Tesi: "Transformations musicales"

1

Jacono, Jean-Marie. "Les révisions de "Boris Godounov" de Moussorgski : transformations musicales et transformations sociales." Aix-Marseille 1, 1992. http://www.theses.fr/1992AIX10028.

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Pourquoi boris godounov de moussorgsky, le plus celebre opera russe (redige en deux versions 1869, 1872) a t-il ete si souvent remanie ? l'etude des principales revisions, celles de rimski-korsakov (1896 et 1908) et de chostakovitch (1940) permet de dire que ce n'est pas seulement pour des raisons musicales. Le sujet de l'oeuvre, les rapports du pouvoir et du peuple, n'a cesse de representer un enjeu politique et culturel dans la societe russe. Or boris godounov a ete presente dans une forme si neuve par moussorgski qu'il n'a pu etre totalement apprecie et reconnu lors de sa creation (1874), en plein essor du mouvement populis -te. Les transformations sociales et politiques de la russie ont entraine, depuis 1880, l'apparition de nouveaux groupes sociaux, de nouvelles mentalites et de nouvelles categories esthetiques qui ont conduit a modifier l'opera de moussorgski. L'etude des transformations de la structure de l'oeuvre ainsi que de son orchestration @ar rimski-korsakov et chostakovitch revele la lutte de divers groupes sociaux pour imposer, a travers l'oeuvre, non suelement leurs vues esthetiques mais aussi leur conception du pouvoir. Cette these s'inscrit dans un cadre sociologique, celui de l'institutionnalisation de l'oeuvre (sa reconnaissance par une societe), a la suite des travaux de pierre francastel, lucien goldmann et theodor w. Adorno Why was mussorgsky's boris godunov, the most well-known russian opera (rewritten in two versions : 1869 and 1872), so often reworked ? the study of the main revisions, those of rimsky-korsakov (1896 and 1908) and shostakovich (1940), shows that it was not only for musical reasons. The subject of the work, the relationship between power and the people, never ceased to represent a political and cultural issu within russian society. Boris godunov was presented by mussorgsky in such a new form that it could not be completely appreciated and knowledged at the the time of its creation (1874) with the populist movement at his height. The social and political transformations i russia since 1880 have brought about the appearance of new social groups, new mentalities and new aesthetic categories that led to the modification of mussorgsky's opera. The study of the structural transformations of the work as well as its orchestration by rimsky-korsakov and shostakovich reveals the struggle of various social groups to impose, through the work, not only their aesthetic views but also their concept of power. This thesis falls within a sociological framework, that of the institutionalization of the work (its recognition by a society), following the work of pieree francastel, lucien goldmann and theodor w. Adorno

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2

Normand, Daniel. "Grâce à trois, Revue de presse : 9 septembre 1996 ; Transformations vernales : oeuvres musicales." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/mq33726.pdf.

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3

Amiot, Emmanuel. "Modèles algébriques et algorithmes pour la formalisation mathématique de structures musicales." Paris 6, 2010. http://www.theses.fr/2010PA066680.

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Cette thèse sur travaux est fondée sur cinq articles, sélectionnés tant pour leur intérêt que pour leur représentativité. Les deux premiers traitent des canons rythmiques, un sujet riche, d'origine musicale, lié à de nombreux problèmes de mathématique, de combinatoire, d'algorithmique et même d'algèbre fondamentale (théorie de Galois). Ces articles prêtent une attention particulière à l'étude de la conjecture de Fuglede, ou conjecture spectrale. Le plus ancien traite de propriétés algébriques et combinatoires générales, mettant en avant l'importance du concept (musical) de "canons de Vuza". Le plus récent met en œuvre un algorithme original pour énumérer tous les canons de Vuza de période 120, ce qui contribue à préciser le domaine de validité de la conjecture de Fuglede (ainsi que de quelques autres). Deux autres articles traitent d'applications à des structures musicales fondamentales de la transformée de Fourier discrète : cette dernière permet en effet de classifier élégamment un certain nombre de gammes et d'accords remarquables. Le premier est une synthèse sur les gammes qui maximisent certains coefficients de Fourier, le second une surprenante application à l'archéologie musicale, permettant de comparer de façon pertinente différents tempéraments (i. E. Façons d'accorder un instrument). Cela permet en particulier de confirmer que le tempérament proposé par Bradley Lehman comme étant celui qu'aurait utilisé J. S. Bach jouit de propriétés remarquablement proches de celles que souhaitait le grand compositeur. Le dernier article présenté traite d'un sujet original, les mélodies auto-similaires. Cette propriété d'auto-similarité, mieux connue dans d'autres contextes, se retrouve aussi bien chez Scarlatti, Mozart ou Beethoven que Glen Miller ou des compositeurs contemporains, et tout particulièrement Tom Johnson qui les a mises en lumière. La synthèse ci-jointe vise à replacer ces travaux et à expliciter leur rôle dans le contexte de la recherche contemporaine en Mathématiques et Musique. L' auteur a été amené à utiliser des outils algébriques élaborés afin de mieux modéliser ces problèmes, tous d'origine musicale. Sa démarche s'avère ainsi indissociable des sciences de l'informatique, sous leur double facette d'expérimentation et d'implémentation de logiciels dédiés à l'analyse et à la composition musicale.

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4

Cifka, Ondrej. "Deep learning methods for music style transfer." Electronic Thesis or Diss., Institut polytechnique de Paris, 2021. http://www.theses.fr/2021IPPAT029.

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Récemment, les méthodes d'apprentissage profond ont permis d'effectuer des transformations du matériel musical basées sur les données (data-driven). L'objet de cette thèse est le transfert de style musical, dont le but est de transférer de manière automatique le style d'un morceau à un autre. Dans la première partie de ce travail, nous nous concentrons sur les méthodes supervisées pour le transfert de style des accompagnements dans une représentation symbolique, visant à transformer un morceau donné en lui générant un nouvel accompagnement. La méthode proposée est basée sur l'apprentissage supervisé de séquence à séquence à l'aide de réseaux de neurones récurrents (RNN) et s'appuie sur une base de données synthétiques parallèle (alignée par paires) générée à cet effet à l'aide d'un logiciel de génération d'accompagnement existant. Nous proposons ainsi un ensemble de mesures objectives pour évaluer la performance sur cette nouvelle tâche et nous montrons que le système réussit à générer un accompagnement dans le style souhaité tout en suivant la structure harmonique de l'entrée. Dans la deuxième partie, nous étudions une question plus fondamentale : le rôle des encodages positionnels (PE) dans la génération de musique à l'aide des Transformers. Nous proposons l'encodage positionnel stochastique (SPE), un nouveau PE capable de coder des positions relatives et compatible avec une classe récemment proposée de Transformers efficaces. Nous démontrons que le SPE permet, mieux que la méthode conventionnelle (le PE absolu), de modéliser des séquences plus longues que celles rencontrées pendant l'entraînement.Enfin, dans la troisième partie, nous passons de la musique symbolique à l'audio et abordons le problème du transfert de timbre. Plus précisément, nous nous intéressons à transférer le timbre d'un enregistrement audio à un autre, tout en préservant le contenu mélodique et harmonique de ce dernier. Nous présentons une nouvelle méthode pour cette tâche, basée sur une extension de l'autoencodeur variationnel quantifié (VQ-VAE), ainsi qu'une stratégie d'apprentissage auto-supervisé conçue pour obtenir des représentations démêlées du timbre et de la hauteur. Comme dans la première partie, nous concevons un ensemble de métriques objectives pour la tâche. Nous montrons que la méthode proposée est capable de surpasser des méthodes existantes Recently, deep learning methods have enabled transforming musical material in a data-driven manner. The focus of this thesis is on a family of tasks which we refer to as (one-shot) music style transfer, where the goal is to transfer the style of one musical piece or fragment onto another.In the first part of this work, we focus on supervised methods for symbolic music accompaniment style transfer, aiming to transform a given piece by generating a new accompaniment for it in the style of another piece. The method we have developed is based on supervised sequence-to-sequence learning using recurrent neural networks (RNNs) and leverages a synthetic parallel (pairwise aligned) dataset generated for this purpose using existing accompaniment generation software. We propose a set of objective metrics to evaluate the performance on this new task and we show that the system is successful in generating an accompaniment in the desired style while following the harmonic structure of the input.In the second part, we investigate a more basic question: the role of positional encodings (PE) in music generation using Transformers. In particular, we propose stochastic positional encoding (SPE), a novel form of PE capturing relative positions while being compatible with a recently proposed family of efficient Transformers.We demonstrate that SPE allows for better extrapolation beyond the training sequence length than the commonly used absolute PE.Finally, in the third part, we turn from symbolic music to audio and address the problem of timbre transfer. Specifically, we are interested in transferring the timbre of an audio recording of a single musical instrument onto another such recording while preserving the pitch content of the latter. We present a novel method for this task, based on an extension of the vector-quantized variational autoencoder (VQ-VAE), along with a simple self-supervised learning strategy designed to obtain disentangled representations of timbre and pitch. As in the first part, we design a set of objective metrics for the task. We show that the proposed method is able to outperform existing ones

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5

Roads, Curtis. "Synthèse et transformation des microsons." Paris 8, 1999. http://www.theses.fr/1999PA082890.

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En dessous du niveau de la note se tient le royaume du microson et des particules sonores. Les avancées technologiques récentes nous permettent d’explorer ce monde auparavant inconnu. Les techniques microsonores dissolvent les briques rigides de l’architecture musicale – les notes – et les transforment en un matériau plus souple et fluide. Cette thèse, dédiée à l’étude du microson, est le fruit d’une longue période d’activité en recherche expérimentale, programmation, et composition. Commence�� à partir de quelques fils directeurs, le texte est devenu par la suite un réseau d’informations intégrant théorie de la composition, recherche historique, études techniques, documentation de programmes, expériences acoustiques, descriptions d’œuvres de musique, et réflexions esthétiques. Les diverses informations sont présentées dans sept chapitres. À ce stade de développement, les problèmes musicaux, techniques et esthétiques sont étroitement mêlés Beneath the level of the note lies the realm of microsound, of sound particles. The microsonic particles remained invisible for centuries. Recent technological advances let us probe and explore the beauties of this formerly unseen world. Microsonic techniques dissolve the rigid bricks of music architecture–the notes–into a more fluid and supple medium. This book is the fruit of a lengthy period of activity involving synthesis experiments, programming, and composition. Beginning with a few strands, it eventually grew into a lattice of composition theory, historical accounts, technical overviews, acoustical experiments, descriptions of musical works, and aesthetic reflections. A diverse body of information is presented in seven chapters. At this stage of development, the musical, technical, and aesthetic problems interweave

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6

Foster, Nicholas Elgin. "Structural and functional correlates of mental musical transformation." Thesis, McGill University, 2011. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=96781.

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Music represents both a ubiquitous element in human cultures and a highly complex discipline to which some individuals devote decades of practice. Music is therefore an ideal medium with which to probe human auditory perception over a wide range of skill. Differences in brain structure and function have been reported in musicians (vs. untrained individuals), but because of methodological limitations, the links bringing together behavior, structure and function have remained indirect. This thesis consists of three neuroimaging studies that, together, elucidate some of the functional and anatomical substrates of aspects of melodic perception. Study 1 used functional magnetic resonance imaging (fMRI) and a mental pitch transposition task to localize cortical activity related to mental manipulation of melodic sequences; the results showed that recruitment of the intraparietal sulcus (IPS) is specifically related to successful mental transposition. Study 2 employed fMRI to test two follow-up questions: whether the same subregion of IPS is also involved in temporal manipulation of melodies, and whether transposition to more distant keys evokes greater activation in IPS. The results showed that in individual subjects, a common area of IPS subserves mental melodic transformations in both pitch-based and time-based reference frames, and that the magnitude of IPS activation is associated with the magnitude of the transformation required. Study 3 tested for anatomical correlates of mental pitch transposition ability, and found that both gray matter concentration and thickness in auditory cortex and IPS predict performance on this task. The structural effects in IPS were in close spatial correspondence with the functional effects in Studies 1 and 2. Although structural and functional effects showed positive correlations with musical experience, there was also evidence for a training-independent correlation between mental transposition ability and IPS structure/function, supporting the idea that pre-existing behaviorally relevant variation is further modified by training. These studies therefore provide convergent structural and functional evidence of a specific role for the IPS in a complex aspect of musical perception. The results are in agreement with models of dorsal sensory processing that emphasize abstract non-spatial computations, and advance the idea that posterior parietal cortex is important for systematic musical transformations. La musique représente à la fois un élément omniprésent dans la culture humaine et une discipline très complexe dans laquelle certaines personnes consacrent des décennies de pratique. La musique est ainsi un moyen idéal pour sonder la perception auditive humaine sur un large éventail de compétences. Les différences dans la structure et la fonction du cerveau ont été rapportées chez des musiciens (vs. individus non entraînés), mais en raison de limites méthodologiques, les liens réunissant les comportements, la structure et la fonction sont restés indirects. Cette thèse consiste en trois études en neuroimagerie qui ensemble, élucident quelques substrats anatomiques et fonctionnels des aspects de la perception mélodique. L'étude 1 utilise l'imagerie par résonance magnétique fonctionnelle (IRMf) et une tâche de transposition mentale de la hauteur des notes pour localiser l'activité corticale liée à la manipulation mentale de séquences mélodiques; les résultats ont montré que le recrutement du sulcus intrapariétal (SIP) est relié spécifiquement à la réussite d'une transposition mentale. L'étude 2 a utilisé l'IRMf pour répondre aux deux questions suivantes, à savoir si la même sous-région du SIP est également impliquée dans la manipulation temporelle des mélodies, et si la transposition de notes plus distantes évoque une plus grande activation dans le SIP. Les résultats ont montré que chez des sujets individuels, une aire commune dans le SIP favorise les transformations mélodiques mentales à la fois basées sur la hauteur des notes et sur des cadres de référence basés sur le temps, et que la magnitude de l'activation dans le SIP est associée avec la magnitude des transformations requises. L'étude 3 a testé les corrélats anatomiques de la capacité de transposition mentale de la hauteur des notes, et a montré qu'à la fois la concentration de matière grise et l'épaisseur dans le cortex auditif et dans le SIP prédit la performance à la tâche. Les effets structuraux dans le SIP étaient en étroite correspondance spatiale avec les effets fonctionnels dans les études 1 et 2. Bien que les effets anatomiques et fonctionnels aient montré des corrélations positives avec l'expérience musicale, il y avait aussi la preuve d'une corrélation entre la capacité de transposition mentale et la structure/fonction dans le SIP, indépendante de l'entraînement, appuyant l'idée qu'une variation comportementale préexistante est en outre modifiée par l'entraînement. Ces études sont par conséquent des preuves structurelles et fonctionnelles convergentes pour un rôle spécifique du SIP dans un aspect complexe de la perception musicale. Les résultats sont en accord avec les modèles du traitement sensoriel dorsal qui mettent l'accent sur des traitements non-spatiaux abstraits, et renforcent l'idée que le cortex pariétal postérieur est important pour des transformations musicales systématiques.

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7

Sayrs, Elizabeth Paige. "Approaches to Wolf : Schenker, transformation, function /." The Ohio State University, 1997. http://rave.ohiolink.edu/etdc/view?acc_num=osu1243358893.

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8

Verfaille, Vincent. "Effets audionumériques adaptatifs : théorie, mise en œuvre et usage en création musicale numérique." Phd thesis, Université de la Méditerranée - Aix-Marseille II, 2003. http://tel.archives-ouvertes.fr/tel-00004448.

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Ce travail de thèse porte sur la théorie, la mise en œuvre et les applications musicales des effets audionumériques adaptatifs. Dans la première partie, nous plaçons le sujet dans le contexte des transformations sonores. Un grand nombre de techniques de traitement du signal sonore numérique se complètent et fournissent un ensemble d'algorithmes permettant de transformer le son. Ces transformations sont appliquées selon les dimensions perceptives du son musical, à savoir la dynamique, la durée, la hauteur, la spatialisation et le timbre. Pour quelques effets, les contrôles évoluent de manière automatique ou périodique, et ce contrôle est intégré à l'algorithme. Le contrôle offert à l'utilisateur porte sur les valeurs de certains paramètres de l'algorithme. Il se réalise à l'aide de contrôleurs réels, tels des potentiomètres, des interrupteurs, ou à l'aide de contrôleurs virtuels, telles les interfaces graphiques sur écran d'ordinateur. En synthèse sonore, l'un des sujets majeurs d'étude à l'heure actuelle est le mapping : il s'agit de savoir comment mettre en correspondance les paramètres d'un contrôleur gestuel et les paramètres d'un algorithme de synthèse. Notre étude se situe à l'intersection entre les effets audionumériques, le contrôle adaptatif et gestuel, et la description de contenu sonore. Dans la seconde partie, nous présentons les effets audionumériques adaptatifs tels que nous les avons formalisés et développés. Ce sont des effets dont le contrôle est automatisé en fonction de descripteurs sonores. Nous avons étudié puis utilisé de nombreux algorithmes de traitement, certains en temps-réel et d'autres hors temps-réel. Nous les avons améliorés afin de permettre l'utilisation de valeurs de contrôle variables. Une réflexion a été menée pour choisir une classification des effets qui ait du sens pour le musicien ; elle a logiquement abouti à la taxonomie perceptive. Parallèlement, nous avons étudié les descripteurs sonores et les moyens de contrôle d'un effet, par le son et par le geste. Nous avons rassemblé de nombreux descripteurs sonores, utilisés en psychoacoustique, en analyse-synthèse, pour la segmentation et la classification d'extraits sonores, et pour la transcription automatique de partition. Nous proposons un contrôle généralisé pour les effets adaptatifs, hiérarchisé en deux niveaux. Le premier niveau de contrôle est le niveau d'adaptation : le contrôle de l'effet est effectué par des descripteurs du son, à l'aide de fonctions de mapping. Nous indiquons des fonctions de conformation (fonctions de transfert non linéaires) permettant de transformer la courbe d'évolution temporelle d'un descripteur, des fonctions de combinaisons des descripteurs ainsi que des fonctions de conformations spécifiques des paramètres de contrôle. Le second niveau de contrôle est celui du contrôle gestuel : le geste agit sur les fonctions de mapping, soit sur la combinaison, soit sur la conformation spécifique des contrôles. De cette étude, il ressort non seulement une généralisation du contrôle des effets audionumériques, mais aussi la réalisation d'outils pour la composition, et leur utilisation en situation musicale. De nombreuses expériences et illustrations sonores ont été réalisées, parmi lesquelles une spatialisation adaptative contrôlée par une danseuse, et un équalisateur stéréophonique adaptatif. Les expériences confirment l'intérêt d'un tel contrôle adaptatif et gestuel, notamment pour modifier l'expressivité d'une phrase musicale, ou pour créer des sons inouïs.

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9

Bonney, Michael. "The Compositional Transformation and Musical Rebirth of Leo Ornstein." Thesis, University of North Texas, 2011. https://digital.library.unt.edu/ark:/67531/metadc103292/.

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This study focuses on the transformation of Leo Ornstein’s (1893-2002) musical language of his early years into the strikingly different approach found in his later years. Ornstein’s initial radical compositions from the mid-1910s were no doubt representative of the direction in which modern music was moving. Despite the intense fame and notoriety of his early works, Ornstein did not feel connected to the trends of modern music development, and by the end of the 1930s he withdrew from the public scene and turned to teaching. By the 1950s Ornstein had been almost forgotten, and in later life he became a very private person. He worked in almost total isolation composing a substantial amount of music well into his nineties, and died at the age of 109. The music of Ornstein’s “second life” is very different from the initial works of his early years, and most of it is unknown to the public and should be brought into scholarly light, especially since Ornstein has been considered by historians as a pivotal figure in twentieth-century music. This study examines selected music from different stages of Ornstein’s career: Wild Men’s Dance (1913), Suicide in an Airplane (1913), Arabesques (1918), A Long Remembered Sorrow (1964), Piano Sonata No. 7 (1988). A discussion of the selected compositions will provide an understanding of Ornstein’s compositional transformation, and will familiarize musicians and scholars with this widely unknown music.

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10

du, Plessis Janine. "Transformation Groups and Duality in the Analysis of Musical Structure." Digital Archive @ GSU, 2008. http://digitalarchive.gsu.edu/math_theses/66.

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One goal of music theory is to describe the resources of a pitch system. Traditionally, the study of pitch intervals was done using frequency ratios of the powers of small integers. Modern mathematical music theory offers an independent way of understanding the pitch system by considering intervals as transformations. This thesis takes advantage of the historical emergence of algebraic structures in musicology and, in the spirit of transformational theory, treats operations that form mathematical groups. Aspects of Neo-Riemannian theory are explored and developed, in particular the T/I and PLR groups as dual. Pitch class spaces, such as 12, can also be defined as torsors. In addition to surveying the group theoretical tools for music analysis, this thesis provides detailed proofs of many claims that are proposed but seldom supported.

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Cannas, Sonia. "Geometric representation and algebraic formalization of musical structures." Thesis, Strasbourg, 2018. http://www.theses.fr/2018STRAD047/document.

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Cette thèse présente des généralisations u groupe néo-riemannien PLR, que agit sur l'ensemble des 24 triades majeures et mineures. Le travail commence par une reconstruction de l'histoire de Tonnetz, un graphe associé aux trois transformations qui génèrent le groupe PLR. La thèse présente deux généralisations du groupe PLR pour les accords de septième. Le premier agit sur le tournage des septièmes de dominantes, mineure, semi-diminuée, majeure et diminuée, le second comprend également la septième mineure majeur, majeure augmenté, l'augmentée et la septième dedominante bémol. Nous avons également classé les transformations les plus parcimonieuses parmi les 4 triades (majeure, mineure, augmentée et diminuée) et avons étudié le groupe généré par celles-ci. Enfin, nous avons introduit une approche générale permettant de définir des opérations parcimonieuses entre les accords de septième et de triade, mais aussi les opérations déjà connues entre triades et celles entre septièmes This thesis presents a generalizations of the neo-Riemannian PLR-group, that acts on the set of 24 major and minor triads. The work begins with a reconstruction on the history of the Tonnetz, a graph associated with the three transformations that generate the PLR-group. The thesis presents two generalizations of the PLR-group for seventh chords. The first one acts on the set of dominant, minor, semi-diminished, major and diminished sevenths, the second one also includes minor major, augmented major, augmented, dominant seventh flat five. We considered the most parsimonious operations exchanging two types of sevenths, moving a single note by a semitone or a whole tone. We also classified the most parsimonious transformations among the 4 types of triads (major, minor,augmented and diminished) and studied the group generated by them. Finally, we have introduced a general approach to define parsimonious operations between sevenths and triads, but also the operations already known between triads and those between sevenths

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12

Derfler, Brandon Joel. "Single-voice transformations : a model for parsimonious voice leading /." Thesis, Connect to this title online; UW restricted, 2007. http://hdl.handle.net/1773/11418.

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13

Masri, Paul. "Computer modelling of sound for transformation and synthesis of musical signals." Thesis, University of Bristol, 1996. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.246275.

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14

Kunnuji, Joseph. "A chronicle of cultural transformation: ethnography of Badagry Ogu musical practices." Doctoral thesis, Faculty of Humanities, 2020. http://hdl.handle.net/11427/32279.

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This thesis examines the musical practices of Badagry Ogu people from both historical and contemporary perspectives and provides strategies for their further integration into the changing social and economic landscape characteristic of 21st-century Lagos. Badagry emerged as a Nigerian town bordering the Republic of Benin in the 19th-century colonial delineation processes, which neglected ethnic frontiers. Consequently, Badagry Ogu people, being a minority ethnic group and geographically peripheral in Nigeria, have been politically, economically and socially marginalized for generations. Using ethnographic methods in studying selected indigenous musical bands (Gogoke, Gigoyoyo, Kristitin and Akran Ajogan), a biographical sketch of master drummer Hunpe Hunga, and an applied ethnomusicology method of collaborative music composition and arrangement, I chronicle the musical heritage of Badagry Ogu people. In addition, I suggest an approach for its recontextualisation into different creative economies. I engage Thomas Turino's framework for identity and social analysis, including the concepts of cultural cohorts and cultural formations, in exploring the different attitudes, among Badagry Ogu people, towards indigenous music. I advocate for and outline a contemporary approach for musical recontextualisation as a means of inclusivity and economically empowering performers of indigenous Ogu music in Badagry. This thesis includes my additional arrangements to the studio recordings of Gogoke. The recontextualisation process, which commenced with Gogoke's recording of indigenous instruments and vocals in Badagry Lagos Nigeria, reached its full fruition in the overdubs of Western musical instruments in Cape Town, South Africa. To further explore the theme of inclusivity, I examine current gender practices in Ogu communities evident in the gendered musical practices of contemporary Badagry. With its indepth analysis of Ogu genres, musical instruments, gender issues and a framework for recontextualising African indigenous musics, this thesis, while filling the gap in the study of ethnic minorities in Nigeria, is a significant contribution of the nuanced artistic practices of Badagry Ogu people to African music scholarship.

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Hanna, Pierre. "Modélisation statistique de sons bruités : étude de la densité spectrale, analyse, transformation musicale et synthèse." Bordeaux 1, 2003. http://www.theses.fr/2003BOR12756.

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L'ordinateur offre de nouvelles possibilités en terme de traitement du son. Les travaux de recherche actuels concernent essentiellement la modélisation des parties périodiques d'un signal. Les sons bruités sont pourtant de plus en plus employés lors de la composition musicale. Les modèles existants considèrent ces sons, ou leurs parties bruitées, comme du bruit blanc filtré. Cette hypothèse est mise en défaut par les études psychoacoustiques sur la perception de la densité spectrale des fréquences. Nous présentons un nouveau modèle spectral et statistique, appelé CNSS, basé sur le modèle des bruits thermiques. Un son bruité est défini par une somme fixe de sinusoi͏̈des. Le modèle CNSS propose de nouveaux contrôles liés aux distributions des fréquences et des phases des sinusoi͏̈des, et autorise ainsi de nouvelles transformations musicales. Une méthode d'analyse générale des sons bruités est envisagée. Nous décrivons une première méthode qui caractérise dans un spectre les partiels des composantes bruitées, en étudiant statistiquement les variations d'intensité. Une seconde méthode permet de défnir, sur l'échelle temporelle, les parties composées de transitoires, en étudiant la distribution des échantillons du signal. Enfin, nous détaillons une nouvelle technique qui permet d'approximer la densité spectrale. Les paramètres du modèle CNSS peuvent être ainsi estimés. Par la suit, les algorithmes de synthèse liés au modèle CNSS sont détaillés. De plus, les problèmes dus au recouvrement de fenêtres lors de la synthèse de sons aléatoires sont expliqués. Plusieurs solutions adéquates sont proposées. Une implémentation du modèle CNSS a été effectuée, permettant la synthèse en temps-réel de sons bruités. Cette implémentation est déstinée d'une part à être intégrée dans l'instrument d'éveil musical Dolabip développé au SCRIME, et d'autre part, à devenir une plateforme d'exploration sonore et un outil de synthèse pour les expériences psychoacoustiques.

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16

CLELAND, KENT DOUGLAS. "MUSICAL TRANSFORMATION AS A MANIFESTATION OF THE TEMPORAL PROCESS PHILOSOPHIES OF HENRI BERGSON." University of Cincinnati / OhioLINK, 2003. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1059403850.

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17

Myers, Karl J. "A system for the generation of tonal music based on transformations /." Online version of thesis, 1988. http://hdl.handle.net/1850/10293.

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18

Grachten, Maarten. "Expressivity-aware tempo transformations of music performances using case based reasoning." Doctoral thesis, Universitat Pompeu Fabra, 2006. http://hdl.handle.net/10803/7485.

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La recerca presentada en aquesta dissertació glossa sobre transformacions de tempo de gravacions monofòniques de saxo jazz preservant l'expressivitat musical. Es una contribució al processament d'audio basat en el contingut, un camp de recerca que ha emergit recentment com a resposta a la necessitat creixent de gestionar intel·ligentment la creixent quantitat d'informació digital multimedia disponible actualment. S'ha investigat com una execució musical, tocada a un tempo concret, es pot reproduir automàticament a un altre tempo mantenint l'expressivitat. Aquest problema no es pot reduir a aplicar una transformació uniforme a totes les notes de la melodia, operació que degradaria la qualitat de l'execució. Proposem un sistema de raonament basat en casos per a transformacions de tempo preservant l'expressivitat. La validació del sistema mostra un comportament superior a la transformació uniforme. A m'es, s'han fet contribucions a l'anàlisi de gravacions expressives, CBR, recuperació de melodies i metodologires d'evaluació de models d'expressivitat. The research presented in this dissertation focuses on expressivity-aware tempo transformations of monophonic audio recordings of saxophone jazz performances. It is a contribution to content-based audio processing, a field of technology that has recently emerged as an answer to the increased need to deal intelligently with the evergrowing amount of digital multimedia information available nowadays. We have investigated the problem of how a musical performance played at a particular tempo can be rendered automatically at another tempo, while preserving naturally sounding expressivity. This problem cannot be reduced to just applying a uniform transformation to all notes of the melody, since it often degrades the musical quality of the performance. We present a case-based reasoning system for expressivity aware tempo transformations. A validation of the system showed superior results compared to uniform transformation. Furthermore, contributions have been made to expressive performance analysis, CBR, melody retrieval, and evaluation methodologies of expressive models.

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19

Marrero-Rivero, Juan Manuel. "Les rapports musique-technologie en tant qu'agents de transformation esthétique et sociale." Paris 8, 2004. http://www.theses.fr/2004PA082450.

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C'est aussi bien l'écho social atteint par les rapports constamment entretenus entre musique et technologie que leurs incidences réelles dans l'action et la facture artistique qui ont captivé tout l'intérêt de l'auteur et qui définissent et nourrissent tant son observation comme sa réflexion, en essayant de comprendre la mesure et l'importance même des transformations dûes aux situations esthétiques et sociales nouvelles, favorisées, sans aucun doute, par l'insertion en art des nouveaux outils et des nouvelles techniques, méthodes et procédés qui donnent forme à des concepts, à des contextes, à des manifestations, à des produits, à des positions et à des propositions toutes nouvelles It is the social echo attained by the constant relationship sustained between music and technology as well as their real effects on artistic action and craftsmanship which captivated the author's interest and that define and nourish both his observations and reflections, in trying to understand the dimension and importance of the transformation that result from new esthetical and social situations, favored –without a doubt- by the insertion in art of new tools, techniques, methods, and processes which give form to concepts, contexts, demonstrations, products, positions, and propositions, all new

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20

Padilla, Rachel. "From Concert to Film: The Transformation of George Gershwin's Music in the Film "An American in Paris"." Thesis, The University of Arizona, 2010. http://hdl.handle.net/10150/297397.

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In 1951, Saul Chaplin, John Green, and Conrad Salinger adapted the music of composer George Gershwin (1898-1937) for a film musical titled An American in Paris, the finale of which was a 17-minute ballet scene set to a modified version of the composer’s tone poem from 1928. The plot bears broad similarities to isolated aspects of George Gershwin’s life. Such narrative elements offered a scaffold for an attractive subtext explored through the film score: a review of the trajectory and breadth of George Gershwin's compositional career from 1922-1937. My own analysis of the film and its score, using the techniques of Lars Franke, further illustrates how the creators of An American in Paris used the cinematic frame to comment on George Gershwin's life and to respond to contemporary critics as well as fans of his music.

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21

Shiina, Ryôsuke. "Recherches sur la transformation du temps musical sous l'angle de la philosophie japonaise." Nice, 1994. http://www.theses.fr/1994NICE2029.

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Après avoir examiné les thèses sur le temps musical de Michel Imberty, de Gisèle Brelet et d’Ivanka Stoianova, qui constatent une transformation du temps musical au tournant du siècle, nous faisons la lumière sur les caractères infini et abstrait du temps quotidien, nihilisant dans la société moderne. Le temps musical assure ce sens perdu au moyen de la fermeture en tant qu'œuvre-objet et d'une structuration sophistiquée. D'où la téléologie refoulante. Et tout cela, en engendrant le même genre de "différence ontologique" que Bin Kimura appelle la différence entre le koto et le mono, qui se trouve au fond de l'existence. C'est la "musique expérimentale", avec sa conception du temps zéro, qui révèle la fausseté du temps musical traditionnel et qui tente de rétablir le temps directement fondé sur la profondeur de l'existence, ou le koto lui-même. Ce temps fondamental, pour qu'il puisse s'écouler, il faut qu'il effectue l'auto-négation comme "identité absolument contradictoire". Nous recourons a Kitaro Nishida, ainsi que Shudo Kuki et Wataru Hiromatsu, pour trouver, derrière ces œuvres d'aujourd'hui, l'acte musical dans son état le plus dynamique : l'"interprétation" au sens radical, qui repose sur l'"intersubjectivité vibratoire" After a critical survey of the theories of the musical time developped by Michel Imberty, Gisele Brelet and Ivanka Stoianova, who had noticed a transformation of the musical time at the beginning of the century, the author clarifies the nihilising caracteristics of everyday's time in modern societies, i. E. Its infinity and abstract nature. The traditional musical time, with its teleology, enables the human beings to compensate for losing the sense of life. This phenomenon is based on the isomorphism of musical time with the "ontological difference", which Bin Kimura locates, in the foundation of men's existence, as the difference between the mono and the koto. It is the "experimental music" which exposes the falseness of the traditional musical time, with its zero time conception, and which tries to make the time found on the depth of existence. This fundamental time must realise the "auto-neagation" as "absolutely contradict ory identity" for its being. We use the ideas of Kitaro Nishida, Shuzo Kuki and Wataru Hiromatsu, in order to find the most dynamic musical act in today's music : "interpretation" in the radical sense, which depends on the "vibratory intersubjectivity"

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22

Cleland, Kent. "Musical, transformation as a manifestation of the temporal process philosophies of Henri Bergson." Cincinnati, Ohio : University of Cincinnati, 2003. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=ucin1059403850.

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23

Swindells, Rachel. "Klasik, kawih, kreasi : musical transformation and the gamelan degung of Bandung, West Java, Indonesia." Thesis, City University London, 2004. http://openaccess.city.ac.uk/8415/.

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The degung is a small game lan that is unique to the Sundanese people of West Java. Originating as a prestigious ensemble for the local nobility and formerly confined to the region's administrative courts, the provincial capital city of Bandung has been the geographic focus for the degung tradition since the first decades of the 20'h century. Following sixteen months of fieldwork in Bandung, the dissertation examines the evolution of the gamelan degung in the musical melting pot of this bustling urban centre. Situating the ensemble within the heterogeneous landscape of Bandung's regional arts scene, it considers the way in which degung has come to be positioned as a musical 'common ground' for performers hailing from a variety of socio-cultural and musical backgrounds, as well as a site for the negotiation and assimilation of repertoires and performance practices drawn from across the wider Sundanese music complex. Central to this investigation is the theme of musical transformation, a topic that is explored from several interrelated perspectives. Piecing together a history of the ensemble, the study correlates musical innovations to socio-cultural, politico-economic and technological developments, as well as to broader shifts in Sundanese music as a whole. Specific attention is paid to the ongoing popularisation of degung by the local cassette industry and the role that 'invented' ceremonials have played in the ensemble's postcolonial renaissance. Interweaved into this chronological survey are more focused analyses of the core and specialist skills of the musicians and the intrinsic malleability of the music systems that lie at the heart of such musical change. Transformation is identified as a primary domain of Sundanese musical competence, with processes of transfer and adaptation shown to permeate the creation and realisation of degung repertoires. These diachronic and synchronic accounts of musical transformation are considered to complement rather than to contrast with one another; it is argued that the manner in which the degung has adapted to its altering 'external' environment over time has been determined, at least in part, by the essential constitution and 'internal' dynamics of the larger musical culture in which the ensemble is rooted.

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24

Kallionpää, Roosa. "Reciprocal sound transformations for computer supported collaborative jamming." Thesis, KTH, Skolan för elektroteknik och datavetenskap (EECS), 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-280684.

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Collaborative jamming with digital musical instruments (DMI) exposes a need for output synchronization. While temporal solutions have been established, a better understanding of how live sound transformations could be balanced across instruments is required. In this work, a technology probe for reciprocal sound transformations was designed and developed by networking the instruments of four musicians and employing layered mapping between a shared interface, high-level sound attributes, and the sound synthesis parameters of each instrument. The probe was designed and used during a series of participatory design workshops, where seven high-level attributes were constructed according to the spectromorphology framework. The analysis, where the notion of sonic narrative and the concept of flow were applied, reveals how live controlling reciprocal sound transformations facilitates collaboration by supporting role-taking, motivating the ensemble, and directing the focus of its members. While generality of the implemented attributes cannot be claimed, challenges of the chosen mapping strategy and requirements for the user interface were identified. Jammande i grupp med digitala musikinstrument (DMI) avslöjar ett behov för att kunna synkronisera dem utgående signalerna. Temporära lösningar har etablerats, men en bättre förståelse för hur live ljudtransformationer skulle kunna balanseras över flera instrument är nödvändig. I detta arbete utvecklades och designades en teknologisk sond för reciproka ljudtransformationer genom att koppla ihop fyra musikers instrument och en flerlagersavbildning skapades med ett delat gränssnitt, högnivå ljudattribut samt ljudsyntesparametrarna för varje instrument. Sonden designades och användes under co-design-workshops, där sju högnivå ljudattribut konstruerades enligt spectromorfologiramverket. Analysen, där begreppen soniskt berättande och konceptet flyt applicerades, avslöjar hur realtidskontroll av reciproka ljudtransformationer främjer medverkande genom att stödja rolltagande, motivera ensemblen, samt rikta fokuset hos medlemmarna. Även om det inte går att hävda att de implementerade attributen är generella, så identifierades utmaningarna hos den valda avbildningsstrategien och hos användargränssnittet.

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25

Severinsson, Johanna. "Transformation från A till B : Vad sker i processen mellan förväntningar och insikt? En studie i musikalisk kreativ transformation." Thesis, Kungl. Musikhögskolan, Institutionen för musik, pedagogik och samhälle, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-2855.

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The purpose of the essay is to find an understanding of people's experiences of musical creation. How do we experience creative creation? What is happening in the process? Who decides what is music? Through observations and interviews I have analyzed the concepts that emerge when my informants talk about a creative process. Based on hermaneutical assumptions that a process is interpretable and leads from one point to another, I have wanted to get a deeper understanding of what is interpretable in the informants' experiences of the process. The starting point is that the truth changes a bit for each time a new experience takes place. A so-called transformation. In order to address the essence (the "truth") in my question I have used qualitative research and tried to embrace a phenomenological perspective. I have applied a deductive approach to the analysis of the empirical material. The results show that many of my assumptions are confirmed as regards the transformation as requested. A problem identified in the study is that the creative processes are difficult to measure and assess. In a time driven by economic concerns, they are also not as valued as mathematics, engineering, or physics. Syftet med uppsatsen är att utforska upplevelsen av musikaliskt skapande. Hur upplever vi ett kreativt skapande? Vad är det som sker i processen? Vem är det som bestämmer vad som är musik? Genom observationer och intervjuer har jag analyserat vilka begrepp som kommer fram när mina informanter pratar om en kreativ process. Utifrån hermaneutiska antaganden om att en process är tolkningsbar och leder från en punkt till en annan har jag önskat få en djupare förståelse för vad som är tolkningsbart i informanternas upplevelser av processen. Utgångspunkten är att sanningen förändras lite för var gång en ny erfarenhet äger rum. En så kallad transformation. För att få fatt på essensen (”sanningen”) i mina frågeställningar har jag använt mig av kvalitativ forskning och försökt att inta ett fenomenologiskt perspektiv. Med deduktiv ansats har jag förhållit mig till den data jag har fått fram. Resultatet visar på att många av mina antaganden bekräftas vad gäller den transformation som efterfrågades. En problematik som framkommit i studien är den att kreativa processer är svåra att mäta och bedöma. De är inte heller lika värderade i en ekonomistyrd samtid som matematik, teknik eller fysik.

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26

Hoglund, Cara. "Transformations: A Folkloric Exploration of the Musical Comedy Into the Woods by Stephen Sondheim and James Lapine." TopSCHOLAR®, 2000. http://digitalcommons.wku.edu/theses/720.

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The purpose of this thesis is to examine the use of folktales in Stephen Sondheim and James Lapine's 1987 award-winning musical Into the Woods. In doing so, I hope to accomplish several directives. First, to enrich understanding of the musical for all audience members, especially those with a folklore or theater background. I feel that understanding the underlying goals and standards that Stephen Sondheim and James Lapine used in creating the musical will provide a much deeper understanding of the genius of their work. I also aim clearly elucidate the merger of folk narrative and popular musical theater form in this innovative musical. My hope is that analyses such as this will encourage a greater exploration of the strong reciprocal relationship between folklore and theater. Into the Woods is based upon four traditional folktales: Cinderella, Rapunzel, Little Red Riding Hood, and Jack and the Beanstalk. A very brief synopsis of the plot runs as follows: Cinderella, Jack, and Little Red all wish for something, and must go into the woods to get it. Rapunzel, heroine of the fourth tale, already lives in the woods with the Witch, though she wishes to see the world. Added to these tales is the central tale created by Lapine, based on the first section of Rapunzel's tale—the Baker turns out to be Rapunzel's older brother, whom their parents had before the Witch acquired Rapunzel. The Baker and his Wife wish to have a child; only when the Witch visits them do they learn that they have not been able to have a child because when the Witch came to collect Rapunzel, she also curse the Baker's family. When the Witch appears she explains to the Baker how to reverse the curse. The Baker must collect: 1) the cow as white as milk; 2) the cape as red as blood; 3) the hair as yellow as corn; 4) the slipper as pure as gold, all of which belong to one of the traditional folktale characters, before the end of the third midnight. Act One is comprised of the Baker and his wife searching for these items as the other four tales play themselves out according to Grimms' version they are based upon. Act Two begins after "Happily Ever After" and attempts to bring the characters back into real life. Rapunzel has psychological problems; the Princes' eyes stray elsewhere; Jack is bored; and Little Red Riding Hood has become violent. By the end of Act Two, almost every character besides Jack, Little Red, Cinderella, and the Baker have died, due to the fact that the wife of Jack's Giant has come to seek revenge for her husband's death. In Act Two, these four main characters learn to take responsibility for the selfish actions they committed while pursuing their wish in Act One. In the process, they mature psychologically and become part of a cohesive group, learning to work together for a common cause and realizing that everything everyone does effects everyone else in some way. No one is alone. My thesis begins with a chapter on the history of folktale scholarship. Chapter Two gives biographies of Sondheim and Lapine, and discusses the history of the American musical comedy in order to put them and this musical into a theater context as well. Chapter Three summarizes the plot in detail and compares the Broadway and London productions of the show, including reviews of the musical soon after it came out. Chapter Four analyzes Into The Woods in terms of the theories of Vladimir Propp, and compares Sondheim and Lapine's versions of the stories to the Grimms versions (using Jack Zipes' translation) and Joseph Jacobs, from whom they drew their version of Jack and the Beanstalk. Chapter Five does the same thing using the scholarship of Axel Olrik and Max Luthi. Chapter Six explores Sondheim and Lapine's intentions behind the themes in the musical, focusing on the works of Bruno Bettelheim and Erich Fromm. In researching fairy tales for their musical, Sondheim and Lapine read several analyses by folklorists and psychologists. They drew mainly from non-folkloristic sources in creating their interpretations. They critiqued Bettelheim's as well as the Jungians' interpretations of the tales. As Lapine states, "Once we decided on choosing the stories, then the obvious thing was to have a point of view about them" (1991:3). They also drew from the works of Erich Fromm, a Neo-Freudian who primarily focused on the relationship between society and the individual and between individuals.

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27

Paradzinets, Aliaksandr V. "Variable resolution transform-based music feature extraction and their applications for music information retrieval." Ecully, Ecole centrale de Lyon, 2007. http://www.theses.fr/2007ECDL0047.

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Dans le secteur de loisirs il y a un nombre considérable d’enregistrements numériques musicaux produits, diffusés et échangés qui favorise la demande croisante de services intelligents de recherche de musique. La navigation par contenu devient cruciale pour permettre aux professionnels et également aux amateurs d’accéder facilement aux quantités de données musicales disponibles. Ce travail présente les nouveaux descripteurs de contenu musical et mesures de similarité qui permettent l’organisation automatique de données musicales (recherche par similarité, génération automatique des playlistes) ainsi que l’étiquetage (classification automatique en genres). Ce travail s’intéresse au problème de la construction des descripteurs du point de vue musical en complément des caractéristiques spectrales de bas-niveau. Plusieurs aspects d’analyse musicale, telles que l’analyse du signal où une nouvelle technique de transformation fréquentielle à résolution variable est proposée et décrite. Le traitement de niveau plus haut touche aux aspects de l’extraction des connaissances musicales. Cette thèse présente les algorithmes de détection de coups (beats) et d’extraction de fréquences fondamentales multiples. Les deux algorithmes sont basés sur la transformation à résolution variable proposée. Les informations issues de ces algorithmes sont utilisées dans la construction des descripteurs musicaux, représentés sous forme d’histogrammes (nouvel histogramme rythmique 2D qui permet d’estimer directement le tempo, et les histogrammes de succession et profil de notes). Deux applications majeures qui utilisent les caractéristiques mentionnées sont décrits et évaluées dans cette thèse As a major product for entertainment, there is a huge amount of digital musical content produced, broadcasted, distributed and exchanged. There is a rising demand for content-based music search services. Similarity-based music navigation is becoming crucial for enabling easy access to the evergrowing amount of digital music available to professionals and amateurs alike. This work presents new musical content descriptors and similarity measures which allow automatic musical content organizing (search by similarity, automatic playlist generating) and labeling (automatic genre classification). The work considers the problem of content descriptor building from the musical point of view in complement of low-level spectral similarity measures. Several aspects of music analysis are considered such as music signal analysis where a novel variable resolution transform is presented and described. Higher level processing touches upon the musical knowledge extraction. The thesis presents algorithms of beat detection and multiple fundamental frequency estimation which are based on the variable resolution transform. The information issued from these algorithms is then used for building musical descriptors, represented in form of histograms (novel 2D beat histogram which enables a direct tempo estimation, note succession and note profile histograms etc. ). Two major music information retrieval applications, namely music genre classification and music retrieval by similarity, which use aforementioned musical features are described and evaluated in this thesis

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Popoutsis, Nickolas D. "Amenable Building: Designing for Change in the Musical Process." University of Cincinnati / OhioLINK, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1242749951.

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Lindmäe, Maria. "Reimagining the city: hip hop and the social transformation of Comuna 13, Medellín." Doctoral thesis, Universitat Pompeu Fabra, 2020. http://hdl.handle.net/10803/668921.

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This dissertation studies the role of music making in the social construction of the city within the paradigm of the experience economy. Music making as collective organization of sound that requires decisions of what is being emitted and what not, of what creates harmony and what produces dissonance, is also the organization of the imaginary and real spaces where it is created. Looking at hip hop as a social process that is constitutive of and constituted by in-between differential spaces, the thesis puts into value vernacular practices of creativity, analysing their role in the social reconstruction of Comuna 13 in Medellín, Colombia. Focusing on the cultural heritage of Comuna 13 that has been created by young artists as a means of resistance to (state) violence, the dissertation argues that urban social formations, such as hip hop groups, have an important role in empowering youth and in creating counter-dominant place narratives to the elitist city imagery. La presente tesis estudia el papel de la práctica musical en la construcción social de la ciudad desde el paradigma de la economía de la experiencia. La práctica musical, entendida como la organización colectiva sonido que requiere tomar decisiones sobre lo que se emite o lo que no, y sobre lo que crea armonía o lo que produce disonancia, también organiza el espacio imaginario y real donde esa música se crea. Destacando al hip hop como un proceso social que constituye y a su vez está constituido por espacios intermedios diferenciales, la tesis pone en valor las prácticas de creatividad vernácula, analizando su función en la reconstrucción social de la Comuna 13 de Medellín, Colombia. La investigación, centrada en el patrimonio cultural creado por jóvenes artistas como un medio de resistencia a la violencia (estatal), sostiene que las formaciones urbano-sociales, como los grupos de hip-hop, tienen una repercusión importante en el empoderamiento de la juventud y en la creación de narrativas de lugar alternativas al imaginario elitista de la ciudad.

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Beller, Grégory. "Analyse et modèle génératif de l'expressivité : application à la Parole et à l'Interprétation musicale." Phd thesis, Université Pierre et Marie Curie - Paris VI, 2009. http://tel.archives-ouvertes.fr/tel-00431104.

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Cette thèse s'inscrit dans les recherches actuelles sur les émotions et les réactions émotionnelles, sur la modélisation et la transformation de la parole, ainsi que sur l'interprétation musicale. Il semble que la capacité d'exprimer, de simuler et d'identiﬁer des émotions, des humeurs, des intentions ou des attitudes, est fondamentale dans la communication humaine. La facilité avec laquelle nous comprenons l'état d'un personnage, à partir de la seule observation du comportement des acteurs et des sons qu'ils émettent, montre que cette source d'information est essentielle et, parfois même, suffisante dans nos relations sociales. Si l'état émotionnel présente la particularité d'être idiosyncrasique, c'est-à-dire particulier à chaque individu, il n'en va pas de même de la réaction associée qui se manifeste par le geste (mouvement, posture, visage, ...), le son (voix, musique, ...), et qui, elle, est observable par autrui. Ce qui nous permet de penser qu'il est possible de transformer cette réaction dans le but de modiﬁer la perception de l'émotion associée. C'est pourquoi le paradigme d'analyse-transformation-synthèse des réactions émotionnelles est, peu à peu, introduit dans les domaines thérapeutique, commercial, scientiﬁque et artistique. Cette thèse s'inscrit dans ces deux derniers domaines et propose plusieurs contributions. D'un point de vue théorique, cette thèse propose une déﬁnition de l'expressivité (et de l'expression neutre), un nouveau mode de représentation de l'expressivité, ainsi qu'un ensemble de catégories expressives communes à la parole et à la musique. Elle situe l'expressivité parmi le recensement des niveaux d'information disponibles dans l'interprétation qui peut être vu comme un modèle de la performance artistique. Elle propose un modèle original de la parole et de ses constituants, ainsi qu'un nouveau modèle prosodique hiérarchique. D'un point de vue expérimental, cette thèse fournit un protocole pour l'acquisition de données expressives interprétées. Collatéralement, elle rend disponible trois corpus pour l'observation de l'expressivité. Elle fournit une nouvelle mesure statistique du degré d'articulation ainsi que plusieurs résultats d'analyses concernant l'inﬂuence de l'expressivité sur la parole. D'un point de vue technique, elle propose un algorithme de traitement du signal permettant la modiﬁcation du degré d'articulation. Elle présente un système de gestion de corpus novateur qui est, d'ores et déjà, utilisé par d'autres applications du traitement automatique de la parole, nécessitant la manipulation de corpus. Elle montre l'établissement d'un réseau bayésien en tant que modèle génératif de paramètres de transformation dépendants du contexte. D'un point de vue technologique, un système expérimental de transformation, de haute qualité, de l'expressivité d'une phrase neutre, en français, synthétique ou enregistrée, a été produit, ainsi qu'une interface web pour la réalisation d'un test perceptif en ligne. Enﬁn et surtout, d'un point de vue prospectif, cette thèse propose différentes pistes de recherche pour l'avenir, tant sur les plans théorique, expérimental, technique que technologique. Parmi celles-ci, la confrontation des manifestations de l'expressivité dans les interprétations verbales et musicales semble être une voie prometteuse.

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31

MacDonald, Jennifer Marie. ""Devil on the fiddle" : the musical and social ramifications of genre transformation in Cape Breton music." Thesis, McGill University, 2006. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=99381.

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In 1995, fiddler Ashley MacIsaac released the album Hi, How Are You Today? that featured MacIsaac performing traditional Celtic tunes accompanied by modern rock instruments. The musical genre transformation on the album (notable because people who were not fans of Celtic music bought this album, tracks were released for airplay, and music videos accompanied the singles) can be studied according to the types of genre transformation outlined by Alastair Fowler in Kinds of Literature. If MacIsaac's goal was to offer a popular rock album while playing traditional tunes on the fiddle, critics and members of his audience inevitably questioned his motivation, from which charges of pandering and exploitation followed. Alternate interpretations stressed that MacIsaac was merely adapting traditional music to reflect a changing musical climate. This thesis examines such perspectives, along with the global phenomenon of modernizing folk music amidst the ambiguous boundary between popular and folk musical genres.

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32

Morgan, Sarah. "Community choirs : a musical transformation ; a review of my work in management, music, choir leadership and folk-song." Thesis, University of Winchester, 2013. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.666336.

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My aims have always been to present an exploration of English community choirs, their music and their leadership from a very personal perspective, which brings together my background as a folk musician, my career in training and facilitation, and my developing understanding of a system of musical hierarchies which (though often unspoken) inform and colour not only my own musical experience but that of many others. My motivation for this is partly to put into words the story of a movement that has had relatively little attention from the academic world, and to bring into the foreground aspects of music making which have had a marginal place the world of choral music. I also wish to draw attention to the skills of a range of performers and practitioners who despite (or perhaps because of) a lack of formal musical qualifications, through familiarity with oral methods of learning and teaching provide a means for many people to make the significant transition between being music consumers and music makers. This statement is a review of my work in many fields leading to my achievement of the position of a highly regarded performer, choir leader, arranger and trainer. I recount my journey, and give many examples of my work in this field, demonstrating many contributions along the way. In so doing I have added significantly to the store of knowledge and understanding in these areas.

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33

Berman, Aaron. "Memento Mori." Pitzer College, 2007. http://ccdl.libraries.claremont.edu/u?/stc,13.

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Animated color film with images of water, birds, winged humans, a man in a hooded sweatshirt, doors, the sea, a woman on a stool wearing a red scarf, marching soldiers, a gun, a knife, blood on hands, a dancing couple, a crowd of dancers, a seed, plants growing, clouds, a flying winged person, a figure playing an instrument. The images transform into each other in ever-changing sequences.

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34

Woodruff, Lawrence Theodore. "The Missae De Beata Virgine C. 1500-1520: A Study of Transformation From Monophonic to Polyphonic Modality." Thesis, North Texas State University, 1986. https://digital.library.unt.edu/ark:/67531/metadc331202/.

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While musical sources and documents from throughout the Middle Ages reveal that mode was an enduring and consciously derived trait of monophonic chant, modality in later polyphony shares neither the historical span nor the theoretical clarity of its monophonic counterpart. Modern theorists are left with little more than circumstantial evidence of the early development of modality in polyphony. This study attempts to shed light on the problem by detailed analysis of a select body of paraphrase masses from the early sixteenth century. First, it correlates the correspondence between the paraphrased voice and the original chant, establishing points of observation that become the basis of melodic analysis. Then, these points are correlated with known rules of counterpoint. Exceptions are identified and examined for their potential to place emphasis on individual mode-defining pitches. A set of tools is derived for quantifying the relative strength of cadential actions. Levels of cadence are defined, ranging from full, structural cadences to surfacelevel accentuations of individual pitches by sixth-to-octave dyadic motions. These cadence levels are traced through the Missae de beata virqine repertoire from c. 1500-1520, a repertoire that includes masses of Josquin, Brumel, La Rue, Isaac, and Rener. While the Credos, based on two chant sources—one early (11th century) and one later (15th century)—showed little modal consistency, the Kyries show some suggestion of purposeful modal expression; and the Glorias show even greater implications. Results of the study have potential application in sixteenth-century music scholarship to such important issues as musica ficta, performance practice, text underlay, and form.

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35

Catan, Liza. "Literacy and cognition a microgenetic study of the construction and transformation of rhythm representations during the aquisition of musical literacy /." Thesis, Online version, 1986. http://ethos.bl.uk/OrderDetails.do?did=1&uin=uk.bl.ethos.305401.

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36

Thomas, Maureen E. "The Divine Communion of Soul and Song: A Musical Analysis of Dante's Commedia." Kent State University Honors College / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=ksuhonors1450117394.

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37

Barthet, Mathieu. "De l'interprète à l'auditeur : une analyse acoustique et perceptive du timbre musical." Phd thesis, Aix-Marseille 2, 2008. http://tel.archives-ouvertes.fr/tel-00418296.

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Découvrir quels sont les paramètres acoustiques corrélés à l'expression musicale revêt un intérêt fondamental afin d'améliorer notre compréhension de la perception musicale, et trouve de multiples applications en synthèse sonore. L'interprétation musicale est un acte au cours duquel un instrumentiste traduit le signal notationnel d'un compositeur en sons musicaux, tout en impliquant son propre jugement. Si la plupart des études sur l'interprétation musicale portent sur le rythme, la dynamique, ou les hauteurs, bien moins se consacrent au timbre. Cet attribut perceptif du son, à la fois lié à l'identité de la source sonore et à la qualité sonore, semble pourtant être un paramètre musical essentiel. L'objet de cette thèse, dont l'approche repose sur l'analyse-synthèse, est de mieux comprendre le rôle du timbre dans l'interprétation musicale. Une étude de dissemblance réalisée sur des sons de synthèse de clarinette, obtenus à partir d'un modèle physique, a permis d'évaluer l'influence du contrôle instrumental (pression d'alimentation et pince) sur les timbres produits par l'instrument. Des enregistrements d'extraits musicaux joués un grand nombre de fois par un même clarinettiste professionnel sur un instrument naturel selon différentes intentions musicales (“scolaire" et “expressive") ont ensuite été analysés. Les mécanismes de transmission de l'expression musicale ont ainsi pu être étudiés au travers de changements de timbre, de rythme et de dynamique. Certaines variations de timbre (variations de qualité sonore au sein des notes et entre les différentes notes) sont reproduites de manière systématique par l'interprète lorsque son intention musicale est la même. La nature de ces variations change lorsque l'intention expressive change, ce qui tend à prouver que les musiciens agissent sur certaines dimensions du timbre afin de varier leur expression. Deux expériences perceptives complémentaires ont révélé que la nature des évolutions temporelles de la brillance des notes influe sur les préférences musicales des auditeurs. La qualité musicale de séquences inexpressives, produites sur des instruments de type entretenu à l'aide d'échantillonneurs, a notamment pu être améliorée de manière significative grâce à un contrôle de la brillance par filtrage dynamique. L'ensemble de ces travaux appuie l'idée que les variations morphologiques temporelles de timbre (par ex. variations temporelles de brillance) constituent l'un des vecteurs de l'expression musicale.

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38

Oliveira, Augusto Brambilla de. "Bachianas Brasileiras nº 1: análise transformacional e hibridismo cultural." Universidade de São Paulo, 2018. http://www.teses.usp.br/teses/disponiveis/27/27157/tde-21022019-145528/.

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A proposta desta dissertação é analisar os três movimentos das Bachianas Brasileiras Nº 1: Introdução (Embolada), Prelúdio (Modinha) e Fuga (Conversa), de Heitor Villa-Lobos, a partir de uma abordagem transformacional, seguindo a linha proposta por Steven Rings (2011) na qual, ferramentas de análise neorriemannianas são utilizadas para iluminar aspectos familiares do tonalismo. Partindo desta abordagem, os resultados da análise musical serão apresentados através de gráficos e redes transformacionais, objetivando criar um suporte analítico musical que, numa fase posterior a esta pesquisa, aponte para uma reflexão sobre a ideia de Nestor Garcia Canclini a respeito de processos de hibridação cultural (CANCLINI, 2008). The proposal of this dissertation is to analyze the three movements of the Bachianas Brasileiras Nº 1: Introduction (Embolada), Prelude (Modinha) and Fugue (Conversa), by Heitor Villa-Lobos, based on a transformational approach, following the thinking proposed by Steven Rings (2011) in which, Neo-Riemannian analysis tools are used to illuminate familiar aspects of tonalism. Based on this approach, the results of musical analysis will be presented through graphs and transformational networks, aiming to create an analytical musical support that, at a later stage of this research, points to a reflection on the idea of Nestor Garcia Canclini regarding processes of cultural hybridization (CANCLINI, 2008).

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39

Schellhas, Daniel H. "PEREGRINATION: A MUSICAL SKETCH OF EUROPE IN FOUR MOVEMENTS." Bowling Green, Ohio : Bowling Green State University, 2007. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=bgsu1174323599.

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Thesis (M.M.)--Bowling Green State University, 2007. For alto saxophone in E♭, violoncello, piano, percussion (vibraphone, crystal glasses (C,E,G♯, B)) Document formatted into pages; contains 1 score (19 p.) Duration: ca. 13 min. Includes bibliographical references.

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40

Sheridan, David Allen. ""The things of peace" : the Council for the Encouragement of Music and the Arts and the transformation of the British musical experience, 1939-1945 /." Thesis, This resource online, 1996. http://scholar.lib.vt.edu/theses/available/etd-02132009-171638/.

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41

Vitale, Claudio Horacio. "Dez peças para quinteto de sopros de György Ligeti: a gradação como uma ferramenta para a construção do discurso musical." Universidade de São Paulo, 2008. http://www.teses.usp.br/teses/disponiveis/27/27158/tde-28042009-101615/.

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O objetivo desta dissertação é descrever os processos graduais utilizados por György Ligeti na composição de sua obra Dez peças para quinteto de sopros (1968). Através dessa descrição, pretende-se pôr em evidência a gradação como uma ferramenta importante na construção da linguagem utilizada na obra. A análise das Dez peças é abordada em relação a diferentes parâmetros ou aspectos do discurso musical: movimento das vozes, harmonia, timbre, densidade, estrutura rítmica. São observadas as transformações mínimas dos materiais, os movimentos das alturas por proximidade ou contigüidade, bem como os processos de adição presentes no tratamento dos diferentes elementos. Este estudo demonstra que o procedimento das transformações progressivas não é utilizado por Ligeti de maneira linear. A idéia de gradação deve ser entendida com certa flexibilidade e não de um modo literal. Os movimentos por passos literalmente graduais existem, porém, geralmente são parte de um processo que procura dissimular essa linearidade. The main goal of this dissertation is to describe the gradual processes used by György Ligeti in its work Ten pieces for wind quintet (1968). Through this description we try to put in evidence the gradual processes as an important tool in the construction of the Ten pieces language. The analysis of the Ten pieces considers different parameters or aspects of the composition: melodic motion, harmony, timbre, density, rhythmic structure. We also observe minimal transformations of materials, movements of pitches by proximity or contiguity and treatment of different elements by addition. This study demonstrates that the procedure of progressive transformations is not used by Ligeti in a linear form. The gradual processes must be understood in a flexible way. The motion generated by literal gradual steps exist, but generally they are part of a process that attempts to dissimulate this linearity.

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42

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

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

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43

Bagnole, Rihab Kassatly. "Imaging the Almeh: Transformation and Multiculturalization of the Eastern Dancer in Painting, Theatre, and Film, 1850-1950." Ohio : Ohio University, 2005. http://www.ohiolink.edu/etd/view.cgi?ohiou1132433330.

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44

Germiquet, Nicole Madeleine. "Religious musical performance as an articulation of transformation : a study of how the Tsonga Presbyterians of the Presbyterian Church of Mozambique negotiate their indigenous Tsonga and Swiss reformed church heritages." Thesis, Rhodes University, 2015. http://hdl.handle.net/10962/d1020836.

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The Presbyterian Church of Mozambique (IPM) has its origins in the Swiss Mission and the European Reformed Church. An ethnomusicological study was conducted on the music of the IPM in order to uncover its musical influences. The musical influences were found to pertain to an indigenous Tsonga musical character, as well as to a Reformed Church musical tradition. By situating the discussion in this thesis within the perspective that music may reflect that which is not explicitly spoken about in words, the music of the IPM was shown to reflect the dual-heritage of the members of the IPM. Thus, this thesis attempts to answer the questions: how is the music of the IPM a reflection of the Tsonga Presbyterians’ dual-heritage?; and how do the Tsonga Presbyterians negotiate their dual-heritage? It was found that the Tsonga Presbyterians negotiate their dual-heritage by blending a Reformed Church performance style with a Tsonga one. For example, the music in the form of hymns and church songs, performed by church choirs, is shown to be didactic in nature where the lyrics are the most important aspect of the music. The didactic nature of the music is a principle of the Reformation carried forth in the music of the IPM. Although music serves to transmit the Christian message and is used as a means of praising the Christian God in the IPM, it also exists on the level in which the indigenous Tsonga heritage may be incorporated into the Christian lives of the members of the IPM without having an impact on the Reformed Church belief system. This is where the members have the freedom to blend their musical heritages. Music, in this instance, is shown to be a powerful tool by which the importance of an indigenous, and an appropriated, heritage may be garnered and observed.Looking to the historical aspects of the IPM, the music and language literacy education, provided by Swiss missionaries on the mission stations, was shown to have had an influence on Tsonga hymn composition. Along with the mobile phone, the observed decrease in music literacy at Antioka was situated within a discussion that looked at the influence of these aspects on the transmission, conservation and continuation of music in the IPM. Throughout the thesis, social transformation is referred to and the manner in which the music of the IPM is conserved or continued is an indication of how musical transformation may reflect social transformation.

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45

Meridan, Lissa. "De l'harmonie au chaos : émergence dans la musique de Gérard Pape." Thesis, Bordeaux 3, 2019. http://www.theses.fr/2019BOR30055.

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Les années soixante ont laissé libre expression aux pionniers d’une musique nouvelle — leurs expérimentations et l’avènement de la musique électroacoustique ont fait apparaître d’innombrables formes et théories qui ont définitivement changé les fondements du langage de la musique savante et la façon dont on l’aborde. Face à la musique contemporaine on se trouve dans une impasse quand on cherche à expliquer, par une démarche analytique classique, les interactions complexes de cette musique qui produisent des formes et des sons inédits. Nous cherchons à éviter cette impasse en nous appuyant sur une méthodologie innovante fondée sur les théories de la systémique, approche adoptée par les sciences contemporaines parce qu’elle donne priorité au qualitatif sur le quantitatif. Appliquée à une œuvre qui intègre les éléments électroacoustiques en interaction avec les instruments traditionnels, cette méthodologie nous permet de dégager et d’expliquer les processus qui permettent au compositeur d’intervenir à l’intérieur même du son et de créer les illusions et les paradoxes sonores, autrement dit, les émergents. L’objet de cette analyse sera l’approche de la composition de Gérard Pape, artiste singulier, pour lequel, l’énergie musicale est une force transcendante. Sa vision innovante de la composition contemporaine intègre la notion d’émergence dans une écriture complexe et dynamique. Les paradoxes sonores frappent l’auditeur alors qu’ils échappent en partie à l’écriture de la partition. Nous cherchons à dégager les éléments définis par la partition au regard des effets dits « émergents » produits par l’interrelation dynamique de ces éléments. En utilisant la systémique comme approche d’analyse musicale, nous voulons développer une approche transversale qui permet de souligner l’apparition de structures et de propriétés nouvelles, proches de celles du vivant. Par elles, l’écriture musicale explose pour aller, comme en témoigne l’œuvre de Gérard Pape, de l’harmonie au chaos The free expression of the sixties gave rise to a generation of pioneers that we now call the avant-garde. The arrival of electroacoustic music fuelled their experimentation and as a result, numerous new musical genres and theories appeared which have not only changed the language of music at a fundamental level, but have also redefined the ways we perceive it. Contemporary music now finds itself confronted by an analytical dilemma. The limits of a traditional approach simply don’t take into account the complex interactions in this music that are responsible for its unusual forms and original sounds. We hope to resolve this dilemma by integrating an innovative methodology based on systems theory, a scientific approach that takes into account the qualitative aspects of scientific problems, reason for which it has gained momentum over the past thirty years. By applying this approach to a musical work we aim to develop a methodology that will permit us to explain the process by which the composer intervenes at the molecular level of sound and thus creates illusions and musical paradoxes, which we might consider emergent effects. The objective of this analysis is to gain an understanding of Gerard Pape’s particular musical approach, for whom musical energy seems to be a transcendental force. His innovative musical vision engages the principles of emergence in the dynamic complexity of his writing. Sonic paradoxes strike the listener but are less evident to transcribe into a musical score. We hope to find a link between the notated score and the emergent effect produced by the dynamic interrelations of its content. By undertaking a systems approach to musical analysis, we hope to develop a transversal model that will enable us to highlight the elusive new structures and properties that seem to grow out of this process. In Pape’s music, these emergent features distort the musical surface, and although engendered by the score, seem to burst out of nowhere, leading the listener from harmony into chaos

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Marcelino, Betsemens Barbosa de Souza. "A música e a sua influência na vida de jovens e adolescentes envolvidos no projeto Superhação : uma análise crítica do discurso." Universidade Federal de Mato Grosso, 2015. http://ri.ufmt.br/handle/1/207.

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Submitted by Jordan (jordanbiblio@gmail.com) on 2017-02-16T12:08:00Z No. of bitstreams: 1 DISS_2015_Betsemens Barbosa de Souza Marcelino.pdf: 2392509 bytes, checksum: a1c4e519bd64cd5fac8c3a52150b8163 (MD5) Approved for entry into archive by Jordan (jordanbiblio@gmail.com) on 2017-02-16T12:48:01Z (GMT) No. of bitstreams: 1 DISS_2015_Betsemens Barbosa de Souza Marcelino.pdf: 2392509 bytes, checksum: a1c4e519bd64cd5fac8c3a52150b8163 (MD5) Made available in DSpace on 2017-02-16T12:48:12Z (GMT). No. of bitstreams: 1 DISS_2015_Betsemens Barbosa de Souza Marcelino.pdf: 2392509 bytes, checksum: a1c4e519bd64cd5fac8c3a52150b8163 (MD5) Previous issue date: 2015-10-05 Esta dissertação apresenta o resultado de um estudo sobre a música e a sua influência na vida de jovens e adolescentes envolvidos no Projeto SUPERHAÇÃO que visa à prevenção do uso de drogas, e está em funcionamento na Escola Estadual Mário Spinelli, em Sorriso-Mato Grosso. A pesquisa buscou compreender o significado identificacional por meio das categorias de modalidade e avaliação presentes nos enunciados dos jovens e adolescentes em contexto de violências, alcoolismo e uso de drogas. A metodologia pautou-se numa pesquisa de cunho qualitativo e quantitativo, com a aplicação de questionário e realização de entrevistas. A fundamentação teórica baseia-se na perspectiva da Análise Crítica do Discurso (ACD), defendida por Norman Fairclough (2001; 2003a), e na linguística sistêmica-funcional de Halliday (1994), que, sob a perspectiva identitária na pós- modernidade, discutida em Stuart Hall (2006), Manuel Castells (1999), Moita Lopes (2003) e Zygmunt Bauman (2001), serviram como suporte embasador às análises aqui efetuadas. Os resultados enaltecem a relevância do Projeto SUPERHAÇÃO para os adolescentes, e evidenciam uma grande conexão entre estes e a música. Tais resultados mostram ainda que a música em língua inglesa tem assumido espaço cada vez mais significativo em suas vidas, o que justifica a evidente relação afetiva e a forte vontade de que a mesma esteja presente nas aulas de inglês. Assim, numa visão crítica e emancipatória1, a prática musical na vida dos jovens e adolescentes se torna uma ferramenta para se trabalhar a prevenção do uso de drogas, pois pode ser um espaço de debates reflexivos que atingem aspectos mais profundos do caráter humano de cada sujeito, agindo diretamente em elementos de sua identidade2, bem como é indicada como um mecanismo potencial de enfretamento das adversidades sociais. This dissertation presents the result of a study about music and its influence in the life of youth and adolescents who are involved on the SUPERHAÇÃO Project, which aims preventing drug use and has been running at the public school Mario Spinelli in Sorriso, Mato Grosso State. The research sought to comprehend the identificacional meaning through the modality and evaluation categories that are present in the statements of youth and adolescents within a context of violence, alcoholism and drug use. The methodology was based on a qualitative and quantitative nature of research and used the application of questionnaires and interviews. The theoretical framework is based on the perspective of Critical Discourse Analysis (CDA), defended by Norman Fairclough (2001, 2003a); and on the Systemic-Functional Linguistic from Halliday (1994), that, under an identity perspective in postmodernity, discussed in Stuart Hall (2006), Manuel Castells (1999), Moita Lopes (2003) and Zygmunt Bauman (2001), served to support the analysis made here. The results extol the importance of SUPERHAÇÃO Project to the adolescents and evidence a great connection between them and the music. The results also show that music in English has taken on increasingly significant place in their lives, which explains the obvious emotional relationship and students’ strong will that music be present in English class. Thus, in a critical and emancipatory view, the musical practice on youth and adolescents lives become a tool to work drug use prevention, for it may be a place for reflective discussions that reach deeper aspects of the human character of each individual, acting directly on elements of their identity, and is indicated as a potential mechanism to face social adversity.

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Carroll, Adrian Dominic. "Beat-mixing Rock music: Rock and electronic dance music merge to create the Manarays." Thesis, Queensland University of Technology, 2012. https://eprints.qut.edu.au/61231/13/61231.pdf.

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This research introduces the proposition that Electronic Dance Music’s beat-mixing function could be implemented to create immediacy in other musical genres. The inclusion of rhythmic sections at the beginning and end of each musical work created a ‘DJ friendly’ environment. The term used in this thesis to refer to the application of beat-mixing in Rock music is ‘ClubRock’. Collaboration between a number of DJs and Rock music professionals applied the process of beat-mixing to blend Rock tracks to produce a continuous ClubRock set. The DJ technique of beat-mixing Rock music transformed static renditions into a fluid creative work. The hybridisation of the two genres, EDM and Rock, resulted in a contribution to Rock music compositional approaches and the production of a unique Rock album; Manarays—Get Lucky.

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48

Loscos, Àlex. "Spectral processing of the singing voice." Doctoral thesis, Universitat Pompeu Fabra, 2007. http://hdl.handle.net/10803/7542.

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Aquesta tesi doctoral versa sobre el processament digital de la veu cantada, més concretament, sobre l'anàlisi, transformació i síntesi d'aquets tipus de veu en el domini espectral, amb especial èmfasi en aquelles tècniques rellevants per al desenvolupament d'aplicacions musicals. La tesi presenta nous procediments i formulacions per a la descripció i transformació d'aquells atributs específicament vocals de la veu cantada. La tesis inclou, entre d'altres, algorismes per l'anàlisi i la generació de desordres vocals como ara rugositat, ronquera, o veu aspirada, detecció i modificació de la freqüència fonamental de la veu, detecció de nasalitat, conversió de veu cantada a melodia, detecció de cops de veu, mutació de veu cantada, i transformació de veu a instrument; exemplificant alguns d'aquests algorismes en aplicacions concretes. Esta tesis doctoral versa sobre el procesado digital de la voz cantada, más concretamente, sobre el análisis, transformación y síntesis de este tipo de voz basándose e dominio espectral, con especial énfasis en aquellas técnicas relevantes para el desarrollo de aplicaciones musicales. La tesis presenta nuevos procedimientos y formulaciones para la descripción y transformación de aquellos atributos específicamente vocales de la voz cantada. La tesis incluye, entre otros, algoritmos para el análisis y la generación de desórdenes vocales como rugosidad, ronquera, o voz aspirada, detección y modificación de la frecuencia fundamental de la voz, detección de nasalidad, conversión de voz cantada a melodía, detección de los golpes de voz, mutación de voz cantada, y transformación de voz a instrumento; ejemplificando algunos de éstos en aplicaciones concretas. This dissertation is centered on the digital processing of the singing voice, more concretely on the analysis, transformation and synthesis of this type of voice in the spectral domain, with special emphasis on those techniques relevant for music applications. The thesis presents new formulations and procedures for both describing and transforming those attributes of the singing voice that can be regarded as voice specific. The thesis includes, among others, algorithms for rough and growl analysis and transformation, breathiness estimation and emulation, pitch detection and modification, nasality identification, voice to melody conversion, voice beat onset detection, singing voice morphing, and voice to instrument transformation; being some of them exemplified with concrete applications.

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49

Steinebach, Mario, Christine Häckel-Riffler, Caroline Pollmer, et al. "TU-Spektrum 2/2006, Magazin der Technischen Universität Chemnitz." Universitätsbibliothek Chemnitz, 2006. http://nbn-resolving.de/urn:nbn:de:swb:ch1-200601045.

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50

Kelley, Robert Tyler Buchler Michael Howard. "Mod-7 transformations in post-functional music." Diss., 2005. http://etd.lib.fsu.edu/theses/available/etd-04052005-175353/.

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Dissertation (PhD) Florida State University, 2005. Advisor: Michael Buchler, Florida State University, College of Music. Title and description from dissertation home page (viewed 2005). Document formatted into pages; contains 155 pages. Includes biographical sketch. Includes bibliographical references.

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Tesi sul tema "Transformations musicales"

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