Dissertations / Theses on the topic 'Musical accompaniment'

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.

Thesis (M.M.)--University of Missouri-Columbia, 2007.<br>The entire dissertation/thesis text is included in the research.pdf file; the official abstract appears in the short.pdf file (which also appears in the research.pdf); a non-technical general description, or public abstract, appears in the public.pdf file. Title from title screen of research.pdf file (viewed on April 4, 2008) Includes bibliographical references.

The five-course guitar was used as an instrument of accompaniment from the mid-sixteenth to the late-eighteenth century, yet its importance in this role has largely been overlooked in scholarship to date. While there are some isolated studies of individual sources, this is the first comprehensive study of the substantial body of extant guidelines with a view to understanding the styles of accompaniment on the instrument and how their practices developed during this period. This thesis documents the chronological development of the performance practices in such a way that parallels may be drawn between these sources and treatises for other instruments of accompaniment. Guitar accompaniments were, however, also strongly influenced by the performance practices associated with alfabeto chord symbols. Thus, to enable an understanding of the more idiomatic characteristics of guitar accompaniment stemming from alfabeto practices, a detailed evaluation of the true sophistication of the language of alfabeto is provided for the first time. This study provides a complete re-evaluation of the five-course guitar as an instrument of accompaniment; it challenges the past relegation of the instrument to ‘light’ or ‘frivolous’ musical repertoires; and it highlights the various approaches that were adopted in diverse performance contexts.

<p> Franz Liszt was a famed composer who broadened the boundaries of piano technique in the nineteenth century. One of his more popular compositions, the <i>Tarantella</i>, found in his <i>Ann&eacute;es de p&egrave;lerinage </i>, was published in 1861 within the collection <i>Venezia e Napoli </i>.1 Liszt admired melodies he heard during his travels in Switzerland and Italy and often arranged and composed from his ideas and experiences. Tarantellas were thought to be dances that were played by various musicians to influence dance and cure diseases. They are played at a quick tempo and contain a simple single melody with short repetitive patterns. The Italian-inspired <i> Tarantella</i> was similar to his other works in borrowing of melodies from other composers&rsquo; works. However, this piece is unusual. Although it is called a tarantella, it does not fully reflect the standard characteristics of a tarantella. Liszt&rsquo;s <i>Tarantella</i> is a folk-like dance with a fast-upbeat tempo in a traditional Italian style, but contains a lyrical section in the second half which he called Canzona Napolitana. This is a departure from the traditional form of a tarantella. This paper discusses Franz Liszt&rsquo;s compositional choices of style and organization in his <i> Tarantella</i> and how he altered the traditional tarantella folk-dance by including a Canzona Napolitana. Other tarantellas will be discussed to compare the similarities and differences between Liszt and other composers. </p><p>

Raven's Song is an original musical dramatizing the conflict between paganism and Christianity. The play revolves around a woman who has become disillusioned by her people and her gods. The only gods she has ever known were blood-thirsty, appeased only by the blood and entrails of human sacrifice. Therefore, Raven resists all religion. Through providential circumstances, she is married into a Christian family and is overwhelmed by their love, and the kindness of their God. In search for truth, Raven begins to question her disbelief. All men search for truth in their own way, and all, at one time, will question the existence and nature of God. The play does not presume to answer these questions, but allows each participant to decide for himself, as Raven must decide for herself.

Sistemas de acompanhamento musical automatizado são de grande utilidade como ferramentas didáticas. Com eles, um aluno de música consegue ensaiar uma peça musical sendo acompanhado pelo computador, com a liberdade de tocar na velocidade em que desejar e, além disso, de cometer erros acidentais ou desvios intencionais em relação ao esperado (definido em partitura). Um sistema de acompanhamento musical deve ter as habilidades de analisar a execução ao vivo de um músico (pré-processador da entrada), comparar os eventos recebidos com os de uma partitura pré-carregada (rastreador), gerar o acompanhamento conforme o andamento inferido (acompanhador) e sintetizar os sons relativos a esse acompanhamento (sintetizador). O trabalho apresentado neste texto consistiu em estudar diversas técnicas relativas ao problema de acompanhamento musical, implementar alguns algoritmos baseados na literatura abordada, validar a qualidade obtida com tais algoritmos e disponibilizar um sistema de código aberto modular com mais de uma alternativa de algoritmo para cada módulo. Além disso, foi desenvolvido um elemento adicional para o sistema - o MetaRastreador - que combina todas as técnicas de rastreamento implementadas, executando-as em paralelo e obtendo uma maior confiabilidade nas informações extraídas da entrada, considerando diversas opiniões diferentes sobre a posição do músico na partitura.<br>Automated musical accompaniment systems are very useful as didactic tools. With them, a music student can rehearse a musical piece being accompanied by the computer, with the freedom to play at the desired speed and, moreover, to perform accidental errors or intentional deviations from the expected (defined by a musical score). A musical accompaniment system should have the skills to analyze the live performance of a musician (input preprocessor), compare the events received with those of a preloaded score (matcher), generate the accompaniment according to the inferred tempo (accompaniment), and synthesize the sounds related to this accompaniment (synthesizer). The work presented in this text consisted of studying several techniques related to the musical accompaniment problem, implementing some algorithms based on the literature, validating the quality obtained with such algorithms, and providing a modular open source system with more than one alternative algorithm for each module. Furthermore, an additional element was developed for the system - the MetaMatcher - that combines all the tracking techniques implemented by running them in parallel and obtaining a greater reliability in the information extracted from the input, considering several different opinions about the position of the musician in the musical score.

O presente trabalho teve como objetivo investigar perspectivas e impasses de mobilização de conhecimentos musicais em graduandos nas situações de colaboração pianística. Três bacharelandos em piano foram investigados em três diferentes modalidades de colaboração: instrumental, coral e vocal solo. A metodologia qualitativa se valeu do estudo de caso para a descrição dos dados, coletados através de entrevistas, registro de ensaios, aulas, exames institucionais e performances públicas. Os conceitos de Charlot (2000) sobre mobilização de conhecimentos e o modelo de Santos (2007) foram os fundamentos que nortearam a pesquisa. O modelo de Santos (2007) revelou-se passível de ser empregado no estudo, principalmente no que se refere às diferenças apontadas acerca do ciclo de investigação e de autorregulação, que se revelou distinto entre os participantes investigados. As perspectivas e impasses de mobilização de conhecimentos revelaram-se nas diferentes maneiras de perceber e abordar a atividade de colaboração com as quais os participantes estavam envolvidos, imbuídos tanto de suas crenças como de valores demonstrados. O estudo colocou em evidência dois fatores: (i) a influência que experiências prévias sistematizadas (ou seja, já aprendidas) e formas de interesse pessoal exercem nesta vertente de prática musical e (ii) a importância de se investigar o que já existe em termos de conhecimentos vivenciados (e sistematizados) nas experiências dos estudantes de graduação a fim de se buscar relacionar formas de conhecimento com maneiras de aprender.<br>The present work aimed to investigate perspectives and deadlocks of musical knowledge mobilization in undergraduate at pianistic collaboration situations. Three piano bachelors were investigated in three different types of collaboration: instrumental, choral and vocal solo. Qualitative methodology relied on case study for the data description, collected through interviews, rehearses registration, classes, institutional exams and performances. Charlot’s (2000) concepts about knowledge mobilization and Santos’ (2007) model were guide references of this research. Santos’ (2007) model proved to be capable of being employed in this study, mainly for the differences pointed out about research and self-regulation cycle, which proved to be distinct among the investigated participants. The knowledge mobilization perspectives and impasses was revealed at the different ways to understand and address the collaboration activity to which the participants were involved, imbued of their beliefs and stated values. The study showed two factors: (i) the influence exercised by former experiences (already learned) and personal interest in this aspect of musical practice and (ii) the importance of investigating what is already known in terms of experienced knowledge (systematized) of undergraduate students in order to relate forms of knowledge and ways of learning.

Thesis (Ph. D.)--University of Oregon, 2006.<br>Typescript. Includes vita and abstract. Includes bibliographical references (leaves 362-387). Also available for download via the World Wide Web; free to University of Oregon users.

Orientadores: Ricardo Goldemberg, Luiz Ricardo Basso Ballestero<br>Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes<br>Made available in DSpace on 2018-08-19T21:29:30Z (GMT). No. of bitstreams: 1 Costa_JoseFranciscoda_D.pdf: 7884743 bytes, checksum: 2e59a2cefbda738d63004504eeffd3e1 (MD5) Previous issue date: 2011<br>Resumo: Durante sua formação, um pianista pode receber treinamento para atuar em diversos campos profissionais: concertos e recitais, música de câmara, ensino e pesquisa, entre outras. Especialmente para algumas atividades relacionadas à música feita em conjunto, o pianista precisa ter a habilidade de ler à primeira-vista com desenvoltura e conseguir, através de uma leitura eficiente, preparar repertório em pouco tempo. Entretanto, leitura à primeira-vista é considerada por muitos jovens pianistas como uma habilidade inata, exigindo grandes esforços para adquiri-la. O fato é que os estudantes de piano, em sua maioria, não recebem o devido treinamento em leitura ao longo dos anos de sua formação, criando-se uma lacuna entre o nível de dificuldade do repertório solo e o da capacidade de reconhecimento, durante a leitura à primeira-vista, das informações contidas na partitura. Esta pesquisa, dividida em três etapas, procurou, inicialmente, a constatação deste fato através de testes de leitura à primeira-vista, aplicados a estudantes de graduação em piano. A segunda etapa tratou da criação de um laboratório experimental de leitura à primeira-vista aplicada à colaboração pianística, com o intuito de fornecer subsídios para a formação dos jovens pianistas nesta área. Contando com a participação voluntária de estudantes de graduação em piano, foi possível aplicar e avaliar esta proposta, utilizando-se como base o repertório para canto e piano. Por fim, buscou-se a confirmação desta deficiência em pianistas experientes e atuantes profissionalmente na área da colaboração pianística, através de entrevistas de caráter biográfico. Diferentemente de outros trabalhos, cujo foco principal é o levantamento bibliográfico, esta pesquisa se propôs a extrair dos sujeitos suas impressões, vivências e observações, através da coleta de dados contidos em depoimentos. A metodologia que mais se adequa a este tipo de abordagem é a qualitativa, tendo como ferramenta de tratamento dos dados a análise de conteúdo, a fim de organizar, categorizar e analisar os discursos. Comprovou-se, ao mesmo tempo, a deficiência na formação dos pianistas em leitura à primeiravista e as inúmeras contribuições que este treinamento, devidamente orientado, pode trazer em sua atuação profissional, especialmente na colaboração pianística<br>Abstract: During their formative years pianists can receive extensive training to act in several professional fields: concerts and recitals, chamber music, teaching and research, among others. Especially in activities related to ensemble playing, pianists need to develop the ability to sight-read with ease and should be able to prepare repertoire on short notice. However, sight-reading is regarded by many young pianists as either an innate ability or a very hard skill to acquire. The fact that the majority of the students do not receive specific training in sight-reading throughout their musical education creates a gap between the level of their solo piano repertoire and their capacity to recognize musical information on the score during their sight reading. This research is divided into three parts. The first one aimed to verify this fact by applying sight-reading assessment tests to undergraduate piano students. The second step dealt with the creation of an experimental laboratory of sight-reading applied to the collaborative piano in order to provide tools to improve undergraduate piano students' sight-reading skills. Using diverse vocal repertoire, it was possible to apply and evaluate this plan with volunteer undergraduate students. Finally, we sought to confirm similar absence of specific training in experienced and professional pianists, who are active in the collaborative piano field, through biographical interviews. Unlike other studies, whose primary focus is the literature, this research set out to assimilate the impressions, experiences and observations from the respondents, by collecting data in interviews. The methodology most suited to this type of approach is the qualitative one, and as a tool for data processing, we have used the content analysis (procedures) in order to organize, categorize and analyze speeches. The research demonstrated both the deficiency in the training of pianists in sightreading and the many contributions that a well oriented training can bring in their professional practice, especially in collaborative piano<br>Doutorado<br>Fundamentos Teoricos<br>Doutor em Música

Elements of continuous variation such as tremolo, vibrato and portamento enable dimensions of their own in expressive melodic music in styles such as in Indian Classical Music. There is published work on parametrically modeling some of these elements individually, and to apply the modeled parameters to automatically generated musical notes in the context of machine musicianship, using simple rule-based mappings. There have also been many systems developed for generative musical accompaniment using probabilistic models of discrete musical elements such as MIDI notes and durations, many of them inspired by computational research in linguistics. There however doesn't seem to have been a combined approach of parametrically modeling expressive elements in a probabilistic framework. This documents presents a real-time computational framework that uses a multi-attribute trie / n-gram structure to model parameters like frequency, depth and/or lag of the expressive variations such as vibrato and portamento, along with conventionally modeled elements such as musical notes, their durations and metric positions in melodic audio input. This work proposes storing the parameters of expressive elements as metadata in the individual nodes of the traditional trie structure, along with the distribution of their probabilities of occurrence. During automatic generation of music, the expressive parameters as learned in the above training phase are applied to the associated re-synthesized musical notes. The model is aimed at being used to provide automatic melodic accompaniment in a performance scenario. The parametric modeling of the continuous expressive elements in this form is hypothesized to be able to capture deeper temporal relationships among musical elements and thereby is expected to bring about a more expressive and more musical outcome in such a performance than what has been possible using other works of machine musicianship using only static mappings or randomized choice. A system was developed on Max/MSP software platform with this framework, which takes in a pitched audio input such as human singing voice, and produces a pitch track which may be applied to synthesized sound of a continuous timbre. The system was trained and tested with several vocal recordings of North Indian Classical Music, and a subjective evaluation of the resulting audio was made using an anonymous online survey. The results of the survey show the output tracks generated from the system to be as musical and expressive, if not more, than the case where the pitch track generated from the original audio was directly rendered as output, and also show the output with expressive elements to be perceivably more expressive than the version of the output without expressive parameters. The results further suggest that more experimentation may be required to conclude the efficacy of the framework employed in relation to using randomly selected parameter values for the expressive elements. This thesis presents the scope, context, implementation details and results of the work, suggesting future improvements.

Orientador: Antonio Rafael Carvalho dos Santos<br>Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes<br>Made available in DSpace on 2018-08-08T14:40:09Z (GMT). No. of bitstreams: 1 GarottiJunior_JetherBenevides_M.pdf: 5448369 bytes, checksum: bca435d86d6e616b6b91d4ad580f91d9 (MD5) Previous issue date: 2007<br>Resumo: A presente dissertação tem por propósito investigar os elementos constituintes da elaboração do acompanhamento pianístico na música popular brasileira na segunda metade do século XX, através de análises de entrevistas e de peças de piano e voz, transcritas de gravações feitas pela cantora Leny Andrade com os pianistas César Camargo Mariano, Cristóvão Bastos e com Gilson Peranzzeta. Partindo do próprio conceito de acompanhamento, de sua definição e exemplificação no cenário musical, esta pesquisa procura mostrar também seus desdobramentos no mercado de trabalho ¿ como a definição e atuação do termo ideman nos dias de hoje. Aspectos comportamentais são também analisados aqui e colocados frente à prática do acompanhamento pianístico e de seus praticantes, na medida em que todos acionam processos simultâneos de influência e respeito mútuos. Dessa forma, as conclusões desta pesquisa servirão para descrever de maneira mais detalhada e minuciosa todo o processo que envolve essa atividade musical, tão interiorizada1 para muitos que a praticam e, ao mesmo tempo, tão superficialmente compreendida por outros que tentam praticá-la<br>Abstract: The main purpose of the present dissertation is to investigate the elements that constitute the development of pianistic accompaniment in Brazilian popular music in the second half of the twentieth century. This will be carried out through the analysis of interviews and pieces for piano and voice, transcribed from recordings made by female singer Leny Andrade with pianists César Camargo Mariano, Cristóvão Bastos, and Gilson Peranzzeta. Based on the concept of accompaniment and its definition and exemplification in the music scene, this study aims also to show its extensions in the labor market ¿ like the definition for the term ¿sideman¿ and the sideman¿s present role. Behavioral aspects are also analyzed and applied to the practice of pianistic accompaniment and its performers, as all carry out simultaneous processes of mutual influence and respect. Therefore, the conclusions drawn from this study will help describe in more detail and more thoroughly the whole process envolved in this musical pursuit, which for many performers is so internalized, albeit so superficially understood by others who attempt to accomplish it<br>Mestrado<br>Fundamentos Teoricos<br>Mestre em Música

Thesis (D.M.A.)--University of North Texas, 2002.<br>Accompanied by 4 recitals, recorded Apr. 26, 1999, Apr. 17, 2000, Mar. 19, 2001, and Apr. 17, 2002. Includes bibliographical references (p. 83-86).

Людина постійно прагне вдосконалення. Задовольняючи свої повсякденні потреби, вона намагається покращити себе духовно. Таким чином, високий рівень інтелектуальної діяльності впливає на добробут суспільства. Разом з тим, розвиток технологій та вільний доступ до великого обсягу інформації зробив звичним використання результатів інтелек- туальної діяльності іншими суб’єктами. Але це використання має відповідати вимогам закону. Зокрема, використання музичного супроводу в розважальних закладах.

Orientadores: Mauricy Matos Martin, Luiz Ricardo Basso Ballestero<br>Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes<br>Made available in DSpace on 2018-08-23T12:51:40Z (GMT). No. of bitstreams: 1 Silva_NathaliaYuriKatoda_M.pdf: 44739470 bytes, checksum: 341b345c4ba9381f95f3676a9d512ad1 (MD5) Previous issue date: 2013<br>Resumo: O objetivo deste trabalho é abordar o desenvolvimento técnico-artístico do pianista através do gênero da canção de câmara romântica. Para isso, a metodologia utilizada foi a seleção de parte do repertório de Lied organizada de acordo com as dificuldades técnicas. Durante o trabalho, são sugeridas soluções para as dificuldades apontadas baseadas em princípios da Escola pianística de Dorothy Taubman. Neste trabalho, também são abordadas qualidades e habilidades artísticas baseadas na acepção de Martin Katz. Ao final do trabalho, pôde-se observar que as canções de câmara apresentam diversas dificuldades técnico-artísticas, demonstrando-se que é possível se desenvolver pianisticamente também através de outro repertório que não seja o solístico<br>Abstract: The objective of this work is to address the pianist's technical-artistic development through the genre of the romantic Lied. For this, the methodology used was the selection of examples from the Lied repertoire organized according to pianistic difficulties. Solutions to the difficulties found are suggested based on principles of Dorothy Taubman's Approach. In this work, artistic qualities and abilities demanded from the pianists are discussed using the writings of Martin Katz. As a conclusion, it was observed that the songs have various technical and artistic difficulties, thus, demonstrating that it is possible to develop as a pianist through other than the solo repertoire<br>Mestrado<br>Praticas Interpretativas<br>Mestra em Música

Nossa tese contempla a abordagem de dois problemas inter-relacionados: 1) pensar sobre as analogias poéticas nos procedimentos composicionais entre dois ciclos de obras de autores de épocas distintas, Luís Álvares Pinto e Hermeto Pascoal; 2) realizar uma edição crítica destas pequenas peças musicais com seus acompanhamentos harmônicos realizados enquanto intervenções inventivas, viabilizando o acesso às obras por parte de um número maior de intérpretes-executores através da resolução dos elementos em aberto, uma vez que, no caso de Luís Álvares Pinto, há duetos que pressupõem trios e, no caso de Hermeto Pascoal, há uma voz solista que pressupõe duetos. Primeiramente, trabalhamos as questões confluentes e os elementos composicionais análogos que surgem quando aproximamos: 1) os 25 solfejos a duas vozes de Luís Álvares Pinto, parte final de seu tratado didático Muzico e Moderno Systema para Solfejar, de 1776; 2) 34 lead sheets selecionadas do Calendário do som, um manuscrito de 366 peças compostas por Hermeto Pascoal, entre 23 de junho de 1996 e 23 de junho de 1997, uma obra que contempla a composição de uma peça por dia ao longo de um ano. Visamos, assim, indagar sobre os procedimentos composicionais que transcendem realidades historicamente diferenciadas. Segundo, confeccionamos uma edição crítica das partituras de ambos os ciclos de obras destes dois compositores nordestinos e reconhecidos como músicos referenciais por seus pares em suas épocas, com a realização das harmonias. Outro objetivo importante é a aplicabilidade prática da tese: disponibilizar aos músicos intérpretes-executores interessados de dentro e fora da academia as partituras destas obras por nós editadas, viabilizando suas performances. Entendemos que esta última etapa de nossa tese representa um resultado efetivo e significativo de nossa pesquisa, cumprindo assim o papel acadêmico - ao lado do ensino e da pesquisa - de estender os resultados dos conhecimentos produzidos na universidade à comunidade na forma de prestação de serviços. O trabalho está inserido na linha de pesquisa: Música Brasileira: história, interpretação-execução, processos composicionais e editoriais do Grupo de Pesquisa do CNPq: Poíesis, Práxis e Theoria em Música, sob coordenação do nosso orientador.<br>Our thesis approaches two interrelated issues: 1) we discuss poetic analogies in compositional procedures that appear in two cycles of compositions by two different authors of distinct periods, Luís Álvares Pinto and Hermeto Pascoal; 2) We prepare a critical edition of these pieces with their harmonic accompaniment worked out in inventive interventions that make them accessible to a larger number of interpreters-performers. First, we work with confluent questions and analogous compositional elements that arise as we approach the 25 solfeggios in two voices by Luís Álvares Pinto and the 34 lead sheets retrieved from the Calendário do som . The 25 solfeggios belong to the final part of the didactic treaty Muzico e Moderno Systema para Solfejar, from 1776. The Calendário do som is a manuscript of 366 pieces composed by Hermeto Pascoal between 23 June 1996 and 23 June 1997, covering the composition of one piece a day along a year. We aim, thus, to inquire about the compositional procedures that transcend different historic realities. Secondly, we prepare a critical edition of the scores of the works that have been researched, and that contain realizations of the open elements. Thus, the practical application of the thesis: to make their performance feasible to a larger range of interested musicians, from within or outside the Academy. We understand that this last part of our thesis represents an effective and meaningful result of our research, playing in this way the academic role - besides teaching and research - of extending the knowledge produced at the university to the community, as a service provision. The work pertains to the research line: Brazilian Music: history, interpretation-performance, compositional and editorial processes of the CNPq Research Group: Poíesis, Práxis and Theoria in Music, coordinated by our supervisor.

xi, 387 p.<br>A print copy of this title is available through the UO Libraries under the call number: MUSIC MT49 .K36 2006<br>The use of basso continuo in the performance of many late eighteenth- and early nineteenth-century genres is well documented, yet the influence of this practice on the Lieder during that time has never been fully explored. This dissertation analyzes Lied accompaniments of the period in relation to the recommendations found in contemporary thorough bass treatises in order to demonstrate that continuo practice did have an effect both on what composers were writing and how the songs were being performed. The majority of written-out Lied accompaniments from the late eighteenth-century conform to the recommendations given by treatise authors on matters of texture, distribution of the notes between the hands, octave doublings, parallel intervals, embellishments, and relationship of the keyboard part to the solo line. Furthermore, figured basses were still printed in some songs into the early part of the nineteenth century. Well-known nineteenth-century Lied composers, such as Schubert, Mendelssohn, and Brahms also frequently use these simple, continuo-like keyboard parts, and incorporate common continuo techniques for filling out chords into their more complex accompaniments. The fact that continuo practice, a tradition in which improvisation played a large role, continued to have such a pervasive influence on the printed Lied suggests that additions and embellishments can be made to what is written on the page. Furthermore, evidence from secondary sources, statements by musicians of the period, and clues in the music itself confirm that composers did not always intend for performers to play exactly what is notated. In this dissertation, I argue that in many of these songs the musical score should be viewed as only a basic outline, which can then be adapted depending on the skill level of the performers, the available keyboard instruments, and the context of the performance. Principles from the continuo treatises serve as a guide for knowing what additions to make, and I offer suggestions of possible applications. Appendices detail the contents of 50 continuo treatises published between 1750 and 1810.<br>Adviser: Dr. Anne Dhu McLucas Committee: Dr. Marc Vanscheeuwijck, Dr. Marian Smith, Dr. Kenneth Calhoon

Submitted by Luciana Ferreira (lucgeral@gmail.com) on 2016-04-20T14:40:34Z No. of bitstreams: 2 Dissertação - Clidney de Amorim Couteiro - 2012.pdf: 19479695 bytes, checksum: 3b86f8132363b5719ea96e5399a23166 (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5)<br>Approved for entry into archive by Luciana Ferreira (lucgeral@gmail.com) on 2016-04-20T14:42:08Z (GMT) No. of bitstreams: 2 Dissertação - Clidney de Amorim Couteiro - 2012.pdf: 19479695 bytes, checksum: 3b86f8132363b5719ea96e5399a23166 (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5)<br>Made available in DSpace on 2016-04-20T14:42:08Z (GMT). No. of bitstreams: 2 Dissertação - Clidney de Amorim Couteiro - 2012.pdf: 19479695 bytes, checksum: 3b86f8132363b5719ea96e5399a23166 (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) Previous issue date: 2012-04-04<br>The purpose of this research is the elaboration of four arranges for the 8-strings guitar, aiming the demonstration and exploration of the potentialities of this instrument in the accompaniment of popular singing. In order to compose this article transcriptions of the songs “Consolação” by Baden Powell and Vinicius de Moraes (1913-1980) and “Capitu” by Luiz Tatit were used, which provided the base for the creation of the four arranges. Besides that, the forms of utilization of the 7-strings guitar in “choro” and “samba” were investigated, as well as the use of the bass beat in MPB, among other musical constructions typical of the guitar role in the tradition of MPB as a way of subsidize the proposed arranges.<br>Esta pesquisa tem como proposta a elaboração de quatro arranjos para o violão de 8 cordas, objetivando demonstrar e explorar as potencialidades desse instrumento no acompanhamento do canto popular. Para a realização deste artigo foram utilizadas transcrições das canções “Consolação” de Baden Powell e Vinicius de Moraes (1913-1980) e “Capitu” de Luiz Tatit (1951), que forneceram a base para a criação dos quatro arranjos. Além disso, foram investigadas as formas de utilização do violão de 7 cordas no choro e no samba, bem como o uso das “levadas” do contrabaixo na MPB, entre outras construções musicais típicas do papel do violão na tradição da MPB como forma de subsidiar os arranjos propostos. !!

Treatise (D.M.A.) Florida State University, 2006.<br>Advisor: Carolyn Bridger, Florida State University, College of Music. Title and description from dissertation home page (viewed 6-26-07). Document formatted into pages; contains 60 pages. Includes biographical sketch. Includes bibliographical references.

AFRIKAANS: Gebore en getoeë in 'n omgewing waar die besondere uitdagings grondliggend aan die musikale kunsvorm van begeleiding nie erken is nie, maar eerder as 'n vanselfsprekendheid by pianiste gereken is, het 'n toenemende behoefte aan toepaslike leiding en opleiding die teelaarde vir die tersaaklike studie gevorm. Aansluitend hierby is mettertyd bevind dat die klimaat in Suid-Afrika in die reël van sodanige aard was dat begeleiding as onafhanklike en selfstandige beroepskeuse selde waardig genoeg geag is om beroepsgerigte onderwys en gespesialiseerde opleiding in die veld te regverdig. Daarom is die aanvangsondersoek van hierdie studie primêr geloods as 'n kritiese beskouiing van die funksionaliteit van die teenwoordige opset van begeleieropleiding in Suid Afrika. Meer spesifiek behels die genoemde aanvangsondersoek 'n indringende ondersoek na die toelatingsvereistes vir ensemble-gerigte kursusse, soos vervat in die sillabusse van 'n geselekteerde aantal sekondêre en tersiêre instansies landwyd. Voorts is die vak-inhoudelike sowel as moontlike blootstellingsgeleenthede aan ensemble-aktiwiteite onder die loep geneem. Die resultate in hierdie verband was teleurstellend en is die fokus verskuif na die samestelling van 'n vraelys as inligting-insamelingsinstrument. Die oogmerk van genoemde vraelys was hoofsaaklik die inwinning van persoonlike opleidingservaringe van die betrokke proefpersone sowel as 'n toekomsvisie rakende die opleiding van begeleiers-van-môre. Hoewel die opname-respons laag was, het waardevolle inligting die groeiende dringende behoefte aan sinvolle rigtinggewing in die toepaslike veld onderstreep. Die soekende openbare krag van die tweesnydende swaard is vervolgens immer dieper in die wese van die begeleier ingedring. 'n Geriefsteekproef erkende begeleiers is vir onderhoude genader. In die proses is gepoog om enersyds waarlik op hoogte te kom van hul siening met betrekking tot die samestelling van en vereistes vir 'n voornemende beroepsbegeleier tot op hede. Andersyds is gefokus op die persoonlike voorkeure rondom 'n beroepskeuse in die begeleidingsveld en 'n eiesoortige inkyk in hul beroepsbelewenis te kry. Weer eens is groot klem geplaas op hul siening van die opleiding van toekomstige begeleiers. Verblydende terugvoer is deurgaans ontvang. Die opregte ywer en toegewyde entoesiastiese betrokkenheid van die spesialiste in die tersaaklike veld verdien besondere vermelding. So ook hul besef van die reuse taak tot verantwoordelike vorming van gewillige studente in die rypingsproses tot musikaal-sinvolle uitvoerders wie se interpretasie en toepassing van stylbegrip die musiseringsvlak in samespel situasies aanmerklik kan verryk en verfraai. Ten slotte is al die voorafgaande inligting oor die funksionele opleiding van begeleiers tot op hede afgewissel met 'n verfrissende blik op die moontlike prag van ‘n ideaIe werklikheidsituasie. Voortvloeiend hieruit is die Iigpunte in die Suid-Afrikaanse bestel saamgetrek om aanvullend daartoe bepaalde aanpassings voor te stel en vars idees daaraan toe te voeg. Kortliks behels die genoemde voorstellle 'n ontvanklike en eerlike kyk na die verlede, om daaruit te kan leer; 'n kritiese beoordeling van die hede, om daaruit te kan groei, en 'n uitsig op die komende tyd, om daarin die oopblom van geleenthede, die vorming deur ervaringe en die heerlike geur van ware toonkunstenaarskap te mag ontmoet. ENGLISH: In an environment where the particular challenges inherent to the musical art form of accompaniment have never been acknowledged, but rather naturally attributed to pianists, a growing need of well-directed guidance and training has given rise to the study concerned. In the course of the study it gradually came to light that the general climate in South Africa has seldom allowed accompaniment to be viewed as an independent and autonomous career choice worthy of career-orientated, specialized training. Accordingly, this study was initially launched as a critical evaluation of the functionality of the present situation involving the training of accompanists in South Africa. More specifically, the initial investigation concerned an incisive analysis of the entrance requirements pertaining to ensemble-directed courses, as contained in the sillabi of selected secondary and tertiary institutions from all over South Africa. Furthermore, the subject content as well as potential opportunities of exposure to ensemble activities was scrutinized. Since the results revealed a disappointing situation, a questionnaire was compiled in order to gather information. This questionnaire was mainly meant to capture the respondents' personal experiences regarding training, as well as their views on the future training of accompanists. Although the response was low, valuable information came to the fore, emphasizing the growing and urgent need of meaningful direction in the field concerned. The searching blade of the double-edged sword was now driven into the very being of the accompanist. A convenience sample of acknowledged accompanists was interviewed. On the one hand a serious attempt was made to gauge their current views regarding the composition and required characteristics of an accompanist-to-be. On the other hand, the focus fell on their personal preferences regarding a career choice in the field of accompaniment and on the particular way they experienced their careers. Once again, special attention was paid to their vision of the training of future (career-oriented) accompanists. On the whole, the feedback was gladdening. The sincere devotion and enthusiastic involvement of these specialists in the field must be specially mentioned. The same applies to their awareness of the mammoth responsibility resting on their shoulders, namely that of helping willing students mature until they are able to execute works of music in a meaningful way, interpreting and applying their understanding of style in a manner which enhances their musical interaction with others. Finally, the preceding information concerning the current state of the functional training of accompanists is enlivened by an invigorating vision of an ideal situation. The rays of light within the South African context are drawn together in order to facilitate the suggestion of certain adjustments and fresh ideas. In short, these suggestions involve an open-minded and honest view of the past, in order to learn from it; a critical evaluation of the present, in order to facilitate new growth; and a vision of the future, in order to recognize the flowering possibilities, the shaping of experiences and the delicate fragrance of true musicianship.<br>Dissertation (MMus(Chamber Music))--University of Pretoria, 2007.<br>Music<br>unrestricted

The Southern Baptist Convention's Music Department and state associations, with their vast influence yet often modest resources, educated generations of pianists and organists in the arts of accompanying and service playing. Chapter 1 examines the genesis of this education movement, beginning with B. B. McKinney's interest through the Southern Baptist Convention's Music and Worship committee. Chapters 2 and 3 contain an overview of previous studies and the materials of other protestant American denominations and Baptists used to train keyboard musicians. These include Lutheran, Nazarene, Methodist, and independent Baptist. Chapter 4 covers the results of the work of the Music and Worship Committee to the establishment of the Music Week at Ridgecrest, a Southern Baptist retreat, the formation of the Church Music Department and Music Week's expansion to Glorieta, another Southern Baptist retreat, and the decision to begin

The purpose of this study was to gather information about professional musicians’ development and use of functional piano skills in their careers. An online questionnaire was distributed to (N = 393) faculty members, professional performers, and private music instructors from different regions and institutions. The survey gathered information about their careers, piano training, use of functional piano skills, and proposals for the piano training of undergraduate music majors in their field. In total, 109 musicians completed the study: faculty members (n = 43), performers (n = 38), and teachers (n = 28). The results of this study showed that faculty members, performers and teachers generally performed similar musical activities, had comparable piano training, used similar piano skills, and agreed with each other about their suggestions for undergraduate piano training. There were, however, subtle differences among the three groups in the frequency with which they used functional piano skills. Professional musicians regularly transposed melodies, sight-read accompaniments, and played scales. They never improvised accompaniments, practiced and memorized piano solos, devised modulations, composed, and accompanied groups. In addition to the three skills that all professional musicians used, faculty members also played by ear, played chord progressions, and accompanied soloists regularly, performers regularly transposed accompaniments, harmonized melodies, and accompanied soloists, and teachers read open scores and transposed accompaniments frequently. Generally, professional musicians thought that piano skills were important to their careers, and many would have liked additional training on accompanying. Although most piano skills were learned outside of collegiate piano classes, participants in this study, regardless of the frequency with which they used these skills, thought that music majors should receive piano training on five skills: playing chord progressions, playing scales, sight-reading, harmonizing melodies, and reading open scores. Many participants indicated that practicing and memorizing piano solos were skills that should receive little training in collegiate piano classes. It is suggested that creating a group piano curriculum that effectively develops the functional piano skills valued and used by professional musicians becomes a priority for group piano teachers and researchers working on the preparation of professional musicians.<br>text

In this diploma thesis we focus on instrumental activities, particularly accompaniment for selected folk songs to be played by 1st - 5th grade pupils. The thesis contains information about instrumental activities, Orff´s musical instruments, instrumental activities in music textbooks, how to choose a song for accompaniment and how to create and practise accompaniment. The core of the work are the scores of accompaniment and their verification at school. The main objective of the thesis is to impart knowledge and experiences with instrumental acitivities and the scores which teachers can use in their teaching process.