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Noll, William Henry. "Peasant music ensembles in Poland : a culture history /." Thesis, Connect to this title online; UW restricted, 1986. http://hdl.handle.net/1773/11368.
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Mahony, Marinela. "An investigation of the polyphonic folk music of Albania." Diss., University of Pretoria, 2011. http://hdl.handle.net/2263/27337.
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Geographically Albania is divided into two main regions: northern Ghegeria and southern Toskeria. The southern part (Toskeria) consists of two sub-regions, Toske and Laberia. These share many commonalities yet the musical styles of each are distinctly different. The Shkumbini River serves as a boundary between the two main regions, as well as a cultural divide distinguishing the varying musical performances and styles. Monodic music is practiced mainly in the north whilst polyphonic music is most commonly performed in the south. These two diverse systems impact on the folk songs of the two regions making them sound significantly different. In addition, different folk instruments are used in both regions. The instrumental and vocal monodic music of the north (Ghegeria) is based on the modal system, with Dorian, Aeolian, Mixolydian, Phrygian, Lydian, Ionian and Hypolydian modes being used. The songs of the north typically portray important historical events or heroic deeds, while the southern songs are not as nationalistic and cover various social themes. They are in general a lot softer and more melodic in character. The folk music of the south (Toskeria) is based on the pentatonic scale, with significant differences which are noticed within the two sub-regions (Toske and Laberia). The vocal music of the south consists of two, three or four vocal parts singing a capella, although sometimes instrumental accompaniment is added. The polyphonic music of the sub-region of Toske is characterized by imitative elements utilized in both the melodies and rhythms of the songs, providing a sense of thematic unity, whereas in Laberia contrasting elements are more dominant throughout the songs. Despite these differences, iso (or drone) is performed similarly in both sub-regions, and is another important element in the polyphonic music of the south. A notable form of instrumental polyphonic music of Toskeria is that of Kaba, performed by Saze folk ensembles. What distinguishes Albanian polyphonic folk music from its counterparts in other areas of the world is that it has not only survived but is flourishing in modern times. Unlike many other cultures that have excluded polyphonic music from mainstream society, Albanian polyphonic music is known by most Albanians and is well practiced and enjoyed by all age groups, and rural as well as urban Albanians, regardless of their degree of formal musical trainingDissertation (MMus)--University of Pretoria, 2011.
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Ortega, Paredes Juan Carlos. "ECUADORIAN-FOLK AND AVANT-GARDE ELEMENTS IN LUIS HUMBERTO SALGADO’S SONATAS FOR STRING INSTRUMENTS." The Ohio State University, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=osu1343738160.
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Gasslander, Timmy. "Följ stråken : Svensk folkmusik på knäppinstrument i eget musicerande och i undervisning." Thesis, Karlstads universitet, Institutionen för konstnärliga studier (from 2013), 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-83304.
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Instrumentgruppen knäppinstrument är en historiskt sett ny instrumentgrupp i genren svensk folkmusik och har på förhållandevis kort tid blivit en naturlig del i genrens kulturgemenskap. Denna studie syftar till att undersöka hur den svenska folkmusikgenren kan anpassas för att spelas på knäppinstrument och hur genrens praxisgemenskap kan upplevas påverka instrumentalundervisning. Tidigare forskning relaterat till ämnet är begränsad och fokuserar ofta på appropriering av genren, inte på undervisning i genren. Studien utgår från ett sociokulturellt perspektiv och datainsamling skedde via kvalitativa intervjuer som analyserades tematiskt. I resultatet framkommer att instrumentgruppen har en komplex ackompanjerande roll i genren vilket baseras på strukturen av genrens traditionella melodier. Undervisning i genren lämnar dessutom över mycket ansvar på studenten själv, både gällande appropriering av spelteknik och praxisgemenskap. I sista kapitlet diskuteras överlämnande av ansvar till eleven när de undervisar i genren svensk folkmusik.Plucked instruments in Swedish traditional folk music is from a historical perspective a new instrumental group and has in a relatively short period of time become a natural part of the genre’s cultural community. This study aims to examine how the genre Swedish folk music can be adapted to plucked instruments and how the genre can affect tutoring instrumental lessions. Earlier research within the subject is limited and is often more focused on appropriation of the genre rather than teaching within the genre. The study is done from a sociocultural perspective and data was collected through interviews and the material was analyzed through thematic analyzation methods. The results show that the instrument group has an advanced accompanying musical roll to play in the genre, one that is based on the melodic structure of the traditional melodies. The tutoring in the genre also gives a lot of responsibility to the student itself, both when it comes to technical and cultural appropriation. The last chapter discusses the handover of responsibility to the student during tutoring when teaching within the genre Swedish folk music.
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Joo, Hwajoon. "Yoon-Seong Cho's Jazz Korea a cross-cultural musical excursion /." Thesis, connect to online resource, 2008. http://digital.library.unt.edu/permalink/meta-dc-6089.
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Kohring, Bajo. "Jag vill plugga musik! : - en intervjustudie om folkhögskolelärares uppfattningar om den musikhögskoleförberedande instrumentalundervisningen." Thesis, Karlstads universitet, Institutionen för konstnärliga studier, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-55468.
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I föreliggande studie presenteras vad instrumentallärare på folkhögskolor anser vara viktigt att arbeta med i sin undervisning med tanke på elevers kommande antagningsprov till musikhögskolor. För att belysa studiens forskningsområde läggs tidigare forskning fram samt annan relevant litteratur kring sociala och musikaliska aspekter på folkhögskolan och i instrumentalundervisning. Även antagningskraven för musikhögskolan inom jazzgenren presenteras. Studiens övergripande perspektiv är pragmatismen och dess metodologiska utgångspunkt är kvalitativ. En kvalitativ intervju har gjorts med fyra respondenter bestående av olika instrumentallärare inom jazzgenren på folkhögskolan. Resultatet visar instrumentallärares bild av individualisering som ett centralt verktyg i deras undervisning samt deras olika syn på aspekter som påverkar elevers utveckling, exempelvis övning, motivation och socialt samspel. Respondenterna lyfter även andra relevanta kunskaper och förmågor inför sökningen till musikhögskolan, vilka i korthet är samspel, improvisation och andra musikaliska faktorer. Studien visar att individualiseringsaspekten är en styrka på folkhögskolan. Övning, målsättning och motivation visar sig höra samman med elevers utveckling och läraren kan inta olika roller för att bidra till sina elevers motivation. Det sociala samspelet i folkhögskolans miljö verkar också vara en påverkande faktor. Avslutningsvis diskuteras bland annat musikhögskolornas sökningsinformation på hemsidorna samt huruvida folkhögskollärarnas val av undervisningsinnehåll är relaterat till lärarens egen musikaliska utbildning.This study is about what instrumental teachers on folk high schools consider to be important aspects in their lessons in order to prepare their students for the admission tests on music colleges. In order to elaborate on the subject and aims of this study, background information such as relevant literature and a discussion of the social and musical aspects of studying in folk high schools and instrumental music education, is presented. A summary of the entry requirements for swedish music colleges specialising in jazz is also included. The study takes a pragmatic scientific approach and is qualitative in its methodology. As such, qualitative interviews were done with four music teachers at a folk high school specialising in jazz. The results of the research show that the teachers use individualisation as a central tool in their music lessons and that their different approaches have a significant impact on the students´ development in terms of practice, motivation, and social relations. The teachers go so far as to include interplay, improvisation and other musical factors in their lessons. The study shows that individualisation is a strength of the folk high school system. Musical exercises, aimed at setting goals and increasing motivation have an important impact on students musical development. In addition, music teachers take on various different roles to contribute to their students development. The social interplay in the environment of the folk high school is another factor that seems to contribute positively to students’ development. This study concludes with a discussion of the information needed to apply to music colleges and how the choice of content of different teachers at the folk high school is related to their own musical education.
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Lee, Sang Won. "Audience participation using mobile phones as musical instruments." Thesis, Georgia Institute of Technology, 2012. http://hdl.handle.net/1853/44749.
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This research aims at a music piece for audience participation using mobile phones as musical instruments in a music concert setting. Inspired by the ubiquity of smart phones, I attempted to accomplish audience engagement in a music performance by crafting an accessible musical instrument with which audience can be a part of the performance. The research begins by reviewing the related works in two areas, mobile music and audience participation at music performances, builds a charted map of the areas and its intersection to seek an innovation, and defines requisites for a successful audience participation where audience can participate in music making as musicians with their mobile phones. To make accessible audience participation, the concept of a networked multi-user instrument is applied for the system. With the lessons learnt, I developed echobo, a mobile musical instrument application for iOS devices (iPhone, iPad and iPod Touch). With this system, audience can download the app at the concert, play the instrument instantly, interact with other audience members, and contribute to the music by sound generated from their mobile phones. A music piece for echobo and a clarinet was presented in a series of performances and the application was found to work reliably and accomplish audience engagement. The post-survey results indicate that the system was accessible, and helped the audience to connect to the music and other musicians.
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Dodge, Kimberly A. "Fusión peruana contemporary Peruvian musical hybrids /." Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 2008. http://wwwlib.umi.com/cr/ucsd/fullcit?p1453366.
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Thesis (M.A.)--University of California, San Diego, 2008.Title from first page of PDF file (viewed July 22, 2008). Available via ProQuest Digital Dissertations. Includes bibliographical references (p. 120-125).
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Bachratá, Petra. "Gesture interaction in music for instruments and electroacoustic sounds." Doctoral thesis, Universidade de Aveiro, 2010. http://hdl.handle.net/10773/3547.
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Doutoramento em MúsicaEsta tese apresenta alguns aspectos em como o fenómeno do gesto musical pode ser compreendido na percepção da interação musical na música para instrumentos e sons electroacústicos. Através de exemplos de análise, classificação e categorização de diferentes relacões gestuais entre instrumentos e sons electroacústicos, pretende-se estabelecer modelos específicos de interacção que podem ser aplicados como método analítico assim como na composição musical. A pesquisa parte de uma variedade de definições sobre gesto musical na música em geral, na música contemporânea e na música electroacústica em particular, para subsequentemente incluir as relações entre dois eventos sonoros com características diferentes - o electroacústico e o instrumental. São essencialmente abordadas as relações entre gestos musicais através da análise de diversas características: altura, ritmo, timbre, dinâmica, características contrapontísticas, espectromorfológicas, semânticas e espaciais. O resultado da pesquisa teórica serviu de suporte à composição de diversas obras, onde estes aspectos são explorados sob o ponto de vista da criação musical.
This dissertation presents some aspects how the phenomenon of musical gesture can be understood in the perception of musical interaction in music for instruments and electroacoustic sounds. Through analytical examples, classification and categorization of different kinds of gesture relationships between instruments and electroacoustic sounds, the aim is to establish specific models of interaction that can be applied as analytical method, as well as in composition. This research departs from a variety of previous approaches to gesture in music in general, and more specifically contemporary music and electroacoustic music, in order to include the relations between two sound events with different characteristics - the electroacoustic and the instrumental. This research focuses on relations between musical gestures, through the analysis of several characteristics (pitch, rhythm, timbre, dynamics, contrapuntal, spectromorphologic, semantic and spatial). The result of theoretical research has served as basis for composition of various works, where these aspects are explored from the point of view of musical creation.
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Tang, Kai. "Musical Culture of Chinese Floaters." Thesis, Harvard University, 2014. http://nrs.harvard.edu/urn-3:HUL.InstRepos:13094351.
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"Floaters" are a large population of internal migrants in China. Led by a series of urban-based economic policies and the consequent income gap between rural and urban regions, these former peasants left their hometowns, floating temporarily and illegally in the cities for economic opportunities. Without legal immigration status, they are marginalized by local urbanites and are considered by the government as disobedient citizens with the potential to jeopardize the socialist society.
This dissertation, drawing on two years' ethnographic and archival research in China, examines the basic characteristics of floaters' musical world and focuses on three representative musical components. The first is a repertory called Sour Songs, which originates from floaters' rural hometowns and serves as an outlet for release of nostalgia and spiritual pain. The second, Red Songs, is a genre invented by the communist government that has become an effective propaganda tool and is characterized as "a powerful bolt of the revolutionary machine" in the floaters' world. Finally, Rock 'n' Roll, the only musical form in China that signifies both urbanity and revolt, is used by floaters to display their special identity and to express themselves when they are silenced in the broader society. This dissertation reveals hidden meanings in floaters' music-making and suggests that the study of this overlooked musical community could provide new perspectives on Chinese music at large.Music
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Sum, Ka Yi Kelly. "Musical compositions exploring real-time human-computer interaction with acoustic instruments." HKBU Institutional Repository, 2008. http://repository.hkbu.edu.hk/etd_ra/887.
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Palmer, F. "Musical instruments at the court of Henry VIII." Thesis, University of Surrey, 1986. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.371899.
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Panyaniti, Rawin. "Bartók as ethnomusicologist and composer: folk music and art music influences on his musical language." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1998. http://hub.hku.hk/bib/B31223278.
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Midgren, Sven. "Folk as Art : my development as an artist." Thesis, Kungl. Musikhögskolan, Institutionen för folkmusik, 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-1501.
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The present paper discusses the two concepts 'music as art' and 'music as function', put in a historical context but also based on my own experiences and development throughout the Nordic Master in Folk Music. Special regard is given to how my changing relationship to these two concepts have affected my own development. The paper also describes several different methods for artistic development as well as some ideas about what (folk) music can be and how we can think about it.Bilaga: 1 DVD
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Hu, Ning. "Automatic Construction of Synthetic Musical Instruments and Performers." Research Showcase @ CMU, 2013. http://repository.cmu.edu/dissertations/270.
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This thesis describes an approach to create high-quality music synthesis by automatically constructing an instrument model and a performance model; the latter module generates control signals from score input and drives the former module to produce synthetic instrumental sounds. By designing and applying appropriate machine learning techniques as well as domain knowledge, the instrument model and the performance model are constructed from acoustic examples and their corresponding scores for a musical instrument. The automated model is able to synthesize realistic instrumental performances from scores.
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MacKinnon, Niall L. "Social identity and the nature of the musical event : a sociological consideration of the British folk scene." Thesis, University of Aberdeen, 1988. http://digitool.abdn.ac.uk:80/webclient/DeliveryManager?pid=130739.
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This study seeks to understand a particular genre, folk music, in terms of identifying the social factors that give it coherence. It stresses the need to understand social action. The performance of music is dependent upon a whole range of musical, para-musical and non-musical actions from which and through which it derives meaning. This study has examined the pre-determinants of musical events focusing upon the construction and meaning of performance, staging, and sound, and the association of these with social identity. The central questions posed were: Is the central appeal of folk music a certain organisation of musical sound, or is it something beyond this? If so, what is it and how does this relate to the nature of the musical event? Is the music doing something other for a folk audience than 'simply' providing musical enjoyment? Is the link with the past which is affirmed in the notion of revival, an aspect which audiences directly relate to and identify with? A variety of methodologies are applied including: (i) A historical examination concentrating upon the changing ideological functions of the folk revival; (ii) An in-depth audience survey examining: (a) attitudes to the musical content, (b) socio-economic profile of attenders, (c) dispositional and attitudinal correlates of adherence to folk music; (iii) Semi-structured interviews with performers and those involved in organising folk events; (iv) A qualitative and participatory study of folk events in terms of musical and other social dynamics. The folk scene is found to be highly atypical of Western musical subcultures and articulates features such as: informality, participation, historical continuity, and the suppression of overt forms of staging, all in highly specialised ways. The findings are used to contribute to understanding the defining criteria of musical genres.
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Veblen, Nora Bryant. "MUSIC THERAPISTS’ PERCEPTIONS AND PRACTICES REGARDING MUSICAL AUTHENTICITY IN MUSIC THERAPY PRACTICE." UKnowledge, 2018. https://uknowledge.uky.edu/music_etds/129.
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Music therapists are expected to provide live music for clients with diverse preferences, yet these therapists face many barriers preventing them from recreating client-preferred music in a way that adheres to the expectations of the genre, or with “musical authenticity.” The purpose of this study was to investigate music therapists’ perceptions and practices regarding musical authenticity. Survey responses (n = 904) indicated that music therapists highly value musical authenticity, but a major theme in the qualitative data revealed they often balance its importance with other factors. Descriptive survey data and qualitative themes revealed lack of training in functional musicianship and electronic technology as major barriers to musical authenticity. A major qualitative theme regarding therapists’ practices was the use of collaboration with clients and creative solutions. Most participants indicated use of non-electronic strategies and reported they had not used electronic technology to increase musical authenticity. Descriptive survey data and qualitative themes revealed frequent and effective use of recorded music. Finally, chi-square analyses revealed significant relationships between age and use of technology and iPad and between gender and use of technology. Music therapists would benefit from additional training, more research on authenticity, and music therapy specific guidelines for using music authentically.
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Myers, Arnold. "Characterization and taxonomy of historic brass musical instruments from an acoustical standpoint." Thesis, University of Edinburgh, 1998. http://hdl.handle.net/1842/1824.
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The conceptual bases of existing classification schemes for brasswind are examined. The requirements of a taxonomy relating to the character of brass musical instruments as experienced by players and listeners are discussed. Various directly and indirectly measurable physical parameters are defined. The utility of these parameters in classification is assessed in a number of case studies on instruments in museums and collections. The evolution of instrument design since 1750 in terms of these characterization criteria is outlined.
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Markoff, Irene Judyth. "Musical theory, performance and the contemporary Bağlama specialist in Turkey /." Thesis, Connect to this title online; UW restricted, 1986. http://hdl.handle.net/1773/11351.
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Harrison, Anna C. "Gender-knowledge and gender-typed preferences for musical instruments in middle childhood." Thesis, Keele University, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.325825.
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Benbalit, Tatiana I. "The shaping of Modest Moussorgsky's musical language : an assimilation of social, artistic and folk influences /." Thesis, Connect to this title online; UW restricted, 2006. http://hdl.handle.net/1773/11252.
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Bowdery, Francis T. "Music for player piano : a study of seventeen selected examples." Thesis, Loughborough University, 1995. https://dspace.lboro.ac.uk/2134/6989.
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From virtually the beginning of the twentieth century, musicians were sufficiently intrigued by the possibilities of the player piano to compose and specially arrange music for it. The aesthetic of 'automatic music' reaches back at least as far as JS Bach and forward to Conlon Nancarrow and Georgy Ligeti, as well as in developments in electronic popular and art music. This thesis makes a case study of seventeen compositions, arrangements and fragments from the period of the instrument's greatest commercial success, 1900-1927, including music by Bax, Busoni, Casella, Hans Haass, Hindemith and Stravinsky, and seeks to relate them to the broader range both of player piano compositions and music for other automatic musical instruments, as well as the stylistic developments of the time. A number of items are in score for the first time, and an attempt at a complete listing of the repertory for player piano is included.
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Wun, Cheuk-Wai. "Evaluation of wavetable generation methods for musical instrument matching /." View abstract or full-text, 2005. http://library.ust.hk/cgi/db/thesis.pl?COMP%202005%20WUN.
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Wilansky, Jonathan. "A software tool for creating and visualizing mappings in digital musical instruments." Thesis, McGill University, 2014. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=121453.
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In acoustic instruments, physical properties of the instrument determine both the gestures that can be performed on it and the sound produced by it. This is not the case with digital musical instruments (DMIs) that consist of three distinct parts: the playable interface, the sound generating component, and the mapping between them. The implication is that mapping from sensors to sound is an integral part in the design of a DMI, and a process highly influential on how the instrument is played and sounds. Creating mappings in a DMI is a non-trivial task, and typically a lot of different mappings are explored throughout the stages of prototyping, composition, and production. Furthermore, production environments involving DMIs will typically bring together engineers, composers, and performers in valuable and often short meeting times, requiring configuration and visualization of the mapping layer to be quick and simple, catering to both technical and nontechnical participants. This thesis presents two software components developed at the Input Devices and Music Interaction Laboratory to aid in the mapping process: libmapper, a software library enabling connections to be made between data signals declared on a shared network, and Webmapper, a list-based graphical user interface to libmapper. An extension to Webmapper was created to address the following two concerns: to provide alternate interfaces for configuring mappings, and to provide an alternate visualizations of the mapping layer. Two new interfaces were created to investigate the tasks: a grid inspired view and a hive plot inspired view. The system was developed using HTML5 compliant technologies, and a framework architecture inspired by the model-view-controller paradigm was added to Webmapper for code modularity and maintainability. Advantages and disadvantages of the three different interfaces from Webmapper and its new extension are discussed in regards to their ability to act both as a software user interface and a data visualization tool. The contribution of the work is the demonstration of benefits to alternate methods for configuring and visualizing the mapping layer in DMIs, and the laying of a foundation for future investigations using the created HTML5 compliant software.Dans le monde des instruments acoustiques, les propriétés physiques des instruments déterminent les gestes effectués ainsi que les sons produits; ce n'est pas le cas avec les Instruments de Musique Numériques (IMNs) constitués trois parties distinctes: une interface de contrôle, un système de production sonore et le système de correspondance entre les deux ("mapping"). Ceci implique que l'interaction entre les capteurs et le son fait partie intégrante de l'IMN et influence fortement comment l'instrument sonne et joue. La création de correspondance dans un IMN n'est pas une tâche triviale, et généralement l'exploration de différentes correspondances est nécessaire durant les phases de prototype, composition et production. De plus, les environnement de productions incluant l'utilisation d'IMN peuvent créer des opportunités de rencontre entre les ingénieurs, les compositeurs et les interprètes car la configuration et visualisation des correspondances, qui se doit d'être simple et rapide, requiert un mélange de savoir-faire technique et non-technique. Cette thèse est basée sur deux logiciels développés au sein du laboratoire IDMIL (Input Devices and Music Interaction Laboratory) aidant le processus de correspondance: Libmapper, une logithèque permettant de connecter des signaux numériques et Webmapper, une interface graphique pour Libmapper. Une extension de Webmapper a également été crée afin d'adresser les deux problèmes suivants: pour offrir une interface alternative de configuration de correspondance et pour offrir une visualisation alternative des couches de correspondance. Deux nouvelles interfaces ont également été crées afin d'ajouter deux nouvelles vues: une en forme de ruche et une en quadrillée. Le système a été développé en HTML5, utilisant une architecture inspiré par le patron modèle-vue-contrôleur. Les avantages et les désavantages des trois différentes interfaces de Webmapper ainsi que de sa nouvelle extension seront traités vis à vis de leur capacité d'agir en tant qu'interface et en tant qu'outil de visualisation. Les contributions de ce travail résident dans la démonstration des avantages des méthodes alternatives de configuration et de visualisation des couches de correspondances dans les IMN, ainsi que dans les fondations pour de futures recherches utilisant le logiciel HTML5.
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Sönmezler, Ahmet. "Turkish Musical Influences upon Carlo Domeniconi's Variations on an Anatolian Folk Song and Koyunbaba: Implications for Performance." Diss., The University of Arizona, 2013. http://hdl.handle.net/10150/306145.
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The structure and content of Carlo Domeniconi's Variations on an Anatolian Folk Song and Koyunbaba are heavily influenced by Turkish folk music. A stylistic and accurate performance of these pieces becomes possible through the study of Turkish folk music and its performance practices. This document provides information that may help the reader understand what some of the aspects of Turkish folk music are and show how Italian composer and guitarist Carlo Domeniconi (b. 1947) used them in two of his most popular solo classical guitar compositions. This document not only serves as an informative tool to highlight several characteristics of Turkish folk music but also as a guide to interpret Variations on an Anatolian Folk Song and Koyunbaba in the Turkish style. Chapter four, Performer's Guide, includes a number of musical examples that are specifically edited to bring out Turkish stylistic aspects of interpretation. Many performers can benefit from these detailed musical examples.
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Van, Scoyoc Marilyn Linda. "The development and evaluation of electronic wind controller instructional materials and techniques for the instrumental music educator /." Access Digital Full Text version, 1991. http://pocketknowledge.tc.columbia.edu/home.php/bybib/11168183.
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Thesis (Ed.D.)--Teachers College, Columbia University, 1991.Typescript; issued also on microfilm. Sponsor: Harold F. Abeles. Dissertation Committee: Robert Pace. Includes bibliographical references (leaves 115-119).
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Pereira, Vinícius Muniz. "Entre o sertão e a sala de concerto : um estudo da obra de Renato Andrade." [s.n.], 2011. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284399.
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Orientador: José Roberto ZanDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
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Resumo: Em meados da década de 1970, o compositor e instrumentista mineiro Renato Andrade lança seu primeiro disco solo intitulado A fantástica viola de Renato Andrade. No repertório, composições instrumentais interpretadas com muito virtuosismo na viola caipira. Esse é o início de uma produção precursora dentro da música sertaneja e que acabou por criar um novo segmento desse gênero. Resultado das transformações formais e estéticas da música popular brasileira a partir dos anos 70, a obra de Renato Andrade reflete o surgimento de fronteiras tênues entre a esfera popular e erudita, na qual compositores e instrumentistas vão buscar nas "tradições" populares elementos destinados a dar "autenticidade" e "legitimidade" às suas produções, ao mesmo tempo adotam procedimentos da música erudita para dar corpo e organicidade a suas músicas. Esta dissertação buscou investigar a obra do compositor e violeiro Renato Andrade. Para isso, partiu dos dados biográficos do artista, do levantamento de sua produção fonográfica e a partir desses dados procurou compreender as estratégias criativas de Renato Andrade, a maneira com qual o músico organiza o material musical na viola caipira e a consolidação daquilo que identificamos como sendo o seu idioma composicional. Num segundo momento, o foco deste trabalho foi compreender o performer Renato Andrade, sua atuação nos palcos e a construção do que identificamos como o personagem Renato Andrade
Abstract: In the 1970's, the composer and performer from Minas Gerais Renato Andrade releases his first record playing solo. It was called A fantástica viola de Renato Andrade. The album was made of instrumental compositions for viola caipira (Brazilian Ten String Guitar), an instrument that he played with a great virtuosity. This was the beginning of a one of a kind production in Brazil that ended up creating a new segment in the field of a genre known as "Música Caipira". As a result of the Brazilian's Popular Music formal and aesthetic transformations, ever since the seventies, Renato Andrade's work reflects the emergence of fine lines between the popular and the classical. In order to compose their plays, composers and musicians searched for Brazilian popular traditions so they could give to them "authenticity" and "legitimacy". At the same time, they adopt classic procedures to make the plays coherent and dense. This dissertation has the intent to explore Renato Andrade's work. It aims to expose the musical elements used in his compositions and his musical influences and tendencies and also, the construction of a specific style of the author, either through his music or through his ten string Brazilian guitar execution. To do that, we researched his biography and his music production in order to understand his creative procedures, his way to organize the musical materials in the Ten String Guitar and, finally, the consolidation of what we call his compositional language. On a second moment, we describe Renato Andrade as a performer: his performance on stage, and the construction of the "character" Renato Andrade
Mestrado
Fundamentos Teoricos
Mestre em Música
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Nelson, David Paul. "Mrdangam mind the tani āvartanam in Karnatak music /." Ann Arbor, Mich. : UMI Dissertation Information Service, 1991. http://catalog.hathitrust.org/api/volumes/oclc/36660333.html.
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Thesis (Ph. D.)--Wesleyan University, Middletown, Connecticut, 1991."A dissertation in music submitted in Partial Fulfillment of the Requirements for the Doctor of Philosophy ..." Includes bibliographical references (v. 1: p. 390-391).
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Wang, Tianshu. "Alexander Tcherepnin's "Five Concert Studies": An homage to Chinese musical styles, instruments, and traditions." Diss., The University of Arizona, 1999. http://hdl.handle.net/10150/284005.
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The influence of traditional Chinese art permeates Alexander Tcherepnin's piano compositions, particularly his Five Concert Studies, Op. 52 . A survey of Tcherepnin's life, his musical achievements, and the impact various cultural influences exerted on his musical development reveals the depth of feeling Tcherepnin possessed for China and things Chinese. As a product of Tcherepnin's "Chinese Years" (1934--1937), the Five Concert Studies, Op. 52, show the direct influence of specific Chinese elements and original art forms that the composer imitated, including the Pi Ying Xi (Shadow Play), Mu Ou Xi (a traditional puppet show that Tcherepnin translated as Punch and Judy ), and the sound of the pipa (a guitar-like plucked instrument) and the qin (a zither-like stringed instrument or lute). Alexander Tcherepnin could not have written these pieces without firsthand knowledge of the Chinese culture to which he was deeply attracted. The Five Concert Studies are a culmination of his initial travels in China, his involvement with the development of an indigenous Chinese school of piano writing and his great love for the Chinese people.
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Francmanis, John Valdis. "The musical Sherlock Holmes : Frank Kidson and the English folk music revival, c.1890-1926." Thesis, Leeds Beckett University, 1997. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.362217.
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Butkus, Anatas. "Mafosios Lietuvos Iiaudies muzikos instrumerttai ir jq gamyba [Litauische Volksmusikinstrumente], in: Mafosios Lietuvos liaudies instrumentai ir apeigine muzika, hrsg. von Lietuvininkq Bendrij a, Lietuvos Muzikos Akademijos Klaipedos Fakultetas, Vilnius (Apyausris) 1994 [Zusammenfassung]." Universitätsbibliothek Leipzig, 2017. http://nbn-resolving.de/urn:nbn:de:bsz:15-qucosa-225375.
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Der historische Ursprung Kleinlitauens, sein Alltag, seine Sitten, Bräuche, Sprache und Kultur stellten schon immer Forschungsziele für Fachleute und Wissenschaftler verschiedener Richtungen dar. Die ethnokulturellen Forschungen sind auch heute aktuell. Aus diesem Grund wird in den nachfolgenden Ausführungen versucht, die Volksmusikinstrumente darzustelle~ die in der Blütezeit Kleinlitauens gespielt wurden.
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Malloch, Joseph W. "A consort of gestural musical controllers : design, construction, and performance." Thesis, McGill University, 2008. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=112506.
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This thesis project presents the T-Sticks, a new family of digital musical instruments (DMIs). Most DMIs are either entirely unique interfaces, or exist as design iterations in which each incarnation is intended to improve on the last. The T-Sticks are instead intended to form a complementary group or consort which may be performed ensemble and also performed individually in solo pieces or works for mixed instrumentation. Each of the T-Sticks is based on the same general structure and sensing platform, but each also differs from its siblings in size, weight, timbre and register.This document explores some of the issues challenging and motivating the field of DMI design and performance, and describes the motivations behind the T-Stick project in this context. Several existing DMIs are examined for similarities to the T-Stick and compared in terms of design intention, implementation, and usage. The hardware and software designed and built for this project is presented, along with insights gained through collaboration with performers and composers in the context of McGill University's Digital Orchestra project. The performers in question have collectively practiced and performed with the T-Stick for hundreds of hours in the lab, practice room, and on the concert stage. The consort of T-Sticks will be featured as an ensemble in a piece to be performed during the 2008 MusiMarch festival in Montreal.
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Kawabata, Mitsuko. "Musical Representations of the Gaucho and Immigrant: Navigating Identity within the Argentine Criollo Circus." Scholarly Repository, 2009. http://scholarlyrepository.miami.edu/oa_theses/196.
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The circo criollo, or Argentine native circus, arose as one of the most important forms of popular expression during the late nineteenth century. This performance context can serve as a site for exploring old and new constructions of Argentine identity that encompassed the lower and middle classes and included native and immigrant groups, particularly in Buenos Aires. Although the native circus contributed greatly to the creation of such an identity, little is known about the musical practices of the circus itself, including what types of music or dance were performed, the manner in which they were interpreted, and how the audience responded. This thesis therefore aims to bring to light these previously obscure circus traditions. It discusses the negotiation and conflict of power relationships that informs Argentine identity construction within this popular expressive medium. By examining the circo criollo as a site of hegemonic power differentials, this study probes more deeply into the contradictions that underlie such a fragile yet persistent sense of incipient Argentine identity.
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Ghamsari-Esfahani, Mahtab. "An evaluation of the role of mapping in skill acquisition on digital musical instruments." Thesis, McGill University, 2014. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=121483.
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Digital Music Instruments (DMIs) have become popular both in research laboratories and among performers of experimental music scenes. The concept of DMIs is very attractive, however few instruments make it beyond a laboratory environment. There is an apparent lack of historical and musical background enjoyed by acoustic instruments as well as a lack of pedagogy used to evaluate the effectiveness of DMIs and DMI players. While initial evaluation methods can be borrowed from the field of Human Computer Interaction (HCI), these methods need to be extended to evaluate the DMIs' integrated layers: the physical interface, the sound synthesizer and the abstract mapping block. This research was designed around the evaluation of a novel DMI called the "Ballagumi" with two main objectives: firstly determine the extent to which it is possible to obtain skills on the Ballagumi in a musical context (using musical compositions as tasks along with an improvisation setting) and secondly to determine how much the design of the mapping block affects the acquisition of skill on the instrument. For this purpose, two studies were conducted, a preliminary study that focused on discovering gestures on the Ballagumi and obtaining an initial perspective of the instrument features (e.g. latency), and a second study where professional musicians experienced in electronic music controllers were invited to play musical tasks and also improvise on the instrument with both mappings. The study results revealed interesting insights on the instrument itself, namely that the physical interface allowed for much of the learning in the interaction as it is built with material that have passive haptic feedback. The results also showed that of the two designed mappings, the simpler choice (a direct energy input mapping) was preferred for improvisation by participants. The choice of mapping resulted in very different impressions of the performance even though the instrument and the sound synthesis layer remained constant. Manipulating the instrument on an intuitive level was made easier by a direct energy input mapping since the physical interfaced required energy input and made use of both hands. The choice of mapping also affected the extent to which participants enjoyed playing the Ballagumi. The results from these two studies can be used to further improve the Ballagumi's sound and physical attributes to have it be used by more musicians. They also not only demonstrate the importance of the mapping block in acquiring skills to the point of improvising on the DMI (confirming in this regard past literature on the subject) but highlight the importance of accounting for the existing feedback before adding levels of complexity to the mapping.Les instruments de musique numérique (DMIs) sont de plus en plus populaires dans les laboratoires de recherche ainsi qu'auprès des artistes de la scène musicale expérimentale. Le concept du DMI est très attrayant, cependant peu d'instruments vont au delà de la recherche en laboratoire. Au contraire des instruments acoustiques, les DMIs sont dépourvus de contexte historique ou musical et il n'existe pas de pédagogie permettant d'évaluer l'intéraction avec de tels instruments. Il est possible d'emprunter les méthodes d'évaluation au domaine de l'interaction homme-machine (IHM). Cependant, pour améliorer leur pertinence dans le contexte de 'interaction musicale, ces dernières doivent être enrichies pour intégrer les trois points suivants: l'interface physique, le synthétiseur de son et la partie intermédiaire de mapping. Cette recherche a été conçue autour de l'évaluation d'un DMI appelé "Ballagumi" avec deux objectifs principaux: tout d'abord déterminer dans quelle mesure il est possible d'acquérir des compétences musicales dans la pratique du Ballagumi, en concevant des études qui utilisent des compositions musicales et un cadre d'improvisation; puis déterminer comment la conception du mapping affecte l'acquisition de ces compétences. Pour cela, deux études ont été menées: une étude portée sur la découverte des gestes ainsi que sur l'influence d'aspects purement technologique (par exemple, la latence) sur la perception de l'instrument; et une seconde étude où des musiciens professionnels, familiers avec les instruments de musique électronique, étaient invités à interpréter des morceaux de musique composés pour l'instrument et aussi à improviser avec deux mappings. Les résultats de l'étude ont révélé un aspect intéressant de l'instrument, à savoir que l'interface elle-même donnait du retour sur l'interaction puisqu'elle possède des qualités haptiques propres. Par conséquent, des deux mappings conçus, le plus simple (un mapping à entrée d'énergie isotonique) s'est vu être privilégié par les participants, car perçu comme plus intuitif, pour l'improvisation plutôt qu'un mapping à entrée d'énergie continue. On a pu aussi noté que, bien que l'instrument et l'algorithme de synthèse sonore soient restés inchangés, le choix du mapping a donné lieu à des impressions clairement différentes pour les interprètes. Les résultats de ces deux études peuvent être utilisés pour améliorer le Ballagumi sur le plan technologique, ainsi qu'au niveau de l'esthétique de l'interface. En plus de démontrer l'importance du mapping pour acquérir des compétences permettant d'improviser avec l'instrument, ces expériences ont permis de montrer qu'il est pertinent de prendre en compte les retours d'informations propres à l'interface physique avant d'avoir recours à des configurations de mapping complexes.
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Williams, Elizabeth Anne. "Investigating the Motivations, Musical Goals, and Preferences of Adults Learning Orchestral String Instruments in Community Music Classes." Bowling Green State University / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1510273876882954.
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Lee, Soo Eun Handel George Frideric. "Handel's Messiah : a Korean version /." Thesis, Connect to this title online; UW restricted, 2005. http://hdl.handle.net/1773/11212.
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Ballard, Dennis L. "Relationships between college level wind instrumentalists' achievement in intonation perception and performance /." Electronic version (link to abstract and document) ProQuest document ID:1500055051 Publication Number: AAT 3298145 Electronic version (link to document), 2006. http://proquest.umi.com/pqdlink?did=1500055051&sid=1&Fmt=2&clientId=12010&RQT=309&VName=PQD.
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LeBlanc, Sylvie. ""Le monde qu'on connaǐt" : the music of 1755 and the construction of Acadian identity." Thesis, McGill University, 2006. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=98548.
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This thesis explores the role of popular music in articulating socio-cultural identities by examining the contribution of the Acadian group, 1755. As the rapid modernization of Acadians' way of life led to a sense of cultural alienation, cultural products played a prominent role in asserting their cultural specificity. Accordingly, the 1970s were not only rich in artistic production, but also saw the development of a distinctive Acadian popular music practice. Responding to fears of acculturation and folklorization, Acadian popular music embodied Acadians' desire to embrace a modern identity all the while maintaining ties with their traditional identity. 1755's music actively took part in reinventing Acadian identity by constructing a cultural narrative that reflected Acadians' contemporary reality and by renegotiating what was commonly held as "Acadian" music. As a result, it became invested with ideological significance by Acadian consumers, regarded not merely as commercial music but rather as a symbol of their cultural emancipation.
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Campos, Fredeliza Zamora. "A study of the musical instruments of Ifugao in the Cordillera Region,Northern Philippines." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2012. http://hub.hku.hk/bib/B47870023.
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The Ifugao is one of the well-studied indigenous peoples in the Philippines
from the Cordillera Region in the northern Philippines. They have a characteristic
music that has historically been differentiated from the majority of the population
in the country who perform and listen to Western music. There are substantial
ethnographic monographs about their society and their chants, but organological
studies of their musical instruments have not been undertaken in any detail. This
thesis examines a collection of Ifugao musical instruments archived between the
early 20th century and the present to help understand changes and
transformations of the group’s musical culture.
The musical instruments were examined in various institutions in the
Philippines and United States, and a typological analysis was conducted.
Fieldwork was also conducted in the summer of 2010 to further investigate the
presence or absence of these traditional musical instruments in current Ifugao
culture. The materials were systematically measured and assessed based on the
von Hornbostel and Sachs classification scheme with full recognition of its later
revisions.
Most of the musical instruments are no longer in use. The loss of skill in
playing and making instruments has gone along with the marked decline of
agriculture in the area and the rapid shift towards tourism and urbanization
during the middle of the 20th century. Diversity, variations, and ingenuity in their
creation declined considerably during this period and the remaining few musical
instruments have been transformed into objects primarily designed for public
performance or sale to tourists. Attempts to revive cultural heritage have had the
paradoxical consequence of introducing non-traditional instruments, in
coexistence with an altered image of the past.published_or_final_version
Music
Master
Master of Philosophy
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Tseng, Yu-Chung 1960. "Five Soundscapes for Acoustic Instruments and Taped Computer Music." Thesis, University of North Texas, 1998. https://digital.library.unt.edu/ark:/67531/metadc935784/.
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Inspired by Chinese poems, the overall characteristics of the work reflect the assimilation of several non-Western musical and philosophical influences such as the use of pentatonic scale patterns, the principle of embellishing a single note, and the application of the I-Ching in dealing with active instrumental passages over a long-sustained computer music drone. Traditional Western compositional techniques such as aleatory counterpoint, serialism, and moment form are also employed in the treatment of thematic material, developmental processes and formal design.
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Liu, Terence Michael. "Development of the Chinese two-stringed bowed lute 'erhu' following the New Culture Movement (c. 1915-1985)." online access from Digital dissertation consortium, 1988. http://libweb.cityu.edu.hk/cgi-bin/er/db/ddcdiss.pl?8827170.
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Adams, Christine. "Can One Hear...? An Exploration Into Inverse Eigenvalue Problems Related to Musical Instruments." Master's thesis, University of Central Florida, 2013. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/5598.
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The central theme of this thesis deals with problems related to the question, "Can one hear the shape of a drum?" first posed formally by Mark Kac in 1966. More precisely, can one determine the shape of a membrane with fixed boundary from the spectrum of the associated differential operator? For this paper, Kac received both the Lester Ford Award and the Chauvant Prize of the Mathematical Association of America. This problem has received a great deal of attention in the past forty years and has led to similar questions in completely different contexts such as "Can one hear the shape of a graph associated with the Schrodinger operator?", "Can you hear the shape of your throat?", "Can you feel the shape of a manifold with Brownian motion?", "Can one hear the crack in a beam?", "Can one hear into the sun?", etc. Each of these topics deals with inverse eigenvalue problems or related inverse problems. For inverse problems in general, the problem may or may not have a solution, the solution may not be unique, and the solution does not necessarily depend continuously on perturbation of the data. For example, in the case of the drum, it has been shown that the answer to Kac's question in general is "no." However, if we restrict the class of drums, then the answer can be yes. This is typical of inverse problems when a priori information and restriction of the class of admissible solutions and/or data are used to make the problem well-posed. This thesis provides an analysis of shapes for which the answer to Kac's question is positive and a variety of interesting questions on this problem and its variants, including cases that remain open. This thesis also provides a synopsis and perspectives of other types of "can one hear" problems mentioned above. Another part of this thesis deals with aspects of direct problems related to musical instruments.M.S.
Masters
Mathematics
Sciences
Mathematical Science; Industrial Mathematics
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Evans, Garry Windel. "Marcel Mihalovici a critical evaluation of his solo and chamber works for clarinet, a lecture recital, together with three recitals of selected works by Bozza, Uhl, Martino, Sowerby, Kalliwoda, Bax, and others /." Thesis, connect to online resource. Access restricted to the University of North Texas campus, 2006. http://www.unt.edu/etd/all/Dec2006/Restricted/evans_garry_windel/index.htm.
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Thesis (D.M.A.)--University of North Texas, 2006.System requirements: Adobe Acrobat Reader. Accompanied by 4 recitals, recorded Apr. 16, 2001, Apr. 7, 2003, Apr. 19, 2004, and Oct. 16, 2006. Includes bibliographical references (p. 63-64).
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Inacio, Octávio José Patrício Fernandes Inácio. "A modal method for the simulation of nonlinear dynamical systems with application to bowed musical instruments." Thesis, University of Southampton, 2008. https://eprints.soton.ac.uk/65914/.
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Bowed instruments are among the most exciting sound sources in the musical world, mostly because of the expressivity they allow to a musician or the variety of sounds they can generate. From the physical point of view, the complex nature of the nonlinear sound generating mechanism – the friction between two surfaces – is no less stimulating. In this thesis, a physical modelling computational method based on a modal approach is developed to perform simulations of nonlinear dynamical systems with particular application to friction-excited musical instruments. This computational method is applied here to three types of systems: bowed strings as the violin or cello, bowed bars, such as the vibraphone or marimba, and bowed shells as the Tibetan bowl or the glass harmonica. The successful implementation of the method in these instruments is shown by comparison with measured results and with other simulation methods. This approach is extended from systems with simple modal basis to more complex structures consisting of different sub-structures, which can also be described by their own modal set. The extensive nonlinear numerical simulations described in this thesis, enabled some important contributions concerning the dynamics of these instruments: for the bowed string an effective simulation of a realistic wolf-note on a cello was obtained, using complex identified body modal data, showing the beating dependence of the wolfnote with bowing velocity and applied bow force, with good qualitative agreement with experimental results; for bowed bars the simulated vibratory regimes emerging from different playing conditions is mapped; for bowed Tibetan bowls, the essential introduction of orthogonal mode pairs of the same family with radial and tangential components characteristic of axi-symmetrical structures is performed, enabling an important clarification on the beating phenomena arising from the rotating behaviour of oscillating modes. Furthermore, a linearized approach to the nonlinear problem is implemented and the results compared with the nonlinear numerical simulations. Animations and sounds have been produced which enable a good interpretation of the results obtained and understanding of the physical phenomena occurring in these system.
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Yu, Youngmin. "Musical performance of Korean identities in North Korea, South Korea, Japan and the United States." Diss., Restricted to subscribing institutions, 2007. http://proquest.umi.com/pqdweb?did=1417807691&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.
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Cannon, Joanne. "Playable ambisonic spatial motion : music performance techniques and mappings for the extended bassoon /." Connect thesis, 2009. http://repository.unimelb.edu.au/10187/7120.
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This research dissertation presents work undertaken to develop new performance techniques and mappings for the expressive control of spatial motion using Ambisonic projection. The dissertation reviews relevant research from the fields of Spatial Sound and Extended Instruments, and establishes playability as a useful set of criteria for a reflexive project methodology and evaluation. This reflexive research systematically investigates Trevor Wishart’s taxonomy of spatial motions through the development of new hardware, software, performance techniques and spatial motion analysis.
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Wolverton, Cynthia Kay. "The Contributions of Armenian Composers to the Clarinet Repertoire: An Annotated Bibliography of Selected Works, A Lecture Recital, Together with Three Recitals of Selected Works by Khachaturian, Bax, Castelnuovo-Tedesco, Lutoslawski, Nielsen, Burgmüller, and Others." Thesis, University of North Texas, 2002. https://digital.library.unt.edu/ark:/67531/metadc3299/.
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With the exception of the music of Aram Khachaturian, the output of Armenian composers has been largely overlooked. This small Middle-Eastern country with a population of almost four million and an intriguing history indeed has a rich musical heritage. From its roots in sacred music and folksong, Armenian music has evolved into a unique blend of national elements and Western art music. Although it remains largely undiscovered, there is an entire repertoire of works in this aesthetic. The Trio for clarinet, violin, and piano by Khachaturian has long been a standard in the clarinetist's repertoire. This project brings to light lesser-known works of other Armenian composers. After providing a brief history of Armenia and her music (Chapter 2), this document presents an annotated bibliography of works using the clarinet (Chapter 3). Because there are a significant number of Armenians living outside their homeland, composers considered for this bibliography include all those of Armenian descent: those born,schooled, and presently living in Armenia, as well as those born to one or both Armenian parents residing in other countries. The bibliography includes works for unaccompanied clarinet, clarinet and piano, clarinet and orchestra, and chamber music for up to seven players. Each annotation includes the composer's name, dates, title of the work and its movements, date of composition, instrumentation, publisher and date of publication (in the case of published works), source from which the score can be obtained (in the case of unpublished works and works that are no longer published), duration of the work, and any recordings that are commercially available. Specific information about each piece, such as its dedication, first performance, historical background, musical characteristics, and performance practice issues is provided when available.
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Morgan, Sarah. "Community choirs : a musical transformation ; a review of my work in management, music, choir leadership and folk-song." Thesis, University of Winchester, 2013. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.666336.
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My aims have always been to present an exploration of English community choirs, their music and their leadership from a very personal perspective, which brings together my background as a folk musician, my career in training and facilitation, and my developing understanding of a system of musical hierarchies which (though often unspoken) inform and colour not only my own musical experience but that of many others. My motivation for this is partly to put into words the story of a movement that has had relatively little attention from the academic world, and to bring into the foreground aspects of music making which have had a marginal place the world of choral music. I also wish to draw attention to the skills of a range of performers and practitioners who despite (or perhaps because of) a lack of formal musical qualifications, through familiarity with oral methods of learning and teaching provide a means for many people to make the significant transition between being music consumers and music makers. This statement is a review of my work in many fields leading to my achievement of the position of a highly regarded performer, choir leader, arranger and trainer. I recount my journey, and give many examples of my work in this field, demonstrating many contributions along the way. In so doing I have added significantly to the store of knowledge and understanding in these areas.
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Casciato, Carmine Davide. "On the choice of gestural controllers for musical applications : an evaluation of the Lightning II and the Radio Baton." Thesis, McGill University, 2008. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=112329.
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This thesis evaluates the Lightning II and the Radio Baton gestural controllers for musical applications within two main perspectives. The first involves a technical specification of each in terms of their construction and sensing technology. This step, along with an analysis of the insights by long-term users on the controllers in question, provides an understanding about the different musical contexts each controllers can be and have been used in. The second perspective involves studying the Radio Baton and the Lightning within a specific musical context, namely that of a simulated acoustic percussion instrument performance. Three expert percussionists performed basic percussion techniques on a real drum, a drum-like gestural controller (the Roland V-Drum), the Radio Baton and the Lightning II. The motion capture and audio data from these trials suggest that certain acoustic percussion playing techniques can be successfully transferred over to gestural controllers. This comparative analysis between gestural controllers adds to the ongoing discussion on the evaluation of digital musical instruments and their relationship to acoustic instruments.
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Manders, Cobus. "Die simfonie-orkes in die Psalmbundel Psalm 150 as grand finale in die Psalmbundel (Afrikaans) /." Pretoria : [s.n.], 2002. http://upetd.up.ac.za/thesis/available/etd-03082004-111349/.
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