Tesi sul tema "Sting (musician)"
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Winter, Neal. "The effects of a specially-devised, integrated curriculum, based on the music of Sting, on the learning of popular music /". View thesis, 2002. http://library.uws.edu.au/adt-NUWS/public/adt-NUWS20041117.155611/index.html.
Testo completoWinter, Neal. "The effects of a specially-devised, integrated curriculum, based on the music of Sting, on the learning of popular music". Thesis, View thesis, 2002. http://handle.uws.edu.au:8081/1959.7/23839.
Testo completoWilliams, Keith R. "The Process of Musical Acquisition for Traditional String Musicians in the Homeschool Environment". Digital Commons @ East Tennessee State University, 2015. https://dc.etsu.edu/etd/2491.
Testo completoGuettler, Knut. "The bowed string". Doctoral thesis, KTH, Speech Transmission and Music Acoustics, 2002. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-3361.
Testo completoOf the many waveforms the bowed string can assume, theso-called "Helmholtz motion" (Helmholtz 1862) gives the fullestsound in terms of power and overtone richness. The developmentof this steady-state oscillation pattern can take manydifferent paths, most of which would include noise caused bystick-slip irregularities of the bow-string contact. Of thefive papers included in the thesis, the first one shows, notsurprisingly, that tone onsets are considered superior when theattack noise has a very limited duration. It was found,however, that in this judgment thecharacterof the noise plays an important part, as thelisteners tolerance of noise in terms of duration isalmost twice as great for "slipping noise" as for "creaks" or"raucousness" during the tone onsets. The three followingpapers contain analyses focusing on how irregular slip-sticktriggering may be avoided, as is quite often the case inpractical playing by professionals. The fifth paper describesthe triggering mechanism of a peculiar tone production referredto as "Anomalous Low Frequencies" (ALF). If properly skilled, aplayer can achieve pitches below the normal range of theinstrument. This phenomenon is related to triggering wavestaking "an extra turn" on the string before causing thestrings release from the bow-hair grip. Since transverseand torsional propagation speeds are both involved, twodifferent sets of "sub-ranged" notes can be produced this way.In the four last papers wave patterns are analysed andexplained through the use of computer simulations.
Key words:
Key words:
Bowed string, violin, musicalacoustics, musical transient, anomalous low frequencies,Helmholtz motion
Ahn, Seungchul. "The Musical Moment: For String Quartet". Cleveland State University / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=csu1289579429.
Testo completoMeidell, Katrin Liza. "Epidemiological Evaluation of Pain Among String Instrumentalists". Thesis, University of North Texas, 2011. https://digital.library.unt.edu/ark:/67531/metadc68015/.
Testo completoPitteroff, Roland. "Contact mechanics of the bowed string". Thesis, University of Cambridge, 1995. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.387739.
Testo completoWu, Man-Mei. "Three Voices for voices, woodwind, percussion, and string instruments". Thesis, University of North Texas, 2000. https://digital.library.unt.edu/ark:/67531/metadc2684/.
Testo completoCahill, Clark Jennifer L. "String student self-efficacy and deliberate music practice: Examining string students' musical background characteristics, self-efficacy beliefs and practice behaviors". Thesis, University of North Texas, 2008. https://digital.library.unt.edu/ark:/67531/metadc9116/.
Testo completoCahill, Clark Jennifer L. "String student self-efficacy and deliberate music practice examining string students' musical background characteristics, self-efficacy beliefs, and practice behaviours /". connect to online resource, 2008. http://digital.library.unt.edu/permalink/meta-dc-9116.
Testo completoHarrison, Joan. "Musical Citizens: String Teachers' Perceptions of Citizenship Education in the Private Studio". Thèse, Université d'Ottawa / University of Ottawa, 2013. http://hdl.handle.net/10393/23783.
Testo completoCroson, James Michael. "Musical use of a general and expressive plucked-string instrument in software". Connect to this title online, 2004. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1081200962.
Testo completoTitle from first page of PDF file. Document formatted into pages; contains xiii, 57 p.; also includes graphics (some col.). Includes bibliographical references (p. 52-57). Available online via OhioLINK's ETD Center
Swoger-Ruston, John Paul. "The fifteen-cent guitar re-tempering the standard six-string guitar /". Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2000. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp03/MQ59201.pdf.
Testo completoAlsayegh, Yousef A. "An investigation of the relationship between singing intonation and string playing intonation among college level and professional string players". Scholarly Commons, 2013. https://scholarlycommons.pacific.edu/uop_etds/842.
Testo completoWilliams, Elizabeth Anne. "Investigating the Motivations, Musical Goals, and Preferences of Adults Learning Orchestral String Instruments in Community Music Classes". Bowling Green State University / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1510273876882954.
Testo completoGushue, Ariane C. "Self-Expression Through The String Quartet: An Analysis of Shostakovich's String Quartets No. 1, No. 8, and No. 15". Scholarship @ Claremont, 2015. http://scholarship.claremont.edu/scripps_theses/710.
Testo completoJohnson, Liz. "Sky-burial : a musical composition for voice and string quartet : score and supporting works". Thesis, Birmingham City University, 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.427571.
Testo completoHedberg, Fredrik. "Hur övar proffsen? : En kvalitativ intervjustudie om professionella musikers övningsstrategier". Thesis, Karlstads universitet, Institutionen för konstnärliga studier, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-42935.
Testo completoSyftet med detta arbete är att utifrån ett fenomenologiskt livsvärldsperspektiv, utforska hur några professionella musiker upplever att de går till väga under sina instuderingsprocesser. För att belysa detta tar arbetet avstamp i följande forskningsfråga: Vilka övningsstrategier beskriver några professionella musiker att de använder sig av när de tillägnar sig ett för dem nytt material? För att uppnå syfte och forskningsfråga har tre kvalitativa intervjuer genomförts med tre professionella musiker. I resultatet framkommer en rad olika strategier vilka sorterats in i fem meningsenheter: Dagliga tekniska övningsstrategier, Noggranna förberedelser, Tidsplanering, Övriga strategier och Strävan efter utveckling. I diskussionen sätts dessa strategier i relation till bakgrundslitteratur och forskning samt till fenomenologi.
Goto, Yo. "Voci Lontani for flute, trumpet, percussion, piano, and string quartet: Critical essay and score". Thesis, University of North Texas, 2004. https://digital.library.unt.edu/ark:/67531/metadc5555/.
Testo completoDocherty, Claire Docherty Claire Docherty Claire. "Compostion research folio". Connect to e-thesis, 2009. http://theses.gla.ac.uk/838/.
Testo completoMMus. thesis submitted to the Faculty of Arts, Department of Music, Univeristy of Glasgow 2008. Includes bibliographical references. Print version also available.
Proulx, Jean-François. "A Pedagogical Guide to Extended Piano Techniques". Diss., Temple University Libraries, 2009. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/38213.
Testo completoD.M.A.
Extended piano techniques, which mainly involve playing directly on the internal components of the piano, emerged early in the twentieth century, mainly in the United States. Henry Cowell (1897-1965) explored some of these techniques in short piano pieces such as The Tides of Manaunaun (1917; clusters) The Banshee (1925; glissando, pizzicato) and Sinister Resonance (1930; mute, harmonic). Several contemporary composers followed this path. Notably, George Crumb's (b. 1929) mature works combine conventional techniques with an unprecedented variety of extended techniques, including vocal and percussive effects. Although extended techniques are no longer a novelty, most pianists are still unfamiliar with them. Extended piano works are rarely performed or taught. This situation is regrettable considering the quality of these compositions, and the great potential of extended techniques to expand the piano's coloristic resources. A Pedagogical Guide to Extended Piano Techniques is designed to help pianists learn this idiom and achieve fluency. Teachers may also find it useful in planning courses at the undergraduate college level. Chapters 1 and 2 provide general information such as the development and classification of unconventional techniques, and the construction of the grand piano. Chapters 3, 4 and 5 form the core of the monograph. They contain practical exercises, composed by the author, presented in a progressive order and accompanied by detailed instructions explaining how to execute and practice each technique. From a technical point of view, natural string piano techniques--pizzicatos, glissandos, mutes and harmonics--are the basis upon which most other extended techniques are founded. Therefore, this document focuses mainly on mastering these string techniques through the acquisition of two important skills: visual techniques and aural-motor coordination. The following topics are also discussed: use of foreign objects inside the piano, percussive technique, vocal effects, and strategies to integrate various techniques into a unified musical context. Prepared piano techniques are excluded because they do not require the acquisition of performance skills, which form the essence of this monograph. Chapter 6 provides a suggested course schedule to organize the pianist's study and practice time, and offers practical advice for the preparation of performances involving extended piano techniques. It is hoped that this document will play a positive role in helping pianists gain the knowledge, ability, confidence and enthusiasm to explore and perform extended piano repertoire.
Temple University--Theses
Marchini, Marco 1984. "Analysis of ensemble expressive performance in string quartets: a statistical and machine learning approach". Doctoral thesis, Universitat Pompeu Fabra, 2014. http://hdl.handle.net/10803/285204.
Testo completoL’estudi de l’expressivitat musical ha produït models computacionals capaços d’emular l’expressivitat humana, però aquests models encara no es poden aplicar al cas dels conjunts musicals. Per estudiar l’expressivitat dels conjunts musicals, s’han de tenir en compte dues característiques principals: l’expressió polifònica i la interdependència entre veus. Per aquesta raó, proposem una nova metodologia que es basa en la introducció d’una sèrie d’atributs intervocals, que hem extret de la partitura, que es poden utilitzar per construir models d’expressivitat individuals per a cada un dels músics. Hem col•leccionat un conjunt de peces musicals a partir de l’enregistrament multipista i de la captura de moviments d’un quartet de cordes, en un corpus que recull peces concretes tocades tant en grup com individualment. D’aquestes dades, hem extret diversos paràmetres que descriuen l’expressivitat per a cada un dels músics d’un conjunt de corda. El primer pas ha estat estudiar, des d’un punt de vista estadístic, les diferències entre l’actuació d’una mateixa peça tant en solitari com en grup. Després, hem estudiat les relacions estadístiques entre els atributs intervocals i els paràmetres d’expressivitat. A continuació, hem construït models d’expressivitat a partir de la utilització d’algoritmes d’aprenentatge automàtic amb les dades col•leccionades. Com a resultat, els atributs intervocals que hem proposat han millorat la predicció del paràmetres d’expressivitat. Hem pogut demostrar com aquests models que han après d’actuacions en grup utilitzen més atributs intervocals que aquells que ho han fet d’actuacions en solitari. Aquests resultats mostren que la metodologia i models introduïts es poden aplicar en l’anàlisi de la col•laboració entre membres d’un conjunt musical.
El estudio de la expresividad musical ha producido modelos computacionales capaces de emular la expresividad humana, pero estos modelos todavía no se pueden aplicar al caso de los conjuntos musicales. Para estudiar la expresividad de los conjuntos musicales, se deben tener en cuenta dos características principales: la expresión polifónica y la interdependencia entre voces. Por esta razón, proponemos una nueva metodología que se basa en la introducción de una serie de atributos intervocales, que hemos extraído de la partitura, que se pueden utilizar para construir modelos de expresividad individuales para cada uno de los músicos. Hemos coleccionado un conjunto de piezas musicales a partir de la grabación multipista y de la captura de movimientos de un cuarteto de cuerdas, en un corpus que recoge piezas concretas tocadas tanto en grupo como individualmente. De estos datos, hemos extraído varios parámetros que describen la expresividad para cada uno de los músicos de un conjunto de cuerdas. El primer paso ha sido estudiar, desde un punto de vista estadístico, las diferencias entre la actuación de una misma pieza tanto en solitario como en grupo. Después, hemos estudiado las relaciones estadísticas entre los atributos intervocales y los parámetros de expresividad. A continuación, hemos construido modelos de expresividad a partir de la utilización de algoritmos de aprendizaje automático con los datos coleccionados. Como resultado, los atributos intervocales que hemos propuesto han mejorado la predicción de los parámetros de expresividad. Hemos podido demostrar cómo estos modelos que han aprendido de actuaciones en grupo utilizan más atributos intervocales que aquellos que lo han hecho de actuaciones en solitario. Estos resultados muestran que la metodología y modelos introducidos se pueden aplicar en el análisis de la colaboración entre miembros de un conjunto musical.
Rhyneer, Barbara L. "A study of student attitudes, musical backgrounds, and immediate situations that affect string participation in the university orchestra". Virtual Press, 2002. http://liblink.bsu.edu/uhtbin/catkey/1247900.
Testo completoSchool of Music
Greenfield, Leah. "Extended String Techniques and Special Effects in Arnold Schoenberg's String Quartet No. 1 and Its Significance in Chamber Music Literature". Thesis, University of North Texas, 2017. https://digital.library.unt.edu/ark:/67531/metadc1011750/.
Testo completoNorton, Benjamin D. "Little Eichmanns: A Composition for Chamber Octet". UKnowledge, 2013. http://uknowledge.uky.edu/music_etds/18.
Testo completoBishop, David Martin. "Chromatic and diatonic pitch-class motives and their influence on closural strategies : analytical studies of three middle-period string quartets of Ludwig van Beethoven /". Digital version accessible at:, 1999. http://wwwlib.umi.com/cr/utexas/main.
Testo completoSommerville, David L. "Consistency, context and symmetry in Alberto Ginastera's String quartets nos. 1 (1948) and 2 (1958, first version) /". Digitized version, 2009. http://hdl.handle.net/1802/11067.
Testo completoIncludes abstract and vita. Includes bibliographical references. Digitized version available online via the Sibley Music Library, Eastman School of Music http://hdl.handle.net/1802/11067
Nascimento, João. "Alentejo: na demanda de um ethos musical". Doctoral thesis, Universidade de Évora, 2018. http://hdl.handle.net/10174/23732.
Testo completoJeffery, Christopher. "Serial meaning : a semiotic/narratological analysis of Arnold Schoenberg's Third string quartet, first movement". Thesis, Stellenbosch : Stellenbosch University, 2005. http://hdl.handle.net/10019.1/50448.
Testo completoENGLISH ABSTRACT: The aim of this study is to contribute to the investigation of the methods in which serial technique expresses meaning in the first movement of Arnold Schoenberg's Third Quartet, Op.30. It aims to add to the debate concerning Schoenberg's use of conventional formsparticularly sonata form-in his serial music, by investigating how he manipulates the row to playa narrative function, seemingly in opposition to its homogeneous nature. The analytical section consists of a semiotic analysis based on the work of Jean- Jacques Nattiez. It incorporates a narratological analysis which infers from the semiotic data that Schoenberg's "idea", which is associated with notions of unity, is brought towards fulfilment through his narrativization of the row in the context of sonata form.
AFRIKAANSE OPSOMMING: Die doel van hierdie studie is om by te dra tot die ondersoek na die metodes met behulp waarvan seriële tegniek "betekenis" tot uitdrukking bring in Arnold Schoenberg se derde strykkwartet, op. 30. Dit poog om 'n bydrae te lewer tot die debat oor Schoenberg se gebruik van konvensionele vorms-in besonder sonatevorm-in sy seriële musiek te ondersoek, deur middel van manipulasies van die reeks in diens van 'n narratiewe funksie, oënskynlik in teenstelling met die homogene aard van die reeks. Die analitiese gedeelte van die studie bestaan uit 'n semiotiese analise gebaseer op die werk van Jean-Jacques Nattiez. Hierby word ingesluit 'n narratologiese analise waarin vanuit die semiotiese data afgelei word dat Schoenberg se "idee", wat geassosieer word met opvattings van eenheid, tot 'n slotsom gebring word deur middel van sy narrativering van die reeks in die konteks van sonatevorm.
Paloranta, Jimmie. "Interaction with a large sized augmented string instrument intended for a public setting". Thesis, KTH, Skolan för datavetenskap och kommunikation (CSC), 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-187740.
Testo completoInteraktiva installationer i offentliga miljöer har ökat i popularitet under det senaste decenniet, liksom även skapandet av digitala musikinstrument. I denna uppsats presenterar jag en studie av interaktionen med ett stort augmenterat stränginstrument avsedd för en stor installation i ett museum, med fokus på att uppmuntra kreativitet, lärande, och att ge engagerande användarupplevelser. I studien blev 9 deltagare videoinspelade samtidigt som de spelade med strängen på egen hand, följt av en intervju med fokus på deras upplevelse, kreativitet, och strängens funktionalitet Jag använde sedan McCarthy och Wrights ramverk för att analysera teknik som upplevelse och Frank E Williams kreativitets taxonomi för att analysera resultaten. I linje med tidigare forskning så betonar resultaten vikten av att designa för olika nivåer av engagemang (undersökande, experimenterande, utmaning). Dock så visar resultaten dessutom på att dessa nivåer måste ta hänsyn till användarnas ålder och musikaliska bakgrund då dessa starkt påverkar hur användaren spelar med och upplever strängen.
Werneck, Nicolau Leal. "Analise da distorção musical de guitarras eletricas". [s.n.], 2007. http://repositorio.unicamp.br/jspui/handle/REPOSIP/259107.
Testo completoDissertação (mestrado) - Universidade Estadual de Campinas, Faculdade de Engenharia Eletrica e de Computação
Made available in DSpace on 2018-08-11T03:06:29Z (GMT). No. of bitstreams: 1 Werneck_NicolauLeal_M.pdf: 1556046 bytes, checksum: 677310006250588d7e6a0fb0eedfc170 (MD5) Previous issue date: 2007
Resumo: Existem diversos problemas ligados à análise de sinais musicais que podem se beneficiar de um conhecimento mais detalhado da estrutura dos sinais gerados pelos diferentes instrumentos. Entre eles se destaca a compressão de sinais baseada em áudio estruturado, onde o codificador determina a partir de um sinal parâmetros para reproduzí-lo com um sintetizador inspirado em modelos físicos dos instrumentos. Para realizar este tipo de análise e síntese é necessário conhecermos as características físicas dos instrumentos e dos sinais produzidos. Este conhecimento é ainda útil para auxiliar no desenvolvimento de instrumentos e outros equipamentos utilizados por músicos para obter o timbre desejado. Esta dissertação apresenta experimentos realizados com uma guitarra elétrica para revelar a dinâmica não-linear de suas cordas e seu filtro linear associado, comparação de sinais gravados com resultados esperados por modelos matemáticos da forma de onda, e ainda uma proposta de uma potencial técnica para a medição de parâmetros para um modelo matemático de um circuito de distorção musical, além de uma maneira de se mapear um par destes parâmetros para um espaço de maior significado psicoacústico
Resumo: Existem diversos problemas ligados à análise de sinais musicais que podem se beneficiar de um conhecimento mais detalhado da estrutura dos sinais gerados pelos diferentes instrumentos. Entre eles se destaca a compressão de sinais baseada em áudio estruturado, onde o codificador determina a partir de um sinal parâmetros para reproduzí-lo com um sintetizador inspirado em modelos físicos dos instrumentos. Para realizar este tipo de análise e síntese é necessário conhecermos as características físicas dos instrumentos e dos sinais produzidos. Este conhecimento é ainda útil para auxiliar no desenvolvimento de instrumentos e outros equipamentos utilizados por músicos para obter o timbre desejado. Esta dissertação apresenta experimentos realizados com uma guitarra elétrica para revelar a dinâmica não-linear de suas cordas e seu filtro linear associado, comparação de sinais gravados com resultados esperados por modelos matemáticos da forma de onda, e ainda uma proposta de uma potencial técnica para a medição de parâmetros para um modelo matemático de um circuito de distorção musical, além de uma maneira de se mapear um par destes parâmetros para um espaço de maior significado psicoacústico
Mestrado
Eletrônica, Microeletrônica e Optoeletrônica
Mestre em Engenharia Elétrica
Scruggs, Bernadette Butler. "Learning Outcomes in Two Divergent Middle School String Orchestra Classroom Environments: A Comparison of a Learner-Centered and a Teacher-Centered Approach". Digital Archive @ GSU, 2009. http://digitalarchive.gsu.edu/music_diss/1.
Testo completoClifford, Robert John. "Aspects of meter and accent in selected string quartet movements by Beethoven and Bartok". Thesis, The University of Arizona, 1990. http://hdl.handle.net/10150/277928.
Testo completoMenton, Allen Walter Menton Allen Walter. "Volume I. The persistent fantasy extended single-movement form in twentieth-century composition ; Volume II. Convivencia : a fantasy for guitar and string quartet /". Diss., Restricted to subscribing institutions, 2009. http://proquest.umi.com/pqdweb?did=1930284591&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.
Testo completoOrelli, Paiva Guilherme. "Vibroacoustic Characterization and Sound Synthesis of the Viola Caipira". Thesis, Le Mans, 2017. http://www.theses.fr/2017LEMA1045/document.
Testo completoThe viola caipira is a type of Brazilian guitar widely used in popular music. It consists of ten metallic strings arranged in five pairs, tuned in unison or octave. The thesis work focuses on the analysis of the specificities of musical sounds produced by this instrument, which has been little studied in the literature.The analysis of the motions of plucked strings using a high speed camera shows the existance of sympathetic vibrations, which results in a sound halo, constituting an important perceptive feature. These measurements also reveal the existence of shocks between strings, which lead to very clearly audible consequences. Bridges mobilities are also measured using the wire-breaking method, which is simple to use and inexpensive since it does not require the use of a force sensor. Combined with a high-resolution modal analysis (ESPRIT method), these measurements enable to determine the modal shapes at the string/body coupling points and thus to characterize the instrument.A physical modelling, based on a modal approach, is carried out for sound synthesis purposes. It takes into account the strings motions according to 2 polarizations, the couplings with the body and the collisions between strings. This model is called a hybrid model because it combines an analytical approach to describe the vibrations of strings and experimental data describing the body. Simulations in the time domain reveal the main characteristics of the viola caipira
Alves, Marcelo Jorge Cabral de Mello Dantas. "Formação musical e a inclusão social de crianças e jovens na Orquestra Criança Cidadã". Universidade Federal da Paraíba, 2012. http://tede.biblioteca.ufpb.br:8080/handle/tede/6616.
Testo completoCoordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES
The present work is about the Orquestra Criança Cidadã (Child Citizen Orchestra), a nongovernmental organisation that assists children and youngsters aged 4 to 20 who live in the Coque neighbourhood in Recife, Pernambuco. The main purpose of this study is to understand the relationship between the music education received and the social inclusion of these children and youngsters. In order to fulfill this aim, case study method was chosen as the means of collecting data. The results revealed the influence of a social music education on the lives of these children and youngsters, especially regarding their personal relationships and their development as citizens.
Este trabalho teve o objetivo de compreender como se tece a relação entre formação musical e inclusão social de crianças e jovens do Projeto Orquestra Criança Cidadã, que atende crianças e jovens de quatro a vinte anos, oriundos da Comunidade do Coque em Recife, Pernambuco. A pesquisa foi realizada à luz dos conhecimentos de pesquisa qualitativa, tendo como método o estudo de caso e utilizando como instrumentos de coleta de dados a observação, entrevistas com alunos do Projeto e fontes documentais. A pesquisa revelou, para além de aspectos pedagógicos e organizacionais do Projeto, a formação musical social proporcionada a essas crianças e jovens, bem como o sentido dessa formação em suas vidas, principalmente em suas relações pessoais e em seu crescimento enquanto cidadãos.
Jung, Hyejin. "Korean Cultural and Musical Influences in Younghi Pagh-Paan's Man-Nam I". Thesis, University of North Texas, 2016. https://digital.library.unt.edu/ark:/67531/metadc862815/.
Testo completoMartin, Benjamin. "Analyse de structures répétitives dans les séquences musicales". Thesis, Bordeaux 1, 2012. http://www.theses.fr/2012BOR14711/document.
Testo completoThe work presented in this thesis deals with repetitive structure inference from audio signal using string matching techniques. It aims at proposing and evaluating inference algorithms from a formal study of notions of similarity and repetition in music.We first present a method for representing audio signals by symbolic strings. We introduce alignment tools enabling similarity estimation between such musical strings, and evaluate the application of these tools for automatic cover song identification. We further adapt a bioinformatics indexing technique to allow efficient assessments of music similarity in large-scale datasets. We then introduce several specific repetitive structures and use alignment tools to analyse these repetitions. A first structure, namely the repetition of a chosen segment, is retrieved and evaluated in the context of automatic assignment of missingaudio data. A second structure, namely the major repetition, is defined, retrieved and evaluated regarding expert annotations, and as an alternative indexing method for cover song identification.We finally present the problem of repetitive structure inference as addressed in literature, and propose our own problem statement. We further describe our model and propose an algorithm enabling the identification of a hierarchical music structure. We emphasize the relevance of our method through several examples and by comparing it to the state of the art
McConnell, Sarah E. "Developing Variation and Melodic Contour Analysis: A New Look at the Music of Max Reger". Thesis, University of North Texas, 2018. https://digital.library.unt.edu/ark:/67531/metadc1248493/.
Testo completoAbramovay, Juliano Taques Bittencourt. "Quarteto de cordas em sol menor de Claude Debussy: reiterações e aspectos formais". Universidade de São Paulo, 2014. http://www.teses.usp.br/teses/disponiveis/27/27158/tde-20012015-122015/.
Testo completoClaude Debussy\'s String quartet in G minor is a work characterized by important dichotomies. Written in 1893, the piece is permeated by harmonic and formal elements attached to the tonal tradition and to the end of the 19th century, and specially to the composer César Franck. At the same time, the Quartet uses procedures observed only in Debussy\'s mature works, in which the presence of tonalism is weak, and analyses that rely exclusively on tonal elements are proven to have little efficiency regarding this piece. The relation between tradition and innovation is examined in this research, which focuses on two related characteristics: the way in which Debussy uses repeated elements in this piece, a matter also examined by Sylveline Bourion, and aspects related to the kinetic form described by Richard Parks. A comparison between the Quartet\'s first movement and the first movement from the Sonata for flute, viola and harp, composed at the end of Debussy\'s career, is useful for observing similar formal elements applied in different contexts.
Tompkins, Robert. "Beethoven's Opus 18 String Quartets: Selected First Movements in Consideration of the Formal Theories of Heinrich Koch as Expressed in Versuch Einer Anleitung Zur Composition". Thesis, connect to online resource, 2006. http://www.unt.edu/etd/all/Dec2006/Open/tompkins_robert_teynac/index.htm.
Testo completoOliveira, Rafael Fajiolli de. "Análise da estrutura atonal da Primeira Sinfonia para duas orquestras de cordas de Cláudio Santoro". Universidade de São Paulo, 2017. http://www.teses.usp.br/teses/disponiveis/27/27157/tde-12012018-112149/.
Testo completoCláudio Santoro (1919-1989) composed, in all, fourteen symphonies throughout his life. The First Symphony for two stringed orchestras (1940), in addition to possessing a curious instrumental formation, also represents one of the inaugural works of his first stage as composer, looking alongside Koellreutter, new paradigms for the musical composition of his time, having influenced a generation of Brazilian composers. This work developed a complete, attentive and unpublished analysis of the First Symphony of Claudio Santoro, trying to demonstrate on which atonal aesthetic, being it dodecaphonic or free, had written the work in question. Besides the suggested identification, it is also proposed the investigation of possible aesthetic hybridity that may have occurred in the First Symphony of Santoro. The careful analysis of the movements that constitute this work, using methods such as the Theory of Sets developed by Allen Forte, Robert Morris\'s Theory of Musical Constraints and the parsimonious relation between different collections as proposed by Dmitri Tymoczko allowed us to identify some post Which indicate influences by authors like Claude Debussy, Paul Hindemith and Heitor Villa-Lobos in the first Allegro Majestic movement of the First Symphony of Santoro. The maintenance of some sonorities such as the pentatonic collection, the whole-tone scale and the acoustic collection are some of the indications that allowed us to identify such influences in Santoro\'s work. In the second Andante quasi adagio movement, we can observe a traditional serial process, which developed from two series that relate, such an approach was possible from the method of serial identification and counting, as proposed by authors such as Kostka and Francolí. In the third movement, we observe a structure that is generated from symmetrical collections such as the eneatonic collection and the paradigmatic octatonic scale, as well as other symmetrical formations that occur from overlaps between layers, a procedure that is also found in the work of Villa-Lobos. In this sense, the First Symphony for two chord orchestras by Claudio Santoro was conceived through postural procedures considered free and systemic, being possible to observe stylistic hybrids in this work.
Lopes, José Nilson. "Cantoria, para viola sertaneja e orquestra de cordas: desenvolvimento de processos composicionais referenciados na cantoria de viola". Universidade Federal da Paraíba, 2011. http://tede.biblioteca.ufpb.br:8080/handle/tede/6594.
Testo completoCoordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES
This work deals with the principles and compositional techniques employed in Cantoria, for ten-string Viola Sertaneja and String Orchestra, composed of three movements, with approximate duration of 14 minutes. The work uses a compositional language developed from stylistic, melodic and rhythmic elements from Cantoria de Viola Nordestina. In the musical discourse of the first two movements, the viola sertaneja and the string orchestra are treated as distinct dramatis personae that interact with each other in several ways simulating certain acoustic effects through orchestration. In the third movement, they interplay according to the principle contained in the Desafio (kind of Cantoria de Viola).
Este trabalho se refere aos princípios e técnicas composicionais empregados na peça Cantoria, para Viola Sertaneja de 10 cordas e Orquestra de Cordas, composta de três movimentos, com duração total aproximada de 14min. A obra utiliza uma linguagem composicional desenvolvida a partir de elementos estilísticos, melódicos e rítmicos da Cantoria de Viola Nordestina. No discurso musical dos dois primeiros movimentos, a viola sertaneja e a orquestra de cordas são tratadas como dramatis personae distintas que interagem mutuamente de diversas formas simulando determinados efeitos acústicos através de recursos de orquestração. No terceiro movimento, elas se contrapõem baseadas no princípio da disputa contida no Desafio (modalidade da Cantoria de Viola).
Benacchio, Simon. "Contrôle actif modal appliqué aux instruments de musique à cordes". Thesis, Paris 6, 2014. http://www.theses.fr/2014PA066537/document.
Testo completoThis PhD thesis deals with modal active control applied to string musical instruments. Its main goals are to propose an approach and adapted methods to apply this kind of control, to investigate its possibilities and to study its effects on musical instruments. First, a short presentation of the different methods of active control and their applications to musical intruments is done. While the modal parameters of musical instruments are believed to be good descriptors of their perceptual attributs, the modal active control method is chosen for this work. Adapted methods from modal state control are used to answer to specific issues related to musical instruments. To modify the amplitude of the vibration modes, a time-dimensionless model and a derivative and proportionnal modal state method are proposed. Then, these control methods are experimentally applied to a single string instrument, a guitar and a cello. A real time control system based on a free and opensource framework is developped. The possibilities and the limits of modal state control are studied using this experimental setup. Finally, a case of a complex phenomenon contributing to the sound production in string instruments is studied thanks to the developped control system. The coupling between the string and the soundboard is observed, analytically studied and controlled. The results obtained with control and with a synthesis method are studied to compare this two investigation methods
Sheppard, Marilyn. "The music of architecture". Thesis, Virginia Tech, 2011. http://hdl.handle.net/10919/35914.
Testo completoMaster of Architecture
Pinto, João Paulo do Amaral. "A viola caipira de Tião Carreiro". [s.n.], 2008. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284078.
Testo completoDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
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Resumo: Esse trabalho é resultado de uma pesquisa sobre a obra musical do músico e compositor Tião Carreiro (José Dias Nunes, 1934-1993). O enfoque principal foi identificar os elementos constitutivos e as características do estilo desse artista como instrumentista de viola, instrumento reconhecido como o símbolo da chamada música caipira. Para tanto, foram analisados musicalmente os dois LPs instrumentais do violeiro gravados em 1976 e 1979. Além disso, foram abordados os aspetos históricos da viola caipira, do segmento instrumental sertanejo e da trajetória do artista no mercado fonográfico. A partir das análises musicais, foi identificado um conjunto de elementos e técnicas utilizados pelo músico para construir seus toques e solos. A pesquisa também relacionou e caracterizou musicalmente as matrizes e gêneros, caipiras ou não, utilizados pelo violeiro na gravação desses dois discos. Entre eles, destaca-se o pagode de viola, gênero criado no final dos anos cinqüenta a partir da combinação de algumas matrizes musicais e que, por ter se tornado a marca principal do violeiro, foi objeto de uma investigação mais aprofundada.
Abstract: This work is the result of a research on the musical work of the musician and composer Tião Carreiro (José Dias Nunes, 1934-1993). The main focus was to identify the constituent elements and the characteristics of the style of this artist as a viola (Brazilian ten-string guitar) instrumentalist, considering the viola a recognized instrument as the symbol of what is so called música caipira (typical rural music of the central-southern region of Brazil). For that, the two first instrumental LPS of the artist, recorded in 1976 and 1979, were musically analysed. Besides that, historical aspects of viola caipira, also from the instrumental sertanejo segment and the trajectory of the artist in the phonographic market were approached. From these musical analyses a group of elements and techniques used by the musician to build his touches and solos was identified. The research also related and musically characterized the origins and genders, caipira or not, used by the violeiro in the recordings of these two records. Among them, there is one in particular, the pagode de viola, gender created at the end of the fifties's, from the combination of some musical origins and that, for having become the main mark of the violeiro, was the subject of a deepened investigation.
Mestrado
Mestre em Música
Winter, Neal, University of Western Sydney e of Arts Education and Social Sciences College. "The effects of a specially-devised, integrated curriculum, based on the music of Sting, on the learning of popular music". 2002. http://handle.uws.edu.au:8081/1959.7/23839.
Testo completoDoctor of Philosophy (PhD)
Hohls, Quinton Rolf. "An investigation into performance related musculoskeletal disorders of professional orchestral string musicians in South Africa". Thesis, 2010. http://hdl.handle.net/10321/542.
Testo completoBackground: Professional orchestral string musicians are exposed to many physical and psychological stressors due to demands placed on them from playing their instruments. The prevalence of performance-related musculoskeletal disorders (PRMD’s) in this highly skilled group of individuals has been investigated internationally, consistently showing a high injury rate. There is however, a paucity of literature documenting the prevalence of musculoskeletal injuries in South African professional orchestral string players. It is hypothesized that South African trained orchestral string musicians may be at a greater risk for PRMD development due to the unique training and performance environments encountered in this country. Objectives: This study aimed to determine the demographic and injury profile; prevalence rate of current injury and risk factors for musculoskeletal injury in South African professional orchestral string musicians. Method: The study utilized a self administered quantitative questionnaire distributed to all string players in the three professional orchestras in South African in a semi-supervised fashion. SPSS version 15.0 (SPSS Inc., Chicago, Illinois, USA) was used to analyze the data. A p value < 0.05 was considered as statistically significant. iv v Results: There were 27 respondents, with the average participant being a Caucasian, right handed, non-smoking female, 37.11 years of age, 1.5631 meters tall, with a weight of 62.96 kilograms (BMI = 25.768) who exercised regularly (primarily in the gym). A bachelors degree in Music was the most commonly awarded qualification, obtained between the years 2000 and 2009, from a University outside of the Republic of South Africa. The prevalence of PRMD’s in the sample was 63% (n = 17), with a 95% confidence interval of 42.4% to 80.6%.In this study there was a high rate of injury (6.53 PRMD’s per player over a 12 month period), equating to 111 reported injuries in a population of 27 string players. The upper back (defined as the area between the shoulder blades) was the most commonly injured part of the body (77.8%, n = 21), followed by the upper extremity, mainly the shoulder (70.4%, n = 19). No statistically significant relationships were found in determining and confirming expected risk factors in the string players. Conclusion: Professional orchestral string musicians in South Africa suffer from a high rate of injury which is comparable to international studies of the same nature
Rush, Michelle Lynn Ryan Pamela. "A resource guide for the injured string player". Diss., 2003. http://etd.lib.fsu.edu/theses/available/etd-11112003-050037/.
Testo completoAdvisor: Pamela Ryan, Florida State University, School of Music. Title and description from treatise home page (viewed Mar. 15, 2004) Document formatted into pages; contains 68 pages. Includes biographical sketch. Includes bibliographical references.
Liang, Sheng-Fu, e 梁勝富. "Dynamics Modeling of Musical String by ANN". Thesis, 1996. http://ndltd.ncl.edu.tw/handle/94418248270030414154.
Testo completo國立交通大學
控制工程系
84
Music synthesis by physical modeling methods becomes the major research topic in the related area when FM synthesis and Wavetable synthesis cannot satisfy the demanding users. Combining the property of wave propagation and the associate discrete-time implementation, it is possible to generate realistic and dynamic musical tones. We first advance the Karplus-Strong plucked-string algorithm into a 2-D membrane extension. In order to model?sHeal instrument, we propose a class of neural network called Linear Scattering Recurrent Network (LSRN) which employs the measurement of the response of a string as the learning data such that the model can be trained to be a counterpart of the string in the synthesis domain. The correspondent learning algorithm and computer simulations are given to demonstrate the encouraging modeling results. Musical instrumental nonlinearity which points to our future works is also discussed.