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Dissertations / Theses on the topic 'Musical scales'
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1
Vail, Kimberly Gail. "Musical Priming and Operant Selection." Thesis, University of North Texas, 2017. https://digital.library.unt.edu/ark:/67531/metadc1062812/.
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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.
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Gerhardt, Kris. "The tritone paradox : an experimental and statistical analysis /." *McMaster only, 2002.
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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.
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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.<br>Medicine, Faculty of<br>Audiology and Speech Sciences, School of<br>Graduate
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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.
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Klein, Rolf. "Die Intervallehre in der deutschen Musiktheorie des 16. Jahrhunderts." Regensburg : G. Bosse, 1989. http://books.google.com/books?id=IkxGAAAAMAAJ.
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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.
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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.
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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/.
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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.
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Bernal, Leonardo Camacho. "Miles Davis the road to modal jazz /." connect to online resource, 2007. http://digital.library.unt.edu/permalink/meta-dc-3693.
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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.
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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.
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Thesis (Ph.D.)--University of Wollongong, 2007.<br>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.
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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.
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Thesis (MMus (Music))--University of Stellenbosch, 2005.<br>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.
13
Hyouck, Jin Kwon. "Modio : interactive sound visualization /." Electronic version of thesis, 2006. https://ritdml.rit.edu/dspace/handle/1850/2684.
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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/.
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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.<br>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.
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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.
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Thesis (M.M.)--University of Missouri-Columbia, 2007.<br>The entire dissertation/thesis text is included in the research.pdf file; the official abstract appears in the short.pdf file (which also appears in the research.pdf); a non-technical general description, or public abstract, appears in the public.pdf file. Title from title screen of research.pdf file (viewed on April 4, 2008) Includes bibliographical references.
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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/.
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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.
17
Camacho, Bernal Leonardo. "Miles Davis: The Road to Modal Jazz." Thesis, University of North Texas, 2007. https://digital.library.unt.edu/ark:/67531/metadc3693/.
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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?
18
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/.
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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.
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Ashworth, Philip James. "Developing an approach to large-scale musical composition." Thesis, Royal College of Music, 2014. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.633497.
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This accompanying commentary details my development of a large-scale approach to composition. Outlining my need to find a way of dealing more comprehensively with my material, the essay explores the nature of material itself and what it is to be large-scale. The works of other composers and theorists are examined and discussed alongside analyses of my composition portfolio
20
Pearson, Kathryn Rae. "Design and Development of the Self-Efficacy for Musical Studies Scale." BYU ScholarsArchive, 2003. https://scholarsarchive.byu.edu/etd/114.
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Scale development in psychological studies is an area of intense growth (Clark & Watson, 1995). This report builds upon academic interest in the value of producing viable measurement tools. The purpose of this research project was to evaluate a self-efficacy measurement scale intended to determine individual music students' perceptions of capability. The areas of interest were four self-regulatory skill domains: strategy use, planning, monitoring, and evaluating in two music environments: independent practicing and performance. This report describes the development and analysis of the Self-efficacy for Musical Studies (SEMS) scale. The report includes statistical analysis of the response data from formative evaluation, field testing, and content evidence of validity. The discussion section examines the strengths and weaknesses of the scale and its development decisions. Finally, recommendations for the future development of self-efficacy scales for self-regulatory skills and instruction in the area of music education are suggested. In providing both a preliminary instrument and a measurement evaluation of this instrument, we hope to further academic interest in the usefulness of scale production to enhance music instruction and the value of the relatively untouched connection between the social cognitive concept of self-efficacy, self-regulatory skills, and the study of music.
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Bellmann, Hector Guillermo. "Toward a scientific taxonomy of musical styles." Thesis, Queensland University of Technology, 2006. https://eprints.qut.edu.au/16387/1/Hector_Bellmann_Thesis.pdf.
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The original aim of the research was to investigate the conceptual dimensions of style in tonal music in order to provide grounds for an objective, measurable categorization of the phenomenon that could be construed as the basis of a scientific taxonomy of musical styles. However, this is a formidable task that surpasses the practical possibilities of the project, which would hence concentrate on creating the tools that would be needed for the following stage.
A review of previous attempts to deal with style in music provided a number of guidelines for the process of dealing with the material. The project intends to avoid the subjectivity of musical analysis concentrating on music observable features. A database of 250 keyboard scores in MusicXML format was built to the purpose of covering the whole span of styles in tonal music, from which it should be possible to extract features to be used in style categorization. Early on, it became apparent that most meaningful pitch-related features are linked to scale degrees, thus essentially depending on functional labeling, requiring the knowledge of the key of the music as a point function.
Different proposed alternatives to determine the key were considered and a method decided upon. Software was written and its effectiveness tested. The method proved successful in determining the instant key with as much precision as feasible. On this basis, it became possible to functionally label scale degrees and chords. This software constitutes the basic tool for the extraction of pitch-related features. As its first use, the software was applied to the score database in order to quantify the usage of scale degrees and chords. The results indisputably showed that tonal music can be characterized by specific proportions in the use of the different scale degrees, whereas the use of chords shows a constant increase in chromaticism.
Part of the material of this work appeared in the Springer-Verlag's 2006 volume of Lecture Notes in Computer Science.
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Bellmann, Hector Guillermo. "Toward a scientific taxonomy of musical styles." Queensland University of Technology, 2006. http://eprints.qut.edu.au/16387/.
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The original aim of the research was to investigate the conceptual dimensions of style in tonal music in order to provide grounds for an objective, measurable categorization of the phenomenon that could be construed as the basis of a scientific taxonomy of musical styles. However, this is a formidable task that surpasses the practical possibilities of the project, which would hence concentrate on creating the tools that would be needed for the following stage. A review of previous attempts to deal with style in music provided a number of guidelines for the process of dealing with the material. The project intends to avoid the subjectivity of musical analysis concentrating on music observable features. A database of 250 keyboard scores in MusicXML format was built to the purpose of covering the whole span of styles in tonal music, from which it should be possible to extract features to be used in style categorization. Early on, it became apparent that most meaningful pitch-related features are linked to scale degrees, thus essentially depending on functional labeling, requiring the knowledge of the key of the music as a point function. Different proposed alternatives to determine the key were considered and a method decided upon. Software was written and its effectiveness tested. The method proved successful in determining the instant key with as much precision as feasible. On this basis, it became possible to functionally label scale degrees and chords. This software constitutes the basic tool for the extraction of pitch-related features. As its first use, the software was applied to the score database in order to quantify the usage of scale degrees and chords. The results indisputably showed that tonal music can be characterized by specific proportions in the use of the different scale degrees, whereas the use of chords shows a constant increase in chromaticism. Part of the material of this work appeared in the Springer-Verlag's 2006 volume of Lecture Notes in Computer Science.
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Pearson, Kathryn R. "Design and development of the self-efficacy for musical studies scale /." Diss., CLICK HERE for online access, 2003. http://contentdm.lib.byu.edu/ETD/image/etd305.pdf.
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Khoury, Sari Bassem. "Geometric Improvisations Leading to a Musical Instrument." Thesis, Virginia Tech, 2000. http://hdl.handle.net/10919/10101.
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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/.
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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.
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Shuttleworth, Tim. "A multiresolution approach to the transcription of polyphonic musical signals using neural networks." Thesis, University of Warwick, 1996. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.263291.
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Arthur, Claire. "When the Leading Tone Doesn't Lead: Musical Qualia in Context." The Ohio State University, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=osu1461254823.
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Popoutsis, Nickolas D. "Amenable Building: Designing for Change in the Musical Process." University of Cincinnati / OhioLINK, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1242749951.
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Parvin, Elizabeth. "Further support for tonal schemas evidenced by altered short-term memory of pitches within a distorted musical scale context." Thesis, McGill University, 2012. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=110646.
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The study revisits the stretched scale experiment presented in Shepard and Jordan (1984), in which they found that the major scale can act as a perceptual schema that overrides short-term pitch memory. Here, we examine the effect of musical background on listeners' pitch judgments. 72 participants from McGill University (n = 24: non-musicians, quasi-musicians, and musicians) listened to a stretched ascending major scale (spanning a minor ninth), followed by the initial tone of the sequence, or a decoy one half-step above the original starting tone. In a parallel condition, we presented a stretched descending major scale. All tones were sinusoidal. Participants were asked to judge the test tone in relation to the initial tone of the sequence, by describing the test tone as lower, the same, or higher. Overall, the results suggest that a shifting pitch template can affect listeners' pitch judgments. These results are consistent with Shepard and Jordan's (although our distributions of judgments significantly vary from theirs.) In the subgroup analysis, non-musicians and musicians did not significantly differ in their pitch judgment accuracy, however, significantly more musicians than non-musicians judged at least two of the four test tones correctly. Taken together, these results suggest that the pitch judgments of both non-musicians and musicians can be influenced by a shifting pitch template. Keywords: auditory perception, pitch, music, memory, schemas, cognition, cognitive neuroscience, psychoacoustics, musical training<br>Cette étude revisite l'expérience de la gamme étirée de Shepard et Jordan (1984). Ces auteurs ont observé que la gamme majeure peut agir comme un schème perceptuel qui surpasse la mémoire à court terme des hauteurs musicales. Nous avons examiné l'effet de l'expertise musicale sur les jugements de hauteur des auditeurs. Soixante-douze participants de l'Université McGill (n = 24: non-musiciens, quasi-musiciens, et musiciens) ont écouté une gamme majeure ascendante étirée (étendue sur une neuvième mineure), suivie par la note initiale de cette séquence ou par une note un demi-ton plus basse que cette note de départ. Dans une condition parallèle, nous avons présentée une gamme majeure étirée descendante. Toutes les notes étaient sinusoïdales. Les participants devaient indiquer si la note de test était plus basse, identique, ou plus haute que la note initiale de la séquence. Les résultats suggèrent que les jugements de hauteur des auditeurs peuvent être influencés par les manipulations de la gamme-contexte. Ces résultats sont cohérents avec ceux de Shepard et Jordan (bien que la distribution des jugements dans notre étude soit très différente de celle qu'ils ont observée). Dans l'analyse par sous-groupe, les non-musiciens et les musiciens ne différaient pas significativement dans l'exactitude de leurs jugements de hauteur, cependant, plus de musiciens que de non-musiciens jugeaient au moins deux des quatre notes de test correctement. Dans l'ensemble, ces résultats suggèrent que les jugements de hauteur musicale des non-musiciens et des musiciens peuvent être influencés par des manipulations de la gamme-contexte. Mots-clés: perception auditive, hauteur musicale, musique, mémoire, schèmes, cognition, neurosciences cognitives, psychoacoustique, pratique musicale
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Bazin, Théis. "Designing novel time-frequency scales for interactive music creation with hierarchical statistical modeling." Electronic Thesis or Diss., Sorbonne université, 2023. http://www.theses.fr/2023SORUS242.
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La création musicale moderne se déploie à de nombreuses échelles de temps différentes : de la vibration d'une corde ou la résonance d'un instrument électronique à l'échelle de la milliseconde en passant par les quelques secondes typiques d'une note d'instrument, jusqu'aux dizaines de minutes d'opéras ou de DJ sets. L'entremêlement de ces multiples échelles a mené au développement de nombreux outils techniques et théoriques pour rendre efficace cette entreprise de manipulation du temps. Ces abstractions, telles les gammes, les notations rythmiques ou encore les modèles courants de synthèse audio, infusent largement les outils actuels -- logiciels et matériels -- de création musicale. Pourtant, ces abstractions, qui ont émergé pour la plupart au cours du 20ème siècle en Occident sur la base de théories musicales classiques de la musique écrite, ne sont pas dénuées d'a priori culturels. Elles reflètent des principes déterminés visant à gommer certains aspects de la musique (par exemple, micro-déviations par rapport à un temps métronomique ou micro-déviations de fréquence par rapport à une hauteur idéalisée), dont le haut degré de variabilité physique les rend typiquement peu commodes pour l'écriture musicale. Ces compromis, qui s'avèrent pertinents lorsque la musique écrite est destinée à l'interprétation par des musicien-ne-s, à même de réintroduire variations et richesse physique et musicale, se révèlent cependant limitants dans le cadre de la création musicale assistée par ordinateur, restituant froidement ces abstractions, où ils tendent à restreindre la diversité des musiques qu'il est possible de produire. À travers la présentation de plusieurs interfaces typiques de la création musicale, je montre qu'un facteur essentiel est l'échelle des interactions humain-machine proposées par ces abstractions. À leur plus grand niveau de flexibilité, telles les représentations audio ou les piano-rolls sur un temps non quantifié, elles se révèlent difficiles à manipuler, car elles requièrent un haut degré de précision, particulièrement inadapté aux terminaux mobiles et tactiles modernes. A contrario, dans de nombreuses abstractions communément employées, comme les partitions ou les séquenceurs, à temps discrétisé, elles se révèlent contraignantes pour la création de musiques culturellement diverses. Dans cette thèse, je soutiens que l'intelligence artificielle, par la capacité qu'elle offre à construire des représentations haut-niveau d'objets complexes donnés, permet de construire de nouvelles échelles de la création musicale, pensées pour l'interaction, et de proposer ainsi des approches radicalement neuves de la création musicale. Je présente et illustre cette idée à travers le design et le développement de trois prototypes web de création musicales assistés par IA, dont un basé sur un modèle neuronal nouveau pour l'inpainting de sons d'instruments de musique également conçu dans le cadre de cette thèse. Ces représentations haut-niveau -- pour les partitions, les piano-rolls et les spectrogrammes -- se déploient à une échelle temps-fréquence plus grossière que les données d'origine, mais mieux adaptée à l'interaction. En permettant d'effectuer des transformations localisées sur cette représentation mais en capturant également, par la modélisation statistique, des spécificités esthétiques et micro-variations des données musicales d'entraînement, ces outils permettent d'obtenir aisément et de façon contrôlable des résultats musicalement riches. À travers l'évaluation en conditions réelles par plusieur-e-s artistes de ces trois prototypes, je montre que ces nouvelles échelles de création interactive sont utiles autant pour les expert-e-s que pour les novices. Grâce à l'assistance de l'IA sur des aspects techniques nécessitant normalement précision et expertise, elles se prêtent de plus à une utilisation sur écrans tactiles et mobiles<br>Modern musical creation unfolds on many different time scales: from the vibration of a string or the resonance of an electronic instrument at the millisecond scale, through the few seconds typical of an instrument's note, to the tens of minutes of operas or DJ sets. The interleaving of these multiple scales has led to the development of numerous technical and theoretical tools to ease the manipulation of time. These abstractions, such as scales, rhythmic notations, or even usual models of audio synthesis, largely infuse current tools -- software and hardware -- for musical creation. However, these abstractions, which emerged for the most part during the 20th century in the West on the basis of classical musical theories of written music, are not devoid of cultural a priori. They reflect various principles aimed at abstracting away certain aspects of the music (for example, micro-deviations with respect to a metronomic time or micro-deviations of frequency with respect to an idealized pitch), whose high degree of physical variability makes them typically inconvenient for musical writing. These compromises, typically relevant when the written music is intended to be performed by musicians, able to reintroduce variations and physical and musical richness, are however limiting in the context of computer-assisted music creation, with computers coldly rendering these coarse representations abstractions, and they tend to restrict the diversity of the music that can be produced with these tools. Through a review of several typical interfaces for music creation, I show that an essential factor is the scale of the human-machine interactions proposed by these abstractions. At their most flexible level, such as audio representations or piano-roll representations with unquantized time, they prove difficult to manipulate, as they require a high degree of precision, particularly unsuitable for modern mobile and touch terminals. On the other hand, in most commonly used abstractions with discretized time, such as scores or sequencers, they prove to be too constraining for the creation of culturally diverse music that does not follow the proposed time and pitch grids. In this thesis, I argue that artificial intelligence, through its ability to build high-level representations of given complex objects, allows the construction of new scales of music creation, designed for interaction, and thus enables radically new approaches to music creation. I present and illustrate this idea through the design and implementation of three web-based prototypes of music creation assisted by artificial intelligence, one of which is based on a new neural model for the inpainting of musical instrument sounds also designed in the framework of this thesis. These high-level representations -- for sheet music, piano-rolls, and spectrograms -- are deployed at a time-frequency scale coarser than the original data, but better suited to interaction. By allowing localized transformations on these representations but also capturing, through statistical modeling, aesthetic specificities and fine micro-variations of the original musical training data, these tools allow to easily and controllably obtain musically rich results. Through the evaluation of these three prototypes in real conditions by several artists, I show that these new scales of interactive creation are useful for both experts and novices. Thanks to the assistance of AI on technical aspects that normally require precision and expertise, they are also suitable for use on touch screens and mobile devices
31
Teixeira, Alexandre Carlos da Silva. "Matemática na música a escala cromática e as progressões geométricas." Universidade Federal de Goiás, 2015. http://repositorio.bc.ufg.br/tede/handle/tede/4727.
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Previous issue date: 2015-06-26<br>Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES<br>This paper presents a proposal for relationship studies between mathematics and
music, a relationship that has been established since the dawn of humanity, and could
be seen more clearly from the studies developed by Pythagoras. We approach the
evolution of music in the historical context and introduce the basics of music theory,
essential to establishing relationships with mathematics. Our e orts were focused on
instruments with strings, by which present a relationship between a musical scale,
called Chromatic and geometric progressions; also we present a relationship between
musical intervals and right triangles. We present a mathematical relationship between
music and colors, through their respective frequencies of sound and light. Also we
address the present mathematics in the construction of some instruments with strings,
via Golden Proportion, and nished the work presented some proposals for activities
that can be worked in the classroom, aimed at high school students.<br>Este trabalho traz uma proposta de estudos da relação existente entre a Matemática
e a Música, relação esta que foi estabelecida desde os primórdios da humanidade, e pôde
ser observada de forma mais clara a partir dos estudos desenvolvidos por Pitágoras.
Abordamos a evolução da Música no contexto histórico e introduzimos as noções básicas
de teoria musical, essencial ao estabelecimento de relações com a Matemática. Nossos
esforços foram focados nos instrumentos com cordas, pelos quais apresentamos uma
relação entre uma escala musical, denominada Cromática, e as progressões geométricas;
também apresentamos uma relação entre intervalos musicais e os triângulos retângulos.
Apresentamos uma relação matemática entre a Música e as cores, por meio de suas
respectivas frequências de som e luz. Também abordamos a matemática presente na
construção de alguns instrumentos com cordas, via Proporção Áurea, e nalizamos o
trabalho apresentando algumas propostas de atividades que podem ser trabalhadas em
sala de aula, voltadas para alunos do Ensino Médio.
32
Silva, Jandilson Avelino da. "Percepção de notas musicais após ingestão moderada de etanol por mulheres e homens." Universidade Federal da Paraíba, 2011. http://tede.biblioteca.ufpb.br:8080/handle/tede/7028.
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Previous issue date: 2011-02-11<br>Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES<br>Our objective was to evaluate in young adult women and men the
consequences of moderate ethanol intake on the perception of the musical notes D, F,
and A. Blood alcohol concentrations were measured with a breathalyzer apparatus. The
study included 20 men and 20 women 18-30 years old. These were not musicians, not
drug users, or consumers of other toxic substances, they were healthy, moderate
drinkers of alcohol and had no personal or family history of drug abuse. The same
volunteers were tested under two conditions: experimental, with ethanol ingestion, and
control, with a placebo drink ingestion. In both conditions, drinks were diluted with
passion fruit juice at a ratio of 1:3. The amount of ingested alcohol for each participant
was calculated based on previous studies, taking into account age, weight, percent H2O
body weight and height. The musical notes were randomly presented to each participant
in three blocks of 20 pairs of stimuli, one block for each note used as test stimulus. The
task of each participant was to discriminate the test stimulus from one (of two possible)
distracters. Prior to each experimental session the test stimulus was presented five
consecutive times. Correct responses were grouped by gender and a 2x2 X2 test for
independent samples was used for the two conditions: alcohol ingestion (ingestion and
no ingestion) and gender of participants (women and men), for each of the three musical
notes. Adherence X2 tests were also used to assess to these variables individually. It
found significant differences on the musical note F for comparisons between men and
women without ethanol ingestion and between experimental and control conditions for
men. It found too significant differences between men and women after drinking
alcohol and in women before and after ingestion, on the musical note D. Without
distinction of sex of the participants were found significant differences in all the musical
notes used. Thus, the results found suggest that ingestion of ethanol alters the perception
of musical notes and differently between women and men.<br>O objetivo deste estudo foi avaliar as consequências da ingestão moderada de
etanol na percepção das notas musicais RÉ, FÁ, e LÁ em mulheres e homens adultos
jovens. Utilizou-se como parâmetro a concentração de álcool no sangue de 0,08%
estimada por um etilômetro. Participaram do estudo 20 homens e 20 mulheres de 18 a
29 anos de idade, não músicos, saudáveis, não usuários de fármacos ou outras
substâncias tóxicas, bebedores moderados de álcool sem intercorrências pessoais ou
familiares. Os mesmos voluntários foram avaliados em duas condições: experimental,
na qual era feita a ingestão de etanol, e controle, na qual era ingerido placebo. Em
ambas as condições a bebida era diluída em suco de maracujá, na proporção de 1:3. A
quantidade de bebida alcoólica para cada participante era calculada em função da idade,
peso e altura. No teste de discriminação de notas musicais foram apresentados
aleatoriamente para cada participante três grupos de 20 pares de estímulos, sendo um
grupo para cada nota utilizada. A tarefa dos participantes foi escolher o estímulo de
teste que era uma nota musical apresentada ao indivíduo cinco vezes consecutivas antes
do início da sessão experimental. A quantidade de acertos para cada nota foi reunida por
condição (experimental e controle) de acordo com o sexo dos participantes. Aplicou-se
um teste de independência X2 do tipo 2x2, com as variáveis: ingestão de álcool (ingestão
e não ingestão) e sexo dos participantes (mulheres e homens) para cada nota musical,
tomando como referência a frequência de acertos na discriminação das mesmas.
Também foram utilizados testes X2 de aderência para avaliação destas variáveis de
forma individual. Encontraram-se diferenças significantes na nota musical Fá para a
comparação entre homens e mulheres sem a ingestão de etanol, e entre os homens nas
condições experimental e controle. Foram encontradas também diferenças significantes
na nota musical Ré quando se comparou homens e mulheres após a ingestão de etanol, e
na comparação entre mulheres antes e após a ingestão. Sem a distinção do sexo dos
participantes foram encontradas diferenças significantes em todas as notas musicais
utilizadas. Deste modo, sugere-se que a ingestão de etanol altera a percepção das notas
musicais e de forma diferenciada entre as mulheres e os homens.
33
Pessoa, Almir Júnio. "Improvisação à viola caipira: um estudo de caso aplicando modelos selecionados ao cateretê vide vida marvada." Universidade Federal de Goiás, 2016. http://repositorio.bc.ufg.br/tede/handle/tede/6859.
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Previous issue date: 2016-12-02<br>Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES<br>This work is related to improvisation in the brazilian ten strings guitar with open tuning
(Cebolão), using as a case study and application the rhythm (cateretê) in music Vide
Vida Marvada, by Rolando Boldrin. Because I have not yet found specific material for
improvisation in this instrument, I have raised questions about the existence and form of
this practice. My hypothesis is that, with a method suitable to the instrument and its
particularities, which includes the study of scales and arpeggios, the student shortens the
way in the realization of different pieces, facilitates the immediate transposition of
songs to other tones and fosters basic knowledge to improvise . The objective of this
work is to investigate the processes of improvisation for viola, starting from scales,
arpeggios and rhythmic / melodic models. The methodology used was to listen and to
transcribe elements of the common practice of diverse violeiros and to extract the basic
technique for its construction. I started with authors who deal with improvisation in a
general way (BENSON, 2003), idiomatics (ALVIN and ASSIS, 2000), and authors
dealing specifically with the instrument and the like (VILELA, 2013) . The results were
the confirmation of the hypothesis raised and the construction of didactic material for
brazilian ten strings guitar with cebolão tuning, besides the evidence that improvisation
in the traditional context not only exists, but also in a particular way, more associated
with prosody Rhythm, and that the choice of tonality, within the described tuning
influences directly in its practice.<br>Esse trabalho diz respeito a improvisação na viola caipira com afinação cebolão,
utilizando como estudo de caso e aplicação o cateretê Vide Vida Marvada, de Rolando
Boldrin. Por não ter encontrado até a presente data, material específico para improvisação na
viola, levantei questões sobre a existência e a forma dessa prática. Minha hipótese é de que,
com um método adequado ao instrumento e suas particularidades, que abarque o estudo de
escalas e arpejos, o estudante encurta caminho na realização de peças diversas, facilita a
transposição imediata de músicas para outros tons e fomenta conhecimento básico para
improvisar. O objetivo deste trabalho é investigação dos processos de improvisação para
viola, partindo de escalas, arpejos e modelos rítmico/melódicos. A metodologia utilizada foi
de ouvir e transcrever elementos da prática comum de violeiros diversos e extrair a técnica
básica para a sua construção. Embasei-me em autores que dizem respeito a improvisação de
uma maneira geral (BENSON, 2003), idiomatismo (ALVIN e ASSIS, 2000), e autores que
tratam especificamente do instrumento viola e afins (VILELA, 2013), (CORRÊA, 2000). Os
resultados foram a confirmação da hipótese levantada e a construção de material didático
para viola com afinação cebolão, além da evidenciação de que a improvisação no contexto
violeiro tradicional não só existe, como é recorrente, entretanto de uma maneira particular,
mais associada a prosódia ao ritmo, e que a escolha da tonalidade, dentro da afinação
descrita influencia diretamente na sua prática.
34
Edmonds, David Michael. "Music of the Spheres: Astronomy and Shamanism in the Music of Urmas Sisask." Thesis, University of North Texas, 2012. https://digital.library.unt.edu/ark:/67531/metadc149587/.
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In 1619, Johannes Kepler published his magnum opus Harmonices mundi in which the astronomer derived distinct pitches and scales for each known planet in the solar system from calculations of various aspects of their orbital motions. This was the first theoretical realization of the ancient tradition of musica universalis (also called musica mundana), or music of the celestial bodies. It was not until the Estonian composer Urmas Sisask (b. 1960) began his compositional career by deriving his own “planetary scale,” however, that the theoretical musica universalis came into audible existence. Sisask’s work represents a distinctive musical voice among today’s choral composers, and although he is steadily gaining attention for his unique compositional style, only limited information exists about the specifics of his background, his interest in astronomy and shamanism, and the subsequent influence these interests have had on his choral music. At once traditional and modern, he bridges the gap between ancient Estonian folk song and the present. Through an application of exotic techniques including extreme repetition, ritualistically driving rhythms and sudden changes in timbre and texture; coupled with his own peculiarly crafted “planetary scale,” Urmas Sisask has created a completely unique body of work which is examined in this study by looking at representative works from his choral oeuvre including Gloria Patri…24 hymns for mixed choir, Magnificat, Ave Sol, and Benedictio.
35
Li, Chao (Conductor). "Liszt's Portrayal of Goethe's Faust Using Flat 6th Scale Degree as Harmonic Organizing Principle in the Faust Movement from His Faust Symphony." Thesis, University of North Texas, 2019. https://digital.library.unt.edu/ark:/67531/metadc1505162/.
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Franz Liszt's Faust Symphony has suffered neglect since its premiere in 1857. The analysis in this study aims to clarify some of the misunderstandings which have led to this neglect, particularly concerning Liszt's formal structure and character portrayal. In the Faust movement, the flat 6th scale degree (♭6) plays a prominent role in harmonic organization. Nineteenth-century composers sometimes used the distinct sonic color of chromatic-third progressions, as Liszt does here between C and E rather than diatonic movement by fifth to evoke a distant dream-world state. Liszt's conspicuous and form-defining use of ♭6 in the Faust movement suggests fantasy and mysterious elements ripe for programmatic interpretation. In this dissertation, I will attempt to clarify how Liszt portrayed the character of Faust by using the flat 6th scale degree as a crucial harmonic organizing principle in the Faust movement.
36
Bendada, Walid. "Contributions to sequential learning for industrial-scale music recommendation." Electronic Thesis or Diss., Université Paris sciences et lettres, 2024. http://www.theses.fr/2024UPSLD056.
Full textAbstract:
Les systèmes de recommandation aident les utilisateurs à découvrir du contenu pertinent dans des catalogues en lignetrop vastes pour être explorés manuellement. Par exemple, sur les plateformes de streaming musical, ils suggèrent deschansons, albums ou artistes susceptibles de plaire à l’utilisateur. Historiquement, ces systèmes prédisaient les goûtsindividuels des utilisateurs pour chaque chanson, sans prendre en compte l’aspect séquentiel de l’écoute de musique oul’immensité des catalogues disponibles. Cette thèse propose des solutions pour rendre les systèmes de recommandationplus adaptés aux plateformes musicales modernes, en adaptant des méthodes de prise de décision séquentielle auxcontraintes posées par la taille des catalogues de musique. Elle introduit une méthode pour prolonger automatiquementdes playlists ainsi qu’un nouveau schéma d’exploration, adoptés par la plateforme Deezer, pour explorer efficacement devastes catalogues musicaux en temps réel<br>Recommender systems help users discover relevant content in online catalogs that are too vast to be explored manually.For example, on music streaming platforms, they suggest songs, albums, or artists likely to appeal to the user. Historically,these systems predicted individual user preferences for each song without considering the sequential nature of musiclistening or the enormity of available catalogs. This thesis proposes solutions to make recommender systems bettersuited to modern music platforms by adapting sequential decision-making methods to the challenges posed by the size ofmusic catalogs. It introduces a scalable framework to automatically extend playlists, as well as a new exploration scheme,adopted by Deezer, to efficiently explore large music catalogs in real-time
37
Fuentes, Magdalena. "Multi-scale computational rhythm analysis : a framework for sections, downbeats, beats, and microtiming." Thesis, Université Paris-Saclay (ComUE), 2019. http://www.theses.fr/2019SACLS404.
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La modélisation computationnelle du rythme a pour objet l'extraction et le traitement d’informations rythmiques à partir d’un signal audio de musique. Cela s'avère être une tâche extrêmement complexe car, pour traiter un enregistrement audio réel, il faut pouvoir gérer sa complexité acoustique et sémantique à plusieurs niveaux de représentation. Les méthodes d’analyse rythmique existantes se concentrent généralement sur l'un de ces aspects à la fois et n’exploitent pas la richesse de la structure musicale, ce qui compromet la cohérence musicale des estimations automatiques. Dans ce travail, nous proposons de nouvelles approches tirant parti des informations multi-échelles pour l'analyse automatique du rythme. Nos modèles prennent en compte des interdépendances intrinsèques aux signaux audio de musique, en permettant ainsi l’interaction entre différentes échelles de temps et en assurant la cohérence musicale entre elles. En particulier, nous effectuons une analyse systématique des systèmes de l’état de l’art pour la détection des premiers temps, ce qui nous conduit à nous tourner vers des architectures convolutionnelles et récurrentes qui exploitent la modélisation acoustique à court et long terme; nous introduisons un modèle de champ aléatoire conditionnel à saut de chaîne pour la détection des premiers temps. Ce système est conçu pour tirer parti des informations de structure musicale (c'est-à-dire des répétitions de sections musicales) dans un cadre unifié. Nous proposons également un modèle linguistique pour la détection conjointe des temps et du micro-timing dans la musique afro-latino-américaine. Nos méthodes sont systématiquement évaluées sur diverses bases de données, allant de la musique occidentale à des genres plus spécifiques culturellement, et comparés à des systèmes de l’état de l’art, ainsi qu’à des variantes plus simples. Les résultats globaux montrent que nos modèles d’estimation des premiers temps sont aussi performants que ceux de l’état de l'art, tout en étant plus cohérents sur le plan musical. De plus, notre modèle d’estimation conjointe des temps et du microtiming représente une avancée vers des systèmes plus interprétables. Les méthodes présentées ici offrent des alternatives nouvelles et plus holistiques pour l'analyse numérique du rythme, ouvrant des perspectives vers une analyse automatique plus complète de la musique<br>Computational rhythm analysis deals with extracting and processing meaningful rhythmical information from musical audio. It proves to be a highly complex task, since dealing with real audio recordings requires the ability to handle its acoustic and semantic complexity at multiple levels of representation. Existing methods for rhythmic analysis typically focus on one of those levels, failing to exploit music’s rich structure and compromising the musical consistency of automatic estimations. In this work, we propose novel approaches for leveraging multi-scale information for computational rhythm analysis. Our models account for interrelated dependencies that musical audio naturally conveys, allowing the interplay between different time scales and accounting for music coherence across them. In particular, we conduct a systematic analysis of downbeat tracking systems, leading to convolutional-recurrent architectures that exploit short and long term acoustic modeling; we introduce a skip-chain conditional random field model for downbeat tracking designed to take advantage of music structure information (i.e. music sections repetitions) in a unified framework; and we propose a language model for joint tracking of beats and micro-timing in Afro-Latin American music. Our methods are systematically evaluated on a diverse group of datasets, ranging from Western music to more culturally specific genres, and compared to state-of-the-art systems and simpler variations. The overall results show that our models for downbeat tracking perform on par with the state of the art, while being more musically consistent. Moreover, our model for the joint estimation of beats and microtiming takes further steps towards more interpretable systems. The methods presented here offer novel and more holistic alternatives for computational rhythm analysis, towards a more comprehensive automatic analysis of music
38
Roma, Trepat Gerard. "Algorithms and representations for supporting online music creation with large-scale audio databases." Doctoral thesis, Universitat Pompeu Fabra, 2015. http://hdl.handle.net/10803/297428.
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The rapid adoption of Internet and web technologies has created an opportunity for making music collaboratively by sharing information online. However, current applications for online music making do not take advantage of the potential of shared information. The goal of this dissertation is to provide and evaluate algorithms and representations for interacting with large audio databases that facilitate music creation by online communities. This work has been developed in the context of Freesound, a large-scale, community-driven database of audio recordings shared under Creative Commons (CC) licenses. The diversity of sounds available through this kind of platform is unprecedented. At the same time, the unstructured nature of community-driven processes poses new challenges for indexing and retrieving information to support musical creativity. In this dissertation we propose and evaluate algorithms and representations for dealing with the main elements required by online music making applications based on large-scale audio databases: sound files, including time-varying and aggregate representations, taxonomies for retrieving sounds, music representations and community models. As a generic low-level representation for audio signals, we analyze the framework of cepstral coefficients, evaluating their performance with example classification tasks. We found that switching to more recent auditory filter such as gammatone filters improves, at large scales, on traditional representations based on the mel scale. We then consider common types of sounds for obtaining aggregated representations. We show that several time series analysis features computed from the cepstral coefficients complement traditional statistics for improved performance. For interacting with large databases of sounds, we propose a novel unsupervised algorithm that automatically generates taxonomical organizations based on the low-level signal representations. Based on user studies, we show that our approach can be used in place of traditional supervised classification approaches for providing a lexicon of acoustic categories suitable for creative applications. Next, a computational representation is described for music based on audio samples. We demonstrate through a user experiment that it facilitates collaborative creation and supports computational analysis using the lexicons generated by sound taxonomies. Finally, we deal with representation and analysis of user communities. We propose a method for measuring collective creativity in audio sharing. By analyzing the activity of the Freesound community over a period of more than 5 years, we show that the proposed creativity measures can be significantly related to social structure characterized by network analysis.<br>La ràpida adopció dInternet i de les tecnologies web ha creat una oportunitat per fer música col•laborativa mitjançant l'intercanvi d'informació en línia. No obstant això, les aplicacions actuals per fer música en línia no aprofiten el potencial de la informació compartida. L'objectiu d'aquesta tesi és proporcionar i avaluar algorismes i representacions per a interactuar amb grans bases de dades d'àudio que facilitin la creació de música per part de comunitats virtuals. Aquest treball ha estat desenvolupat en el context de Freesound, una base de dades d'enregistraments sonors compartits sota llicència Creative Commons (CC) a gran escala, impulsada per la comunitat d'usuaris. La diversitat de sons disponibles a través d'aquest tipus de plataforma no té precedents. Alhora, la naturalesa desestructurada dels processos impulsats per comunitats planteja nous reptes per a la indexació i recuperació d'informació que dona suport a la creativitat musical. En aquesta tesi proposem i avaluem algorismes i representacions per tractar amb els principals elements requerits per les aplicacions de creació musical en línia basades en bases de dades d'àudio a gran escala: els arxius de so, incloent representacions temporals i agregades, taxonomies per a cercar sons, representacions musicals i models de comunitat. Com a representació de baix nivell genèrica per a senyals d'àudio, s'analitza el marc dels coeficients cepstrum, avaluant el seu rendiment en tasques de classificació d'exemple. Hem trobat que el canvi a un filtre auditiu més recent com els filtres de gammatons millora, a gran escala, respecte de les representacions tradicionals basades en l'escala mel. Després considerem tres tipus comuns de sons per a l'obtenció de representacions agregades. Es demostra que diverses funcions d'anàlisi de sèries temporals calculades a partir dels coeficients cepstrum complementen les estadístiques tradicionals per a un millor rendiment. Per interactuar amb grans bases de dades de sons, es proposa un nou algorisme no supervisat que genera automàticament organitzacions taxonòmiques basades en les representacions de senyal de baix nivell. Em base a estudis amb usuaris, mostrem que el sistema proposat es pot utilitzar en lloc dels sistemes tradicionals de classificació supervisada per proporcionar un lèxic de categories acústiques adequades per a aplicacions creatives. A continuació, es descriu una representació computacional per a música creada a partir de mostres d'àudio. Demostrem a través d'un experiment amb usuaris que facilita la creació col•laborativa i dóna suport l'anàlisi computacional usant els lèxics generats per les taxonomies de so. Finalment, ens centrem en la representació i anàlisi de comunitats d'usuaris. Proposem un mètode per mesurar la creativitat col•lectiva en l'intercanvi d'àudio. Mitjançant l'anàlisi de l'activitat de la comunitat Freesound durant un període de més de 5 anys, es mostra que les mesures proposades de creativitat es poden relacionar significativament amb l'estructura social descrita mitjançant l'anàlisi de xarxes.<br>La rápida adopción de Internet y de las tecnologías web ha creado una oportunidad para hacer música colaborativa mediante el intercambio de información en línea. Sin embargo, las aplicaciones actuales para hacer música en línea no aprovechan el potencial de la información compartida. El objetivo de esta tesis es proporcionar y evaluar algoritmos y representaciones para interactuar con grandes bases de datos de audio que faciliten la creación de música por parte de comunidades virtuales. Este trabajo ha sido desarrollado en el contexto de Freesound, una base de datos de grabaciones sonoras compartidos bajo licencia Creative Commons (CC) a gran escala, impulsada por la comunidad de usuarios. La diversidad de sonidos disponibles a través de este tipo de plataforma no tiene precedentes. Al mismo tiempo, la naturaleza desestructurada de los procesos impulsados por comunidades plantea nuevos retos para la indexación y recuperación de información en apoyo de la creatividad musical. En esta tesis proponemos y evaluamos algoritmos y representaciones para tratar con los principales elementos requeridos por las aplicaciones de creación musical en línea basadas en bases de datos de audio a gran escala: archivos de sonido, incluyendo representaciones temporales y agregadas, taxonomías para buscar sonidos, representaciones musicales y modelos de comunidad. Como representación de bajo nivel genérica para señales de audio, se analiza el marco de los coeficientes cepstrum, evaluando su rendimiento en tareas de clasificación. Encontramos que el cambio a un filtro auditivo más reciente como los filtros de gammatonos mejora, a gran escala, respecto de las representaciones tradicionales basadas en la escala mel. Después consideramos tres tipos comunes de sonidos para la obtención de representaciones agregadas. Se demuestra que varias funciones de análisis de series temporales calculadas a partir de los coeficientes cepstrum complementan las estadísticas tradicionales para un mejor rendimiento. Para interactuar con grandes bases de datos de sonidos, se propone un nuevo algoritmo no supervisado que genera automáticamente organizaciones taxonómicas basadas en las representaciones de señal de bajo nivel. En base a estudios con usuarios, mostramos que nuestro enfoque se puede utilizar en lugar de los sistemas tradicionales de clasificación supervisada para proporcionar un léxico de categorías acústicas adecuadas para aplicaciones creativas. A continuación, se describe una representación computacional para música creada a partir de muestras de audio. Demostramos, a través de un experimento con usuarios, que facilita la creación colaborativa y posibilita el análisis computacional usando los léxicos generados por las taxonomías de sonido. Finalmente, nos centramos en la representación y análisis de comunidades de usuarios. Proponemos un método para medir la creatividad colectiva en el intercambio de audio. Mediante un análisis de la actividad de la comunidad Freesound durante un periodo de más de 5 años, se muestra que las medidas propuestas de creatividad se pueden relacionar significativamente con la estructura social descrita mediante análisis de redes.
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Dantas, Paula Ferreira. "Análise comparativa entre os sistemas de escalas para violino de Carl Flesch, Ivan Galamian e Simon Fischer." Universidade Federal da Paraíba, 2015. http://tede.biblioteca.ufpb.br:8080/handle/tede/8690.
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Previous issue date: 2015-03-30<br>Various compositions and violin musical creations were developed with the tonal
system and diatonic scale. And many musical contemporary works are like construction
tools that favor the technical standard learning and giving considerable importance to
scale studies. Currently, the execution of musical works is to get into music courses in
schools, conservatories and universities. Considering this, the present study intended to
make a descriptive, comparative and reflective analysis of the scale systems of violin
from Carl Flesch (1926), Ivan Galamian (1985) and Simon Fischer (2012), checking
their main characteristics, similarities and differences of approach and the design of
teaching methodology. The above-mentioned authors´s works exercised and still
influence on practice and on the technique of violinists generations. So the intention of
the present work is, with the bibliographical, exploratory and descriptive research, to
help the student with his contact to the scale systems, promoting an access to
educational content and the study proposals. In order to facilitate the contact of student
with the various types of technical approaches and points of view, we identify
similarities and differences in relation with the left hand as fingerings, position changes,
chromatic scales, double stops, "broken" thirds , arpeggios, tenths, octaves, articulations
and the challenges of the right hand, on the subject of sound production, diversity of
rhythms and of bowings. With this, we question the efficiency of exercises and the real
motivations led these authors to write their systems. The differences of technical
approaches, styles and teaching methodologies also contribute to the clarification and
understanding of the changes that occurred in the period that each method was written.<br>Com a consolidação do sistema tonal e sua consequente formação escalar diatônica,
diversas composições e criações musicais para o repertório do violino foram
desenvolvidas. E muitas obras musicais da contemporaneidade são como ferramentas de
construção que favorecem a aprendizagem técnica padrão e conferem ao estudo de
escalas uma considerável importância. Na atualidade, frequentemente a execução de
escalas é exigida em testes de admissão para cursos de música em escolas,
conservatórios e universidades. Considerando o exposto, o presente estudo pretendeu
fazer uma análise descritiva, comparativa e reflexiva entre os sistemas de escalas para o
violino de Carl Flesch (1926), Ivan Galamian (1985) e Simon Fischer (2012),
verificando suas principais características, semelhanças e diferenças na abordagem e na
concepção da metodologia de ensino. Considerando que os trabalhos dos autores citados
exerceram e, ainda, exercem influência na prática e técnica de várias gerações de
violinistas, buscou-se com a pesquisa bibliográfica, exploratória e descritiva, auxiliar o
estudante no seu contato com o sistema de escalas, promovendo um acesso ao conteúdo
de ensino e às propostas de estudo. A fim de facilitar a aproximação do aluno com os
diversos tipos de abordagens técnicas e dos pontos de vista, identificamos as
semelhanças e diferenças em relação à mão esquerda, tais como dedilhados, mudanças
deposição, escalas cromáticas, cordas duplas, terças “quebradas”, arpejos, décimas,
oitavas, articulação e agilidade dos dedos, assim como os desafios da mão direita, no
que diz respeito à produção sonora, diversidade de ritmos e de arcadas. Com isso,
questionamos a eficiência dos exercícios e compreendemos as reais motivações que
conduziram esses autoresa escreverem seus respectivos sistemas. As diferenças de
abordagens técnicas, distintos estilos e metodologias de ensino também contribuem para
o esclarecimento e entendimento das mudanças ocorridas no período em que foi escrito
cada método.
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Hedenstrom, Aaron. "Programmatic Geographical Depictions in Large-Scale Jazz Ensemble Works: Major Works by Gil Evans and Chuck Owen and a New Work by Aaron Hedenstrom." Thesis, University of North Texas, 2016. https://digital.library.unt.edu/ark:/67531/metadc849643/.
Full textAbstract:
This dissertation explores the creative process in large-scale jazz ensemble works that are programmatic in depicting geographical locations. This is achieved through analyses of Gil Evans's Sketches of Spain, Chuck Owen's River Runs: A Concerto for Jazz Guitar, Saxophone, & Orchestra, and Aaron Hedenstrom's Sketches of Minnesota. Each work is examined using five analytical categories: orchestration, large-scale form, harmonic/melodic development, programmatic framework, and use of featured soloists. The analyses draw from musical scores, interviews, biographies, recordings, and articles to reveal more about each composer's artistic intentions. This study contributes to the broader knowledge of large-ensemble jazz works and programmatic jazz works. This research meets the need for more critical analyses of important jazz ensemble works relevant to composers, arrangers, and scholars.
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Silva, Micael Antunes da. "Redução da dissonância sensorial em uma escala temperada utilizando timbres inarmônicos: uma abordagem experimental e aplicações artísticas." Universidade de São Paulo, 2018. http://www.teses.usp.br/teses/disponiveis/27/27158/tde-11032019-114249/.
Full textAbstract:
A dissonância sensorial é um conceito que restringe a noção da dissonância à sua dimensão psicofísica, por meio do fenômeno psicoacústico conhecido como rugosidade. Esse conceito foi explorado neste trabalho experimentalmente tendo como foco o teste da hipótese de que é possível modelar a dissonância sensorial em escalas do temperamento por igual utilizando-se timbres inarmônicos. A dissertação é dividida em 5 partes. No capítulo 2, realiza-se uma revisão bibliográfica compilando os principais modelos de dissonância sensorial baseados em estudos experimentais, e uma revisão do sistema de afinação conhecido como temperamento por igual. No capítulo 3 apresenta-se uma proposta de síntese de espectros inarmônicos que modelam a dissonância para o temperamento por igual. Em seguida, apresenta-se um teste subjetivo realizado que avaliou a dissonância sensorial em espectros construídos com dissonância modelada para uma escala temperada de 8 partes iguais. No capítulo 4, são apresentadas aplicações artísticas realizadas, consequentes do estudo da modelagem da dissonância sensorial em escalas do temperamento por igual, como uma proposta de mapeamento de escalas em um teclado MIDI e dois relatos composicionais. Discussões acerca dos resultados e apontamentos para trabalhos futuros são abordados no capítulo final. Os resultados da pesquisa apontam para o fato de os modelos de dissonância sensorial estudados não serem suficientemente eficazes na tarefa de realizar uma avaliação precisa do fenômeno da dissonância sensorial em sons inarmônicos. Além disso, como resultado, abriram-se novas perspectivas para práticas artísticas com dissonância modelada, onde discutimos o impacto do uso dos modelos de dissonância na prática composicional e no contexto da música atual.<br>Sensory dissonance is a concept that restricts the dissonance to their psychophysical dimension, through the psychoacoustics phenomenon known as roughness. This concept was explored in this work experimentally, based on the assumption that it is possible to model the sensory dissonance in equal tempered scales, using inharmonic spectra. Our dissertation is divided into five parts. Firstly, on chapter 2, a literature review exposing the main models of sensory dissonance that are based on experimental studies is presented, as well as a revision of the equal tempered scale system. Secondly, the first part of Chapter 3 presents a method and an algorithm to synthetize inharmonic spectra that models the dissonance for equal tempered scales. Then, in the second part of chapter 3, we expose an experimental test that aims to evaluate the sensory dissonance on a spectrum generated to model the dissonance in a scale that divides the octave into 8 equal parts. On chapter 4, we propose artistic applications using the dissonance studies developed in this work, as well as a prototype of equal tempered scales controller using a MIDI keyboard and two compositional reports. Finally, the results of this research are shown in chapter 5, that highlights the fact that the models of sensory dissonance approached in this dissertation are not effective to calculate a precise estimation of sensory dissonance in inharmonic spectra. Besides that, as a result, new perspectives for artistic practices using dissonance modeling are presented, as we discuss the impact of dissonance models in the context of composition and contemporary music.
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Bettin, I. "LA VOLONTÀ DI RIFORMA DEI TEATRI MILANESI DURANTE IL PERIODO NAPOLEONICO." Doctoral thesis, Università degli Studi di Milano, 2011. http://hdl.handle.net/2434/155762.
Full textAbstract:
When Napoleone arrived in Milano, the theatrical performances in the two most popular town theatres, the Scala and the Cannobbiana, were often troubled by frequent disorders: the foyers were engaged by games of chance, in the boxes people hold receptions and the audience frequently encroached the stage and the dressing rooms to dwell with singers and dancers.
The new Government saw in the theatre a useful instrument to develop repubblican ideals and for this reason introduced immediately some reforms. The first amendment was the drawing up of a national theatre regulations and then was set up the commission to improve the performances. From 1803 to 1813 Earl Carlo Brentano Grianty managed the whole milanese theatrical production and maintained the good theatrical order.
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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.
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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.
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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.
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Thesis (M.A.)--York University, 2008. Graduate Programme in Music.<br>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
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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.<br>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.
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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.
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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.<br>School of Music
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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.
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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.<br>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.<br>Programa Doutoral em Música