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Hill, Andrew. "Interpreting electroacoustic audio-visual music." Thesis, De Montfort University, 2013. http://hdl.handle.net/2086/9898.
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The basis of this research project stems from reflections upon the process of composition for electroacoustic audio-visual music. These are fixed media works in which sound and image materials are accessed, generated, explored and configured in creation of a musically informed audio-visual expression. Within the process of composition, the composer must decide how to effectively draw relationships between these time based media and their various abstract and mimetic materials. This process usually has no codified laws or structures and results in relationships that are singular to the individual artworks. The composer uses their own experience and intuition in assessing how best to associate sounds and images and they will use their own interpretation of the materials to evaluate the how successful they are in realising their intentions. But what is there to say that the interpretation made by the composer bares any resemblance to interpretations made by audiences? The current research sought to assess any trends or commonalities in how people interpret such works. Utilising a combination of empirical research, composition and scholarly study, the project investigated various theoretical approaches to interpretation and the occurrence of correlation between compositional intention and audience interpretation. Models from different theoretical disciplines were combined in order to build up a picture of the processes involved in making interpretations, and to aid in the rationalisation of empirical data. The application of three methodological approaches allowed for the topic to be considered from a diversity of perspectives, and for triangulation to take place in confirmation of the research outcomes. The way in which individuals build up interpretations from non-codified abstract and mimetic materials also provided a suitable case study for the critique and assessment of various theoretical approaches to interpretation. The project challenges structuralist approaches to interpretation, drawing together theoretical materials and empirical research findings in support of a post-structrualist model of interpretation that demonstrates the absolutely vital role played by context - the framing of the artwork in the consciousness of the individual audience member.
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Rhoades, Michael Jewell. "Composing Holochoric Visual Music: Interdisciplinary Matrices." Diss., Virginia Tech, 2021. http://hdl.handle.net/10919/102159.
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With a lineage originating in the days of silent films, visual music, in its current incarnation, is a relatively recent phenomenon when compared to an historically broad field of creative expression. Today it is a time-based audio/visual territory explored and mined by a handful of visual and musical artists. However, an extensive examination of the literature indicates that few of these composers have delved into the associable areas of merging virtual holography and holophony toward visual music composition. It is posited here that such an approach is extremely rich with novel expressive potential and simultaneously with numerous novel challenges. The goal of this study is, through praxis, to instantiate and document an initial exploration into the implementation of holochory toward the creation of visual music compositions.
Obviously, engaging holochoric visual music as a means of artistic expression requires an interdisciplinary pipeline. Certainly, this is demonstrated in merging music and visual art into a cohesive form, which is the basis of visual music composition. However, in this study is revealed another form of interdisciplinarity. A major challenge resides with the development of the means to efficiently render the high-resolution stereoscopic images intrinsic to the animation of virtual holograms. Though rendering is a challenge consistent with creating digital animations in general, here the challenge is further exacerbated by the extensive use of multiple reflections and refractions to create complexity from relatively simple geometric objects. This reveals that, with the level of computational technology currently available, the implementation of high-performance computing is the optimal approach.
Unifying such diverse areas as music, visual art, and computer science toward a common artistic medium necessitates a methodological approach in which the interdependency between each facet is recognized and engaged. Ultimately, a quadrilateral reciprocative feedback loop, involving the composer's sensibilities in addition to each of the other facets of the compositional process, must be realized in order to facilitate a cohesive methodology leading toward viability.
This dissertation provides documentation of methodologies and ideologies undertaken in an initial foray into creating holochoric visual music compositions. Interlaced matrices of contextualization are intended to disseminate the processes involved in deference to composers who will inevitably follow in the wake of this research. Accomplishing such a goal is a quintessential aspect of practice-based research, through which new knowledge is gained during the act of creating. Rather than formulating theoretical perspectives, it is through the praxis of composing holochoric visual music that the constantly arising challenges are recognized, analyzed, and subsequently addressed and resolved in order to ensure progression in the compositional process. Though measuring the success of the resultant compositions is indeed a subjective endeavor, as is the case with all art, the means by which they are achieved is not. The development of such pipelines and processes, and their implementation in practice, are the basic building blocks of further exploration, discovery, and artistic expression. This is the impetus for this document and for my constantly evolving and progressing trajectory as a scholar, artist, composer, and computer scientist.Doctor of Philosophy
In this paper the author explores the idea that, owing to their shared three-dimensional nature, holophons and holograms are well suited as mediums for visual music composition. This union is ripe with creative opportunity and fraught with challenges in the areas of aesthetics and technical implementation. Squarely situated upon the bleeding edge of phenomenological research and creative practice, this novel medium is nonetheless within reach. Here, one methodological pipeline is delineated that employs the convergence of holography, holophony, and super-computing toward the creation of visual music compositions intended for head mounted displays or large scale 3D/360 projection screens and high-density loudspeaker arrays.
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Fucay, Monthedoro Edith Elizabeth, Hoyos Sadith Rosana Manrique, Cachuan Anne Katherine Rodriguez, and Noriega Edgar Verástegui. "Estudio de música Visual Music Media." Bachelor's thesis, Universidad Peruana de Ciencias Aplicadas (UPC), 2019. http://hdl.handle.net/10757/626263.
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El presente proyecto sobre el estudio de grabación, nos muestra la viabilidad de la ejecución, basándonos en una investigación y validación de mercado que se realizó en la ciudad de Lima Metropolitana a personas del NSE B, C y D, que nos permitió identificar una demanda insatisfecha debido a la falta de oportunidades de poder demostrar su talento musical, en un estudio de música implementado con un nivel profesional, con instrumentos y equipos profesionales y que, además, les ofrezcan oportunidades de presentaciones en eventos. Actualmente, las personas interesadas en el arte de la música buscan estudios en donde puedan mejorar o perfeccionar su talento, y se preocupan por encontrar un lugar que les ofrezcan todas las alternativas posibles, y considerando que hoy en día hay una gran tendencia, vemos que hay una oportunidad de negocio para poder atender esta necesidad.
Para la puesta en marcha de este estudio de música, se requerirá una inversión inicial de S/231,815 soles, financiado en un 40% con la aportación de un inversionista y un 60% con los aportes de los accionistas. La inversión que realizarán los accionistas (60%) se estima recuperar en 5.77 años de la operación. El proyecto resulta viable porque cumple las expectativas de los inversionistas y accionistas al tener una TIRE (61.31%) superior al WACC (15.84%), y para el accionista de un COK de 17% obteniendo un TIRF de 56.00%. anual.This project on the recording studio shows us the feasibility of the execution, based on a market research and validation that was carried out in the city of Lima Metropolitana to people of NSE B, C and D, which allowed us to identify a demand dissatisfied due to the lack of opportunities to demonstrate their musical talent, in a music studio implemented with a professional level, with professional instruments and teams and that also offer them opportunities for presentations at events. Today, people interested in the art of music look for studies where they can improve or perfect their talent, and they worry about finding a place that offers them all the possible alternatives, and considering that today there is a great trend, we see that there is a business opportunity to meet this need. For the start-up of this music studio, an initial investment of S/231,815 soles will be required, financed by 40% with the contribution of an investor and 60% with the contributions of the shareholders. The investment that shareholders will make (60%) it is estimated to recover within 5.77 years of the operation. The project is viable because it meets the expectations of investors and shareholders by having a TIRE (61.31%) WACC (15.84%), and for the shareholder of a COK of 17% obtaining a TIRF of 56.00%. per year.
Trabajo de investigación
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Guimond, David. "(Re)sounding : disintegrating visual space in music." Thesis, McGill University, 2007. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=102803.
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While the groundbreaking insights that contemporary theorists have formulated with regards to space---as a multiplicity without essence, as an active event, and as inseparable from subjectivity, power, Otherness and time---have ostensibly purged it of its traditional understanding as absolute, a specific visuality characteristic of Cartesian perspectivalism remains privileged in its theorization which force it to remain so. While the complexity of space cannot be recovered from an abstract contemplation of its visual geometry in a way that reflects these contemporary concerns, there have unfortunately been relatively few attempts to imagine space away from the visual in a way that challenges its traditional absoluteness. To this end, it is argued that because sound and music contain implicit and explicit spatialities, the sonic represents a rich and unexplored area from which to imagine a radical non-visual space that discursively organizes space according to a different economy through which to challenge its assumed visuality. And yet, even when space has been approached through sound, there is a tendency to exteriorize sound into an object or a set of practices that robs it of its defining quality---its own "soundfulness". By breaking down those factors that are considered salient to how space is conceived today along sonic rather than visual lines, the argument is made that the "soundfulness" of sound's physical properties gives it a complex texture of excess that is corporealized within the body and forwards the philosophical possibility of unfolding the spatiality of sound according to vectors beyond the visible in a way that, while reflecting contemporary concerns, prevents its return to absoluteness. To take seriously this "soundfulness" thus allows us to recuperate the sonic as a philosophical and political way of experiencing and knowing the world, including that of space. The arguments, as well as being drawn from the insights of contemporary spatial theory, the physics of sound, the phenomenology of listening, rhizomatic and feminist theory, quantum mechanics and musicology, will be explained through an understanding of space as sound and exemplified in The Disintegration Loops, a post-minimalist musical piece by sonic artist William Basinski.
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Mollaghan, Aimée. "The musicality of the visual music film." Thesis, University of Glasgow, 2011. http://theses.gla.ac.uk/3205/.
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This thesis explores the concept and expression of musicality in the absolute visual music film, in which visual presentations are given musical attributes such as rhythmical form, structure and harmony. The role of music has, in general, been neglected when analysing visual music textually and if discussed it has been examined predominantly from the academic vantage points of art and avant-garde film theory. To adequately scrutinise these texts I consider it essential to look at them not only in terms of their existence as moving pictures but also to give equal weight to their aural aspect and to consider them in terms of specifically musical parameters. This thesis therefore seeks to redress previous imbalances by undertaking a close analysis of the expressly musical qualities of these texts. Drawing on the seemingly disparate areas of film theory, art history, music theory and philosophy, it takes an interdisciplinary approach to investigating the measurable influence that wider contextual, philosophical and historical developments and debates in these areas bore on the aesthetics of specific visual music films. By drawing on the analogy of the absolute in music to demonstrate how musical concepts can function across the disciplinary boundaries of music and film, the first half of this thesis illustrates how musical ideas can be applied both formally and conceptually to the moving image in order to elucidate the musical characteristics of the text. Using the notion of the absolute as a conceptual framework allows for a thorough overview of changing trends and aesthetics in music, film and art and the visual music film. The centrality of notions of the absolute to visual music is demonstrated through close analysis of films by Viking Eggeling, Hans Richter, Walter Ruttmann, Norman McLaren, James Whitney and Jordan Belson. The second part of this thesis concentrates less on the philosophical vestiges carried over from musical thought to the visual music film, instead focusing on the variety of techniques and technological developments that evolved in tandem with the visual music film, each simultaneously exerting an influence on one another. It explores the effect that colour processing had on not only the visual but the overall audiovisual structure of the visual music film through a textual analysis of Kreise (1933) by Oskar Fischinger. It also investigates how particular styles of musical composition dictated the development of specific technical processes such as painting directly onto the celluloid strip, in order to capture the syncopated and frenetic musicality of jazz music. The case studies here are Begone Dull Care (1949) by Norman McLaren and A Colour Box (1935) by Len Lye. Further to this, it examines how the technical processes of animated sound emerged in the search for a greater correlation between the visual and sound tracks of the visual music film through close analysis of Synchromy (1971) by Norman McLaren and the optical sound films of Guy Sherwin. Finally, this thesis marries the inquiry into technological innovation of its second half with the historical, aesthetic and philosophical concerns of earlier chapters by considering the work of visual music pioneer John Whitney. Focusing on his digitally produced visual music films, the thesis explores Whitney’s enduring concern with the unification of sound and image through the shared foundation of mathematical harmony.
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Bain, Matthew N. "Real Time Music Visualization: A Study in the Visual Extension of Music." Columbus, Ohio : Ohio State University, 2008. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1213207395.
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Whyte, Ross. "Perpetual erosion : impermanence in audio-visual intermedia." Thesis, University of Aberdeen, 2012. http://digitool.abdn.ac.uk:80/webclient/DeliveryManager?pid=196018.
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Dickinson, Kay. "Music video and synaesthetic possibility." Thesis, University of Sussex, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.310663.
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Teixeira, Frederico. "Bad Habits : Exploring visual objects as a means of extracting and creating material for music composition." Thesis, Kungl. Musikhögskolan, Institutionen för komposition, dirigering och musikteori, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-4191.
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This dissertation explores my process of drawing inspiration from visual objects and visual arts in order to generate compositional tools for music writing. It analyzes some of my earlier works, when this practice started taking shape, up until the construction of Bad Habits, an orchestral piece that utilized the late works of late North American painter Philip Guston as its main drive. The text follows a chronological and journal-like approach that seeks to dissect and investigate each step from the elaboration to the organization of each element drawn from visual objects in order to create a cohesive composition that leans heavily on subjectivity as it pays homage to Guston as an individual and as an artist.
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Rhodes, Mahlon. "Music + Design: Creating Holistic Multimodal Music Experiences." Kent State University / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=kent157469738121486.
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Ebendorf, Brittany. "The impact of visual stimuli on music perception." Diss., Connect to the thesis, 2007. http://hdl.handle.net/10066/996.
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Field, Ben. "The impact of visual stimuli on music perception." Diss., Connect to the thesis, 2007. http://hdl.handle.net/10066/1015.
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Shank, Jennifer Sue. "THE EFFECT OF VISUAL ART ON MUSIC LISTENING." UKnowledge, 2003. http://uknowledge.uky.edu/gradschool_diss/397.
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The purpose of this study was to examine the effect of visual stimuli on music listening skills in pre-service elementary teachers. Visual Stimuli in this study refers to the presentation of arts elements in selected visually projected images of paintings. Music listening skills are defined as those skills needed to identify and interpret musical excerpts. A Pretest-Posttest Control-group Design was used in this study. Subjects were pre-service elementary general educators enrolled in a large southern university (N=93). Students from intact classes were randomly placed into either the experimental group or the control group. The treatment consisted of six music listening lessons over a two-week period with each group receiving the identical teaching protocol with the exception of the use of paintings with the experimental group. Listening instruction emphasized the identification of melodic contour, instrumentation, texture, rhythm and expressive elements of the compositions. The Teacher Music Listening Skills Test (TMLST) was constructed by the investigator and administered before and after the treatment. The TMLST was designed to assess music listening skills in adult non-musicians. Results indicate that the group receiving visual stimuli in the form of paintings scored significantly higher on listening skills (pandlt;.01) than the control group which received no visual stimuli in the form of visually projected images of paintings. There was an instruction effect on both preference and familiarity of the musical pieces for both the control group and the experimental group.
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Payling, David. "Visual music composition with electronic sound and video." Thesis, Staffordshire University, 2014. http://eprints.staffs.ac.uk/2047/.
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This research project investigated techniques for composing visual music and achieving balance in the relationship between sound and image. It comprises this thesis and a portfolio of compositions. The investigation began with an interest in the relationships between colour and sound and later expanded to include form and motion, the remaining factors of Thomas Wilfred’s lumia (1947). Working with a cohesive theme, such as lumia, proved to be an effective way of creating a coherent aesthetic in portfolio pieces. Other themes were therefore investigated including composing with visual and audio materials recorded from the single source of Thailand, the wave phenomena of refraction and diffraction and a filmed natural sunset interpreted in electroacoustic music. Two distinct compositional techniques were used, material transference, where qualities were transferred between sound and image, and compositional thinking, which assisted in creating audio-visual compositions that possessed musical qualities. Material transference proved to be the most productive technique during composing and it was discovered that effectuating it algorithmically created a strong bond between sound and image. Compositional thinking assisted in creating the form of the portfolio pieces and was found to apply to both video and music. Compositional thinking was found to be useful at the macro level, where structural form was designed, and material transference worked at a finer micro level, transferring individual qualities between sound and video objects.
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Serrano, Jose Gaston. "Visual perception of simulated conducting motions." Diss., The University of Arizona, 1993. http://hdl.handle.net/10150/186593.
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The purpose of this investigation was to examine subject response to music conducting motions simulated on a computer screen. Forty musicians and forty non-musicians responded to a point of light moving around a computer screen simulating the tip of a conductor's baton. Subjects were asked to press a button every time they perceived a beat portrayed in the motions. The timing of subject responses to four modes of motion was recorded and analyzed. In order to produce sound from their musical instruments, musicians must undergo a process that involves developing a mental image of the upcoming sound, creating an action program, and performing the chain of physical events that will culminate in the production of the desired sound. Even though it may last a mere fraction of a second, this process of anticipation is an essential component of music making. Whereas solo musicians anticipate the music rather freely, ensemble musicians must meet an essential requirement for obtaining satisfying musical results: they must play together. Since they also need to anticipate the music, then they must anticipate together in order to play together. This coordination is accomplished by way of visual information provided by the conductor. In the present study it was hypothesized that speed and direction of conducting motions from any given beat to the next play an important role in the observers' ability to anticipate and synchronize their motor activity. The experimental design allowed the author to examine visual perception of simulated conducting motions showing distinct motion behaviors, in isolation from actual sound and other sensory cues. Results of this investigation indicate that both musicians and non-musicians respond with a high degree of uniformity to a type of conducting motion which resembles the motion produced by gravitational forces--accelerating going down, decelerating going up, following a parabolic trajectory when moving to either side. On the other hand, a motion which is inversely proportional to the motion produced by gravity yielded mixed results: non-musicians responded more uniformly than did musicians, as the latter were divided according to two distinct interpretations of where the beats occurred within the simulated conducting patterns.
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Spurrier, Graham. "Consonant and dissonant music chords improve visual attention capture." Scholarship @ Claremont, 2019. https://scholarship.claremont.edu/cmc_theses/2125.
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Recent research has suggested that music may enhance or reduce cognitive interference, depending on whether it is tonally consonant or dissonant. Tonal consonance is often described as being pleasant and agreeable, while tonal dissonance is often described as being unpleasant and harsh. However, the exact cognitive mechanisms underlying these effects remain unclear. We hypothesize that tonal dissonance may increase cognitive interference through its effects on attentional cueing. We predict that (a) consonant musical chords are attentionally demanding, but (b) dissonant musical chords are more attentionally demanding than consonant musical chords. Using a Posner cueing task, a standard measure of attention capture, we measured the differential effects of consonant chords, dissonant chords, and no music on attentional cueing. Musical chords were presented binaurally at the same time as a visual cue which correctly predicted the spatial location of a subsequent target in 80% of trials. As in previous studies, valid cues led to faster response times (RTs) compared to invalid cues; however, contrary to our predictions, both consonant and dissonant music chords produced faster RTs compared to the no music condition. Although inconsistent with our hypotheses, these results support previous research on cross-modal cueing, which suggests that non-predictive auditory cues enhance the effectiveness of visual cues. Our study further demonstrates that this effect is not influenced by auditory qualities such as tonal consonance and dissonance, suggesting that previously reported cognitive interference effects for tonal dissonance may depend on high-level changes in mood and arousal.
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Phillips, Nicola Jane. "Audio-visual scene analysis : attending to music in film." Thesis, University of Cambridge, 2000. https://www.repository.cam.ac.uk/handle/1810/251745.
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Tudissaki, Shirlei Escobar [UNESP]. "Ensino de música para pessoas com deficiência visual." Universidade Estadual Paulista (UNESP), 2014. http://hdl.handle.net/11449/110652.
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000795360.pdf: 2179914 bytes, checksum: 6dbd80f93866bbd2b59e56730539f66c (MD5)Este estudo discute os processos de ensino de música para alunos com deficiência visual. Para tanto, foram traçados quatro objetivos: (1) descrever os conceitos e princípios gerais que se aplicam à deficiência visual e ao ensino musical destinado a estes alunos; (2) verificar como o ensino de música para estes alunos está sendo oferecido no Brasil, sob o ponto de vista pedagógico e legislativo; (3) avaliar as adaptações empregadas neste processo de ensino; (4) refletir acerca das competências e habilidades necessárias ao educador musical para a docência de alunos com deficiência visual. A metodologia seguiu os pressupostos da pesquisa qualitativa, utilizando como ferramentas para a coleta de dados a pesquisa bibliográfica e documental; a pesquisa de campo sob a forma da observação participativa, realizada na organização Laramara; e a entrevista, realizada com educadores musicais de referência no ensino de música para tais indivíduos. A revisão de literatura concentrou-se em três eixos: leitura e aprofundamento nos textos nacionais e internacionais voltados para a temática; levantamento bibliográfico das teses e dissertações sobre a temática defendidas no Brasil; e leitura dos ordenamentos legais que norteiam o tema. Na etapa inicial da pesquisa, verificou-se que os cursos de Licenciatura em Música/Educação Musical das Universidades Públicas do Estado de São Paulo não oferecem disciplinas voltadas ao ensino de música para pessoas com deficiência visual, embora a legislação vigente determine que estes indivíduos estejam incluídos na sala de aula. A partir desta constatação, passou-se a refletir a respeito de como os educadores musicais poderiam trabalhar com alunos com deficiência se não há este preparo na Universidade. A análise das aulas observadas, a opinião dos entrevistados e o referencial teórico permitiu elencar as competências e habilidades necessárias ...
Esta investigación analiza los procesos de educación musical para los estudiantes con discapacidad visual. Para esto, se establecieron cuatro objetivos: (1) describir los conceptos y principios generales que se aplican a la discapacidad visual y la educación musical para estos estudiantes; (2) examinar cómo se ha ofrecido la educación musical para estos estudiantes en Brasil, de acuerdo con el punto de vista pedagógico y legislativo; (3) evaluar adaptaciones empleadas en este proceso educativo; (4) reflexionar sobre las habilidades y capacidades necesarias para el educador musical para enseñar a los estudiantes con discapacidad visual. La metodología empleada considera las hipótesis de la investigación cualitativa, utilizando como herramientas la investigación bibliográfica y documental; el trabajo de campo en la forma de la observación participante realizada en la organización Laramara; y entrevistas con educadores musicales de referencia en la educación musical de estas personas. La revisión de la literatura se centró en tres áreas: lectura y profundización del tema centrado en textos brasileños e internacionales; análisis de las tesis y disertaciones sobre el tema publicados en Brasil; y en las leyes brasileñas que rigen la materia. En la etapa inicial de la investigación, se constató que las Universidades de Música del Estado de São Paulo no cuentan con cursos dirigidos a educación musical para las personas con discapacidad visual, aunque la actual legislación requiere incluir a estas personas en las clases. A partir de esta constatación, se reflexiona sobre cómo los educadores musicales puedan trabajar con los estudiantes con discapacidades si no hay una preparación en estas Universidades. El análisis de las lecciones observadas, las opiniones de los entrevistados y el marco teórico permitieron listar las habilidades y capacidades necesarias para el educador ...
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Buonviri, Nathan. "EFFECTS OF VISUAL PRESENTATION ON AURAL MEMORY FOR MELODIES." Diss., Temple University Libraries, 2010. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/215416.
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Music EducationPh.D.
The purpose of this study was to determine how pitch and rhythm aspects of melodic memory are affected by aural distractions when melodic stimuli are presented both visually and aurally, as compared to aurally only. The rationale for this research is centered on the need for improved melodic memory skills of students taking melodic dictation, and the possibility that temporary visual imagery storage of target melodies might enhance those skills. The participants in this study were undergraduate and graduate music majors (n=41) at a large northeastern university. All participants had successfully completed the first two semesters of college-level music theory, and none had perfect pitch. Participants progressed through two self-contained experimental tests at the computer. Identical target melodies were presented: 1) aurally only on one test; and 2) aurally, with visual presentation of the matching notation, on the other test. After the target melody, a distraction melody sounded, during which time participants were to maintain the original target melody in memory. Participants then chose which of two aural options matched the original target, with a third choice of "neither." The incorrect answer choice in each item contained either a pitch or rhythm discrepancy. The 2x2 factorial design of this experiment was based on independent variables of test presentation format and answer discrepancy type. The dependent variable was experimental test scores. Each participant took both parts of both tests, yielding 164 total observations. Additional data were collected for exploratory analysis: the order in which each participant took the tests, the major instrument of each participant, and the educational status of each participant (undergraduate or graduate). Results of a 2x2 ANOVA revealed no significant differences in test scores, based on either test format or answer discrepancy type, and no interaction between the factors. The exploratory analyses revealed no significant differences in test scores, based on test order, major instrument, or student status. Results suggest that visual reinforcement of melodies does not affect aural memory for those melodies, in terms of either pitch or rhythm. Suggestions for further research include an aural-visual melodic memory test paired with a learning modalities survey, a longitudinal study of visual imagery applied to aural skills study, and a detailed survey of strategies used by successful and unsuccessful dictation students.
Temple University--Theses
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Chapman, Taylor Ruthann. "MUSIC THERAPISTS’ USE OF VISUAL SUPPORTS FOR INDIVIDUALS WITH AUTISM SPECTRUM DISORDER." UKnowledge, 2018. https://uknowledge.uky.edu/music_etds/128.
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Visual supports, which provide information presented in a visual format to enhance achievement toward specific goals, can be very helpful for individuals who have autism spectrum disorder (ASD). Music therapists often use visual supports in their practice; however, research exploring how they do so is limited. In the present study, the researcher used a mixed-methods research design to explore music therapists’ use of visual supports for individuals who have ASD. The researcher e-mailed a survey to board-certified music therapists who opted to receive e-mails from the Certification Board for Music Therapists (CBMT), 525 of whom completed the entire survey. Approximately 70% of participants reported using visual supports “always” or “very often.” Participants most frequently reported using pictures with written words and visual schedules. Visual supports are most often used by music therapists in children’s facilities/schools and to address communication skills when working with individuals who have ASD. Participants most frequently reported using visual supports to generally enhance the session/interventions, using them to provide routine, predictability, and clear expectations for individuals who have ASD. Resources and recommendations provided by participants are also summarized. Open-ended responses were coded into themes, and most participants recommended specific software or applications and encouraged others to use certain visual supports, such as visual schedules and “real” pictures. Future researchers should examine the effectiveness of visual supports when used in music therapy sessions for individuals who have ASD.
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Katan, Simon. "Sight, sound, the chicken and the egg : audio-visual co-dependency in music." Thesis, Brunel University, 2012. http://bura.brunel.ac.uk/handle/2438/7643.
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Amongst the modern day abundance of audio-visual media, where sounds represent everything from the swooping of virtual cameras through 3D spaces to the pressing of buttons and receiving of emails, and conversely where VJs routinely accompany live musical performance with an increasingly sophisticated language of abstract computer animation, the notion of music as a necessarily exclusively aural medium seems somewhat out of place. Psychological theories relating to the cognition of sound, in particular physical schema, accounting for the ubiquity of vertical plane pitch metaphors in most musical cultures, provide evidence of a deep-rooted spatially informed understanding of sound thus providing a common ground for both sound and vision in music. Furthermore, Western Classical composition is rife with examples of visually conceived forms from Bach’s Crab Canon (1747) to Xenakis’ architecturally inspired Metastasis (1954). However, in practice the gap between the listener’s auditory experience and the composer’s visual concept is often insurmountable. Rising to Schaeffer’s call for “Primacy to the ear!” (Schaeffer, 1967, pp. 28-30), acousmatic composers have sought to derive music exclusively from experientially verifiable criteria. However, in its pervasiveness of other musical genres, no doubt aided by technologically and commercially driven domination of the pre-recorded over the live listening experience in the latter half of the twentieth century, such an approach has lead to the neglect of visual aspects in the live performance of much art-music. This research aims to begin to redress this balance through the composition of, largely computer realised, audio-visual works whose conception arises not from a superimposition of one medium upon another, but through the very relations between the media themselves. Utilising modern computers’ ability to synchronise physical and virtual visual events with synthesised sound in real time not only affords composers an invaluable tool for enhancing listener’s perception of formal structures but also implies causal relationships between the sonic and the visual which can provide a base of intuitive understanding on which more complex formal ideas can be built.
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Tudissaki, Shirlei Escobar 1982. "Ensino de música para pessoas com deficiência visual /." São Paulo, 2014. http://hdl.handle.net/11449/110652.
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Orientador: Sonia Regina Albano de LimaBanca: Elcie Aparecida Fortes Salzano Masini
Banca: Iveta Maria Borges Ávila Fernandes
Resumo: Este estudo discute os processos de ensino de música para alunos com deficiência visual. Para tanto, foram traçados quatro objetivos: (1) descrever os conceitos e princípios gerais que se aplicam à deficiência visual e ao ensino musical destinado a estes alunos; (2) verificar como o ensino de música para estes alunos está sendo oferecido no Brasil, sob o ponto de vista pedagógico e legislativo; (3) avaliar as adaptações empregadas neste processo de ensino; (4) refletir acerca das competências e habilidades necessárias ao educador musical para a docência de alunos com deficiência visual. A metodologia seguiu os pressupostos da pesquisa qualitativa, utilizando como ferramentas para a coleta de dados a pesquisa bibliográfica e documental; a pesquisa de campo sob a forma da observação participativa, realizada na organização Laramara; e a entrevista, realizada com educadores musicais de referência no ensino de música para tais indivíduos. A revisão de literatura concentrou-se em três eixos: leitura e aprofundamento nos textos nacionais e internacionais voltados para a temática; levantamento bibliográfico das teses e dissertações sobre a temática defendidas no Brasil; e leitura dos ordenamentos legais que norteiam o tema. Na etapa inicial da pesquisa, verificou-se que os cursos de Licenciatura em Música/Educação Musical das Universidades Públicas do Estado de São Paulo não oferecem disciplinas voltadas ao ensino de música para pessoas com deficiência visual, embora a legislação vigente determine que estes indivíduos estejam incluídos na sala de aula. A partir desta constatação, passou-se a refletir a respeito de como os educadores musicais poderiam trabalhar com alunos com deficiência se não há este preparo na Universidade. A análise das aulas observadas, a opinião dos entrevistados e o referencial teórico permitiu elencar as competências e habilidades necessárias ...
Resumen: Esta investigación analiza los procesos de educación musical para los estudiantes con discapacidad visual. Para esto, se establecieron cuatro objetivos: (1) describir los conceptos y principios generales que se aplican a la discapacidad visual y la educación musical para estos estudiantes; (2) examinar cómo se ha ofrecido la educación musical para estos estudiantes en Brasil, de acuerdo con el punto de vista pedagógico y legislativo; (3) evaluar adaptaciones empleadas en este proceso educativo; (4) reflexionar sobre las habilidades y capacidades necesarias para el educador musical para enseñar a los estudiantes con discapacidad visual. La metodología empleada considera las hipótesis de la investigación cualitativa, utilizando como herramientas la investigación bibliográfica y documental; el trabajo de campo en la forma de la observación participante realizada en la organización Laramara; y entrevistas con educadores musicales de referencia en la educación musical de estas personas. La revisión de la literatura se centró en tres áreas: lectura y profundización del tema centrado en textos brasileños e internacionales; análisis de las tesis y disertaciones sobre el tema publicados en Brasil; y en las leyes brasileñas que rigen la materia. En la etapa inicial de la investigación, se constató que las Universidades de Música del Estado de São Paulo no cuentan con cursos dirigidos a educación musical para las personas con discapacidad visual, aunque la actual legislación requiere incluir a estas personas en las clases. A partir de esta constatación, se reflexiona sobre cómo los educadores musicales puedan trabajar con los estudiantes con discapacidades si no hay una preparación en estas Universidades. El análisis de las lecciones observadas, las opiniones de los entrevistados y el marco teórico permitieron listar las habilidades y capacidades necesarias para el educador ...
Mestre
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Olsen, Taylor J. "Animation as an Instrument: Designing a Visual-Audioizer Prototype." The Ohio State University, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=osu1595515799106444.
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McNellis, Rachel. "Imitating Christ in Ars Subtilior Picture Music: Intersections with Theological Symbolism and Visual Traditions." Case Western Reserve University School of Graduate Studies / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=case1554293604378994.
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Fan, Yu. "A study on audio-visual interaction: How visual temporal cues influence grouping of auditory events." The Ohio State University, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=osu1544732438004088.
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Björn, Anna. "Kokong – ett förändringsverk : Ljudinstallationer med utgångspunkt i biologiska processer." Thesis, Kungl. Musikhögskolan, Institutionen för komposition, dirigering och musikteori, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-2792.
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Athanasopoulos, Georgios. "Scoring sounds : the visual representation of music in cross-cultural perspective." Thesis, University of Edinburgh, 2013. http://hdl.handle.net/1842/7799.
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This thesis argues that a performer’s relationship with a musical score is an interaction largely defined by social and cultural parameters, but also examines whether disparate musical traditions show any common underlying tendencies regarding the perceived relationship between musical sound and visual representation. The research brings a novel, cross-cultural perspective to bear on the topic, combining a systematic, empirical study with qualitative fieldwork. Data were collected at five sites in three countries, involving: classically-trained musicians based in the UK; traditional Japanese musicians both familiar and unfamiliar with western standard notation; literate Eastern Highlanders from Port- Moresby, Papua New Guinea; and members of the BenaBena tribe, a non-literate community in Papua New Guinea. Participants heard short musical stimuli that varied on three musical parameters (pitch, duration and attack rate) and were instructed to represent these visually so that if another community member saw the marks they should be able to connect them with the sounds. Secondly, a forced-choice design required participants to select the best shape to describe a sound from a database. Interviews and fieldwork observations recorded how musicians engaged with the visual representation of music, considering in particular the effects of literacy and cultural parameters such as the social context of music performance traditions. Similarities between certain aspects of the participants’ responses suggest that there are indeed some underlying commonalities among literate participants of any cultural background. Meanwhile, the overall variety of responses suggests that the association between music and its visual representation (when it takes place) is strongly affected by ever-altering socio-cultural parameters.
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Sacrey, Lori-Ann Rosalind, and University of Lethbridge Faculty of Arts and Science. "Music normalizes visual and proprioceptive control of movement in Parkinson's disease." Thesis, Lethbridge, Alta. : University of Lethbridge, Faculty of Arts and Science, 2008, 2008. http://hdl.handle.net/10133/739.
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The sensory control of movements has been shown to be impaired with Parkinson’s disease. I investigated the task, reach-to-eat, in which advancing of the limb towards a target is guided by vision and withdrawal of the grasped target to the mouth is guided by somatosensation (i.e., haptics and proprioception). Parkinson’s diseased subjects display an alteration in the balance of visual and proprioceptive guidance, such that they display increased visual fixation on the target prior to movement onset that persists following the grasp. Music therapy can normalize the balance between visual and proprioceptive guidance on the reach-to-eat task, as visual fixation with the target prior to movement onset is consistent with controls, and disengagement following grasp no longer differs from mild Parkinson’s disease subjects. These results are the first to demonstrate that music can have an ameliorating effect on the sensory impairments seen in the control of forelimb movements in Parkinson’s disease.xiv, 147 leaves : ill. ; 29 cm. --
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Hendrickson, Laura M. "Against photography : the idea of music in Pre-Raphaelite visual reform." View abstract/electronic edition; access limited to Brown University users, 2008. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&res_dat=xri:pqdiss&rft_dat=xri:pqdiss:3318327.
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Kakinoki, Masato. "The development of an audio-visual language for digital music performance." Thesis, Canterbury Christ Church University, 2017. http://create.canterbury.ac.uk/16526/.
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This practice-based PhD consists of a portfolio of creative work and a supporting commentary. The portfolio illustrates the design decisions relating to my digital music performance system, and focuses upon the visibility and the fluidity of digital music performance. The goal of the design is to enhance the visibility without violating the audience’s auditory imagination unnecessarily, and to enhance the fluidity without relinquishing the unique fixed nature of digital music. The performance system consists of an audio engine, control mapping engine and visual engine. The audio engine and the control mapping engine were programmed with Cycling ‘74 Max. They let the performer deconstruct and reconstruct pre-recorded audio files with her/his hands via MIDI controllers during performance. The visual engine was programmed with Derivative TouchDesigner. In various ways, it visualises and exaggerates the performer’s actions which cause sonic changes, and filters out the rest. The works are presented as videos and the supporting commentary, deals with the contexts and thinking processes which determined the current performance system. By exploring theories of electronic music performance, audiovisual, visual music, acousmatic and medium specificity, I aim to explain the reasoning behind the performance system.
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Fusik, James Paul. "The Theatrical Saxophone: Visual and Narrative Elements in Contemporary Saxophone Music." Bowling Green State University / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1363599296.
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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 improvised music as well as improvised dance in the performance. The performance took place in a former psychiatric hospital. In the outcomes and conclusion I present my expectations for the performance and describe how those where met. I also examine the role of cross-artistic collaboration in the project. I give examples of my own artistic development as well as my development as a project leader. I also reflect on the relevance of the project to the community. The outcomes are presented through my own reflections and through discussion where I point to literature concerning the differences and similarities between different art forms. The outcomes of the project include audience feedback from the performance. This is presented in the appendices. My conclusion shows that I was also able to create a rich and diverse performance by using simple (low-tech) methods. The performance was inspired by my experiences, interests and background. In my thesis I also show how creating and structuring the ‘Metsän väki’ performance can help me to develop as an artist doing cross-artistic collaboration.Professional Integration Project
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Childers, Chadwick T. "Instrument choice of fifth grade boys and girls aural and visual preference based on presentation mode." FIU Digital Commons, 2004. http://digitalcommons.fiu.edu/etd/2331.
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The general purpose of this research was to determine if a lesson including gender will influence the instrument selection process of fifth grade children. Subjects were two homogeneous groups of fifth grade students from Miami, Florida. Each group received a lesson concerning five acoustic musical instruments: the clarinet, flute, saxophone, trumpet, and drums with photos and music excerpts.
The control group did not receive a gender lecture nor did the photographs depict anyone playing the instrument. Overwhelmingly, drums were the instrument of choice in both groups. As a result a second experiment was designed to replicate experiment 1, but drums were removed from the choices and the trombone was substituted as a "male' instrument.
It was concluded that gender did have an effect on the instrument selection process in young children.
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Huisman, Rhonda. "Visual music : a study on the role of music in South African children’s television programmes from 1976 − 1994." Thesis, Stellenbosch : Stellenbosch University, 2013. http://hdl.handle.net/10019.1/80289.
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Thesis (MDram)--Stellenbosch University, 2013.ENGLISH ABSTRACT: This study is aimed at providing useful insights into the field of audiovisual perception and understanding in South African children’s programmes, as well as demonstrating how the Congruence-Associationist framework can be of use when investigating these aspects. Music serves as an important element in children’s television programmes, as it is often used to subconsciously stimulate the viewers’ senses. The purpose of this study is to provide a more complete image of the role of music within the context of South African children’s television programmes from 1976 − 1994, using ethnographic research with a focus on case studies. In the first part of the study, a base is formed for analysing music by addressing general roles of music in audiovisual context, as well as children’s development of musical perception and a possible clarification of its origins. Its origins appear to be closely related to language and could explain why music fulfils such a significant role in a variety of interactive contexts. The Congruence-Associationist framework by Annabel Cohen is used as a suitable framework of analysis of music in children’s television by adapting and expanding it into three sections: the observation phase, the interpretation phase and the results phase. In the second part of the study, case studies and scene analyses of six selected children’s programmes are conducted, according to the three sections of the adapted framework of analysis. The findings indicate that music functions in multiple ways according to the focus of the programme, and that it fulfils an appealing and recognisable role in these programmes. It is argued that music serves to support the visuals on screen, influences the general interpretation of the viewer and ultimately provides understanding while facilitating learning. This information could be used in a variety of subjects, thus opening up endless possibilities for further research into the multiple roles of music.
AFRIKAANSE OPSOMMING: Hierdie studie is daarop gerig om nuttige insigte op die gebied van oudiovisuele persepsie en begrip in Suid-Afrikaanse kinderprogramme te verskaf, asook aan te toon hoe die ooreenstemmings-assosiatiewe raamwerk (Congruence-Associationist framework) van Annabel Cohen van nut kan wees wanneer hierdie aspekte ondersoek word. Musiek dien as ‘n belangrike element in die kindertelevisieprogramme, aangesien dit dikwels gebruik word om onbewustelik die sintuie van die betrokke kykers te stimuleer. Hierdie studie poog om ‘n meer volledige beeld van die rol van musiek te verskaf binne die konteks van Suid-Afrikaanse kindertelevisieprogramme vanaf 1976 − 1994. Dit word gedoen met behulp van etnografiese navorsing met ‘n fokus op gevallestudies. In die eerste deel van die studie word ‘n basis gevorm vir die analise van musiek, deur die algemene rol van musiek binne oudiovisuele konteks te bespreek, asook die ontwikkeling van kinders se musikale waarnemingsvermoë en ‘n moontlike verduideliking van die oorsprong van musiek. Die oorsprong van musiek blyk verwant te wees aan taal en kan moontlik die rede wees waarom musiek so ‘n belangrike rol in ‘n verskeidenheid interaktiewe kontekste speel. Die ooreenstemmings-assosiatiewe raamwerk word gebruik as ‘n geskikte raamwerk van ontleding vir musiek in kindertelevisie deur dit aan te pas en in drie afdelings uit te brei, naamlik die waarnemingsfase, die interpretasiefase en die resultaatfase. In die tweede deel van die studie word gevallestudies en toneelontledings van ses gekose kinderprogramme gedoen volgens die drie afdelings van die aangepaste ontledingsraamwerk. Die bevindinge dui daarop dat musiek op vele maniere funksioneer, afhangende van die fokus van die program, terwyl dit ook ‘n aantreklike en identifiseerbare rol in hierdie programme vervul. Daar word aangevoer dat musiek dien om die visuele beeld te ondersteun, die algemene interpretasie van die kyker te beïnvloed en uiteindelik begrip te verskaf terwyl die leerproses vergemaklik word. Hierdie inligting sou gebruik kon word in ‘n verskeidenheid onderwerpe wat weer eindelose moontlikhede vir verdere navorsing in die veelvuldige rolle van musiek blootlê.
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Wiltshire, Eric Scott. "The effects of visual and aural congruence on the sight-reading of music notation /." Thesis, Connect to this title online; UW restricted, 2006. http://hdl.handle.net/1773/11245.
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Chen, Chi Wai, and cwchen@ied edu hk. "The creative process of computer-assisted composition and multimedia composition - visual images and music." RMIT University. Education, 2007. http://adt.lib.rmit.edu.au/adt/public/adt-VIT20080107.115525.
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This research study investigates how music technology can enhance and develop the musical ideas of students, focusing on the creative processes involved in computer-assisted composition and multimedia composition. The study investigates the Creative Multimedia Music Project, a module of the Associate of Arts (Music) Degree where students are using computers as music workstations. The aims of the study are (a) to evaluate the use of music technology for composing; (b) to describe the creative process of composing and investigate how the students comprehend this; and (c) to analyze the relationship between the creative process of the musical treatment and the visual image in multimedia composition. The study is conducted in an exploratory, self-directed environment where the students make musical decisions about their compositions. From the preliminary survey, 10 out of 45 music-major students (Year Two) from the Associate Degree Music Program at the Hong Kong Institute of Education (HKIEd) were selected. Composition activities took place over 15 sessions. The first phase focused on computer-assisted composition and the second phase focused on multimedia composition. The students attended lectures on alternate weeks. This gave them enough time to compose in the laboratory or at home, allowing them to explore, make decisions, and evaluate decisions. Data were collected from four sources: (1) written reports including a musical analysis of the creative process, (2) one-to-one interviews conducted during and after the creative process (15 questions were asked in each phase), (3) self-reflective journals that students maintained during their creative process, and (4) MIDI file observations after the creative process had occurred. After data collection, commonalities between each of these data sources were analyzed. This highlighted that during the creative process, a developmental pattern emerged that extends Webster's model (2003) of creative thinking in music. The relationships between the findings and the lite rature review were articulated to reinforce the creative thinking model, trends, and perspectives from different sources. Through an analysis of these students' creative processes and the strategies they adopted while composing with music technology, research projects such as this one may provide composers, music technologists, and music educators with insights into how students approach the task of composing using music technology. The findings might prove as a useful guidance to music educators on how to structure computer-assisted composition and multimedia composition programs for different age groups from school to university.
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Axelsson, Samuel. "Måla med musik, komponera med färg : En retrospektiv studie av den kreativa processen, bland bild, musik och synestesi." Thesis, Örebro universitet, Musikhögskolan, 2011. http://urn.kb.se/resolve?urn=urn:nbn:se:oru:diva-22342.
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The relationship between color and music, and their relation to the human being and our surrounding universe has been subject of studies, theories and experiments since the old ages. From the ancient China and Persia to the present times, philosophers, scientists and artists have tried to explain these connections between color and music and also tried to find answers to this ancient enigma. The invention of the color organ c. 1730, an instrument that was intended to display color in addition to the musical auditive experience, was the first attempt to materialize the practical correlation between notes and color. This correlation has its foundation in the ideas of Isaac Newton, who through his book Optics published only a few years earlier, conformed the beginning of a new art culture: “Visual music”, in which image and sound are the fundamental elements in the creative process. The “visual music” concept is not only grounded in the ideas of music and sound, but also in the extraordinary creative capability of certain individuals. In short, those blessed with the gift of synaesthesia, a condition that provides a very small percentage of our population with very unique abilities like seeing color when hearing sound. Synaesthesia, a term that has been surrounded by scepticism and disbelief until the middle of the 19th century, will be the ingredient that would open for a complete new world of creative experiences, and became one of the main subjects of investigation and creation for many modern artists like Kandinsky and Klee, poets like Baudelaire, and composers like Skrjabin, Schoenberg or Wagner. In this essay, I’ll create three different studies in which image and sound will be combined to conform unique works. And based on my own synesthetic experience, I will approach my own creative process with the intention of analyzing it and explain how this correlation of image and sound works from my own and subjective artistic perspective.
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Wilkie, Sonia. "Auditory manipulation of visual perception." View thesis, 2008. http://handle.uws.edu.au:8081/1959.7/39802.
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Thesis (M.A. (Hons.))--University of Western Sydney, 2008.Thesis accompanied by CD-ROM with demonstration of possible creative applications. A thesis presented to the University of Western Sydney, College of Arts, MARCS Auditory Laboratories, in fulfilment of the requirements for the degree of Master of Arts (Honours). Includes bibliographies. Thesis minus demonstration CD-ROM also available online at: http://handle.uws.edu.au:8081/1959.7/39849.
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Cope, Nicholas. "Northern Industrial Scratch : the history and contexts of a visual music practice." Thesis, University of Sunderland, 2012. http://sure.sunderland.ac.uk/3287/.
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The critical commentary presents and contextualizes a film and video making practice spanning three decades. It locates a contemporary visual music practice within current and emerging critical and theoretical contexts and tracks back the history of this practice to the artist’s initial screenings of work as part of the 1980’s British Scratch video art movement. At the heart of the body of work presented here is an exploration and examination of methods and working practices in the encounter of music, sound and moving image. Central to this is an examination of the affective levels that sound and image can operate on, in a transsensorial fusion, and political and cultural applications of such encounters, whilst examining the epistemological regimes such work operates in. A combination of factors has meant that work such as this, arising in the UK provinces, can fall below the historicizing and critical radar – these include the ephemeral and transitory nature of live performance work; the difficulties of documenting such work; the fragility and degeneration of emerging and quickly obsolescent formats; and a predominance of a London–centric focus on curating, screening and historicizing of experimental film and video art practices. My film and video practice has been screened nationally and internationally over three decades, and has been recognized as exemplary practice both in the early 1980s at the inception of the Scratch movement and in more recent retrospectives. The critical commentary argues that this work contributes new knowledge of the history, contexts and practices of film and video art and audiovisual and visual music practices.
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Santos, Sharon Marie. "Tactile and Visual Sound: A Music Cooperative for the Adams Morgan Community." Thesis, Virginia Tech, 2005. http://hdl.handle.net/10919/36480.
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Chuen-huey, Jiang. "An analysis of the visual structure of American and Taiwanese music videos." The Ohio State University, 1990. http://rave.ohiolink.edu/etdc/view?acc_num=osu1407145876.
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Blasko, Benjamen. "Visual Music: The Use of Film Composition Devices to Develop Form in the Wind Band Music of Bruce Broughton." Thesis, University of North Texas, 2018. https://digital.library.unt.edu/ark:/67531/metadc1248377/.
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As a film composer, Bruce Broughton uses themes, motives, gestures, tropes, and other film composition devices; however, he is also able to develop them into compelling formal structures through the use of film composition techniques in his concert music. Traditional musical form is not necessarily applicable to film music. The film dictates the pacing and structure, whereas concert music allows for the creation of form and more complex musical development. Through his extensive experience composing in the film industry, Broughton instinctively uses his film composition techniques as a means to reach his audience with his concert music. He establishes a common ground through film score vernacular to draw the listener into a more sophisticated musical conversation. This is particularly evident in his extensive wind band catalogue. In this dissertation, I identify Bruce Broughton's film composition techniques and examine how he employs them to create a stand-alone form using those techniques in his wind band music. The film composition techniques that are examined include character association, character interaction, motivic snippets, programmatic associations, and musical tropes. These aspects are demonstrated as they influence form in three of his most frequently performed and highly acclaimed pieces for wind band: In the World of Spirits, Celebration, and Spacious Skies. Through the examination, Broughton's use of formal development through film composition devices is demonstrated.
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Gailliard, Kristin. "The relationship of a performer's visual communication to evaluations of music performance quality by expert and novice judges." Connect to this title online, 2006. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=bgsu1142965301.
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Etters, Stephen Campbell. "Effects of visual performance presentations on student perceptions of the elements of music." Diss., Virginia Tech, 1994. http://hdl.handle.net/10919/39133.
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The purpose of this study was to determine the effects of visual performance presentations on student perceptions of the elements of music. Eighth and 12th grade student groups (n = 155) were randomly assigned from intact music classes into two presentation groups (audio and video). A Posttest Control Group Design was utilized to determine the treatment effects of four videotaped performances on student responses to Olson's Part One: Musical Detail from the Measurement of Musical Awareness (©1987). Two excerpts in Jazz style (big band) and two in Classical style (symphony orchestra) were presented in random order to each of the treatment groups. The experimental group was presented a videotaped music performance of each excerpt while the control group was presented only the audiotaped performances of the same excerpts. The students responded to twenty-eight test statement items regarding melody, form, texture, meter, rhythm, harmony, tone color, tempo, and dynamics in the four different music performances.Ed. D.
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Freeman, Samuel David. "Exploring visual representation of sound in computer music software through programming and composition." Thesis, University of Huddersfield, 2013. http://eprints.hud.ac.uk/id/eprint/23318/.
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Presented through contextualisation of the portfolio works are developments of a practice in which the acts of programming and composition are intrinsically connected. This practice-based research (conducted 2009–2013) explores visual representation of sound in computer music software. Towards greater understanding of composing with the software medium, initial questions are taken as stimulus to explore the subject through artistic practice and critical thinking. The project begins by asking: How might the ways in which sound is visually represented influence the choices that are made while those representations are being manipulated and organised as music? Which aspects of sound are represented visually, and how are those aspects shown? Recognising sound as a psychophysical phenomenon, the physical and psychological aspects of aesthetic interest to my work are identified. Technological factors of mediating these aspects for the interactive visual-domain of software are considered, and a techno-aesthetic understanding developed. Through compositional studies of different approaches to the problem of looking at sound in software, on screen, a number of conceptual themes emerge in this work: the idea of software as substance, both as a malleable material (such as in live coding), and in terms of outcome artefacts; the direct mapping between audio data and screen pixels; the use of colour that maintains awareness of its discrete (as opposed to continuous) basis; the need for integrated display of parameter controls with their target data; and the tildegraph concept that began as a conceptual model of a gramophone and which is a spatio-visual sound synthesis technique related to wave terrain synthesis. The spiroid-frequency-space representation is introduced, contextualised, and combined both with those themes and a bespoke geometrical drawing system (named thisis), to create a new modular computer music software environment named sdfsys.
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Hicks, Jonathan Edward. "Music, place, and mobility in Erik Satie's Paris." Thesis, University of Oxford, 2012. http://ora.ox.ac.uk/objects/uuid:b5cca39d-7479-4a12-91de-e303a285c81c.
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Erik Satie (1866-1925) lived, worked, walked, and died in Paris. The key locations of his career – all within a single urban region – are well known and well researched. Yet he has often been presented as an eccentric individualist far removed from any social or geographical context. This thesis seeks to address – and redress – the decontextualisation of Satie’s career by re-imagining his music and biography in terms of the places and mobilities of turn-of-the-century Paris. To that end, it draws on a range of documentary and fictional material, including journalistic and scholarly reception texts, illustrated musical scores, chanson collections, contemporary visual culture, and cinematic representations of the people, place(s), and period(s) in question. These diverse primary and secondary sources are discussed and interpreted via a set of on-going debates at the intersection of historical musicology, cultural history, and urban geography. Some of these debates can be traced through existing research on the geography of music. Others are more local to this project and derive their value from suggesting alternative approaches to familiar problems in the study of French musical modernism. The main aim throughout is to develop a better understanding of the relations existing between Satie’s musical life, his compositional strategies, and the changing urban environment in which he plied his trade. Chapters One and Two focus on the working-class suburb of Arcueil and the ‘bohemian’ enclave of Montmartre. Chapters Three and Four are organised thematically around issues of musical humour and everyday life. By using the particular example of Satie’s Paris, the thesis proposes that more general avenues of enquiry are opened up into music and the city, thus demonstrating the potential benefits of incorporating the urban-geographic imagination into historical musicology more broadly, and bringing musicological thinking to bear on inter-disciplinary discussions about space, place, and mobility.
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Oliveira, Leonardo Augusto Cardoso de 1986. "O deficiente visual em contato com a música." [s.n.], 2013. http://repositorio.unicamp.br/jspui/handle/REPOSIP/310472.
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Orientador: Lucia Helena ReilyDissertação (mestrado) - Universidade Estadual de Campinas, Faculdade de Ciências Médicas
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Resumo: Diversos estudos documentam a importância da música para a pessoa com deficiência visual como veículo para linguagem comunicativa. No Brasil ainda há poucos estudos sobre música e cegueira, embora haja uma forte tradição cristã de performance musical de cegos pedintes no mundo ocidental. Este estudo, de natureza qualitativa, pretende compreender quais as problemáticas enfrentadas por pessoas cegas que tenham atuação em música como atividade de lazer ou profissional quanto ao acesso à aprendizagem da música. Com base em seus relatos sobre a vivência e formação musical de pessoas cegas, o objetivo foi criar subsídios que possam nortear o preparo de professores de música que atuam com pessoas com deficiência visual. Os participantes do estudo foram adultos com cegueira congênita ou adquirida precocemente que atuam no campo da música profissionalmente ou por lazer. Por meio de entrevistas semi-estruturadas, procurou-se conhecer suas vivências no campo da música: preferência musical, conhecimento formal em iniciação musical, instrumento ou canto, e interesse em realizar atividades relacionadas ao ensino musical. Os participantes foram indicados por profissionais que trabalham em instituições de Campinas e região que atendem a deficientes visuais e no Centro Cultural Louis Braille de Campinas. Os dados foram analisados por categorização e discutidos a partir da literatura e da realidade do cenário cultural atual. Os resultados apontam para a ausência da iniciação musical na escola e destacam a importância do incentivo da família, da comunidade, e o engajamento do próprio aluno com deficiência visual nos seus processos de formação musical
Abstract: Several studies present evidence on the importance of music in the lives of people with visual impairments as a means of expression and communication. In Brazil, there are still very few studies on music and blindness, despite the strong Christian tradition of musical performance of blind beggars in western cultures. This qualitative study aims to understand issues related to access to music and learning processes experienced by people with blindness for which music is a significant professional or leisure activity. Based on reports on musical experience and musical development by people who are blind, the objective of this study was to create guidelines that should contribute to prepare music teachers to work with people with visual impairments. The participants of the study were adults with congenital blindness or blindness acquired at an early age who work in the field of music professionally or as an important hobby. Using semi-structured interviews, we sought to understand their experiences in the field of music: their musical preferences, their formal understanding in music initiation, instrument or singing, and their interest in becoming involved in teaching music. The participants were indicated by professionals that work in institutions in Campinas and surrounding cities that work with people with visual impairments, as well as the Centro Cultural Louis Braille de Campinas. The data was analyzed according to categories and the discussion was based on the literature and discussed in light of current contexts. The results indicate the absence of music education in their schooling and highlight the importance of family and community incentive, and the commitment of the student with visual impairment in the process of music development
Mestrado
Interdisciplinaridade e Reabilitação
Mestre em Saúde, Interdisciplinaridade e Reabilitação
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SWARTZ, PAULA Hunter. "TIME VERSUS SPACE: A RELATIONSHIP BETWEEN MUSIC AND THE VISUAL ARTS AS REVEALED IN PETR EBEN'S OKNA AND MARC CHAGALL'S JERUSALEM WINDOWS." University of Cincinnati / OhioLINK, 2005. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1113678371.
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Duncan, Dean William. "Classical music in narrative film : strategies for use and analysis." Thesis, University of Glasgow, 2000. http://theses.gla.ac.uk/9082/.
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The present study deals with the use of classical music in narrative film, and some of the theoretical and historical considerations that can help us contextualize and understand that use. The following is a list of chapters, and a summary of concepts contained therein. CHAPTER ONE: After briefly considering some of the challenges of interdisciplinary scholarship, I will review the literature on classical music in the sound film. This review will touch upon the early (1930s and 1940s) commentaries of Kurt London, Hanns Eisler and Theodor Adorno, and John Huntley, and then pass on to a kind of concensus held between both commentators and composers of the 1960s and 1970s. Finally I will review the work of more recent film music scholars who, along with some others working in other fields, provide what I feel to be a more open model for understanding this kind of film music. CHAPTER TWO: Having reviewed the position of the film music community, this chapter will concern some responses of music critics to film music generally, and the appropriation of classical music in particular. I will outline specific complaints and criticisms, and attempt to show some of the broader socio-musical issues that motivated them. CHAPTER THREE: This chapter will consider the musical parallelism associated with traditional Hollywood-type narratives, and then concentrate on the oppositional model (derived from "montage" aesthetics) represented by Soviet and other modernist cinemas. I will deal especially with the influential "counterpoint analogy, " and consider how musical discourse can resolve some of the confusions that this analogy has habitually presented. CHAPTER FOUR: The last chapter will have presented a counterpoint based on musical principles as a possible analogy or metaphor for how film music works, and how its meaning and affect can be understood. This chapter is about the programme music tradition that prevailed in the nineteenth century. I will enumerate some of its sin-fflarities, musically and in terms of its critical reception by the music community, to film music. I will explore how programmes, or extra-musical narratives, are also central to understanding musical meaning, and to the use of classical music in films. CHAPTER FIVE: Here I will look more closely at montage, meaning, and classical music on film. A number of questions will be addressed. What are the interpretive strategies that most apply? How does musical meaning function in a film context, especially with regard to source music? Beyond classical music in general, what is the importance of periods, idioms, composers and specific pieces? What is the significance of the artist's intent? What about when the artist is not fully in control of his circumstances, or of his craft? What of phenomenology? All of these expansions obviously complicate the equation. Accordingly the concept of indeterminacy will be reviewed to suggest how both chance and control operate within musical montage. CHAPTER SIX: I will suggest and expand upon some of the extra-musical implications of this study. I will suggest some of the possibilities these raise for future research.
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Jackson, Stephanie. "Music Cover Design in the Digital Age." University of Cincinnati / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=ucin156327401366013.
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