Bibliographies thématiques / Expanded music

Littérature scientifique sur le sujet « Expanded music »

Auteur : Grafiati
Publié le 18 mai 2024

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Articles de revues sur le sujet "Expanded music"

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de la Motte-Haber, Helga. « Expanded Film ‒ Expanded Sound ». Archiv für Musikwissenschaft 69, no 3 (2012) : 207–17. http://dx.doi.org/10.25162/afmw-2012-0019.

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Irlandini, Luigi Antonio. « Expanded Modal Rhythm ». Revista Vórtex 5, no 1 (30 juin 2017) : 1–24. http://dx.doi.org/10.33871/23179937.2017.5.1.1859.

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This article is written by a composer on his own music. It describes a set of rhythmic organization principles used in my compositional research since 1989. These principles greately expand what is traditionally known as "modal rhythm" , which appears for the first time in the music of the 12th century polyphonists of the Notre Dame School: Leoninus and Perotinus. For this reason, I call this group of rhythmic principles "expanded modal rhythm" . They are a part of a larger context of temporal organization principles designed to generating ametric textures, complex polyrhythm and cross rhythms, and certain desired types or rhythmic flow. I use examples taken from four of my compositions.
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Laes, Tuulikki, et Heidi Westerlund. « Performing disability in music teacher education : Moving beyond inclusion through expanded professionalism ». International Journal of Music Education 36, no 1 (14 mai 2017) : 34–46. http://dx.doi.org/10.1177/0255761417703782.

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Disability is a neglected field of diversity within music education scholarship and practices. The study reported in this article sought alternatives for the hierarchical practice-model and ableist discourses that have thus far pervaded music teacher education, through a reconceptualization of expertise. The focus is on a Finnish university special education course, where musicians with learning disabilities conducted workshops for student music teachers over three consecutive years. Student teachers’ written reflections ( n = 23) were reflexively analyzed in order to examine how performing disability may disrupt, expand, and regenerate normative discourses and transform inclusive thinking in music teacher education. Performing disability is here seen to generate critical discursive learning, and create third spaces for pedagogical diversity and the co-construction of professional knowledge. It is thus argued that through teaching with, and by, rather than about, we in music education may move beyond normalizing understandings and practices of inclusion, towards an expanded notion of professionalism.
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Cole, William Davy. « TOUCH AS A MODEL FOR EXPANDED MUSICAL FORM ». Tempo 73, no 287 (24 décembre 2018) : 62–70. http://dx.doi.org/10.1017/s0040298218000657.

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AbstractTouch is world-directed, temporally extended, exploratory contact and movement. It was by modelling his theory of perception on touch that Alva Noë was able to show (inAction in Perception, 2006) that perceptual experience acquires content through our physical interactions with the world, that the detail we perceive in the world ‘is experienced by us asout there, not asin our minds’ (p. 33). In this essay, I share some thoughts on how understanding musical experience on these terms, as touch-like, may be a useful means of looking past the work-concept to the wider field of musical possibilities beyond. I begin by briefly considering the phenomenology of touch, which serves as the basis for the argument that follows.
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Powell, Bryan. « Community music interventions, popular music education and eudaimonia ». International Journal of Community Music 00, no 00 (24 février 2021) : 1–23. http://dx.doi.org/10.1386/ijcm_00031_1.

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The fields of community music and popular music education have expanded rapidly over the past few decades. While there are many similarities between these two fields, there are aspects that set these two areas of practice apart. This article seeks to explore the intersections of community music interventions and popular music education to explain how they are similar and in which ways they are unique. This discussion centres on examinations of facilitation, ownership of music, training and certification, inclusivity, life-long music making, amateur engagement, informal learning and non-formal education, and social concerns. The Greek philosophy of eudaimonism, understood as ‘human flourishing’ is then used to explore the opportunities for human fulfilment through popular music education and community music approaches.
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Guez, Jonathan. « Process and Pendulum in Schubert's Expanded Type 1 Sonatas ». Music Analysis 40, no 2 (juillet 2021) : 147–77. http://dx.doi.org/10.1111/musa.12172.

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Smith, Neil T. « Alessandro Perini - Alessandro Perini, The Expanded Body. Kairos, 0015061 KAI. » Tempo 76, no 301 (juillet 2022) : 99–100. http://dx.doi.org/10.1017/s004029822200016x.

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G'Froerer, Callum. « WEAVING AN EXPANDED SONIC PRACTICE : PROPOSING A TEXTILIC SONIC METHOD ». Tempo 77, no 306 (1 septembre 2023) : 7–21. http://dx.doi.org/10.1017/s0040298223000311.

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AbstractThis article discusses the way textile metaphors can act as catalysts for reflection in my practice as a trumpet performer and composer. Metaphors such as ‘fibre’, ‘spin’, ‘yarn’, ‘ply’, ‘weave’, ‘loom’, ‘drape’ and ‘felt’ are engaged as lenses through which the dynamic, contingent and tailorable interactions are made between sonic and extra-sonic elements in my expanded practice. The metaphors are engaged to shape instrumental techniques, improvisation, form, audiovisual media, physicality and spatial design. In this article, I describe how I developed my own expanded sonic practice by using Tim Ingold's concept of ‘textility’, expressed as a Textile Sonic Method (TSM). I demonstrate the application of this method using a subset of textile metaphors as the basis for the development of new double-bell trumpet techniques and applications in a range of compositions: Gradient (2020–23), for double-bell trumpet, live video and sound processing, co-composed with Olivia Davies and Nick Roux; Untitled (2021), for double-bell trumpet, portative organ and electronics, co-composed with James Rushford; and my own work Charcoal VI (2017), for spatialised, amplified double-bell trumpet. This article outlines the potential for the application of metaphor as a creative catalyst in an expanded sonic practice.
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Harley, James. « Peter Manning : Electronic and Computer Music, Revised and Expanded Edition ». Computer Music Journal 28, no 4 (décembre 2004) : 93–95. http://dx.doi.org/10.1162/comj.2004.28.4.93.

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Goodall, Mark. « Auto Jazz : Barney Wilen and the expanded soundtrack ». Soundtrack, The 14, no 1 (1 juin 2023) : 37–50. http://dx.doi.org/10.1386/ts_00020_1.

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This article offers a close analysis of the 1968 ‘soundtrack’ LP Auto Jazz: Tragic Destiny of Lorenzo Bandini (MPS) by the French saxophone player Barney Wilen. The theme of the LP is Italian racing driver Lorenzo Bandini’s death in a motor racing accident at the Grand Prix Automobile de Monaco in 1967. The article also discusses the visual dimension of the work; image materials were originally to have been presented with the recording to make Auto Jazz a multi-media experience. We tend to associate the late 1960s with revolutionary jazz, free jazz and experiments with jazz form and Auto Jazz: Tragic Destiny of Lorenzo Bandini is certainly ‘far out’. Jazz music at this time took on revolutionary tendencies both aurally and ideologically. However, it is not the politics of such countercultural acts that the recording expresses but rather (as a unique soundscape with elements of musique concrète) the emotional impact of a tragic real-life event through organized sound. The article examines the context for the LP: the development of ‘new wave’ cinema and use of jazz in this form, the concurrent revolution in modern jazz and contemporary experimental music and the form of ‘expanded cinema’ () that Auto Jazz: Tragic Destiny of Lorenzo Bandini was conceived to a contribution to.
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Thèses sur le sujet "Expanded music"

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Cole, William Davy. « Expanded musical form ». Thesis, City, University of London, 2018. http://openaccess.city.ac.uk/20829/.

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This project presents a model of expanded musical form. Arguing that music’s expanded field is a field of experiences, rather than of discrete things, it sets out an approach to composition that centres not on the creation of aesthetic works, but on supporting an aesthetic attitude. Integrating theory and practice, this research endeavours to give definition to an attitude that apprehends music as experience. Under this attitude, the perceiver assumes no distance from the perceived as she produces the content of her musical experience in and through her dynamic bodily interactivity. This project comprises a thesis and four ephemeral performance sound installations. The thesis sets out the terms of music’s expanded condition, drawing upon a range of disciplines – artistic, aesthetic, philosophical – to chart the pluralistic, indeterminate, open-ended structure of the expanded field. The performance sound installations explored the operations of expanded artistic practice, critiquing conceptual, ideological, and institutional terms of music and sound installation to foreground the productivity of the perceiver. In both theory and practice, this research contests the concept of “sound art” as a distinct category. It makes the case that expanded musical form is not a break with the musical past, but its background made focal. It proposes that the presence, physicality, and place in which expanded musical form consists are music’s always presupposed foundation.
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Guerra, Stephen Paul. « Expanded Meter and Hemiola in Baden Powell's Samba-Jazz ». Thesis, Yale University, 2018. http://pqdtopen.proquest.com/#viewpdf?dispub=10957326.

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Afro-Brazilian guitarist-composer Baden Powell de Aquino (1937-2000), one of Brazil's earliest and most successful international musicians, is renowned for his inexplicable rhythmic style. This is especially true in the context of instrumental samba, or samba-jazz, which emerged in the late-night music clubs of 1950s-60s Rio de Janeiro. Samba-jazz engages a set of normative expectations: (1) a theme-and-variations performance involving a (2) cyclic scheme of regular and even chord changes comprising (3) a form of often 16 or 32 bars traditionally conceived of as being in duple meter (e.g. 2/4), where (4) improvised variations track the chord changes of the form. Against this recursively even, duple-meter background, Baden's chord-melodic improvisations frequently foreground dotted or asymmetrical rhythms that, in their interaction with the duple frame, suggest uneven periodicities. This study argues that such uneven regularities can, under certain conditions, be defined as metric and as such can be treated as participating in generalized hemiolas of the background form's meter. This two-fold expansion of meter and hemiola leads to the discovery of a much larger and more variegated abstract space constituted by the even and uneven metric possibilities for a given span of musical time.

This dissertation consists in two complementary projects. The theoretical project expands current theories of meter, hemiola, and metric space, as most recently defined by Richard Cohn (2018), to incorporate Justin London's (2012) theory of non-isochronous meters. The analytical project explores the richness of Baden's rhythmic art–it's metric implications and relationship to tropes of samba-jazz.

Through an exploratory analysis of "É de lei," Chapter 1 shows why we should and how we can expand current meter theory, while introducing the reader to Baden Powell and his musical context of Brazilian samba and samba-jazz. Chapter 2 is a formal exposition of the expanded theory of meter, hemiola, and metric space. Using the language and representations of mathematical set and graph theories, it builds analogous (to Cohn 2001) analytical models of hemiola and metric space from the ground up upon an expanded and revised definition of meter that allows for both isochrony and well-formed non-isochrony. Through a series of shorter examples, including passages from "Tristeza," "A lenda do Abaeté," and "Canto de Xangô," Chapter 3 defines, contextualizes, and analyzes four of the most prevalent rhythmic tropes of samba-jazz, while building some basic familiarity with the method of the analytical model. Chapter 4 considers larger examples organized around the idea of harmonic quantization, including extended improvisations from "Samba triste," "Conversa de poeta," and "O barquinho." It seeks to understand the metric implications of how Baden in theme-and-variations form can simultaneously support the 2/4 bar-to-bar chord changes required by the harmonic form of the theme while soloing with long extensions of dotted chord-melodies. Chapters 3 and 4 gradually increase the tempo and scope of analysis–from a few bars to entire form variations. Chapter 5 analyzes an entire recording, the afro-samba "Candomblé," principally asking how metric change and hemiola influence our perception of musical form, especially in the absence of more traditional form-defining parameters.

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McGuire, Paul. « Composing with an expanded instrumental palette ». Thesis, Brunel University, 2015. http://bura.brunel.ac.uk/handle/2438/12690.

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This thesis is comprised of a portfolio of musical compositions with accompanying media and a written commentary. In each of the seven compositions, the timbral palettes of musical instruments have been expanded through unconventional physical manipulation. The written commentary presents, in detail, specific examples of how this has been achieved. Alongside descriptions of the work in question, select aspects of other composers' music that approach a similar aesthetic are also referred to. In addition, the fundamental role technology has played in the creation or realisation of certain pieces is addressed. Also included are descriptions of the various customised notational systems used throughout the portfolio. It is outlined how each of these systems has been constructed in a clear and practical manner and, where possible, has incorporated elements derived from the lingua franca in order to communicate the required information as efficiently as possible to the performers.
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Alvim, Diogo. « Music through architecture : contributions to an expanded practice in composition ». Thesis, Queen's University Belfast, 2016. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.703888.

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This research is an inquiry into how architecture can inform the practice of composition. As an architect and composer, I try to find strategies for musical composition In architectural practice and thought, by reframing and confronting concepts from both disciplines. My research aims at an expanded practice (and analysis) of musical creation that transverses different conceptions of space-from the score based pitch space to the social and political spaces of music's production, performance and reception. This practice based PhD research consists of a portfolio of nine works that were developed in a dialectical relation to these ideas. The works are presented in a framework composed of five conceptual tools used to articulate music and architecture. These are; Material, Site. Drawing, Programme and Use. With the notion of Material. I explore how the acoustic behaviour of a performance space, or of a performatlve device' affects the musical work. Architectural materials become musical ones as they are implicated in the listening experience. The discussion about Site brings to music the notions of place. the local, and everyday life, embracing soundscapes so many times excluded from musical discourse. Musical sites are also architectural sites, always related to their present environment, and their everyday contlngenclt;ls. Drawing Is a tool for developing ideas, but also the main mediator between architect and builder. or composer and performer. Programme exposes the constraints and conditions of the creation process, while also revealing the sociopolitical relations between musicians and audiences, institutions and composers, composers and performers. Programming as framing can be a platform to expand what the work concerns. Through a consideration of Use, the work becomes dispersed in a pJurality of agents that converge in a useful event. Thus composition. as architecture, moves from being about conditioning design to designing conditions where musical events may happen.
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Forbes, Melissa Therese. « Playing the Changes : An Expanded View of Higher Music Education through the Use of Collaborative Learning and Teaching ». Thesis, Griffith University, 2016. http://hdl.handle.net/10072/366951.

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In Australia, higher music education faces challenging times— university reform has ushered in an era of public accountability and budget cuts; the sector has become portfolio career-focussed and a university education must prepare students for uncertain futures. Within higher music education, collaborative learning has been identified as one way to address these types of challenges. There has recently been increased interest in the use of collaborative learning in a variety of higher music education contexts. To date, however, collaborative learning for music practice or performance in higher music education remains little used and under-researched. Situated within a practitioner inquiry framework, this study employed narrative approaches to discover participants’ experiences of collaborative learning in first year music practice courses at the University of Southern Queensland, a regional Australian university. The participants in this study were students who completed the first year music practice courses in 2014 and the teacher/researcher. Preliminary research during 2012 and a pilot study in 2013 shaped the focus and design of the study. Data were collected from students’ essays, journals and short answer questionnaires. Teacher’s data took the form of a teacher/researcher diary. Thematic analysis of students’ essays and journals established the ways in which collaborative learning built students’ individual and collective agency. Narrative analysis of the entire data set was undertaken to develop a robust picture of the value created through learning music practice collaboratively.
Thesis (PhD Doctorate)
Doctor of Philosophy (PhD)
Queensland Conservatorium of Music
Arts, Education and Law
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Stern, Joel. « Tracing the influence of non-narrative film and expanded cinema sound on experimental music ». Thesis, Queensland University of Technology, 2013. https://eprints.qut.edu.au/61001/1/Joel_Stern_Thesis.pdf.

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This study surveys and interrogates key conceptual frameworks and artistic practises that flow through the distinct but interconnected traditions of non-narrative film and experimental music, and examines how these are articulated in my own creative sound practise.
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Bomfim, Cássia Carrascoza. « O problema do tempo no repertório de obras mistas para flauta solista ». Universidade de São Paulo, 2016. http://www.teses.usp.br/teses/disponiveis/27/27157/tde-22092016-134713/.

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O objetivo dessa pesquisa é uma investigação sobre o tempo e suas diferentes possibilidades de percepção, sob ponto de vista do intérprete, durante a performance de obras eletroacústicas mistas, sejam compostas com difusão em tempo diferido ou com processamento em tempo real. Foram estabelecidas as definições de tempo diferido e de tempo real e suas implicações. Apontamos aspectos da evolução da música eletroacústica e da inserção do repertório para flauta nesse contexto. Aspectos de duas obras de referência, Musica su due Dimensioni de Bruno Maderna e Jupiter de Phillippe Manoury, foram analisados sob o enfoque da questão do tempo diferido ou do tempo real. Tendo em vista as particularidades dos aspectos interpretativos da música eletroacústica, escolhemos para estudar alguns parâmetros de interpretação que incluem a produção das técnicas expandidas e suas peculiaridades de amplificação. Realizamos três análises voltadas para a performance de obras em tempo diferido, Flautatualf de Jorge Antunes, Durações de Rodolfo Coelho de Souza e Parcours de L\'Entité de Flo Menezes e duas outras com processamento em tempo real, Lizamander de Russell Pinkston e Dawnligth de Jérôme Combier
The aim of this dissertation is a research about certain categories of musical time and their different possibilities of perception, from the point of view of the performer, during the performance of electroacustics music composed with pre-recorded tape or live electronics computer processing. We propose definitions about fixed time and real time and also their demands. We point out aspects of the evolution of electronic music and of the insertion of the flute repertoire in this context. Aspects of two referencial works, Musica su due Dimensioni by Bruno Maderna and Jupiter by Phillippe Manoury, were analyzed regarding the question of fixed or real time. Concerning the particular interpretative aspects of electroacoustic music we selected to study some parameters of performance that include the prodution of extended techniques and their amplification peculiarities. Regarding performance aspects, we have analysed three works that use pre-recorded tapes: Flautatualf by Jorge Antunes, Durações by Rodolfo Coelho de Souza e Parcours de L\'Entité by Flo Menezes. And two others with live-electronics: Lizamander by Russell Pinkston and Dawnligth by Jérôme Combier.
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Falestål, Rebecka, et Axel Isholt. « Bild, musik och rörelse i engelskundervisningen i årskurserna 1-6 : Kan bild, musik och rörelse främja lärandet i engelska i årskurserna 1-6 ». Thesis, Umeå universitet, Institutionen för språkstudier, 2012. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-65603.

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This is a qualitative study aiming to find out how and why teachers work with art, music and movement in the English subject in the early years. In this study we have conducted a background study of previous research and as a starting point and as a point for reference we have relied on education policy documents like The Common European Framework of Reference for Languages and the Swedish curriculum for the English school subject. Our research has consisted of interviews with six teachers and ten observation occasions in a total of three different primary schools. Our result show that there seems to be a consensus in both theory and praxis when it comes to integrating art, music and movement in learning and teaching of English in the early school years. The use of methods including art, music and movement in early language learning seems to promote the language development for all students but especially for young learners that require extra support for their language development.
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Büscher, Barbara. « Live Electronic Arts und Intermedia : die 1960er Jahre ». Doctoral thesis, Saechsische Landesbibliothek- Staats- und Universitaetsbibliothek Dresden, 2010. http://nbn-resolving.de/urn:nbn:de:bsz:14-qucosa-39497.

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Die in der Geschichte der Künste als Neoavantgarde der frühen 1960er Jahre bezeichneten Entwicklungen der Grenzüberschreitung und Prozessorientierung bilden in exemplarischen Analysen das Zentrum des Gegenstandsbereichs dieser Arbeit. Sie umfassen sowohl die grundlegenden Innovationen, die - von John Cages Ideen und Konzeptionen angestoßen – die Arbeit der Komponisten/Performer der Live Electronic Music prägten, wie die Erweiterung der künstlerischen Materialien und Veränderung der Verfahren der Bildenden Kunst seit Happening und Fluxus. Sie umfassen die minimalistischen Verschiebungen des Verständnisses von Körper-Bewegung und Objekten in der Tanz/Performance vor allem der New Yorker Judson Dance Group und die performative Erforschung der Grundlagen von Kino/Film-Wahrnehmung im Expanded Cinema. An diesen drei Bereichen wird eine doppelte historische Bewegung aufgezeigt: zum einen die des Durchstreichens, Verschiebens, Ersetzens konventionalisierter Parameter und Wert-Hierarchien; zum anderen eine durch den Entwicklungsschub technischer Medien und deren Auswirkungen auf Gesellschaft und Wahrnehmung angestoßenes Interesse an der Verbindung von Kunst und Medien. Eine wichtige Schnittstelle dieser Entwicklungen manifestiert sich in den Aufführungen der inzwischen legendären Nine Evenings: Theatre and Engineering, die 1966 in New York stattfanden. Die Analyse dieses Ereignisses, des Arbeitsprozesses, der ihm vorausging und an dem in gleicher Weise Künstler und Ingenieure beteiligt waren, wie der einzelnen Performances bildet einen Ausgangspunkt dieser Untersuchung. Dass Systemtheorie und Kybernetik als Denkmodelle für die Kunstproduktion erschlossen werden sollten, lässt sich nicht nur anhand der Manifestationen dieses Ereignisses zeigen, sondern auch anhand der Analyse zeitgenössischer Diskurse im Kunstfeld nachweisen. Live Electronic Arts heißt in diesem Zusammenhang: das unmittelbar (aktuell) vorgeführte Handeln mit technischen Medien in einer performativen Anordnung. Diese Verbindung wird von den Künstlern selbst als Mensch/Maschine-Kopplung verstanden – der Konstruktionsprozess wird zu einem wesentlichen Bestandteil künstlerischer Strategie. Der Einbezug zeitgenössischer Technologien wird so nicht als Frage nach der Neuartigkeit von Darstellungsmodi relevant, sondern als eine Frage nach Prozessen des Regelns, Steuerns und der Signalübertragung (control&communication) – also nach den Prozessen, die das Agieren mit ihnen strukturieren. Ausgehend von den Nine Evenings und der an ihnen beteiligten Künstler – Musiker, Tänzer und Choreographen sowie Bildende Künstler und Filmemacher – widmet sich die Arbeit in detaillierter Untersuchung den Versuchsreihen der einzelnen Künstler, denen die experimentellen Performances zugerechnet werden können. Sie zeigt für alle drei Bereiche – Live Electronic Music, die performativen Praktiken der Judson Dance Group und Expanded Cinema – unter welchen Bedingungen, ein Interesse und die Arbeit an der Kopplung von Körper-Bewegung und technischen Systemen entstand
The developments of transgression and process-orientation, which in art history are designated as the Neo-Avantgarde of the early 1960s, form the central subject of this text with its exemplary analyses. They involve the fundamental innovations, which - initiated by John Cage's ideas and concepts - characterised the work of the composers/performers of Live Electronic Music, as well as the expansion of artistic materials and the modification of art's techniques since Happening and Fluxus. They also cover the minimalistic shifts in the understanding of bodily movement and objects above all in the dance/performance of the New York based Judson Dance Group and the performative investigation of the foundations of cinema/film perception in the Expanded Cinema. A twofold historical movement is illustrated in these three areas: on the one hand, the movement of cancellation, postponement, substitution of conventional parameters and value hierarchies; on the other, one of interest in the connection between art and the media triggered by the thrust of development in the technological media and their effects on society and perception. An important point of intersection of these developments manifests itself in the performances of the since legendary Nine Evenings: Theatre and Engineering, which took place in New York in 1966. The analysis of this event, of the process of work that preceded it and which involved artists and engineers in equal measure, as well as of the individual performances forms the basis of this investigation. That system theory and cybernetics should be developed as a working hypothesis for art production can be demonstrated not only through manifestations of this event, but also through contemporary discourses in the field of art. In this context, Live Electronic Arts means the immediately (currently) performed action in a perfomative configuration using technological media. The artists themselves understand this relation as an interconnection of human being and machine. The process of construction becomes an essential component of the artistic strategy. The inclusion of contemporary technologies becomes relevant not as a question about the novelty of the modes of representation, but as a question about the processes of structuring, regulating and the transmission of signals (control & communication), thus about processes that structure the performance with these technologies. Beginning with the Nine Evenings and the participating artists (musicians, dancers, choreographers, as well as visual artists and film makers), this text provides a detailed investigation into the series of experiments of the individual artists, to which the experimental performances can be attributed. It demonstrates for all three areas (Live Electronic Music, the perfomative practices of the Judson Dance Group, and Expanded Cinema) under what circumstances interest in and work on the interconnection of bodily movement and technological systems arose
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Silva, Júnior Mário da 1962. « Violão expandido : panorama, conceito e estudos de caso nas obras de Edino Krieger, Arthur Kampela e Chico Mello ». [s.n.], 2013. http://repositorio.unicamp.br/jspui/handle/REPOSIP/285296.

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Orientador: Denise Hortência Lopes Garcia
Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes
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Resumo: O trabalho investiga as obras para violão dos compositores Edino Krieger (1928) (Ritmata, 1974 para violão solo), Chico Mello (1958) (Do Lado Do Dedo, 1987 para violão solo e Dança para quatro violões, 1986) e Arthur Kampela (1960) (Percussion Study 1,1991-93, para violão solo) visando criar um guia de interpretação e escrita da técnica expandida no Brasil. As obras perpassam um âmbito produtivo que se estende de 1974 a 1994 e investigaram-se conceitos e tendências em visão panorâmica da técnica expandida de maneira histórica nacional e internacional. Tal investigação teve como objetivo a abordagem das características complexas do ponto de vista rítmico-percussivo e timbrístico. Procedimentos articulatórios variáveis da execução do violonista implicam aprimoramento e enriquecimento da qualidade estética do repertório. Esses procedimentos consistem em processos criativos de viabilização acústica e adequação mecânica, suportes instrumentais e materiais para melhor clareza e exequibilidade nas obras. Elencou-se e categorizou-se cada possibilidade sonora expandida encontrada nessas obras
Abstract: The thesis investigates the works of composers Edino Krieger (1928) (Ritmata 1974 for solo guitar ), Chico Mello (1958) ( Do Lado do Dedo, 1987 for solo guitar and Dança for Guitar Quartet, 1986) and Arthur Kampela (1960) ( Percussion Study 1.1991-93 , for solo guitar) aiming to create a guide to interpreting and writing extended technique in Brazil. The works permeate the productive one that extends from 1974 to 1994 and investigated concepts and trends in technical overview of the expanded national and international historical way. Such investigation was aimed at addressing the complex features in terms of timbre and rhythmic- percussive procedures. Articulatory variables procedures (diversified plucking, tapping and percussive procedures) implementing by the guitarists imply improvement and enrichment of the quality of the aesthetic repertoire. These procedures consist of creative processes viability acoustic and mechanical fit, instrumental support and materials for clarity and feasibility in the works. Every extended sound found in these works was listed and categorized
Doutorado
Processos Criativos
Doutor em Música
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Livres sur le sujet "Expanded music"

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Campbell, Mark Robin, et Linda K. Thompson. Situating inquiry : Expanded venues for music education research. Charlotte, N.C : Information Age Pub., 2012.

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Moreno, Enrique, et Enrique Moreno. Expanded tunings in contemporary music : Theoretical innovations and practical applications. Lewiston, NY : Edwin Mellen Press, 1992.

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Sarita, Hauptfleisch, dir. Black composers of Southern Africa : An expanded supplement to The Bantu composers of southern Africa. Pretoria, [South Africa] : Human Sciences Research Council, 1992.

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Suskin, Steven. Show tunes, 1905-1991 : The songs, shows, and careers of Broadway's major composers : revised and expanded. New York : Limelight Editions, 1992.

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Breeding, Andy. The Music Internet Untangled : Using Online Services To Expand Your Musical Horizons. Watertown, Massachusetts, USA : Giant Path Publishing, 2004.

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Siewert, Senta. Performing Moving Images. NL Amsterdam : Amsterdam University Press, 2020. http://dx.doi.org/10.5117/9789462985834.

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Performing Moving Images: Access, Archive and Affects presents institutions, individuals and networks who have ensured experimental films and Expanded Cinema of the 1960s and 1970s are not consigned to oblivion. Through a comparison of recent international case studies from festivals, museums, and gallery spaces, the book analyzes their new contexts, and describes the affective reception of those events. The study asks: what is the relationship between an aesthetic experience and memory at the point where film archives, cinema, and exhibition practices intersect? What can we learn from re-screenings, re-enactments, and found footage works, that are using archival material? How does the affective experience of the images, sounds and music resonate today? Performing Moving Images: Access, Archive and Affects proposes a theoretical framework from the perspective of the performative practice of programming, curating, and reconstructing, bringing in insights from original interviews with cultural agents together with an interdisciplinary academic discourse.
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Cormier, Stephen M. Modal Music Composition : Expanded Edition. Inman & Artz Publishers, 2006.

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Novello, John. Contemporary Keyboardist and Expanded. Leonard Corporation, Hal, 2000.

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Novello, John. Contemporary Keyboardist and Expanded. Leonard Corporation, Hal, 2000.

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Novello, John. Contemporary Keyboardist and Expanded. Leonard Corporation, Hal, 2000.

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Chapitres de livres sur le sujet "Expanded music"

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Stevenson, Ian, John Encarnacao et Eleanor McPhee. « Expanded practice ». Dans Teaching and Evaluating Music Performance at University, 167–79. [1.] | New York : Routledge, 2020. | Series : ISME global perspectives : Routledge, 2020. http://dx.doi.org/10.4324/9780429328077-12.

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Colwell, Richard. « An Expanded Research Agenda for Music Education ». Dans Music Education for Changing Times, 139–48. Dordrecht : Springer Netherlands, 2009. http://dx.doi.org/10.1007/978-90-481-2700-9_11.

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Sønning, Andreas. « Music, cultural communication, and expanded professional demands ». Dans Creative Concert Production and Entrepreneurship, 13–38. New York : Routledge, 2024. http://dx.doi.org/10.4324/9781003274520-3.

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Best, Katelyn. « Expanding Musical Inclusivity ». Dans Music and Democracy, 235–66. Vienna, Austria / Bielefeld, Germany : mdwPress / transcript Verlag, 2021. http://dx.doi.org/10.14361/9783839456576-010.

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Products such as headphones, music streaming platforms, and learning assessments foster a hearing-centric realization of music that places auditory senses at the forefront of musical experience. Yet within the context of Deaf culture, a linguistic minority defined by the use of sign language, music takes on new meaning as musical experience is expanded to other senses of the body. Despite this relative construction, music in Deaf culture has been subjugated to a hegemonic ideology that undermines and marginalizes Deaf experiences of sound. However, Deaf musicians have been able to work toward subverting the ideological limitations that have been placed on their music, and by extension their bodies, by adapting musical structures produced by mainstream society and realigning them toward Deaf priorities. Using ethnographic methods including artist interviews, this chapter investigates how Deaf rappers have created a style of hip hop that prioritizes Deaf experiences of sound over hearing ones and considers how, through performance, they subvert hegemonic control over Deaf musical expression and promote the inclusion of Deaf forms of musicking.
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Meanwell, Peter, Tine Rude et Brandon Farnsworth. « “We Started Expanding the ‘Us,’ Rather Than Including Someone Else”—Peter Meanwell and Tine Rude Interviewed by Brandon Farnsworth ». Dans New Music and Institutional Critique, 165–70. Berlin, Heidelberg : Springer Berlin Heidelberg, 2023. http://dx.doi.org/10.1007/978-3-662-67131-3_12.

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AbstractThe festival Borealis—a festival for experimental music in Bergen, Norway, whose artistic director Peter Meanwell and former managing director Tine Rude are being interviewed by Brandon Farnsworth, works with an expanded definition of experimentation in both programming and how it is organised. It focusses on including artists pushing boundaries in a variety of contexts, trying to move beyond being a festival for any one genre. The festival also extends its concept of experimentation to include how it is organised, linking the act of hearing other’s perspectives that experimental music demands of its listeners with fostering a sense of community among marginalised people and groups. This approach has led the festival to implement a number of accessibility and inclusion measures, creating a unique mix of forms of musical experimentation and community-building that materialise many other contributors’ calls for modelling change in both form and content.
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« Expanded Melodic Sources ». Dans Revisiting Music Theory, 120–26. Second edition. | New York ; London : Routledge, 2016. | : Routledge, 2016. http://dx.doi.org/10.4324/9781315689975-26.

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« RHYTHM : COMPOUND METER EXPANDED ». Dans Music Fundamentals, 282–99. Routledge, 2010. http://dx.doi.org/10.4324/9780203863541-11.

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« RHYTHM : SIMPLE METER EXPANDED ». Dans Music Fundamentals, 113–38. Routledge, 2010. http://dx.doi.org/10.4324/9780203863541-5.

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Takesue, Sumy. « Rhythm : Compound Meter Expanded ». Dans Music Fundamentals, 355–76. Routledge, 2017. http://dx.doi.org/10.4324/9781315623269-12.

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Takesue, Sumy. « Rhythm : Simple meter expanded ». Dans Music Fundamentals, 131–64. Routledge, 2017. http://dx.doi.org/10.4324/9781315623269-5.

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Actes de conférences sur le sujet "Expanded music"

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Stewart, Robert R., et Samantha Brough. « Log jammin' : Transforming well logs to music ». Dans SEG Technical Program Expanded Abstracts 2006. Society of Exploration Geophysicists, 2006. http://dx.doi.org/10.1190/1.2369692.

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Karnebäck, Stefan. « Expanded examinations of a low frequency modulation feature for speech/music discrimination ». Dans 7th International Conference on Spoken Language Processing (ICSLP 2002). ISCA : ISCA, 2002. http://dx.doi.org/10.21437/icslp.2002-552.

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Schmidt, Ralph. « Signal subspace approach to high‐resolution signal processing : The music algorithm ». Dans SEG Technical Program Expanded Abstracts 1986. Society of Exploration Geophysicists, 1986. http://dx.doi.org/10.1190/1.1892968.

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DIAO, Ke. « A Study on the Music and Writing Characteristic of Robert Schumann's Diechterliebe ». Dans 2021 International Conference on Culture, Literature, Arts & Humanities. Clausius Scientific Press, 2021. http://dx.doi.org/10.23977/icclah2021021.

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Schumann's Diechterliebe is deep in annotation explanatory note of the poem, accurate. Schumann is good at portraying the fine and smooth emotion of heart, he has expanded the vocal music and created the tactics with their fresh styles, make art song vocal music sing between part and piano accompany partly organic to combine, inseparable, undertaking to demonstrate the mission of the real intension of poems together.
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Kumar, Kapil, Priyank Pandey et Manju Khari. « Accuracy in Wireless Communication : Improved Arrival Direction Estimation in Adaptive Antennas via Expanded MUSIC Beamforming ». Dans 2024 International Conference on Automation and Computation (AUTOCOM). IEEE, 2024. http://dx.doi.org/10.1109/autocom60220.2024.10486156.

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Ramanayake, R. I. A., et H. M. K. D. Herath. « Confluence of music and architecture through artistic parallelism ; a study of current building aesthetics in advanced music learning institutes with special reference to the university of performing arts in Colombo ». Dans Empower communities. Faculty of Architecture Research Unit, 2023. http://dx.doi.org/10.31705/faru.2023.13.

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Music is authentically interpreted as a universal language due to its strong strings between humankind. In addition, as an art, it becomes the source for other fields, which carry both intellectual and intuitive aspects. Thus, the combination of Music and the art of visualizing spaces, Architecture derives because of the resemblance between its origin, elements, and composition. Becoming a part of the built environment, the spirit of music responds to different types of functions for its effective benefits to the involved parties. While straightening the subjective inquiry on this point, it was identified that ‘learning of music’ becomes the prior concern with its active phenomenon since it expresses the ‘art inside the art’. An expanded literature review has given supportive statements to the inquiry like the relevance of the classroom atmosphere as a distinctive aspect of music education that we may affect to maximize perception in this field besides the teacher's role and students’ involvement in particular. Furthermore, the research has been concerned with how much the built space is perceived as a musical space and its response to the music learning process, considering various music pedagogical practices. The tool for the process was investigated with the Artistic parallelism between Musical elements and Architectural elements, and its compositional relativity. For the inquiring convergence, the research methodology was generated to investigate two main aspects; to which extend the musical variables and architectonics have stated their relativity in studied music learning spaces and its building performances with essential physical attributes, from the user’s point of view. The study is intended to continue exploring how much the Artistic parallelism between Music and Architecture affects the conduciveness of Music Learning spaces and how it benefits the learning process and generation of good music, not only as a knowledge seeker but also as an artist.
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Konrad, Ulrich. « Philologie und Digitalität. Perspektiven für die Musikwissenschaft im Kontext fächerübergreifender Institutionen ». Dans Jahrestagung der Gesellschaft für Musikforschung 2019. Paderborn und Detmold. Musikwissenschaftliches Seminar der Universität Paderborn und der Hochschule für Musik Detmold, 2020. http://dx.doi.org/10.25366/2020.90.

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Currently, the qualitative spectrum of methods in the philological sciences is being substantially expanded, with far-reaching implications, through the integration of the empirical, quantitative, and evaluative possibilities of the Digital Humanities. The example of the planning and establishment of „Kallimachos,“ the Center for Philology and Digitality (ZPD) at the University of Würzburg, demonstrates how a research center in the field of interplay between the humanities and cultural studies, digital humanities, and computer science can bring about a surge of change by providing in-depth insights into each other‘s subjects and ways of thinking. It not only brings with it a new view of the epistemological interests of philology, its questions, its canon, and its key concepts, but also makes computer science aware of the ‚recalcitrance‘ of humanities subjects and thus confronts it with new tasks. The ZPD is the result of a systematic reflection on the digital transformation of philology, with its traditional focus on editing and analyzing, in order to advance this development both in terms of content and methodology. For example, the formation of linguistic conventions in speaking and writing about music in 19th-century composers‘ texts and in music journals would be an ideal subject for the application of digital methods of analysis and the development of new research questions based on them. Research networks that jointly develop and rethink methods on the level of data structures across disciplines are likely to be a proven means of preserving our own discipline in the future, even if this may occasionally be a relationship borne more by reason than by love.
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Davila-Peralta, Christian, Susannah Dickinson, Justin Hyatt et Samuel Owen. « Optimized Design and Fabrication of Economical, Double Curved Metal Facades ». Dans 110th ACSA Annual Meeting Paper Proceedings. ACSA Press, 2022. http://dx.doi.org/10.35483/acsa.am.110.7.

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While there is an increased desire for complex geometry inthe built environment, affordable fabrication processes arestill in their infancy.1 Economical workarounds have historicallyexisted including the use of developable surfaces (WaltDisney Concert Hall, Los Angeles), rationalization techniques(Mercedes Benz Museum, Stuttgart) and cold bending techniques(Experience Music Project, Seattle). More recentlythe Dongdaemun Design Park (DDP), designed by Zaha HadidArchitects in Seoul, South Korea utilized a multi stretch formingmachine, with two mating dies and high pressure.2 At theUniversity of Arizona researchers have developed an economicaltechnology to manufacture precision, compound-curvedaluminum metal sheets for satellite communication dishes,answering a need for increased high speed internet demands.This developed technology has been recently expanded andadapted for economical building façades, in collaborationwith the architecture department, giving an opportunity toconnect space technology with the built environment, naturalforms and systems. This paper disseminates the associatedoptimized design process, manufacture and installation ofa full-scale demonstration project of this technology on theaforementioned college campus.
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Abdelfattah, Mohamed. « Effect of Firing on Mineral Phases and Properties of Lightweight Expanded Clay Aggregates ». Dans MultiScience - XXXIII. microCAD International Multidisciplinary Scientific Conference. University of Miskolc, 2019. http://dx.doi.org/10.26649/musci.2019.080.

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Yang, Yuqi, et Yu Sun. « Lyrically Yours : A Mobile Application for Automated Music Therapy through Lyric Analysis Utilizing Natural Language Processing and Machine Learning ». Dans 12th International Conference on Software Engineering & Trends. Academy & Industry Research Collaboration Center, 2024. http://dx.doi.org/10.5121/csit.2024.140820.

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Music plays a vital role in therapy, offering a unique avenue for emotional expression and connection. This proposed project seeks to enhance the effectiveness of music therapy by leveraging natural language processing (NLP) techniques and machine learning to provide personalized song recommendations based on both emotional and narrative elements within lyrics, moving beyond traditional approaches that focus solely on emotional categorization [4]. By utilizing keyword matching algorithms, the project expands the scope of song selection, allowing users to explore music beyond predefined emotional categories [5]. The proposed system integrates with Firebase for efficient data storage and retrieval, while the Flutter framework facilitates the development of a user-friendly mobile application interface [6]. Through this interdisciplinary approach, the project endeavors to offer an accessible and automated music therapy experience.
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Rapports d'organisations sur le sujet "Expanded music"

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Mayas, Magda. Creating with timbre. Norges Musikkhøgskole, août 2018. http://dx.doi.org/10.22501/nmh-ar.686088.

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Unfolding processes of timbre and memory in improvisational piano performance This exposition is an introduction to my research and practice as a pianist, in which I unfold processes of timbre and memory in improvised music from a performer’s perspective. Timbre is often understood as a purely sonic perceptual phenomenon. However, this is not in accordance with a site-specific improvisational practice with changing spatial circumstances impacting the listening experience, nor does it take into account the agency of the instrument and objects used or the performer’s movements and gestures. In my practice, I have found a concept as part of the creating process in improvised music which has compelling potential: Timbre orchestration. My research takes the many and complex aspects of a performance environment into account and offers an extended understanding of timbre, which embraces spatial, material and bodily aspects of sound in improvised music performance. The investigative projects described in this exposition offer a methodology to explore timbral improvisational processes integrated into my practice, which is further extended through collaborations with sound engineers, an instrument builder and a choreographer: -experiments in amplification and recording, resulting in Memory piece, a series of works for amplified piano and multichannel playback - Piano mapping, a performance approach, with a custom-built device for live spatialization as means to expand and deepen spatio-timbral relationships; - Accretion, a project with choreographer Toby Kassell for three grand pianos and a pianist, where gestural approaches are used to activate and compose timbre in space. Together, the projects explore memory as a structural, reflective and performative tool and the creation of performing and listening modes as integrated parts of timbre orchestration. Orchestration and choreography of timbre turn into an open and hybrid compositional approach, which can be applied to various contexts, engaging with dynamic relationships and re-configuring them.
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