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Wan, Elysa (Elysa Q. ). "Musical interfaces : design and construction of physical manipulatives for musical composition." Thesis, Massachusetts Institute of Technology, 2007. http://hdl.handle.net/1721.1/40935.
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Thesis (S.B.)--Massachusetts Institute of Technology, Dept. of Mechanical Engineering, 2007.Includes bibliographical references (leaf 19).
Currently, musical composition is considered to be a high-level skill that is inaccessible to young children. There is a "high floor" for children who want to create a piece of music because they must learn a way of recording and remembering the notes, their sequence, etc, such as musical notation. Our project explores tangible designs that will make music composition simple to learn and practice while also building an intuition about complex musical concepts. Three original designs of tangible interfaces for musical composition are introduced and the merits and limitations of each are explored using non-functional form models. Audio processing is performed on a peripheral computer running an audio program written specifically for each system. A "Wizard of Oz" approach was used to study user interactions with each design. Music Blocks are designed to be physical representations of inherently intangible musical notes. Each block represents a single note, and the user can modify its pitch and duration by changing the physical shape of the block. They resemble wooden building blocks and suggest the parallels between building structures and the organization of musical compositions and its melody. The Music Glove introduced the idea of using a sound recording instead of a musical note as the musical unit in a composition. This introduced rich ideas about nesting and recursion. At the same time the glove interface highlights the role of personal expression, interaction and affect in musical composition and performance. Here physical inputs of the system were related to the rhythms, tempos, and the tone of the composition. The system was more gestural, performance-oriented and more suited to spontaneous improvising. The Musical Leaves interface is a melding of the concepts for the Music Blocks and Glove. The individual Leaves reflect the modular structure and organization of the composition. At the same time, the Leaves can be manipulated in real-time to change pitch and volume and as a result are deeply expressive and flexible.
by Elysa Wan.
S.B.
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Hecker, Connie. "SCENIC DESIGN AND PROJECTION DESIGN FOR RAGTIME, THE MUSICAL." Kent State University / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=kent1334848506.
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Sugarbaker, Sarah. "Scenic design for the musical Godspell." Columbus, Ohio : Ohio State University, 2009. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1243614306.
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Raby, Melody Lynn Falco. "Apreciação musical em crianças com deficiência intelectual." reponame:Repositório Institucional da UFPR, 2015. http://hdl.handle.net/1884/38065.
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Orientadora: Profª. Drª. Valéria LüdersDissertação (mestrado) - Universidade Federal do Paraná, Setor de Artes, Comunicação e Design, Programa de Pós-Graduação em Música. Defesa: Curitiba, 25/02/2015
Inclui referências
Resumo: A presente pesquisa teve por objetivo a investigação da aprendizagem da apreciação musical em crianças com deficiência intelectual. A definição de apreciação musical adotada é a de "processo de significação da música" (Barbosa, 2005, 2009; Waslawick, Camargo & Maheirie, 2007), abarcando discussões em torno dos objetivos da educação musical (Fonterrada, 2008; Penna, 2004; Benedetti & Kerr, 2010). As concepções de desenvolvimento e aprendizagem seguem o referencial teórico da Psicologia histórico-cultural, representada em especial por Vigotski (1998; 2007; 2009). Como objetivos específicos buscou-se a identificação dos tipos de respostas e termos empregados pelas crianças com deficiência intelectual em atividades de apreciação musical; o estudo da aprendizagem da percepção de elementos harmônicos em crianças com deficiência intelectual; e a relação da aprendizagem da apreciação musical com as habilidades de percepção, discriminação e formação de conceitos musicais, em crianças com deficiência intelectual. A metodologia escolhida foi a pesquisa-ação (Gil, 2008; Thiollent, 1986; Albino & Lima, 2009), que se caracteriza pelo envolvimento do pesquisador e dos pesquisados no processo de pesquisa, possibilitando que as crianças participassem de atividades musicais, mediadas pela pesquisadora e por outras crianças, de maneira a favorecer a identificação dos processos de aprendizagem atravessados pelas crianças ao longo de um trabalho de intervenção. O contexto da pesquisa foram duas escolas do sistema regular de ensino do município de São José dos Pinhais, Região Metropolitana de Curitiba/ PR, e foram organizados dois grupos de crianças, formados pelas crianças público-alvo da pesquisa e crianças com desenvolvimento típico. A coleta de dados junto às crianças foi organizada em encontros de avaliação individual (uma inicial, antes dos encontros de intervenção, e outra final, após os encontros), e de intervenção em grupo. Não se estabeleceu o objetivo de estudo comparativo. Os dados foram organizados para análise a partir da transcrição das avaliações individuais e das observações das intervenções, além dos registros em diário de campo, e o processo interpretativo teve como base a análise qualitativa. Os resultados evidenciam as possibilidades de trabalho sobre apreciação musical e percepção de elementos harmônicos com as crianças com deficiência intelectual, que demonstraram compreensão das tarefas e indícios de apropriação daqueles conhecimentos. Como contribuição para a Educação Musical para crianças com deficiência intelectual destaca-se a valorização do trabalho voltado para a construção de significados, que respeita as potencialidades de aprendizagem da criança com deficiência ao mesmo tempo em que oportuniza o acesso ao conhecimento musical socialmente construído. Palavras-chave: Educação musical, Apreciação musical, Deficiência intelectual, Psicologia histórico-cultural.
Abstract: This research investigated the education of children with intellectual disabilities through audience-listening of music. This work adopted the definition of "audience-listening" as the "process of signification in music" (Barbosa, 2005, 2009; Waslawick, Camargo & Maheirie, 2007), including some discussions over the objectives of musical education (Fonterrada, 2008; Penna, 2004; Benedetti & Kerr, 2010). The conceptions of development and learning followed the theoretical approach of cultural-historical Psychology, represented specially by Vigotski (1998; 2007; 2009). The specific goals of the research were: (i) to identify and classify the answers given by the children (and the words and terms used by them); (ii) to study the learning process of perception of the musical harmonic elements; (iii) to analyse the relationship between the audience-listening and the abilities of perception, discrimination and construction of musical concepts. The selected method was the "action research" (Gil, 2008; Thiollent, 1986; Albino & Lima, 2009) i.e., the researcher and the children were all involved in the research process at all times. The children participated in the musical activities, being subject of intervention and mediation between them, and from the researcher as well, so that the learning processes could be identified. The children were students of public schools in the city of São José dos Pinhais (located in the metropolitan area of Curitiba), and they were divided into two groups: children with intellectual disabilities and children considered to be in regular development. Data was collected both in group sessions as well as in individual evaluation sessions, performed before and after the interventions. There was no comparative study between the groups. The data analysis was organized from the transcription of the individual evaluation sessions, the observations of group sessions, and also from the field notes. The theoretical background for the data analysis was qualitative. The results suggested the possibility of educating children with intellectual disabilities using audience-listening and thus showing that they are able to perceive, comprehend and apprehend the tasks and the musical harmonic elements. In conclusion, the use of audience-listening as a form of education for children with intellectual disabilities may represent a concrete contribution to their development since it values the construction of significations and respects the children's potential for learning, at the same time granting them access to the socially constructed musical knowledge. Key words: Musical education, Audience listening, Intellectual disability, cultural-historical Psychology.
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Lameiras, Francisco Barroso. "Reinterpretação de um instrumental musical." Master's thesis, Universidade de Lisboa, Faculdade de Arquitetura, 2017. http://hdl.handle.net/10400.5/14177.
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Marshall, Mark. "Physical interface design for digital musical instruments." Thesis, McGill University, 2009. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=40788.
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This thesis deals with the study of performer-instrument interaction during the performance of novel digital musical instruments (DMIs). Unlike acoustic instruments, digital musical instruments have no coupling between the sound generation system and the physical interface with which the performer interacts. As a result of this, such instruments also lack the direct physical feedback to the performer which is present in an acoustic instrument. In fact in contrast to acoustic musical instruments, haptic and vibrotactile feedback is generally not present in a DMI contributing to a poor feel for the instrument. The main goal of this thesis is to propose ways to improve the overall feel of digital musical instruments through the study and design of its physical interface: the instrument body, sensors and feedback actuators. It includes a detailed study of the existing theory and practice of the design on physical interfaces for digital musical instruments, including a survey of 266 existing DMIs presented since the inception of the NIME conference. From this, a number of differences become apparent between the existing theory and practice, particularly in the areas of sensors and feedback. The research in this thesis then addresses these differences. It includes a series of experiments on the optimal choice of sensors for a digital musical instrument. This is followed by research into the provision of vibrotactile feedback in a digital musical instrument, including the choice of actuator, modification of actuator frequency response, and the effects of response modification on human vibrotactile frequency discrimination. Following this, a number of new digital musical instruments are presented, which were created during the course of this work. This includes an instrument designed specifically to follow the results of research in this thesis and also instruments designed as part of larger collaborative projects involving engineers, composers and performers. FroCette thèse porte sur l'étude de l'interaction ayant lieu, en situation de jeu,entre un(e) instrumentiste et un instrument musical numérique (IMN).A l'inverse des instruments acoustiques traditionnels, il n'existe aucun couplageentre le dispositif de production du son et l'interface sur laquelle agit l'instrumentistedans le cas des IMN. L'une des implications de cette observation est que cesinstruments ne procurent pas la rétroaction tactile normalement présente dans lesinstruments de musique traditionels. Par conséquent, les IMN sont souvent perçuspar leurs interprètes comme manquant d'âme, de personnalité.Le but de ce travail de thèse est d'avancer quelques solutions permettant d'insuer un peu plus âme à un instrument musical numérique. Le point focal de larecherche étant l'étude et la conception de l'interface physique (corps de l'instrument,capteurs et dispositifs de rétroaction utilisés) d'un tel instrument.Ce mémoire présente, en premier lieu, une étude détaillée de la théorie et de lapratique actuelles dans le domaine de la conception d'interfaces physiques pour lesIMN. L'inventaire des 266 instruments recensés depuis la création de la conférenceNIME constitue l'un des points majeurs de cette partie du travail. En effet, ce tour d'horizon permet de faire ressortir les incohérences entre théorie et pratique. Cesdifférences sont particulièrement frappantes en ce qui concerne les capteurs et lesdispositifs de rétroaction.Le travail de recherche de cette thèse a donc pour objectif de mieux comprendrecomment réduire ces incohérences. Des expériences portant sur le choix optimaldes capteurs à utiliser dans un IMN ont donc été menées. Différents dispositifs derétroaction vibrotactile ont aussi été étudiés en regardant d'abord quels actuateursutiliser, et en évaluant les effets de la modication de leur réponse en fréquencesur la discrimination fréquentielle de stimuli vibrotactiles chez des sujets humains.Des exemp
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Hollinger, Avrum. "Design of fMRI-compatible electronic musical interfaces." Thesis, McGill University, 2008. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=116045.
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The designs of two functional magnetic resonance imaging-compatible electronic interfaces for use in neuropsychological studies involving musical tasks are presented. The devices, a two-button response box in the form of a computer mouse and a piano keyboard, were designed for rhythmic tapping and piano performance tasks, respectively. In order to correlate changes in neural activation acquired through magnetic resonance imaging (MRI) with task performance, the electronic collection of behavioural data, such as the timing of button or key presses was required. These behavioural measures were captured electronically and communicated to a host computer for synchronization with feedback, stimuli, and the MRI scanner itself. As well, data was logged for offline analysis. Due to the intense and volatile electromagnetic fields, most commercially-available electronic interfaces do not function properly and can even pose a serious safety hazard within the MRI scanner environment. Therefore these custom-designed interfaces were free of ferromagnetic parts and all electronic components were relegated to the control room outside of the scanner environment. Acquisition of button and key presses was accomplished using fibre optic sensors, which are immune to electromagnetic interference. The devices performed successfully within the scanner, and MRI scans showed no image artifacts caused by the prototypes. Sensing of key and button transition velocity was sufficient after extensive calibration. Next generation prototypes are planned and will implement more robust and tighter tolerance manufacturing, improved sensing techniques, the acquisition of isometric forces, and an auto-calibration scheme.
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Thibault, Samuel H. (Samuel Hunter) 1977. "MICK : a design environment for musical instruments." Thesis, Massachusetts Institute of Technology, 2001. http://hdl.handle.net/1721.1/86843.
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Pina, Rosana Andrade Fortes de. "Design de comunicação aplicado à educação musical." Master's thesis, Universidade de Lisboa. Faculdade de Arquitetura, 2013. http://hdl.handle.net/10400.5/12086.
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Dissertação de Mestrado para obtenção do grau de Mestre em Design de Comunicação, apresentada na Universidade de Lisboa - Faculdade de Arquitectura.Desde os primórdios, o homem teve a necessidade de comunicar e se expressar e fê-lo não só através de sons, como de elementos visuais, entre outros. A notação musical do Ocidente mais antiga surgiu com os Gregos e desde então tem evoluído. Na época contemporânea, ocorreu um salto extraordinariamente significativo, quando os compositores reconheceram que a notação clássica não era suficiente para comunicar as suas ideias sonoras, por um lado, e que, do ponto de vista visual, a notação musical pode ser uma oportunidade de expressão plástica. A presente investigação insere-se no campo da notação musical, procurando estabelecer a ponte entre a representação dos sons através de sinais gráficos, e o design de comunicação. Pretende-se saber se a legibilidade de uma partitura pode influenciar a aprendizagem em música e a performance instrumental, principalmente na fase inicial da aprendizagem de um instrumento. Para responder a esta interrogação recorre-se à revisão da literatura sobre pedagogia musical, transformações operadas ao longo do tempo na notação musical, considerando que a escrita de música é, tal como as escritas de outras linguagens, é um objecto de comunicação, no caso, entre o compositor e o intérprete. O estado da arte foi construído recorrendo, ainda, a entrevistas exploratórias a alunos que se encontram numa fase inicial de aprendizagem da linguagem musical e na aprendizagem de um instrumento, a professores de música e a compositores. Desta pesquisa fez parte uma recolha de partituras gráficas, que foram analisadas e criticadas com vista ao desenvolvimento do projecto prático, simultaneamente o objectivo específico mais importante e o resultado alcançado no âmbito da presente investigação. Deste modo, respondemos, afirmativamente, à questão de partida (Poderá um novo sistema de notação musical e de partitura gráfica, de apoio à aprendizagem e à performance, contribuir para agilizar a aprendizagem e minimizar o esforço de leitura?).
ABSTRACT: Since the beginnings, the man had the need to communicate and express and he made it not only through sounds as through visual elements and others. The an¬cient musical notation of the west, came up with the Greeks, and since then it as evolved. In contemporary era, occurred a jump dramatically significant when com¬posers recognized that the classical notation was not enough to communicate their sound ideas on one hand, and that in the visual point of view, the musical notation can be an opportunity for plastic expression. This investigation falls within the field of musical notation, seeking to establish the bridge between the representation of sounds by graphics signs, and the communi¬cation design. It is intended to know if the legibility of a score can influence learning in music and instrumental performance, especially in the early stage of learning an instrument. To answer this question we resort to the review of literature on music pedagogy, changes undertaken over time in musical notation, considering that writing music is as the writings of other languages, an object of communication, in this case, be¬tween the composer and the performer. The state of the art was built using also the exploratory interviews to students, who are at an early stage of learning the language of music and learning an instrument, music teachers and composers. Of this research it had made part, a collection of graphic scores, which were analysed and criticized in the view of the development of the practical project, simultaneously, the specific and the most important purpose and result achieved in the present investigation. Thus, we answer affirmatively to the question of departure « can a new system of musical notation and graphic score, of support learning and performance, help to expedite the learning and minimize the effort of reading?».
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Grimstad, Bang Tove. "Designing for Musical Bodies : An Exploration of the Musician–Instrument Relationship." Thesis, KTH, Skolan för elektroteknik och datavetenskap (EECS), 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-292197.
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Drawing on phenomenology and the theory of embodied music cognition, and the idea that music is movement and the way we experience music is related to movement and to our bodies, the design and conception of a musical instrument is carried out through a soma design process, with the non-dualistic body at center. In addition to the use of design fiction as a means to imagine new design possibilities, practical somaesthetics are a part of the design process through the bodily practices of Dalcroze eurhythmics and instrument defamiliarisation. These continuous bodily practices provide space for explorations of musical, aesthetic sensitivities and contribute to the designer's attuning to their own body and discoveries of musical sensitivities therein. The experiential qualities of music--movement related rhythm and repetition are identified, and reflected in the design of the musical instrument. While interacting with the instrument does not necessarily provide direct immersion into those experiential qualities, nor an intimate musician--instrument relationship, it might however, open up a fertile breeding ground for new design directions and make space for new experiences. The design process itself, leading up to the instrument, was a great contribution to making room for exploring interactions with the body, movement and music.Med utgångspunkt i fenomenologi och teorin om förkroppsligad musikkognition, samt iden att musik ar rörelse och att hur vi upplever musik ar relaterat till rörelse och vara kroppar, har designen och skapandet av ett musikinstrument utförts genom en soma-designprocess, med den icke-dualistiska kroppen i centrum. Utöver användandet av designfiktion som ett satt att föreställa sig nya designmöjligheter, ingår praktisk somaestetik som en del av designprocessen via dem kroppsliga praktikerna Dalcroze-rytmik och instrument-främmandegöring. Dessa kontinuerliga, kroppsliga praktiker ger utrymme for utforskning av musikaliska och estetiska mottagligheter och bidrar till designerns själsstämning av sin egen kropp, samt upptäckter av musikaliska mottagligheter inuti densamma. De empiriska kvaliteterna hos musik-rörelserelaterad rytm och repetition identifieras och återspeglas därefter i utformningen av musikinstrumentet. Aven om interaktion med instrumentet inte nödvändigtvis leder till en direkt upplevelse av dessa kvaliteter, eller en intim musiker-instrument-relation, sa kan den emellertid lagga en bördig grogrund for nya designriktningar och skapa utrymme for nya upplevelser. Själva designprocessen, som lett fram till instrumentet, gav stora möjligheter till att skapa plats for att utforska interaktioner med kroppen, rörelse och musik.
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Seago, Allan. "A new user interface for musical timbre design." Thesis, Open University, 2009. http://oro.open.ac.uk/43254/.
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This thesis characterises and addresses problems and issues associated with the design of intuitive user interfaces for timbral control. The usability of a range of synthesis methods and representative implementations of these methods is assessed, and three interface architectures - fixed architecture, architecture specification and direct specification - are identified. The characteristics of each of these architectures, as well as problems of usability inherent to each of them are discussed; it is argued that none of them provide intuitive tools for the manipulation and control of timbre. The study examines the nature of timbre and the notion of timbre space; different kinds of timbre space are considered and criteria are proposed for the selection of suitable timbre spaces as vehicles for synthesis. A number of listening tests, designed to demonstrate the feasibility of subsequent work, were devised and carried out; the results of these tests provide evidence that, where Euclidean distances between sounds located in a given timbre space are reflected in perceptual distances, the ability of subjects to detect relative distances in different parts of the space varies with the perceptual granularity of the space. Three contrasting timbre spaces conforming to the proposed criteria for use in synthesis are constructed; the purpose of these spaces is to provide an environment for a novel user interaction approach for timbral design which incorporates a search strategy based on weighted centroid localization. Two prototypes which exemplify the proposed approach in alternative ways are designed, implemented and tested with potential users in order to validate the approach; a third contrasting prototype which represents a simple contrasting alternative is tested for purposes of comparison. The results of these tests are evaluated and discussed, and areas of further work identified.
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Lamb, Roland. "The seaboard : discreteness and continuity in musical interface design." Thesis, Royal College of Art, 2014. http://researchonline.rca.ac.uk/1648/.
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The production of acoustic music bridges two senses - touch and hearing - by connecting physical movements, gestures, and tactile interactions with the creation of sound. Mastery of acoustic music depends on the development and refinement of muscle memory and ear training in concert. This process leads to a capacity for great depth of expression even though the actual timbral palette of each given acoustic instrument is relatively limited. By contrast, modern modes of music creation involving recorded music and digital sound manipulation sacrifice this immediate bridge and substitute more abstract processes that enable sonic possibilities extending far beyond the acoustic palette. Mastery in abstract approaches to music making doesn’t necessarily rely on muscle memory or ear training, as many key processes do not need to happen in realtime. This freedom from the limits of time and practiced physical manipulation radically increases the range of achievable sounds, rhythms and effects, but sometimes results in a loss of subtlety of expressiveness. This practice-based PhD asks whether it is possible, and if so how, to achieve an integration of relevant sensor technologies, design concepts, and formation techniques to create a new kind of musical instrument and sound creation tool that bridges this gap with a satisfying result for musicians and composers. In other words, can one create new, multi-dimensional interfaces which provide more effective ways to control the expressive capabilities of digital music creation in real-time? In particular, can one build on the intuitive, logical, and well-known layout of the piano keyboard to create a new instrument that more fully enables both continuous and discrete approaches to music making? My research practice proposes a new musical instrument called the Seaboard, documents its invention, development, design, and refinement, and evaluates the extent to which it positively answers the above question. The Seaboard is a reinterpretation of the piano keyboard as a soft, continuous wavelike surface that places polyphonic pitch bend, vibrato and continuous touch right at the musician’s fingertips. The addition of new realtime parameters to a familiar layout means it combines the intuitiveness of the traditional instrument with some of the versatility of digital technology. Designing and prototyping the Seaboard to the point of successfully proving that a new synthesis between acoustic techniques and digital technologies is possible is shown to require significant coordination and integration of a range of technical disciplines. The research approach has been to build and refine a series of prototypes that successively grapple with the integration of these elements, whilst rigorously documenting the design issues, engineering challenges, and ultimate decisions that determine whether an intervention in the field of musical instrumentation is fruitful.
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Ahn, Sun Hyun. "Musical language and formal design in Dallapiccola's Sicut Umbra." College Park, Md. : University of Maryland, 2004. http://hdl.handle.net/1903/1526.
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Thesis (Ph.D.) -- University of Maryland, College Park, 2004.Thesis research directed by: Music. Title from t.p. of PDF. Includes bibliographical references. Published by UMI Dissertation Services, Ann Arbor, Mich. Also available in paper.
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Smith, Derek Scott. "A guide to musical instrument design for preschool children." Auburn, Ala., 2005. http://repo.lib.auburn.edu/2005%20Summer/master's/SMITH_DEREK_30.pdf.
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Fabio, Michael A. S. M. Massachusetts Institute of Technology. "The chandelier : an exploration in robotic musical instrument design." Thesis, Massachusetts Institute of Technology, 2007. http://hdl.handle.net/1721.1/39342.
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Thesis (S.M.)--Massachusetts Institute of Technology, School of Architecture and Planning, Program in Media Arts and Sciences, 2007.Includes bibliographical references (leaves 169-173).
This thesis presents several works involving robotic musical instruments. Robots have long been used in industry for performing repetitive tasks, or jobs requiring superhuman strength. However, more recently robots have found a niche as musical instruments. The works presented here attempt to address the musicality of these instruments, their use in various settings, and the relationship of a robotic instrument to its human player in terms of mapping and translating gesture to sound. The primary project, The Chandelier, addresses both hardware and software issues, and builds directly from experience with two other works, The Marshall Field's Flower Show and Jeux Deux. The Marshall Field's Flower Show is an installation for several novel musical instruments and controllers. Presented here is a controller and mapping system for a Yamaha Disklavier player piano that allows for real-time manipulation of musical variations on famous compositions. The work is presented in the context of the exhibit, but also discussed in terms of its underlying software and technology. Jeux Deux is a concerto for hyperpiano, orchestra, and live computer graphics.
(cont.) The software and mapping schema for this piece are presented in this thesis as a novel method for live interaction, in which a human player duets with a computer controlled player piano. Results are presented in the context of live performance. The Chandelier is the culmination of these past works, and presents a full-scale prototype of a new robotic instrument. This instrument explores design methodology, interaction, and the relationship-and disconnect-of a human player controlling a robotic instrument. The design of hardware and software, and some mapping schema are discussed and analyzed in terms of playability, musicality, and use in public installation and individual performance. Finally, a proof-of-concept laser harp is presented as a low-cost alternative musical controller. This controller is easily constructed from off-the-shelf parts. It is analyzed in terms of its sensing abilities and playability.
Michael A. Fabio.
S.M.
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Tavakoli, Nia Hadi. "Acoustic function of sound hole design in musical instruments." Thesis, Massachusetts Institute of Technology, 2010. http://hdl.handle.net/1721.1/61924.
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Thesis (S.M.)--Massachusetts Institute of Technology, Dept. of Mechanical Engineering, 2010.Cataloged from PDF version of thesis.
Includes bibliographical references (p. 69-70).
Sound-hole, an essential component of stringed musical instruments, enhances the sound radiation in the lower octave by introducing a natural vibration mode called air resonance. Many musical instruments, including those from the violin, lute and oud families have evolved complex sound-hole geometries through centuries of trail and error. However, due to the inability of current theories to analyze complex sound-holes, the design knowledge in such sound-holes accumulated by time is still uncovered. Here we present the potential physical principles behind the historical development of complex sound-holes such as rosettes in lute, f-hole in violin and multiple sound-holes in oud families based on a newly developed unified approach to analyze general sound-holes. We showed that the majority of the air flow passes through the near-the-edge area of the opening, which has potentially led to the emergence of rosettes in lute family. Consequently, we showed that the variation in resonance frequency and bandwidth of different traditional rosettes with fixed outer diameter is less than a semitone, while the methods based on the total void area predicts variations of many semitones. Investigating the evolution of sound-holes in violin family from circular geometry in at least 10th century to the present-day f-hole geometry, we found that the evolution is consistent with a drive toward decreasing the void area and increasing the resonance bandwidth for a fixed resonance frequency. We anticipate this approach to be a starting point in discovering the concepts behind the geometrical design of the existing sound-hole geometries, and helping the musicians, instrument makers and scientists utilize this knowledge to design consistently better instruments.
by Hadi Tavakoli Nia.
S.M.
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Alonso, Orlay. "Illuminated Scores and the Architectural Design of Musical Form." The Ohio State University, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=osu1429802524.
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Mano, Maria Alexandra Luís. "Design editorial, iniciação e educação musical para a infância." Master's thesis, Universidade de Lisboa, Faculdade de Arquitetura, 2017. http://hdl.handle.net/10400.5/13924.
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Dissertação de Mestrado em Design, com a especialização em Design de Comunicação, apresentada na Faculdade de Arquitetura da Universidade de Lisboa para obtenção do grau de Mestre.À medida que a tecnologia avança, o manual escolar enfrenta algumas dificuldades em constituir-se como uma alternativa dinâmica e atractiva, capaz de competir com os meios digitais. Esta investigação tem como principal objectivo a criação de um livro impresso de apoio a crianças, estudantes de música, com idades compreendidas entre os 5 e os 8 anos. É encarado também o desafio de explicitar a importância do design de livros contemporâneo (em específico o de manuais do ensino de música), bem como o papel dos designers na construção de materiais educativos. Como tal, considerámos a oportunidade de projecto prático como o ambiente propício a esta análise. Este trabalho irá dividir-se em duas partes. A primeira, teórica, serve de introdução, com uma contextualização teórica do tema a abordar. A segunda parte será prática, incluindo as fases intermédias (aborda as reuniões entre os interessados, a planificação de todo o conteúdo, as decisões gráficas tomadas, o registo pormenorizado do trabalho feito pela mestranda ao longo dos meses de trabalho), culminando com a materialização e avaliação do livro. Com a realização deste projecto, pretendemos compreender quais as principais dificuldades no ensino da música a partir da utilização de manuais escolares e, nomeadamente, utilizar os recursos do Design Gráfico para o ensino da música, através da Teoria da Aprendizagem Musical de Gordon. Os resultados esperados são um maior conhecimento teórico e prático na área editorial e uma contribuição relevante para o conhecimento—em específico para o design de manuais escolares para crianças que desejam aprender música—um tema que é muito caro à investigadora.
ABSTRACT : As technology advances, the textbook is facing some difficulties to establish itself as a dynamic and attractive alternative, able to compete with digital media. This research aims to create a printed book to support children, music students, aged 5 to 8 years. It has also been faced the challenge of explaining the importance of contemporary editorial design (in particular, music teaching manuals), as well as the role of designers in the construction of educational materials. As such, we considered the opportunity of doing a practical project as the propitious environment to this analysis. The project will be divided into two parts. The first, theoretical, serves as an introduction, with a theoretical context to address the issue. The second part is a practical part, including intermediate stages (such as meetings between stakeholders, the planning of all content, graphic decisions, the detailed record of the work done during the months of work), culminating in the materialization and evaluation of the book. With the fulfillment of this project, we aim to understand what are the main difficulties in musical education from the use of school textbooks and, in particular, to use the resources of Graphic Design for musical education, through Gordon’s Music Learning Theory. The expected results are a greater theoretical and practical knowledge on the editorial area, and a relevant contribution to knowledge—in particular to the design of textbooks for children who want to learn music—a subject that is very dear to the researcher.
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Duarte, Carolina Borlido. "Design de figurinos." Master's thesis, Universidade de Lisboa, Faculdade de Arquitetura, 2019. http://hdl.handle.net/10400.5/18351.
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Dissertação de Mestrado em Design, com a especialização em Design de Moda apresentada na Faculdade de Arquitetura da Universidade de Lisboa para obtenção do grau de Mestre.A investigação desenvolvida em Design de Moda é centrada na área do Design de Figurinos, e mais especificamente nos figurinos para espetáculo musical do estilo Broadway. O design de figurinos é parte integrante das artes performativas (e.g., teatro, televisão e cinema), sendo o seu contributo indispensável para a criação de personagens. Para a concretização da investigação desenvolvida, foi realizado um estágio curricular na Produções La Féria, uma das mais relevantes produtoras do mundo do teatro musical em Portugal. Com a realização deste estágio foi possível alcançar vários objetivos, como a aquisição de diversas competências no desenvolvimento de figurinos, na interação e trabalho em grupo, no domínio de técnicas utilizadas no design de figurinos para espetáculo musical. De forma a recolher todas as informações imprescindíveis para o desenvolvimento da investigação, foi usada uma metodologia mista, primeiramente com base na revisão de literatura que se debruça sobre o assunto, nomeadamente livros, artigos, teses, filmes e produções de Filipe La Féria; durante o estágio a investigadora teve a oportunidade de não só fazer uma observação direta à criação de figurinos como também fazer parte da produção dos mesmos. Com o estágio foram conquistados os objetivos traçados, levando esta investigação para lá do âmbito académico, munindo a investigadora com as ferramentas e experiência necessárias para o futuro profissional no mundo do trabalho.
ABSTRACT: The research developed in Fashion Design is focused on the area of Costume Design, and more specifically on the Broadway style costumes. Costume Design is an integral part of performative arts (e.g., theater, television, and film), making it na indispensable contribution to creating characters. To carry out the research, a curriculum internship was held at Produções La Féria, one of the most relevant producers of musical theater in Portugal. With the accomplishment of this internship, it was possible to achieve some objectives, such as the acquisiton of several skills in the development of costumes, the interaction and group work, in the field of techniques used in the design of costumes for musical performance. In order to gather all the necessary information for the research development, a mixed methodology was used, firstly based on the literature review that deals with the subject, namely books, articles, theses, films, and productions of Filipe La Féria; during the internship the researcher had the opportunity not only to make a direct observation to the creation of costumes but also to be part of their production. With the internship the objectives were achieved, taking this research beyond the academic scope, providing the researcher with the necessary tools and experience for the future professional in the world of work.
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Lan, Xiaolin. "The Exploration of Development of the Costume Design for Musical Urinetown." VCU Scholars Compass, 2016. http://scholarscompass.vcu.edu/etd/4161.
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The purpose of this thesis is to explain my process in the development of the costume design for Urinetown: The Musical as my last mainstage design project for the Virginia Commonwealth University Department of Theatre. Included is the concept, analysis and design process that went into creating effective costumes for the production for the stage.
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Malloch, Joseph W. "A consort of gestural musical controllers : design, construction, and performance." Thesis, McGill University, 2008. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=112506.
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This thesis project presents the T-Sticks, a new family of digital musical instruments (DMIs). Most DMIs are either entirely unique interfaces, or exist as design iterations in which each incarnation is intended to improve on the last. The T-Sticks are instead intended to form a complementary group or consort which may be performed ensemble and also performed individually in solo pieces or works for mixed instrumentation. Each of the T-Sticks is based on the same general structure and sensing platform, but each also differs from its siblings in size, weight, timbre and register.This document explores some of the issues challenging and motivating the field of DMI design and performance, and describes the motivations behind the T-Stick project in this context. Several existing DMIs are examined for similarities to the T-Stick and compared in terms of design intention, implementation, and usage. The hardware and software designed and built for this project is presented, along with insights gained through collaboration with performers and composers in the context of McGill University's Digital Orchestra project. The performers in question have collectively practiced and performed with the T-Stick for hundreds of hours in the lab, practice room, and on the concert stage. The consort of T-Sticks will be featured as an ensemble in a piece to be performed during the 2008 MusiMarch festival in Montreal.
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Wuttipong, N. "The Thai popular music industry : industrial form and musical design." Thesis, University of Nottingham, 2012. http://eprints.nottingham.ac.uk/13708/.
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Popular music, as it is generally defined in its commercial existence, originated in the West and has been widely discussed in Anglophone academia. One of the key means of approaching it is in terms of political economy, by viewing the culture industry essentially as a model of capitalism, with the purpose of maximizing profit [Bumett, 1996; Frith, Straw and Street, 2001]. The debates between political economists and other popular music scholars have predominantly taken as their subject Western popular music. Yet it is important to point out that whilst studies focused upon cultural industries outside of Western contexts have been few and far between, many have proved extremely fruitful and enlightening, exploring issues not considered in Western-centered accounts. This dissertation will attempt to examine and describe the causes and effects of corporate control over the major labels, which have been influential in the Thai popular music industry since 1982, when the first major label was established. Furthermore, this dissertation will argue that the popular music industry in Thailand presents something of a variation on Adorno's theme of mass culture, replicating certain aspects of his description while also diverging in important ways. The study of the development of Thai popular music in this dissertation can be divided into five important periods: the Pre-pop Era (from the emergence of The Impossible to 1982) and the Pop Era (1982-1994), the Indie Phenomenon (1994-1997), the Major Retum (1997-2002) and the present day (2002 to today). These terms were used to emphasis the most prominent event happened in each period.
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Cruz, Maria Aparecida Silva. "Tecnicas de computação sonica aplicadas ao design de software musical." [s.n.], 2001. http://repositorio.unicamp.br/jspui/handle/REPOSIP/260142.
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Orientador : Furio DamianiDissertação (mestrado) - Universidade Estadual de Campinas, Faculdade de Engenharia Eletrica e de Computação
Made available in DSpace on 2018-08-02T10:37:19Z (GMT). No. of bitstreams: 1 Cruz_MariaAparecidaSilva_M.pdf: 1254423 bytes, checksum: 7a49e2a2bcb7caaa89ead419154a4212 (MD5) Previous issue date: 2001
Mestrado
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Evans, LeighAnna Victoria. "A Scene Designer's Guide to Evil Dead: The Musical." OpenSIUC, 2020. https://opensiuc.lib.siu.edu/theses/2646.
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This thesis encompasses the design and production process for Southern Illinois University Carbondale Department of Theater’s production, Evil Dead: The Musical. The writing focuses on the scene designer’s process of analyzing a script to putting it on stage. Through the document the reader will gain insight into the process of a live production from the pre-design phase to post production.
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Rigdon, Jessica. "THE STORY OF THE COSTUMES: A COSTUME DESIGN THESIS ON TUCK EVERLASTING: THE MUSICAL." OpenSIUC, 2021. https://opensiuc.lib.siu.edu/theses/2850.
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This thesis document follows the costume design and production of Southern Illinois University’s February 2021 production of Tuck Everlasting: the Musical. This “earthbound fantasy” musical takes the audience along with the young protagonist on a life changing journey as she discovers a mysterious immortal family living in the wood near her home. The primary focus surrounds a costume designer’s role through analysis, the design process, the production process, and reflection as it applies to Tuck Everlasting: the Musical.
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Jonason, Nicolas. "Investigating parameter mapping of the digital musical instrument Force Ghost." Thesis, KTH, Medieteknik och interaktionsdesign, MID, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-189333.
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This paper investigates the viability of two different mappings of two parameters of the digital musical instrument Force Ghost. The instrument produces sound by having an ambience (a recording of rain or of waves on the beach) filtered by bandpass filters whose center-frequencies are controlled by a midi-keyboard. Five bandpass filters are assigned to each note, corresponding to the fundamental frequency its and its multiples (2f,3f,4f,5f). The mapped parameters are the Q-factor of the bandpass filters and the timbre, defined as the relative level between the even and odd multiples harmonics. These two parameters are mapped to the modulation wheel and the pitch bend wheel. The mappings of the parameters are investigated with the help of musical tasks completed by musicians rounded up with semi-structured interviews. The interviews revealed that the modulation wheel was to be prefered due to the lack of a spring mechanism (which is an attribute of the pitch bend wheel), forcing the wheel back to its default position (in the middle) when released. The results from the musical tasks suggested an indication that none of the sensors have better controllability than the other, regardless of parameter it controls. In conclusion, a sensor that gravitates towards a resting state does not seem to be suitable to control a parameter (scaling) that lacks a “resting value” (as perceived by musicians).Denna artikel utreder två mappningar av två parametrar hos det digitala musikaliska instrumentet Force Ghost. Instrumentet ljuder genom att en ljudkälla filtreras av bandpassfilter. Ljudkällan i detta fall är ljudet av regnfall i en skog. Varje tangent på ett keyboard är kopplat till minst ett bandpassfilter, vars MIDI-not kopplat till motsvarande frekvens. Denna frekvens är bandpassfiltrets centerfrekvens. När en tangent nedtrycks genereras bandpassfiltret, vilket skapar en ton ur ljudkällan. De två parametrarna i fokus är kopplade till bandpassfiltrerna. De är Q-värdet (kopplat till bandpassfiltrernas bandbredd) och klangfärgen (kopplat till övertonerna; vilka de är och deras amplitudrelation för varje not). Dessa två parametrar är mappade till modulations-hjulet och pitchbend-hjulet. Mappningen av dessa parametrar är undersökt genom musikuppgifter och självständig utforskning genomförda av musiker. Detta spelades in och sedan utfördes en semistrukturerad intervju med musikerna. Intervjuerna visade att modulations-hjulet föredrogs på grund av avsaknaden av fjädermekanismen som finns hos pitchbend-hjulet. Denna mekanism tvingar pitchbend-hjulet tillbaka till sin utgångsposition (i mitten) när den släpps. Resultaten från musikuppgifterna indikerar att ingen av sensorerna har bättre kontrollbarhet än den andre, oavsett vilket parameter den kontrollerar. Sammanfattningsvis, en sensor som graviterar mot ett viloläge verkar inte vara lämplig för att kontrollera en parameter (-skalning) som saknar ett “vilovärde” (så som uppfattat av musiker).
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Lentz, Cassandra Nicole. "The Scenic Design for a Production of Legally Blonde the Musical." The Ohio State University, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=osu1555345046533812.
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Suner, Sedef. "Preschool Children As A User Group: Design Considerations For Musical Toys." Master's thesis, METU, 2012. http://etd.lib.metu.edu.tr/upload/12614074/index.pdf.
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Early musical experiences are very important for social, cognitive and physical
development of children, as well as their future musical competences. Preschools
present this environment with various musical materials. However, suitability of
these materials in terms of developmental needs of children and educational goals
is questionable. The purpose of this study is to transfer knowledge from relevant
literature to design considerations of musical toys for preschool children.
Literature review was conducted to determine various aspects to be considered
while designing musical toys by compiling knowledge from developmental
psychology and pedagogy literaturegovernments
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Sinyor, Elliot. "Digital musical instruments : a design approach based on moving mechanical systems." Thesis, McGill University, 2006. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=99606.
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This thesis describes the design and use of two novel digital musical instruments (DMIs) based on moving mechanical systems. The motivation behind using mechanical devices was threefold: to explore the effect of physical effort on DMIs, to make use of the device's inherent haptic and visual feedback, and to serve as a starting point for sound mappings. It was hoped that their mechanical nature would give the instruments a character that could emerge through each of the mappings. The first DMI built was the Gyrotyre, a hand-held DMI based around a small bicycle wheel outfitted with sensors that measure its speed of rotation and as well as its angle of orientation. The second DMI built was the Springwave, which consists of a loose metal spring stretched to one meter and fixed at both ends to a metal frame. The frame is in turn mounted horizontally on a hi-hat stand so that it can be raised and lowered with the pedal, thus inducing oscillation in the spring. Various mappings were designed to reflect and make use of the physical nature of both instruments. It was found that the nature of interaction with each instrument was very different depending on the mapping used. The use of mechanical devices was found to be a useful starting point for the development of mappings, and made playing the instruments engaging for the performer by the relationship between DMIs and musical contexts, a framework for characterizing DMIs that takes musical context into account is presented.
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Pearson, Kathryn R. "Design and development of the self-efficacy for musical studies scale /." Diss., CLICK HERE for online access, 2003. http://contentdm.lib.byu.edu/ETD/image/etd305.pdf.
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Pearson, Kathryn Rae. "Design and Development of the Self-Efficacy for Musical Studies Scale." BYU ScholarsArchive, 2003. https://scholarsarchive.byu.edu/etd/114.
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Scale development in psychological studies is an area of intense growth (Clark & Watson, 1995). This report builds upon academic interest in the value of producing viable measurement tools. The purpose of this research project was to evaluate a self-efficacy measurement scale intended to determine individual music students' perceptions of capability. The areas of interest were four self-regulatory skill domains: strategy use, planning, monitoring, and evaluating in two music environments: independent practicing and performance. This report describes the development and analysis of the Self-efficacy for Musical Studies (SEMS) scale. The report includes statistical analysis of the response data from formative evaluation, field testing, and content evidence of validity. The discussion section examines the strengths and weaknesses of the scale and its development decisions. Finally, recommendations for the future development of self-efficacy scales for self-regulatory skills and instruction in the area of music education are suggested. In providing both a preliminary instrument and a measurement evaluation of this instrument, we hope to further academic interest in the usefulness of scale production to enhance music instruction and the value of the relatively untouched connection between the social cognitive concept of self-efficacy, self-regulatory skills, and the study of music.
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Pendley, James. "Visualizing sound : a musical composition of aural architecture." [Tampa, Fla] : University of South Florida, 2009. http://purl.fcla.edu/usf/dc/et/SFE0003152.
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Gallagher, Kelsey B. "So Much Better: A Lighting Design Approach for a Production of Legally Blonde: The Musical." The Ohio State University, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=osu1555414324698267.
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Venero, Ugarte Ronald Edwin. "Centro de Experimentación y Difusión de Música Contemporánea (CEDM)." Bachelor's thesis, Universidad Peruana de Ciencias Aplicadas (UPC), 2020. http://hdl.handle.net/10757/652834.
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La trascendencia de la música en el Perú va más allá del carácter estético que pueda adoptar por cada región en la que se genera. Su importancia recae en la capacidad de establecerse como un generador de identidad nacional y promotor industrial. En este contexto la experimentación musical y la difusión son dos aspectos que deben ser atendidos, comprendiendo la problemática actual de la industria musical en nuestro país. El Centro de Experimentación y Difusión de Música Contemporánea propone un emplazamiento estratégico para el desarrollo musical con importante riqueza paisajística dada su ubicación frente a un gran parque como es el “Campo de Marte” en el distrito de Jesús María en la ciudad de Lima, entorno que aporta favorablemente al desempeño de las actividades del usuario. Así también su relación directa con el Centro Cultural Sérvulo Gutiérrez enriquece el programa del proyecto. El proyecto por su parte dota de servicios al parque y a la comunidad. La investigación contempla marco teórico, proyectos referenciales, usuario, estudio del lugar, parámetros de diseño y programa arquitectónico; proponiendo así una solución programática y arquitectónica que pone en valor el producto artístico-cultural nacional, a sus autores, ejecutantes y promotores, atendiendo a su vez los requerimientos de una industria que potencia la identidad nacional y que contribuye con el desarrollo económico del país.The transcendence of Music in Peru goes beyond the aesthetic value provided by its regional origin. Its importance relies in its capacity to serve as a conduit for national identity and a generator of economic growth. In this context, experimentation and diffusion of music are two aspects that must be broached with special attention given the intricate reality of the music industry in our country. The “Contemporary Music Center for Experimentation and Broadcasting” is a strategically located venue for the development and appreciation of music which offers rich landscapes and amenities as it is located across from “El Campo de Marte” and “Centro Cultural Sérvulo Gutiérrez” in the city of Jesus María, Lima. Hence, this architectural project provides both the community and the national reserve park with services. The investigation includes theoretical framework, referential projects, user, site analysis, design parameters and an architectural brief to present a well-substantiated programmatic and architectural initiative which goal is to enhance the artistic and cultural experience for the community.
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Phillips, Desmond Keith. "Algorithms and architectures for the multirate additive synthesis of musical tones." Thesis, Durham University, 1996. http://etheses.dur.ac.uk/5350/.
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In classical Additive Synthesis (AS), the output signal is the sum of a large number of independently controllable sinusoidal partials. The advantages of AS for music synthesis are well known as is the high computational cost. This thesis is concerned with the computational optimisation of AS by multirate DSP techniques. In note-based music synthesis, the expected bounds of the frequency trajectory of each partial in a finite lifecycle tone determine critical time-invariant partial-specific sample rates which are lower than the conventional rate (in excess of 40kHz) resulting in computational savings. Scheduling and interpolation (to suppress quantisation noise) for many sample rates is required, leading to the concept of Multirate Additive Synthesis (MAS) where these overheads are minimised by synthesis filterbanks which quantise the set of available sample rates. Alternative AS optimisations are also appraised. It is shown that a hierarchical interpretation of the QMF filterbank preserves AS generality and permits efficient context-specific adaptation of computation to required note dynamics. Practical QMF implementation and the modifications necessary for MAS are discussed. QMF transition widths can be logically excluded from the MAS paradigm, at a cost. Therefore a novel filterbank is evaluated where transition widths are physically excluded. Benchmarking of a hypothetical orchestral synthesis application provides a tentative quantitative analysis of the performance improvement of MAS over AS. The mapping of MAS into VLSI is opened by a review of sine computation techniques. Then the functional specification and high-level design of a conceptual MAS Coprocessor (MASC) is developed which functions with high autonomy in a loosely-coupled master- slave configuration with a Host CPU which executes filterbanks in software. Standard hardware optimisation techniques are used, such as pipelining, based upon the principle of an application-specific memory hierarchy which maximises MASC throughput.
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Petropulos, Elizabeth-Hannah. "Musical game-changers through history and how we listen with our eyes." Thesis, Kansas State University, 2017. http://hdl.handle.net/2097/38263.
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Master of MusicSchool of Music, Theatre, and Dance
Patricia Thompson
This thesis will examine musical game changers in a chronological order. It will discuss how composers have redefined the face of their musical genre and comment on how the past of music affects the future of music. In addition, the following contents will make a case for the idea that individuals listen with their eyes. I will examine the effect that costumes and their design have on both the audience and the performers. The sixty minutes Masters Recital that is the basis of this thesis will consist works by the following composers and librettists: Christoph Willibald Gluck, George Bickwell, Theodore Kennick, William Schwenck Gilbert, Arthur Sullivan, Leoš Janáček, Jerome Kern, Oscar Hammerstein, Kurt Weill, Ira Gershwin, Moss Hart, Richard Rodgers, Oscar Hammerstein II, Benjamin Britten, Galt MacDermot, Gerome Ragni, James Rado, Stephen Sondheim, Marvin Hamlisch, Edward Kleban, Andrew Lloyd Webber, Catherine Johnson, Benny Anderssohn, Björn Ulvaeus, and Lin Manuel-Miranda. The recital will feature selections from Orfeo ed Euridice, The Black Crook, The Pirates of Penzance, Jenůfa, Show Boat, Lady in the Dark, Carousel, Peter Grimes, Hair, Company, A Chorus Line, Evita, Mamma Mia, and Hamilton: An American Musical. Each selection will be will be musically and dramatically analyzed as well as discussed from a costume design standpoint.
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Dalgleish, Mathew. "A contemporary approach to expressiveness in the design of digital musical instruments." Thesis, University of Wolverhampton, 2013. http://hdl.handle.net/2436/297483.
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Digital musical instruments pose a number of unique challenges for designers and performers. These issues stem primarily from the lack of innate physical connection between the performance interface and means of sound generation, for the latter is usually dematerialised. Thus, this relationship must instead be explicitly determined by the designer, and can be essentially any desired. However, many design issues and constraints remain poorly understood, from the nature of control to the provision of performer-instrument feedback. This practice-based research contends that while the digital and acoustic domains are so different as to be fundamentally incompatible, useful antecedents for digital musical instruments can be found in the histories of electronic music. Specifically, it argues that the live electronics of David Tudor are of particular prescience. His home-made circuits offer an electronic music paradigm quite antithetical to both the familiar keyboard interface and the electronic music studios that grew up in the years after World War II, and are seen to embody a number of aspirational qualities. These include performer-instrument interaction more akin to steering rather than fine control, the potential for musical outcomes that are unknown and unknowable in advance, and distinct instrumental character. This leads to the central contribution of this research; the development of a Tudor-inspired conceptual framework that can inform how digital musical instruments are designed, played, and evaluated. To enable more detailed and nuanced discussion, the framework is broken down into a series of sub-themes. These include both design issues such as nuance, plasticity and emergence, and human issues such as experience, expressiveness, skill, learning, and mastery. The notion of sketching in hardware and software is also developed in relation to the rapid iteration of multiple designs. Informed by this framework, seven new digital musical instruments are presented. These instruments are tested from two different perspectives, with the personal experiences of the author supplemented with data from a series of smallscale user studies. Particular emphasis is placed on how the instruments are played, the music they can produce, and their capacity to convey the musical intentions of the performer (i.e. their expressiveness). After the evaluation of the instruments, the Tudorian framework is revisited to form the basis of the conclusions. A number of modifications to the original framework are proposed, from the addition of a dialogical model of performerinstrument interaction, to the situation of digital musical instruments within a wider musical ecology. The thesis then closes with a suggestion of possibilities for future research.
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Ward, Nicholas. "Effortful interaction : a new paradigm for the design of digital musical instruments." Thesis, Queen's University Belfast, 2013. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.602967.
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Human movement is central to instrumental musical performance. Beyond the apparent connection between sound-producing actions and the sounds themselves, movement can communicate emotion, musical intention and structure. In designing an acoustic instrument, the requirements to support the vibration and manipulation of strings or membranes constrain the possibilities for action that facilitate performance. In Digital Musical Instrument (OM!) design, however, no specific physical requirements for movements exist. Electronic sound production and sensing systems expand the possibilities for performance movement far beyond that typically associated with acoustic instruments. This is indicated by the OM! design community's focus on sound synthesis and sound-gesture mapping; little attention is given to movement qualities of the performance interaction. This thesis seeks to redress this imbalance, by developing and testing a coherent method for installing bodily movement in OM! designs. Upon considering existing frameworks for description of human movement, both generally and in musical performance specifically, Laban Movement Analysis (LMA) was identified as a suitable method for exploring and designing for movement. Laban 's theory of Effort was selected to observe and analyse existing Theremin performances, and, from this analysis, tested in a novel OM!, the Damper. Following this, further re-iterations of LMA observation and analysis were carried out to strengthen this descriptive method. From these initial studies, and existing design theory, a formal movement-based OM! design process was constructed, and implemented in the design of another novel OM! interface, the Twister. This interface was designed to the specific quality of movement, Carving, as defined by LMA. An observational analysis showed that naIve users did respond to the device with the intended movement qualities. This thesis therefore provides a procedural framework with which to design for movement in DMls, and initial testing indicates that it is indeed possible to design DM! interfaces that invite desired movement qualities
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Flores, Luciano Vargas. "Uma infraestrutura para o design da interação musical com dispositivos móveis cotidianos." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2014. http://hdl.handle.net/10183/115174.
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Esta tese de doutorado tem como base uma pesquisa exploratória que investigou as possibilidades e os elementos envolvidos na utilização de dispositivos móveis de consumo (consumer mobile devices) como ferramentas para atividades musicais. Dispositivos móveis comuns de informação e comunicação – telefones celulares, smartphones e computadores de mão – têm incorporado cada vez mais funcionalidades através do fenômeno da convergência, e tendem a se tornar plataformas de computação móvel genérica. Neste sentido, seu uso na música já vem sendo investigado por outros pesquisadores, tendo sido inclusive proposta uma área própria de pesquisa denominada Mobile Music (música em dispositivos móveis). Entretanto o tema ainda é emergente, justificando a abordagem exploratória adotada aqui. Os trabalhos existentes apresentam soluções específicas, havendo a necessidade de uma proposta de organização de conceitos gerais e de fundamentação para o design de interação nesta área. Do ponto de vista da área de Interação Humano-Computador, um problema central neste contexto é como realizar o design de interação de um sistema para atividades musicais que envolve dispositivos móveis não-específicos, ou seja, que não foram projetados originalmente para tarefas musicais. É o que identificamos neste trabalho como o problema do “reaproveitamento de dispositivos” (device repurposing). A solução envolve não modificar os dispositivos, e sim encontrar maneiras próprias e variadas (alternativas) de manipular dados e informações musicais utilizando os recursos já existentes nos aparelhos. Além disso, o design da interação musical não deve considerar apenas o paradigma instrumental – baseado na interação com instrumentos musicais tradicionais – mas sim incluir no espaço de design outros paradigmas de interação, muitos deles originados e já adotados na área de Computação Musical. Neste trabalho, esses diversos paradigmas ou formas de interação musical são identificados e formalizados como proto-patterns de interação. A coleta e o refinamento dos patterns foi possível por meio de uma metodologia exploratória baseada na experiência de desenvolvimento de vários protótipos musicais móveis, e que incluiu também uma extensa revisão bibliográfica e a análise de sistemas existentes. O resultado deste processo foi organizado na forma de uma infraestrutura composta por conceitos e princípios, patterns de interação e ferramentas para o apoio ao design de sistemas interativos musicais envolvendo dispositivos móveis de consumo.The present thesis is an exploratory research on the possibilities and on the elements that may be relevant for making use of consumer mobile devices as tools for musical activities. Ordinary mobile information and communication devices – cell phones, smartphones, and PDAs – have been integrating more and more functionalities as a result of the “convergence” phenomenon. Today, these devices also tend to become generic mobile computing platforms. In this sense, their use in musicmaking is already being studied by other researchers, and even a specific research field has been proposed, called Mobile Music. Nevertheless, this topic is still emergent, which is the reason for adopting an exploratory approach in this thesis. Current papers tend to present particular solutions, and thus there is a need for proposals that deal with organizing general concepts, and also with the foundations for interaction design within this new field. From the perspective of Human-Computer Interaction, a basic problem in such context is how to carry out the interaction design of a system for musical activities which involves non-specific mobile devices. That is, these devices were not originally designed for musical tasks. This is what we identify in this work as the “device repurposing” problem. The answer lies not on adapting the device, but on finding unique and multiple (i.e., alternative) ways to manipulate data and musical information by using the features that the devices already provide. Additionally, musical interaction design should not consider just the instrumental paradigm – based on interaction with traditional musical instruments – but should also include other interaction models in the design space, most of which are well-known in the Computer Music domain. In this thesis, those various models or paradigms of musical interaction are identified and formalized as interaction design proto-patterns. Collecting and refining these patterns was made possible through an exploratory methodology, based on the experience of developing several mobile music prototypes, and which also included an extensive literature review and the analysis of existing systems. The product of this research was combined into an infrastructure, composed of concepts and principles, interaction design patterns, and tools, to support the design of interactive musical systems which involve consumer mobile devices.
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Suvorina, Svetlana. "Designing tangible musical interactions with preschool children." Thesis, Malmö högskola, Fakulteten för kultur och samhälle (KS), 2012. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-23768.
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Many cognitive scientists agree that musical play is beneficial for preschool children. They consider music to be one of the most important means to promote preschool children’s learning potential. From an interaction design point of view, music provides opportunities to engage children in collaborative play which in return is beneficial for their cognitive and physical development.I argue that tangible interaction can facilitate such collaborative and playful musical activities among preschool children and in the scope of this thesis, I explore how this can be achieved. Through the exploration of related projects in this area and my own design experiments at a preschool, I propose a design concept of a modular musical toy for children which I created and then tested in a preschool context with children of different ages. Along the way, I reflect on the peculiarities of children’s behaviors and the aspects of conducting design research with preschool children, since acknowledging these aspects is crucial for working with children as a designer.
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Dunster-Sigtermans, Richard. "Developments in British organ design, 1945-1970 : a player's perspective." Thesis, University of Birmingham, 2017. http://etheses.bham.ac.uk//id/eprint/7217/.
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This research forms part of a performance practice degree and focuses on the performance of British organ music written in the period 1945 to 1970. This period was a turbulent time for all those with an interest in the pipe organ, whether they were performers, consultants, organ builders or listeners. The considerable change in the approach to the design, construction and voicing of pipe organs, influenced by the Organ Reform Movement (Orgelbewegung), resulted in strong feelings both for and against the neo-classic organ, and the consequent tensions tested the typical British reserve of many of those directly involved. The challenge for the performer of today is to understand the strengths and weaknesses of British organs in the period and to connect these instruments with the music written for them. The original contribution this research provides is to focus firstly on the organ's mechanisms, including key actions, registration aids and console design and, secondly, on the tonal designs of the organs of the period. Case studies of music are presented, featuring three composers for the organ in this period, Howells, Leighton and Whitlock, the findings of which inform the associated recital which features contrasting pieces from the period 1945 to 1970.
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Hetherington, Christopher James. "I Believe: Lighting Spring Awakening." Master's thesis, Temple University Libraries, 2013. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/237004.
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TheaterM.F.A.
This thesis examines, documents, and evaluates the process of designing the lighting for a production of Spring Awakening, produced by Temple University's Department of Theater. I will discuss the initial design process, the execution of the design, and evaluate the finished design.
Temple University--Theses
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Molina, Homar Jr. "Concept to prototype : musical instrument effect pedal : an exercise in design and manufacturing." Thesis, Massachusetts Institute of Technology, 2008. http://hdl.handle.net/1721.1/45317.
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Thesis (S.B.)--Massachusetts Institute of Technology, Dept. of Mechanical Engineering, 2008.Includes bibliographical references (leaf 34).
It was the goal of this thesis to use skill sets and manufacturing methods discussed or introduced but not practiced in the undergraduate curriculum for mechanical engineers to create a working prototype of a musical instrument effect pedal. Specifically these skills include post-failure metallurgical examinations and circuit board design, and the manufacturing methods include metal forming (not cutting) with a lathe and sand casting. A musical instrument effect was chosen because it is a simple device with relatively simple circuitry, yet it still poses issues of system integration and design problems on multiple fronts. A typical design process was followed. However, in choosing manufacturing processes typical factors were examined (cost, rate, quality, etc.) as well as the stipulation that the process chosen must have been practiced before in the curriculum, forcing the designer to encounter different challenges and learn the detailed workings of an unfamiliar process. Finally recommendations concerning assembly and process modifications for mass production were given in light of the experience gained from building the prototype.
by Homar Molina, Jr.
S.B.
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Ribeiro, Edith Valladão Campos. "O design e o uso de um micromundo musical para explorar relações multiplicativas." Pontifícia Universidade Católica de São Paulo, 2007. https://tede2.pucsp.br/handle/handle/11244.
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Previous issue date: 2007-05-25The aim of this work was to design and evaluate a musical microworld, created to enable users to explore concepts related to multiplication. Inspired by the constructionist perspective of Papert, the study evolved from the conjecture that by engaging in the construction of a musical rhythm, learners could interact with various aspects of the multiplicative field. To investigate this conjecture, a teaching experiment of two phases was conceived. The analyses in both these phases were based on the distinction made in the research of Confrey between the world of counting and the world of splitting. In the design phase, attention was given to the aspects of the microworld that might permit learners to construct conceptions that go beyond a vision of multiplication as repeated addition. The experimentation phase involved two groups of six students of the 5th Grade of a school within the public education system in the city of São Paulo. Using as their bases the interactions of students during the construction of their own rhythmic compositions, the analyses explored the different ways through which the learners made use of tools of the microworld and, in particular, the ways they chose to represent and express ideas related to notions such as ratio and proportion. The results suggest that, with the support of these tools, the learners gradually came to associate their musical activities with mathematical properties and concepts. They also showed how, during the experiment, the learners were enabled to explore the relations half and double within a perspective coherent with the world of splitting, as well as to use a diverse set of representations of these two relations
Este trabalho tem como objetivo o design e a avaliação de um micromundo musical para a exploração de conceitos multiplicativos. Dentro de uma perspectiva construcionista, partiu-se da hipótese de que, no contexto da construção de um ritmo musical, os aprendizes possam interagir com diferentes aspectos do campo multiplicativo. Foi elaborado um experimento de ensino composto por duas fases: a fase de design do micromundo e a fase de experimentação. As análises em ambas as fases foram baseadas na distinção feita nas pesquisas de Confrey entre o mundo da contagem e o mundo de splitting. Na fase de design, a atenção foi dada aos aspetos do micromundo que permitissem os aprendizes ampliar as concepções do campo multiplicativo, indo além de uma visão de multiplicação como adição repetida. A fase de experimentação contou com dois grupos de seis alunos da 5.ª série do Ensino Fundamental de uma escola pública localizada na cidade de São Paulo. Por meio das interações dos estudantes durante a construção de suas próprias composições rítmicas, as análises exploraram as diferentes maneiras pelas quais os aprendizes interagiram com as ferramentas do micromundo e em particular as formas utilizadas para expressar concepções relativas a noções, tais como razão e proporção. Como resultado, foi observado que, com o apoio destas ferramentas, os alunos gradualmente associaram suas atividades musicais com propriedades e conceitos matemáticos. Em particular, todos os alunos conseguiram, ao longo do experimento, explorar as relações de dobro e metade em uma perspectiva coerente com o mundo de splitting e utilizaram uma variedade de formas para representar estas relações
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Oukawa, Carolina Silva. "Edifício Copan: uma análise arquitetônica com inspiração na disciplina análise musical." Universidade de São Paulo, 2010. http://www.teses.usp.br/teses/disponiveis/16/16138/tde-31052010-112310/.
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Esta pesquisa investiga a contribuição da análise musical, disciplina consolidada no estudo de música, ao desenvolvimento de uma disciplina analítica em arquitetura. Para tanto, empreendeu-se a análise do Edifício Copan (1951), de Oscar Niemeyer, a partir dos parâmetros musicais adotados por Stefan Kostka (2006). Por meio da análise de um exemplar arquitetônico, procurou-se apontar a procedimentos inerentes à análise arquitetônica de modo geral, propondo-se a elaboração de parâmetros mais sensíveis do que os verificados até o presente.This research examines the contribution of the Musical Analysis, a traditional discipline in the study of music, to the development of an analytical discipline on architecture. To do so, an analysis of Copan Building (1951), built by Oscar Niemeyer, has been done based on musical parameters adopted by Stefan Kostka (2006). Through this architectural case study, this report aimed at pointing the general procedures involved in the architectural analysis out, suggesting the development of more sensitive parameters than those found so far.
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Sikora, Halina. "Design digitálního klavíru." Master's thesis, Vysoké učení technické v Brně. Fakulta strojního inženýrství, 2014. http://www.nusl.cz/ntk/nusl-231723.
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This master’s thesis deals with the design of a digital piano. This increasingly popular musical instrument offers possibilities not available in an acoustic piano (outputting sound into headphones, utilizing sample libraries, recording, use of sheet music in digital form and more). From technical standpoint, it attempts to closely mimic the qualities of traditional instruments, both in its tactile feedback and sound quality. The aim of this work was to design a solution which would starkly differentiate from the very conservative classical design without being overly extravagant. The main focus is therefore on aspects of visual appearance, with emphasis on ergonomics, and an outline of the technical solution.
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Dennis, Walter Rudyard. "The conductor's toolkit : a diagnostic intonation software design proposal /." Thesis, Connect to this title online; UW restricted, 2003. http://hdl.handle.net/1773/11360.
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Patti, Anthony Peter. "LIGHTING THE DEAD: THE CREATIVE PROCESS FOR THE LIGHTING DESIGN OF THE ADDAMS FAMILY MUSICAL." OpenSIUC, 2016. https://opensiuc.lib.siu.edu/theses/1923.
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Starting from initial research of the show and its roots and ending with evaluation of the work post production, this paper documents the lighting design and the process leading up to SIU’s production of The Addams Family Musical. The first chapter delves into the pre-design research of the script and my personal goals for the design. The second chapter explores the selection and implementation of the design, discussing the procedures and challenges that were encountered leading up to opening night. The third chapter is an evaluation of the work completed regarding the design and technical aspects of the production as well as addressing my personal goals for the production. The appendices include inspiration imagery, light plot with paperwork, pre-visualized renderings, photographs of technical props, and production photographs.
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Lucka, Kristina. "A costume design for John Caird and Paul Gordon's (Jane Eyre : a musical drama)." College Park, Md. : University of Maryland, 2006. http://hdl.handle.net/1903/3554.
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Thesis (M.F.A.) -- University of Maryland, College Park, 2006.Thesis research directed by: Dept. of Theatre. Title from t.p. of PDF. Includes bibliographical references. Published by UMI Dissertation Services, Ann Arbor, Mich. Also available in paper.
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Peters, Tanna Marie. "A scenic design for John Caird and Paul Gordon's "Jane Eyre: a musical drama"." College Park, Md. : University of Maryland, 2006. http://hdl.handle.net/1903/3555.
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Thesis (M.F.A.) -- University of Maryland, College Park, 2006.Thesis research directed by: Dept. of Theatre. Title from t.p. of PDF. Includes bibliographical references. Published by UMI Dissertation Services, Ann Arbor, Mich. Also available in paper.