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1
Bernier, Nicolas. "Five object-based sound compositions." Thesis, University of Huddersfield, 2013. http://eprints.hud.ac.uk/id/eprint/23294/.
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This text is a commentary on the nature of my principle artistic preoccupations over a period of research-creation spanning 2011 and 2013. The works discussed cover, each in their own way, various approaches to sound composition linked to physical objects. In effect, the object proves to be a fundamental element at the heart of discourse, which, though anchored in sound, is often multi-disciplinary. The object here is thus taken apart in its affective, conceptual, performative, visual, as well as sonic properties. The first part of this text illustrates the nature of the relationship between the physical object and the works submitted for this doctoral thesis. It focuses on the journey of the works: from their genesis in the artist’s collections of objects to their life on stage where the objects are used as visual elements in a performative context. The second part is dedicated to the conceptual and aesthetic content of the works, from which flow the principal elements of their discourse. Here, the relationships between the work, the concept and the sonic material are established, which together make up their aesthetic.
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Polfreman, Richard. "User-interface design for software based sound synthesis systems." Thesis, University of Hertfordshire, 1997. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.363503.
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Therapontos, Nasia. "Evolving music education in the digital age : sound-based music in public schools of Cyprus." Thesis, De Montfort University, 2013. http://hdl.handle.net/2086/11609.
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Years now, sound-based music has been struggling to reach a wider public. Research supports that in order to promote sound-based music, it should be introduced at an early age in someone’s life to have the opportunity to familiarise himself/herself with it and accept it (Kopiez and Lehmann, 2008). This thesis investigates the implementation of sound-based music in public schools in Cyprus. Building on previous research aiming to introduce sound-based music ideas and concepts into the music classrooms (Savage, 2005; Higgins and Jennings, 2006; Wolf, 2008; Holland, 2011), this research aims at creating a sound-based music curriculum that will be appropriate for the implementation in such a teaching-learning environment in Cyprus. The research focuses on the Educational Reform Programme of Cyprus (2008-2015), which aims at modernising the Cypriot education system. This project offers the opportunity to investigate a set of sound-based music lesson plans, implemented in music classrooms. The research examines the reactions of teachers and students towards these lessons, and the evaluation of the lesson plans in order to be suitable for primary and secondary schools of Cyprus. It is an interdisciplinary project, allowing for educational as well as musical concepts to inform its content and structure. The research follows a grounded theory methodology, utilising a mixed-methods approach involving multi-site case studies and action research. In total of six schools, with six teachers and 117 students, eight different sound-based music lesson plans were created, implemented and evaluated, in a total of 18 lesson periods. During these lessons, a combination of questionnaires, interviews, observations, visual data and tests have facilitated the collection of both qualitative and quantitative information relating to the teachers, the students and the lesson plans. Findings of this research identify that the specific set of lesson plans implemented in the schools is considered as appropriate to be used in the music classrooms of Cyprus. The sound-based music lessons introduced new ways of using ICT in the music classroom, supporting the national initiatives of the Ministry of Education and Culture of Cyprus. It was also identified that these lessons offer an inclusive education, with creative activities, engaging students with the learning experience. However, the outcomes of the research recognised the need to understand the multidimensional change necessary to take place before such an implementation, such as the need to resolve any teachers’ concerns relating to the implementation of innovative material as well as any issues related to the equipment.
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Koutsomichalis, Marinos G. "A hypermedia and project-based approach to music, sound and media art." Thesis, De Montfort University, 2015. http://hdl.handle.net/2086/11432.
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This thesis describes my artistic practice as essentially project-based, site-responsive and hypermediating. Hypermediacy—i.e. the tendency of certain media or objects to keep their various constituents separate from their structure—is to be understood as opaque, juxtaposed and after a recurring contiguity with different kinds of interfaces. Accordingly, and within the context of the various projects that constitute this thesis, it is demonstrated how, in response to the particular places I work and to the various people I collaborate with, different kinds of materials and methodologies are incorporated in broader hybrids that are mediated (interfaced) in miscellaneous ways to this way result in original works of art. Materials and methodologies are shown to be intertwined and interdependent with each other as well as with the different ways in which they are interfaced, which accounts for an explicitly projectbased, rather than artwork-based, approach which, on its turn, de-emphasises the finished artefact in favour of process, performance, research and exploration. Projects are, then, shown to be explicitly site- or situation- responsive, as they are not implementations of preexistent ideas, but rather emerge as my original response to the particular sites, materials, people and the various other constituents that are involved in their very production. Interfaces to such hybrids as well as their very material and methodological elements are also shown to be hyper-mediated. It is finally argued that such an approach essentially accelerates multi-perspectivalism in that a project may spawn a number of diverse, typically medium-specific and/or site-specific, artworks that all exemplify different qualities which are congenital to the particular nature of each project.
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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 concerned with noise. Among the infinite possibilities of noise types, metallic sounds significantly contribute to the composition. The title of the piece refers to the compositional process in which the music progressively unfolds itself from the beginning to the end. The methods and strategies used to present the content give rise to a form I call accretion, described as an organic process by which the musical materials grow. Within the process, while established materials are interacting, combining, and forming layers, new materials may be incorporated and take part in the process. Throughout the composition, the interaction between sounds with common properties guides the music toward interactive unity, while the interplay between sounds with different characteristics forms a dialectical communication. The constant push-and-pull between the two states creates a restless tension throughout the composition. In the current version of Gradual, the audio signals from both saxophone and fixed electronics are transmitted to the same speakers, which helps coalesce acoustic and electronic sounds. The future prospect of the piece can involve real-time audio signal processing to manipulate the sound of saxophone. Adding the above feature to the current version will promote the unification of the two media into a single whole.
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Holland, David. "Developing heightened listening : a creative tool for introducing primary school children to sound-based music." Thesis, De Montfort University, 2016. http://hdl.handle.net/2086/13304.
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Sound-based music (sbm), which is an umbrella term created by Landy (2007) for music where sound is the main unit rather than the musical note, rarely features in music curricula in schools and currently has a relatively small audience outside of academia. Building on previous research conducted at De Montfort University concerned with widening access to sbm, this thesis investigates whether sbm composition can provide an engaging experience for Key Stage 2 (7-11 year olds) pupils supported by the development of heightened listening skills. The research is interdisciplinary spanning sbm studies, music technology and education, and involved case studies in eight schools with 241 children conducted from 2013 to 2015. Each case study included a series of workshops in which the pupils developed listening skills, recorded sounds and created sound-based compositions. Using a grounded theory approach, qualitative and quantitative data was gathered over three phases through questionnaires, teacher feedback, observations, recordings and pupils’ work. The results of the research indicate that the children had a high level of engagement with the workshop activities. The data also suggests that the heightened listening training helped to support the pupils in their compositional work. The main factor in this engagement appeared to be the opportunity to be creative, which is something that reports since the 1990s have highlighted as essential for all children. Additionally, a range of complex local conditions influenced engagement in each case study and there were indications that engagement also decreased with age. Pupils chose a variety of different approaches for composing sound-based work that ranged from incorporating detailed narratives to focusing purely on experimenting with the sound itself without reference to any external themes. The compositional pathway chosen by each pupil seemed to be partly influenced by previous musical experience.
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Albin, Aaron J. "Conductor Awareness of, Knowledge of, and Attitude Toward Sound Intensity Levels Generated During Ensemble-based Instructional Activities in College-level Schools of Music." Thesis, University of North Texas, 2012. https://digital.library.unt.edu/ark:/67531/metadc149559/.
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In 2011, the National Association of Schools of Music (NASM) took an official position to recognize the importance of hearing health and injury prevention as a standard for all member-accredited institutions. This is the largest national acknowledgement promoting hearing health and safety within the music discipline and among students seeking a music degree in the United States. The purpose of the study is to describe what conductors (i.e., instructors) of college-based ensembles know about hearing health and the generation of sound intensity levels. The study aimed to describe the 1) current state of conductors’ awareness and knowledge of sound intensity levels, 2) current attitudes of conductors toward learning and sharing knowledge of sound intensity levels, and 3) current teaching practices of conductors in regard to equipment usage (e.g. sound level meter, noise dosimeter, hearing protection devices) relating to sound measurement and exposure. Findings indicate 80.2% of conductors (N = 162, 66% employed by NASM-accredited institutions) agree that sounds generated during ensemble-based instructional activities (EBIAs) in college-level schools of music are capable of harming human hearing, but 24.1% “do not know” if EBIAs they conduct ever exceed sound intensity levels capable of harming human hearing, 54.9% do not know “what services or resources” their home institutions offer/refer to students, 93% are never using a noise dosimeter, 40% have never had an audiology exam, and 70% have never used hearing protection during an EBIA. Conductors have a strong openness to change current teaching practices and inform themselves about hearing health, but few are personally informing and educating their students during the EBIA. The study serves to assist conductors and foster a new dialogue among their students, colleagues, staff, and administrators to revise current curriculum, explore sound measurement technologies, and evaluate current hearing health and safety issues inherent in the practice, performance, and teaching of sound intensity levels generated during EBIAs in college-level schools of music.
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Tang, Joyce Wai-chung. "Suite for virtual double bass : a three dimensional composition based on original digital sounds created by computer assisted transformation of original recorded sound samples." HKBU Institutional Repository, 1998. http://repository.hkbu.edu.hk/etd_ra/130.
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Belvin, Dena L. "Facilitating Retrieval of Sound Recordings for Use By Professionals Treating Children with Asperger's Syndrome." Thesis, School of Information and Library Science, 2007. http://hdl.handle.net/1901/432.
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Since the 1970s, music librarians have been discussing the challenges of cataloging music media. In the 1990s, they began work on a Music Thesaurus to provide a multi-faceted approach to indexing, cataloging, and retrieving music media. In 1999 Indiana University proposed a digital music library, to allow for better indexing and retrieval in addition to content-based music retrieval. In 2000, a commercial venture, The Music Genome Project ©, began cataloging sound recordings of popular music by hundreds of musical characteristics and has created a user interface that allows listeners to enter the title and artist of a certain piece of music and receive recommendations for similar music to then purchase via Pandora.com. The following paper will address the question: how might current analyzing and classifying methods be used to provide additional indexing that facilitates retrieval and use of sound recordings by special populations, specifically professionals treating children with Asperger’s syndrome?
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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 interactive music is developed. The model investigates the experience dimensions listen, explore, compose and collaborate. It also investigates the design dimensions of interaction, narrative structure, composition rule and sound node. The conceptual approach is to apply improvisation and composition methods from jazz, pop and groove based music on interactive music. It also uses the concepts of openess in musical structures and interpretation, musical mediation of actions and meaning and everyday use of music, when composing interactive music. The dissertation contributes to an understanding of how to create composition techniques for interactive music, such as: Direct, varied and shifting response. It reflects on the change in meaning of the musicological terms composition, improvisation, musical work, listener, musician and audience. And on the interaction design terms interaction, gameplay, system and user. The term co-creator is used to describe an actively, interacting and collaborating person, to complement traditional terms like audience, performer and user.Ljudfiler till avhandlingens bilaga 1, http://musicalfieldsforever.com/dobedj_more.html; Videodokumentation av Do-Be-DJ, Interaktiv installation, http://musicalfieldsforever.com/dobedj_more.html; Videodokumentation av Mufi I och II, Interaktiv installation, http://musicalfieldsforever.com/mufi_more.html; Doktorandtjänsten finansierades av Interactive Institute; Musikinspelning finansierades av Framtidens Kultur genom Skiften på Malmö högskola
Interaktiv musikkomposition
Interactive Music Composition
Interaktiv ljuddesign
Interactive Sound Design
Musik och Hälsa
Music and Health
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Watson, Allan. "Sound practice : a relational economic geography of music production in and beyond the recording studio." Thesis, Loughborough University, 2012. https://dspace.lboro.ac.uk/2134/10432.
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This thesis develops a relational geography perspective on creative work and practice, with a specific focus on the recording studio sector. Drawing on an extensive social network analysis, a questionnaire survey, and nineteen semi-structured interviews with recording studio engineers and producers in London (UK), the thesis reveals how recording studios are constituted by a number of types of relations. Firstly, studios are spaces that involve a material and technological relationality between studio workers and varied means of production. Studios are material and technological spaces that influence and shape human actions and social inter-actions. Secondly, studios are sites of relationality between social actors, including engineers, musicians and artists. The thesis reveals how the ability to construct and maintain social relations, and perform emotional labour , is of particular importance to the management of the creative process of producing and recording music, and to building the individual social capital of studio workers. Finally, the thesis argues that studios are sites of changing employment relations between studio workers and studio as employer. In the recording studio sector, a complex and changing set of employment practices have re-defined the relationship between employee and employer and resulted in a set of employment relations characterised by constant employment uncertainty for freelance studio workers. It is argued that the three types of relations revealed in this thesis, manifest at a multiplicity of geographical scales, construct recording studios as distinctive social and economic creative spaces. In conclusion, it is argued that a relational perspective is central to progressing geographical accounts of creative work and of project-based industries in general.
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Schön, Ragnar. "A cross-cultural listener-based study on perceptual features in K-pop." Thesis, KTH, Skolan för datavetenskap och kommunikation (CSC), 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-178018.
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Recent research within the Music Information Retrieval (MIR) field has shown the relevance of perceptual features for musical signals. The idea is to identify a small set of features that are natural descriptions from a perceptual perspective. The notion of perceptual features is based on the ecological approach to music, that is, focussing on sound events rather than spectral information. Furthermore, MIR research has had an overemphasis on Western music and listeners. This leads to the question of whether the concept of perceptual features is culturally independent or not. This was investigated by having listeners of two distinct cultural backgrounds (Swedish and Chinese) rating a set of eight perceptual features: dissonance, speed, rhythmic complexity, rhythmic clarity, articulation, harmonic complexity, modality and pitch. A culturally specific dataset consisting of Korean pop songs was used to provide the stimuli. This was a subset of a larger set of songs from a previous study selected based on genre and mood annotations to create a diverse dataset. The listener ratings were evaluated by a variety of statistical measures, including cross-correlation and ANOVA. It was found that there was a small but significant difference in the ratings of the perceptual features speed and rhythmic complexity between the two cultural groups.
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Watkins, Gregory Shroll. "A framework for interpreting noisy, two-dimensional images, based on a fuzzification of programmed, attributed graph grammars." Thesis, Rhodes University, 1998. http://hdl.handle.net/10962/d1004862.
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This thesis investigates a fuzzy syntactic approach to the interpretation of noisy two-dimensional images. This approach is based on a modification of the attributed graph grammar formalism to utilise fuzzy membership functions in the applicability predicates. As far as we are aware, this represents the first such modification of graph grammars. Furthermore, we develop a method for programming the resultant fuzzy attributed graph grammars through the use of non-deterministic control diagrams. To do this, we modify the standard programming mechanism to allow it to cope with the fuzzy certainty values associated with productions in our grammar. Our objective was to develop a flexible framework which can be used for the recognition of a wide variety of image classes, and which is adept at dealing with noise in these images. Programmed graph grammars are specifically chosen for the ease with which they allow one to specify a new two-dimensional image class. We implement a prototype system for Optical Music Recognition using our framework. This system allows us to test the capabilities of the framework for coping with noise in the context of handwritten music score recognition. Preliminary results from the prototype system show that the framework copes well with noisy images.
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Schedin, Oscar. "Target Spectrums For Mastering : A comparison of spectral stylistic conventions between rock and vocal-based electronic music." Thesis, Luleå tekniska universitet, Institutionen för ekonomi, teknik, konst och samhälle, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:ltu:diva-84660.
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Through the analysis of the spectral characteristics of thousands of mastered (or remastered) commercial recordings from a variety of genres over the history of popular music, researchers have studied stylistic trends and spectral conventions. The aim of this study was to further explore, analyse and compare the spectral characteristics of two broad but distinct popular music genres: rock and vocal-based electronic music. The main reason for this choice of genres being that rock generally predominantly is based on (amplified) acoustical elements (e.g. acoustic drums and acoustic/electric bass/guitars) and that electronic music generally predominantly is based on electronic elements (e.g. beats and synthesizers). The stimuli for the study consisted of 24 top-five hit songs from the Billboard charts between 2016-2020, divided by genre. A fast fourier transform approach was used for the computation of target spectrums as well as low level descriptors for the two independent datasets of recordings. Spectral analysis followed with the goal of answering the following research questions: What do the spectral stylistic conventions appear to be in rock versus vocal-based electronic music and what spectral differences/similarities exists between these two distinct popular music genres? The results showed that there were some significant spectral differences between the two genres, especially noticeable in the low end of the frequency spectrum. Other genre-specific spectral trends and overall spectral conventions were found as well.
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Sarasúa, Berodia Álvaro. "Musical interaction based on the conductor metaphor." Doctoral thesis, Universitat Pompeu Fabra, 2017. http://hdl.handle.net/10803/404675.
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Interface metaphors are often used in Human Computer Interaction (HCI) to exploit knowledge that users already have from other domains. A commonly used one in Digital Musical Instruments (DMIs) is the conductor metaphor. We theorize that part of the knowledge that users have from the domain that the interface metaphor replicates is user-specific. In this context, we argue that systems using an interface metaphor can see their usability improved by adapting to this user-specific knowledge. We propose strategies to design motion-sound mappings for DMIs that draw upon the conductor metaphor by adapting to personal nuances that can be automatically computed from spontaneous conducting movements. In addition to the above, we study the potential of the conductor metaphor in a gaming context as a mean to raise interest for classical music. These contributions are complemented by the data collected in all observational studies, which is made publicly available to the communityLas metáforas de interfaz se utilizan habitualmente en la interacción persona-ordenador para explotar el conocimiento que los usuarios tienen de otros dominios. Una comúnmente utilizada en instrumentos musicales digitales (DMIs) es la metáfora del director. Argumentamos que parte del conocimiento que los usuarios tienen del dominio que la metáfora replica es específico de cada usuario. En este contexto, proponemos que sistemas que hacen uso de metáforas de interfaz pueden mejorar su usabilidad adaptándose a este conocimiento específico. Implementamos estrategias para diseñar mapeos entre movimiento y sonido para DMIs basados en la metáfora del director, mediante la adaptación a matices personales que pueden ser automaticamente extraídos analizando movimientos de dirección espontáneos. Además, estudiamos el potencial de la metáfora del director en un contexto de juego, como medio para incrementar el interés por la música clásica. Estas contribuciones se complementan con los datos recopilados en los estudios observacionales, que se ponen a disposicion pública para la comunidad.
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"Singers and Sound: An Introduction to Tomatis-Based Listening Training for Singers." Doctoral diss., 2012. http://hdl.handle.net/2286/R.I.15950.
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abstract: ABSTRACT This document introduces singers and voice teachers to Dr. Alfred A. Tomatis's listening training method with a particular emphasis on its relevance to singers. After presenting an overview of Tomatis's work in the field of audio-psycho-phonology (circa 1947 through the 1990s) and specific ways that aspects of his theory are relevant to singers' performance skills, this project investigates the impact of listening training on singers by examining published research. The studies described in this document have investigated the impact of listening training on elements of the singer's skill set, including but not limited to measures of vocal quality such as intonation, vocal control, intensity, and sonority, as well as language pronunciation and general musicianship. Anecdotal evidence, presented by performers and their observers, is also considered. The evidence generated by research studies and anecdotal reports strongly favors Tomatis-based listening training as a valid way to improve singers' performance abilities.Dissertation/Thesis
D.M.A. Music 2012
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Lien﹐Ting-ting and 連婷婷. "Essence of Music and Sound Felling Relation in Ji Kang’s ‘Sheng Wu Ai Le Lun’:a Perspective Based on Confucian and Taoist Music Theory." Thesis, 2010. http://ndltd.ncl.edu.tw/handle/71763107593680052316.
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碩士華梵大學
哲學系碩士班
98
Sheng Wu Ai Le Lun [聲無哀樂論] is one of Ji Kang’s works, which has been significant and thus indispensable in the field of music aesthetics study. The music theory, Sheng Wu Ai Le Lun, has also aroused controversies among scholars due to Ji’s unique perspective in this work. The thesis aims to clarify specific ambiguities in Ji’s work via analyzing and discussing various theories broached by different scholars. Ji’s theory of music aesthetics has been intended to invoke reflections on conventional ideas in the very field. Chapter Two reviews the history of music during Qin and Han Dynasty as a basis for the discussion on Ji’s music theory. Chapter Three explores the essence of music, He (i.e. harmony). In Sheng Wu Ai Le Lun, Ji maintains that music is in itself a part of mother nature and does not exist based on human emotions. Ji also holds that music contributes to people’s sense of Tao, from which harmony with mother nature is derived. Chapter Four discusses the issue of how to interpret the connection between music and human feelings. Ji, with his negative stance toward traditional music theory, indicates that traditional theories oversimplify the delicate interaction between music and emotions. Ji further suggests that the relationship between human emotions and music should be maintained on a parallel basis—the nature of music and people’s feelings can both be volatile all the time. Ji’s denial of music’s emotional power does not rebut the truth that people can be touched by music; but rather imply music’s being less effective in terms of precisely expressing human feelings. Music does to a certain degree affect how people feel; nevertheless, it is such psychological activities as memories and association that arouse people’s emotions in accordance with music. Moreover, Ji also confirms the connection between social order and music. The effects of music on a society, however, are not supposed to be over-highlighted—changes in music do not necessarily lead to changes in social order. Humans are not influenced by music in a passive manner; instead, the improvement of social order mainly lies in people’s feelings and thoughts cultivated, directly and indirectly, by music. Music cannot be classified into good or bad categories. It is neutral in nature. People’s thoughts, nonetheless, can be considered good and sometimes evil. Consequently, the quality of social code is enhanced by music only when a person, without excessive desires, reaches the state of being harmonious both inside and out. From Ji’s viewpoint, the significant contributions of music are meant to help a person maintain tranquil spirits rather than improve the code of a society.
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Takahashi, Keitaro. "The development of corpus-based computer assisted composition program and its application for instrumental music composition." Doctoral thesis, 2017. http://hdl.handle.net/10400.14/28063.
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In the last 20 years, we have seen the nourishing environment for the development of
music software using a corpus of audio data expanding significantly, namely that synthesis
techniques producing electronic sounds, and supportive tools for creative activities
are the driving forces to the growth. Some software produces a sequence of sounds by
means of synthesizing a chunk of source audio data retrieved from an audio database
according to a rule. Since the matching of sources is processed according to their descriptive
features extracted by FFT analysis, the quality of the result is significantly
influenced by the outcomes of the Audio Analysis, Segmentation, and Decomposition.
Also, the synthesis process often requires a considerable amount of sample data and
this can become an obstacle to establish easy, inexpensive, and user-friendly applications
on various kinds of devices. Therefore, it is crucial to consider how to treat the
data and construct an efficient database for the synthesis. We aim to apply corpusbased
synthesis techniques to develop a Computer Assisted Composition program, and
to investigate the actual application of the program on ensemble pieces. The goal of
this research is to apply the program to the instrumental music composition, refine its
function, and search new avenues for innovative compositional method.
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Cheng, Kuo Yang, and 鄭國揚. "A Comparative Study of Visual Performances of the Musical "The Sound of Music" of the United States (2013) and the United Kingdom (2015) Live TV versions based on the Reception Aesthetics Perspective." Thesis, 2018. http://ndltd.ncl.edu.tw/handle/b4akay.
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碩士國立臺灣藝術大學
戲劇學系
106
The form of the performance arts is like a living text in front of all the readers. The aesthetics mainly discusses the interaction between the author, the text and the reader. The historical life of literature needs many readers to pass, and is read by different readers in the transmission along history. In addition, its following changes in each other develop its extensive value. A classic drama can not only rely on new directors and readers to give new life and meanings to the text, but also how to form new works been read. Therefore, the audience's acceptance will have more preferences and produce more value. This study will be focused on examining the theory of “Receiving Aesthetics,” proposed by Hans Robert Jauss, a literary history expert in the Federal Republic of Germany; the researcher applies his perspectives and theory in NBC live broadcast of The Sound of Music (2013), and ITV of The Sound of Music Live (2015) based on television performances that were presented. There are in-depth interviews and questionnaires employed within this study to explore the audience's acceptance of the content of the performance, the reflection of the performance, and the dynamic feedback process. The study discusses how the viewers receive the performance content by providing the reminder and the preview in advance, their following expectation of the happy feeling in their heart, the next comparative analysis of the aesthetic differences aroused, and then the analysis of the elements, such as “scene space,” “light,” focusing on visual art, and other theater elements, such as “props,” “costume,” and “gestural signs.” Based on the viewers’ comparison differently, the study deconstructs the relationship between landscape vision and drama textual imagery. This study explores the differences between these two versions of the performance of the musical drama The Sound of Music, underlying the interviews of nine drama experts and scholars. The results show that their preferences go for the British version of the production, including scene space, light, clothing, gestural signs, and props. There are almost over half dominated, in addition to lighting. And there is a phenomenon that anyone who likes the US version is among 20-40 year old respondent, and those who are over 40 years old are not satisfied with the production of the United States version. Why do they all have a firm preference for the British version? Because their aesthetic experience is already in their minds, they are deeply rooted in their minds with age, know what is good, know what it is, and form the basis of their aesthetic creation. Therefore, when the respondents of the interviews and questionnaires with deep qualifications are in their “integration of vision,” and then the reaction of their preference will not change. It also confirms the theoretical principle of “oriented expectation,” as Jauss proposed.
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Bucionis, Vytautas. "Composition avec la modalité multicyclique." Thesis, 2019. http://hdl.handle.net/1866/24535.
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Ce mémoire porte sur le fruit de mon travail accompli lors de ma maîtrise en composition instrumentale de l’Université de Montréal. J’y présente mon approche poétique envers lacomposition où des expériences imaginées de paysages et de déroulements sont évoqués par des éléments musicaux. J’y discute également des méthodes que j’utilise pour parvenir aux agencements intervalliques afin de créer ces expériences. J’y traiterai aussi de ma nouvelle approche intervallique vis-à-vis la modalité à travers les modes multicycliques, la majorité de mon travail ayant été le développement de ce système. J’y aborderai ensuite les explorations hors mode dans des stades moins avancés, mais qui m’ont amené des solutions pour des procédés intervalliques moins réalisables dans un contexte strictement modal, à travers des traitements de cellules, des jeux d’intervalles purs et des sonorités provenant des idiomes folkloriques Européen de l’est, précisément des Balkans. Enfin, j’analyse également la forme de chaque œuvre composée lors de ma maîtrise en approfondissant davantage sur l’imaginaire extramusical qui détermine la forme ainsi que le caractère de chaque groupe thématique, y compris le choix du mode s’il y a lieu.This memoir elaborates on the outcome of my work during my master's degree in the instrumental composition program of Université de Montréal. It begins with a presentation of my poetic approach towards composition, where experiences of landscapes and happenings within them are illustrated through musical devices. What follows is a discussion of all methods I apply to harness the power of intervals to create these experiences. A significant chapter will be devoted to a rather intervallic approach towards modality in the form of multicyclical modes, as most of my work of this master's degree focuses on development of their use. The next chapter focus on all my explorations outside the modal structures, which are at earlier stages of development but have already given me solutions to procedures that are less applicable in a strictly modal context. That includes the treatment of cells, working with just pure intervals and integration of colours derived from the folk traditions of Eastern Europe, more specifically the Balkans. Finally, there will be a chapter that analyzes every individual work included here while digging deeper into the extra-musical imagination behind every work, determining its form and the character of all the sections including the mode of choice if there is one.
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Krishna, A. G. "Improved GMM-Based Classification Of Music Instrument Sounds." Thesis, 2006. http://hdl.handle.net/2005/435.
Full textAbstract:
This thesis concerns with the recognition of music instruments from isolated notes. Music instrument recognition is a relatively nascent problem fast gaining importance not only because of the academic value the problem provides, but also for the potential it has in being able to realize applications like music content analysis, music transcription etc. Line spectral frequencies are proposed as features for music instrument recognition and shown to perform better than Mel filtered cepstral coefficients and linear prediction cepstral coefficients. Assuming a linear model of sound production, features based on the prediction residual, which represents the excitation signal, is proposed.
Four improvements are proposed for classification using Gaussian mixture model (GMM) based classifiers. One of them involves characterizing the regions of overlap between classes in the feature space to improve classification. Applications to music instrument recognition and speaker recognition are shown.
An experiment is proposed for discovering the hierarchy in music instrument in a data-driven manner. The hierarchy thus discovered closely corresponds to the hierarchy defined by musicians and experts and therefore shows that the feature space has successfully captured the required features for music instrument characterization.