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Hopkins, Valerie Elizabeth. "Music, time and redemption." Theological Research Exchange Network (TREN), 1996. http://www.tren.com.
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Cont, Arshia. "Modeling musical anticipation from the time of music to the music of time /." Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 2008. http://wwwlib.umi.com/cr/ucsd/fullcit?p3336759.
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Thesis (Ph. D.)--University of California, San Diego, 2008.Title from first page of PDF file (viewed Jan. 8, 2009). Available via ProQuest Digital Dissertations. Vita. Includes bibliographical references: p. 281-295.
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Kelly, Edward. "Time in music : strategies for engagement." Thesis, University of East Anglia, 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.405711.
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Packard, Jonathan Frederick. "Released-time music teaching in Kansas." Thesis, Kansas State University, 1986. http://hdl.handle.net/2097/9944.
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Quinn, Sandra. "The perception of time in music." Thesis, University of Stirling, 2005. http://hdl.handle.net/1893/17763.
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This thesis is concerned with the perception of time in music with emphasis on tempo, emotion and time perception in music. Three studies were conducted to assess whether listeners were able to make consistent judgements about tempo that varied from piece to piece. Listeners heard short extracts of Scottish music played at a range of tempi and were asked to make a two alternative forced choice of 'too fast' or 'too slow' for each extract. The responses for each study were plotted as proportion too fast responses as a function of tempo for each piece, and cumulative normal curves were fitted to each data set. The point where these curves cross 0.5 is the tempo at which the music sounds right to the listeners, referred to as the optimal tempo. The results from each study show that listeners are capable of making consistent tempo judgements and that the optimal tempo varies across extracts. The results also revealed that rhythm plays a role, but not the only role in making temporal judgements. In the previous studies, it is possible that listeners might be using an average tempo from previously heard extracts to make every subsequent response. We wanted to assess this by presenting a single stimulus per participant and therefore remove any effects of the context on participant's responses. Using this technique we shall show that listeners can make 'too fast' and 'too slow' responses that are independent of previously heard extracts. In addition the data reveal similar results to those found in the first experimental chapter. The 3rd chapter deals with the effect of changes in the tempo of music on the perception of happy and sadness. Listeners heard short extracts of music that varied in tempo and were asked to make a 2AFC of happy or sad for each extract. Separate psychometric functions were obtained for each extract of music, and the points where these crossed 83% and 17% happy were calculated, and treated as happy tempo and sad tempo respectively. The results show that most extracts can be perceived as both happy and sad just by varying the tempo. However, the tempo at which extracts become happy or sad varies widely from extract to extract. We show that the sad and happy tempi are related to the size of the intervals (pitch changes) in the extract. In considering what might be involved in the perception of time in music we wanted to assess what effect small changes to a stimulus would have on perceived duration. We presented 2 auditory stimuli and show that the perceived duration of the test stimulus with a change in pitch increased as the size of the pitch change increased. The results are explained in terms of event strength where strong events cause perceived duration to increase whilst weak events are perceived to be shorter by comparison.
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Langley, Mikaela. "Exploring Authenticity in Old-Time Music." Digital Commons @ East Tennessee State University, 2020. https://dc.etsu.edu/honors/603.
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This thesis focuses on the question of authenticity in old-time music, and the ways in which it is studied in ETSU’s Bluegrass, Old-Time, and Country Music Studies program. In an academic setting, old-time is often studied in more of a historical or anthropological context and less as a specific style of music. Arguments for authenticity in this music have been made since the popularity of such films as “O Brother, Where Art Thou?” and “Cold Mountain”, which brought a lot of outside attention to the genres of bluegrass and old-time music, as well as defining the aesthetics associated with them. Contemporary composition and performance of old-time music exists, but is not typically studied in an academic setting, or evaluated for how it adds to the musical tradition. The intention of this thesis is to validate the existence of contemporary composition in old-time music, and its authenticity within the genre.
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Doyle, Robert. "Music and time : tempomorphism : nested temporalities in perceived experience of music." Thesis, Middlesex University, 2004. http://eprints.mdx.ac.uk/6878/.
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This thesis represents the results of a theoretical and practical investigation of acoustic and electro-acoustic elements of Western music at the start of the twentyfirst century, with specific attention to soundscapes. A commentary on the development of soundscapes is drawn from a multidisciplinary overview of concepts of time, followed by an examination of concepts of time in music. As a response to Jonathan Kramer's concept of 'vertical' music (a characteristic aesthetic of which is an absence of conventional harmonic teleology), particular attention is paid to those theories of multiple nested temporalities which have been referred to by Kramer in support of non-teleological musical structures. The survey suggests that new musical concepts, such as vertical music, have emerged from sensibilities resulting from the musical and associated styles of minimalism, and represent an ontological development of aesthetics characteristic of the twentieth century. An original contention of the debate is that innovations in the practice of music as the result of technological developments have led to the possibility of defining a methodology of process in addition to auditive strategies, resulting in a duality defined as 'tempomorphic'. Further observations are supplied, using findings derived from original creative practical research, to define tempomorphic performance, which complete the contribution to knowledge offered by the investigation. Tempomorphism, therefore, is defined as a duality of process and audition: as auditive tool, tempomorphic analysis provides a listening strategy suited to harmonically static music; as a procedural tool, it affords a methodology based primarily on duration.
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Bain, Matthew N. "Real Time Music Visualization: A Study in the Visual Extension of Music." Columbus, Ohio : Ohio State University, 2008. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1213207395.
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Brown, Katherine Ruth Butler. "Hindustani music in the time of Aurangzeb." Thesis, SOAS, University of London, 2003. https://kclpure.kcl.ac.uk/portal/en/theses/hindustani-music-in-the-time-of-aurangzeb(7c90c03c-e026-4c73-9cf8-e6fb630ecee1).html.
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The long reign of the last Great Mughal emperor, Aurangzeb (r.1658-1707), is highly controversial in Indian history. An orthodox Muslim, Aurangzeb is infamous for his bigoted and oppressive political and cultural policies. Scholars have long argued that he banned music throughout his reign, leaving a crucial period in Indian music history unexamined. This thesis investigates North Indian musical life in the time of Aurangzeb, through a critical analysis of musical discourse in contemporary Persian language sources. These demonstrate that far from having banned music, musical practice thrived under Aurangzeb. My thesis aims 1) to refute the story of the ban and demonstrate that music played an integral role in Mughal society throughout Aurangzeb's reign; 2) to establish an epistemology of Indo-Persian musical treatises that enables these overlooked sources to be studied in their intellectual and cultural contexts; and 3) to explore two major developments in Hindustani music at this time.
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Bacht, Nikolaus. "Music and time in Theodor W. Adorno." Thesis, King's College London (University of London), 2002. https://kclpure.kcl.ac.uk/portal/en/theses/music-and-time-in-theodor-w-adorno(8275f334-adec-45dc-a49d-972e38b69fdf).html.
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Culpepper, Sarah Elizabeth. "Musical time and information theory entropy." Thesis, University of Iowa, 2010. https://ir.uiowa.edu/etd/659.
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Many theorists have connected information content in music with the listener's perception of the passage of time. This thesis uses the construct of information theory entropy, developed in the 1940s by Bell Labs engineer Claude Shannon, to describe the passage of time in Webern's music. Entropy scores are computed based on pitches, intervals, CSEGs, and pc-sets; these scores are then used to examine the first of the Five Canons, op. 16, and the fourth of the Five Movements for String Quartet, op. 5.
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Mubarak, Omer Mohsin Electrical Engineering & Telecommunications Faculty of Engineering UNSW. "Speech and music discrimination using short-time features." Awarded by:University of New South Wales. Electrical Engineering & Telecommunications, 2006. http://handle.unsw.edu.au/1959.4/31954.
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This thesis addresses the problem of classifying an audio stream as either speech or music, an issue which is beginning to receive increasing attention due to its wide range of applications. Various techniques have been presented in last decade to discriminate between speech and music. However, their accuracy is still not sufficient since music can refer to a very broad class of signals due to the large number of musical instruments found in audio data. Performance can also be further compromised in noisy conditions, which are unavoidable in some practical situations. This thesis presents an analysis of feature extraction techniques and classifiers currently being used, followed by the proposal and evaluation of new features for improved classification. These include two novel cepstral features, delta cepstral energy and power spectrum deviation, along with amplitude and frequency modulation features. The modified group delay feature, initially proposed for speech recognition, is also investigated for speech and music discrimination. Experiments were performed using different sets of features, compared among themselves and with conventional MFCCs using error rate criteria and Detection Error Trade-off curves. It is shown that the proposed cepstral and modulation features result in an increase in the accuracy of the conventional MFCC based system. However, the modified group delay feature which has been shown to improve accuracy for speech classification problems, does not contribute much to the problem of speech and music discrimination. Among the ones presented here the optimum feature configuration, both modulation features with MFCC, resulted in overall error rate of 6.57% as compared to 7.43% for MFCC alone.
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Alnadabi, Muhammad Saeid Muhammad. "Speech/music discrimination : novel features in time domain." Thesis, Durham University, 2010. http://etheses.dur.ac.uk/206/.
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This research aimed to find novel features that can be used to discriminate between speech and music in the time domain for the purpose of data retrieval. The study used speech and music data that were recorded in standard anechoic chambers and sampled at 44.1 kHz. Two types of new features were found and thoroughly examined: the Ratio of Silent Frames (RSF) feature and the Time Series Events (TSE) set of features. The Receiver Operating Characteristics (ROC) curves were used to assess each one of the proposed features as well as certain relevant features from the literature for the purpose of comparison. The RSF feature introduced up to 8% enhancement when compared to a couple of relevant features from the literature. One of the TSE set of features provided close to 100% speech/music discrimination.
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Shafer, Seth. "Recent Approaches to Real-Time Notation." Thesis, University of North Texas, 2017. https://digital.library.unt.edu/ark:/67531/metadc984210/.
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This paper discusses several compositions that use the computer screen to present music notation to performers. Three of these compositions, Law of Fives (2015), Polytera II (2016), and Terraformation (2016–17), employ strategies that allow the notation to change during the performance of the work as the product of composer-regulated algorithmic generation and performer interaction. New methodologies, implemented using Cycling74's Max software, facilitate performance of these works by allowing effective control of generation and on-screen display of notation; these include an application called VizScore, which delivers notation and conducts through it in real-time, and a development environment for real-time notation using the Bach extensions and graphical overlays around them. These tools support a concept of cartographic composition, in which a composer maps a range of potential behaviors that are mediated by human or algorithmic systems or some combination of the two. Notational variation in performance relies on computer algorithms that can both generate novel ideas and be subject to formal plans designed by the composer. This requires a broader discussion of the underlying algorithms and control mechanisms in the context of algorithmic art in general. Terraformation, for viola and computer, uses a model of the performer's physical actions to constrain the algorithmic generation of musical material displayed in on-screen notation. The resulting action-based on-screen notation system combines common practice notation with fingerboard tablature, color gradients, and abstract graphics. This hybrid model of dynamic notation puts unconventional demands on the performer; implications of this new performance practice are addressed, including behaviors, challenges, and freedoms of real-time notation.
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Cleare, Ann Bridet. "Sculpting Shape, Time, and Motion: A Composition Portfolio." Thesis, Harvard University, 2016. http://nrs.harvard.edu/urn-3:HUL.InstRepos:33493464.
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My dissertation represents seven years of 21 newly produced works. The music that I compose has always been concerned with colour and energy, and my time at Harvard has very much been about widening the spectrum of how I deal with both of these properties in order to create a music of greater expressive and poetic ability. I am generally drawn towards wild, chaotic sonic matter. If I were to use an analogy from visual art, I would compare the type of focus that my work has taken as comparable to that of a sculptor, creating tools to shape sonic material into forms that I previously had not imagined. And further to this, sculpting how matter exists and moves, creating shapes and motions that evoke a unique sense of time and place within each piece.
During my Ph.D., I have produced a range of pieces from solo to chamber to orchestral works in a variety of acoustic and electronic settings, to pieces for newly-built instruments that I designed and developed, to a cycle of attacca pieces spanning two hours, to a chamber opera that involves a multichannel sound system that the singers and actors of the opera wear and interact with on stage. This portfolio offers a selection of pieces from this journey, which I see as having particular significance to the sculpting tools that I mention above.
The sonic places that I make are highly psychological ones – their primary aim is not to sculpt but rather what this sculpting can convey. They are sonic situations that think and reflect on the complexity of the lives we exist within, exploring theatres or poetries of memory, of transformation, of perception, of communication, and more, and they invite a willing listener to do the same. The quality of this poetry can be quite raw, charged, and psychological, and any type of comfort or ease is hard won. In the words of Francis Bacon: “We nearly always live through screens - a screened existence. And I sometimes think, when people say my work looks violent, that perhaps I have from time to time been able to clear away one or two of the veils or screens.” I, too, strive to remove the veils and screens.Music
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Sum, Ka Yi Kelly. "Musical compositions exploring real-time human-computer interaction with acoustic instruments." HKBU Institutional Repository, 2008. http://repository.hkbu.edu.hk/etd_ra/887.
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Farmer, Ajia. "Pop! Goes the music : a content analysis of popular music in prime-time television commercials." Thesis, Manhattan, Kan. : Kansas State University, 2008. http://hdl.handle.net/2097/812.
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Dasher, Shannon Flatt. "It's time to face the music singing the praises of popular music in today's curriculum /." Click here to access dissertation, 2008. http://www.georgiasouthern.edu/etd/archive/fall2008/shannon_f_dasher/Dasher_Shannon_F_200808_edd.pdf.
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Thesis (Ed.D.)--Georgia Southern University, 2008."A dissertation submitted to the Graduate Faculty of Georgia Southern University in partial fulfillment of the requirements for the degree Doctor of Education." Directed by John A. Weaver. ETD. Includes bibliographical references (p. 161-167) and appendices.
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Schubert, Emery School of Music & Music Education UNSW. "Measurement and time series analysis of emotion in music." Awarded by:University of New South Wales. School of Music and Music Education, 1999. http://handle.unsw.edu.au/1959.4/18268.
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This thesis examines the relations among emotions and musical features and their changes with time, based on the assertion that there exist underlying, culturally specific, quantifiable rules which govern these relations. I designed, programmed and tested a computer controlled Two-Dimensional Emotion Space (2DES) which administered and controlled all aspects of the experimental work. The 2DES instrument consisted of two bipolar emotional response (ER) dimensions: valence (happiness-sadness) and arousal (activeness-sleepiness). The instrument had a test-retest reliability exceeding 0.83 (p > 0.01, N = 28) when words and pictures of facial expressions were used as the test stimuli. Construct validity was quantified (r < 0.84, p > 0.01). The 2DES was developed to collect continuous responses to recordings of four movements of music (N = 67) chosen to elicit responses in all quadrants of the 2DES: "Morning" from Peer Gynt, Adagio from Rodrigo???s Concierto de Aranjuez (Aranjuez), Dvorak???s Slavonic Dance Op 42, No. 1 and Pizzicato Polka by Strauss. Test-retest reliability was 0.74 (p > 0.001, N = 14). Five salient and objectively quantifiable features of the musical signal (MFs) were scaled and used for time series analysis of the stimuli: melodic pitch, tempo, loudness, frequency spectrum centroid (timbral sharpness) and texture (number of different instruments playing). A quantitative analysis consisted of: (1) first order differencing to remove trends, (2) determination of suitable, lagged MFs to keep as regressors via stepwise regression, and (3) regression of each ER onto selected MFs with first order autoregressive adjustment for serial correlation. Regression coefficients indicated that first order differenced (???) loudness and ???tempo had the largest correlations with ???arousal across all pieces, and ???melodic pitch correlated with ???valence for Aranjuez (p > 0.01 for all coefficients). The models were able to explain up to 73% of mean response variance. Additional variation was explained qualitatively as being due to interruptions, interactions and collinearity: The minor key and dissonances in a tonal context moved valence toward the negative direction; Short duration and perfect cadences moved valence in the positive direction. The 2DES measure and serial correlation adjusted regression models were, together, shown to be powerful tools for understanding relations among musical features and emotional response.
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ALEIXO, MARIANGELA APARECIDA REZENDE. "MUSIC - A BRIDGE OVER TIME: DEMENTIA AND MUSICAL MEMORY." PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2004. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=5153@1.
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O presente trabalho visa investigar o impacto da demência
na memória musical a partir de um referencial teórico
oriundo da neurociência e das ciências sociais. Apesar de
alguns estudos apontarem a música como a última habilidade
cognitiva a ser perdida nos processos demenciais, há poucas
pesquisas sistematizadas sobre esse tema. A investigação da
relação das funções musicais e sua organização funcional
cerebral aliada aos aspectos da emoção, bem como do
contexto sociocultural em que o sujeito está inscrito
permearam um caminho para a compreensão da memória musical.
A musicoterapia configurou-se como o espaço terapêutico
possível nessa trajetória em que um Eu-musical - individual
ou grupal - pode ser reconstruído num tempo presente,
através das diferentes sonoridades musicais.The present dissertation aims at examining the dementia impact on the musical memory through the theorical references of neuroscience and social sciences. Although some studies indicate that the musical ability is one of the latest capacities to be lost in dementia, there are few researches about this theme. The investigation of relations of musical functions and its cerebral funcional organization togheter with the aspects of emotion and social cultural context where the subject is inserted led to an attempt to understanding the musical memory. Music therapy became the possible therapeutic setting a course where a musical self - individual or group - can be reconstructed in a present time through the different musical sonorities.
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EYLER, FABRICIO SCHLEE. "TIME, IMAGINARY AND MUSIC BETWEEN GRECS AND BACK COUTRIES." PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2016. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=27947@1.
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PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIROCOORDENAÇÃO DE APERFEIÇOAMENTO DO PESSOAL DE ENSINO SUPERIOR
CONSELHO NACIONAL DE DESENVOLVIMENTO CIENTÍFICO E TECNOLÓGICO
PROGRAMA DE SUPORTE À PÓS-GRADUAÇÃO DE INSTS. DE ENSINO
A partir da obra musical de Nicanor Teixeira (1928...), esta tese pretende desenvolver possíveis relações entre música, tempo e imaginário, assim como a especificidade da arte musical em seu acontecer. Como um homem nascido e criado no interior da Bahia, suas composições trazem tanto possibilidades do sentir quanto do pensar que reconfiguram a vida. Há nelas elementos telúricos que nos remetem, entre outros, a paisagens musicais de moinhos, de mulheres que descascavam mandiocas, de vaquejadas, de amores e festas sagradas ou profanas. Mas há também elementos que fogem à cronologia da experiência e que vêm de tempos que não podem ser datados. A partir dessas circunstâncias, ser vamos investigar uma trajetória que pode ligar, pela música, o sertanejo aos gregos antigos. A experiência numinosa, nesse caso, é o mistério que conduz a arte. A suspensão do tempo e dos juízos reverberam sentidos e sensações que não cessam de nos dizer algo e atuam diretamente nas ações humanas, tanto para o bem quanto para o mal. Por isso, a singularidade da potência musical é incessantemente tematizada em nossa história.
From Nicanor Teixeira s musical work (1928...) this study aims to develop the possible relations between music, time and imaginary, as well as the specificity of musical art within its very existence. As a man born and raised in Bahia s backcountry his compositions brings us as much possibilities of the feeling sense as of thinking, which reconfigure life. There are in these telluric elements that drive us, amongst others, to musical landscapes of mills, of women peeling manioc, of cowboy caravans, of love stories and sacred or profane parties. Although, there is also in Teixeira s work the elements which escape the experienced chronology and that come from immemorial times which cannot be dated. From these circumstances this work will investigate the path that might connect through music the backcountry to the ancient Greeks. In this case, the numinous experience is the mystery that guides to art. The suspension of time and reasoning reverberate sense and feelings which do not cease to tell us something, and which act directly upon human actions, both for good and bad. That is why the uniqueness of musical power is unceasingly narrated in our history.
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Poncelet, Sanchez Clément. "Model-based testing real-time and interactive music systems." Thesis, Paris 6, 2016. http://www.theses.fr/2016PA066548/document.
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Est-il possible de tester automatiquement le comportement temporisé des systèmes interactifs temps réel ? Ces travaux proposent une solution en fournissant un ensemble d’outils de test basé sur modèles pour Systèmes Musicaux Interactifs (SMI). Les SMIs doivent calculer et réagir pendant une performance musicale et ainsi accompagner les musiciens. Certains de ces SMIs peuvent être basés sur partition et doivent, dans ce cas, suivre à tout prix les contraintes temporelles imposées par le document haut-niveau appelé partition. En somme, pendant une performance, le système doit réagir en temps réel aux signaux audio venant des musiciens en suivant cette partition. Ceci demande au système une forte fiabilité temporelle et une robustesse face aux erreurs pouvant arriver en entrée du système. Hors, la vérification formelle de propriétés, comme la fiabilité temporelle avant l’exécution du système lors d’une performance, est insuffisamment traitée par la communauté de l’informatique musicale. Nous présentons dans cette thèse, la réalisation d’un ensemble d’outils de test basé sur modèles appliqué à un SMI. Il est à noter que ces outils de test ont été définis formellement dans le but de tester plus généralement le comportement temporelle des systèmes interactifs temps réel prenant en compte des évènements discrets et des durées définissables sur des échelles multiples. Pour ce résumé nous présentons rapidement l’état de l’art de nos travaux avant d’introduire la définition de notre modèle créé pour spécifier les aspects évènementiel («event-triggerred») et temporel («timed-driven») des SMIs. Ce modèle a la particularité d’être automatiquement construit depuis les conditions temporelles définies dans un document haut-niveau et peut être traduit vers un réseau d’Automates Temporisés (TA). Dans le cadre de la performance musique mixte électronique/instrumentale nous avons introduit une notion de durée multi-temps gérée par notre modèle et une génération de trace d’entrée musicalement pertinente par notre ensemble d’outils de test. Pour tester un SMI selon les différentes attentes de l’utilisateur, notre ensemble d’outils a été implémenté avec plusieurs options possibles. Parmi ces options, la possibilité de tester automatiquement, selon une approche différée ou temps réel, la conformité temporelle du SMI est proposée. En effet, l’approche différée utilise des outils de la gamme du logiciel Uppaal [44] pour générer une suite de traces d’entrées exhaustive et garantir la conformité temporelle du système testé. Il est également possible de tester une trace d’entrée particulière ou une version altérée («fuzzed») de la trace idéale définie par la partition. L’approche temps réel interprète quand-à elle directement le modèle comme des instructions de byte-code grâce à une machine virtuelle. Finalement, des expériences ont été conduites via une étude de cas sur le suiveur de partition Antescofo. Ces expériences ont permis de tester ce système et d’évaluer notre ensemble d’outils et ses différentes options. Ce cas d’étude applique nos outils de test sur Antescofo avec succès et a permit d’identifier des bogues parfois non triviaux dans ce SMICan real-time interactive systems be automatically timed tested ? This work proposes an answer to this question by providing a formal model based testing framework for Interactive Music Systems (IMS). IMSs should musically perform computations during live performances, accompanying and acting like real musicians. They can be score-based, and in this case must follow at all cost the timed high-level requirement given beforehand, called score. During performance, the system must react in real-time to audio signals from musicians according to this score. Such goals imply strong needs of temporal reliability and robustness to unforeseen errors in input. Be able to formally check this robustness before execution is a problem insufficiently addressed by the computer music community. We present, in this document, the concrete application of a Model-Based Testing (MBT) framework to a state-of-the-art IMS. The framework was defined on purpose of testing real-time interactive systems in general. We formally define the model in which our method is based. This model is automatically constructed from the high-level requirements and can be translated into a network of time automata. The mixed music environment implies the management of a multi-timed context and the generation of musically relevant input data through the testing framework. Therefore, this framework is both time-based, permitting durations related to different time units, and event-driven, following the musician events given in input. In order to test the IMS against the user’s requirements, multiple options are provided by our framework. Among these options, two approaches, offline and online, are possible to assess the system timed conformance fully automatically, from the requirement to the verdict. The offline approach, using the model-checker Uppaal, can generate a covering input suite and guarantee the system time reliability, or only check its behavior for a specific or fuzzed input sequence. The online approach, directly interprets the model as byte-code instructions thanks to a virtual machine. Finally, we perform experiments on a real-case study: the score follower Antescofo. These experiments test the system with a benchmark of scores and a real mixed-score given as input requirements in our framework. The results permit to compare the different options and scenarios in order to evaluate the framework. The application of our fully automatic framework to real mixed scores used in concerts have permitted to identify bugs in the target IMS
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Poncelet, Sanchez Clément. "Model-based testing real-time and interactive music systems." Electronic Thesis or Diss., Paris 6, 2016. http://www.theses.fr/2016PA066548.
Full textAbstract:
Est-il possible de tester automatiquement le comportement temporisé des systèmes interactifs temps réel ? Ces travaux proposent une solution en fournissant un ensemble d’outils de test basé sur modèles pour Systèmes Musicaux Interactifs (SMI). Les SMIs doivent calculer et réagir pendant une performance musicale et ainsi accompagner les musiciens. Certains de ces SMIs peuvent être basés sur partition et doivent, dans ce cas, suivre à tout prix les contraintes temporelles imposées par le document haut-niveau appelé partition. En somme, pendant une performance, le système doit réagir en temps réel aux signaux audio venant des musiciens en suivant cette partition. Ceci demande au système une forte fiabilité temporelle et une robustesse face aux erreurs pouvant arriver en entrée du système. Hors, la vérification formelle de propriétés, comme la fiabilité temporelle avant l’exécution du système lors d’une performance, est insuffisamment traitée par la communauté de l’informatique musicale. Nous présentons dans cette thèse, la réalisation d’un ensemble d’outils de test basé sur modèles appliqué à un SMI. Il est à noter que ces outils de test ont été définis formellement dans le but de tester plus généralement le comportement temporelle des systèmes interactifs temps réel prenant en compte des évènements discrets et des durées définissables sur des échelles multiples. Pour ce résumé nous présentons rapidement l’état de l’art de nos travaux avant d’introduire la définition de notre modèle créé pour spécifier les aspects évènementiel («event-triggerred») et temporel («timed-driven») des SMIs. Ce modèle a la particularité d’être automatiquement construit depuis les conditions temporelles définies dans un document haut-niveau et peut être traduit vers un réseau d’Automates Temporisés (TA). Dans le cadre de la performance musique mixte électronique/instrumentale nous avons introduit une notion de durée multi-temps gérée par notre modèle et une génération de trace d’entrée musicalement pertinente par notre ensemble d’outils de test. Pour tester un SMI selon les différentes attentes de l’utilisateur, notre ensemble d’outils a été implémenté avec plusieurs options possibles. Parmi ces options, la possibilité de tester automatiquement, selon une approche différée ou temps réel, la conformité temporelle du SMI est proposée. En effet, l’approche différée utilise des outils de la gamme du logiciel Uppaal [44] pour générer une suite de traces d’entrées exhaustive et garantir la conformité temporelle du système testé. Il est également possible de tester une trace d’entrée particulière ou une version altérée («fuzzed») de la trace idéale définie par la partition. L’approche temps réel interprète quand-à elle directement le modèle comme des instructions de byte-code grâce à une machine virtuelle. Finalement, des expériences ont été conduites via une étude de cas sur le suiveur de partition Antescofo. Ces expériences ont permis de tester ce système et d’évaluer notre ensemble d’outils et ses différentes options. Ce cas d’étude applique nos outils de test sur Antescofo avec succès et a permit d’identifier des bogues parfois non triviaux dans ce SMICan real-time interactive systems be automatically timed tested ? This work proposes an answer to this question by providing a formal model based testing framework for Interactive Music Systems (IMS). IMSs should musically perform computations during live performances, accompanying and acting like real musicians. They can be score-based, and in this case must follow at all cost the timed high-level requirement given beforehand, called score. During performance, the system must react in real-time to audio signals from musicians according to this score. Such goals imply strong needs of temporal reliability and robustness to unforeseen errors in input. Be able to formally check this robustness before execution is a problem insufficiently addressed by the computer music community. We present, in this document, the concrete application of a Model-Based Testing (MBT) framework to a state-of-the-art IMS. The framework was defined on purpose of testing real-time interactive systems in general. We formally define the model in which our method is based. This model is automatically constructed from the high-level requirements and can be translated into a network of time automata. The mixed music environment implies the management of a multi-timed context and the generation of musically relevant input data through the testing framework. Therefore, this framework is both time-based, permitting durations related to different time units, and event-driven, following the musician events given in input. In order to test the IMS against the user’s requirements, multiple options are provided by our framework. Among these options, two approaches, offline and online, are possible to assess the system timed conformance fully automatically, from the requirement to the verdict. The offline approach, using the model-checker Uppaal, can generate a covering input suite and guarantee the system time reliability, or only check its behavior for a specific or fuzzed input sequence. The online approach, directly interprets the model as byte-code instructions thanks to a virtual machine. Finally, we perform experiments on a real-case study: the score follower Antescofo. These experiments test the system with a benchmark of scores and a real mixed-score given as input requirements in our framework. The results permit to compare the different options and scenarios in order to evaluate the framework. The application of our fully automatic framework to real mixed scores used in concerts have permitted to identify bugs in the target IMS
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Bidgood, Lee. "Seeking Information in Bluegrass, Old Time, and Country Music Studies." Digital Commons @ East Tennessee State University, 2016. https://dc.etsu.edu/etsu-works/1093.
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Thurmaier, David Paul. "Time and compositional process in Charles Ives's Holidays symphony /." Electronic version Electronic version Electronic version, 2006. http://wwwlib.umi.com/dissertations/dlnow/3220178.
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Scholfield, James. "Johnny Fourie: Once upon a time, an artistic life." Master's thesis, Faculty of Humanities, 2021. http://hdl.handle.net/11427/33956.
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Johnny Fourie is one of the greatest guitar players of our époque (McLaughlin quoted in Crossley, 2007:iii). This study looks at Fourie's later approach to the interpretation of three selected representative works from his recording Once Upon A Time. Although there is biographical detail available, there is very little in-depth analytical discussion or comparative study of his style and interpretation of repertoire. The purpose of this study is not a historical or bibliographic documentation but an analytical exploration of selected works from Fourie's final recording. Transcriptions and analysis occupy the majority of the study. The research focuses on the musical content of a specific period in Fourie's musical life. Biographical material is intended to reinforce Fourie's musical influences within the context of the material being analysed. The interpretation of his work in this context is the author's own workflow in understanding the material. A large part of developing an ability to improvise convincingly in the jazz artform is to emulate the defining individuals who have shaped it. The aural tradition is often the main conduit of learning and study. This process is an accepted method of artistic development and was especially valid in the South African musical context during the period under examination. There are very few studies on Fourie's improvisational approach or interpretation of the jazz repertoire especially in relation to his later work. Jonathan Crossley's biographical and analytical work Johnny Fourie and his influence on the development of the jazz guitar in South Africa is a comprehensive and well-documented look at Fourie's life through interviews with the subject as well as through colleagues and family. The work is divided into two parts, the first consisting of biographical material and the second a look at some of Fourie's general approaches to harmony and improvisation. This consists of a comprehensive analysis of one of Fourie's early chord melody interpretations of the jazz standard ‘My Foolish Heart'. The author's work is an extension of the analytical part of Crossley's work, exploring Fourie's later musical output with an emphasis on his harmonic and melodic developments, looking through the author's own prism as an active jazz guitarist and composer. By the time Once Upon A Time was released, Fourie's approach to harmony had evolved considerably and the album is a testament to this maturation. Working in relative isolation in his later years, it was only through a small network of close family, friends and musicians that his work was made available to the outside world. The main focus of this research will be to document and analyse Fourie's later musical output for the purposes of identifying stylistic traits inherent in his approach to improvisation and harmonic content as well as pinpointing his possible influences and inspirations through the transcription of melodic and harmonic content. The transcription process is also a crucial method of gathering musical information that can help inform and influence a musician's own approach to improvisation. The study is divided into three parts. Part I consists of an introduction, a glossary of useful terms and a short biography of the artist. Part II comprises analysis and the deconstruction of transcribed materials. Observations and musical influences are noted. Part III consists of a collection of melodic lines and chord voicings drawn from the transcriptions to create a lexicon of the artist's musical vocabulary. The author acknowledges that the study is limited to the selected works. The primary intention is to generate a conceptual understanding of Fourie's approach and improvisational vocabulary.
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Sudol, Jacob David. "Time fixtures." Thesis, McGill University, 2006. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=101832.
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Time Fixtures, a composition for chamber ensemble and electronics, attempts to provide some compelling perspectives on fixing a conception of time. The electronics feature six speakers placed symmetrically around the audience that broadcast live electronic transformations and pre-constructed audio files. The ensemble consists of eleven players: flute (doubling alto flute), oboe, B♭ clarinet (doubling bass clarinet), horn, percussion, harp, piano, MIDI keyboard (doubling crotale/tangkas placed out of sight of the audience), violin, viola, and violoncello. Performance also requires a conductor as well as a technician who operates a Max/MSP performance patch and the mixing board.
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Rives, David Michael. "Factors influencing performance standards for professional opera singers from 1600 to the present time." Connect to resource, 1993. http://rave.ohiolink.edu/etdc/view.cgi?acc%5Fnum=osu1244136822.
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Morgan, Christopher R. (Christopher Robert). "Circumfusion: a Composition for Real-Time Computer Music Spatialization System." Thesis, University of North Texas, 1998. https://digital.library.unt.edu/ark:/67531/metadc277632/.
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Two of the leading methodologies for spatializing audio over multiple channels include non-real-time multi-track tape and variations of real-time systems that often involve complex configurations of hardware. Of the latter, composers relying on MIDI as a control source have used pairs of sound modules, effects units and automation capable mixers to achieve spatialization over four loudspeakers. These systems typically employ intensity panning, Doppler shifts and reverberation.
The present research details the development of a compact spatialization system using a MAX patch controlling a Kurzweil K2500 sampler. This system supports real-time diffusion of up to six simultaneous sound files over eight loudspeakers while incorporating intensity panning, Doppler shifts, delays and filtering. The MAX patch allows composers to choose from several automatic sound spatialization trajectories or to use the mouse to draw and store their own trajectories for later playback. The piece,
Circumfusion, is an eighteen-minute composition of electroacoustic music utilizing this spatialization system.
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Sztein, Baremberg Gabriella Ana. "Musical time and recording technology: A perspective from music theory." Thesis, University of Ottawa (Canada), 1994. http://hdl.handle.net/10393/9595.
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This thesis deals with two categories of musical time, concrete and subjective, and the effect of recording technology on musical time. Concrete musical time can be measured in an objective way, for example, through reference to standards of time external to the listener, such as clocks. Subjective musical time refers to the musical time that cannot be measured objectively: it depends entirely on the listener who experiences the musical work. It is my conclusion that recording technology affects the concrete aspect of musical time, but not the subjective one. Chapter one defines the relationship between time and different forms of art, as well as the relationship between time and music. Chapter two defines concrete and subjective musical time. Chapter three discusses recording technology and the changes it imposes on the musical aesthetic ritual. By musical aesthetic ritual, I mean the agreed-upon physical actions which are related to the activities involving music and the experience of music. Chapter four explains the influence of recording technology on certain musical aesthetic ideas such as the reproduction of music, the completeness of the musical work, and the temporality of the musical work. Chapter five presents my conclusions with regards to the influence of recording technology on concrete and subjective musical time.
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Cheong, Yong Jeon. "Worlds of Musics: Cognitive Ethnomusicological Inquiries on Experience of Time and Space in Human Music-making." The Ohio State University, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=osu1555598154844572.
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Jurthe, Rick. "Parasite Future : Creation of an audio record and critical reflection on the production process with remarks on applying time management methods on creative work processes in music production." Thesis, Kungl. Musikhögskolan, Institutionen för musik- och medieproduktion, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-4116.
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The overall aim of this master project was to create an audio record consisting of seven tracks that are both cohesive and very individual at the same time. The pieces are thought to showcase the diversity of my creative identity as a composer and music producer and will represent my individual way of composing and producing music freed from all external influences in the best way possible. This written part of the thesis is a documentation and critical reflection as well as investigation of the creation process: from sorting out the original material, writing, producing and arranging over to mixing and mastering. The observations I make are the essential part of investigating my own creative identity as a music producer and composer. In addition to the audio record and its critical reflection, this thesis will also state remarks on three time management methods I apply onto my creation process in order to observe their effects on my working routine.Det övergripande målet för detta examensarbete var att skapa en ljudinspelning bestående av sju låtar som är både sammanhängande och mycket individuella samtidigt. Låtarna ska presentera mångfalden av min kreativa identitet som kompositör och musikproducent och ska representera mitt individuella sätt att komponera och producera musik befriad från alla yttre influenser på bästa möjliga sätt. Denna masteruppsats är en dokumentation och kritisk reflektion samt en undersökning av skapandeprocessen: från att sortera ur originalmaterialet, skriva, producera och arrangera till mixning och mastering. Observationerna jag gör är den väsentliga delen av att undersöka min egen kreativa identitet som musikproducent och kompositör. Förutom ljudinspelningen och dess kritiska reflektion kommer denna masteruppsats också att ge kommentarer om tre metoder för time management som jag använder under min skapandeprocess för att observera effekterna på min arbetsrutin.
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Olson, Ted. "'Can You Sing Or Play Old-Time Music?': The Johnson City Sessions." Digital Commons @ East Tennessee State University, 2013. https://dc.etsu.edu/etsu-works/1111.
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Haley, Margaret Anne. "Drawing sound in time : a commentary on my recent music." Thesis, University of Huddersfield, 2010. http://eprints.hud.ac.uk/id/eprint/9088/.
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Drawing Sound in Time reflects on how I have attempted, in the music written over the period of my doctoral studies (2004-2010) to use time as a basis for the mapping of sonic activity and how this aesthetical concern has helped me develop a teleological approach to form and structure. The shaping of time in my work often has its origins in the visual, either from my own drawings or from other visual stimuli. As well as considering the visual appearance of my music, I will draw on the correlation of music and art by abstract painters (most notably Paul Klee) alongside composers Iannis Xenakis and John Cage whose philosophy represent for me a way forward, not only aesthetically but also on a technical level. Additionally, the discussion will refer to astronomy as certain aspects of the subject relate to the development of techniques in my compositional language, and furthermore will often draw on the titles of the pieces (stars and constellations) as a basis for generating materials. I will address in particular the use of coding in my music that is an integral part of the way I work. My commentary will examine the main aspects of my musical language using examples from selected works in the accompanying portfolio.
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Meier, Max. "Algorithmic composition of music in real-time with soft constraints." Diss., Ludwig-Maximilians-Universität München, 2014. http://nbn-resolving.de/urn:nbn:de:bvb:19-180405.
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Music has been the subject of formal approaches for a long time, ranging from Pythagoras’ elementary research on tonal systems to J. S. Bach’s elaborate formal composition techniques. Especially in the 20th century, much music was composed based on formal techniques: Algorithmic approaches for composing music were developed by composers like A. Schoenberg as well as in the scientific area. So far, a variety of mathematical techniques have been employed for composing music, e.g. probability models, artificial neural networks or constraint-based reasoning. In the recent time, interactive music systems have become popular: existing songs can be replayed with musical video games and original music can be interactively composed with easy-to-use applications running e.g. on mobile devices. However, applications which algorithmically generate music in real-time based on user interaction are mostly experimental and limited in either interactivity or musicality. There are many enjoyable applications but there are also many opportunities for improvements and novel approaches.
The goal of this work is to provide a general and systematic approach for specifying and implementing interactive music systems. We introduce an algebraic framework for interactively composing music in real-time with a reasoning-technique called ‘soft constraints’: this technique allows modeling and solving a large range of problems and is suited particularly well for problems with soft and concurrent optimization goals. Our framework is based on well-known theories for music and soft constraints and allows specifying interactive music systems by declaratively defining ‘how the music should sound’ with respect to both user interaction and musical rules. Based on this core framework, we introduce an approach for interactively generating music similar to existing melodic material. With this approach, musical rules can be defined by playing notes (instead of writing code) in order to make interactively generated melodies comply with a certain musical style. We introduce an implementation of the algebraic framework in .NET and present several concrete applications: ‘The Planets’ is an application controlled by a table-based tangible interface where music can be interactively composed by arranging planet constellations. ‘Fluxus’ is an application geared towards musicians which allows training melodic material that can be used to define musical styles for applications geared towards non-musicians. Based on musical styles trained by the Fluxus sequencer, we introduce a general approach for transforming spatial movements to music and present two concrete applications: the first one is controlled by a touch display, the second one by a motion tracking system. At last, we investigate how interactive music systems can be used in the area of pervasive advertising in general and how our approach can be used to realize ‘interactive advertising jingles’.Musik ist seit langem Gegenstand formaler Untersuchungen, von Phytagoras‘ grundlegender Forschung zu tonalen Systemen bis hin zu J. S. Bachs aufwändigen formalen Kompositionstechniken. Vor allem im 20. Jahrhundert wurde vielfach Musik nach formalen Methoden komponiert: Algorithmische Ansätze zur Komposition von Musik wurden sowohl von Komponisten wie A. Schoenberg als auch im wissenschaftlichem Bereich entwickelt. Bislang wurde eine Vielzahl von mathematischen Methoden zur Komposition von Musik verwendet, z.B. statistische Modelle, künstliche neuronale Netze oder Constraint-Probleme. In der letzten Zeit sind interaktive Musiksysteme populär geworden: Bekannte Songs können mit Musikspielen nachgespielt werden, und mit einfach zu bedienenden Anwendungen kann man neue Musik interaktiv komponieren (z.B. auf mobilen Geräten). Allerdings sind die meisten Anwendungen, die basierend auf Benutzerinteraktion in Echtzeit algorithmisch Musik generieren, eher experimentell und in Interaktivität oder Musikalität limitiert. Es gibt viele unterhaltsame Anwendungen, aber ebenso viele Möglichkeiten für Verbesserungen und neue Ansätze. Das Ziel dieser Arbeit ist es, einen allgemeinen und systematischen Ansatz zur Spezifikation und Implementierung von interaktiven Musiksystemen zu entwickeln. Wir stellen ein algebraisches Framework zur interaktiven Komposition von Musik in Echtzeit vor welches auf sog. ‚Soft Constraints‘ basiert, einer Methode aus dem Bereich der künstlichen Intelligenz. Mit dieser Methode ist es möglich, eine große Anzahl von Problemen zu modellieren und zu lösen. Sie ist besonders gut geeignet für Probleme mit unklaren und widersprüchlichen Optimierungszielen. Unser Framework basiert auf gut erforschten Theorien zu Musik und Soft Constraints und ermöglicht es, interaktive Musiksysteme zu spezifizieren, indem man deklarativ angibt, ‚wie sich die Musik anhören soll‘ in Bezug auf sowohl Benutzerinteraktion als auch musikalische Regeln. Basierend auf diesem Framework stellen wir einen neuen Ansatz vor, um interaktiv Musik zu generieren, die ähnlich zu existierendem melodischen Material ist. Dieser Ansatz ermöglicht es, durch das Spielen von Noten (nicht durch das Schreiben von Programmcode) musikalische Regeln zu definieren, nach denen interaktiv generierte Melodien an einen bestimmten Musikstil angepasst werden. Wir präsentieren eine Implementierung des algebraischen Frameworks in .NET sowie mehrere konkrete Anwendungen: ‚The Planets‘ ist eine Anwendung für einen interaktiven Tisch mit der man Musik komponieren kann, indem man Planetenkonstellationen arrangiert. ‚Fluxus‘ ist eine Anwendung, die sich an Musiker richtet. Sie erlaubt es, melodisches Material zu trainieren, das wiederum als Musikstil in Anwendungen benutzt werden kann, die sich an Nicht-Musiker richten. Basierend auf diesen trainierten Musikstilen stellen wir einen generellen Ansatz vor, um räumliche Bewegungen in Musik umzusetzen und zwei konkrete Anwendungen basierend auf einem Touch-Display bzw. einem Motion-Tracking-System. Abschließend untersuchen wir, wie interaktive Musiksysteme im Bereich ‚Pervasive Advertising‘ eingesetzt werden können und wie unser Ansatz genutzt werden kann, um ‚interaktive Werbejingles‘ zu realisieren.
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Voglewede, Matthew J. "Toward a perceptual-cognitive account of double-time feel in jazz." Thesis, University of Oregon, 2013. http://pqdtopen.proquest.com/#viewpdf?dispub=1542974.
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The New Grove Dictionary of Jazz defines "double time" as "the apparent doubling of the tempo […] achieved by halving the prevailing note value." A more precise term for this concept is "double-time feel." The question of how a musical performance creates double-time feel has received little scholarly attention. Grove's explanation is incomplete because "halving the prevailing note value" is sometimes perceived by listeners as diminution within an unchanged tempo. My hypothesis is that swing rhythm, pervasive in many styles of jazz, not only facilitates the use of double-time feel but allows for subtle gradations in its use. I offer a model that classifies rhythms according to how strongly they support (or undermine) a double-time feel in a swing rhythm context, and I apply the model to performances by Louis Armstrong and Lee Morgan. My analysis demonstrates these artists' fine-grained control over double-time feel and suggests directions for future research.
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Hunt, Andrew David. "Radical user-interfaces for real-time musical control." Thesis, University of York, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.313958.
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Larke, Kevin. "Real time vibraphone pitch and timbre classification /." Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 2008. http://wwwlib.umi.com/cr/ucsd/fullcit?p1459923.
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Thesis (M.A.)--University of California, San Diego, 2008.Title from first page of PDF file (viewed Jan. 12, 2009). Available via ProQuest Digital Dissertations. Includes bibliographical references: P. 42-44.
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Olson, Ted. "On Top of Old Smoky: New Old-Time Smoky Mountain Music." Digital Commons @ East Tennessee State University, 2016. https://www.amzn.com/B01KTGIKCY.
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Olson, Ted. "Old Time and Bluegrass: Two Main Strains of Music Along The Crooked Road." Digital Commons @ East Tennessee State University, 2016. https://dc.etsu.edu/etsu-works/1206.
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Herzfeld, Gregor. "Zeit als Prozess und Epiphanie in der experimentellen amerikanischen Musik : Charles Ives bis La Monte Young." Stuttgart Steiner, 2007. http://bvbr.bib-bvb.de:8991/F?func=service&docl̲ibrary=BVB01&docn̲umber=015759238&linen̲umber=0001&funcc̲ode=DBR̲ECORDS&servicet̲ype=MEDIA.
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Beaudreau, Pierre. "Recent contributions to the phenomenology of musical time : a critical survey." Thesis, McGill University, 1989. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=100198.
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The application of phenomenological methods to the analysis of musical time is a recent development in the field of music theory. Phenomenological analyses of music take as their point of departure music as a "heard" phenomenon. This thesis provides a critical survey of the differing ways music theorists have applied phenomenology to the investigation of musical time. After presenting a general overview of the philosophical discipline of phenomenology itself, the thesis considers the work of three theorists, Judy Lochhead, Thomas Clifton, and David Lewin, who adopt a phenomenological approach to issues of time in music. The final chapter considers some approaches to issues of musical time by two theorists, Christopher F. Hasty and Jonathan D. Kramer, who are not explicitly phenomenologists, but whose works are implicitly phenomenological in orientation.Un dévelopment récent dans le domaine de la théorie musicale est l’application des méthodologies phénomenologiques de l’analyse du temps musical. Une analyse phénomenologique de la musique prend, comme point de départ, la musique comme phénomene “auditif.” Cette thèse fournit une étude critique des diverses façons par lesquelles les théoriciens de lp musique ont appliqué la phénomenologie à l’analyse du temps musicale. Je commence mon étude par une présentation générale de la discipline philosophique de la phénomenologie.et ensuite je considère le travail de trois théoriciens, Judy Lochhead, Thomas Clifton, et David Lewin, qui ont adopté une démarche phénomenologique aux questions du temps dans la musique. Dans le dernier chapitre, je considère certaines études du temps musicale faites par deux autres théoriciens, Christopher F. Hasty et Jonathan D. Kramer. Malgré le fait que ces derniers ne sont pas d’abords des phénomenologistes, certains aspects de leur travail peuvent néanmoins être considérés comme implicitement phénomenologique en caractère.
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Guimond, David. "(Re)sounding : disintegrating visual space in music." Thesis, McGill University, 2007. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=102803.
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While the groundbreaking insights that contemporary theorists have formulated with regards to space---as a multiplicity without essence, as an active event, and as inseparable from subjectivity, power, Otherness and time---have ostensibly purged it of its traditional understanding as absolute, a specific visuality characteristic of Cartesian perspectivalism remains privileged in its theorization which force it to remain so. While the complexity of space cannot be recovered from an abstract contemplation of its visual geometry in a way that reflects these contemporary concerns, there have unfortunately been relatively few attempts to imagine space away from the visual in a way that challenges its traditional absoluteness. To this end, it is argued that because sound and music contain implicit and explicit spatialities, the sonic represents a rich and unexplored area from which to imagine a radical non-visual space that discursively organizes space according to a different economy through which to challenge its assumed visuality. And yet, even when space has been approached through sound, there is a tendency to exteriorize sound into an object or a set of practices that robs it of its defining quality---its own "soundfulness". By breaking down those factors that are considered salient to how space is conceived today along sonic rather than visual lines, the argument is made that the "soundfulness" of sound's physical properties gives it a complex texture of excess that is corporealized within the body and forwards the philosophical possibility of unfolding the spatiality of sound according to vectors beyond the visible in a way that, while reflecting contemporary concerns, prevents its return to absoluteness. To take seriously this "soundfulness" thus allows us to recuperate the sonic as a philosophical and political way of experiencing and knowing the world, including that of space. The arguments, as well as being drawn from the insights of contemporary spatial theory, the physics of sound, the phenomenology of listening, rhizomatic and feminist theory, quantum mechanics and musicology, will be explained through an understanding of space as sound and exemplified in The Disintegration Loops, a post-minimalist musical piece by sonic artist William Basinski.
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Refaat, Malik. "A reaction time investigation of absolute pitch." Thesis, University of Warwick, 2014. http://wrap.warwick.ac.uk/60499/.
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Absolute Pitch (AP) is the ability to identify a musical note without the use of an external reference. The literature focusses on the accuracy of AP possessors and not on reaction times (RTs) in identifying musical notes. Investigating RT differences between observers with and without AP will further our understanding of the processes involved in AP. This thesis aimed to investigate the RTs of AP possessors and provide a new account of the cognitive mechanisms involved in AP. Three studies were conducted. The first was a tone identification study which was designed to identify RT profiles for AP possessors in comparison to non-AP possessors (NAP possessors).This study was designed to show that AP possessors were quicker and more accurate than NAP possessors in tone identification and that they identified each note of a chromatic scale with varying degrees of difficulty. The RT profile indicates that some notes are identified quicker than others and a relative process was used to identify some notes. The second was an interval identification study which was designed to identify the strategy used by AP possessors in interval identification to identify if an AP or RP strategy was used. The results showed intervals were identified with a similar RT profile to tones indicating a relative process used for both notes and interval identification. The data from these two studies was used to construct the first formal model of absolute pitch (the Multiple Reference Pitch Model) which provides an explanation of AP using three reference points and a relative strategy. The third study aimed to test this model by inducing anchors into participants and developing a sense of relative judgment. Further directions and limitations are discussed in the final chapter. These include the use of a case study design with only three participants and further applications of the model in other domains in Psychology.
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Surges, Gregory. "Generative Audio Systems| Musical Applications of Time-Varying Feedback Networks and Computational Aesthetics." Thesis, University of California, San Diego, 2015. http://pqdtopen.proquest.com/#viewpdf?dispub=3741016.
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This dissertation is focused on the development of generative audio systems - a term used describe generative music systems that generate both formal structure and synthesized audio content from the same audio-rate computational process. In other words, a system wherein the synthesis and organizational processes are inseparable and operate at the sample level.
First, a series of generative software systems are described. These systems each employ a different method to create generativity and, though they are not strictly generative audio systems, they lay important groundwork for the rest of the discussion as ideas from and contributions to the fields of generative algorithmic composition, computational aesthetics, music information dynamics, and digital signal processing are introduced.
Second, the dissertation investigates the use of a novel signal processing technique in which time-varying allpass filters are placed into feedback networks, producing synthesis structures capable of yielding interesting emergent sonic behaviors. Ideas from the field of computational aesthetics are employed to allow a large system built from these synthesis structures to become “aesthetically aware”. Many theories about computational aesthetics center around a favorable balance between order and complexity in a stimulus - a successful artistic work is neither too orderly nor too complex. Using a model of human perception based on the “mere exposure” effect, which describes how listener appreciation and boredom change as they experience repeated exposure to a stimulus, the AAS-4 system autonomously determines when and how to modify its own parameters to avoid repetitions that may lead to boredom in listeners.
The dissertation concludes with objective analysis of the generative system by considering the complexity of its output from an information-theoretic perspective. It was found that the generative audio system described here is capable of producing output with equivalent complexity to that of real-world musical examples. It is also shown that the level of complexity in the generated audio and real-world examples falls in-between the low complexity of silence and sinusoids and the maximal complexity of white noise, corresponding with the theories from computational aesthetics. Future directions of this work are also described. Two appendices describing related topics that would disrupt the flow of the dissertation are included.
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Parviainen, Roland. "On large scale real time music distribution : security, reliability and heterogeneity." Licentiate thesis, Luleå tekniska universitet, Datavetenskap, 2001. http://urn.kb.se/resolve?urn=urn:nbn:se:ltu:diva-25855.
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This thesis presents a system for real-time large scale distributed music distribution, such as radio on the Internet. The existing technologies do not enable the full potential that broadcast media on the Internet can give, such as a very large number of interactive receivers. A technology that can help achieve potential is IP-multicast, which enables broadcast applications to scale to millions of receivers. However, IP-multicast creates new problems that have to be solved for it to be used on the Internet; some of these problems are addressed in this thesis. The system presented in this thesis, mIR - multicast Interactive Radio, has been used as a prototype to implement and examine different solutions to some of the issues of IP-multicast and real time music distribution. These are problems such as heterogeneity, reliability and security. Heterogeneity and reliability are different aspects of the same problem: that IP-multicast is an unreliable Internet transport mechanism. In this thesis different methods for avoiding these problems are described and evaluated. Security in the context of IP-multicast has many aspects. While the problems of confidentiality and authentication have been extensively examined, there are still a few unresolved problems. One of these problems is traitor tracing: how to know the origin of illegal copies of a media object such as a radio transmission. An application of digital watermarking, fingerprinting, can be used to distinguish between different copies of the same media object, but requires that each copy is individually marked. This contradicts the basic property of multicast that ensures its scalability: that everyone receives exactly the same data. We show how we can combine the different goals of fingerprinting and IP-multicast while still maintaining the scalability features of multicast.Godkänd; 2001; 20070313 (ysko)
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Shouse, Jennifer Lauren Ferguson Paul Harry. "Time traveling, re-bodying and collaborating through narrative theatre with music." Chapel Hill, N.C. : University of North Carolina at Chapel Hill, 2006. http://dc.lib.unc.edu/u?/etd,332.
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Thesis (M.A.)--University of North Carolina at Chapel Hill, 2006.Title from electronic title page (viewed Oct. 10, 2007). "... in partial fulfillment of the requirements of the degree of Master of Arts in the Department of Communication Studies (Performance Studies). Discipline: Communication Studies; Department/School: Communication Studies. Includes a supplemental video.
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Wan, Xiaogeng. "Time series causality analysis and EEG data analysis on music improvisation." Thesis, Imperial College London, 2014. http://hdl.handle.net/10044/1/23956.
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This thesis describes a PhD project on time series causality analysis and applications. The project is motivated by two EEG measurements of music improvisation experiments, where we aim to use causality measures to construct neural networks to identify the neural differences between improvisation and non-improvisation. The research is based on mathematical backgrounds of time series analysis, information theory and network theory. We first studied a series of popular causality measures, namely, the Granger causality, partial directed coherence (PDC) and directed transfer function (DTF), transfer entropy (TE), conditional mutual information from mixed embedding (MIME) and partial MIME (PMIME), from which we proposed our new measures: the direct transfer entropy (DTE) and the wavelet-based extensions of MIME and PMIME. The new measures improved the properties and applications of their father measures, which were verified by simulations and examples. By comparing the measures we studied, MIME was found to be the most useful causality measure for our EEG analysis. Thus, we used MIME to construct both the intra-brain and cross-brain neural networks for musicians and listeners during the music performances. Neural differences were identified in terms of direction and distribution of neural information flows and activity of the large brain regions. Furthermore, we applied MIME on other EEG and financial data applications, where reasonable causality results were obtained.
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Cultan, Paul. "Different Every Time: The Integration of Improvisation into Through-Composed Music." Thesis, The University of Sydney, 2012. http://hdl.handle.net/2123/9825.
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The aim of this research project has been to write a portfolio of compositions which integrate improvisation with through-composed contemporary classical techniques. The intended result is that the improvised elements aid the development and outcome of the musical argument and help contribute to the architectural structure of each piece in performance. The stylistic elements and structure of the compositions should embrace the aesthetics of improvisation in a way that promotes both coherence and flexibility. Although the written score is an important document of the composer’s intentions, equal importance is placed on the process of creative realisation. It is in performance that the benefits of improvisation can be evaluated in each piece. These will include elements of spontaneity, a heightened sense of engagement of both performers and audience, and unpredictable outcomes. Above all, the integration of improvisation into the compositions will lead to each perform ance being a unique experience.
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Wade, Amanda. "Minimizing the Time of Day Effect Through the Use of Background Music." TopSCHOLAR®, 2004. http://digitalcommons.wku.edu/theses/537.
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The time of day effect has been said to be involved with optimal arousal levels during an individual's preferred time of day. In the present study, invigorating background music was used to increase the arousal level of older adults in the afternoon in order to minimize the time of day effect that can be seen in test performance. The results indicated that invigorating background music had no significant effect on scores of a memory recognition task for older or younger adults. However, younger adults performed better than older adults in all testing combinations, older adults had significantly more false alarms than younger adults, and both younger and older adults performed the recognition task at a faster pace when music was present in the background.