Dissertations / Theses on the topic 'Arpeggione'

Thesis (M. Eng.)--Massachusetts Institute of Technology, Dept. of Electrical Engineering and Computer Science, 2007.<br>Includes bibliographical references (p. 69-77).<br>Peer-to-peer networks require an efficient means for performing searches for files by metadata keywords. Unfortunately, current methods usually sacrifice either scalability or recall. Arpeggio is a peer-to-peer file-sharing network that uses the Chord lookup primitive as a basis for constructing a distributed keyword-set index, augmented with index-side filtering, to address this problem. We introduce index gateways, a technique for minimizing index maintenance overhead. Arpeggio also includes a content distribution system for finding source peers for a file; we present a novel system that uses Chord subrings to track live source peers without the cost of inserting the data itself into the network, and supports postfetching: using information in the index to improve the availability of rare files. The result is a system that provides efficient query operations with the scalability and reliability advantages of full decentralization. We use analysis and simulation results to show that our indexing system has reasonable storage and bandwidth costs, and improves load distribution.<br>by Dan R.K. Ports.<br>M.Eng.

The Reggio Emilia approach to early childhood education has been globally recognized by educators and researchers as the most exceptional example of quality early education (Gardner, 1999; Kantrowitz & Wingert, 1991). However, within this approach there is a strong emphasis on the visual arts that in turn has diminished opportunities for children to participate in music activities. Andress (1998) was the first to expose the lack of music in this approach, and her concern was echoed by Matthews (2000), O’Hagin (2007), Vuckovic & Nyland (2010), and Smith (2011). As a result of this void, the present investigation explores the philosophies and practices of the Reggio Emilia approach within a kindergarten to grade seven elementary school music program. Specifically, I examine the role of the child, the role of the teacher, the environment as a third teacher, multiple forms of knowing, the role of documentation, and the Atelier. I use an autoethnographic approach to implement, reflect, and document this experience. I not only discover that Reggio Emilia can be successful within a music classroom setting, but argue that these philosophies and practices are of great importance to understanding new ways in which music educators can benefit from this approach beyond the scope of traditional programs and approaches to music with children. By adapting this approach to a music setting in grades higher than the early childhood years, my research extends the current Reggio literature. I not only present my struggles during this experience, but also explain how to supersede challenges and draw from the strengths of this approach that were exposed within the scope of my music program.<br>Education, Faculty of<br>Curriculum and Pedagogy (EDCP), Department of<br>Graduate

Submitted by Rosivalda Pereira (mrs.pereira@ufma.br) on 2017-08-22T18:02:33Z No. of bitstreams: 1 DiorgenesTorres.pdf: 4899348 bytes, checksum: 3345fe53d538fb6b70d16529a8e2c4ee (MD5)<br>Made available in DSpace on 2017-08-22T18:02:33Z (GMT). No. of bitstreams: 1 DiorgenesTorres.pdf: 4899348 bytes, checksum: 3345fe53d538fb6b70d16529a8e2c4ee (MD5) Previous issue date: 2016-07-19<br>This research was made with students from the Maranhão’s State Music School and it investigates about using arpeggios (triads and fourths) on melodic improvisation like being a base of a methodological proceeding to be suggested for the teaching of the subject Improvisation I in the technical course of this school. It was realized two videos recording filming and two audio recording in what the students presented his knowledge about music improvisation before and after the systematic studying from the theoretical and practice contents suggested in this research. After the confront of those two moments from a sample of students extracted from the whole group of participants students, it was made some analysis and considerations about how the improvisation teaching happened in the music school and also the possible benefits that this methodological proceeding with the using of arpeggios could bring to the teaching of the subject.<br>Esta pesquisa efetuada com alunos da Escola de Música do Estado do Maranhão – EMEM investiga o uso de arpejos (tríades e tétrades) na improvisação melódica, como base de um procedimento metodológico a ser sugerido para o ensino da disciplina Improvisação I do curso técnico dessa escola. Foram realizadas duas filmagens de vídeo e duas gravações de áudio em que os alunos apresentaram seus conhecimentos em improvisações antes e depois do estudo sistemático dos conteúdos teóricos e práticos sugeridos nesta pesquisa. Após o confronto desses dois momentos de um grupo amostra extraído do total de alunos participantes, são feitas análises e considerações sobre como o ensino de improvisação acontecia na escola bem como os possíveis benefícios que o procedimento metodológico com o emprego de arpejos utilizado poderá trazer para o ensino da disciplina.

I min uppsats utforskar jag möjligheterna att transkribera verk till mitt eget instrument tvärflöjt. Jag har arbetat med satser ur två konserter, en för violin och en för klarinett, och transkriberat om dessa till flöjt. Jag har fokuserat på en sats ur vardera konsert.   Mitt arbete börjar med att välja vilka instrument jag skulle transkribera från. Sedan har jag valt notutgåva för dessa och skrivit in dem i det notskrivningsprogram jag har valt, och därefter påbörjat transkriberingsarbetet. När transkriberingen var klar tog jag kontakt med pianist och påbörjade min instudering av verken, för att därefter spela in de instuderade satserna. Vid inspelningen tog jag hjälp av en medstudent som också hjälpte mig med att editera inspelningarna. Slutligen har jag jämfört de satser jag spelat in på tvärflöjt med inspelningar för originalinstrumenten, violin respektive klarinett. Det resulterade i noter som finns som bilaga och inspelningar jag länkat till.   I arbetet med transkription och förberedande litteraturstudier har jag lärt mig att transkription är ett stort ämne i sig och att det kräver efterforskning och förberedelser genom att studera noter, spela och lyssna till musiken som jag har transkriberat. Arbetet gav mig en känsla för vad kompositörernas musik bottnar i och har gett mig en riktning i mitt fortsatta arbete med transkribering.

Submitted by JÚLIO HEBER SILVA (julioheber@yahoo.com.br) on 2017-02-17T16:33:44Z No. of bitstreams: 2 Dissertação - Almir Júnio Pessoa - 2016.pdf: 4318212 bytes, checksum: 068b26d251cc79bde9c837320a2d5b43 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5)<br>Approved for entry into archive by Luciana Ferreira (lucgeral@gmail.com) on 2017-02-20T12:02:42Z (GMT) No. of bitstreams: 2 Dissertação - Almir Júnio Pessoa - 2016.pdf: 4318212 bytes, checksum: 068b26d251cc79bde9c837320a2d5b43 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5)<br>Made available in DSpace on 2017-02-20T12:02:42Z (GMT). No. of bitstreams: 2 Dissertação - Almir Júnio Pessoa - 2016.pdf: 4318212 bytes, checksum: 068b26d251cc79bde9c837320a2d5b43 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Previous issue date: 2016-12-02<br>Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES<br>This work is related to improvisation in the brazilian ten strings guitar with open tuning (Cebolão), using as a case study and application the rhythm (cateretê) in music Vide Vida Marvada, by Rolando Boldrin. Because I have not yet found specific material for improvisation in this instrument, I have raised questions about the existence and form of this practice. My hypothesis is that, with a method suitable to the instrument and its particularities, which includes the study of scales and arpeggios, the student shortens the way in the realization of different pieces, facilitates the immediate transposition of songs to other tones and fosters basic knowledge to improvise . The objective of this work is to investigate the processes of improvisation for viola, starting from scales, arpeggios and rhythmic / melodic models. The methodology used was to listen and to transcribe elements of the common practice of diverse violeiros and to extract the basic technique for its construction. I started with authors who deal with improvisation in a general way (BENSON, 2003), idiomatics (ALVIN and ASSIS, 2000), and authors dealing specifically with the instrument and the like (VILELA, 2013) . The results were the confirmation of the hypothesis raised and the construction of didactic material for brazilian ten strings guitar with cebolão tuning, besides the evidence that improvisation in the traditional context not only exists, but also in a particular way, more associated with prosody Rhythm, and that the choice of tonality, within the described tuning influences directly in its practice.<br>Esse trabalho diz respeito a improvisação na viola caipira com afinação cebolão, utilizando como estudo de caso e aplicação o cateretê Vide Vida Marvada, de Rolando Boldrin. Por não ter encontrado até a presente data, material específico para improvisação na viola, levantei questões sobre a existência e a forma dessa prática. Minha hipótese é de que, com um método adequado ao instrumento e suas particularidades, que abarque o estudo de escalas e arpejos, o estudante encurta caminho na realização de peças diversas, facilita a transposição imediata de músicas para outros tons e fomenta conhecimento básico para improvisar. O objetivo deste trabalho é investigação dos processos de improvisação para viola, partindo de escalas, arpejos e modelos rítmico/melódicos. A metodologia utilizada foi de ouvir e transcrever elementos da prática comum de violeiros diversos e extrair a técnica básica para a sua construção. Embasei-me em autores que dizem respeito a improvisação de uma maneira geral (BENSON, 2003), idiomatismo (ALVIN e ASSIS, 2000), e autores que tratam especificamente do instrumento viola e afins (VILELA, 2013), (CORRÊA, 2000). Os resultados foram a confirmação da hipótese levantada e a construção de material didático para viola com afinação cebolão, além da evidenciação de que a improvisação no contexto violeiro tradicional não só existe, como é recorrente, entretanto de uma maneira particular, mais associada a prosódia ao ritmo, e que a escolha da tonalidade, dentro da afinação descrita influencia diretamente na sua prática.

碩士<br>國立交通大學<br>音樂研究所<br>91<br>This is an article on Schubert’s Sonata in A minor, Arpeggione. The discussion covers the historical background of the composer, Frank Schubert, and the development and decline of the instrument─Arpeggione. By analizing the music, the author aims to thoroughly understand the entire work and, as a result, to better interpret this piece. It is hoped that after reading this article the readers will gain more understanding on this work.

碩士<br>國立中山大學<br>音樂學系研究所<br>90<br>The arpeggione is an instrument invented and built in1823 by the Viennese instrument maker Johann Georg Staufer. This instrument has the shape of guitar but bowed like a cello, thus it’s called the “guitar violoncello”. During its short life lasted for no more than a decade, we are fortunate there survived an “Arpeggione Sonata, D821” composed by Franz Schubert in 1824. This thesis discusses on the style of this composition and the historical background of arpeggione, with more focus on the interpretation and technique in the arrangement for cello. After arpeggione had vanished from the musical scene, several arrangements for different instruments of this work had published. The Spanish cellist Gasper Cassadó even expanded this work as a cello concerto, which is more suitable for cello playing. From these aspects, we can build up a more insight into this charming piece.

碩士<br>中國文化大學<br>音樂學系西洋音樂組<br>103<br>The essay presents musical analyses and performance interpretations of Schubert’s Sonata in A Minor “Arpeggione”, D. 821. This study consists of five chapters. Chapter 1 is the introduction; Chapter 2 is a brief discussion of Schubert’s compositional style and the compositional background of the Sonata D. 821; Chapter 3 is the analysis of this piece; Chapter 4 discusses issues regarding the performance interpretation, and Chapter 5 is the conclusion.

碩士<br>國立臺南藝術大學<br>音樂學系碩士班<br>106<br>Franz Peter Schubert is one of the most important Arstria composer in earlier 19th century and importance both of German Lieds and instrument pieces. On the other hand, the " Arpeggione Sonata in a minor" was written for Arpeggio in 1824. Furthermore, there was a mound of different arrangements and editors after Arpeggio had been forgotten. The author would like to find a suitable presentation to present this piece by searching and studying of this piece. The essay's project is Arpeggione Sonata in a minor. The author separates the essay into three part, first part describes the time background of Schubert and his life. On the second part, author explains the background behind this piece and introduced the characteristic of Arpeggio. In the final part, author analyses the structure of Arpeggione Sonata after that he compares the piece in two different editions.

碩士<br>國立高雄師範大學<br>音樂學系<br>105<br>Through the ages, adapting works have always been prevalent, including the circulation of string works, the adaption from wind transposition, even styles which are adapted for chamber music or orchestra. However, the limitation of different instruments, the ways of performing, the difference of orchestration, and adaptors’ unique interpretation all make adaptations very different from the originals. This study focuses on analyzing Franz Schubert’s Sonata in A Minor “Arpeggione”, D. 821 which is adapted for the flute and piano. This document first analyzes the composition in the beginning based on the overview of Schubert’s life and creation background, and secondly focuses on the comparison of flute and cello versions, thoroughly analyzing these two instruments’ range limitation of adaption and exploring the different interpretations by wind and string instruments.

Die meerderheid tegniese handboeke skenk baie aandag aan toonlere en arpeggio's. Dit beklemtoon die belangrikheid van die onderwerp. Martin (1993:12, 13) gee 'n goeie verklaring hiervoor: "There is nothing more basic to the piano technique than scales. They provide better preparation for piano playing than any other element of technique ... " Verskeie ander outeurs beklemtoon verdere belangrike aspekte daarvan. Du Plessis (1987:5) skryf dat toonlere en arpeggio's, anders as gewone tegniese oefeninge wat slegs die vingers versterk, onontbeerlik is vir die instandhouding en verbetering van vingerbeweeglikheid en -sinkronisasie. Volgens Last (1980:35) en Sandor (1981 :63) is toonleer- en arpeggio-spel nie alleen nodig om tegniese redes nie, maar ook om vertroud te raak met die toonsoorte en akkoordformasies en die standaardvingersettings daarvan. Verder beskou Hofmann (1976:51) toonlere en arpeggio's as belangrik vir die dissipline van die gehoor ten opsigte van toonaarde en intervalle. Alhoewel daar baie oor die onderwerp geskryf is, is gevind dat geen volledige en eenvoudige uiteensettings van die speelmeganismes betrokke by toonleer- en arpeggio-spel behandel word nie. Volgens Neuhaus (1973:82) is dit noodsaaklik om eers presies te weet h6e om 'n kunswerk te skep voordat dit geskep kan word. Daarna moet die musikale doelwit vasgestel word sodat dit die metode van realisering kan bepaal. Hy beskou hierdie totale proses, nie net die laaste stap nie, as tegniek. Hierdie werkstuk steun op Neuhaus se uitgangspunt. Die hoofprobleem wat ondersoek word is dus watter spesifieke speelmeganismes by toonleer- en arpeggio-spel betrokke is.<br>Werkstuk (Hons BMus)--PU vir CHO

abstract: The legacy of the great double bassist and pedagogue Joseph Prunner (1886-1969) includes his scale and arpeggio exercise book, Progressive Studies for the Double Bass, composed in 1955. Progressive Studies was originally written for Prunner's students at the Bucharest Conservatoire and was not intended for a wide publication. In the work Prunner presents major and harmonic and melodic minor scales that are performed in one octave and then extended diatonically through all their modes, progressing through this pattern for three octaves, followed by a series of arpeggio exercises. These exercises are based on a modernized fingering system and are offered in the traditional positions and in what Prunner called "Fixed-Position" scales. A series of chromatic scale exercises are also included that follow the template of the major and minor scales. The study at hand is a revision and expansion of Prunner's work. The edition presented here intends to preserve the information that Prunner provided, fix the errors made in editing, and expand the study greatly by increasing the range of the exercises, providing more arpeggio exercises, creating melodic and harmonic minor "Fixed-Position" scales and arpeggio exercises, and including the study of double-stops. In support of the revised and updated version of Progressive Studies, this study includes a biography of Joseph Prunner and a summary of the importance of the type of scale and arpeggio practice the collection of exercises supports. An explanation of the revisions made to Prunner's work and recommendations for using the exercises also precede the new edition.<br>Dissertation/Thesis<br>D.M.A. Music 2012

Este Projeto de Intervenção Pedagógica pretende dar a conhecer a utilização de auxiliares didáticos na aquisição e desenvolvimento de habilidades motoras e cinestésicas ao piano, nas escalas e arpejos, e verificar se esta metodologia melhora ou não a aprendizagem dos mesmos. Estas constituem um aspeto técnico de grande importância para qualquer executante, esteja ele a um nível inicial ou superior. Sem o seu estudo diário, dificilmente se atinge a proficiência técnica e a fluidez de performance, requisitos inerentes a todo o pianista. Procura-se, neste projeto, acelerar o processo de mecanização digital e dedilhação, com esperados resultados na performance a nível de sincronização das mãos e dedos e da velocidade. Para este propósito procurou-se averiguar a exequibilidade de papéis coloridos aplicados aos dedos e ao teclado, que sinalizavam a dedilhação a usar nas escalas, bem como se destacou a diferença física/intervalar dos arpejos através dos mesmos auxiliares. Esta intervenção implementou-se em alunos do Conservatório de Música de Coimbra (Pólo da Sertã) do 1º e 2º grau de instrumento (piano) que demonstravam dificuldades nesta matéria. Delineado em 10 sessões, os participantes foram sujeitos a uma avaliação diagnóstica prévia e à avaliação final para assim aferir os seus resultados. Da recolha de dados através da observação participante e dos inquéritos por questionário elaboraram-se conclusões positivas que revelaram a pertinência desta ação para o desenvolvimento técnico das escalas e arpejos.<br>This Pedagogical Intervention Project intends to make known in the acquisition and development of motor and kinesthetic abilities at the piano, in the scales and arpeggios, and to verify if this methodology improves or not the learning of the same ones. These constitute a technical aspect of great importance for any performer, be it at an initial level or higher. Without their daily study, it is difficult to achieve the technical proficiency and fluidity of performance, requirements inherent to the whole pianist. In this project, we aim to accelerate the process of digital mechanization and fingering, with expected results in the performance at the level of synchronization of hands and fingers and speed. For this purpose we tried to verify the feasibility of coulored papers applied to the fingers and the keyboard, which signaled the fingering to be used in the scales, as well as highlighting the physical / interval difference of the arpeggios through the same aids. This intervention was implemented on students of Coimbra (Pole of Sertã) Conservatory of Music of the 1st and 2nd instrument level (piano) who showed difficulties in this matter. Delineated in 10 sessions, the participants were subjected to a previous diagnostic evaluation and the final evaluation in order to ascertain their results. From data collection through participant observation and questionnaire surveys, positive conclusions were drawn which revealed the relevance of this action for the technical development of scales and arpeggios.