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Dissertations / Theses on the topic 'Interpretation of a musical composition'

Author: Grafiati

Published: 2 June 2025

Last updated: 31 July 2025

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1

Oliver, Benjamin. "Portfolio of musical composition : integration in music : controlling diverse methods of expression within the context of the globalisation of musical culture." Thesis, University of Sussex, 2010. http://sro.sussex.ac.uk/id/eprint/6260/.

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Musical culture is increasingly globalised and technology allows us to engage with an evermore diversified range of musical approaches, traditions and sound-worlds. How composers react to this diversity of musical approaches is an important theme in contemporary composition. My approach to composition within this globalised situation has been to focus on the notion of ‘integration' and creating structurally consistent score-based frameworks. I have composed a portfolio of work that reflects the central focus of ‘integration', concentrating on three inter-related research areas: 1. Exploring ho

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2

Silva, Eliana Maria de Almeida Monteiro da. "Clara Schumann: compositora x mulher de compositor." Universidade de São Paulo, 2008. http://www.teses.usp.br/teses/disponiveis/27/27158/tde-05072009-234006/.

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Clara Josephine Wieck, Clara Schumann após o casamento com o compositor Robert Schumann, foi das poucas crianças-prodígio que asseguraram sua fama e reconhecimento como virtuosas do piano por toda a vida. A história de sua longa carreira como concertista (63 anos), reflete a história da vida musical do século XIX. E seu nome aparece como grande influência na mudança de hábitos que se deu entre seu primeiro recital público, em 1828, e o último, em 1891; em termos de escolha de repertório, programação de turnês, os papéis desempenhados pela criança-prodígio e pela mulher profissional, além da at

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3

Fonseca, Angelo Rafael Palma da. "Uma concepção musical para as “Impressões Sinfônicas” Festas das Igrejas, do compositor Francisco Mignone. O uso da Hermenêutica do ponto de vista da Regência." reponame:Repositório Institucional da UFBA, 2008. http://www.repositorio.ufba.br/ri/handle/ri/9081.

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143 f.<br>Submitted by JURANDI DE SOUZA SILVA (jssufba@hotmail.com) on 2013-03-08T15:01:19Z No. of bitstreams: 1 Tese Angelo Rafael Palma da Fonseca.pdf: 2475279 bytes, checksum: d3c3de5a34a5b87d44e2afce487825ab (MD5)<br>Approved for entry into archive by Rodrigo Meirelles(rodrigomei@ufba.br) on 2013-03-22T14:01:28Z (GMT) No. of bitstreams: 1 Tese Angelo Rafael Palma da Fonseca.pdf: 2475279 bytes, checksum: d3c3de5a34a5b87d44e2afce487825ab (MD5)<br>Made available in DSpace on 2013-03-22T14:01:29Z (GMT). No. of bitstreams: 1 Tese Angelo Rafael Palma da Fonseca.pdf: 2475279 bytes, checksum:

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Keventsidou, Eleni. "Max Reger's variations and fugue on an original theme Op.73 : issues of musical structure, performance practice and interpretation." Thesis, Canterbury Christ Church University, 2016. http://create.canterbury.ac.uk/16226/.

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The thesis investigates Max Reger's Variations and Fugue on an Original Theme Op. 73, demonstrates the refinement of Reger's composition, and underlines his connection to the great performer Karl Straube. His musical language, dynamic markings and technical problems regarding the tempo, registration and acoustics will be examined by an actual performance in Canterbury Cathedral. Several issues such as cathedral acoustics, mechanical or pneumatic actions and choice of tempi have underpinned this study. Within each variation, the characteristics and techniques of Reger's compositions express his

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5

Silva, Anderson Afonso. "Música para trompa e sixxen, de Estércio Marquez Cunha: resultados sonoros na colaboração entre compositor e intérprete." Universidade Federal de Goiás, 2017. http://repositorio.bc.ufg.br/tede/handle/tede/7291.

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Submitted by Luciana Ferreira (lucgeral@gmail.com) on 2017-05-10T11:43:45Z No. of bitstreams: 2 Dissertação - Anderson Afonso Silva - 2017.pdf: 7480769 bytes, checksum: c5fae92480b7a51c53b754f1e5b4aac3 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5)<br>Approved for entry into archive by Luciana Ferreira (lucgeral@gmail.com) on 2017-05-10T11:44:55Z (GMT) No. of bitstreams: 2 Dissertação - Anderson Afonso Silva - 2017.pdf: 7480769 bytes, checksum: c5fae92480b7a51c53b754f1e5b4aac3 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5)<br>Made ava

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Laycock, Kevin. "The translation and interpretation of the structural elements of musical compositions through painting and digital media." Thesis, University of Leeds, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.589023.

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Historically much of the activity in the area of visual music has been focused on the creation of visual compositions stimulated by musical performance. For the purpose of this investigation the studio practice will concentrate on the shared systems and language of composition, what Zilcer identifies as the 'application of formal compositional elements of music to painting'. 1 In part, the project will draw on the expertise of British composer Michael Berkeley and conductor Peter Manning.' The premise for the research is to identify the presence of process and system in each of the practitione

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Sousa, Bittencourt Pedro. "Interprétation musicale participative : la médiation d'un saxophoniste dans l'articulation des compositions mixtes contemporaines." Thesis, Paris 8, 2015. http://www.theses.fr/2015PA080075/document.

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Étude sur la collaboration et la participation active d’un saxophoniste-chercheur avec plusieurs compositeurs dans la création musicale mixte. Les musiques mixtes combinent un performeur jouant d’un instrument acoustique qui interagit avec des outils électroniques et informatiques, se faisant entendre par des hauts-parleurs. Nous comprenons la participation comme des multiples échanges humains intégrant l’écoute, l’instrument acoustique, l’électronique et les dernières technologies numériques dans la musique. Notre méthodologie s’est nourrie des sciences cognitives, de la systémique, de la rec

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Gomes, Vinicius Bastos 1990. "Alma : o estilo pianístico de Egberto Gismonti." [s.n.], 2015. http://repositorio.unicamp.br/jspui/handle/REPOSIP/285172.

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Orientadores: Paulo José de Siqueira Tiné, Maria José Carrasqueira Dias de Moraes<br>Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes<br>Made available in DSpace on 2018-08-28T08:39:12Z (GMT). No. of bitstreams: 1 Gomes_ViniciusBastos_M.pdf: 4078852 bytes, checksum: 8d976dfab947524a738a217c3bd1ed44 (MD5) Previous issue date: 2015<br>Resumo: Dividido em três capítulos, este trabalho constitui-se de uma investigação de aspectos do estilo pianístico e composicional do multi-instrumentista Egberto Gismonti tendo como material de estudo o álbum "Alma" (EMI-Odeon, 198

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Thom, Wium Magtild Johanna. "Contextual readings of analysis and compositional process in selected works by Arnold van Wyk (1916-1983)." Thesis, Stellenbosch : Stellenbosch University, 2013. http://hdl.handle.net/10019.1/80050.

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Thesis (PhD)--Stellenbosch University, 2013.<br>ENGLISH ABSTRACT: In this project, contextual readings of four works by Arnold van Wyk are developed. They are the Symphony No. 1 in A Minor, the First String Quartet, the Duo Concertante and the Missa in illo tempore. These readings are grounded in richly detailed descriptions of the compositional processes, drawing on material such as sketches, autographs, diaries, correspondence and reception documents, as well as in structural analyses of Van Wyk’s music and of certain peer compositions. Each reading is set in a separate theoretical frame, re

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Nascimento, Fabio Serra. "Mentiras sinceras: um estudo sobre as letras de Cazuza." Programa de Pós-Graduação em Letras e Lingüística da UFBA, 2005. http://www.repositorio.ufba.br/ri/handle/ri/10972.

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110f.<br>Submitted by Suelen Reis (suziy.ellen@gmail.com) on 2013-05-13T19:43:27Z No. of bitstreams: 1 dissertacao Fabio Nascimento.pdf: 446714 bytes, checksum: 343e143ab0150d6737cebe047ddff1b0 (MD5)<br>Approved for entry into archive by Rodrigo Meirelles(rodrigomei@ufba.br) on 2013-05-16T17:16:21Z (GMT) No. of bitstreams: 1 dissertacao Fabio Nascimento.pdf: 446714 bytes, checksum: 343e143ab0150d6737cebe047ddff1b0 (MD5)<br>Made available in DSpace on 2013-05-16T17:16:21Z (GMT). No. of bitstreams: 1 dissertacao Fabio Nascimento.pdf: 446714 bytes, checksum: 343e143ab0150d6737cebe047ddff1b0 (MD5)

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Gross-Mejía, Jennifer Anne. "The working hour: A rhetorical analysis of the lyrics of Tears for Fears." CSUSB ScholarWorks, 2003. https://scholarworks.lib.csusb.edu/etd-project/2477.

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Childhood friends Curt Smith and Roland Orzabal founded the band Tears for Fears, and were the two primary members from 1982-1990. Their songs describe the struggle of coping with childhood abuse. This thesis analyzes the rhetorical aspects of their lyrics, emphasizing how the words of their songs express the fundamental human response to abuse, and the painful process of recovery. It explores how the songwriters use the psychological theories of Arthur Janov and Carl Jung to scaffold their experience of working through emotional trauma; and how they combine those theories with astrological sy

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12

Bejo, Ermir. "Postmodern Multiplicities in Three Original Works." Thesis, University of North Texas, 2017. https://digital.library.unt.edu/ark:/67531/metadc1062830/.

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My recent compositions are situated within a postmodern theoretical framework. The heterogeneity of materials and hybridity of musical formation in these works are interpreted and contextualized within a personal reading of postmodern theories. The critical essay traces my aesthetics through a historical investigation into the definition of musical postmodernism. Through extensive citation and analysis of the writings of Julius T. Fraser, Italo Calvino, and Richard Rorty, the essay aims to provide a theoretical context for the interpretation of the musical examples. The creative documentation

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13

Markham, Karen. "Musical composition." Thesis, Durham University, 1993. http://etheses.dur.ac.uk/2018/.

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Alexander, Christian David. "Musical composition." Thesis, University of Bristol, 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.247192.

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Lin, Sheng-Hsin. "Background, Compositional Style, and Performance Considerations in the Clarinet Works of David Baker: Clarinet Sonata and Heritage: A Tribute to Great Clarinetists." Thesis, University of North Texas, 2016. https://digital.library.unt.edu/ark:/67531/metadc849742/.

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David Baker (b. 1931) is an educator, composer, and jazz legend. He has composed at least fifteen works that include the clarinet. Baker’s Clarinet Sonata (1989) has become a standard of clarinet repertoire and a popular recital inclusion. His chamber work Heritage: A Tribute to Great Clarinetists (1996) interweaves solo transcriptions of five jazz clarinetists. The compositional style of Baker’s clarinet works frequently links jazz and classical idioms. The two works discussed in this document are excellent examples for classically trained musicians who would like to increase their ability an

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16

Boardman, Gregory. "Musical composition : PhD." Thesis, Keele University, 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.269183.

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17

Dias, Correia Filipe Elsa. "Les tendances de la musique mixte en France depuis 1981." Thesis, Sorbonne université, 2018. http://www.theses.fr/2018SORUL005.

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La musique savante occidentale a toujours bénéficié des avancés technologiques disponibles dans chaque époque. L’influence de ceux-ci s’est révélée au niveau de la facture instrumentale ayant comme conséquence d’abord, l’élargissement du langage musical et compositionnel et, par la suite, demandant de l’instrumentiste un travail d’adaptation à des nouvelles techniques de jeu et d’interprétation. Le rapide développement technologique qui a marqué le XXe siècle, a poussé cette situation à des limites jusqu’alors inconcevables. La musique mixte, un nouveau genre qui associe la musique électroacou

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18

Hammerer, Mariana Ferraz Simões. "Análise interpretativa de cinco obras corais sacras do compositor Ernani Aguiar." Universidade de São Paulo, 2015. http://www.teses.usp.br/teses/disponiveis/27/27158/tde-08092016-155515/.

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Este trabalho busca apresentar uma análise focada na interpretação de cinco obras sacras para coro à cappella do compositor Ernani Aguiar. As obras são: Três Motetinos n° 1 (1975-1978), Três Motetinos n° 2 (1982), Três Motetinos n° 3 (1980-1986), Três Motetinos n° 4 e Três Motetinos n° 5 (1992). A metodologia de análise musical está sustentada a partir do Referencial Silva Ramos de Análise de Obras Corais, respondendo as questões pertinentes e depois transformando-as em texto corrido. Apresentamos um pequeno texto sobre sua trajetória de vida, mostrando sucintamente a atividade de Ernani Aguia

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Steenhuisen, Paul Brendan Allister. "Musical composition, Wonder, with document." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk2/tape15/PQDD_0007/NQ34628.pdf.

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20

Goss, Stephen. "Musical composition : 'Dreamchild' and 'Arcadia'." Thesis, Goldsmiths College (University of London), 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.313725.

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Linker, Saravia Ricardo Daniel. "Nature, spirituality and musical composition." Thesis, University of Bristol, 2016. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.730825.

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Leach, Jeremy L. "Algorithmic composition and musical form." Thesis, University of Bath, 1999. https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.571612.

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Throughout history, art has continued to defy the attempts of scholars and analysts to understand it and reduce it to a set of logical principles. As one of many art forms, music has probably attracted the most attention from formal methods of study and analysis. Analysis leads to models and theories of aspects of musical behaviour, and algorithmic composition is the practice of composing according to a set of rules, processes or principles. The goal of this thesis is to elucidate some fundamental aspects of simple intra-musical meanings. If they can be formulated, then it might be possible to

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23

Wood, Stephen J. "Composition portfolio." Thesis, University of Salford, 2006. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.491047.

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Gato, Gonçalo. "Algorithm and decision in musical composition." Thesis, Guildhall School of Music and Drama, 2016. http://openaccess.city.ac.uk/17292/.

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Through a series of creative projects this doctorate set out to research how computer-assisted composition (CAC) of music affects decision-making in my compositional practice. By reporting on the creative research journey, this doctorate is a contribution towards a better understanding of the implications of CAC by offering new insights into the composing process. It is also a contribution to the composition discipline as new techniques were devised, together with new applications of existing techniques. Using OpenMusic as the sole programming environment, the manual/machine interface was expl

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Johnson, Daniel S. "Musical Motif Discovery in Non-Musical Media." BYU ScholarsArchive, 2014. https://scholarsarchive.byu.edu/etd/4081.

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Many music composition algorithms attempt to compose music in a particular style. The resulting music is often impressive and indistinguishable from the style of the training data, but it tends to lack significant innovation. In an effort to increase innovation in the selection of pitches and rhythms, we present a system that discovers musical motifs by coupling machine learning techniques with an inspirational component. The inspirational component allows for the discovery of musical motifs that are unlikely to be produced by a generative model, while the machine learning component harnesses

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Mui, Kwong-chiu Mui Kwong-chiu Mui Kwong-chiu Mui Kwong-chiu Mui Kwong-chiu Mui Kwong-chiu Mui Kwong-chiu Mui Kwong-chiu Mui Kwong-chiu Mui Kwong-chiu Mui Kwong-chiu Mui Kwong-chiu Mui Kwong-chiu Mui Kwong-chiu Mui Kwong-chiu Mui Kwong-chiu. "Crossing the musical divides a collection of my musical creations /." Click to view the E-thesis via HKUTO, 2005. http://sunzi.lib.hku.hk/hkuto/record/B3157788X.

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27

Wan, Elysa (Elysa Q. ). "Musical interfaces : design and construction of physical manipulatives for musical composition." Thesis, Massachusetts Institute of Technology, 2007. http://hdl.handle.net/1721.1/40935.

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Thesis (S.B.)--Massachusetts Institute of Technology, Dept. of Mechanical Engineering, 2007.<br>Includes bibliographical references (leaf 19).<br>Currently, musical composition is considered to be a high-level skill that is inaccessible to young children. There is a "high floor" for children who want to create a piece of music because they must learn a way of recording and remembering the notes, their sequence, etc, such as musical notation. Our project explores tangible designs that will make music composition simple to learn and practice while also building an intuition about complex musical

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Roddie, Matthew. "Composition." Thesis, University of York, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.323691.

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Alessandrini, Patricia. "Composition as interpretation through performative electronics." Thesis, Queen's University Belfast, 2014. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.675947.

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The Introduction presents the notion. of composition as an act of interpretation: all of the works of the portfolio are based on existing repertoire, which is thus seen to be 'interpreted' through Computer-Assisted Composition (CAC) processes, entailing the combination, modification, analysis and transcription of recorded materials of the 'interpreted' work. Chapter 1 documents the use of real-time physical modelling synthesis in the Max/MSP programming environment. In Funeral Sentences for ensemble and electronics, a 'string meta-instrument' is created through the combination of violin, cello

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Bashaw, Howard Eugene. "Musical composition, The silent dragons, with document." Thesis, University of British Columbia, 1989. http://hdl.handle.net/2429/29331.

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The Silent Dragons is an 18-minute work for chamber ensemble and male chorus. The voice part has no literary or linguistic content, but uses phonemes for their sonic and expressive character. Compositional activity is organized into two essential layers; texture and drone. In its many forms, the textural layer persists throughout the entire composition and is perceived as the concurrence of two distinct continuums; the continuum of cumulative rhythmic effect in which the listener registers and interprets change in the total attack rhythm, and the continuum of textural transformation in which o

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Casewit, Niccolo Werner. "Related explorations in architectural and musical composition." Thesis, Massachusetts Institute of Technology, 1987. http://hdl.handle.net/1721.1/78965.

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Thesis (M. Arch.)--Massachusetts Institute of Technology, Dept. of Architecture, 1987.<br>MICROFICHE COPY AVAILABLE IN ARCHIVES AND ROTCH.<br>Includes bibliographical references (p. 71-76).<br>Architecture has been described as "frozen music." To be sure, architecture has many physically static features, yet it can best be understood as a process in motion and as motion. Both architecture and music share attributes of qualitative movement. A composition unfolds in phases of tension and repose, extension, and arrival. Explicit patterns of organization are defined by proportions, gradients of te

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Perks, Richard. "Combining musical identities through composition and improvisation." Thesis, Brunel University, 2013. http://bura.brunel.ac.uk/handle/2438/7545.

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This research project aims to: - Examine how my musical identity as Music-maker can be fused with those of contributing improvising musicians, throughout the collaborative process. - Form creative methodologies/strategies to sufficiently accommodate the improvisatory approaches of others around my own work. - Develop appropriate communication methods, including original notational systems; and explore ways in which technology can be harnessed, to help fulfil the above objectives. This research intends to explore the extent to which improvisation may be incorporated into compositions, by means

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Wells, Robert. "Musical composition : creative social and educational practices." Thesis, University of Southampton, 2014. https://eprints.soton.ac.uk/371692/.

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This commentary documents the changes in my compositional practice. It explores the rationale for my move towards collaborative compositional approaches, and the variety of processes that I have used. The work occurs in a range of environments, and involves diverse participants, highlighting the relevance of this work for people of all backgrounds, ages and skill levels. By altering the nature of the composition process and its context new arenas for educational and social practices have emerged. This commentary describes some of the benefits and challenges that arise from working in these new

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McLintock, Brian Thomas. "Musical expression in automated composition of melodies." Thesis, Virginia Tech, 1987. http://hdl.handle.net/10919/45809.

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<p>Music composed by computers has always been lacking in "musical" qualities: mood, emotional expression and a sense of purposefulness or goal. A musical expert system, called EMOTER, is the first attempt to address these important musical aspects. EMOTER receives as input a list of moods (e.g., happy, lively) and generates melodic passages intended to evoke those moods in an organized, coherent fashion. EMOTER composes the basic units of music called phrases.</p> <p> The program uses the mood-specification from a theory due to Deryck Cooke to derive a few motifs (very primitive me

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Mui, Kwong-chiu, and 梅廣釗. "Crossing the musical divides: a collection ofmy musical creations." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2005. http://hub.hku.hk/bib/B3157788X.

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Evans, Richard Walter. "Key concepts in musical performance : practice, performance, interpretation." Thesis, University of Bristol, 2000. http://hdl.handle.net/1983/f4b0771f-0d5a-4e90-906e-b2c3ae91783b.

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Continanza, Christopher. "Musical machines driving algorithmic composition with chaotic equations /." Click here for download, 2008. http://proquest.umi.com/pqdweb?did=1568973941&sid=1&Fmt=2&clientId=3260&RQT=309&VName=PQD.

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Boagey, Susan Barbara. "Musical composition in primary schools : Learning with learners." Thesis, Open University, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.536079.

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Dixon, M. J. C. "T.W. Adorno's critique of post-war musical composition." Thesis, University of Cambridge, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.598562.

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This dissertation offers an analysis and interpretation of Theodor W. Adorno's critique of post-war musical composition with reference to the essays <I>Das Altern der neuen musik </I>(1956), <I>Musik und Technik </I>(1958), <I>Vers une musique informelle </I>(1962) and the posthumously published <I>Ästhetische Theorie. </I>My interest in these particular writings resides in the fact that from them it is possible to construct a picture of Adorno's understanding of what it is to compose. My principal contention is that this understanding depends on a rigorous application of a subject-object dial

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Belshaw, Simon. "Generative systems and disruptive processes in musical composition." Thesis, University of Hertfordshire, 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.421281.

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Manesh, Daniel (Daniel M. ). "Exquisite Score : a system for collaborative musical composition." Thesis, Massachusetts Institute of Technology, 2016. http://hdl.handle.net/1721.1/105976.

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Thesis: M. Eng., Massachusetts Institute of Technology, Department of Electrical Engineering and Computer Science, 2016.<br>This electronic version was submitted by the student author. The certified thesis is available in the Institute Archives and Special Collections.<br>Cataloged from student-submitted PDF version of thesis.<br>Includes bibliographical references (pages 91-92).<br>Exquisite Score is a web application which allows users to collaborate on short musical compositions using the paradigm of the parlor game Exquisite Corpse. Through a MIDI-sequencer interface, composers each contr

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Palau, Carolina Noguera. "Carnivalesque expressions in musical composition: a Colombian perspective." Thesis, Birmingham City University, 2011. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.573690.

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The aim of my research is to reflect and exploit through a set of compositions certain musical features of Colombian folk music, which although difficult to incorporate in the language of Western Classical Music, can expand it in creative and productive ways. The outcome of this project is a folio with a set of compositions exploring, through different and innovative forms and sounds, the conflictive relationship between Colombian folk music and contemporary musical languages.

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Ashworth, Philip James. "Developing an approach to large-scale musical composition." Thesis, Royal College of Music, 2014. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.633497.

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This accompanying commentary details my development of a large-scale approach to composition. Outlining my need to find a way of dealing more comprehensively with my material, the essay explores the nature of material itself and what it is to be large-scale. The works of other composers and theorists are examined and discussed alongside analyses of my composition portfolio

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Charles, Brigitte. "Gender and musical composition in the primary school." Thesis, University College London (University of London), 2003. http://discovery.ucl.ac.uk/10020420/.

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Riera, Robusté Joan. "Spatial hearing and sound perception in musical composition." Doctoral thesis, Universidade de Aveiro, 2014. http://hdl.handle.net/10773/13269.

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Doutoramento em Música<br>This thesis explores the possibilities of spatial hearing in relation to sound perception, and presents three acousmatic compositions based on a musical aesthetic that emphasizes this relation in musical discourse. The first important characteristic of these compositions is the exclusive use of sine waves and other time invariant sound signals. Even though these types of sound signals present no variations in time, it is possible to perceive pitch, loudness, and tone color variations as soon as they move in space due to acoustic processes involved in spatial h

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Pendley, James. "Visualizing sound : a musical composition of aural architecture." [Tampa, Fla] : University of South Florida, 2009. http://purl.fcla.edu/usf/dc/et/SFE0003152.

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Owen, Trefan. "Life Cycle: A Musical Composition in Four Movements." OpenSIUC, 2014. https://opensiuc.lib.siu.edu/theses/1510.

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Life Cycle is a modern musical composition written for chamber orchestra. Life Cycle is scored for flute, clarinet, electric guitar, viola, cello, glockenspiel, vibraphone, marimba and drum kit. This composition is composed in four movements, each representing a different phase of the composer's musical life-journey. Life Cycle infuses elements and techniques from the Classical idiom with jazz, pop and rock idioms.

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Roth, Alec R. "New composition for Javanese gamelan." Thesis, Durham University, 1986. http://etheses.dur.ac.uk/917/.

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The Akademi Seni Karawitan (ASKI), in Sukarta, Central Java, one of Indonesia's leading performing arts institutes, has in the last few years (1979-1985) been the centre of a radical experimental movement exploring and extending the resources of traditional gamaeln music (karawitan). The purpose of this thesis is to describe and analyse this development and resulting new works. The term used for the creative process and the resulting compositions themselves "komposisi", leading some observers to conclude that Western influence is a decisive factor. Closer investigation, however, raises importa

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Hoover, Amy K. "Functional Scaffolding for Musical Composition: A New Approach in Computer-Assisted Music Composition." Doctoral diss., University of Central Florida, 2014. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/6290.

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While it is important for systems intended to enhance musical creativity to define and explore musical ideas conceived by individual users, many limit musical freedom by focusing on maintaining musical structure, thereby impeding the user's freedom to explore his or her individual style. This dissertation presents a comprehensive body of work that introduces a new musical representation that allows users to explore a space of musical rules that are created from their own melodies. This representation, called functional scaffolding for musical composition (FSMC), exploits a simple yet powerful

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McCracken, Chelsea. "Contradiction in the tragic musical /." Connect to online version, 2009. http://ada.mtholyoke.edu/setr/websrc/pdfs/www/2009/372.pdf.

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