Relevant bibliographies by topics / Musical topic

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers
  6. Reports

Academic literature on the topic 'Musical topic'

Author: Grafiati
Published: 4 June 2021
Last updated: 9 February 2022

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Journal articles on the topic "Musical topic"

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Brook, Taylor. "Ascending Music: Meaning and Expression in the Chamber Music of Brian Cherney." Overviews 37, no. 1 (2019): 83–98. http://dx.doi.org/10.7202/1059888ar.

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This article investigates the musical language of Brian Cherney, applying the idea of musical topics as a strategy for analyzing the extramusical content of his music. The idea of musical topics, traditionally applied to works from the classical era, is expanded with a collection of topics that are specific to Cherney’s work. Focusing on a set of chamber pieces from throughout Cherney’s compositional output beginning in the 1960s, this article focuses particularly on the topic of “ascending music,” tracing its musical and expressive meaning through these chamber works. The article concludes with a topic-based analysis ofGan Eden,a 1983 piece for violin and piano, providing an example of how topics coexist and interact within a single composition.
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Bradford, Wesley J. "Exploring the Narrative Implications of Emerging Topics in The Legend of Zelda." Journal of Sound and Music in Games 1, no. 4 (2020): 1–21. http://dx.doi.org/10.1525/jsmg.2020.1.4.1.

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The musical palette and gameplay format of The Legend of Zelda: Breath of the Wild is significantly different from earlier games in the Legend of Zelda series. The unique narrative organization of this game interacts with the different musical style to suggest a new mode of storytelling within the franchise. This article examines the narrative structure of Breath of the Wild, then groups various contrasting musical elements into emerging topics that are key elements within the game’s narrative structure. In particular, the mechanistic topic is tied to ancient technology, while a contrasting nature topic denotes the living creatures of the gameworld. These topical cues give players important information about their in-game surroundings by linking locations, characters, and events through a completely player-driven narrative discourse.
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Camargo, Luciano de Freitas. "Shostakovich’s Topics." Per Musi, no. 40 (June 14, 2021): 1–14. http://dx.doi.org/10.35699/2317-6377.2020.24661.

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The study of musical signification constitutes an important key for the comprehension of Shostakovich’s music. This becomes particularly evident when one observes that social and political background plays an important role in his compositional process through the configuration of specific musical topics on structural positions of his music. These specific topics have arisen after cultural and social events during the establishment of the Soviet Union and became typical elements of the Soviet Music. This paper aims to show the function of these elements as compositional roots in the creative concept of Shostakovich’s music. The rising of the concept of musical topic after Leonard Ratner (1980) has opened new paths for a consistent comprehension of the musical discourse, identifying social and cultural signs that may articulate ideas which go beyond the music itself: ideology, criticism and politics became elements of musical expression, composing a new soundscape of music in Revolutionary Russia.
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Rehding, Alexander. "Liszt's Musical Monuments." 19th-Century Music 26, no. 1 (2002): 52–72. http://dx.doi.org/10.1525/ncm.2002.26.1.52.

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The music topic of "apotheosis" is examined in the context of Liszt's artistic biography. While the effect of the final apotheosis is familiar as a standard procedure in his symphonic poems, a prominent critical strand suggests that the overwhelming effect of the apotheosis may merely conceal a fundamental vacuity. Nietzsche in particular develops an incisive critique of this kind of monumentality, which he links with a historiographic model of what he calls "monumental history." Nietzsche's historical model is probed against an episode from Liszt's career, in which the apotheosis topic first entered his orchestral music: the Cantata for the inauguration of the Bonn Beethoven monument (1845). In this cantata, Liszt chooses a quotation from Beethoven's "Archduke" Trio for the apotheosis. In this way, the cantata pits a musical kind of monumentality against the physical Beethoven movement, not dissimilar from attempts by Schumann and Jean Paul to theorize nineteenth-century monumentality. Moreover, with this "secular sanctus" Liszt forges an artistic link between the dead composer and himself. This episode, by means of which Liszt succeeded in consolidating his fame as Beethoven's rightful heir, turns out to be crucial for his subsequent career when he settled in Weimar as a self-consciously great composer (and wrote his symphonic poems). The events surrounding Liszt's engagement in the Beethoven monument are used as an exemplar of a notion of nineteenth-century musical monumentality that thrives on the interplay between the musical structure, the events amid which the performance took place, and the biographical background of the (genius-)composer.
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Grossi, Vittorino. "Oración de los salmos y afectividad." Augustinus 62, no. 3 (2017): 487–509. http://dx.doi.org/10.5840/augustinus201762246/24728.

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The article deals with Augustine‘s thought about Music and the Psalms. The topic of the musical language and the affective theology is addressed, as well as the song as a perception of attractive love, according to Augustine. Later, taking as point of departure Augustine‘s Gnoseology, the interior images and the metaphors of the musical instruments used by St. Augustine are identified, particularly within the en. Ps. Finally, a brief reflection on the relationship between music and the words of the songs is offered, as well as some Augustinian Guidelines on the «musica sacra» for the Contemporary Pastoral Work.
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Durman, Chris. "Psychedelic Popular Music: A History Through Musical Topic Theory." Music Reference Services Quarterly 21, no. 3 (2018): 164–65. http://dx.doi.org/10.1080/10588167.2018.1490575.

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Zorzal, Ricieri, and Oswaldo Lorenzo. "Teacher–student physical contact as an approach for teaching guitar in the master class context." Psychology of Music 47, no. 1 (2017): 69–82. http://dx.doi.org/10.1177/0305735617737154.

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In this study, the role of physical contact between teachers and students in the process of teaching guitar was investigated in the master class context. Thirty-five videotaped guitar master classes were classified into five groups according to student performance level. The musical topics studied in these classes were categorised, and all moments of physical contact between teachers and students were identified. Analyses of variance and non-parametric tests were used to determine the relationship between use of physical contact as a teaching approach and student gender, student performance level, the teacher giving the lesson, and topic presented by the teacher. The results indicated that physical contact was significantly related to the teacher giving the lesson and to guitar performance topics of “nails”, “muscle relaxation”, and “body posture”. However, of these three topics, only “body posture” was significantly related to students’ performance level. Ultimately, the results suggest that the topic presented by the teacher is helpful in determining the gestural behaviour of teachers in a musical instrument class.
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이지연. "Topic Theory: Analytical, Hermeneutical and Historical Approaches to Musical Sign." 이화음악논집 13, no. 1 (2009): 37–66. http://dx.doi.org/10.17254/jemri.2009.13.1.002.

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Margulis, Elizabeth Hellmuth. "Musical Repetition Detection Across Multiple Exposures." Music Perception 29, no. 4 (2012): 377–85. http://dx.doi.org/10.1525/mp.2012.29.4.377.

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although music's repetitiveness has been a perennial topic of theoretical and philosophical interest, we know surprisingly little about the psychological processes underlying it. As one step in the larger enterprise of examining the psychology of musical repetition, a preliminary question addresses repetition detection: Which repetitions are listeners able to identify as such, and how does this ability change across repeated exposures of the same work? In this study, participants with minimal formal training heard short excerpts and were instructed to press a button whenever they heard something from earlier in the piece repeat. Additional exposures facilitated repetition detection for long units, but impaired repetition detection for short ones, exposing an attentional shift toward larger temporal spans across multiple hearings.
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Soto Silva, Ignacio. "William Echard. Psychedelic Popular Music: A History Through Musical Topic Theory. Indiana University Press, 2017, 306 pp." ALPHA: Revista de Artes, Letras y Filosofía 1, no. 50 (2020): 345–48. http://dx.doi.org/10.32735/s0718-2201202000050800.

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El concepto de tópico musical fue acuñado por Leonard Ratner en la década de los 80’ en su libro Classic Music: Expression, Form, and Style. Esta primera aproximación sugirió un cambio notable que se observaría luego en la semiología de la música, en concreto, en el estudio de las prácticas musicales del clasicismo y romanticismo –un ejemplo claro de esto es el The Oxford Handbook of Topic Theory, editado por Danuta Mirka y publicado en 2014 por la editorial Oxford University Press...
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Dissertations / Theses on the topic "Musical topic"

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Vagts, Andrew. "Fanfare and Pastoral Topics in Mozart's Così fan tutte." Thesis, University of North Texas, 2020. https://digital.library.unt.edu/ark:/67531/metadc1707282/.

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This dissertation explores the use of topics for dramatic purposes in Mozart's Così fan tutte. The five analytical chapters are organized around a central question: how do pastoral and fanfare topics shape the plot of Così fan tutte? Chapter 2 highlights the role topics and tropes play in emplacing and nuancing emergent meaning in the Così fan tutte motto. Chapter 3 examines transformative topical tropes in "Ah guarda, sorella." Chapter 4 shows how the horn fifths and fanfare topics in "Per pietà, ben mio" frame Fiordiligi's choice: the Albanian or Guglielmo. Chapter 5 illustrates the relationship between fanfare topics and galant recitative schemas to articulate formal boundaries between accompanied recitatives and arias. The expectations of closure emplaced by the examples from Così fan tutte nuance a reading of "Hai già vinta la causa!" from Le nozze di Figaro. Chapter 6 discusses the role of recitative intrusions and their articulation of the Count's unrest in "Vedrò mentre io sospiro." Detailed analyses and close readings of the topics and tropes in this dissertation drawn from throughout Così fan tutte showcase Mozart's rich deployment of topics in varied musical and dramatic roles.
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Smith, Kristin E. "Can't fight the music| Utilizing improvisational musical performance to communicate with children on the topic of bullying." Thesis, East Carolina University, 2013. http://pqdtopen.proquest.com/#viewpdf?dispub=1547464.

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<p> This thesis examines the utilization of improvisational music techniques as a form of communication to address bullying in the Pitt County Community Schools and Recreation after -school program at Wintergreen Intermediate School in Greenville, NC. The study is based on a three week performance workshop conducted by the researcher with 17 students. The goal of the workshop was to teach children ages seven through eleven strategies to prevent, resolve and cope with bullying using improvisational music. Chapter 1 discusses previous literature on bullying, and improvisational music and performance. It lays the theoretical groundwork and provides the research methodology, while discussing the project's assumptions and limitations. Chapter 2 chronologically discusses the events of the workshop by week, highlighting and analyzing key moments. Chapter 3 discusses the follow up interviews, findings of the study, and recommendations for future projects.</p>
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Almeida, Ágata Yozhiyoka. "Música, religião e morte: recorrências tópicas na missa de réquiem em Mi bemol maior de Marcos Portugal." Universidade de São Paulo, 2016. http://www.teses.usp.br/teses/disponiveis/27/27157/tde-15032017-152743/.

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Com a mudança no cenário musicológico internacional no final do século XX, o desenvolvimento da teoria das tópicas musicais encontrou terreno fértil nas análises sobre expressividade e significação do discurso musical. Apesar de seu principal objeto de estudo se pautar nas obras de compositores dos séculos XVIII e XIX, as tópicas musicais têm sido utilizadas como ferramentas de análise em obras de diversos períodos da música brasileira. Entretanto, pouco se tem pesquisado sobre a sua influência nas obras luso-brasileiras do período colonial. Nesta mesma senda, sabe-se que a obra religiosa de Marcos Portugal, importante compositor da Casa Real Portuguesa durante o reinado do príncipe regente D. João VI, também carece de atenção no âmbito das investigações musicológicas. Assim, diante destas duas carências, este trabalho pretende, como objetivo geral, observar as recorrências tópicas na Missa de Réquiem em Mi bemol maior de Marcos Portugal. O contexto fúnebre em que as Missas de Réquiem são compostas possibilita a ocorrência de jogos semânticos e simbólicos entre a música, a religião e a morte. Dessa forma, observamos como as tópicas de marcha fúnebre, ombra e tempesta são apresentadas no Réquiem de Marcos Portugal e como contribuem para a construção da expressividade e sentimentos comuns diante da morte: o temor pela condenação eterna e a esperança de salvação.<br>The transition of the international musicology context in the late twentieth-century has made it possible for the development of Topic Theory to find a breeding ground for the analysis about musical discourse expressivity and signification. While its main object of research is based on works from eighteenth and nineteenth-century composers, musical topics have been used as analysis tools in musical works from several Brazilian music periods. Nevertheless, very little has been researched about its influences in Luso-Brazilian colonial musical works. Similarly, it is known that the religious works of Marcos Portugal, a relevant composer of the Royal House during the reign of the Regent Prince D. João VI, also requires further attention as far as musicological investigations are concerned. Thus, given these two shortcomings, the aim of this study is to look for topical recurrences in Marcos Portugal Requiem Mass in E flat major. The funeral context in which Requiem Masses are composed makes the occurrence of semantic and symbolic games between music, religion and death, possible. In this way, we have noticed how funeral march, ombra and tempesta topics are employed in Marcos Portugal Requiem and how these topics contribute to the construction of expressivity and common feelings before death: awe of the eternal damnation and hope of salvation.
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Fallahzadeh, Mehrdad. "Persian Writing on Music : A study of Persian musical literature from 1000 to 1500 AD." Doctoral thesis, Uppsala : Acta Universitatis Upsaliensis : Uppsala universitetsbibliotek [distributör], 2005. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-5864.

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Gower, Sean. "Chopin’s Introvert Paradox: Ambiguous Topics, Liminal Liveliness, and Contested Subjectivity." University of Cincinnati / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1563874577218006.

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Johnson, Randolph Burge. "Selected Topics in the Perception and Interpretation of Musical Tempo." The Ohio State University, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=osu1275412104.

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Patterson, Jason 1982. "Multidimensional Musical Objects in Mahler's Seventh Symphony." Thesis, University of North Texas, 2019. https://digital.library.unt.edu/ark:/67531/metadc1505248/.

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Gustav Mahler's Seventh Symphony seems to belie traditional notions of symphonic unity in that it progresses from E minor in the first movement to C major in the Finale. The repertoire of eighteenth and nineteenth century composers such as Haydn, Beethoven, and Brahms indicates that tonal holism is a significant factor for the symphonic genre. In order to reconcile Mahler's adventurous key scheme, this dissertation explores a multidimensional harmonic model that expands upon other concepts like Robert Bailey's double-tonic complex and transformation theory. A multidimensional musical object is a nexus of several interconnected chords that occupy the same functional space (tonic, dominant, or subdominant) and can be integrated into a Schenkerian reading. Mahler's Seventh is governed by a three-dimensional tonic object that encompasses the major and minor versions of C, E, and A-flat and the augmented triad that is formed between them. The nature of this multidimensional harmony allows unusual formal procedures to unfold, most notably in the first movement's sonata form. To navigate this particular sonata design, I have incorporated my own analytical terminology, the identity narrative, to track the background harmonic events. The location of these events (identity schism, identity crisis, and identity reclamation) is critical to the entire structure of the Seventh.
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Kiuchi, Mariko. "La Grande Messe des morts de Hector Berlioz (1837) : son langage musical et sa stratégie rhétorique." Thesis, Sorbonne université, 2018. http://www.theses.fr/2018SORUL040.

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La Grande Messe des morts d’Hector Berlioz se remarque entre autres choses par la variété de styles et le changement rapide de climats expressifs. Son écriture novatrice éveille l’émotion du public en cultivant de nombreux effets d’inattendus que la presse de l’époque a soulignés lors de la création. Comment caractériser les différents styles musicaux sur lesquels le Requiem s’articule ? Comment le compositeur captive et éveille-t-il l’émotion de l’auditeur ? Comment l’auditeur perçoit-il la stratégie déployée par le compositeur ? La présente thèse a pour but d’éclaircir le fonctionnement des matériaux musicaux variés chez Berlioz, le mécanisme de la communication compositeur-auditeur et sa conception de la musique « sacrée ». L’étude de la rhétoricité du Requiem est fondée sur quatre enquêtes successives fondées sur la théorie de la communication musicale de Jean Molino et Jean-Jacques Nattiez et l’analyse de la rhétoricité selon Jean-Pierre Bartoli : 1. étude du processus génétique de la composition (analyse de la poïétique externe) ; 2. étude de la critique de la presse musicale (analyse de l’esthésique externe) ; 3. étude des principes du développement et forme narrative (analyse de la poïétique inductive) ; 4. étude des jeux sur l’attente ménagés par le compositeur (analyse de l’esthésique inductive). De cette recherche, on conclut que Berlioz réussit à concilier l’intensité dramatique et la religiosité à travers un certain art du discours, qui maintient l’unité de l’œuvre dans la variété de ses climats, des topiques exploités et des styles d’écriture<br>Hector Berlioz’s Grande Messe des morts has been particularly recognized by its variety of styles and the rapid change of expressive atmospheres. His innovative style arouses public’s emotion by cultivating a great number of unexpected effects that the music press in time of its first performance emphasized. How can be characterized various musical styles which connect with one another in this Requiem? How does the composer behave to attract the audience and to arouse their emotion? How did the audience feel composer’s strategy which was deployed in this work? This thesis aims to make clear the function of various musical materials in his composition, a communication mechanism established between composer and audience, and his conception of the “sacred” music. A study of rhetoric in his Requiem is founded on four successive analyses, inspired by Jean Molino and Jean-Jacques Nattiez’s musical communication theory and Jean-Pierre Bartoli’s rhetoric analysis: 1. study of the creative process of the composition (analysis of the external poïétique); 2. study of the music criticism of press articles (analysis of the external esthésique); 3. study of the principal of the music’s development and its formal narrativity (analysis of the inductive poïétique); 4. study of the tactics on audience’s expectation handled by the composer (analysis of the inductive poïétique). This study concluded that Berlioz succeeded in managing the dramatic intensity and the religiousness through a certain art of discourse, which maintains the work’s unity with a variety of atmospheres, musical topics and styles
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Rego, Eusiel Silva do. "Fernando Sor e as transcrições Opus 19 para violão de Seis árias escolhidas de A flauta mágica de Mozart: uma abordagem estético-analítica." Universidade de São Paulo, 2012. http://www.teses.usp.br/teses/disponiveis/27/27158/tde-06032013-160229/.

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Este trabalho visa abordar conceitos estéticos, musicais e históricos (relacionados à época do Iluminismo) que envolvem as transcrições para violão \"Six Airs Choisis de l\'Opéra de Mozart: \"Il flauto magico, arrangés pour guitare\" Op. 19 do compositor e violonista espanhol Fernando Sor (1778-1839), publicadas entre os anos de 1823 a 1825, em Londres, e baseadas em árias de A flauta mágica k620 (1791) de Mozart. O processo de transcrição empreendido por Fernando Sor exigiu, inclusive por necessidades históricas (aproximadamente 35 anos separam essas obras), uma mudança de concepção da escritura instrumental, pois, para Sor, tratava-se de verter a essência de um pensamento musical concebido no meio operático e apresentá-lo sob o conceito sonoro de um instrumento solo emergente, como foi o caso do violão no final do século XVIII e primeiras décadas do século XIX. Assim, do ponto de vista instrumental, elementos como textura, estilo de acompanhamento e conceito de condução de vozes, para citar apenas alguns aspectos, sofreram mudanças de concepção, resultando muitas vezes quase em uma nova composição e, até mesmo, outra percepção da forma musical, porque, acima de tudo, o elemento dramáticoliterário está ausente.<br>This paper aims at addressing the aesthetic, musical and historical concepts (related to the Enlightenment) that involve the guitar transcriptions \"Six Airs Choisis de l\'Opéra de Mozart: \"Il flauto magico, arrangés pour guitare\" Op. 19 by Spanish composer and guitarist Fernando Sor (1778-1839), published between the years 1823 to 1825, in London, and based in Mozart\'s Die Zauberflöte k620 (The Magic Flute). The transcription\'s process undertaken by Fernando Sor required, even for historical purposes (the compositions were created 35 years apart), a change in the concept of instrumental writing. For Sor, it was a question of translating the essence of the musical thought conceived in an operatic way and presenting it under a sonorous concept of an emerging, solo instrument as had been the case of the guitar in the late 18th century and in the first decades of the 19th century. From the instrumental perspective, therefore, elements such as texture, style of accompaniment and the voice leading concept, to name but a few, have undergone conceptual changes, often resulting almost in a new composition and even a different perception of the musical form since, above all, the elements of drama and literature are absent.
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Cooper, Amy Nicole. "Criticism of Beethoven's Pastoral Symphony in London and Boston, 1819-1874: A Forum for Public Discussion of Musical Topics." Thesis, University of North Texas, 2011. https://digital.library.unt.edu/ark:/67531/metadc103304/.

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Critics who discuss Beethoven’s Pastoral Symphony often write about aspects that run counter to their conception of what a symphony should be, such as this symphony’s static nature and its programmatic elements. In nineteenth-century Boston and London, criticism of the Pastoral Symphony reflects the opinions of a wide range of listeners, as critics variably adopted the views of the intellectual elite and general audience members. As a group, these critics acted as intermediaries between various realms of opinion regarding this piece. Their writing serves as a lens through which we can observe audiences’ acceptance of ideas common in contemporaneous musical thought, including the integrity of the artwork, the glorification of genius, and ideas about meaning in music.
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Books on the topic "Musical topic"

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Lucia, Christine. Music notation: A South African guide. Unisa Press, 2011.

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Bernabei, Fabio. Aerosmith: 40 anni di storia dai Toxic Twins a Guitar Hero. Tsunami, 2011.

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Aerosmith: 40 anni di storia dai Toxic Twins a Guitar Hero. Tsunami, 2011.

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Popular music: Topics, trends & trajectories. Sage, 2012.

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Off-Broadway musicals since 1919: From Greenwich Village follies to the toxic avenger. Scarecrow Press, 2011.

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Hischak, Thomas S. Off-Broadway musicals since 1919: From Greenwich Village follies to the toxic avenger. Scarecrow Press, 2011.

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ill, Gutierrez Rudy, ed. Spirit seeker: John Coltrane's musical journey. Clarion Books, 2012.

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1949-, Denicola Robert C., and Kaplan Benjamin 1911-, eds. Cases on copyright, unfair competition, and other topics bearing on the protection of literary, musical, and artistic works. 4th ed. Foundation Press, 1985.

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1949-, Denicola Robert C., ed. Cases on copyright, unfair competition, and other topics bearing on the protection of literary, musical, and artistic works. 6th ed. Foundation Press, 1995.

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Brown, Ralph S. Cases on copyright, unfair competition, and related topics bearing on the protection of literary, musical, and artistic works. 7th ed. Foundation Press, 1998.

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Book chapters on the topic "Musical topic"

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Dixon, Simon. "A Lightweight Multi-agent Musical Beat Tracking System." In PRICAI 2000 Topics in Artificial Intelligence. Springer Berlin Heidelberg, 2000. http://dx.doi.org/10.1007/3-540-44533-1_77.

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Bayer, Josef. "Prima La Musica, Dopo Le Parole? A Small Note on a Big Topic." In Perspectives on the Architecture and Acquisition of Syntax. Springer Singapore, 2017. http://dx.doi.org/10.1007/978-981-10-4295-9_10.

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Frymoyer, Johanna. "Topics and stylistic register in Russian opera, 1775–1800." In The Routledge Handbook of Music Signification. Routledge, 2020. http://dx.doi.org/10.4324/9781351237536-11.

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"1. Access to the Topic." In Musical Practice as a Form of Life. transcript-Verlag, 2019. http://dx.doi.org/10.14361/9783839445730-002.

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Gracyk, Ted. "Rhythms, Resemblance, and Musical Expressiveness." In The Philosophy of Rhythm. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780199347773.003.0011.

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Despite the vast philosophical literature on musical expression, there is a surprising paucity of philosophical discussion of how rhythm contributes to the topic. Chapter 10 proposes that certain kinds of accounts of expressive qualities of music become more plausible when we recognize that entrainable rhythms play a role in our experience of musical expression. More specifically, an entrainment account of musical expression holds that the ability to hear expressiveness in rhythmic sounds is logically prior to hearing some musical patterns as expressive gestures. Although the author does not endorse arousalism as a general account of musical expression, understanding the role of rhythm in expressiveness supports a combination of the “resemblance” and “contagion” accounts of music’s expressiveness, blending what are often treated as mutually opposed accounts.
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Monelle, Raymond. "Mahler’s Military Gesture: Musical Quotation as Proto-Topic." In Music and Gesture. Routledge, 2017. http://dx.doi.org/10.4324/9781315091006-7.

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Auerbach, Brent. "Introduction to Motives." In Musical Motives. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780197526026.003.0001.

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Chapter 1 of Musical Motives provides a general introduction to the topic of motives. The etymology and origins of the word “motive” are briefly considered, along with its parallels to the “motifs” of visual art and architecture. A working definition for “motive” from Arnold Schoenberg (“the smallest part of a piece or section of a piece that, despite change and repetition, is recognizable as present throughout”) is presented in advance of more formal definitions to be presented in chapters 4–7. For the purposes of this study, motives are required “to move” and “to move listeners.” Analyses of excerpts from Sousa, Beethoven, and Mozart introduce readers to proper motivic identification and labeling technique.
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Tausig, Benjamin. "Developing Musical Economies II." In Bangkok is Ringing. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190847524.003.0012.

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This chapter describes the position of the musicians who participated in the musical economy described first in the previous chapter. Some of these musicians achieved a degree of celebrity, which required a delicate balance between earning money for themselves and the movement and appearing humble and authentically motivated. This balance was tremendously difficult to achieve, and was fraught with peril in the form of the judgment of outside observers, as well as the legal constraints of the government. The chapter focuses ethnographically on two musicians who appeared as celebrities within the movement, and whose entrepreneurial lives constrained their political participation. The discussion enters into conversation with Judith Butler and Rosalind Morris on the topic of contemporary protest movements and the problems of visibility and audibility.
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Auerbach, Brent. "CMA Narrative Archetypes." In Musical Motives. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780197526026.003.0008.

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This Interlude on the topic of narrative, the second of two, serves as the bridge between the sections on basic motivic analysis (BMA) and complex motivic analysis (CMA). Chapter 7, which formally presents CMA, will explore the ramifications of broadening the Focal Point entity to include domains beyond pitch and rhythm and permitting it to occur anywhere in the piece, not just at the beginning. These shifts necessitate a second set of narrative archetypes for modeling the flow of motivic material across a work. The dominant archetype from BMA, Propagation (BMA-1), occurs in CMA as well. Now, however, it may be deployed in hierarchic fashion across the large sections of a piece, with the central Focal Point radiating packets of material to section-controlling Local Points. Other novel CMA archetypes are proposed to document cases where Focal Point material occurs later within a work (Accretion narrative) or multiple times within a work (Cyclic narrative). Detailed schematic diagrams support the discussion of all CMA types. The chapter concludes with presentation of a summary chart of all BMA and CMA narratives.
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Church, Joseph. "Background and Rock Aesthetics." In Rock in the Musical Theatre. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190943462.003.0002.

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Chapter 1 gives historical and aesthetic context to the topic at hand. It begins with a brief description of the long-standing relationship between popular song and theatre song, and places both popular music and musical theatre in the realm of folk art. There is a brief review of the history of modern popular song and of musical theatre, and specification of the changes that the advent of rock music heralded in both industries. Next is a brief survey of rock music in the theatre, and the sometimes uncomfortable relationship between rock music and theatrical content and performance. Last is a discussion of rock aesthetics, which helps the reader understand the artistic basis of rock music and begin to apply this understanding to performance.
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Conference papers on the topic "Musical topic"

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Dalmora, André, and Tiago Tavares. "Identifying Narrative Contexts in Brazilian Popular Music Lyrics Using Sparse Topic Models: A Comparison Between Human-Based and Machine-Based Classification." In Simpósio Brasileiro de Computação Musical. Sociedade Brasileira de Computação - SBC, 2019. http://dx.doi.org/10.5753/sbcm.2019.10417.

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Music lyrics can convey a great part of the meaning in popular songs. Such meaning is important for humans to understand songs as related to typical narratives, such as romantic interests or life stories. This understanding is part of affective aspects that can be used to choose songs to play in particular situations. This paper analyzes the effectiveness of using text mining tools to classify lyrics according to their narrative contexts. For such, we used a vote-based dataset and several machine learning algorithms. Also, we compared the classification results to that of a typical human. Last, we compare the problems of identifying narrative contexts and of identifying lyric valence. Our results indicate that narrative contexts can be identified more consistently than valence. Also, we show that human-based classification typically do not reach a high accuracy, which suggests an upper bound for automatic classification. narrative contexts. For such, we built a dataset containing Brazilian popular music lyrics which were raters voted online according to its context and valence. We approached the problem using a machine learning pipeline in which lyrics are projected into a vector space and then classified using general-purpose algorithms. We experimented with document representations based on sparse topic models [11, 12, 13, 14], which aims to find groups of words that typically appear together in the dataset. Also, we extracted part-of-speech tags for each lyric and used their histogram as features in the classification process.
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Haroky, Faruq, Putri Diana Amirta, Dinda Putri Handayani, Heru Kuswanto, and Ratna Wardani. "Creating physics comic media dol (a Bengkulu local wisdom musical instrument) in sound wave topic." In 28TH RUSSIAN CONFERENCE ON MATHEMATICAL MODELLING IN NATURAL SCIENCES. AIP Publishing, 2020. http://dx.doi.org/10.1063/5.0000575.

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Zhou, Jack, Ananth Vas, Denis Blackmore, and Rafael Mulero. "Fractal Geometry Based Model for a Musical Cymbal Design and Rapid Manufacturing." In ASME 2007 International Manufacturing Science and Engineering Conference. ASMEDC, 2007. http://dx.doi.org/10.1115/msec2007-31187.

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This paper aims at an equation based simulation, CAD modeling and manufacturing of a fractal surface embedded on a musical cymbal. This study is essentially a proof-of-concept of a new method of complex-surface characterization, design and manufacturing using an equation-based approach. A cymbal shape was chosen to carry the fractal profile because generally most musical cymbals have an inherent broken surface pattern that is created to enhance the resulting musical quality, and hence it would be a topic of further study to characterize the musical notes emanating from a fractal surface on this cymbal. A fractal surface cymbal model was developed; a point cloud representation of the cymbal was generated from Matlab; a surface model was built and processed in image data processing software Imageware; a solid model was completed in CAD software PRO/E; a rapid prototype of the fractal surface cymbal was fabricated; and MasterCam software was used to generate CNC codes and simulate the CNC machining process. The effect of the variation of the parameters of the equation based surface is also shown by varying the topothesy and fractal parameter of the surface. Finally, the equation based method is used to generate other complex surfaces such as Cassini surface and the Bohemian Dome which are then solidified and prepared of manufacture.
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Evrim Tunca, Ozan. "Using Distant Learning Platform for Musical Instrument Instructor Training." In 2nd International Conference on Advanced Research in Education. Acavent, 2019. http://dx.doi.org/10.33422/2nd.educationconf.2019.11.797.

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The purpose of this study is to examine the productivity of distant instructor training program for musical instrument education. Music education, especially on playing musical instruments, has been one of the major topics of general education. Today, formal musical instrument education is available in conservatories and music departments of fine arts and education colleges, and informal or non-formal musical instrument education is available in private music schools and courses in Turkey. Recorder or melodica is taught in public schools as part of the general music education. There are number of different platforms to teach musical instruments where there is need to train teachers to do that in the needed quality. There are various applications of online teacher training for instrument education. For example, Northwestern University and University of North Carolina have been offering courses over Coursera (a major MOOCs provider), such as Teaching Violin and Viola, Fundamentals of Rehearsing Music Ensembles. Different from our program they do not provide direct contact with the instructor for feedback. A group of well-experienced instructor trainers of the Anadolu University including myself established a distant instructor-training program for musical instruments. This paper will explain and explore the stages of the program’s creation and its effectiveness.
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Misael, Luan, Carlos Forster, Emanuel Fontelles, Vinicius Sampaio, and Mardônio França. "Temporal Analysis and Visualisation of Music." In Encontro Nacional de Inteligência Artificial e Computacional. Sociedade Brasileira de Computação - SBC, 2020. http://dx.doi.org/10.5753/eniac.2020.12155.

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This paper proposes a temporal analysis for music metadata using a generative probabilistic model for collections the discrete datasets such as text corpora. This method is also a topic model that is used for discovering abstract topics from a collection of documents. The method is then applied to audio metadata and song lyrics extracted with Echo Nest® engine, Spotify® Lyrics Genius® API. Song data time series are generated by grouping data items by release date, genre and dominant topics (from LDA analysis). Using a technique from Network Theory we visualise how these topics, in this case, genres, are related to each other through time.
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Loureiro, Mauricio. "The First Brazilian Symposium on Computer Music presents Brazilian computer music potentials - Caxambu, MG, 1994." In Simpósio Brasileiro de Computação Musical. Sociedade Brasileira de Computação - SBC, 2019. http://dx.doi.org/10.5753/sbcm.2019.10463.

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The main objective of this talk is to report on the First Brazilian Symposium on Computer Music, which occurred in August 1994, at the city of Caxambu, Minas Gerais, promoted by the UFMG. The meeting occurred one year after the creation of NUCOM, a group of young academics dedicated to this emerging research field in Brazil gathered as a discussion list. This quite exciting and fancy event at Hotel Gloria in Caxambu was able to imposingly launch the group to the national, as well as to the international academic community. First, due to the excellency of the event’s output and its daring program, that included 34 selected papers by researchers from various institutions from Argentina, Brazil, Canada, Denmark, France, Hong Kong, Mexico, UK, and USA, five lectures an two panels of discussion offered by researchers from the most advanced computer music research centers all over the world. The program also included eight concerts, two of them featuring traditional music, such as Bach, Mozart, and Brazilian music.Six computer music concerts presented 48 selected compositions submitted to the symposium. Second, as the symposium happened as apart of the 14th Congress of Brazilian Computer Science Society (SBC), the excellency of its output was able to attract the interest of SBC’s board of directors. They invited NUCOM to integrate the society as a Special Committee, which are sub-groups of SBC dedicated to specific computer science topics. At the end of the description, this report aims at raising questions, arguments, and debates about today’s format of NUCOM meetings, considering more seriously the interdisciplinary character of the methodologic approaches adopted by the field. Interdisciplinarity should be pursued by striving to contaminate a growing number of different topics of musical sciences, as well as of other research fields.
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Heydarian, Peyman, and Lewis Jones. "Tonic and scale recognition in Persian audio musical signals." In 2014 12th International Conference on Signal Processing (ICSP 2014). IEEE, 2014. http://dx.doi.org/10.1109/icosp.2014.7014961.

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Liu, Haibin, Xurong Xie, Rukiye Ruzi, Lan Wang, and Nan Yan. "RE-RLTuner: A topic-based music generation method." In 2021 IEEE International Conference on Real-time Computing and Robotics (RCAR). IEEE, 2021. http://dx.doi.org/10.1109/rcar52367.2021.9517538.

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Sparks, Andrew W. "Topics in optics and music." In SPIE Optical Engineering + Applications, edited by G. Groot Gregory and Arthur J. Davis. SPIE, 2012. http://dx.doi.org/10.1117/12.931428.

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Seiça, Mariana, Pedro Martins, Licínio Roque, and F. Amílcar Cardoso. "A Sonification Experience to Portray the Sounds of Portuguese Consumption Habits." In ICAD 2019: The 25th International Conference on Auditory Display. Department of Computer and Information Sciences, Northumbria University, 2019. http://dx.doi.org/10.21785/icad2019.050.

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The stimuli for consumption is present in everyday life, where major retail companies play a role in providing a large range of products every single day. Using sonification techniques, we present a listening experiment of Portuguese consumption habits in the course of ten days, gathered from a Portuguese retail company. We focused on how to represent this time-series data as a musical piece that would engage the listener’s attention and promote an active listening attitude, exploring the influence of aesthetics in the perception of auditory displays. Through a phenomenological approach, ten participants were interviewed to gather perceptions evoked by the piece, and how the consumption variations were un-derstood. The tested composition revealed relevant associations about the data, with the consumption context indirectly present throughout the emerging themes: from the idea of everyday life, routine and consumption peaks to aesthetic aspects as the passage of time, frenzy and consumerism. Documentary, movie imagery and soundtrack were also perceived. Several musical aspects were also mentioned, as the constant, steady rhythm and the repetitive nature of the composition, and sensations such as pleasantness, sat-isfaction, annoyance, boredom and anxiety. These collected topics convey the incessant feeling and consumption needs which portray our present society, offering new paths for comprehending musical sound perception and consequent exploration.
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Reports on the topic "Musical topic"

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Raychev, Nikolay. Can human thoughts be encoded, decoded and manipulated to achieve symbiosis of the brain and the machine. Web of Open Science, 2020. http://dx.doi.org/10.37686/nsrl.v1i2.76.

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This article discusses the current state of neurointerface technologies, not limited to deep electrode approaches. There are new heuristic ideas for creating a fast and broadband channel from the brain to artificial intelligence. One of the ideas is not to decipher the natural codes of nerve cells, but to create conditions for the development of a new language for communication between the human brain and artificial intelligence tools. Theoretically, this is possible if the brain "feels" that by changing the activity of nerve cells that communicate with the computer, it is possible to "achieve" the necessary actions for the body in the external environment, for example, to take a cup of coffee or turn on your favorite music. At the same time, an artificial neural network that analyzes the flow of nerve impulses must also be directed at the brain, trying to guess the body's needs at the moment with a minimum number of movements. The most important obstacle to further progress is the problem of biocompatibility, which has not yet been resolved. This is even more important than the number of electrodes and the power of the processors on the chip. When you insert a foreign object into your brain, it tries to isolate itself from it. This is a multidisciplinary topic not only for doctors and psychophysiologists, but also for engineers, programmers, mathematicians. Of course, the problem is complex and it will be possible to overcome it only with joint efforts.
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Yatsymirska, Mariya. SOCIAL EXPRESSION IN MULTIMEDIA TEXTS. Ivan Franko National University of Lviv, 2021. http://dx.doi.org/10.30970/vjo.2021.49.11072.

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The article investigates functional techniques of extralinguistic expression in multimedia texts; the effectiveness of figurative expressions as a reaction to modern events in Ukraine and their influence on the formation of public opinion is shown. Publications of journalists, broadcasts of media resonators, experts, public figures, politicians, readers are analyzed. The language of the media plays a key role in shaping the worldview of the young political elite in the first place. The essence of each statement is a focused thought that reacts to events in the world or in one’s own country. The most popular platform for mass information and social interaction is, first of all, network journalism, which is characterized by mobility and unlimited time and space. Authors have complete freedom to express their views in direct language, including their own word formation. Phonetic, lexical, phraseological and stylistic means of speech create expression of the text. A figurative word, a good aphorism or proverb, a paraphrased expression, etc. enhance the effectiveness of a multimedia text. This is especially important for headlines that simultaneously inform and influence the views of millions of readers. Given the wide range of issues raised by the Internet as a medium, research in this area is interdisciplinary. The science of information, combining language and social communication, is at the forefront of global interactions. The Internet is an effective source of knowledge and a forum for free thought. Nonlinear texts (hypertexts) – «branching texts or texts that perform actions on request», multimedia texts change the principles of information collection, storage and dissemination, involving billions of readers in the discussion of global issues. Mastering the word is not an easy task if the author of the publication is not well-read, is not deep in the topic, does not know the psychology of the audience for which he writes. Therefore, the study of media broadcasting is an important component of the professional training of future journalists. The functions of the language of the media require the authors to make the right statements and convincing arguments in the text. Journalism education is not only knowledge of imperative and dispositive norms, but also apodictic ones. In practice, this means that there are rules in media creativity that are based on logical necessity. Apodicticity is the first sign of impressive language on the platform of print or electronic media. Social expression is a combination of creative abilities and linguistic competencies that a journalist realizes in his activity. Creative self-expression is realized in a set of many important factors in the media: the choice of topic, convincing arguments, logical presentation of ideas and deep philological education. Linguistic art, in contrast to painting, music, sculpture, accumulates all visual, auditory, tactile and empathic sensations in a universal sign – the word. The choice of the word for the reproduction of sensory and semantic meanings, its competent use in the appropriate context distinguishes the journalist-intellectual from other participants in forums, round tables, analytical or entertainment programs. Expressive speech in the media is a product of the intellect (ability to think) of all those who write on socio-political or economic topics. In the same plane with him – intelligence (awareness, prudence), the first sign of which (according to Ivan Ogienko) is a good knowledge of the language. Intellectual language is an important means of organizing a journalistic text. It, on the one hand, logically conveys the author’s thoughts, and on the other – encourages the reader to reflect and comprehend what is read. The richness of language is accumulated through continuous self-education and interesting communication. Studies of social expression as an important factor influencing the formation of public consciousness should open up new facets of rational and emotional media broadcasting; to trace physical and psychological reactions to communicative mimicry in the media. Speech mimicry as one of the methods of disguise is increasingly becoming a dangerous factor in manipulating the media. Mimicry is an unprincipled adaptation to the surrounding social conditions; one of the most famous examples of an animal characterized by mimicry (change of protective color and shape) is a chameleon. In a figurative sense, chameleons are called adaptive journalists. Observations show that mimicry in politics is to some extent a kind of game that, like every game, is always conditional and artificial.
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