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Jacono, Jean-Marie. "Les révisions de "Boris Godounov" de Moussorgski : transformations musicales et transformations sociales". Aix-Marseille 1, 1992. http://www.theses.fr/1992AIX10028.
Pełny tekst źródłaWhy 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
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.
Pełny tekst źródłaAmiot, Emmanuel. "Modèles algébriques et algorithmes pour la formalisation mathématique de structures musicales". Paris 6, 2010. http://www.theses.fr/2010PA066680.
Pełny tekst źródłaCifka, Ondrej. "Deep learning methods for music style transfer". Electronic Thesis or Diss., Institut polytechnique de Paris, 2021. http://www.theses.fr/2021IPPAT029.
Pełny tekst źródłaRecently, 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
Roads, Curtis. "Synthèse et transformation des microsons". Paris 8, 1999. http://www.theses.fr/1999PA082890.
Pełny tekst źródłaBeneath 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
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.
Pełny tekst źródłaLa 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.
Sayrs, Elizabeth Paige. "Approaches to Wolf : Schenker, transformation, function /". The Ohio State University, 1997. http://rave.ohiolink.edu/etdc/view?acc_num=osu1243358893.
Pełny tekst źródłaVerfaille, 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.
Pełny tekst źródłaBonney, Michael. "The Compositional Transformation and Musical Rebirth of Leo Ornstein". Thesis, University of North Texas, 2011. https://digital.library.unt.edu/ark:/67531/metadc103292/.
Pełny tekst źródładu, Plessis Janine. "Transformation Groups and Duality in the Analysis of Musical Structure". Digital Archive @ GSU, 2008. http://digitalarchive.gsu.edu/math_theses/66.
Pełny tekst źródłaCannas, Sonia. "Geometric representation and algebraic formalization of musical structures". Thesis, Strasbourg, 2018. http://www.theses.fr/2018STRAD047/document.
Pełny tekst źródłaThis 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
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.
Pełny tekst źródłaMasri, 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.
Pełny tekst źródłaKunnuji, Joseph. "A chronicle of cultural transformation: ethnography of Badagry Ogu musical practices". Doctoral thesis, Faculty of Humanities, 2020. http://hdl.handle.net/11427/32279.
Pełny tekst źródłaHanna, Pierre. "Modélisation statistique de sons bruités : étude de la densité spectrale, analyse, transformation musicale et synthèse". Bordeaux 1, 2003. http://www.theses.fr/2003BOR12756.
Pełny tekst źródłaCLELAND, 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.
Pełny tekst źródłaMyers, Karl J. "A system for the generation of tonal music based on transformations /". Online version of thesis, 1988. http://hdl.handle.net/1850/10293.
Pełny tekst źródłaGrachten, Maarten. "Expressivity-aware tempo transformations of music performances using case based reasoning". Doctoral thesis, Universitat Pompeu Fabra, 2006. http://hdl.handle.net/10803/7485.
Pełny tekst źródłaThe 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.
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.
Pełny tekst źródłaIt 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
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.
Pełny tekst źródłaShiina, Ryôsuke. "Recherches sur la transformation du temps musical sous l'angle de la philosophie japonaise". Nice, 1994. http://www.theses.fr/1994NICE2029.
Pełny tekst źródłaAfter 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"
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.
Pełny tekst źródłaSwindells, 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/.
Pełny tekst źródłaKallionpää, 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.
Pełny tekst źródłaJammande 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.
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.
Pełny tekst źródłaSyftet 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.
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.
Pełny tekst źródłaParadzinets, 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.
Pełny tekst źródłaAs 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
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.
Pełny tekst źródłaLindmäe, 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.
Pełny tekst źródłaLa 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.
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.
Pełny tekst źródłaMacDonald, 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.
Pełny tekst źródłaMorgan, 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.
Pełny tekst źródłaBerman, Aaron. "Memento Mori". Pitzer College, 2007. http://ccdl.libraries.claremont.edu/u?/stc,13.
Pełny tekst źródłaWoodruff, 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/.
Pełny tekst źródłaCatan, 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.
Pełny tekst źródłaThomas, 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.
Pełny tekst źródłaBarthet, 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.
Pełny tekst źródłaUne 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.
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/.
Pełny tekst źródłaThe 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).
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.
Pełny tekst źródłaFor 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.
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/.
Pełny tekst źródłaVitale, 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/.
Pełny tekst źródłaThe 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.
Genuys, Grégoire. "Non-commutative homometric musical structures and chord distances in geometric pitch spaces". Thesis, Paris 6, 2017. http://www.theses.fr/2017PA066576/document.
Pełny tekst źródłaWe 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
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.
Pełny tekst źródłaGermiquet, 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.
Pełny tekst źródłaMeridan, Lissa. "De l'harmonie au chaos : émergence dans la musique de Gérard Pape". Thesis, Bordeaux 3, 2019. http://www.theses.fr/2019BOR30055.
Pełny tekst źródłaThe 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
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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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.
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.
Pełny tekst źródłaLoscos, Àlex. "Spectral processing of the singing voice". Doctoral thesis, Universitat Pompeu Fabra, 2007. http://hdl.handle.net/10803/7542.
Pełny tekst źródłaLa 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.
Steinebach, Mario, Christine Häckel-Riffler, Caroline Pollmer, Antje Brabandt, Janine Mahler, Michael Chlebusch, Thomas Doriath i in. "TU-Spektrum 2/2006, Magazin der Technischen Universität Chemnitz". Universitätsbibliothek Chemnitz, 2006. http://nbn-resolving.de/urn:nbn:de:swb:ch1-200601045.
Pełny tekst źródłaKelley, Robert Tyler Buchler Michael Howard. "Mod-7 transformations in post-functional music". Diss., 2005. http://etd.lib.fsu.edu/theses/available/etd-04052005-175353/.
Pełny tekst źródłaAdvisor: 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.