To see the other types of publications on this topic, follow the link: Musical intervals and scales.
Dissertations / Theses on the topic 'Musical intervals and scales'
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the top 33 dissertations / theses for your research on the topic 'Musical intervals and scales.'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Browse dissertations / theses on a wide variety of disciplines and organise your bibliography correctly.
1
McGeough, Carol Sigrid Westdal. "Absolute pitch and the perception of sequential musical intervals." Thesis, University of British Columbia, 1987. http://hdl.handle.net/2429/26449.
Full textAbstract:
The perception of musical intervals by musicians can be envisaged
as being accomplished in one of two ways. Most musicians appear to have only one method for identifying musical intervals: they directly evaluate the musical interval between two notes. Musicians with absolute pitch (AP) appear to have two methods available for identifying intervals: they can either directly evaluate the musical interval, or they can first identify the two pitches, and then infer the musical interval between them. This study investigated the perception of sequential musical intervals by two groups of musicians, one group with AP and the other without
AP. In the first of four experiments, most subjects in both groups were able to name accurately standard sequential musical intervals based on the equal-tempered scale. In the second experiment, most subjects in the AP group were able accurately and consistently to name notes of the equal-tempered scale, whereas subjects without AP were not able to name them consistently or accurately. In the third experiment, subjects with AP identified, with varying degrees of accuracy and consistency, single notes spaced in 20-cent increments over a 9.4 semitone range, using the standard musical note names. This experiment also demonstrated that not all subjects had the same internal pitch reference. In the final and major experiment, subjects identified sequential musical intervals ranging in 20-cent steps from 260 to 540 cents, using the standard musical interval names. Subjects, both with and without AP, appeared to identify the intervals by directly evaluating the musical interval between the two notes, rather than first identifying the two pitches and then inferring the musical interval. One subject in the AP group showed a strong tendency to use the latter method, but only in certain contexts, the reason for which remains unexplained. Although more research is needed for stronger conclusions to be drawn, it appears that most musicians with AP do not use this ability in the identification of sequential musical intervals, relying instead on their sense of relative pitch.Medicine, Faculty of
Audiology and Speech Sciences, School of
Graduate
2
Klein, Rolf. "Die Intervallehre in der deutschen Musiktheorie des 16. Jahrhunderts." Regensburg : G. Bosse, 1989. http://books.google.com/books?id=IkxGAAAAMAAJ.
Full text
3
Ng, Kwok Wai. "The modes of tōgaku from Tang-period China to modern Japan : focusing on the ōshikichō, banshikichō and hyōjō modal categories." Thesis, Department of Music, 2007. http://hdl.handle.net/2123/8716.
Full text
4
Bernal, Leonardo Camacho. "Miles Davis the road to modal jazz /." connect to online resource, 2007. http://digital.library.unt.edu/permalink/meta-dc-3693.
Full text
5
Derfler, Brandon Joel. "Single-voice transformations : a model for parsimonious voice leading /." Thesis, Connect to this title online; UW restricted, 2007. http://hdl.handle.net/1773/11418.
Full text
6
Gerhardt, Kris. "The tritone paradox : an experimental and statistical analysis /." *McMaster only, 2002.
Find full text
7
Frasch, Cheryl Crawford. "Notation as a guide to modality in the Offertories of Paris, B.N., Lat. 903 /." The Ohio State University, 1985. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487265143145199.
Full text
8
Berens, Melody Sue. "Limitations on contextual assistance for relative-temporal-duration-judgment." Diss., Online access via UMI:, 2004. http://wwwlib.umi.com/dissertations/fullcit/3150496.
Full text
9
Vail, Kimberly Gail. "Musical Priming and Operant Selection." Thesis, University of North Texas, 2017. https://digital.library.unt.edu/ark:/67531/metadc1062812/.
Full textAbstract:
Language is a cultural construct, and the relationship between words is taught. Priming research has long investigated the relationship between related and unrelated words. Similar research has been seen in music relationships, but most of these investigate harmonic relations despite the melodic relationship being the one listeners are mostly likely to describe. Further, these studies typically measure existing relationships and do not attempt to teach a new relationship, nothing that most adults are experienced musical listeners. This study seeks to establish a new melodic relationship (the enigmatic Scale) in addition to a familiar one (the major Scale) while measuring response time to the musical sequences. A baseline was conducted in which participants listened to a musical sequence and selected via response box if the final note is consonant (major Scale) or dissonant (enigmatic Scale). Following baseline a training section occurred in which participants heard sequences ranging from 2-7 notes and were provided feedback for correct and incorrect responses. Following completion of the training participants completed a post-test identical to baseline. Behavioral results are discussed in relation to Palmer's (2009) concept of the repertoire.
10
Hyouck, Jin Kwon. "Modio : interactive sound visualization /." Electronic version of thesis, 2006. https://ritdml.rit.edu/dspace/handle/1850/2684.
Full text
11
Waggoner, Dori T. "Row construction and accompaniment in Luigi Dallapiccola's Il Prigioniero." Diss., Columbia, Mo. : University of Missouri-Columbia, 2007. http://hdl.handle.net/10355/4957.
Full textAbstract:
Thesis (M.M.)--University of Missouri-Columbia, 2007.The entire dissertation/thesis text is included in the research.pdf file; the official abstract appears in the short.pdf file (which also appears in the research.pdf); a non-technical general description, or public abstract, appears in the public.pdf file. Title from title screen of research.pdf file (viewed on April 4, 2008) Includes bibliographical references.
12
Tung, Anne An-Yi Lin. "A Study Of Lu-Pitch Name Signification: A Translation with Commentary." Thesis, North Texas State University, 1986. https://digital.library.unt.edu/ark:/67531/metadc500549/.
Full textAbstract:
The purpose of this thesis is to provide translation of documents on lu from two primary sources for a study of the theory of ,lu, with the main focus on the interpretation and the signification attached to each of the twelve lu-pitch names. To establish the background information of the lu-10 system, an explanation of its acoustical properties is first presented. Based on the most important and widely used tonal system in ancient China -- the san-fen-sun-i system, the illustration is provided for the process of tone generation. Methods proposed by the main theorists who engaged in the discussion of the system of lu are presented. The introduction of the concept of yin and yang in reference to the twelve lu and the signification of the lu-lu system in relation to the human and natural world will also be discussed. The main body of this study is devoted to the translation of written references on the meaning of the twelve lu. The first part is the translation of the selected passages from The Anthology of the Historical Document of Ancient Chinese Music. edited by Tsai-Ping Liang; the second part is the translation of a modern exegesis from an article written by Deh-I Liu. This translation offers a perspective to understand the concept of l-pitch names from the ancient points of view in relation to philosophy, education, religion, and science.
13
Burt, Warren. "Algorithms, microtonality, performance eleven musical compositions /." Access electronically, 2007. http://www.library.uow.edu.au/adt-NWU/public/adt-NWU20080131.162859/index.html.
Full textAbstract:
Thesis (Ph.D.)--University of Wollongong, 2007.Typescript. Includes 2 sound discs and 1 DVD-ROM in back pocket. CD 1: The animation of lists; CD 2: And the archytan transpositions. DVD-ROM contains Part Three - Appendix. Includes bibliographical references: leaf 291-301.
14
Woodruff, Lawrence Theodore. "The Missae De Beata Virgine C. 1500-1520: A Study of Transformation From Monophonic to Polyphonic Modality." Thesis, North Texas State University, 1986. https://digital.library.unt.edu/ark:/67531/metadc331202/.
Full textAbstract:
While musical sources and documents from throughout the Middle Ages reveal that mode was an enduring and consciously derived trait of monophonic chant, modality in later polyphony shares neither the historical span nor the theoretical clarity of its monophonic counterpart. Modern theorists are left with little more than circumstantial evidence of the early development of modality in polyphony. This study attempts to shed light on the problem by detailed analysis of a select body of paraphrase masses from the early sixteenth century. First, it correlates the correspondence between the paraphrased voice and the original chant, establishing points of observation that become the basis of melodic analysis. Then, these points are correlated with known rules of counterpoint. Exceptions are identified and examined for their potential to place emphasis on individual mode-defining pitches. A set of tools is derived for quantifying the relative strength of cadential actions. Levels of cadence are defined, ranging from full, structural cadences to surfacelevel accentuations of individual pitches by sixth-to-octave dyadic motions. These cadence levels are traced through the Missae de beata virqine repertoire from c. 1500-1520, a repertoire that includes masses of Josquin, Brumel, La Rue, Isaac, and Rener. While the Credos, based on two chant sources—one early (11th century) and one later (15th century)—showed little modal consistency, the Kyries show some suggestion of purposeful modal expression; and the Glorias show even greater implications. Results of the study have potential application in sixteenth-century music scholarship to such important issues as musica ficta, performance practice, text underlay, and form.
15
Smit, Konrad van Zyl. "Applying the phi ratio in designing a musical scale." Thesis, Stellenbosch : University of Stellenbosch, 2005. http://hdl.handle.net/10019.1/2989.
Full textAbstract:
Thesis (MMus (Music))--University of Stellenbosch, 2005.In this thesis, an attempt is made to create an aesthetically pleasing musical scale based on the ratio of phi. Precedents for the application of phi in aesthetic fields exist; noteworthy is Le Corbusier’s architectural works, the measurements of which are based on phi. A brief discussion of the unique mathematical properties of phi is given, followed by a discussion of the manifestations of phi in the physical ratios as they appear in animal and plant life. Specific scales which have found an application in art music are discussed, and the properties to which their success is attributable are identified. Consequently, during the design of the phi scale, these characteristics are incorporated. The design of the phi scale is facilitated by the use of the most sophisticated modern computer software in the field of psychacoustics. During the scale’s design process, particular emphasis is placed on the requirement of obtaining maximal sensory consonance. For this reason, an in-depth discussion of the theories regarding consonance perception is undertaken. During this discussion, the reader’s attention is drawn to the difference between musical and perceptual consonance, and a discussion of the developmental history of musical consonance is given. Lastly, the scale is tested to see whether it complies with the requirements for successful scales.
16
Camacho, Bernal Leonardo. "Miles Davis: The Road to Modal Jazz." Thesis, University of North Texas, 2007. https://digital.library.unt.edu/ark:/67531/metadc3693/.
Full textAbstract:
The fact that Davis changed his mind radically several times throughout his life appeals to the curiosity. This thesis considers what could be one of the most important and definitive changes: the change from hard bop to modal jazz. This shift, although gradual, is best represented by and culminates in Kind of Blue, the first Davis album based on modal style, marking a clear break from hard bop. This thesis explores the motivations and reasons behind the change, and attempt to explain why it came about. The purpose of the study is to discover the reasons for the change itself as well as the reasons for the direction of the change: Why change and why modal music?
17
Parker, Mark M. (Mark Mason). "Transposition and the Transposed Modes in Late-Baroque France." Thesis, University of North Texas, 1988. https://digital.library.unt.edu/ark:/67531/metadc331880/.
Full textAbstract:
The purpose of the study is the investigation of the topics of transposition and the transposed major and minor modes as discussed principally by selected French authors of the final twenty years of the seventeenth century and the first three decades of the eighteenth. The sources are relatively varied and include manuals for singers and instrumentalists, dictionaries, independent essays, and tracts which were published in scholarly journals; special emphasis is placed on the observation and attempted explanation of both irregular signatures and the signatures of the minor modes. The paper concerns the following areas: definitions and related concepts, methods for singers and Instrumentalists, and signatures for the tones which were identified by the authors. The topics are interdependent, for the signatures both effected transposition and indicated written-out transpositions. The late Baroque was characterized by much diversity with regard to definitions of the natural and transposed modes. At the close of the seventeenth century, two concurrent and yet diverse notions were in evidence: the most widespread associated "natural" with inclusion within the gamme; that is, the criterion for naturalness was total diatonic pitch content, as specified by the signature. When the scale was reduced from two columns to a single one, its total pitch content was diminished, and consequently the number of the natural modes found within the gamme was reduced. An apparently less popular view narrowed the focus of "natural tone" to a single diatonic pitch, the final of the tone or mode. A number of factors contributed to the disappearance of the long-held distinction between natural and transposed tones: the linking of the notion of "transposed" with the temperament, the establishment of two types of signatures for the minor tones (for tones with sharps and flats, respectively), the transition from a two-column scale to a single-column one, and the recognition of a unified system of major and minor keys.
18
Nese, Mattia <1990>. "Musical tension in harmonic intervals: behavioral and neural correlates." Doctoral thesis, Alma Mater Studiorum - Università di Bologna, 2021. http://amsdottorato.unibo.it/9635/1/PhD_Thesis_Mattia_Nese_AMS.pdf.
Full textAbstract:
Musical tension is what drives our emotional experience in music listening. However, the specific role of the musical elements involved in tension-resolution perception remains largely unclear. This dissertation aims to advance the understanding of tension perception dynamics related to sensory consonance-dissonance.
The first experiment aimed to design and validate a new crossmodal proprioceptive device for tension rating that overcomes some of the limitations of known tools. As a result, a psychophysical equation for the matching of physical force and psychological force was presented.
The same tool was subsequently used in the second and third experiments to collect ratings of perceived tension and movement in harmonic musical intervals and standard noises. Besides, a visual analog scale (VAS) was used to allow a comparison of these two methods. The results confirmed the close relationship between sensory dissonance and perceived tension. Moreover, stimuli in the higher pitch register were perceived as more tense, confirming the primary role of pitch as a mediator of tension. The comparison between ratings obtained with the proprioceptive device and the VAS highlighted the tendency to give higher tension ratings using the VAS compared to the proprioceptive device.
In the last experiment, brain electrical activity was recorded during the presentation of short tension-resolution patterns created using the most tense (perfect unison, fourth, and fifth) and the least tense harmonic intervals (augmented fourth, minor second, and inverted major seventh) to understand how consonance-dissonance can convey meaningful information on perceived tension-resolution. Results showed overall larger effects during the ‘resolution’ condition compare to the ‘tension induction’ condition, indicating that the resolution of harmonic instability towards a state of stability may be more salient than its opposite. A late positive component (LPC) was elicited, possibly reflecting deeper processing of tension-related meaning within a minimal harmonic context.
19
Lehmann, Kennett. "Tonal unity and quality of motion : a Schenkerian study /." Thesis, Connect to this title online; UW restricted, 1998. http://hdl.handle.net/1773/11433.
Full text
20
Rose, Bernard N. (Bernard Norman). "The Effect of Rhythm on Melodic Expectancy." Thesis, North Texas State University, 1985. https://digital.library.unt.edu/ark:/67531/metadc332020/.
Full textAbstract:
The present study sought to confirm melodic expectancy patterns discovered in a previous investigation and to determine whether data would be affected by altering the rhythmic condition of the stimuli. The three problems of this investigation were to study expectancies generated by two-note stimulus intervals of equal duration; the expectancies generated by stimulus intervals presented with a long-short rhythm; and the expectancies generated by stimulus intervals presented with a short-long rhythm. Fifty subjects were asked to sing what they believed would be the natural continuation of the melody begun by a two-note stimulus interval. The stimulus intervals were grouped in rhythmic sets, one set of neutral-rhythm stimuli, one set of long-short stimuli, and one set of short-long stimuli. The interval from the second note of the stimulus interval to the first sung note was transcribed as the generated expectancy response interval. The data were examined in two basic ways, using response data as a whole and examining data for each stimulus interval separately. A third method of data evaluation concerned harmonic triads occurring in the response data. Both when considering response frequency as a whole, and when considering response data separately for each melodic beginning, no significant difference associated with rhythmic condition could be found. Smaller response intervals were generated much more often than large intervals. Some stimulus intervals, notably the major second ascending, were observed to be much more powerful generators than others. It was concluded from these results that in response to two-note stimulus intervals melodic expectancy can clearly be shown to operate, confirming the results of an earlier study, but that no effect of rhythm on melodic expectancy can be shown to operate.
21
Carrasqueira, Antonio Carlos Moraes Dias. "Estudos criativos para o desenvolvimento harmônico do instrumentista melódico: uma contribuição para a formação do músico." Universidade de São Paulo, 2011. http://www.teses.usp.br/teses/disponiveis/27/27158/tde-12032013-165946/.
Full textAbstract:
Esta tese trata da formação do flautista e de outros instrumentistas melódicos - de sopro, e de cordas não dedilhadas. Ilustrada com exercícios, prelúdios e estudos, consiste basicamente em uma metodologia de ensino que visa não somente ao desenvolvimento técnico-instrumental, mas também ao pleno entendimento da linguagem musical e ao desenvolvimento da consciência harmônica. Para isso, propõe uma forma de estudo baseada na criação de conteúdo, e não na repetição de padrões preestabelecidos.This thesis is about the teaching of the flute and others melodic instruments - namely winds and strings. Illustrated with studies and etudes, it consists basically of a methodology that seeks not only technical development on the instrument, but also the complete understanding of the musical language and the development of harmonic awareness. With this aim, it proposes a way of practicing based on creativity, improvisation and composition, instead of the repetition of established patterns.
22
Satterthwaite, Gregory. "Beyond Fourths and Pentatonics: A Critical Analysis of Selected Recordings of McCoy Tyner from 1962 to 1963." Thesis, University of North Texas, 2020. https://digital.library.unt.edu/ark:/67531/metadc1703303/.
Full textAbstract:
In this paper, I explore the early musical language of McCoy Tyner. Today, Tyner is recognized mostly for his use of quartal harmony and pentatonic scales despite having made recordings in his early career that reflect a more mainstream approach. In an effort to expand how Tyner is represented, I argue that Tyner's early style was characterized by a graceful balance of tradition and innovation, a masterful blend of bebop syntax with pentatonic melodies and quartal harmonies. The recordings that I analyze and discuss are: "Effendi," "Cousin Mary," and "Newport Romp." I transcribed and analyzed selected portions of these recordings in order to better understand his early musical language as a soloist from 1962 to 1963. A portion of this paper is focused on the early reception of Tyner, which acknowledged him as an accomplished mainstream player with a firm grasp of the jazz tradition. Ultimately, my analysis shows that Tyner's early style was a balance of tradition and innovation, incorporating bebop syntax, pentatonic melodies, and quartal harmonies.
23
Lidji, Pascale. "Musique et langage : spécificités, interactions et associations spatiales." Thèse, Universite Libre de Bruxelles, 2008. http://hdl.handle.net/1866/6347.
Full text
24
Hoffman, Justin. "Listening with Two Ears: Conflicting Perceptions of Space in Tonal Music." Thesis, 2011. https://doi.org/10.7916/D8HT2WBZ.
Full textAbstract:
The Tonnetz is a spatial model of tonal pitch, constructed by placing fifths along the horizontal axis of a coordinate plane and thirds along the vertical axis. This dissertation examines the ways in which different conceptions of interval, including just-intonation ratios, diatonic scalar intervals, and pitch-class intervals, result in different Tonnetz geometries, representing different, and sometimes conflicting, modes of musical perception, and argues for treating conflicts between these often unexamined conceptions of interval as an explicit part of musical analysis. Chapter One considers relationships between a number of Tonnetz spaces, as well as the groups of intervals they model, using harmonic function theory. Chapter Two examines ways in which pitches may project multiple functions in Tonnetz spaces and uses these spaces to model some aspects of the harmonic theory of Jean-Philippe Rameau. Chapter Three considers the ways in which neo-Riemannian transformations, as ways of relating triads and seventh chords to one another, might be associated with changes of harmonic function in different Tonnetz spaces, and culminates in an analysis of Chopin's E Minor Prelude. Chapter Four explores primary triads with chromatically altered roots and fifths and, in this context, analyzes an unusual modulation from A-flat major to E major in Hugo Wolf's song "An den Schlaf." Finally, Chapter Five considers harmonic function in nontriadic music, examining the beginning of the final movement of Bartók's Fourth String Quartet.
25
Miller, Daniel Warden. "Sonic obscurity : six episodes varied approaches to modal composition /." 2008. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&res_dat=xri:pqdiss&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&rft_dat=xri:pqdiss:MR38851.
Full textAbstract:
Thesis (M.A.)--York University, 2008. Graduate Programme in Music.Typescript. Includes bibliographical references. Also available on the Internet. MODE OF ACCESS via web browser by entering the following URL: http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&res_dat=xri:pqdiss&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&rft_dat=xri:pqdiss:MR38851
26
Wagner, Samantha J. "A new perspective on David Lewin's interval function : the symmetrical IFUNC array." 2012. http://liblink.bsu.edu/uhtbin/catkey/1671229.
Full textAbstract:
This paper expands on the work of David Lewin, whose seminal work Generalized Musical Intervals and Transformations proposes, among other functions, the interval function or IFUNC. The interval function catalogs the type and number of directed pitchclass intervals between two different pitch-class sets. This paper proposes the concept of the IFUNC array, an ordered sequence of twelve digits representing the IFUNC values for an interval i = 0–11, reading either left to right or clockwise around a circle. It
explores features of the interval function, including symmetry in the IFUNC array, and
includes analysis of several excerpts from Anton Webern’s early atonal works. The paper addresses axes of symmetry, both in pitch-class sets and in interval functions.School of Music
27
Sa'adullah, Farrah. "Investigating the recency effect in intonation drift." Thesis, 2018. http://hdl.handle.net/1959.7/uws:46050.
Full textAbstract:
Intonation drift is a gradual drift out of tune by as much as a semitone that often occurs in unaccompanied choirs. This thesis explores intonation drift from the perspective of two serial position effect mechanisms: the recency interval mechanism and the primacy interval mechanism. The contribution of these two mechanisms to intonation drift is investigated over three experiments. In Experiment 1, it was assumed that intonation judgements of musical intervals in short-term memory would be made via comparison with reference intervals stored in long-term memory. As such, Experiment 1 determined the threshold value for when an interval was perceived to be out of tune. Experiment 2 investigated what might affect pitch error when reproducing a single pitch. Experiment 3 detuned melodies by various amounts as guided by the threshold value found in Experiment 1, in order to investigate if different detune amounts resulted in pitch error differences when reproducing the first note of a melody. Results indicated that the recency interval mechanism contributed to pitch error in addition to the primacy interval mechanism. Additionally, pitch errors in reproducing the first note of a melody appeared to plateau once the detuning was perceivable, and pitch errors were the largest when detuning was not perceivable. The latter finding may explain why pitch drift can be as much as a semitone in intonation drift. This research has implications for choir rehearsal strategies and vocal pedagogy.
28
Yu, Pok Hon Wally. "Schoenberg's transition to atonality (1904-1908): the use of intervallic symmetry and the tonal-atonal relationship in Schoenberg's pre-atonal compositions." Thesis, 2005. http://hdl.handle.net/2152/2376.
Full text
29
Marco, Franco Julio Emilio. "Music creation based on the golden ratio: a theoretical and practical approach to the 34-tone equal-tempered scale." Doctoral thesis, 2020. http://hdl.handle.net/10773/30440.
Full textAbstract:
The sensory phenomena of music perception are considered to be highly
non-linear. The golden ratio plays a key role in nonlinear dynamic systems
and has been recognized as an aesthetic element in many places over time.
This research develops the 34-note equal tempered scale (34-TET). A
microtonal model based on the golden ratio, containing the harmonic musical
intervals, and permitting a consistent approach that embraces the different
temperaments throughout history, as well as other music cultures. These
theoretical properties are practically exposed in two portfolios, including
compositional samples of art music with European roots (from the
Renaissance to the twentieth century), popular music (bossa nova, tango,
swing), maqãm, and Indian music. The second portfolio, created within the
scope of this thesis, contains the artistic work “The Asian Garden” combining
the equal tempered scales of 34 and 12 notes (12-TET), and provides
additional cultural references from China and Japan.
The 34-TET scale offers an overall approach to just intonation scale more
than twice as good as that of 12-TET, with all consonant intervals well below
the differential threshold. If a maximum impurity value was accepted, not
appreciably different from that agreed upon when the equal-tempered 12-
tone scale was standardized (17.65 cents vs. 15.67 cents), then the 34-TET
scale would become, additionally, a useful tool for approaching different
cultures.Os fenómenos sensoriais de perceção musical são considerados substancialmente não lineares. A proporção áurea desempenha um papel fundamental em sistemas dinâmicos não lineares e tem sido reconhecida como um elemento estético em vários contextos ao longo do tempo. Esta investigação desenvolve a escala de 34 notas de temperamento igual (34- TET). Trata-se de um modelo microtonal baseado na proporção áurea, contendo os intervalos harmónicos musicais, e permitindo uma abordagem consistente que abrange os distintos temperamentos ao longo da história, assim como outras culturas musicais. Estas propriedades teóricas estão praticamente expostas em dois portefólios, incluindo exemplos de composição erudita com raízes europeias (desde o Renascimento ao século XX), música popular (bossa nova, tango, swing), maqãm e música indiana. O segundo portefólio contém o trabalho artístico “The Asian Garden,” criado no âmbito desta tese, que combina escalas de temperamento igual de 34 e de 12 notas (12-TET), e fornece referências culturais adicionais da China e Japão. A escala 34-TET oferece uma abordagem global à escala de entonação justa que é mais de duas vezes melhor do que a da escala 12-TET, com todos os intervalos consonantes consideravelmente abaixo do limiar diferencial. Se fosse aceite um valor máximo de impureza não muito diferente do valor acordado quando a escala de 12 tons igualmente temperados foi padronizada (17,65 cents em vez de 15,67 cents), a escala 34-TET tornar-se-ia, adicionalmente, uma ferramenta útil para a aproximação de culturas diferentes.
Programa Doutoral em Música
30
Liu, Chi-sheng, and 劉啟生. "Learning-induced Plasticity in Musical Intervals Discrimination and Perception." Thesis, 2009. http://ndltd.ncl.edu.tw/handle/47124974463911030698.
Full textAbstract:
碩士國立成功大學
資訊工程學系碩博士班
97
Many kinds of consonant sound, including language, melody and pitch interval in daily life give various influences to psychological aspects and brain activity. The research wants to find out the cortical processing of musical consonance and what are the differences with consonance of interval and roughness for participants before and after training. Some studies indicated that cortical processing of musical consonance conforms to consonance of interval for musicians. However, consonant and dissonant simple-tone intervals are related to critical bandwidth (roughness) for non-musicians. Therefore, the perception mechanism could be changed by training. In this study, we want to understand the difference between one day and daily training procedure, so that we designed two training procedure: one day intensive training and consecutive 5 daily training procedures. Participants considered that stimuli without roughness are consonant intervals and stimuli with roughness are dissonant intervals before training. Through training sessions, the performance of hit rate for subjects to reach 80% hit rate almost in post-training in one day training and in 2d and 3d in 5 daily training, and the improvement was significant in consonant stimuli, not in dissonant stimuli. No significant difference in the enhancement of P2 amplitude between subjects who reached 80% hit rate in two different training procedures, and no difference in the initial hit rate between two training procedures. In individuals, no significant difference between normal subjects (80% for all subjects) and exceptions (20% for all subjects) in enhancements of P2 amplitude and no significant difference in behavior test in pre-training. The enhancement of P2 component amplitude seems to be subject dependent, some subjects had higher hit rate after training sessions, but the enhancement of P2 amplitude was lower than others, and vice versa. After training sessions, we observed that the enhancement of P2 component amplitude seems related to the improvement of the percentages of hit rate: the amplitude of P2 evoked by consonant intervals was larger than dissonant intervals. Therefore after training, participants had a stronger positive P2 when consonant intervals were presented than when dissonant intervals were presented. We also found that the positive slow wave component seems more positive in 5 daily training than in one day training, this phenomenon is similar to our previous study, that is, positive slow wave component was found in amateur musicians. The effects of two training procedures are similar: the performance of consonant stimuli can be enhanced significantly. One day training had few training days and training sessions than 5 daily training procedure, but the positive slow wave component occurred in consecutive daily training. Hence, we suggest that through one day intensive training, the training effects could be significant, but if you want to prone to be musicians, the daily training procedure is more suitable.
31
Hearne, Lillian M. "The cognition of harmonic tonality in microtonal scales." Thesis, 2020. http://hdl.handle.net/1959.7/uws:58606.
Full textAbstract:
Music is ubiquitous across all human cultures. It is hypothesised that the development of music and of language in human evolution is linked (Wallin et al., 2001), and music, in addition to language, is known to be communicative. One way music – particularly music employing the widely used system of tonality – communicates is through tension and resolution, or stability and instability, where instability is the need to resolve and stability its destination. Most tonal-harmonic music today exists in a Western tuning system and experimental research into the perception of harmonic tonality is conducted almost entirely in 12-TET. This project is the first empirical study of the cognition of harmonic tonality in microtonal scales. Through the employment of novel scales in an unfamiliar tuning system, effects of familiarity are weakened, allowing a more focussed investigation of other effects. Particularly, bottom-up models for the cognition of harmonic tonality are allowed a more careful investigation, providing valuable insight into the cognition of music otherwise beyond reach. This research also provides valuable information for hopeful composers of novel music in shaping their music to elicit a desired response, thus enabling expansion of the palette of possible musical expression. This project utilizes a common experimental paradigm for research into the cognition of tonality: participants are first played context-setting stimuli, after which a probe tone or chord is sounded and they are asked to rate how well the probe tone “fits” the context, or how stable it is given the context. A psychoacoustic feature – spectral pitch class similarity – is used to predict the perceived stability of pitch classes and triads of not only familiar scales (Experiment 1), but unfamiliar (Experiment 2), and novel scales (Experiments 3-5), where models of long-term statistical learning are available only for familiar scales. Through a series of 5 experiments the perceived stability of tones and triads in novel, microtonal scales is predicted, demonstrating the usefulness of our psychoacoustic model.
32
Leung, Yvonne. "From novel to familiar : the learning of pitch intervals and event frequencies in microtonal music systems." Thesis, 2017. http://hdl.handle.net/1959.7/uws:44019.
Full textAbstract:
This PhD project aims to investigate the learning of novel music systems during brief exposures (up to 20 minutes). Specifically, it examined the learning of microtonal pitch systems, including the learning of their pitch interval structure and the frequency of occurrence of each pitch member of the systems. Five experiments have been conducted and the findings are separately submitted to peer-reviewed journals for publication. The submitted manuscripts are provided as individual chapters in this thesis. Experiment 1 and 2 are presented in manuscript (MS) 1, 3 is presented in MS 2, while 4 and 5 are presented in MS 3. Experiments in MS 1 explored the influence of structural similarity on the learning of novel tuning systems. Non-musicians were exposed to microtonal tuning systems that are different from the western tonal system (12-tone equal temperament or 12TET) in terms of temperament (equal or unequal) and pitch intervals (based on frequency ratio(s) or frequency difference). It was hypothesized that systems that are structurally similar to 12TET in terms of temperament and pitch interval definitions (such as 11TET) would be learned more rapidly than those that are dissimilar (such as the 81 primes scale). This hypothesis was supported in part by earlier evidence on the influence of prior musical knowledge on the learnng of unfamiliar music (such as Oram & Cuddy (1995) and Rohrmeier & Widdess (2012)). Participants were tested on their memory of the relative pitches of each tuning system as well as their knowledge of which relative pitches correspond to which tuning system (pitch membership). Results indicate better pitch memory for the tuning system with two frequency ratios (Tuning system: WF) while learning of pitch membership was not found after a brief exposure. Given the findings in MS 1, MS 2 targeted the incidental learning of a microtonal scale that follows a pitch interval structure similar to WF in MS 1, which is unequal tempered with two frequency ratios. This MS extends the data-driven interpretation of MS1 in terms of my overall hypothesis. Thus, a new paradigm is developed and learning of the scale is implied by the level of sensitivity to the incongruent pitch intervals. This paradigm utilises a timbre shift detection task where participants are required to detect a timbre shift in one of the pitches of a microtonal melody. The pitch before the shift is manipulated to be either a member of the scale (congruent), just like the rest of the pitches in the melody, or a pitch from a different musical scale (incongruent). The melodies are arranged such that an incongruent pitch is a statistical cue to an upcoming timbre shift, so that when participants hear an incongruent pitch, they would have high expectation of the imminent shift and therefore respond faster when it comes. However, faster reaction times would only be observed if participants have sufficiently learnt the pitch intervals of the microtonal scale and the relationship between the incongruent pitch and the timbre shift. In other words, a faster reaction time is expected in the condition where an incongruent tone was placed before the timbre shift, than in the condition where the incongruent tone was absent. Non-musicians in MS 2 showed successful learning of both, and this experiment was extended in MS 3 where musicians were tested. Surprisingly, the same results were not observed in musicians who are professionally trained in 12TET only (general musicians) and those who are microtonal music experts (trained in 12TET and also had extensive experience in multiple microtonal tunings). While similar results with those from the non-musicians might be obtained by having a comparative sample of general musicians, the unexpected results among microtonal musicians, ironically, might still be due to their musical experience and practice. MS 3 also interrogated our overall hypothesis further by examining the learning of the frequency of occurrence of pitches of the same microtonal scale (the relative event-frequencies) in non-musicians: a similar approach was previously taken by Loui & Schlaug (2012), who examined the learning of event frequencies of the Bohlen-Pierce scale. The effect of structural similarity was once again investigated by the manipulation of event-frequency of the microtonal scale so as to be similar or dissimilar to the functional hierarchy (difference in usage) of pitches in diatonic music. Participants were exposed to melodies generated based on the similar or dissimilar pattern of event-frequency and goodness-of-fit ratings of pitches of the scale were obtained at random points in the melodies. Results delineate an insignificant effect of structural similarity, since learning was found in both patterns of event-frequency, implied by the positive correlation between the goodness-of-fit rating and the frequency of occurrence of the corresponding pitches, and demonstrated by an analytical model of the results showing the influence of the pitch-class probabilities. This result illustrates the ability to learn event frequencies in a novel musical scale among musically untrained participants. Altogether, the findings in all the experiments indicate that non-musicians can learn aspects of the pitch intervals and event-frequency of an unfamiliar microtonal scale rapidly, and learning is faster when the scale is well-formed and octave-based with two frequency ratios. Inconsistent with predictions, general and microtonal musicians did not show such rapid learning, and how this might relate to the paradigm used is discussed. This project provides informative understanding of how listeners with different musical background and experiences approach and learn a novel music system, which has implications for research in music cognition and perception, traditional and computer music composition, music production, and music performance including improvisation.
33
Pinheiro, Ana Isabel Ferreira. "A ansiedade na performance musical em crianças de iniciação musical : estudo de validação da escala MPAI-A." Master's thesis, 2017. http://hdl.handle.net/10400.14/31777.
Full textAbstract:
O objetivo central deste estudo consiste na adaptação da escala Music Performance Anxiety Inventory for Adolescents (MPAI-A), a crianças em período escolar, a partir da versão traduzida para Português e validada por Batista e Dias (2013). Procedeu-se à adaptação da referida escala, tendo sido aplicada a alunos do curso de iniciação musical, envolvendo 100 participantes, de ambos os géneros, com idades compreendidas entre os 8 e os 10 anos. No estudo, foi ainda aplicada a State-Trait Anxiety Inventory for Children (STAIC C-2), na sua versão portuguesa, tendo em vista examinar a validade concorrente entre a MPAI-A e a STAIC C-2. A análise psicométrica realizada concluiu níveis elevados de fiabilidade e validade, suportando a futura utilização desta versão adaptada da MPAI-A a crianças mais novas em futuros trabalhos sobre a ansiedade na performance.The purpose of this study is to adapt the scale of the Music Performance Anxiety Inventory for Adolescents (MPAI-A) to young learners in the field of teaching Musica in the 1st cycle of Primary schools from the Portuguese version by Batista and Dias (2013). The scale was adapted and applied to 100 young learners (aged between 8 and 10 years old) of the musical initiation course, both genders. The State-Trait Anxiety Inventory for Children (STAIC C-2) was also applied in its Portuguese version, in order to analyze the simultaneous validity between MPAI-A and STAIC C-2. The psychometric analysis has revealed high levels of reliability and validity, meaning the adapted version of MPAI-A is to be taken into account and applied to younger children in future assignments/projects on performance anxiety.