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Dissertations / Theses on the topic 'Collaborative music performance'
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Xia, Guangyu. "Expressive Collaborative Music Performance via Machine Learning." Research Showcase @ CMU, 2016. http://repository.cmu.edu/dissertations/784.
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Techniques of Artificial Intelligence and Human-Computer Interaction have empowered computer music systems with the ability to perform with humans via a wide spectrum of applications. However, musical interaction between humans and machines is still far less musical than the interaction between humans since most systems lack any representation or capability of musical expression. This thesis contributes various techniques, especially machine-learning algorithms, to create artificial musicians that perform expressively and collaboratively with humans. The current system focuses on three aspects of expression in human-computer collaborative performance: 1) expressive timing and dynamics, 2) basic improvisation techniques, and 3) facial and body gestures. Timing and dynamics are the two most fundamental aspects of musical expression and also the main focus of this thesis. We model the expression of different musicians as co-evolving time series. Based on this representation, we develop a set of algorithms, including a sophisticated spectral learning method, to discover regularities of expressive musical interaction from rehearsals. Given a learned model, an artificial performer generates its own musical expression by interacting with a human performer given a predefined score. The results show that, with a small number of rehearsals, we can successfully apply machine learning to generate more expressive and human-like collaborative performance than the baseline automatic accompaniment algorithm. This is the first application of spectral learning in the field of music. Besides expressive timing and dynamics, we consider some basic improvisation techniques where musicians have the freedom to interpret pitches and rhythms. We developed a model that trains a different set of parameters for each individual measure and focus on the prediction of the number of chords and the number of notes per chord. Given the model prediction, an improvised score is decoded using nearest-neighbor search, which selects the training example whose parameters are closest to the estimation. Our result shows that our model generates more musical, interactive, and natural collaborative improvisation than a reasonable baseline based on mean estimation. Although not conventionally considered to be “music,” body and facial movements are also important aspects of musical expression. We study body and facial expressions using a humanoid saxophonist robot. We contribute the first algorithm to enable a robot to perform an accompaniment for a musician and react to human performance with gestural and facial expression. The current system uses rule-based performance-motion mapping and separates robot motions into three groups: finger motions, body movements, and eyebrow movements. We also conduct the first subjective evaluation of the joint effect of automatic accompaniment and robot expression. Our result shows robot embodiment and expression enable more musical, interactive, and engaging human-computer collaborative performance.
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Pitkänen, Johanna. "Metsän väki - Forest Dwellers : creating a collaborative, semi-improvised performance that combines music, visual art, dance and performance art." Thesis, Kungl. Musikhögskolan, Institutionen för klassisk musik, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-2121.
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‘Metsän väki - Forest Dwellers’ was my Professional Integration Project (PIP). The project consisted of creating a performance titled ‘Metsän väki’, which was performed on May 9th 2016 in Helsinki, Finland and of writing this thesis. The performance was a collaboration between different artists and it involved music, visual art, dance and performance art. The starting point for creating the performance was my collaboration with sculptor and environmental artist Jenni Tieaho. In addition to traditional instruments, sounding objects were used in creating the music. There were both written and improvised music as well as improvised dance in the performance. The performance took place in a former psychiatric hospital. In the outcomes and conclusion I present my expectations for the performance and describe how those where met. I also examine the role of cross-artistic collaboration in the project. I give examples of my own artistic development as well as my development as a project leader. I also reflect on the relevance of the project to the community. The outcomes are presented through my own reflections and through discussion where I point to literature concerning the differences and similarities between different art forms. The outcomes of the project include audience feedback from the performance. This is presented in the appendices. My conclusion shows that I was also able to create a rich and diverse performance by using simple (low-tech) methods. The performance was inspired by my experiences, interests and background. In my thesis I also show how creating and structuring the ‘Metsän väki’ performance can help me to develop as an artist doing cross-artistic collaboration.Professional Integration Project
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Duby, Marc. "Soundpainting as a system for the collaborative creation of music in performance." Thesis, Pretoria : [s.n.], 2006. http://upetd.up.ac.za/thesis/available/etd-08032007-164326/.
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Harrison, Ryan C. "Resonance: Collaborative Explorations of the Contemporary Percussionist." Ohio University / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1597482410922158.
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Espedal, Ingvill. "Meetings between night and day : Creating a collaborative music performance for children aged 0–3 years." Thesis, Kungl. Musikhögskolan, Institutionen för klassisk musik, 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-1902.
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Møter mellom natt og dag (Meetings between night and day) was my Professional Integration Project (PIP). It was a musical collaborative performance implemented in three kindergartens in the municipality of Fjell, outside of Bergen on the west coast of Norway, between March 17th and March 19th 2015. The target audience for the performance was children aged three years and under. The performance consisted of 10 folk songs from the countries of Norway, Sweden and Malawi. In addition I employed voice improvisation accompanied by small instruments such as djembe, an mbira, a glockenspiel and a rain stick. The performance integrated a visual presentation of pictures taken by photographer Ingvild Festervoll Melien. In the findings I present my relation to the audience, the roles of the adults in the kindergarten, the difference between being a musician and not a teacher in the audience setting, my aspects of time and digital media, how participation and interaction were integrated in the performance, and how the collaboration with photographer Melien functioned, as well as describe my own development in regards to new acquired skills and experiences. The findings are presented through my own reflection, and through discussions where I point to literature concerning perspectives on children and arts. My conclusion shows that I have managed to create a successful musical collaboration performance in terms of developing my own artistry and engaging with the target audience of children between 0-3 years, in a performance especially created and designed for them. It also points to ways for how I can continue developing as an artist making performance for small children, and how these aspects also are transferable to other areas for musical performance.Bilaga: 1 DVD. The artistic practice and performances are documented on a DVD called Professional Integration Project NAIP, Meetings between night and day.
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Nicolls, Sarah Louise. "Interacting with the piano : absorbing technology into piano technique and collaborative composition : the creation of 'performance environments', pieces and a piano." Thesis, Brunel University, 2010. http://bura.brunel.ac.uk/handle/2438/5511.
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This thesis explores the expansion of the piano performance environment, using technology to augment the sound, the playing area of the piano and its surroundings, and/or the performer's own body in controlling electronic elements of the music. In particular I examine the extension of piano technique and how this is affected by adding technology. I also discuss collaborative compositional processes in creating co-authored musical works and have given a critical appraisal of the different technological systems used in all of these pieces. I have also introduced ideas about developing the structure of the piano to better suit contemporary techniques and the addition of technological elements in piano playing. These ideas are represented by my own "Inside-out Piano", illustrated within the thesis. Throughout this work many new pieces for piano and live electronics have been generated and I hope these may also be useful as a resource for other pianists exploring their own interactions with the piano.
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Nowlain, Kristine. "Collaborative Storytelling through Contemporary Composition : Examining participation in the creation and performance of meaningful works through Judith Weir’s woman.life.song." Thesis, Kungl. Musikhögskolan, Institutionen för klassisk musik, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-2791.
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Through examining Judith Weir’s woman.life.song (2000), the work presented in this written reflection is centered on the power of collaboration and context to create meaningful art and music that express important and often underrepresented experiences. Through a musical and sociological analysis of this piece, it is examined how the personal is political and how the creation of music and art are therefore inherently political projects. This paper argues that musicians have a responsibility to consciously select our repertoire: a conscience based upon an understanding of intersectionality. Such consciousness must take into account structures of sexism and racism, which positions music in its socio-political context and actively challenges the concept of “quality” as it is constructed in the art music canon. Placing the composer and authors within their broader socio-political contexts, it is argued that lifting pieces such woman.life.song are important contributions of a musician’s participation in music. This paper draws upon work in sociology that centers on identity to examine how structures of power impact the voices that are heard and that are represented in the musical canon.Kristine Nowlain, sopran
Gustave Charpentier (1860-1956)
Depuis le jour
Ur Louise(Louise)
Libretto av G. Charpentier
Albert Dahllöf, piano
Mario Castelnuovo-Tedesco (1895-1968)
The Divan of Moses-Ibn-Ezra
1. When the morning of life has passed
2. The dove that nests in the tree-top
3. Wrung with anguish
Text av Moses-Ibn-Ezra (1058-1138)
Gustav Sondén, gitarr
Heitor Villa-Lobos (1887-1959)
Bachianas Brasileiras, no. 5 (Aria)
Text av Ruth V. Corrêa
Gustav Sondén, gitarr
Åke Uddén (1903-1987)
Tre sånger ur ”Les Chanson de Bilitis”
1. Tendresses
3. Chanson
Text av Pierre Louÿs (1870-1925)
Johanna Johnsson, piano
Gösta Nyström (1890-1966)
På Reveln
3. Havet Sjunger
Text av Ebba Lindqvist (1908-1995)
Johanna Johnsson, piano
Rebecca Clarke (1886-1979)
The Seal Man
Text ur A Mainsail Haul av John Masefield (1878-1967)
Albert Dahllöf, piano
W.A. Mozart (1756-1791)
Ach, ich Fühl’s
Ur Die Zauberflöte(Pamina)
Libretto av Emanuel Schikaneder (1751-1812)
KMH Kammarorkester
Judith Weir (f. 1954)
woman.life.song
1c. Edge (text av Toni Morrison, f. 1931)
2. Eve Remembering (text av Toni Morrison)
3b. The Mothership: when a good mother sails from this world (Stave II) – (text av Clarissa Pinkola Estés, f. 1945)
KMH Kammarorkester:
Sofia Winiarski, dirigent
Albert Dahllöf, piano
Andreas Nyström, slagverk
Astrid le Clercq, klarinett
Catrin Spångberg Johansson, altflöjt
Enno Leggedör, viola
Gustav Wetterbrandt, basklarinett
Henrik Wassenius, slagverk
Hugo Olsson, klarinett
Isabel Godau, violin
Johanna Moraeus, violin
Kajsa Nilsson, flöjt
Klara Källström, cello
Miia Roiko-Jokela, flöjt
Miriam Liljefors, harpa
Moa Nissfolk, gitarr
Ragnhild Kvist, viola
Simon Landqvist, slagverk
Svante Söderqvist, kontrabas
Viktoria Hillerud, cello
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Buckley, Morgan. "Creative performer agency in the collaborative compositional process." Thesis, University of Cambridge, 2018. https://www.repository.cam.ac.uk/handle/1810/278870.
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The early-twentieth-century culture in western art music of idolizing the composer as the autonomous creative genius has been challenged by recent developments across musicology and creativity research literature. The composer’s music is now regarded as the product of a collaborative network, influenced by all who come into contact with it—first and foremost the performer. Yet, the nature of the performer’s creative impact on the compositional process remains under-explored. This thesis is centred on a qualitative artistic research project, designed to identify and critically evaluate the prospective extent and scope of creative performer agency; it aims to ascertain how a typical lack of familiarity with the instrument may affect the composer’s creative practice, and to reveal key factors that shape the nature and the consequences of composer-performer interaction and collaboration. It proceeds by commissioning new works for guitar from a range of composers for different performers, and by documenting and analysing the processes of collaboration that result. This research agenda challenges the perception of distinct creative roles that remains resilient in present-day cultural understandings and discourse. The findings are intended to broaden understanding of contemporary collaborative practices in the compositional process for the guitar and generalize to the guitar repertoire of the long twentieth century, during which the majority of substantial works were composed in collaboration. The thesis also contributes to a developing and generalizable framework of practice-led research literature that analyses music-making by recognizing the multiple loci and their interactions that underpin all aspects of the creative processes. Chapter 1 discusses the establishment of the creative hegemony of the composer and its opposing currents across disciplines from the late romantic period to the late twentieth century. Chapter 2 comprises an indicative chronology of select collaborations in the long twentieth-century guitar repertoire and an overview of relevant practice-led research projects in performance studies. Ethnographic methodologies are reviewed in Chapter 3 and the fieldwork commissions are analysed in Chapters 4 and 5. Finally, Chapter 6 comprises an evaluation of the performer’s creative agency and its significance when placed in broader frameworks of contemporary guitar practices, contemporary composition across instrumentations, generalizing to historical guitar collaboration and its implications for creativity research.
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McElhaney, Carla Budzian. "The saxophone and piano version of Ingolf Dahl's Concerto for alto saxophone : a guide to performance for the collaborative pianist /." Digital version accessible at:, 1998. http://wwwlib.umi.com/cr/utexas/main.
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Ernst, Erinn Kelley Thompson 1980. "A Collaborative, Site-Specific Dance Performance for Alton Baker Park in Eugene, Oregon: Focus on Community Building for Participating Artists Through the Concepts of Space and Time." Thesis, University of Oregon, 2011. http://hdl.handle.net/1794/11481.
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viii, 77 p. : ill.The focus of this study was a free site-specific dance and music performance for the general public in Alton Baker Park (Eugene, Oregon), designed to enhance public engagement with the park and with dance. Collaborative processes with participating dancers, composers, and musicians fostered community building between the artists. Informing literature covers the impact of site-specific dance performances on communities, choreographic methodology, the history of site-specific artwork, the impact on, and consideration of, the audience in site-specific projects, and collaboration in the arts. Consideration of the surrounding community and the inherent political nature of site-specific work directly influenced every decision throughout the process. Themes emerged from the focus on building community, engaging the patrons with the site, and investigating process. Themes include the Culminating Performance, Common Values, Collaboration, Audience, Process, Journaling and Research, and a Final Summary. Reflection on the process reveals insights and suggestions for future endeavors.
Committee in charge: Dr. Jenifer P. Craig, Chairperson; Christian Cherry, Member; Walter Kennedy, Member
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Williams, James Benjamin. "Analytical explorations of creative interaction and collaborative process through composition, rehearsal and performance : a composer-composer case study of acoustic music with live electronics." Thesis, University of Wolverhampton, 2017. http://hdl.handle.net/2436/620604.
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This thesis explores both the creative process and the creative product behind a unique and complex collaboration between two composers, called Endings (2012): firstly Jeremy Peyton Jones and secondly Kaffe Matthews. It interrogates the behavioural aspects and negotiations between the two composers in the compositional and rehearsal processes, in the run-up to three performances. Using ethnomusicological methodologies towards data collection (rehearsal recordings, interviews, studio work) and analysis (discourse in compositional discussion, rehearsal), the thesis offers new understandings on collaboration, specifically the fluidity and complexity of the interaction between composers who work in two very different ways: Peyton Jones, who composes with scored, conventional notation, rehearsing with his ensemble Regular Music II; and Matthews, who works improvisationally with live electronics and electroacoustics, both with her surrounding sonic material and pre-existing samples. The thesis finds two core important conclusions, which contribute to our current knowledge and understanding of music and collaboration. Firstly, pre-existing models of collaboration segregate behaviours into ‘types’. Endings offers an example where such types cannot always be applied so exclusively. And secondly, collaboration in the rehearsal of Endings contradicts conventional rehearsal models which state talking should be kept to a minimum. The majority of the collaborative process between Peyton Jones and Matthews rests heavily on conversation.
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Bidgood, Lee. "Collaboration, Fieldwork, and Film." Digital Commons @ East Tennessee State University, 2015. https://dc.etsu.edu/etsu-works/1039.
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Excerpt: I never imagined that I would help produce a documentary film based on my ethnographic fieldwork. Meeting documentary filmmaker Shara Lange during new faculty orientation at the university where we were both newly hired eventually led to our film Banjo Romantika (2013)—a full-length feature based on my research on bluegrass music in the Czech Republic, in which I play a key role as writer, producer, and on-screen character. Taking part in this film project has led me to consider how film enriches relationships with field colleagues, providing new opportunities for teaching and learning. I find that collaborations like ours can reframe and extend ethnomusicological work in productive ways.
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McKinney, Chad. "Collaboration and embodiment in networked music interfaces for live performance." Thesis, University of Sussex, 2016. http://sro.sussex.ac.uk/id/eprint/65244/.
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Research regarding liveness and embodiment in electronic music has tended to explore the relationship of bodies and instruments, audience perception, interfaces, and shifting definitions, less theoretical and empirical study has considered network situations, perhaps given their relative cultural novelty. Network music has seen many advances since the time of the Telharmonium, including the invention of the personal computer and the widespread proliferation of internet connectivity. These advances have fostered a unique approach to live electronic music that facilitates collaboration in a field where solo performance is perhaps more common. This thesis explores the design of network music interfaces, and how those interfaces mediate collaborations. Three new network music system interfaces, each using different a different paradigm for interface design are presented in this study. One an instrument for creating modular feedback lattices. Another is a three dimensional virtual pattern sequencer. And the last is a web based collaborative live coding language. Accompanying each system is an evaluation using quantitative and qualitative analysis to frame these instruments in a larger context regarding network music. The results highlight important themes concerning the design of networked interfaces, and the attitudes of musicians regarding networked collaborations.
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Kossen-Veenhuis, Tomke Helga Marie Folkerts. "'The great thing about collaboration is that it never is perfect' : an ethnography of music and dance collaborations in progress." Thesis, University of Edinburgh, 2017. http://hdl.handle.net/1842/25685.
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‘Art worlds’ (Becker 1982) tend to be treated as autonomous spheres but there have always been artistic enterprises that combine different art forms. Contemporary dance theatre is an example of such an intersection: the collaboration between music and dance worlds requires a network of different kinds of artists to produce a coherent artwork. This PhD research investigated the social interrelations of musicians and dancers and the development processes in a collaborative music-dance production. The artists are part of a multi-component network where all parties ideally need to cooperate closely in order to present a coherent artistic performance. In this context music and dance are codependent and an intrinsic understanding among the artists is expected. However, this is not inherent to all participants and projects. For artists from more than one discipline to make a coherent artwork means to challenge the conventional characteristics of their own art worlds (Cope 1976; Becker 1982). Otherwise barriers in communication and behaviour develop rapidly and irreparably. This study sought to understand the development of new music and dance productions and the involvement of their participants in a systematic way. This led to the investigation of cross-disciplinary communication, hierarchies and creative approaches. The research is based on two case studies, the ethnographies of work in progress of dance companies, using observation and interviews as the main methodology. The systematic study of the processes during collaborative work uncovered hindrances including limitations in the financial budget, committed production time and physical requirements of the artists and how those have been handled when approaching these projects. This study also defined differing expectations towards collaboration, varying listening approaches of musicians and dancers to music and differences in performance practice as challenges of the process. The overall aim was to provide new insights into the process of producing collaborative art works, improve the planning and execution of them and connect the academic fields of music and dance.
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Lüneburg, Barbara. "A holistic view of the creative potential of performance practice in contemporary music." Thesis, Brunel University, 2013. http://bura.brunel.ac.uk/handle/2438/7512.
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The creative potential and work of the performer in new music extends from the moment of conceptualising a concert to the moment of presenting it on stage and comprises many areas between and around those two points. In this thesis I explore the nature of this activity, from the act of playing itself to the commissioning and creating of new pieces, curatorial and collaborative tasks, and the actual concert presentation. I deliberately include interrelations between performer and music promoters, composers and the audience. This leads me to further areas of investigation, namely the question of the performer’s leadership, the charismatic bond with the audience and the creation of what I call “concert aura”. I do not strive to offer all-purpose formulae for the “perfect concert” or for the ideal collaboration. I investigate performance practice not as an absolute art but rather as something embedded in and shaped by social relations and society. Accordingly I understand this thesis as an empirically based study of the questions performers could ask, as well as processes in which they might want to engage, to find meaningful solutions for each new situation. Not all of the questions I raise will be new to each performer, but in their collaborative and concert practice many performers rely on a random, unsystematic, empirical understanding that has been gained by chance. In contrast, I attempt to draw a theoretical basis for my investigation from the fields of psychology, philosophy, media science and sociology, together with the evaluation of my own and other artists’ performance practice. In this way I hope to develop an academic foundation and a comprehensive, systematic approach that can be applied to different collaboration and concert situations. Part 1 of my thesis is concerned with theories and concepts relating to creativity, collaboration and presentation (concert aura and charisma) and aims to establish a firm theoretical basis for application in practice. Part 2 presents, discusses and analyses a selection of case studies from my own practice, considered in relation to the theories discussed in the first part. I conclude by offering guidelines to collaboration and giving a model example of how one might plan a future performance, aiming to create a Gesamtkunstwerk through the totality of the preparation and presentation, its social and psychological connotations. The thesis includes two DVDs with Quicktime Movies and two CDs with recordings of the compositions, commissioned as part of this research and discussed throughout the thesis. The Appendix contains three sample-CDs with an accompanying commentary which give an introduction to contemporary playing techniques for the acoustic and electronic violin and acoustic viola. This CD is intended as a guide for composers to get acquainted with the instruments and was given to each composer involved in this research.
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Payne, Emily. "The creative process in performance : a study of clarinettists." Thesis, University of Oxford, 2015. https://ora.ox.ac.uk/objects/uuid:652aa4a1-347b-41e2-8ba3-a71eee9c3e5a.
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This thesis examines creativity in performance through the study of the performance practices of professional clarinettists. Creativity research has tended to emphasise the innovative, revelatory qualities of the creative process, rather than the more pragmatic activities related to notated performance. This corresponds to a tension between the perceived creative opportunities of improvisation and notated music, and has resulted in a discourse that associates improvisation with spontaneity and novelty, and notated performance with repetition and reproduction. How might this discourse be challenged? Through a series of case studies documenting clarinettists working in a variety of collaborative settings, I examine how performers' constructions of creativity might complement or challenge the perceived creative affordances of notated music, and how the presence of, and/or collaboration with a living composer affects the creative process. A broadly ethnographic methodology is employed, drawing on thematic analysis of qualitative data obtained through semi-structured interviews with musicians, and audio-visual footage of workshops, rehearsals and performances. Conceptually, the thesis adopts an ecological perspective (Ingold 2011; Clarke, Doffman, and Lim 2013), proposing that creativity is a distributed phenomenon, entangled within a complex interweaving of social, material, and historical influences. It draws on work by Richard Sennett (2008) and Tim Ingold (2013) on craft and material engagement, suggesting that the interaction between a practitioner and a tradition entails a synthesis of action, perception and prior experience. I argue that this orientation is useful for developing an analytical framework that accounts for the dimensions of performance that might otherwise be taken for granted. The research offers insights into the performance practices of contemporary concert musics - a line of inquiry that remains largely unaddressed. More broadly, it makes room for a more forward-looking model of creativity based on processes rather than outcomes, and one that better appreciates the fluid pathways between performers and scores.
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Fronckowiak, Ann. "The oboe concerto of John Harbison a guide to analysis, performance, and the collaboration with oboist, William Bennett /." Columbus, Ohio : Ohio State University, 2006. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1162787010.
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Toth, A. M. "A contemporary voice for the female protagonist : an exploration of the collaborative creative process : the development and synthesis of vocal techniques in the realisation of premiere music performances." Thesis, University of Salford, 2016. http://usir.salford.ac.uk/37855/.
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It is vital to increase the body of work where the female character acts as protagonist, rather than the foil for the masculine “norm” (McClary 1991). It is the intention of this candidature to present performances of several new music works that focus on the experience of the female character and voice through the synthesis of contemporary vocal and folk music practice, as well as the embodiment of the female protagonist on stage. The core of the presented thesis consists of a portfolio of a number of contrasting works that feature the female protagonist exploring her experience in their own way; themes include vocalised emotion, the presentation of the female body and character, gender stereotypes and archetypes, as well as roles, relationships and power. It researches a variety of collaborative composer/librettist/performer methodologies for the development of fully-human female characters onstage, which make use of a range of acting, dance and voice qualities. These vocal qualities and techniques are developed, hybridised and re-contextualised from a broad range of styles to include Classical / Contemporary, chest/Folk-style singing / vocalisations (Greek Amannes and Miroloi and Hungarian folk singing), and build upon Extended Vocal Techniques developed by various practitioners. The project draws upon fifteen years of experience as a professional singer-actor-dancer performing in a wealth of exciting projects as commissioner and collaborator using a wide range of vocal styles from Opera, Contemporary Classical, to Folk, Jazz and other Popular styles. My vision, with musical, textual, and performative input, guides collaborators in a joint exploration; stimuli include a variety of musical forms / structures, vocal techniques and textual treatment of themes, as well as visual stimuli and performance elements, like costume, set, and properties. The portfolio also includes existing works that are collaborative in the rehearsal process, with varying degrees of input from collaborators. The work takes the perspective of the performer as co-creator of on-stage female characters, using libretto, music and my own responses to theatrical elements. The creation on stage of a female protagonist must involve the personal emotional connection of the performer.
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Bogle, James Michael. "Gunther Schuller and John Swallow: Collaboration, Composition, and Performance Practice in Eine Kleine Posaunenmusik, with Three Recitals of Selected Works by Berio, Bogle, Gregson, Pryor, Suderburg and Others." Thesis, University of North Texas, 2000. https://digital.library.unt.edu/ark:/67531/metadc2479/.
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Gunther Schuller is credited with coining the term Third Stream, meaning compositions where twentieth-century art music forms exist simultaneously with jazz. Furthermore, Schuller specifically states in the liner notes to the debut recording of Eine Kleine Posaunenmusik "The work is not a Third Stream piece." Yet the concerto alludes to jazz through a multitude of slide glissandi and plunger mute effects, Solotone mute passages, specific references to the jazz trombone styles of Tommy Dorsey and Lawrence Brown, musical quoting or indirect reference, and the use of a walking bass line in Movement V, Finale. What makes one piece Third Stream and another simply a modern composition with jazz implications? Is Third Stream primarily a compositional designation or a performance practice stipulation? How does a celebrated trombone soloist inspire and collaborate with a distinguished composer in the creation of a major work? The somewhat conspicuous title, Eine Kleine Posaunenmusik, seems to point towards Mozart's famous string serenade Eine Kleine Nachtmusik. What connection to Mozart, if any, does Schuller's title suggest? All of these questions are elucidated in this study through careful investigation and research of Gunther Schuller's Eine Kleine Posaunenmusik. New interviews with John Swallow and Gunther Schuller are included.
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(9783449), Judith Brown. "Flow in collaborative music performance: An autoethnographic study of the phenomenon of flow for a piano accompanist." Thesis, 2011. https://figshare.com/articles/thesis/Flow_in_collaborative_music_performance_An_autoethnographic_study_of_the_phenomenon_of_flow_for_a_piano_accompanist/13461587.
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"The purpose of this dissertation is to explore the phenomenon flow during collaborative performance as a piano accompanist ... The research design for this study uses autoethnography, an autobiographical genre that connects with personal to the cultural, social and political and, by writing in the first person, allows me to reflect on the experience of flow from an intimate view-point."--Abstract.
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Modaff, Jessica Lynne. "Libby Larsen's The Birth Project: a sociological contextualization, analysis, and approach to performance interpretation." Thesis, 2019. https://hdl.handle.net/2144/36042.
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Libby Larsen’s The Birth Project (2015) is a groundbreaking song cycle which centers around pregnancy and childbirth. Until this song cycle, no art song had dealt with this topic in first-person narrative. This is surprising, given the total fertility rate of about 2.5 children per woman. After a brief biographical background of Libby Larsen and her output, the sociological implications of such a song cycle in the canon of music is explored. The topic is contextualized among other art forms, modern and ancient, showing that art song is the only place where such a dearth in pregnancy and childbirth stories exist. The texts are explored fully: author biographies, text sources, meaning, and Larsen’s text settings. An analysis of Larsen’s compositional features within the cycle is then presented, connecting text meaning to the theoretical elements in the music. An interview with Libby Larsen offers unique insight into the project’s genesis. This interview, combined with the author’s contributions, unite to form a guide to interpretation in order to assist performers as they prepare the work.
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Martin, Charles. "Mobile Computer Music for Percussionists." Thesis, 2012. http://urn.kb.se/resolve?urn=urn:nbn:se:ltu:diva-43659.
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This thesis traces the development of a number of mobile computer music systems and their use in ensemble percussion performances. The research is motivated by the challenges of working with laptop based computer music systems in ensemble situations. The aims were to develop elegant, portable, and flexible computer music tools, to make these tools accessible to other percussionists, and to discover the opportunities that they enable in performance practice.These aims have been explored through three musical projects for percussion and Apple's iOS devices: Nordlig Vinter, a suite of duo compositions; and two collaborative works, 3p3p and Snow Music developed together with two other percussionists.Articulated from a performer's perspective, this artistic research examines a number of software frameworks for developing mobile computer music applications. The development, rehearsal process and performances of the musical projects have been documented with video and audio recordings.An ethnographic investigation of this data has given insight into the limitations and affordances of mobile computer music devices in a variety of performance contexts. All of the projects implemented elegant computer music setups and the limited visual interfaces of the mobile devices demanded simple but clear interface design. In Snow Music in particular, "percussive" interaction with the mobile devices along with an improvised performance practice contributed to a collaborative development cycle. This process revealed some of the limits of expression with the computer sounds used and led to a very successful series of performance outcomes.Validerat; 20120614 (anonymous)
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"Guillaume Lekeu's Sonata for Piano and Violin: A Performance Guide." Doctoral diss., 2018. http://hdl.handle.net/2286/R.I.49157.
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abstract: This research paper examines Guillaume Lekeu's Sonata for Piano and Violin (1892) from the perspective of a collaborative pianist, providing historical background, an analysis of the work's musical structure, and performance practice insights. Each chapter offers the performer a deeper understanding of various aspects concerning the work, including an in-depth analysis of cyclical features used by Lekeu.
Lekeu was strongly influenced by his teacher, César Franck, and in particular by Franck's use of cyclic techniques, which profoundly impacted Lekeu's Sonata for Piano and Violin. The cyclic treatment, which includes cyclic themes, cyclic motives, and non-cyclic themes is discussed, enabling performers to achieve a relevant structural approach to this work. A performance guide includes practical advice for the interpretation and performance of the work, along with piano pedaling suggestions. The integration of these aspects enables a pianist to gain a better understanding and appreciation of Lekeu's Sonata for Piano and Violin.Dissertation/Thesis
Doctoral Dissertation Music 2018
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Martin, Charles Patrick. "Apps, Agents, and Improvisation: Ensemble Interaction with Touch-Screen Digital Musical Instruments." Phd thesis, 2016. http://hdl.handle.net/1885/101786.
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This thesis concerns the making and performing of music with new
digital musical instruments (DMIs) designed for ensemble
performance. While computer music has advanced to the point where
a huge variety of digital instruments are common in educational,
recreational, and professional music-making, these instruments
rarely seek to enhance the ensemble context in which they are
used. Interaction models that map individual gestures to sound
have been previously studied, but the interactions of ensembles
within these models are not well understood. In this research,
new ensemble-focussed instruments have been designed and deployed
in an ongoing artistic practice. These instruments have also been
evaluated to find out whether, and if so how, they affect the
ensembles and music that is made with them.
Throughout this thesis, six ensemble-focussed DMIs are introduced
for mobile touch-screen computers. A series of improvised
rehearsals and performances leads to the identification of a
vocabulary of continuous performative touch-gestures and a system
for tracking these collaborative performances in real time using
tools from machine learning. The tracking system is posed as an
intelligent agent that can continually analyse the gestural
states of performers, and trigger a response in the performers'
user interfaces at appropriate moments. The hypothesis is that
the agent interaction and UI response can enhance improvised
performances, allowing performers to better explore creative
interactions with each other, produce better music, and have a
more enjoyable experience.
Two formal studies are described where participants rate their
perceptions of improvised performances with a variety of designs
for agent-app interaction. The first, with three expert
performers, informed refinements for a set of apps. The most
successful interface was redesigned and investigated further in a
second study with 16 non-expert participants. In the final
interface, each performer freely improvised with a limited number
of notes; at moments of peak gestural change, the agent presented
users with the opportunity to try different notes. This interface
is shown to produce performances that are longer, as well as
demonstrate improved perceptions of musical structure, group
interaction, enjoyment and overall quality.
Overall, this research examined ensemble DMI performance in
unprecedented scope and detail, with more than 150 interaction
sessions recorded. Informed by the results of lab and field
studies using quantitative and qualitative methods, four
generations of ensemble-focussed interface have been developed
and refined. The results of the most recent studies assure us
that the intelligent agent interaction does enhance improvised
performances.
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"Musical Theatre Collaboration: Finding the Right "Keys" to Unlock the Performance Door." Doctoral diss., 2016. http://hdl.handle.net/2286/R.I.38599.
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abstract: The piano-vocal scores of musical theatre songs often contain simplistic and uninspired piano writing. Characteristically, the scores have right-hand figuration that doubles the voice line, restricting the singer from having the rhythmic and melodic freedom that is an essential component of the style. In addition, the piano-vocal scores have shallow bass lines and thin textures, making it difficult for the pianist to offer the support and expression that the music deserves. Editors may choose this writing style to make the score pianistically accessible for voice teachers accompanying their students, or to provide melodic assistance for less experienced singers. Conductor-vocal scores do exist and more closely resemble what an orchestra might play, but they are expensive, at times only available as rental scores, or highly inconvenient to locate. Therefore, I have designed twelve techniques to enhance piano-vocal scores, and will demonstrate those techniques through seven songs selected from the canon of musical theatre repertoire. The project is intended to be a teaching tool for advanced collaborative pianists working with advanced musical theatre singers, as many of the techniques create virtuosic piano writing and are designed for use with little to no prior rehearsal, which could potentially distract, rather than benefit, a beginning singer. The ultimate aim of enhancing the piano-vocal score is for the finished product to be creative and inspiring. Further objectives include: the creation of orchestral textures, allowing the singer more freedom, the creation of a piano part that is technically rewarding, and piano writing that inspires the singer. Through my descriptions of the techniques and discussions of the piano-vocal score enhancements, I hope to demonstrate that the singer, pianist, and audience all benefit when collaborative pianists enhance the piano-vocal score of musical theater repertoire.Dissertation/Thesis
Doctoral Dissertation Music 2016
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Hron, Teresa (Terri). "Composing idiomatically for specific performers : collaboration in the creation of electroacoustic music." Thèse, 2015. http://hdl.handle.net/1866/12313.
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Cette thèse examine l'impact de la collaboration avec des instrumentistes particuliers sur la composition de quatre œuvres électroacoustiques. Assumant un rôle plus important que celui de consultant ou conseiller, les interprètes ont influencé les décisions de l'auteur / compositeur dans le cadre de multiples ateliers et d'enregistrements de ceux-ci. Cette thèse examine ainsi comment les outils médiatiques de la musique électroacoustique affectent et enrichissent les relations personnelles : ces outils favorisent la transcription et la traduction, qui à la fois soulignent et transforment la spécificité du son. Le dialogue de la collaboration permet par la suite non seulement une réconciliation plus facile entre les éléments médiatisés et directs dans une oeuvre, mais aussi l'ouverture de son potentiel d'interprétation.
En se servant d'une méthodologie qui fait appel à une pratique d'auto-réflexion et récursivité, cette thèse explore des sujets tels que : l'analyse du style personnel dans un cadre linguistique; l'importance du contact physique dans la collaboration et sa traduction incomplète sur support; et les défis de la préservation de la musique électroacoustique pour média ou interprète particulier. Des exemples de la création collaborative de quatre œuvres, racontés de manière personnelle, sont tressés parmi le récit plus théorique de cette thèse, imitant le va-et-vient de la recherche-création.This dissertation examines the impact of collaboration with specific instrumental performers on the composition of four electroacoustic works. Acting as more than consultants or advisors, the performers influenced the author/composer's decision-making in multiple workshop situations and in the recordings of these meetings. This dissertation thus examines the ways in which the media tools of electroacoustic music affect and extend personal relationships: these tools encourage transcription and translation, activities that highlight and transform specificity. The dialogue of collaboration subsequently not only allows for an easier reconciliation between mediatized and live elements within a work, but also to an opening out of its interpretive potential. Using a methodology that involves recursive and self-reflexive practice, this dissertation explores topics such as: the analysis of personal style in the framework of language; the importance of eye-to-eye, physical contact in collaboration and its incomplete translation onto media; and the challenges of preserving performer- and media-specific electroacoustic music. Examples from the collaborative creation of four works, acting as personal accounts, are braided into the more theoretical narrative of this dissertation, reflecting mimetically the to and fro of research-creation.
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"Building Bridges through Music: A Recording and Performance Collaboration with Adult Composers, Young Soloists, and Collegiate Band Accompaniment." Doctoral diss., 2018. http://hdl.handle.net/2286/R.I.49133.
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abstract: Although music is regarded as a universal language, it is rare to find musicians of different ages, ability levels, and backgrounds interacting with each other in collaborative performances. There is a dearth of mixed-ability-level wind band and string orchestra repertoire, and the few pieces that exist fail to celebrate the talents of the youngest and least-experienced performers. Composers writing music for school-age ensembles have also been excluded from the collaborative process, rarely communicating with the young musicians for whom they are writing.
This project introduced twenty-nine compositions into the wind band and string orchestra repertoire via a collaboration that engaged multiple constituencies. Students of wind and string instruments from Phoenix’s El Sistema-inspired Harmony Project and the Tijuana-based Niños de La Guadalupana Villa Del Campo worked together with students at Arizona State University and composers from Canada, Finland, and across the United States to learn and record concertos for novice-level soloists with intermediate-level accompaniment ensembles.
This project was influenced by the intergenerational ensembles common in Finnish music institutes. The author provides a document which includes a survey of the existing concerto repertoire for wind bands and previous intergenerational and multicultural studies in the field of music. The author then presents each of the mixed-ability concertos created and recorded in this project and offers biographical information on the composers. Finally, the author reflects upon qualitative surveys completed by the project’s participants.
Most the new concertos are available to the public. This music can be useful in the development and implementation of similar collaborations of musicians of all ages and abilities.Dissertation/Thesis
Doctoral Dissertation Music 2018
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Langevin-Tétrault, Alexis. "Corporalité en performance électroacoustique : une approche." Thesis, 2019. http://hdl.handle.net/1866/24860.
Full textAbstract:
Mémoire en recherche-créationCe mémoire de maîtrise synthétise la démarche de recherche qui a mené à la création des œuvres audiovisuelles Interférences (String Network), DATANOISE et Pharmacologie, ainsi qu’à deux études de musique fixée. Ce texte propose une réflexion sur les possibilités d’utilisation des technologies numériques en temps réel, dans un contexte de performance électroacoustique. Il vise à développer des stratégies afin de pouvoir interpréter et incarner physiquement les musiques numériques. Les notions de risque, de collaboration et de symbolique en musique sont abordées. Ce mémoire défend la création de dispositifs audiovisuels spécifiques comme élément constituant de l’œuvre artistique. Il tend vers une corporalité de l’œuvre électroacoustique, par la recherche d’adéquation entre la nature des outils utilisés, l’attitude corporelle de l’interprète, la symbolique des éléments visibles, et le contenu de la composition musicale.
This Master’s thesis summarizes the the research process that led to the creation of audiovisual works Interférences (String Network), DATANOISE and Pharmacologie, as well as two studies of fixed music. This text proposes a reflection on the possibilities of using digital technologies in real time, in a context of electroacoustic performance. It aims to develop strategies to perform and embody digital music. The notions of risk, collaboration and symbolism in music are discussed. This thesis defends the creation of specific audiovisual devices as constituent element of the artistic work. It tends towards a corporality of the electroacoustic work, by the search of adequacy between the nature of the tools used, the bodily attitude of the interpreter, the symbolism of the visible elements, and the content of the musical composition.