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Relevant bibliographies by topics / Aleatory music / Dissertations / Theses

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Dissertations / Theses on the topic 'Aleatory music'

Author: Grafiati

Published: 4 June 2021

Last updated: 29 July 2024

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1

Müller, Hermann-Christoph. "Zur Theorie und Praxis indeterminierter Musik Aufführungspraxis zwischen Experiment und Improvisation /." Kassel : G. Bosse, 1994. http://books.google.com/books?id=ZzxFAAAAMAAJ.

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2

Colaruotolo, John Cage John. "Revealing reveiling reveling." connect to online resource, 2005. http://www.unt.edu/etd/all/May2005/colaruotolo%5Fjohn%5Fjoseph/index.htm.

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3

Handron, Jason Leger. "Diatomaceous Earth." Bowling Green State University / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1558288424122094.

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4

Kiefer, Chris. "Multiparametric interfaces for fine-grained control of digital music." Thesis, University of Sussex, 2012. http://sro.sussex.ac.uk/id/eprint/40839/.

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Digital technology provides a very powerful medium for musical creativity, and the way in which we interface and interact with computers has a huge bearing on our ability to realise our artistic aims. The standard input devices available for the control of digital music tools tend to afford a low quality of embodied control; they fail to realise our innate expressiveness and dexterity of motion. This thesis looks at ways of capturing more detailed and subtle motion for the control of computer music tools; it examines how this motion can be used to control music software, and evaluates musician

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

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The aim of this thesis is to investigate techniques for, and applications of automatic sound synthesizer programming. An automatic sound synthesizer programmer is a system which removes the requirement to explicitly specify parameter settings for a sound synthesis algorithm from the user. Two forms of these systems are discussed in this thesis: tone matching programmers and synthesis space explorers. A tone matching programmer takes at its input a sound synthesis algorithm and a desired target sound. At its output it produces a configuration for the sound synthesis algorithm which causes it to

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6

Colaruotolo, John. "RevealingReveilingReveling." Thesis, University of North Texas, 2005. https://digital.library.unt.edu/ark:/67531/metadc4782/.

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This thesis explores the possibilities of communication in the context of a sound composition. In RevealingReveilingReveling, a series of questions concerning communication posed by John Cage, coupled with an extension of those questions posed by myself, are set to recorded sounds-in-the-world. The intention is to create a greater awareness of that which there is to listen in our world. The first part of this essay discusses influences of philosophical thought during the process of composing RevealingReveilingReveling. Two distinct twentieth-century thinkers that have impacted the creation o

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7

Shafer, Seth. "Recent Approaches to Real-Time Notation." Thesis, University of North Texas, 2017. https://digital.library.unt.edu/ark:/67531/metadc984210/.

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This paper discusses several compositions that use the computer screen to present music notation to performers. Three of these compositions, Law of Fives (2015), Polytera II (2016), and Terraformation (2016–17), employ strategies that allow the notation to change during the performance of the work as the product of composer-regulated algorithmic generation and performer interaction. New methodologies, implemented using Cycling74's Max software, facilitate performance of these works by allowing effective control of generation and on-screen display of notation; these include an application calle

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8

House, Kayli. "Pilgrim carnival." Thesis, view full-text document. Access restricted to the University of North Texas campus, 2002. http://www.library.unt.edu/theses/open/20022/house%5Fkayli/index.htm.

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Thesis (M.M.)--University of North Texas, 2002.<br>A two-week event in four parts: invitation, installation, reception, and thank-you card. Installation for 2 hosts, 2 ushers, photographer, 4 posers, exerciser, sound persons, and blindfolded guests, with a mix of live and recorded sounds. Includes instructions for performance. Includes bibliographical references (p. 66-67).

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9

Behrendt, Frauke. "Mobile sound : media art in hybrid spaces." Thesis, University of Sussex, 2010. http://sro.sussex.ac.uk/id/eprint/6336/.

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The thesis explores the relationships between sound and mobility through an examination of sound art. The research engages with the intersection of sound, mobility and art through original empirical work and theoretically through a critical engagement with sound studies. In dialogue with the work of De Certeau, Lefebvre, Huhtamo and Habermas in terms of the poetics of walking, rhythms, media archeology and questions of publicness, I understand sound art as an experimental mobile and public space. The thesis establishes and situates the emerging field of mobile sound art by mapping three key tr

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10

Rosa, Lilia de Oliveira 1960. "Três peças aleatórias de L. C. Vinholes numa abordagem pedagógica para criança = análise, criação de atividades musicais e site." [s.n.], 2011. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284919.

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Orientador: Aci Taveira Meyer<br>Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes<br>Made available in DSpace on 2018-08-17T21:14:33Z (GMT). No. of bitstreams: 1 Rosa_LiliadeOliveira_D.pdf: 4441858 bytes, checksum: 53564442162a3cc196ba783dfe47aadc (MD5) Previous issue date: 2011<br>Resumo: O objetivo principal desta pesquisa é estudar três peças aleatórias do compositor pelotense Luiz Carlos Lessa Vinholes - Instrução 61, para quatro instrumentos quaisquer (1961); Instrução 62, para instrumentos de teclado (1962); e Peça/Pessa para fazer Psiu/Xi, para bocas (1979) - e

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11

Ploeger, Daniël. "Sonified freaks and sounding prostheses : sonic representation of bodies in performance art." Thesis, University of Sussex, 2012. http://sro.sussex.ac.uk/id/eprint/43348/.

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This study is concerned with the role of sound in the presentation and representation of bodies in performance art that incorporates digital technologies. It consists of a written thesis accompanied by a portfolio with documentation of original artwork. Since the 1960s, performance artists have explored the use of sensor technologies to register signals generated by the body and synthesize or control sound. However, both practical and theoretical approaches to biosignal sonification in this field have almost entirely focused on musical (formalist) perspectives, technological innovation, or hei

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12

Waschka, R. 1958. "Let Me Make it Simple for You." Thesis, University of North Texas, 1990. https://digital.library.unt.edu/ark:/67531/metadc331223/.

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Discusses the creation and performance at a concert on Feb. 12, 1990, in the Merrill Ellis Intermedia Theater at the University of North Texas of three computer music-intermedia compositions: Shakespeare quartet for 4 acoustic guitars; A noite, porem, rangeu e quebrou, for instrument of low pitch range, tape and computer; and Help me remember, for performer, Synclavier, interactive MIDI computer music system and slides.

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13

Phoenix, Ekrem Eli. "Locus of music Open discourse and dynamics of control in music making." Thesis, The University of Sydney, 2018. http://hdl.handle.net/2123/18848.

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Locus of Music is a creative portfolio of original works by Ekrem Eli Phoenix (formerly known as Mülayim), as part of a PhD degree in musical composition. These works, and the accompanying research paper, are creative investigations into the notion of open discourse and dynamics of control in music making. The traditional model for the musical process is a vertical, hierarchical dynamic with the composer at the top and the audience at the bottom. In this model the power and the control lie with the composer. He is the definitive author of his creation, and therefore is the sole provider of the

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14

Rhoades, Michael Jewell. "Composing Holochoric Visual Music: Interdisciplinary Matrices." Diss., Virginia Tech, 2021. http://hdl.handle.net/10919/102159.

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With a lineage originating in the days of silent films, visual music, in its current incarnation, is a relatively recent phenomenon when compared to an historically broad field of creative expression. Today it is a time-based audio/visual territory explored and mined by a handful of visual and musical artists. However, an extensive examination of the literature indicates that few of these composers have delved into the associable areas of merging virtual holography and holophony toward visual music composition. It is posited here that such an approach is extremely rich with novel expressive po

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15

Wang, Hsiao-Lan. "Aesthetic and Technical Analysis on Soar!" Thesis, University of North Texas, 2010. https://digital.library.unt.edu/ark:/67531/metadc30522/.

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Soar! is a musical composition written for wind ensemble and computer music. The total duration of the work is approximately 10 minutes. Flocking behavior of migratory birds serves as the most prominent influence on the imagery and local structure of the composition. The cyclical nature of the birds' journey inspires palindromic designs in the temporal domain. Aesthetically, Soar! portrays the fluid shapes of the flocks with numerous grains in the sounds. This effect is achieved by giving individual parts high degree of independence, especially in regards to rhythm. Technically, Soar! explores

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16

Pfitzinger, Scott. "The Memory of Persistence." Digital Commons @ Butler University, 2010. http://digitalcommons.butler.edu/grtheses/42.

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This composition for Wind Ensemble (like Concert Band but usually only one player on a part) was Scott Master's Thesis for completing a Master of Music degree in Composition at Butler University. Written in 2010, the piece is a combination of styles, philosophies, and techniques, all in balance with each other. Avant-garde and traditional techniques are used; tonality and atonality vie with each other, resulting in a combination of the two; specific musical directions are balanced by a degree of choice available to each participant. “The Memory of Persistence” is about a journey. No specific p

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17

Long, Christina Ay-Chen. "Selected Structural Elements and Aspects of Performance in Bagatelles (1971) and Konstellationen (1972) by Krystyna Moszumanska-Nazar, with Three Recitals of Works by Beethoven, Brahms, Chopin, Liszt, Messiaen, Prokofieff, and Schumann." Thesis, University of North Texas, 1996. https://digital.library.unt.edu/ark:/67531/metadc277731/.

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This dissertation primarily concerns selected structural elements in Bagatelles and Konstellationen. These are pitch/interval, rhythm/meter in Bagatelles, the formal design and its relations with dynamics and texture in Konstellationen, as well as the usage of indeterminacy. There are also selected aspects of performance in regard to extended technique, pedaling, and certain dynamic control problems related to two works in question. Chapter one introduces the historical background of Polish music and the emergence of Poland as one of the leading forces in contemporary music. It also provides t

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18

Yen, Chung-sheng, and 顏崇勝. "The Study of Aleatory Music." Thesis, 2004. http://ndltd.ncl.edu.tw/handle/40777170417889934112.

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碩士<br>國立臺灣師範大學<br>音樂研究所<br>92<br>Abstract The development of a history is made from multiple factors, and by no means does a single factor make any style or skill of music-composing. To “aleatory music”, we have a lot to trace to its development. Relatively, its meaning and conception, in course of the development of music history, cause much to be worthy of being explored and studied. Based on The New Grove Dictionary of Music and Musicians, “aleatory music” is, “A composer shows indeterminacy on his work or some performer”; it is inclusive of the original work or the performance c

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19

Wei-LuenLin and 林瑋倫. "The Sound Field: A Spatial Exploration Inspired by Aleatory Music." Thesis, 2016. http://ndltd.ncl.edu.tw/handle/3ejk76.

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碩士<br>國立成功大學<br>建築學系<br>104<br>The relationship between music and architecture has been considered to be inseparable. For a long time, there is no lack of works and treatises discussing between the two subjects as well. Nevertheless, different theories or ideological trends did influence the dimensions of exploration between music and architecture more or less. John Cage's aleatory music plays a vital coordinate in music history. It did initiate an entirely new method to musical composition. As the maker movement becomes dominant, the main target in this thesis design is seeking any linking p

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20

McIntyre, SE. "The simplification of complex notation presented in aleatoric forms." Thesis, 2013. https://eprints.utas.edu.au/17638/2/Whole-McIntyre-_thesis-exclpubmat.pdf.

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The simplification of complex notation presented in aleatoric forms This project seeks to find solutions to questions of complex musical notation and whether they can be simplified by using techniques of limited-aleatory. A folio of compositions has been written, constituting eighty percent of this project. These compositions demonstrate that by using limited-aleatoric notation developed by Witold Lutoslawski (1913-1994), that I can achieve a complex outcome than if I had used a more complicated rhythmic language. The exegesis constitutes twenty percent of the thesis with the remaining t

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21

Sasaki, Maiko. "Trio Webster: Toshi Ichiyanagi’s Fusion of Western and Eastern Music." Thesis, 2012. http://hdl.handle.net/1911/64647.

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This document contains a synopsis of Toshi Ichiyanagi’s compositional style, a discussion of his musical philosophy, and an analysis of Trio Webster. Ichiyanagi is a renowned Japanese composer who studied in New York under John Cage’s mentorship. He is also the first composer to introduce Cage’s concept of chance operation to Japanese society. Trio Webster realizes the true exchange of Western and Eastern cultures, and it is accomplished because of Ichiyanagi’s unique experience and philosophy as an international composer. The concept of Japanese classical music and Japanese aesthetics are obs

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22

Crocco, Karen. "An aleatoric Odyssey: exploring mentoring practices in the Florida Bandmasters Association." Thesis, 2015. https://hdl.handle.net/2144/16082.

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Mentoring first-year teachers has become a standard induction practice in most public school systems. To enhance this practice, in 2005 the Florida Bandmasters Association established a mentoring committee to oversee district sponsored mentoring programs. Unfortunately, since that time, mentoring among secondary band directors in the state of Florida has not made much progress. The FBA program did not have guidelines for the mentor or mentee, or a system of evaluation to monitor or assess the benefits and quality of the program. This study used a phenomenographic lens and case study approach t

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23

Mücková, Kristýna. "Organická kompozice v abstraktním malířství, literatuře a hudbě 20. století." Master's thesis, 2010. http://www.nusl.cz/ntk/nusl-296693.

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The Diploma thesis Organic composition in 20th century abstract Art, Music and Literature aims to explain the gradual process of liberalization of expressive means in Arts, Music and Literature during the 20th century. It describes the picture's emancipation from the dependence on objective reality, particularly V. Kandinsky's way towards abstract expressionism. In Music it traces A. Schonberg's development of the free atonality, and the stream of consciousness technique of J. Joyce in literature. The thesis' second part will be dealing with various manifestations of the organic composition af

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24

Bodey, Elisabeth Claire. "Fields of relations, boxes of jewels: a practice-led enquiry into aspects of place as foundation for a new language of cultural abstraction in painting." Phd thesis, 2015. http://hdl.handle.net/1885/101194.

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The early stages of my research had focussed on the general idea of place as landscape in painting, centering on the Warlpiri country of the Central Desert. This perspective on place was quickly challenged by ideas of, experiences in and responses to those places I then visited as part of this research. My research eventually became an investigation into the language of painting, informed by ideas and different cultural forms and resulting in a one that has reconstructed my practice. I have explored how the contemporary language of abstract painting can engage with the experience of differe

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