Dissertations / Theses: 'Arabic theory of music'

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Khodier, Nesma Magdy VCUQ. "The Future of Arabic Music: No sound without silence." VCU Scholars Compass, 2016. http://scholarscompass.vcu.edu/etd/4170.

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For centuries, Arabic music has been intrinsically linked to Arab culture and by extension bonded to the environmental landscape of the region, reflecting their emotions, moods, and behaviors. Numerous technological advancements in the latter half of the twentieth century, have greatly affected the rich legacy of Arabic music, significantly impacting the natural progression of traditional Arabic musical genres, scales, and instrumentation. This thesis serves as an introduction to generative methods of music production, specifically music generated through gestures. Through generative music, and its unique ability to map gestures to different musical parameters, music can be produced using computer algorithms. The outcome of this thesis aims to demystify the intricacies of recent technological advancements to enable the musician and the audience to incorporate responsive technology into their ensembles. This approach aims to further evolve Arabic music, using the concepts of Arabic music creativity while addressing international accessibility through integration. The intention of this thesis is to bridge between the contemporary and the traditional Arabic audiences and provides insight into a possible future of Arabic music based on its own fundamental principles.

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TAMADLA, SAID. "X-bar Theory and Standard Arabic." Thesis, Högskolan Dalarna, Engelska, 2006. http://urn.kb.se/resolve?urn=urn:nbn:se:du-2897.

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Stoetzer, Wilhelmus Franciscus Gerardus Josephus. "Theory and practice in Arabic metrics /." Leiden : het Oosters instituut, 1989. http://catalogue.bnf.fr/ark:/12148/cb377016818.

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Winchester, Lindley. "Egyptian Arabic Plurals in Theory and Computation." UKnowledge, 2014. http://uknowledge.uky.edu/ltt_etds/4.

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This paper examines the plural inflectional processes present in Egyptian Arabic, with specific focus on the complex broken plural system. The data used in this examination is a set of 114 lexemes from a dictionary of the Egyptian Arabic variety by Badawi and Hinds (1984) collected through comparison of singular to plural template correspondences proposed by Gadalla (2004). The theoretical side of this analysis tests the proposed realizational approach in Kihm (2006) named the “Root-and-Site Hypothesis” against a variety of broken plural constructions in Egyptian Arabic. Categorizing concatenative and non-concatenative morphological processes as approachable in the same manner, this framework discusses inflection as not only represented by segments but also by “sites” where inflectional operations may take place. In order to organize the data through a computational lens, I emulate features of this approach in a DATR theorem that generates the grammatical forms for a set of both broken and sound plural nominals. The hierarchically-structured inheritance of the program’s language allows for default templates to be defined as well as overridden, permitting a wide scope of variation to be represented with little code content.

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Earnhart, Cari L. "Cross-culture Choral Music Education: Issues for Western Choral Conductors Related to the Performance of Arabic Choral Music." Thesis, University of North Texas, 2015. https://digital.library.unt.edu/ark:/67531/metadc804962/.

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The concept of choral music as defined by the Western world was foreign to Arab cultures until the colonization of the Arab world began in the seventeenth century when we began to see the Western choral style emerging in the churches of the Arab world. Group singing of traditional music was done in unison or heterophonic textures. Notated part-singing is a product of colonization, Westernization, Christianization, and now globalization. In recent years, singing music in mixed or multiple voicings not of a heterophonic nature has spread beyond the churches to the secular Arab world. As choral singing has increased in the Arab world, a new genre of Arabic choral music has emerged. In order for Western conductors to effectively teach, conduct, or perform these new works, it is important for them to develop a basic understanding of traditional Arabic musical styles and pronunciation of the language, thereby making Arabic choral music more accessible and enabling it to become a part of the larger world’s musical vocabulary. This study serves as an introductory resource for non-Arab choral conductors concerning key elements related to performing Arabic choral music and provides a context for how these elements relate to this evolving choral genre. In addition, through interviews with composers and conductors of Arabic choral music, this project will further inform the reader regarding the performance of this genre.

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Alkoot, Hamid A. "Undergraduates' familiarity with and preference for Arabic music in comparison with other world music." CardinalScholar 1.0, 2009. http://liblink.bsu.edu/uhtbin/catkey/1536744.

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This study examined undergraduate, non-music majors’ familiarity with and preference for Arabic music as compared to other world music. Several factors were examined to assess their effect on music preference including familiarity, musical characteristics, and student characteristics. Study participants included 203 undergraduate, non-music majors enrolled in six sections of music appreciation classes. Participants were divided into Caucasian and non- Caucasian groups ranging from 18 to 42 years of age. Music excerpts from Africa (Congo), Latin America (Mexico), Asia (Japan), and the Middle East (Kuwait) were used as examples of different world music. Arabic music was introduced as a new factor in this study that had not been explored in previous research. Knowing about students’ familiarity and preference for Arabic music may help in understanding the ramifications of its inclusion in music programs, and the proper method of introducing it to the students in the classroom. Participants listened to the 12 musical excerpts and completed the WMFPT questionnaire. Results indicated that participants were not familiar with the world music excerpts, but did like the excerpts to a moderate degree. Significant positive relationships were found between preference and familiarity, within preference ratings, and within familiarity ratings. The most influential musical characteristics in liking world music were rhythm, tempo, and timbre, with rhythm being the most influential. Participants’ background seems to have no significant relationship with either familiarity or preference. Results revealed that playing a musical instrument, musical training, and previous exposure to music of other cultures significantly affected preference and familiarity ratings.
School of Music

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Haecker, Arthur John IV. "The Tarab trombone: trombone etudes and solos based on Arabic music." Diss., University of Iowa, 2012. https://ir.uiowa.edu/etd/3462.

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Elzeer, Nada. "The Arabic terminology of critical theory : a theoretical and practical approach." Thesis, Durham University, 2005. http://etheses.dur.ac.uk/1766/.

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Lefcoe, Andrew. "Kuhn's paradigm in music theory." Thesis, McGill University, 1998. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=21231.

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Thomas Kuhn's essay The Structure of Scientific Revolutions has had an overwhelming impact upon academics from various fields, creating a virtual paradigm industry. Authors have frequently had recourse to Kuhn's book, applying insights into the structure and development of the sciences to nonscientific fields. This essay presents a critical review of Kuhn citation in the music-theoretic literature, first reviewing similar citation analyses in the humanities and the social sciences for comparison. While much of the Kuhn citation is problematic, music scholars are found to sin less broadly than those in other fields. After reviewing some of the salient distinctions between scientific and nonscientific endeavors, some of Kuhn's insights into science are found to clarify an issue in the history of music theory, namely the nature of the succession from figured-bass theory to the formulations of J. P. Rameau.

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Diener, Glendon. "Formal languages in music theory." Thesis, McGill University, 1985. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=59610.

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In this paper, the mathematical theory of languages is used to investigate and develop computer systems for music analysis, composition, and performance. Four prominent research projects in the field are critically reviewed. An original grammar-type for the computer representation of music is introduced, and a computer system for music composition and performance based on that grammar is described. A user's manual for the system is provided as an appendix.

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Machaal, Brahim. "Assessing the role of Arabic in EFL classes : an activity theory approach." Thesis, London Metropolitan University, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.567822.

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In this research, I investigate the role of Arabic in the classes of English as a Foreign Language (EFL), by exploring the uses of Arabic during classroom activities that teachers and students engage in. I also look into how such role shapes the attitudes of the stakeholders in the institution where the research took place. While the literature reveals that the use of the learner's first language (L 1) in foreign language (L2) classrooms can be beneficial and sometimes even necessary for the teaching- learning process, the role of Arabic as the students' first language (L 1) in EFL classes, although it is a controversial issue, has not been properly researched. This scarcity of research calls for comprehensive and in-depth studies to contribute to the understanding of the phenomenon and to help in filling the existing knowledge gap. I undertook the present research as an endeavour and contribution toward such ambition. For the purposes of this study, I employed a mixed methods approach to tackle the issue from a broader perspective. Thus I have used questionnaires, semi-structured interviews and class observations. In addition, I have made use of the principles of Activity Theory (AT) as a conceptual framework to help interpret the findings of the research in a rigorous and systematic manner. This theoretical background has provided a suitable lens to analyse human behaviours as complex as the ones found in EFL classrooms. AT also has helped in identifying three main roles that Arabic plays in the EFL classes. The results suggest that Arabic is useful, and sometimes even necessary, in EFL classes as it serves as a pedagogical tool that mediates the teaching-learning activity! and as an educational scaffold that facilitates the students' learning expansion. Furthermore, Arabic has been found to be the source of contradictions within and between the components and participants of the EFL teaching- learning activity. Additionally, data analysis has revealed that the participating EFL teachers have displayed levels of confidence by adopting an eclectic approach to EFL teaching and through assuming ownership of their teaching in a stance that is characteristic of the post method era. It is anticipated that these findings will help to raise the awareness towards the role of Arabic in EFL classes, inform the revision of the EFL pedagogic policy, and pave the way for more research endeavours on the topic. Such initiatives will enlighten the development of an alternative, appropriate and efficient local pedagogy that is suitable for EFL preparatory English programs in Saudi colleges and universities. The findings also appear to be of Significant value for EFL teachers' professional development programs and suggest a rethinking of the training and recruitment of EFL teachers for this part of the world.

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Alhelwah, Khalid. "The emergence and development of Arabic rhetorical theory, 500 C.E.-1400 C.E. /." The Ohio State University, 1998. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487948807588489.

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Alzahrani, Mohammed Omar. "THE READER'S TURN: THE PACKAGING AND RECEPTION OF CONTEMPORARY ARABIC LITERATURE IN ARABIC AND IN ENGLISH TRANSLATION." Kent State University / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=kent1606425465610702.

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Haddad, Saed. "The abstraction of Arabic musical vocabulary, spiritual and cultural values into contemporary Western music." Thesis, King's College London (University of London), 2005. https://kclpure.kcl.ac.uk/portal/en/theses/the-abstraction-of-arabic-musical-vocabulary-spiritual-and-cultural-values-into-contemporary-western-music(8c213c74-bc46-42ef-a68a-a96d0c1dfc82).html.

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Rouhani, Jameela M. M. "An applied research into the linguistic theory of collocation : English-Arabic dictionary of selected collocations and figurative expressions with an Arabic index." Thesis, University of Exeter, 1995. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.282668.

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Wiederkehr, George A. "The role of music theory in music production and engineering." Thesis, University of Oregon, 2015. http://pqdtopen.proquest.com/#viewpdf?dispub=1602500.

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Due to technological advancements, the role of the musician has changed dramatically in the 20^th and 21^st centuries. For the composer or songwriter especially, it is becoming increasingly expected for them to have some familiarity with music production and engineering, so that they are able to provide a finished product to employers, clients, or listeners. One goal of a successful production or engineered recording is to most effectively portray the recorded material. Music theory, and specifically analysis, has the ability to reveal important or expressive characteristics in a musical work. The relationship between musical analysis and production is explored to discover how music analysis can provide a more effective and informed musical production or recording and how a consideration of music production elements, notably timbre and instrumentation, can help to better inform a musical analysis. Two supplemental MP3 files are included with this thesis to demonstrate proposed mixing guidelines derived from the analysis.

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Wickens, H. E. "Music and music theory in the writings of Notker Labeo." Thesis, University of Oxford, 1986. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.376009.

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Wiederkehr, George. "The Role of Music Theory in Music Production and Engineering." Thesis, University of Oregon, 2016. http://hdl.handle.net/1794/19679.

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Due to technological advancements, the role of the musician has changed dramatically in the 20th and 21st centuries. For the composer or songwriter especially, it is becoming increasingly expected for them to have some familiarity with music production and engineering, so that they are able to provide a finished product to employers, clients, or listeners. One goal of a successful production or engineered recording is to most effectively portray the recorded material. Music theory, and specifically analysis, has the ability to reveal important or expressive characteristics in a musical work. The relationship between musical analysis and production is explored to discover how music analysis can provide a more effective and informed musical production or recording and how a consideration of music production elements, notably timbre and instrumentation, can help to better inform a musical analysis. Two supplemental MP3 files are included with this thesis to demonstrate proposed mixing guidelines derived from the analysis.

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Van, Sickle Karen. "Assessing Five Piano Theory Methods Using NASM Suggested Theory Guidelines For Students." Thesis, The University of Arizona, 2011. http://hdl.handle.net/10150/217071.

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Many incoming students have studied piano prior to entering college and receive much of their theory training through music study with a piano teacher. The National Association of Schools of Music (NASM) designed a website page for potential students to answer the question, "How should I best prepare to enter a conservatory, college, university as a music major?" Theoretical concepts they suggest can be grouped into three main categories: Basic Music Theory Rudiments, Ear-Training Skills, and Form and Harmony. This research examines five piano theory method books (Alfred Premier Piano Course, Bastien Piano Basics, Faber Piano Adventures, Harris Celebrate Piano!, and Kjos Fundamentals of Piano Theory) to assess their effectiveness in presenting the theoretical concepts NASM recommends they should know. The five books used for this study provide a basic foundation for many of the concepts undergraduates will be expected to know as they enter college theory courses.

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Al-Shamaa, Khaldoun. "Modernism and after : modern Arabic literary theory from literary criticism to cultural critique." Thesis, SOAS, University of London, 2007. http://eprints.soas.ac.uk/28817/.

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This thesis aims to provide the interested reader with a critical account of far-reaching changes in modern Arabic literary theory, approximately since the 1970s, in the light of an ascending paradigm in motion, and of the tendency by subsequent critics and commentators to view literary criticism in terms of a self-elaborating category morphing into cultural critique. The first part focuses on interdisciplinary problems confronting Arab critics in their attempt "to modernize but not to westernize", and also provides a comparative treatment of the terms, concepts and definitions used in the context of an ever-growing Arabic literary canon, along with consideration of how these relate to European modernist thought and of the controversies surrounding them among Arab critics. The second part explores some distinguishable morphological markers whose deployment involves a more or less radical distinction between, on the one hand, renovationist assumptions of cultural change as an uninterrupted process of historical continuity, and, on the other, innovationist assumptions based on discontinuity. The first of these modernizing models, involving revivalist ideas from the age of al-Nahdah, laid the foundation for a double dependency, on the past, serving to compensate, through remembering and reviving, for lack of creativity; and on the European-American West, serving to compensate, through intellectual and technical adaptation and borrowing, for the failure to invent and innovate. However, it is the second, counter-revivalist model that has assumed pride of place through the work of various poets, theorists and critics considered here. By the end of the eighties a self-generating, self-referential modernist theory had become the dominant critique. The third part proffers the case for a new paradigm. Drawing on the arguments and views of numerous scholars, the emphasis here is that "difference" establishes a distinctive mode of autonomy vis-a-vis Western Eurocentric theory.

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Alqahtani, Mufleh Salem M. "Syllable structure and related processes in optimality theory : an examination of Najdi Arabic." Thesis, University of Newcastle upon Tyne, 2014. http://hdl.handle.net/10443/2757.

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This study is an investigation of syllable structure and related processes in one variety of Saudi Arabic. This is the variety spoken by inhabitants of Riyadh and villages near this city in Najd province, henceforth referred to as Najdi Arabic (NA). Although this dialect has been analysed by scholars including Johnstone (1963, 1967), Lehn (1967), Ingham (1971, 1982, 1994), Abboud (1979), Al-Sweel (1987, 1990), Prochazka (1988), Kurpershoek (1999), Alezets (2007), Alessa (2008), and Alghmaiz (2013), syllable structure and related processes in this dialect have not been accounted for within Optimality Theory (OT). Therefore, the main goal of this thesis is to show how OT, as an analytical framework, is utilized to produce a better understanding syllable structure and related processes such as CV metathesis, epenthesis, vowel shortening, and syncope in NA. Accordingly, the fundamental aims of this thesis are to examine phonological processes that have an impact on the syllable structure in this dialect and to show the insights about NA syllable structures and related processes that can be gained through OT analyses. The research draws on previous work on NA as well as other Arabic varieties more generally. Thus, the theoretical literature on syllables, syllable structures and syllable typologies are taken into consideration in the analysis of NA data. The data for this study are drawn from articles, essays, theses, and journals. These sets of data underwent my own judgment as an NA native speaker. In addition, 15 native speakers of NA were interviewed and consulted on the NA set of data in this thesis. There are four findings in this study. The first deals with the comprehensive analysis of syllable structure in NA, focusing on the types of onsets and codas as well as the weight of syllables in this dialect. The second extends to the comprehensive analysis that deals with the main phonological processes in NA, focusing on CV-metathesis, epenthesis, vowel shortening, and syncope. The third sheds light on the unified set of OT constraints that has been established to explain NA syllable structure and related processes within OT. Finally, the capability of OT to account for cross-linguistic variation is demonstrated by showing how language-specific constraint rankings based on one set of constraints accounts for CV metathesis, vowel epenthesis, and syncope in Najdi and Urban Hijazi Arabic (UHA).

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Bayshak, Maryam. "A study of cohesion in Arabic based on Al-Jurjani's theory of Annazm." Thesis, SOAS, University of London, 1991. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.339263.

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In the last few years the domain of the linguistic inquiry has been enlarged by recent development of the multidisciplinary investigation of language as a communicative tool. Earlier approaches to the study of language concentrated on the study of the sentence as a basic constituent of language. Therefore, the notion of discourse did not receive adequate attention in most of these approaches. Those aspects of language that make text coherent and are no less important than grammatical aspects were not dealt with. The study of language in communication which is called discourse analysis is concerned with various aspects of language that describe it In its actual interactional function. Those main aspects such as textuality, texture and cohesion have dominated the interest of many discourse practitioners in western linguistics In recent years. In Arabic linguistics, the syntactic and semantic signals that link sentences within a text have not received adequate attention. In our modest study of cohesion devices In Arabic we have tried to shed some light on those linguistic features which participate in connecting text parts. We have taken the theory of a nna?m which was developed by 'Abd al-Qahir alJurjani (5 th century AH/l ph century A.D) as the basis for our display of cohesive devices in Arabic text. We have attempted to show that the anna'4m devices suggested by al-Jurjani are of crucial relevance in the investigation and description of certain important characteristics of Arabic text. They are factors which contribute to the coherence of Arabic text and tools which facilitate the evaluation of Arabic discourse coherence. Cohesion IS displayed through four major devices each of which constitutes a single chapter in the thesis. Those devices are attaqdfm wa tta'khfr "fronting and backing", atta'rfJ w a ttankir "definiteness and indefiniteness", a IIJ a d12J "ellipsis" and a 1- wa~ 1 wa IJa$l "conjunctionand disjunction". This study is presented in a manner comparable with Halliday and Hasan's treatment of Cohesion in English.

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Owens, Paul School of English UNSW. "Cognitive load theory and music instruction." Awarded by:University of New South Wales. School of English, 2005. http://handle.unsw.edu.au/1959.4/22994.

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Cognitive load theory assumes that effective instructional design is subject to the mechanisms that underpin our cognitive architecture and that understanding is constrained by the processing capacity of a limited working memory. This thesis reports the results of six experiments that applied the principles of cognitive load theory to the investigation of instructional design in music. Across the six experiments conditions differed by modality (uni or dual) and/or the nature of presentation (integrated or adjacent; simultaneous or successive). In addition, instructional formats were comprised of either two or three sources of information (text, auditory musical excerpts, musical notation). Participants were academically able Year 7 students with some previous musical experience. Following instructional interventions, students were tested using auditory and/or written problems; in addition, subjective ratings and efficiency measures were used as indicators of mental load. Together, Experiments 1 and 2 demonstrated the benefits of both dual-modal (dual-modality effect) and physically integrated formats over the same materials presented as adjacent and discrete information sources (split-attention effect), confirming the application of established cognitive load effects within the domain of music. Experiment 3 compared uni-modal formats, consisting of auditory rather than visual materials, with their dual-modal counterparts. Although some evidence for a modality effect was associated with simultaneous presentations, the uni-modal format was clearly superior when the same materials were delivered successively. Experiment 4 compared three cognitively efficient instructional formats in which either two or three information sources were studied. There was evidence that simultaneously processing all three sources overwhelmed working memory, whereas an overlapping design that delayed the introduction of the third source facilitated understanding. Experiments 5 and 6 varied the element interactivity of either two- or three- source formats and demonstrated the negative effects of splitting attention between successively presented instructional materials. Theoretical implications extend cognitive load principles to both the domain of music and across a range of novel instructional formats; future research into auditory only formats and the modality effect is suggested. Recommendations for instructional design highlight the need to facilitate necessary interactions between mutually referring musical elements and to maintain intrinsic cognitive load within working memory capacity.

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Song, Chunyang. "Syncopation : unifying music theory and perception." Thesis, Queen Mary, University of London, 2014. http://qmro.qmul.ac.uk/xmlui/handle/123456789/15132.

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Syncopation is a fundamental feature of rhythm in music. However, the relationship between theory and perception is currently not well understood. This thesis is concerned with characterising this relationship and identifying areas where the theory is incomplete. We start with a review of relevant musicological background and theory. Next, we use psychophysical data to characterise the perception of syncopation for simple rhythms. We then analyse the predictions of current theory using this data and identify strengths and weaknesses in the theory. We then introduce further psychophysical data which characterises the perception of syncopation for simple rhythms at different tempi. This leads to revised theory and a new model of syncopation that is tempo-dependent.

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Elsayyad, H. M. "The relationship between working memory and reading comprehension in L1 Arabic and L2 English for Arabic speaking children." Thesis, Bath Spa University, 2014. http://researchspace.bathspa.ac.uk/5175/.

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This mixed methodology research project comprised four studies that explored relationships between working memory and literacy, as well as the potential influence of home literacy, in L1 Arabic and L2 English children in grade six (aged 11) of mainstream Kuwaiti schools (N = 44 to 99). Quantitative studies 1 to 3 investigated these potential relationships using measures of working memory, literacy, phonological skills and vocabulary. Study 3 also contrasted vowelized and non-vowelized Arabic. Study 4 combined findings from approximately 70 completed parental questionnaires about home literacy background with qualitative data from four parental interviews, and compared these data with their children’s scores on working memory, literacy and vocabulary. Findings from studies 1 to 3 suggested that L1 and L2 literacy development can be predicted by working memory after controlling for word reading and vocabulary; and, in the case of Arabic, both vowelized and non-vowelized text showed relationships with working memory. Additionally, Arabic listening span and Arabic backward digit span were predictors of comprehension in L2 English, whereas only listening span predicted comprehension in L1 Arabic. Data indicated that the association between L1 working memory and L2 comprehension was dependent upon L2 language competence. Findings from study 4 also argue for influences on literacy and language skills of the child’s background, including cultural activities associated with upbringing and parental attitudes towards learning and literacy. Overall, similar predictors emerged for English and Arabic literacy skills arguing for these orthographies to rely on common processes. However, there is a need for further development of working memory measures for Arabic contexts to ensure that these measures assess skills appropriately, and for a consideration of parental influences on learning. Educators should consider both cognitive and sociocultural factors as foundations for teaching literacy, and support the establishment of communication routes between parents and schools.

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Al-Nassir, A. A. "Sibawayh the phonologist : a critical study of the phonetic and phonological theory of Sibawayh as presented in his treatise 'Al Kitab'." Thesis, University of York, 1985. http://etheses.whiterose.ac.uk/10917/.

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Dhanoon, Mahmood M. "A new pragmatic theory of focus and emphasis : a textlinguistic analysis of focus, emphasis proper and specificational emphasis in modern standard Arabic." Thesis, Heriot-Watt University, 1992. http://hdl.handle.net/10399/1357.

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Alkhonini, Omar Ahmed. "CODA CONSONANT CLUSTER PATTERNS IN THE ARABIC NAJDI DIALECT." OpenSIUC, 2014. https://opensiuc.lib.siu.edu/theses/1368.

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This study examines the coda clusters in Classical Arabic and how Najdi speakers, modern inhabitants of the central area of Saudi Arabia, pronounce them. Fourteen Najdi participants were asked to read a list of thirty-one words that took into account falling, equal, and rising sonority clusters, consisting of obstruents, nasals, liquids, and glides. The instrument contained one, two, and three steps of sonority for each level of sonority (falling and rising) to determine the minimal sonority distance used in Najdi Arabic. Specifically, obstruent + nasal, nasal + liquid, and liquid + glide were included for falling sonority clusters of one step, obstruent + liquid and nasal + glide were used for falling sonority clusters of two steps, and only obstruent + glide for falling sonority clusters of three steps. To test the rising sonority clusters, the elements in the clusters were transposed for each combination; for example, instead of using obstruent + nasal, clusters of nasal + obstruent were considered. However, for equal sonority clusters, only obstruent + obstruent and nasal + nasal were examined. Obstruents were dealt with separately in the instrument at first to see whether they caused any difference in the results. The results showed that the subjects added epenthesis in the rising sonority clusters and equal sonority clusters containing sonorants. However, they did not add epenthesis in the falling sonority clusters or equal sonority clusters containing obstruents. Thus, no matter the distance in sonority between the two segments in the rising sonority clusters (one, two, or three steps), the participants always epenthesized them. In addition, no matter how many sonority steps there were between the two segments in the falling sonority clusters, the participants always produced them without modification. In case of equal sonority, when the two segments of the cluster were sonorants, the participants added epenthesis; however, when the two segments of the cluster were obstruents, the participants produced them without modification.

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Abed, Majid AbdulHameed. "British Orientalism and Classical Arabic literature : a study in reception, according to Jauss's theory." Thesis, University of Leeds, 2016. http://etheses.whiterose.ac.uk/15350/.

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The primary aim of this thesis is to develop an aesthetic approach for the study of the British Orientalist discourse in relation to Arabic classical literature. The thesis explores three literary eras; Pre colonialism, colonialism, and Post colonialism, adopting Hans Robert Jauss’s theorisation of ‘literary history’ as a theoretical framework. The theoretical framework of the thesis is, also, informed by Edward Said’s seminal contributions to the subject, though without necessarily endorsing all his assumptions and conclusions. The thesis is divided into six chapters. In Chapter 1, Juass’s assumption in its relation to literary history is explored, displaying how it can be a valuable framework to study the history of the British Orientalist discourse. Chapter 2 is designed to examine Edward Said’s understanding of Orientalism, by exploring his supporters-opponents’ views. The last three Chapters are organized to investigate the contributions made by the British Orientalists and critique of the impact these contributions had on our understanding of Arabic literature. The thesis is concluded by chapter six, which summarizes the important findings of the work. The key finding of the study is that although there are disparate responses in dealing with classical Arabic literature, most British scholars belong to the same pure academic school of knowledge. This knowledge has accumulated systematically over a long period of research and it is still being built upon. What is most remarkable about this academic knowledge is that it was produced without political involvement.

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Lefcoe, Andrew H. "Kuhn's paradigm in music theory (Thomas Kuhn)." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape9/PQDD_0027/MQ50536.pdf.

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Culpepper, Sarah Elizabeth. "Musical time and information theory entropy." Thesis, University of Iowa, 2010. https://ir.uiowa.edu/etd/659.

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Many theorists have connected information content in music with the listener's perception of the passage of time. This thesis uses the construct of information theory entropy, developed in the 1940s by Bell Labs engineer Claude Shannon, to describe the passage of time in Webern's music. Entropy scores are computed based on pitches, intervals, CSEGs, and pc-sets; these scores are then used to examine the first of the Five Canons, op. 16, and the fourth of the Five Movements for String Quartet, op. 5.

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Majeed, Alan. "Middle Eastern Violin Method : A Method for Teaching and Transcribing Middle Eastern Music." Thesis, Kungl. Musikhögskolan, Institutionen för folkmusik, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-3055.

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My project is first and foremost about developing a pedagogical method for teaching Middle Eastern folk and classical music on the violin. As a secondary goal, I want to know if my own playing could benefit from applying such a method and become more skilled in expressing myself artistically on my instrument. In order to achieve this, first, I have transcribed and notated music from different music styles of the Middle East, including Kurdish, Persian, Arabic and Turkish music and described the specific traits of these different styles. Then, I have created a method of how to represent different stylistically important elements in the music, e.g. the most popular ornaments used in this music, as well as finding new ways of representing them by new symbols. Finally, I have devised exercises for learning and perfecting these style elements, such as ornaments. There is no well-established method for teaching the Middle Eastern styles of violin playing (Eilenberg, 1993). This fact makes it challenging for students to learn and pass on the tradition. Unlike Western Classical music, Middle Eastern music involves using different modal systems, including scales with quarter tones. The modes and corresponding scales are called Maqam and there are a great many of them. (Todorov, 2018)A violinist playing this style of music, usually uses intricate ornamentations in playing on these scales when making an extemporization or improvisation on the maqam, called Taksim. Not having a method for this complicated music style, makes a new learner to rely solely on learning by ear and learn through imitation, which is today often performed by listening to recorded sources. In my personal experience, it took many years of careful listening and imitating to learn how to play Middle Eastern music on the violin. As an accomplished violinist and teacher, now I want to establish and develop my method so students can take advantage of it and learn this music more thoroughly, faster and become more accomplished in expressing themselves within the style. My hope is that this method will help preserve the Middle Eastern style of violin playing and make it easier to pass on to the next generations. Furthermore, the method will also help an interested foreigner to understand and potentially learn Middle Eastern music on the violin. Thus, my research interest is to investigate in what way I can describe, notate the pertinent stylistic elements of the music for to develop a ‘Method for oriental violin playing’, including notations, exercises, and teaching process, that can make a musician understand the Middle Eastern music styles and learn to play them. The ultimate aim is to pass the tradition easier and faster, giving aspiring violinists possibility to develop their violin playing within this field. Hopefully, from notating and transcribing these styles the tradition can be preserved. A specific question is also to investigate the usefulness of the method for groups of violins. Secondary research interest is to investigate how this work might influence the development of my own playing, in terms of technique and expressing. Summary of research questions: - How can I describe and notate the Middle Eastern violin styles with details? - What are the most important stylistic elements and techniques? - How can I teach this music? - How can I pass on the tradition faster and easier with the help of a method in a way that develops the field of Middle Eastern violin styles? - Can I develop my own playing and artistic skills by applying exercises for stylistic features?

Samai Hijaz Göksel Baktagir (Turkish) Bogazici Baki Kemanci (Turkish)

Alan Kamil – Violin

Feras Sharstan – Kanun

Saman Taha – Piano

Mårten Hillbom – Raqq and Cajon

Swedish folk music meets Kurdish folk music! (Kurdish and Swedish)

Alan Kamil – Violin

Tommy Lundberg – Violin

Pirozbe Nasir Razazi’s Song (Kurdish)

Violins:

Alan Kamil

Tommy Lundberg

Anna Ekborg

Sandra Arvman

Nichelle Johansson

Saman Taha – Piano

Mårten Hillbom – Cajon

Swan Lake Mojtaba Mirzadeh (Persian) Soran Badinan Dilshad Said (Kurdish)

Alan Kamil – Violin

Saman Taha – Piano

Nassam Aleyna el Hawa Rahbani Brothers – Fairouz (Arabic)

Alan Kamil – Violin

Feras Sharstan – Kanun

Saman Taha – Piano

Mårten Hillbom – Darbuka

Eshveh Bijan Mortazavi (Persian)

Alan Kamil – Violin

Saman Taha – Piano

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Dennis, Robb. "Multiple Intelligence Theory and its Application in Modern Vocal Pedagogy." Scholarship @ Claremont, 1998. http://scholarship.claremont.edu/cgu_etd/99.

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In 1983, Howard Gardner shook the foundations of intelligence testing and the field of education by suggesting that there are seven distinct intelligences. These intelligences had testable and distinct attributes that were supported by his research at the Boston Veterans Administration. This research cited the existence of savants and prodigies, isolation by brain damage, and psychometric findings as support for Multiple Intelligence Theory. Widely accepted by the education community at large, the application of MI principles has been further elaborated in the writings of Thomas Armstrong and David Lazear. Can the principles of Multiple Intelligence Theory be applied in the area of modern vocal pedagogy? After surveys of the foundations of vocal pedagogy and the principles ofMI theory, the author suggests they can. What follows is an analysis of two current vocal pedagogy texts, Van Clu·isty's Foundations in Singing and Jan Sclunidt's Basics of Singing to determine the variety and use ofMI principles in each. After the analysis, the author suggests applications of MI principles, using aspects of their song learning chapters as a template that can be adapted to any vocal pedagogy text.

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Ripley, Angela N. "Surviving Set Theory: A Pedagogical Game and Cooperative Learning Approach to Undergraduate Post-Tonal Music Theory." The Ohio State University, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=osu1437583773.

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Al-Ageli, Hussein M. "Syllabic and metrical structure in Tripolitanian Arabic : a comparative study in standard and optimality theory." Thesis, University of Essex, 1995. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.294669.

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Mohammed, Ali Aousouk. "Agreement in relative clauses and the theory of phrase structure : a study of Standard Arabic." Thesis, Bangor University, 2004. https://research.bangor.ac.uk/portal/en/theses/agreement-in-relative-clauses-and-the-theory-of-phrase-structure--a-study-of-standard-arabic(427cf53f-65f8-46f3-8466-2ee54c6b0fb3).html.

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This dissertation is primarily concerned with the structure of relative clauses in Standard Arabic (SA) within the framework of phrase structure proposed in Kayne (1994). According to Kayne, relative clauses are assigned the structure [D CP] where D is base-generated externally and takes CP as complement. This study emphasises that D in SA originates within the relative clause and moves with its NP complement to SpecCP. The moved DP enters into Spec-head agreement with the complementizer since both the head and Spec carry the same [c]-features, in addition to [+defj and, sometimes, [+Case]. The subject trace in main clauses, which I assume to be a null resumptive pronoun, is properly governed by the complementizer which agrees both with the antecedent and the verb. Object extraction, in some cases, requires an overt resumptive pronoun. In such cases, we adopt the analysis that treats resumptive pronouns as spell-out traces. We have proposed that in cases where a resumptive pronoun appears, the "head" moves to SpecCP but its [c]-features remain in the extraction site. When a gap appears, the "head" and its features move together to SpecCP. Subject relativization from ? an-embedded clauses is different from subject relativization from ? anna-embedded clauses. The former takes place from the postverbal position to avoid the Empty Category Principle (ECP). We adopt the Split-CP hypothesis (Rizzi 1997) and assume that subject extraction in ? annaembedded clauses takes place from SpecTop. The extraction site is obligatorily filled with a resumptive pronoun. The object, too, can be extracted from SpecTop or from its base-position. In both cases, an obligatory resumptive pronoun occupies the extraction site. We have shown that the intermediate CP is not a proper landing site for the extracted subject or object. The reason is that the head of the intermediate CP does not bear the features of the antecedent and therefore movement to the Spec of the intermediate CP is not legitimate. We have proposed that free relatives also involve movement to SpecCP. This proposal is based on the fact that 11adhii can be overt only if DP occupies its Spec position. We therefore have proposed that features of a null DP must occupy the Spec position in this type of relatives. Thus Spec-head agreement in these relatives is also realised. Reduced (participial) relatives are analysed as full relatives and therefore are assigned the same structure apart from the fact that they contain a functional head which I call partA° (Participle Affix). We have proposed that the morpheme preceding the participle is a reduced form of the complementizer lladhii. This assumption is supported by the fact that it can only be preceded by a DP whether overt or null. Here again we have Spec-head agreement as in full relative clauses.

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Sanni, Amidu Olalekan. "Al-Marzubani in the context of Arabic literary theory : an analytical study of Al-Muwashshah." Thesis, University of London, 1989. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.510091.

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The aim of this study is to examine al-Marzubän i's contribution to Arabic literary theory, as reflected in his so far available complete work on the subject, that is al- Muwashshah. His documentary importance with regards to many reports that would not have otherwise been available, he be°t n9 their exclusive source, compensates for his not being one of the great system builders and places classical literary theory in his debt. The Introduction is a brief survey of the early history of Arabic literary criticism, with particular attention to factors responsible for its evolution, as well as an examination of the early works on the subject. Each of the chapters is divided into two sections. The first section of Chapter One gives a detailed biography of al- Marzubäni. Its second part reviews al-Muwashshah, within the context of material-presentation, source-selection, and source-utilisation. The major subjects of discussion among the theorists, as reflected in the literary corpora of the eras covered by al- Muwashshah, are examined in the other chapters. Prosodical defects are examined in the first section of Chapter Two, showing in a historical progression the development of the relevant concepts culminating in explicit categorisation by al-Marzubäni. The second section of this chapter analyses various poetic licenses, darurät al-shi`r, illustrated in al-Muwashshah. The arrangement followed in the analysis of the various categories contained in the chapters is other than that of the author. The reason being that although some sort of subtle order can be identified with the author's presentation, a more coherent and systematic order is required in order to reduce, or possibly, eliminate duplication and discursiveness not rarely encountered in the original arrangement. In Chapter Three, the concepts of originality and plagiarism are examined, and in particular, the development of the theory on sariqa. This is the theme of the first part of this chapter. That there was a remarkable gap between theory and application, resulting from either the use of non-literary criteria or inadequate perception of the contexts associated with specific illustrations of the concepts, is recognised by al-Marzubäni, and this is discussed in the second section of this chapter. Various propositions by theorists on the concept of lafz and ma `n ä are examined in the first section of Chapter Four, while the other section analyses the relationship between those propositions and their application, as illustrated by al-Marzubäni. Essentially, what we have tried to demonstrate is that the characteristic lack of order for which Arabic poetics was known in its nascent stage was remarkably improved by al-Marzubäni. This he was able to do by systematically reorganising the extant materials as well as by furnishing Arabic literary theory with a logical framework.

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Jenney, Charles Davis. "A.F.C. Kollmann's theory of homophonic forms." Connect to resource, 1986. http://rave.ohiolink.edu/etdc/view.cgi?acc%5Fnum=osu1260458396.

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39

Harvey, David I. H. "The later music of Elliott Carter a study in music theory and analysis /." New York : Garland Pub, 1989. http://catalog.hathitrust.org/api/volumes/oclc/19321659.html.

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40

Stellings, Alan. "Music cognition as musical culture, a philosophical investigation of cognitivist theory of music." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk2/tape16/PQDD_0005/NQ28131.pdf.

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41

Harvey, David I. H. "The later music of Elliott Carter : a study in music theory and analysis." Thesis, University of Oxford, 1986. http://ora.ox.ac.uk/objects/uuid:c47d92da-277e-4850-9e3b-e5e0cd93308f.

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Any composer's writings form an important source for the critical study of his music: they must nevertheless be used with care, Carter's writings are considered as part of a tradition in American music. His musical development up to 1959 is briefly sketched, with particular reference to those elements which with hindsight can be seen to have been most significant in the evolution of a mature musical language - various experimental and non-western musical traditions, influences from other domains of art, and the philosophy of A. N. Vhitehead. In order to avoid the spectre of 'merely technical analysis' of atonal music, we need an analytical approach which can describe the way in which the characteristic properties of a musical surface (principally pitch register and duration; secondarily dynamic and timbre) act to create larger structures in time. Pitch-class Set Theory is rejected as embodying an unacceptable level of abstraction, and failing to account for the dynamic, developmental aspects of musical structure, Instead, a more flexible and sensitive method is developed, drawing on an alternative analytical tradition for twentieth-century music. Precedents and justifications for this method are sought in contemporary accounts of structure in general, and parallels and distinctions are drawn between the hierarchic structures of tonal music, atonal music, and language, This context-sensitive analytical approach is then applied to three of Carter's most characteristic works: the String Quartet no.2 (1959); the Double Concerto for Harpsichord, Piano, and Two Chamber Orchestras (1961); and the Concerto for Orchestra (1969).

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42

Hammond, Julian Francis. "It will discourse most eloquent music : towards a theory of writing-on-music." Thesis, University of Leeds, 2004. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.413918.

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43

Smith, Eron F. "A Theory of Form as Temporal Referentiality." Scholarship @ Claremont, 2016. http://scholarship.claremont.edu/pomona_theses/161.

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This study proposes temporal referentiality—roughly defined as the orientation of substance in its temporal medium—as a theoretical and analytical framework for musical form. Operating on the principle of music as a temporally extended entity, this thesis explores the connections that occur between substance across its medium, suggests an additional interpretation of medium connections (temporality) in terms of language tense, and examines substance connections (referentiality) through different types of filtering. I also propose a means for visual and literary interpretation of temporal referentiality, depicting a network of substance relationships established over a piece’s timespace. Analysis of this type assumes a listener’s complete familiarity with the substance in its temporal boundaries. Visual representations portray the amount and strength of future- and past-oriented musical substance at a given point in time, including which sections are connected to one another (medium connection) and which variables or features of sameness are responsible for this connection (substance connection). Employing an analogy between orientation and tense, it also becomes feasible to construct a “model prose composition” with the same temporal referentiality as a piece of music. Finally, a system of filtering serves to isolate portions of medium and substance and to clarify what elements are responsible for the elusive concept of “sameness.” The possibilities for temporal reference analysis are applied to the first movements of Bartók’s Fourth String Quartet and Brahms’s Violin Concerto, as well as Bach’s Contrapunctus #9 from The Art of Fugue and the Variations movement of Webern’s Symphony op. 21.

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44

Stahl, Geoff. "Troubling below : rethinking subcultural theory." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape11/PQDD_0001/MQ43954.pdf.

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Schulze, Walter. "A formal language theory approach to music generation." Thesis, Stellenbosch : University of Stellenbosch, 2010. http://hdl.handle.net/10019.1/4157.

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Thesis (MSc (Mathematical Sciences))-- University of Stellenbosch, 2010.
ENGLISH ABSTRACT: We investigate the suitability of applying some of the probabilistic and automata theoretic ideas, that have been extremely successful in the areas of speech and natural language processing, to the area of musical style imitation. By using music written in a certain style as training data, parameters are calculated for (visible and hidden) Markov models (of mixed, higher or first order), in order to capture the musical style of the training data in terms of mathematical models. These models are then used to imitate two instrument music in the trained style.
AFRIKAANSE OPSOMMING: Hierdie tesis ondersoek die toepasbaarheid van probabilitiese en outomaatteoretiese konsepte, wat uiters suksesvol toegepas word in die gebied van spraak en natuurlike taal-verwerking, op die gebied van musiekstyl nabootsing. Deur gebruik te maak van musiek wat geskryf is in ’n gegewe styl as aanleer data, word parameters vir (sigbare en onsigbare) Markov modelle (van gemengde, hoër- of eerste- orde) bereken, ten einde die musiekstyl van die data waarvan geleer is, in terme van wiskundige modelle te beskryf. Hierdie modelle word gebruik om musiek vir twee instrumente te genereer, wat die musiek waaruit geleer is, naboots.

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Vickhoff, Björn. "A perspective theory of music perception and emotion /." Göteborg : Göteborgs Universitet, 2008. http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&doc_number=016671611&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA.

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47

Borthwick, Alastair. "Music theory and analysis : the limitations of logic /." New York ; London : Garland, 1995. http://catalogue.bnf.fr/ark:/12148/cb35855187v.

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48

Klineburger, Philip C. "The Dynamic Functional Capacity Theory: Music Evoked Emotions." Diss., Virginia Tech, 2014. http://hdl.handle.net/10919/50991.

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The music-evoked emotion literature implicates many brain regions involved in emotional processing but is currently lacking a model that specifically explains how they temporally and dynamically interact to produce intensely pleasurable emotions. A conceptual model, The Dynamic Functional Capacity Theory (DFCT), is proposed that provides a foundation for the further understanding of how brain regions interact to produce intense intensely pleasurable emotions. The DFCT claims that brain regions mediating emotion and arousal regulation have a limited functional capacity that can be exceeded by intense stimuli. The prefrontal cortex is hypothesized to abruptly deactivate when this happens, resulting in the inhibitory release of sensory cortices, the limbic system, the reward-circuit, and the brainstem reticular activating system, causing 'unbridled' activation of these areas. This process produces extremely intense emotions. This theory may provide music-evoked emotion researchers and Music Therapy researchers a theoretical foundation for continued research and application and also to compliment current theories of emotion.
Ph. D.

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49

Borthwick, Alastair Bruce. "Music theory and analysis : the limitations of logic." Thesis, King's College London (University of London), 1993. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.606301.

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The motivation for this thesis is rooted in the problems arising from the lack of a single theoretical framework within which to assimilate different analytical methods; whether they are applied to an individual work, compositions embracing an underlying common practice or to the study of stylistically remote pieces. By devising a series of logical axioms and definitions, collectively referred to as a metatheory and situating them - as an expression of the neutral level originally proposed by Jean Molino - in the context of the semiological tripartition, it is found that the metatheory can be used to construct aspects of existing music theories. The precise extent to which a specific theory of music can be derived from the metatheory is not considered, but the many examples used to illustrate the application of metatheoretical logic to music analysis clearly demonstrate that meaning can only be ascribed to the structural configurations so determined if the poietic and esthesic dimensions of the tripartition are invoked as a means of distinguishing the actual from the logically possible. It is in this sense that logic is found to be limited. Two important consequences follow from this conceptual framework. Firstly, the involvement of the poietic and esthesic dimensions in the final analysis potentially enables many diverse theories to be derived from the metatheory, thereby preserving the important differences that exist between analytical methods. Secondly, the whole notion of a text-centred theory of music is challenged since the importance of the poietic and esthesic dimensions to the provision of meaning is such that these dimensions can theoretically overwhelm the configurations established within the text by the application of logic.

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50

Szeto, Lai Tat. "Benefits and Challenges of Absolute Pitch." Thesis, California State University, Long Beach, 2018. http://pqdtopen.proquest.com/#viewpdf?dispub=10638868.

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Absolute pitch (AP) is also referred to as Perfect Pitch. AP possessors are able to identify pitch in any kinds of sound without a reference point. However, Absolute Pitch may hinder possessors in music studies because it can confuse their brain. It is significant to understand that Absolute Pitch is not purely an advantage for possessors. While Absolute Pitch has great impact on possessors, it may bring negative phenomenon to them, which could decrease their learning ability.

This project’s purpose is to examine whether Absolute Pitch is a benefit or challenge in music studies. I will begin my project with archival research to provide background information and facts of Absolute Pitch. It will explain how Absolute Pitch is beneficial and challenging for musicians. Five hypotheses are suggested in the project: (1) Absolute Pitch possessors perform excellently in music dictation. (2) Absolute Pitch possessors value special tone quality. (3) Possession of Absolute Pitch is not always useful and accurate. (4) Absolute Pitch possessors have different perspectives in hearing intervals. (5) Absolute Pitch possessors have difficulty at transposing music.

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Dissertations / Theses on the topic 'Arabic theory of music'

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