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Tesi sul tema "Funk (Music)"

Autore: Grafiati
Pubblicato: 4 giugno 2021
Ultima modifica: 1 agosto 2024

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1

Lacy, Travis K. ""Funk is its own reward" : an analysis of selected lyrics in popular funk music of the 1970s." DigitalCommons@Robert W. Woodruff Library, Atlanta University Center, 2008. http://digitalcommons.auctr.edu/dissertations/22.

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This research examined popular funk music as the social and political voice of African Americans during the era of the seventies. The objective of this research was to reveal the messages found in the lyrics as they commented on the climate of the times for African Americans of that era. A content analysis method was used to study the lyrics of popular funk music. This method allowed the researcher to scrutinize the lyrics in the context of their creation. When theories on the black vernacular and its historical roles found in African-American literature and music respectively were used in tan
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2

MOLLO, MICHAEL JOHN. "FUNK-IN-THE-BOX FOR SAXOPHONE QUARTET." University of Cincinnati / OhioLINK, 2005. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1115990255.

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3

Sangemark, Viktor. "Vad är groove? : En studie om hur groove inom funk kan appliceras på rockmusik." Thesis, Örebro universitet, Musikhögskolan, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:oru:diva-94553.

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4

Whitman, Kevin. "Reconstructing the Mothership: Meaning and History in the Music of P-Funk." Thesis, University of Oregon, 2017. http://hdl.handle.net/1794/22760.

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During the 1970s, the Parliament-Funkadelic collective, or P-Funk, performed a unique type of funk music that impacted the lives and culture of generations of fans. Their music has been a vital force in the developments of popular music, redefining the limits of concept albums and performances, and opened the doors to funk rock, hip hop, and neo-soul. I address the ways in which P-Funk has been received, interpreted, and reconstructed by the diverse constituents of American popular culture from the 1960s to the present. Each chapter explores a discrete interpretive community that has granted m
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5

GUEDES, MAURICIO DA SILVA. "THIS MUSIC IS FROM OUR COMMAND: A STUDY OF FORBIDDEN FUNK." PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2007. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=9975@1.

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PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO<br>COORDENAÇÃO DE APERFEIÇOAMENTO DO PESSOAL DE ENSINO SUPERIOR<br>O funk proibido ou proibidão é um subgênero da música funk, produzido, sobretudo nos morros e nas favelas do Rio de Janeiro. Esta dissertação analisa o conteúdo das letras do proibidão e mostra que este fenômeno musical é resultado do encontro do funk com as facções do tráfico de drogas que dominam esses territórios. Essa produção musical parece ser usada pelo narcotráfico para divulgar suas idéias, exaltar as suas façanhas, fortalecer a identidade dos membros da facção e
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6

Hughes, Timothy Stephen. "Groove and flow : six analytical essays on the music of Stevie Wonder /." Thesis, Connect to this title online; UW restricted, 2003. http://hdl.handle.net/1773/11410.

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7

Pedro, Thomaz Marcondes Garcia. "Funk brasileiro: música, comunicação e cultura." Pontifícia Universidade Católica de São Paulo, 2015. https://tede2.pucsp.br/handle/handle/4712.

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Made available in DSpace on 2016-04-26T18:15:13Z (GMT). No. of bitstreams: 1 Thomaz Marcondes Garcia Pedro.pdf: 2109038 bytes, checksum: dd6e5d6eb9f66757a65d87ef252fcfe1 (MD5) Previous issue date: 2015-06-25<br>This research focus the phenomenon of Brazilian funk in the Brazilian popular music as a complex sociocultural practice, and recognizing it as a mixture of various musical and non musical elements. It is an investigation that, beside reconstructing one perspective of the development of this music, tried to establish intersections between funk and many others elements that are part of
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8

Emerson, Jason D. "THE JAMBALAYA THAT IS MY BRAIN." University of Cincinnati / OhioLINK, 2001. http://rave.ohiolink.edu/etdc/view?acc_num=ucin992441841.

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9

Gonçalves, Eloá Gabriele. "Banda Black Rio = o soul no Brasil da década de 1970." [s.n.], 2011. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284466.

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Orientador: José Roberto Zan<br>Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes<br>Made available in DSpace on 2018-08-19T08:52:06Z (GMT). No. of bitstreams: 1 Goncalves_EloaGabriele_M.pdf: 60495318 bytes, checksum: 3a3ebc85450535991b7e825c6bfdb5ef (MD5) Previous issue date: 2011<br>Resumo: Este trabalho estuda a trajetória da Banda Black Rio, formada em meados dos anos de 1970, cuja produção caracteriza--?se por fusões de múltiplas musicalidades. Através da análise musical de uma amostragem do repertório gravado pela banda, verificou?se nessa produção a presen
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10

Sermet, Vincent. "Les musiques soul et funk : la France qui groove des années 1960 à nos jours /." Paris : l'Harmattan, 2008. http://catalogue.bnf.fr/ark:/12148/cb412854703.

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11

Amorim, Marcia Fonseca de. "O discurso da e sobre a mulher no funk brasileiro de cunho erotico : uma proposta de analise do universo sexual feminino." [s.n.], 2009. http://repositorio.unicamp.br/jspui/handle/REPOSIP/269098.

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Orientador: Jonas de Araujo Romualdo<br>Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem<br>Made available in DSpace on 2018-08-14T15:35:54Z (GMT). No. of bitstreams: 1 Amorim_MarciaFonsecade_D.pdf: 2570761 bytes, checksum: 66779974e6c992536afcc756a31c54b4 (MD5) Previous issue date: 2009<br>Resumo: O presente trabalho tem como objetivo refletir sobre a participação feminina no funk brasileiro, principalmente em uma ramificação desse movimento que divulga músicas cujas letras apresentam um alto teor de erotismo. Para isso, utilizo como referencial teóric
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12

Scannell, John School of Media Film &amp Theatre UNSW. "James Brown: apprehending a minor temporality." Awarded by:University of New South Wales. School of Media, Film and Theatre, 2006. http://handle.unsw.edu.au/1959.4/26955.

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This thesis is concerned with popular music's working of time. It takes the experience of time as crucial to the negotiation of social, political or, more simply, existential, conditions. The key example analysed is the funk style invented by legendary musician James Brown. I argue that James Brown's funk might be understood as an apprehension of a minor temporality or the musical expression of a particular form of negotiation of time by a minor culture. Precursors to this idea are found in the literature of the stream of consciousness style and, more significantly for this thesis, in the work
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13

Doerfler, Amy M. "Part I: Mass for Full Orchestra and SATB Chorus Part II: Joseph Funk's A Compilation of Genuine Church Music (1832): An Analysis of Music and Methods." Kent State University / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=kent1310584998.

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14

Sermet, Vincent. "Musiques soul et funk en France : histoires et cultures des années 1960 à nos jours." Université de Marne-la-Vallée, 2006. http://www.theses.fr/2006MARN0387.

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15

Bailey, Trenton. "Kemetic Consciousness: A Study of Ancient Egyptian Themes in the Lyrics and Visual Art of Earth, Wind & Fire, 1973-1983." DigitalCommons@Robert W. Woodruff Library, Atlanta University Center, 2017. http://digitalcommons.auctr.edu/cauetds/106.

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By the mid-1970s, Earth, Wind & Fire (EWF) became one of the most commercially successful pop music bands in the world. Their dynamic sound thrilled listeners and their elaborate concerts captivated audiences. EWF stood out from other artists with their philosophical messages and their use of ancient Egyptian symbols and imagery in their visual art. The ancient Egyptian themes intrigued fans but drew criticism from others. This study examines the ancient Egyptian themes incorporated into the lyrics of the songs recorded by the band. This study also examines the ancient Egyptian symbols used in
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16

Araujo, Nicole Barbosa de. "Juventude e resistência: o funk como forma de expressão dos(das) jovens da periferia." Pontifícia Universidade Católica de São Paulo, 2018. https://tede2.pucsp.br/handle/handle/21136.

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Submitted by Filipe dos Santos (fsantos@pucsp.br) on 2018-06-13T12:27:18Z No. of bitstreams: 1 Nicole Barbosa de Araujo.pdf: 843996 bytes, checksum: ccaceb8f446758f45f6b1587cdb5ee4d (MD5)<br>Made available in DSpace on 2018-06-13T12:27:18Z (GMT). No. of bitstreams: 1 Nicole Barbosa de Araujo.pdf: 843996 bytes, checksum: ccaceb8f446758f45f6b1587cdb5ee4d (MD5) Previous issue date: 2018-04-02<br>Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES<br>Understanding the relation between black and poor youth from the periphery with leisure and culture, through the artistic and c
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17

Andersson, Anders-Petter. "Interaktiv musikkomposition." Doctoral thesis, Högskolan Kristianstad, Sektionen för hälsa och samhälle, 2012. http://urn.kb.se/resolve?urn=urn:nbn:se:hkr:diva-9771.

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This dissertation, titled Interactive Music Composition, is a practice based Ph.D. thesis in the field of Musicology. The purpose is to explore if and how one can compose computer based interactive music, that is musically satisfying for an interacting audience, consisting of both laymen and skilled musicians. The text describes the design and reflection in two interactive music installations: Do-Be-DJ, open-air installation in a public park, and, Mufi, with modular and moveable interface. Based on methods and per­spectives in Musicology and Interaction Design, a composition model for interact
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18

Henningsson, Denise. "Play that funky music." Thesis, Malmö högskola, Fakulteten för lärande och samhälle (LS), 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-35582.

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Musik är en väsentlig del i identitetsskapandet för barn och unga världen över. Genom globaliseringen har musik, klädstilar och dylika centrala delar i uppbyggandet av jaget spridits världen över och kombinerats och inspirerats av varandra (Sernhede, 2006). Identitetsskapandet är en betydande del i huruvida ett aktivt medborgarskap tar form eller inte hos olika individer och grupper. Därav är identitetsskapandet en väsentlig del att bejaka vid undervisningen av medborgerlig bildning. Medborgare refererar till en person som reagerar på sin omgivning med medvetenhet om de sociala och politiska f
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19

Herzfeld, Gregor. "Zeit als Prozess und Epiphanie in der experimentellen amerikanischen Musik : Charles Ives bis La Monte Young." Stuttgart Steiner, 2007. http://bvbr.bib-bvb.de:8991/F?func=service&docl̲ibrary=BVB01&docn̲umber=015759238&linen̲umber=0001&funcc̲ode=DBR̲ECORDS&servicet̲ype=MEDIA.

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20

Kyser, Tiffany S. "Folked, Funked, Punked: How Feminist Performance Poetry Creates Havens for Activism and Change." Thesis, Connect to resource online, 2010. http://hdl.handle.net/1805/2192.

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Thesis (M.A.)--Indiana University, 2010.<br>Title from screen (viewed on July 19, 2010). Department of English, Indiana University-Purdue University Indianapolis (IUPUI). Advisor(s): Karen Kovacik, Peggy Zeglin Brand, Ronda C. Henry. Includes vitae. Includes bibliographical references (leaves 79-83).
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21

Nagel, Frederik. "Psychoacoustical and psychophysiological correlates of the emotional impact and the perception of music /." Göttingen : Sierke, 2007. http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&doc_number=016138858&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA.

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22

Schäfer, Thomas. "The Goals and Effects of Music Listening and Their Relationship to the Strength of Music Preference." Universitätsbibliothek Chemnitz, 2016. http://nbn-resolving.de/urn:nbn:de:bsz:ch1-qucosa-201941.

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Individual differences in the strength of music preference are among the most intricate psychological phenomena. While one person gets by very well without music, another person needs to listen to music every day and spends a lot of temporal and financial resources on listening to music, attending concerts, or buying concert tickets. Where do these differences come from? The hypothesis presented in this article is that the strength of music preference is mainly informed by the functions that music fulfills in people’s lives (e.g., to regulate emotions, moods, or physiological arousal; to promo
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23

Orlando, Junior João. "Batidão: um estudo da variação discursiva na música funk." Pontifícia Universidade Católica de São Paulo, 2009. https://tede2.pucsp.br/handle/handle/14560.

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Made available in DSpace on 2016-04-28T19:34:35Z (GMT). No. of bitstreams: 1 Joao Orlando Junior.pdf: 11923636 bytes, checksum: c5cc1938a11761ebd833d8f1ff2c5c36 (MD5) Previous issue date: 2009-05-04<br>Conselho Nacional de Desenvolvimento Científico e Tecnológico<br>This research work has the purpose of stimulating the understanding of a musical movement that has been gaining space in the communication media, whether due to its content, connected to organized crime, whether for its theme of extreme sexual content. The funk music is a typical carioca phenomenon currently passing through
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24

Schaus, Lam E. "Implementing multicultural music education in the elementary schools' music curriculum." Thesis, McGill University, 2007. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=111519.

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The study examined the benefits of implementing multicultural music education into an elementary school's music curriculum. Conducted in a region with a culturally diverse student population, the study surveyed in-service music teachers and elementary students' parents on their perceptions of multicultural music education. Meanwhile, a set of experimental classes focused on Chinese music was taught to a diverse class of Grade 5 students to study their reactions and learning outcomes when studying non-Western music. Results indicate that (a) multicultural music needs to be better implemented in
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25

Straw, Will 1954. "Popular music as cultural commodity : the American recorded music industries 1976-1985." Thesis, McGill University, 1990. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=39241.

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This dissertation is an analysis of historical change within those cultural industries involved in the production and dissemination of popular music. Through an analysis of the relationship between the recording and radio industries within the United States, during the period 1976-1985, the manner in which crises within these industries arise and are resolved is traced. The emergence of such musical forms as "disco" and "New Wave", and the manner in which these forms have been integrated within the functioning of the music-related industries, are central concerns of the dissertation. At the sa
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26

Fujinaga, Ichiro. "Adaptive optical music recognition." Thesis, McGill University, 1996. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=42033.

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The basic goal of the Adaptive Optical Music Recognition system presented herein is to create an adaptive software for the recognition of musical notation. The focus of this research has been to create a robust framework upon which a practical optical music recognizer can be built.<br>The strength of this system is its ability to learn new music symbols and handwritten notations. It also continually improves its accuracy in recognizing these objects by adjusting internal parameters. Given the wide range of music notation styles, these are essential characteristics of a music recognizer.<br>The
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27

Ilari, Beatriz Senoi. "Music cognition in infancy : infants' preferences and long-term memory for complex music." Thesis, McGill University, 2002. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=38490.

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The purpose of this study was to investigate infants' preferences and long-term memory for two contrasting complex pieces of music, that is, Prelude and Forlane from Le Tombeau de Couperin by Maurice Ravel (1875--1937). Seventy 8.5-month-old infants were randomly assigned to one of four experiments conducted on the Headturn Preference Procedure. The first experiment examined infants' preferences for Prelude and Forlane in piano timbre. The second experiment assessed infants' preferences for Prelude and Forlane in orchestra timbre. Infants' preferences for the Forlane in piano and orchestra tim
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28

Williams, Stephanie E. (Stephanie Evangeline). "On folk music as the basis of a Jamaican primary school music programme." Thesis, McGill University, 1985. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=63211.

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29

Loeffler, James Benjamin. "A gilgul fun a nigun Jewish musicians in New York, 1881-1945 /." Cambridge, Mass. : Harvard College Library, 1997. http://catalog.hathitrust.org/api/volumes/oclc/37797078.html.

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30

Sanyshyn, James Evan. "The role of Canadian music in the preparation of music specialists in British Columbia /." Thesis, McGill University, 1999. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=30213.

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This study examined the role Canadian music plays in the preparation of secondary school music specialists in British Columbia. Programme content was explored through an analysis of course calendars, a review of student, faculty and guest recital repertoire, and interviews with post-secondary instructors and senior music education students. Fourteen music specialists completed a checklist in order to determine what Canadian materials are being used in the classroom. Follow-up interviews were conducted with three teachers to further explore the selection of teaching materials. An official from
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31

McKay, Cory. "Automatic music classification with jMIR." Thesis, McGill University, 2010. http://digitool.Library.McGill.CA:8881/R/?func=dbin-jump-full&object_id=92213.

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32

Bolton, Rose A. "Incidental music of my mind." Thesis, McGill University, 1998. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=21496.

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Instrumentation: 1*(1.=picc.)-1-2*(2.-Bb+bass cl.)-1 / 1-1-1-0 / 2 perc., 1 keyb. (piano+celesta) / 1-1-1-1-1<br>The work is approximately 14 minutes long, and consists of six movements which make up a series of musical tableaux, placing greater emphasis on their contrasting characters instead of on gradual and continuous development of material. These movements take their inspiration from activities or situations encountered in everyday life, thus revisiting the old tradition of "character pieces" as encountered, for example, in the music of many composers such as Schumann, Grieg or Mussorgsk
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33

Lefcoe, Andrew. "Kuhn's paradigm in music theory." Thesis, McGill University, 1998. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=21231.

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Thomas Kuhn's essay The Structure of Scientific Revolutions has had an overwhelming impact upon academics from various fields, creating a virtual paradigm industry. Authors have frequently had recourse to Kuhn's book, applying insights into the structure and development of the sciences to nonscientific fields. This essay presents a critical review of Kuhn citation in the music-theoretic literature, first reviewing similar citation analyses in the humanities and the social sciences for comparison. While much of the Kuhn citation is problematic, music scholars are found to sin less broadly than
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Diener, Glendon. "Formal languages in music theory." Thesis, McGill University, 1985. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=59610.

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In this paper, the mathematical theory of languages is used to investigate and develop computer systems for music analysis, composition, and performance. Four prominent research projects in the field are critically reviewed. An original grammar-type for the computer representation of music is introduced, and a computer system for music composition and performance based on that grammar is described. A user's manual for the system is provided as an appendix.
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35

Fujinaga, Ichiro. "Optical music recognition using projections." Thesis, McGill University, 1988. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=61870.

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36

Loehr, Janeen. "Temporal coordination in music performance." Thesis, McGill University, 2010. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=95043.

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This thesis investigates temporal coordination in music performance. Previous investigations of temporal coordination have focused on people's coordination of simple movements with experimenter-controlled stimulus sequences or with other people performing similar movements. The research presented here focuses instead on coordination of the rhythmically and sequentially complex sequences required of music performance. The study presented in Chapter 2 shows that musicians adapt the timing of their movements relative to a stimulus sequence in response to sensory information that occurs in the int
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Morris, Jeremy. "Understanding the digital music commodity." Thesis, McGill University, 2010. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=95108.

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This dissertation concentrates on the changing form of the music commodity over the last two decades. Specifically, it traces the transition from music on compact discs to music as a digital file on computers/mobile devices and the economic, industrial, aesthetic and cultural consequences this shift has for how we produce, present, and consume music. As computers became viable sources for the playback of popular music in the 1980s and 1990s, the roots of the digital music commodity took hold. Stripped of many of their previous attributes (i.e. album art, compressed sound, packaging, etc.), rec
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38

Zanni, Caroline A. A. "Attention and music : understanding young children's attention and the potential of music to increase attention." Thesis, McGill University, 2004. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=85108.

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This study examined three areas related to attention in primary school-aged children to answer the following questions: Are there a distinct neuropsychological differences for young children referred by teachers as lacking in attention compared to those not lacking in attention? Are there advantages to using neuropsychological measures of attention over behaviour rating scales and observations in preschool or early grade school population? Can these same neuropsychological tools evaluate the effectiveness of music with children that have attention problems?<br>There were 24 participants
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Galaty, James G. "As The Music Leaves No Scar: composing with models based on popular music: distillation and distantiation." Thesis, McGill University, 2008. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=18819.

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This thesis has been written with the aim of integrating the two parallel paths which have characterized my formative years: on the one side an early contact with and practice of popular music, on the other, a more 'classical' training in music in a university context. This suggested a path of investigation within a song cycle for solo baritone and 17 musicians, where a musical space is extended beyond an imagined 'popular' world, through the creation of 'models' – based upon my own popular-music inspired songs – which are then set into 'perspective' through various combinations and transforma
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40

Aldred, Sarah. "Cultural identity and Galician folk music." Thesis, University of Strathclyde, 2005. http://oleg.lib.strath.ac.uk:80/R/?func=dbin-jump-full&object_id=23489.

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41

Mikkonen, Simo. "Music and power in the Soviet 1930s : a history of composers' bureaucracy /." Lewiston, N.Y. [u.a.] : Mellen, 2009. http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&doc_number=017397006&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA.

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42

Plamondon, Marc. "Music in the poetry of Robert Browning." Thesis, McGill University, 1994. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=26304.

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This thesis attempts to characterize the musicality of Robert Browning's poetry. There has been much debate about whether or not Browning may be said to be a musical poet, but neither side has effectively characterized the musicality or lack thereof in his poetry. This study does not concentrate on Browning's "philosophy" of music, nor on the musical allusions in his poetry. Instead it attempts to identify aspects of Browning's art that share an affinity with music.<br>First, the state of music in nineteenth-century England is briefly discussed, followed by a discussion of Browning's musical b
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Guimond, David. "(Re)sounding : disintegrating visual space in music." Thesis, McGill University, 2007. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=102803.

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While the groundbreaking insights that contemporary theorists have formulated with regards to space---as a multiplicity without essence, as an active event, and as inseparable from subjectivity, power, Otherness and time---have ostensibly purged it of its traditional understanding as absolute, a specific visuality characteristic of Cartesian perspectivalism remains privileged in its theorization which force it to remain so. While the complexity of space cannot be recovered from an abstract contemplation of its visual geometry in a way that reflects these contemporary concerns, there have unfor
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Sutherland, Richard Francis. "Making Canadian music industry policy 1970-1998." Thesis, McGill University, 2009. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=32522.

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This dissertation is a history of the development of the Canadian federal government's music industry policies from about 1970 to 1998. Over this period the government undertook a number of significant initiatives that mark the emergence of the Canadian music industry as a distinctive object of federal policy. The resulting account is not a single, linear narrative but unfolds in three separate but related streams, based on the following policies: Canadian content quotas for radio, the Sound Recording Dev
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45

Gudmundsdottir, Helga Rut. "Music reading errors of young piano students." Thesis, McGill University, 2002. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=82885.

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This study investigated the music-reading errors of 6--13-year-old piano students (n = 35) as they read three unfamiliar musical pieces. The musical pieces were similar in terms of tonality, and rhythmic and melodic complexity, but differed in terms of simultaneity of left- and right hand and complexity of left-hand arrangement.<br>Pitch errors were examined in terms of frequency, placement, and type. Of all pitches played, 23% were incorrect pitches. However, 30% of the incorrect pitches were followed by an immediate correction (self-correction). There were significantly more errors ma
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van, Geest Justin. "Metre in the Music of Anton Webern." Thesis, McGill University, 2014. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=123278.

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In this thesis, I examine Anton Webern's metrical practice. Metrical issues seem to have been a preoccupation for the composer, evidence of which is found in, among other sources, sketch material (Bailey 1995) and metrical features of the published works, as I will show. While scholars have acknowledged the richness of metre in Webern's works (e.g., Berry 1976, Boulez 1991), relatively little metrical analysis has been undertaken; in particular, analyses that account for entire works are relatively rare, and no attempt has been made to investigate metre in depth across Webern's œuvre. In this
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Upham, Finn. "Quantifying the temporal dynamics of music listening: a critical investigation of analysis techniques for collections of continuous responses to music." Thesis, McGill University, 2011. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=104495.

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Continuous response measurement offers a data-rich trace of a listener's experiences of music in time. Listeners' responses are most often studied in collections---each a set of time series of the same response measure to the same stimulus from multiple listenings. Inter-response variability and the challenges of time series analysis complicate the interpretation of these collections. This thesis describes traditional and novel methods of analyzing collections of continuous responses to music with the goal of identifying what information can be found in these collections before trying to esta
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Davies, Robin 1975. "Toolkit : specialized software tools for electronic music composition." Thesis, McGill University, 2001. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=32905.

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This research presents new audio creation and processing tools for the virtual electronic music studio. The Tools were created by the author in the Max/MSP authoring environment. Some Tools model analog production techniques lost when studios moved inside computers, and provide additional functionality only possible in the digital world. Others make use of traditional processing ideas but add a level of control difficult to find in today's audio software plug-ins. The Tools are small, simple, real-time, and user-controllable devices for working with sound.
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Schartmann, Andrew. "A study of thematic introduction in Beethoven's music." Thesis, McGill University, 2012. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=106301.

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Beethoven's contribution to the expansion and development of musical form is a prevalent topic in the scholarly literature on this composer. Surprisingly, though, one important aspect of this contribution remains unexplored—the role that thematic introduction plays in the structure of his works and the development of his style. According to William Caplin, introductions fall into one of two categories: thematic or slow. Whereas the former consists of 2-4 measures that precede the onset of the main theme, the latter comprises a more extensive section of music that prepares the exposition. This
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De, la Riva Richard. "Architecture and music : on rhythm, harmony and order." Thesis, McGill University, 1990. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=22393.

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This paper examines the relationship of architecture to music in terms of rhythm, harmony and order in both the Greek Antiquity and the early Middle Ages. These basic concepts are crucial because they emphasize 'fullness' of experience and demonstrate the extent to which our own regulating experience of the world has become empirical (or formal). The discussion thus places architectural theory within the movement of ideas between mythical thought and metaphysical construct; it places architectural practice within the movement between bodily experience and reasoning.
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