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Relevant bibliographies by topics / Musical experimentation

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Academic literature on the topic 'Musical experimentation'

Author: Grafiati

Published: 4 June 2021

Last updated: 15 February 2022

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Journal articles on the topic "Musical experimentation"

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Karydis, Ioannis, Aggelos Gkiokas, Vassilis Katsouros, and Lazaros Iliadis. "Musical track popularity mining dataset: Extension & experimentation." Neurocomputing 280 (March 2018): 76–85. http://dx.doi.org/10.1016/j.neucom.2017.09.100.

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Persson, Roland S., and Colin Robson. "The Limits of Experimentation: On Researching Music and Musical Settings." Psychology of Music 23, no. 1 (1995): 39–47. http://dx.doi.org/10.1177/0305735695231003.

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Le Conte, Sandie, Sylvie Le Moyne, François Ollivier, and Stéphane Vaiedelich. "Using mechanical modelling and experimentation for the conservation of musical instruments." Journal of Cultural Heritage 13, no. 3 (2012): S161—S164. http://dx.doi.org/10.1016/j.culher.2012.04.004.

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Gmys, Marcin. "Integration Attempts Paweł Mykietyn and the Composer’s Self-Reflection." Musicology Today 12, no. 1 (2015): 51–62. http://dx.doi.org/10.1515/muso-2015-0006.

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Abstract In this paper, the author attempts to reconstruct the aesthetic views of Paweł Mykietyn, a leading Polish composer of the middle generation. Since Mykietyn has never presented his views comprehensively, the author reconstructs his opinions on the basis of published interviews with the composer, focusing on his ideas regarding musical and nonmusical inspirations, the significance of mathematical procedures in the compositional process, traditional musical forms, the role of quotations and self-quotations, experimentation with microtones and musical time, as well as the concept of music

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Bhalke, Daulappa Guranna, C. B. Rama Rao, and Dattatraya Bormane. "Hybridisation of Mel Frequency Cepstral Coefficient and Higher Order Spectral Features for Musical Instruments Classification." Archives of Acoustics 41, no. 3 (2016): 427–36. http://dx.doi.org/10.1515/aoa-2016-0042.

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Abstract This paper presents the classification of musical instruments using Mel Frequency Cepstral Coefficients (MFCC) and Higher Order Spectral features. MFCC, cepstral, temporal, spectral, and timbral features have been widely used in the task of musical instrument classification. As music sound signal is generated using non-linear dynamics, non-linearity and non-Gaussianity of the musical instruments are important features which have not been considered in the past. In this paper, hybridisation of MFCC and Higher Order Spectral (HOS) based features have been used in the task of musical ins

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Pettan, Svanibor, and Lasanthi Manaranjanie Kalinga Dona. "Ethnomusicology of the Individual: Vishnuchittan Balaji between Tradition and Innovativeness." Musicological Annual 54, no. 1 (2018): 107–22. http://dx.doi.org/10.4312/mz.54.1.107-122.

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The article presents the case of a creative Indian classical music artist respectful of tradition and open towards experimentation. Based on the interviews and participant observation, it presents the artist‘s views and his four innovative musical instruments. The article fits in the theoretical frame of ethnomusicology of the individual.

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VOORELT, MARTIJN. "New sounds, old technology." Organised Sound 5, no. 2 (2000): 67–73. http://dx.doi.org/10.1017/s1355771800002028.

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Contrary to the hi-tech reputation of pop, the most innovative pop musicians often use traditional, old-fashioned equipment, ignoring the latest technological developments. Musical innovation tends to precede technological innovation rather than the other way round. This article presents a birds eye view of pop experimentalism, grouping a number of influential or otherwise interesting examples into four main categories based on the type of equipment that is subject to experimentation: (i) abusing musical instruments, (ii) abusing amplification, (iii) abusing effects and mixing equipment, and (

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DEEMING, HELEN. "The song and the page: experiments with form and layout in manuscripts of medieval Latin song." Plainsong and Medieval Music 15, no. 1 (2006): 1–27. http://dx.doi.org/10.1017/s096113710600026x.

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The non-liturgical songs of twelfth- and thirteenth-century England were recorded, for the most part, not in dedicated song books, but on occasional pages in manuscript miscellanies. Away from the context of fully musical books, there were no fixed procedures for the layout of music, and scribes devised new approaches to layout as they worked. This article considers three Latin songs from such sources and explores the evidence for experimentation, both in scribal technique and in musical procedures, that may have contributed to their specific manuscript presentations.

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Park, Leo. "Inside Out: Integrating Creative Practices into the Orchestra Classroom." Music Educators Journal 105, no. 3 (2019): 54–59. http://dx.doi.org/10.1177/0027432118817813.

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Improvisation-based exercises may be the key to unlocking students’ innate musical creativities. This article focuses on two exercises—drone improvisation and circle stringing—that can be easily integrated into the orchestra curriculum and adapted to the learning needs of the individual student, small-ensemble, and large-ensemble settings. Of critical importance is fostering an environment of musical discovery and exploration that reaches beyond the purview of traditional ensemble-based classroom experiences. Such an approach promotes a comprehensive pedagogy that honors tradition, values expe

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Alves Araujo, Felipe, Fabricio Lima Brasil, Allison Candido Lima Santos, Luzenildo de Sousa Batista Junior, Savio Pereira Fonseca Dutra, and Carlos Eduardo Coelho Freire Batista. "Auris System: Providing Vibrotactile Feedback for Hearing Impaired Population." BioMed Research International 2017 (2017): 1–9. http://dx.doi.org/10.1155/2017/2181380.

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Deafness, an issue that affects millions of people around the globe, is manifested in different intensities and related to many causes. This impairment negatively affects different aspects of the social life of the deaf people, and music-centered situations (concerts, religious events, etc.) are obviously not inviting for them. The Auris System was conceived to provide the musical experimentation for people who have some type of hearing loss. This system is able to extract musical information from audio and create a representation for music pieces using different stimuli, a new media format to

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Dissertations / Theses on the topic "Musical experimentation"

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Shankar, Vikram A. "Symphonies of Horror: Musical Experimentation in Howard Shore's Work with David Cronenberg." Oberlin College Honors Theses / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=oberlin1493750469131887.

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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 ubic

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O’Neal, John Micheal. "Áskell Másson’s Solos for Snare Drum: Maximizing Musical Expression Through Varying Compositional Techniques and Experimentation in Timbre." Thesis, University of North Texas, 2015. https://digital.library.unt.edu/ark:/67531/metadc822754/.

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This dissertation and accompanying lecture recital explores the musical elements present in Áskell Másson’s three solos for snare drum, PRÍM (1984), KÍM (2001) and B2B: Back to Basics (2010). Two of the primary challenges for the performer when playing solo literature on a non-pitch oriented instrument are identifying thematic structures and understanding how to interpret all innovative sound production techniques employed within the music. A thematic and compositional analysis, as well as an investigation into the experimentation of timbre found in Másson’s three pieces for solo snare drum wi

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Severo, George Glauber Félix. "Música experimental na performance do grupo paraibano Jaguaribe Carne." Universidade Federal da Paraíba, 2013. http://tede.biblioteca.ufpb.br:8080/handle/tede/6621.

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Made available in DSpace on 2015-05-14T12:52:37Z (GMT). No. of bitstreams: 1 arquivototal.pdf: 8655195 bytes, checksum: e18c7189642cacbd2b5501c038c3e426 (MD5) Previous issue date: 2013-04-30<br>Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES<br>With a large musical production that carries out different musical formations, the group JAGUARIBE CARNE has a diversified repertoire whose performances are mainly focused in social matters of the urban life. The songs contemplate different musical esthetic, in which they search to call special attention in order to try a criti

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Belhassen, Raed. "La musique arabe et les nouvelles technologies : caractérisation, esthétique et modélisation informatique." Thesis, Paris 8, 2017. http://www.theses.fr/2017PA080127.

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Cette thèse porte sur une réflexion autour de la composition musicale arabe et les nouvelles technologies, avec comme élément central, les particularités idiosyncratiques inhérentes au langage musical.La rencontre avec les nouvelles technologies soulève plusieurs interrogations sous-jacentes. L’approche proposée consiste en la détermination d’un cadre formel avec un ensemble de structures idiomatiques selon un angle pluridisciplinaire musicologique et ethnomusicologique, mais aussi historico-acoustique et théorico-empirique à la fois.Le modèle musicologique dégagé permet de souligner : l’impor

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Gillick, Amy Suzanne. "Experimentation and nationalism in Francisco Mignone's works for basson a performance guide to the IInd wind quintet and Concertino /." Diss., Restricted to subscribing institutions, 2008. http://proquest.umi.com/pqdweb?did=1581435601&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.

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Benhaïm, Sarah. "Aux marges du bruit. Une étude de la musique noise et du Do it Yourself." Thesis, Paris Sciences et Lettres (ComUE), 2018. http://www.theses.fr/2018PSLEH140/document.

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Objet d’un intérêt tardif dans la recherche universitaire, la musique noise représente pourtant une forme d’art emblématique de l’underground sonore. Elle porte et cristallise une approche radicale en faisant du bruit sa matière, en se jouant de la forme et du développement, en hybridant ses territoires stylistiques. Les pratiques de jeu ne signent plus la suprématie de l’instrument ni de la composition, mais se placent sous le régime d’une expérimentation ludique et bricoleuse. On n’évalue plus la qualité musicale selon le niveau de compétence technique de l’artiste, tandis que les modalités

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Lecocq, Aurélie. "Génèse et évolution des compétences des élèves à la fin de l'école maternelle : éléments d'analyse à partir de données de panel et d'une expérimentation musicale." Phd thesis, Université de Bourgogne, 2012. http://tel.archives-ouvertes.fr/tel-00994721.

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Nous nous proposons d'étudier, dans cette thèse, une question essentielle et relativement peu traitée dans les recherches françaises en sciences de l'éducation, elle concerne la genèse des acquisitions des élèves et leur évolution au cours de la scolarité. En nous appuierons sur la mobilisation des données longitudinales (panel 1997) ainsi que sur la mise en œuvre d'une expérimentation musicale à l'école maternelle, nous chercherons à répondre à ces questions : Comment se structurent et évoluent les premiers apprentissages des élèves dans le contexte scolaire et socioéconomique ? En quoi les c

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Brady-Savignac, Charlotte. "Répétition et musicalité dans l’univers « underground » américain : interférences entre le cinéma structurel et la musique répétitive." Thèse, 2018. http://hdl.handle.net/1866/22053.

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Books on the topic "Musical experimentation"

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The archaeology of music in ancient China: 2000 years of acoustical experimentation, 1400 B.C.-A.D. 750. Paragon House, 1990.

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Fonseca, Susan Campos, and Julianne Graper. Noise, Sonic Experimentation, and Interior Coloniality in Costa Rica. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190842741.003.0009.

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This chapter explores how conceptual disputes over genre boundaries, noise, and music open a window into a society that debates and constructs its own contemporaneity, in dialogue with conceptions about what is meant by indigeneity, music, musical composition, musicality, and experimentalism in the twenty-first century. The chapter inquires into how discourses about experimentation and innovation coming from the realm of Noise are constructed under specific technological assumptions; it also explores how these discourses might play out within the Costa Rican artistic scene. On an aesthetic lev

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Lewis, Hannah. French Musical Culture and the Coming of Sound Cinema. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190635978.001.0001.

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French Musical Culture and the Coming of Sound Cinema examines film music practices in France during a period of widespread artistic and creative experimentation: the transition from silent to synchronized sound film. While this period in Hollywood has been examined from a range of scholarly perspectives, the transition to sound in France—and the unique interactions between French sound cinema and French musical discourses—remains underexplored. In France, debates about sound cinema were fierce and widespread, and many filmmakers addressed theoretical questions about the potential of the new t

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Sapiro, Ian. The Pop-Music Industry and the British Musical. Edited by Robert Gordon and Olaf Jubin. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199988747.013.13.

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This chapter discusses the intersection of the pop music industry and the British musical through the genre of the rock opera. In the late 1960s British artists started using the LP to create longer songs and projects, and theatrical practice began to move away from a reliance on narrative linearity and towards increased spectacle. The result of this experimentation was the concept album, and where such albums contained narratives they were termed rock operas. This chapter considers Tommy (1969) and Jesus Christ Superstar (1970)—two works fundamental to the establishment of rock opera—as well

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Wells, Elizabeth. After Anger. Edited by Robert Gordon and Olaf Jubin. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199988747.013.10.

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The late 1950s saw an astonishing emergence of iconoclastic and modernistic approaches to the genre of the British musical. Directors like Joan Littlewood and her Theatre Workshop company produced a number of dark, cynical, and experimental musicals in the late 1950s that provided British theatre professionals and audiences alike with an alternative to the dominant American style. Many attempted to bring this new and particularly British voice to the West End. An investigation of the musical, dramatic, and cultural context of the exceptional and important ‘Soho’ shows, which include Expresso B

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Tucker, Joshua. Peruvian Cumbia at the Theoretical Limits of Techno-Utopian Hybridity. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190842741.003.0005.

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This essay analyzes the transformation of Peruvian chicha, an adaptation of Colombian cumbia, from an unassuming working-class music into a central feature in new nationalist discourses that seek to overcome older elitist and racist models of national identification from transnational perspectives. As part of this discussion, the chapter considers the work of intellectual cosmopolitans who appeal to notions of electronic experimentation, psychedelic playfulness, and musical agency, thus resignifying chicha as an aesthetic solution for the intellectual shortcomings of an earlier era. Chicha mus

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Herrera, Eduardo. Elite Art Worlds. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190877538.001.0001.

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Between 1962 and 1971, the Centro Latinoamericano de Altos Estudios Musicales (CLAEM) of the Di Tella Institute in Buenos Aires became the central hub of Latin American avant-garde music. With the support of the Rockefeller Foundation and the wealthy Di Tella family, CLAEM offered two-year fellowships to some of the most recognized young composers of the region to undertake graduate studies in a unique privileged setting under the direction of Alberto Ginastera and with permanent and visiting faculty that included Gerardo Gandini, Francisco Kröpfl, Mario Davidovsky, Iannis Xenakis, Luigi Nono,

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Onsman, Andrys, and Burke Robert. Experimentation in Improvised Jazz. Taylor & Francis Group, 2020.

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Weiss, Naomi. Hearing the Syrinx in Euripidean Tragedy. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198794462.003.0007.

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References to the syrinx are mostly absent from extant tragedy until the late fifth century BC, when the instrument suddenly starts appearing in Euripides’ plays, especially in the choral odes. This chapter demonstrates that the syrinx is almost always mentioned alongside the aulos, the double pipe that accompanied dramatic choreia, or in such a way that the aulos is strongly suggested, so that the one instrument is meant to be heard as the other. Such instrumental mimesis in Euripides’ tragedies does more than just show off his own skill and engagement with contemporary musical trends and dis

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Artistic Experimentation in Music: An Anthology. Leuven University Press, 2014.

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Book chapters on the topic "Musical experimentation"

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Signer, Emanuel. "7. Tradition and Experimentation in Choirbooks Printed in Late Sixteenth- and Seventeenth-Century Italy." In Epitome musical. Brepols Publishers, 2020. http://dx.doi.org/10.1484/m.em-eb.5.122010.

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Winzenburg, John. "Musical-Dramatic Experimentation in the Yangbanxi: A Case for Precedence in The Great Wall." In Listening to China’s Cultural Revolution. Palgrave Macmillan US, 2016. http://dx.doi.org/10.1057/9781137463579_10.

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Mollaghan, Aimee. "Experimentation and Technological Innovation." In The Visual Music Film. Palgrave Macmillan UK, 2015. http://dx.doi.org/10.1057/9781137492821_5.

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Ronsse, Lauren M., Martin Lawless, Shane J. Kanter, and David T. Carreon Bradley. "Architecture and Acoustics in an Era of Experimentation." In Rooms for the Learned Musician. Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-72054-4_2.

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Coessens, Kathleen, Darla Crispin, and Luk Vaes. "(Re-)Searching Artists in Artistic Research: Creating Fertile Ground for Experimentation at the Orpheus Institute, Ghent." In Research and Research Education in Music Performance and Pedagogy. Springer Netherlands, 2013. http://dx.doi.org/10.1007/978-94-007-7435-3_3.

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Coessens, Kathleen, and Stefan Östersjö. "Kairos in the Flow of Musical Intuition." In Artistic Experimentation in Music. Leuven University Press, 2014. http://dx.doi.org/10.2307/j.ctt14jxsmx.39.

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Coessens, Kathleen, and Stefan Östersjö. "Intuition, Hexis, and Resistance in Musical Experimentation." In Artistic Experimentation in Music. Leuven University Press, 2014. http://dx.doi.org/10.2307/j.ctt14jxsmx.42.

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Crist, Stephen A. "Metrical Experimentation." In Dave Brubeck's Time Out. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190217716.003.0009.

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A fundamental characteristic of Dave Brubeck’s Time Out album is that it eschews common meter, which had long formed the temporal basis for jazz. This chapter takes stock of this central aspect of Time Out. A judicious appraisal of Brubeck’s work with unusual meters and rhythms must be informed by several considerations. First, by 1959 Brubeck had been interested in metrical experimentation for more than two decades. Second, Brubeck’s fascination with the temporal aspects of jazz continued in four additional albums during the 1960s. Finally, Brubeck’s enduring legacy rests on his unique ability to pursue this progressive musical agenda while simultaneously achieving broad popular appeal.

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Juslin, Patrik N. "Coda." In Musical Emotions Explained. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780198753421.003.0033.

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This chapter considers what the future holds for the field of music and emotion. It suggests that when it comes to making true progress in the field, there is no substitute for systematic experimentation, to tease out those psychophysical relationships that exist between musical features, the social context, and listener reactions, as mediated by a range of mechanisms. More specifically, field studies are needed in ‘ecologically valid’ settings to demonstrate the plausibility of responses, followed by experimental studies in more controlled settings to establish that presumed causal relationships really do hold. It further argues that the relationship between music and emotions depends essentially on evolution.

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Nardelli, Matilde. "(Quietly) Noisy Images: Sonic Landscapes, Audiotape and ‘the New Musicality’." In Antonioni and the Aesthetics of Impurity. Edinburgh University Press, 2020. http://dx.doi.org/10.3366/edinburgh/9781474444040.003.0004.

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This chapter explores the relation between sound and image in Antonioni’s films of the 1960s. It considers how the ostensibly quieter films of the 1960s – in which dialogue becomes sparser and from which extra-diegetic musical soundtrack is all but eliminated – have crucial affinity with contemporaneous transformations in music itself, where the diffusion of new mass media technologies such as audiotape and television, acted as powerful catalysts for experimentation with noise and attention to soundscape. In particular, I trace here a connection with the experimental practices of John Cage, musique concrète, and composers including Luciano Berio, Bruno Maderna and Luigi Nono associated with RAI Studio di fonologia musicale.

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Conference papers on the topic "Musical experimentation"

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Tate, Derrick, Xiaoyi Hu, Mengyue Li, and Ruotong Wang. "Application of Robust Design Techniques to Chinese Huqin Musical Instrument Design." In ASME 2016 International Design Engineering Technical Conferences and Computers and Information in Engineering Conference. American Society of Mechanical Engineers, 2016. http://dx.doi.org/10.1115/detc2016-59462.

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This paper presents the results of teaching robust design techniques to industrial design students in the Chinese context. Year 3 students in a Bachelor of Engineering programme at Xi’an Jiaotong-Liverpool University in Suzhou, China studied robust design techniques over a one-semester course. As part of the course, the students worked in two groups to apply robust design techniques to traditional Chinese musical instruments: the jinghu and the erhu. The two groups took divergent approaches to the project. One group sought to follow traditional manufacturing processes (craftmaking) for the ins

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Tseng, Tiffany, Maria Yang, and Stephen Ruthmann. "Documentation in Progress: Challenges With Representing Design Process Online." In ASME 2014 International Design Engineering Technical Conferences and Computers and Information in Engineering Conference. American Society of Mechanical Engineers, 2014. http://dx.doi.org/10.1115/detc2014-34686.

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Web-based documentation platforms afford lightweight and visually rich mechanisms for designers to share documentation online, yet present challenges regarding representation, particularly for collaborative teams. This paper highlights some of these issues through a descriptive case study based on the use of a new web-based social media tool for documenting the development of design projects called Build in Progress. Undergraduate students worked in teams to design musical construction kits and documented their process using Build in Progress over the course of three weeks. We examined student

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Avanzini, Federico, Adriano Baratè, Luca Ludovico, and Marcella Mandanici. "Songs in Music Education: Design and Early Experimentation of a Web Tool for the Recognition of Harmonic Changes." In 2nd International Special Session on Computer Supported Music Education. SCITEPRESS - Science and Technology Publications, 2021. http://dx.doi.org/10.5220/0010540407090720.

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Tislar, Kay, Zackery Duford, Brittany Nelson, Madeline Peabody, and Myounghoon Jeon. "Examining the Learnability of Auditory Displays: Music, Earcons, Spearcons, and Lyricons." In The 24th International Conference on Auditory Display. The International Community for Auditory Display, 2018. http://dx.doi.org/10.21785/icad2018.029.

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Auditory displays are a useful platform to convey information to users for a variety of reasons. The present study sought to examine the use of different types of sounds that can be used in auditory displays—music, earcons, spearcons, and lyricons—to determine which sounds have the highest learnability when presented in sequences. Participants were self-trained on sound meanings and then asked to recall meanings after listening to sequences of varying lengths. The relatedness of sounds and their attributed meanings, or the intuitiveness of the sounds, was also examined. The results show that p

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Moreira, Darlinda, and Gabriel Antão. "“Nobody is strange”: mobility and interculturality in higher education from the viewpoint of a group of Portuguese international music students." In Third International Conference on Higher Education Advances. Universitat Politècnica València, 2017. http://dx.doi.org/10.4995/head17.2017.5329.

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The benefits of mobility are often related to the development of skills and competences on the adaptation to new environments and organizational forms, foreign languages, and cultures in general. In the specific case of the international students, mobility enhances the view of the institution of higher education as a global and intercultural learning space, which promotes the exchange of ideas, resources and opportunities for experimentation, global citizenship and professional opportunities. Nowadays we assist to a rising number of international students, a fact that deserves special attentio

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