Дисертації з теми "Music composition and improvisation"
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Strazzullo, Guy, University of Western Sydney, of Arts Education and Social Sciences College, and School of Contemporary Arts. "An intercultural approach to composition and improvisation." THESIS_CAESS_CAR_Strazzullo_G.xml, 2003. http://handle.uws.edu.au:8081/1959.7/501.
Повний текст джерелаMaster of Arts (Hons.)
Davidson, Neil. "Composition in improvisation : forms and otherwise." Thesis, University of Glasgow, 2010. http://theses.gla.ac.uk/2301/.
Повний текст джерелаStrazzullo, Guy. "An intercultural approach to composition and improvisation /." View thesis, 2003. http://library.uws.edu.au/adt-NUWS/public/adt-NUWS20051013.095017/index.html.
Повний текст джерелаSchnittgrund, Tammy Lynn. "Middle school string improvisation and composition a beginning /." CONNECT TO THIS TITLE ONLINE, 2007. http://etd.lib.umt.edu/theses/available/etd-07162007-160203/.
Повний текст джерелаStanyek, Jason. "Diasporic improvisation and the articulation of intercultural music /." Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 2004. http://wwwlib.umi.com/cr/ucsd/fullcit?p3129936.
Повний текст джерелаWalduck, Jacqueline Sarah. "Role-taking in free improvisation and collaborative composition." Thesis, City University London, 1997. http://openaccess.city.ac.uk/7466/.
Повний текст джерелаRogers, Glenn Andrew. "The application of Konokol to guitar improvisation and composition." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2017. https://ro.ecu.edu.au/theses/1956.
Повний текст джерелаGifford, Toby. "Improvisation in interactive music systems." Thesis, Queensland University of Technology, 2011. https://eprints.qut.edu.au/49795/1/Toby_Gifford_Thesis.pdf.
Повний текст джерелаZadel, Mark. "A software system for laptop performance and improvisation /." Thesis, McGill University, 2006. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=98594.
Повний текст джерелаThis thesis project presents an alternative software interface that aims to bring a sense of active creation to laptop performance. The system prevents the use of prepared control sequences and allows the live assembly of generative musical processes. The software resembles a freehand drawing interface where strokes are interactively assembled to create looping and cascading animated figures. The on-screen animation is mapped to sound, creating corresponding audio patterns. Networks of strokes are assembled and manipulated to perform music. The system's use of freehand input infuses the music with natural human variability, and its graphical interface establishes a visible connection between the user's actions and the resulting audio.
The thesis document explores the above issues in laptop performance, which motivated this research. Typical examples of performance software are presented, illustrating the interface design patterns that contribute to this situation. The thesis software project is presented, describing its goals, design and implementation. The properties of the interface are discussed in light of the project's initial objectives. It is concluded that the system is a solid step toward a novel approach to laptop performance software.
Chen, Daniel. "Computer improvisation of jazz solos /." Online version of thesis, 1992. http://hdl.handle.net/1850/11088.
Повний текст джерелаTse, Tai-shun, and 謝大順. "A portfolio of three compositions : improvisation as a structural device." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2013. http://hdl.handle.net/10722/195957.
Повний текст джерелаpublished_or_final_version
Music
Master
Master of Philosophy
Vasilakos, Konstantinos. "An evaluation of digital interfaces for music composition and improvisation." Thesis, Keele University, 2016. http://eprints.keele.ac.uk/1606/.
Повний текст джерелаBennet, David. "Sounds Within Sounds : Multiphonic possibilities of the saxophone in composition and improvisation." Thesis, Kungl. Musikhögskolan, Institutionen för jazz, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-4069.
Повний текст джерелаKomposition: Sonic Map
Kompositörer: David Bennet & Vilhelm Bromander
Medverkande: David Bennet, Saxofon. Vilhelm Bromander, Kontrabas
Konserten är inspelad och bifogas med det skriftliga arbetet.
Wilson, Adam James. "Automatic improvisation a study in human/machine collaboration /." Diss., [La Jolla, Calif.] : University of California, San Diego, 2009. http://wwwlib.umi.com/cr/ucsd/fullcit?p3386761.
Повний текст джерелаTitle from 1st page of PDF file (viewed Feb. 9, 2010). Available via ProQuest Digital Dissertations. Vita. Includes sound files of examples in 44K stereo. and 96K formats. Includes bibliographical references: P. 143.
O’Dwyer, Timothy Joseph. "The adventure of the refrain : composing with improvised music." Thesis, Queensland University of Technology, 2012. https://eprints.qut.edu.au/63329/1/Timothy_O%27Dwyer_Thesis.pdf.
Повний текст джерелаYadegari, Shahrokh. "The radif as a basis for a computer music model : union of philosophy and poetry through self-referentiality /." Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 2004. http://wwwlib.umi.com/cr/ucsd/fullcit?p3120720.
Повний текст джерелаVita. Includes computer program for No flower, no incense, only sound: P. 192-239. Sound tape contains 2 compositions by the composer and an improvisation by Ivan Manzanilla with the composer: No flower, no incense, only sound; excerpt of A-window; Mirrors of the past. Includes bibliographical references (p. 241).
Lawrence, Tom. "Methods and ideas for the creation of 'transparent' music in the classroom." Thesis, Brunel University, 2011. http://bura.brunel.ac.uk/handle/2438/6470.
Повний текст джерелаSastry, Avinash. "N-gram modeling of tabla sequences using Variable-Length Hidden Markov Models for improvisation and composition." Thesis, Georgia Institute of Technology, 2011. http://hdl.handle.net/1853/42792.
Повний текст джерелаDower, David. "Self-accompaniment and improvisation in solo jazz piano: Practice-led investigations of assimilation, ostinatos and ‘hand splitting’." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2015. https://ro.ecu.edu.au/theses/1673.
Повний текст джерелаOehlers, Jamie. "Night music (compositions, performance and improvisations) –and– Developing a chromatic-intervallic approach to jazz improvisation through reflexive practice. An exegesis." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2019. https://ro.ecu.edu.au/theses/2189.
Повний текст джерелаFerlaino, Christian. "Confluences : folk wisdom in contemporary music." Thesis, University of Edinburgh, 2018. http://hdl.handle.net/1842/33213.
Повний текст джерелаPitkänen, Johanna. "Metsän väki - Forest Dwellers : creating a collaborative, semi-improvised performance that combines music, visual art, dance and performance art." Thesis, Kungl. Musikhögskolan, Institutionen för klassisk musik, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-2121.
Повний текст джерелаProfessional Integration Project
Hayes, Lauren Sarah. "Audio-haptic relationships as compositional and performance strategies." Thesis, University of Edinburgh, 2014. http://hdl.handle.net/1842/9481.
Повний текст джерелаLuebbers, Johannes. "Cheek to cheek: Transforming a compositional practice through collaboration." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2021. https://ro.ecu.edu.au/theses/2445.
Повний текст джерелаAlves, Jose Orlando 1970. "Invariancias e disposições texturais : do planejamento composicional a reflexão sobre o processo criativo." [s.n.], 2005. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284732.
Повний текст джерелаTese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes
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Resumo: Esta Tese, desenvolvida no Doutorado em Música na Área de Concentração em Processos Criativos, é o resultado da pesquisa sobre a utilização, a viabilidade e as conseqüências do processo de planejamento inserido na composição musical. Este planejamento foi formulado a partir de parâmetros estruturais relacionados à organização das Alturas e à disposição de fluxos Texturais. A combinação dos parâmetros adotados ocorreu através da multiplicação matricial, dando origem à denominação de Planejamento Composicional Parametrizado Matricial. O texto inicia-se com um breve apanhado histórico sobre o processo de formalização composicional e apresenta aspectos do planejamento relacionados à elaboração de esboços, caderno de notas entre outros. Discute também o conceito de auto-organização no contexto da criatividade musical que resultou na composição das seguintes obras: Disposições Texturais e o conjunto de 33 Invariâncias, todas para piano solo. A pesquisa desenvolveu um processo de planejamento, estudou as suas implicações estruturais e criativas e, por fim, buscou uma reflexão sobre como a subjetividade do compositor atuou na escolha e na organização das estruturas musicais
Abstract: This Thesis, developed in a Program on Creative Processes for a Doctor's Degree in Music, is the result of a research on utilization, viability and implications of a Planning Process applied to musical composition. This planning process was formulated using structural parameters to organize pitch material and to arrange textural flows. Matrix operations were applied to combine these parameters and this procedure entitled the method as "Planejamento Composicional Parametrizado Matricial" (Matrix Parametric Composition Planning). The Thesis begins with a brief historical summary on formalization of composition processes. Later it introduces features of the composition planning such as sketches, note books, among others. Further it discusses the concept of self-organization in the context of musical creativity, and how it is related to the author¿s composition: Disposições Texturais, and the set of 33 Invariâncias, all of them for piano solo. This research developed a new planning process, it studied structural and creative implications and, finally, it reflected on how the composer's subjectivity acted on choosing and organizing musical structures
Doutorado
Doutor em Música
Nilsson, Oskar. "Komposition med hjälp av melodier : Metodiska hjälpmedel för att komponera." Thesis, Kungl. Musikhögskolan, Institutionen för jazz, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-3992.
Повний текст джерелаMedverkande musiker:
Joanné Nugas - sång
Malte Bergman Byström - bas
Noa Svensson - trummor
Björn Eriksson - piano
Oskar Nilsson - gitarr
Ebba Åsman - trombon
Björn-Atle Anfinsen - trumpet
FERRETTI, JOSEPH ARMOND. "NOTATED EXTEMPORIZATION: THE STRUCTURAL RAMIFICATIONS OF IMPROVISATORY COMPOSING IN PART VIII OF FREDERIC RZEWSKI'S THE ROAD." University of Cincinnati / OhioLINK, 2006. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1163730489.
Повний текст джерелаSimurra, Ivan Eiji Yamauchi 1984. "A recriação timbrística na música espectral." [s.n.], 2012. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284408.
Повний текст джерелаDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
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Resumo: Esta dissertação de mestrado tem por objetivo estudar a ideia de "recriação timbristica" tal qual trabalhada na música espectral. A dissertação está organizada em duas etapas distintas, mas não disjuntas: uma mais teórica e especulativa e outra mais prática. Para isso, levantamos algumas das possíveis referências bibliográficas, tanto técnicas e teóricas, quanto poéticas, musicais e composicionais, utilizadas pelos principais compositores e pesquisadores pertencentes à Música Espectral, como os denominados pioneiros, Tristan Murail, Gérard Grisey e Huguues Dufourt. Segue a apresentação de algumas "recriações timbrísticas" desenvolvidas no repertório composicional, técnico e conceitual da Música Espectral. Dessa forma, os possíveis resultados práticos da utilização conceitual do termo "recriação" se relacionam, especulativamente, com as principais ferramentas e processos desenvolvidos pela música espectral. Ainda, no que o desenvolvimento prático deste trabalho, o Capítulo 3 realiza uma abordagem analítica, assumindo como seus objetos de análise as obras mémoire/érosion (1975-76), de Tristan Murail e Speakings (2008), de Jonathan Harvey e tem, como suporte metodológico, as pesquisas realizadas anteriormente, além da utilização, quando possível, dos recursos técnicos oferecidos por ambientes computacionais, como o OpenMusic. O último capítulo apresenta uma série de produções composicionais como os resultados práticos dos desenvolvimentos teóricos e analíticos realizados durante esse trabalho de pesquisa
Abstract: This research work, organized mainly in two distinct but not disjoint steps: a more theoretical and speculative one and another a little more practical, aims to bring all the possible compositional procedures used by the aesthetical and musical movement known as Spectral Music, which it grounds on the subject about "timbral re-creation", as well as the possible contributions of this approach towards to a Spectral Music's conceptual basis. In this sense, some possible references will be raised, both theoretical/technical and musical/compositional/poetic, used by all the major composers and researchers belonging to Spectral Music, as the ones so-called pioneers, Tristan Murail, Gérard Grisey and Hugues Dufourt as well. At this point, it will be presented some possible examples of "timbral re-creation" developed inside the Spectral Music's compositional, conceptual and technical repertoire. In this sense, it will be speculated some possible practical applicability contributions on the conceptual usages of "re-creation" related to the key tools and music processes developed by Spectral Music. Even so, with respect to the practical development of this research work, an analytical approach will be held, taking as its own analysis' objects Tristan Murail's mémoire/erosion (1975-76) and Jonathan Harvey's Speaking (2008), assuming its results as the truly methodological background. Finally, a series of compositional works will be presented such as a practical return to the theoretical and analytical developments performed during the Master Degree research work
Mestrado
Processos Criativos
Mestre em Música
Anthony, John James. "Improvisational Devices of Jazz Guitarist Adam Rogers on the Thelonious Monk Composition “Let's Cool One”." Youngstown State University / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=ysu1348716162.
Повний текст джерелаLaster, Andrew Jay. "AMPHION.pdf." Diss., Temple University Libraries, 2014. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/304705.
Повний текст джерелаD.M.A.
This monograph explores the integration of improvisation and orchestral music. It consists of two closely related large-scale compositions, Amphion and Zethos, and an accompanying essay. Amphion, for orchestra, is in three movements and includes frequent references to styles and genres of the Baroque era, specifically the French dance suite. Zethos, for five improvisers and chamber orchestra, includes the three movements of Amphion, in toto, plus five additional concertato sections with improvisation. These sections have multiple player configurations and were composed for specific players with distinct improvisational skills. These sections also fulfill specific functions in relation to the three fully notated movements of Amphion: as introductions, codas, transitions, and development. The accompanying essay considers issues relevant to Amphion's and Zethos's rehearsal and performance, and examines their form and melodic/harmonic language. It also discusses the historical precedent and aesthetic rationale for improvisation in orchestral music, and the notation of improvisation in Zethos.
Temple University--Theses
Laster, Andrew Jay. "ZETHOS.pdf." Diss., Temple University Libraries, 2014. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/304811.
Повний текст джерелаD.M.A.
This monograph explores the integration of improvisation and orchestral music. It consists of two closely related large-scale compositions, Amphion and Zethos, and an accompanying essay. Amphion, for orchestra, is in three movements and includes frequent references to styles and genres of the Baroque era, specifically the French dance suite. Zethos, for five improvisers and chamber orchestra, includes the three movements of Amphion, in toto, plus five additional concertato sections with improvisation. These sections have multiple player configurations and were composed for specific players with distinct improvisational skills. These sections also fulfill specific functions in relation to the three fully notated movements of Amphion: as introductions, codas, transitions, and development. The accompanying essay considers issues relevant to Amphion's and Zethos's rehearsal and performance, and examines their form and melodic/harmonic language. It also discusses the historical precedent and aesthetic rationale for improvisation in orchestral music, and the notation of improvisation in Zethos.
Temple University--Theses
Laster, Andrew Jay. "Amphion and Zethos: An Orchestral Work Reimagined as a Concerto for Five Improvisers." Diss., Temple University Libraries, 2014. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/304872.
Повний текст джерелаD.M.A.
This monograph explores the integration of improvisation and orchestral music. It consists of two closely related large-scale compositions, Amphion and Zethos, and an accompanying essay. Amphion, for orchestra, is in three movements and includes frequent references to styles and genres of the Baroque era, specifically the French dance suite. Zethos, for five improvisers and chamber orchestra, includes the three movements of Amphion, in toto, plus five additional concertato sections with improvisation. These sections have multiple player configurations and were composed for specific players with distinct improvisational skills. These sections also fulfill specific functions in relation to the three fully notated movements of Amphion: as introductions, codas, transitions, and development. The accompanying essay considers issues relevant to Amphion's and Zethos's rehearsal and performance, and examines their form and melodic/harmonic language. It also discusses the historical precedent and aesthetic rationale for improvisation in orchestral music, and the notation of improvisation in Zethos.
Temple University--Theses
Alexander, Jan. "Turning the Odds in My Favor : Exploring Non-Isochronous Meters Through Composition and Practice." Thesis, Kungl. Musikhögskolan, Institutionen för jazz, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-4064.
Повний текст джерелаMeagher, Andrea. "The symbiosis of improvised and rehearsed elements in the creation of contemporary jazz ensemble music." Thesis, Queensland University of Technology, 2010. https://eprints.qut.edu.au/45467/1/Andrea_Meagher_Exegesis.pdf.
Повний текст джерелаPapageorgiou, Dimitris. "Towards a comprovisation practice : a portfolio of compositions and notations for improvisations." Thesis, University of Edinburgh, 2017. http://hdl.handle.net/1842/25817.
Повний текст джерелаDuby, Marc. "Soundpainting as a system for the collaborative creation of music in performance." Thesis, Pretoria : [s.n.], 2006. http://upetd.up.ac.za/thesis/available/etd-08032007-164326/.
Повний текст джерелаFlick, Birgitta. "Du har lärt mig att lyssna : En undersökning av genomsläpplighet i komposition." Thesis, Kungl. Musikhögskolan, Institutionen för komposition, dirigering och musikteori, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-3500.
Повний текст джерелаPartitur av alla delar av LYSSNA och arrangemang av mässans psalmer finns bifogade som bilagorna A1-12.
Ljudinspelningarna från uruppförandet utgör bilagorna B1-10.
Se bilaga C för länkar till videorna och vidare information om uruppförandet och samarbetsprojektet som initierades av ESAIM projektet på KMH.
Dias, Daniele Gugelmo. "São Jorge : espiritualidade e arte na amizade de Schoenberg e Kandinsky." [s.n.], 2006. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284283.
Повний текст джерелаTese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes
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Resumo: Resumo: Este trabalho insere-se na área de « Processos Criativos » do Doutorado em Música do Instituto de Artes da Unicamp. Ele compreende dois volumes. O primeiro dedica-se à descrição e análise dos resultados da pesquisa. O segundo apresenta seu experimento prático na forma de 5 composições musicais. Na descrição de nossas experiências musicais começamos por contextualizá-las em nossa interpretação da história musical do século XX. A seguir, organizamos a reflexão sobre nossa criação em dois grandes arcos, que denominamos de força motora e força diretriz. Como principal força motora, apresentamos a amizade e a espiritualidade de Schoenberg e Kandinsky. Como principais forças diretrizes, destacamos os seguintes elementos musicais: atonalismo, aforisma, acaso/improvisação, colagem/citação. O experimento prático apresenta-se na forma de partituras e gravações. São elas : 1) Música para Schoenberg - piano solo, 2) Quadros de uma Improvisação : Ponto, Linha, Superfície - grupo de percussão e suporte eletrônico, 3) São Jorge - grupo de percussão, 4) Poesia sem palavras - piano solo e 5) Pequenos Mundos - suporte eletrônico
Abstract: Abstract: This thesis belongs to the research field "Creative Process" of the Music Department of the Art Institute of the State University of Campinas-Unicamp. It is organized in two volumes: the first volume is dedicated to the description and analysis of the research results; the second one presents the practical experiment in the form of 5 music compositions. We begin the description of our music experiences contextualizing them in our interpretation of the history of the music of the XX century. Then, we organize the reflections on our creation at two basic bows, named motor strength and guiding strength. As main motor strength we present the friendship and the spirituality of Schoenberg and Kandinsky. As main guiding strength we highlight the following music elements: atonalism, aphorism, chance/improvisation, quotation/citation. The practical experiment is presented in the form of sheet music and recorded music: 1) Music for Schoenberg -solo piano; 2) Pictures of an improvisation: Point, Line, Surface - percussion group and electronic support; 3) São Jorge - percussion group; 4) Poem without words - solo piano; and 5) Small Worlds - electronic support
Doutorado
Doutor em Música
Salazar, Camilo. "Clestrinye [El Carnaval del Perdón]: Traditional Rituals in Intermedia Composition." Thesis, University of North Texas, 2008. https://digital.library.unt.edu/ark:/67531/metadc9041/.
Повний текст джерелаNyberg, Lina. "Det inre rummet : Att använda associerad synestesi som utgångspunkt för komposition." Thesis, Kungl. Musikhögskolan, Institutionen för komposition, dirigering och musikteori, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-3471.
Повний текст джерелаDuring the years 2018–20 I have included my own experiences of synesthesia and associated synesthesia in my composition processes, and in this essay I am describing the methods I have been using. I have tried to transform experiences of words, color, texture, form, and movement to music. This is, to some extent, inspired by the work of the pedagogue Gertrud Grunow at the Bauhaus art school in Germany 100 years ago, but also by my own earlier works with collages, graphic scores and dance. The ensembles I have been writing for have been varied idiomatically and in size. To me, as a composer, singer and improviser, but also as a pedagogue, synesthetic methods (both associative or concrete) are an endless source of inspiration and a practical way to approach the creative work. My role as a performing, improvising musician also takes a part of it since the improvisation activates so many different sections of the sensory system. Our different ways of learning, through the visual, audiative, kinesthetic and tactile, affect how we perceive the world. If you can learn to recognize different modes of individual perception, you will get a greater respect for your fellow humans, and also diminish the performance anxiety you might have in relation to the creativity. The texts and visual material I create in my processes help me to remember the original sources of inspiration. The purpose of wandering in between different media, idioms and sensations is to find practical ways to stealthily approach creativity.
"From Ash to Birch" Lina Nyberg, KMH Symphony Orchestra, conducted by Simon Bång
Robinson, Kynan. "The making and placing of The Escalators." Thesis, Queensland University of Technology, 2009. https://eprints.qut.edu.au/37299/1/Kynan_Robinson_Thesis.pdf.
Повний текст джерелаMacDonald, Glyn Alan. "Towards interaction: Combining jazz techniques and idiomatic writing for Varied ensembles. A collection of musical works -and- An exegesis." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2019. https://ro.ecu.edu.au/theses/2204.
Повний текст джерелаSander, Lydia Grace. "Conversations and Collaborations: The Impact of Interdisciplinary Arts in Pre-College Piano Pedagogy." Ohio University Honors Tutorial College / OhioLINK, 2021. http://rave.ohiolink.edu/etdc/view?acc_num=ouhonors1619184539734014.
Повний текст джерелаFurlanete, Fábio Parra. "Modelagem de interações musicais com dispositivos informáticos." [s.n.], 2010. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284005.
Повний текст джерелаAcompanhado de 1 DVD
Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes
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Resumo: Este trabalho investiga o possível papel para o compositor em uma situação de interação musical coletiva e propõe estrategias para sua atuação nesse contexto. Apresenta exemplos dessas estrategias em trabalhos composicionais e implementa um desses trabalhos na forma de uma ferramenta digital que permite ao compositor modelar contextos interativos, elaborar regras de interação e interferir nos processos enquanto eles ocorrem. A implementação das ferramentas digitais é feita na forma de um sistema para modelagem sonora coletiva que usa o projeto de jogos digitais como modelo para interação musical entre agentes artificiais e jogadores humanos em rede. Nosso trabalho tem como foco as regras de interação e como elas podem ser projetadas gerar resultados esteticamente atraentes e que ao mesmo tempo não restrinjam excessivamente a autonomia criativa dos jogadores. Essas regras devem ser aplicáveis tanto no contexto da Arte-Educação quanto no da performance. Acreditamos que o conhecimento da área de design de jogos em rede é útil para o projeto de tais regras.
Abstract: This work investigates the possible role for the composer in a situation of collective musical interaction and proposes strategies for their action in this context. It presents examples of these strategies in compositional works and implements them in the form of computer tools that allows the composer to model interactive contexts, develop rules of interaction and interfere with the processes as they occur. The implementation of the computer tools is in the form of a system for collective sound shaping. It uses digital games design patterns as models for musical interaction between artificial agents and human players in a network. Our work aimed to the interaction rules and how they can be designed to provide interactions whose outcome is aesthetically appealing and, at the same time, to not restrict the creative autonomy of the players. These rules should be applicable both in the context of Art Education and in the performance. We believe that knowledge of the project area network gaming is useful for the design of such rules.
Doutorado
Doutor em Música
Pär, Kunze. "”Det som skvalper omkring i hjärnan är det som kommer ut.” : En intervjustudie av kompositionsprocessen i folkmusik." Thesis, Karlstads universitet, Institutionen för konstnärliga studier, 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-36724.
Повний текст джерелаThe purpose of this study is to see how composers in the genre “Swedish traditional music” work as they compose new music, to see their working process and what working methods they use. I will be using the theoretical perspective of Stan Bennett and Max Graf earlier research on the process in composing music in classical music. A didactic perspective is also used. I base my work on earlier researches in the area of composing, the creative process and creation in other areas. I also see to importance of divergent mind processes, which is a part of the process of composing. The study has been done by qualitative interviews of three composers in the genre of Swedish traditional music. The study focuses on their separate processes and common features. The result shows that the process can be diversified, and both intuitive and active thinking processes are being used. It is important that there is naturalness in the process. Although it´s an active process of composing, the song can´t be forced. I will present each composer one at the time and then summarize, this because the working process is so individual and each composer can have various processes. Finally I see to how composing can be used in the art of teaching.
Rays, Luís Gustavo Carvalho Alonso. "A trajetória musical do compositor brasileiro Djalma de Andrade = Bola Sete." [s.n.], 2018. http://repositorio.unicamp.br/jspui/handle/REPOSIP/283940.
Повний текст джерелаDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
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Resumo: Este trabalho apresenta e analisa os elementos musicais pertencentes aos diferentes estilos e gêneros que caracterizam a obra do compositor e músico brasileiro Djalma de Andrade, mais conhecido nos meios musicais como "Bola Sete", evidenciados neste trabalho pela notável influência do jazz em suas composições e os reflexos de sua vida pessoal, como a sua origem humilde, sua dedicação à arte como meio de sobrevivência, sua espiritualidade, a busca do reconhecimento profissional em outros países e as parcerias com importantes músicos seus contemporâneos, pois estamos cientes da importância e necessidade de contribuir para com a historiografia da música brasileira, bem como da carência de trabalhos direcionados à interpretação das obras para o violão. Os elementos acima mencionados que marcaram o estilo deste músico no cenário musical na segunda metade do século XX, de certa forma ajudaram a construir a cultura popular musical brasileira, consolidada por outros personagens de nosso país. Os achados desta pesquisa tiveram como fonte principal o acervo particular Anne Sete, a viúva do compositor, que despreendidamente contemplounos com informações privadas como cartas, partituras, gravações e recortes de jornais e revistas contendo artigos que retratam a trajetória deste incomparável músico, tendo em vista que sua vida e obra são pouco conhecidas no meio acadêmico. O primeiro capítulo desta pesquisa recupera a trajetória pessoal e profissional do compositor e músico objeto desta investigação apresentando uma apreciação crítica dessas fontes bibliográficas. No segundo capítulo realizamos um estudo detalhado dos elementos musicais que caracterizam as composições de Djalma de Andrade identificando as suas sugestões interpretativas e apresentando os exemplos musicais em seus diferentes estilos e gêneros, observando, principalmente, a influência do jazz em suas composições. No terceiro capítulo, transcrevemos e analisamos algumas das obras, selecionadas a partir da sua importância na discografia nacional e internacional, pois, além de pesquisar e exemplificar os dados colhidos, ilustrando as reflexões sobre os elementos que caracterizam a obra do músico Djalma de Andrade, o Bola Sete, atendemos ao objetivo principal deste trabalho que é apresentar um estudo do repertório escrito para violão por este artista e incentivar novas criações e aperfeiçoamentos musicais que contribuam para a evolução e a inovação musical de nosso tempo
Abstract: This dissertation analyses the musical elements that belong to the different styles and genres that characterize the work of Djalma de Andrade, a Brazilian composer and musician, who is best known as "Bola Sete". This piece aims to exemplify the notable Jazz influences in the musicians work, as well as his personal life, his humble origins, his dedication to art as a means of survival, his spirituality, the search for professional recognition in other countries and the collaboration with other important musicians - for we are aware of the importance of contributing to the history of Brazilian music, as well as the lack of work that aims to interpret the art of the acoustic guitar. The elements above mentioned that marked the style of Djalma de Andrade in the second half of the 20th century, in many ways helped build the popular Brazilian musical culture, consolidated as well, by other characters of this country. The main reference for this research was the personal archive of Anne Sete, Djalma's widow, who unselfishly provided personal information such as letters and newspaper clippings containing the trajectory of this incomparable musician. We would like to point out that his life and work are not well known in academic circles. The first chapter of this research uncovers the musician's personal and professional trajectory with a critical appreciation of the archival material. The second chapter consists of a detailed study of the elements that were key in Djalma de Andrade's compositions - identifying interpretive suggestions and presenting musical examples of his different styles and genres. But mostly, we aim to reveal the jazz influence in his compositions. The third chapter is a transcription and analysis of a selection of his work, chosen due to their importance in the national and international repertoire. We have researched and exemplified the data, pondering about the elements that characterize the work of Djalma de Andrade, "Bola Sete" - but our main focus was to study the artist's acoustic guitar repertoire and hopefully inspire new work that contribute to the musical evolution and innovation of our times
Mestrado
Musica
Mestre em Música
Bota, João Victor 1981. "A transcrição musical como processo criativo." [s.n.], 2008. http://repositorio.unicamp.br/jspui/handle/REPOSIP/285139.
Повний текст джерелаDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
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Resumo: Nesta dissertação pretende-se discutir os processos criativos composicionais envolvidos nas atividades de transcrição musical, sobretudo aquelas referentes à produção de repertório para bandas sinfônicas. Acreditando que as transcrições pertencem ao universo da recriação artística, o argumento que permeia esta análise é sustentado por uma reflexão histórica acerca dessas práticas composicionais e da reconstituição do processo de consolidação das bandas sinfônicas como efetivos instrumentais relevantes no cenário ocidental. Por fim, o autor desta dissertação analisa algumas transcrições musicais realizadas por ele, com o intuito de trazer contribuições concretas, embora pontuais, para o exercício da transcrição musical como um processo criativo
Abstract: This dissertation aims at discussing the compositional creative processes involved in the activities of musical transcription, above all on those related to the production of repertoire to symphonic bands. Believing that the transcriptions belong to the universe of artistic re-creation, the argument that runs through this analysis is sustained by a historical reflection about these compositional practices and by the reconstitution of the process of consolidation of the symphonic bands as effective means relevant in the western scenario. At last, some musical transcription analyses are made by the author of this dissertation with the aim of bringing concrete contributions, even if particular, to the exercise of musical transcription understood as a creative process
Mestrado
Mestre em Música
Martins, André Lopes. "A guitarra elétrica na música experimental: composição, improvisação e novas tecnologias." Universidade de São Paulo, 2015. http://www.teses.usp.br/teses/disponiveis/27/27158/tde-13112015-094517/.
Повний текст джерелаThis work intends to, first, study the electric guitar as composition and improvisation interface through the use of new technology in experimental music; in a second moment, proposes a composition using some technological devices attached to the electric guitar. These tools were chosen after an extensive mapping individual trial and through its sound processing capabilities when addressed with the instrument. The compositional material was subsequently constructed from observations and author\'s reflections on the use of the instrument as an interface in dialogue with the new technologies available in mobile computing. The work also brings an auto-ethnography record of the research period of a few digital tools selected when in use with the electric guitar and the writing process and recording of the piece proposed, and its subsequent analysis. In its conclusion, therefore presents the observations and reflections from this interaction of the instrument and its new forms of instrumentness when attached to the computer.
Schuiling, Floris Jan. "Animate structures : the compositions and improvisations of the Instant Composers Pool Orchestra." Thesis, University of Cambridge, 2015. https://www.repository.cam.ac.uk/handle/1810/273767.
Повний текст джерелаDias, Fernandes João Eduardo. "L’improvisation musicale électroacoustique : enjeux et problématiques du développement des technologies numériques." Thesis, Paris 8, 2019. http://www.theses.fr/2019PA080026.
Повний текст джерелаThis research/creation thesis is centred on the exploration of musicians’ needs for the practice of electroacoustic music improvisation. This investigation was conducted through participant observation with different musical ensembles. It also presents the strategies adopted for the development of digital tools in the case of a created musical instrument. How does the practice of free improvisation in electroacoustic music work and what knowledge is needed to achieve free improvisation? To answer these questions, several paths were taken: for example considering the context of the performance and by challenging the musical and extramusical aspects surrounding the improvised action. Furthermore, this research deployed a study of the characteristics of a digital instrument that endeavours to possess the same flexibility as acoustic instruments. The “creation” component of this thesis is through the development of a digital instrument (RJ). This instrument is implemented with a sound samples recommendation system. It was used in situation of improvisation with several ensembles, which form part of the corpus of data of this thesis. Lastly, this thesis seeks to characterize musical improvisation through the multiple interactions that occur during an improvised performance. The research therefore provides a practical and theoretical framework for the use and exploration of contemporary digital tools for musicians, which practice collective free improvisation