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Dissertations / Theses on the topic 'Musical intelligence'
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Matare, Joseph. "The nature of musical intelligence / musical abilities." Thesis, University of Exeter, 2004. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.407292.
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Kendra, Melanie A. "An Exploration of Musical Intelligence." Thesis, Virginia Tech, 2000. http://hdl.handle.net/10919/32840.
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This study explored the meaning teachers and children in an elementary school setting
make of music. This study utilized an adapted version of Thomas Armstrongâ s musical
intelligence checklist, as well as additional questions probing both teachers and children to relate
their past and present experiences with music and how they are musically intelligent. This study
was conducted with two third grade classes and two fifth grade classes, with the researcher
spending one class period with each group. Implications for how music is affecting elementary
students, as well as the meaning it holds for teachers, were discussed. In addition,
recommendations for future study of music in early education were made.Master of Science
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Hutson, Matt 1978. "Artificial intelligence and musical creativity : computing Beethoven's tenth." Thesis, Massachusetts Institute of Technology, 2003. http://hdl.handle.net/1721.1/85756.
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Thesis (S.M. in Science Writing)--Massachusetts Institute of Technology, Dept. of Humanities, Program in Writing and Humanistic Studies, 2003.Includes bibliographical references (p. 47-48).
by Matthew T. Hutson.
S.M.in Science Writing
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Howard, Sara Louise. "Exceptional musical performance : assessment of intelligence, musical aptitude, practice and empathy as contributing factors /." Title page, table of contents and abstract only, 2002. http://web4.library.adelaide.edu.au/theses/09HS/09hsh8481.pdf.
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Michels, Patricia. "The role of the musical intelligence in whole brain education." Diss., Pretoria : [s.n.], 2001. http://upetd.up.ac.za/thesis/available/etd-06142002-125955.
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Curry, Benjamin David. "Towards a computational model of musical accompaniment : disambiguation of musical analyses by reference to performance data." Thesis, University of Edinburgh, 2003. http://hdl.handle.net/1842/809.
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A goal of Artificial Intelligence is to develop computational models of what would be considered intelligent behaviour in a human. One such task is that of musical performance. This research specifically focuses on aspects of performance related to the performance of musical duets. We present the research in the context of developing a cooperative performance system that would be capable of performing a piece of music expressively alongside a human musician. In particular, we concentrate on the relationship between musical structure and performance with the aim of creating a structural interpretation of a piece of music by analysing features of the score and performance. We provide a new implementation of Lerdahl and Jackendoff’s Grouping Structure analysis which makes use of feature-category weighting factors. The multiple structures that result from this analysis are represented using a new technique for representing hierarchical structures. The representation supports a refinement process which allows the structures to be disambiguated at a later stage. We also present a novel analysis technique, based on the principle of phrase-final lengthening, to identify structural features from performance data. These structural features are used to select from the multiple possible musical structures the structure that corresponds most closely to the analysed performance. The three main contributions of this research are:1- An implementation of Lerdahl and Jackendoff’s Grouping Structure which includes feature-category weighting factors; 2- A method of storing a set of ambiguous hierarchical structures which supports gradual improvements in specificity; An analysis technique which, when applied to a musical performance, succeeds 3- in providing information to aid the disambiguation of the final musical structure. The results indicate that the approach has promise and with the incorporation of further refinements could lead to a computer-based system that could aid both musical performers and those interested in the art of musical performance.
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Michels, Patricia E. "Developing the pre-school child's musical intelligence by means of a comprehensive music programme focused on age-controlled auditive development." Pretoria : [s.n.], 1996. http://upetd.up.ac.za/thesis/available/etd-07262002-151835.
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Phillips, Justin M. "Functional Reactive Musical Performers." DigitalCommons@CalPoly, 2010. https://digitalcommons.calpoly.edu/theses/410.
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Computers have been assisting in recording, sound synthesis and other fields of music production for quite some time. The actual performance of music continues to be an area in which human players are chosen over computer performers. Musical performance is an area in which personalization is more important than consistency. Human players play with each other, reacting to phrases and ideas created by the players that they are playing with. Computer performers lack the ability to react to the changes in the performance that humans perceive naturally, giving the human players an advantage over the computer performers.
This thesis creates a framework for describing unique musical performers that can play along in realtime with human players. FrTime, a reactive programming language, is used to constantly create new musical phrases. Musical phrases are constructed by unique user programmed performers and by chord changes that the framework provides. The reactive language creates multiple musical phrases for each point in time. A simple module which chooses musical phrases to be performed at the time of performance is created.
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Albin, Aaron Thomas. "Musical swarm robot simulation strategies." Thesis, Georgia Institute of Technology, 2011. http://hdl.handle.net/1853/42862.
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Swarm robotics for music is a relatively new way to explore algorithmic composition as well as new modes of human robot interaction. This work outlines a strategy for making music with a robotic swarm constrained by acoustic sound, rhythmic music using sequencers, motion causing changes in the music, and finally human and swarm interaction. Two novel simulation programs are created in this thesis: the first is a multi-agent simulation designed to explore suitable parameters for motion to music mappings as well as parameters for real time interaction. The second is a boid-based robotic swarm simulation that adheres to the constraints established, using derived parameters from the multi-agent simulation: orientation, number of neighbors, and speed. In addition, five interaction modes are created that vary along an axis of direct and indirect forms of human control over the swarm motion. The mappings and interaction modes of the swarm robot simulation are evaluated in a user study involving music technology students. The purpose of the study is to determine the legibility of the motion to musical mappings and evaluate user preferences for the mappings and modes of interaction in problem solving and in open-ended contexts. The findings suggest that typical users of a swarm robot system do not necessarily prefer more inherently legible mappings in open-ended contexts. Users prefer direct and intermediate modes of interaction in problem solving scenarios, but favor intermediate modes of interaction in open-ended ones. The results from this study will be used in the design and development of a new swarm robotic system for music that can be used in both contexts.
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Pounds, Michael S. "Using spatial analogy to determine musical parameters in algorithmic composition." Virtual Press, 1995. http://liblink.bsu.edu/uhtbin/catkey/958778.
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This thesis presents a method of algorithmic composition in which the music is seen as motion through a multidimensional musical space. An analogy is drawn between physical space and musical space, each direction of the physical space corresponding to a musical parameter. A computer program was developed using the MAX programming environment to simulate the goaldirected motion of a mobile robot through an environment containing obstacles. The potential field method of mobile robot path planning was used. The program maps the location of the robot to musical parameters in the musical space. Based on the instantaneous values of the musical parameters, the program generates melodic material and transmits the resulting MIDI data to a synthesizer. For this research, the program was limited to three spatial dimensions and one obstacle. The program successfully created simple compositions consisting of large musical gestures. A model composition was created. Suggestions were made for further development and more elaborate applications of the method.School of Music
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Albright, Larry E. (Larry Eugene). "Computer Realization of Human Music Cognition." Thesis, University of North Texas, 1988. https://digital.library.unt.edu/ark:/67531/metadc330819/.
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This study models the human process of music cognition on the digital computer. The definition of music cognition is derived from the work in music cognition done by the researchers Carol Krumhansl and Edward Kessler, and by Mari Jones, as well as from the music theories of Heinrich Schenker.
The computer implementation functions in three stages. First, it translates a musical "performance" in the form of MIDI (Musical Instrument Digital Interface) messages into LISP structures.
Second, the various parameters of the performance are examined separately a la Jones's joint accent structure, quantified according to psychological findings, and adjusted to a common scale. The findings of Krumhansl and Kessler are used to evaluate the consonance of each note with respect to the key of the piece and with respect to the immediately sounding harmony.
This process yields a multidimensional set of points, each of which is a cognitive evaluation of a single musical event within the context of the piece of music within which it occurred. This set of points forms a metric space in multi-dimensional Euclidean space. The third phase of the analysis maps the set of points into a topology-preserving data structure for a Schenkerian-like middleground structural analysis.
This process yields a hierarchical stratification of all the musical events (notes) in a piece of music. It has been applied to several pieces of music with surprising results. In each case, the analysis obtained very closely resembles a structural analysis which would be supplied by a human theorist.
The results obtained invite us to take another look at the representation of knowledge and perception from another perspective, that of a set of points in a topological space, and to ask if such a representation might not be useful in other domains. It also leads us to ask if such a representation might not be useful in combination with the more traditional rule-based representations by helping to eliminate unwanted levels of detail in a cognitive-perceptual system.
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McLaughlin, Hannah Christina. "Pauline Oliveros and the Quest for Musical Utopia." BYU ScholarsArchive, 2018. https://scholarsarchive.byu.edu/etd/6828.
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This thesis discusses music's role in utopian community-building by using a case study of a specific composer, Pauline Oliveros, who believed her work could provide a positive "pathway to the future" resembling other utopian visions. The questions of utopian intent, potential, and method are explored through an analysis of Oliveros's untraditional scores, as well as an exploration of Oliveros's writings and secondary accounts from members of the Deep Listening community. This document explores Oliveros's utopian beliefs and practices and outlines important aspects of her utopian vision as they relate to three major utopian models: the traditional "end-state" model, the anarchical model, and the postmodern "method" utopian model. Oliveros exhibits all three models within her work, although this thesis argues that she is, for the most part, a method utopian. While her ceremonial group improvisations like Link/Bonn Feier resemble anarchical works by John Cage, they exhibit a greater interest in the past and in process than most anarchical models allow. Likewise, while her visions of a future aided by AI and bio-technologies appear end-state, her improvisational works with her Electronic Instrument System (EIS) suggest a more process-based, method utopian approach. Her Deep Listening practice is deeply method-utopian, and her Center for Deep Listening can be viewed as an attempt at bringing these method utopian principles to the real world.
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Watkins, Gregory Shroll. "A framework for interpreting noisy, two-dimensional images, based on a fuzzification of programmed, attributed graph grammars." Thesis, Rhodes University, 1998. http://hdl.handle.net/10962/d1004862.
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This thesis investigates a fuzzy syntactic approach to the interpretation of noisy two-dimensional images. This approach is based on a modification of the attributed graph grammar formalism to utilise fuzzy membership functions in the applicability predicates. As far as we are aware, this represents the first such modification of graph grammars. Furthermore, we develop a method for programming the resultant fuzzy attributed graph grammars through the use of non-deterministic control diagrams. To do this, we modify the standard programming mechanism to allow it to cope with the fuzzy certainty values associated with productions in our grammar. Our objective was to develop a flexible framework which can be used for the recognition of a wide variety of image classes, and which is adept at dealing with noise in these images. Programmed graph grammars are specifically chosen for the ease with which they allow one to specify a new two-dimensional image class. We implement a prototype system for Optical Music Recognition using our framework. This system allows us to test the capabilities of the framework for coping with noise in the context of handwritten music score recognition. Preliminary results from the prototype system show that the framework copes well with noisy images.
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Campayo, Muñoz Emilia Ángeles. "El desarrollo de las competencias emocionales como herramienta para la mejora de la interpretación musical en las enseñanzas de música en conservatorios." Doctoral thesis, Universitat Jaume I, 2017. http://hdl.handle.net/10803/405462.
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La presente investigación se enmarca en el ámbito de
los estudios musicales en conservatorios. La motivación
principal de esta tesis reside en el interés de encontrar
nuevas metodologías aplicables dentro de las enseñanzas en
conservatorios con tal de favorecer una formación holística
del futuro profesional de la música. Para ello, aprovechando
la relación entre la música y las emociones, decidimos diseñar
un programa de educación emocional ah hoc destinado a ser
implementado durante un año escolar en las asignaturas de
instrumento individual y de conjunto de alumnos de 3er curso
de piano de las enseñanzas elementales.
El objetivo principal de esta investigación es observar
si los alumnos que desarrollan sus competencias emocionales
mejoran su interpretación musical. De esta forma, una
formación fundamentada en el desarrollo emocional del
estudiante quedaría justificada. La investigación se llevó a
cabo mediante el estudio de 3 casos desarrollados como un
proceso de investigación-acción. Las técnicas utilizadas para
la recogida de datos fueron la entrevista, la observación, el
diario del profesor y un cuestionario para evaluar las
competencias emocionales del alumnado (CE-360º). Los
resultados y sus implicaciones en el ámbito de las enseñanzas
musicales son discutidos.The present research is framed in the field of music education in conservatoires. Its main motivation lies in the interest of finding new methodologies that can be applied in teaching music in conservatoires in order to promote a holistic education for forthcoming professional musicians. To this aim, taking advantage of the relationship between music and emotions, we designed an ah-hoc emotional education program intended to be implemented during an academic year in the subjects of individual instrument and ensemble in students of 3rd year of elementary studies. The main objective of this research is to observe if students who develop their emotional competences improve their musical performance. In this way, music education based on the student's emotional development would be justified. The research was carried out exploring 3 case studies developed as an action-research process. The techniques used for data collection were interviews, observation, teacher's diary and a questionnaire to evaluate the emotional competences of students (CE-360º). The results and their implications in the field of music education are discussed.
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Tavares, Tiago Fernandes 1984. "Computational models for rhythm and applications on human-machine interactions = Modelos computacionais para o ritmo e aplicações em interatividade homem-máquina." [s.n.], 2013. http://repositorio.unicamp.br/jspui/handle/REPOSIP/261121.
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Orientadores: Romis Ribeiro de Faissol Attux, Jayme Garcia Arnal BarbedoTese (doutorado) - Universidade Estadual de Campinas, Faculdade de Engenharia Elétrica e de Computação
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Resumo: Esta tese descreve investigações sobre a aplicação de modelos computacionais para o ritmo na interatividade homem-computador. São propostos um modelo para transcrição musical semi-automática, um modelo para transcrição automática e duas interfaces para expressão musical, todos baseados em conceitos ligados a ritmo. Este estudo, inédito, evidencia a importância do uso de conhecimentos especialistas em sistemas de recuperação de informações musicais, uma vez que são possibilitados não somente sistemas mais eficazes como também novas maneiras de interagir musicalmente com o computador
Abstract: This thesis describes investigations towards the use of computational models for rhythm in the context of human-machine interactions. I propose a model for semiautomatic musical transcription, a model for automatic musical transcription and two interfaces for musical expression, all of them based in concepts related to rhythm. This novel study highlights the importance of using domain-specic knowledge in music information retrieval systems, as it allows not only more accurate systems to be built, but also the development of new ways of musically interacting with computers
Doutorado
Engenharia de Computação
Doutor em Engenharia Elétrica
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Vurkaç, Mehmet. "Prestructuring Multilayer Perceptrons based on Information-Theoretic Modeling of a Partido-Alto-based Grammar for Afro-Brazilian Music: Enhanced Generalization and Principles of Parsimony, including an Investigation of Statistical Paradigms." PDXScholar, 2011. https://pdxscholar.library.pdx.edu/open_access_etds/384.
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The present study shows that prestructuring based on domain knowledge leads to statistically significant generalization-performance improvement in artificial neural networks (NNs) of the multilayer perceptron (MLP) type, specifically in the case of a noisy real-world problem with numerous interacting variables. The prestructuring of MLPs based on knowledge of the structure of a problem domain has previously been shown to improve generalization performance. However, the problem domains for those demonstrations suffered from significant shortcomings: 1) They were purely logical problems, and 2) they contained small numbers of variables in comparison to most data-mining applications today. Two implications of the former were a) the underlying structure of the problem was completely known to the network designer by virtue of having been conceived for the problem at hand, and b) noise was not a significant concern in contrast with real-world conditions. As for the size of the problem, neither computational resources nor mathematical modeling techniques were advanced enough to handle complex relationships among more than a few variables until recently, so such problems were left out of the mainstream of prestructuring investigations. In the present work, domain knowledge is built into the solution through Reconstructability Analysis, a form of information-theoretic modeling, which is used to identify mathematical models that can be transformed into a graphic representation of the problem domain's underlying structure. Employing the latter as a pattern allows the researcher to prestructure the MLP, for instance, by disallowing certain connections in the network. Prestructuring reduces the set of all possible maps (SAPM) that are realizable by the NN. The reduced SAPM--according to the Lendaris-Stanley conjecture, conditional probability, and Occam's razor--enables better generalization performance than with a fully connected MLP that has learned the same I/O mapping to the same extent. In addition to showing statistically significant improvement over the generalization performance of fully connected networks, the prestructured networks in the present study also compared favorably to both the performance of qualified human agents and the generalization rates in classification through Reconstructability Analysis alone, which serves as the alternative algorithm for comparison.
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Mouton, Rémy. "Outils intelligents pour les musicologues." Le Mans, 1992. http://www.theses.fr/1995LEMA1014.
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Divers outils automatiques ont ete realises dans le but de permettre une approche informatisee du phenomene musical (principalement tonal): lecture de partitions, orthographieur de midifiles, analyse melodique et orchestrale, chiffrage harmonique, composition automatique parametrable. Il s'en degage une technique de reconnaissance de formes combinant methodes numeriques et logiques et une proposition de problematique centrale pour l'informatique musicologique
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Olivieri, Catanzaro Tatiana. "La musique spectrale face aux apports technoscientifiques." Thesis, Paris 4, 2013. http://www.theses.fr/2013PA040118.
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La naissance de la musique spectrale et du modèle compositionnel qui la sous-tend a été conditionnée par un contexte technoscientifique spécifique, au carrefour de disciplines aussi diverses que la physique, la psychoacoustique, l’électronique, l’informatique ou la philosophie. Le présent travail de thèse en retrace certaines des étapes. Tout en remontant jusqu’à l’avènement de la science moderne au XVIIe siècle, elle aboutit à une caractérisation de ce courant esthétique comme un exemple de révolution non-cartésienne dans le sens que Bachelard donna au terme dans son Nouvel Esprit Scientifique. Parallèlement, elle reprend les acquis musicaux antérieurs et montre comment la musique spectrale s’est constituée en thématisant les tentatives de systématisation du son complexe comme élément porteur de forme apparus tout au long du XXe siècleThe rise of spectral music and of the compositional model that lies at its base has been conditioned by a specific technoscientific context, at a crossroads between disciplines as diverse as physics, psychoacoustics, electronics, computer sciences and philosophy. The present thesis retraces some of its stages. While going back to the advent of modern science in the 17th century, it leads to a characterization of this aesthetic movement as an example of a non- Cartesian revolution in the sense that Bachelard gave the term in The New Scientific Spirit. At the same time, it considers previous musical advances and shows how spectral music has formed itself by ‘thematizing’ attempts from throughout the 20th century to systematize complex sounds as form-bearing elements
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Paulo, Katia Cristina Silva. "Identificação de padrões de sinais acústicos com base em classificação paraconsistente." Universidade de São Paulo, 2016. http://www.teses.usp.br/teses/disponiveis/18/18153/tde-16112016-160217/.
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Com o uso de um conceito ainda não explorado para fins de classificação de dados, baseado em Lógica Paraconsistente Anotada (LPA), este trabalho visa à construção de um sistema inteligente para classificação de gêneros musicais (Music Genre Classification - MGC). Este tema, de caráter emergente na literatura, tem recebido atenção crescente da comunidade científica, tendo em vista a sua grande aplicabilidade, destacando-se o potencial de comercialização de dados multimídia pela Internet, assim como a automatização de inúmeras tarefas de data mining que envolvem sinais musicais. Utilizando uma base de dados composta por amostras de músicas representativas de cada gênero musical, tais como jazz, bolero, bossa nova, forró, salsa e sertanejo, assim como de um classificador discriminativo paraconsistente, uma abordagem supervisionada é proposta para solucionar o problema. O primeiro módulo do sistema realiza a extração de características dos diversos segmentos das músicas com base na análise tempo-frequência associada com as bandas críticas do ouvido humano. Por outro lado, o segundo módulo utiliza o classificador proposto, que deve permitir a manipulação de sinais com características contraditórias de uma maneira mais semelhante àquela realizada pelo cérebro humano. Os resultados, quando comparados com as abordagens pré-existentes para MGC, demonstram a viabilidade do uso da LPA para tal fim. Além disso, caracteriza-se neste trabalho, uma contribuição original ao estado-da-arte no tema, que consiste justamente no uso da LPA para MGC, procedimento para o qual inexiste descrição na literatura até este momento.By using a new concept, which is based on Paraconsistent Logic (LPA) and has not yet been applied for classification, this work aims at constructing an intelligent system for Music Genre Classification (MGC). This topic, that is emergent in the literature, has received an increasing attention from the scientific community due to its applicability, emphazising both a commercial potential to commercialize multimedia content on the Internet and data mining tasks involving music signals. By adopting a database formed by samples of songs, which represent different styles of music, such as jazz, bolero, bossa nova, forró, salsa and sertanejo, and a discriminative paraconsistent classifier, a supervised procedure is used to solve the problem. The system is divided in two modules. The first extracts features from the music files, based on the concepts of time-frequency analysis and crictical bands of the human ear. On the other hand, the second implements the proposed classifier, which allows an efficient treatment of contradictions in such a way that is more similar to the human brain. The results obtained, when compared with existing approaches used to MGC, demonstrate how LPA is suitable for this purpose. Additionally, this is the original contribution to the state-of-the-art: the use of LPA for MGC, an inexistent approach up to date.
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Ferreira, Fabiano Rodrigues. "Mapas auto-organizáveis na construção de recursos de aprendizagem adaptativos: uma aplicação no ensino de música." Universidade Presbiteriana Mackenzie, 2008. http://tede.mackenzie.br/jspui/handle/tede/2753.
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Previous issue date: 2008-02-29Fundo Mackenzie de Pesquisa
Brazilian educational scenario suffers from the lack of incentive to a musical apprenticeship that leads students to reflect about their own reality. Due to the actual hegemonic politics, educational processes, in general, are characterized by diminishing student s potential for reflection, in a society that priorizes a strict technicist teaching, as contemporary society is. As a result, students are often not able to stablish relationships between what was learned and their own lives. Thus, it is necessary to have some mechanisms that could help the adaptation to student s cultural context, leading to a meaningful ethnic learning. Learning objects concept can be understood as examples of technological resources that appear in a way to organize and structure digital educational data. Such concept, althought is a new paradigm into educational ambit, has been widely used on educational systems by constant & crescent deliver of learning objects by Internet. In this way, this work focuses an adaptive learning object architecture, applied to the learning process of Brazilian musical rhythms, as an example. Such objects are dynamically retrieved from repositories through techniques based on self-organizing maps. Objects are selected in order to create learning resources adequate to some desirable adaptivity factor, as previous knowledge, learning styles or cultural aspects.
O cenário educacional brasileiro sofre com a falta de incentivo a um aprendizado musical que realmente faça o educando refletir sobre sua realidade. Devido à política hegemônica atual, os processos educativos, em geral, estão imersos numa alienação descontextualizante e no assistencialismo. O poder de pensamento e reflexão do educando acaba diminuindo consideravelmente numa sociedade que preza mais pelo ensino puramente tecnicista do que pelo incentivo à reflexão, como é o caso da sociedade contemporânea. O resultado disso acaba sendo uma inorganicidade educacional que faz com que o aluno não faça relação daquilo que aprendeu com sua própria vida. Torna-se necessário, portanto, estabelecer mecanismos que auxiliem a adaptação ao contexto cultural do mesmo, levando a uma etnoaprendizagem significativa e contextualizada. Entendem-se os objetos de aprendizagem como exemplos de recursos tecnológicos que surgiram como forma de organizar e estruturar materiais educacionais digitais. Tal conceito, embora seja um paradigma novo no âmbito da educação tem sido amplamente utilizado nos sistemas educacionais atuais através da constante e crescente disponibilização dos mesmos pela Internet. Dessa forma, este trabalho enfoca uma arquitetura de objetos de aprendizagem digitais adaptativos com uma aplicação no processo de aprendizagem de ritmos musicais brasileiros, como exemplo de utilização. Tais objetos são dinamicamente recuperados a partir de repositórios, através de técnicas baseadas em mapas auto-organizáveis. Objetos são selecionados de maneira a criar recursos de aprendizagem que sejam adequados a algum fator de adaptabilidade desejável para o contexto, como conhecimentos prévios, estilos de aprendizagem ou aspectos culturais.
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Khan, Adil H. "Artificial intelligence approaches to music composition." Thesis, Northern Kentucky University, 2014. http://pqdtopen.proquest.com/#viewpdf?dispub=1549922.
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Music composition using Artificial Intelligence is a well-established area of study with research dating back over six decades. From the time the mathematical model of computation was developed by Alan Turing in the 1940s, the question of whether computers can be built to match human level intelligence has been debated. Creativity is certainly considered to be a sign of intelligence, and many areas of Artificial Intelligence have pursued ways to emulate the creative spark found in humans. Music Composition via Artificial Intelligence falls into this category. This thesis explores the application of Artificial Intelligence approaches towards the goal of composing music by implementing three approaches found in Artificial Intelligence and studying their results.
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Dennis, Robb. "Multiple Intelligence Theory and its Application in Modern Vocal Pedagogy." Scholarship @ Claremont, 1998. http://scholarship.claremont.edu/cgu_etd/99.
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In 1983, Howard Gardner shook the foundations of intelligence testing and the field of education by suggesting that there are seven distinct intelligences. These intelligences had testable and distinct attributes that were supported by his research at the Boston Veterans Administration. This research cited the existence of savants and prodigies, isolation by brain damage, and psychometric findings as support for Multiple Intelligence Theory. Widely accepted by the education community at large, the application of MI principles has been further elaborated in the writings of Thomas Armstrong and David Lazear. Can the principles of Multiple Intelligence Theory be applied in the area of modern vocal pedagogy? After surveys of the foundations of vocal pedagogy and the principles ofMI theory, the author suggests they can. What follows is an analysis of two current vocal pedagogy texts, Van Clu·isty's Foundations in Singing and Jan Sclunidt's Basics of Singing to determine the variety and use ofMI principles in each. After the analysis, the author suggests applications of MI principles, using aspects of their song learning chapters as a template that can be adapted to any vocal pedagogy text.
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Mariano, Daniel Augusto de Lima. "Práticas educativo-musicais no desenvolvimento das múltiplas inteligências: uma pesquisa-ação na docência da primeira infância." Universidade Federal da Paraíba, 2015. http://tede.biblioteca.ufpb.br:8080/handle/tede/8436.
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The sound and musical education of children aged two and three years of age is a task that requires more than having a university education, or simply like them. Need observation, planning and reflection on the part of educators, so that we can assist them in developing their multiple intelligences, in their cognitive, social and emotional aspects. In this sense, the question that guided this research was: which processes can be performed to enable teachers of early childhood education at the School X to develop musical activities aimed at stimulation in multiple intelligences to children from two to three years? Thus, this dissertation presents the research conducted through an educational action research with teachers of early childhood education called the X School in the city of João Pessoa - Paraíba (Brazil). This intervention aimed to enable teachers of early childhood education to incorporate, in their teaching practices, activities and reflections on the music and sound education. From the design of stimulation of multiple intelligences, the American psychologist Howard Gardner, one could develop a series of actions related to the development of sound / musical intelligence with the children of classes of Maternalzinho and Maternal (two and three years, respectively), in interdisciplinary interactions that also aimed at the integral development of intelligence of children, in its multiple aspects: bodilykinesthetic, linguistic, logical-mathematical, spatial awareness, interpersonal, intrapersonal and naturalist. Research at School X was performed between January and October 2014, in three stages: diagnostic observation (January and February), intervention action (March-June) and return to the field (October). The diagnostic observation phase aimed to know the daily life of the School X, as well as the pedagogical practices of teachers with children. Have the intervention phase was performed in a collaborative process with the teachers A, B and the auxiliary A, consisting of a change of planning, through a set of planned actions and moments of reflection. This was followed by the implementation of the planned action and the observation of the change process. During this step, several reflections on these processes and their consequences were performed, to go to redesign and start a new cycle. To assist the production of research data, were used as tools to direct observation, the composition of a field diary and the interview. The third time was the return to the field to check the effects of the training process on the practices of teachers, checking also this process contributed to the reflective action of teachers in their teaching practices - especially the educational-musical. At this stage, there has been the difficulty of teachers to maintain, given the multiple demands of everyday school life, cooperative teaching, reflective action and musical practices developed together during the intervention phase. Thus, there was a larger distance between the pedagogical discourse of School X - based on constructivist and artistic processes - and their practice in early childhood education - with few reflective attitudes on the part of teachers, who ended up falling into play already adopted practices or established by the pedagogical coordination.
A educação sonora e musical de crianças de dois e três anos de idade é tarefa que exige mais do que ter uma formação universitária, ou simplesmente gostar dos pequenos. Necessita observação, planejamento e reflexão por parte dos educadores, para que se possa auxiliá-las no desenvolvimento de suas múltiplas inteligências, em seus aspectos cognitivos, sociais e emocionais. Neste sentido, a questão que norteou a presente pesquisa foi: quais processos podem ser realizados para capacitar professores da educação infantil da Escola X para desenvolver atividades musicais com vistas à estimulação em inteligências múltiplas com crianças de dois e três anos? Assim, esta dissertação apresenta a pesquisa realizada através de uma investigação-ação educacional com professoras da educação infantil da denominada Escola X, na cidade de João Pessoa – Paraíba (Brasil). Tal intervenção objetivou capacitar professoras da educação infantil a incorporarem, em suas práticas pedagógicas, atividades e reflexões relativas à educação musical e sonora. A partir da concepção de estimulação das inteligências múltiplas, do psicólogo americano Howard Gardner, pôde-se desenvolver uma série de ações relativas ao desenvolvimento da inteligência sonora/musical junto às crianças das turmas de Maternalzinho e Maternal (dois e três anos, respectivamente), em interações interdisciplinares que visaram também o desenvolvimento integral das inteligências das crianças, em seus múltiplos aspectos: cinestésico-corporal, linguístico, lógico-matemático, consciência espacial, interpessoal, intrapessoal e naturalista. A pesquisa na Escola X foi realizada entre os meses de janeiro a outubro de 2014, em três momentos: observação diagnóstica (janeiro e fevereiro), intervenção-ação (março a junho) e retorno ao campo (outubro). A fase de observação diagnóstica visava conhecer o cotidiano da Escola X, assim como as práticas pedagógicas das docentes junto às crianças. Já a fase de intervenção foi realizada em um processo colaborativo junto às professoras A, B e a auxiliar A, consistindo de um planejamento de mudança, através de um conjunto de ações planejadas e de momentos de reflexão. Seguiu-se a execução da ação planejada e a observação do processo de mudança. Durante esta etapa, foram realizadas diversas reflexões sobre estes processos e suas conseqüências, para dali replanejar e iniciar um novo ciclo. Para auxiliar a produção dos dados da pesquisa, foram utilizadas como ferramentas a observação direta, a composição de um diário de campo e a entrevista. O terceiro momento foi o retorno ao campo, para verificar os efeitos do processo de capacitação sobre as práticas das professoras, averiguando também se tal processo contribuiu para a ação reflexiva das docentes em suas práticas pedagógicas – especialmente as educativo-musicais. Nesta etapa, foi possível constatar a dificuldade das professoras em manter, diante das múltiplas exigências do cotidiano escolar, o trabalho docente cooperativo, a ação reflexiva e as práticas musicais desenvolvidas em conjunto durante a fase de intervenção. Sendo assim, evidenciou-se uma certa distância entre o discurso pedagógico da Escola X – baseado em processos construtivistas e artísticos – e sua prática na educação infantil – com poucas atitudes reflexivas por parte das docentes, que acabavam por cair na reprodução de práticas já adotadas ou estabelecidas pela coordenação pedagógica.
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Yngström, Sofia. "ADHD och musik : Jobbar skolan med musik som inlärningmetod för barn med ADHD?" Thesis, Karlstads universitet, Estetisk-filosofiska fakulteten, 2012. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-15454.
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A pupil with ADHD is constantly getting new impulses and is unable to focus and remain concentration on their task at school. When the pupil loses concentration he or she can often be loud and thereby disturbing all the other pupils in the classroom. One of the reasons for losing their concentration is that these pupils got poor working memory. A recently study shows that working memory can be improved by playing and practice music. A theory that all people have a multiple intelligence that emerges from learning is a part of this study because school should encourage all children and ensure their individual learning. Multiple intelligences means that each person learns in different ways, for example through the musical intelligence that this essay partly focuses on. Pupils with musical intelligence are absorbing information and learn through songs, rhythms and melodies. Then they associate their knowledge through this. In this essay, I interviewed two special education teachers and asked them how and if they use music in their special education with pupils that got ADHD. The result is that they are not using the music to a greater extent, but they would like to. Two music teachers were also interviewed to get a picture of what teachers with interest in music would like to do in school to make use of the music for the pupils that struggles.ADHD är en diagnos som gör att eleven och till viss del alla omkring eleven får det jobbigt. En elev med ADHD får ständigt nya impulser och har svårt att rikta sin koncentration till samma ställe. Detta gör att det blir svårt för eleven att ta in instruktioner om en skoluppgift samt att bibehålla fokus och koncentration på uppgiften. När eleven tappar koncentrationen kan hon eller han ofta bli högljudd och därmed störa alla andra elever i klassrummet. Att eleverna tappar koncentrationen beror till viss del på svagt arbetsminne, vilket går att träna upp. En studie har visat att man genom musik, i detta fall instrumentalt genom övning, kan träna upp sitt arbetsminne. Teorier om att alla människor har en multipel intelligens som framträder vid inlärning är en del i denna uppsats då skolan ska främja alla barn och se till individen och dess lärande. Multipla intelligenser innebär att varje människa lär sig på olika sätt, exempelvis genom den musikaliska intelligensen som denna uppsats till viss del riktar in sig på. Genom musikalisk intelligens tar eleven till sig information och lär sig genom sånger, rytmer och melodier och associerar sedan sin kunskap genom detta. Till denna undersökning har jag intervjuat två specialpedagoger om hur och om de använder musiken i deras specialundervisning med elever med ADHD. Resultatet är dock att de inte använder musiken i större utsträckning, men att de vill veta mer. Två musiklärare intervjuades också för att få en bild om vad lärare med musikintresse tycker att man ska göra i skolan för att använda sig av musiken.
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Lasagni, Nicola. "Reti neuronali artificiali e composizione musicale." Bachelor's thesis, Alma Mater Studiorum - Università di Bologna, 2015. http://amslaurea.unibo.it/9615/.
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Yelkenci, Serhat. "Algorithmic Music Composition Using Linear Algebra." Thesis, Southern Illinois University at Edwardsville, 2017. http://pqdtopen.proquest.com/#viewpdf?dispub=10275073.
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Sound, in its all forms, is a source of energy whose capabilities humankind is not yet fully aware of. Composition - the way of aggregating sounds into the form of music - still holds to be an unperceived methodology with lots of unknowns. Methodologies used by composers are generally seem as being innate talent, something that cannot be used or shared by others. Yet, as any other form of art, music actually is and can be interpreted with mathematics and geometry. The focus of this thesis is to propose a generative algorithm to compose structured music pieces using linear algebra as the mathematical language for the representation of music. By implementing the linear algebra as the scientific framework, a practical data structure is obtained for analysis and manipulation. Instead of defining a single structure from a certain musical canon, which is a type of limiting the frame of music, the generative algorithm proposed in this paper is capable of learning all kinds of musical structures by linear algebra operations. The algorithm is designed to build musical knowledge (influence) by analyzing music pieces and receive a new melody as the inspirational component to produce new unique and meaningful music pieces. Characteristic analysis features obtained from analyzing music pieces, serves as constraints during the composition process. The proposed algorithm has been successful in generating unique and meaningful music pieces. The process time of the algorithm varies due to complexity of the influential aspect. Yet, the free nature of the generative algorithm and the capability of matrical representation offer a practical linkage between unique and meaningful music creation and any other concept containing a mathematical foundation.
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Groenewald, Marita. "Die verband tussen musiekbeoefening en intelligensie / Marita Groenewald." Thesis, North-West University, 2003. http://hdl.handle.net/10394/400.
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In the last two decades of the twentieth century in particular, a renewed interest
arose in the relationship between music making and intelligence. This yet again
led to the question of whether or not music making has any influence on
intelligence. As a result of popular views, incorrect and incomplete reports and
research which has not been based on an adequate scientific foundation,
however, claims about the potential of making music to increase intelligence are
currently being questioned.
Even though the literature study could not prove beyond all doubt that music
making increases intelligence, it is nevertheless significant that most of the top
achievers in the matric final examination make music, play in orchestras or sing
in choirs. The main objective of the study is to determine the nature of the
relationship between music making and intelligence. A further aim of the study
is also to establish whether the making of music contributes towards equipping
learners with life skills which enable them to be successful in their lives later on.
In addition to the literature study, this study also includes an empirical
investigation. For the purposes of this study the Baron Emotional Quotient
Inventory: Youth Version was used. The experimental group consisted of forty
nine learners who are members of either the Northwest Youth Orchestra or the
Musikhane orchestra. A control group consisting of fifty learners from the same
schools as the experimental group was involved as well. In-depth interviews
were also held with the conductors of respectively the Northwest Youth
Orchestra and the Musikhane orchestra. Questionnaires were completed by
music teachers in the Northwest Province and by some of the Musikhane
workers, in order to compare the qualitative results of the questionnaires and
interviews with the quantitative results of the BarOn EQ-i:YV questionnaire.
The findings of the study are based on an empirical study, which includes
qualitative and quantitative testing. It was indicated, amongst others, that the
positive influence of music making on academic achievement is to be found on
the affective rather than the cognitive level. Furthermore, music making equips
learners with certain life skills, like self-discipline, self-confidence and good
inter- and intrapersonal relationships, which help them to be successful in other
areas of their lives, such as their school work.Thesis (Ph.D. (Music))--North-West University, Potchefstroom Campus, 2004.
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Godfrey, Mark Thomas. "Hubs and homogeneity improving content-based music modeling /." Thesis, Atlanta, Ga. : Georgia Institute of Technology, 2008. http://hdl.handle.net/1853/22572.
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Déguernel, Ken. "Apprentissage de structures musicales en contexte d'improvisation." Thesis, Université de Lorraine, 2018. http://www.theses.fr/2018LORR0011/document.
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Les systèmes actuels d’improvisation musicales sont capables de générer des séquences musicales unidimensionnelles par recombinaison du matériel musical. Cependant, la prise en compte de plusieurs dimensions (mélodie, harmonie...) et la modélisation de plusieurs niveaux temporels sont des problèmes difficiles. Dans cette thèse, nous proposons de combiner des approches probabilistes et des méthodes issues de la théorie des langages formels afin de mieux apprécier la complexité du discours musical à la fois d’un point de vue multidimensionnel et multi-niveaux dans le cadre de l’improvisation où la quantité de données est limitée. Dans un premier temps, nous présentons un système capable de suivre la logique contextuelle d’une improvisation représentée par un oracle des facteurs tout en enrichissant son discours musical à l’aide de connaissances multidimensionnelles représentées par des modèles probabilistes interpolés. Ensuite, ces travaux sont étendus pour modéliser l’interaction entre plusieurs musiciens ou entre plusieurs dimensions par un algorithme de propagation de croyance afin de générer des improvisations multidimensionnelles. Enfin, nous proposons un système capable d’improviser sur un scénario temporel avec des informations multi-niveaux représenté par une grammaire hiérarchique. Nous proposons également une méthode d’apprentissage pour l’analyse automatique de structures temporelles hiérarchiques. Tous les systèmes sont évalués par des musiciens et improvisateurs experts lors de sessions d’écouteCurrent musical improvisation systems are able to generate unidimensional musical sequences by recombining their musical contents. However, considering several dimensions (melody, harmony...) and several temporal levels are difficult issues. In this thesis, we propose to combine probabilistic approaches with formal language theory in order to better assess the complexity of a musical discourse, both from a multidimensional and multi-level point of view in the context of improvisation where the amount of data is limited. First, we present a system able to follow the contextual logic of an improvisation modelled by a factor oracle whilst enriching its musical discourse with multidimensional knowledge represented by interpolated probabilistic models. Then, this work is extended to create another system using a belief propagation algorithm representing the interaction between several musicians, or between several dimensions, in order to generate multidimensional improvisations. Finally, we propose a system able to improvise on a temporal scenario with multi-level information modelled with a hierarchical grammar. We also propose a learning method for the automatic analysis of hierarchical temporal structures. Every system is evaluated by professional musicians and improvisers during listening sessions
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Merz, Evan X. "Method for simulating creativity to generate sound collages from documents on the web." Thesis, University of California, Santa Cruz, 2014. http://pqdtopen.proquest.com/#viewpdf?dispub=3609658.
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To create algorithmic art with documents available on the internet, artists must discover strategies for organizing those documents. In this project I used a graph structure based on Melissa Schilling's model of cognitive insight to reorganize sounds on the web using aural and lexical relationships. I was then able to generate music with these graphs using several different activation strategies. In section one I introduce my goals for this project. In section two I review other approaches to this problem and art that has influenced my approach. In section three I demonstrate techniques for organizing and collaging sounds from freesound.org. Sounds can be organized in a graph structure by exploiting aural similarity relationships provided by freesound.org, and lexical relationships provided by wordnik.com. Music can then be generated from these graphs in a variety of ways. In section four I show how my software was inspired by theories of creativity. Specifically I show how my software is an illustration of Melissa Schilling's graph model of cognitive insight. In section five, I elaborate on the pieces I've generated for this dissertation using this software and several other novel sound generating programs.
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Hadjeres, Gaëtan. "Modèles génératifs profonds pour la génération interactive de musique symbolique." Thesis, Sorbonne université, 2018. http://www.theses.fr/2018SORUS027/document.
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Ce mémoire traite des modèles génératifs profonds appliqués à la génération automatique de musique symbolique. Nous nous attacherons tout particulièrement à concevoir des modèles génératifs interactifs, c'est-à-dire des modèles instaurant un dialogue entre un compositeur humain et la machine au cours du processus créatif. En effet, les récentes avancées en intelligence artificielle permettent maintenant de concevoir de puissants modèles génératifs capables de générer du contenu musical sans intervention humaine. Il me semble cependant que cette approche est stérile pour la production artistique dans le sens où l'intervention et l'appréciation humaines en sont des piliers essentiels. En revanche, la conception d'assistants puissants, flexibles et expressifs destinés aux créateurs de contenus musicaux me semble pleine de sens. Que ce soit dans un but pédagogique ou afin de stimuler la créativité artistique, le développement et le potentiel de ces nouveaux outils de composition assistée par ordinateur sont prometteurs. Dans ce manuscrit, je propose plusieurs nouvelles architectures remettant l'humain au centre de la création musicale. Les modèles proposés ont en commun la nécessité de permettre à un opérateur de contrôler les contenus générés. Afin de rendre cette interaction aisée, des interfaces utilisateurs ont été développées ; les possibilités de contrôle se manifestent sous des aspects variés et laissent entrevoir de nouveaux paradigmes compositionnels. Afin d'ancrer ces avancées dans une pratique musicale réelle, je conclue cette thèse sur la présentation de quelques réalisations concrètes (partitions, concerts) résultant de l'utilisation de ces nouveaux outilsThis thesis discusses the use of deep generative models for symbolic music generation. We will be focused on devising interactive generative models which are able to create new creative processes through a fruitful dialogue between a human composer and a computer. Recent advances in artificial intelligence led to the development of powerful generative models able to generate musical content without the need of human intervention. I believe that this practice cannot be thriving in the future since the human experience and human appreciation are at the crux of the artistic production. However, the need of both flexible and expressive tools which could enhance content creators' creativity is patent; the development and the potential of such novel A.I.-augmented computer music tools are promising. In this manuscript, I propose novel architectures that are able to put artists back in the loop. The proposed models share the common characteristic that they are devised so that a user can control the generated musical contents in a creative way. In order to create a user-friendly interaction with these interactive deep generative models, user interfaces were developed. I believe that new compositional paradigms will emerge from the possibilities offered by these enhanced controls. This thesis ends on the presentation of genuine musical projects like concerts featuring these new creative tools
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Chiasson, Rachelle A. M. "Musicians and intelligence operations, 1570-1612: politics, surveillance, and patronage in the late Tudor and early Stuart years." Thesis, McGill University, 2007. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=18298.
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ABSTRACT Musicians and Intelligence Operations, 1570-1612: Politics, Surveillance, and Patronage in the Late Tudor and Early Stuart Years by Rachelle C.-Taylor The problem of musicians’ involvement in intelligence operations during the late Tudor and early Stuart years has to date remained relatively unexplored. There is convincing evidence, however, that artists from different disciplines were particularly targeted for recruitment in intelligence operations, designed by Elizabeth I’s councillors, Willam Cecil, Lord Burghley and Francis Walsingham, to infiltrate and disable Catholic oppositional networks on the Continent and in England in the aftermath of the Elizabethan settlement on religion. The Scottish revolt that preceded the arrival of Mary, Queen of Scots in England (1568), the Northern Rising of Catholic Earls (end of 1569), the excommunication of Elizabeth I (1570), and the so-called “Ridolfi” plot to assassinate Elizabeth and raise the Queen of Scots to the English throne (uncovered in 1571) combined to create a large-scale political crisis that galvanized the fledgling intelligence operations, dubbed by scholars as the first “modern” secret service. Religious and political upheavals in late Tudor England had marked consequences on artistic patronage. Although this dissertation is not a comprehensive study of music patronage as it shifted with changing networks of power, I will propose that a form of alternative patronage did emerge with the growth industry in intelligence operations. By the 1580s, large numbers of university students and artists, among them the great Eizabethan dramatist Christopher Marlowe, were recruited to serve in the covert war that mirrored mounting overt hostilities in the Netherlands and in France. By the 1590s, after Walsingham’s death, the Earl of Essex created his own intelligence service, which gradually became an instrument of Essexian aspiration to royal favour. Robert Cecil, BurghleyRESUME ANALYTIQUE Musiciens et services de renseignements élisabéthains et jacobéens, 1570-1612 : politique, contrôle, et mécénat Le phénomène de l’implication de musiciens dans les services de renseignements aux confins des époques élisabéthaine et jacobéenne n’a pas été beaucoup exploré jusqu’à date. Il existe cependant des preuves tangibles démontrant que des artistes de différentes disciplines étaient bel et bien concernés lorsqu’ il était question de recrutement au sein de ces services. Deux conseillers à la cour d’Elizabeth Ière, William Cecil, Lord Burghley, et son protégé Sir Francis Walsingham, conçurent un système d’espionnage qui avait comme objet d’infiltrer et d’affaiblir les réseaux d’opposition catholiques en pleine croissance autant sur les fronts étranger que domestique. Dès 1570, la réforme protestante avait cédé à une crise politico-religieuse de très grande envergure qui eut l’effet de galvaniser les services de renseignements de Burghley et Walsingham, services dont on dit qu’ils furent les premiers d’envergure « moderne ». Cette crise eut également un effet profond sur le mécénat artistique. Dès 1580, les services de renseignements constituaient ni plus ni moins qu’une industrie en pleine expansion. Artistes et académiques étaient recrutés pour servir dans une guerre secrète à l’image des hostilités ouvertes qui sévissaient sur le continent. Après la mort de Walsingham en 1590, le Baron Essex créa lui-même ses propres services de renseignements qui rivalisèrent avec ceux que gérait Burghley. Essex saisit également l’occasion de se servir de l’appareil secret qu’il avait érigé dans le but de se promouvoir auprès de la reine et au sein de la cour, où les luttes intestines s’intensifiaient durant l’ultime décennie du XVIe siècle. Des études de cas font la structure de la présente thèse. En examinant des documents d’archives$
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Fashun, Christopher Herbert. "Developing musicianship from the podium : adapting the Theory of multiple intelligences to the instrumental rehearsal." Diss., University of Iowa, 2012. https://ir.uiowa.edu/etd/3291.
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The purpose of this study is to collect a variety of conducting texts and resources and assess which texts, if any, suggested pedagogical techniques that make appropriations for various learning styles of individuals in the ensemble. The term learning styles is derived from Howard Gardner's Theory of Multiple Intelligences wherein he makes the assertion that every person possesses the nine intelligences and that each person has a natural disposition to at least one intelligence (or learning style). After having evaluated numerous conducting texts and resources, there exists a lack of assessing and teaching to learning styles. Most conducting curricula do not give attention to the idea that the musicians and students represent many learning styles and need to be provided with a variety of examples to enhance their understanding of the music. Consequently, enhancing understanding raises the level of their musicianship and elevates the overall quality of the ensemble and music program.
The most significant contributor in music education to integrating pedagogical techniques that address a broad range of learning styles is Edward S. Lisk. A former band director and now an internationally renown clinician and conductor, Mr. Lisk has written several books on alternative rehearsal strategies. His most recent book, The Creative Director: Conductor, Teacher, Leader, briefly explains how the Theory of Multiple Intelligences is uniquely suited for both the conductor and the students. Mr. Lisk's claims regarding the benefits of teaching to multiple learning styles focus on individual enhancement and understanding of playing a instrument and to provide compelling evidence to administrators, parents, and the community to show the inherent value of a music program.
This study acknowledges and supports Lisk's observations and claims, but sets out to enhance musical understanding and performance levels through rehearsal techniques that address multiple learning styles. Before providing a model for incorporating pedagogical techniques that address multiple learning styles, assessment methods of student's MI (multiple intelligences) will assist the conductor in determining what types of intelligences the students possess. When this information is gathered, a conductor/music educator can begin to infuse examples into the rehearsal.
The final goal of this study is to present several rehearsal strategies categorized by each MI as a model as to how conductor/educators can incorporate pedagogical strategies into their rehearsals to draw each student into a deeper understanding of the music, raise the level of musicianship, which promotes more expressive music-making. These rehearsal strategies can be utilized with technical or expressive issues. For example, a director is teaching the string section the difference between playing accompanimental motor rhythms in Mozart to those of Beethoven. For the visual-spatial learner, drawing a diagram on the board showing the trajectory shape of the bow across the string can assist the student by seeing what each bow stroke looks like. For a bodily-kinesthetic learner, showing what each bow stroke looks like, allowing the student to try it, and solidifying understanding with feeling the difference of each stroke and recognizing how each sounds. As an additional strategy to the former, the director could have each section demonstrate each bow stroke and ask the other students for feedback that incorporates a technique for the interpersonal learning style. Further examples with suggestions for expressive aspects of music for various learning styles are also included.
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Smith, Matt. "Towards an intelligent learning environment for melody composition through formalisation of Narmour's implication-realisation model." Thesis, Open University, 1995. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.336976.
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Belotti, Tônia Gonzaga. "Coro terapêutico: uma ação do musicoterapeuta visando ao desenvolvimento da criança com síndrome de Down." Universidade Federal de Goiás, 2014. http://repositorio.bc.ufg.br/tede/handle/tede/4477.
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Down syndrome is a genetic abnormality that affects a significant portion of the population. A child with Down syndrome (CDS) has several limitations and difficulties which occur in motor development, cognitive development and communication at different levels, especially with regard to speech. Helping a CDS to win his place in society will stimulate their satisfaction for somehow feeling to be useful, further expanding their coexistence. Children with this syndrome may perform better when those around them recognize that they have limitations, but also potential and abilities. This research deals with the use of Therapeutic Choir with CDS. Had become the main goal is to understand the effects that music therapy, through Therapeutic Choir, can bring in order to improve the performance of a CDS, according to the Theory of Multiple Intelligences proposed by Gardner. This is a qualitative research and it was based on Existential Phenomenology. Data collecting was performed at Down Association of Goiás (ASDOWN). The work was initially conducted with a group of six participants in the beginning and with four children in the end over a four months period, with a weekly frequency and duration of fifty minutes therapy session. Data collecting involved music therapy dossiers, audio and video recordings of cases, descriptive reports, observations of the participants behavior, interviews with those responsible for the CDS and professionals who have worked directly with some children, whether in a therapeutic or education environment. The analysis of all qualitative data was performed with the support of the theoretical review, which included Music Therapy, Therapeutic Choir and Multiple Intelligences. At the end of the music therapy process, it was found an increase of specifics skills in Multiple Intelligences, mainly in the following kinesthetic intelligences-body, linguistic, musical, inter- and intrapersonal, because the through the creative re-experiences, experiments and amenable and additional activities can stimulate the CDS development providing progress in the acquisitions processes.
A Síndrome de Down é uma anomalia genética que incide em uma parcela significativa da população. A criança com Síndrome de Down (CSD) apresenta várias limitações e dificuldades, sendo que estas se manifestam no desenvolvimento motor, no cognitivo e na comunicação, em diferentes níveis, principalmente no tocante à fala. Ajudar a CSD a conquistar o seu espaço na sociedade, vai estimulá-la na satisfação de, por alguma forma, estar sendo útil, ampliando ainda mais a sua coexistência. As crianças com essa síndrome podem apresentar melhor desempenho quando aqueles que as cercam reconhecem que elas têm as suas limitações, mas também seus potenciais e habilidades. A presente pesquisa trata da utilização do Coro Terapêutico com CSD. Teve-se como principal objetivo compreender os efeitos que a Musicoterapia, por meio do Coro Terapêutico, pode trazer para melhorar o desempenho da CSD, tendo em vista a Teoria das Inteligências Múltiplas, proposta por Gardner. A pesquisa teve caráter qualitativo e a atuação da pesquisadora musicoterapeuta foi pautada na Fenomenologia Existencial. A coleta de dados foi realizada através da atuação da pesquisadora na instituição designada como Associação Down de Goiás (ASDOWN), sendo que os atendimentos foram realizados, inicialmente, com um grupo de seis participantes, finalizando com quatro crianças, em um período de quatro meses, com frequência semanal e duração de cinquenta minutos. Como instrumentos de coleta de dados foram utilizados: fichas musicoterápicas, gravações (áudio e vídeo) dos atendimentos, relatórios descritivos, observações sobre comportamentos dos participantes, entrevista com os responsáveis pelas CSD e com profissionais que trabalhavam diretamente com algumas crianças, seja no meio terapêutico ou no educacional. As análises de todos os dados qualitativos foram realizadas com o respaldo da revisão teórica, que englobou a Musicoterapia, o Coro Terapêutico e as Inteligências Múltiplas. Constatou-se que, ao final do processo musicoterapêutico, houve a ampliação das habilidades específicas inseridas nas Inteligências Múltiplas, principalmente nas seguintes inteligências Cinestésico-corporal, linguística, musical, inter e intrapessoal, pois o Coro Terapêutico, por meio das experiências re-criativas, das experiências receptivas e de atividades complementares, pode estimular o desenvolvimento da CSD, proporcionando evoluções no processo de aquisições.
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Cont, Arshia. "Traitement et programmation temps-réel des signaux musicaux." Habilitation à diriger des recherches, Université Pierre et Marie Curie - Paris VI, 2013. http://tel.archives-ouvertes.fr/tel-00829771.
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Mes activités de recherche et d'encadrement, depuis ma soutenance de thèse en octobre 2008, gravitent à la confluence de deux problématiques souvent considérées comme distinctes dont le couplage est plus qu'évident en informatique musicale : l'écoute artificielle et la programmation synchrone des signaux musicaux en temps réel. Le but est d'enrichir chaque domaine respectivement et de fournir des outils nécessaires aux artistes pour étendre leurs capacités de création musicale sur ordinateur (à celui de leurs homologues humains). Le premier aspect de tout système de musique interactive est l'acte de l'écoute ou formellement parlant, l'extraction d'informations musicaux en temps réel. J'ai concentré mes efforts sur les approches axées sur les applications telles que la détection de pitch polyphonique et les techniques d'alignement en temps réel d'une part. Puis, d'autre part, j'ai abordé des problèmes fondamentaux liés à la représentation des signaux. Pour le premier volet, nous avons proposé deux approches reconnues comme l'état de l'art et renommées par leur utilisation par la communauté artistique et leur reconnaissance au sein de la communauté MIR. Le deuxième volet théorique porte sur le problème fondamental de la quantification et la qualification du contenu de l'information arrivant progressivement dans un système en utilisant des méthodes de la géométrie de l'information. Le deuxième et plus récent aspect de mon travail se concentre sur la programmation synchrone réactive de la musique, couplée à des systèmes d'écoute (ou la formalisation de réactions dans les systèmes interactifs aux perceptions artificielles en temps réel). Notre approche est motivée par les pratiques actuelles en art numérique et les exigences d'évaluation en temps réel qu'elles demandent. L'incarnation majeure de cette approche est le système Antescofo doté d'une machine d'écoute et d'un langage dynamique et qui s'est imposé dans le monde entier dans le répertoire de la musique mixte, reconnu du public depuis 2009. L'écriture du temps, l'interaction et la tentative d'assurer leur exécution correcte en temps réel posent des problèmes difficiles pour l'informatique et les concepteurs de systèmes. Ce couplage fort fera l'objet de mon travail dans les années à venir sous la bannière des systèmes de musique Cyber-physique. Le couplage entre la machine d'écoute et des langages temps réel nécessite d'augmenter les approches actuelles avec des modèles formels de temps, dépassant les approches fonctionnelles qui dominent pour développer une formalisation des exigences de réaction et d'exécution. Il faudra en conséquence repenser nos méthodes usuelles de traitement audio multiforme et leurs modèles de calculs sous-jacents en ce qui concerne le temps.
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Schröder, Anna Marie. "Unboxing The Algorithm : Understandability And Algorithmic Experience In Intelligent Music Recommendation Systems." Thesis, Malmö universitet, Institutionen för konst, kultur och kommunikation (K3), 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-43841.
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After decades of black-boxing the existence of algorithms in technologies of daily need, users lack confidence in handling them. This thesis study investigates the use situation of intelligent music recommendation systems and explores how understandability as a principle drawn from sociology, design, and computing can enhance the algorithmic experience. In a Research-Through-Design approach, the project conducted focus user sessions and an expert interview to explore first-hand insights. The analysis showed that users had limited mental models so far but brought curiosity to learn. Explorative prototyping revealed that explanations could improve the algorithmic experience in music recommendation systems. Users could comprehend information the best when it was easy to access and digest, directly related to user behavior, and gave control to correct the algorithm. Concluding, trusting users with more transparent handling of algorithmic workings might make authentic recommendations from intelligent systems applicable in the long run.
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Clench, Renate. "Howard Gardner's multiple intelligences theory, outcomes-based education and curriculum implementation in South Africa : a critique of music education in the general education and training phase." Thesis, Nelson Mandela Metropolitan University, 2010. http://hdl.handle.net/10948/1218.
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This study examines the current curriculum for primary schools in South Africa – Curriculum 2005 (C2005) and the subsequent Revised National Curriculum Statement (RNCS), with Outcomes-Based Education (OBE) as its fundamental educational approach - with specific reference to the place of music education in it. While the underlying principles and scope of this curriculum has many positive attributes, numerous studies have shown that there are still major stumbling blocks in the way of its successful implementation. Since the emphasis of the Arts and Culture Learning Area is on the nurturing of generic values and attitudes towards culture, it does not provide for sufficient development of subject-specific musical skills and knowledge. Instead this vital form of musical learning continues to be provided in the form of extra-curricular music programmes by those few schools who have the staff expertise and the funding to do so. Music therefore remains accessible only to the privileged few. .Although C2005 encourages and requires significant levels of integration in Learning Outcomes and Assessment Standards within and across Learning Areas, this is currently one of the least successful aspects of its implementation. This lack of success, it is argued, is in part the result of severe limitations in the training of teachers and the availability of necessary resources in schools, and in part the result of the curriculum’s own limited interpretation of integration. Psychologist Dr Howard Gardner’s Theory of Multiple Intelligences is a holistic approach to education that stresses, amongst other things, that Musical Intelligence is one of eight vital forms of intelligence that should be accessible to all children. It is argued that educational approaches based on Gardner’s Multiple Intelligences Theory provide some insights into the integration of Musical Intelligence with other forms of learning that may usefully be applied in C2005.
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Cranmore, Jeff L. "Experiences and Perceptions of Students in Music and Mathematics." Thesis, University of North Texas, 2014. https://digital.library.unt.edu/ark:/67531/metadc500113/.
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Since the time of Pythagoras, philosophers, educators, and researchers have theorized that connections exist between music and mathematics. While there is little doubt that engaging in musical or mathematical activities stimulates brain activity at high levels and that increased student involvement fosters a greater learning environment, several questions remain to determine if musical stimulation actually improves mathematic performance. This study took a qualitative approach that allowed 24 high school students to express their direct experiences with music and mathematics, as well as their perceptions of how the two fields are related. Participants were divided into four equal groups based on school music participation and level of mathematic achievement, as determined by their performance on the Texas Assessment of Knowledge and Skills (TAKS). Students participated in a series of three interviews addressing their experiences in both music and mathematics, and took the Multiple Intelligences Developmental Assessment Scales (MIDAS). TAKS data and MIDAS information were triangulated with interview findings. Using a multiple intelligence lens, this study addressed the following questions: (a) How do students perceive themselves as musicians and mathematicians? (b) What experiences do students have in the fields of music and mathematics? (c) Where do students perceive themselves continuing in the fields of music and mathematics? and (d) How do students perceive the fields of music and mathematics relating to each other? Contrary to most existing literature, the students who perceived a connection between the two fields saw mathematics driving a deeper understanding of the musical element of rhythm. Not surprisingly, students with rich backgrounds in music and mathematics had a higher perception of the importance of those fields. Further, it became readily apparent that test data often played a minimal role in shaping student perceptions of themselves in the field of mathematics. Finally, it became apparent from listening to the experiences of high school students, there are many growth areas for schools in order to meet the needs of their students.
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Antoine, Aurélien. "An investigation into the use of artificial intelligence techniques for the analysis and control of instrumental timbre and timbral combinations." Thesis, University of Plymouth, 2018. http://hdl.handle.net/10026.1/11959.
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Researchers have investigated harnessing computers as a tool to aid in the composition of music for over 70 years. In major part, such research has focused on creating algorithms to work with pitches and rhythm, which has resulted in a selection of sophisticated systems. Although the musical possibilities of these systems are vast, they are not directly considering another important characteristic of sound. Timbre can be defined as all the sound attributes, except pitch, loudness and duration, which allow us to distinguish and recognize that two sounds are dissimilar. This feature plays an essential role in combining instruments as it involves mixing instrumental properties to create unique textures conveying specific sonic qualities. Within this thesis, we explore harnessing techniques for the analysis and control of instrumental timbre and timbral combinations. This thesis begins with investigating the link between musical timbre, auditory perception and psychoacoustics for sounds emerging from instrument mixtures. It resulted in choosing to use verbal descriptors of timbral qualities to represent auditory perception of instrument combination sounds. Therefore, this thesis reports on the developments of methods and tools designed to automatically retrieve and identify perceptual qualities of timbre within audio files, using specific musical acoustic features and artificial intelligence algorithms. Different perceptual experiments have been conducted to evaluate the correlation between selected acoustics cues and humans' perception. Results of these evaluations confirmed the potential and suitability of the presented approaches. Finally, these developments have helped to design a perceptually-orientated generative system harnessing aspects of artificial intelligence to combine sampled instrument notes. The findings of this exploration demonstrate that an artificial intelligence approach can help to harness the perceptual aspect of instrumental timbre and timbral combinations. This investigation suggests that established methods of measuring timbral qualities, based on a diverse selection of sounds, also work for sounds created by combining instrument notes. The development of tools designed to automatically retrieve and identify perceptual qualities of timbre also helped in designing a comparative scale that goes towards standardising metrics for comparing timbral attributes. Finally, this research demonstrates that perceptual characteristics of timbral qualities, using verbal descriptors as a representation, can be implemented in an intelligent computing system designed to combine sampled instrument notes conveying specific perceptual qualities.
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Pun, James Chi-Him. "Gesture recognition with application in music arrangement." Diss., University of Pretoria, 2006. http://upetd.up.ac.za/thesis/available/etd-11052007-171910/.
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Chi, Catherine Kai-ling. "Building an ideal high school instrumental ensemble program in Taiwan : based on the theory of multiple intelligences and Ithaca High School Band Program from 1955 to 1967 directed by Frank Battisti /." Thesis, Connect to this title online; UW restricted, 2005. http://hdl.handle.net/1773/11411.
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Elovsson, Andréa, and Karolina Linse. "Artificiell inteligense & Musikskapande organisationer : - En kvalitativ studie om förändring i samband med ny teknik." Thesis, Linnéuniversitetet, Institutionen för organisation och entreprenörskap (OE), 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-80044.
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Abstrakt Författare:Karolina Linse & Andréa Elovsson Handledare:Jasmina Beharic Examinator:Hans Wessblad Titel: Artificiell intelligens & Musikskapande organisationer Bakgrund och problemredogörelse: Digitaliserings utveckling och förändring då artificiell intelligens kan bli en del av den musikskapande processen, och påverka musikskapande organisationer. Syfte: Syftet för studien är att kartlägga organisationsförändring inom ämnet musikskapande i relation till ny teknik.Målet blir därmed att visa på vilka sätt en sådan förändring kan påverka och just nu påverkar berörda organisationer Metod: Studien har haft ett induktivt ställningstagande och kvalitativa intervjuer har genomförts för att sedan analysa det insamlade empiriska materialet, för att kartlägga mönster av förändring i de musikskapande organisationerna. Slutsats: Studien kartlade att artificiell intelligens förändrar musikskapande organisationer som ett nytt musikverktyg för effektivisering. Nyckelord: Artificiell intelligens, AI, Musikskapande organisationer, Digitala revolutionen, Organisationer, Förändring, EffektivitetAbstract Authors:Karolina Linse & Andréa Elovsson Supervisor:Jasmina Beharic Examiner:Hans Wessblad Title: Artificial intelligence & music creating organizations Background and problem statement: The development of digitalization and transformation if artificial intelligence will become part of the music creation process and affect music-creating organizations. Purpose: The purpose of the study is to map the general change that happened when new technology, in correlation with music creation is integrated in a music creating organization. The goal is to see how the change can affect the music creating organizations. Method: The study has had an inductive stance and qualitative interviews have been carried out to then analyze the collected empirical material, to map patterns of change in the music-creating organizations. Conclusion: The study mapped out that artificial intelligence changes music-creating organizations as a new music tool for efficiency. Key words: Artificiell intelligens, AI, Music-creating organizations, The digital revolution, Organizations, Transformation, Efficiency
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Bilous, James Eric. "Concatenative Synthesis for Novel Timbral Creation." DigitalCommons@CalPoly, 2016. https://digitalcommons.calpoly.edu/theses/1597.
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Modern day musicians rely on a variety of instruments for musical expression. Tones produced from electronic instruments have become almost as commonplace as those produced by traditional ones as evidenced by the plethora of artists who can be found composing and performing with nothing more than a personal computer. This desire to embrace technical innovation as a means to augment performance art has created a budding field in computer science that explores the creation and manipulation of sound for artistic purposes. One facet of this new frontier concerns timbral creation, or the development of new sounds with unique characteristics that can be wielded by the musician as a virtual instrument.
This thesis presents Timcat, a software system that can be used to create novel timbres from prerecorded audio. Various techniques for timbral feature extraction from short audio clips, or grains, are evaluated for use in timbral feature spaces. Clustering is performed on feature vectors in these spaces and groupings are recombined using concatenative synthesis techniques in order to form new instrument patches.
The results reveal that interesting timbres can be created using features extracted by both newly developed and existing signal analysis techniques, many common in other fields though not often applied to music audio signals. Several of the features employed also show high accuracy for instrument separation in randomly mixed tracks. Survey results demonstrate positive feedback concerning the timbres created by Timcat from electronic music composers, musicians, and music lovers alike.
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Carter, Jennifer. "An integrative approach to style analysis of folk dance melodies with classification using inductive learning." Thesis, University of Derby, 2004. http://hdl.handle.net/10545/621840.
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This thesis investigates the issue of the application of cognitive analysis techniques for Western art music to folk dance melodies for violin, with a view to enabling the development of a computer tool that can aid in the identification and exploration of the stylistic characteristics of the origin of the melodies. The following questions are addressed: Can cognitive music analysis techniques for Western art music be applied successfully to folk dance melodies for violin? Is it possible to define an integrative analysis approach in this context drawing from existing approaches? To what extent can decision tree induction aid in the classification and interpretation of the analysis results? How might the musical data for analysis be represented on computer? What is the best approach to program development for an automated music analysis tool in this context? A series of experiments using samples of American and Irish melodies are presented that verify the use, in this context, of the cognitive analysis approaches of Lerdahl and lackendoff and Narmour. Statistical approaches have also been investigated, since research has shown that such methods can reflect the way in which listeners mentally organise the music that they hear. To enable the analysis to be carried out in an algorithmic way, an experiment using human subjects to further the work of Lerdahl and lackendoff was required. An integrative analysis approach has been identified that can be carried out in an algorithmic way therefore lending itself to future implementation on computer. In order to interpret the results of the analysis process, a decision tree induction tool (SeeS) based on Quinlan's CS algorithm was employed. SeeS was able to classify the melodies based on the attributes derived from the analysis. The decision trees and rules derived by the tool enabled the identification of features of the melodies that pertain to their origins, thus enabling a deeper understanding of the stylistic variations of the melodies. A further experiment indicated that the cognitive analysis approaches and subsequent classification with SeeS compares favourably with the classification abilities of human subjects after a small amount of training in the musical context. Further inductive learning techniques (decision tree induction using Friedman's CART, and neural networks) have been applied to the problem of classification andinterpretation of the analysis results, and although the neural network classified the musical samples with greater accuracy (illustrated using ROC analysis), decision tree induction has been shown to be a more appropriate method in this context. Approaches to music representation and subsequent program development have been investigated, reSUlting in a proposal for future computer implementation of a music analysis tool using the Humdrum toolkit as a means of representation, and a declarative language for the program development.
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Sleep, Jonathan. "Automatic Music Transcription with Convolutional Neural Networks using Intuitive Filter Shapes." DigitalCommons@CalPoly, 2017. https://digitalcommons.calpoly.edu/theses/1803.
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This thesis explores the challenge of automatic music transcription with a combination of digital signal processing and machine learning methods. Automatic music transcription is important for musicians who can't do it themselves or find it tedious. We start with an existing model, designed by Sigtia, Benetos and Dixon, and develop it in a number of original ways. We find that by using convolutional neural networks with filter shapes more tailored for spectrogram data, we see better and faster transcription results when evaluating the new model on a dataset of classical piano music. We also find that employing better practices shows improved results. Finally, we open-source our test bed for pre-processing, training, and testing the models to assist in future research.
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Baboni, Schilingi Jacopo. "La musique hyper-systémique." Paris 8, 2010. http://www.theses.fr/2010PA084172.
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La recherche que nous présentons porte sur la systémique en musique, sur ses applications à travers les plus récents systèmes génératifs, et sur la définition d'une nouvelle théorie, capable d'intégrer les études les plus récentes dans le domaine de l'interaction homme/machine, en ce qui concerne l'écriture musicale. Plus précisément, elle étudie le rapport entre formalisation des règles et libre choix à l'intérieur d'un système donné, et elle repose sur la création de certains logiciels qui permettent l'application et la démonstration concrète des conclusions théoriques auxquelles nous sommes parvenu. La thèse sur travaux que nous soumettons s'articule en quatre typologies différentes de docmuent. I – Un texte de théories fondamentales, dans lequel nous exposons une étude sociologique, anthropologique et systémique de la musique écrite aujourd'hui, ainsi qu'une nouvelle théorie pour la composition musicale. II – Quatre articles publiés dans différentes revues spécialisées, qui explicitent de façon détaillée certaines problématiques inhérentes à l'informatique musicale. III – Trois outils logiciels nécessaires pour la démonstration algorithmique et pratique des hypothèses soulevées. IV – Quatre compositions musicales à titre d'exemples de notre travail concret dans le domaine de la création artistiqueThe research we are presenting is about systemic in music, its applications through the more recent generative systems, and the definition of a new theory, able to include the more recent studies in the field of human/machine interaction, touching the writing of music. Specifically, it studies the relation between formalization of rules and free choice inside of a given system, and it is based on the development of some softwares allowing an application and a concrete demonstration of the theoretical conclusions we were able to reach. The thesis itself is articulated into four different typologies of documents : I – A text of fundamental theories, in which we expose a sociological, anthropological and systemic study of today's written music, together with a new theory for musical composition. II – Four articles published within different specialized reviews, which explains in detail some problematics inherent to computer music. III – Three software tools necessary for the algorithmic and practical demonstration of our hypotheses. IV – Four musical compositions, as examples of our concrete work in the field of artistic creation
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Casini, Luca. "Automatic Music Generation Using Variational Autoencoders." Master's thesis, Alma Mater Studiorum - Università di Bologna, 2018. http://amslaurea.unibo.it/16137/.
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The aim of the thesis is the design and evaluation of a generative model based on deep learning for creating symbolic music. Music, and art in general, pose interesting problems from a machine learning standpoint as they have structure and coherence both locally and globally and also have semantic content that goes beyond the mere structural problems.
Working on challenges like those can give insight on other problems in the machine learning world. Historically algorithmic music generation focused on structure and was achieved through the use of Markov models or by defining, often manually, a set of strict rules to be followed. In recent years the availability of large amounts of data and cheap computational power led to the resurgence of Artificial Neural Networks (ANN). Deep Learning is machine learning based on ANN with many stacked layers and is improving state of the art in many fields, including generative models.
This thesis focuses on Variational Autoencoders(VAE), a type of neural network where the input is mapped to a lower-dimensional code that is fit to a Gaussian distribution and then tries to reconstruct it minimizing the error. The distribution can be easily sampled allowing to generate and interpolate data in the latent space. Autoencoders can use any type of network to encode and decode the input, we will use Convolutional Neural Network (CNN) and Recurrent Neural Netowrks (RNN).
Since the quality of music and art in general is deeply subjective and what seems pleasing to one may not be for another we will try to determine the “best” model by conducting a survey and asking the participants to rate their enjoyment of music and whether or not they think each sample to be composed by a human or AI.
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Tang, Jie 'Victoria'. "Seeking Sustainability: An Exploration of the Determinants of Revenue Growth and Digital and Streaming Revenue Shares in the Recorded Music Business Across Countries." Scholarship @ Claremont, 2017. http://scholarship.claremont.edu/cmc_theses/1706.
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The recorded music industry experienced declining revenue from 1998 to 2014, but it saw a return to growth in 2015. This thesis uses a sample of 17 countries to explore the determinants behind this revenue expansion, and to assess whether this sales growth can be sustained. I examine the impact of eight factors on the overall, physical, digital, and streaming music revenue and revenue per capita, as well as the digital and streaming revenue share. The eight independent variables include the GNI per capita, the total population, the percentage of the young people, the percentage of the young females, the gross enrollment rate in secondary education, the percentage of Internet users, the percentage of mobile cellular subscriptions, and the percentage of fixed broadband subscriptions. Based on my study, the fixed broadband subscription rate has an impact that is both statistically significant and economically important on the streaming revenue share, which makes it the most important indicator for the industry’s potential sustainable development. The percentage of the young population also shows statistical significance and economic importance for explaining the overall and physical revenue per capita, but it has no effect on the digital and streaming revenue share. Also, although the Internet penetration rate and the mobile cellular subscription rate are statistically insignificant for the digital or streaming revenue share, point estimates suggest that these factors have important economic impacts.
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Feijão, Pedro Cipriano 1975. "Um algoritmo de criação de improvisos com harmonia de jazz." [s.n.], 2004. http://repositorio.unicamp.br/jspui/handle/REPOSIP/259104.
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Orientador: Furio DamianiDissertação (mestrado) - Universidade Estadual de Campinas, Faculdade de Engenharia Elétrica e de Computação
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Resumo: Um levantamento detalhado dos trabalhos em composição computacional será apresentado. Um algoritmo de composição e performance em tempo real de solos de jazz foi criado, inspirado no estilo bebop. Técnicas utilizadas por músicos de bebop durante os seus improvisos foram implementadas usando-se várias regras. Um novo modelo estocástico, baseado no raciocínio de um músico durante o seu solo, escolhe a saída do algoritmo. O usuário pode avaliar a saída do algoritmo em tempo-real, e isto será utilizado em um processo de aprendizado supervisionado para modificar os parâmetros do modelo estocástico. Algumas amostras de saídas do algoritmo serão mostradas, junto com as conclusões
Abstract: An extensive review of the most prominent works in the field of computer music is presented. A real-time algorithm for composition and performance of jazz solos in the style of bebop was created. Techniques that bebop musicians use on their solos were implemented using several rules. A new stochastic model, inspired by the thinking of a musician during his solo chooses the algorithm output. The user evaluates the algorithm output in real-time, and this input is used in a supervised learning process to change the stochastic model parameters. Samplings of the algorithm output are shown, along with concluding remarks
Mestrado
Eletrônica, Microeletrônica e Optoeletrônica
Mestre em Engenharia Elétrica