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Tesis sobre el tema "Electronic music"

Autor: Grafiati
Publicado: 4 de junio de 2021
Última modificación: 25 de julio de 2025

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1

Chantler, John. "No Such Array : Developing a material and practice for electronic music performance." Thesis, Kungl. Musikhögskolan, Institutionen för komposition, dirigering och musikteori, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-4170.

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I have been designing and building a set of battery powered hybrid synthesizer speaker objects that can be deployed in any location without the need for any additional infrastructure. Composing for and performing with the resulting system has become the focus of my artistic practice. This project brings together my interests in composition, design, synthesis, politics and performance to investigate new methods for performing and experiencing electronic music. The work takes the idea of the impossibility of an objective listener as its starting position and generates environments that give agen
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2

Ciraulo, Christopher Samuel. "UEME : the underground electronic music experience." Thesis, Massachusetts Institute of Technology, 2005. http://hdl.handle.net/1721.1/31198.

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Thesis (M. Arch.)--Massachusetts Institute of Technology, Dept. of Architecture, 2005.<br>Includes bibliographical references (p. 120-121).<br>The global electronic music scene has remained underground for its entire lifespan, momentarily materializing during an event, a place defined by the music performed and the people who desire the experience. As festivals around the globe begin to take shape, the identity of electronic music defines itself almost instantaneously with a strict desire to return to its roots and find a new place to redefine itself in the next moment. The next moment is envi
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3

Flanagan, Beavan. "Turning over, for 13 instruments, piano, electronic microtonal piano and electronics." Thesis, McGill University, 2013. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=116997.

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Turning Over is a 13-minute composition for 13 instruments, piano, electronic piano and pre-recorded electronics. A strong emphasis on harmony, representing the result of two years of research into various intonation theories of the 17th, 18th and 20th centuries, is reflected in the subtle variations in intonation between the equal-tempered acoustic instruments and the just-intonation tuning of the electronics as well as the electronic piano. The musical discourse reflects philosophical concerns regarding the concept of essence in music and its illusive nature – this translates into a musical
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4

Jacobson, Kurt. "Connections in music." Thesis, Queen Mary, University of London, 2011. http://qmro.qmul.ac.uk/xmlui/handle/123456789/6020.

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Connections between music artists or songs provide a context and lineage for music and form the basis for recommendation, playlist generation, and general navigation of the musical universe. We examine the structure of the connections between music artists found on the web. It is shown that different methods of finding associations between artists yeild different net- work structures - the details of associations and how these associations are discovered impact the global structure of the artist network. This realization informs our associations framework - based on seman- tic web technologies
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5

Sheppard, Adam. "Aesthetic Practices in my Live Electronic Music." Scholarly Repository, 2009. http://scholarlyrepository.miami.edu/oa_theses/202.

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Live music has the ability to unite individuals and affect them on both cognitive and emotional levels. Its time-honored tradition remains the true test of a musical work?s strength and longevity. Electronic music in particular has had some difficulty in establishing well-formed performance practices in its relatively short life span. The problem may not be one of sonic, but rather visual inhibition and general discontinuities between the audience and performers. In this paper I raise three questions of aesthetic value concerning live performance. Why do we go to live musical performances? How
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6

Sosa, Ortega Jorge Raymundo Rudy Paul. "Refractions a collection of three pieces for solo instruments and fixed electronic media /." Diss., UMK access, 2008.

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Thesis (D.M.A.)--Conservatory of Music and Dance. University of Missouri--Kansas City, 2008.<br>First piece for amplified clarinet and fixed electronic media, the second piece for electric guitar and fixed electronic media, and the third piece for amplified high voice (soprano or tenor) and fixed electronic media. "A dissertation in music composition." Advisor: Paul Rudy. Typescript. Vita. Title from "catalog record" of the print edition Description based on contents viewed Apr. 14, 2009 Online version of the print edition.
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7

Bassingthwaighte, Sarah. "Electroacoustic music for flute /." Thesis, Connect to this title online; UW restricted, 2002. http://hdl.handle.net/1773/11390.

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8

Davies, Robin 1975. "Toolkit : specialized software tools for electronic music composition." Thesis, McGill University, 2001. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=32905.

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This research presents new audio creation and processing tools for the virtual electronic music studio. The Tools were created by the author in the Max/MSP authoring environment. Some Tools model analog production techniques lost when studios moved inside computers, and provide additional functionality only possible in the digital world. Others make use of traditional processing ideas but add a level of control difficult to find in today's audio software plug-ins. The Tools are small, simple, real-time, and user-controllable devices for working with sound.
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9

Rawlinson, Julian Dean. "Interpretive electronic music systems : a portfolio of compositions." Thesis, University of Edinburgh, 2011. http://hdl.handle.net/1842/5973.

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A portfolio of electronic music compositions employing adaptable controllers, graphic notation, and custom software performance environments. The portfolio is comprised of scores, recordings, and supporting software and audio files for the following: Short Circuit; Sample & Hold; Mute | Solo; NCTRN; Radio | Silence; and Please use the tramps provided. Supplementary files include alternative audio and video recordings of some of the works listed above, additional software documentation, and a video recording of a structured improvisation featuring the controllers and software used in this portf
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10

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
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11

Cookney, D. "Masked : depictions of anonymity in electronic dance music." Thesis, University of Salford, 2015. http://usir.salford.ac.uk/36101/.

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This thesis explores anonymity as an aspect of identity construction within electronic dance music (EDM). Its specific focus is on the production and control of image within genres that have arisen since the development and expansion of the club scene in the UK from the latter part of the 20th century and, then situated in visual culture and performance research, its examination of anonymity represents an area that, to date, has been overlooked in EDM. As part of this investigation, the thesis’ chapters notably analyse elements that are external to music recordings including record sleeve desi
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12

Nicolls, Sarah Louise. "Interacting with the piano : absorbing technology into piano technique and collaborative composition : the creation of 'performance environments', pieces and a piano." Thesis, Brunel University, 2010. http://bura.brunel.ac.uk/handle/2438/5511.

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This thesis explores the expansion of the piano performance environment, using technology to augment the sound, the playing area of the piano and its surroundings, and/or the performer's own body in controlling electronic elements of the music. In particular I examine the extension of piano technique and how this is affected by adding technology. I also discuss collaborative compositional processes in creating co-authored musical works and have given a critical appraisal of the different technological systems used in all of these pieces. I have also introduced ideas about developing the struct
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13

Thiebaut, Jean-Baptiste. "Sketching music : representation and composition." Thesis, Queen Mary, University of London, 2010. http://qmro.qmul.ac.uk/xmlui/handle/123456789/406.

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The process of musical composition is sometimes conceived of as an individual, internal, cognitive process in which notation plays a passive role of transmitting or recording musical ideas. This thesis questions the role played by representations in musical composition practices. We begin by tracing how, historically, compositional practices have co-evolved with musical representations and technologies for music production. We present case studies to show that the use of graphical sketches is a characteristic feature of the early stages of musical composition and that this practice recurs acro
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14

Wyness, James. "Portfolio of compositions and a commentary." Thesis, Available from the University of Aberdeen Library and Historic Collections Digital Resources. Restricted: no access to compostions, 2009. http://digitool.abdn.ac.uk:80/webclient/DeliveryManager?application=DIGITOOL-3&owner=resourcediscovery&custom_att_2=simple_viewer&pid=26428.

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15

Masone, Jolene. "The Contemporary Bassoonist: Music for Interactive Electroacoustics and Bassoon." Thesis, University of North Texas, 2016. https://digital.library.unt.edu/ark:/67531/metadc849603/.

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As the bassoon has evolved over time, the music written for the instrument has evolved around it, and was many times the catalyst for its evolution. Bassoon music of the seventeenth through early twentieth centuries has defined much of the curricula for bassoon studies, and has established how we consider and experience the bassoon. We experience, write, and consume music in vastly different ways than just a generation ago. Humans use technology for the most basic of tasks. Composers are using the technology of our generation to compose music that is a reflection of our time. This is a signi
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16

McCulloch, Peter. "UNRAVEL: Acoustic and Electronic Resynthesis." Thesis, connect to online resource, 2004. http://www.unt.edu/etd/all/Aug2004/mcculloch%5Fpeter/index.htm.

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17

Macrae, Robert. "Linking music metadata." Thesis, Queen Mary, University of London, 2012. http://qmro.qmul.ac.uk/xmlui/handle/123456789/8837.

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The internet has facilitated music metadata production and distribution on an unprecedented scale. A contributing factor of this data deluge is a change in the authorship of this data from the expert few to the untrained crowd. The resulting unordered flood of imperfect annotations provides challenges and opportunities in identifying accurate metadata and linking it to the music audio in order to provide a richer listening experience. We advocate novel adaptations of Dynamic Programming for music metadata synchronisation, ranking and comparison. This thesis introduces Windowed Time Warping, Gr
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18

Harvey, Sandi K. "The analysis of Okinawan popular music and identity in relation to other studies of southeast Asian popular music." Thesis, Wichita State University, 2010. http://hdl.handle.net/10057/3720.

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This research attempts to use the creation of popular music in Okinawa as a symbolic resource to reveal attributes related to the making of identity. Popular music in non-Western societies is a useful unit of analysis that can explain how people respond to cultural change and can tell us much about cultural values. The origin of identity studies is both historical and political by nature. However, socio-cultural functions can further expand our understanding of both cultural and political resistance. Popular music as identity is not static and is always in flux. Identity addresses the ongoing
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19

Carroll, Adrian Dominic. "Beat-mixing Rock music: Rock and electronic dance music merge to create the Manarays." Thesis, Queensland University of Technology, 2012. https://eprints.qut.edu.au/61231/13/61231.pdf.

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This research introduces the proposition that Electronic Dance Music’s beat-mixing function could be implemented to create immediacy in other musical genres. The inclusion of rhythmic sections at the beginning and end of each musical work created a ‘DJ friendly’ environment. The term used in this thesis to refer to the application of beat-mixing in Rock music is ‘ClubRock’. Collaboration between a number of DJs and Rock music professionals applied the process of beat-mixing to blend Rock tracks to produce a continuous ClubRock set. The DJ technique of beat-mixing Rock music transformed static
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20

Lotis, Theodoros. "Space and light in electroacoustic music." Thesis, City University London, 2003. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.270609.

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21

Perez, Gonzalez Enrique. "Advanced automatic mixing tools for music." Thesis, Queen Mary, University of London, 2010. http://qmro.qmul.ac.uk/xmlui/handle/123456789/614.

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This thesis presents research on several independent systems that when combined together can generate an automatic sound mix out of an unknown set of multi‐channel inputs. The research explores the possibility of reproducing the mixing decisions of a skilled audio engineer with minimal or no human interaction. The research is restricted to non‐time varying mixes for large room acoustics. This research has applications in dynamic sound music concerts, remote mixing, recording and postproduction as well as live mixing for interactive scenes. Currently, automated mixers are capable of saving a se
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22

Grove, Benjamin J. "Cruise/Control for Wind Ensemble and Fixed Electronic Media." Kent State University / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=kent1524481623531767.

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23

Chen, Chia-Chun. "Electronic music : an interactive CD-ROM for young people." FIU Digital Commons, 2003. http://digitalcommons.fiu.edu/etd/2129.

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The purpose of this thesis was to create an electronic music CD-ROM for young people. The intent of this project was to encourage young people to learn about the basics of sound production, audio effects, and the history of electronic music. The methods used for making this CD-ROM included having interactive demonstrations, animations, graphics. and a variety of colors and text styles. Internet links for further information were also provided. This was the first educational CD-ROM of its kind. Although there were Internet sites and a few CD-ROMs covering issues of electronic music, most were n
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24

Bonneau, Paul G. (Paul Gregory). "A Capella Eletronnica." Thesis, University of North Texas, 1995. https://digital.library.unt.edu/ark:/67531/metadc279371/.

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The intent of A capella Eletronnica is to explore the possibility of the human voice as the most versatile of musical instruments. The voice, capable of melodic, harmonic, percussive and rhythmic effects, is also employed for spoken text and conversational elements as musical sources. My aim was to enlarge this array of vocal techniques with the use of electronic processing and amplification.
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25

Gómez, Marín Daniel. "Similarity and style in electronic dance music drum rhythms." Doctoral thesis, Universitat Pompeu Fabra, 2018. http://hdl.handle.net/10803/543841.

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This thesis presents original research carried out in the topic of electronic dance music (EDM) drum sequencing, a fundamental and yet underdeveloped subject in the music production literature. The work undertaken is focused in two main areas: similarity between drum patterns and modeling of drumming style. The study of pattern similarity is rooted in current knowledge on human processing of monophonic rhythms, and is expanded until a model capable of predicting similarity sensations of polyphonic drum rhythms is reached. With this model, RhythmSpace, a graphical system for the continuous real
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26

Horn, Maria. "Pressure and movements : Gender constructions in experimental electronic music." Thesis, Kungl. Musikhögskolan, Institutionen för komposition, dirigering och musikteori, 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-1637.

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The aim of this text is to examine the field of experimental electronic music with a focus on gender constructions and in particular electronic music's relationship to masculinity. What are some of the recurring ideals and group cultures? Can these suggest causes or in some way explain the gender imbalance in the field? Due to the expansiveness of the topic, the following text will be divided in to five sections which focus on some of its aspects. In "Male identification and control" gendered stereotypes are analyzed along with suggestions of how they may shape our relationship to technology.
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27

Worth, Peter. "Technology and ontology in electronic music : Mego 1994-present." Thesis, University of York, 2011. https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.550249.

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The Vienna based record label Mego is known for establishing an uncompromising, radically experimental electronic music in the 1990s. This thesis considers the work of various different artists on the label, examining in particular their approaches to technology. The artists discussed appear to share an approach that I describe as pragmatic or experimental, which I contrast with idealist or rational approaches. In the latter, music appears to be understood within the framework of a simplistic model of communication, where technology is seen as a medium that should be transparent, allowing the
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28

Kawamoto, Hideko. "Summer rain part 1, Summer rain - dawn, for two channel tape ; part 2, After the summer rain, for piano and two channel tape /." connect to online resource. Access restricted to the University of North Texas campus, 2001. http://www.library.unt.edu/theses/open/20013/kawamoto%5Fhideko/index.htm.

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29

Gibson, Ian Stewart. "Voice analysis for music synthesis systems." Thesis, University of York, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.298589.

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30

Corder, Nathan Anthony. "Determining Conditions| Towards an Aesthetic of Emergence in Live Electronic Music." Thesis, Mills College, 2018. http://pqdtopen.proquest.com/#viewpdf?dispub=10822167.

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<p> The concept of emergence, and/or emergent properties, is one that has gained resurgence within the realm of various branches of science and the humanities. Emergence is an idea that explains to/for us how dynamical systems, complexes of elements, bodies, and even concepts, begin to exhibit properties and behaviors that are at least seemingly greater than the sum of their parts- how irreducible, novel, complexities arise from constructs of fundamental entities. I argue that in some music of 20th and 21st century American experimentalists, we have music that is under-theorized and lacking in
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31

Oliver, La Rosa Jaime Eduardo. "To un-button strategies in computer music performance to incorporate the body as re-mediator of electronic sound /." Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 2008. http://wwwlib.umi.com/cr/ucsd/fullcit?p1453667.

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Thesis (M.A.)--University of California, San Diego, 2008.<br>Title from first page of PDF file (viewed July 30, 2008). Available via ProQuest Digital Dissertations. Vita. Includes bibliographical references: P. 56-59.
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32

De, Jongh Martha Susanna. "A national electronic database of special music collections in South Africa." Thesis, Stellenbosch : University of Stellenbosch, 2009. http://hdl.handle.net/10019.1/2370.

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Thesis (MMus (Music))--University of Stellenbosch, 2009.<br>In the absence of a state-sponsored South African archive that focuses on collecting, ordering, cataloguing and preserving special music collections for research, the Documentation Centre for Music (DOMUS) was established in 2005 as a research project at the University of Stellenbosch. Music research in South Africa is often impeded by inaccessibility of materials, staff shortages at archives and libraries, financial constraints and time-consuming ordering and cataloguing processes. Additionally there is, locally, restricted kno
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33

Blinkhorn, Daniel. "Extra-musical consequence reconsidering antecedent/consequent motivations /." Access electronically, 2005. http://www.library.uow.edu.au/adt-NWU/public/adt-NWU20060517.111654/index.html.

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34

Wandler, Heiko. "Elektronische Klangerzeugung und Musikreproduktion : Einflüsse auf die Musik des 20. Jahrhunderts /." Frankfurt am Main [u.a.] : Lang, 2005. http://www.gbv.de/dms/weimar/toc/481909850_toc.pdf.

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35

Palamara, Jason Andrew. "Dysphonia, for solo violin, chamber ensemble and live electronics." Diss., University of Iowa, 2015. https://ir.uiowa.edu/etd/1718.

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DYSPHONIA is a music and dance work, for violin soloist with a live chamber orchestra, including multiple laptops and a custom-built gesture detection system worn by a dancer. The piece was choreographed by Professor Charlotte Adams of the University of Iowa Dance Department and premiered at the Faculty Graduate Dance Concerts in February of 2015. This piece is inspired by ongoing research into computer programming, gesture and music-making, artificial intelligence (AI), and creative algorithms. While the actual algorithms I developed for use in this piece are far from sentient, it is my hope
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36

Stewart, Rebecca. "Spatial auditory display for acoustics and music collections." Thesis, Queen Mary, University of London, 2010. http://qmro.qmul.ac.uk/xmlui/handle/123456789/413.

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This thesis explores how audio can be better incorporated into how people access information and does so by developing approaches for creating three-dimensional audio environments with low processing demands. This is done by investigating three research questions. Mobile applications have processor and memory requirements that restrict the number of concurrent static or moving sound sources that can be rendered with binaural audio. Is there a more e cient approach that is as perceptually accurate as the traditional method? This thesis concludes that virtual Ambisonics is an ef cient and accura
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37

Benetos, Emmanouil. "Automatic transcription of polyphonic music exploiting temporal evolution." Thesis, Queen Mary, University of London, 2012. http://qmro.qmul.ac.uk/xmlui/handle/123456789/3368.

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Automatic music transcription is the process of converting an audio recording into a symbolic representation using musical notation. It has numerous applications in music information retrieval, computational musicology, and the creation of interactive systems. Even for expert musicians, transcribing polyphonic pieces of music is not a trivial task, and while the problem of automatic pitch estimation for monophonic signals is considered to be solved, the creation of an automated system able to transcribe polyphonic music without setting restrictions on the degree of polyphony and the instrument
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38

Stölzel, Ingrid Mobberley James. "Genius loci [electronic resource] = Spirit of place : for orchestra /." Diss., UMK access, 2009.

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Thesis (D.M.A.)--Conservatory of Music and Dance. University of Missouri--Kansas City, 2009.<br>"A dissertation in music composition." Advisor: James Mobberley. Typescript. Vita. Duration: ca. 10:30. Title from "catalog record" of the print edition Description based on contents viewed Dec. 04, 2009. Includes program notes. Online version of the print edition.
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39

Shiota, Kazuaki. "The Signals From the Starlight." University of Cincinnati / OhioLINK, 2006. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1152730522.

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40

Veblen, Nora Bryant. "MUSIC THERAPISTS’ PERCEPTIONS AND PRACTICES REGARDING MUSICAL AUTHENTICITY IN MUSIC THERAPY PRACTICE." UKnowledge, 2018. https://uknowledge.uky.edu/music_etds/129.

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Music therapists are expected to provide live music for clients with diverse preferences, yet these therapists face many barriers preventing them from recreating client-preferred music in a way that adheres to the expectations of the genre, or with “musical authenticity.” The purpose of this study was to investigate music therapists’ perceptions and practices regarding musical authenticity. Survey responses (n = 904) indicated that music therapists highly value musical authenticity, but a major theme in the qualitative data revealed they often balance its importance with other factors. Descrip
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41

Farrugia, Rebekah L. "Spin-sters women, new media technologies and electronic/dance music /." Diss., University of Iowa, 2004. http://ir.uiowa.edu/etd/112.

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42

Kavanaugh, Philip R. "Solidarity and drug use in the electronic dance music scene." Access to citation, abstract and download form provided by ProQuest Information and Learning Company; downloadable PDF file 0.39 Mb., 70 p, 2006. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&res_dat=xri:pqdiss&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&rft_dat=xri:pqdiss:1435827.

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43

Nederberg, Annelie. "The corporeosonic composer : corporeality, feedback and movement in electronic music." Thesis, University of Surrey, 2018. http://epubs.surrey.ac.uk/849804/.

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This artistic inquiry contributes to the field of performed and acousmatic electronic music by nuancing the relationship between musician and instrument as going beyond control into intimacy, immersion and shifting identities. The main streams of inquiry have been to explore conceptualisations of corporeality in electronic music and how such music can be created in relatedness with the gestural body. I have contextualised the inquiry with corporeality as movement (Sheets-Johnstone) and with the feedback works of Eliane Radigue. I have created a gestural feedback instrument, which has allowed m
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44

Velamazan, Mariano. "Designing playful learning experiences : Exploring embodied mathematics through electronic music." Thesis, Umeå universitet, Designhögskolan vid Umeå universitet, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-124025.

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I present a research based project that asks for a discussion about the role of technology in education. It is a question about how to design learning experiences and how to improve the experience of learning through interactive objects. More precisely, this project tries to explore the possibilities of an embodied learning of math using music in a playful way. Superbleeper, the name of the product, is an electronic music instrument that is played using math concepts. It invites 3-6 year old children to play with the math they have to understand according to the Swedish curriculum. This math f
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45

Covington, Heather K. "Spirit in the Speakers: Collective Spirituality in Electronic Music Subcultures." Digital Commons @ East Tennessee State University, 2013. https://dc.etsu.edu/honors/102.

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By definition subcultures harbor their own sets of norms and unique characteristics. From fashion to slang vocabularies, each subculture stands apart as a world of its own. In the subculture of psychedelic trance, an electronic music based subculture, such marking characteristics are taken beyond superficial expressions. Through repeated exposure to spiritual concepts, language, and rituals, thecommunity fosters spiritual practices and beliefs in individual members. Using in-depth interviews and extended participant observation, Iidentify patterns and commonalities, as well as divergences, in
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46

Jap, Lilian. "Mapping detected periodic dance movements to control tempo in the music playback of Electronic Dance Music." Thesis, KTH, Skolan för elektroteknik och datavetenskap (EECS), 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-251668.

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Engaging in the music set of one’s favorite artist or DJ is oftentimes leading to the result of a powerful and euphoric felt experience, a sensation partly also induced from dancing in beat to the music. In an attempt to simulate a similar dance experience, a user-study was designed in order to investigate when a user is let to dance in rhythm to a music playback and in addition, in control of a music playback tempo through the induced dance movements. A proof-of-concept prototype was built and tested in an initial study, followed by a main study where the prototype had been modified and 12 pa
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So, Ka Wai. "Sound and image : musical compositions in realization of intermedia." HKBU Institutional Repository, 2010. http://repository.hkbu.edu.hk/etd_ra/1197.

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Shill, Gene. "Digital Sampling and Appropriation as Approaches to Electronic Music Composition and Production." Thesis, Griffith University, 2016. http://hdl.handle.net/10072/370569.

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Through analysis, observation, critical listening, interviews and creative practice, this study explores how techniques of appropriation via digital music sampling are used for electronic musical composition and production. Included is an examination of literature and creative work focused on the Golden Age of Hip-Hop that explores early sampling processes and techniques. Through original compositions and an exegesis, the study provides unique and significant contributions to the field including the identification of four approaches to the design and construction of sample-based composition an
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Koch, Sven-Ingo. "Räume, Bewegungen = volumes, movements : for large orchestra /." May be available electronically:, 2003. http://proquest.umi.com/login?COPT=REJTPTU1MTUmSU5UPTAmVkVSPTI=&clientId=12498.

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Harte, Christopher. "Towards automatic extraction of harmony information from music signals." Thesis, Queen Mary, University of London, 2010. http://qmro.qmul.ac.uk/xmlui/handle/123456789/534.

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In this thesis we address the subject of automatic extraction of harmony information from audio recordings. We focus on chord symbol recognition and methods for evaluating algorithms designed to perform that task. We present a novel six-dimensional model for equal tempered pitch space based on concepts from neo-Riemannian music theory. This model is employed as the basis of a harmonic change detection function which we use to improve the performance of a chord recognition algorithm. We develop a machine readable text syntax for chord symbols and present a hand labelled chord transcription coll
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