Thèses : « Instrumental Voice »

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Lee, Su-ying Alice. « Perceptual and instrumental analysis of hypernasality / ». View the Table of Contents & ; Abstract, 2005. http://sunzi.lib.hku.hk/hkuto/record/B30397108.

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Lee, Su-ying Alice, et 李雪瑩. « Perceptual and instrumental analysis of hypernasality ». Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2005. http://hub.hku.hk/bib/B45014905.

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Mautner, Helene. « A Cross-System Instrumental Voice Profile of the Aging Voice : With Considerations of Jaw Posture Effects ». Thesis, University of Canterbury. Communication Disorders, 2011. http://hdl.handle.net/10092/5183.

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Purpose: An open mouth approach is used in voice therapy for enhancing speech and voice production and relaxing the laryngeal musculature. The acoustic and physiological consequences of an open jaw posture, however, have not been clearly understood due to a paucity of cross-system studies taking the age effect into consideration. The major aims of this study are twofold (1) to examine if the geriatric voice may be improved using an “open jaw” posture and (2) if an aging effect on the voice of normal healthy adults can be detected through acoustic and physiological measures Method: The main part of this study involved simultaneous multi-channel voice recordings obtained from 85 healthy adults aged between 38 and 93 years. A convenience sampling strategy was used to recruit at least five females and five males in each of four age groups, 35-59 years (35+), 60-69 (60+), 70-79 (70+), and above 80 (80+). For simultaneous acoustic, electroglottographic (EGG), and jaw displacement recordings, participants were asked to perform two tasks which included a sustained vowel task and a sentence production task. The sustained vowel task involved sustaining the vowel /a/ in five different conditions, an isolated vowel /a/ produced at normal, low, and high pitch levels and the vowel /a/ initiated with a consonant (/m/ and /h/). The sentence production task involved production of the sentence 'We saw two cars,' containing the vowels /i, ɔ, u, a/. For simultaneous airflow-EGG recordings, participants were asked to sustain the vowel /a/ at normal pitch. For simultaneous airflow-air pressure-EGG recordings, participants were asked to repeat /pa/ five times in one breath. Participants were asked to perform all of the tasks using two jaw postures (normal and open). A series of univariate analysis of variances were used to identify instrumental measures sensitive for discriminating between the four age groups and the two jaw postures. A follow-up perceptual study was conducted to determine the effect of an open jaw posture on vowel intelligibility and voice clarity. A quota sampling strategy was used to recruit 40 normal hearing participants, including 20 females (age range = 18-42 years, mean = 25.3, SD = 7.9) and 20 males (age range = 18-47, mean = 23.6, SD = 6.7). These listeners were presented with vowels segmented from the sentences recorded in the first experiment and asked to perform a vowel identification and a voice clarity discrimination task. The vowel samples were taken from 40 speakers, with five females and five males in each of the four age groups (35+, 60+, 70+, and 80+). The percentages of correct vowel identification for voices produced with normal and open jaw postures were compared. The percentages of vowels judged as 'clearer' in a normal-open jaw contrast pairs were also calculated for comparison. Results: Significant age group effects were found in this study for both genders on fundamental frequency (F0), voice onset time (VOT) (/ka/), open quotient (OQ), and speed quotient (SQ), with additional age differences detected for females on %jitter, %shimmer, signal-to-noise ratio (SNR), and the second formant frequency (F2), and for males a significant age group effect was found on VOT (/tu/). Results for both females and males revealed significant open jaw posture effects on F0, F2, VOT (/ka/), MFR, SPL and vowel space area. In addition, for females significant posture effects were found on F1, subglottal pressure and the H1-H2 amplitude difference, and for males, significant posture effects were found on %jitter and VOT-/tu/. Results from the follow-up perceptual study revealed that an open jaw posture was associated with better vowel identification and better voice clarity. Conclusions: A selection of instrumental measures was shown to be useful for detecting voice changes due to aging. Instrumental and perceptual evidence was found that an open jaw posture was associated with positive changes in vocal behaviours, including improved phonatory stability, vocal power, and voice clarity.

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Healy, Kristine. « Imagined vocalities : exploring voice in the practice of instrumental music performance ». Thesis, University of Huddersfield, 2018. http://eprints.hud.ac.uk/id/eprint/34692/.

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To play an instrument in a way that is considered “vocal” has been an emblem of artistry for instrumental musicians in the Western classical tradition for centuries. Despite the ubiquity of vocal references in the talk and texts produced within this community, there is little consensus as to what vocality means for instrumental musicians, and few questions are asked of those who claim to advocate for a vocal style of playing. Whilst vocality for instrumentalists has been dealt with in existing scholarship through discussion about the emulation of specific techniques such as vibrato and portamento, by investigating the principles of rhetoric and their relationship to temporal and articulatory issues, and in philosophical commentary on vocality as an ideal to which instrumentalists aspire, attention has not yet been paid to how “voice” is produced and manipulated discursively by instrumental musicians in the social contexts of their professional lives. Therefore, this thesis explores some of the ways in which instrumental musicians construct vocality in contemporary discourse about the practice of performance. In this thesis, a series of excerpts from pedagogical texts on instrumental music performance written in the eighteenth, nineteenth, and twentieth centuries is presented to illuminate a discussion about vocality that has long been ongoing. Subsequently, a discourse approach is taken to the analysis of transcribed excerpts from four audio-visual recordings of instrumental masterclasses, alongside additional excerpts drawn from interviews with instrumental musicians and a variety of other contemporary texts. During the analytical process, two interpretative repertoires—recurring ways in which instrumental musicians construct vocality—are identified: the knowing voice and the disciplined voice. The discursive actions facilitated by musicians’ employment of these repertoires are examined in relation to the discourse excerpts. In response to this analysis, three claims are made. The first is that vocality is polysemic: it is constructed according to the social context and action-orientation of the discourse in which it is embedded. The second is that vocality is linked to the reproduction and naturalisation of normative musical practices. The third is that in musicians’ talk and texts, the construction of musical ideas is entangled with the construction of identities, and stories of voice provide especially rich material for authoring selves in the context of the masterclass. This thesis calls for expert performers to acknowledge, question, and engage critically with the ways in which they produce and perpetuate musical principles in their day-to-day practices, and for them to make space for developing musicians to do the same.

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Burkhardt, Rick. « Pipeline : for voice, bass flute, cello, and percussion / ». Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 2006. http://wwwlib.umi.com/cr/ucsd/fullcit?p3236631.

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Plazak, Joseph Stephen. « An empirical investigation of a sarcastic tone of voice in instrumental music ». The Ohio State University, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=osu1306897682.

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Brock, Nathan Brock Nathan Brock Nathan Brock Nathan. « Two scenes from Beowulf ; and, selections from the Tesserae/Tesseract cycle / ». Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 2007. http://wwwlib.umi.com/cr/ucsd/fullcit?p3282869.

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Thesis (Ph. D.)--University of California, San Diego, 2007.
Selections from a cantata for TBarB soloists, large chorus, chamber orchestra, and percussion ensemble, and three pieces from a projected cycle for soprano, flute, and string trio. Words to Beowulf adapted by the composer from Seamus Heaney's translation; also printed as text preceding score on p. 6-30. Words to Tesserae/Tesseract use poem by the composer, both as text and as the source of additional phonemes used by the singer. Vita. Accompanying disc is recorded DVD-R and contains complete text of dissertation, all scores, and master-quality and CD-quality audio tracks.

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Levine, Josh Levine Josh Levine Josh Levine Josh. « Between image, process, and memory / ». Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 2002. http://wwwlib.umi.com/cr/ucsd/fullcit?p3049670.

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Weirmeir, Jude Thomas. « Aspic trails : [for soprano, flute, and 'cello : 2004-06 : opus -1] / ». Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 2006. http://wwwlib.umi.com/cr/ucsd/fullcit?p3236632.

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Nakano, Koji. « Time song II : howling through time : for female singer, flutist, and percussionist / ». Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 2006. http://wwwlib.umi.com/cr/ucsd/fullcit?p3236635.

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Monroe, Deborah Jean. « Prayers of adoration, confession, thanksgiving and supplication a composition for soprano and chamber ensemble / ». connect to online resource, 2004. http://www.unt.edu/etd/all/Aug2004/monroe%5Fdeborah%5Fjean/index.htm.

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Thesis (M.M.)--University of North Texas, 2004.
For soprano, clarinet, bassoon, trumpet, trombone, violin, double bass, and percussion. Duration: 14:00. Includes commentary by composer. Includes bibliographical references (p. 33-35).

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Sarmento, Catarina Vargas de Oliveira de Moraes. « Avaliação de desempenho de perfis comerciais : impacto na satisfação e no turnover ». Master's thesis, Instituto Superior de Economia e Gestão, 2017. http://hdl.handle.net/10400.5/14268.

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Mestrado em Gestão de Recursos Humanos
O presente trabalho pretende realizar uma análise da relação entre a Avaliação de Desempenho e a Satisfação no Trabalho e as intenções de Turnover. Esta análise será realizada para perfis comerciais. Em termos metodológicos foram recolhidos 130 questionários em 2017, tendo por base 5 escalas (Voz Instrumental, Voz Não-Instrumental, Justiça Distributiva, Satisfação, e Intenções de Turnover). A análise fatorial da escala de Satisfação revelou a existência de 4 dimensões (Satisfação com a conversa, Satisfação com a preparação, Motivos de Insatisfação e Consequências). Realizamos a análise de correlação das três variáveis consideradas como independentes (Voz Instrumental, Voz Não-Instrumental, Justiça Distributiva) com as variáveis consideradas dependentes (Satisfação e Turnover) e concluímos que: (i) a Voz Instrumental está positivamente associada à satisfação com a conversa e à satisfação com a preparação e negativamente associada com as intenções de turnover, (ii) a Voz Não-Instrumental está positivamente associada com a satisfação com a conversa e a satisfação com a preparação, mas não está significativamente associada com as intenções de turnover e (iii) a Justiça Distributiva está positivamente associada à satisfação com a conversa e à satisfação com a preparação e negativamente associada com as intenções de turnover.
This thesis intends to perform an analysis of the relationship between the performance evaluation, and the job satisfaction and turnover intentions. This analysis will be applied to commercial. In methodological terms, 130 questionnaires were collected in 2017, based on 5 scales (Instrumental Voice, Non-Instrumental Voice, Distributive Justice, Satisfaction and Turnover Intentions). The factorial analysis of the Satisfaction scale revealed the existence of four dimensions (Satisfaction with the conversation, Satisfaction with preparation, Reasons for dissatisfaction and Consequences). We conducted an analysis of correlations of the three variables considered as independent (Instrumental Voice, Non-Instrumental Voice, Distributive Justice) with variables considered dependent (Satisfaction and Turnover) and we conclude that: (i) Instrumental Voice has a positive influence on satisfaction with conversation and with preparation and a negative influence in the turnover intentions, (ii) Non-Instrumental Voice positively influences a satisfaction with a conversation, a satisfaction with a preparation and the turnover intentions (iii) Distributive Justice positively influences a satisfaction with the conversation and with preparation and negatively affects the turnover intentions.
info:eu-repo/semantics/publishedVersion

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Svoboda, Andrew. « Martin Streda : a monodrama for baritone and ensemble ». Thesis, McGill University, 2003. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=81258.

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Martin Streda is a one-act monodrama for baritone and an ensemble of eight instrumentalists. The libretto was written by the composer. The drama concerns Martin Streda, a Czech political prisoner in a solitary confinement cell of a communist concentration camp on the eve of his death. The opera has a duration of approximately 30 minutes and is divided into four main parts. The analytical essay describes the development and operation of Mar-sys, a collection of twenty pitch aggregates derived from intervalic cells, rhythmic cells drawn from the Morse code alphabet, and other pitch organization systems.

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Jacobsen, Nicolai Lee Chen Yi Dante Alighieri. « Ghirlandi ». Diss., UMK access, 2005.

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Thesis (M.M.)--Conservatory of Music. University of Missouri--Kansas City, 2005.
Song cycle for tenor voice, French horn, and piano, based on the love story of Dante Alighieri and Beatrice. "A thesis in music composition." Advisor: Chen Yi. Text taken primarily from Dante's La vita nuova. Typescript. Includes text of poems in Italian with English translation. Vita. Title from "catalog record" of the print edition Description based on contents viewed Nov. 12, 2007. Online version of the print edition.

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Beaulieu, Marc. « Temps en temps = (Times in time) : music for voice and instruments in a multi-track recording environment ». Thesis, McGill University, 1996. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=27482.

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TEMPS EN TEMPS (times in time): Music for voice and instruments in a multi-track recording environment, by Marc Beaulieu, is a work meant to be experienced on many levels of perception. This analysis attempts to present the work at its most important (relevant) levels.
This work is written for a multi-track recording studio. The first section of this thesis describes the expanded possibilities of compositional procedure, orchestration and vocal/linguistic construction inherent in this particular medium.
The concept of the work is deeply rooted in the sociological thesis expounded in Alvin Toffler's "The Third Wave". These sociological 'undertones' and their bearing on the background structure of the work are examined in the following section of the thesis.
The subsequent sections of the thesis introduce the perceptual and conceptual aspects of the overall musical language, and discuss essential characteristics of the harmonic, rhythmic and linguistic fabric of the work as well as special applications of studio recording techniques such as digital sound processing, sampling and mixing. This leads to a discussion of formal structure based on three (3) conceptual waves co-existing and interacting in time.

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Heerman, Diane L., et Joseph 1732-1809 Songs violin continuo acc Selections Haydn. « A master's recital and program notes ». Thesis, Kansas State University, 1985. http://hdl.handle.net/2097/9847.

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Bower, John La Fontaine Jean de. « Trois fables de Jean de la Fontaine ». Diss., Connect to the thesis, 2008. http://hdl.handle.net/10066/1370.

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Schultz, Arlan Nelson Renner Martha. « String quartet no. 1 / ». Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 2004. http://wwwlib.umi.com/cr/ucsd/fullcit?p3166407.

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Hoose, Shane Baudelaire Charles. « Correspondances ». Bowling Green, Ohio : Bowling Green State University, 2009. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=bgsu1237663289.

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Thesis (M.M.)--Bowling Green State University, 2009.
Document formatted into pages; contains 1 score (vi, 13 p.). For soprano, viola, percussion (vibraphone, bass drum, 18" suspended cymbal, log drum, tam tam, rain stick, USB pedal) and live electronics. The verse is the poem, Correspondence, by Charles Baudelaire. Includes bibliographical references.

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Gutierrez, Jason. « The Prayer of Daniel : for flute (with alto flute), clarinet (with bass clarinet), violin, cello, doumbek, percussion, piano, bass-baritone voice, and men's chorus ». Thesis, connect to online resource, 2003. http://www.library.unt.edu/theses/open/20032/gutierrez%5Fjason/index.htm.

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Price, Lee Scott. « SONGS OF THE NIGHT SKY : THREE POEMS OF QUENTIN SMITH ». Connect to this title online, 2005. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=bgsu1124225909.

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Cifelli, Cheryl. « A Study of Selected Clarinet Music of Brian Israel ». Thesis, University of North Texas, 2004. http://wwwlib.umi.com/dissertations/fullcit/3144977.

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Monroe, Deborah J. « Prayers of Adoration, Confession, Thanksgiving and Supplication : A Composition for Soprano and Chamber Ensemble ». Thesis, University of North Texas, 2004. https://digital.library.unt.edu/ark:/67531/metadc4584/.

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This paper examines the relationship between text and music in Prayers of Adoration, Confession, Thanksgiving and Supplication - a four-movement composition, fourteen minutes in length, for soprano, clarinet, bassoon, trumpet, trombone, violin, double bass, and percussion. The text of the composition is taken from the Psalms and The Book of Common Prayer. The names and themes of the movements follow an ancient pattern for prayer identified by the acronym, A.C.T.S. Compositional considerations are contrasted to those of Igor Stravinsky and Steve Reich, with special emphasis on the use of musical structures, motives, and text-painting to highlight the meaning of religious texts.

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Serrano, Archimi Carolina. « Cynisme instrumental : quand les managers perçoivent leurs dirigeants comme cyniques : Effets sur leurs réactions au travail exit, voice, loyalty, neglect, silence (EVLNS) ». Aix-Marseille 3, 2009. http://www.theses.fr/2009AIX32072.

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L’objet de la thèse est de décrire et de quantifier l’influence que peut avoir sur les réactions de retrait au travail des managers leur perception du cynisme de leurs dirigeants. Pour ce faire, il convient tout d’abord de définir la notion de cynisme en rappelant, d’une part, les travaux déjà réalisés sur le cynisme en sciences de gestion, et, d’autre part, son évolution historique depuis l’émergence de l’école cynique antique. L’étude de la littérature tant managériale que philosophique a permis d’établir une typologie des cynismes, et de définir le cynisme perçu chez les dirigeants : il s’agit du cynisme instrumental. Pour mesurer l’influence que la perception de ce cynisme peut avoir sur les réactions au travail des managers, deux études ont été menées : La première étude, de nature exploratoire, a permis d’établir le type de cynisme que se représentent les managers. 25 entretiens individuels, un focus group composé de 12 répondants, puis l’analyse de contenu de 320 extraits de presse d’information ont nourri cette étude. La deuxième étude, de nature quantitative, composée de 658 questionnaires exploitables, a permis, d’une part, de valider le cynisme instrumental perçu comme un construit de second ordre composé de trois dimensions, et, d’autre part, de tester l’effet que le cynisme instrumental perçu a sur les réactions de retrait des managers EVLNS (exit, voice, loyalty, neglect et silence). Ces études ont mis en lumière l’échange social qui lie les managers à leurs dirigeants, indépendamment de la distance hiérarchique qui les sépare. Les managers évaluent la qualité perçue de cet échange et adoptent des comportements qui leur permettent de rétablir un équilibre équitable à leurs yeux
The aim of this thesis is to describe and quantify the influence derived from reactions of work withdrawal of managers based on their perception of cynicism from top management. We define the notion of cynicism by reviewing, on the one hand, work already performed on cynicism within management sciences; and, on the other hand, its historical development since the emergence of the ancient school of cynicism. A literature review, both managerial and philosophical, has made it possible to develop a typology of cynicisms and to define top management cynicism as perceived by managers: instrumental cynicism. In order to measure the influence that the perception of cynicism can have on the reactions of managers at work, two studies were performed. The first study, of an exploratory nature, defined the type of cynicism that managers perceive. It consisted of 25 individual interviews, a focus group composed of 12 respondents, and a content analysis of 320 press extracts. The second study, of a quantitative nature, composed of 658 usable questionnaires, allowed on the one hand to validate the concept of instrumental cynicism, perceived as a second order construct with three dimensions, and on the other hand to test the effect of perceived instrumental cynicism on the withdrawal reactions of managers: EVLNS (exit, voice, loyalty, neglect and silence). These studies point out the social exchange that links managers and their top management, regardless of the hierarchical distance between them. Managers evaluate the perceived quality of this exchange and adopt the type of behaviours that enable them to restore a balance that they consider to be equitable

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Walls, Jay Alan. « Autographs 1928 : Four Songs for Soprano and Chamber Ensemble ». Thesis, University of North Texas, 1995. https://digital.library.unt.edu/ark:/67531/metadc279054/.

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Autographs 1928: Four Songs for Soprano and Chamber Ensemble is a composition of approximately 16 minutes' duration and is scored for mezzo-soprano, flute, oboe, clarinet, horn in F, viola, violoncello, one keyboardist (piano and celesta), and two percussionists (marimba, xylophone, chimes, timpani, bass drum, temple blocks, triangle, and slapstick). The work consists of four songs and four readings with texts from Walls's maternal grandmother's autograph book. The composition opens with a reading and alternates between readings and songs. The music is intended to reflect the playful, tender and humorous nature of the lyrics.

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Johnson, Allison Adah Johnson Allison Adah Johnson Allison Adah Johnson Allison Adah. « Transmission/translation/transgression / ». Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 2003. http://wwwlib.umi.com/cr/ucsd/fullcit?p3099912.

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Thesis (Ph. D.)--University of California, San Diego, 2003.
Vita. "Three related compositions written for string quartet, small ensemble (soprano, violin, viola, cello, flute, clarinet, piano) and percussion duo"--P. viii; 3rd work an open form composition. Also available on the World Wide Web. (Access restricted to UC campuses).

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Grahl, Trevor Aaron Grahl Trevor Aaron Grahl Trevor Aaron Grahl Trevor Aaron. « Three pieces ». Diss., [La Jolla, Calif.] : University of California, San Diego, 2009. http://wwwlib.umi.com/cr/ucsd/fullcit?p1464882.

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Thesis (M.A.)--University of California, San Diego, 2009.
Title from first page of PDF file (viewed July 8, 2009). Available via ProQuest Digital Dissertations. Includes disc containing sound files of the pieces and PDF versions of the thesis and program.

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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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Ferguson, Sean. « Vox Machina ». Thesis, McGill University, 1993. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=69656.

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Vox Machina, for soprano, chamber ensemble, real-time digital signal processing and digital sounds, deals with the historical relationship between humanity and machines. The text uses excerpts drawn from a variety of sources, all in the public domain, as well as material written especially for the piece by the composer. The instrumental ensemble consists of 8 performers: flute, b-flat clarinet, horn, violin, viola, cello, guitar and percussion. A conductor is required, as well as a technician to control a mixing board and the performance of computer-generated sections of music. Digital sounds may be performed directly from computer, or may be played from DAT cassette.

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McCallum, Clinton McCallum Clinton McCallum Clinton McCallum Clinton. « Three pieces ». 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?p1453675.

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Thesis (M.A.)--University of California, San Diego, 2008.
Accompanying disc is DVD-ROM and contains sound files of recordings of the pieces. Title from first page of PDF file (viewed June 25, 2008). Available via ProQuest Digital Dissertations. Durations: ca. 21:00-25:00 ; ca. 10:00 ; ca. 9:00. Performance instructions precede each score The 2nd work reproduced from holograph.

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Tacke, Daniel Arthur Tacke Daniel Arthur Tacke Daniel Arthur Tacke Daniel Arthur. « Resistance in compositional practice three mediatory works / ». 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?p1453233.

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Thesis (M.A.)--University of California, San Diego, 2008.
Accompanying disc is DVD-ROM, and contains sound files for recordings of 2nd and 3rd compositions. Title from first page of PDF file (viewed June 25, 2008). Available via ProQuest Digital Dissertations. Reproduced from holograph.

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Tseng, Yu-Chung 1960. « Song of Pi-Pa ». Thesis, University of North Texas, 1994. https://digital.library.unt.edu/ark:/67531/metadc279013/.

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Sona of Pi-Pa is a composition set to a poem to be performed by soprano and mixed instrumental ensemble. The formal plan is through-composed and the organization of each individual piece is largely determined by the structure of the poetic text. The text, drawn from Song of Pi-Pa by Po Chu-i, depicts the story of how the poet became overwhelmed by the chance hearing of a virtuosic performance of a woman playing the pi-pa. The general characteristics of the work reflect the assimilation of certain non-western musical and philosophical influences. Traditional western compositional techniques are also employed in the treatment of thematic materials, musical form, instrumentation, and the developmental process. The total performance time for this composition is approximately twenty-six minutes.

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Chan, Sze-rok Chan Sze-rok Chan Sze-rok Chan Sze-rok Chan Sze-rok. « Inspired by the Hindu tradition compositions and reflections / ». Click to view the E-thesis via HKUTO, 2006. http://sunzi.lib.hku.hk/hkuto/record/B37933966.

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吳俊凱 et Chun Hoi Daniel Ng. « Original compositions for young musicians ». Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1993. http://hub.hku.hk/bib/B31212608.

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Chan, Sze-rok, et 陳詩諾. « Inspired by the Hindu tradition : compositionsand reflections ». Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2006. http://hub.hku.hk/bib/B37933966.

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Bober, Nicholas Bradburn. « This Creature, Bride of Christ ». Thesis, University of North Texas, 2010. https://digital.library.unt.edu/ark:/67531/metadc28395/.

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This Creature, Bride of Christ is a composition for soprano, alto flute, viola, marimba, and computer running custom software for live interactive performance in the Max/MSP environment. The work is a setting of excerpts from The Book of Margery Kempe, an early autobiographical manuscript depicting the life of a Christian mystic. The thesis discusses the historical, sociological, and musical context of the text and its musical setting; the use of borrowed materials from music of John Dunstable, Richard Wagner, and the tradition of change ringing; and the technologies used to realize the computer accompaniment. A score of the work is also included in the appendix.

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Deif, Hatem. « Single channel separation of vocals from harmonic and percussive instruments ». Thesis, Brunel University, 2017. http://bura.brunel.ac.uk/handle/2438/15587.

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Enhancing the separated singing voices from harmonic (pitched) and percussive musical instruments in songs recorded with a single microphone is the scope of this thesis. Separating singing voice has applications in music information retrieval systems. Various methods have been used to separate singing voice from harmonic and percussive instruments. Most of them use two stages of separation, one for separating harmonic instruments, and the other for separating percussive instruments. One of these Algorithms uses non-negative matrix factorization in each stage to separate harmonic and percussive instruments. Traditionally, in each stage, components' bases or gains are clustered based on discontinuity measures. The first contribution of this thesis was the use of local discontinuity of significant parts of these bases and gains, followed by splitting (rather than classifying) each component's basis or gain. This significantly refined the separated voice and music sources. Median filtering has also been used in two stages to separate singing voice. Typically, horizontal and vertical filters are used in each stage. The second contribution of this thesis was to enhance the separation quality using a combination of six additional diagonal median filters to accommodate singing voice frequency modulations. In addition, filters parameters that are suitable for all songs regardless of their sampling frequencies are sought. The third contribution of this research was the novel use of Hough Transform to detect traces of pitched instruments in the magnitude spectrogram of the separated voice. These traces are then removed completely using median filtering after successfully calculating their frequency bands. The new Hough Transform based approach was applied to a number of separation algorithms as a post processing step and it significantly improved the quality of the separated voice and music in all of them.

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Wu, Man-Mei. « Three Voices for voices, woodwind, percussion, and string instruments ». Thesis, University of North Texas, 2000. https://digital.library.unt.edu/ark:/67531/metadc2684/.

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Composed for soprano, tenor, and baritone voices, woodwind, percussion, and string instruments, Three Voices is a polyglotic work that includes German, Chinese, and Spanish texts. The texts are chosen from Brecht Bertolt's Das Schiff, Po Chu I's Lang T'ao Sha, and Frederico Garcia Lorcá's Mar. Significant features of the piece are 1) application of Chinese operatic singing methods to vocal material in the sections that use Chinese text, 2) use of western instruments to emulate the sound of certain Chinese instruments, and 3) employment of Sprechstimme and dramatically inflected speech to create theatrical effects and highlight the sections that use German and Spanish texts.

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Yang, Yu-Lin 1974. « Three scenes in dreamland : (1999-2000) : for mixed choir and instrumental ensemble ». Thesis, McGill University, 2000. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=33371.

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Three Scenes in Dreamland is a 17-minute piece for mixed choir and instrumental ensemble. It consists of three movements: "Crystal Sky," "The Chanting Light" and "The Field Where I Was Born, Where I Died." Each movement uses a particular combination of the available instruments. The work is inspired by various aspects of Chinese culture and Buddhism, and certain possibilities of combining Western and non-Western musical elements are explored over the course of the three movements.

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Dong, Kui. « Cess : (after Turandot) : for eight voices, eleven musicians and tape / ». May be available electronically:, 1997. http://proquest.umi.com/login?COPT=REJTPTU1MTUmSU5UPTAmVkVSPTI=&clientId=12498.

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Perrotin, Olivier. « Chanter avec les mains : interfaces chironomiques pour les instruments de musique numériques ». Thesis, Paris 11, 2015. http://www.theses.fr/2015PA112207/document.

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Le travail de cette thèse porte sur l'étude du contrôle en temps réel de synthèse de voix chantée par une tablette graphique dans le cadre de l'instrument de musique numérique Cantor Digitalis.La pertinence de l'utilisation d'une telle interface pour le contrôle de l'intonation vocale a été traitée en premier lieu, démontrant que la tablette permet un contrôle de la hauteur mélodique plus précis que la voix réelle en situation expérimentale.Pour étendre la justesse du jeu à toutes situations, une méthode de correction dynamique de l'intonation a été développée, permettant de jouer en dessous du seuil de perception de justesse et préservant en même temps l'expressivité du musicien. Des évaluations objective et perceptive ont permis de valider l'efficacité de cette méthode.L'utilisation de nouvelles interfaces pour la musique pose la question des modalités impliquées dans le jeu de l'instrument. Une troisième étude révèle une prépondérance de la perception visuelle sur la perception auditive pour le contrôle de l'intonation, due à l'introduction d'indices visuels sur la surface de la tablette. Néanmoins, celle-ci est compensée par l'important pouvoir expressif de l'interface.En effet, la maîtrise de l'écriture ou du dessin dès l'enfance permet l'acquisition rapide d'un contrôle expert de l'instrument. Pour formaliser ce contrôle, nous proposons une suite de gestes adaptés à différents effets musicaux rencontrés dans la musique vocale. Enfin, une pratique intensive de l'instrument est réalisée au sein de l'ensemble Chorus Digitalis à des fins de test et de diffusion. Un travail de recherche artistique est conduit tant dans la mise en scène que dans le choix du répertoire musical à associer à l'instrument. De plus, un retour visuel dédié au public a été développé, afin d'aider à la compréhension du maniement de l'instrument
This thesis deals with the real-time control of singing voice synthesis by a graphic tablet, based on the digital musical instrument Cantor Digitalis.The relevance of the graphic tablet for the intonation control is first considered, showing that the tablet provides a more precise pitch control than real voice in experimental conditions.To extend the accuracy of control to any situation, a dynamic pitch warping method for intonation correction is developed. It enables to play under the pitch perception limens preserving at the same time the musician's expressivity. Objective and perceptive evaluations validate the method efficiency.The use of new interfaces for musical expression raises the question of the modalities implied in the playing of the instrument. A third study reveals a preponderance of the visual modality over the auditive perception for the intonation control, due to the introduction of visual clues on the tablet surface. Nevertheless, this is compensated by the expressivity allowed by the interface.The writing or drawing ability acquired since early childhood enables a quick acquisition of an expert control of the instrument. An ensemble of gestures dedicated to the control of different vocal effects is suggested.Finally, an intensive practice of the instrument is made through the Chorus Digitalis ensemble, to test and promote our work. An artistic research has been conducted for the choice of the Cantor Digitalis' musical repertoire. Moreover, a visual feedback dedicated to the audience has been developed, extending the perception of the players' pitch and articulation

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Garcia-Castells, Federico Jose Chen Yi. « Pervigilivm [i.e. Pervigilium] veneris for mixed choir, piano and percussion quartet / ». Diss., UMK access, 2007.

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Thesis (M.M.)--Conservatory of Music. University of Missouri--Kansas City, 2007.
"A thesis in music composition." Typescript. Advisor: Chen Yi. Includes vita and English translation of text. Title from "catalog record" of the print edition Description based on contents viewed Nov. 13, 2007. Online version of the print edition.

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Woodward, Nathan Paul L'Engle Madeleine Rudy Paul. « Out of the shadows ». Diss., UMK access, 2006.

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Thesis (M.M.)--Conservatory of Music. University of Missouri--Kansas City, 2006.
For chorus and wind ensemble. "A thesis in music composition." Madeleine L'Engle, poet ; Paul Rudy, advisor Typescript. Vita. Title from "catalog record" of the print edition Description based on contents viewed Nov. 12, 2007. Online version of the print edition.

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Spina, Ana Lucia. « Auto-avaliação vocal, qualidade de vida e avaliação da percepção de sons vocais e sons instrumentais de sujeitos disfonicos ». [s.n.], 2009. http://repositorio.unicamp.br/jspui/handle/REPOSIP/313721.

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Orientador: Agricio Nubiato Crespo
Tese (doutorado) - Universidade Estadual de Campinas, Faculdade de Ciencias Medicas
Made available in DSpace on 2018-08-14T05:24:30Z (GMT). No. of bitstreams: 1 Spina_AnaLucia.pdf: 396844 bytes, checksum: 5539ff9f308e6cec8023d63bdaf5f554 (MD5) Previous issue date: 2009
Resumo: A percepção vocal é um debate ativo da neurociência e um desafio para pesquisadores na atualidade. Este estudo verificou se a auto-avaliação vocal feita pelo paciente disfônico é concordante com a avaliação vocal feita pelo fonoaudiólogo e se essa concordância sofre influência das variáveis: idade, sexo, uso profissional da voz, diagnóstico laringoscópico clínico ou diferentes avaliadores. Correlacionou a avaliação vocal feita pelo fonoaudiólogo e a auto-avaliação feita pelo sujeito disfônico ao protocolo QVV. Verificou também, a habilidade para perceber variação de freqüência em sons vocais e som instrumental. Comparou a habilidade perceptiva entre sujeitos com disfonia funcional, sujeitos com voz normal e cantores. Correlacionou a habilidade de percepção às variáveis: sexo, idade, escolaridade, experiência preliminar com canto, avaliação da qualidade vocal feita pelo fonoaudiólogo e auto-avaliação vocal feita pelo sujeito. O estudo contou com dois grupos distintos. Grupo I: 245 sujeitos submetidos a avaliação perceptiva da voz feita pelo fonoaudiólogo, auto-avaliação da voz e aplicação do protocolo QVV. No Grupo II: foi realizada, em 242 sujeitos, avaliação da percepção de variação de freqüência de sons vocais, feita por meio do som /a/ prolongado, emitido por voz masculina e feminina; e avaliação da percepção de variação de freqüência com som instrumental por meio de teclado virtual. No grupo I: a concordância da avaliação vocal entre fonoaudiólogos e auto-avaliação vocal foi baixa e não sofreu influência das variáveis estudadas. O protocolo QVV revelou sensibilidade tanto para a qualidade vocal avaliada pelo fonoaudiólogo, como para a qualidade vocal avaliada pelo próprio sujeito disfônico. No grupo II: em relação à percepção de variação de freqüências nos sons vocais e som instrumental, cantores apresentaram habilidade superior de percepção para voz e instrumento; sujeitos disfônicos tiveram maior dificuldade em perceber variações de freqüência em voz e instrumento do que sujeitos com voz normal; sexo e idade não influenciaram na habilidade de percepção; sujeitos com maior grau de escolaridade e experiência preliminar com canto mostraram melhor habilidade percepção; quanto pior a classificação da qualidade vocal nas disfonias pior a percepção.
Abstract: Voice perception has been actively debated by neuroscientists and is a challenge for researchers nowadays. This study compared the auditory voice-perception assessments of experienced speech therapists and patients (self-assessment). The influence of age, gender, professional voice use, clinical diagnosis and evaluation by different professionals were also determined. A correlation between vocal assessment performed by the speech-therapist and self-assessment performed by the dysphonic subject was carried out through the VRQOL protocol. The study also observed the ability to perceive pitch variation in vocal and instrumental sounds. A comparison was made between the perceptive ability of subjects with functional dysphonia, subjects with normal voice and singers. A correlation between perceptive ability and gender, age, educational level, previous singing experience, perceptive vocal quality assessed by speech-therapists and self-perception of vocal quality. The study considered two groups. Group I: 245 subjects with voice-perception assessment carried out by the speech-therapist, patients self-assessment and results obtained from the V-RQOL protocol. Group II: 242 subjects evaluated for their perception of pitch variation for vocal sounds that was a sustained /a/ performed by female and male voices and perception of pitch variation for instrumental sounds performed by a virtual keyboard. Group I: levels of agreement between the speech-therapist vocal assessment and patients self-assessment were low and were not influenced by the age, gender, professional voice use, clinical diagnosis and evaluation by different professionals. The V-RQOL protocol was sensitive both to vocal quality as assessed by the speech-therapist and the dysphonic patient. Group II: singers showed better ability in perceiving vocal and instrumental sounds, dysphonic subjects had more difficulty in perceiving pitch variation for vocal and instrumental sounds than subjects with normal voices. Age and gender did not influence perception ability. Subjects with higher educational levels and previous singing experience had better perceptive ability. In the dysphonic group the worse the voice quality the worse the perception.
Universidade Estadual de Campi
Ciencias Biomedicas
Doutor em Ciências Médicas

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Roi, Micheline. « Of a covered harvest ». Thesis, McGill University, 1992. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=61165.

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Of A Covered Harvest is a twenty minute music composition for alto solo, mixed double choir (SSAATTBB) and percussion. It uses the following texts: Sacrifice by Alicia Munoz; Non Linear by Phyllis Webb and ancient Mayan words. The piece explores the themes of power, choice and the crowd versus the individual using the musical depiction of a ritual human sacrifice as a forum for commentary. The three part structure of the piece is delineated by the narration of the ritual by the choir: preparation, sacrifice and resolution, and by the emotional reaction to the sacrifice by the alto solo (victim): denial, isolation and anger; depression and bargaining; and acceptance. Of A Covered Harvest uses contemporary vocal techniques such as vocalizations, paralanguage and the phonetic manipulation of text. The piece follows in the tradition of twentieth century performance practice in its use of graphic notation and aleatoric passages.

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Schultz, Arlan N. (Arlan Nelson). « Edifice : op.4, no.2 ». Thesis, McGill University, 1995. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=22539.

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"EDIFICE" Opus 4. No. 2, is a composition scored for double, mixed chorus, soprano and baritone soli, 2 oboes, 2 clarinets in Bb, 2 bassoons, 4 horns in F, 2 trumpets in C, 2 trombones, and bass trombone. The piece is based on the poem EDIFICE, by Tean E. Schultz, which was written at the request of the composer.
The philosophical impetus of this work stems from the process of perspectival redefinition, the resultant alteration in perceptual space being of primary importance. This could be viewed as the meta-text of the poem and forms the basis for an iconic realization of this concept in "EDIFICE".
The work is characterized by the unusual spatial disposition of its constituent ensembles. Specifically, the two mixed choirs are antiphonally situated, one on either side of the audience, with the wood winds and brass set in two concentric circles between the two choirs. The wood winds and bass trombone are enclosed by the remaining brass. This arrangement of the instruments relates directly to the imagery implicit in the third segment of the poem; " ... I will not listen, My self is pouring Outside me; Like a cast of metal Covers me ... ".
In terms of compositional designs the work explores such techniques as cyclical permutation of phonemic units derived through the phonetic fragmentation of text segments; phonemic manipulation in a multi-layered texture for the purpose of timbral variation; inexact rhythmic imitation, termed "quasi cannon"; serialized and "eroded" breathing rhythms; continuous redisposition of semi-chromatic pitch cells as foundational harmonic structures; and textural "cross-fading" within the antiphonal distribution of forces.

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47

Gilbert, Kristen Elizabeth Spencer Gilbert Kristen Elizabeth Spencer. « Path of life quest to lands unseen / ». Diss., Online access via UMI:, 2006.

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Clifton, Jeremy J. « The four horsemen : an original composition for choir and mixed ensemble ». CardinalScholar 1.0, 2009. http://liblink.bsu.edu/uhtbin/catkey/1466724.

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The Four Horsemen is an original composition in three movements that sets the texts of the Greetings and Doxology, the story of the four horsemen, and the River of Life from the Book of Revelation as found in the New International Version of the Bible. The text, which is presented in English, is set for a large SATB choir and narrator with a mixed ensemble, which consists of flute, clarinet, horn, trumpet, piano, organ, and cello. This fifteen-minute composition makes extensive use of pitch and numerical symbolism by way of a twelve-tone row. Although the piece uses a row, it contains elements of tonality and is globally organized around a tonal center. The piece uses several extended vocal and instrumental techniques to heighten the dramatic character of the apocalypse story. The accompanying document provides historical context for the piece and a discussion of the musical elements and compositional processes used in the work. The symbolic nature of the text, as well as a detailed account of the story of the four horsemen, is also included in this document. The review of repertoire considers a selection of recent works that set portions of the text, as well as compositions inspired by Revelation. The methodology chapter explains the construction, use, and symbolic elements of the row as well as the inclusion and setting of well-known motives like the Dies Irae and the chromatic-fourth lament bass. An analysis of each movement includes discussion of the use of pitch and rhythmic material, texture, setting of the text, and other musical elements that contribute to and/or enhance the symbology of the work. The first movement establishes C as the tonal center, introduces the row and other important motives, and sets the mood for the piece. The second movement, which includes two ostinato figures (a figure based on the reordered version of the row and the lament bass), makes extensive use of syncopation and hemiola throughout the multi-metric environment. The final movement sees the return of motives from the first movement; it employs the row’s retrograde and concludes with a plagal cadence.
School of Music

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Chen, Chang. « A voice controlled measurement procedure for the high energy physics laboratory ». Virtual Press, 1990. http://liblink.bsu.edu/uhtbin/catkey/770952.

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A Zenith-386 workstation was outfitted with a DICRES-54.8 paralell port board to facilitate I/C between a large Summagrid x-y coordinate digital measurement pad that has a resolution of 10 microns. Film views of high energy particle collisions can be projected onto this pad for measurement. Voice prompts via a Votrax speech synthesis system are sent at critical points during the algorithm from the Z-386 through other ports of the DICRES board. Progress in measurement is fed into the Z-386's serial port from an Interstate voice recognition system at other points of the measurement algorithm. The whole measurement process is managed by an assembler language based modular computer program.
Department of Physics and Astronomy

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Keller, Derek Lawrence Baraka Imamu Amiri. « Fear ego love : (2002-2004) for amplified mixed quartet, rock band, and chamber choir / ». Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 2004. http://wwwlib.umi.com/cr/ucsd/fullcit?p3166409.

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Thesis (Ph. D.)--University of California, San Diego, 2004.
Amplified quartet consists of flute, guitar, violoncello, and percussion; chamber choir for a minumum of 16 performers, SSSSAAAATTTTBBBB. Text fragments taken from Black magic by Amiri Baraka. Includes performance instructions preceding score. Vita.

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Thèses sur le sujet « Instrumental Voice »

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