Dissertations / Theses on the topic 'Modes musicaux'

Dès la fin des années soixante dix, les mouvements musicaux Hip Hop et Techno sont apparus comme des vecteurs d'innovations culturelles et artistiques. C'est fréquemment les caractéristiques musicales de ces mouvements qui ont été étudiées par les chercheurs, délaissant un élément central du système de communication mis en oeuvre par ces mouvements: le corps. Le corps occupe le devant de la scène: émetteur et récepteur, le corps en milieur Hip Hop et Techno est mobilisé comme un marqueur culturel fort, signe d'identité et de distinction. Ce surinvestissement conjoint du corps se manifeste pourtant dans des techniques et usages diamétralement opposés dans chacun des groupes culturels. Cette recherche propose donc de s'intéresser aux pratiques somatiques dansées et non dansées en s'interrogeant sur leurs mises en système dans des "cultures motrices". Cette analyse formelle de la matière corporelle brute induira des questionnements anthropologiques permettant de révéler des logiques isotopes sous-tendant des pratiques somatiques non isomorphes. Relié à des questionnements de type identitaire, cet investissement du corps s'inscrit dans des dynamiques de contestation, contestation des formes et modèles sociaux traditionnels. S'inspirant des théories interdisciplinaires, l'analyse des formes kinésiques et de leur agencement est envisagée dans une perspective sémiologique. Proposant d'analyser les pratiques corporelles comme un langage, ce travail envisage le corps comme une dimension sémiotique de la culture
In the late seventies, the musical movements Hip Hop and Techno emerged as vehicles for artistic and cultural innovations. The musical characteristics of these movements have often been studied by researchers, neglecting a central element of the system of communication carried out by these movements: the body. The body takes front stage: transmitter and receiver, the body is mobilized as a strong cultural marker in Hip Hop and Techno movements, being a sign of identity and distinction. This over-investment of the body in both movements manifests itself in diametrically opposed techniques and practices in each of the cultural groups. This research thus seeks to focus on danced and not danced somatic practices, by questioning their implementation in the "driving cultures". This analysis of the raw corporeal material leads to anthropologic questioning, revealing logic isotopes underlying the somatic non-isomorphic practices. This investment of the body is linked to the questions of identity,and is in line with the dynamics of contestation of traditional social forms and models. Drawing upon interdisciplinary theories, the analysis of kinesic forms and their organization is conceptualized from a semiotic perspective. This work analyzes the corporeal practices as a language, the body being considered as a semiotic dimension of culture

La musique arabo-andalouse au Maghreb représente un riche héritage de tradition recueillies et préservées par d'innombrables musicologues au XXe siècle, parmi lesquels on a choisi d'étudier des pièces représentatives de chaque école : la nūba Dam'i jara en Libye, la nūba ‘Irāq en Tunisie, la nūba Ḥsīn en Algérie (Constantine, Alger, Tlemcen) et la nūba Iṣbahān au Maroc.La présente étude met en avant la notation musicale, la transcription et l'enregistrement sonore comme outils d'investigation, permet de mettre en valeur l'unité et la diversité des matériaux. Parmi ceux-ci, le malūf de Libye, souvent cité et presque jamais entendu ou étudié, s'il préserve ses mystères, relève des caractères familiers. La mise en pratique de plusieurs outils informatiques pour les différentes phases d'analyse des premières étapes d'adaptation du format numérique puis la transcription en passant par le traitement statistique et l'élaboration de l'analyse mélodique, permettent de se défaire des habitudes d'une écoute axée sur la reconnaissance et à l'aide d'outils tantôt usuels tantôt innovants, amènent de nouvelles analyses adaptées à ce répertoire. L'ensemble est articulé en quatre chapitres, chacun explorant en détail un aspect important de la musique arabo-andalouse. Le premier développe la nūba comme genre, avec ses multiples influences, sa forme, ses mouvements, les différentes écoles qui la caractérisent, ainsi que la formation instrumentale qui l'accompagne, mettant en lumière son rôle essentiel dans l'interprétation et la transmission. Le deuxième se concentre sur le corpus écrit et enregistré de la musique arabo-andalouse et présentant la nature variée des différentes pièces analysées. Le troisième et le quatrième chapitres abordent respectivement l'analyse comparative au sein des différentes écoles du Maghreb et l'analyse fréquentielle
Arab-Andalusian music in the Maghreb represents a rich heritage of tradition collected and preserved by countless musicologists in the 20th century, among whom we chose to study pieces representative of each school: the Dam'i jara nūba in Libya, the ‘Irāq nūba in Tunisia, the Ḥsīn nūba in Algeria (Constantine, Algiers, Tlemcen), the Iṣbahān nūba in Morocco. This study highlights musical notation, transcription and sound recording as investigative tools, enabling the unity and diversity of materials to be highlighted. Among these, the malūf of Libya, often cited and almost never heard or studied, although it preserves its mysteries, has familiar characteristics. The application of several computer tools for the different phases of analysis from the first stages of adaptation of the digital format, then the transcription through statistical processing and the development of melodic analysis, make it possible to break away from habits of listening focused on recognition and, using tools that are sometimes usual, sometimes innovative, provide new analyzes adapted to this repertoire. The whole is divided into three chapters, each exploring in detail an important aspect of Arab-Andalusian music. The first develops nūba as a genre, with its multiple influences, its form, its movements, the different schools that characterize it, as well as the instrumental training that accompanies it, highlighting its essential role in interpretation and transmission. The second focuses on the written and recorded corpus of Arab-Andalusian music and presenting the varied nature of the different pieces analyzed. Finally, the third and fourth chapters respective comparative analysis within the different schools of the Maghreb and frequency analysis

L'objectif de cette thèse est de fournir des modèles mathématiques pour la compréhension et l'analyse de représentations symboliques de la musique. En particulier, cette thèse se décompose en trois parties : comment découvrir les motifs musicaux~? Comment ces motifs sont-ils organisés avec la structure musicale ? Et finalement, comment ces motifs sont-ils joués durant la performance musicale ? Tout d'abord, cette thèse se focalise sur la tâche de découverte de motifs musicaux. Les travaux antérieurs permettent de distinguer deux approches : l'approche séquentielle et l'approche multidimensionnelle. Nous proposons une méthode pour développer l'approche multidimensionnelle. En particulier, nous montrons que la théorie de la morphologie mathématique s'adapte très bien à l'approche géométrique, ce qui permet d'obtenir des résultats mathématiques pour la découverte de motifs musicaux. En seconde partie, nous nous intéressons à la tâche de segmentation musicale. Nous proposons deux méthodes, l'une reposant sur l'homogénéité et l'autre sur la répétition, qui sont les deux caractéristiques principales à étudier pour découvrir la segmentation d'une pièce. La méthode reposant sur l'homogénéité utilise les filtres morphologiques pour détecter les blocs sur la diagonale de la matrice d'auto-similarité. Nous développons aussi une méthode reposant sur la quasi-répétition sans intersection pour obtenir la segmentation hiérarchique d'une pièce. La troisième partie est dédiée à l'analyse de la performance musicale avec des outils informatiques. Nous nous focalisons sur la base de données MazurkaBL qui contient des annotations de plus de 2000 performances de 46 Mazurkas de Chopin. Pour analyser cette base de données, nous proposons de représenter une performance musicale dans un 2-simplexe, ce qui permet de caractériser et d'interpréter l'expressivité musicale d'une performance. Ensuite, nous montrons comment la théorie du transport optimal peut être utilisée pour comparer des performances musicales
The purpose of this thesis is to provide mathematical models for the understanding and analysis of symbolic representations of music. In particular, this thesis is divided into three parts. How to discover musical patterns? How are these patterns organized within the musical structure? And finally, how are these patterns performed during musical performance? First, this thesis focuses on the musical pattern discovery task. Previous work identifies two different approaches: the sequential and geometric approaches. We propose a method for each of these two approaches. We propose a method for developing the multidimensional approach. In particular, we show that the theory of mathematical morphology is well suited to the geometrical approach, making it possible to obtain mathematical results for the discovery of musical patterns. In the second part, we focus on the musical segmentation task. We propose a method based on homogeneity and one based on repetition, which are the two main features to be studied in order to discover the segmentation of a piece. The homogeneity-based method uses morphological filters to detect blocks on the diagonal of the self-similarity matrix. We also develop a method based on almost repetition without overlaps to obtain the hierarchical segmentation of a musical piece. The third part is dedicated to the computational models for music performances. We focus on the MazurkaBL dataset, which contains annotations of over 2000 recorded performances of 46 Chopin Mazurkas. To analyze this dataset, we propose to represent a musical performance in a 2-simplex, allowing us to characterize and interpret the expressivity of a performance. Then, we show how the theory of optimal transport can be used to compare musical performances

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Entre as diferentes narrativas e estéticas do documentário cinematográfico, há uma tendência nos últimos tempos, à documentação de universos musicais. Estes documentários musicais abordam, em ocasiões, temas que passam por esferas políticas, culturais e sociais, e que, transcendendo relatos biográficos ou cronológicos sobre músicos e bandas, conformam um complexo exercício de representação de universos que são habitados e narrados por particulares estéticas visuais e sonoras. A partir do estudo de um conjunto de documentários realizados no Brasil, em Porto Rico e na Colômbia, esta pesquisa propõe uma reflexão sobre a forma como um conjunto de cineastas representa estética e culturalmente alguns universos musicais que são frequentemente considerados como ordinários ou de mau gosto. As reflexões deste estudo estendem-se às discussões políticas e culturais que tais representações suscitam.
Salvador

O presente memorial está dividido em duas partes, a primeira trata da situação do compositor de frente à sua própria peça. Partindo do modelo tripartite da semiologia de Jean Jaques Nattiez, é proposto um deslocamento do observador com o intuito de oferecer uma ferramenta analítica a ser utilizada pelo compositor na análise de seu próprio trabalho. Após a formulação teórica, esta primeira parte é encerrada por uma breve análise de uma das peças do portfólio apresentada como uma primeira aproximação ao funcionamento do modelo analítico e como exemplo das questões que estão se debatendo tais como material, objeto musical entre outros. Esta análise é seguida por uma critica composicional que por sua vez dá lugar a alguns comentários de outra das peças do portfólio. A segunda parte trata do problema composicional especifico que fora trabalhado durante o mestrado; a saber, o relacionamento entre tempo e forma. Num primeiro momento se estabelece um debate teórico para logo dar lugar à análise de outra peça do portfólio que exemplificará o funcionamento de um dispositivo formal proposto como possível solução ao binômio tempo/forma.
This text is divided into two parts, the first dealing with the situation of the composer in front of his own work. Based on the tripartite model of semiology proposed by Jean Jaques Nattiez, a shift of the observer is proposed in order to provide an analytical tool to be used by the composer in the analysis of their own work. After the theoretical formulation, the first part concludes with a brief analysis of a piece of the portfolio presented as a first approach to the operation of the analytical model and an example of the issues with which at deals, such as material and musical objects. This analysis is followed by a compositional critique, which in turn gives rise to some comments on an other piece of the portfolio. The second part deals with the specific compositional problem that has been worked during the Masters investigation: namely, the relationship between time and form. At first a theoretical debate is established that in turn give rise to the analysis of another piece of the portfolio that exemplifies the performance of a device formally proposed as a possible solution to the binomial time/form.

This research proposes new approaches for computational identification of Persian musical modes. This involves constructing a database of audio musical files and developing computer algorithms to perform a musical analysis of the samples. Essential features, the spectral average, chroma, and pitch histograms, and the use of symbolic data, are discussed and compared. A tonic detection algorithm is developed to align the feature vectors and to make the mode recognition methods independent of changes in tonality. Subsequently, a geometric distance measure, such as the Manhattan distance, which is preferred, and cross correlation, or a machine learning method (the Gaussian Mixture Models), is used to gauge similarity between a signal and a set of templates that are constructed in the training phase, in which data-driven patterns are made for each dastgàh (Persian mode). The effects of the following parameters are considered and assessed: the amount of training data; the parts of the frequency range to be used for training; down sampling; tone resolution (12-TET, 24-TET, 48-TET and 53-TET); the effect of using overlapping or nonoverlapping frames; and silence and high-energy suppression in pre-processing. The santur (hammered string instrument), which is extensively used in the musical database samples, is described and its physical properties are characterised; the pitch and harmonic deviations characteristic of it are measured; and the inharmonicity factor of the instrument is calculated for the first time. The results are applicable to Persian music and to other closely related musical traditions of the Mediterranean and the Near East. This approach enables content-based analyses of, and content-based searches of, musical archives. Potential applications of this research include: music information retrieval, audio snippet (thumbnailing), music archiving and access to archival content, audio compression and coding, associating of images with audio content, music transcription, music synthesis, music editors, music instruction, automatic music accompaniment, and setting new standards and symbols for musical notation.

Cette thèse est fondée sur une recherche anthropologique menée dans le Sud péruvien, au sein de communautés paysannes de l’Altiplano de la région du lac Titicaca. Elle envisage l’existence d’un mode ritualisé de production musicale qui s’articule sous la forme de séquences. Cette notion de séquence musicale est définie à travers les exemples de différents rituels de cinq communautés de l’actuel département de Puno, puis explorée dans le cycle rituel annuel de l’île de Taquile (cf. Première et deuxième parties). L’articulation de ces séquences synchronisées aux phases des rituels est mise en relation avec l’espace sacré et la cosmovision de cette communauté insulaire (cf. Troisième partie). Le décodage de marqueurs spatiaux rend alors possible la compréhension de différents codes visuels présents au cours des fêtes, ainsi que du mode de production des séquences. Musiques et rituels apparaissent comme générés par une matrice liée au cycle de croissance des plantes, au dialogue entre le monde des vivants et de leurs ancêtres et à la mécanique céleste. Ce mode rituel d’expression musicale semble spécifique à cette région du monde (cf. Quatrième partie)
This thesis is based on anthropological research carried out in the south of Peru, among the peasant communities of the Altiplano in the region of Lake Titicaca. It deals with a ritualised mode of producing music in the form of sequences. The notion of the musical sequence is defined through examples of the various rituals from five communities located in the province of Puno, and is then explored in the annual ritual cycle of the Island of Taquile (cf. Parts1 and 2). The sequences are synchronised with the ritual phases and then related to the sacred sphere and worldview of this island community (cf. Part 3). The decoding of spatial markers provides the key to understanding the different visual codes utilised during the festivals, as well as how the sequences are produced. Music and rituals appear to be generated by a matrix linked to the cycle of plant growth, to the dialogue between the world of the living and their ancestors, and to celestial mechanics. This ritual way of musical expression appears to be specific to this region of the world (cf. Part 4)

A particular aspect in the perception of sound is concerned with what is commonly termed as texture or timbre. From a perceptual perspective, timbre is what allows us to distinguish sounds that have similar pitch and loudness. Indeed most people are able to discern a piano tone from a violin tone or able to distinguish different voices or singers. This thesis deals with timbre modelling. Specifically, the formant theory of timbre is the main theme throughout. This theory states that acoustic musical instrument sounds can be characterised by their formant structures. Following this principle, the central point of our approach is to propose a computer implementation for building musical instrument identification and classification systems. Although the main thrust of this thesis is to propose a coherent and unified approach to the musical instrument identification problem, it is oriented towards the development of algorithms that can be used in Music Information Retrieval (MIR) frameworks. Drawing on research in speech processing, a complete supervised system taking into account both physical and perceptual aspects of timbre is described. The approach is composed of three distinct processing layers. Parametric models that allow us to represent signals through mid-level physical and perceptual representations are considered. Next, the use of the Line Spectrum Frequencies as spectral envelope and formant descriptors is emphasised. Finally, the use of generative and discriminative techniques for building instrument and database models is investigated. Our system is evaluated under realistic recording conditions using databases of isolated notes and melodic phrases.

Ce travail de thèse propose un transfert de méthodes industrielles et de recherche que sont le prototypage virtuel et la caractérisation mécanique des structures vers l'artisanat d'art : la fabrication des instruments de musique à cordes, plus particulièrement la guitare et le violon.Ce domaine, historiquement éminemment empirique, est étudié ici avec des critères objectifs. Le travail porte principalement sur le comportementmécanique vibratoire de ces instruments de musique. Le comportement mécanique du matériau utilisé (bois de lutherie) est tout d'abord étudié, et une méthode non-destructive proposée et appliquée à l'épicéa et à l'érable. La fiabilité des modèles numériques et ensuite étudiée par des méthodes de vérification et de validation de modèle, habituellement utilisées dans les domaines industriels et de recherche Les modèles développés sont ensuite utilisés en support à l'étude de phénomènes complexes de l'acoustique musicale appliquée au violon et à la guitare. Pour finir, l'utilisation de ces méthodes numériques pour une application concrète en facture instrumentale (prise de décision en milieu incertain, innovation de la géométrie et des matériaux) est proposée
This work proposes a methodology for the transfer of industrial and research domain methods toward arts and crafts domain. The virtual prototyping and mechanical characterization of materials are used for the stringed musical instruments making domain. The works is adressed to the guitar and violin making. This domain is historically driven by empricism and it is studied here using objective criteria. The main topic is the mechanical vibratory behaviour of musical instruments. Firstly, the mechanical behaviour of the material used (tonewood) is studied. A non-destructive methodology is proposed and applied on spruce and maple species. The reliability of the numerical models is studied by method usually used in industry and research, the verification and validation process. The models developed are used as a support for the study of complex phenomena in musical acoustics. Finally, the utilization of numerical method for a practical application in instrument making (decision support under uncertainties, geometric and material optimization) is proposed. The methodology for a transfer to art and crafts domain is discussed

Thesis (Ph. D.)--Massachusetts Institute of Technology, School of Architecture and Planning, Program in Media Arts and Sciences, 2006.
Includes bibliographical references (leaves [125]-132).
This thesis presents a quantitative, parametric model for describing musical tension. While the phenomenon of tension is evident to listeners, it is difficult to formalize due to its subjective and multi-dimensional nature. The model is therefore derived from empirical data. Two experiments with contrasting approaches are described. The first experiment is an online test with short musical excerpts and multiple choice answers. The format of the test makes it possible to gather large amounts of data. The second study requires fewer subjects and collects real-time responses to musical stimuli. Both studies present test subjects with examples that take into account a number of musical parameters including harmony, pitch height, melodic expectation, dynamics, onset frequency, tempo, and rhythmic regularity. The goal of the first experiment is to confirm that the individual musical parameters contribute directly to the listener's overall perception of tension. The goal of the second experiment is to explore linear and nonlinear models for predicting tension given descriptions of the musical parameters for each excerpt. The resulting model is considered for potential incorporation into computer-based applications. Specifically, it could be used as part of a computer-assisted composition environment. One such application, Hyperscore, is described and presented as a possible platform for integration.
by Morwaread M. Farbood.
Ph.D.

Mestrado em Ensino de Música
O presente trabalho propõe uma abordagem complementar ao ensino dos modos gregorianos, que faz parte do programa do primeiro ano de Análise e Técnicas de Composição (A.T.C.). Ao invés da utilização dos modos estar circunscrita à música medieval e renascentista, pretende-se que os alunos adquiram uma visão mais global da utilização dos modos, incluindo a música Hindustani e a música tradicional portuguesa. Do ponto de vista da composição, enquanto que em A.T.C os modos servem de base à escrita de contraponto de espécies, neste estudo servem de base à improvisação, nos instrumentos dos alunos, seguindo o modelo da música Hindustani. Finalmente, explora-se a possibilidade de aplicar a mesma abordagem a outros conteúdos da disciplina
The present document proposes a complementary approach to gregorian modes, part of the first year’s programme in the subject of Analysis and Composition Techniques (A.T.C.). Instead of confining the use of gregorian modes to medieval and renaissance music, we intend that the students acquire a global vision of the modes’ use, including Hindustani and traditional portuguese music. While in A.T.C. the modes serve as basis to species counterpoint, in this study they are used for improvisation, in the students’ instruments, following the model of Hindustani music. Finally, this approach is applied to other contents of the subject.

This thesis is based on a project that is part of IBM’s collaboration with a Collecting Right Organization that collects and distributes payments of authors’ rights. The project aimed at helping this organization identify right beneficiaries for musical tracks listened on online streaming platforms. Given as an input a list of tracks composed of metadata such as artist names, titles and listening statistics, the goal was to match each line with its corresponding element in this organization’s documentation. Since each broadcaster has its own catalogue of music, it can be hard sometimes to find the correct matching for each song. In practice, this organization has a dedicated team that handles manually some of the non-trivial cases. Whereas their identification process focuses on resources that contribute to 90% of the revenue of each listening report, it achieves an identification rate of around 70% of the resources declared which represent a substantial amount of unprocessed tracks left aside. In this thesis, we investigate the possibility to outperform the current solution and design a new identification model that combines concepts and technologies from various fields including search engines, string metrics and machine learning. First, the identification process used by the organization was reproduced and refined to quickly process the most trivial cases. On top of this, an identification algorithm that relies on a machine learning framework was built to process non-trivial cases. This method showed very promising results since it achieves an identification rate and a false discovery rate of the order of those of the current solution without the use of a dedicated team of experts.
Detta examensarbete bidrar till ett samarbetsprojekt mellan IBM och en upphovsrättsorganisation, som samlar in och distribuerar royalties till upphovsmän. Projektet syftade till att hjälpa denna organisation att identifiera upphovsrättsinnehavare för musikverk som spelas på strömmande plattformar. Givet en verklista med metadata, såsom artistnamn, titlar och lyssningsstatistik, var målet att matcha varje rad med motsvarande element i organisationens dokumentation. Eftersom varje musikdistributör har sin egen musikkatalog kan det vara svårt att hitta rätt upphovsman för ett givet verk. I praktiken har denna organisation ett arbetslag som hanterar de icke triviala fallen manuellt. Detta sökarbete fokuserar på resurser som bidrar till 90% av intäkterna för varje lyssningsrapport, och uppnår en identifieringsgrad på omkring 70%. En betydande mängd obearbetade lyssningsrapporter lämnas alltså åt sidan, vilket leder till förluster för rättighetsinnehavarna. I föreliggande arbete undersöktes möjligheten att överträffa den nuva- rande lösningen. En ny identifieringsmodell utformades som kombinerar begrepp och teknik från olika områden, inklusive sökmotorer, strängmätningar och maskininlärning. För det första reproducerades och förfinades identifieringsprocessen som användes av organisationen för att snabbt behandla de mest triviala fallen. Utöver detta tillkommer en identifieringsalgoritm som bygger på maskininlärning, för att behandla icke triviala fall. Metoden uppvisade mycket lovande resultat; den uppnår en identifieringstakt och en felprocent av samma storleksordning som den nuvarande lösningen, utan att använda människor som experter.

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The purpose of this dissertation is to analyze the music of the composer Moacir Santos, specifically in two elements: rhythm and modal procedures. I sustain that these aspects of his compositional process are associated in a broad way to the concept of africaneity, a cultural category deeply linked to his music and the context and development of brazilian music and jazz in the 1960 s, the decade when his production began in Brazil and in the United States. Regarding the repertoire, the emphasis is on the selection of compositions compiled and recorded in the double CD Ouro Negro, released in 2004. The methodology of the analysis consists on first focusing on excerpts, followed by longer and more elaborate sections at the end. In this sense, the purpose is to use the musical analysis with more emphasis on the most significant points of interest in a wide repertoire, rather than completely exhausting the musical analysis in all of its particularities
O objetivo desta dissertação é abordar e analisar a música do compositor Moacir Santos, especificamente em dois elementos: ritmo e procedimentos modais. São aspectos presentes em seu processo composicional que argumento associarem-no de maneira ampla a um conceito de africanidade, categoria cultural intimamente vinculada à sua música e aos contextos e desenvolvimentos da música brasileira e jazz na década de 1960, momento que inicia sua produção no Brasil e Estados Unidos. Quanto ao repertório, foco na seleção de composições compiladas e regravadas no CD duplo Ouro Negro, lançado em 2004. Como metodologia, as análises buscam em um primeiro momento debater trechos, seguidos de exemplos maiores e elaborações mais intensas ao fim. Neste sentido, o objetivo é utilizar a análise musical de modo a dedicar atenção aos pontos mais significativos e de interesse em um amplo repertório, ao invés de esgotar integralmente as músicas em todas suas particularidades

A qualitative research was conducted to better understand the communication process connected with organizing musical festival for mass audience and the tools used to gain successful communication. Based on data collected by an interview with organizers and data found on the festival web site, theory about communication models of PR Smith and tools used in communication process, described by Kotler, were compared. One of the biggest music festivals in Europe – an Hungarian festival: the Sziget – has been chosen to evaluate its communication.

The findings show that, in terms of communication model, the company chooses the most appropriate to reach mass audience model. Mass communication model with small modifications seem to be the most appropriate for such a big organization like musical event. Communication tools used in case of a big festival also should concern about reaching mass audience. In order to do that, the tools focussed on more personal communication, such as direct marketing or personal selling can be given up in favour of tools such as advertising, publicity and PR or sales promotion, which give possibility to reach bigger audience in shorter period of time.

La pratique de la guitare en France, largement inconnue avant-guerre, n'explose que durant les années 1960-1970. L'instrument est devenu quasiment incontournable dans les musiques populaires, en France ou dans le monde. Le fait le plus marquant n'est pas tant l'ampleur du phénomène que l'investissement symbolique dont la guitare fait l'objet, puisqu'elle est souvent prise pour l'emblème des genres musicaux qu'elle sert (rock, blues, flamenco, manouche, etc.). D'où vient l'idée qu'à chaque musique correspond sa guitare, à chaque guitare son symbole, à tel point que certains croient pouvoir lire « l'histoire du monde » à travers cet instrument qui aurait existé « de tous temps », par-delà la distinction savant/populaire ? Au-delà de cette mythologie de l'universalité de l'instrument, la recherche porte sur son symbolisme global, dont l'étude fait défaut. Une sociologie de l'actualité des pratiques de guitaristes amateurs et professionnels en France, plutôt que d'étudier des communautés correspondant à des genres supposés stables, permet d'interroger un monde musical transversal à la question des genres. Car c'est là sa forme obligatoire : le mélange des genres et le bricolage de soi, la revendication autodidacte, la labilité identitaire, les techniques de soi et la relation à la profusion technologique montrent un travail de symbolisation propre à cette modernité musicale ; ni un défaut, ni un excès, mais une négativité du symbole qui fait toute sa plasticité et permet de produire, dans l'acte musical, un rapport au monde entre individualisation et rationalisation, entre socialisation et subjectivation de l'expérience moderne.

Semiotic dynamics and computational evolutionary musicology literature investigate emergence and evolution of linguistic and musical conventions by using computational multi-agent complex adaptive system models. This thesis proposes a new computational evolutionary musicology model, by altering previous models of familiarity based musical interactions that try to capture evolution of songs as a co-evolutionary process through mate selection. The proposed modified familiarity game models a closed community of agents, where individuals of the society interact with each other just by using their musical expectations. With this novel methodology, it is found that constituent agents can form a musical agreement by agreeing on a shared bi-gram musical expectation scheme. This convergence is attained in a self-organizing fashion and throughout this process significant usage of n-gram melodic lines become observable. Furthermore, modified familiarity game dynamics are investigated and it is concluded that convergence trends are dependent on simulation parameters.

The intention of this study was to understand more fully the process of creating musical composition. As a means to to this I created a compositional model, "Maya's Words", a conscious experiment which utilised the techniques I discovered and codified from children's compositions. By utilising rhe model as a working tool and the information extracted from the children's works I was able to draw together my own theories and observations concerning the process of musical composition and how it works. Within this study I have also examined my own process of musical composition and drawn, in a limited way, upon my work on the methodology behind the compositional procedures of composer Elisabeth Lutyens. The way in which the children used their own musical ideas in a flexible and original manner illustrated a mental state that seemed to be able to grasp thoughts from anywhere, without reference, for example, to tradition or style. This dexterity brought to my attention the notion that the children were using fragments of ideas/music/sound and integrating them into their own compositions. In the compositional model for this study I chose to compose in a way that utilised information from this study in many manifestations but it also had to be an organic growth as a means to be real and for me to have a true input into it a sa composer. It also had to incorporate many of the study elements into it otherwise it would not be a conscious experiment. The two forces here, for me haave worked in tandem as the flexibility of approach used by the children has allowed me to work in a flexible way in this compositional model and yet the uncomplicated way in which the children evaluated their own progressions has had a profound influence on me too and provided me with a method of self-evaluation which does not create self-inflicted damage to my own feelings about my composition. I hope in the same way that this study will allow composers a freedon of perspective that will open for them a new understanding of musical composition.

In this paper, a theoretical approach is presented to analyse music harmony perception under different tonal context. The purpose of this study is to account for the empirical perception rankings of musical chord structures. We believe the perception of a musical simultaneity depends on both its internal structure and external tonal context and the failure of previous psychoacoustic theories possibly comes from the ignorance of tonal context. The model prediction result reveals some important insights in line with empirical observations for music triads.

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Estudo sobre o conteúdo descritivo na obra 'Quadros de uma Exposição' de Modest Mussorgsky, procura ressaltar a importância, para o interprete, de conhecer o conteúdo descritivo esta peça que abrange, entre outros aspectos, a fonte inspiradora da obra, os conteúdos psicológicos do compositor e as influências do social, do histórico e do "folclore" russos. O trabalho teve, como ponto de referência o "Fac-simile" da peça que possibilitou o estudo comparativo entre o original e várias edições. Consta, também, da pesquisa, uma seleção fonográfica com observações a respeito da concepção interpretativa de importantes pianistas. Foram pesquisados os conteúdos biográficos e estilisticos, assim como as influências e preferências de Mussorgsky. A autora do trabalho realizou, ainda, duas análises da obra, sendo uma· delas sobre a versão original pianística dos "Quadros de uma Exposição" e a outra sobre a orquestração de Ravel, identificando-se os procedimentos composicionais utilizados por Mussorgsky para elaborar uma obra essencialmente realista e descritiva. Entre os anexos, encontram-se o "Fac-simile", a partitura Urtex Edition - Schott Wien, duas análises da obra, uma entrevista e fotos.
Study on the descriptive contents in the composition 'Pictures at an Exhibition' of Modest Mussorgsky, tries to give prominence to the importance, to the interpreter, of understanding the descriptive contents of this musical composition which covers, amongst other aspects, the source of inspiration of the composition, the pychological contents by the composer and the social influences, the history and "Russian Folclore". The work had, as a point of reference, the "Fac-simile" of the musical composition which made possible, the comparative study between the original and the various editions. In the research, there is a phonographic selection with observations as to the interpretative conception of important pianists. The biographic and stylistic contents were researched as also the influences and preferences of Mussorgsky. The author of the work, also, made two analyses of the composition, one of them being on the original pianistic version os "Pictures at an Exhibition" and the other on the orchestration of Ravel, identifying the composition procedures utilized by Mussorgsky to elaborate an essentially realistic and descriptive composition. Amongst the enclosures, may be found the "Fac-simile", the Urtex Edition Schott-Wien score, two analyses of the composition, an interview and photos.

A goal of Artificial Intelligence is to develop computational models of what would be considered intelligent behaviour in a human. One such task is that of musical performance. This research specifically focuses on aspects of performance related to the performance of musical duets. We present the research in the context of developing a cooperative performance system that would be capable of performing a piece of music expressively alongside a human musician. In particular, we concentrate on the relationship between musical structure and performance with the aim of creating a structural interpretation of a piece of music by analysing features of the score and performance. We provide a new implementation of Lerdahl and Jackendoff’s Grouping Structure analysis which makes use of feature-category weighting factors. The multiple structures that result from this analysis are represented using a new technique for representing hierarchical structures. The representation supports a refinement process which allows the structures to be disambiguated at a later stage. We also present a novel analysis technique, based on the principle of phrase-final lengthening, to identify structural features from performance data. These structural features are used to select from the multiple possible musical structures the structure that corresponds most closely to the analysed performance. The three main contributions of this research are:1- An implementation of Lerdahl and Jackendoff’s Grouping Structure which includes feature-category weighting factors; 2- A method of storing a set of ambiguous hierarchical structures which supports gradual improvements in specificity; An analysis technique which, when applied to a musical performance, succeeds 3- in providing information to aid the disambiguation of the final musical structure. The results indicate that the approach has promise and with the incorporation of further refinements could lead to a computer-based system that could aid both musical performers and those interested in the art of musical performance.

The purpose of this study was to investigate the effect of three different vocal timbres on uncertain singers' ability to match and discriminate pitches. Fifty-six children between six and eight year old were randomly assigned to one of four groups.
In the Own Voices group, subjects were training in pitch matching using subjects' own voices. They trained in pitch discrimination using a model child voice as stimuli. In the Model Child group, subjects were training in pitch matching and pitch discrimination using a model child voice of the same sex and age as that of the subject. Subjects in the Female Adult group were training in pitch matching and pitch discrimination using a female adult voice as stimuli. Subjects in the control group had no training.
It was found that timbre affected uncertain singers' ability to match and discriminate pitches. Pitch matching to one's own voice was more accurate than pitch matching to a child's voice.
The discrimination of high and low pitches was more accurate when a model child's voice was used than when an adult voice was used.

Les partitions musicales sont des artefacts d’une grande complexité sémiotique visant à transmettre toutes les informations relatives à la structure et au contenu d’une œuvre musicale de manière compacte, lisible et cohérente. De nos jours, la musique est la plupart du temps diffusée sous forme enregistrée. Un système capable de transformer automatiquement une interprétation musicale en partition serait donc extrêmement bénéfique pour les interprètes et les musicologues. Cette tâche, appelée “automatic music transcription” (AMT), comprend plusieurs sous-tâches qui impliquent notamment la transformation de représentations intermédiaires comme le MIDI, quantifié ou non. Nous d´défendons dans cette thèse l’idée qu’un modèle robuste et bien structure des informations contenues dans une partition musicale aiderait au développement et à l’évaluation de systèmes AMT. En particulier, nous préconisons une s´séparation claire entre le contenu musical encodé dans la partition et l’ensemble des signes et des règles de notation utilisés pour représenter graphiquement ce contenu
A musical score is a complex semiotic object that excels at conveying musical information in a human readable format. Nowadays, a lot of music is available exclusively as recorded performances, so systems which can automatically transform those performances into musical scores would be extremely beneficial for performers and musicologists. This task, called automatic music transcription (AMT), comprises a large number of subtasks which generically transform the performance input into higher level representations, such as unquantized and quantized MIDI files. We believe that a clear model of the information contained in a musical score would help the development and the evaluation of AMT systems. In particular we advocate for a clear separation between the music which the score encodes and the set of notation symbols which is employed to represent it

Est-il possible de tester automatiquement le comportement temporisé des systèmes interactifs temps réel ? Ces travaux proposent une solution en fournissant un ensemble d’outils de test basé sur modèles pour Systèmes Musicaux Interactifs (SMI). Les SMIs doivent calculer et réagir pendant une performance musicale et ainsi accompagner les musiciens. Certains de ces SMIs peuvent être basés sur partition et doivent, dans ce cas, suivre à tout prix les contraintes temporelles imposées par le document haut-niveau appelé partition. En somme, pendant une performance, le système doit réagir en temps réel aux signaux audio venant des musiciens en suivant cette partition. Ceci demande au système une forte fiabilité temporelle et une robustesse face aux erreurs pouvant arriver en entrée du système. Hors, la vérification formelle de propriétés, comme la fiabilité temporelle avant l’exécution du système lors d’une performance, est insuffisamment traitée par la communauté de l’informatique musicale. Nous présentons dans cette thèse, la réalisation d’un ensemble d’outils de test basé sur modèles appliqué à un SMI. Il est à noter que ces outils de test ont été définis formellement dans le but de tester plus généralement le comportement temporelle des systèmes interactifs temps réel prenant en compte des évènements discrets et des durées définissables sur des échelles multiples. Pour ce résumé nous présentons rapidement l’état de l’art de nos travaux avant d’introduire la définition de notre modèle créé pour spécifier les aspects évènementiel («event-triggerred») et temporel («timed-driven») des SMIs. Ce modèle a la particularité d’être automatiquement construit depuis les conditions temporelles définies dans un document haut-niveau et peut être traduit vers un réseau d’Automates Temporisés (TA). Dans le cadre de la performance musique mixte électronique/instrumentale nous avons introduit une notion de durée multi-temps gérée par notre modèle et une génération de trace d’entrée musicalement pertinente par notre ensemble d’outils de test. Pour tester un SMI selon les différentes attentes de l’utilisateur, notre ensemble d’outils a été implémenté avec plusieurs options possibles. Parmi ces options, la possibilité de tester automatiquement, selon une approche différée ou temps réel, la conformité temporelle du SMI est proposée. En effet, l’approche différée utilise des outils de la gamme du logiciel Uppaal [44] pour générer une suite de traces d’entrées exhaustive et garantir la conformité temporelle du système testé. Il est également possible de tester une trace d’entrée particulière ou une version altérée («fuzzed») de la trace idéale définie par la partition. L’approche temps réel interprète quand-à elle directement le modèle comme des instructions de byte-code grâce à une machine virtuelle. Finalement, des expériences ont été conduites via une étude de cas sur le suiveur de partition Antescofo. Ces expériences ont permis de tester ce système et d’évaluer notre ensemble d’outils et ses différentes options. Ce cas d’étude applique nos outils de test sur Antescofo avec succès et a permit d’identifier des bogues parfois non triviaux dans ce SMI
Can real-time interactive systems be automatically timed tested ? This work proposes an answer to this question by providing a formal model based testing framework for Interactive Music Systems (IMS). IMSs should musically perform computations during live performances, accompanying and acting like real musicians. They can be score-based, and in this case must follow at all cost the timed high-level requirement given beforehand, called score. During performance, the system must react in real-time to audio signals from musicians according to this score. Such goals imply strong needs of temporal reliability and robustness to unforeseen errors in input. Be able to formally check this robustness before execution is a problem insufficiently addressed by the computer music community. We present, in this document, the concrete application of a Model-Based Testing (MBT) framework to a state-of-the-art IMS. The framework was defined on purpose of testing real-time interactive systems in general. We formally define the model in which our method is based. This model is automatically constructed from the high-level requirements and can be translated into a network of time automata. The mixed music environment implies the management of a multi-timed context and the generation of musically relevant input data through the testing framework. Therefore, this framework is both time-based, permitting durations related to different time units, and event-driven, following the musician events given in input. In order to test the IMS against the user’s requirements, multiple options are provided by our framework. Among these options, two approaches, offline and online, are possible to assess the system timed conformance fully automatically, from the requirement to the verdict. The offline approach, using the model-checker Uppaal, can generate a covering input suite and guarantee the system time reliability, or only check its behavior for a specific or fuzzed input sequence. The online approach, directly interprets the model as byte-code instructions thanks to a virtual machine. Finally, we perform experiments on a real-case study: the score follower Antescofo. These experiments test the system with a benchmark of scores and a real mixed-score given as input requirements in our framework. The results permit to compare the different options and scenarios in order to evaluate the framework. The application of our fully automatic framework to real mixed scores used in concerts have permitted to identify bugs in the target IMS

The purpose of this work has been to investigate if responses made through listening in audience can be mapped according to the Swanwick and Tillman Spiral of Musical Development. The first part of chapter one consists of a review of previous studies in the field of musical abilities, aptitudes, musical development and the assessment of listening in audience. The second part of the chapter tries to outline the Spiral Theory of Musical Development, its theoretical background and assessment criteria. Chapter two attempts to critically discuss the developmental adequacy of the Spiral Theory, by employing five general developmental characteristics named as Temporality, Cumulativity, Directionality, New Mode of Organization, and Increased Capacity for Self-Control. The first part of chapter three discusses in a critical way the terms in which musical development has been conceived as being analogical to Piaget's Theory on Play Development in early childhood. The second part of the chapter attempts to extend Swanwick's analogy by offering a critical analysis of the Spiral phases in relation to assimilation and accommodation processes. Finally, the third part discusses the generalization of the analogical psychological process to the remaining activities of performing and listening in audience. Chapter four outlines the method employed to assess listening in audience responses, which consisted of interviewing a total of hundred and five children in two field studie5 by uSlng two kinds of interview - structured and semi-structured. Chapter five offers the results of the pilot Study carried out in Brazil, as well as offering an evaluation of research procedures. The first part of chapter 6 presents a revised research method employed in the final field work that was carried out in England. The second part of the chapter presents the results and interpretation of the field work. Chapter seven presents the conclusion and some implications for the Spiral Theory, research development and music education.

A pesquisa que se desenvolve sobre a história da música tem por objetivos gerais, compreender, explicar, diversas medidas do objeto de análise: os modos gregos. Especificamente, os objetivos constituem narrativas historiográficas que permitam refletir, no tempo, conteúdos relacionados, e uma história da música perpetrada sob a lente dos chamados modos gregos; pensar o conceito de modos gregos em seu envolvimento com conhecimentos teóricos e práticos em Geografia, Física, Matemática, Filosofia, Letras, e claro, com a História em seu papel de fornecer, através do diálogo propício entre fontes selecionadas, uma série de esclarecimentos sobre o que veio a ser chamado popularmente de modos gregos, entendidos de um modo geral, e, contemporaneamente, enquanto uma espécie de manual do guitarrista que evanesce de uma história sobre os gregos, ou como um curso intrudutório de música, aqui dissertada. Se verá que envolve até mesmo seitas e pitagorismo. Revisita historiografias, permite encadear eventos de forma lógica e coerente, assimilar as origens deste sistema musical, revelando aspectos caros ao leigo e ao estudioso do tema, esclarecendo pormenores negligenciados, fundamentando e desmistificando os erros e dúvidas mais importantes no que se refere à história que envolve este conhecimento técnico e sensitivo, e demonstrando uma linguagem cultural distinta e própria, com signos singulares que são transmitidos, e, sobretudo, através da oralidade. Secundariamente, o conteúdo deste sistema possui uma linguagem particular que remonta ao tempo e espaço dos antigos gregos, e que atravessa toda a história ocidental ao longo do tempo, com transformações, no que diz respeito à grafia simbólica desta linguagem originalmente mnemotécnica, também conhecida por modal grega, onde uma introdução orienta o conteúdo geral do trabalho, o desenvolvimento pontua a cultura grega antiga, em que os resultados maiores estão no conteúdo da literatura e arqueologia, clássicas, comparando suas fontes com outras fontes antigas, mais orientais; se traça um panorama do legado grego na Idade Média, sobretudo para a igreja cristã; revela-se a parte mais importante da quantidade deste legado sobre a renascença do pensamento grego na arte, o seu panorama, o relativo declínio da música modal grega frente ao território tonal, a inspiração humanística nos gregos, e as transformações na grafia modal grega histórica que se conhece hoje. Trata de convenções modernas, e traz resultados encontrados na simetria com o sistema de modos gregos, questões de afetos, estética e método encontradas nos filósofos alemães mais clássicos, dentre os quais, Kant, Hegel, Schpenhauer, Nietzsche, e Adorno, e sua crítica, que se preocuparam com os gregos e com os modos gregos, além de método orientado por clássicos da história metódica, e da história cultural francesa. Trata de compositores e estudiosos do modalismo grego no século XX, trazendo novas perspectivas e a pós-modernidade, além da historiografia acadêmica estrangeira e nacional, tratadas multidisciplinarmente. Destaca obras e sujeitos, serve à consulta, pesquisa, estudo, apreciação. Traz figuras imagéticas. No apêndice, inclui-se um tratado, em partitura: modos gregos em coleções diatônicas.
The research that develops on the history of music has general objectives, understand, explain, various measures of the object of analysis: the Greek modes. Specifically, the objectives are historiographical narratives that allow us to reflect, the more expensive content related a story of music perpetrated under the lens of the so-called Greek modes; think the concept of Greek modes in their engagement with theoretical and practical knowledge in Geography, Physics, Mathematics, Philosophy, and of course with history in its role of providing, through enabling dialogue between selected sources, a number of explanations about what came to be popularly called the Greek modes, understood in general, and, simultaneously, as a kind of manual that guitarist evanesce a story about the Greeks, or as a intruduction?s music course, roughly. We will see that even involves sects and Pythagoreanism. Revisit historiographies allows chaining events logically and coherently assimilate the musical origins of this system, revealing expensive to the layman and scholar theme aspects, clarifying details neglected, reasoned and demystifying the mistakes and most important questions regarding the story this involves sensory and technical knowledge, and demonstrating a distinct cultural and language itself, with unique signs that are transmitted, and especially through orality. Secondly, the content of this system has a particular language that dates back to the time and space of the ancient Greeks, and that the whole history over time, with changes in regard to symbolic spelling mnemonics Originally this language, also known as modal Greek, an introduction which guides the overall content of the work, the devolopment is punctuates the ancient Greek culture where the greatest results are the content of literature and classical archeology, comparing her with other ancient sources, most Eastern sources; presents an overview if the Greek legacy in the Middle Ages mostly to the Christian church; reveals the most important part of this amount on the Renaissance legacy of Greek thought in its art scene, the relative decline of the Greek modal music front tonal territory and humanistic inspiration in Greek, and the changes in modal Greek spelling that historical know it today. Deals with modern conventions, and brings results in its relative similarity to the Greek system of modes, issues of affect, aesthetics and method found in most classical philosophers, among them, Kant, Hegel, Schpenhauer, Nietzsche, Adorno, who worried about the Greeks and the Greek modes, and method-driven and methodical French cultural history classics. Deals with composers and scholars of modalism in the twentieth century, bringing new perspectives and postmodernity, and contain a dialogue between sources on this topic in the Brazilian academic historiography in a multidisciplinary work. Historiography is wide and gathers the greatest classical works and among subjects around the object, served consulting, research, study or appreciation of a culturally historical work. Still serves as a treaty, containing a systematic score of Greek modes. And compiles audios to hearing the song inspired by the Greeks throughout history, and other media to Greek modes, form of theTrate.

A semiótica, precisamente esta de cunho estruturalista da qual tratamos, propõe-se a compreender como o sentido se organiza em objetos dos mais variados modos de manifestação: verbal, visual, cinematográfico, musical entre outros. Nesta tese, propomos a sistematização de princípios semióticos capazes de dar conta do fato musical, termo cunhado pelo semioticista Jean Molino e amplamente divulgado por Jean-Jacques Nattiez. Para tanto, valemo-nos da semiótica de Greimas e de seus seguidores, procurando estabelecer uma interlocução com as correntes da análise musical que buscam a compreensão das estruturas discursivas e de seu sentido através da noção de linguagem conforme propõe Saussure.
The structuralist semiotics, precisely this which we treat, aims at understanding how the meaning is organized in objects of various modes of expression: verbal, visual, cinematographic, musical and others. In this thesis, we propose a system of semiotic principles which are able to analyze the musical fact, a term established by the semiotician Jean Molino and widely spread by Jean-Jacques Nattiez. In order to do it, we make use of the semiotics of Greimas and his followers, trying to establish a dialogue with the currents of musical analysis seeking to understand the discursive structures and meaning through the notion of language as proposed by Saussure.

La thèse présente étudie de façon exclusive quelques aspects fondamentaux des liens entre la musique classique persane et la musique classique turco-ottomane. Le premier chapitre est une esquisse des liens historiques des musiciens persans avec le milieu culturel ottoman, et l'influence qu'ils ont eue sur la musique classique de cet empire. Le second chapitre dégage des liens entre certains aspects du répertoire instrumental attribué aux compositeurs persans des XVIe et XVIIe siècles dans les manuscrits ottomans d’Ufki et de Cantemir avec ceux du répertoire classique persan le plus ancien transmis jusqu'à nos jours ; le répertoire qâjâr. Sous l’angle des convergences et divergences des écoles classiques persane et turque contemporaines, le troisième chapitre se focalise sur le concept fondamental de mode et entreprend de comparer les particularités de cinq éléments constitutifs modaux dans les pratiques turque et persane actuelles. Le quatrième chapitre, en vue d'une démonstration concrète des théories modales développées dans le chapitre précédant, analyse des affinités et des divergences de cinq maqâms turcs actuels d’une même famille modale, Ushshak, Beyati, Huseyni, Muhayyer, Arazbâr, dont la substance est comparable dans la tradition persane actuelle, soit Shur, Abu ‘atâ, Hoseyni/Bayât-e Kord/Hejâz/Dashti, Owj, et Shahnâz. Le dernier chapitre est une approche anthropologique destiné à présenter une tentative concrète de revivification du répertoire des « ‘Ajamlar » dans les milieux des musiciens iraniens contemporains, et à étudier les réactions de ces derniers faces à ce répertoire inconnu en Iran tiré des sources ottomanes
This thesis studies exclusively some fundamental aspects of the links between the Persian classical music and the Turkish-Ottoman classical music. The first chapter is an outline of historical connections of Persian musicians with the Ottoman cultural environment, and the influence which they have had on the classical music of this empire. The second chapter identifies the links between some aspects of the instrumental repertory attributed to Persians composers of 16th and 17th centuries in Ufki and Cantemir’s Ottoman manuscripts and those of the oldest Persian classical music transmitted to our days; the qâjâr repertory. From the angle of convergences and divergences between contemporary the Persian and the Turkish classical schools, the third chapter focuses on the fundamental concept of mode and undertakes to compare the particularities of five modal constituent elements in the current Turkish and Persian practices. The fourth chapter, with a view to concrete demonstration of modal theories developed in the previous chapter, analyzes the affinities and differences of five current Turkish maqâms of a same modal family, Ushshak, Beyati, Huseyni, Muhayyer, Arazbâr, whose substance is comparable in the current Persian tradition, with Shur, Abu ‘atâ, Hoseyni/Bayât-e Kord/Hejâz/Dashti, Owj, et Shahnâz. The last chapter is an anthropological approach intended to present a concrete attempt to revivification of the “‘Ajamlar” repertory in contemporary Iranian musicians’ circles, and to study the reactions of these latter facing this unknown repertory in Iran taken from the Ottoman sources

Est-il possible de tester automatiquement le comportement temporisé des systèmes interactifs temps réel ? Ces travaux proposent une solution en fournissant un ensemble d’outils de test basé sur modèles pour Systèmes Musicaux Interactifs (SMI). Les SMIs doivent calculer et réagir pendant une performance musicale et ainsi accompagner les musiciens. Certains de ces SMIs peuvent être basés sur partition et doivent, dans ce cas, suivre à tout prix les contraintes temporelles imposées par le document haut-niveau appelé partition. En somme, pendant une performance, le système doit réagir en temps réel aux signaux audio venant des musiciens en suivant cette partition. Ceci demande au système une forte fiabilité temporelle et une robustesse face aux erreurs pouvant arriver en entrée du système. Hors, la vérification formelle de propriétés, comme la fiabilité temporelle avant l’exécution du système lors d’une performance, est insuffisamment traitée par la communauté de l’informatique musicale. Nous présentons dans cette thèse, la réalisation d’un ensemble d’outils de test basé sur modèles appliqué à un SMI. Il est à noter que ces outils de test ont été définis formellement dans le but de tester plus généralement le comportement temporelle des systèmes interactifs temps réel prenant en compte des évènements discrets et des durées définissables sur des échelles multiples. Pour ce résumé nous présentons rapidement l’état de l’art de nos travaux avant d’introduire la définition de notre modèle créé pour spécifier les aspects évènementiel («event-triggerred») et temporel («timed-driven») des SMIs. Ce modèle a la particularité d’être automatiquement construit depuis les conditions temporelles définies dans un document haut-niveau et peut être traduit vers un réseau d’Automates Temporisés (TA). Dans le cadre de la performance musique mixte électronique/instrumentale nous avons introduit une notion de durée multi-temps gérée par notre modèle et une génération de trace d’entrée musicalement pertinente par notre ensemble d’outils de test. Pour tester un SMI selon les différentes attentes de l’utilisateur, notre ensemble d’outils a été implémenté avec plusieurs options possibles. Parmi ces options, la possibilité de tester automatiquement, selon une approche différée ou temps réel, la conformité temporelle du SMI est proposée. En effet, l’approche différée utilise des outils de la gamme du logiciel Uppaal [44] pour générer une suite de traces d’entrées exhaustive et garantir la conformité temporelle du système testé. Il est également possible de tester une trace d’entrée particulière ou une version altérée («fuzzed») de la trace idéale définie par la partition. L’approche temps réel interprète quand-à elle directement le modèle comme des instructions de byte-code grâce à une machine virtuelle. Finalement, des expériences ont été conduites via une étude de cas sur le suiveur de partition Antescofo. Ces expériences ont permis de tester ce système et d’évaluer notre ensemble d’outils et ses différentes options. Ce cas d’étude applique nos outils de test sur Antescofo avec succès et a permit d’identifier des bogues parfois non triviaux dans ce SMI
Can real-time interactive systems be automatically timed tested ? This work proposes an answer to this question by providing a formal model based testing framework for Interactive Music Systems (IMS). IMSs should musically perform computations during live performances, accompanying and acting like real musicians. They can be score-based, and in this case must follow at all cost the timed high-level requirement given beforehand, called score. During performance, the system must react in real-time to audio signals from musicians according to this score. Such goals imply strong needs of temporal reliability and robustness to unforeseen errors in input. Be able to formally check this robustness before execution is a problem insufficiently addressed by the computer music community. We present, in this document, the concrete application of a Model-Based Testing (MBT) framework to a state-of-the-art IMS. The framework was defined on purpose of testing real-time interactive systems in general. We formally define the model in which our method is based. This model is automatically constructed from the high-level requirements and can be translated into a network of time automata. The mixed music environment implies the management of a multi-timed context and the generation of musically relevant input data through the testing framework. Therefore, this framework is both time-based, permitting durations related to different time units, and event-driven, following the musician events given in input. In order to test the IMS against the user’s requirements, multiple options are provided by our framework. Among these options, two approaches, offline and online, are possible to assess the system timed conformance fully automatically, from the requirement to the verdict. The offline approach, using the model-checker Uppaal, can generate a covering input suite and guarantee the system time reliability, or only check its behavior for a specific or fuzzed input sequence. The online approach, directly interprets the model as byte-code instructions thanks to a virtual machine. Finally, we perform experiments on a real-case study: the score follower Antescofo. These experiments test the system with a benchmark of scores and a real mixed-score given as input requirements in our framework. The results permit to compare the different options and scenarios in order to evaluate the framework. The application of our fully automatic framework to real mixed scores used in concerts have permitted to identify bugs in the target IMS

Tra i diversi campi di ricerca nell’ambito dell’informatica musicale, la sintesi e la generazione di segnali audio incarna la pluridisciplinalità di questo settore, nutrendo insieme le pratiche scientifiche e musicale dalla sua creazione. Inerente all’informatica dalla sua creazione, la generazione audio ha ispirato numerosi approcci, evolvendo colle pratiche musicale e gli progressi tecnologici e scientifici. Inoltre, alcuni processi di sintesi permettono anche il processo inverso, denominato analisi, in modo che i parametri di sintesi possono anche essere parzialmente o totalmente estratti dai suoni, dando una rappresentazione alternativa ai segnali analizzati. Per di più, la recente ascesa dei algoritmi di l’apprendimento automatico ha vivamente interrogato il settore della ricerca scientifica, fornendo potenti data-centered metodi che sollevavano diversi epistemologici interrogativi, nonostante i sui efficacia. Particolarmente, un tipo di metodi di apprendimento automatico, denominati modelli generativi, si concentrano sulla generazione di contenuto originale usando le caratteristiche che hanno estratti dei dati analizzati. In tal caso, questi modelli non hanno soltanto interrogato i precedenti metodi di generazione, ma anche sul modo di integrare questi algoritmi nelle pratiche artistiche. Mentre questi metodi sono progressivamente introdotti nel settore del trattamento delle immagini, la loro applicazione per la sintesi di segnali audio e ancora molto marginale. In questo lavoro, il nostro obiettivo e di proporre un nuovo metodo di audio sintesi basato su questi nuovi tipi di generativi modelli, rafforazti dalle nuove avanzati dell’apprendimento automatico. Al primo posto, facciamo una revisione dei approcci esistenti nei settori dei sistemi generativi e di sintesi sonore, focalizzando sul posto di nostro lavoro rispetto a questi disciplini e che cosa possiamo aspettare di questa collazione. In seguito, studiamo in maniera più precisa i modelli generativi, e come possiamo utilizzare questi recenti avanzati per l’apprendimento di complesse distribuzione di suoni, in un modo che sia flessibile e nel flusso creativo del utente. Quindi proponiamo un processo di inferenza / generazione, il quale rifletta i processi di analisi/sintesi che sono molto usati nel settore del trattamento del segnale audio, usando modelli latenti, che sono basati sull’utilizzazione di un spazio continuato di alto livello, che usiamo per controllare la generazione. Studiamo dapprima i risultati preliminari ottenuti con informazione spettrale estratte da diversi tipi di dati, che valutiamo qualitativamente e quantitativamente. Successiva- mente, studiamo come fare per rendere questi metodi più adattati ai segnali audio, fronteggiando tre diversi aspetti. Primo, proponiamo due diversi metodi di regolarizzazione di questo generativo spazio che sono specificamente sviluppati per l’audio : una strategia basata sulla traduzione segnali / simboli, e una basata su vincoli percettivi. Poi, proponiamo diversi metodi per fronteggiare il aspetto temporale dei segnali audio, basati sull’estrazione di rappresentazioni multiscala e sulla predizione, che permettono ai generativi spazi ottenuti di anche modellare l’aspetto dinamico di questi segnali. Per finire, cambiamo il nostro approccio scientifico per un punto di visto piú ispirato dall’idea di ricerca e creazione. Primo, descriviamo l’architettura e il design della nostra libreria open-source, vsacids, sviluppata per permettere a esperti o non-esperti musicisti di provare questi nuovi metodi di sintesi. Poi, proponiamo una prima utilizzazione del nostro modello con la creazione di una performance in real- time, chiamata ægo, basata insieme sulla nostra libreria vsacids e sull’uso di une agente di esplorazione, imparando con rinforzo nel corso della composizione. Finalmente, tramo dal lavoro presentato alcuni conclusioni sui diversi modi di migliorare e rinforzare il metodo di sintesi proposto, nonché eventuale applicazione artistiche.
Among the diverse research fields within computer music, synthesis and generation of audio signals epitomize the cross-disciplinarity of this domain, jointly nourishing both scientific and artistic practices since its creation. Inherent in computer music since its genesis, audio generation has inspired numerous approaches, evolving both with musical practices and scientific/technical advances. Moreover, some syn- thesis processes also naturally handle the reverse process, named analysis, such that synthesis parameters can also be partially or totally extracted from actual sounds, and providing an alternative representation of the analyzed audio signals. On top of that, the recent rise of machine learning algorithms earnestly questioned the field of scientific research, bringing powerful data-centred methods that raised several epistemological questions amongst researchers, in spite of their efficiency. Especially, a family of machine learning methods, called generative models, are focused on the generation of original content using features extracted from an existing dataset. In that case, such methods not only questioned previous approaches in generation, but also the way of integrating this methods into existing creative processes. While these new generative frameworks are progressively introduced in the domain of image generation, the application of such generative techniques in audio synthesis is still marginal. In this work, we aim to propose a new audio analysis-synthesis framework based on these modern generative models, enhanced by recent advances in machine learning. We first review existing approaches, both in sound synthesis and in generative machine learning, and focus on how our work inserts itself in both practices and what can be expected from their collation. Subsequently, we focus a little more on generative models, and how modern advances in the domain can be exploited to allow us learning complex sound distributions, while being sufficiently flexible to be integrated in the creative flow of the user. We then propose an inference / generation process, mirroring analysis/synthesis paradigms that are natural in the audio processing domain, using latent models that are based on a continuous higher-level space, that we use to control the generation. We first provide preliminary results of our method applied on spectral information, extracted from several datasets, and evaluate both qualitatively and quantitatively the obtained results. Subsequently, we study how to make these methods more suitable for learning audio data, tackling successively three different aspects. First, we propose two different latent regularization strategies specifically designed for audio, based on and signal / symbol translation and perceptual constraints. Then, we propose different methods to address the inner temporality of musical signals, based on the extraction of multi-scale representations and on prediction, that allow the obtained generative spaces that also model the dynamics of the signal. As a last chapter, we swap our scientific approach to a more research & creation-oriented point of view: first, we describe the architecture and the design of our open-source library, vsacids, aiming to be used by expert and non-expert music makers as an integrated creation tool. Then, we propose an first musical use of our system by the creation of a real-time performance, called aego, based jointly on our framework vsacids and an explorative agent using reinforcement learning to be trained during the performance. Finally, we draw some conclusions on the different manners to improve and reinforce the proposed generation method, as well as possible further creative applications.
À travers les différents domaines de recherche de la musique computationnelle, l’analysie et la génération de signaux audio sont l’exemple parfait de la trans-disciplinarité de ce domaine, nourrissant simultanément les pratiques scientifiques et artistiques depuis leur création. Intégrée à la musique computationnelle depuis sa création, la synthèse sonore a inspiré de nombreuses approches musicales et scientifiques, évoluant de pair avec les pratiques musicales et les avancées technologiques et scientifiques de son temps. De plus, certaines méthodes de synthèse sonore permettent aussi le processus inverse, appelé analyse, de sorte que les paramètres de synthèse d’un certain générateur peuvent être en partie ou entièrement obtenus à partir de sons donnés, pouvant ainsi être considérés comme une représentation alternative des signaux analysés. Parallèlement, l’intérêt croissant soulevé par les algorithmes d’apprentissage automatique a vivement questionné le monde scientifique, apportant de puissantes méthodes d’analyse de données suscitant de nombreux questionnements épistémologiques chez les chercheurs, en dépit de leur effectivité pratique. En particulier, une famille de méthodes d’apprentissage automatique, nommée modèles génératifs, s’intéressent à la génération de contenus originaux à partir de caractéristiques extraites directement des données analysées. Ces méthodes n’interrogent pas seulement les approches précédentes, mais aussi sur l’intégration de ces nouvelles méthodes dans les processus créatifs existants. Pourtant, alors que ces nouveaux processus génératifs sont progressivement intégrés dans le domaine la génération d’image, l’application de ces techniques en synthèse audio reste marginale. Dans cette thèse, nous proposons une nouvelle méthode d’analyse-synthèse basés sur ces derniers modèles génératifs, depuis renforcés par les avancées modernes dans le domaine de l’apprentissage automatique. Dans un premier temps, nous examinerons les approches existantes dans le domaine des systèmes génératifs, sur comment notre travail peut s’insérer dans les pratiques de synthèse sonore existantes, et que peut-on espérer de l’hybridation de ces deux approches. Ensuite, nous nous focaliserons plus précisément sur comment les récentes avancées accomplies dans ce domaine dans ce domaine peuvent être exploitées pour l’apprentissage de distributions sonores complexes, tout en étant suffisamment flexibles pour être intégrées dans le processus créatif de l’utilisateur. Nous proposons donc un processus d’inférence / génération, reflétant les paradigmes d’analyse-synthèse existant dans le domaine de génération audio, basé sur l’usage de modèles latents continus que l’on peut utiliser pour contrôler la génération. Pour ce faire, nous étudierons déjà les résultats préliminaires obtenus par cette méthode sur l’apprentissage de distributions spectrales, prises d’ensembles de données diversifiés, en adoptant une approche à la fois quantitative et qualitative. Ensuite, nous proposerons d’améliorer ces méthodes de manière spécifique à l’audio sur trois aspects distincts. D’abord, nous proposons deux stratégies de régularisation différentes pour l’analyse de signaux audio : une basée sur la traduction signal/ symbole, ainsi qu’une autre basée sur des contraintes perceptives. Nous passerons par la suite à la dimension temporelle de ces signaux audio, proposant de nouvelles méthodes basées sur l’extraction de représentations temporelles multi-échelle et sur une tâche supplémentaire de prédiction, permettant la modélisation de caractéristiques dynamiques par les espaces génératifs obtenus. En dernier lieu, nous passerons d’une approche scientifique à une approche plus orientée vers un point de vue recherche & création. Premièrement, nous présenterons notre librairie open-source, vsacids, visant à être employée par des créateurs experts et non-experts comme un outil intégré. Ensuite, nous proposons une première utilisation musicale de notre système par la création d’une performance temps réel, nommée ægo, basée à la fois sur notre librarie et sur un agent d’exploration appris dynamiquement par renforcement au cours de la performance. Enfin, nous tirons les conclusions du travail accompli jusqu’à maintenant, concernant les possibles améliorations et développements de la méthode de synthèse proposée, ainsi que sur de possibles applications créatives.

Aquesta tesi doctoral vol aportar, a través de les tecnologies multimèdia, unes eines innovadores de formació i de suport a la comprensió de la música i dels elements que en configuren el llenguatge. L'objectiu principal d'aquesta tesi és elaborar, experimentar i avaluar un model de materials multimèdia de suport a l'educació de l'oïda musical, amb unes propostes didàctiques específiques i adaptables a diferents nivells educatius.
Les diferents matèries referents a l'aprenentatge musical estan, totes elles, molt interelacionades, i l'educació auditiva -quan fa referència al desxiframent del codi musical- és una de les més problemàtiques, per la dificultat que comporta la comprensió i la capacitat de representar-nos internament els elements propis del llenguatge musical.
La tesi s'emmarca entre els paradigmes d'una recerca qualitativa amb diversos aspectes quantitatius, i en tot el procés intervenen molts elements que encaixen amb el tipus de recerca d'investigació-acció.
En el marc teòric es fa una fonamentació sobre l'educació auditiva a través de les pedagogies actives del s.XX i a través de les tecnologies multimèdia.
Pel que fa en el marc aplicatiu, en primer lloc es contempla una fase de diagnòstic, a través d'unes enquestes, on es tracta de buscar quines mancances tenen els alumnes de l'especialitat d'Educació Musical de la Facultat de Ciències de l'Educació de la UAB. Paral.lelament es fa una recerca de quins materials existeixen al mercat que tinguin com a objectiu principal l'educació auditiva.
En segon lloc es descriu el procés d'elaboració dels materials: les proves pilot on hi ha unes propostes inicials i després s'elabora el model pròpiament dit a partir del programa informàtic de creació multimèdia CLIC, d'ús habitual a les escoles de Catalunya.
En el model es proposa una seqüenciació didàctica amb activitats de percepció sonora, interiorització i expressió musical prèvies al reconeixement auditiu.
En una tercera fase es fa l'experimentació i avaluació del model elaborat a través d'enquestes a alumnes i entrevistes a experts per tal de donar l'opinió de diversos aspectes dels materials, referents al contingut, a l'eficiència i atractivitat de les activitats programades.
Finalment s'elaboren les conclusions oportunes i es fa una referència a possibles línies de recerca que puguin donar continuïtat a la investigació realitzada.
Through multimedia technology, this doctoral thesis aims to contribute a number of innovative tools for the teaching and support of musical comprehension and of those elements that make up its language. The principal aim of the thesis is to create, experiment with and evaluate a model of multimedia materials with which to provide support to the education of musical hearing, making specific teaching proposals that are adaptable to various levels of education.
The distinct subjects within the sphere of musical learning are, in every case, highly inter-related, and auditory education - when this refers to the deciphering of musical code - is one of the most problematic of these, due to the difficulty involved in comprehension and in the capacity to internally represent to ourselves those elements pertaining to musical language.
The thesis is located within the paradigms of qualitative research, though it presents several quantitative aspects. Furthermore, throughout the entire process, there is the intervention of many elements that correspond to research-action research.
The theoretical framework is based on auditory education through the active pedagogies of the C.20, and through multimedia technology.
With respect to the applicative framework, first there is a diagnostic phase, through questionnaires, in which the purpose is to determine the needs of students specialising in Musical Education at the UAB's Faculty of Education. In parallel to this, research is carried out into the materials currently available on the market that are principally aimed at auditory education.
Second, the thesis describes the process of material creation: piloting on the basis of initial proposals followed by the creation of a model, in the strictly sense, based on the multimedia-creation programme CLIC, widely used in schools throughout Catalonia.
The model proposes a teaching sequence with activities on sound perception, internalisation and musical expression, previous to auditory recognition.
A third phase develops the experimentation and evaluation of the model, through questionnaires given to students and via interviews both with specialists, in order to allow for the expression of opinion on a variety of aspects related to the materials, their content, efficiency and the attractiveness of the programmed activities.
Finally, the conclusions are presented and reference is made to possible areas of further research that might continue the research undertaken throughout this study.

This thesis is concerned with the automatic transcription of chords from audio, with an emphasis on modern popular music. Musical context such as the key and the structural segmentation aid the interpretation of chords in human beings. In this thesis we propose computational models that integrate such musical context into the automatic chord estimation process. We present a novel dynamic Bayesian network (DBN) which integrates models of metric position, key, chord, bass note and two beat-synchronous audio features (bass and treble chroma) into a single high-level musical context model. We simultaneously infer the most probable sequence of metric positions, keys, chords and bass notes via Viterbi inference. Several experiments with real world data show that adding context parameters results in a significant increase in chord recognition accuracy and faithfulness of chord segmentation. The proposed, most complex method transcribes chords with a state-of-the-art accuracy of 73% on the song collection used for the 2009 MIREX Chord Detection tasks. This method is used as a baseline method for two further enhancements. Firstly, we aim to improve chord confusion behaviour by modifying the audio front end processing. We compare the effect of learning chord profiles as Gaussian mixtures to the effect of using chromagrams generated from an approximate pitch transcription method. We show that using chromagrams from approximate transcription results in the most substantial increase in accuracy. The best method achieves 79% accuracy and significantly outperforms the state of the art. Secondly, we propose a method by which chromagram information is shared between repeated structural segments (such as verses) in a song. This can be done fully automatically using a novel structural segmentation algorithm tailored to this task. We show that the technique leads to a significant increase in accuracy and readability. The segmentation algorithm itself also obtains state-of-the-art results. A method that combines both of the above enhancements reaches an accuracy of 81%, a statistically significant improvement over the best result (74%) in the 2009 MIREX Chord Detection tasks.

My research will attempt to determine how award academies choose their nominations through the analysis of select musical aesthetics. As a trained musician (pianist) and avid gamer, I will bring my two passions together, contributing to the field of ludomusicology (the study of video game music). My research consists of an overview of video game scores spanning a decade (2004 – 2013) with a select sample of three soundtracks per year (a total of thirty soundtracks). The samples will be taken from the BAFTA- (British Academy of Film and Television Arts), VGX- (formerly known as Spike), and D.I.C.E. awards (Design, Innovate, Communicate, Entertain). Through engaging a music theory macro analysis, I will discuss melodic themes used in each soundtrack, the setting of the score (instrumental or electronic), and whether the soundtrack samples contain the epic musical idiom. At the end of my dissertation my research reveals what kind of music these award academy panels favour. If the award academies are a reflection of popular taste, my research indicates what the audiences like to hear in video game music.
Dissertation (MMus)--University of Pretoria, 2016.
Music
MMus
Unrestricted

This project explores the ways that bedroom recording studios influence creativity and collaboration during the music production process. Bedroom studios offer a number of creative and financial advantages over traditional recording studios, although their use as a place of creative collaboration also offers significant challenges. Drawing on creative practice research frameworks and interview data collected from collaborators and other practitioners, I identify how the bedroom studio occupies a precarious space between 'professional space' and 'hobbyist space', how this space is defined by discourses of legitimacy, and how my creative practice as a music producer is shaped by these issues.

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This work aims to identify the representations of countryside in songs classified as moda de viola . This type of music began to run on broadcast radio and recorded on discs at the beginning of the decade of 1930 and has always been associated with the rural way of life, more specifically the inhabitants of rural areas limited to the area of caipira culture, which includes parcels Southeast, Central West and Southern regions of Brazil. To observe the representations of the rural in these songs, it was necessary, firstly, set the moda de viola category and map the context in which it is embedded, noting the analysis and historical surveys on the subject, conducted by professionals from different areas. Based on the results obtained in this step has been proposed a methodology to analyze the letters the songs. The option to study this subject was see the letter of songs as literary pieces and use elements of the proposed methods for analysis of the literature Antonio C?ndido and Pierre Bourdieu. From this perspective were done surveys of social factors that can influence the compositions, namely the public, the trajectory of the composers and the context of production. Once seen these aspects was held reading of the songs and identification of representations of the countryside.
Este trabalho tem como objetivo identificar as representa??es do rural presentes nas m?sicas classificadas como moda de viola. Este tipo de m?sica passou a ser veiculado nas emissoras de r?dio e gravado em discos, no in?cio da d?cada de 1930, e sempre associado ao modo de vida rural, mais especificamente aos habitantes das ?reas rurais circunscritas ? ?rea da cultura caipira, que comporta parcelas das regi?es Sudeste, Centro-Oeste e Sul do Brasil. Para se observar as representa??es do rural nessas m?sicas, foi necess?rio, em primeiro lugar, definir a categoria moda de viola e mapear o contexto onde ela est? inserida, observando a an?lise e levantamentos hist?ricos sobre o tema, realizados por profissionais de diferentes ?reas. Com base nos resultados obtidos nessa etapa, foi proposta uma metodologia para an?lise das letras as m?sicas. Optou-se por tratar as modas de viola como pe?as liter?rias e utilizar elementos dos m?todos propostos para an?lise de literatura de Ant?nio C?ndido e Pierre Bourdieu. A partir desta perspectiva foram feitos levantamentos dos elementos sociais que podem influenciar as composi??es, a saber: o p?blico, a trajet?ria dos compositores e o contexto de produ??o. Uma vez observados esses aspectos, foi realizada a leitura das modas e a identifica??o das representa??es do rural.

Le son est defini comme la conjonction d'un phenomene physique et d'une realite physiologique et psychologique. Pourtant, seule la perception auditive fonde le phenomene acoustique dans sa specificite sonore. La mise en parallele des grandeurs physiques avec les donnees du sens de l'ouie est une conception limitee. Les travaux avances en psycho-acoustique montrent que l'audition ne peut se resumer en l'etablissement de ce reseau. Il faut considerer les sons comme les composantes d'une scene auditive dont la musique est un modele particulier. Il devient alors necessaire d'analyser les specificites du son musical, en suivant les etapes historiques qui ont conduit a une definition de celui-ci, articulee sur les parametres de hauteur, de duree d'intensite et de timbre. Cette derniere composante apparait comme valeur centrale dans la musique contemporaine. Ce basculement d'une musique des hauteurs vers une musique du timbre, prend un caractere decisif avec l'apparition des techniques electriques du son. En un siecle, elles ont apporte au musicien une panoplie d'outils qui utilisent les virtualites du son transforme en electricite, puis en informations numeriques. Au sein de ces nouvelles ressources, la seconde partie du travail se consacre a la synthese sonore. Sont abordes les differents modes de synthese sonore a travers un ensemble d'exemples sonores realises avec deux categories de programmes: les modes de synthese de signal, ou l'on specifie les differentes parametres de l'onde acoustique. Les modes de synthese par modeles physiques ou l'on decrit l'interaction entre differents objets modelises : cordes, plaques, plectres, anches. . . Par-dela la mise en oeuvre de processus techniques, l'objectif de ce travail est de demontrer que l'activite de synthese sonore est un veritable enjeu pour la composition qu'il serait une erreur de penser comme un seul produit de la technologie
SOUND IS DEFINED AS THE JUNCTION BETWEEN A PHYSICAL PHENOMENON AND PHYSIOLOGICAL A PSYCHOLOGICAL REALITY. MEANWHILE, ONLY THE AUDITIVE PERCEPTION - ESTABLISHES ACOUSTIC PHENOMENON ITS SOUNDING SPECIFICITY. LINKING PHYSICAL DIMENSIONS WITH ELEMENTS OF HEARING IS A RESTRICTED IDEA. LEADING WORKS IN PSYCHOACOUSTIC SHOW THAT AUDITION CANNOT BE REDUCED TO THIS CONCEPT. SOUNDS HAVE TO BE CONSIDERED AS THE ELEMENTS OF AN AUDITION SCENE OF WHICH MUSIC IS A SPECIFIC CASE. THUS, IT IS NECESSARY TO ANALYSE SPECIFICITIES OF MUSICAL SOUND, FOLLOWING THE HISTORICAL WAY THAT LEAD TO A DEFINITION ARTICULATED AROUND PARAMETERS OF PITCH, DURATION, INTENSITY AND TIMBRE. THIS LAST DIMENSION APPEARS AS A CENTRAL VALUE IN CONTEMPORARY MUSIC. THIS TRANSITION FROM A MUSIC OF PITCH TO A MUSIC OF TIMBRE, TAKES A DECISIVE DIMENSION with THE BIRTH OF ELECTRICAL SOUND TECHNICS. IN THE TIME OF ONE CENTURY THOSE TECHNICS BROUGHT MUSICIANS A COLLECTION OF TOOLS THAT USES THE CAPACITIES OF SOUND TRANSFORMED IN ELECTRICITY THEN IN DIGITAL INFORMATION. AMONG THOSE RESSOURCES, THE SECOND PART OF THIS WORK TAKES SOUND SYNTHESIS AS SUBJECT. WE DISCUSS IN THIS PART OF DIFFERENT SYNTHESIS METHODS AND WE SHOW DIFFERENT PROGRAMMING EXAMPLES, SEPARATED IN TWO CATEGORIES. METHODS OF SIGNAL SYNTHESIS IN WHICH ALL THE PARAMETERS OF ACOUSTIC WAVES MUST BE SPECIFIED. PHYSICAL MODELING WHERE THE INTERACTION BETWEEN OBJECTS LIKE STRING, PLATE, TUBE, MASS, IS DESCRIBED BEYOND A TECHNICAL PROCESS, THE GOAL OF THIS WORK IS TO DEMONSTRATE THAT SOUND SYNTHESIS IS A GENUINE PART OF MUSICAL COMPOSITION TERRITORY. IT WOULD BE A MISTAKE TO REGARD ONLY AS A TECHNOLOGICAL PRODUCT

La méthode d'analyse ondulatoire est un outil d'analyse qui vise a l'étude des oeuvres musicales d'un point de vue strictement morphologique. La thèse propose une notion de la musique fondée exclusivement sur le son en tant que réalité acoustique et phénoménologique propre de la musique. Nous définissons donc la musique comme : un processus ondulatoire produit et perçu dans le temps. L'oeuvre musicale étant exécutée, c'est a dire, devenue signal sonore, est conçue dans sa globalité comme un son unique très complexe dont la structure temporelle, timbrique et fréquentielle change constamment dans le temps. Ce signal sonore, ou son unique, est étudié et transcrit grâce à l'analyse, en une trajectoire ondulatoire, donc en un objet morphologique visualisable global. L'origine de cette trajectoire ondulatoire est observable dans le sonagramme que dégage le morceau analysé. A l'intérieur de la méthode d'analyse, la notion d'ondulation, notion indissociable du phénomène sonore, constitue le paradigme par excellence de la pensée musicale ondulatoire. La morphologie musicale est désormais en étroite relation avec cette notion d'ondulation. Tous les paramètres importants de l'oeuvre musicale sont transcrits en structures ondulatoires, lesquelles sont analysées et postérieurement accouplées aux modèles du morceau proposé. A ce stage, nous avons une représentation adéquate de la morphologie, de la forme précise de l'oeuvre analysée. La thèse est articulée en deux modules qui conforment la structure conceptuelle de la méthode d'analyse musicale ondulatoire, à savoir, une théorie et une méthode d'analyse. Des résultats de l'application de la méthode d'analyse ondulatoire sont présentés
The undulatory analysis method is an analytical tool for the study of music works from a morphological standpoint. The thesis proposes a concept of music based solely on the sound as a fundamental music entity. The music is defined as : an undulatory process produced and perceived in time. The music work being performed, that is to say, become an acoustic signal, is considered in its entirety as a single very complex sound, in which its temporal, frequency and timbral structures changes constantly over time. This signal, the piece of music, is studied and transcribed through the analysis, as an undulatory trajectory, therefore, viewable as a morphological overall object. The origin of this undulatory trajectory is perfectly observable in the sonogram produced by the piece being analyzed. Within the undulatory analysis, the undulation concept, which is an inseparable notion of sound phenomenon, is the paradigm par excellence of the undulatory musical thinking. Musical morphology is now in close relationship with the concept of undulation. All the important parameters of the musical work are transcribed into wave structures, then, they are analyzed and subsequently coupled to the models of the proposed piece of music. At this stage, we have an adequate representation of the morphology, the precise form of the piece analyzed. The thesis is articulated in two modules that conform the conceptual structure of the undulatory music analysis method, namely, a theory and an analysis method. The results of applying the undulatory analysis method are presented

Esta tese focaliza a ideia de sonoridade e sua centralidade no processo de produção de identidades de músicos compositores/artistas. O objetivo do trabalho é investigar como são escolhidos determinados modos de soar na constituição destes sujeitos, no âmbito do gênero musical que denomino como Música Instrumental Gaúcha. A partir das teorizações propostas pelos Estudos Culturais em Educação, busco compreender alguns processos de educação musical que vão além dos espaços escolares. Procuro, assim, entender como e quais instâncias e artefatos culturais atuam nesse processo como “pedagogos não-escolares”, analisando as relações que são estabelecidas em diferentes dimensões culturais nas quais práticas musicais são realizadas. Para isso, busquei fundamentação teórica em autores como Stuart Hall, Nestor Garcia Canclini e Zygmunt Bauman, retomando conceitos como cultura, identidade, discursos, narrativas, representação e sonoridade. A partir deste aporte teórico, aprofundei o estudo sobre algumas narrativas historiográficas e discográficas que trazem elementos recorrentes nas representações da(s) cultura(s) e da(s) música(s) gaúcha(s). Para a construção do material empírico, realizei entrevistas com quatro músicos/compositores que possuem carreiras expressivas na esfera do gênero musical aqui estudado, com o intuito de compreender as negociações simbólicas que estes sujeitos realizam ao criarem seus próprios modos de soar A análise aponta que há uma heterogeneidade de sonoridades que buscam representar a cultura gaúcha e que, apesar de encontrarmos algumas continuidades, as fronteiras entre o “soar” gaúcho –ou não gaúcho- são extremamente borradas. Neste contexto, observou-se que os músicos têm suas identidades constituídas a partir de um complexo processo que se efetiva desde práticas despretensiosas de utilizar o instrumento musical como um brinquedo, até o “ser” um profissional (artista/compositor). Os músicos, em suas narrativas, descrevem que suas trajetórias musicais são delineadas através do contato com diversas culturas musicais. Eles aprendem a tocar e atuam profissionalmente, em diferentes gêneros musicais − necessidade que a profissão, frequentemente, coloca para estes sujeitos. Neste contexto, os sujeitos aderem ao gênero Música Instrumental Gaúcha, e, ao mesmo tempo, apresentam sua própria sonoridade. Entre os cânones do gênero musical e outras múltiplas possibilidades musicais, o músico molda (e tem moldada) sua identidade.
This thesis focuses on the idea of sonority and its centrality in the process of production of identities of musicians composers / artists. The objective of the work is to investigate how certain ways of sounding in the constitution of these subjects are chosen, within the scope of the musical genre that I call Music Instrumental Gaúcha. From the theories proposed by Cultural Studies in Education, I try to understand some processes of musical education that go beyond school spaces. I therefore try to understand how and what cultural instances and artifacts act in this process as "non-school pedagogues", analyzing the relationships that are established in different cultural dimensions, in which musical practices are performed. For this, I sought theoretical foundation in authors such as Stuart Hall, Nestor Garcia Canclini and Zygmunt Bauman, retaking concepts such as culture, identity, speeches, narratives, representation and sonority. From this theoretical contribution, I deepened the study on some historiographical and discographic narratives that bring recurrent elements in the representations of the culture (s) and the music (s) of the gaúcha (s). For the construction of the empirical material, I conducted interviews with four musicians / composers who have expressive careers in the sphere of the musical genre studied here, in order to understand the symbolic negotiations that these subjects perform in creating their own ways of sounding. The analysis points out that there is a heterogeneity of sonorities that seek to represent the gaucho culture and that, although we find some continuities, the borders between the soar gaucho - or not gaucho - are extremely blurred. In this context, it has been observed that musicians have their identities constituted from a complex process that takes place from unpretentious practices of using the musical instrument as a toy, until the "being" a professional (artist / composer). The musicians, in their narratives, describe that their musical trajectories are delineated through the contact with diverse musical cultures. They learn to play and act professionally, in different musical genres, needs that the profession often poses for these subjects. In this context, the subjects belonging belong to the genre Música Instrumental Gaúcha, and, at the same time, present their own sonority. Between the canons of the musical genre and other multiple musical possibilities, the musician shapes (and has shaped) his identity.

Dissertação (mestrado)—Universidade de Brasília, Faculdade de Educação, Programa de Pós-Graduação em Educação, 2017.
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O presente trabalho trata-se de uma dissertação de mestrado que tem por objetivo investigar os modos de vivência da musicalidade da pessoa surda, considerando sua cultura. entendendo o indivíduo como unidade afeto-intelecto e como ser de possibilidades, com base na perspectiva histórico-cultural de vigotski, a pesquisa visa perceber este indivíduo em sua totalidade, em inteireza. nesta perspectiva, e com base nos estudos da defectologia, a pessoa surda apresenta um defeito biológico, mas só é vista como uma pessoa com deficiência em sua relação com a sociedade, visto que a sociedade não se apresenta como um espaço social educativo. partimos também do contraponto da representação que a música apresenta na sociedade contemporânea. neste molde, ela carrega em si traços de uma concepção que tem por base uma série de ideias e ideais que a incluem para ser sentida, ouvida e percebida unicamente pelo órgão auditivo, desconsiderando a unidade do funcionamento do organismo. no universo sonoro que nos rodeia, compreendemos que o som não é somente a parte audível da música, mas uma característica dela, conforme nos sinaliza winisk. assim, entendemos que a vivência da musicalidade, por meio da atividade musical, não compreende unicamente a percepção auditiva. na compreensão desta vivência, tivemos um olhar etnográfico, baseado na etnografia sensorial, que compreende as experiências como multissensoriais e o funcionamento do organismo em sua unidade. fizemos uso, também, da etnografia em/com mídias sociais, o que possibilitou o contato desejado com os participantes.
The present study, a master's thesis, has as aim to investigate the ways of living the musicality of the deaf person, considering their culture. Considering the individual as an intellect-affect unit and as a being of possibilities, based on the historical-cultural perspective by Vygotsky, the research to perceive this individual in its wholeness, in entirety. In this perspective, and based on studies of defectology, the deaf person presents a biological defect, this person is only seen as an individual with a disability in their relationship with society, because the society does not present itself in the role of an educational social environment. Also, we assumed that the counterpoint of the representation of music reported in contemporary society. At this model, the representation of music carries itself traces of a conception based on a series of ideas and ideals that include it to be felt, heard, and perceived merely by the hearing organ, without considers the unity of the functioning of the organism. In the sonorous universe that surrounds us, we realize that sound is not only the audible part of the song but a characteristic of it, Winisk points out. Then, we comprehend that the lived of musicality, through musical activity, does not understand only the hearing perception. In the comprehension of this experience, we had an ethnographic view based on sensorial ethnography which includes the experiences as multisensory and the functioning of the organism in its unity. Nevertheless, we used the ethnography in / with social media, which enabled the desired contact with the participants.

This study seeks the development of a system capable of performing melodic segmentation in an unsupervised way, by learning from non-annotated musical data. Probabilistic learning methods have been widely used to acquire regularities in large sets of data, with many successful applications in language and speech processing. Some of these applications have found their counterparts in music research and have been used for music prediction and generation, music retrieval or music analysis, but seldom to model perceptual and cognitive aspects of music listening. We present some preliminary experiments on melodic segmentation, which highlight the importance of memory and the role of learning in music listening. These experiments have motivated the development of a computational model for melodic segmentation based on a probabilistic learning paradigm. This model uses a Mixed-memory Markov Model to estimate sequence probabilities from pitch and time-based parametric descriptions of melodic data. We follow the assumption that listeners’ perception of feature salience in melodies is strongly related to expectation. Moreover, we conjecture that outstanding entropy variations of certain melodic features coincide with segmentation boundaries as indicated by listeners. Model segmentation predictions are compared with results of a listening study on melodic segmentation carried out with real listeners. Overall results show that changes in prediction entropy along the pieces exhibit significant correlation with the listeners’ segmentation boundaries. Although the model relies only on information theoretic principles to make predictions on the location of segmentation boundaries, it was found that most predicted segments could be matched with boundaries of groupings usually attributed to Gestalt rules. These results question previous research supporting a separation between learning-based and innate bottom-up processes of melodic grouping, and suggesting that some of these latter processes can emerge from acquired regularities in melodic data.

This portfolio consists of seven compositions accompanied by a written commentary and recordings/mock ups of the works. The compositions span a wide variety of instrumentations ranging from solo works to vocal, choral, chamber and orchestral works. The commentary provides some background to the works' conception and places them in the larger context of postmodern composition. A brief history of postmodern music is outlined and the reasons for locating my work in this area are explored. Special emphasis is placed on 'the past' as a musical preoccupation, a focus which manifests itself in various ways in all the works included. In some cases, the past acts simply as an inspiration; no attempt is made to reference it in any concrete musical way. In other works, the past is invoked using musical quotation, pastiche, or templates. A multitude of ways in which past music might appear in the present, techniques which allow such importations to achieve a number of different effects, and how these manifest themselves in my works, are all explored. Analogous compositional approaches in the music of Berio (restoration/repair), Schnittke (quotation), Holloway (composing 'upon another work'), Goehr (modeling), Chadburn (text setting) and Adès (defamiliarization) are also explored.

xv, 198 p. : music
Music has meaning. But what is the nature and source of meaning, what tools can we use to illuminate meaning in musical analysis, and how can we relate aspects of musical structure to our embodied experience? This dissertation provides some possible answers to these questions by examining the role that metaphors and models play in creating musical meaning. By applying Mark Johnson and Steve Larson's conceptual metaphors for musical motion, Larson's theory of musical forces, perspectives on musical gesture, and a wide variety of models in music analysis, I show how meaning is constructed in selected works by Bach and Schubert. My approach focuses on our experience of musical motion as a source of expressive meaning. The analysis of two gigue subjects by Bach shows how we create expressive meaning by mapping musical gestures onto physical gestures, and five detailed case studies from Schubert's Winterreise show how the same basic underlying pulse leads to different expressive meanings based on how that pulse maps onto walking motion. One thread that runs through this dissertation is that models play a significant role in creating meaning; this idea is central to my analysis of the prelude from Bach's fourth cello suite. Questions of meaning are not new to musical discourse; however, claims about meaning often lurk below the surface in many musical analyses. I aim to make the discussion of meaning explicit by laying bare the mechanisms by which meaning is enacted when we engage with music. The view of musical meaning adopted in this study is based on several complementary ideas about meaning in general: meaning is something our minds create, meaning is not fixed, meaning is synonymous with understanding, and meaning emerges from our embodied experience. Other scholars who address musical meaning (for example, Hatten and Larson) typically adopt a singular approach. Although I do not create a new theory of meaning, I employ numerous converging viewpoints. By using a multi-faceted approach, we are able to choose the best available tools to discuss aspects of our musical experience and relate the expressive meaning of that experience to details of musical structure.
Committee in charge: Stephen Rodgers, Chairperson; Jack Boss, Member; Lori Kruckenberg, Member; Steven Larson, Member; Mark Johnson, Outside Member

A simple system for recognizing music is presented, based on various musical descriptors, numbers that describe some aspect of the music. Various descriptors are discussed; in particular, a novel descriptor, the floor-1 cepstral coefficient (F1CC) measure, a refinement of MFCCs based on the Vorbis psychoacoustical model is presented and evaluated. Also, various forms of statistical dimensionality reduction, among them PCA and LDA, are considered in the present context. Finally, a few directions for future work are discussed.