Дисертації з теми "Violin expression"
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1
Lee, Sunny. "The unique expression of Shostakovich's violin writing /." Thesis, Connect to this title online; UW restricted, 1994. http://hdl.handle.net/1773/11436.
Повний текст джерела
2
Young, Diana S. (Diana Santos) 1975. "New frontiers of expression through real-time dynamics measurement of violin bows." Thesis, Massachusetts Institute of Technology, 2001. http://hdl.handle.net/1721.1/63219.
Повний текст джерелаАнотація:
Thesis (S.M.)--Massachusetts Institute of Technology, School of Architecture and Planning, Program in Media Arts and Sciences, 2001.Includes bibliographical references (leaves 84-87).
The violin has long been admired as one of the most beautiful, complex, and challenging musical instruments. With its capacity for nuance, richness of tone, and flexibility of range, its expressive qualities have been surpassed by none, despite the fact that its construction has not been changed for hundreds of years. It is the form and function of the traditional violin that inspired the work detailed in this thesis. Here, the design and construction of a new violin interface, the Hyperbow, is discussed. The motivation driving the research of this instrument was the desire to create a violin bow capable of measuring the most intricate aspects of violin technique, the subtle elements of physical gesture that immediately and directly impact the sound of the instrument while playing. In order to provide this insight into the subtleties of bow articulation, a sensing system was implemented to measure changes in position, acceleration, and the downward and lateral strains on the bow stick. These sensors were fashioned using an electromagnetic field sensing technique, commercial MEMS accelerometers, and foil strain gauges. Because the forces and stresses applied to the bow are immediately connected to a violinist's experience while playing, the implementation of a new music controller that utilizes these intimate aspects of physical interaction between a player and an instrument may inspire altogether new methods of expression. The measurement techniques used in this work were found to be quite sensitive and yielded sensors that were easily controllable by a player using traditional right hand bowing technique. In addition, the Hyperbow proved to be helpful in recognizing and analyzing the physical parameters of common bowstrokes
by Diana S. Young.
S.M.
3
Deyoe, Nicholas Oberg Deyoe Nicholas Oberg Deyoe Nicholas Oberg Deyoe Nicholas Oberg. "A simultaneity of conflicting modes of expression." Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 2008. http://wwwlib.umi.com/cr/ucsd/fullcit?p1453674.
Повний текст джерелаАнотація:
Thesis (M.A.)--University of California, San Diego, 2008.Accompanying disc is DVD-ROM, and includes sound files for 2nd and 3rd compositions. The 1st work for flute and violin, 2nd for 15 instruments, 3rd for tenor saxophone and piano. Title from first page of PDF file (viewed June 25, 2008). Available via ProQuest Digital Dissertations. Durations: ca. 14:00, ca. 15:00, ca. 15:00.
4
Maheshwari, Malvika. "Violent regulation and artists in India : the transformation of freedom of expression." Paris, Institut d'études politiques, 2011. http://www.theses.fr/2011IEPP0028.
Повний текст джерелаАнотація:
L'article 19 de la Constitution indienne garantit à tout citoyen le droit à la liberté d'expression. Cet article fut adopté en 1950 afin de poser les bases d'une démocratie laïque. Néanmoins, son interprétation connut d'importants changements à partir des années 1980 et des années 1990 lorsque les artistes et les œuvres d'art eurent à subir des violences continuelles. Cette thèse examine comment la liberté d'expression des artistes fut diversement interprété et comment elle fut régulé depuis les années 1950. Nous analysons ces évolutions en travaillant sur les rôles qu'on joués les instances de régulations étatiques (comme le Parlement, les tribunaux, l'Académie nationale des Arts). Nous montrons comment l'expression artistique fut l'objet de violences visant à la réguler. Ces violences traduisent un contexte politique changeant marqué par la criminalisation du Congrès et l'essor des tensions communautaires concomitant avec l'essor du Bhartiya Janata Party. Enfin, la présente recherche insiste sur les attaques dont les artistes furent la cible de la part des organisations nationalistes hindoues alors que le contexte politique est marqué par l'apparition de nouveaux médias et une anxiété croissante de voir l'Islam affirmer sa suprématie dont la population à majorité hindoue serait la victime. Ce mode opératoire fut repris par diverses organisations socio-politiques qui, bien que dépourvues de motivations idéologiques, attaquèrent les artistes en considérant que leurs sentiments personnels avaient été heurtés. Par le passé, l'Etat n'envisageait pas de rester neutre dans cette situation. Désormais, non seulement il le demeure, mais il appuie ceux qui répriment la liberté artistique. En décrivant les motivations de ceux qui commettent ces violences ainsi que le climat de peur et d'auto-censure qui règne parmi les artistes, nous démontrons que la régulation violente et désordonnée à laquelle est soumise la liberté artistique contribue à créer un climat de terreur perpétuel. Les libertés artistiques ont été modifiées, non dans le cadre constitutionnel mais en dehors de ce dernierEnshrined in the Article 19 of the Constitution of India, freedom of speech and expression is a fundamental right of every citizen. Adopted in 1950 with the aim of establishing a secular democracy, the trajectory of the Article 19 demonstrates a substantive mutation in the discourse of free speech due to the sustained violence on artists and works of art since the 1980s and early 1990s. The thesis examines the transformation of the meaning and the mechanisms of regulating freedom of expression of artists in India since the 1950s. It explores the complexities informed by the historically specific forms that both the regulatory (laws, judicial directives etc. ) and allocatory (the National Akademies of Art) aspects of state intervention have assumed in India. It also provides a window into the trajectory of violent regulation of artistic expression by examining the political changes through the criminalization of Congress and communal violence under the Bhartiya Janata Party. The work traces the militant Hindu nationalists’ attacks on artists- informed by new media technologies, anxiety of Islam’s supremacy over the ‘victimized’ Hindu majority, representation of women and sexuality, anti-West sentiments etc. Devoid of any ideological motives, gradually various socio-political organizations began emulating this modus operandi of attacking artists by claiming of ‘hurt sentiments. ’ While the institutions of state earlier considered it unaffordable to be neutral in such a conflict, now not only remained neutral but sided with those indulging in coercive suppression of artistic liberties. Tracing individual motivations behind the acts of violence and artists’ widespread admission of fear and self-censorship, the work argues that violent regulation of artistic expression from an unexpected, infrequent interruption of the creative process of everyday life transformed into a ‘continuous reign of terror. ’ The transformation of artistic liberties occurs not within the framework of the Constitution as much as over the very nature of the Constitution
5
Marshall, Amy D. "Violent husbands' recognition of emotional expressions among the faces of strangers and their wives." [Bloomington, Ind.] : Indiana University, 2004. http://wwwlib.umi.com/dissertations/fullcit/3162247.
Повний текст джерелаАнотація:
Thesis (Ph.D.)--Indiana University, Dept. of Psychology, 2004.Title from PDF t.p. (viewed Dec. 1, 2008). Source: Dissertation Abstracts International, Volume: 66-01, Section: B, page: 0564. Chair: Amy Holtzworth-Munroe.
6
Timoteo, Ranan Salvador 1975. "A expressão poética na obra para violão solo de Willy Corrêa de Oliveira /." São Paulo, 2019. http://hdl.handle.net/11449/183557.
Повний текст джерелаАнотація:
Orientador(a): Maurício Funcia De BonisBanca: Lutero Rodrigues da Silva
Banca: Gilson Antunes
Resumo: Esta pesquisa investiga a obra para violão solo de Willy Corrêa de Oliveira, buscando compreender como a música se relaciona com elementos externos à sua estrutura, quais os processos de atribuição de significado desenvolvidos e quais as formas como os significados são articulados pela sintaxe musical. Para tanto, realizaremos um estudo da maneira como se desenvolvem os processos da metalinguagem, da intersemiose e da representação, e desenvolveremos uma leitura da expressão poética de cada peça
Abstract: This research investigates Willy Corrêa de Oliveira's solo guitar works, seeking to understand how music relates to elements external to its structure, the processes of attribution of meaning developed and how meanings are articulated by musical syntax. To do so, we will study the way in which the processes of metalanguage, intersemiosis and representation take place, and develop a reading of the poetic expression of each piece
Mestre
7
Allen, Jeanette. "Romantic jealousy : the role of attachment style and social comparison processes in the violent expression of romantic jealousy." Thesis, University of Leicester, 2000. http://hdl.handle.net/2381/31291.
Повний текст джерелаАнотація:
The aim of this study was to investigate the experience of romantic jealousy in a group of men who have committed a serious offence against an intimate partner. The study drew on evolutionary theory, specifically looking at attachment theory and social comparison processes to account for individual differences in the experience and violent expression of romantic jealousy. This study was primarily an unrelated between groups comparison study, correlations of the dependent variables were also made to investigate the associations between these factors. The participants included "domestically violent" men (men with a conviction of violence against their partner), "extra-domestically violent" men (men with a conviction of violence but not against their partner) and "non-violent" men. The dependent variables were interpersonal jealousy, attachment style, anger, abusiveness, internalised shame, and social comparison in adulthood and in adolescence. The results found predominantly insecure attachment styles within the sample of violent men, with "domestically violent" men reporting significantly higher attachment anxiety than either of the other two groups. Attachment anxiety was found to be associated with jealousy, anger and abusiveness in intimate relationships. Mixed support was provided for the role of social comparison processes, with the results highlighting the perception of feeling different to and unaccepted by ones peer group in both adolescence and adulthood as being associated with jealousy, anger, abusiveness and internalised shame. It is suggested that the internal working model of the self, characteristic of attachment anxiety is a "shame-based" model, involving global attacks on the self, revealing the intricate connection with feelings of alienation and rejection. Clinical limitations of the results of this study are discussed and areas for further research are highlighted.
8
Viola, Stefania [Verfasser], and Dario Michael [Akademischer Betreuer] Leister. "Expression of higher plant photosynthetic proteins in the cyanobacterium Synechocystis sp. PCC 6803 / Stefania Viola. Betreuer: Dario Leister." München : Universitätsbibliothek der Ludwig-Maximilians-Universität, 2014. http://d-nb.info/1082205362/34.
Повний текст джерела
9
Viola, Stefania Verfasser], and Dario Michael [Akademischer Betreuer] [Leister. "Expression of higher plant photosynthetic proteins in the cyanobacterium Synechocystis sp. PCC 6803 / Stefania Viola. Betreuer: Dario Leister." München : Universitätsbibliothek der Ludwig-Maximilians-Universität, 2014. http://d-nb.info/1082205362/34.
Повний текст джерела
10
Miller, Molly A. "Differential Styles of Emotional Reactivity and Antisocial Behavior Relative to Post-Traumatic Stress Disorder Symptom Expression in Detained Youth." ScholarWorks@UNO, 2016. http://scholarworks.uno.edu/td/2175.
Повний текст джерелаАнотація:
This study sought to explore whether PTSD symptoms in detained adolescents were differentially related to high and low patterns of emotional reactivity, as determined based on callous-unemotional (CU) traits and emotion dysregulation. Analyses revealed four distinct groups based on these criteria: a low/no trauma control group with few PTSD symptoms, and three groups whose PTSD symptoms were distinguished by symptoms of emotional numbing. The study sought to determine whether these profiles were related to distinct patterns of aggression and delinquency. Results revealed that the low/no PTSD symptom group exhibited the least aggression and delinquency. Further, results indicated that higher CU traits and violent offending are associated with a combined PTSD symptom profile. Results suggest a relationship between PTSD symptoms, delinquency, aggression, and CU traits. Findings provide support for the existence of a secondary variant of CU youth who are more emotionally dysregulated and prone to both arousal and emotional detachment.
11
Delgado, João Pedro Martins. "A emancipação técnico-expressiva da viola de arco em Portugal através de repertório. Um património histórico inédito: das origens até 1945." Doctoral thesis, Universidade de Évora, 2020. http://hdl.handle.net/10174/27865.
Повний текст джерелаАнотація:
A presente tese de doutoramento tem como objectivo principal estudar a evolução da
emancipação técnico-expressiva da viola de arco em Portugal, das origens até 1945,
analisando e mapeando um processo histórico até hoje quase desconhecido. Para
este efeito, procede-se ao levantamento de fontes musicais inéditas, respectivo
tratamento crítico e análise de características técnicas e interpretativas, bem como à
investigação documental histórica e musicológica, por forma a contextualizar o
processo estudado. A partir deste suporte documental, foca-se o percurso de
autonomização das práticas do instrumento ao longo do período cronológico
abordado, realizando um acompanhamento dos resultados da investigação em
contexto de performance, por forma a relacionar o repertório histórico investigado
com o estado da arte técnico e artístico na viola contemporânea. Desta forma, para
além do relevo dado à sistematização do processo de afirmação do instrumento em
Portugal, produz-se um output de obras históricas inéditas e de novo repertório,
resultando num incremento significativo na literatura violetística portuguesa existente; Abstract:
“The viola´s technical and expressive emancipation in Portugal through its repertoire.
An unprecedented historical heritage: from its origins to 1945”.
The present doctoral thesis aims mainly to study the evolution of the viola´s technical
and expressive emancipation in Portugal, from it´s first known introduction in the
country until 1945, analysing and charting a historical process that was hitherto
unknown. In order to achieve this, previously unknown musical sources are explored,
a critical analysis of it´s performative and techical features is pursued, and a historical
and musicological contextualization is made through documental investigation. From
this basis, the work focuses on viola practice and autonomization throughout the
whole cronological period, always in correlation with field research in a performative
context, connecting the discovered historic repertoire with state of the art of
contemporary viola practice. Thus, in addition to the study of this uncharted process
of emancipation of the instrument in Portugal, an output of unpublished historical
works and of new repertoire is produced, resulting in a significant increase in the
overall corpus of portuguese viola literature.
12
Pivovarov, Alexey [Verfasser], Viola [Akademischer Betreuer] Hildebrand-Schat, Viola [Gutachter] Hildebrand-Schat, Ulrich [Gutachter] Schneider, and Joseph [Gutachter] Imorde. "Art of magic in Great Britain between 1860s and 1910s. Artistic expression of the impossible / Alexey Pivovarov ; Gutachter: Viola Hildebrand-Schat, Ulrich Schneider, Joseph Imorde ; Betreuer: Viola Hildebrand-Schat." Frankfurt am Main : Universitätsbibliothek Johann Christian Senckenberg, 2019. http://d-nb.info/1188701320/34.
Повний текст джерела
13
Sternberger, Anne Lauren. "Figuring out Flowers: Insights Into the Mixed Breeding System of Viola pubescens." Ohio University / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1584452029880175.
Повний текст джерела
14
Gößmann, Katharina [Verfasser]. "Gendered violence in violent environments: Expressions, conditions, and associations of intimate partner violence and mental health among women affected by war in northern Iraq / Katharina Gößmann." Bielefeld : Universitätsbibliothek Bielefeld, 2021. http://d-nb.info/123291360X/34.
Повний текст джерела
15
Wenzler, Sofia Maria [Verfasser], Viola Akademischer Betreuer] Oertel-Knöchel, Rolf van [Akademischer Betreuer] [Gutachter] Dick, and Sonja [Gutachter] [Rohrmann. "Expression, perception and recognition of intense emotions in healthy and depressed individuals / Sofia Maria Wenzler ; Gutachter: Rolf van Dick, Sonja Rohrmann ; Viola Oertel-Knöchel, Rolf van Dick." Frankfurt am Main : Universitätsbibliothek Johann Christian Senckenberg, 2017. http://d-nb.info/1133360777/34.
Повний текст джерела
16
Wenzler, Sofia Maria Verfasser], Viola [Akademischer Betreuer] Oertel-Knöchel, Rolf van [Akademischer Betreuer] [Gutachter] Dick, and Sonja [Gutachter] [Rohrmann. "Expression, perception and recognition of intense emotions in healthy and depressed individuals / Sofia Maria Wenzler ; Gutachter: Rolf van Dick, Sonja Rohrmann ; Viola Oertel-Knöchel, Rolf van Dick." Frankfurt am Main : Universitätsbibliothek Johann Christian Senckenberg, 2017. http://d-nb.info/1133360777/34.
Повний текст джерела
17
Spiekermann, Geraldine. "Tränen in der modernen Kunst." Doctoral thesis, Humboldt-Universität zu Berlin, Philosophische Fakultät III, 2012. http://dx.doi.org/10.18452/16528.
Повний текст джерелаАнотація:
Tränen überschreiten die Grenzen des Körpers von innen nach außen und werden damit zu einem sichtbaren Anzeichen eines seelischen Extremzustands. In der Arbeit wird untersucht, ob die Träne, die Körpergrenzen gefährdet oder sogar auflöst, in der modernen und gegenwärtigen Kunst Metapher und Trägerin innerästhetischer Transgression werden kann. Dies bedeutet zugleich, dass eine Umwertung der Träne, von der Perle der Reinheit zu einem bedrohlichen Fluidum, stattgefunden hat. Die Träne als eine bedrohliche Grenzüberschreiterin ist ein Motiv, das in früheren Kunstepochen so nicht anzutreffen ist. Damit verweist sie zugleich exemplarisch auf die Auflösungsstrategien, welche die Kunst des 20. und 21. Jahrhunderts bestimmen. Fotoarbeiten von Man Ray, Madame Yevonde und Sam Taylor-Wood, Zeichnungen von Pablo Picasso und Hans Bellmer, Performances von Marina Abramović und Gina Pane, Video-arbeiten von Bill Viola und Bas Jan Ader, Installationen von Daniele Buetti und eine Buchserie von Dieter Roth, denen allen das Motiv der Träne gemeinsam ist, werden in einem Close Rea-ding auf Auflösungstendenzen hin untersucht. Besonderes Augenmerk gilt medienspezifischen Strukturen und Analogien.Tears overstep the bounds of the human body from within – to become evidence of a crit-ical state of mind. The present study examines whether the tear, which endangers or even dispels the boundaries of the body, could be seen as a metaphor and even as an indication of aesthetic transgression in modern and contemporary art. This would mean that the tear as motif has also undergone a paradigm change, from the pearl of purity to a threatening fluid. The aspect of the tear as a transgressor of boundaries is not to be found in earlier periods of art. Accordingly, it also references the process of disintegration, which strongly determines 20th and 21st century art. Photographs by Man Ray, Madame Yevonde and Sam Taylor-Wood, drawings by Pablo Picasso and Hans Bellmer, performances of Marina Abramovic and Gina Pane, video works by Bill Viola and Bas Jan Ader, installations by Daniele Buetti and a series of books by Dieter Roth – which all deal with the tear complex – will be examined in close reading. Their connection with disintegrative tendencies will be scrutinised, and special attention given to media-specific structures and analogies.
18
Heike, Alison Maree. "Performing Brahms: Rediscovering expressive devices in the sonatas for violin and piano." Thesis, 2018. http://hdl.handle.net/2440/118122.
Повний текст джерелаАнотація:
Track Listing for CD 1: Track 1 Vivace ma non troppo -- Track 2 Adagio - Piu andante - Adagio -- Track 3 Allegro mo Ito moderato - Piu moderato -- Track 4 Allegro amabile -- Track 5 Andante tranquillo - Vivace - Andante -- Track 6 Allegretto grazioso ( quasi Andante) -- Track 7 Allegro -- Track 8 Adagio -- Track 9 Un poco presto e con sentimento -- Track 10 Presto agitato.
Track Listing for CD 2: Track 1 Allegro -- Track 2 Allegro appassionato - Sostenuto ed espressivo -- Track 3 Andante un poco Adagio -- Track 4 Allegretto grazioso -- Track 5 Vivace -- Track 6 Allegro amabile -- Track 7 Allegro appassionato - Sostenuto - Tempo I -- Track 8 Andante con moto - Allegro - Piu tranquillo.Performing Brahms: Rediscovering expressive devices in the sonatas for violin and piano This submission for the degree of Master of Philosophy in musical performance at the Elder Conservatorium of Music, University of Adelaide, consists ofa portfolio of two CDs containing recorded performances of the complete Sonatas for Violin and Piano of Johannes Brahms (1833-1897) accompanied by an explanatory exegesis. These works are some of the most performed and recorded in the repertoire, however modem performance practice has been influenced by over a century of changing styles and tastes in violin playing. This project is an investigation into how a modem-day performance can reflect Brahms' original intentions for these works, drawing from the recently published Barenreiter Edition (2015/16) by Clive Brown and Neal Peres Da Costa. Nineteenth-century expressive devices used by Brahms and his circle have been identified including tone and bowing, vibrato, portamento, rhythmic flexibility and tempo modification and these techniques have been attempted to be integrated into the recorded performances. Discussion outlining Brahms' musical notation and its performance implications has been included, as well as a commentary describing the challenges of assimilating these devices and the resulting effectiveness in performance. The recorded performances contain the three Sonatas for Violin and Piano, the Sonata Movement in C minor from the F.A.E. Sonata, and the two neglected Violin Sonatas op. 120 originally for clarinet/viola, rewritten by Brahms, which are seldom performed today.
Thesis (MPhil) -- University of Adelaide, Elder Conservatorium of Music, 2018
19
Lima, Inês da Silva. "Expressão facial da emoção a tocar violino: estudo de caso sobre performance em dueto com codificação através do F-M FACS 4.0 e do FACEREADER 8.1." Master's thesis, 2021. http://hdl.handle.net/10284/10518.
Повний текст джерелаАнотація:
A música tem características específicas que induzem no individuo respostas ao nível fisiológico, neurológico e psico-emocional. Pode destacar-se outros efeitos psicológicos da música no indivíduo, como o fato de despertar qualquer tipo de emoções. A música também tem um importante papel de socialização.
As emoções e as expressões faciais correspondentes são os portadores da socialização, reconhecendo as emoções dos outros, ou mesmo gerando expressões faciais que permitem que os outros nos percebam. O cérebro é o motor para aprender as emoções, e o rosto é o palco para sua visualização.
A emoção enquanto processo neuropsificiológico e o desempenho musical são o gatilho para o desencadeamento do mesmo. Assim, este estudo de caso centra-se na exibição emocional na face enquanto desempenho em dueto com o violino, com recurso à codificação dos movimentos musculares, o que confere validade ecológica e holística ao contexto experimental, com o propósito de verificar a performance emocional involuntária, espontânea e subjetiva.
No presente estudo de caso, com escolha intencional de quem investiga, o propósito é, em primeiro momento, codificar a expressão facial durante a performance com violino e em dueto, com recurso ao F-M FACS 4.0 (Freitas-Magalhães, 2021d) e ao FaceReader 8.1 (Noldus, 2020) e, em segundo momento, identificar as emoções básicas associadas, e com recurso ao ao F-M Atlas of Face 4.0 (Freitas-Magalhães, 2021a), ao FM EmoFACS 4.0 (Freitas-Magalhães, 2021d) e à F-M Periodic Table of 8 Basic Emotions 4.0 (Freitas-Magalhães, 2021a).
Os resultados obtidos demonstram que a alegria representa 16.2% e a surpresa 6.6% da totalidade da expressividade emocional no desempenho em dueto com o violino. Os resultados sugerem também uma congruência do dueto, sendo que a violinista feminina é mais intensa na exibição da emocionalidade do que o violinista masculino.
Assim, e concluindo, este estudo pode ser mais um passo na compreensão da expressão facial da emoção em contexto musical, particularmente, e no caso, com recurso ao violino e aos instrumentos de medida utilizados.Music has specific characteristics that induce physiological, neurological and psycho-emotional responses in the individual. Other psychological effects of music on the individual can be highlighted, such as the fact that it awakens any kind of emotions. Music also has an important socializing role. Emotions and corresponding facial expressions are the carriers of socialization, recognizing the emotions of others, or even generating facial expressions that allow others to perceive us. The brain is the engine for learning emotions, and the face is the stage for viewing them. Emotion, as a neuropsychological process, and musical performance are the trigger for triggering it. Thus, this case study focuses on the emotional display on the face as a duet performance with the violin, using the codification of muscle movements, which gives ecological and holistic validity to the experimental context, with the purpose of verifying the involuntary emotional performance, spontaneous and subjective. In the present case study, with the intentional choice of the investigator, the purpose is, at first, to codify the facial expression during the violin and duet performance, using FM FACS 4.0 (Freitas-Magalhães, 2021d) and FaceReader 8.1 (Noldus, 2020) and, secondly, to identify the basic emotions associated, and using the FM Atlas of Face 4.0 (Freitas-Magalhães, 2021a), the F-M EmoFACS 4.0 (Freitas-Magalhães, 2021d) and the F-M Periodic Table of 8 Basic Emotions 4.0 (Freitas-Magalhães, 2021a). The results obtained show that joy represents 16.2% and surprise 6.6% of the total emotional expressiveness in the performance in duet with the violin. The results also suggest a congruence of the duet, with the violinist woman showing more emotionality than the violinist man. Thus, and in conclusion, this study can be another step in understanding the facial expression of emotion in a musical context, particularly, and in this case, using the violin and the measuring instruments used.
20
Jia-LingSyue and 薛佳綾. "Accurate Audio-to-Score Alignment for Expressive Violin Recordings." Thesis, 2017. http://ndltd.ncl.edu.tw/handle/jd9xwa.
Повний текст джерела
21
Chih-HongYang and 楊智弘. "Machine Learning Based Expressive Violin Synthesis and its Subjective Listening Evaluation." Thesis, 2016. http://ndltd.ncl.edu.tw/handle/95771386589167894545.
Повний текст джерелаАнотація:
碩士國立成功大學
資訊工程學系
104
Musicians continuously manipulate the interpretational factors such as tempo, dynamics, vibrato, etc., by their experiences in order to convey different expressive intensions. Though the characteristics and skills differ from individual to individual, the professional violinists have certain viewpoints and understandings of expressive performance. We are curious about how these nuances human performers interpreted determine distinct expressions and if machine can control those interpretational factors close to or even as well as human beings in music domain in the future. This thesis combines some present techniques and delivers a synthesis system to automatically synthesize distinct expressions from deadpan performance by controlling expressive factors. We follow the works of expressive musical term analysis and derive a subset of essential features as the control parameters. The performance of synthetic sounds is evaluated by the Support Vector Machine classification task (machine, objective), and the listening test (human, subjective). Our classification results show that the synthesized results have highly significant differences from the original data of an amateur performer. Moreover, using the energy curve model based on our statistical method greatly increases accuracy. As the time we obtain great accuracy from the classification results, we still doubt whether the expressivity of our synthesized sounds can be approved. That is, the machine judgment is just the first step for evaluating our system, and we apply listening test for subjective evaluation. The listening test results are almost consistent with classification results: our synthetic version is easier to distinguish distinct expressions than amateur performance, but still has less expressivity than professional performance. Our motivation to this work is to know how human performing expressions, and to let machine manipulate as human performance. The long-term goal is to let our synthetic system perform expressivity as well as human or even can synthesize late violinists’ performance in the future.
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Wei-Chun, Huang, and 黃暐鈞. "Leoš Janáček Violin Sonata--An Analysis and Thoughts on Musical Expressions and Performance Techniques." Thesis, 2013. http://ndltd.ncl.edu.tw/handle/k8vd7s.
Повний текст джерелаАнотація:
碩士臺北市立教育大學
音樂學系碩士班
101
Leoš Janáček (1854-1928) was born in Hukvaldy and died in Moravská Ostrava. He, Bedřich Smetana (1824-1884), and Antonín Leopold Dvořák (1841-1904) were distinguished as “the most important Czech composers.” This paper will discuss Leoš Janáček’s violin sonata, his unique music style and his attempt of combining various materials, such as natural sounds and vocal language into his compositions. This paper includes seven chapters. Chapter 1 presents the research scope, field, and methodology of this study. Chapter 2 briefly introduces his life, musical style and the background of this violin sonata. Chapters 3 to 6 analyze the musical structure, tonalities and melodies of this sonata. All of the explanations will be provided with music examples. The discussions on violin performance techniques include fingerings, bowing, dynamics and tone color. In addition, this paper will offer some practicing methods regarding left hand. Chapter 7 gives a conclusion.
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Lee, Hsiang-Ying, and 李香瑩. "Harmonic and Melodic Expressions of 'Speech-Melody' in Leoš Janáček's Sonata for Violin and Piano." Thesis, 2005. http://ndltd.ncl.edu.tw/handle/94730142149128843562.
Повний текст джерелаАнотація:
碩士國立交通大學
音樂研究所
93
This paper is based on Leoš Janáček's Sonata for Violin and Piano. It will show how Leoš Janáček uses his own musical theory idea and “Harmonic and Melodic Expression of Speech-Melody” in his Sonata for Violin and Piano.
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Eastham, Sohyun. "The role of the violin in expressing the musical ideas of the romantic period and the development of violin techniques in the nineteenth and early twentieth centuries." Thesis, 2007. http://hdl.handle.net/1959.13/40827.
Повний текст джерелаАнотація:
Research Doctorate - Doctor of Philosophy (PhD)The major purpose of the research in this thesis is to add to the available knowledge on advanced violin playing of the Romantic Period by, firstly, investigating the historical and technical knowledge and, secondly, adding some of my own findings. The project consists of a thesis, five recordings of live performances by the candidate and a guide to those performances. The development of violin techniques in the nineteenth and early twentieth centuries and the role of the instrument in expressing the musical ideals of the age were chosen to study because there is a general lack of literature on the subject written by players who have performed the music chosen by the researcher. Furthermore, studies of this literature have left some important questions unanswered. One such question concerned how the development of the violin allowed musicians to better express the music in that era. Another question is what kinds of techniques were developed and how they related to the expression of the music. The thesis includes a study of the historical background of the Romantic period, as well as instrument development in this period. Analyses are made of the music considering techniques only where they are new techniques which considers the expressive reasons lying behind the new styles of writing. Treatises, violin methods, as well as modern studies are examined and compared in order to determine the development of violin techniques specifically in the period. This study is an investigation of both the written literature and the experiences of playing Romantic violin pieces in five concert situations, conducted over a time span of four years. The first concert presented a programme of German composer Robert Schumann’s Violin Sonata No. 1 in A minor Op. 105; with French composer Camille Saint-Saёns’ Havanaise Op. 83; and also Fritz Kreisler-‘Pugnani’s’ Praeludium und Allegro. The second concert presented a programme of Schubert’s Sonata in A major Op. 162 and Prokofiev’s Sonata No. 2 in D major Op. 94a. The third concert presented a programme of Brahms’ Sonata No. 3 in D minor Op. 108 with Tchaikovsky’s Three Pieces Op. 42. It also included Ravel’s Tzigane. The fourth concert programme presented Beethoven’s Piano Trio No. 1 in D major Op. 70, commonly called “The Ghost”. The fifth concert presented a programme of Brahms’ Sonata No. 1 in G major Op. 78 and also the Sonata No. 2 in A major Op. 100. In addition his Sonatensatz (Scherzo) in C minor was performed. For each of these concerts, the researcher made written reports detailing the reasons behind the choice of each piece, the place of the piece in the context of the research and an examination of the effectiveness of the concert recital programme. The reports included notes on the mastery of the different new violin techniques required to play the piece with an historic awareness. As evidence of this, each concert was recorded onto compact disc audio format. The reports were used as a basis for the accompanying Guide to Performance. This is a work of critical analysis and aims to give a record of the progress of the research through performance. It documents the gradual discovery of how the historical theory can be realised in practice and provides a rationale for the techniques and strategies adopted in the creative component. The appendices include lists of repertoire and composers of the period, a chart of significant events from the period relating to the violin, and a chart of some of the key genealogical relationships in violin pedagogy. The investigation of violin techniques of Romanticism produced a number of major results. One important finding suggests that there are solutions to the difficult technical passages, which require an understanding of the historical context and literary background. In summary, this research produced findings which are of significance to violin educators and advanced violin students.
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Eastham, Sohyun. "The role of the violin in expressing the musical ideas of the romantic period and the development of violin techniques in the nineteenth and early twentieth centuries." 2007. http://hdl.handle.net/1959.13/40827.
Повний текст джерелаАнотація:
Research Doctorate - Doctor of Philosophy (PhD)The major purpose of the research in this thesis is to add to the available knowledge on advanced violin playing of the Romantic Period by, firstly, investigating the historical and technical knowledge and, secondly, adding some of my own findings. The project consists of a thesis, five recordings of live performances by the candidate and a guide to those performances. The development of violin techniques in the nineteenth and early twentieth centuries and the role of the instrument in expressing the musical ideals of the age were chosen to study because there is a general lack of literature on the subject written by players who have performed the music chosen by the researcher. Furthermore, studies of this literature have left some important questions unanswered. One such question concerned how the development of the violin allowed musicians to better express the music in that era. Another question is what kinds of techniques were developed and how they related to the expression of the music. The thesis includes a study of the historical background of the Romantic period, as well as instrument development in this period. Analyses are made of the music considering techniques only where they are new techniques which considers the expressive reasons lying behind the new styles of writing. Treatises, violin methods, as well as modern studies are examined and compared in order to determine the development of violin techniques specifically in the period. This study is an investigation of both the written literature and the experiences of playing Romantic violin pieces in five concert situations, conducted over a time span of four years. The first concert presented a programme of German composer Robert Schumann’s Violin Sonata No. 1 in A minor Op. 105; with French composer Camille Saint-Saёns’ Havanaise Op. 83; and also Fritz Kreisler-‘Pugnani’s’ Praeludium und Allegro. The second concert presented a programme of Schubert’s Sonata in A major Op. 162 and Prokofiev’s Sonata No. 2 in D major Op. 94a. The third concert presented a programme of Brahms’ Sonata No. 3 in D minor Op. 108 with Tchaikovsky’s Three Pieces Op. 42. It also included Ravel’s Tzigane. The fourth concert programme presented Beethoven’s Piano Trio No. 1 in D major Op. 70, commonly called “The Ghost”. The fifth concert presented a programme of Brahms’ Sonata No. 1 in G major Op. 78 and also the Sonata No. 2 in A major Op. 100. In addition his Sonatensatz (Scherzo) in C minor was performed. For each of these concerts, the researcher made written reports detailing the reasons behind the choice of each piece, the place of the piece in the context of the research and an examination of the effectiveness of the concert recital programme. The reports included notes on the mastery of the different new violin techniques required to play the piece with an historic awareness. As evidence of this, each concert was recorded onto compact disc audio format. The reports were used as a basis for the accompanying Guide to Performance. This is a work of critical analysis and aims to give a record of the progress of the research through performance. It documents the gradual discovery of how the historical theory can be realised in practice and provides a rationale for the techniques and strategies adopted in the creative component. The appendices include lists of repertoire and composers of the period, a chart of significant events from the period relating to the violin, and a chart of some of the key genealogical relationships in violin pedagogy. The investigation of violin techniques of Romanticism produced a number of major results. One important finding suggests that there are solutions to the difficult technical passages, which require an understanding of the historical context and literary background. In summary, this research produced findings which are of significance to violin educators and advanced violin students.
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Chen, Tzu-Wen, and 陳姿汶. "J. Brahms : Violin Sonata No.1 in G Major Op.78 --- Musical Expressions and Interpretative Thoughts on Performance." Thesis, 2005. http://ndltd.ncl.edu.tw/handle/53008459045172414418.
Повний текст джерела
27
"The Imitation of Orchestral Effects and the Expressive Role of the Piano in Richard Strauss's Sonata for Violin and Piano in E-flat Major, Op. 18." Doctoral diss., 2014. http://hdl.handle.net/2286/R.I.25074.
Повний текст джерелаАнотація:
abstract: The Sonata for Violin and Piano in E-flat Major, Op. 18 (1888), was the last major work of chamber music by Richard Strauss (1864-1949). Although for only two instruments, the Sonata reflects Strauss's growing interest in symphonic writing both in his tone poems and orchestral songs, anticipating his style of orchestration and his expressive use of tone colors. This study examines instances of orchestral writing in the piano and makes suggestions for their performance. An overview of Strauss's compositions, from his early chamber music to the `heroic' symphonic works, places the Sonata in context. An analytical description of each of the Sonata's three movements shows the structure and content of this large work and provides the framework for examination of the orchestral effects in the piano. Comparison of excerpts from the Sonata with passages from Strauss's orchestral writing in Don Juan (1889), "Cäcilie," "Morgen!," and "Lied der Frauen" leads to suggestions for the collaborative pianist of ways to re-create the various orchestral effects.Dissertation/Thesis
D.M.A. Music 2014
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Costa, Bruno Miguel Frutuoso da. "Liberdade de expressão e discurso de ódio: Consequências para o campo jornalístico." Master's thesis, 2021. http://hdl.handle.net/10316/96556.
Повний текст джерелаАнотація:
Dissertação de Mestrado em Jornalismo e Comunicação apresentada à Faculdade de LetrasOn the one hand, digital platforms play an extremely important role in the access to information and forms of communication and expression; on the other hand, they allow the incorporation and development of ways to proliferate violent conducts. As the victims are mostly women, young adolescents and ethnic minorities, a cycle of violence is perpetuated on the female universe, which prevents the achievement of justice and gender equality. This study investigates the nature, frequency, and impact of face-to-face and digital violence against Portuguese journalists, mapping personal and professional experiences, perceptions, and consequences for the journalistic field. The singularities and the perverse impacts evidenced in international studies make it urgent to privilege this angle of approach that urges scientific knowledge, mainly because it is an emerging theme and little studied in Portugal. The research is not directed towards quantification or measurement of data by considering violence against Portuguese journalists as a watertight whole but towards exploring and disseminating solid bases regarding the social problem to stimulate institutional responses and promote egalitarian social changes. By privileging qualitative methodological research, 31 semi-structured in-depth interviews were conducted with journalists from the main media of the Portuguese media ecosystem. Subsequently, the methodological strategy articulated the critical thematic analysis with the feminist perspective. The violence perpetrated around Portuguese journalism and its actors is a reality with expressive contours and is based on hybrid practices between mediums and supports. All interviewees experienced some form of aggression or were in the presence of hostile environments. When journalists find themselves in climates of great insecurity, coercion and fear, the most damaging consequences for the exercise of journalistic activity arise, such as self-censorship and unavailability for certain themes and journalistic sections. Even though it is residual in the Portuguese panorama, two interviewees were the target of homicide attempts and five of physical aggression. Being the hate speech and the several forms of violence the face of the new censorious mechanisms of the digital age, the internal and external dimensions to the journalistic activity culminate in several disturbing interrogations.
Se, por um lado, as plataformas digitais revestem um papel de extrema importância no acesso à informação e a formas de comunicação e de expressão, por outro, permitem incorporar e desenvolver formas de proliferar condutas violentas. Sendo as vítimas maioritariamente mulheres, jovens adolescentes e minorias étnicas, perpetua-se um ciclo de violência sobre o universo feminino, que impede o alcance da justiça e da igualdade de género. Este estudo investiga a natureza, a frequência e o impacto das violências presenciais e digitais que se dirigem para as jornalistas portuguesas, mapeando experiências pessoais e profissionais, perceções e consequências para o campo jornalístico. As singularidades e os impactos perversos patenteados em estudos internacionais tornam premente privilegiar este ângulo de abordagem que urge conhecimento científico, principalmente por se tratar de uma temática emergente e pouco estudada em Portugal. A indagação não se direciona para a quantificação ou mensuração dos dados ao considerar a violência sobre as jornalistas portuguesas como um todo estanque, mas para a exploração e a divulgação de bases sólidas referentes à problemática social, com a finalidade de serem impulsionadas respostas institucionais e promovidas mudanças sociais igualitárias. Ao privilegiar-se uma pesquisa metodológica qualitativa, realizaram-se 31 entrevistas semiestruturadas em profundidade com jornalistas dos principais media do ecossistema mediático português. Posteriormente, a estratégia metodológica articulou a análise temática crítica com a perspetiva feminista. A violência perpetrada em redor do jornalismo português e dos seus intervenientes é uma realidade com contornos expressivos e assentam em práticas híbridas entre meios e suportes. Todas entrevistadas experienciaram alguma forma de agressão ou estiveram na presença de ambientes hostis. Quando as jornalistas se encontram em climas de grande insegurança, coação e medo, surgem as consequências mais danosas para o exercício da atividade jornalística, tais como a autocensura e a indisponibilidade para determinados temas e secções jornalísticas. Apesar de residuais no panorama português, duas entrevistadas foram alvo de tentativas de homicídio e cinco de agressões físicas. Sendo o discurso de ódio e as diversas formas de violência o rosto dos novos mecanismos censurantes da era digital, as dimensões internas e externas à atividade jornalística culminam em várias interrogações inquietantes.
Apoio financeiro do Banco Santander (Referência BOLSAS SANTANDER FUTURO 2ª EDIÇÃO 2020/2021). Apoio e participação no Projeto Violência online contra as mulheres: Prevenir e combater a misoginia e a violência em contexto digital a partir da experiência da pandemia COVID-19 (Referência GENDER RESEARCH 4 COVID-19-058), financiado por fundos nacionais através da FCT (Fundação para a Ciência e a Tecnologia).
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Ślązak, Błażej. "In vitro cultures of Viola uliginosa, a species threatened with extinction, for micropropagation and investigation of the influence of plant growth regulators on cyclotide expression." Praca doktorska, 2014. https://ruj.uj.edu.pl/xmlui/handle/item/61756.
Повний текст джерела
30
Candra, Henry. "Emotion recognition using facial expression and electroencephalography features with support vector machine classifier." Thesis, 2017. http://hdl.handle.net/10453/116427.
Повний текст джерелаАнотація:
University of Technology Sydney. Faculty of Engineering and Information Technology.Recognizing emotions from facial expression and electroencephalography (EEG) emotion signals are complicated tasks that require substantial issues to be solved in order to achieve higher performance of the classifications, i.e. facial expression has to deal with features, features dimensionality, and classification processing time, while EEG emotion recognition has the concerned with features, number of channels and sub band frequency, and also non-stationary behaviour of EEG signals. This thesis addresses the aforementioned challenges. First, a feature for facial expression recognition using a combination of Viola-Jones algorithm and improved Histogram of Oriented Gradients (HOG) descriptor termed Edge-HOG or E–HOG is proposed which has the advantage of insensitivity to lighting conditions. The issue of dimensionality and classification processing time was resolved using a combination of Principal Component Analysis (PCA) and Linear Discriminant Analysis (LDA) which has successfully reduced both the dimension and the classification processing time resulting in a new low dimension of feature called Reduced E–HOG (RED E–HOG). In the case of EEG emotion recognition, a method to recognize 4 discrete emotions from arousal-valence dimensional plane using wavelet energy and entropy features was developed. The effects of EEG channel and subband selection were also addressed, which managed to reduce the channels from 32 to 18 channels and the subband from 5 to 3 bands. To deal with the non-stationary behaviour of EEG signals, an Optimal Window Selection (OWS) method as feature-agnostic pre-processing was proposed. The main objective of OWS is window segmentation with varying window which was applied to 7 various features to improve the classification results of 4 dimensional plane emotions, namely arousal, valence, dominance, and liking, to distinguish between the high or low state of the aforementioned emotions. The improvement of accuracy makes the OWS method a potential solution to dealing with the non-stationary behaviour of EEG signals in emotion recognition. The implementation of OWS provides the information that the EEG emotions may be appropriately localized at 4–12 seconds time segments. In addition, a feature concatenating of both Wavelet Entropy and average Wavelet Approximation Coefficients was developed for EEG emotion recognition. The SVM classifier trained using this feature provides a higher classification result consistently compared to various different features such as: simple average, Fast Fourier Transform (FFT), and Wavelet Energy. In all the experiments, the classification was conducted using optimized SVM with a Radial Basis Function (RBF) kernel. The RBF kernel parameters were properly optimized using a particle swarm ensemble clustering algorithm called Ensemble Rapid Centroid Estimation (ERCE). The algorithm estimates the number of clusters directly from the data using swarm intelligence and ensemble aggregation. The SVM is then trained using the optimized RBF kernel parameters and Sequential Minimal Optimization (SMO) algorithm.