campo da educação não formal." Universidade Federal de São Carlos, 2017. https://repositorio.ufscar.br/handle/ufscar/9309.

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This research took place in the Curumim Program at the SESC unit in the city of Araraquara / SP, with children from 7 to 12 years of age, Children whose parents work in the commercial area and in tourism. The program aims at the integral development of the child through cultural, artistic and sports activities that prioritize the playfulness and quality of life. The general objective of the research was to identify possibilities in the development of educational and musical processes with children from the perspective of non - formal education, valuing a dialogical praxis between children and researcher. The research was based on authors of music education, such as Brito (2001, 2003, 2007), Koellreutter (1997), Joly and Severino (2016), who supported the concepts of music education, articulated with other area theorists. . In order to understand and contextualize non-formal education, the contributions came from research on texts by Gohn (2007, 2008), Garcia (2015), Park and Fernandes (2005, 2015), authors who have been studying the systematization of this area of study in Brazil. The research still relied mainly on the thinking of Freire (2014) to understand the exchange between knowledge and dialogical praxis. The methodology had a qualitative approach, with reflections based on some of the concepts of the Phenomenology, based on authors such as Merleau-Ponty (2011, 2013, 2014), Bicudo (2011), Martins e Bicudo ) And Rezende (1990). Data collection was based on Bogdan and Biklen (1994), children's drawings and writings, and photos of some of the musical moments. The research brings contributions to the production of knowledge about the music in education with children. Showing the importance of dialogue as a way to construct an autonomous world, and as a motivating element for the construction of joint propositions between children and educators.
Esta pesquisa foi desenvolvida no Programa Curumim na unidade do SESC na cidade de Araraquara/SP, que atende crianças de 7 a 12 anos de idade, filhos de servidores do comércio de bens, serviços e turismo, público prioritário do SESC. O programa visa o desenvolvimento integral da criança por meio de atividades culturais, artísticas e esportivas que priorizem o lúdico e a qualidade de vida. O objetivo geral da pesquisa foi identificar possibilidades no desenvolvimento de processos educativos e musicais com crianças em uma perspectiva da educação não formal, valorizando uma práxis dialógica entre crianças e pesquisadora. A pesquisa teve por base autores da área de educação musical, tais como Brito (2001, 2003, 2007), Koellreutter (1997), Joly e Severino (2016), que sustentaram os conceitos da educação musical, articulados com outros teóricos da área. Para compreensão e contextualização da educação não formal os aportes vieram da pesquisa e reflexão sobre textos de Gohn (2007, 2008), Garcia (2015), Park e Fernandes (2005, 2015), autoras que vêm se debruçando na sistematização dessa área de estudo ainda em construção no Brasil. A pesquisa ainda contou principalmente com o pensamento de Freire (2014) para entender a troca entre saberes e a práxis dialógica. A metodologia teve uma abordagem qualitativa, com reflexões baseadas em alguns dos conceitos da Fenomenologia, de onde trouxe autores como Merleau-Ponty (2011, 2013, 2014), Bicudo (2011), Martins e Bicudo (2006) Machado (2010) e Rezende (1990). A coleta de dados teve como ferramenta de registro, os diários de campo baseados em Bogdan e Biklen (1994), desenhos e escritos das crianças, e fotos de alguns dos momentos dos encontros musicais. A pesquisa traz contribuições para a produção do conhecimento sobre música na educação com crianças. Mostrando a importância do diálogo como meio para construção de uma leitura de mundo autônoma, e como elemento motivador para a construção de proposições conjuntas entre crianças e educadores.

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Podestá, Nathan Tejada de 1984. "O autodidatismo na formação musical : revisão de conceitos e investigação de processos não-escolares de aprendizagem e desenvolvimento musical." [s.n.], 2013. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284627.

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Orientador: Jorge Luís Schroeder
Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
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Resumo: Neste trabalho pretendemos debater a noção de autodidatismo na formação musical. Adotamos uma perspectiva histórico-cultural do desenvolvimento musical referenciada em Vigotski (2007); Bakhtin (2003); Schoreder (2005); Gohn (2009); Vincent Lahire e Thin (2001); e Bourdieu (2011). Partindo de uma pesquisa realizada com três professores de música e setenta estudantes de violão, que iniciavam as atividades musicais oferecidas através de um curso livre de música na cidade de Paulínia-SP, levantamos dados que nos permitiram representar o que seria o "senso comum" da área sobre o assunto investigado. Estes dados evidenciaram quatro sentidos gerais associados à noção de autodidatismo na formação musical que debatemos, cruzando informações sobre a formação cultural dos entrevistados com as respostas oferecidas por eles. Observamos a existência de diferentes tipos de processos educativos não-formais e informais de música que tendo sido realizados consciente ou inconscientemente por eles tinham contribuído para os seus desenvolvimentos musicais. Neste processo compreendemos que parte das atividades que leva ao desenvolvimento pode ser conduzida pelo próprio estudante, e ao mesmo tempo, que a noção de autodidatismo evoca critérios eminentemente escolares para afirmar a existência de um processo não-escolar de aprendizagem e desenvolvimento musical que ela não dá conta de explicar por si só, exigindo considerarmos que os diferentes tipos de processos educativos consolidam outras formas de conhecimentos musicais (além dos formalizados, sistematizados) que constituem a musicalidade dos indivíduos. Passamos então à observação da estrutura organizacional da educação musical formal no Brasil (educação básica, ensino de nível técnico e superior) verificando em que medida esta educação musical formal se realiza e situando os outros processos educativos em relação a ela. Observamos as possibilidades de acesso aos cursos superiores de música nos diferentes estados da federação e pudemos notar que apenas recentemente a música popular começou a participar de um modo ainda restrito deste universo formal, predominantemente erudito. Por fim, observamos o processo de formação musical do violonista, guitarrista e compositor Hélio Delmiro que alcançou alto nível de desenvolvimento musical através de uma profunda vivência musical aliada a realização estudos musicais organizados. O fato do músico não se reconhecer como "autodidata" viabiliza uma série de reflexões sobre o assunto. Contribui ainda para destacarmos a impossibilidade de considerarmos apenas um único canal de desenvolvimento musical como possível e de desconsiderarmos outros canais (que não estão diretamente associados à educação formal, escolar, mas que ainda assim podem guardar com ela uma relação), na constituição da musicalidade individual.
Abstract: In this paper, we intend to discuss the concept of auto didacticism in musical education. We adopted a perspective referenced in Vigotski (2007); Bakhtin (2003); Hall (1997)Schoreder (2005); Gohn (2009); Afonso (2001) Vincent Lahire and Thin (2001); and Bourdieu (2011). From a survey performed with three music teachers and seventy guitar students, who were initiating the musical activities provided by a free musical course in the city of Paulínia-SP, we obtained data that allowed us to represent what would be the "common sense" in the area on the investigated subject. These data evidenced four general concepts associated to the notion of auto didacticism which we discuss, crossing information on the cultural formation of the interviewed individuals and the answers provided by them. We observed the existence of different non-formal and informal musical educational processes, which, having been consciously or unconsciously performed, had contributed with their musical development. In this process, we understood that part of the activities that lead to the development may be conducted by the student himself/herself. At the same time, the notion of auto didacticism evokes criteria that eminently school related to affirm the existence of a non-school related learning and musical development process which it cannot explain on its own, and requires us to consider the fact that the diferente types of educational processes consolidate other forms of musical knowledge (other than those formalized, systematized) that constitute the individuals¿ musicality. We then proceeded to the observation of the organization structure of the formal musical education in Brazil (basic education, secondary technical education and higher education) and verified to what extent formal musical education is performed and situate the other educational processes in comparison with it. Finally, we described the musical education process of the acoustic and electric guitarist and composer Hélio Delmiro, who reached a high musical development level through a deep musical experience, associated to the performance of organized musical studies. The examples related renders feasible a series of consideration on the subject. They contributes with the emphasis on the impossibility of considering only one channel for musical development as possible as disregarding others which are not directly associated to formal education, but still may be somehow related to it.
Mestrado
Fundamentos Teoricos
Mestre em Música

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Butler, Thomas. "Composition as the creation of a performance, music as a vehicle for non-musical thought : six new works." Thesis, University of St Andrews, 2016. http://hdl.handle.net/10023/9896.

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This thesis comprises six new musical works composed between 2008 and 2015: ‘Struction (how I attempted to get the thoughts in my head into your head using only five instruments, five instrumentalists, metronome sound and MIDI') for amplified ensemble and pre-recorded soundtrack (2011); ‘My Life in Ventriloquism' for solo clarinet and pre-recorded soundtrack (2012); ‘Nightmusic' for solo violin (2012); ‘Replaceable Parts for the Irreplaceable You' for ensemble, pre-recorded soundtrack and video (2013); ‘Espial', a video work featuring string quartet (2014); and ‘Elbow Room' for amplified ensemble, pre-recorded soundtrack and video (2014). The works are presented in this thesis as musical scores (and other performance materials), accompanied by audio-visual documentation of performances. As a whole, these compositions reflect a period of practice-as-research into the role of metapraxis in musical performance and how it can be used to help convey non-musical thought through instrumental music. A commentary on this portfolio of new compositions begins by discussing two influential works — Mauricio Kagel's ‘Match' (1964) and ‘Failing: A Difficult Piece for Solo String Bass' (1975) by Tom Johnson — before examining each new work in detail in order to explicate the research and creative processes that led to their composition, to exteriorize a personal working practice and to document the reflection-on-practice which has furthered this research. The commentary details how I was able to write music on a variety of topics, including authority, technology and place, and concludes with some ideas for further research.

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Jordan, Catherine. "Exploring a possible tonal loop in musicians and non-musicians and the relationship between musical expertise and cognitive ageing." Thesis, University of Edinburgh, 2018. http://hdl.handle.net/1842/31077.

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This thesis explored two main research questions, firstly investigating whether musical expertise offers a performance advantage in working memory for sequences of tones that vary in pitch, and secondly whether any advantage of musical expertise may be present in older as well as younger individuals. Previous research on working memory for tone sequences has reported that articulatory suppression interferes with temporary storage of verbal but not with tone sequences (Koelsch et al, 2009), suggesting a “tonal loop” within a musician’s working memory (Schulze, Zysset, Mueller, Friederici, & Koelsch, 2011) that complements the phonological loop for verbal material in musicians and non-musicians alike (e.g., Baddeley, 1986; 1992). The five experiments reported here explored detection of a pitch change between pairs of tone sequences with or without concurrent articulatory suppression or singing suppression. In Experiment 1, with pairs of auditory tonal (in a musical key) sequences to be compared, singing suppression impaired non-musicians significantly more than musicians, although both groups showed an impairment, whereas only non-musicians were affected by verbal articulatory suppression. In Experiment 2, conducted only with musicians who could read music, the first sequence of each pair was presented visually and the second sequence for comparison was presented aurally. Musicians were again impaired by singing suppression but not by articulatory suppression. For Experiment 3, for auditory atonal (no musical key) pairs of sequences, non-musicians performed at floor, and musicians were again significantly more impaired by singing suppression than by articulatory suppression. In contrast, for Experiment 4, only with musicians who could read music, for visually presented atonal sequences each followed by an auditory atonal sequence for comparison, musicians were significantly more impaired by articulatory suppression than singing suppression. These results suggest that for tonal sequences, musicians use their musical training and experience, coupled with subvocalised singing, but for atonal sequences, additional strategies involving phonological rehearsal may be used. Non-musicians may also rely on musical experience and subvocal singing for tonal sequences but seem to be unable to do so for atonal sequences. Results are consistent with the use by both musicians and non-musicians of a tonal loop for the rehearsal of tone sequences, which develops with musical training and may be used in addition to subvocal rehearsal. Previous research has suggested musical expertise may offer some protection against cognitive ageing (Hanna-Pladdy & MacKay, 2011; Amer, Kalender, Hasher, Trehub, & Wong, 2013). Experiment 5 in this thesis explored whether a lifetime of musical training and experience may offer the same advantages in old age for retaining tone sequences that had been found in Experiments 1 and 3 for younger musicians. This experiment also considered whether any advantage for older musicians on this task could be explained by the proposed “bilingual advantage” (e.g., Bialystok, Craik, Klein & Viswanathan, 2004), and what other aspects of cognition might be associated with tone sequence memory performance. A test battery was utilised with 74 older adults (60-80 years of age) to assess the influence of musical and language expertise, and cognitive abilities (attention, working memory capacity, self-reported prospective and retrospective memory) on the music-related pitch sequence comparison task from Experiments 1 and 3. Working memory capacity was found to predict individual differences in the ability to detect pitch changes between pairs of tone sequences, regardless of musical experience. Older musicians performed more poorly on the pitch change detection task overall than the younger musicians in the earlier experiments, but their performance on the task was significantly better than for age-matched non-musically trained peers who were close to floor for both tonal and atonal sequences, suggesting some benefit from a lifetime of musical experience.

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Jerling, P. A. (Petra Adriana). "Music therapy for second language English-speaking learners in an english-medium school : a case study." Diss., University of Pretoria, 2013. http://hdl.handle.net/2263/41587.

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In many South African schools where English is used as the language of instruction learners with a different mother tongue are accepted, yet they may experience many challenges. In this research study I investigated whether group music therapy sessions can have a positive impact on such learners in relation to particularly two of these difficulties. The first difficulty is social interaction and integration. The second difficulty is their negative attitude towards English, the school and their school work. This difficulty develops because of their weak competency in the language. The paradigm in which this study falls is interpretive and a qualitative approach was used. A case study design was utilised. Ten music therapy sessions were offered to a group of nine grade eight boys from three different linguistic backgrounds: three English home language speakers, three Portuguese home language speakers and three siSwati home language speakers. Music therapy offers a non-threatening environment in which group members can creatively interact. I made use of an array of techniques including improvisation, movement, song writing and musical games where group members had opportunities to express themselves in an unconventional way. Three different sources of naturally-occurring data were used. Questionnaires were filled in by all participants before the commencement of the sessions, five video excerpts were selected from the music therapy group sessions and a focus group was held with all participants after the last session. Data was analysed according to Ansdell and Pavlicevic’s (2001) qualitative content analysis. Responses from the questionnaires and focus group and thick descriptions from the selected video excerpts were coded and categorised according to Gibb’s (2007) proposed technique of open coding. Results generated from the analysed data indicated that, through the opportunities afforded to the group in music therapy sessions, social interaction was experienced in a novel way and integration was enhanced. Findings also indicated that, through this unique way of interacting, the attitude of some members towards English improved. There were also indications that improvement was not across the board and individuals reacted differently to the process. A much longer process could hold far more convincing results.
Dissertation (MMus)--University of Pretoria, 2013.
lmchunu2014
Music
unrestricted

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Phalen, Steven P. "The Gathering Place: Musical Expressions of Self and Community within a Non-Profit, Community Mental Health Drop-in Center." Ohio University / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1374621039.

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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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Schaal, Nora Kristin [Verfasser]. "Investigating the neural basis of pitch memory depending on musical abilities using non-invasive brain stimulation methods / Nora Kristin Schaal." Düsseldorf : Universitäts- und Landesbibliothek der Heinrich-Heine-Universität Düsseldorf, 2015. http://d-nb.info/1073247287/34.

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Bacon, Alice Louise. "A technical study of the alloy compositions of 'brass' wind musical instruments (1651-1867) utilizing non-destructive X-ray flourescence." Thesis, University College London (University of London), 2004. http://discovery.ucl.ac.uk/1446769/.

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This thesis represents a new interdisciplinary approach to the conservation, care and curatorial study of 'brass' wind musical instruments. It attempts to combine metallurgical, chronological and historical aspects for a selection of instruments. The research consists of the systematic study of seventy-seven musical instruments, by known makers, using standardised non-destructive energy dispersive x-ray fluorescence (XRF). Such compositional data are virtually non-existent for historical 'brass' instruments in Britain and what few technical data that do exist are sporadic in quantity and quality. The development of brass instruments is interwoven with the history of brass making, but because there are a limited number of appropriate examples such links can be difficult to identify. This thesis describes the development of brass production from the cementation process to the commercial production of zinc and modern brass. Its relationship to the musical instrument industry in Britain is linked with historical evidence. It will be shown that innovation and known historical metallurgical achievements are reflected in the compositional changes of the alloys used for musical instruments. This thesis focuses on specific named brass wind musical instrument makers. This thesis sets out to investigate the extent to which a single analytical technique such as non-destructive analysis utilising XRF could be useful in the curatorial and conservation care of musical instruments. The results of the analyses revealed new aspects to the use of metals for making musical instruments. They give new information on approximate alloy compositions and, in particular, the results have shown that in the seventeenth-century in England, a ternary alloy of copper/tin/zinc was used, and that it was, perhaps, only superseded by brass (copper/zinc alloy) in the eighteenth century. It has been possible to arrange the results into a chronology of alloys particularly reflecting the change from the use of cementation brass to the direct method for making brass. By this means it is possible to postulate a date for the composition of a musical instrument of unknown maker and date. The idea for this thesis originated in the Horniman Museum, London, where the author of this thesis is Head of Collections Conservation and Care. However this study is augmented by instruments from other institutions. In this manner it has been possible to construct a chronology from the earliest inscribed and dated instrument by Augustine Dudley in 1651 to the demise of Charles Pace's small craftsman workshop in 1854 and his death in 1867.

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Kramer, Marci D. "Relationship between frequency of musical activity participation, sense of coherence, and subjective reports of health in non- institutionalized older adults." Virtual Press, 1996. http://liblink.bsu.edu/uhtbin/catkey/1027116.

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This study investigated the relationship between frequency of musical activity participation, Sense of Coherence (SOC), and subjective report of health in older adults. From a sample of 197 older adults from Muncie and Anderson, Indiana, 129 (65.5%) individuals participated in this study. The participants completed an information sheet, the Musical Activity Participation Report, SOC, and Perceived Health questionnaires. Pearson r correlation coefficients found frequency of musical activity participation was not correlated with SOC but was correlated with subjective reports of health. A frequency table and chi-square analysis revealed that cohort and education were related to musical style preferences. A one-way analysis of variance (ANOVA) revealed that musical activities enhanced perceived quality of life to a lesser degree than other activities. However, many participants commented on the positive impact of music on well-being. A one-way ANOVA and t-tests found gender and musical upbringing were related to frequency of musical activity participation.
Fisher Institute for Wellness

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Williamson-Urbis, Sue Zanne. "The effect of two methods of music instruction on the degree of liking and musical knowledge on non-music majors enrolled in music appreciation classes." Diss., The University of Arizona, 1995. http://hdl.handle.net/10150/187447.

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The primary purpose of this study was to compare the effects of icon-based listening outlines and language-based listening outlines on the degree of liking scores and musical knowledge scores of nonmusic majors enrolled in music appreciation courses. A secondary purpose was to examine interactions between the methods of instruction and the students' age, gender, teacher, and primary language with the dependent variables of degree of liking and musical knowledge scores. One-hundred and ninety-seven university undergraduates enrolled in six intact music appreciation classes served as subjects for the twelve week study. Three instructors, each teaching two intact music appreciation classes, taught both methods. The study used a pretest/posttest two group experimental design to answer fourteen research questions. The results indicated that degree of liking scores and musical knowledge scores significantly improved between the pretests and posttests regardless of method of instruction. Results also revealed a significant interaction between method and time of test for both degree of liking and musical knowledge. Students using icon-based listening outlines showed a greater increase in degree of liking scores and musical knowledge scores from pretest to posttest than the students using language-based listening outlines; however all increases were slight. Results also revealed significant interactions among teacher, primary language, and musical knowledge scores and among teacher, method of instruction, and musical knowledge scores.

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Westrupp, Sérgio Luiz. "Representações sociais de música em processos de educação musical formal e não formal de uma escola de educação básica." Universidade do Estado de Santa Catarina, 2012. http://tede.udesc.br/handle/handle/1517.

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Coordenação de Aperfeiçoamento de Pessoal de Nível Superior
This dissertation has as the general objective to understand how the social representations of music, that permeate the social relationships of a Basic Education city school in the interior of Santa Catarina state in Brazil, link with formal and non formal practices of music teaching developed. The specific objectives aimed at understanding how the identity processes of all the investigated subjects relate with the music teaching and learning processes in the context of that school, and identifying and analyzing the several social representations of music constituted and shared by subjects involved direct and indirectly in the musical practices. The qualitative methodology was adopted under the drawing of a case study with an ethnographic approach. The instruments of data collection were individual and focus-group semi-structured interviews with the several participants of the research, documental analysis and participant observation. The data were analyzed under the theoretical framework of the social representations in the perspective of the social psychology by the triangulation among the discursive analysis of the participant subjects, the analysis of the music class plans and the notes of the field diary. The outcomes evidence strong relationship among the music representations constituted and shared by all the participants of this research, their musical identities and the pedagogic practices of the music teaching promoted in the music classes and in the band rehearsal. This specific context of music education shares consensual and contradictory social representations of music promoting the dilution of the borders among the processes of formal and non formal education constituted through a strong complimentary relationship among both
Esta dissertação tem como objetivo geral compreender como as representações sociais de música que permeiam as relações sociais de uma escola de educação básica de um município do interior do Estado de Santa Catarina se relacionam com as práticas formais e não formais do ensino de música nela desenvolvidas. Os objetivos específicos buscaram compreender como os processos identitários de todos os sujeitos investigados se relacionam com os processos de ensino e aprendizagem da música desencadeados no contexto desta mesma escola e identificar e analisar as diversas representações sociais de música constituídas e compartilhadas por sujeitos envolvidos direta e indiretamente nas práticas musicais desta escola. Adotou-se a metodologia qualitativa sob o desenho de um estudo de caso do tipo etnográfico. Os instrumentos de coleta de dados foram entrevistas individuais e grupo-focal semiestruturadas com os vários participantes da pesquisa, análise documental e observação participante. Os dados foram analisados sob o referencial teórico das representações sociais na perspectiva da psicologia social mediante a triangulação entre a análise discursiva dos sujeitos participantes, análise dos planos de aula de música e as anotações do diário de campo das observações. Os resultados apontam para a forte relação entre as representações de música constituídas e compartilhadas por todos os participantes desta pesquisa, suas identidades musicais e as práticas pedagógicas do ensino de música promovidas nas aulas de música e no ensaio da banda. Este contexto específico de educação musical compartilha de representações sociais de música tanto consensuais como contraditórias de forma a promover a diluição das fronteiras entre os processos de educação formal e não formal ali constituídas por meio de uma forte relação de complementaridade entre ambas

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Ablitzer, Frédéric. "Influence des paramètres mécaniques et géométriques sur le comportement statique de l’archet de violon en situation de jeu." Thesis, Le Mans, 2011. http://www.theses.fr/2011LEMA1023/document.

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L'archet, élément indispensable à la production sonore des instruments à cordes frottées, a jusqu'à présent fait l'objet de peu d'études scientifiques. Le travail présenté a pour objectif de mieux comprendre son comportement mécanique en situation de jeu. À cette fin, des modèles numériques sont développés. La baguette, précontrainte par la tension du crin, est modélisée par des éléments finis de poutre en formulation corotationnelle, afin de prendre en compte la non-linéarité géométrique inhérente au problème. Un premier modèle (2D) rend compte du comportement de l'archet dans le plan. Il donne lieu à une étude numérique sur une géométrie standard, visant à mettre en évidence l'influence des paramètres de fabrication et de réglage sur le comportement de l'archet sous tension. Un second modèle (3D) intègre le caractère tridimensionnel des sollicitations rencontrées en situation de jeu, prenant en compte la flexion latérale de la baguette. Une procédure non destructive de détermination des propriétés mécaniques du bois et de la mèche, basée sur une méthode inverse utilisant le modèle 2D, est proposée. À titre de validation expérimentale, des résultats numériques obtenus avec le modèle 3D sont confrontés aux résultats de mesures sur deux archets, pour différents réglages du cambre et de la tension. L'effet de la précontrainte sur la raideur de flexion latérale de la baguette est mis en exergue. Le bon accord observé confère au modèle un caractère prédictif, offrant des perspectives d'utilisation en tant qu'outil d'aide à la facture. Par ailleurs, la stabilité de l'archet est un problème que les facteurs doivent prendre en considération. Un modèle phénoménologique basé sur un système mécanique simple est présenté. Il vise à donner certaines tendances sur les conditions d'apparition d'une instabilité par bifurcation ou par point limite, en faisant une analogie avec les propriétés de l'archet. Le calcul numérique du comportement pré- et post-critique de l'archet permet d'identifier des cas d'instabilité similaires, dont on discute les conséquences possibles sur le jeu et la facture. Dans une dernière partie, des essais en jeu axés sur les réglages du cambre et de la tension sont effectués par des musiciens. Les résultats de ces tests subjectifs tendent à montrer l'influence des paramètres de réglage examinés dans l'appréciation des qualités de jeu
The bow, which is essential to produce the sound of bowed string instruments, has been little studied. The present work aims to better understand its mechanical behavior in playing situation. To this end, numerical models are developped. The stick, which is prestressed due to hair tension, is modelized by beam finite elements. A corotational formulation is adopted to take into account geometric nonlinearity. A first model (2D) concerns the in-plane behavior of the bow. It is used within a numerical study aiming at showing the influence of making and adjusting parameters on the tightened bow. A second model (3D) takes into account out-of-plane loading that makes the stick bend laterally. A non-destructive procedure to determine mechanical properties of wood and hair is proposed. It is based on an inverse method using the 2D model. As an experimental validation, numerical results obtained with the 3D model are confronted to measurement on two bows, for different settings of camber and hair tension. The effect of prestress on lateral bending stiffness is highlighted. A good agreement is observed. Thus, the model can be considered as predictive and might be used as an aid to bow making. Furthermore, the stability of a bow is a problem considered by bow makers. A phenomenological model based on a simple mechanical system is presented. It aims to give tendancies on conditions at which bifurcation or limit point instability can occur, by drawing an analogy with the bow. The numerical computation of pre- and post-critical behavior of the bow shows similar instability cases. Their possible consequences on playing and making are discussed. Finally, playing tests with musicians are carried out, focusing on the adjustment of camber and hair tension. The results tend to show the influence of the considered adjustment parameters on the assessment of playing qualities

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Dregalia, Donald Martin. "A descriptive study of the post-secondary musical/cultural behaviors and attitudes of participants and non-participants of instrumental music ensembles from two secondary schools in eastern Massachusetts." The Ohio State University, 1993. http://rave.ohiolink.edu/etdc/view?acc_num=osu1272374147.

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Dregalla, Donald Martin. "A descriptive study of the post-secondary musical/cultural behaviors and attitudes of participants and non-participants of instrumental music ensembles from two secondary schools in eastern Massachusetts /." The Ohio State University, 1993. http://rave.ohiolink.edu/etdc/view?acc_num=osu148784494807576.

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Alves, Marcelo Jorge Cabral de Mello Dantas. "Formação musical e a inclusão social de crianças e jovens na Orquestra Criança Cidadã." Universidade Federal da Paraíba, 2012. http://tede.biblioteca.ufpb.br:8080/handle/tede/6616.

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Made available in DSpace on 2015-05-14T12:52:35Z (GMT). No. of bitstreams: 0 Previous issue date: 2012-05-26
Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES
The present work is about the Orquestra Criança Cidadã (Child Citizen Orchestra), a nongovernmental organisation that assists children and youngsters aged 4 to 20 who live in the Coque neighbourhood in Recife, Pernambuco. The main purpose of this study is to understand the relationship between the music education received and the social inclusion of these children and youngsters. In order to fulfill this aim, case study method was chosen as the means of collecting data. The results revealed the influence of a social music education on the lives of these children and youngsters, especially regarding their personal relationships and their development as citizens.
Este trabalho teve o objetivo de compreender como se tece a relação entre formação musical e inclusão social de crianças e jovens do Projeto Orquestra Criança Cidadã, que atende crianças e jovens de quatro a vinte anos, oriundos da Comunidade do Coque em Recife, Pernambuco. A pesquisa foi realizada à luz dos conhecimentos de pesquisa qualitativa, tendo como método o estudo de caso e utilizando como instrumentos de coleta de dados a observação, entrevistas com alunos do Projeto e fontes documentais. A pesquisa revelou, para além de aspectos pedagógicos e organizacionais do Projeto, a formação musical social proporcionada a essas crianças e jovens, bem como o sentido dessa formação em suas vidas, principalmente em suas relações pessoais e em seu crescimento enquanto cidadãos.

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Hassel, Jakob, and Andreas Risberg. "Ljudidentitet : Är även ett ljud värt tusen ord?" Thesis, Södertörns högskola, Företagsekonomi, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-38490.

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This study brings forward the field of non-musical sound branding, concerning the use of sound in practical marketing and brand development. This interpretive, qualitative study has been conducted with the purpose of examining and explaining what aspects within non-musical sound branding that advocates and inhibits its use, ase well as exhibit how it can be created and developed. Interview data from advertising agencies and sound producers with extensive experience and knowledge in the field, is interpreted and analysed through theories within the fields of sensory marketing, brand theory, sound theory and non-musical sound branding. The results confirm that the intimate, subliminal qualities of sound, as well as the context in which it is mediated, are fundamental parameters for its reception and interpretation. The results also show that non-musical sound branding possess a number of aspects that both advocates and inhibits its use. The study also exhibit how it can be created and developed in regard to a number of fundamental and contributing perspectives.

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Ferreira, Gabriel Nunes Lopes. "A influÃncia do Projeto Jardim de Gente na reinvenÃÃo do cotidiano dos jovens do Bom Jardim: um estudo de caso no curso de PrÃtica de Conjunto." Universidade Federal do CearÃ, 2015. http://www.teses.ufc.br/tde_busca/arquivo.php?codArquivo=13868.

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CoordenaÃÃo de AperfeÃoamento de Pessoal de NÃvel Superior
O presente trabalho aborda a educaÃÃo musical em espaÃos nÃo formais de ensino e como esses espaÃos contribuem para a educaÃÃo musical na periferia de Fortaleza. A pesquisa tem como objetivo compreender, sob a perspectiva dos estudantes, a importÃncia dos cursos de MÃsica realizados pelo Projeto Jardim de Gente. O Projeto Ã desenvolvido no Bairro Bom Jardim, nas instalaÃÃes do Centro Cultural Bom Jardim. O referencial teÃrico principal da pesquisa estÃ baseado em Bourdieu, com seus estudos sobre jogos de poder e classes sociais; Certeau, com sua pesquisa sobre cotidiano; e Koellreutter, com sua proposta de EducaÃÃo Musical. Como abordagem metodolÃgica, foi realizado um estudo de caso no curso de PrÃtica de Conjunto. Foram escolhidos e entrevistados dez estudantes que participaram do curso no perÃodo de 2010 a 2013. AlÃm dos relatos dos dez estudantes, foram utilizados como fontes de evidÃncias os planejamentos do curso e tambÃm o Projeto PolÃtico PedagÃgico do Jardim de Gente, este Ãltimo desenvolvido de maneira coletiva com participaÃÃo da comunidade, estudantes, professores e coordenaÃÃo do Projeto. Assim, o curso de PrÃtica de Conjunto assume o papel de um espaÃo de mudanÃas de percepÃÃes com relaÃÃo Ã prÃtica musical e tambÃm com relaÃÃo Ãs atividades cotidianas dos estudantes. De acordo com os resultados, o Projeto surge como um espaÃo de democratizaÃÃo do saber musical, reinventando o cotidiano de seus frequentadores.
This paper discusses music education in non-formal spaces of education and how these spaces contribute to the musical education on the outskirts of Fortaleza. The project aims the understanding of the importance of music courses held by the Project Jardim de Gente (Garden of People) through the studentsâ perspective. The project is developed in the neighborhood of Bom Jardim, the premises of the Bom Jardim Cultural Center. The main theoretical framework of the research is based on Bourdieu, with his studies on power games and social classes; Certeau, with his research on everyday life; and Koellreutter, with its proposal for Music Education. As a methodological approach, a case study in the course of Joint Practice was made. Ten students who participated in the course in the period 2010 to 2013 were chosen and interviewed. In addition to this, course planning and the Pedagogical Political Project of Garden of People (Projeto PolÃtico PedagÃgico do Jardim de Gente) were used as sources of evidence, the latter was developed collectively with the participation of the community, students, teachers and coordination of the Project. Thus, the Practice course comes as perceptions of space changes with respect to musical practice and also in relation to daily students activities. According to the results, the project appears as a democratization of musical knowledge, reinventing the daily lives of its attendees.

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Hermon, Andrew Neil. "Gaining the Upper Hand : An Investigation into Real-time Communication of the Vamp and Lead-In through Non-Expressive Gestures and Preparatory Beats with a focus on Opera and Musical Theatre." Thesis, Luleå tekniska universitet, Institutionen för ekonomi, teknik, konst och samhälle, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:ltu:diva-86871.

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This thesis seeks to discuss conducting technique in relation to real-time communication of Vamp, Safety-Bars and Lead-Ins through left-hand gestures within the context of opera and musical theatre. The research aims to develop a codified set of gestures suitable for the left-hand. It will explore and analyse left-hand gestures which are commonly used, but not yet codified, and the importance in which the preparatory beat plays a role in communicating the Vamp and Lead-In. This research also aims to establish a framework for conductors to create their own left-hand gestures and better understand musical structure used in Opera and Musical Theatre. The new gestures developed through research into visual and body languages (such as sign languages) as well as body movement (sound painting). The gestures will be tested through one artistic project, with three sections, then analysed using methods of qualitative inquiry. The paper is narrative based in its structure; with the reader guided through each topic by the last. The introduction sets up the main idea for this thesis, then each section is guided by these elements. The research questions and aims were formed because of the available literature; thus, they appear after the theory chapter.

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Krutkevičiūtė, Ona. "Muzikinės improvizacijos naudojimo ypatumai 5 - 8 progimnacijos klasių neformaliajame švietime." Master's thesis, Lithuanian Academic Libraries Network (LABT), 2013. http://vddb.laba.lt/obj/LT-eLABa-0001:E.02~2013~D_20130802_105644-20383.

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Vienos svarbiausių šių dienų švietimo kaitos sąlygų – kūrybiškas tinkamų užduočių pateikimas mokykloje, naujų mokymo(si) santykių ir pedagoginės veiklos formų paieška bei ugdytinių kompetencijų ugdymas(is) ir plėtojimas. Improvizacija būdinga liaudies kūrybai bei kai kurioms profesionalioms meno šakoms: muzikai, poezijai, teatrui. Muzikos improvizacija gali būti fiksuojama garso įrašu, bet negali būti pakartota. Magistro darbo „Muzikinės improvizacijos naudojimo ypatumai 5–8 progimnazijos klasių neformaliajame švietime“ tikslas – ištirti 5–8 progimnazijos klasių muzikinės improvizacijos naudojimo neformaliajame švietime ypatumus. Šiam tikslui pasiekti buvo iškelti šie uždaviniai: atskleisti muzikinės improvizacijos ir neformaliojo švietimo sintezės problematiką; išsiaiškinti mokinių ir mokytojų požiūrį į muzikinę improvizaciją; ištirti muzikinės improvizacijos naudojimo ypatumus neformaliojo švietimo veikloje; nustatyti moderniųjų technologijų naudojimą improvizuojant. Tyrimo objekas – muzikinės improvizacijos naudojimas neformaliajame švietime. Tyrimas buvo vykdytas III etapais: I etapas – anketinė mokytojų ir mokinių apklausa. Anketa muzikos mokytojams buvo siekiama išsiaiškinti mokytojų požiūrį į muzikinės improvizacijos naudojimą neformaliajame švietime. Mokytojų apklausoje dalyvavo 17 Vilniaus mieto progimnazijose neformaliajai veiklai vadovaujančių mokytojų. Anketa, skirta neformaliąja muzikine veikla užimtiems mokiniams, buvo siekta surinkti informaciją, kurią... [toliau žr. visą tekstą]
Some of the most important conditions of nowadays education change are creative presentation of the appropriate tasks in school, discovery of new learning relations and pedagogic forms and development and cultivation of students’ competencies. Improvisation is a characteristic of folk art, as well as of some professional arts industries: music, poetry and theater. Musical improvisation can be recorded by audio, but can not be repeated. The purpose of master thesis “Features of Musical Improvisation Application in non-formal Education of 5 – 8 Progymnasium Grades” is to explore the features of musical improvisation use in non-formal education of 5 – 8 progymnasium grades. To achieve this goal the following objectives have been set: identify problems of musical improvisation and non-formal education synthesis, ascertain students’ and teachers’ attitude towards musical improvisation, examine the features of musical improvisation use in non-formal education activities, and determine the use of high-tech while improvising. Research object – use of musical improvisation in non-formal education. The study was carried out in III phases. Phase I – Questionnaire survey for teachers and students. Questionnaire for teachers was used to ascertain teachers' attitude towards the use of musical improvisation in non-formal education. 17 teachers, who are leading non-formal education activities in Vilnius city progymnasiums, participated in this questionnaire. Questionnaire for students was... [to full text]

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Frances, Florence. "Émotions et musique du XXe siècle : Ligeti et Stravinski. La communication musicale dans la musique du XXe siècle : étude des liens entre la structure des œuvres musicales et les réponses sémantiques des sujets en situation d’écoute." Thesis, Paris 4, 2011. http://www.theses.fr/2011PA040205.

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L’objectif de la recherche est d’apporter une contribution musicologique et psychologique à la compréhension de la fonction de transformation symbolique non verbale intervenant au cœur de la psyché humaine. L’objet-flux musical, porté par une onde vibratoire, énergie en mouvement, n’est pas un objet naturel, mais un objet issu de la psyché humaine conçu pour agir sur d’autres psychés humaines. Il semblerait, et ce n’est qu’une hypothèse de travail, que le compositeur aurait la capacité de coder ses émotions en ondes musicales et de les transmettre à l’auditeur, sujet sensible à certaines longueurs d’ondes du penser musical, qui les décoderait. L’objet de la thèse est l’existence d’une communication infraverbale, intuitive, globale et directe entre une œuvre de musique non tonale et l’auditeur à travers l’étude de productions visuelles et de productions écrites, réalisées par cinquante-neuf sujets en situation d’écoute d’extraits musicaux de Stravinski et de Ligeti. Est-il possible d’élargir le domaine d’application du concept de schème de résonance émotionnelle d’Imberty à la musique de compositeurs du xxe siècle ? Quelles autres représentations psychiques sont investies par les sujets en situation d’écoute musicale ?
The objective of research is to make a musicological and psychological contribution to the understanding of not verbal symbolic transformation occurring in the heart of the human psyche. The musical object-flow, carried by a vibratory wave, an energy in movement, is not a natural object, but an object stemming from the human psyche conceived to act on the other human psyches. It would seem, and it is only a working hypothesis, that the composer would have the capacity to code his feelings in musical waves and to pass on them to the auditor, subject sensitive to certain wavelengths of musical thinking, who would decode them. The object of the thesis is the existence of an infraverbale communication, intuitive, global and direct between not tonal music work and the auditor through the study of visual productions and written productions realized by fifty nine subjects in situation of listening musical extracts of Stravinski and Ligeti. Is it possible to widen the application field of Imberty’s concept, schème de résonance émotionnelle, into the xxe century music ? What other psychic representations are invested by the subjects in situation of musical listening ?

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Ahlberg, Sara. "Kommunikation i särskolan : En kvalitativ studie om kommunikation kopplat till individanpassad musikundervisning." Thesis, Linnéuniversitetet, Institutionen för musik och bild (MB), 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-84827.

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Individualized teaching in schools with children with learning disabilities is a prerequisite, in order to be able to convey knowledge and teaching in an educational and developing way. The purpose of this study is to explore how musical communication can be used in school's with children with learning disabilities in different ways and how teachers can create an individualized teaching through this, during the music lessons. The study's result describes the interviews that have been conducted that have occurred in varied locations around Sweden with teachers in the subject area music in learning disabilities. The result presents how teachers use musical communication in their teaching and in what way the teaching is tailored to the needs of the students to become developing. The discussion that is linked to the subject of the study focuses on individual adaptation and alternative ways in which the teacher can make use of it in order to obtain an educational teaching, in which the students are given the opportunity for an in-depth understanding and a developed knowledge.

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Kriščiūnaitė, Asta. "Mokinių pažangos ir pasiekimų vertinimas neformaliajame muzikiniame ugdyme: būsimųjų muzikos pedagogų požiūrio analizė." Master's thesis, Lithuanian Academic Libraries Network (LABT), 2014. http://vddb.library.lt/obj/LT-eLABa-0001:E.02~2013~D_20140225_122320-67763.

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Lietuvoje organizuojamas neformalus muzikinis ugdymas susilaukia vis didesnio ne tik visuomenės, bet ir švietimo sistemos atstovų susidomėjimo. Poreikiams tenkinti ir srities tikslus įgyvendinti nepakanka pagrindinį dėmesį sutelkti tik į interesus atitinkančius ugdymo įstaigą ar mokymo programą. Reikšmingais tampa tokie neformaliojo muzikinio ugdymo faktoriai, kaip meno vartotojo ugdymas, moralinių nuostatų formavimas, kritinio požiūrio puoselėjimas, emocinio sąmoningumo skatinimas, kūrybinių galių plėtojimas, ugdytinių džiaugsmo pasirinkta muzikine veikla skatinimas. Minėtus faktorius apjungia šiuolaikinės edukacinės paradigmos. Pastarosios kritiškai vertina klasikinį mokymo modelį, stipriai išreikštą vertinamąją aplinką, paklusnumo / naudingumo bei leista / uždrausta santykiais. Šiame kontekste išryškėja mokinių pažangos ir pasiekimų vertinimo proceso svarba, kuris meno / muzikos mokyklose pasitelkiamas siekiant susidoroti su drausmės problemomis, nusirašinėjimu, sąmoningu vėlavimu į pamokas arba jų praleidinėjimą be pateisinamos priežasties ir pan. Nors pastaruoju metu pastebimas vis didesnis mokslininkų susidomėjimas mokinių pažangos ir pasiekimų vertinimo sistemos problemų sprendimui bendrojo lavinimo mokykloje, tačiau vertinimo sritis neformaliame muzikiniame ugdyme iki šiol vis dar lieka nepakankamai tyrinėta. Ši problema ypač aktuali rengiant būsimuosius muzikos pedagogus, kurie ateityje dirbs su ugdytiniais meno / muzikos mokyklose, prisidės prie pažangios ir... [toliau žr. visą tekstą]
The Non-formal musical education organized in Lithuania is getting more and more attention not only from society, but as well from educational community too. In order to fulfill the needs and aims it is not sufficient to focus on the interests, which satisfy the educational institution or a training program. Such non-formal musical education factors as education of the art consumer, moral attitude formation, fostering critical approach, encouragement of emotional awareness, development of creative capacity, inducement of students’ joy using a chosen musical activity become significant. The factors mentioned above are linked by the contemporary educational paradigms. The latter criticize the classical model with its strongly expressed evaluative environment, obedience / usefulness and allowed / forbidden relations. In this context the importance of the assessment process of students’ progress and achievement becomes intense. It is necessary for art / music schools to manage the discipline problems, copying, intentional lateness to classes or being absent without a justifiable reason and so on. Recently an increasing interest of scientists in solving the students’ progress and achievement assessment system problems in the secondary schools can be noticed. However, the assessment area in non-formal musical education still has not been sufficiently investigated. This problem is especially relevant while preparing the future music pedagogues, who will work with students in art /... [to full text]

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Guevel, Nathalie. "Construction de l’individu - Construction de la peinture : pour une éthique de la création : le rater comme vecteur d’expression et de structuration de l’être." Thesis, Lille 3, 2012. http://www.theses.fr/2012LIL30060/document.

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Cette thèse présente un projet de recherche création et recherche action dont l'axe principal questionne le rapport entre le processus identitaire à l’oeuvre dans l’activité picturale. Un lieu interne d'expérimentations devient « espace » de la peinture qui n’est plus abordée d’un point de vue esthétique mais sous un rapport subjectiviste et constructiviste. Ma démarche s’est construite autour d’un axe principal: le parallèle entre la construction de la peinture et la construction d'un individu devenu « sujet » créatif et autonome au sens où l'entend E. Kant. Ce rapport entre la pratique artistique et le processus d'individuation (tel que l'a défini C-G Jung) aboutit au paradoxe d’une « éthique de la relation » fondée sur un travail sur soi que j’ai approfondie pour proposer une théorie et une méthode pédagogique d’accompagnement en peinture. Accessible à tous, cette méthode accompagne des personnes en situation de handicap mental, de maladie psychique ou d’autisme, mais notre thèse engage une réflexion plus globale sur la peinture vécue par le corps « musical » comme vecteur de structure identitaire. Une nouvelle architecture de la peinture faite de « boues », de « dépôts », propose, comme appui à cette lecture musicale, des métaphores de renouvellement. Une théorie du rater se fait ici vecteur pédagogique. Elle se présente sous forme de jeux contre les principaux blocages privilégiant l’« imagination motrice » induite par la couleur et par la forme tant chez l’accompagnant que chez l’accompagné. Nous proposons un espace en peinture mutuellement constructeur permettant de sortir de la fermeture psychique et sociale parfois contrainte, pour s'ouvrir au monde et se transformer
This thesis presents an action creation research project whose main axis analyses the relationship to the identity process at work in the pictorial activity. An internal locus of experimentation becomes a painting “space“which is no longer approached from an aesthetic point of view but more from a subjectivist and constructivist one. My approach is built around a main axis: the parallel between the construction of the painting and the construction of an individual become creative autonomous "subject" as E.Kant understands it. This relationship between artistic practice and the process of individuation (as defined by CG Jung) leads to the paradox of an "ethics of the relationship" based on self study that I have developed more thoroughly to provide both a theoretical framework and a teaching method in accompanying painting. Accessible to all, this method accompanies people with mental disability, mental illness or autism but our thesis undertakes a more comprehensive reflection on painting as embodied in a musical body as a vector of identity. A new architecture of painting as made up of "sludge", "deposits" supports this musical reading with metaphors of renewal. A theory of miss is seen here as an educational vector. It comes in the form of games against major obstacles favoring the “motor imagination” induced by shape and color both in the one that is accompanying and the one accompanied. We offer a mutually constructive painting space as a way out of psychological, sometimes social closure and stress, to open up to the world and transform ourselves

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Malheiro, Frederico Alberto Santos de Carteado. "Automatic musical instrument recognition for multimedia indexing." Master's thesis, Faculdade de Ciências e Tecnologia, 2011. http://hdl.handle.net/10362/6124.

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Trabalho apresentado no âmbito do Mestrado em Engenharia Informática, como requisito parcial para obtenção do grau de Mestre em Engenharia Informática
The subject of automatic indexing of multimedia has been a target of numerous discussion and study. This interest is due to the exponential growth of multimedia content and the subsequent need to create methods that automatically catalogue this data. To fulfil this idea, several projects and areas of study have emerged. The most relevant of these are the MPEG-7 standard, which defines a standardized system for the representation and automatic extraction of information present in the content, and Music Information Retrieval (MIR), which gathers several paradigms and areas of study relating to music. The main approach to this indexing problem relies on analysing data to obtain and identify descriptors that can help define what we intend to recognize (as, for instance,musical instruments, voice, facial expressions, and so on), this then provides us with information we can use to index the data. This dissertation will focus on audio indexing in music, specifically regarding the recognition of musical instruments from recorded musical notes. Moreover, the developed system and techniques will also be tested for the recognition of ambient sounds (such as the sound of running water, cars driving by, and so on). Our approach will use non-negative matrix factorization to extract features from various types of sounds, these will then be used to train a classification algorithm that will be then capable of identifying new sounds.

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Georgiou, Chrystalla. "Beyond narrative : a cross-modal approach to soundtrack composition." Thesis, University of Hertfordshire, 2017. http://hdl.handle.net/2299/18621.

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This research project addresses the problem of scoring non-narrative film work. Deprived of a narrative content to follow, the composer faces the fundamental problem of deciding what other elements should be considered for establishing a meaningful relationship between the screened events and the music soundtrack. In order to mitigate the problem, this research project investigates the possibility of applying cross-modal principles to soundtrack composition, and systematically exploits the human ability to experience or interpret the information channeled through one sense modality in terms of another. After the Introduction which explains the research aims and methods, the thesis is structured into subsequent chapters. Chapter two considers cross-modal relationships in music and other expressive arts along with a brief consideration of Reception Theory and its relation to my work. Chapter three provides a set of four case studies of contemporary compositional approaches to non-narrative film. Chapter four demonstrates a new and systematic approach to soundtrack composition through a specially devised Table of Audio-Visual Correspondences, mapping parameters from one domain to another. This method is then applied in Chapter five in relation to a portfolio of original composed soundtracks. A detailed analysis is provided of each piece and the application of crossmodal logic to the scoring of non-narrative video is discussed and evaluated. Finally, Chapter six offers conclusions, recommendations, and outlines the scope for further research. An explanation is given of how work on this thesis has affected my own practice and compositional voice. A suggestion is also provided on how this thesis can benefit the wider film music academic and practitioner community.

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Goodman, Ronald David McLeod. "Onda de ritmo: aprendizagem não-formal no contexto de educação em música popular." Doctoral thesis, Universidade de Évora, 2019. http://hdl.handle.net/10174/26163.

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Non-formal music learning has burgeoned over the last ten years particularly in UK secondary schools and in the Netherlands, where professional performers and community musicians have brought musical leadership skills into the formal education environment. The rationale for this PhD thesis came from the lack of research into non-formal learning of musical rhythm in a formal education context. As its main aim, this study situated in the context of popular music courses at a Scottish college, investigated the benefits of non-formal learning of rhythm for enhancing formal instrumental learning. Data collection involved an ethnographic study of student, staff and alumni engagement with rhythm learning in an extra-curricular percussion ensemble, utilising an interpretive case study based on participant observation, and interviews that elicited key aspects of the participants’ non-formal learning. The ensemble researched has been in existence for twenty-five years and runs in parallel to the formal instrumental curricula. It has adopted and adapted a Brazilian model of peer teaching and learning that has sustained as a community of participation. Findings suggest that participation in the non-formal ensemble has clearly enhanced students’ learning, regarding the formal context of their instrumental learning that is both assessed and certificated, whilst by contrast the non-formal ensemble’s activities are not. Instead, it features shared musical and extra-musical learning goals that involve performances, workshops in the community and active participation in non-formal learning practices. Further to this, findings show that active participation has engendered highly effective peer teaching and learning, as central to sustaining the ensemble’s effectiveness for rhythm learners; Resumo: O aprendizado musical não-formal tem crescido nos últimos dez anos, particularmente nas escolas secundárias do Reino Unido e na Holanda, onde músicos profissionais e músicos comunitários trouxeram habilidades de liderança musical para o ambiente educacional formal. A justificativa para esta tese de doutoramento veio da falta de pesquisa sobre a aprendizagem não formal do ritmo musical em um contexto de educação formal. Como objetivo principal, este estudo, situado no contexto dos cursos de música popular de um colégio escocês, investigou os benefícios da aprendizagem não formal de ritmo para melhorar a aprendizagem instrumental formal. A coleta de dados envolveu um estudo etnográfico do envolvimento de alunos, docentes e ex-alunos com a aprendizagem de ritmo em um grupo de percussão extracurricular, utilizando um estudo de caso interpretativo baseado na observação do participante e em entrevistas que eliciaram aspetos-chave da aprendizagem não formal dos participantes. O grupo pesquisado existe há vinte e cinco anos e funciona paralelamente aos currículos instrumentais formais, e adotou e adaptou um modelo brasileiro de ensino e aprendizagem entre pares que se sustentou como uma comunidade de participação. Os resultados sugerem que a participação no conjunto não formal melhorou claramente a aprendizagem dos alunos, considerando o contexto formal da sua aprendizagem instrumental que é avaliada e certificada, enquanto que, em contraste, as atividades do conjunto não formal não são. Em vez disso, o conjunto não formal apresenta objetivos de aprendizagem musical e extra-musical partilhados que envolvem espetáculos, palestras na comunidade e participação ativa em práticas de aprendizagem não formal. Além disso, as descobertas mostram que a participação ativa gerou ensino e aprendizado de pares altamente eficazes, o que foi central para sustentar sua eficácia para os aprendentes rítmicos.

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Frisell, Lisa, and Cecilia Olsson. "Konstruktion och utprövning av datorbaserat test för intonation och rytm : Icke-språklig Testning Av Prosodi - ITAP." Thesis, Linköping University, Department of Clinical and Experimental Medicine, 2009. http://urn.kb.se/resolve?urn=urn:nbn:se:liu:diva-18813.

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Generally prosody is described as the rhythmic, dynamic and melodic features of language. Prosody is further often described as suprasegmental, since its properties go beyond vowels and consonants, which are segmental characteristics of language. A relationship between prosody and music has been noticed and described for several decades. At present, there are several studies proving relationship between prosodic and musical abilities.

The aim of the present study was to construct a test for prosodic non-linguistic perception and production regarding intonation and rhythm. The test was tried out on 16 children with typical language development aged 4;6-7;6 years.

Before testing of ITAP each participant were asked about musical experience. For formal assurance that the participants had typical language development a pretesting was performed.

The results demonstrate an even range and therefore the complexity of ITAP seems to be on a representative level. Furthermore, ITAP is viable and the design is advantageous. The results of the present study suggest that both phonological working memory and grammatical ability are related to the aspects of intonation tested in ITAP.

The study contributes to the knowledge about possible relations between prosodic and musical abilities, and it provides guidance on what children with typical language development are expected to achieve on ITAP.

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Vieira, Márlou Peruzzolo. "The collaborative process from the performer’s perspective: a case study of non-guitarist composers." Doctoral thesis, Universidade de Aveiro, 2017. http://hdl.handle.net/10773/17882.

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Doutoramento em Música
Nesta tese discute-se a interação entre compositor e performer a partir de um processo colaborativo para a criação de obras musicais para violão solo. O objetivo é categorizar e caracterizar os estágios relevantes de um processo colaborativo, demonstrando e discutindo a adaptação das peças comissionadas, bem como analisando o processo criativo. Apesar de o campo de pesquisa (colaboração compositor-performer) já ter sido alvo de atenção recente, esta pesquisa segue por um viés pouco explorado: processos de colaboração entre compositor e performer em que o compositor não toca o instrumento para o qual está escrevendo. Portanto, o foco principal da discussão situa-se na problemática da composição para violão por compositores não violonistas em colaboração com violonistas. A primeira parte desta pesquisa consistiu em um estágio exploratório em que um estudo do processo colaborativo de compositores brasileiros não violonistas – ainda atuantes e com obras para violão publicadas – que foram assessorados por um ou mais violonistas. Os dados obtidos através da análise das entrevistas serviram de guia para a segunda parte desta pesquisa, que consiste em um estudo de caso de base fenomenológica para a criação de três novas obras para violão solo, discorrendo sobre a colaboração entre o autor desta tese e o compositor Samuel Peruzzolo-Vieira.
This thesis discusses the interaction between composer and performer in the context of collaborative processes involving the creation of musical works for solo guitar. The aim is to categorise and characterise the relevant stages of a collaborative process, demonstrating and discussing the adaptation of the commissioned pieces, and analysing the creative results. Although the research field (composer-performer collaboration) has been the subject of recent attention, this research approaches a rarely explored perspective: the collaborative process between composers and performers in which composers do not play the instrument they are composing for. Therefore, the main focus lies in the problematic of composition for guitar by a non-guitarist composer interacting with a guitarist. The first section of this research consisted of an exploratory stage which analysed the collaborative processes of non-guitarist composers from Brazil – active composers with published guitar works – who were advised by one or more guitarists. All data obtained from the analysis of the interviews was used to guide the second part of this research, which addressed a case study based on a phenomenological approach: three new works for guitar were created in order to discuss the collaboration between the author of this thesis and the composer Samuel Peruzzolo-Vieira.

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Hankinson, John C. K. "A grammatical approach to non-speech audio communication." Thesis, University of York, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.341114.

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Smith, Jayson. "Metric Dissonance in Non-Isochronous Meters." Thesis, University of North Texas, 2018. https://digital.library.unt.edu/ark:/67531/metadc1248499/.

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Although music of the twentieth and twenty-first centuries makes frequent use of non-isochronous meter (meters involving beats of different length, such as 5/4 and 7/8), most studies on meter and metric dissonance focus on isochronous meters (meters involving beats of the same length, such as 4/4 and 9/8). This dissertation bridges this gap by developing two methodologies to account for metric dissonance involving non-isochronous pulses: modified ski-hill graphs and the composite beat attack point system. Modified ski-hill graphs, adapted from Richard Cohn's ski-hill graphs, illustrate metric states involving non-isochronous pulses and reveal degrees of dissonance in musical passages that share time spans, as in 5/4 grouped 3+2 vs. 5/4 grouped 2+3. The composite beat attack point system uses rhythmic notation to illustrate metric states involving any pulse duration or time span, revealing specific points of dissonance and consonance, relative strength of dissonance and consonance, and patterns of dissonance and consonance. The methodology is used to closely examine the treatment of metric dissonance in Holst's "Mars," from The Planets, Ligeti's Hungarian Rock (Chaconne), and Ligeti's Désordre. The analyses focus on passages where the metric dissonance becomes ever more pronounced and ends up obliterating any sense of meter.

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Dissertations / Theses on the topic 'Musical/non-musical'

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