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1
Palmblad, Simon. "A = 432: A superior tuning or just a different intonation? How tuning standards affects emotional response, timbre and sound quality in music". Thesis, Högskolan i Skövde, Institutionen för informationsteknologi, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:his:diva-15414.
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The purpose of this study was to explore the ways tuning to A = 432 Hz affects emotional response, timbre, sound quality, character and tone compared to the standard tuning of A = 440 Hz, and whether or not it is humanly possible to discern a difference between these two. This was all done in an effort to evaluate claims that A = 432 Hz is superior to standard tuning in regards the previously mentioned factors. For this to be done, the history and development of tuning standards as well as intonation systems, presented alongside theories on the basic physics of sound, the effect of spectral manipulation on timbre and sound, and finally memory structures for remembering musical pitches. As a musician and composer, exploring new ways of creating emotion and controlling the effects of a composition, and dispelling potential misinformation is always a worthwhile pursuit. The study was performed by way of surveys where respondents were asked to listen to a composition in two versions, one in A = 440 Hz and the other in A = 432 Hz and then rate the perceived similarity between these two. They were then asked to give their answer regarding preference and associations of character and emotional response to each version. Results show that the claims of the A = 432 Hz proponents might not be as simple as portrayed, but rather a more complex series of relationships. There is support for the idea that the two tunings are unique enough for the average human to discern a difference between the two, and that some type of unique character is contained in each tuning.
2
Arvay, Brandon M. "A Comprehensive Method for Tuning and Pedaling Timpani". UKnowledge, 2015. http://uknowledge.uky.edu/music_etds/43.
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Method books are an integral part of the percussion pedagogy. Because of the vast number of instruments a modern percussionist is expected to play, they often look for progressive, concise, and effective resources that can make learning such a variety of instruments more efficient. Instructional books currently exist for many areas of percussion performance, including snare drum, mallet percussion, timpani, World music, accessories, and marching percussion. Included in these books are information and procedures on music reading, rhythm studies, listening skills, part preparation, and technical approach. Focusing on timpani methods specifically, many of these books include tuning and pedaling exercises and etudes. However, their pedagogies for the execution of such difficult procedures are superficial and focus primarily on technical prowess. Timpani are the only Western pitched instruments a percussionist is required to tune, which proves intimidating for many players. Moreover, the aural and technical demands of the contemporary timpanist are ever-increasing with the technical demands found in modern composition. This dissertation will address the skills and techniques for tuning and pedaling timpani ignored by current method books and provide the timpanist with a process through a systematic set of etudes with audio accompaniment tracks. The goals of this method are to target the specific set of skills needed by the timpanist for accurate and effective timpani tuning in a modern ensemble setting.
3
Bae, Yoo Jin. "The distribution, construction, tuning, and performance technique of the African log xylophone". The Ohio State University, 2001. http://rave.ohiolink.edu/etdc/view?acc_num=osu1399554107.
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Toll, Abigail. "Matrices of Vision : Sonic Disruption of a Dataset". Thesis, Kungl. Musikhögskolan, Institutionen för komposition, dirigering och musikteori, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-4152.
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Matrices of Vision is a sonic deconstruction of a higher education dataset compiled by the influential Swedish higher education authority Universitetskanslersämbetet (UKÄ). The title Matrices of Vision and project theme is inspired by Indigenous cyberfeminist, scholar and artist Tiara Roxanne’s work into data colonialism. The method explores how practical applications of sound and theory can be used to meditate on political struggles and envision emancipatory modes of creation that hold space through a music-making practice. The artistic approach uses just intonation as a system, or grid of fixed points, which it refuses. The pitch strategy diverges from this approach by way of its political motivations: it disobeys just intonation’s rigid structure through practice and breaks with its order as a way to explore its experiential qualities. The approach seeks to engage beyond the structures designed to regulate behaviors and ways of perceiving and rather hold space for a multiplicity of viewpoints which are explored through cacophony, emotion and deep listening techniques.
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Kom, Brian S. R. "Tuning In to a Hit Parade Pedagogy". Thèse, Université d'Ottawa / University of Ottawa, 2014. http://hdl.handle.net/10393/30559.
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Contemporary popular music is a ubiquitous social, cultural, and pedagogical force.
Enabled by ever-evolving and -expanding technology, its songs and lyrics are transmitted
into our most public and private spaces. For this study, I present the Billboard music charts
as a functioning pedagogy and curriculum. Riffing on Richter’s denkbilder, Aoki’s curricular worlds of plan and lived experience, Giroux’s public pedagogy, and Giroux & Simon’s
theorizing on youth culture, I sound out messages and motives embedded within the hit
parade pedagogy. DJing a methodology of qualitative inquiry, autoethnography, and free
association, I listen closely to chart-topping songs by Lady Gaga, Katy Perry, and P!nk that
feature themes of marginalization, and consider the paradox presented by the juxtaposition of
their popularity and subject matter. I suggest that this playlist legitimizes and perpetuates its listeners’ marginalization, running counter to its supposed intent to galvanize and inspire.
Before signing off, I consider the implications for school-based educators and pedagogy in
regard to engaging marginalization, particularly the notion of implementing a curriculum
with which students may participate and sing along.
6
Annoni, Maria Therese. "Tuning, temperament and pedagogy for the vihuela in Juan Bermudo's Declaracion de instrumentos musicales (1555) /". The Ohio State University, 1989. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487599963592937.
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Cheon, Sera. "Scordatura Tuning in Performance and Transcription:A Guide Using Domenico Gabrielli’s Seven Ricercari for Violoncello Solo". University of Cincinnati / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1368026434.
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Swoger-Ruston, John Paul. "The fifteen-cent guitar re-tempering the standard six-string guitar /". Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2000. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp03/MQ59201.pdf.
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Coy, Benjamin R. "Pitch Performance: A Rational Approach to the Acquisition of Intonation Skills". The Ohio State University, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=osu1338080884.
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Ayers, William R. "Structural Properties and Compositional Processes in Microtonal Equal Temperaments". University of Cincinnati / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=ucin153570341690339.
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Smith, Chana. "Tuning the soul : music as spiritual process in the teachings of Rabbi Nahman of Bratzlav". Thesis, University College London (University of London), 2008. http://discovery.ucl.ac.uk/16781/.
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This study examines the notion of music as a spiritual process in Nahman of Bratzlav’s thought. Nahman’s teachings, his tales and his biography are analyzed in relation to his rabbinic and kabbalistic sources, focusing on the doctrine of the ‘good points’ and its musical dimension, both literal and metaphoric. The first section introduces the doctrine of the 'good points’, exploring the rich Kabbalistic symbolic of ‘points’ as sefirot that represent ‘beginning’ or ‘centre’ in time, space and the human soul, as well as their use in the sense of musical notes. It establishes the connection between ‘good points’ and hesed (‘loving kindness’). The second section focuses on Nahman’s use of the Talmudic legend of David’s lyre and its kabbalistic interpretations. It shows how music is invested with the power to subdue the imagination and overcome negative spiritual forces, while David, the ‘skilled musician’, is held to be a model of religious devotion. The third section analyses the tzadiq’s personality as a reflection of his dual function, in society as well as in the supernal realm. It focuses on his portrayal as a cantor, who brings out the ‘good’ points’ in each individual and elevates them to holiness through music. The fourth section highlights the importance of creativity and renewal in Nahman’s worldview, expressed in the constant transformation of ‘loving kindness’ into ever new melodies. This transformation bridges the gap that separates human experience, which is finite and temporal, from the infinite, ex-temporal quality of the transcendent God.
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Cummings, Paul Christopher. "The effects of instrument type, stimulus timbre, and harmonic context on tuning accuracy /". view abstract or download file of text, 2007. http://proquest.umi.com/pqdweb?did=1404343201&sid=1&Fmt=2&clientId=11238&RQT=309&VName=PQD.
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Thesis (D.M.A.)--University of Oregon, 2007.Typescript. Includes vita and abstract. Includes bibliographical references (leaves 155-160). Also available for download via the World Wide Web; free to University of Oregon users.
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Dawson, Colin Graham. "Domain-Sensitive Tuning of Relational Generalization in the First Year of Life". Thesis, The University of Arizona, 2007. http://hdl.handle.net/10150/193275.
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Two age groups of infants were tested for their ability to learn an AAB or ABA repetition generalization in sequences of musical chords. The 4-month-olds, but not the 7.5-month-olds, successfully learned the generalization. Another group of 7.5-month-old infants successfully learned a generalization across melodies that all ended on a particular scale degree, even though the key of the melodies was varied. A survey of a musical corpus of children's songs reveals that AAB and ABA patterns do not occur more frequently than chance, while phrases frequently end on particular scale degrees. Together, these findings suggest that infants learn to constrain the set of generalizations they consider in order to favor those that rely upon features of the input that have proved reliable in their previous experience, specifically experience with a particular input domain. This raises the possibility that experience may play a significant role in parsing infants' environments into domains.
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Flolu, Emmanuel James. "Re-tuning music education in Ghana : a study of cultural influences and musical development, and of the dilemma confronting Ghanaian school music teachers". Thesis, University of York, 1994. http://etheses.whiterose.ac.uk/14045/.
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Norrback, Johan. "A passable and good temperament : a new methodology for studying tuning and temperament in organ music /". Göteborg : Göteborgs Universitet, 2002. http://catalogue.bnf.fr/ark:/12148/cb39000198f.
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Steinbrunner, Clinton M. "The Effect of Octave and Timbre Combinations on Undergraduate Band Members' Perception of Pitch". Case Western Reserve University School of Graduate Studies / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=case1565784490042422.
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Gries, Margret y Margret Gries. "Expressive Intonation as Rhetoric in the Performance Practice of Instrumental Ensemble Music in London (1650-1720)". Thesis, University of Oregon, 2012. http://hdl.handle.net/1794/12344.
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Descartes’ Compendium musicae and Lamy’s La Rhétorique ou l’art de parler,
both published in English translation in London in the late seventeenth century, suggest
approaches to period performance practice that support expressive intonation as a rhetorical
device. Descartes’ unique perspective on musical pitch and intervals provides a
methodology for understanding inflected intonation in performance. Closely aligned with
Descartes’ epistemological perspective, Lamy’s treatise provides an understanding of
expressive intention as essential to effective rhetorical delivery. These approaches are
applied to musical examples from trio sonatas of Arcangelo Corelli, John Ravenscroft and
Henry Purcell, demonstrating that expressive intonation using subtle pitch inflection can be
explained as a rhetorical practice. These subtle pitch inflections, related as they are to both
rhetorical delivery and intonation systems, are not reflected in notation but realized only as
music is heard in time. It is in performance contexts that pitch inflection can be realized as
an expressive device. A supplemental audio file contains five short examples
demonstrating pitch deviation applied to selected intervals.
18
Ballard, Dennis L. "Relationships between college level wind instrumentalists' achievement in intonation perception and performance /". Electronic version (link to abstract and document) ProQuest document ID:1500055051 Publication Number: AAT 3298145 Electronic version (link to document), 2006. http://proquest.umi.com/pqdlink?did=1500055051&sid=1&Fmt=2&clientId=12010&RQT=309&VName=PQD.
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Burt, Warren. "Algorithms, microtonality, performance eleven musical compositions /". Access electronically, 2007. http://www.library.uow.edu.au/adt-NWU/public/adt-NWU20080131.162859/index.html.
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Thesis (Ph.D.)--University of Wollongong, 2007.Typescript. Includes 2 sound discs and 1 DVD-ROM in back pocket. CD 1: The animation of lists; CD 2: And the archytan transpositions. DVD-ROM contains Part Three - Appendix. Includes bibliographical references: leaf 291-301.
20
Jackson, Bruce Rogers. "The g-d-G-C scordatura tuning for the double bass : a historical survey, theoretical rationale, pedagogical study, and compositional demonstration". Virtual Press, 1996. http://liblink.bsu.edu/uhtbin/catkey/1041733.
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The purpose of this study is to investigate the g-d-G-C scordatura tuning for the double bass. The study will survey the historical use, develop a theoretical rational, investigate the pedagogical implications, and explore the compositional opportunities of the scordatura tuning.Though there are many unanswered questions concerning the historical use of this tuning system, it is clear that the double bass has a long history of using scordatura tunings. The sympathetic/fifths tuning (g-d-G-C) was the basis of Violoncello Suite No. 5 by J. S. Bach, and there are three known later uses of it.After a brief history of temperament, the study concludes that this particular tuning greatly improves the resonance and intonation of the double bass. The placement of the g/G strings between the d and C strings strengthens the sonic output and vibrancy of the bass because of the close relationships between the natural harmonic series of each string. The proximity of the tuning to the upper part of the circle of fifths (C/G/D) is an additional benefit.Though the scordatura tuning creates more difficult technical challenges than the all-fourths tuning, this tuning system works well in orchestral, solo and jazz performance. The scordatura tuning is easily adapted to the bass guitar and offers many new opportunities for jazz improvisation. This tuning system is not particularly effective in popular commercial music venues.Since the 1960's new pedagogical approaches to sequence of instruction, concepts of position and approaches to fingerings have emerged. This new school of bass pedagogy suggests how a method could be developed for learning the scordatura tuning.Most of the traditional orchestral, ensemble, solo and jazz literature can be adapted to the tuning. Though it may be technically possible to play a work originally written for the all-fourths tuning using sympathetic/fifths, such a transcription may not be appropriate.Finally, the study includes four original compositions with analysis and discussion that demonstrate the idiomatic possibilities of the tuning: Sonata No. 5 for Scordatura Double Bass, Quartet No. 3B for Mixed Double Basses, Overture for Jazz Combo, and Concerto No. 3 for Scordatura Double Bass.Total Words of Abstract: 347 (does not include title)School of Music
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Gaspar, Vanessa Alexandra Silva. "Relatório de prática de ensino supervisionada realizada no Conservatório Regional do Baixo Alentejo: introdução ao ensino das posições de compensação nos alunos de iniciação". Master's thesis, Universidade de Évora, 2019. http://hdl.handle.net/10174/26488.
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O presente relatório surge no seguimento da Prática de Ensino Supervisionada, realizada no Conservatório Regional do Baixo Alentejo sob a orientação da Professora Doutora Ana Telles Béreau (orientadora interna) e da orientadora cooperante Professora Marisa Cavaco.
O relatório encontra-se organizado em duas partes distintas, sendo que a primeira secção do mesmo pretende fazer o enquadramento histórico e organizacional da instituição, bem como descrever os alunos e as práticas metodológicas utilizadas pelo orientador cooperante nos domínios da psicologia educacional e do ensino especializado do clarinete. A segunda, e última secção deste relatório, trata do ensino das posições de compensação, esclarecendo inicialmente a sua importância a nível da afinação do registo de garganta do clarinete através da apresentação e compreensão de alguns conceitos de acústica do instrumento, seguindo-se uma breve explicação de como funciona a capacidade de aprendizagem de um ser humano ao longo das várias fases da sua vida; Abstract: Report on Supervised Teaching Practice held at the Regional Conservatory of Baixo Alentejo: Introduction to the teaching of compensation positions in students of initiation
This report is a result of the Supervised Teaching Practice, held at the Baixo Alentejo Regional Conservatory under the guidance of Professor Ana Telles Béreau (internal counselor) and the cooperative counselor Professor Marisa Cavaco.
The report is organized in two distinct parts, the first section of which aims to present the institution's historical and organizational framework as well as to describe the students and the methodological practices used by the cooperating supervisor in the fields of educational psychology and specialized education of the clarinet. The second and last section of this report deals with the teaching of compensation positions, initially clarifying their importance in tuning the throat register of the clarinet through the presentation and understanding of some acoustic concepts of the instrument, followed by a brief explanation of how the brain plasticity of a human being works through the various phases of his life.
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Pamidi, Swathi. "Development of an iOS App for Learning Intonation of Wind Instruments". Wright State University / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=wright1527083617720508.
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Obregon, Luis Javier. "Polytonal Non-Octave Complexes". The Ohio State University, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=osu1354653633.
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Figg, Graham Elliot. "Just Intonation and the Revitalization of Neoclassicism: Three Works for Baroque Instruments". Thesis, connect to online resource, 2008. http://digital.library.unt.edu/permalink/meta-dc-6113.
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Thesis (M.M.)--University of North Texas, 2008.First work for harpsichord; 2nd work for baroque cello and harpsichord continuo; 3rd work for tenor and baroque ensemble (trumpet, cello, timpani, organ and harpsichord). System requirements: Adobe Acrobat Reader. Includes bibliographical references (p. 48-50).
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Porres, Alexandre Torres. "Processos de composição microtonal por meio do modelo de dissonancia sensorial". [s.n.], 2007. http://repositorio.unicamp.br/jspui/handle/REPOSIP/285007.
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Orientador: Jonatas ManzolliDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
Made available in DSpace on 2018-08-11T01:31:44Z (GMT). No. of bitstreams: 1 Porres_AlexandreTorres_M.pdf: 11455716 bytes, checksum: ea6618983f2e1d8ab253db22a60f9f9f (MD5) Previous issue date: 2007
Resumo: Foram estudados, na presente pesquisa, Sistemas de Afinação com o intuito de investigar a aplicação desse conhecimento em Processos Criativos. Para tal, desenvolvemos uma distinção de abordagens composicionais na música do Século XX, e também estudamos o mecanismo de construção de escalas adotando, principalmente, o estudo da Psicoacústica (i.e. Modelo de Dissonância Sensorial), que propiciou o desenvolvimento de uma ferramenta computacional tanto de análise de sons e Sistemas de Afinação, quanto de criação sonora. Os estudos serviram de base para o desenvolvimento de Processos Criativos com comentários de acordo com os objetivos de pesquisa
Abstract: On the present research, Tuning Systems were studied in order to investigate its application in Creative Processes. For such, we created a distinction of compositional approaches in the music of the 20th Century, and we also studied mechanisms of scale development by mainly adopting Psychoacoustics (i.e. Roughness Model), which enabled the development of a computational tool for the analysis of sounds and Tuning Systems, as well as musical creation. The studies have been applied in Creative Processes with comments and discussions over the research¿s objectives
Mestrado
Mestre em Música
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Skeppar, Jonas. "Vad händer om jag stämmer om gitarren? : En studie i att skriva låtar i olika stämningar på gitarren". Thesis, Luleå tekniska universitet, Institutionen för konst, kommunikation och lärande, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:ltu:diva-74101.
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I mitt examensarbete har jag undersökt hur min låtskrivningsprocess påverkats när jag skrivit låtar i olika stämningar på gitarren. Jag har på senare tid ofta upplevt att jag lätt fallit tillbaka i gamla vanor och mönster när jag skrivit musik. Detta har gjort att låtskrivningsprocessen känts oinspirerande och jag har stundtals haft svårt att ta mig vidare i processen. Mitt syfte med arbetet har varit att se om jag genom att skriva musik i en öppen stämning kan bryta gamla mönster och hitta nya sätt att utrycka mig musikaliskt. Fokuset i arbetet har legat på harmonik, melodi och den kreativa processen. Jag har inte haft mycket erfarenhet i att spela eller skriva musik i andra stämningar än standardstämning innan detta arbete och valde därför att ta tillfället i akt och förkovra inom ämnet. Arbetet har resulterat i inspelningar av tre stycken egenskrivna låtar i stämningarna öppet G, dadgad samt standard stämning. I arbetet går jag igenom processen från låtidé till färdig låt och tar upp vilka problem respektive möjligheter jag funnit i varje stämning samt låtskrivningsprocess. I min stuide har jag hittat flera nya musikaliska utryck och verktyg. Jag har även blivit medveten om vikten av att begränsa sig när det kommer till låtskrivning. Jag märkte att kreativiteten och inspirationen frodades när jag skrev låtar i stämningar jag inte var van att spela i.
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Bergström, Pontus. "En tung historia : En undersökning om metalbandet Sabatons historiebruk". Thesis, Linnéuniversitetet, Institutionen för kulturvetenskaper (KV), 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-40594.
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The purpose of this paper has been to examine the heavy metal band Sabatons use of history and to relate it to societal trends in today’s Sweden. I have examined Sabatons music, album covers and music videos in order to define a certain use of history. To do this I have used a use of history theory and a heavy metal theory. My results showed that some of Sabatons use of history could be defined as commercial and that the societal trends in today`s Sweden have in some cases affected the selection and presentation of events and characters that`s been portrayed by Sabaton. Earlier use of history in other forms of media, especially movies, has also played a part in the selection and presentation, which becomes particularly obvious in some of Sabatons music videos. However, an overall theme in my results have shown that the heavy metal cultures norms and ideas have been the main cause behind the selection, but especially the way characters and events is portrayed in their songs, an existential use of history.
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Affonso, Guilherme de Camargo Barros. "A guitarra dos séculos XVII e XVIII em seus aspectos técnicos e estilístico-históricos através da tradução comentada e análise do Instruccion de musica sobre la guitarra española de Gaspar Sanz, 1697". Universidade de São Paulo, 2015. http://www.teses.usp.br/teses/disponiveis/27/27158/tde-13112015-100615/.
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Este trabalho se ocupa da tradução comentada para o português do Instruccion de Musica sobre la Guitarra Espanõla, de Gaspar Sanz (1697), um dos mais importantes livros de repertório e de instruções de como tocar a guitarra de cinco ordens, que ora denominamos guitarra barroca. A tradução procura contextualizar o texto de Sanz, levando ao leitor, mesmo aquele não habituado à leitura dos tratados dos séculos XVII e XVIII, subsídios que lhe permitam compreender o texto e tirar utilidade prática de seu conteúdo. Assim como o Instruccion, o trabalho aborda temas os mais diversos concernentes à guitarra barroca: música solística, para a compreensão da qual a afinação reentrante mostra-se essencial, música de acompanhamento em suas diferentes vertentes, Rasqueado, Ponteado e Obbligato, instruções de afinação, ornamentação, escolha das cordas e diferentes afinações. Abrange também, embora não como objetivo principal, uma proposta de metodologia para transcrição da tablatura original, levando em conta a afinação reentrante modificada. Os comentários sobre o vasto conteúdo do Instruccion baseiam-se na leitura da obra de Sanz, no cotejamento com outras fontes primárias e secundárias, mas também, e não menos importante, na minha experiência como instrumentista de cordas dedilhadas antigas há mais de quinze anos. Todos os exemplos e transcrições trazem o fac-símile para confronto, convidando o leitor a exercer sua curiosidade em relação às fontes primárias e fazendo disto, de fato, seu principal objetivo.This work deals with the commented translation into Portuguese of the Instruccion de Musica sobre la Guitarra Española , by Gaspar Sanz (1697), one of the most important books of repertoire and instructions on how to play the five orders guitar, we now call baroque guitar. This translation aims to contextualize Sanz\'s, text, leading the reader, even those not used to reading the treaties of the seventeenth and eighteenth centuries, subsidies to help understanding the text and make practical use of it\'s content. As the Instruccion, this work addresses the most diverse topics concerning the baroque guitar: solo music, where reentrant tuning shows to be essential to their understanding, accompanying music in its various aspects, rasqueado, ponteado and obbligato, ornamentation, choice of chords and different tunings. It also covers, although not as its main objective, a proposed methodology for transcription of the original tablature, taking into account the modified reentrant tuning. Comments on the vast content of the Instruccion are based on the reading of Sanz\'s work in mutual comparison with other primary and secondary sources, but also, and not least, in my experience as a player of early plucked strings over fifteen years. All examples and transcriptions bring also the facsimile, inviting the reader to exercise their curiosity about primary sources and making it in fact their main goal.
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Korpe, Tilia. "Artivism in Tunis - Music and Art as tools of creative resistance & the cultural re: mixing of a revolution". Thesis, Malmö högskola, Fakulteten för kultur och samhälle (KS), 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-21621.
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This Thesis explores artistic activism or artivism in the context of youth in post- revolution Tunisia. During and after the Arab Uprisings, the MENA region has experienced a tendency, wherein resistance is undertaken by artivists through in situ art interventions, music, and performances that create ‘new cultural spaces’, in which cultural hybridism through the mix of urban youth subculture, communication and traditional culture, creates new contexts of authenticity. It further investigates how art and activism is used in Tunis as a tool to mirror, provoke or communicate messages that directly or indirectly deal with post-revolution themes, and which mechanisms exist in limitations of artistic freedom of expression.It utilizes concepts of cultural resistance through theorists Stephen Duncombe and discusses the concept artivism as a hybrid term, through Aldo Milohnic. It then delineates subculture, authenticity and hybridization through various theorists and examines Artistic Freedom of Expression through the standpoint of international conventions and reports. The Thesis also analyzes artistic activism, commodification and globalization through a re-contextualization of Theodor Adorno and Walter Benjamin.Guiding this analysis are interrelated points of redefining Arab youth subcultures, through interviews conducted with five young Tunisian artists who combine artistic expression with political commentary and activism. I argue that a new dynamic discourse is shaped in the MENA region through the re-mixing of a cultural narrative which becomes re-contextualized locally, and therefore becomes authentic in a ‘glocal’ context. The Thesis offers analytical contribution to the field of cultural production in a Tunisian political context and adds to the research field of artistic activism.
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Colwell, Rachel R. "An Anxiety of Authenticity? Fusion Musics and Tunisian Identity". Oberlin College Honors Theses / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=oberlin1274068924.
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劉紫涵. "澳門與中國山東兩地小學音樂教科書之內容比較分析". Thesis, University of Macau, 2012. http://umaclib3.umac.mo/record=b2593949.
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Schreiner, Florian. "Laut, Ton, Stärke". Doctoral thesis, Humboldt-Universität zu Berlin, Philosophische Fakultät III, 2010. http://dx.doi.org/10.18452/16126.
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Historisch wird die Arbeit von zwei Daten her begrenzt, von den ersten hör-physiologischen Experimenten seit 1850, und von den massenwirksamen akustischen Inszenierungen der 1930er Jahre in „real auditory perspective“. Die Arbeit beginnt in Kapitel I mit dem tragischen Fall des Regisseurs und langjährigen Psychiatrie-Patienten Antonin Artaud, der die Sprache zugunsten von Lauten, Gebärden und Schreien verlässt. Seine Experimente zum Theater geben zu einer ersten Korrektur von Bildlichkeit Anlass. In Kapitel II wird der Vorrang der Bildlichkeit grundsätzlich in Frage gestellt, die Differenz von Bild und Klang wissenschaftshistorisch auseinandergesetzt, und ein „acoustic turn“ zur Welt vorbereitet. Die Untersuchungen des Physiologen und Akustikers Hermann von Helmholtz sind hier maßgeblich, denn sie beeinflussen die Technische Akustik von ihren Anfängen her. Das Kapitel III schließlich untersucht im transatlantischen Vergleich die technischen Bedingungen nach 1900. Die Beschallungsanlage hat nun die Fähigkeit, alltäglich in den Dienst genommen zu werden, und auch politischen Manipulationen diensthaft zu sein.Historically the work is framed by two dates, by the physiological experiments of hearing and the mise en scène of a massed and sonic attack in so called „real auditory perspective“ of the 1930s. The first chapter starts with the tragedic and long living psychiatric case Antonin Artaud, who moves away from clarity of sounds to phones, gestures and crying. Such experiments give cause for a fundamental rethinking of meaning in the sense of picture, and leads to the second chapter which argues in more detail for the lap of our sonic understanding of the world. This way speeds up to an „acoutic turn“ by a retour to the biological grounds of sonic perception. The physiological and acoustic inquiries of Hermann von Helmholtz fit here to the ground for him being starting point of what will later be called „technische Akustik“. The third chapter bridges Europe´s early Telefunken-years with the United States and their chief acousticians at the legendary Bell Laboratories, and seeks finally for light in scientific amnesia against progress and control, or what the germans call „Betriebsamkeit“ and „Gestell.“ (Heidegger)
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Chun-HsinTseng y 曾俊鑫. "A time-frequency analysis for music sounds using tuning-fork modle". Thesis, 2016. http://ndltd.ncl.edu.tw/handle/21924483715129501151.
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碩士國立成功大學
數學系應用數學碩博士班
104
In the paper,we shall describe three approaches to analyze the music sounds.The first approach is to use fourier analysis to identify the fundamentals and overtones of music sounds.The second approach is to use spectrograms to analyze the fundamentals and overtones over time when the music sounds are played. Spectrograms can produce a time-frequency plan of music sounds.The third approach is to use the tuning-folk modle to produce a time-frequency description of music sounds.
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Attariwala, Parmela Singh. "Eh 440: Tuning into the Effects of Multiculturalism on Publicly Funded Canadian Music". Thesis, 2013. http://hdl.handle.net/1807/43526.
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In 1988, Canada enshrined multiculturalism into law, a democratizing manoeuver that allowed practitioners of non-Western and non-classical forms of music to agitate for equitable access to public arts funding. This agitation ultimately forced government-funded Canadian arts councils to re-examine their Eurocentric granting programs and to expand the parameters by which they fund music. Today’s arts council peer assessors must now assess applications covering a broad range of musical genres and differing aesthetic values, and must incorporate into their evaluations the councils' sociopolitical priorities emphasizing diversity and inclusivity. Yet, few assessors understand why and how identity politics informs the contemporary music-making of ethnocultural minorities and how collectively held stereotypes influence Canadians’ expectation for ethnocultural representation. In this thesis, I endeavour to separate the historical, sociopolitical and philosophical threads that have contributed to the current musical environment in Canada.
I begin by examining the parallel histories of funding for high culture—which led to public arts funding—and early celebrations of multiculturalism. I then examine
liberal democratic philosophy and how it fostered the “politics of difference” that characterizes Canadian multiculturalism. Although liberal democracy holds that each citizen be recognized as equal and have equality of opportunity to nurture his or her individual, authentic self, Canadians have historically treated ethnocultural minorities unequally, resulting in the latter pursuing politics of difference based upon collective characteristics. Collective difference politics, though, are prone to stereotype. In the Canadian music world these stereotypes are manifest in external desires for authentic ethnocultural representation, which can overshadow a minority musician’s ability to cultivate a unique musical voice.
I devote the second part of my thesis to examining the effects of equity initiatives on Canadian arts councils. Based upon interviews with music and equity officers from the Canada Council, the Ontario Arts Council and the Toronto Arts Council, I show how the dichotomy between collective and individual authenticities results in unequal modes of assessment that perpetuate both ethnocultural stereotypes and Western classical music’s monopoly over funding, limiting our definitions of Canadian music.
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Bourgault, Sophie. "The tuning of state and soul: Rousseau and Nietzsche on music and politics". 2007. http://link.library.utoronto.ca/eir/EIRdetail.cfm?Resources__ID=510539&T=F.
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Weber, Sarah E. "Memory and Production of Standard Frequencies in College-Level Musicians". 2013. https://scholarworks.umass.edu/theses/1162.
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This thesis examines the nature of long-term absolute pitch memory—an ability traditionally assumed to belong only to absolute pitch (AP) possessors—by testing for evidence of this memory for “standard” frequencies in musicians without AP. Standard frequencies, those based on the equally tempered system with A = 440 Hz, are common in the sonic environment of the Western college musical education, and thus could have the opportunity to penetrate listeners’ long-term memories. Through four experimental tasks, this thesis examines musicians’ ability to recognize and produce frequencies from the set of equally tempered frequencies based on A = 440 Hz, without regard to those musicians’ pitch-labeling abilities. The experimental tasks also compare freshmen with seniors to test if exposure to standard frequencies during a college musical education engrains standard frequencies in long-term memory. The results suggest that musicians without AP cannot distinguish between standard and nonstandard frequencies during listening tasks, but they may be able to recall them without prompting when singing familiar folk songs. However, musical training during the college years does not seem to improve these abilities. Further experimentation is needed to corroborate the results, including modifications to the current tasks and methodology, as well as a larger subject size.
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Ho, Lok See. "On Cultural Capital: Fine Tuning the Role of Barriers, Timing and Duration of Socialization, and Learning Experiences on Highbrow Musical Participation". Thesis, 2012. http://hdl.handle.net/1807/32734.
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Recent research in the sociology of culture has placed significant focus on musical taste and practices. This research agenda has ushered an understanding of the relationship between social class and cultural consumption, and particularly, the implications that patterns of cultural preferences and practices have on social inequality. A frontrunner in this line of work is Bourdieu (1984), who offers a sophisticated and useful theoretical framework—the Cultural Capital Theory—to illuminate the role of culture and its consumption in society. Written as three publishable papers, the chapters use empirical evidence to explore three issues surrounding highbrow musical practices that enrich Bourdieu (1984)’s framework. The first paper (Chapter 2) examines the role of structural and personal barriers in blocking attendance to highbrow concerts. It takes as a starting point Bourdieu (1984)’s argument that upper class individuals are more likely to attend classical music and opera concerts than their lower class counterparts, and questions whether these distinct patterns of participation are attributable to the different barriers that each class faces. The second paper (Chapter 3) offers a sophisticated analysis of the impact of socialization on highbrow concert attendance. By innovatively integrating the concepts of timing and duration, hallmarks the Life Course Perspective, I map out the potentially dynamic nature of the socialization process. In doing so, I illustrate the varying implications that different timing and duration of exposure has on later life highbrow concert participation. The last paper (Chapter 4) investigates the process of socialization to understand what conditions present during this crucial period in time encourage persistence in highbrow musical practices. I find that engaging in interactions that allow one to experience positive emotional resonance, develop a musical identity, and feel a sense of autonomy over musical decisions lead to the propensity to remain engaged in musical activities throughout life.
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Malone, Kali. "Harmonic Space & Hegemonic Process". Thesis, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-2416.
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This text investigates the harmonic dimension of music and the various social, cultural and political consequences that arise through the act of tuning and tempering harmonic space. While no singular musical domain can exist divorced from the rest (i.e., duration, rhythm, dynamics, spatiality, etc.), in order to examine its afflictions and possible remedies, this text focuses only on the harmonic domain and the severity of its influence over listeners. This text questions the standardisation of twelve tone equal temperament, the implications it has inflicted culturally, the capital agents it may serve, and the possible insights just tuning systems and alternate temperaments may provide.Cast of Mind
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Marečková, Alena. "J. S. Bach a využití jeho skladeb na ZUŠ". Master's thesis, 2013. http://www.nusl.cz/ntk/nusl-322750.
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The thesis "J. S. Bach and His Piano Pieces for Music Art Schools" is focused on interpretation of the piano music of Johann Sebastian Bach. For the right understanding of the composer's musical narratives, it is necessary to acquire the basic knowledge and principles of the music theory in the Baroque era and to become familiar with the environment in which this extraordinary composer had been professionally developing and composing. This musician is presented here as the founder of a modern fingering whose musical language brought a change into musical thinking and he became inspiration and a role model for composers of the next centuries. This thesis highlights the importance of appropriately selected musical materials in piano teaching and it prefers the performance to be as authentic as possible. The main purpose of this paper is to update the knowledge of methodology and to find a comprehensive guide to a correct understanding of musical language of this genius that would help the music teachers introduce to pupils the beauty and timelessness of Bach's musical work and that would motivate them to other musical discoveries and make them desire to be further educated in music.
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LIN, SHIH CHIU-MIN y 施秋敏. "Drifting strang’s journey: Life and Music of E-Shuen (Tung, Yung-shen)". Thesis, 2011. http://ndltd.ncl.edu.tw/handle/01367968276798005532.
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碩士國立臺灣藝術大學
中國音樂學系
99
This thesis explores the life and music of E-Shuen by qualitative research methods. E-Shuen is one of the icons in the field of traditional Chinese music. With my great respect to him, I recorded his effort and contribution to Chinese music education, research, performance and popularization. Through reviewing historical documents and interviews with E-Shuen, I seek to complete a whole picture of his music and life, including his growing background, academic research, dedicated work and admirable achievement. Instead of theoretical discourse, this thesis focuses on narrating E-Shuen’s life story. With continuous interviews, verification and induction, I weave the tapestry of E-Shuen’s life by writing and interpretation. The main areas of this thesis are as follows: (1) his original family encouraged his interests in traditional Chinese music; (2) his environment cultivated his eagerness for knowledge; (3) his remarkable performance; (4) his devoted educational vocation; (5) his promotion of Chinese music; (6) his glory of life; (7) his admirable works and achievement; (8) his unbreakable willpower to march forward courageously. This thesis contains E-Shuen’s life story, his aesthesis of music composition and his abounding legacy of reformed traditional Chinese music education. I hope that generations of students in this field may have the opportunity to learn the detailed history of the pioneer of traditional Chinese music in Taiwan.
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Liu-yueh-chu y 劉月珠. "Research on Music Poems in Tung Dynasty-Composing form Specific Instrum3nts 箜篌琵琶笛笳". Thesis, 2007. http://ndltd.ncl.edu.tw/handle/31515109065909252145.
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博士中國文化大學
中國文學研究所
95
"Music"in Chinese,is constituted literally by combining two words-sound and instrument. Namely,Chinese think that music is the arrangement of not only sounds but also instruments into pleasant patterns. In Chinese diverse literature development, particularly in the area of poetry,it is observed that music owing to its composing rules like rhythm,tune,harmony and melody,similar to poem,already become one important source and element for the poets to borrow from in composing their poems.We may call that sort of poetry as"music poem". Therefore,the purpose of this dissertation
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Melo, Arménio Coelho de. "Percurso do ensino da guitarra portuguesa através dos seus métodos". Master's thesis, 2014. http://hdl.handle.net/10362/19098.
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Este trabalho tem como objetivo analisar o percurso da Guitarra ao discutir os seus métodos de ensino enquadrados ou não pela categoria musical a que está indissoluvelmente associada, o Fado.
Partindo da análise dos documentos existentes e acessíveis, procurou-se descrever o percurso pedagógico e as práticas da guitarra desde o final do século XVIII até aos nossos dias, bem como as suas implicações, tais como a procura de novas afinações e ferramentas para melhor servir o género a que a guitarra se acomodou, sob pena de ser votada ao esquecimento. São referidos os antecedentes da guitarra, bem como as suas afinações.
São considerados vinte tratados publicados em Portugal entre 1796 e os nossos dias; este corpus teórico é objeto de uma comparação quer sob o ponto de vista das várias afinações propostas, quer das várias abordagens didáticas, quer ainda dos repertórios propostos para a aprendizagem.
Para além da análise anterior pretende-se relevar o papel e a influência da guitarra no fado e, sobretudo, o simbolismo que rapidamente alcançou e do qual ainda disfruta. Por fim é referido o papel dos guitarristas no fado, sem ter a preocupação de os enumerar, quer os resistentes à afinação do fado, quer aqueles que sempre tocaram nesta afinação, porque nunca conheceram outra; e também os inconformados com as limitações rotulares a que a guitarra tem sido votada.This work aims to analyze the pathways of the the guitar by discussing teaching methods framed or not within the musical category that is inextricably linked to, the fado. Based on the analysis of the existing and affordable documents, we sought to describe the background and practices of the guitar from the late eighteenth century to the present, and their implications such as searching new tunings tools to better serve the genre the Portuguese Guitar has settled with, under penalty of being consigned to oblivion. We make reference to the ancestors of the Portuguese Guitar, as well as its tunings. For such task, we consider twenty treaties that were published from 1796 in Portugal; this theoretical corpus is subject to a comparison from the point of view of proposed tunings, didactics’ approaches, and also the proposed repertoires for learning purposes. In addition to the above analysis we value the role of the Portuguese Guitar and its influence in Fado and, above all, the symbolism that quickly reached and which still enjoys. Finally, we describe the role of the Portuguese Guitar Players, from those that resistant the pitch of fado or those who always played in this tuning because they never knew another one; to those not resigned with the limitations to which the Portuguese Guitar has been voted.
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Hsiao, Yu-Hsuan y 蕭郁璇. "A Survey on Music Talented Students'' Learning Satisfaction at Elementary and Junior High Schools in Ping-Tung County". Thesis, 2011. http://ndltd.ncl.edu.tw/handle/94664582133526138802.
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碩士國立屏東教育大學
音樂學系
100
The propose of this study was to investigate the learning satisfaction of the music talented students at elementary and junior high schools in Ping-Tung County, and to explore the differences in learning satisfaction among music talented students with diverse backgrounds. In order to achieve the goals of the study, the data were gathered by using a questionnaire and a semi-structured interview designed by the investigator for this study. The subjects were fourth-grade, fifth-grade, sixth-grade, eighth grades, ninth- grade music talented students of elementary and junior high schools in Ping-Tung County. There were 450 students in the valid samples of the questionnaires, and the valid return rate was 96.3%. By using statistical software SPSS12.0, descriptive statistical analysis was used to compute the frequency distribution, percentages, means and standard deviation. T-test and single-factor ANOVA were also performed. Based on the findings of this study, the conclusions were as follows: 1. The music talented students were satisfied with the present school learning situation. 2. Autonomous learning motivation is the key to students’ learning satisfaction. 3. With multiple musical learning activities at school, the students’learning satisfaction can be greatly enhanced. Finally, recommendations for the educational administration and follow-up studies are suggested.