Rozprawy doktorskie: „Music techniques”

1

Higginbotham, Lee Ann M. "Teaching techniques : suggested techniques in teaching music through performance in choir /". View online, 2008. http://repository.eiu.edu/theses/docs/32211131459702.pdf.

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OrtiÌz, Gabriela. "Compositional techniques in acoustic and electroacoustic music". Thesis, City University London, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.310446.

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Baumgartner, Richard. "Multipitch Analysis and Tracking for Automatic Music Transcription". ScholarWorks@UNO, 2004. http://scholarworks.uno.edu/td/84.

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Music has always played a large role in human life. The technology behind the art has progressed and grown over time in many areas, for instance the instruments themselves, the recording equipment used in studios, and the reproduction through digital signal processing. One facet of music that has seen very little attention over time is the ability to transcribe audio files into musical notation. In this thesis, a method of multipitch analysis is used to track multiple simultaneous notes through time in an audio music file. The analysis method is based on autocorrelation and a specialized peak pruning method to identify only the fundamental frequencies present at any single moment in the sequence. A sliding Hamming window is used to step through the input sound file and track through time. Results show the tracking of nontrivial musical patterns over two octaves in range and varying tempos.

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4

West, Kristopher C. "Novel techniques for audio music classification and search". Thesis, University of East Anglia, 2008. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.492940.

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Eisenbeiser, Logan Ryan. "Latent Walking Techniques for Conditioning GAN-Generated Music". Thesis, Virginia Tech, 2020. http://hdl.handle.net/10919/100052.

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Artificial music generation is a rapidly developing field focused on the complex task of creating neural networks that can produce realistic-sounding music. Generating music is very difficult; components like long and short term structure present time complexity, which can be difficult for neural networks to capture. Additionally, the acoustics of musical features like harmonies and chords, as well as timbre and instrumentation require complex representations for a network to accurately generate them. Various techniques for both music representation and network architecture have been used in the past decade to address these challenges in music generation. The focus of this thesis extends beyond generating music to the challenge of controlling and/or conditioning that generation. Conditional generation involves an additional piece or pieces of information which are input to the generator and constrain aspects of the results. Conditioning can be used to specify a tempo for the generated song, increase the density of notes, or even change the genre. Latent walking is one of the most popular techniques in conditional image generation, but its effectiveness on music-domain generation is largely unexplored. This paper focuses on latent walking techniques for conditioning the music generation network MuseGAN and examines the impact of this conditioning on the generated music.
Master of Science
Artificial music generation is a rapidly developing field focused on the complex task of creating neural networks that can produce realistic-sounding music. Beyond simply generating music lies the challenge of controlling or conditioning that generation. Conditional generation can be used to specify a tempo for the generated song, increase the density of notes, or even change the genre. Latent walking is one of the most popular techniques in conditional image generation, but its effectiveness on music-domain generation is largely unexplored, especially for generative adversarial networks (GANs). This paper focuses on latent walking techniques for conditioning the music generation network MuseGAN and examines the impact and effectiveness of this conditioning on the generated music.

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6

Nix, Elizabeth Ashley. "Introducing Post-tonal Techniques to the Beginning Musician". Thesis, University of Louisiana at Lafayette, 2015. http://pqdtopen.proquest.com/#viewpdf?dispub=1585865.

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Each chapter of this thesis explores a technique commonly found in post-tonal piano repertoire for students Levels 1-3 (Magrath). Post-tonal techniques evaluated for difficulty are Nonwestern scales, polychords and clusters, polytonality, atonality, serialism, aleatoric music, and experiments in sound. There are some inherent difficulties for beginner pianists in each of these topics that are discussed in detail. The appropriateness of these styles for students is evaluated and elements that are conceptually advanced are altered so that earlier exposure to these techniques is possible. Where there are areas of pedagogical weakness or a lack of material for young pianists, compositions have been supplied in a methodical order, introducing and expanding upon new and creative methods of approaching these techniques.

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7

Conrad, Wendie Joyce. "Music Literacy and Sight-Singing Techniques Used by Elementary and Middle School Music Teachers". Cleveland, Ohio : Cleveland State University, 2007. http://rave.ohiolink.edu/etdc/view?acc_num=csu1198290006.

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Thesis (M.M.)--Cleveland State University, 2007.
Abstract. Title from PDF t.p. (viewed on May 8, 2008). Includes bibliographical references (p. 75-82). Available online via the OhioLINK ETD Center. Also available in print.

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Dargie, David John. "Techniques of Xhosa music: a study based on the music of the Lumko district". Thesis, Rhodes University, 1987. http://hdl.handle.net/10962/d1001975.

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Part 1.Thesis: Chapter 1: The people of the Lumko district (the villages of Ngqoko and Sikhwankqeni) are AbaThembu, mostly of the Gcina clan cluster. Their history has caused them to be linked with (now vanished) San peoples in special ways, which have undoubtedly influenced their music. Chapter 2: The music of these people is centred around their religious and social life. This affects the way they classify their songs; and song classifications (and the way songs are used) affect their performance, in particular, the dance styles associated with the song classes. Chapter 3: A variety of musical instruments is used in the Lumko district, the most important being the musical bows. Once again, the use of these bows gives an insight into the musical influences that have affected the people historically. The ways the bows work are described, as well as ways to play them. Chapter 4: Overtone singing, not previously documented anywhere in traditional African music, is practised in certain ways by these AmaGcina. These, and other vocal techniques, are described. Chapter 5: From the terminology and the methods of conceptualisation about music in the Lumko district, it is possible to gain an insight into a truly Xhosa technical understanding of Xhosa music. Once again a historical insight is gained, because so many of the important terms are KhoiSan words. Chapter 6: A Western technological (i. e. musicological) understanding of the music is also necessary in a study of this nature. This chapter applies musicological concepts to an examination of the relationship between speech and song, of the usages in melody and scale, harmony theory, rhythm, polyphony, song form, instrumental roles and methods of performance. Chapter 7: This is the conclusion of the thesis. It sums up what has been studied: musical techniques, principles, the importance of Ntsikana 's song as a basis for musical comparisons, and the import of the historical aspects of the study - a possible glimpse of the music of the San. PART 2. MUSIC TRANSCRIPTIONS AND DESCRIPTIONS. The transcriptions of 62 songs provide the material for this study. The songs were chosen to represent all the major song classes used in the Lumko district, and to represent all the important music techniques as well. The songs are in fifteen categories. Each song is accompanied by its technical details, and sufficient commentary to make the song transcription intelligible and meaningful. Certain key songs are chosen as type-songs or other special examples, and are used as the bases for discussion on song style characteristics, principles of performance, bow adaptation, and so on. A general Introduction to Part 2 describes and accounts for the method of transcription, and also attempts to make it possible for the score reader not only to analyse, but also to perform the songs. In a further attempt to bring the transcriptions to life, a video recording of certain key songs and techniques, and audio tapes with examples taken from all the songs, accompany this study

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9

Jenkins, Bonnie L. "Beautiful choral tone quality rehearsal techniques of a director". Diss., Columbia, Mo. : University of Missouri-Columbia, 2005. http://hdl.handle.net/10355/4126.

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Thesis (Ph. D.)--University of Missouri-Columbia, 2005.
The entire dissertation/thesis text is included in the research.pdf file; the official abstract appears in the short.pdf file (which also appears in the research.pdf); a non-technical general description, or public abstract, appears in the public.pdf file. Title from title screen of research.pdf file viewed on (November 8, 2006) Vita. Includes bibliographical references.

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10

Arblaster, Winston Vaughn 1984. "Music Theory and Arranging Techniques for the Church Musician". Thesis, University of Oregon, 2010. http://hdl.handle.net/1794/10831.

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xxix, 356 p. A print copy of this thesis is available through the UO Libraries. Search the library catalog for the location and call number.
The rising popularity of the use of "contemporary music" for worship in Christian churches has created an ever-growing body of music professionals who, coming largely from a rock-influenced folk idiom, are often untrained in music theory. As the style of music has shifted from the traditional model, stemming from classical genres, to one dominated by popular music, many of these musicians see theory education as impractical or at least unneeded given their particular stylistic approach. In order to address this issue, a method must be developed, departing from standard methods of theory pedagogy to one employing selected concepts and applications pertaining particularly to the context the contemporary worship setting and presenting them in a manner immediately beneficial to these musicians' vocational considerations. This thesis serves as a possible solution by proposing such a method and comparing it to the approaches of three major theory methods on these terms.
Committee in Charge: Dr. Jack Boss; Dr. Timothy Pack; Don Latarski

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11

Gao, Boyang. "Contributions to music semantic analysis and its acceleration techniques". Thesis, Ecully, Ecole centrale de Lyon, 2014. http://www.theses.fr/2014ECDL0044/document.

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La production et la diffusion de musique numérisée ont explosé ces dernières années. Une telle quantité de données à traiter nécessite des méthodes efficaces et rapides pour l’analyse et la recherche automatique de musique. Cette thèse s’attache donc à proposer des contributions pour l’analyse sémantique de la musique, et en particulier pour la reconnaissance du genre musical et de l’émotion induite (ressentie par l’auditoire), à l’aide de descripteurs de bas-niveau sémantique mais également de niveau intermédiaire. En effet, le genre musical et l’émotion comptent parmi les concepts sémantiques les plus naturels perçus par les auditoires. Afin d’accéder aux propriétés sémantiques à partir des descripteurs bas-niveau, des modélisations basées sur des algorithmes de types K-means et GMM utilisant des BoW et Gaussian super vectors ont été envisagées pour générer des dictionnaires. Compte-tenu de la très importante quantité de données à traiter, l’efficacité temporelle ainsi que la précision de la reconnaissance sont des points critiques pour la modélisation des descripteurs de bas-niveau. Ainsi, notre première contribution concerne l’accélération des méthodes K-means, GMM et UMB-MAP, non seulement sur des machines indépendantes, mais également sur des clusters de machines. Afin d’atteindre une vitesse d’exécution la plus importante possible sur une machine unique, nous avons montré que les procédures d’apprentissage des dictionnaires peuvent être réécrites sous forme matricielle pouvant être accélérée efficacement grâce à des infrastructures de calcul parallèle hautement performantes telle que les multi-core CPU ou GPU. En particulier, en s’appuyant sur GPU et un paramétrage adapté, nous avons obtenu une accélération de facteur deux par rapport à une implémentation single thread. Concernant le problème lié au fait que les données ne peuvent pas être stockées dans la mémoire d’une seul ordinateur, nous avons montré que les procédures d’apprentissage des K-means et GMM pouvaient être divisées par un schéma Map-Reduce pouvant être exécuté sur des clusters Hadoop et Spark. En utilisant notre format matriciel sur ce type de clusters, une accélération de 5 à 10 fois a pu être obtenue par rapport aux librairies d’accélération de l’état de l’art. En complément des descripteurs audio bas-niveau, des descripteurs de niveau sémantique intermédiaire tels que l’harmonie de la musique sont également très importants puisqu’ils intègrent des informations d’un niveau d’abstraction supérieur à celles obtenues à partir de la simple forme d’onde. Ainsi, notre seconde contribution consiste en la modélisation de l’information liée aux notes détectées au sein du signal musical, en utilisant des connaissances sur les propriétés de la musique. Cette contribution s’appuie sur deux niveaux de connaissance musicale : le son des notes des instruments ainsi que les statistiques de co-occurrence et de transitions entre notes. Pour le premier niveau, un dictionnaire musical constitué de notes d’instruments a été élaboré à partir du synthétiseur Midi de Logic Pro 9. Basé sur ce dictionnaire, nous avons proposé un algorithme « Positive Constraint Matching Pursuit » (PCMP) pour réaliser la décomposition de la musique. Pour le second niveau, nous avons proposé une décomposition parcimonieuse intégrant les informations de statistiques d’occurrence des notes ainsi que les probabilités de co-occurrence pour guider la sélection des atomes du dictionnaire musical et pour construire un graphe à candidats multiples pour proposer des choix alternatifs lors des sélections successives. Pour la recherche du chemin global optimal de succession des notes, les probabilités de transitions entre notes ont également été incorporées. […]
Digitalized music production exploded in the past decade. Huge amount of data drives the development of effective and efficient methods for automatic music analysis and retrieval. This thesis focuses on performing semantic analysis of music, in particular mood and genre classification, with low level and mid level features since the mood and genre are among the most natural semantic concepts expressed by music perceivable by audiences. In order to delve semantics from low level features, feature modeling techniques like K-means and GMM based BoW and Gaussian super vector have to be applied. In this big data era, the time and accuracy efficiency becomes a main issue in the low level feature modeling. Our first contribution thus focuses on accelerating k-means, GMM and UBM-MAP frameworks, involving the acceleration on single machine and on cluster of workstations. To achieve the maximum speed on single machine, we show that dictionary learning procedures can elegantly be rewritten in matrix format that can be accelerated efficiently by high performance parallel computational infrastructures like multi-core CPU, GPU. In particular with GPU support and careful tuning, we have achieved two magnitudes speed up compared with single thread implementation. Regarding data set which cannot fit into the memory of individual computer, we show that the k-means and GMM training procedures can be divided into map-reduce pattern which can be executed on Hadoop and Spark cluster. Our matrix format version executes 5 to 10 times faster on Hadoop and Spark clusters than the state-of-the-art libraries. Beside signal level features, mid-level features like harmony of music, the most natural semantic given by the composer, are also important since it contains higher level of abstraction of meaning beyond physical oscillation. Our second contribution thus focuses on recovering note information from music signal with musical knowledge. This contribution relies on two levels of musical knowledge: instrument note sound and note co-occurrence/transition statistics. In the instrument note sound level, a note dictionary is firstly built i from Logic Pro 9. With the musical dictionary in hand, we propose a positive constraint matching pursuit (PCMP) algorithm to perform the decomposition. In the inter-note level, we propose a two stage sparse decomposition approach integrated with note statistical information. In frame level decomposition stage, note co-occurrence probabilities are embedded to guide atom selection and to build sparse multiple candidate graph providing backup choices for later selections. In the global optimal path searching stage, note transition probabilities are incorporated. Experiments on multiple data sets show that our proposed approaches outperform the state-of-the-art in terms of accuracy and recall for note recovery and music mood/genre classification

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Yi, Hyunji Evonne. "Left-hand Techniques and Pedagogy for Cellists with Hypermobility". Thesis, California State University, Long Beach, 2018. http://pqdtopen.proquest.com/#viewpdf?dispub=10786019.

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Hypermobility refers to the capability of joints to exceed their medically expected range of motion. In the hands and fingers, this results in weaker connective tissues, causing joint laxity and the inability to properly place the left-hand fingers on the fingerboard. For cellists that have hypermobile fingers, the pedagogy and technique of the left hand must be approached with care through specialized foundational training. Playing the cello involves executing precise, repetitive motions for an extended period of time. Thus, mindlessly repeating a trial and error form of learning will prove futile, for as stretching muscles will allow for a greater range of flexibility, constantly allowing the fingers to become hypermobile will increase the laxity of the joints. This is contrary to the focused and firm strength cellists want in their left-hand fingers. Through the in-depth comparison of medical research in the functional anatomy of the hand and cello pedagogy, I will present an approach to the fundamentals of left hand technique for cellists with hypermobility.

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Yee-King, Matthew John. "Automatic sound synthesizer programming : techniques and applications". Thesis, University of Sussex, 2011. http://sro.sussex.ac.uk/id/eprint/7612/.

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The aim of this thesis is to investigate techniques for, and applications of automatic sound synthesizer programming. An automatic sound synthesizer programmer is a system which removes the requirement to explicitly specify parameter settings for a sound synthesis algorithm from the user. Two forms of these systems are discussed in this thesis: tone matching programmers and synthesis space explorers. A tone matching programmer takes at its input a sound synthesis algorithm and a desired target sound. At its output it produces a configuration for the sound synthesis algorithm which causes it to emit a similar sound to the target. The techniques for achieving this that are investigated are genetic algorithms, neural networks, hill climbers and data driven approaches. A synthesis space explorer provides a user with a representation of the space of possible sounds that a synthesizer can produce and allows them to interactively explore this space. The applications of automatic sound synthesizer programming that are investigated include studio tools, an autonomous musical agent and a self-reprogramming drum machine. The research employs several methodologies: the development of novel software frameworks and tools, the examination of existing software at the source code and performance levels and user trials of the tools and software. The main contributions made are: a method for visualisation of sound synthesis space and low dimensional control of sound synthesizers; a general purpose framework for the deployment and testing of sound synthesis and optimisation algorithms in the SuperCollider language sclang; a comparison of a variety of optimisation techniques for sound synthesizer programming; an analysis of sound synthesizer error surfaces; a general purpose sound synthesizer programmer compatible with industry standard tools; an automatic improviser which passes a loose equivalent of the Turing test for Jazz musicians, i.e. being half of a man-machine duet which was rated as one of the best sessions of 2009 on the BBC's 'Jazz on 3' programme.

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Ohara, Yuko. "New sounds and extended composition techniques". Thesis, Brunel University, 2012. http://bura.brunel.ac.uk/handle/2438/7674.

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This commentary supports my PhD composition portfolio. The composition processes of each piece are related to my central research questions, which concern the creation of new sounds using overtone-based scales and extended instrumental techniques. I have developed four main conceptual composition themes and these are represented in the thirteen compositions in the portfolio. In this commentary I consider how each composition was developed around these conceptual themes.

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15

Payne, R. G. "Digital techniques for the analysis and synthesis of audio signals". Thesis, Bucks New University, 1988. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.234706.

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Hensley, Lincoln. "Investigating Early Bluegrass Recording Techniques". Digital Commons @ East Tennessee State University, 2020. https://dc.etsu.edu/honors/597.

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This paper is about my investigation of early bluegrass recording techniques and the processes they used. After doing some extensive research, and compiling a database of black and white photographs from the time period, I felt I had enough information to assemble a team to try and produce the sounds, tonal qualities, and energy those recordings have. So John Kornhauser, Joshua Gooding, Hunter Berry, Sarah Griffin, along with myself, went to BigTone studios and tracked for two four hour sessions. BigTone studios has all of the vintage microphones, tape recorders, echo chambers, and out board equipment I need to replicate the same signal chain that was used on the early recordings. After the recording process, I mixed and mastered the songs to match the early recordings as closely as possible. We also recorded one song at ETSU’s studio that was all digital with new equipment to show the differences in the sound of analog versus digital recording. I have included both so that you can listen to each and determine for yourself if there is an audible difference, and if that difference is worth pursuing.

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Jenkins, Glynn Edwin Fayrfax Robert Wilder Philip van Carver Robert Lupi Johannes Certon Pierre Sermisy Claudin de Johnson Robert Douglas Patrick. "Latin polyphony in Scotland, 1500-1560 (with studies in analytical techniques) /". Online version, 1988. http://ethos.bl.uk/OrderDetails.do?did=1&uin=uk.bl.ethos.380815.

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Thesis (Ph. D.)--University of Exeter, 1988.
Appendix A (v. I, leaves 367-388) "presents information relating to William Finschear the elder, a burgess of Edinburgh and possibly scribe of the Dunkeld Partbooks." Vol. II contains editions with commentary of the following works: Robert Fayrfax, Ave Dei Patris filia; Philip van Wilder, Vidi civitatem; van Wilder, Aspice Domine; Robert Carvor [sic], Mass Dum sacrum mysterium; Carvor, Mass Sine nomine a 5; Johannes Lupi, Ad nutum Domini nostrum; Pierre Certon, Regina caeli; Claudin de Sermisy, O Maria stans sub cruce; Robert Johnson, Domine in virtute tua; Patrick Douglas, In convertendo Domini. Publisher's no.: DX 82363. Includes bibliographical references (v. I, leaves 448-456).

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Jurkowski, Nicholas W. "Berio's Early Use of Serial Techniques: An Analysis of Chamber Music". Bowling Green State University / OhioLINK, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1251044362.

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BOUGHTON, REBECCA ANNE. "STRUCTURAL FUNCTIONS OF STRING TECHNIQUES IN CHAMBER WORKS OF ANTON WEBERN". University of Cincinnati / OhioLINK, 2002. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1018957114.

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Aramburu, Roberto Horacio. "Expanding guitar production techniques : building the guitar application toolkit (GATK)". FIU Digital Commons, 2006. http://digitalcommons.fiu.edu/etd/1301.

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The purpose of this thesis was to build the Guitar Application ToolKit (GATK), a series of applications used to expand the sonic capabilities of the acoustic/electric stereo guitar. Furthermore, the goal of the GATK was to extend improvisational capabilities and the compositional techniques generated by this innovative instrument. During the GATK creation process, the current production guitar techniques and overall sonic result were enhanced by planning and implementing a personalized electroacoustic performance set up, designing custom-made performance interfaces, creating interactive compositional strategies, crafting non-standardized sounds, and controlling various music parameters in real-time using the Max/MSP programming environment. This was the first thesis project of its kind. It is expected that this thesis will be useful as a reference paper for electronic musicians and music technology students; as a product demonstration for companies that manufacture the relevant software; and as a personal portfolio for future technology related-jobs.

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Petterson, Jill. "Extended flute techniques in three culturally different solo flute pieces". Master's thesis, University of Cape Town, 2011. http://hdl.handle.net/11427/12652.

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Includes bibliographical references.
Extended playing techniques on the flute have long since captured the interest of flute players and composers alike. Whilst the physical development of instruments from different cultures took place independently of each other, it has been found that to some extent there have been lasting and mutual influences between different flute playing cultures, specifically (for the purposes of this dissertation) with regard to Western, Africa and Asian flutes and flute playing.

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Mayo, Maxey H. (Maxey Huffman). "Techniques of Music Printing in the United States, 1825-1850". Thesis, University of North Texas, 1988. https://digital.library.unt.edu/ark:/67531/metadc500510/.

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Music printing in the United States between 1825 and 1900 was in a constant state of change as older techniques improved and new processes were invented. Beginning with techniques and traditions that had originated in Europe, music printers in America were challenged by the continuous problem of efficiently and economically creating ways of transferring a music image to the printed page. This study examines the music printing techniques, equipment, and presses of the period, as well as the progression from music type to engraved plate and lithograph stone. A study of the techniques of altering music printing plates helps explain the differences occurring in prints from the same edition and will help further our understanding of this important aspect of music historiography.

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Straw, Millard Michael. "Missouri high school music students' perceptions of recruitment techniques utilized by college and university music departments /". free to MU campus, to others for purchase, 1996. http://wwwlib.umi.com/cr/mo/fullcit?p9823326.

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Roberts, David. "Techniques of composition in the music of Peter Maxwell Davies". Thesis, University of Birmingham, 1985. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.392307.

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Brand, Yvonne-Marié. "Audition techniques of youth orchestras". Master's thesis, University of Cape Town, 2008. http://hdl.handle.net/11427/7781.

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Includes abstract.|Includes bibliographical references (leaves 88-92).
The aim of this study is to research and asess the audition techniques of youth orchestras globally. The researcher aims to provide more information regarding a very important tool in the education of young musicians from all walks of life. The researcher will make use of the opportunity to discuss important aspects regarding the audition procedures, which has to be examined closely in order to have well balanced youth orchestras. The researcher feels that it is imperative to also realise the important role that youth orchestras play in creating excellent professional orchestras. Furthermore, the researcher aims to create a model for audition procedures. The researcher will assess all information at her disposal in order to create a model that shee feels will ensure fair auditions. It must be emphasised that this is a proposed modrel only and it will not be implied that the model must be used in its entirety in order to create fair auditions. The researchers is fully aware of the fact that each orchestra has a unique set of circumstances which has to be taken into consideration when executing auditions.

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Scott, Hugh R. R. "Multiresolution techniques for audio signal restoration". Thesis, University of Warwick, 1995. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.307347.

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Stefik, Andreas Mikal. "An empirical comparison of program auralization techniques". Online access for everyone, 2005. http://www.dissertations.wsu.edu/Thesis/Fall2005/a%5Fstefik%5F121205.pdf.

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Whitehead, Jennifer Maxwell. "Perfecting Your Practice: Rehearsal Techniques and Strategies for the Undergraduate Singer". The Ohio State University, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=osu1366319504.

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Popp, Shaun R. "An examination of orchestration techniques used in wind band transcriptions of a cappella choral works". Thesis, The Florida State University, 2013. http://pqdtopen.proquest.com/#viewpdf?dispub=3596564.

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The orchestration techniques used in wind band transcriptions of a cappella choral works have received limited attention from researchers. The primary purposes of this study were to (1) examine orchestration techniques used in wind band transcriptions of a cappella choral works, (2) note differences between original a cappella choral works and their wind band transcriptions, and (3) provide rehearsal suggestions for band conductors based on information gathered from comparisons of repertoire.

The researcher reviewed nine wind band transcriptions of a cappella choral works, as well as one a cappella choral transcription of a wind band work. The results of the investigations indicated that (1) transcribers use combinations of orchestration techniques - (a) basic part assignments, (b) complex part assignments, (c) dividing sections of the band to represent two or more vocal parts, (d) octave displacements and doublings, (e) incorporation of percussion, and (f) special effects - in wind band transcriptions of a cappella choral works, (2) transcribers adjust musical aspects of a cappella choral works - (a) bar lines and meters, (b) repeats, (c) tempo, (d) key, (e) rhythms, rests, and breath marks, (f) dynamics, (g) articulation and style markings, and (h) form and structure - during the wind band transcription process, and (3) many rehearsal implications - (a) tempo, (b) tone quality and intonation, (c) articulation and style, (d) phrasing, (e) dynamics, and (f) balance and blend - are gained from comparing wind band transcriptions to original a cappella choral works. Further research in this area might explore the orchestration techniques used in wind band transcriptions of accompanied choral works, choral transcriptions of wind band works, and original choral compositions with wind band accompaniment.

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Root, Rachel Lorraine. "Choral rehearsal memory techniques /". Thesis, Connect to this title online; UW restricted, 2001. http://hdl.handle.net/1773/11251.

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Geels, Jessica L. "Tools for storytelling| Exploring the compositional techniques Crumb employs in Vox Balaenae". Thesis, California State University, Long Beach, 2015. http://pqdtopen.proquest.com/#viewpdf?dispub=1587280.

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George Crumb's Vox Balaenae (Voice of the Whale) is one of his most well-known works for flute. In this project report, I analyze George Crumb's extra-musical indications, use of quotation, and extensive use of extended techniques and timbre to reveal how they help to tell the story of the piece. Crumb's work is organized in three large sections, the opening "Vocalise (...for the beginning of time)," the "Variations on Sea-Time," and the "Sea-Nocturne (...for the end of time)," and will be examined in order. For each section, I will explain the extended techniques indicated in the score. This will include an explanation of how to perform the technique, a description of the type of timbre it produces, and a summary of how that timbre affects the mood and forward momentum of the piece. I will also explore how the three instrumental lines interact with each other and demonstrate how Crumb layers the lines to bring the piece to its climax. In conclusion, it is only after an in-depth study of Vox Balaenae, such as this, that an informed and exhilarating performance can take place. This work ought to be included in every advanced flutist's list of standard repertoire.

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32

Fujinaga, Ichiro. "Optical music recognition using projections". Thesis, McGill University, 1988. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=61870.

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Cooper, Michelle L. "A MUSICAL ANALYSIS OF HOW MARY PRIESTLEY IMPLEMENTED THE TECHNIQUES SHE DEVELOPED FOR ANALYTICAL MUSIC THERAPY". Diss., Temple University Libraries, 2011. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/173335.

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Music Therapy
Ph.D.
This study examined how Mary Priestley musically implemented 15 Analytical Music Therapy (AMT) techniques for exploring conscious material, accessing unconscious material, and strengthening the ego. Using the Priestley archives at Temple University, the author listened to 96 recorded examples of individual AMT sessions with 31 adult clients that were made between the years 1975-1991 to examine and aurally identify the musical phenomena and patterns occurring in the musical implementation of AMT techniques. The results of the study present clinical considerations necessary for applying each AMT technique and the clinical/musical roles of the analytical music therapist. Finally, this study presents distinctions between traditional and contemporary AMT practice and implications for AMT training and supervision.
Temple University--Theses

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34

Jurkowski, Nicholas. "Berio's early use of serial techniques an analysis of Chamber music /". Bowling Green, Ohio : Bowling Green State University, 2009. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=bgsu1251044362.

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Keast, Dan A. "Implementation of constructivist techniques into an online activity for graduate music education students /". free to MU campus, to others for purchase, 2004. http://wwwlib.umi.com/cr/mo/fullcit?p3144428.

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Beteta, Xavier. "Compositional Techniques in Rodrigo Asturias’s “El Banquete De Las Nubes”". University of Cincinnati / OhioLINK, 2006. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1148304483.

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Kim, Junghyun. "Isang Yun's Duo for Viola and Piano (1976): A Synthesis of Eastern Music Concepts With Western Music Techniques". Diss., The University of Arizona, 2007. http://hdl.handle.net/10150/193670.

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Isang Yun is one of the most significant figures in Korean music of the twentieth century. He moved beyond serialism, founding his musical resources in Korean traditional music as well as in Taoism. Yun created unique sound which has resemblance to Korean traditional music particularly in ornaments through Western instrumentation and musical techniques. Consequently, Yun invented his own main tone technique, and its distinctive Koran sound separated him from other important avant-garde composers of the twentieth century. In this thesis Yun's life is introduced as a strong influence on his compositional styles. Also, his compositional styles are placed within the larger context of twentieth century musical trends, which shows why his works are important in twentieth century music history. Most importantly, it demonstrates that the idiosyncratic style of Isang Yun's Duo for Viola and Piano results from a blending of Eastern and Western musical elements. For this reason, in this document I will analyze and examine the Duo for Viola and Piano, and explain how Yun translated Eastern musical concepts into Western musical techniques.

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38

Davies, Huw. "Towards a more versatile dynamic-music for video games : approaches to compositional considerations and techniques for continuous music". Thesis, University of Oxford, 2015. http://ora.ox.ac.uk/objects/uuid:3f1e4cfa-4a36-44d8-9f4b-4c623ce6b045.

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This study contributes to practical discussions on the composition of dynamic music for video games from the composer’s perspective. Creating greater levels of immersion in players is used as a justification for the proposals of the thesis. It lays down foundational aesthetic elements in order to proceed with a logical methodology. The aim of this paper is to build upon, and further hybridise, two techniques used by composers and by video game designers to increase further the reactive agility and memorability of the music for the player. Each chapter of this paper explores a different technique for joining two (possibly disparate) types of gameplay, or gamestates, with appropriate continuous music. In each, I discuss a particular musical engine capable of implementing continuous music. Chapter One will discuss a branching-music engine, which uses a precomposed musical mosaic (or musical pixels) to create a linear score with the potential to diverge at appropriate moments accompanying onscreen action. I use the case study of the Final Fantasy battle system to show how the implementation of a branching-music engine could assist in maintaining the continuity of gameplay experience that current disjointed scores, which appear in many games, create. To aid this argument I have implemented a branching-music engine, using the graphical object oriented programming environment MaxMSP, in the style of the battle music composed by Nobuo Uematsu, the composer of the early Final Fantasy series. The reader can find this in the accompanying demonstrations patch. In Chapter Two I consider how a generative-music engine can also implement a continuous music and also address some of the limitations of the branching-music engine. Further I describe a technique for an effective generative music for video games that creates musical ‘personalities’ that can mimic a particular style of music for a limited period of time. Crucially, this engine is able to transition between any two personalities to create musical coincidence with the game. GMGEn (Game Music Generation Engine) is a program I have created in MaxMSP to act as an example of this concept. GMGEn is available in the Demonstrations_Application. Chapter Three will discuss potential limitations of the branching music engine described in Chapter One and the generative music engine described in Chapter Two, and highlights how these issues can be solved by way of a third engine, which hybridises both. As this engine has an indeterminate musical state it is termed the intermittent-music engine. I go on to discuss the implementation of this engine in two different game scenarios and how emergent structures of this music will appear. The final outcome is to formulate a new compositional approach delivering dynamic music, which accompanies the onscreen action with greater agility than currently present in the field, increasing the memorability and therefore the immersive effect of the video-game music.

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39

Kim, Yeji. "Hybridity in Flute Music of Four Contemporary Composers". Bowling Green State University / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1351532629.

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40

Bonacossa, Federico. "Materials and Techniques in D’improvviso da immobile s’illumina, for Bass Clarinet, Two Orchestras, Piano and Percussion". FIU Digital Commons, 2013. http://digitalcommons.fiu.edu/etd/989.

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D’improvviso da immobile s’illumina is a concerto for bass clarinet, two orchestras, piano, and percussion, that I composed during my graduate studies at Florida International University in Miami. The work is approximately 16 minutes long and is scored for 30 independent instrumental parts in addition to the bass clarinet soloist. Although the piece does not incorporate electronics, electronic music was a major influence in its creation, and the computer was used extensively as a compositional tool. In addition, the writings of Henry Cowell and the music of Sofia Gubaidulina influenced the concerto in a number of ways. While writing this work, I had to discover new ways to allow pure instinct to intermingle with strict calculation. This paper will discuss in detail the various techniques used in the creation of the concerto as well as some of the works that influenced it.

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41

O'Connor, Alexander J. "A Comparative Analysis of Rehearsal Techniques for Instrumental Ensembles During Group Playing". Wittenberg University Honors Theses / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=wuhonors1617960102315298.

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Worrall, David, i n/a. "SONIFICATION AND INFORMATION CONCEPTS, INSTRUMENTS AND TECHNIQUES". University of Canberra. Communication, 2009. http://erl.canberra.edu.au./public/adt-AUC20090818.142345.

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This thesis is a study of sonification and information: what they are and how they relate to each other. The pragmatic purpose of the work is to support a new generation of software tools that are can play an active role in research and practice that involves understanding information structures found in potentially vary large multivariate datasets. The theoretical component of the work involves a review of the way the concept of information has changed through Western culture, from the Ancient Greeks to recent collaborations between cognitive science and the philosophy of mind, with a particular emphasis on the phenomenology of immanent abstractions and how they might be supported and enhanced using sonification techniques. A new software framework is presented, together with several examples of its use in presenting sonifications of financial information, including that from a high-frequency securities-exchange trading-engine.

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43

Mitchell, David J. "A Performance Guide and Analysis of Compositional Techniques in Selected Percussion Music of Dave Maric". Thesis, The University of North Carolina at Greensboro, 2018. http://pqdtopen.proquest.com/#viewpdf?dispub=10639934.

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The aim of this study is to provide insight into the percussion music of Dave Maric through an analysis of a trilogy of pieces with backing track, Trilogy (2000), Sense & Innocence (2002/2014), and Thrice Into Flames (2017). The present study examines Maric’s influences, analyzes his compositional style, and provides a performance guide. Brief biographical information is provided to introduce Maric. His compositional style is examined by analyzing tonal language and formal structures. The tonal language of these pieces combines octatonic scales and diatonic scales. In terms of form, Maric uses mathematical sequences to determine proportions between sections, including the Fibonacci sequence. The performance guide includes sticking suggestions, transcriptions of backing track cues, and additional comments.

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44

Stewart, Richard Christopher. "Effective audio for music videos : the production of an instructional video outlining audio production techniques for amateur music videos". Instructions for remote access. Click here to access this electronic resource. Access available to Kutztown University faculty, staff, and students only, 1996. http://www.kutztown.edu/library/services/remote_access.asp.

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Cherry, Amy Kristine. "Extended Techniques in Trumpet Performance and Pedagogy". University of Cincinnati / OhioLINK, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1242326372.

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46

Turesson, Eric. "STRATEGIC INTERNET MARKETING FOR MUSIC FESTIVALS IN OSLO : A qualitative case study on two music festivals practise of strategic Internet marketing". Thesis, Högskolan i Halmstad, Sektionen för ekonomi och teknik (SET), 2012. http://urn.kb.se/resolve?urn=urn:nbn:se:hh:diva-17979.

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The overall aim of this study was to research how music festivals in Oslo practise strategic Internet marketing and how these could improve their marketing throughout strategic Internet marketing. The interest of this study evoked since there was a lack in previous research in this field. Other issues to explore were marketing particularities and how these could be solved. Two music festivals in the city centre of Oslo were interviewed. The study was based on Chaffey and Smith’s (2008) SOSTAC planning framework, together with previous research findings in the field of strategic Internet marketing. The result showed a primarily use of informal goals, together with actions and evaluation based on gut feelings. Focus was placed on creating additional value and thus loyalty. Most applied marketing were connected to Web 2.0 techniques. The study found several shortcomings concerning the practise of strategic Internet marketing. Suggested improvements included use of online measurement systems and a strategic approach towards objectives and evaluation. The study found two distinct characteristics including the importance of visitor activity and loyalty. Web 2.0 techniques, the website and co-branding activities were concluded to be the most effective types Internet marketing. These together with an enhanced use of Web 2.0 techniques were also concluded to be the solution to marketing peculiarities.

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47

Davies, Glynis L. "An analysis of Pat Metheny's and Lyle Mays's "Third Wind"| Arranging techniques and performance considerations". Thesis, California State University, Long Beach, 2015. http://pqdtopen.proquest.com/#viewpdf?dispub=1587274.

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This paper explores the arranging techniques and performance considerations related to the transcription and analysis of "Third Wind" by Pat Metheny and Lyle Mays; it compares Metheny and Mays' original piece to the author's arrangement as performed at her Master's Recital. Biographical information about Metheny and Mays are used as a preface to their lives as composers and performers. Also included is an in-depth analysis of the original lead sheet, the author's arrangement, and the performance itself. The incorporation of wordless vocals, as used in the original, is also covered. The author wrote original lyrics for parts of the song that help to clarify her interpretation of this lengthy through-composed piece of music.

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Postema, Darren Anthony. "Baroque and piccolo trumpet : an historical analysis with emphasis on performance practice and teaching techniques". Master's thesis, University of Cape Town, 1992. http://hdl.handle.net/11427/12686.

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Bibliography: leaves 62-64
This dissertation is not only an historical comparison between the trumpets used in the baroque period and those used in our present century, but attempts to focus on how performance techniques have changed and the implications of these changes for trumpeters who wish to perform the baroque repertoire in an "authentic" style. The recent construction and availability of high quality prototype baroque trumpets, has enabled many to relearn the difficult art and has added yet another important dimension to the teaching pedagogy of trumpet.

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Munger-MacKay, Ailene Annette. "Certain oboe techniques and ensemble pedagogy in selected woodwind chamber music of Heitor Villa-Lobos". The Ohio State University, 1993. http://rave.ohiolink.edu/etdc/view?acc_num=osu1248714649.

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Driedger, Jonathan [Verfasser], i Meinard [Gutachter] Müller. "Processing Music Signals Using Audio Decomposition Techniques / Jonathan Driedger. Gutachter: Meinard Müller". Erlangen : Friedrich-Alexander-Universität Erlangen-Nürnberg (FAU), 2016. http://d-nb.info/110085956X/34.

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