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Relevant bibliographies by topics / Performance practice (Music) Improvisation (Music) Composition (Music) / Dissertations / Theses

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Dissertations / Theses on the topic 'Performance practice (Music) Improvisation (Music) Composition (Music)'

Author: Grafiati

Published: 4 June 2021

Last updated: 1 February 2022

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1

Duby, Marc. "Soundpainting as a system for the collaborative creation of music in performance." Thesis, Pretoria : [s.n.], 2006. http://upetd.up.ac.za/thesis/available/etd-08032007-164326/.

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2

Zadel, Mark. "A software system for laptop performance and improvisation /." Thesis, McGill University, 2006. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=98594.

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Laptop performance---performance on a standard computer system without novel controllers, usually by a solo musician---is an increasingly common mode of live computer music. Its novelty is diminishing, however, and it is frequently described as being uninteresting. Laptop performance often lacks the sense of effort and active creation that we typically expect from live music, and exhibits little perceivable connection between the performer's actions and the resulting sound. Performance software designs tend to constrict the flow of control between the performer and the music, often leading art

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3

Ferlaino, Christian. "Confluences : folk wisdom in contemporary music." Thesis, University of Edinburgh, 2018. http://hdl.handle.net/1842/33213.

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This thesis explores ways of adopting elements of Calabrian folk music in compositions of contemporary music beyond the mere adoption of melodies and instruments. Through this work, I aim to create a practice for contemporary improvisation and composition that is deeply imbued with elements derived from the music theory, the sonic environment and the performance practices of Calabria. The work described in this dissertation consists of two components: ethnomusicological research and a practice-based enquiry. This research focuses mainly on three aspects of Calabrian folk music: generative prin

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Brumbach, Glen Alan. "The Effects of Practice-Based and Theoretical-Based Pedagogical Approaches on Jazz Improvisation and Performance Achievement by High School Musicians." Thesis, University of Maryland, College Park, 2017. http://pqdtopen.proquest.com/#viewpdf?dispub=10615347.

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<p> The main purpose of this study was to investigate the impact of two methods of jazz instruction-theoretical-based and practice-based-on the improvisational development and performance of high school jazz musicians. Secondary purposes were to investigate (a) what instructional activities students in a jazz ensemble setting find useful in developing their performance and creative jazz improvisation skills; (b) how instruction in a jazz ensemble setting affects students' perceptions and attitudes towards cultural diversity in music; and (c) jazz band directors' perceptions of the effectivenes

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5

Hayes, Lauren Sarah. "Audio-haptic relationships as compositional and performance strategies." Thesis, University of Edinburgh, 2014. http://hdl.handle.net/1842/9481.

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As a performer of firstly acoustic and latterly electronic and electro-instrumental music, I constantly seek to improve my mode of interaction with the digital realm: that is, to achieve a high level of sensitivity and expression. This thesis illustrates reasons why making use of haptic interfaces—which offer physical feedback and resistance to the performer—may be viewed as an important approach in addressing the shortcomings of some the standard systems used to mediate the performer’s engagement with various sorts of digital musical information. By examining the links between sound and touch

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6

Pitkänen, Johanna. "Metsän väki - Forest Dwellers : creating a collaborative, semi-improvised performance that combines music, visual art, dance and performance art." Thesis, Kungl. Musikhögskolan, Institutionen för klassisk musik, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-2121.

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‘Metsän väki - Forest Dwellers’ was my Professional Integration Project (PIP). The project consisted of creating a performance titled ‘Metsän väki’, which was performed on May 9th 2016 in Helsinki, Finland and of writing this thesis. The performance was a collaboration between different artists and it involved music, visual art, dance and performance art. The starting point for creating the performance was my collaboration with sculptor and environmental artist Jenni Tieaho. In addition to traditional instruments, sounding objects were used in creating the music. There were both written and im

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7

Li, Rui. "OVERCOMING INITIAL HURDLES: STRATEGIES FOR DEVELOPING A UNIVERSITY FREE IMPROVISATION ENSEMBLE." UKnowledge, 2015. http://uknowledge.uky.edu/music_etds/52.

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New free improvisers may come across six major problems as they learn to improvise: imbalance between technique and music, incorrect perception of limitation, imbalance between rationality and emotion, lack of enthusiasm, inability to view criticism as a source of creativity, and misunderstanding of mistakes and risks. In this thesis, I propose a set of effective pedagogical tools as possible solutions for students and groups interested in exploring the beauty of free improvisation.

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8

Burghart, Rice Heike S. "Music for Organ and Electronics: Repertory, Notation, and Performance Practice." University of Cincinnati / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1428047354.

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9

Williams, Sean Barry Kelly. "Electronic music instrument practice and the mechanisms of influence between technical design, performance practice and composition." Thesis, University of Edinburgh, 2012. http://hdl.handle.net/1842/7890.

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This thesis examines the practices and techniques involved with particular electronic instruments and proposes an archaeological approach to reconsider the ways in which noise can communicate various details of instrument design and practice to the listener. I present two case studies concerning electronic music practice using repurposed devices - stepped filters - and by combining a detailed material analysis of the instruments with interviews, video and other evidence, I document the practices involved with their use. By rebuilding these instruments, and designing and building other devices,

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10

Papageorgiou, Dimitris. "Towards a comprovisation practice : a portfolio of compositions and notations for improvisations." Thesis, University of Edinburgh, 2017. http://hdl.handle.net/1842/25817.

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This thesis explores the interplay between repeatability and contingency in a series of instrumental and electro-instrumental compositions, through a practice that involves the devising and development of unique notational strategies and the use of bespoke real-time digital signal processing software. In particular, this study examines the praxis of comprovisation, i.e. practices situated between the poles of composition and improvisation, and it is framed by three main research topics: 1. An exploration of musical time and form as components of a dynamic system between events and musical gest

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11

Khajehzadeh, Iman. "Gradual: A Sound-Based Composition for Tenor Saxophone and Fixed Electronics, with Critical Essay." Thesis, University of North Texas, 2019. https://digital.library.unt.edu/ark:/67531/metadc1538746/.

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In the first half of the twentieth century, sporadic attempts of avant-garde composers to include sounds other than pitch in musical composition paved the way for the composers in the second half to embrace the sound of all types in their creative works. The development of technology since the mid-past century has facilitated composers' inclusive use of sound. The recent achievements in electronics and computers have led to cost-effective tools for today's composers to explore new possibilities in sound design and manipulation. Gradual for tenor saxophone and fixed electronics is primarily con

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12

Butler, Thomas. "Composition as the creation of a performance, music as a vehicle for non-musical thought : six new works." Thesis, University of St Andrews, 2016. http://hdl.handle.net/10023/9896.

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This thesis comprises six new musical works composed between 2008 and 2015: ‘Struction (how I attempted to get the thoughts in my head into your head using only five instruments, five instrumentalists, metronome sound and MIDI') for amplified ensemble and pre-recorded soundtrack (2011); ‘My Life in Ventriloquism' for solo clarinet and pre-recorded soundtrack (2012); ‘Nightmusic' for solo violin (2012); ‘Replaceable Parts for the Irreplaceable You' for ensemble, pre-recorded soundtrack and video (2013); ‘Espial', a video work featuring string quartet (2014); and ‘Elbow Room' for amplified ensem

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13

Keventsidou, Eleni. "Max Reger's variations and fugue on an original theme Op.73 : issues of musical structure, performance practice and interpretation." Thesis, Canterbury Christ Church University, 2016. http://create.canterbury.ac.uk/16226/.

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The thesis investigates Max Reger's Variations and Fugue on an Original Theme Op. 73, demonstrates the refinement of Reger's composition, and underlines his connection to the great performer Karl Straube. His musical language, dynamic markings and technical problems regarding the tempo, registration and acoustics will be examined by an actual performance in Canterbury Cathedral. Several issues such as cathedral acoustics, mechanical or pneumatic actions and choice of tempi have underpinned this study. Within each variation, the characteristics and techniques of Reger's compositions express his

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14

Hynds, Aaron Michael. "The Composer's Guide to the Tuba: Creating a New Resource on the Capabilities of the Tuba Family." Bowling Green State University / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1558255903237631.

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15

Ortiz, Sánchez José Mario. "THEORETICAL STUDY AND PERFORMING EDITION OF SONATA III BY JAVIER G. COMPEÁN." UKnowledge, 2019. https://uknowledge.uky.edu/music_etds/143.

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Mexican composer Javier G. Compeán finished Sonata III, his most recent composition for solo guitar, in December 2015. Since the composition of his first such work in 2003, the composer has been experimenting with texture, register, dynamic range, extended techniques, harmonic possibilities, timbre, and form in his solo guitar music. In Sonata III, Compeán applied the experience he gained in previous compositions for guitar. This work represents the composer’s current style, in which he returns to a more traditional language but continues to experiment with the technical capabilities of the in

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16

Alexander, Jan. "Turning the Odds in My Favor : Exploring Non-Isochronous Meters Through Composition and Practice." Thesis, Kungl. Musikhögskolan, Institutionen för jazz, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-4064.

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This thesis discloses my exploration of non-isochronous meters through composition and practice. During my two-year studies at the Royal College of Music in Stockholm, I explored different unevenly divided time signatures by practicing them in various ways, producing transcriptions, compositions and arrangements.The main purpose of this project was to further my knowledge and skills within these time signatures and thereby expand my horizon on perceiving, conceptualizing, composing and playing them. My endeavors culminated in seven original compositions, arranged for a jazz sextet, which I reh

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17

Shafer, Seth. "Recent Approaches to Real-Time Notation." Thesis, University of North Texas, 2017. https://digital.library.unt.edu/ark:/67531/metadc984210/.

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This paper discusses several compositions that use the computer screen to present music notation to performers. Three of these compositions, Law of Fives (2015), Polytera II (2016), and Terraformation (2016–17), employ strategies that allow the notation to change during the performance of the work as the product of composer-regulated algorithmic generation and performer interaction. New methodologies, implemented using Cycling74's Max software, facilitate performance of these works by allowing effective control of generation and on-screen display of notation; these include an application calle

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18

Anderson, Shana C. "Ideal Performance Practice for Silent Film: An Overview of How-to Manuals and Cue Sheet Music Accompaniment from the 1910s – 1920s." Thèse, Université d'Ottawa / University of Ottawa, 2013. http://hdl.handle.net/10393/30223.

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This thesis argues that how-to manuals and cue sheets are indicative of ideal performance practice amongst musicians from the silent film era. Pre-scored music was widely practiced amongst musicians. How-to manuals and cue sheets helped the musician accurately and consistently accompany a film. Authors of period manuals include W. Tyacke George, Edith Lang and George West, Ernst Luz and George Tootell. Compilers of cue sheet include James C. Bradford, Ernst Luz, Edward Kilenyi and Michael P. Krueger. Cue by cue analyses of The Cat and the Canary and The Gaucho show a high repetition of music,

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19

Harenda, Timothy. "Interactive Networks in Forgotten Lyres: Critical Analysis and Original Composition." Thesis, University of North Texas, 2017. https://digital.library.unt.edu/ark:/67531/metadc1011829/.

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Forgotten Lyres is a musical response to Percy Bysshe Shelley's poem Mutability, which depicts the fragility and unpredictable nature of human life. Four independent chamber ensembles make up the performing forces of Forgotten Lyres; the musicians evoke the topics of Shelley's text as they interact and coordinate with one another according to a variety of paradigms and without the use of a conductor. This essay focuses on the approaches to coordination within and between ensembles, and the ways in which the musicians' interactions can evoke and convey Shelley's texts. The essay also examines w

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20

Cormio, Marcello. "Robert Nelson's A Room with a View: The Creation of a Contemporary Opera." UKnowledge, 2016. http://uknowledge.uky.edu/music_etds/63.

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My recent engagement as music director and conductor of Robert Nelson’s A Room with a View (1992, rev. 2004) has offered me the valuable opportunity to work on an opera side by side with its composer. The purpose of this dissertation is to reconstruct the various stages of the process of creation, interpretation, and performance of a contemporary opera, addressing aspects of the collaboration between the composer and the conductor. The methodology used in my research is based primarily on direct observation and interview. The investigation is conducted from the perspective of a “participant-ob

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21

Salazar, Camilo. "Clestrinye [El Carnaval del Perdón]: Traditional Rituals in Intermedia Composition." Thesis, University of North Texas, 2008. https://digital.library.unt.edu/ark:/67531/metadc9041/.

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In Part I of this thesis, I examine the use of Latin American rituals, ceremonies, and traditional folklore as conceptual and compositional material; studying and re-contextualizing concepts, cultures, and ideologies, and introducing them to foreign audiences. I explore issues such as laptop improvisation, interaction with other performance forces, and the utilization of the social elements of non-western celebrations, as explored in Clestrinye, a work for live and fixed electronics, mixed ensemble, dancers, and painters.

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22

Kilgore, Matthew Ryan. ""Homage to Nancarrow" from "Estudios de Frontera for 5 Percussion Players" by Alejandro Viñao: A Rhythmic Analysis and Performance Practice Guide." Thesis, University of North Texas, 2019. https://digital.library.unt.edu/ark:/67531/metadc1609136/.

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The Peabody Conservatory commissioned Estudios De Frontera by Alejandro Viñao in 2004. Percussionist Robert Van Sice initiated the commissioning process. Estudios De Frontera is the first composition for percussion ensemble by Viñao. Viñao's Estudios is written in two movements. The first is titled Homage to Nancarrow. As the title implies the compositional processes are directly influenced by Conlon Nancarrow. The composer states: "Homage to Nancarrow is concerned with the perceptual illusion of multiple simultaneous speeds or tempi....This movement explores the type of rhythms that c

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23

Bogle, James Michael. "Gunther Schuller and John Swallow: Collaboration, Composition, and Performance Practice in Eine Kleine Posaunenmusik, with Three Recitals of Selected Works by Berio, Bogle, Gregson, Pryor, Suderburg and Others." Thesis, University of North Texas, 2000. https://digital.library.unt.edu/ark:/67531/metadc2479/.

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Gunther Schuller is credited with coining the term Third Stream, meaning compositions where twentieth-century art music forms exist simultaneously with jazz. Furthermore, Schuller specifically states in the liner notes to the debut recording of Eine Kleine Posaunenmusik "The work is not a Third Stream piece." Yet the concerto alludes to jazz through a multitude of slide glissandi and plunger mute effects, Solotone mute passages, specific references to the jazz trombone styles of Tommy Dorsey and Lawrence Brown, musical quoting or indirect reference, and the use of a walking bass line in Moveme

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24

Jönsson, Maria. "Promenade pieces : About graphic scores, connotation and pedestrians." Thesis, Kungl. Musikhögskolan, Institutionen för komposition, dirigering och musikteori, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-2884.

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<p>Maria Jönsson: Track_4</p><p>Performers: Maria Jönsson - flute, Reuben Fenemore - clarinet, Gustav Broman - electric bass, Albin Vesterberg - electric guitar; Wendy Liao, Artur Musalimov, Naama Freedman, Hue Trinh Luong - pedestrians.</p><p>Video and audio recording of Track_4 with: Maria Jönsson - flute, Reuben Fenemore - clarinet, Gustav Broman - electric bass, Albin Vesterberg - electric guitar; Wendy Liao, Artur Musalimov, Naama Freedman, Hue Trinh Luong - pedestrians.</p>

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Andersson, Anders-Petter. "Interaktiv musikkomposition." Doctoral thesis, Högskolan Kristianstad, Sektionen för hälsa och samhälle, 2012. http://urn.kb.se/resolve?urn=urn:nbn:se:hkr:diva-9771.

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This dissertation, titled Interactive Music Composition, is a practice based Ph.D. thesis in the field of Musicology. The purpose is to explore if and how one can compose computer based interactive music, that is musically satisfying for an interacting audience, consisting of both laymen and skilled musicians. The text describes the design and reflection in two interactive music installations: Do-Be-DJ, open-air installation in a public park, and, Mufi, with modular and moveable interface. Based on methods and perspectives in Musicology and Interaction Design, a composition model for interact

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"Eliminating Fear and Unleashing Creativity: Incorporating Improvisation into Performance Practice and Education." Doctoral diss., 2017. http://hdl.handle.net/2286/R.I.43952.

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abstract: This research project was written simultaneously with a composition for double bass and piano that centers around improvisational concepts. The composition is intended for intermediate to advanced musicians to have an opportunity to practice improvisational performance and, hopefully, further their understanding and improve their ability to make convincing and creative musical decisions. Improvisation, an aspect of music that has a deep tradition in Western Classical music, is often feared by classical musicians. The lack of improvisation in classical music, the idea that it is a s

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27

Martin, Christopher Robert. "A radical reconsideration of serialism and chord stranding, applied to a personal jazz style (CD recordings and exegesis)." 2008. http://hdl.handle.net/2440/49474.

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Despite a widely held view that serialism is incompatible with jazz improvisation, there are many instances of jazz musicians successfully engaging with this concept. This conflict seems likely to have arisen from differing interpretations of ‘serialism’; however, the question of how a jazz improviser’s approach to serialism might, or perhaps should, differ from a classical composer’s, has been left unasked. In addition, most attempts at the use of serialism within improvisation remain undocumented by the musicians concerned. The chord stranding techniques of Lutoslawski are less well known an

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28

Harrald, Luke Adrian. "Portfolio of compositions and exegesis: conflict and resolution - modelling emergent ensemble dynamics." 2008. http://hdl.handle.net/2440/56165.

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Theory as an approach to generative composition and interactive computer music. Inspired by the notion of Performance Indeterminacy, software has been developed that attempts to simulate the interactions of improvising performers using a multi-agent system based on the ‘Iterated Prisoner’s Dilemma’. Composition activities and programming activities have formed a symbiotic relationship throughout the creation of the portfolio as each has constantly informed the other. Stylistically, the works presented fall into the experimental genre, although individually they address a wide range of aestheti

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"Survey of Double Bass Drumming: History, Technique, and Performance Practice." Doctoral diss., 2019. http://hdl.handle.net/2286/R.I.53767.

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abstract: Double bass drumming is a genre of drum set performance that utilizes a bass drum pedal for both the right and left feet. This allows the feet to function much like the hands, and provides the ability to play faster rhythmic passages on the bass drum that would otherwise be impossible in the classic single-pedal arrangement. The feet are then elevated to new levels of importance, which creates new challenges in four-limb coordination. This double bass drumming tradition has been in use since the mid-20th century, and it has become extremely popular since that time. Today, virtually

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30

Gironnay, Kevin. "Adopter le risque et l’imprévu : approches de l’improvisation à la composition et la performance électroacoustique." Thèse, 2017. http://hdl.handle.net/1866/20805.

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31

Masasabi, Abigael Nancy. "Verbal-text as a process of compositional and improvisational elaboration in Bukusu Litungu music." Thesis, 2011. http://hdl.handle.net/10500/4939.

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Accompanying music files attached (mp3)<br>The Bukusu community is predominantly found in Bungoma district of Western Kenya. The Litungu is a word referring to a lyre among the Bukusu community. Music accompanied by this instrument is what is referred to as Litungu music. This music makes use of sung text and “verbal-text”/ silao-sikeleko (speech and speech-melody) and silao-sikeleko is the focal point of this study. Silao-sikeleko is performed in alternation with sung text in Litungu music. This study seeks to identify the cultural and compositional role of silao-sikeleko in the music.

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32

Antonelli, Michael Robert. "Joe Lovano and Us Five: a study on the development of a unique improvisational voice from within the jazz tradition." Thesis, 2015. https://hdl.handle.net/2144/16002.

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Both researchers and jazz professionals believe the expansion of jazz performance programs in universities over the last several decades warrants a need for critical research into the processes and experiences by which jazz students develop into professionals. Although the number of colleges offering degrees in jazz performance has risen dramatically during this time, instructional approaches remain relatively standardized throughout the schools. The purpose of this study was to investigate the experiences of five working professional New York City jazz musicians in an attempt to better

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Maguraushe, Wonder. "Musicking at home on the wood that sings : contemporary marimba performance practices in Zimbabwe." Thesis, 2017. http://hdl.handle.net/10500/25339.

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Text in English, abstracts in English and Zulu<br>This thesis explores the current state of marimba music performance practice in Zimbabwe. I begin by presenting a historical perspective of the marimba, and then discuss how the Zimbabwe marimba tradition came into being at Kwanongoma College of African Music in Bulawayo. The study continues to unveil how the relatively new marimba tradition has grown to popularity in its 55-year history in the country, with the phenomenal emergence of professional Zimbabwe marimba musicians. The thesis includes analyses of marimba musicians’ lived experiences,

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34

Wilcher, Marcus. "Real talk." Thesis, 2014. http://hdl.handle.net/2152/25255.

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This dissertation is intended as a supportive document for the five-part suite for ten-piece jazz ensemble entitled Real Talk. It is divided into six chapters, four of which are analytical and cover the following topics: Form, Melody, Harmony, and Other Compositional Techniques. Subcategories are used within these chapters to draw attention to specific compositional components relevant to the construction of the piece; illustrative tables and examples have been provided to assist in describing these components. The ultimate purpose of this document is to describe in detail my technical appr

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Camier, Cédric. "Processus de composition et inspiration scientifique." Thèse, 2015. http://hdl.handle.net/1866/19569.

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