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Pardue, Laurel S. "Expressive re-performance." Thesis, Massachusetts Institute of Technology, 2011. http://hdl.handle.net/1721.1/69807.
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Thesis (S.M.)--Massachusetts Institute of Technology, School of Architecture and Planning, Program in Media Arts and Sciences, 2011.Cataloged from PDF version of thesis.
Includes bibliographical references (p. 167-171).
Many music enthusiasts abandon music studies because they are frustrated by the amount of time and effort it takes to learn to play interesting songs. There are two major components to performance: the technical requirement of correctly playing the notes, and the emotional content conveyed through expressivity. While technical details like pitch and note order are largely set, expression, which is accomplished through timing, dynamics, vibrato, and timbre, is more personal. This thesis develops expressive re-performance, which entails the simplification of technical requirements of music-making to allow a user to experience music beyond his technical level, with particular focus on expression. Expressive re-performance aims to capture the fantasy and sound of a favorite recording by using audio extraction to split the original target solo and giving expressive control over that solo to a user. The re-performance experience starts with an electronic mimic of a traditional instrument with which the user steps-through a recording. Data generated from the users actions is parsed to determine note changes and expressive intent. Pitch is innate to the recording, allowing the user to concentrate on expressive gesture. Two pre-processing systems, analysis to discover note starts and extraction, are necessary. Extraction of the solo is done through user provided mimicry of the target combined with Probabalistic Latent Component Analysis with Dirichlet Hyperparameters. Audio elongation to match the users performance is performed using time-stretch. Instrument interfaces used were Akais Electronic Wind Controller (EWI), Fender's Squier Stratocaster Guitar and Controller, and a Wii-mote. Tests of the system and concept were performed using the EWI and Wii-mote for re-performance of two songs. User response indicated that while the interaction was fun, it did not succeed at enabling significant expression. Users expressed difficulty learning to use the EWI during the short test window and had insufficient interest in the offered songs. Both problems should be possible to overcome with further test time and system development. Users expressed interest in the concept of a real instrument mimic and found the audio extractions to be sufficient. Follow-on work to address issues discovered during the testing phase is needed to further validate the concept and explore means of developing expressive re-performance as a learning tool.
by Laurel S. Pardue.
S.M.
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Desain, P. W. M. "Structure and expressive timing in music performance." Thesis, City University London, 1991. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.442050.
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Scheirer, Eric David. "Extracting expressive performance information from recorded music." Thesis, Massachusetts Institute of Technology, 1995. http://hdl.handle.net/1721.1/29103.
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Xia, Guangyu. "Expressive Collaborative Music Performance via Machine Learning." Research Showcase @ CMU, 2016. http://repository.cmu.edu/dissertations/784.
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Techniques of Artificial Intelligence and Human-Computer Interaction have empowered computer music systems with the ability to perform with humans via a wide spectrum of applications. However, musical interaction between humans and machines is still far less musical than the interaction between humans since most systems lack any representation or capability of musical expression. This thesis contributes various techniques, especially machine-learning algorithms, to create artificial musicians that perform expressively and collaboratively with humans. The current system focuses on three aspects of expression in human-computer collaborative performance: 1) expressive timing and dynamics, 2) basic improvisation techniques, and 3) facial and body gestures. Timing and dynamics are the two most fundamental aspects of musical expression and also the main focus of this thesis. We model the expression of different musicians as co-evolving time series. Based on this representation, we develop a set of algorithms, including a sophisticated spectral learning method, to discover regularities of expressive musical interaction from rehearsals. Given a learned model, an artificial performer generates its own musical expression by interacting with a human performer given a predefined score. The results show that, with a small number of rehearsals, we can successfully apply machine learning to generate more expressive and human-like collaborative performance than the baseline automatic accompaniment algorithm. This is the first application of spectral learning in the field of music. Besides expressive timing and dynamics, we consider some basic improvisation techniques where musicians have the freedom to interpret pitches and rhythms. We developed a model that trains a different set of parameters for each individual measure and focus on the prediction of the number of chords and the number of notes per chord. Given the model prediction, an improvised score is decoded using nearest-neighbor search, which selects the training example whose parameters are closest to the estimation. Our result shows that our model generates more musical, interactive, and natural collaborative improvisation than a reasonable baseline based on mean estimation. Although not conventionally considered to be “music,” body and facial movements are also important aspects of musical expression. We study body and facial expressions using a humanoid saxophonist robot. We contribute the first algorithm to enable a robot to perform an accompaniment for a musician and react to human performance with gestural and facial expression. The current system uses rule-based performance-motion mapping and separates robot motions into three groups: finger motions, body movements, and eyebrow movements. We also conduct the first subjective evaluation of the joint effect of automatic accompaniment and robot expression. Our result shows robot embodiment and expression enable more musical, interactive, and engaging human-computer collaborative performance.
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Davidson, Jane Whitfield. "The perception of expressive movement in music performance." Thesis, Online version, 1991. http://ethos.bl.uk/OrderDetails.do?did=1&uin=uk.bl.ethos.292586.
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Walker, Timothy M. "Instrumental differences in characteristics of expressive musical performance." Connect to this title online, 2004. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1092430692.
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Thesis (Ph. D.)--Ohio State University, 2004.Title from first page of PDF file. Document formatted into pages; contains xii, 126 p.; also includes graphics. Includes bibliographical references (p. 118-126).
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Trevor, Caitlyn M. "Cognitive and Theoretical Analyses of Expressive Performance Choices." The Ohio State University, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=osu1543507401915102.
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Warren, Deborah Kay. "Nonlinguistic Cognitive Performance and Expressive and Receptive Language Scores in Children with Expressive Language Delay." PDXScholar, 1994. https://pdxscholar.library.pdx.edu/open_access_etds/4884.
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This study was part of the Portland Language Development Project. The purpose was to establish reliability for the Goodenough Draw-A-Man Test. Additionally, nonlinguistic cognitive performance scores were correlated with soores from expressive and receptive language test soores. Finally, scores of overall cognitive function and of nonlinguistic cognitive function in children with normally developing language (NL) and with expressive language delay (ELD) were compared. The original group size was 60 children, 30 with ELD at the age of 20 months, and 30 who were a matched control group. These subjects were reevaluated during Kindergarten. The Draw-A-Man Test was administered to assess the subjects' nonlinguistic cognitive functioning. The McCarthy Scales of Children's Abilities CMCSA) was administered to assess the subjects' overall cognitive functioning. A free speech sample was analyzed using the Developmental Sentence Scoring (DSS) criteria to assess expressive language skills, and the Vineland Adaptive Behavior Scales
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Gingras, Bruno. "Expressive strategies and performer-listener communication in organ performance." Thesis, McGill University, 2008. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=21905.
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This dissertation investigated expressive strategies and performer-listener communication in organ performance. Four core issues were explored: (a) the communication of voice emphasis; (b) the communication of artistic individuality; (c) the influence of musical structure on error patterns; and (d) the relationship between performers' interpretive choices and their analyses of the formal structure of a piece. Performances were recorded on an organ equipped with a MIDI (Musical Instrument Digital Interface) console, allowing precise measurements of performance parameters. Performances were then matched to scores using an algorithm relying both on structural and temporal information, which I developed in the context of this project. Two experiments investigated the communication of voice-specific emphasis in organ performance. The modification of articulation patterns was the most consistent strategy used by performers to emphasize a voice. Listeners who were themselves organists were more sensitive to differences between performers and interpretations than non-organists; however, musical structure was a major factor in the perception of voice prominence. The perception of artistic individuality in organ performance was examined by inviting participants to sort different interpretations of a chorale setting by several performers. Most participants performed above chance level. The performance of musicians and non-musicians was comparable. Sorting accuracy was lower for mechanical interpretations than for expressive ones, demonstrating an effect of expressive intent. In addition, sorting accuracy was significantly higher for prize-winning performers than for non-winners. Analyses of error patterns in organ performance showed that the likelihood of a note being wrongly played was inversely correlated with its degree of perceptual salience and musical significance or familiarity. Furthermore, individual performers exhibited consistent and idiosyncratic error patterns.Cette thèse étudie les stratégies expressives et la communication entre interprète et auditeur dans la musique d'orgue. Quatre thèmes principaux sont abordés: (a) la communication de l'accentuation des voix; (b) la communication de l'individualité artistique; (c) l'influence de la structure musicale sur les schémas d'erreurs; (d) les rapports entre les choix interprétatifs des organistes et leur analyse formelle d'une pièce. Les enregistrements ont été réalisés sur un orgue muni d'une console MIDI (Musical Instrument Digital Interface), qui permet de mesurer précisément les paramètres expressifs. Les données MIDI ont ensuite été appariées à la partition au moyen d'un algorithme que j'ai développé dans le cadre de cette étude, et qui utilise à la fois l'information structurelle et temporelle. Deux expériences explorent la communication de l'accentuation d'une voix à l'orgue. La modification des patrons d'articulation s'avère la stratégie utilisée le plus couramment pour faire ressortir une voix. Les auditeurs qui sont eux-mêmes organistes sont plus sensibles aux différences entre interprètes et interprétations que les non-organistes; cependant, la structure musicale représente un facteur important dans la perception de l'accentuation. La perception de l'individualité artistique à l'orgue est examinée au moyen d'une expérience de catégorisation auditive d'une série d'interprétations d'un choral. La plupart des participants ont obtenu des taux de réussite supérieurs au hasard. Les résultats des musiciens et des non-musiciens sont comparables. Par contre, les interprètes ayant gagné des prix sont identifiés plus aisément que ceux qui n'ont pas été primés. En outre, les interprétations mécaniques sont moins bien classifiées que les interprétations expressives. L'analyse de la répartition des erreurs montre que la probabilité qu'une note soit jouée de façon erronée est inversement corrélée avec son importa
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Meissner, Henrique. "Teaching young musicians expressive performance : a mixed methods study." Thesis, University of Sheffield, 2018. http://etheses.whiterose.ac.uk/22929/.
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Braun, Elizabeth Longo. "Music Description and Expressive Performance by Middle School Instrumentalists." The Ohio State University, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=osu1354596370.
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Graham, Katherine Joy. "Scenographic light : towards an understanding of expressive light in performance." Thesis, University of Leeds, 2018. http://etheses.whiterose.ac.uk/20414/.
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In the expanded field of performance design research there is a growing understanding of the dynamic and affective capacities of performance materials, and how such materials may play a fundamental role in the audience experience of a given performance. Parallel to this research in scenography is a similar extension of the conception of the roles of light and dark in performance. Reconciling and extending these areas of research this PhD thesis posits the term ‘scenographic light’ to encapsulate the ability of performance light to actively inscribe dramaturgical meaning in space and time, arguing that light is capable of independently contributing to performance through its manipulation of space, time, and visuality. This doctoral research uses auto-ethnographic spectatorship as a means of identifying the unique contribution of light to performance. Employing a phenomenological framework to explore the dynamic role of light within performance, this study presents an ontology of light that is rooted in dramaturgical action. The experiential framework put forward in this research facilitates a theoretical discussion about the dramaturgical impact of light, revolving specifically around questions of how light affects other elements in performance, how it seems to perform as a material in itself, and how, in respect of these things, it can become a generative force in performance. By applying these questions to a wide range of contemporary performance practices I identify and articulate ways in which light can be considered a significant contributor to performance, working simultaneously with, but independently of, other elements in performance. The implications of this research invite an expanded view of the position of light in performance analysis, and suggest that the study of light may be productively aligned with explorations of audience engagement and affect.
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Conte, Elaine. "Aporias da performance na educação." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2012. http://hdl.handle.net/10183/40493.
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O trabalho discute o conceito de performance na esfera pedagógica, que ficou submetido a uma racionalidade instrumental e objetivista, incidindo na pedagogização dos processos formativos e na orientação para uma educação técnica. Investigar a performance docente, problema pouco estudado sob o ponto de vista teórico e prático, é, portanto, possibilitar a superação da apática limitação do próprio conceito, proveniente da sua redução ao princípio da identidade cientificista e da autoridade didática. Em vista dessa exigência, pretendemos lançar um olhar hermenêutico-reconstrutivo com o intuito de repensar os equívocos nos rumos do debate para sugerir sua compreensão como forma de fazer com que a multiplicidade interpretativa possa interagir de modo comunicativo entre formadores, formandos e interlocutores pedagógicos, aperfeiçoando a competência comunicativa na formação de professores. A tese analisa a dimensão performativa reconstruída pela via da racionalidade comunicativa de Jürgen Habermas e Paulo Freire, em diálogo com outros pensadores, reconhecendo a interdependência das várias formas de argumentação e de inter-relações formativas para justificar a singularidade do trabalho pedagógico, tendo em vista a possibilidade realizadora da fala na educação, que integra e inclui a verdade do mundo objetivo, o moralmente prático e o esteticamente expressivo. Ensinar não consiste apenas num dizer, mas num fazer, num agir, no sentido ético, estético e técnico, isto é, produtivo, formativo e expressivo da comunicação humana. Tal racionalidade poderia satisfazer as demandas estéticas e sociais frente aos reducionismos intelectuais, abrindo espaço à pluralidade e à contingência da prática cotidiana, admitindo justificações argumentadas pelo enfoque performativo que assegura validades em favor de um mundo da ação intersubjetiva, dialógica e humana, que é sempre suscetível de refutação. Tal proposta exigiria entre outras modificações, desenvolver o saber linguístico-expressivo dos professores, a ser construído durante o processo formativo, relativizando as concepções positivistas de competência em benefício de uma racionalidade aprendente, performativa e mais alargada de compreensão do mundo.This work discusses the concept of teacher’s performance in the educational sphere, which was subjected to an instrumental and objective rationality, focusing on the pedagogization of formative process and orientation for technical education. The investigation of teaching performance - a problem poorly studied from the theoretical and practical point of view - is, therefore, a means of enabling the overcome of apathetic limitation of the concept itself, descendant of its reduction to a principle of scientific identity and didactic authority. Given this requirement, we intend to cast a hermeneutic-reconstructive glance in order to rethink the mistakes in the debate course to suggest its understandings as a way of making the interpretative multiplicity interact in communicative manners among educators, apprentices and pedagogical interlocutors, improving communicative competence in teacher’s formation. The thesis examines the performative dimension reconstructed by the communicative rationality of Jürgen Habermas and Paulo Freire, in dialogue with other intelectuals, recognizing the interdependence of the various forms of argumentation and formative inter-relations to justify the singularity of the educational work, raising the possibility of speech in education, which integrates and includes the truth of the objective world, the morally practical and aesthetically expressive. Teaching is not only a telling, but rather a doing, an act in an ethic, aesthetic and technical sense, that is, productive, formative and expressive of human communication. Such rationality could satisfy the aesthetic and social demands in face of intellectual reductionism, giving space for plurality and contingency in daily practice, assuming justifications argued by performative approaches which ensure validity in favor of a world of intersubjective action, dialogic and human, which is always susceptible to refutation. This proposal would require, among other changes, the development of linguistic-expressive knowledge of teachers, which should be built during the formative process, relativizing the positivist conceptions of competence in favor of a rationality learner, with a performative and broader comprehension of the world.
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Fabiani, Marco. "Interactive computer-aided expressive music performance : Analysis, control, modification and synthesis." Doctoral thesis, KTH, Musikakustik, 2011. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-34099.
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This thesis describes the design and implementation process of two applications (PerMORFer and MoodifierLive) for the interactive manipulation of music performance. Such applications aim at closing the gap between the musicians, who play the music, and the listeners, who passively listen to it. The goal was to create computer programs that allow the user to actively control how the music is performed. This is achieved by modifying such parameters as tempo, dynamics, and articulation, much like a musician does when playing an instrument. An overview of similar systems and the problems related to their development is given in the first of the included papers. Four requirements were defined for the applications: (1) to produce a natural, high quality sound; (2) to allow for realistic modifications of the performance parameters; (3) to be easy to control, even for non-musicians; (4) to be portable. Although there are many similarities between PerMORFer and MoodifierLive, the two applications fulfill different requirements. The first two were addressed in PerMORFer, with which the user can manipulate pre-recorded audio performance. The last two were addressed in MoodifierLive, a mobile phone application for gesture-based control of a MIDI score file. The tone-by tone modifications in both applications are based on the KTH rule system for music performance. The included papers describe studies, methods, and algorithms used in the development of the two applications. Audio recordings of real performance have been used in PerMORFer toachieve a natural sound. The tone-by-tone manipulations defined by the KTH rules first require an analysis of the original performance to separate the tones and estimate their parameters (IOI, duration, dynamics). Available methods were combined with novel solutions, such as an approach to the separation of two overlapping sinusoidal components. On the topic of performance analysis, ad-hoc algorithms were also developed to analyze DJ scratching recordings. A particularly complex problem is the estimation of a tone’s dynamic level. A study was conducted to identify the perceptual cues that listeners use to determinethe dynamics of a tone. The results showed that timbre is as important as loudness. These findings were applied in a partly unsuccessful attempt to estimate dynamics from spectral features. The manipulation of tempo is a relatively simple problem, as is that of articulation (i.e. legato-staccato) as long as the tone can be separated. The modification of dynamics on the other hand is more difficult, as was its estimation. Following the findings of the previously mentioned perceptual study, a method to modify both loudness and timbre using a database of spectral models was implemented. MoodifierLive was used to experiment with performance control interfaces. In particular, the mobile phone’s built-in accelerometer was used to track, analyze, and interpret the movements of the user. Expressive gestures were then mapped to corresponding expressive music performances. Evaluation showed that modes based on natural gestures were easier to use than those created witha top-down approach.QC 20110607
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Li, Tianrong. "The Use of Pianistic and Non-Pianistic Imagery in Solo Piano Performance: The Case of Chopin’s Ballade No. 1." Thesis, Université d'Ottawa / University of Ottawa, 2018. http://hdl.handle.net/10393/38304.
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This study presents a framework for categorization of the imagery used in solo piano practice. The framework sorts imagery into two large category: pianistic and non-pianistic and further subdivides into three groups: auditory, kinesthetic, and visual. Given such a range of function for imagery, such as a “view” of the score, instrument, or the space in which performance takes place, a number of terms have emerged to describe imagery within musical practice, terms such as mental rehearsal, mental practice, aural or internal representations, inner hearing, visualization, and finger practice. My goal for this study is not only to investigate the potential of imagery and to devise a framework in which such terms could be defined with more consistency across the whole scope of piano performance studies; but also to apply such findings by suggesting ways in which the framework could be used in practice. With an understanding of imagery and the benefits it may bring, this study suggests paths for further exploration, paths that can impact how music educators might assist music enhance expression, music appreciation and learning, as well as technique in performance practice.
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Mokhtar, Shehram. "Sacred Spaces and Expressive Bodies: At the Urs of Lal Shahbaz Qalandar." Thesis, University of Oregon, 2013. http://hdl.handle.net/1794/12956.
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The shrine of Sufi saint Lal Shahbaz Qalandar is located in the rural city of Sehwan in Sindh, Pakistan. Sehwan is a site of pilgrimage for thousands of devotees at the annual festival known as urs, spanning three days to commemorate the death anniversary of the saint. Men, women, and transgender participants engage in many rituals at the urs among which the prominent is devotional dancing called dhamaal. This thesis project relates sacredness of spaces and hyper-reality of the festival with the performances of rituals that involve diverse publics. At the urs and otherwise, the shrine space provides devotees, largely poor, a collective non-verbal expression in the form of dhamaal. Dhamaal gives expression to the body in a society that does not normally encourage such expressions in the public sphere. This thesis argues that the Sufi discourse in Sehwan makes the body of a devotee an expressive body.
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Yang, Luwei. "Computational modelling and analysis of vibrato and portamento in expressive music performance." Thesis, Queen Mary, University of London, 2017. http://qmro.qmul.ac.uk/xmlui/handle/123456789/24857.
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Vibrato and portamento constitute two expressive devices involving continuous pitch modulation and is widely employed in string, voice, wind music instrument performance. Automatic extraction and analysis of such expressive features form some of the most important aspects of music performance research and represents an under-explored area in music information retrieval. This thesis aims to provide computational and scalable solutions for the automatic extraction and analysis of performed vibratos and portamenti. Applications of the technologies include music learning, musicological analysis, music information retrieval (summarisation, similarity assessment), and music expression synthesis. To automatically detect vibratos and estimate their parameters, we propose a novel method based on the Filter Diagonalisation Method (FDM). The FDM remains robust over short time frames, allowing frame sizes to be set at values small enough to accurately identify local vibrato characteristics and pinpoint vibrato boundaries. For the determining of vibrato presence, we test two alternate decision mechanisms-the Decision Tree and Bayes' Rule. The FDM systems are compared to state-of-the-art techniques and obtains the best results. The FDM's vibrato rate accuracies are above 92.5%, and the vibrato extent accuracies are about 85%. We use the Hidden Markov Model (HMM) with Gaussian Mixture Model (GMM) to detect portamento existence. Upon extracting the portamenti, we propose a Logistic Model for describing portamento parameters. The Logistic Model has the lowest root mean squared error and the highest adjusted Rsquared value comparing to regression models employing Polynomial and Gaussian functions, and the Fourier Series. The vibrato and portamento detection and analysis methods are implemented in AVA, an interactive tool for automated detection, analysis, and visualisation of vibrato and portamento. Using the system, we perform crosscultural analyses of vibrato and portamento differences between erhu and violin performance styles, and between typical male or female roles in Beijing opera singing.
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Giraldo, Sergio Iván. "Computational modelling of expressive music performance in jazz guitar: a machine learning approach." Doctoral thesis, Universitat Pompeu Fabra, 2016. http://hdl.handle.net/10803/395184.
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Computational modelling of expressive music performance deals with the analysis and characterization of performance deviations from the score that a musician may introduce when playing a piece in order to add expression. Most of the work in expressive performance analysis has focused on expressive duration and energy transformations, and has been mainly conducted in the context of classical piano music. However, relatively little work has been dedicated to study expression in popular music where expressive performance involves other kinds of transformations. For instance in jazz music, ornamentation is an important part of expressive performance but is seldom indicated in the score, i.e. it is up to the interpreter to decide how to ornament a piece based on the melodic, harmonic and rhythmic contexts, as well as on his/her musical background. In this dissertation we present an investigation in the computational modelling of expressive music performance in jazz music, using the guitar as a case study. High-level features are extracted from the scores, and performance data is obtained from the corresponding audio recordings from which a set of performance actions are obtained semi automatically (including timing/energy deviations, and ornamentations). After each note is characterized by its musical context description, several machine learning techniques are explored to, on one hand, induce regression models for timing, onset and dynamics transformations, and classification models for ornamentation to render expressive performances of new pieces, and, on the other hand, learn expressive performance rules to analyse its musical meaning. Finally. we report on the relative importance of the considered features, quantitatively evaluate the accuracy of the induced models, and discuss some of the learnt expressive performance rules. Moreover, we present different approaches for semi-automatic data extraction-analysis, as well as, some applications in other research fields. The findings, methods, data extracted, and libraries developed for this work are a contribution to expressive music performance field, as well to other related fields.El modelado computacional de la expresividad en la interpretación musical trata sobre el análisis y la caracterización de las desviaciones que, con respecto a la partitura, los músicos introducen cuando interpretan una pieza musical para añadir expresividad. La mayoría del trabajo en análisis de la expresividad musical hace énfasis en la manipulación de la duración y el volumen de las notas, y ha sido principalmente estudiada en en el contexto de piano clásico. Sin embargo, muy poco esfuerzo ha sido dedicado al estudio de la expresividad en música popular. Concretamente, en música jazz acciones expresivas como los ornamentos son una parte importante de la expresividad musical ya que estos no están indicados en la partitura y es tarea del músico hacer uso de los mismos añadiendo o substituyendo notas en la partitura. Los músicos añaden ornamentos teniendo en cuenta el contexto melódico, armónico o rítmico del tema, o bien según su experiencia en el lenguaje jazzístico. En este trabajo, presentamos una investigación en el modelado computacional de la expresividad musical en música jazz, tomando la guitarra eléctrica como caso de estudio. En primer lugar, extraemos descriptores de alto nivel de las partituras y obtenemos datos de la ejecución a partir de las correspondientes grabaciones de audio, de donde obtenemos semiautomáticamente la desviaciones temporales y de energía de cada nota, así como la detección de ornamentos. Después de que cada nota ha sido caracterizada por su contexto musical, varios algoritmos de aprendizaje automático son explorados para, de un lado, inducir modelos de regresión para duración, comienzo de nota y volumen, y modelos de clasificación para ornamentos para, finalmente, renderizar ejecuciones musicales expresivas. Por otra parte, aplicamos técnicas de inducción automática de reglas al conjunto de descriptores obtenidos para obtener reglas de ejecución musical analizando su sentido musical. Por ultimo, analizamos la importancia relativa de los descriptores considerados, cuantitativamente evaluamos la exactitud de los modelos y discutimos acerca de las reglas obtenidas. Igualmente, reportamos métodos para la extracción-análisis semi-automático de datos, asi como aplicaciones en otros campos de investigación. Los resultados, los métodos presentados, así como los datos extraídos y las librerías de código generadas para llevar a cabo esta investigación constituyen un aporte relevante en el campo de estudio computacional de la expresividad musical, así como en otras áreas de investigación relacionadas.
El modelatge computacional de l'expressivitat en la interpretació musical, tracta sobre l'anàlisi i la caracterització de les desviacions que els músics introdueixen quan interpreten una peça musical, per afegir expressivitat, respecte la partitura. La major part del treball en anàlisi de l'expressivitat musical fa èmfasi en la manipulació de la durada i el volum de les notes. La majoria dels estudis s'han fet en el context de piano clàssic i molt poc esforç ha estat dedicat a la música popular. Concretament, en música jazz, accions expressives com els ornaments, són una part important de l'expressivitat musical; Tot i no estar indicats en la partitura, és tasca del músic fer ús dls ornaments, afegir o substituir notes en la partitura, tot tenint en compte el context melòdic, harmònic o rítmic del tema, o bé segons la seva experiència en el llenguatge jazzístic. En aquest treball, presentem una recerca en el modelatge computacional de l'expressivitat musical en música jazz, prenent la guitarra elèctrica com a cas d'estudi. En primer lloc, extraiem descriptors d'alt nivell de les partitures i obtenim dades de l'execució a partir dels corresponents enregistraments d'àudio, d'on també obtenim semiautomáticament les desviacions temporals i d'energia de cada nota així com la detecció d'ornaments. Després que cada nota hagi sigut caracteritzada pel seu context musical, diversos algoritmes d'aprenentatge automàtic són explorats per a diferents fins. D'un costat, induir models de regressió per a la durada, el començament de nota i el volum, i models de classificació per a ornaments per, finalment, renderitzar execucions musicals expressives. D'altra banda, apliquem tècniques d'inducció automàtica de regles al conjunt de descriptors obtinguts, per obtenir regles d'execució musical analitzant les seves implicacions musicals. Per últim, analitzem la importància relativa dels descriptors considerats, quantitativament avaluem l'exactitud dels models i discutim sobre les regles obtingudes. Igualment, reportem mètodes per a l'extracció-anàlisi semi-automàtic de dades, així com a aplicacions en altres camps de recerca. Els resultats, els mètodes presentats, així com les dades extretes i les llibreries de codi generades per dur a terme aquesta recerca, constitueixen una aportació rellevant en el camp d'estudi computacional de l'expressivitat musical i en altres àrees de recerca relacionades.
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Gallops, Ronald Wayne. "The effect of conducting gesture on expressive-interpretive performance of college music majors." [Tampa, Fla.] : University of South Florida, 2005. http://purl.fcla.edu/fcla/etd/SFE0001289.
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Marchini, Marco 1984. "Analysis of ensemble expressive performance in string quartets: a statistical and machine learning approach." Doctoral thesis, Universitat Pompeu Fabra, 2014. http://hdl.handle.net/10803/285204.
Full textAbstract:
Computational approaches for modeling expressive music performance have produced systems that emulate human expression, but few steps have been taken in the domain of ensemble performance.
Polyphonic expression and inter-dependence among voices are intrinsic features of ensemble performance and need to be incorporated at the very core of the models. For this reason, we proposed a novel methodology for building computational models of ensemble expressive performance by introducing inter-voice contextual attributes (extracted from ensemble scores) and building separate models of each individual performer in the ensemble.
We focused our study on string quartets and recorded a corpus of performances both in ensemble and solo conditions employing multi-track recording and bowing motion acquisition techniques. From the acquired data we extracted bowed-instrument-specific expression parameters performed by each musician.
As a preliminary step, we investigated over the difference between solo and ensemble from a statistical point of view and show that the introduced inter-voice contextual attributes and extracted expression are statistically sound.
In a further step, we build models of expression by training machine-learning algorithms on the collected data. As a result, the introduced inter-voice contextual attributes improved the prediction of the expression parameters. Furthermore, results on attribute selection show that the models trained on ensemble recordings took more advantage of inter-voice contextual attributes than those trained on solo recordings. The obtained results show that the introduced methodology can have applications in the analysis of collaboration among musicians.L’estudi de l’expressivitat musical ha produït models computacionals capaços d’emular l’expressivitat humana, però aquests models encara no es poden aplicar al cas dels conjunts musicals. Per estudiar l’expressivitat dels conjunts musicals, s’han de tenir en compte dues característiques principals: l’expressió polifònica i la interdependència entre veus. Per aquesta raó, proposem una nova metodologia que es basa en la introducció d’una sèrie d’atributs intervocals, que hem extret de la partitura, que es poden utilitzar per construir models d’expressivitat individuals per a cada un dels músics. Hem col•leccionat un conjunt de peces musicals a partir de l’enregistrament multipista i de la captura de moviments d’un quartet de cordes, en un corpus que recull peces concretes tocades tant en grup com individualment. D’aquestes dades, hem extret diversos paràmetres que descriuen l’expressivitat per a cada un dels músics d’un conjunt de corda. El primer pas ha estat estudiar, des d’un punt de vista estadístic, les diferències entre l’actuació d’una mateixa peça tant en solitari com en grup. Després, hem estudiat les relacions estadístiques entre els atributs intervocals i els paràmetres d’expressivitat. A continuació, hem construït models d’expressivitat a partir de la utilització d’algoritmes d’aprenentatge automàtic amb les dades col•leccionades. Com a resultat, els atributs intervocals que hem proposat han millorat la predicció del paràmetres d’expressivitat. Hem pogut demostrar com aquests models que han après d’actuacions en grup utilitzen més atributs intervocals que aquells que ho han fet d’actuacions en solitari. Aquests resultats mostren que la metodologia i models introduïts es poden aplicar en l’anàlisi de la col•laboració entre membres d’un conjunt musical.
El estudio de la expresividad musical ha producido modelos computacionales capaces de emular la expresividad humana, pero estos modelos todavía no se pueden aplicar al caso de los conjuntos musicales. Para estudiar la expresividad de los conjuntos musicales, se deben tener en cuenta dos características principales: la expresión polifónica y la interdependencia entre voces. Por esta razón, proponemos una nueva metodología que se basa en la introducción de una serie de atributos intervocales, que hemos extraído de la partitura, que se pueden utilizar para construir modelos de expresividad individuales para cada uno de los músicos. Hemos coleccionado un conjunto de piezas musicales a partir de la grabación multipista y de la captura de movimientos de un cuarteto de cuerdas, en un corpus que recoge piezas concretas tocadas tanto en grupo como individualmente. De estos datos, hemos extraído varios parámetros que describen la expresividad para cada uno de los músicos de un conjunto de cuerdas. El primer paso ha sido estudiar, desde un punto de vista estadístico, las diferencias entre la actuación de una misma pieza tanto en solitario como en grupo. Después, hemos estudiado las relaciones estadísticas entre los atributos intervocales y los parámetros de expresividad. A continuación, hemos construido modelos de expresividad a partir de la utilización de algoritmos de aprendizaje automático con los datos coleccionados. Como resultado, los atributos intervocales que hemos propuesto han mejorado la predicción de los parámetros de expresividad. Hemos podido demostrar cómo estos modelos que han aprendido de actuaciones en grupo utilizan más atributos intervocales que aquellos que lo han hecho de actuaciones en solitario. Estos resultados muestran que la metodología y modelos introducidos se pueden aplicar en el análisis de la colaboración entre miembros de un conjunto musical.
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Sidoti, Vincent James. "The effects of expressive and nonexpressive conducting on the performance accuracy of selected expression markings by individual high school instruments." The Ohio State University, 1990. http://rave.ohiolink.edu/etdc/view?acc_num=osu1299081043.
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Sidoti, Vincent James. "The effects of expressive and nonexpressive conducting on the performance accuracy of selected expression markings by individual high school instrumentalists /." The Ohio State University, 1990. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487683401443805.
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Al-Tai, Elias. "An evaluation of the expressive power and performance of JSON-to-JSON transformation languages." Thesis, KTH, Skolan för elektroteknik och datavetenskap (EECS), 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-233191.
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JSON-to-JSON transformation languages enable the transformation of a JSON document into another JSON document. As JSON is gradually becoming the most used interchange format on the Internet there is a need for transformation languages that can transform the data stored in JSON in order for the data to be used with other systems. The transformation can transform the document structurally, for example by altering the hierarchical structure of the document. The transformation can also transform the document textually, for example by renaming fields or altering values. None of the existing JSON-to-JSON transformation languages have become a standard (Jellife, 2017). This work evaluates the expressive power of the JSON-to-JSON transformation language Jolt. Jolt have recently been adopted by Apache and support have been introduced in some of their products. If a transformation language have expressive power that are at least equal to Nested Relational Algebra this implies that a transformation language can perform many advanced transformations. In this work a formal model of Jolt is defined, referred to as Jolt0, in order to compare its expressive powers to Nested Relational Algebra. For that purpose, the operations of another formal model called MQuery which have been proven to have equivalent expressive power to Nested Relational Algebra are translated into Jolt0. It is shown that Jolt does not have expressive powers equivalent to Nested Relational Algebra. We further compared the performance of four JSON-to-JSON transformation languages (Jolt, Handlebars, Liquid, and XSLT 3.0) by constructing tests where the different transformation languages executed equivalent transformations. The transformations were evaluated by measuring runtime and memory usage. The study shows that XSLT 3.0 performed worst in all run time and memory usage tests. When transforming large input data XSLT 3.0 performed significantly worse than the other languages.JSON-till-JSON transformationsspråk möjliggör transformationer från ett JSON-dokument till ett annat JSON-dokument. Eftersom JSON gradvis håller på att bli det mest använda data-utväxlingsformatet på internet så finns det ett behov av transformationsspråk som kan transformera data som är lagrad i JSON formatet för att kunna användas med andra system. Transformationen kan transformera dokumentet strukturellt, till exempel genom att förändra den hierarkiska strukturen på dokumentet. Transformationen kan även transformera dokumentet textuellt, till exempel genom att döpa om fält eller ändra värden. Ingen av de existerande JSON-till-JSON transformationsspråken har blivit en standard (Jellife, 2017). Det här arbetet undersöker uttryckskraften av Jolt vilket är ett JSON-till-JSON transformationsspråk. Jolt har nyligen fått stöd av Apache i några av deras produkter. Om ett transformationsspråk har en uttryckskraft som är ekvivalent med nästlad relationell algebra innebär det att språket kan utföra många avancerade transformationer. I det här arbetet definieras en formell modell av Jolt, kallad Jolt0, för att kunna jämföra dess uttryckskraft med nästlad relationell algebra. Till det syftet så översätts operationerna från en annan formell modell med namnet MQuery som har bevisats ha ekvivalent uttrykskraft med nästlad relationell algebra till Jolt0. Arbetet drar slutsatsen att Jolt inte har uttryckskraft som är ekvivalent med nästlad relationell algebra. Arbetet undersöker också prestandan för de fyra JSON-till-JSON transformationsspråken (Jolt, Handlebars, Liquid och XSLT 3.0) genom att konstruera tester där de olika transformationsspråken exekverar ekvivalenta transformationer. Transformationerna utvärderas baserat på körstids- och minnesanvändningsprestandan. Studien visar att XSLT 3.0 presterar sämst i alla körstids- och minnesanvändningstester. När transformationerna använder sig av stor input data så presterar XSLT 3.0 signifikant sämre än de andra språken.
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Kirke, Alexis. "Application of intermediate multi-agent systems to integrated algorithmic composition and expressive performance of music." Thesis, University of Plymouth, 2011. http://hdl.handle.net/10026.1/895.
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We investigate the properties of a new Multi-Agent Systems (MAS) for computer-aided composition called IPCS (pronounced “ipp-siss”) the Intermediate Performance Composition System which generates expressive performance as part of its compositional process, and produces emergent melodic structures by a novel multi-agent process. IPCS consists of a small-medium size (2 to 16) collection of agents in which each agent can perform monophonic tunes and learn monophonic tunes from other agents. Each agent has an affective state (an “artificial emotional state”) which affects how it performs the music to other agents; e.g. a “happy” agent will perform “happier” music. The agent performance not only involves compositional changes to the music, but also adds smaller changes based on expressive music performance algorithms for humanization. Every agent is initialized with a tune containing the same single note, and over the interaction period longer tunes are built through agent interaction. Agents will only learn tunes performed to them by other agents if the affective content of the tune is similar to their current affective state; learned tunes are concatenated to the end of their current tune. Each agent in the society learns its own growing tune during the interaction process. Agents develop “opinions” of other agents that perform to them, depending on how much the performing agent can help their tunes grow. These opinions affect who they interact with in the future. IPCS is not a mapping from multi-agent interaction onto musical features, but actually utilizes music for the agents to communicate emotions. In spite of the lack of explicit melodic intelligence in IPCS, the system is shown to generate non-trivial melody pitch sequences as a result of emotional communication between agents. The melodies also have a hierarchical structure based on the emergent social structure of the multi-agent system and the hierarchical structure is a result of the emerging agent social interaction structure. The interactive humanizations produce micro-timing and loudness deviations in the melody which are shown to express its hierarchical generative structure without the need for structural analysis software frequently used in computer music humanization.
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SCHNEIDER, KARIN. "Fraction-an investigation on principles of functional design and its expressive potential." Thesis, Högskolan i Borås, Institutionen Textilhögskolan, 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:hb:diva-17399.
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`FRACTION, an investigation on principles of functional design and its expressive potential´ is dealing with the interaction between the body, the worn garment and the closer space around it, in the context of the three being individual functional systems. Based on my findings, I am questioning the existing paradigms for a functional expression with the aim of generating an outlook for a possible development of what can be considered a functional visual. How much function can an expression contain and how much expression can still be considered functional?Revisiting the historic context of functional design, not garment construction, profound thoughts on aesthetics and function as well as the current status of the branch, this article is aiming for a more holistic view on functional creation and fashion design. Based on this theoretical background ten outfits got developed. All of them serve as a conceptual proposal of what the findings could mean in reality.Program: Konstnärligt masterprogram i mode- och textildesign med inriktning mot modedesign eller textildesign
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Jessop, Elena Naomi. "A gestural media framework : tools for expressive gesture recognition and mapping in rehearsal and performance." Thesis, Massachusetts Institute of Technology, 2010. http://hdl.handle.net/1721.1/57806.
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Thesis (S.M.)--Massachusetts Institute of Technology, School of Architecture and Planning, Program in Media Arts and Sciences, 2010.Cataloged from PDF version of thesis.
Includes bibliographical references (p. 97-101).
As human movement is an incredibly rich mode of communication and expression, performance artists working with digital media often use performers' movement and gestures to control and shape that digital media as part of a theatrical, choreographic, or musical performance. In my own work, I have found that strong, semantically-meaningful mappings between gesture and sound or visuals are necessary to create compelling performance interactions. However, the existing systems for developing mappings between incoming data streams and output media have extremely low-level concepts of "gesture." The actual programming process focuses on low-level sensor data, such as the voltage values of a particular sensor, which limits the user in his or her thinking process, requires users to have significant programming experience, and loses the expressive, meaningful, and metaphor-rich content of the movement. To remedy these difficulties, I have created a new framework and development environment for gestural control of media in rehearsal and performance, allowing users to create clear and intuitive mappings in a simple and flexible manner by using high-level descriptions of gestures and of gestural qualities. This approach, the Gestural Media Framework, recognizes continuous gesture and translates Laban Effort Notation into the realm of technological gesture analysis, allowing for the abstraction and encapsulation of sensor data into movement descriptions. As part of the evaluation of this system, I choreographed four performance pieces that use this system throughout the performance and rehearsal process to map dancers' movements to manipulation of sound and visual elements. This work has been supported by the MIT Media Laboratory.
by Elena Naomi Jessop.
S.M.
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Channakeshava, Karthik. "High performance, scalable, and expressive modeling environment to study mobile malware in large dynamic networks." Diss., Virginia Tech, 2010. http://hdl.handle.net/10919/77218.
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Advances in computing and communication technologies are blurring the distinction between today's PCs and mobile phones. With expected smart phones sales to skyrocket, lack of awareness regarding securing them, and access to personal and proprietary information, has resulted in the recent surge of mobile malware. In addition to using traditional social-engineering techniques such as email and file-sharing, malware unique to Bluetooth, Short Messaging Service (SMS) and Multimedia Messaging Service (MMS) messages are being used. Large scale simulations of malware on wireless networks have becomes important and studying them under realistic device deployments is important to obtain deep insights into their dynamics and devise ways to control them.
In this dissertation, we present EpiNet: an individual-based scalable high-performance oriented modeling environment for simulating the spread of mobile malware over large, dynamic networks. EpiNet can be used to undertake comprehensive studies during both planning and response phase of a malware epidemic in present and future generation wireless networks. Scalability is an important design consideration and the current EpiNet implementation can scale to 3-5 million device networks and case studies show that large factorial designs on million device networks can be executed within a day on 100 node clusters. Beyond compute time, EpiNet has been designed for analysts to easily represent a range of interventions and evaluating their efficacy.
The results indicate that Bluetooth malware with very low initial infection size will not result in a major wireless epidemic. The dynamics are dependent on the network structure and, activity-based mobility models or their variations can yield realistic spread dynamics. Early detection of the malware is extremely important in controlling the spread. Non-adaptive response strategies using static graph measures such as degree and betweenness are not effective. Device-based detection mechanisms provide a much better means to control the spread and only effective when detection occurs early on. Automatic signature generation can help in detecting newer strains of the malware and signature distributions through a central server results in better control of the spread. Centralized dissemination of patches are required to reach a large proportion of devices to be effective in slowing the spread. Non-adaptive dynamic graph measures such as vulnerability are found to be more effective.
Our studies of SMS and hybrid malware show that SMS-only malware spread slightly faster than Bluetooth-only malware and do not spread to all devices. Hybrid malware spread orders of magnitude faster than either SMS-only or Bluetooth-only malware and can cause significant damage. Bluetooth-only malware spread faster than SMS-only malware in cases where density of devices in the proximity of an infected device is higher. Hybrid malware can be much more damaging than Bluetooth-only or SMS-only malware and we need mechanisms that can prevent such an outbreak. EpiNet provide a means to propose, implement and evaluate the response mechanisms in realistic and safe settings.Ph. D.
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Gries, Margret, and Margret Gries. "Expressive Intonation as Rhetoric in the Performance Practice of Instrumental Ensemble Music in London (1650-1720)." Thesis, University of Oregon, 2012. http://hdl.handle.net/1794/12344.
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Descartes’ Compendium musicae and Lamy’s La Rhétorique ou l’art de parler,
both published in English translation in London in the late seventeenth century, suggest
approaches to period performance practice that support expressive intonation as a rhetorical
device. Descartes’ unique perspective on musical pitch and intervals provides a
methodology for understanding inflected intonation in performance. Closely aligned with
Descartes’ epistemological perspective, Lamy’s treatise provides an understanding of
expressive intention as essential to effective rhetorical delivery. These approaches are
applied to musical examples from trio sonatas of Arcangelo Corelli, John Ravenscroft and
Henry Purcell, demonstrating that expressive intonation using subtle pitch inflection can be
explained as a rhetorical practice. These subtle pitch inflections, related as they are to both
rhetorical delivery and intonation systems, are not reflected in notation but realized only as
music is heard in time. It is in performance contexts that pitch inflection can be realized as
an expressive device. A supplemental audio file contains five short examples
demonstrating pitch deviation applied to selected intervals.
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Broughton, Mary C. "Music, movement and marimba solo marimbists' bodily gesture in the perception and production of expressive performance /." View thesis, 2008. http://handle.uws.edu.au:8081/1959.7/33189.
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Thesis (Ph.D.)--University of Western Sydney, 2008.A thesis presented to the University of Western Sydney, College of Arts, School of Psychology, in fulfilment of the requirements for the degree of . Includes bibliographies.
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Vandewalker, David W. "Relative effectiveness of three diverse instructional conditions on seventh-grade wind band students' expressive musical performance." Thesis, Boston University, 2014. https://hdl.handle.net/2144/11073.
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Thesis (D.M.A.)--Boston UniversityIn this study, the researcher examined the relative effectiveness of three diverse instructional conditions (aural model (AM), concrete musical instruction (CM), and verbal instruction using imagery/metaphor statements (MI)) on seventh-grade wind band students' expressive musical performance. This study was based, in part, on Woody's (2006a) research with adaptations to include developmentally appropriate instructional conditions for seventh-grade wind band students. In the AM condition, the aural model was recorded by an advanced pianist who synthesized elements from both the CM and MI conditions and exaggerated the expressive properties of loudness, tempo, and style/note duration. In the CM instructional condition, the researcher notated musical markings corresponding to the intended emotion on the printed score for three melodies. Finally, in the MI condition, high-quality examples of imagery/metaphor statements were gathered from experienced wind band instructors and the best-rated statement for each melody was utilized. Participants were enrolled in two seventh-grade wind band programs located in Cobb County, Georgia. Sixty randomly sampled, seventh-grade wind band musicians participated in an expressive performance procedure (EPP) consisting of a pretest recording, an instructional condition, and a posttest recording followed by computer analysis of the loudness, tempo and style/note duration expressive properties. Data were analyzed through matched pairs t-tests determining whether the instructional conditions affected statistically significant differences, from pretest to posttest scores (p < .05), on expressive music performance. Data were further analyzed using an ANCOVA and Tukey HSD post-hoc tests to examine statistically significant (p < .05) differences regarding the relative effectiveness of the three instructional conditions. The results of the matched pairs t-tests indicated the AM, CM, and MI instructional conditions affected the mean difference score sets with statistical significance. Furthermore, results suggested the AM and MI conditions were found to be significantly (p < .005) more effective in affecting the mean difference scores sets than the CM condition; however, the AM and MI conditions did not appear to be significantly more effective compared to one another. The analysis provided evidence supporting the notion that diverse instructional conditions may be effective alternatives for teaching expressive performance.
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Lundh, Haaland Magnus. "The Player as a Conductor : Utilizing an Expressive Performance System to Create an Interactive Video Game Soundtrack." Thesis, KTH, Skolan för elektroteknik och datavetenskap (EECS), 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-281324.
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Music is commonly applied in art and entertainment to enhance the emotional experience. In video-games and other non-linear mediums this task must be achieved dynamically at run-time, as the timeline of events is unknown in advance. Different techniques have been developed to solve this issue, but most commercial applications still rely on pre-rendered audio. In this study, I investigate using a Computer System for Expressive Music Performance (CSEMP) to dynamically shape a computer performance of a pre-composed track to a small platforming game. A prototype environment utilising the KTH Rule System was built and evaluated through semistructured interviews and observations with 7 participants. The results suggest that changes in the musical performance can successfully reflect smaller changes in the experience such as character movement, and are less effective for sound effects or more dramatic changes, such as when the player is engaging in combat or when the player loses. All participants preferred the interactive soundtrack over a non-interactive version of the same soundtrack.Musik används ofta som ett komplement i konst och underhållning för att förstärka den känslomässiga upplevelse. I datorspel och andra icke-linjära medier måste musiken ta på sig denna rollen dynamiskt, eftersom det inte går att veta hur händelserna kommer utfalla sig i förväg. För att lösa detta problem har det utvecklats olika tekniker, men dom flesta är fortfarande baserade på digitala inspelningar. I denna studie utforskar jag användningen av ett "Computer Systen for Expressive Musig Performance" (CSEMP) för att dynamiskt forma datorns framträdande av en lineär komposition till ett enkelt plattformsspel. En prototyp baserat på systemet "KTH Rule System" utvecklades och utvärderades genom semistrukturerade intervjuer och observationer med 7 deltagare. Resultaten visar att förändringar i uppspelningen lyckades spegla mindre förändringar i spelet, såsom hur en spelkaraktär rör sig, och var mindre effekt som ljudeffekter och för större förändringar, såsom när spelaren är i fara eller spelet är över. Alla deltagare föredrog det interaktiva ljudspåret över en icke-interaktiv version i det samma ljudspåret.
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Broomhead, Gordon Paul. "Individual expressive performance achievement in the choral ensemble : its relationship to ensemble achievement, technical achievement, and musical background /." Thesis, Connect to this title online; UW restricted, 1999. http://hdl.handle.net/1773/11438.
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Clancy, Kathleen Ann. "Second Grade Academic Performance in Normal Children, Children with a History of, and Children with Expressive Language Delay." PDXScholar, 1994. https://pdxscholar.library.pdx.edu/open_access_etds/4740.
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Interest in children who are diagnosed with expressive language delay has increased over the years. This has resulted in follow-up studies which have suggested that these children would have difficulties in academics during their elementary school years (Hall & Tomblin, 1978; Weiner, 1974) The current study sought to determine if children with a history of and children with continued expressive language delay would have problems with academics once they reached the second grade. The Peabody Individual Achievement Test (PIAT) was used to measure academic performance. It was chosen for it's reliable standardization and use of five different subtest areas to determine overall academic achievement. The purpose of this study was to determine if there are significant differences in academic performance on PIAT between three groups of second grade children with different language histories. The three groups are: 1) children with normal language history 2) children with a history of expressive language delay (HELD) who were identified as late to talk between 20 and 34 months of age, but who received a score at or above the tenth percentile in the second grade on the DSS (Developmental Sentence Scoring, Lee 1974), and 3) children with chronic expressive language delay (ELD) who were identified as late to talkers between 20 and 34 months of age, and received a score below the tenth percentile in the second grade on the DSS. Significant differences were found between the ELD group and the Normal group in the areas of Math and General Information as well as the Total Test Score. The ELD group also performed significantly lower than the HELD group in the areas of Math and the Total Test Score. There were no significant differences found between the HELD group and the Normals or between the ELD and HELD groups on the General Information subtest. These results were consistent with the most recent research article by Whitehurst and Fischel (1994) which looked at three longitudinal studies and found that by five years of age most children diagnosed with specific expressive language delay were performing within the normal range in ·various areas of language development.
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Zumpano, Nívia Gasparini 1968. "Os parâmetros expressivos na execução ao cravo e suas abordagens = um estudo sobre a expressividade cravística = Expressive parameters in the harpsichord performance: a harpsichord expressiveness study." [s.n.], 2013. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284444.
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Orientador: Edmundo Pacheco HoraTese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes
Made available in DSpace on 2018-08-23T23:46:55Z (GMT). No. of bitstreams: 1 Zumpano_NiviaGasparini_D.pdf: 2081333 bytes, checksum: 2bd12f885adec4fb185459793cebd470 (MD5) Previous issue date: 2013
Resumo: O presente trabalho apresenta uma reflexão a respeito da expressividade cravística com ênfase em alguns parâmetros da execução. Para tanto, foram delimitados fatores associados à expressividade a partir da literatura especializada e, na etapa seguinte, realizou-se um estudo sobre sua influência na sonoridade do instrumento, procurando-se destacar questões relativas à possibilidade de dinâmica no cravo. Com o objetivo de verificar a maneira como a expressividade tem sido abordada no contexto de aprendizado cravístico e a forma como os estudantes manipulam os parâmetros analisados, realizou-se também uma pesquisa com alunos e ex-alunos de diversas Instituições de Ensino do país. Ao final, a análise dos resultados obtidos possibilitou a visualização da forma como os parâmetros podem influenciar acusticamente a sonoridade na execução, permitindo concluir que sua manipulação pelo intérprete amplia as possibilidades expressivas do instrumento
Abstract: In this thesis we offer a discussion about harpsichord's expressiveness with emphasis on some performance parameters. Thus, we defined some factors associated to the expressiveness from the specialized literature and in the next step we performed a study about its influence on harpsichord's sound, seeking to highlight the instrument dynamic possibilities. In order to check how the expressiveness has been addressed in the context of harpsichords' learning and how students manipulate the parameters, we also carried out a survey involving harpsichord students in different educational institutions. Finally, the results' analysis showed us how expressive parameters can influence acoustically the harpsichord sound, allowing conclude that performer's manipulation expands the instrument expressive possibilities
Doutorado
Fundamentos Teoricos
Doutora em Música
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Kosta, Katerina. "Computational modelling and quantitative analysis of dynamics in performed music." Thesis, Queen Mary, University of London, 2017. http://qmro.qmul.ac.uk/xmlui/handle/123456789/30712.
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Musical dynamics- loudness and changes in loudness - forms one of the key aspects of expressive music performance. Surprisingly this rather important research area has received little attention. A reason is the fact that while the concept of dynamics is related to signal amplitude, which is a low-level feature, the process of deriving perceived loudness from the signal is far from straightforward. This thesis advances the state of the art in the analysis of perceived loudness by modelling dynamic variations in expressive music performance and by studying the relation between dynamics in piano recordings and markings in the score. In particular, we show that dynamic changes: a) depend on the evolution of the performance and the local context of the piece; b) correspond to important score markings and music structures; and, c) can reflect wide divergences in performers' expressive strategies within and across pieces. In a preparatory stage, dynamic changes are obtained by linking existing music audio and score databases. All studies in this thesis are based on loudness levels extracted from 2000 recordings of 44 Mazurkas by Frederic Chopin. We propose a new method for efficiently aligning and annotating the data in score beat time representation, based on dynamic time warping applied to chroma features. Using the score-aligned recordings, we examine the relationship between loudness values and dynamic level categories. The research can be broadly categorised into two parts. The first investigates how dynamic markings map to performed loudness levels. Empirical results show that different dynamic markings do not correspond to fixed loudness thresholds. Rather, the important factors are the relative loudness of neighbouring markings, the inter-relations of nearby markings and other score information, the structural location of the markings, and the creative license exercised by the performer in inserting further interpretive dynamic shaping. The second part seeks to determine how changes in loudness levels map to score features using statistical change-point techniques. The results show that significant dynamic score markings do indeed correspond to change points. Furthermore, evidence suggests that change points in score positions without dynamic markings highlight structurally salient events or events based on temporal changes. In a separate bidirectional study, we investigate the relationship between dynamic mark- ings in the score and performed loudness using machine learning techniques. The techniques are applied to the prediction of loudness levels corresponding to dynamic markings, and to the classification of dynamic markings given loudness values. The results show that loudness values and markings can be predicted relatively well when trained across recordings of the same piece, but fail dismally when trained across a pianist's recordings of other pieces. The findings demonstrate that score features may trump individual style when modelling loudness choices. The analysis of the results reveal that form|such as the return of the theme - and structure - such as repetitions -influence predictability of loudness and markings. This research is a first step towards automatic audio-to-score transcription of dynamic markings. This insight will serve as a tool for expression synthesis and musicological studies.
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Davis, Adam Benjamin. "The Art of Marimba Articulation: A Guide for Composers, Conductors, and Performers on the Expressive Capabilities of the Marimba." Thesis, University of North Texas, 2018. https://digital.library.unt.edu/ark:/67531/metadc1248483/.
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Articulation is an element of musical performance that affects the attack, sustain, and the decay of each sound. Musical articulation facilitates the degree of clarity between successive notes and it is one of the most important elements of musical expression. Many believe that the expressive capabilities of percussion instruments, when it comes to musical articulation, are limited. Because the characteristic attack for most percussion instruments is sharp and clear, followed by a quick decay, the common misconception is that percussionists have little or no control over articulation. While the ability of percussionists to affect the sustain and decay of a sound is by all accounts limited, the ability of percussionists to change the attack of a sound with different implements is virtually limitless. In addition, where percussion articulation is limited, there are many techniques that allow performers to match articulation with other instruments. Still, percussion articulation is often a topic of little concern to many musicians. The problem is not that this issue has been completely ignored, but rather that a vast number of contradictory and conflicting viewpoints still permeate pedagogical methods and literature. This is most certainly the case with the marimba, where a review of method books reveals a multitude of confusing statements about marimba articulation. It is clear that there is still widespread confusion about marimba articulation from composers, conductors, and most importantly percussionists themselves. This study attempts to advance percussion pedagogy in this area through a better understanding of the terminology of musical articulation, the acoustical principles of the marimba, and the techniques that affect sound production on this instrument. After a review of these three areas, this study examines 166 recordings, which look at the actual effect of specific techniques carried out on the marimba. Finally, the project offers a set of recommendations for composers, conductors, and percussionists on all aspects of marimba articulation, in the goal of increasing marimbists' potential for greater musical expression.
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Chester, Erin A. "An examination of the relationship betweeen [i.e. between] teaching method and middle school instrumentalalists' [i.e. instrumentalists'] performance of three expressive skills." College Park, Md. : University of Maryland, 2008. http://hdl.handle.net/1903/8213.
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Thesis (M.A.)--University of Maryland, College Park, 2008.Thesis research directed by: School of Music. Title from t.p. of PDF. Includes bibliographical references. Published by UMI Dissertation Services, Ann Arbor, Mich. Also available in paper.
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Kruja, Mira. "PIANO INSIDE OUT: THE EXPANSION OF THE EXPRESSIVE, TECHNICAL, AND SONOROUS SPECTRUM IN SELECTED TWENTIETH-CENTURY ART-MUSIC REPERTOIRE FOR THE MODERN ACOUSTIC PIANO." Lexington, Ky. : [University of Kentucky Libraries], 2004. http://lib.uky.edu/ETD/ukymuar2004d00228/Mkrujadma.pdf.
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Thesis (Ph.D.) --University of Kentucky, 2004.Title from document title page (viewed on August 17, 2005). Document formatted into pages; contains: vii, 201 p. : music. Includes abstract and vita. Includes bibliographical references (p.187-197).
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Antunes, Alexandre Borin. "Corpo-máscara em jogo : a rua como lugar de encontro." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2018. http://hdl.handle.net/10183/185252.
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Encontrar o jogo. Jogar com o encontro. Eis o motivo principal deste trabalho, que se desenvolve a partir de uma perspectiva artística, através de uma abordagem prática baseada em estudos teatrais que envolvem o jogo do ator com a máscara na rua. Por meio das experiências artísticas e pedagógicas com a Cia Familie Flöz, Irion Nolasco, Liane Venturella e Tiche Vianna, e através das práticas do grupo Máscara EnCena, este trabalho busca relacionar elementos que direcionam a expressividade do corpo, como o foco, interesse, ação, reação, triangulação, estados de leveza, peso, retração e expansão, assim como as qualidades físico-energéticas do buoyancy, potency e radiancy propostas por Arthur Lessac, afim de encontrar uma identidade entre corpo e máscara em relação criativa e interativa com a rua. A partir de práticas do processo de mascaramento do ator, ou seja, da transposição de qualidades físicas que condicionam ao corpo outras possibilidades expressivas, a presente pesquisa debruça-se sobre o jogo do ator com a máscara inteira expressiva em contato com a rua e a cultura urbana da cidade de Porto Alegre. Desse modo, o trabalho propõe a articulação entre tais princípios e a expressividade criativa do ator em jogo na rua, servindo-se de procedimentos e experimentações com a máscara.Encounter the performance. Play with the encounter. This is the main objective of this research, which develops from an artistic perspective, through a practical approach based on theatrical studies that involve the actor's performance with the mask on the streets. This research seeks to relate elements which direct the expressiveness of the body, such as focus, interest, action , reaction, triangulation, states of lightness, weight, retraction and expansion, as well as the physical-energetic qualities of buoyancy, potency and radiancy proposed by Arthur Lessac, through artistic and pedagogical experiences with Cia Familie Flöz, Irion Nolasco, Liane Venturella and Tiche Vianna, and through practices of Mascara EnCena group, in order to find an identity between body and mask in a creative and interactive relation with the streets. Starting from practices such as the masking process of the actor, which is, the transposition of physical qualities that condition the body to other expressive possibilities, this research looks at the actor's performance with the expressive mask as a whole, having contact with the streets and the urban culture in the city of Porto Alegre. Therefore, the research proposes articulation between such principles and the creative expressiveness of the actor in performance on the street, using procedures and experimentations with the mask.
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Rodrigues, Rebecca Silva. "A comunicação das nuanças da emoção triste em ponteios de Camargo Guarnieri: relações entre a estrutura musical e recursos expressivos." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2015. http://hdl.handle.net/10183/127126.
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A presente investigação teve como objetivo geral investigar a comunicação das nuanças da emoção triste em ponteios de Camargo Guarnieri através das relações entre a estrutura musical e recursos expressivos. O delineamento metodológico foi de natureza qualitativa e quantitativa. Para cada Ponteio, foram escolhidos dois termos que traduzissem nuanças dessa emoção. A amostra foi constituída de estudantes de música em nível de extensão (N = 66), graduação e pós-graduação (N = 63) pertencentes aos cursos da UFRGS. A coleta de dados empregou um questionário por escolha forçada, onde os participantes indicaram a emoção percebida. O estímulo foi a performance integral, ao vivo, de cada Ponteio. A abordagem qualitativa envolveu uma entrevista semiestruturada por estimulação de recordação com sete pianistas universitários, visando a reflexão tanto sobre as terminologias escolhidas para cada Ponteio, como sobre as decisões interpretativas. Os resultados demonstraram que o grau de comunicação emocional com base nos termos escolhidos apresentou dispersão em ambas as populações investigadas. O modelo bidimensional de Russell permitiu analisar o registro da performance com polarizações entre valência (timbre, dinâmica) e atividade (andamento, timing, articulação). Levando em conta os recursos estruturais e expressivos concebidos pela intérprete, a incidência dos termos percebidos pelos estudantes universitários e os níveis relativos de atividade e valência, os Ponteios puderam ser classificados em termos relativos de grau de tristeza.The present research aimed at investigating the relationships between musical structure and expressive resources manipulated in the planning of the interpretation of four Ponteios from Camargo Guarnieri bearing explicit indications of the emotion Sadness, for the communication of this emotion in the performance. The methodological design was quali- and quantitative. The interpretation of the Ponteios 11, 31, 36 and 41 was constructed aiming at communicating the emotion Sadness, based on musical interpretative analysis and the structural and expressive aspects associated to the communication of this emotion, according to the literature. For each Ponteio, two terms that might translate the nuances of this emotion were chosen. Sample was constituted of music students at university extension level (N = 66), as well as music undergraduate and graduate students from UFRGS. Data sampling employed a questionnaire by forced choice. The stimulus was the whole piece live performance. The qualitative approach involved a semi structured stimulated recall interview with seven universitary students, aiming at thinking both on the chosen terms as well as on the interpretative choices. The results have demonstrated that the degree of emotional communication, based on the chosen terms, presented dispersion in both investigated populations. Russell´s bidimensional model allowed us to analyze the performance records with polarization between valence (timbre, dynamics) and activity (tempo, timing, articulation). Taking into account the structural and expressive resources conceived by the performer, the incidence of the terms perceived by the university level students and the relative levels of activity and valence, the Ponteios could be classified in terms of relative degree of Sadness.
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Hägglund, Anders. "Musikaliskt framförande i midibaserad musik : En undersökning om hur två olika metoder för att komponera mididata påverkar upplevelsen av digital orkestral musik." Thesis, Högskolan i Skövde, Institutionen för informationsteknologi, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:his:diva-15439.
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Med hjälp av digitala ljudbibliotek kan man få tillgång till ljudet av en orkester, men hur kan man återskapa känslan av en riktig orkester? Det finns flera metoder för att digitalt återskapa ett mänskligt framförande, två av de vanligaste är realtidsinspelning och datorsimulering. Båda metoderna kan användas för att efterlikna/återskapa mänskliga karaktärsdrag i musikaliska framföranden.I detta arbete jämfördes dessa metoder ur lyssnarens perspektiv, för att ta reda på vilken metod som bäst gynnar kompositörer av digital orkestral musik. Undersökningen utnyttjade en kvantitativ metod i form av en internetbaserad enkät där respondenterna fick svara på frågor och rangordna deras upplevelse av de olika metoderna.Resultatet visade bland annat att den generella upplevelsen av metoderna inte skiljde sig åt i genomsnitt, men att det fanns trender mellan olika lyssningsvanor och vilken metod som föredrogs. Mängden insamlad data var inte tillräcklig för att dra konkreta slutsatser, arbetet visar dock tendenser och kan användas som underlag till vidare forskning.
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Fančal, Petr. "Analýza zvukové interpretace hudby metodami číslicového zpracování signálu." Master's thesis, Vysoké učení technické v Brně. Fakulta elektrotechniky a komunikačních technologií, 2017. http://www.nusl.cz/ntk/nusl-317017.
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The aim of this master's thesis is the analysis of musical compositions from the standpoint of time resources of music. The introduction briefly describes the basic musicological terms and variables that are in direct relationship to the time resources in expressive music performance. The following part of the work is devoted to the known methods of digital signal processing, suitable for music information retrieval from audio recordings. In the practical part these methods are demonstrated on three recordings in MATLAB environment and the results were compared in terms of used agogics.
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Pavlij, Georgij. "Vurazovi vidminnosti miž homofonijeju ta polifonijeju - teorija ta vykonavstvo, L'viv, Vyscyj deržavnyj musycnyj instytut im. Mykoly Lysenka (Atlas), 1995, 122 stor. [Georgiy Pavliy, Expressive Differences Between Homophony and Polyphony - Theory and Performance, Lviv (Atlas), 1995, 122 pp.] [Zusammenfassung]." Universitätsbibliothek Leipzig, 2017. http://nbn-resolving.de/urn:nbn:de:bsz:15-qucosa-221037.
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Humphries, Carl. "Musical expression and performance." Thesis, University of Southampton, 2006. https://eprints.soton.ac.uk/192757/.
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This study examines the philosophical question of how it is possible to appreciate music aesthetically as an expressive art form. First it examines a number of general theories that seek to make sense of expressiveness as a characteristic of music that can be considered relevant to our aesthetic appreciation of the latter. These include accounts that focus on resemblances between music and human behaviour or human feelings, on music's powers of emotional arousal, and on various ways in which music may be imaginatively construed by listeners. It argues that none of these are entirely satisfactory. Then it proposes an alternative account, focusing on what is involved when our appreciation of music as an expressive art is informed by our awareness of it as something that is expressively interpreted in performance. It is claimed that this offers the basis for a better understanding of at least some aspects of expressiveness in music and its relevance to aesthetic appreciation.
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Giovanni, Julia Ruiz Di. "Seattle, Praga, Gênova: política anti-globalização pela experiência da ação de rua." Universidade de São Paulo, 2008. http://www.teses.usp.br/teses/disponiveis/8/8134/tde-04072008-143738/.
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Esta dissertação consiste em uma abordagem antropológica do movimento antiglobalização a partir de uma etnografia de relatos, registros e análises de três eventos de protesto: as manifestações de novembro de 1999 contra a Organização Mundial do Comércio em Seattle, as manifestações em Praga contra a reunião do Fundo Monetário Internacional e do Banco Mundial em setembro de 2000 e as manifestações contra a reunião do G8 em Gênova, de julho de 2001. O recorte da pesquisa está centrado nas formas da ação de rua, abordadas como práticas significativas a partir de conceitos da antropologia das formas expressivas tais como: performance, drama social e liminaridade. As diferentes táticas de protestos são interpretadas como mediações simbólicas articuladas em relação ao problema do desgaste de formas políticas que marcaram o século precedente. Essa abordagem possibilita tratar com mais recursos o caráter paradoxal do objeto de pesquisa: um \"movimento de movimentos\", cuja definição contém simultaneamente dinâmicas de unificação e diferenciação.This dissertation consists in an anthropological approach to the anti-globalization movement, starting from an ethnography of stories, registers and analisys of three protest events: the demonstrations of November 1999 against the World Trade Organization in Seattle, the demonstrations in Prague against the International Monetary Fund and World Bank meeting in September 2000, and the demonstrations in against the G8 meeting in Genoa, Italy, in July 2001. The research is centered in the forms of street action, discussed as significative practices through concepts found in the anthropology of expression as: performance, social drama and liminality. The different tactics of protest are interpreted as symbolic mediations articulated in relation to the problem of the fading of political forms as known in the XXth century. This approach offers resources to deal with the paradoxal nature of the research object: a \"movement of movements\" which definition carries simultaneously dynamics of unity and separation.
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Hamadmad, Hakam. "Définition d’une expression temporelle de la performance des entreprises manufacturières." Thesis, Université Grenoble Alpes (ComUE), 2017. http://www.theses.fr/2017GREAA002/document.
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Il y a de cela un demi-siècle, l’expression de la performance industrielle était taylorienne, monocritère, rattachée aux résultats financiers de l’entreprise. Aujourd’hui, la performance a adopté une dimension multicritère, multi niveau, liée au degré d’atteinte d’un objectif généralement global. Les performances du système sont établies à des fins de pilotage, calculées sur la base de comparaisons entre les objectifs fixés et les mesures correspondantes. Toutefois, cette performance est restée exprimée, de manière statique, généralement à l’instant final de l’horizon temporel associé à l’atteinte de l’objectif.Nous proposons, dans le cadre de cette thèse, une définition de la performance temporelle, déployée selon trois performances, instantanée, tendancielle et prédictive. L’hypothèse émise dans nos travaux consiste à considérer un objectif défini par une trajectoire d’objectifs dits intermédiaires, sur un horizon temporel donné. La performance instantanée est définie comme le degré d’atteinte de l’objectif à un jalon donné de l’horizon temporel. Elle repose ainsi sur une fonction de comparaison de la valeur de l’objectif et celle de la mesure de son atteinte. La performance tendancielle est le résultat de la comparaison de la tendance de l’objectif avec la tendance de la mesure. Cette performance renseigne de la manière dont l’objectif est atteint. La performance prédictive est définie à un jalon donné de l’horizon temporel, pour un jalon futur. Elle est le résultat de la comparaison de la valeur de l’objectif intermédiaire associé au jalon futur, avec une estimation de valeur de la mesure à ce même jalon futur. Une méthode d’exploitation de ces performances est proposée, fondée sur un principe d’agrégation, « deux à deux », des trois performances temporelles ; ce qui nous permet de fournir une information synthétique unique, relative à la performance de la trajectoire de l’objectif en quelque sorte. A l’issue de cette étape de définition, nous proposons une formalisation qualitative de ces performances, fondée sur l’utilisation de la théorie des sous-ensembles flous. Jeux de règles et descriptions linguistiques sont utilisés dans ce sens. Nous illustrons enfin ces propositions par des exemples extraits d’un projet d’amélioration du TRS de la Société FournierFifty years ago, the expression of industrial performance was Taylorian, mono criterion, and attached to the financial results of the company. Today, the performance has adopted both multi criteria and multilevel dimensions. More generally, such a performance is usually related to the achievement of overall objectives and is dedicated to control purposes, post Taylorian performances are thus expressed on the basis of comparisons between the fixed objectives and the corresponding measures. However, this performance is often statically expressed, generally at the final moment of the temporal horizon which is associated with the objective achievement.In this thesis, we propose a definition of the “temporal” performance, according to three performances: the instantaneous performance, the trend performance and the predictive performance. The fundamental assumption in our work consists of considering an objective as being a trajectory of what we call intermediate objectives, throughout a given temporal horizon. Instantaneous performance is expressed by the objective achievement at a given milestone of the temporal horizon. Such a performance relies on the comparison of the objective and the measurement of its achievement. Trend performance is the result of the comparison of the trend objective with the trend measurement. This performance provides information concerning the objective achievement. Predictive performance is defined at a given milestone of the temporal horizon, for a future milestone of this horizon. It is the result of the comparison of the intermediate objective of the considered future milestone with an estimation of measurement at this same future milestone. Moreover, a methodology for using these performances is proposed, based on a principle of aggregation, "in pairs", of the three temporal performances, which allows us to provide a single synthetic piece of information that is, to some extent, the performance of the objective trajectory. As a continuation of this definition step, we propose a qualitative formalization of these performances, based on the fuzzy subsets theory. Rules-based aggregations and linguistic descriptions are used in this. Finally, we illustrate these propositions with examples that are extracted from the OEE improvement project of the Fournier Company
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Mauléon, Claudia. "Les fondements psychologiques des adresses expressives du chanteur." Paris 10, 2008. http://www.theses.fr/2008PA100200.
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Cette thèse est organisée en huit chapitres et un appendice. Les chapitres I, II, III, IV, V et VI expliquent le cadre théorique qui soutien les idées fondamentales de recherche. Les Chapitres VII A et B posent les hypothèses et développent les travaux expérimentaux. Le Chapitre VIII discute les résultats des expériences et résume les conclusions générales de la thèse. L'Appendice montre les méthodes et procédures employées dans la microanalyse. L'hypothèse générale avance qu'au cours de l'interprétation d'une pièce musicale le chanteur corporise son expérience de la macrostructure de la pièce et la transmet d'une manière multimodale à travers les actions d'exécution. Ainsi, le son vocal et les gestes corporels sont la conséquence des intentions communicatives du chanteur devenues des actes moteurs. A l'aide des mécanismes de mirroring et de mapping transmodal interactif, l'auditoire a accès à une expérience de la macrostructure de la pièce similaire à celle de l'interprète, laquelle est médiatisée par ses propres schémas sensori-moteurs et son expérience vitale. Le Chapitre VII-A, montre 4 expériences, les résultats et la discussion concernant la façon par laquelle le chanteur corporise ses intentions communicatives et celles-ci sont aperçues par l'audience. La partie B présente une étude observationnelle et une microanalyse de deux interprétations qui montrent l'organisation interactive entre les gestes et la voix pendant la performance. Sur la base des résultats obtenus on a conclu que l'audience perçoit dans son propre corps-esprit les traits fondamentaux d'une interprétation chantée, à l'aide d'un mécanisme multimodal de simulation interne des actionsThe présentation of this thesis is organized in eight chapters and 1 appendix. Chapters I to VI explain the theoretical frame supporting the main ideas; chapters VII A and VII B pose the hypothesis and develop the experimental work related to this hypothesis; chapter VIII discusses the results of the experiments and summarizes the general conclusion of the thesis. The Appendix reports the procédures and methods employed for the microanalyses. The central hypothesis of the thesis poses that, during the interprétation of a musical piece, the singer embodies his experience of the macrostructure of the piece transmitting it in a multimodal manner through the performing actions. Thus, the vocal sound -with its timbric, articulatory and dynamical parameters and the body gestures in its dynamic-temporal flowing-, reflect the singer's communicative intentions. Through mirroring and interactive transfraodal mapping mechanisms the audience accesses an experience of the musical piece analog to that of the singer and mediated by the audience's own sensory-motor schemes and their vital experience. On chapter VII Part A four experiments are shown, with their results and discussions, about how singers embody their communicative intentions and how they are perceived by the audience. Part B shows an observational study and a micro-analyses of two interpretations. It allows understanding the way in which gesture and voice are organized during a performance. Based on the results obtained it has been concluded that a mechanism of multimodal internal simulation of actions and perceptions allows the audience to perceive in their own body-mind complex the typical features of an interpretation
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Noh, H. Gerrey. "My Mother's Death; Generative Principles in Schenkerian Performance Expression." Kent State University / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=kent1373383456.
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Ward, Philip Edward Marshall. "Hofmannsthal and Greek myth : expression and performance." Thesis, University of Cambridge, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.624486.
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Ward, Philip. "Hofmannsthal and Greek myth : expression and performance /." Berlin ; Oxford ; Bern : P. Lang, 2002. http://catalogue.bnf.fr/ark:/12148/cb38863985h.
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