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Dissertations / Theses on the topic 'Dissonance (Music) Music'
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Whitcomb, Benjamin Dwight. "The coincidence theory of consonance : a re-evaluation based on modern scientific evidence /." Digital version accessible at:, 1999. http://wwwlib.umi.com/cr/utexas/main.
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Kane, Mike. "A consideration of modes of dissonance in 20th-century music." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2000. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp01/MQ59180.pdf.
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Bravo, Fernando. "Human emotion processing through the systematic control of musical dissonance in audiovisual paradigms." Thesis, University of Cambridge, 2015. https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.708589.
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Fritz, Thomas. "Emotion investigated with music of variable valence : neurophysiology and cultural influence." Phd thesis, Universität Potsdam, 2008. http://opus.kobv.de/ubp/volltexte/2009/2911/.
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Music is a powerful and reliable means to stimulate the percept of both intense pleasantness and unpleasantness in the perceiver. However, everyone’s social experiences with music suggest that the same music piece may elicit a very different valence percept in different individuals. A comparison of music from different historical periods suggests that enculturation modulates the valence percept of intervals and harmonies, and thus possibly also of relatively basic feature extraction processes. Strikingly, it is still largely unknown how much the valence percept is dependent on physical properties of the stimulus and thus mediated by a universal perceptual mechanism, and how much it is dependent on cultural imprinting.
The current thesis investigates the neurophysiology of the valence percept, and the modulating influence of culture on several distinguishable sub-processes of music processing, so-called functional modules of music processing, engaged in the mediation of the valence percept.Musik eignet sich besonders gut, um sowohl intensive Angenehmheit/Lust und Unangenehmheit/Unlust (siehe auch Wundt, 1896), so genannte Valenzperzepte, im Zuhörer hervorzurufen. Jedoch kann derselbe musikalische Stimulus sehr unterschiedliche Valenzperzepte in verschiedenen Zuhörern hervorrufen, was nahe legt, dass das durch Musik vermittelte Valenzperzept zumindest teilweise durch kulturelle Prägung moduliert wird. Ein Vergleich von Musik verschiedener historischer Perioden legt ebenfalls nahe, dass kulturelle Prägung das Valenzperzept des Hörers bei der Wahrnehmung von Intervallen und Harmonien moduliert. Wichtigerweise ist es nach wie vor weitgehend unbekannt, inwiefern das Valenzperzept von physikalischen Eigenschaften des Stimulus (z.B. Rauhigkeit) abhängt - und daher auf einem universellen perzeptiven Mechanismus basiert - oder wie sehr es abhängt von kultureller Prägung. Die vorliegende Dissertation untersucht die Neurophysiologie des Valenzperzepts, sowie den modulierenden Einfluss von Kultur auf mehrere funktionelle Module der Musikwahrnehmung (voneinander unterscheidbare Subprozesse der Musikwahrnehmung), die bei der Entstehung des Valenzperzepts beteiligt sind.
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Kalant, Amelia. "The politics of dissonance : a criticism of Theodor Adorno's theory of music." Thesis, McGill University, 1989. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=61828.
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Bhogal, Gurminder Kaur. "Arabesque and metric dissonance in the music of Maurice Ravel (1905-1914) /." Ann Arbor (Mich.) : UMI, 2005. http://catalogue.bnf.fr/ark:/12148/cb400345384.
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Clement, Brett G. "A Study of the Instrumental Music of Frank Zappa." University of Cincinnati / OhioLINK, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1248708091.
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Bosworth, William Thomas. "Accentual counterpoint and metrical narrative in the music of Brahms." Thesis, University of Cambridge, 2018. https://www.repository.cam.ac.uk/handle/1810/283616.
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This thesis introduces a web of concepts to analyse Brahmsian metre and move toward a more nuanced understanding of metrical expression and narrative in his music. Recent analytical studies of metre in common-practice Western classical music have utilised a powerful analogy of consonance and dissonance between tonal and metrical dimensions. More theoretical studies, particularly of Brahms's music, have investigated how metrical states can be systematised, both abstractly and by Brahms, to create a sense of tonicity. This thesis synthesises and extends these approaches. Metrical dissonance is suggested to offer only an insufficient purchase on Brahms's metrical style, and the concept of accentual counterpoint is suggested as an alternative that gives fuller power to the explication of Brahms's metrical complexity, but without reducing that complexity. The complexity of metrical states that Brahms employs, in turn, is explored. Brahms's path to the composition of extraordinary metrical complexity in his Op. 78 violin sonata shows both his increasing systematisation of metrical states and his increasing ability to separate and manipulate metrical accent-types, the latter supporting the concept of accentual counterpoint. That metre has expressive power invites the concept of metrical narrative. An attempt is made to unite a recent theory of musical narrative with metrical analysis, inviting readings of different narrative archetypes within Brahms's metrical trajectories, with a focus on non-romantic narratives as a complement to traditional readings of unity. The pitch-metre analogy, and particularly the typicality of tonicity in metrical organisation, is problematised by those works by Brahms that begin and end in different notated metres. These instances, apparent manifestations of directional metre, are analysed, principally using the theories of hypermetre, metrical dissonance, metrical states and accentual counterpoint, with the hypothetical concepts of organisation (directional metre, metrical narrative and metrical tonicity) as interactive heuristics. Moving from organisation back to expression, the thesis closes by exploring a problem within current theories of form and phrase structure: the difference between musical expansion and extension. It highlights a metrical manifestation of this created as an effect of accentual counterpoint, dubbed metrical expansiveness, and examines the interaction of this effect with form and narrative.
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Spurrier, Graham. "Consonant and dissonant music chords improve visual attention capture." Scholarship @ Claremont, 2019. https://scholarship.claremont.edu/cmc_theses/2125.
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Recent research has suggested that music may enhance or reduce cognitive interference, depending on whether it is tonally consonant or dissonant. Tonal consonance is often described as being pleasant and agreeable, while tonal dissonance is often described as being unpleasant and harsh. However, the exact cognitive mechanisms underlying these effects remain unclear. We hypothesize that tonal dissonance may increase cognitive interference through its effects on attentional cueing. We predict that (a) consonant musical chords are attentionally demanding, but (b) dissonant musical chords are more attentionally demanding than consonant musical chords. Using a Posner cueing task, a standard measure of attention capture, we measured the differential effects of consonant chords, dissonant chords, and no music on attentional cueing. Musical chords were presented binaurally at the same time as a visual cue which correctly predicted the spatial location of a subsequent target in 80% of trials. As in previous studies, valid cues led to faster response times (RTs) compared to invalid cues; however, contrary to our predictions, both consonant and dissonant music chords produced faster RTs compared to the no music condition. Although inconsistent with our hypotheses, these results support previous research on cross-modal cueing, which suggests that non-predictive auditory cues enhance the effectiveness of visual cues. Our study further demonstrates that this effect is not influenced by auditory qualities such as tonal consonance and dissonance, suggesting that previously reported cognitive interference effects for tonal dissonance may depend on high-level changes in mood and arousal.
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Toro-Tóbon, Carlos I. "Fundamental dissonance: concertino for alto saxophone and sinfonietta." Diss., University of Iowa, 2019. https://ir.uiowa.edu/etd/6868.
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Fundamental Dissonance, an original composition scored for alto saxophone and sinfonietta, explores the concept of dissonance not only in the traditional musical sense related to tonality, but as a general principle indispensable for variety and creation. The particular perspective of this concept that can be found in the early work of the Hungarian philosopher, aesthetician, and literary historian Georg Lukács has given a specific direction to my creative process.
In one of his first writings, The Theory of the Novel (1914), Lukács presents the idea of dissonance in the following terms: “Every form is the resolution of a fundamental dissonance of existence.” Here Lukács refers to a general conception of form, which includes the artistic context. A couple of texts about Lukács contribute to a thorough understanding of this idea and help to give shape to my interpretation of this sentence. Resolution is the key term in the sentence and mediates between form, what will be created, and dissonance, what needs to be resolved. In this way dissonance is presented as a problem, a question, or what others have also called a knot. It is fundamental because of its previous condition to existence. Without unrest, unity keeps things in a state of equilibrium, inhibiting movement or variety. Instead, disunity, or dissonance, permits change and creation, hence existence. There is a strong link between creation and dissonance.
These ideas, and the multiple interpretations of dissonance in the musical context, influenced the original concepts used in Fundamental Dissonance and guided the compositional process. The first, and perhaps more evident manifestation of dissonance is the use of specific intervals as foundations of the musical language in the piece. Uses of the set class (012); with variants (013), (023), or (024) obtained by the expansion of (01); appear not only in the melodic and harmonic aspects but also at the structural level. Some scattered uses of microtonality are also part of this approach. In opposition, and as a reference to its genesis, the “equilibrium before its existence” is represented with unisons, adding contrast and variety to the previous intervals. Contrast is the second element I used to represent Lukács’s idea of dissonance. I have included references to contrasting styles and genres, short passages in tonal chords or short melodic cells with tonal character. These traditionally consonant elements play a contrasting –i.e., dissonant- role because of the general dissonant language in which they have been placed.
Other compositional aspects that serve as contrast have to do with the opposition of densities and textures; the highly marked differences between the two main themes; and the use of the alto saxophone, an instrument traditionally not belonging to the sinfonietta, as the soloist.
Extramusical elements have been used as general principles in the creative process. The saxophone adopts a role of leadership from the very beginning of the piece, presenting its ideas in a monologue style. Some instruments follow the soloist while others oppose, creating a clash of forces that ultimately generates more dissonance.
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Gomez-Sandro, Pablo D. "PART 1 – MUSIC COMPOSITION “Not Worth the Bullet That Kills Them” (for large ensemble and reciter)PART 2 – MUSIC THEORY“The Historical Development of Consonance/Dissonance and a Model for Its Assessment”." Kent State University / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=kent1583928640691947.
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Ballard, Jack Du Wayne MacDonald George. "Part one, the castle part two, hyperextended chord tones : chromatic consonance in a tertian context /." [Kent, Ohio] : Kent State University, 2008. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=kent1228157561.
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Thesis (Ph. D.)--Kent State University, 2008.Title from PDF t.p. (viewed Jan. 21, 2010). Advisor: Ralph Lorenz. Keywords: jazz, music, theory, George Macdonald, ballet, harmony, tertian, harmonics analysis, dissonance, consonance, orchestra. Includes bibliographical references (p. 130-140).
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Smith, Jayson. "Metric Dissonance in Non-Isochronous Meters." Thesis, University of North Texas, 2018. https://digital.library.unt.edu/ark:/67531/metadc1248499/.
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Although music of the twentieth and twenty-first centuries makes frequent use of non-isochronous meter (meters involving beats of different length, such as 5/4 and 7/8), most studies on meter and metric dissonance focus on isochronous meters (meters involving beats of the same length, such as 4/4 and 9/8). This dissertation bridges this gap by developing two methodologies to account for metric dissonance involving non-isochronous pulses: modified ski-hill graphs and the composite beat attack point system. Modified ski-hill graphs, adapted from Richard Cohn's ski-hill graphs, illustrate metric states involving non-isochronous pulses and reveal degrees of dissonance in musical passages that share time spans, as in 5/4 grouped 3+2 vs. 5/4 grouped 2+3. The composite beat attack point system uses rhythmic notation to illustrate metric states involving any pulse duration or time span, revealing specific points of dissonance and consonance, relative strength of dissonance and consonance, and patterns of dissonance and consonance. The methodology is used to closely examine the treatment of metric dissonance in Holst's "Mars," from The Planets, Ligeti's Hungarian Rock (Chaconne), and Ligeti's Désordre. The analyses focus on passages where the metric dissonance becomes ever more pronounced and ends up obliterating any sense of meter.
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Annis, Shannon M. "Kandinsky’s Dissonance and a Schoenbergian View of Composition VI." Scholar Commons, 2008. https://scholarcommons.usf.edu/etd/122.
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In this study, I clarify the relationship between Wassily Kandinsky's move towards abstraction in painting and his encounters with the music and theory of Arnold Schoenberg. Prior studies have concentrated on the similarities in their theories, but I examine Kandinsky [sic] idiosyncratic understanding of Schoenbergian concepts and the evolution of his engagement with music theory over the period of 1909 to 1914. I identify dissonance as the aspect of Schoenberg's music and theory that Kandinsky found most relevant to his own developing compositional theory for abstract painting. In music, dissonance is commonly considered to be combinations of tones that sound harsh or discordant. Schoenberg denied the traditional opposition between consonance (conventionally pleasing sounds) and dissonance and advocated, at this stage of his career, for the use of any combination or progression of notes as long as it served the needs of a specific composition. Similarly, Kandinsky described his compositional strategies for abstract painting as the arrangement of colors and forms in the specific context of an individual work, with the "principle of dissonance" as a guide. Kandinsky's "principle of dissonance" was a compositional structure consisting of a multitude of oppositions and contrasts of colors and forms, producing disorienting and conflicting effects, that Kandinsky held in dynamic tension across the whole painting to produce a unifying equilibrium. This "principle of dissonance" was not completely congruent, in its specific compositional procedures, with the meaning and use of dissonance in either the conventional music theory of the period or in Schoenberg's alternate conception of dissonance. However, Schoenberg's arguments for the acceptability of unresolved dissonances and what Kandinsky perceived as an "antilogical" compositional structure bolstered Kandinsky's assertions that these principles could support legitimate compositional strategies for his abstract painting. Finally, I analyze Kandinsky's account of the creation of his 1913 Composition VI and how his description bears the traces of his engagement with Schoenberg. Kandinsky details a structure for Composition VI that, comparable to his understanding of Schoenberg's work, is not immediately obvious, but in which any combination of forms can be juxtaposed to create a unifying whole in the context of the specific work.
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Kaye, P. R. "The 'Contenance Angloise' in perspective : A study of consonance and dissonance in continental music c.1380-1440." Thesis, University of Oxford, 1985. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.371687.
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Seneviratne, Buddhakoralalage Leelanga Dananjaya. "The Influence of Music Congruence and Message Complexity on the Response of Consumers to Advertisements." Thesis, University of Canterbury. Department of Management, Marketing and Entrepreneurship, 2015. http://hdl.handle.net/10092/10252.
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The overall aim of this study was to examine how the characteristics of two salient stimuli -music and message- of an audio advertisement influence the psychological state of consumers and how such a state subsequently determines their cognitive and affective responses to the advertisement. In achieving this aim, this study was guided by a combination of two cognitive resource utilisation theories, Limited Capacity Model of Motivated Mediated Message Processing (Lang, 2000) and Resource-Matching Hypothesis (Anand & Sternthal, 1989). In particular building upon inconsistency and load theories, this study proposed that certain stimulus characteristics prompted certain states of a consumer’s cognition. These two stimulus characteristics were the congruence of musical stimulus and the complexity of the message stimulus. The model then predicted the potential effect of these characteristics on certain psychological states (Psychological Discomfort and Cognitive Load) leading to affective (Attitude towards Advertisement) and cognitive (encoding, storage, and retention) responses.
To empirically examine this model, an online experiment (using a 2 x 2 between-subject x 2 with-in subject mix design) was conducted, in which a mixed sample of 284 subjects was exposed to a set of audio advertisements especially designed for this study. Unfamiliar music in conjunction with a fictitious brand was used and the exposure level was maintained at low. ANCOVA, MANCOVA, two-stage hierarchical regression analysis, and Repeated-measures MANCOVA were administered to test the hypotheses presented in the conceptual model. Among major findings were that the multiple informational structures in a complex message positively influenced cognitive load, while congruent music was capable of attenuating the level of cognitive load. Incongruent music, on the other hand, was capable of generating a dissonance state experienced as psychological discomfort that in turn increased the level of cognitive load as a result of listener’s trying to resolve such a state. Both dissonance and cognitive load negatively influenced attitude towards advertisements, and the affect primacy of attitude formation appeared to be more applicable. Though high cognitive load clearly undermines encoding, storage, and retrieval processes, no evidence was found to support the Resource-matching Hypothesis. Furthermore, the findings suggested that the cognitive load offset by the congruent music would increase advertisement effectiveness by enabling its message to carry more information and by generating more favourable attitudes.
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Ballard, Jack Du Wayne Jr. "Part One: The Castle. Part Two: Hyperextended Chord Tones: Chromatic Consonance in a Tertian Context." Kent State University / OhioLINK, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=kent1228157561.
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Sims, Scott G. "Dissonance Treatment in Fuging Tunes by Daniel Read from The American Singing Book and The Columbian Harmonist." Thesis, North Texas State University, 1987. https://digital.library.unt.edu/ark:/67531/metadc501161/.
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This thesis treats Daniel Read's music analytically to establish style characteristics. Read's fuging tunes are examined for metric placement and structural occurrence of dissonance, and dissonance as text painting. Read's comments on dissonance are extracted from his tunebook introductions. A historical chapter includes the English origins of the fuging tune and its American heyday. The creative life of Daniel Read is discussed. This thesis contributes to knowledge of Read's role in the development of the New England Psalmody idiom. Specifically, this work illustrates the importance of understanding and analyzing Read's use of dissonance as a style determinant, showing that Read's dissonance treatment is an immediate and central characteristic of his compositional practice.
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Crespo, Bojorque Paola 1985. "Biological foundations of consonance perception : exploring phylogenetic roots and neural mechanisms." Doctoral thesis, Universitat Pompeu Fabra, 2016. http://hdl.handle.net/10803/481992.
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La consonancia es una de las características más salientes de la música. A pesar de su papel fundamental en la música occidental, sus orígenes siguen siendo controversiales. Por lo tanto, la comprensión de los mecanismos implicados en la percepción de un acorde como consonante (estable) o disonante (inestable), se ha convertido en una cuestión pendiente en la investigación de la percepción musical. La presente tesis doctoral está dedicada a explorar las bases biológicas de la percepción de la consonancia a través de dos enfoques, comparativo y neurofisiológico. Los resultados de varios experimentos mostraron que las ratas, una especie sin habilidades vocales, comparten con los humanos la capacidad de discriminar la consonancia de la disonancia. Sin embargo, los animales carecen de la capacidad de generalizar a nuevos estímulos y no presentan beneficios para el procesamiento de la consonancia como lo hacen los humanos. Por otra parte, las respuestas neuronales desencadenas por cambios en la consonancia y disonancia difieren entre músicos y no músicos. En conjunto, los resultados reportados en esta tesis ponen de manifiesto que la experiencia con estímulos harmónicos, tales como la producción vocal y la formación musical, es un factor importante para explicar el fenómeno del a consonancia dentro de nuestro sistema musical.Consonance is one of the most salient features of music. Despite its central role in Western music, its origins remain controversial. Thus, understanding the mechanisms involved in the perception of a chord as consonant (stable) or dissonant (unstable), have become an outstanding issue in music perception research. The present dissertation is devoted to explore the biological bases of consonance perception through a comparative and a neurophysiological approach. Results from several experiments showed that rats, a species with no documented vocal learning abilities, share with humans the capacity to discriminate consonance from dissonance. The animals however lack the ability to generalize to new stimuli and do not exhibit processing benefits for consonance as humans do. Moreover, musicians’ neural responses triggered by changes in consonance and dissonance differed from those of non-musicians. Together, the results reported in the present dissertation highlight that experience with harmonic stimuli, such as vocal production and musical training, is an important factor to account for the emergence of consonance within our musical system.
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Yang, Yu-Wen. "Metrical Dissonance in Selected Piano Pieces by Johannes Brahms, with Implications for Performance." University of Cincinnati / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1337102281.
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DuHamel, Ann Marie. "Magical, dissonant, fantastic beauty: the solo piano nocturnes of Lowell Liebermann." Diss., University of Iowa, 2014. https://ir.uiowa.edu/etd/4618.
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This thesis explores the eleven solo piano nocturnes by living American composer Lowell Liebermann (b. 1961), to serve as a performer's guide. Characteristics of previous nocturnes provide historical context for Liebermann's pieces, illustrating similarities to the style developed by John Field, Frédéric Chopin, and Gabriel Fauré. Other musical influences on Liebermann, such as Ludwig van Beethoven and Ferruccio Busoni, demonstrate his relationship to the Western art music tradition and placement within the canon. Four distinct facets of Liebermann's musical style are presented: his reliance on traditional formal practices, motivic coherence, his particular harmonic vocabulary, and his use of texture. Liebermann's works use consonant triads, third relations, and smooth voice leading; because of these features, Neo-Riemannian models are suggested as a potential lens through which to view and analyze these pieces. In particular, hexatonic systems and their depiction of the musically "uncanny" relate to how Liebermann's music can have a sort of "defamiliarizing" and destabilizing effect on the listener. The salient musical features of motivic coherence, harmonic relationships, and formal innovations within tradition are presented for each nocturne alongside descriptions of musical character, to capture the essence and spirit contained within the works. The pieces verge on the fantastic and the rhapsodic, demonstrating Liebermann's imaginative approach to tradition. By utilizing a harmonic language that both synthesizes gestures of the past with a rich history of suggestive emotional content, and that innovates with a more modern and dissonant sensibility, Lowell Liebermann has achieved a distinctive musical vocabulary that captures the poetic and dark essence of nocturnes.
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Silverberg, Laura. "Dissonanz, Dissidenz und der ‚Dritte Weg‘ in der Musik." Gudrun Schröder Verlag, 2019. https://ul.qucosa.de/id/qucosa%3A70718.
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Das Thema „Komposition in der DDR: Theorie und Praxis“ beinhaltet sowohl Aspekte der Gegenwart als auch der Geschichte. Obwohl die DDR vor mehr als zwei Jahrzehnten von der Landkarte verschwand, leben immer noch viele der damaligen DDR-Komponisten, Musikwissenschaftler, Kritiker und Zuhörer. Die Komponisten komponieren immer noch und auch die Musikwissenschaftler theoretisieren immer noch über die Musik der DDR. Eine einheitliche Perspektive zum Thema „Komponisten in der DDR“ wird es sicher nie geben.
Ich begegne meinem Thema in zweierlei Hinsicht mit Distanz: Erstens da ich Amerikanerin bin; und zweitens als jemand, der nach dem Kalten Krieg aufgewachsen ist. Deutschland ist für mich ein fremdes Land, zu dessen Geschichte die Teilung grundlegend dazugehört. Meine Haltung als Ausländerin, ohne die ‚Mauer im Kopf‘, ermöglicht es mir, meine Forschung mit einem Ausmaß politischer Neutralität durchzuführen. Zugleich bin ich gerade durch das Aufwachsen in meiner – einer späteren – Generation dazu angeregt, mich mit vielen Grundprämissen der Geschichtsschreibung über Musik des Kalten Krieges auseinanderzusetzen.
Obwohl ich im ersten Jahrzehnt des 21. Jahrhunderts
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Hiser, Kelly Ann. ""An Enduring Cycle": Revaluing the Life and Music of Johanna Beyer." Scholarly Repository, 2009. http://scholarlyrepository.miami.edu/oa_theses/201.
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This thesis presents an integrated assessment of the life and music of Johanna Beyer (1888-1944) through a combination of socio-cultural and musical analysis. It examines the composer?s biography in the context of the New York music scene in which she participated and the social and cultural paradigms of her time. Contemporary conceptions of gender and sex had a particularly strong impact on Beyer?s work and the reception of her music. Ideologies concerning gender, sex, work, composition and modernism intersected in a variety of ways in her life and music; these issues are examined extensively in Chapter Two. Because gendered thought was so instrumental in obscuring the work of this important composer, Chapters Three and Four provide a thorough and synthesized analysis of Beyer?s music that has thus far been denied to her. These chapters discuss both the composer?s dissonant, ?ultra-modern? music and her later tonal music, exploring elements of continuity and change in her oeuvre. The thesis rejects earlier interpretations of Beyer?s work as disjointed and argues that it is instead the product of a constantly evolving composer.
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Wallius, Malin. "Dissonans i dynamisk musik : och dess funktion som designverktyg för spel." Thesis, Högskolan i Skövde, Institutionen för informationsteknologi, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:his:diva-12387.
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Arbetets syfte var att undersöka hur dynamisk spelmusik med inslag av dissonans påverkar en spelares möjlighet att lösa ett pusselspel. I bakgrundskapitlet beskrivs spelmusikens historia från linjära loopar till dynamisk musik, den dynamiska musikens användningsområden och studier som gjorts om dissonans och konsonans. En förstudie kring pusselspel och dynamisk komposition gjordes och ett pusselspel utvecklades med ett ledtrådssystem baserat på dissonans. Dynamisk musik med inslag av dissonans visade sig kunna påverka en spelares möjlighet att lösa ett pusselspel genom både negativ påverkan på spelarens känsloläge och som guidande feedback. Dess påverkan kan variera beroende på om den har en avledande eller en ledande funktion då det kan tolkas olika beroende på individ. En mer omfattande studie med mindre märkbara grafiska element och med tydligare dissonanser krävs för att kunna se ett tydligare samband. Studier med andra spel- och musikgenrer och studier med fokus på andra musikkulturer vore också intressanta.
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Feldmann, Matthias. "Erwartungsdiskrepanz und emotionales Erleben von Musik /." Hildesheim ; Zürich ; New York : G. Olms, 1998. http://catalogue.bnf.fr/ark:/12148/cb36996046c.
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Asplund, Isak. "Musikens melodiska dissonanser i dator- och TV-spel : Hur dissonanser i melodin påverkar spelarens uppfattning av spelet." Thesis, Högskolan i Skövde, Institutionen för informationsteknologi, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:his:diva-15399.
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I bakgrunden beskrivs musikaliska intervall och hur de klassas som antingen dissonantaeller konsonanta beroende på deras karaktär, vilket är centralt för detta arbete. Utöver dettabehandlas tidigare forskning kring musik och musikaliska intervall kopplat till känslor.Problemformuleringen tar upp frågeställning samt att tillvägagångssätt för undersökningenbeskrivs. Syftet med detta arbete är att undersöka hur en situation i ett datorspel kanuppfattas olika beroende på vad för musik som spelas i bakgrunden. Mer specifikt i dennaundersökning har två olika musikteoretiska egenskaper i melodi jämförts och hur det kanpåverka en spelare. Två musikstycken komponerades specifikt för denna undersökning ochvisades i samband med en inspelad spelsekvens. Till undersökningen har semistruktureradeintervjuer genomförts för att samla in information.Svaren i denna undersökning visade på att stycket med dissonanta förhållanden mellangrundton och meloditoner gjorde att situationen i videoklippet generellt uppfattades sommer hotfull, jämfört med stycket som innehöll konsonanta förhållanden mellan grundtonoch meloditoner.
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Guillotel-Nothmann, Christophe [Verfasser]. "Asymétrie conditionnelle et asymétrie spontanée des progressions harmoniques : Le rôle des dissonances dans la cristallisation de la syntaxe harmonique tonale, c. 1530-1745 / Christophe Guillotel-Nothmann." Norderstedt : PubliQation, 2017. http://d-nb.info/1143276698/34.
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Porres, Alexandre Torres. "Processos de composição microtonal por meio do modelo de dissonancia sensorial." [s.n.], 2007. http://repositorio.unicamp.br/jspui/handle/REPOSIP/285007.
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Orientador: Jonatas ManzolliDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
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Resumo: Foram estudados, na presente pesquisa, Sistemas de Afinação com o intuito de investigar a aplicação desse conhecimento em Processos Criativos. Para tal, desenvolvemos uma distinção de abordagens composicionais na música do Século XX, e também estudamos o mecanismo de construção de escalas adotando, principalmente, o estudo da Psicoacústica (i.e. Modelo de Dissonância Sensorial), que propiciou o desenvolvimento de uma ferramenta computacional tanto de análise de sons e Sistemas de Afinação, quanto de criação sonora. Os estudos serviram de base para o desenvolvimento de Processos Criativos com comentários de acordo com os objetivos de pesquisa
Abstract: On the present research, Tuning Systems were studied in order to investigate its application in Creative Processes. For such, we created a distinction of compositional approaches in the music of the 20th Century, and we also studied mechanisms of scale development by mainly adopting Psychoacoustics (i.e. Roughness Model), which enabled the development of a computational tool for the analysis of sounds and Tuning Systems, as well as musical creation. The studies have been applied in Creative Processes with comments and discussions over the research¿s objectives
Mestrado
Mestre em Música
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Lindén, Martin. "DISSONANS I SPELMUSIK : En studie om musikalisk dissonans och dess påverkan på upplevd prestationsförmåga." Thesis, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:his:diva-15469.
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Kang, Jin-Young. "Resonance and dissonance in contemporary impressionistic music /." 2008. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&res_dat=xri:pqdiss&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&rft_dat=xri:pqdiss:MR51546.
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Thesis (M.A.)--York University, 2008. Graduate Programme in Music.Typescript. Includes bibliographical references (leaves 52-53). Also available on the Internet. MODE OF ACCESS via web browser by entering the following URL: http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&res_dat=xri:pqdiss&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&rft_dat=xri:pqdiss:MR51546
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Kane, Mike Kane Mike Kane Mike Kane Mike. "A consideration of modes of dissonance in 20th century music /." 2000. http://wwwlib.umi.com/cr/yorku/fullcit?pMQ59180.
Full textAbstract:
Thesis (M.A.)--York University, 2000. Graduate Programme in Music.Typescript. Includes three original compositions: Travels, Ballad and Gambling dice. Includes bibliographical references (leaves 113-115). Also available on the Internet. MODE OF ACCESS via web browser by entering the following URL: http://wwwlib.umi.com/cr/yorku/fullcit?pMQ59180
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Malin, Yonatan. "Metric dissonance and music-text relations in the German lied /." 2003. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&res_dat=xri:pqdiss&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&rft_dat=xri:pqdiss:3108094.
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"Dissonance in harmony: the Cantonese opera music community in Guangzhou." 2012. http://library.cuhk.edu.hk/record=b5549083.
Full textAbstract:
粤劇亦被譽為「南國紅豆」已有三百多年歷史是中國傳統戲曲之一。粤劇流傳於南中國,香港,以及海外華人的社會,其中以廣州佛山一帶最為著名。然而在近年外來文化的影響下,粤劇逐漸被忽視。自二零零九年起,粤劇正式被列為聯合國教科文組織人類非物質文化遺產。隨著國家政府對粤劇的重視,地方傳統曲藝在廣州的發展亦產生了變化。本論文以廣州粤劇的音樂社區為中心,著眼於樂師,把樂師分為業餘者,職業樂師及國家級演奏員三類。本論文亦論述粤劇樂師在粤劇國家化的過程中所面對的改變及所扮演的角色,並探討粤劇由一種地方性的民間傳統藝術演變為一項代表國家的非物質文化遺產對當地音樂社區造成的衝擊。Since Cantonese Opera was declared an intangible cultural heritage representation by United Nations Educational, Scientific and Cultural Organization (UNESCO) in 2009, the Chinese government has carried out different policies to “develop Cantonese Opera. This study looks at the recent “development“ of Cantonese Opera in Guangzhou from the perspective of musicians. In Guangzhou, different forms of performing groups are present, from privately organized interest groups to state-managed national troupes. This study divides the music community in Guangzhou into three sub-communities: amateurs, professionals and national musicians and investigates the changing lifestyle and way of interaction of musicians within the music community due to the changes that have occurred in Guangzhou with the listing of Cantonese Opera as an intangible cultural heritage.
This research focuses on the musicians in the Cantonese Opera music community in Guangzhou. Based on a three-month intensive fieldwork and two pilot studies conducted in 2011 using participant observation and indepth interview, this thesis aims to explore the following questions: in what ways are the musicians’ social life and mode of living altered? Has the whole music community become more strengthened and united owing to the social changes? Or is the music community becoming more stratified? Is the music community harmonious or full of dissonance?
Detailed summary in vernacular field only.
Cheung, Ah Li.
Thesis (M.Phil.)--Chinese University of Hong Kong, 2012.
Includes bibliographical references (leaves 127-133).
Abstracts also in Chinese.
Abstract --- p.i
摘要 --- p.ii
Acknowledgements --- p.iii
Table of Contents --- p.v
List of Figures and Tables --- p.vii
Chapter Chapter One --- : Introduction --- p.1
Introduction --- p.1
Contribution --- p.4
Defining Music Community --- p.6
Literature Review --- p.8
The Ethnomusicological Perspective --- p.8
The Socio-cultural Perspective --- p.10
The Heritage Perspective --- p.13
Methodology --- p.15
Participant Observation --- p.17
Interviews --- p.19
Thesis Structure --- p.20
The Romanization of Chinese Wordings --- p.21
Chapter Chapter Two --- : History of Cantonese Opera and its Music Community --- p.22
Tracing the Roots of Cantonese Opera --- p.22
Before the 1900s --- p.24
From the 1900s to the 1960s --- p.25
From the 1960s to the 1980s --- p.25
From the 1980s until the Present --- p.26
Background of the Cantonese Opera Music Community --- p.29
Differentiating between Yueju, Yuequ and Yuele --- p.33
The Music Community in Guangzhou --- p.35
Chapter Chapter Three --- : The Amaterus - The “Happy“ Ones? --- p.38
General Description --- p.38
Primary Informants --- p.39
The Sunshine Cantonese Opera Troupe --- p.40
The District Workers’ Association Cantonese Opera Troupe --- p.41
The Evergreen Cantonese Opera Troupe --- p.43
What is “Sifoguhk“? --- p.44
Hierarchies between Amateurs --- p.46
The Status of Sifu --- p.47
The Musicians’ List --- p.48
The Amateur Community as a Whole --- p.50
The Invasion of Capitalism --- p.51
The “Common Enemy“ --- p.53
Summary: Are they truly the “happy ones“? --- p.56
Chapter Chapter Four --- : The Professional Musicians - The Dream Chasers --- p.58
General Description --- p.58
“The Cantonese Opera Music Boulevard“ --- p.58
Primary Informants --- p.60
The New World Hotel --- p.61
The City Grand Hotel --- p.62
Tensions within the Community --- p.63
Competition between Tea Houses --- p.64
Relationship between Musicians, Singers and the Audience --- p.67
The Professional Music Community as a Whole --- p.70
The Rural-City Melting Pot --- p.71
The Changing Market Demand --- p.73
Summary: What is the Shared Dream? --- p.76
Chapter Chapter Five --- : The National Experts - The Heritage Preservers --- p.78
General Description --- p.78
The State’s Theatres --- p.79
Primary Informants --- p.82
The Guangzhou City Cantonese Opera Troupe --- p.83
The Cantonese Music and Folk Art Troupe --- p.84
Categorizing Musicians --- p.85
The Yueju and Yuequ Distinction --- p.86
The National Ranking System --- p.88
The Power of the State --- p.91
The Institutionalization of Folk Art --- p.92
The Nationalization of Local Art Form --- p.94
Summary: The Heritage Preservers --- p.97
Chapter Chapter Six --- : From Art-form to Uni-form --- p.99
Introduction --- p.99
The Composition of the Community --- p.101
The Characteristics of the Community --- p.106
Segregation within the Community --- p.110
Summary --- p.115
Chapter Chapter Seven --- : Conclusion --- p.118
Bibliography --- p.127
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Mak, Yung Cheung. "Formal functions of metrical dissonance in the music of Paul Hindemith." Thesis, 1999. http://hdl.handle.net/2429/9734.
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A close examination of Paul Hindemith's compositions shows that metrical
conflict is his favorite means to create rhythmic interest. The methodology in this study
includes Harald Krebs's layers of motion, John Roeder's concept of pulse-streams, and
Fred Lerdahl and Ray Jackendoff s theory of grouping.
In an attempt to relate metrical dissonance in his compositions to other aspects of
musical organization, my research reveals that Hindemith consciously manipulates
metrical conflict in certain passages for particular musical purposes, for instance, to
prepare for a change of tonality or the entry of a subject, to create points of tension, to
intensify the build-up of a climax, and to provide a link between sections. As a
compositional resource, metrical conflict is used to increase sectional contrast and so to
articulate the form. It is a means of variation in the restatements of a theme, and can be a
textural characteristic of an entire movement. Metrical dissonance is even exploited in
the context of sonata form so that the conflict becomes the reference, while metrical
consonance provides variety.
The compositional use of metrical conflict was not a sudden development but
involved a gradual process of experimentation in Hindemith's music. Some of his
compositions use metrical conflict sparingly and experimentally while others exploit it in
large-scale process. Hence, he does not use it excessively. Indeed, some of his
compositions entirely lack this rhythmic quality, but his interest in metrical dissonance
persisted throughout his whole life.
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Hsieh, I.-Yuan, and 謝易原. "Emotional dissonance, job burnout and anxiety in bank workers - music used as a moderator." Thesis, 2011. http://ndltd.ncl.edu.tw/handle/77265j.
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碩士國立交通大學
管理科學系所
99
People are expected to conform to social or organizational norms regarding the display of emotion. Emotional dissonance has been described as a situation when an employee is required to display an emotion that is not genuinely felt in the particular situation (Hochschild, 1983). This article examines the emotional dissonance of bank workers and their relationship to the job burnout and anxiety in a sample of Taiwan bank workers (N = 248) , whether music used played a moderating role in the emotional dissonance -burnout process and emotional dissonance-anxiety process. The data showed that emotional dissonance had effect on burnout and anxiety. In the moderating effect, most emotional dissonance in low-music-used groups influenced job burnout and anxiety more significantly than higher-music-used groups.
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Boland, Lynn. "A culture of dissonance : Wassily Kandinsky, atonality, and abstraction." Thesis, 2014. http://hdl.handle.net/2152/30323.
Full textAbstract:
A Culture of Dissonance: Wassily Kandinsky, Atonality, and Abstraction
by
Lynn Edward Boland, Ph.D.
Supervisor: Linda D. Henderson
Wassily Kandinsky's interest in music as a source for abstraction in painting has often been noted in the scholarship on his art. However, no studies have sufficiently explained how the artist employed musical strategies, especially as he was developing his abstract style in the first decade of the twentieth century. Kandinsky's looked primarily to Arnold Schoenberg's new musical idioms and theories, and he was deeply inspired by highly dissonant music, but his ideas were set within a much broader context that further suggested and encouraged the expressive and transformative power of dissonance.
By the late nineteenth century, extended passages of dissonance were common in musical compositions. At the same time, the concept of dissonance as a positive force was suggested in a wide range of late nineteenth-century literature, including the writings of Friedrich [should be this spelling throughout] Nietzsche, occult authors, popular texts on physics and experimental psychology, as well as within music and art theory. Close readings of Kandinsky's theoretical texts and selected works of art provide insights into how he might have understood and employed these concepts in his formation of an abstract style. Kandinsky's paintings Impression III (Concert) of 1911 and Composition VII of 1913 are the primary artistic foci of this study, along with his book Concerning the Spiritual in Art and the anthology Der Blaue Reiter, which he co-edited.
This dissertation will seek to restore the concept of musical dissonance and its application in the visual arts to its historical context for Kandinsky. This will facilitate more informed formal analyses of Schoenberg's music and Kandinsky's paintings, which, in turn, suggest strategies of atonal musical composition applied to abstract painting. Additionally, this dissertation will establish an artistic context of visual dissonance that goes beyond Kandinsky, including artistic movements in France and Russia, allowing additional comparisons and a consideration of the larger impact of these ideas.text
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Morgan, Renee K. "The Impact of Rhythm and Meter on Form in Two Works by David Maslanka: Mother Earth: A Fanfare (2003) and Symphony No. 8 (2008)." 2014. https://scholarworks.umass.edu/masters_theses_2/34.
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For pieces that do not lend themselves to an analysis of form based completely on tonal harmony and thematic material, an analysis based on rhythm and meter can enrich the reading of a piece and prove to be a more successful endeavor for the analyst. This thesis will provide such a form analysis of Mother Earth: A Fanfare (2003) and Symphony No. 8 (2008) by David Maslanka, paying special attention to the rhythmic and metrical events in addition to shifts in theme, texture, and harmony.
Chapter 1, “Introduction,” addresses information about the composer, the need for research, and challenges that the music poses to the analyst. Chapter 2, “Methodology,” outlines analytical techniques used in the study, which are largely based on a method of metrical dissonance categorization designed by Harald Krebs. Chapters 3 and 4, “Mother Earth: A Fanfare (2003)” and “Symphony No. 8 (2008),” provide a form analysis of the two pieces, focusing on the behavior of meter and rhythm in each work. Chapter 5 offers conclusions that draw together the two analyses and suggest avenues for further research.
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Pelletier, Samaël. "Extreme metal : subculture, genre, and structure." Thèse, 2018. http://hdl.handle.net/1866/22863.
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van, der Smissen Andrea. "Musikalische Innovation im Umfeld der Moderne und historischen Avantgarde in Ungarn." 2020. https://slub.qucosa.de/id/qucosa%3A72596.
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In recent decades the interpretation of music history of the interwar period was determined by factors which allowed only national or folkloristic approaches to modern music in Hungary. However, the composers of the group ‘Modern Hungarian Musicians’, connected to the forums of the New Music like the ISCM or Cowell‘s NMS, were committed to a transcultural view of musical innovation. Through intermedial connections between literary and fine art, they received non-musical impulses by modern and avantgarde movements. This paper makes an approach on their heterogeneous conception of music with the common sense, to set a renewal of the musical language as its goal.