Kliknij ten link, aby zobaczyć inne rodzaje publikacji na ten temat: Dynamik i musik.
Rozprawy doktorskie na temat „Dynamik i musik”
Utwórz poprawne odniesienie w stylach APA, MLA, Chicago, Harvard i wielu innych
Sprawdź 50 najlepszych rozpraw doktorskich naukowych na temat „Dynamik i musik”.
Przycisk „Dodaj do bibliografii” jest dostępny obok każdej pracy w bibliografii. Użyj go – a my automatycznie utworzymy odniesienie bibliograficzne do wybranej pracy w stylu cytowania, którego potrzebujesz: APA, MLA, Harvard, Chicago, Vancouver itp.
Możesz również pobrać pełny tekst publikacji naukowej w formacie „.pdf” i przeczytać adnotację do pracy online, jeśli odpowiednie parametry są dostępne w metadanych.
Przeglądaj rozprawy doktorskie z różnych dziedzin i twórz odpowiednie bibliografie.
1
Gudmundson, Perols Erik, and Cecilia Hahne. "Musikalisk dynamik och inlärning : En studie huruvida dynamik i musik påverkar inlärning i datorspel." Thesis, Högskolan i Skövde, Institutionen för informationsteknologi, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:his:diva-20089.
Pełny tekst źródłaStreszczenie:
Dynamik i musik syftar traditionellt på variationer av bland annat tonstyrka. I denna rapport utförs ett fördjupande av begreppet dynamik i musik, såväl som en överblick av relevant terminologi samt forskning om vilka effekter bakgrundsmusik kan besitta. Syftet med studien var att besvara frågeställningen “Hur påverkar dynamik i musik spelarens förmåga att lära in omgivningen i ett datorspel?”. För att undersöka frågeställningen har 28 personer genomfört ett experiment där de delades upp i två grupper, besvarade två frågeformulär samt spelade en av två artefakter beroende på grupp. Artefakterna bestod av en spelprototyp vars tillhörande bakgrundsmusik hade olika dynamiskt omfång beroende på grupp. Undersökningen visade att dynamiken i den musik som använts inte haft någon märkbar påverkan på deltagarnas resultat. För framtida forskning inom ämnet föreslås vidare studier inom musik och inlärning, samt kvalitativa metoder som tillägg till studier om dynamikens roll.<br><p>Det finns övrigt digitalt material (t.ex. film-, bild- eller ljudfiler) eller modeller/artefakter tillhörande examensarbetet som ska skickas till arkivet.</p>
2
Aronsson, Ludwig. "Trumma tyst! : En studie om nya tekniska och musikaliska möjligheter genom volymsvag övning." Thesis, Luleå tekniska universitet, Institutionen för konst, kommunikation och lärande, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:ltu:diva-74048.
Pełny tekst źródłaStreszczenie:
Under hösten 2018 och våren 2019 har jag jobbat med volymsvag övning på trummor för att utforska nya tekniska och musikaliska möjligheter i mitt spel. Det var trummisen Ziv Ravitz som inspirerade mig till att öva på volymsvagt spel. Jag började under studien utforska olika tekniker i händer och fötter och uppmärksammade tidigt att jag behövde mer sofistikerad fingerteknik för att kunna forska i volymsvagt spel. En stor del av studien spenderades därför på att bearbeta fingerteknik i mitt spel. Jag jobbade främst ensam men spelade även in i studio med ensemble för att redogöra för mina slutsatser. I studien jobbade jag utifrån två genrer, bebop och modern jazz. Jag kunde genom den här studien upptäcka nya tekniska och musikaliska möjligheter i och med den volymsvaga metoden. Studien har lett till att jag fått en djupare förståelse för dynamik som musikaliskt medel och dess påverkan på olika områden av mitt musicerande. Mitt fokus i övningen var huvudsakligen på högerhanden samt högerfoten och kommer därför vara det även i rapporten. Eftersom jag spelar på ett högerhänt trumset skriver jag i rapporten utifrån det perspektivet. Spelar man på ett vänsterhänt trumset eller med open hand-teknik får man tänka rapporten utifrån det perspektiv som är lämpligt för en själv.
3
Junestav, Hannes. "Dramaturgiska förlopp inom jazzmusik." Thesis, Kungl. Musikhögskolan, Institutionen för jazz, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-3019.
Pełny tekst źródłaStreszczenie:
This study set out to explore different ways to structure the dramaturgy within jazz music, using different levels of musical intensity over time. The author claims that there is a specific model, or method, which is used quite commonly in many types of jazz music, as well as in other genres. This model can be described as the level of intensity starting at a relatively low point, then increasing until it reaches a high point near the end of a certain timeframe, to finally round off with a quick downturn of the intensity level. For example, in jazz music this model could often be applied to a single solo, or an entire tune. The objective for this project was to see if it would be possible to find other such models for the dramaturgic structure, and to explore how these could possibly be applied. The process of this study, was to first theorize a set of ideas for alternatives to the model described above. These ideas were then tested in a context, with the musicians from the author’s jazz quartet, which also was the band performing at the author’s graduation concert. After analyzing recordings of the ideas that were tested by the jazz quartet, the author extracted a few methods and principles out of them. He used what he came up with in this phase, as integral components when composing new musical material to perform with his quartet at the graduation concert. There were some difficulties in drawing conclusions from the results of this study, due to its exploring nature and the vastness of the subject. Despite that, clear signs of potential regarding some of the alternative models for dramaturgic structure was shown. Arguments were made that the study produced some useful results within the scope of survey.
4
Möller, Marta. "Att brottas med musiken : En självstudie i erfarandet av dynamik utifrån ett solostycke." Thesis, Karlstads universitet, Institutionen för konstnärliga studier (from 2013), 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-68415.
Pełny tekst źródłaStreszczenie:
För att komma underfund med och bli medveten om min egen övning kring dynamik och dess utförande har jag utfört en studie kring detta. Syftet grundas i flera kommentarer från lärare på masterclasses och lektioner om att jag aldrig utför tillräckligt med dynamik i stycket jag framför. Mina forskningsfrågor handlar om hur jag erfar min egen instudering och gestaltning av de dynamiska skillnaderna i flöjtsolostycket Density 21.5avEdgard Varése, hur detta upplevs vid framträdande och rummets påverkan. I bakgrundskapitlet presenteras hur dynamik får ökad betydelse genom historien, hur dynamik kan utföras på tvärflöjt, tidigare forskning kring instudering av stycken och akustik samt det teoretiska perspektivet kroppsfenomenologi av Merleau-Ponty. Metodkapitlet tydliggör studiens upplägg och hur övandesituationer har dokumenterats genom loggbok samt ljud- och videoinspelning. Detta har sedan analyserats genom kroppsfenomenologins glasögon. Ett försök har även gjorts för att tydliggöra faktorer som kan förbättra min dynamikkontroll och dess erfarande. Slutligen sker en diskussion om hur kroppens vanor och aktivitet påverkar utförandet vid både övning och framträdande.<br>In order to find out and become aware of my own use of dynamics and the use of it in performance, I have made a study on this. The purpose is based on several comments during master classes and lessons, as I have always been told that I never express enough dynamics in the performed piece. My research is based on the experience of my own practice and the development of big dynamic contrasts in the flute piece Density 21.5 byEdgard Varése. I also explore and look at the influences of the room acoustic and the matter it has on the actual dynamic. The background research emphasizes how dynamics are gaining importance through history, how to use dynamics on the flute, previous research that has been made on the study of pieces and acoustics and also the theoretical perspective of body phenomenology by Merleau-Ponty. The method chapter clarifies the structure of the study and how practice situations have been highlighted through logbook, audio- and video recording. This has then been analyzed through detailed body phenomenology and an attempt has also been made to clarify factors that can improve my own dynamic control and its experience. Finally, there is a discussion which brings up how habits and activities of the body affect the experience in both practice and performance.
5
Wicher, Michaela [Verfasser], and Joachim [Akademischer Betreuer] Westerbarkey. "Independent als Musik- und Produktionskultur : Autonomie und Authentizität zwischen Tradition, Dynamik und Rentabilitätserfordernis ; eine theoretische und pragmatische Aufarbeitung / Michaela Wicher. Betreuer: Joachim Westerbarkey." Münster : Universitäts- und Landesbibliothek der Westfälischen Wilhelms-Universität, 2012. http://d-nb.info/1027020968/34.
Pełny tekst źródła
6
Krause, Marco [Verfasser], Ronald [Akademischer Betreuer] Hitzler, and Eva [Gutachter] Kimminich. "Moden in der Hip-Hop-Szene: eine ethnographische Studie über die Bedeutung und Dynamik von Modestrukturen / Marco Krause ; Gutachter: Eva Kimminich ; Betreuer: Ronald Hitzler." Dortmund : Universitätsbibliothek Dortmund, 2018. http://d-nb.info/1191479811/34.
Pełny tekst źródła
7
Nilsson, Simon. "Four Chords : Förutsägbart eller genialiskt?" Thesis, Linnéuniversitetet, Institutionen för musik och bild (MB), 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-66945.
Pełny tekst źródłaStreszczenie:
I det här arbetet har jag undersökt melodiernas kvalitet och vilka byggstenar som ligger till grund för melodins intresse. Därför begränsade jag mig till att skriva sex ”four chords”-låtar där jag sedan bedömde och analyserade resultatet. Jag kom fram till att melodins samverkan med rytmen samt användandet av pauser är av största vikt för att melodin ska finna mitt intresse.
8
Danielsson, Joel. "Hur påverkar den musikaliska bakgrunden musikers yrkesutövande?" Thesis, Kungl. Musikhögskolan, Institutionen för musik, pedagogik och samhälle, 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-1775.
Pełny tekst źródłaStreszczenie:
Syftet med denna undersökning är att utforska på vilka sätt den musikaliska bakgrunden ochden musikaliska identiteten avspeglar sig på yrkesmusiker i deras yrkesutövande, när detavspeglar sig som tydligast och vilken period i deras musikaliska bakgrund som de anser varitmest betydelsefull. Kvalitativa intervjuer har genomförts med tre musiker i olika åldrar. Denmusikaliska bakgrunden, vilka åldrar som varit av störst betydelse och på vilka sätt de anser attderas musikaliska bakgrund skiner igenom i deras instrumentalspel har diskuterats iintervjuerna. I tidigare studier har man konstaterat att den musikaliska bakgrunden har en storinverkan på hur man utför sitt yrke. Miljön och de erfarenheter man fått från sin uppväxtskapar en trygghet som man tenderar att hålla fast vid.Resultatet från denna undersökning visar att samtliga intervjuade anser att den musikaliskabakgrunden har stor betydelse för hur de utför den kreativa process som musikeryrket innebär.Musik som föräldrar och syskon lyssnar på i barndomshemmet visar sig har stor betydelse förhur de identifierar sig musikaliskt, men de sena tonåren visar sig vara av allra störst betydelse.De menar också att det är i tonåren man blir mer självständig och att det är då man börjar tamusiken på allvar, vilket leder till de att ser tillbaka på den tiden som mest betydelsefulla ochutvecklande.Den musikaliska bakgrunden visar sig avspegla sig som tydligast när man spelar i andramusikstilar än den som man är mest van vid.
9
Ganrot, Ulf. "Att skapa en poplåt i årskurs 5 & 6, ackord & text." Thesis, Malmö universitet, Fakulteten för lärande och samhälle (LS), 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-32475.
Pełny tekst źródłaStreszczenie:
Denna studie är en undersökning av hypotesen om att relationen mellan ackord & text kan an-vändas som pedagogisk metod för att lära eleverna skapa egna poplåtar. Studien är ett försök att etablera en relation, mellan den medierade musikkulturen som eleverna dagligen möter, och den musikpedagogik som skolmiljön står för. Att ta två naturliga och oundgängliga inslag i en poplåt och göra dem till en pedagogisk metod kräver vissa eller särskilda perspektiv för att underlätta elevernas lärande. Ambitionen var att kunna formulera dessa perspektiv som tankeredskap för elevens successivt estetiska lärande. Ett tolkande eller reflekterande över ackordföljdernas innebörd var tänkt som ett inledande moment då elevens skapande skulle börja. Denna intellektuella utmaning kräver en övertydlighet från lärarens sida för att det skall bli det förväntade innehållet i elevens skapande. Undersökningen är gjord i mellanstadiet, årskurs fem och sex. Genomförandet bestod av två lektioner i vardera årskursen, samt två enkäter efter respektive lektion, enkäter där eleverna fick svara på frågor om lärande, önskemål och synpunkter om innehåll i undervisningen, samt vad som var lätt respektive svårt. Metoden gav empiriskt material för att undersöka hur eleverna lär sig att göra en poplåt och med vilka begrepp och perspektiv som detta lärande kan underlättas och stimuleras. Studien gav möjlighet att formulera de tre punkterna i lärandets process; (i)lyssna, observera och förstå, (ii)använd lyssnandet i ditt egna skapande, (iii)skapa struktur och ramar kring förståelsen. Att det finns flera fördelar med upprepad repetition var ett biresultat. Under studiens gång uppstod flera möjligheter att formulera, betrakta och förstå elevernas successiva process att skapa ett musikkonstverk där texten skulle bidra till att framhäva musikens uttryck.
10
Eriksson, Oliver, and Philip Lindau. "Evaluating an adaptive music system in an adventure game environment." Thesis, Södertörns högskola, Institutionen för naturvetenskap, miljö och teknik, 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-22821.
Pełny tekst źródłaStreszczenie:
Adaptiv musik ändras beroende av parametrar som ändras av händelser i spelet. Den här studien undersöker om ett adaptivt musik system är en förbättring i spelet A Story About My Uncle jämfört med statisk musik, om det är värt tidsinvesteringen som implementationen kräver. Data samlas in genom att ta in testare som spelar en introduktionsnivå i spelet två gånger, en gång med statisk musik och en gång med adaptiv musik. Spelarna svarar på en enkät efter varje genomspelning av nivåerna. Resultaten visar ingen signifikant skillnad mellan den statiska och adaptiva versionen när man undersöker spelarnas generella spelupplevelse, och upplevelse av musiken i nivåerna.
11
Macrae, Robert. "Linking music metadata." Thesis, Queen Mary, University of London, 2012. http://qmro.qmul.ac.uk/xmlui/handle/123456789/8837.
Pełny tekst źródłaStreszczenie:
The internet has facilitated music metadata production and distribution on an unprecedented scale. A contributing factor of this data deluge is a change in the authorship of this data from the expert few to the untrained crowd. The resulting unordered flood of imperfect annotations provides challenges and opportunities in identifying accurate metadata and linking it to the music audio in order to provide a richer listening experience. We advocate novel adaptations of Dynamic Programming for music metadata synchronisation, ranking and comparison. This thesis introduces Windowed Time Warping, Greedy, Constrained On-Line Time Warping for synchronisation and the Concurrence Factor for automatically ranking metadata. We begin by examining the availability of various music metadata on the web. We then review Dynamic Programming methods for aligning and comparing two source sequences whilst presenting novel, specialised adaptations for efficient, realtime synchronisation of music and metadata that make improvements in speed and accuracy over existing algorithms. The Concurrence Factor, which measures the degree in which an annotation of a song agrees with its peers, is proposed in order to utilise the wisdom of the crowds to establish a ranking system. This attribute uses a combination of the standard Dynamic Programming methods Levenshtein Edit Distance, Dynamic Time Warping, and Longest Common Subsequence to compare annotations. We present a synchronisation application for applying the aforementioned methods as well as a tablature-parsing application for mining and analysing guitar tablatures from the web. We evaluate the Concurrence Factor as a ranking system on a largescale collection of guitar tablatures and lyrics to show a correlation with accuracy that is superior to existing methods currently used in internet search engines, which are based on popularity and human ratings.
12
Washburn, Megan E. "Dynamic Procedural Music Generation from NPC Attributes." DigitalCommons@CalPoly, 2020. https://digitalcommons.calpoly.edu/theses/2193.
Pełny tekst źródłaStreszczenie:
Procedural content generation for video games (PCGG) has seen a steep increase in the past decade, aiming to foster emergent gameplay as well as to address the challenge of producing large amounts of engaging content quickly. Most work in PCGG has been focused on generating art and assets such as levels, textures, and models, or on narrative design to generate storylines and progression paths. Given the difficulty of generating harmonically pleasing and interesting music, procedural music generation for games (PMGG) has not seen as much attention during this time.
Music in video games is essential for establishing developers' intended mood and environment. Given the deficit of PMGG content, this paper aims to address the demand for high-quality PMGG. This paper describes the system developed to solve this problem, which generates thematic music for non-player characters (NPCs) based on developer-defined attributes in real time and responds to the dynamic relationship between the player and target NPC.
The system was evaluated by means of user study: participants confront four NPC bosses each with their own uniquely generated dynamic track based on their varying attributes in relation to the player's. The survey gathered information on the perceived quality, dynamism, and helpfulness to gameplay of the generated music. Results showed that the generated music was generally pleasing and harmonious, and that while players could not detect the details of how, they were able to detect a general relationship between themselves and the NPCs as reflected by the music.
13
Wallius, Malin. "Dissonans i dynamisk musik : och dess funktion som designverktyg för spel." Thesis, Högskolan i Skövde, Institutionen för informationsteknologi, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:his:diva-12387.
Pełny tekst źródłaStreszczenie:
Arbetets syfte var att undersöka hur dynamisk spelmusik med inslag av dissonans påverkar en spelares möjlighet att lösa ett pusselspel. I bakgrundskapitlet beskrivs spelmusikens historia från linjära loopar till dynamisk musik, den dynamiska musikens användningsområden och studier som gjorts om dissonans och konsonans. En förstudie kring pusselspel och dynamisk komposition gjordes och ett pusselspel utvecklades med ett ledtrådssystem baserat på dissonans. Dynamisk musik med inslag av dissonans visade sig kunna påverka en spelares möjlighet att lösa ett pusselspel genom både negativ påverkan på spelarens känsloläge och som guidande feedback. Dess påverkan kan variera beroende på om den har en avledande eller en ledande funktion då det kan tolkas olika beroende på individ. En mer omfattande studie med mindre märkbara grafiska element och med tydligare dissonanser krävs för att kunna se ett tydligare samband. Studier med andra spel- och musikgenrer och studier med fokus på andra musikkulturer vore också intressanta.
14
Andersson, Anton, and Tobias Eriksson. "Effekten av Mickey-Mousing i datorspel : En studie av Mickey-Mousing och dess effektivitet i dynamiska datorspel." Thesis, Högskolan i Skövde, Institutionen för informationsteknologi, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:his:diva-17145.
Pełny tekst źródłaStreszczenie:
Mickey-Mousing är en ljudläggningsmetod som använts sedan de tidiga tecknade filmerna i slutet på 1920-talet och beskrivs som en ”musikalisk imitation av fysisk rörelse”. Det har använts genom tiderna för att betona och förstärka de grafiska händelser som sker på filmduken, och har nu även förts in i ett nytt medie - datorspel. Det som undersöks i detta forskningsarbete är användandet av Mickey-Mousing, och dess legitimitet inom spelgenren fumblecore. Frågeställningen som undersökts lyder: Hur påverkar Mickey-Mousing spelupplevelsen i fumblecore-spel jämfört med diegetisk, realistisk ljudläggning?
15
Aarden, Bret J. "Dynamic melodic expectancy." The Ohio State University, 2003. http://rave.ohiolink.edu/etdc/view?acc_num=osu1060969388.
Pełny tekst źródła
16
Westling, Tony. "Symfonisk musik i spelmusik : Undersökning om genombrottet för symfonisk musik i tv och datorspel." Thesis, Stockholms universitet, Institutionen för kultur och estetik, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-176001.
Pełny tekst źródłaStreszczenie:
This essay will try to examine the breakthrough of symphonic game music by following my hypothesis of the actual breakthrough in late 90s through early 2000s. The method of the essay is a hermeneutic approach which will find different interpretations that in the later part of the essay will lead to an analysis and discussion. This approach is a way for later scholars to examine the subject further. A central part of the essay is to define the term symphonic game music which never before in broader terms have been defined, though the terms dynamic music and orchestral music has been used by scholars such as Collins. Central figures i write about are Nobuo Uematsu and Winifred Phillips, whose contributions to the field of game music are extraordinary, and they also bring forth their own theories. I write more about theories, among others Karen Collins and Koji Kondo, to broaden the discussions. The delimitations in this essay are very important to narrow the types of games studied, and they are for the most part video games and computer games. In the actual examination i refer to among others the scholars Donnelly, Phillips and Collins to map the time of breakthrough and how it actually happened. The games I examine in more detail are Final Fantasy and The Elder Scrolls because I argue in my hypothesis that these two game series are important for the actual breakthrough. Tables and notes from Final Fantasy are used to clarify the subject studied. In the end of the essay I conclude with different perspectives and evaluation of the subject.
17
Klineburger, Philip C. "The Dynamic Functional Capacity Theory: Music Evoked Emotions." Diss., Virginia Tech, 2014. http://hdl.handle.net/10919/50991.
Pełny tekst źródłaStreszczenie:
The music-evoked emotion literature implicates many brain regions involved in
emotional processing but is currently lacking a model that specifically explains how they
temporally and dynamically interact to produce intensely pleasurable emotions. A
conceptual model, The Dynamic Functional Capacity Theory (DFCT), is proposed that
provides a foundation for the further understanding of how brain regions interact to
produce intense intensely pleasurable emotions. The DFCT claims that brain regions
mediating emotion and arousal regulation have a limited functional capacity that can be
exceeded by intense stimuli. The prefrontal cortex is hypothesized to abruptly deactivate
when this happens, resulting in the inhibitory release of sensory cortices, the limbic
system, the reward-circuit, and the brainstem reticular activating system, causing
'unbridled' activation of these areas. This process produces extremely intense emotions.
This theory may provide music-evoked emotion researchers and Music Therapy
researchers a theoretical foundation for continued research and application and also to
compliment current theories of emotion.<br>Ph. D.
18
Young, David M. "Adaptive Game Music: The Evolution and Future of Dynamic Music Systems in Video Games." Ohio University Honors Tutorial College / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=ouhonors1340112710.
Pełny tekst źródła
19
Sverin, Gustav. "Dynamisk musiks narrativa funktion i datorspel : En undersökning av den transdiegetiska ljudtypen dynamisk musiks påverkan på det ickelinjära berättandet i ett action- science fictionspel." Thesis, Högskolan i Skövde, Institutionen för informationsteknologi, 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:his:diva-9766.
Pełny tekst źródłaStreszczenie:
Syftet med denna studie har varit att undersöka vilken påverkan dynamisk musik har på narrativet i ett datorspel. Den transdiegetiska musiktypen dynamisk musik har jämförts med den ickediegetiska musiktypen statisk musik i ett action- science fictionspel för att se vilka skillnader de har på spelarens upplevelse av narrativet. Åtta testpersoner har fått spelat två spelversioner med de olika typerna musik och sedan intervjuats om deras upplevelse. Resultatet har visat tendenser på att det finns ett samband mellan dynamisk musik och spelarens upplevelser av specifika händelser. Skillnaden mellan dynamisk musik och statisk musik har visat sig vara att den dynamiska musiken har en möjlighet att representera en händelse i ett specifikt ögonblick vilket inte är möjligt med statisk musik. Undersökningen gav spridda svar i frågan vilken koppling den dynamiska musiken har till spelarens handlingar. Denna del av dynamisk musiks koppling till narrativ skulle i framtiden kunna undersökas med en kvantitativ undersökning.
20
Olofsson, Dan. "Har musik betydelse för studieresultat." Thesis, Karlstad University, Division for Ingesund College of Music, 2008. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-1672.
Pełny tekst źródłaStreszczenie:
<p>The purpose of my study is to examine if the total study results differ between music classes and regular classes. Are there higher grades in music classes? If so, what are the causes for this? I chose to make an inquiry at two schools in different town districts, with music classes. At those schools I also collected data of pupils grades, and was informed by the principals and the music teachers about the activities. The number of respondents were ninety.</p><p>The inquiry showed that the grades were markedly better in music classes, and that you can see great differences in well-being, parental engagement and ambition level, compared to regular classes. The study gives several factors. The social background has some significance. The group effect of the music playing and the well-being in class has good influence on the grades.</p>
21
Nygren, Elin. "Spegling, härbärgering och grundning : en studie av tre begrepp i det terapeutiska rummet." Thesis, Kungl. Musikhögskolan, Institutionen för musik, pedagogik och samhälle, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-2165.
Pełny tekst źródłaStreszczenie:
Spegling, härbärgering och grundning - En studie av tre begrepp i det terapeutiska rummet, av Elin Nygren, är en uppsats inom ramen för Magisterprogrammet i musikpedagogik med inriktning musikterapi vid Kungl. Musikhögskolan i Stockholm. Syftet med uppsatsen har varit att i litteraturstudier samt i intervjuer undersöka begreppen spegling, härbärgering och grundning. Intervjuerna har haft i fokus att utforska hur fyra terapeuter kliniskt använder begreppen och hur musik kan utveckla dessa. Uppsatsen grundar sig i de utvecklingspsykologiska teorierna och i Wigrams teorier om musikterapeutiska improvisationstekniker. Resultatdelen i uppsatsen är en sammanställning av intervjuerna efter att de bearbetats enligt modellen Tematisk analys. I denna del redovisas hur terapeuterna beskriver det metodiska användandet av begreppen anpassat efter de olika målgrupper som de arbetar med. Vid sammanställning av intervjuerna blev det tydligt att de fyra terapeuterna har en överensstämmande syn kring de tre begreppens funktion för terapeuten och en överensstämmelse i sina definitioner av dem. Det framkom också att musik i många delar är analogt med Sterns vitalitetsaffekter och kompatibelt med hur vi människor kommunicerar.<br>Reflecting, containing and grounding – A study of three concepts used in therapy, by Elin Nygren is a study carried out within the context of Master Program in Music Education, with orientation Music Therapy at The Royal College of Music in Stockholm. The purpose with this paper has been to look into the concepts reflecting, containing and grounding in literature and in interviews. The main focus of these interviews has been to explore how four therapists in therapy uses the concepts and how music can develop these. The paper is based on the developmental psychology theories and Wigram’s theories of improvisation techniques in music therapy. The result of this paper is a compilation of the interviews, after being processed according to the model of Thematic Analysis. In the result it is reported how the therapists describes the methodological use of the concepts adapted to the different audiences they work with. In the compilation it was clear that the four therapists have equivalent perspectives about the three concepts function for the therapist and an equivalent definition of them. It also appeared that music is analogue to Sterns dynamic forms of vitality and compatible with how humans communicate.
22
Salmela, Markus, and Sakari Ylönen. "The New Music Industry : - Understanding the Dynamics of the New Consumer of Music." Thesis, Jönköping University, JIBS, EMM (Entrepreneurship, Marketing, Management), 2009. http://urn.kb.se/resolve?urn=urn:nbn:se:hj:diva-11902.
Pełny tekst źródłaStreszczenie:
<p>The music industry today is undergoing a revolution with digital distribution of music taking over the traditional sales of physical CDs (Mewton, 2008). The peer-to-peer networking and illegal music piracy is a problem that lately has been widely discussed in forums of ethics, legal issues and economical aspects, followed by a music industry trying to solve the situation with new business models enhancing digital sales, e.g. the tip jar model (Hiatt & Serpick, 2007). The tip jar model embodies the problem the industry is facing since it allows the consumer to choose whether to pay or not. Therefore the question of what leads the consumer to pay instead of download or pirate music has been researched in many aspects. However it has been made to a lesser extent in theory of loyalty and liking and their implications on the new business models’ success and the new consumer of music.</p><p>Previous research within music piracy has mainly explored demographics, macro- and micro economical perspectives such as artist and record company loss of welfare and consumer surplus (Coyle et al., 2008). We find it of interest to instead further explore the impacts of theories about consumer liking, loyalty and attitudes (Wells & Prensky, 1996; Shiffman & Kanuk, 1987; Solomon et al., 2002) as an addition to this existing knowledge to enhance the understanding about the new consumer of music. The purpose of this thesis is to analyze artist liking, artist loyalty and attitudinal factors’ impact on consumers’ music piracy intentions. The study is an explanatory study based on quantitative data collected in the region of Jönköping where the collection of data has been conducted by using two questionnaires; one among students at the School of Education and Communication (Jönköping University) and one at the A6 shopping-center. This data has been summarized to create independent variables used in a multiple regression analysis to calculate their impacts on piracy to confirm or reject the from theory deduced hypotheses.</p><p>The results from the multiple regression analysis show that the attitudinal factors do not have a direct impact on piracy intentions; however the other two independent variables, measuring the artist loyalty and artist liking have a larger impact. Surprisingly, a higher level of loyalty increases the intentions to pirate music while, as anticipated from theory (Solomon et al., 2002; Shiffman & Kanuk, 1987), higher liking decreases intentions. The conclusion is that the artist liking variable and artist loyalty variable are resulting in a bridge over piracy where the pillars are built of liking and the bridge itself is built of loyalty, stressing the importance of maintaining high levels of liking to maintain purchasing behavior online.</p>
23
Befus, Chad R., and University of Lethbridge Faculty of Arts and Science. "Design and evaluation of dynamic feature-based segmentation on music." Thesis, Lethbridge, Alta. : University of Lethbridge, Dept. of Mathematics and Computer Science, c2010, 2010. http://hdl.handle.net/10133/2531.
Pełny tekst źródłaStreszczenie:
Segmentation is an indispensable step in the field of Music Information Retrieval (MIR).
Segmentation refers to the splitting of a music piece into significant sections. Classically
there has been a great deal of attention focused on various issues of segmentation, such
as: perceptual segmentation vs. computational segmentation, segmentation evaluations,
segmentation algorithms, etc. In this thesis, we conduct a series of perceptual experiments which challenge several of the traditional assumptions with respect to segmentation. Identifying some deficiencies in the current segmentation evaluation methods, we present a novel standardized evaluation approach which considers segmentation as a supportive step towards feature extraction in the MIR process. Furthermore, we propose a simple but effective segmentation algorithm and evaluate it utilizing our evaluation approach.<br>viii, 94 leaves : ill. ; 29 cm
24
Pehrs, Corinna [Verfasser]. "Neural Network Dynamics During Socio-Emotional Cue-Integration / Corinna Pehrs." Berlin : Freie Universität Berlin, 2016. http://d-nb.info/1081367016/34.
Pełny tekst źródła
25
Afonso, João José do Vale. "Creating a dynamic music artist profile supported by waves of mashups." Master's thesis, Universidade de Aveiro, 2011. http://hdl.handle.net/10773/3681.
Pełny tekst źródłaStreszczenie:
Mestrado em Comunicação Multimédia<br>O advento da Internet provocou alterações em diversas áreas da sociedade
entre as quais a industria musical. Neste campo, essas mudanças levaram a
que todo um modelo de negócio tenha agora de ser repensado. As editoras
parecem estar a perder o controlo sobre a partilha dos conteúdos mas também
sobre a própria promoção de artistas e obras. Hoje em dia qualquer pessoa
pode ser um critico de música e exercer influencia dentro das suas redes
sociais.
É neste contexto que surge o Urock, uma aplicação multiplataformas para a
partilha e transmissão de conteúdos musicais que permite aproximação entre
artista e público. A especificação deste projecto levantou várias questões,
entre as quais como atrair novos utilizadores e lidar com a quantidade de
informação e conteúdos que estes têm dispersos na rede. O advento da
tecnologia de mashups poderá ser a resposta a este problema. O utilizador
comum tem, normalmente, a sua informação mais concentrada num local da
rede e controlo sobre os seus conteúdos. No entanto, o utilizador artista pode
ter a sua informação dispersa por vários locais na rede e pode não ter controlo
sobre os conteúdos que lhe dizem respeito. Por esse motivo, a presente
investigação procura identificar quais os web services necessários para criar
perfil de artista dinâmico. Na impossibilidade de desenvolver a aplicação
Urock, foi conceptualizado e implementado um subproduto, o Musikki. Esta
aplicação permitiu efectuar um estudo de caso que possibilitou avaliar um
modelo de mashups proposto como hipótese de trabalho.<br>The advent of Internet introduced changes in several areas of society and the
music industry is no exception. These changes are forcing to a redefinition of
the industryʼs business model. Record labels seem to be losing their control
over how music content is shared and even how the promotion of artists and
works are made. Nowadays, anyone can be a music critic and influence their
network friends on what music to listen to.
It is in this context that the Urock project appears, a user-generated content
cross-platform application specially oriented for publishing and broadcasting
musical content. Its main objective is to help new or established artists to
promote their work, creating a bidirectional communication channel between
artists and audience. The specification of this project raised several issues, like
how to attract new users and how to deal with the information and content they
have scattered all over the Internet. The advent of mashup technology might be
the solution to this problem. Typically, common users have their information
concentrated in one or two locations and total control over their media content.
However, the user artist might have his information and content stored in
different locations and might not have full control over all their content. For this
reason, this research aims to identify which web services can be combined to
create a dynamic user profile.
Due to time restrictions it was impossible to develop the Urock application. For
this reason, Musikki, an Urock sub product, was conceptualized and developed.
This application allowed the evaluation, by means of a case study, of the
mashup model proposed as a working hypothesis.
26
Davies, Huw. "Towards a more versatile dynamic-music for video games : approaches to compositional considerations and techniques for continuous music." Thesis, University of Oxford, 2015. http://ora.ox.ac.uk/objects/uuid:3f1e4cfa-4a36-44d8-9f4b-4c623ce6b045.
Pełny tekst źródłaStreszczenie:
This study contributes to practical discussions on the composition of dynamic music for video games from the composer’s perspective. Creating greater levels of immersion in players is used as a justification for the proposals of the thesis. It lays down foundational aesthetic elements in order to proceed with a logical methodology. The aim of this paper is to build upon, and further hybridise, two techniques used by composers and by video game designers to increase further the reactive agility and memorability of the music for the player. Each chapter of this paper explores a different technique for joining two (possibly disparate) types of gameplay, or gamestates, with appropriate continuous music. In each, I discuss a particular musical engine capable of implementing continuous music. Chapter One will discuss a branching-music engine, which uses a precomposed musical mosaic (or musical pixels) to create a linear score with the potential to diverge at appropriate moments accompanying onscreen action. I use the case study of the Final Fantasy battle system to show how the implementation of a branching-music engine could assist in maintaining the continuity of gameplay experience that current disjointed scores, which appear in many games, create. To aid this argument I have implemented a branching-music engine, using the graphical object oriented programming environment MaxMSP, in the style of the battle music composed by Nobuo Uematsu, the composer of the early Final Fantasy series. The reader can find this in the accompanying demonstrations patch. In Chapter Two I consider how a generative-music engine can also implement a continuous music and also address some of the limitations of the branching-music engine. Further I describe a technique for an effective generative music for video games that creates musical ‘personalities’ that can mimic a particular style of music for a limited period of time. Crucially, this engine is able to transition between any two personalities to create musical coincidence with the game. GMGEn (<b>G</b>ame <b>M</b>usic <b>G</b>eneration <b>E</b>ngine) is a program I have created in MaxMSP to act as an example of this concept. GMGEn is available in the Demonstrations_Application. Chapter Three will discuss potential limitations of the branching music engine described in Chapter One and the generative music engine described in Chapter Two, and highlights how these issues can be solved by way of a third engine, which hybridises both. As this engine has an indeterminate musical state it is termed the intermittent-music engine. I go on to discuss the implementation of this engine in two different game scenarios and how emergent structures of this music will appear. The final outcome is to formulate a new compositional approach delivering dynamic music, which accompanies the onscreen action with greater agility than currently present in the field, increasing the memorability and therefore the immersive effect of the video-game music.
27
Ko, Ching-Tzy. "Dynamic markings in Bach cello suites /." Thesis, Connect to this title online; UW restricted, 2000. http://hdl.handle.net/1773/11427.
Pełny tekst źródła
28
Bernschütz, Benjamin [Verfasser], Stefan [Akademischer Betreuer] Weinzierl, Stefan [Gutachter] Weinzierl, Christoph [Gutachter] Pörschmann, and Sascha [Gutachter] Spors. "Microphone arrays and sound field decomposition for dynamic binaural recording / Benjamin Bernschütz ; Gutachter: Stefan Weinzierl, Christoph Pörschmann, Sascha Spors ; Betreuer: Stefan Weinzierl." Berlin : Technische Universität Berlin, 2016. http://d-nb.info/1156013852/34.
Pełny tekst źródła
29
Kosta, Katerina. "Computational modelling and quantitative analysis of dynamics in performed music." Thesis, Queen Mary, University of London, 2017. http://qmro.qmul.ac.uk/xmlui/handle/123456789/30712.
Pełny tekst źródłaStreszczenie:
Musical dynamics- loudness and changes in loudness - forms one of the key aspects of expressive music performance. Surprisingly this rather important research area has received little attention. A reason is the fact that while the concept of dynamics is related to signal amplitude, which is a low-level feature, the process of deriving perceived loudness from the signal is far from straightforward. This thesis advances the state of the art in the analysis of perceived loudness by modelling dynamic variations in expressive music performance and by studying the relation between dynamics in piano recordings and markings in the score. In particular, we show that dynamic changes: a) depend on the evolution of the performance and the local context of the piece; b) correspond to important score markings and music structures; and, c) can reflect wide divergences in performers' expressive strategies within and across pieces. In a preparatory stage, dynamic changes are obtained by linking existing music audio and score databases. All studies in this thesis are based on loudness levels extracted from 2000 recordings of 44 Mazurkas by Frederic Chopin. We propose a new method for efficiently aligning and annotating the data in score beat time representation, based on dynamic time warping applied to chroma features. Using the score-aligned recordings, we examine the relationship between loudness values and dynamic level categories. The research can be broadly categorised into two parts. The first investigates how dynamic markings map to performed loudness levels. Empirical results show that different dynamic markings do not correspond to fixed loudness thresholds. Rather, the important factors are the relative loudness of neighbouring markings, the inter-relations of nearby markings and other score information, the structural location of the markings, and the creative license exercised by the performer in inserting further interpretive dynamic shaping. The second part seeks to determine how changes in loudness levels map to score features using statistical change-point techniques. The results show that significant dynamic score markings do indeed correspond to change points. Furthermore, evidence suggests that change points in score positions without dynamic markings highlight structurally salient events or events based on temporal changes. In a separate bidirectional study, we investigate the relationship between dynamic mark- ings in the score and performed loudness using machine learning techniques. The techniques are applied to the prediction of loudness levels corresponding to dynamic markings, and to the classification of dynamic markings given loudness values. The results show that loudness values and markings can be predicted relatively well when trained across recordings of the same piece, but fail dismally when trained across a pianist's recordings of other pieces. The findings demonstrate that score features may trump individual style when modelling loudness choices. The analysis of the results reveal that form|such as the return of the theme - and structure - such as repetitions -influence predictability of loudness and markings. This research is a first step towards automatic audio-to-score transcription of dynamic markings. This insight will serve as a tool for expression synthesis and musicological studies.
30
Nikolaidis, Ryan John. "A generative model of tonal tension and its application in dynamic realtime sonification." Thesis, Georgia Institute of Technology, 2011. http://hdl.handle.net/1853/42697.
Pełny tekst źródłaStreszczenie:
This thesis presents the design and implementation of a generative model of tonal
tension. It further describes the application of the generative model in realtime
sonification. The thesis discusses related theoretical work in musical fields including
generative system design, sonification, and perception and cognition. It highlights a
review of the related research from historical to contemporary work. It contextualizes this
work in informing the design and application of the generative model of tonal tension.
The thesis concludes by presenting a formal evaluation of the system. The evaluation
consists of two independent subject-response studies assessing the effectiveness of the
generative system to create tonal tension and map it to visual parameters in sonification.
31
Buyan, Amanda C. "Studies of the MuSK system using molecular dynamics simulations." Thesis, University of Oxford, 2015. https://ora.ox.ac.uk/objects/uuid:16a9e52e-bb6d-4598-b86f-a2652df9f75a.
Pełny tekst źródłaStreszczenie:
Formation and maintenance of neuromuscular junctions, as well as signalling from the nerve to the muscle, depends on the concerted action of a number of membrane proteins. Muscle-Specific Kinase (MuSK) and Downstream-of-Kinase 7 (Dok7) are key players in these processes. MuSK acts as the central component in the complexes responsible for nervemuscle communication. Dok7 then regulates full activation of MuSK. Despite available structural data for these proteins, the structure of the overall Dok7/MuSK complex in a cell membrane remains elusive. In this thesis, a multi scale molecular simulation approach (combining coarsegrained and atomistic simulations) was used to study the formation of the Dok7/MuSK/membrane complex. Three major insights into this process were obtained. Firstly, dimerisation of the transmembrane helix of MuSK is mediated by a small-x-x-x-small amino acid motif, and it is not affected significantly by the addition of anionic lipids or unstructured extensions on each end of the helices. Secondly, Dok7 interacts with PIP-containing bilayers via a positive patch on its pleckstrin-homology (PH) domain. Thirdly, it is shown that MuSK's behaviour in a complex model membrane is potentially influenced by the presence of Dok7. Taken together, these results allow formulation of a defined model of the structure and mechanism of MuSK in a model membrane.
32
Evans, Lely Dai. "Implications of compound dynamic accent markings in Beethoven's early chamber works with the fortepiano." University of Western Australia. School of Music, 2008. http://theses.library.uwa.edu.au/adt-WU2009.0042.
Pełny tekst źródłaStreszczenie:
This dissertation aims to explore the functions and meanings of four frequently used dynamic accent markings (fp, rf, sf and sfp) in Beethovens early chamber music with the fortepiano, with the consideration of acoustic qualities and playing capabilities of instruments intended for the studied works. The sources of reference here include the three Op.1 piano trios, two Op.5 cello sonatas, and three Op.12 violin sonatas, using a modern critical edition in conjunction with the first editions published during Beethoven's lifetime. The study consists of two parts. The first part surveys historical aspects including: 1) the development of relevant instruments, namely the bow and the fortepiano, and 2) existing accentuation conventions, especially those found in selected works of Haydn and Mozart, and appropriate treatises from Beethoven's time. The second part of the study entails the examination of consistency and frequency of dynamic accent markings in general, and that of individual accent markings using specific musical examples. The process of this investigation shows that these signs have distinct meanings, and consequently, require different treatments for their respective executions in performance. It also implies that the acoustic qualities of the ensembles with instruments from Beethoven's time are the most important factor contributing to variations found in his use of the accent markings among the different genres. Such acoustic qualities include the quieter volume and faster decay of the fortepiano, as well as the larger sonority from the cello especially in the lower register, when compared with instruments made for today's concert halls. These insights not only illuminate the possible ways to realize each marking, but also clarify accent markings which could seem inconsistent to modern performers, in terms of acoustic balance, especially in combinations that include the cello.
33
Léo, Smith. "The Effect of Dynamic Music in Video Games : An Overview of Current Research." Thesis, Uppsala universitet, Institutionen för speldesign, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-414409.
Pełny tekst źródła
34
Smejkal, Vojtěch. "Smart Sheet Music Reader for Android." Master's thesis, Vysoké učení technické v Brně. Fakulta informačních technologií, 2014. http://www.nusl.cz/ntk/nusl-236136.
Pełny tekst źródłaStreszczenie:
Oblasti jako automatické otáčení stránek nebo automatický hudební doprovod jsou studovány již několik desetiletí. Tato práce shrnuje současné metody pro počítačové sledování not v reálném čase. Zabývá se také hudebními příznaky jako jsou chroma třídy a syntetizované spektrální šablony. Dále popisuje klíčové části systému jako krátkodobou Fourierovu transformaci a Dynamické borcení času. V rámci projektu byl navrhnut a vyvinut vlastní systém pro sledování pozice hráče v notách, který byl následně implementován jako mobilní aplikace. Výsledný systém dokáže sledovat i skladby s výrazně odlišným tempem, pauzami během hry nebo drobnými odchylkami od předepsaných not.
35
Housley, Laura L. "Dynamic Generation of Musical Notation from MusicXML Input on an Android Tablet." The Ohio State University, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=osu1338377470.
Pełny tekst źródła
36
Shao, Bo. "User-centric Music Information Retrieval." FIU Digital Commons, 2011. http://digitalcommons.fiu.edu/etd/416.
Pełny tekst źródłaStreszczenie:
The rapid growth of the Internet and the advancements of the Web technologies have made it possible for users to have access to large amounts of on-line music data, including music acoustic signals, lyrics, style/mood labels, and user-assigned tags. The progress has made music listening more fun, but has raised an issue of how to organize this data, and more generally, how computer programs can assist users in their music experience.
An important subject in computer-aided music listening is music retrieval, i.e., the issue of efficiently helping users in locating the music they are looking for. Traditionally, songs were organized in a hierarchical structure such as genre->artist->album->track, to facilitate the users’ navigation. However, the intentions of the users are often hard to be captured in such a simply organized structure. The users may want to listen to music of a particular mood, style or topic; and/or any songs similar to some given music samples. This motivated us to work on user-centric music retrieval system to improve users’ satisfaction with the system.
The traditional music information retrieval research was mainly concerned with classification, clustering, identification, and similarity search of acoustic data of music by way of feature extraction algorithms and machine learning techniques. More recently the music information retrieval research has focused on utilizing other types of data, such as lyrics, user access patterns, and user-defined tags, and on targeting non-genre categories for classification, such as mood labels and styles. This dissertation focused on investigating and developing effective data mining techniques for (1) organizing and annotating music data with styles, moods and user-assigned tags; (2) performing effective analysis of music data with features from diverse information sources; and (3) recommending music songs to the users utilizing both content features and user access patterns.
37
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.
Pełny tekst źródłaStreszczenie:
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 establish possible relationships to the features of the stimulating music. Besides mathematical investigations of these analysis methods, their potential outcomes are assessed by applying each to forty experimental collections of continuous rating responses and four artificial collections of unrelated continuous rating responses. The traditional analyses studied include the average response time series and Pearson correlations between continuous responses as a measure of response reliability. The chapter on novel techniques introduces activity analysis and coordination tests, evaluates measures of the relative significance of time points in these collection, and applies cluster analysis in search of distinct patterns of response to the same stimuli. The results of these analyses suggest that though music does not provoke the same continuous response from all listeners, musical works can induce distinct and repeatable listening experiences which are measurable in collections of continuous responses.<br>L'évaluation des réactions continues permet d'obtenir un tracé riche en données de l'expérience des auditeurs par rapport à la musique au fil du temps. En règle générale, les réactions des auditeurs sont analysées par ensembles, c'est-à-dire par groupes de séries chronologiques portant sur de mêmes relevés de réactions au même stimulus provenant d'écoutes multiples. La variabilité entre les réactions et les défis inhérents à l'analyse des séries chronologiques rendent l'interprétation de ces ensembles encore plus complexe. La présente thèse décrit des méthodes traditionnelles et nouvelles d'analyse d'ensembles de réactions continues à la musique afin d'identifier quelles informations peuvent être recueillies dans ces ensembles avant de tenter d'établir des liens possibles avec les caractéristiques de la musique stimulante. En plus de l'étude mathématique de ces méthodes d'analyse, leurs résultats potentiels ont été évalués en appliquant chacune d'entre elles à quarante de ces ensembles d'évaluation de réactions continues ainsi qu'à quatre ensembles artificiels d'évaluations de réactions continues non apparentés. Les analyses traditionnelles étudiées comprennent les séries chronologiques moyennes et des corrélations de Pearson entre les réactions continues comme évaluation de la fiabilité de la réaction. Le chapitre portant sur les nouvelles techniques commence par une présentation de l'analyse de l'activité et des tests de coordination. Par la suite, il évalue les mesures de pertinence des repères temporels de ces ensembles, puis il rend compte de l'analyse par regroupements visant à identifier des modèles précis de réactions aux mêmes stimuli. Les résultats de ces analyses sous-tendent que bien que la musique ne provoque pas la même réaction chez tous les auditeurs, l'oeuvre musicale peut créer des expériences d'écoute distinctes et reproductibles pouvant être évaluées dans des ensembles de réactions continues.
38
Straaten, Eva-Maria Alexandra van [Verfasser], Birgit [Akademischer Betreuer] Abels, Birgit [Gutachter] Abels, and Regina [Gutachter] Bendix. "Listening Out for Sangīt Encounters : Dynamics of Knowledge and Power in Hindustani Classical Instrumental Music / Eva-Maria Alexandra van Straaten ; Gutachter: Birgit Abels, Regina Bendix ; Betreuer: Birgit Abels." Göttingen : Niedersächsische Staats- und Universitätsbibliothek Göttingen, 2018. http://d-nb.info/1180662881/34.
Pełny tekst źródła
39
Moon, Harry Edward. "Ralph Vaughan Williams' "A sea symphony" for soprano, baritone, chorus and orchestra: a conductor's study and performance." Diss., University of Iowa, 1987. https://ir.uiowa.edu/etd/5893.
Pełny tekst źródła
40
Portelli, Daniel. "Mapping the dynamic life of lines in a multimodal compositional practice." Thesis, University of Huddersfield, 2016. http://eprints.hud.ac.uk/id/eprint/32048/.
Pełny tekst źródłaStreszczenie:
This thesis tracks my journey through eight creative works which employ a broad range of methodologies to map the dynamic life of lines and that focus on concepts of ephemerality, gestural tracing, grains and swarms of sound, and temporal independence. My original contribution to knowledge in composition is led by my personal relationship to sound as mediated through physical gesture in performance. Drawing upon the work of anthropologist Tim Ingold, I have worked with video as a medium for my own sketch processes and as a scoring platform. Video is used to capture and document qualities of motion that bring choreographic and multimodal thinking into my music, propagating divergent approaches to structuring and determining parameters. Through this I have developed ways of thinking compositionally through the visual medium and worked with micro and macro qualities in timbre and movement to achieve effects that I term 'dynamic stasis'. Central to my thinking is an expanded concept of the line as gestalts of sound, video, bodily and mechanical movement, with form arising from a meshwork of such lines. The line as represented in video and musical action contributes to the tendencies and behaviours of precisely notated sound and physical movements in my music, that are reflected in irregular divisions of time and frequent fluctuations of sound characteristics. My discussion of the visual and choreographic perspectives of my notation and multimodal ways of thinking about composition is contextualised with examples from composers such as Jennifer Walshe, Simon Steen- Andersen and Stefan Prins, and the video scoring systems of Cat Hope.
41
Lindström, Erik. "A Dynamic View of Melodic Organization and Performance : Perception of Structure and Emotional Expression in Music." Doctoral thesis, Uppsala University, Department of Psychology, 2004. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-4242.
Pełny tekst źródłaStreszczenie:
<p>Psychology of music has shown renewed interest in how music expresses emotion to listeners. However, there is an obvious lack of research on how interactions between musical factors such as harmony, rhythm, melodic contour, loudness, and articulation may affect perceived emotion. From previous literature on music analysis and music cognition there is evidence that tonality may be activated and affected by rhythm and melody. These ideas generated hypotheses regarding melodic organization and performance, for instance, (a) certain notes in a melodic structure have expressive potentials due to their place in the key/chord, (b) these notes could be activated by accents in the melodic structure and/or in live music performance. In Study I, a simple tune was systematically manipulated with regard to harmonic progression, rhythm and melodic contour. Listener ratings of the resulting versions showed that perceived structure (instability, complexity, tension) and emotion (sadness, anger, expressivity) could be partly interpreted as resulting from accent structures and stress on certain notes. In Study II, musicians were asked to perform some of the above-mentioned versions so as to express happiness, sadness, tenderness and anger. The performers used loudness and articulation to compensate for lack of adequate inherent expression in melodies. They also highlighted certain notes of relevance for the emotional meaning by means of stress in articulation, loudness and timing. In Study III, simple three-note sequences were manipulated with regard to melodic, metric and rhythmic accents as well as (computer-) performed accents (loudness, articulation and timing) on certain target notes. Listening tests showed that accent on a tense note enhanced perceived anger. A note essential for the identity of major mode affected perception of happiness, whereas a note essential for minor mode affected perception of sadness. The results in this thesis have implications for a dynamic view of melodic organization and performance.</p>
42
Lindström, Erik. "A dynamic view of melodic organization and performance : perception of structure and emotional expression in music /." Uppsala : Acta Universitatis Upsaliensis, 2004. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-4242.
Pełny tekst źródła
43
Glarner, Robert Lewis. "An investigation into the relationship of instrumental density and dynamics of the Fourth Symphony by Charles Ives." Diss., The University of Arizona, 1993. http://hdl.handle.net/10150/186184.
Pełny tekst źródłaStreszczenie:
This research establishes an initial step in codifying a specific and formalized textural theory of music by developing a basic system for illuminating textural activity. The musical elements integral to this system include the rhythm, instrumental groups, and dynamics. In order to study the texture of Ives' Fourth Symphony, instruments are grouped together based upon similar rhythmic patterns. Individual instruments with no rhythmic relationship to any other instrumental part are labeled soloistic. Each group and solo part is considered either cooperative or antagonistic based upon rhythmic similarities/dissimilarities to other groups and solo parts. The changes in the number of groups, their instrumentation, and the solo instruments have a striking effect on the overall dynamic structure of the movement. Generally, the groups and soloistic instruments are more antagonistic in sections that are either building or have reached a dynamic climax. However, consistent principles of order for predicting such occurrences are not always present. A large amount of data is gathered in order to generate the graphic representations of each movement's texture. Graphs illustrate the number of instruments playing at any given time, how they are grouped, the number of soloistic instruments, their duration, and the perceived dynamics. The graphs aid in producing some overall observations and uncover additional details concerning the formal structure of this symphony resulting in a clearer understanding of Ives' methodology and organizational principles. For purposes of reference and discussion, the symphony is divided into sections according to the overall dynamic curve. Specifically, the points at which crescendos and diminuendos begin and end represent natural delineating areas.
44
George, Aimée. "An exploration of the gender and sexual dynamics for women performers in the Cape Town jazz community." Master's thesis, Faculty of Humanities, 2021. http://hdl.handle.net/11427/33739.
Pełny tekst źródłaStreszczenie:
This research explores the dynamics of gender, sexuality and power for women performers within the jazz community in Cape Town. Although the history and development of South African jazz has been extensively researched, very few texts mention the presence and impact of women performers and has yet to include how questions of gender, power and sexuality influence both the cultures of jazz and the experiences of women jazz artists. The current study is strongly influenced by feminist theory, which seeks to uncover experiences obscured by patriarchal epistemologies. A qualitative methodology is used to ensure each narrative remains at the forefront of the research. Interviews were conducted with jazz women musicians involved in various roles within the jazz industry in Cape Town. These semi-structured interviews allow for these women to narrate their turbulent musical journeys. What is revealed and subsequently further explored are the rich identity politics involved in being women “performers”, what is assumed and expected of them, the role “boys clubs” play in their exclusion, and the pressures and implications of stringent gender stereotypes, beauty ideals and vicious hyper-sexualization. Moreover, I explore the analytics of power within this specific culture and its' effect on jazz women. Their accounts reveal how the Cape Town jazz community remains saturated with gender stereotypes and is seemingly committed to continuing violent displays of misogyny. The study argues that despite the prevalence of this misogyny, women jazz artists actively design strategies which skilfully and innovatively allow them to pursue influential careers, deepening the meaning of “jazz” in Cape Town and beyond. The research thus both extends the analysis of feminist jazz theorists in Cape Town, and suggests that understanding the contemporary dynamics of gender and sexuality in South African jazz artists' experience deserves more research.
45
Horseman, Samantha Marie. "Dynamic relationships between the sonic artist, the sonic artwork and its audience : an investigation through theoretically informed creative practice." Thesis, University of Huddersfield, 2012. http://eprints.hud.ac.uk/id/eprint/18077/.
Pełny tekst źródłaStreszczenie:
The following portfolio of sonic artworks and accompanying commentary comprises creative and theoretical research undertaken between 2008 and 2012. Alongside a portfolio and commentary of sonic artworks, it will also feature an exposition of the theoretical concepts that have propelled and informed their creation. At the centre of the research is the development of an integrated theoretical and creative practice in sonic art. I will discuss the context that has led me, as a creative practitioner, to question the nature of the dynamic relationships that potentially operate between both sonic and physical media and the perceptive occupant that inhabits the artwork. The concept of a tri-polar dynamic forms the theoretical crux of this project. It outlines the potential for the perceptive occupant to play a completing role within the portfolio of sonic artworks: a kinetic activation of dormant syncretic potential held within the artistic materials. Influenced by the philosophical models of Nattiez, Kramer, Merleau-Ponty, Delueze and Guattari, the works also explore satellite topics of temporality, the internal monologue and phenomenology. The commentary outlines the creative processes involved in the development of the artworks focussing in particular on how they embody and activate aspects of the tri-polar dynamic. The overarching aim of the research is the development of an integrated approach of both a theoretical and creative exploration of a selfreferential theme: the dynamic relationships between myself as the sonic artist, the creative media with which I work and the perceptive occupant.
46
Láníková, Jaroslava. ""Hudební scéna" - koncertní sál pro město Brno." Master's thesis, Vysoké učení technické v Brně. Fakulta stavební, 2015. http://www.nusl.cz/ntk/nusl-393996.
Pełny tekst źródłaStreszczenie:
Thesis focuses on designing concert hall in the city of Brno in a district called Brno-město. The main space is the concert hall with 540 seats. The aim was to design a representative building which fulfills all requirements for this typographic public building and where the linkage of beauty and functionality is undeniable a part of the proposal.The proposal is trying to connect architecture with music together. This was achieved by designing dynamic façade with segments which are rhythmically in a movement. The character of the concert hall is stressed by artwork by Alexander Caldera at the main entrance. The emphasis has been put on preserving conceptual idea in the final design since the beginning.
47
Roach, Alan. "On the dynamics of DJ subcultures : simulations of northern soul and house music genres." Thesis, University of Surrey, 2008. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.504798.
Pełny tekst źródłaStreszczenie:
Why does the popularity of different music genres change over time? How are new music styles developed and how do they gain mainstream status? This thesis addressed these questions with a social simulation to explore the relationship between music subcultures and genres. This used a version of the 'history friendly' approach: two case studies were qualitatively analysed and these results formalised into two simulations, the outputs of these were then compared back against the: original case studies. This method enabled the models to be validated at the micro and macro levels. J The case studies are the Northern Soul and House music genres and subcultures. These OJ based subcultures were analysed using secondary data describing their histories, collected using a systematic review technique. The Northern Soul scene was chosen as it has a simple history of a rise and fall in the popularity of the scene and involved listening to old records not producing new ones. The analysis identified four stages in this history: gestation, growth, spurt and decline. The House scene has a more complicated history as members produced new records. The scene grew in a similar way to Northern Soul, but after the spurt phase fragmented and split into new subgenres such as Ambient and Progressive House. This fragmentation process continued with new genres being developed, one of which was Jungle. The thesis used a complexity theory framework to identify local 'bottom up' rules of interaction between agents. From the qualitative analysis a theory of subcultural dynamic.s was derived. The main points of this argue that agents gain subcultural capital from participating in a scene, which is related to a taste area, and that agents prefer to associate with those of similar levels of subcultural capital and distinguish themselves, using their tastes, from those of higher or lower levels. The model was a formalisation of this theory and produced the same dynamics of the popularity of both scenes at the micro and macrq level and it was concluded that they provide evidence that these rules could explain the changes in popularity observed.
48
Forsberg, Hansson Love. "The Sound of Globalization : Mapping the Dynamics in Contemporary Urban Landscape of Concert Venues." Thesis, Stockholms universitet, Kulturgeografiska institutionen, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-147290.
Pełny tekst źródłaStreszczenie:
This study compares and describes the urban landscape of concert venues in Berlin and Stockholm with a focus on popular music. It features research of spatial patterns among concert venues, gathered from participant observations and semi-structured interviews with agencies and officials in the music scene. These patterns make us want to understand the relationship between venues, why they sometimes agglomerate by size in a more gentrified environment. By comparing the spatial patterns with music export data, an illustration of globalization is developed. Further, this study connects to the political controversy of the contemporary view on music, as a source of economic growth or not. The central concept of analysis is the division between high profitable hit music and conventional music. Theoretical perspectives of global economic system is the base for the hypothesis that music is not a homogeneous entity. It is rather polarized in two spheres depending on the status in the global economic system. This study suggests thathit music is a cultural product built on immaterial values and place branding for political agendas, rather than a cultural expression or genre of music like any other. This part of the music economy show specific patterns of localization.
49
Koen, Benjamin David. "Devotional music and healing in Badakhshan, Tajikistan preventive and curative practices /." Columbus, Ohio : Ohio State University, 2003. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1059673277.
Pełny tekst źródłaStreszczenie:
Thesis (Ph. D.)--Ohio State University, 2003.<br>Title from first page of PDF file. Document formatted into pages; contains xx, 299 p.; also includes graphics (some col.). Includes abstract and vita. Advisor: Margartio Mazo, School of Music. Includes bibliographical references (p. 276-298).
50
Cox, Owen. "The interpretation of unusual dynamic markings in Beethoven's string quartet in Bb Major, Op. 130 : a study of selected twentieth-century recordings." Thesis, Cardiff University, 2016. http://orca.cf.ac.uk/100042/.
Pełny tekst źródłaStreszczenie:
This study takes as its stimulus the unusual dynamic markings in Beethoven’s String Quartet, Op. 130. Presenting an immediate interpretational problem for performers this leads to questions of execution and how this influences the character of the music. Whilst both analysts and performers use evocative metaphors to describe musical character, the explication of how this is achieved through performance has been little explored in academia. The study focuses on the intersection between metaphors found in the literature surrounding Beethoven’s late quartets and the performance choices made in eight renowned string quartet recordings. The ambiguity of Beethoven’s late style and unusual nature of his dynamic indications offer a fascinating case study of this intersection. The methodology uses metaphor as an analytical frame work through which discussions about performance decisions take place, suggesting one metaphor or another, usually in a spectrum of variations. This sees dynamics as a potential stimulus for manipulation of not just volume, but also vibrato, rubato, articulation, portamento and other factors often framed by the choice of tempo. Different treatments of these performance techniques suggest varying metaphorical characterisations. These are summarised through verbal descriptions of the performer’s choices with reference to the score. Chapter 1 focuses on two awkward dynamic markings that dominate the first movement: the hairpin crescendo to piano and rapid alternations of forte and piano in fast music. Chapter 2 focuses on hairpin swells which create not only unusual disruptions in the middle movements but also expansive lyricism in the Cavatina movement. Chapter 3 moves from localised dynamic markings to longer passages which are characterised by unusual dynamic stasis and descriptive terms in the Cavatina. This study shows how these dynamics have been interpreted in many different ways, through the variety and interaction of a number of different performance techniques. Far from establishing fixed definitions for these dynamics, this opens up possibilities for more expressive freedom for performers, not less.