Thesis (Ph. D.)--University of California, San Diego, 2008. / Title from first page of PDF file (viewed July 14, 2008). Available via ProQuest Digital Dissertations. Vita. Includes bibliographical references: P. 286-294.

Thesis (M.A.)--York University, 2002. Graduate Programme in Music. / Typescript. Contains original music compositions. Includes bibliographical references (leaves 87-88). Also available on the Internet. MODE OF ACCESS via web browser by entering the following URL: http://wwwlib.umi.com/cr/yorku/fullcit?pMQ82930.

Thesis (Ph.D.)--Yale University, 1981. / Bibliography: leaves 278-280.

This thesis describes research in the computational analysis of harmony in western art music, focussing particularly on improving the accuracy and information-richness of key and chord extraction from digital score data. It is argued that a greater sophistication in automatic harmony analysis is an important contribution to the field of computational musicology. Initial experiments use hidden Markov models to predict key and modulation from automatically labelled chord sequences. Model parameters are based on heuristically formulated chord and key weightings derived from Sch¨onberg’s harmonic theory and the key and chord ratings resulting from perceptual experiments with listeners. The music theory models are shown to outperform the perceptual models both in terms of key accuracy and modelling the precise moment of key change. All of the models perform well enough to generate descriptive data about modulatory frequency, modulatory type and key distance. A robust method of classifying underlying chord types from elaborated keyboard music is then detailed. The method successfully distinguishes between essential and inessential notes, for example, passing notes and neighbour notes, and combines note classification information with tertian chord potential to measure the harmonic importance of a note. Existing approaches to automatic chord classification are unsuitable for use with complex textures and are restricted to triads and simple sevenths. An important goal is therefore to recognise a much broader set of chords, including complex chord types such as 9ths, 11ths and 13ths. This level of detail is necessary if the methods are to supply sophisticated information about the harmonic techniques of composers. Testing on the first twenty-four preludes of J. S. Bach’s Well Tempered Clavier, hand annotated by the author, a state of the art approach achieves 22.1% accuracy; our method achieves 55% accuracy.

The purpose of this study was to test a hypothesized model of aurally perceived performer-controlled musical factors that influence assessments of performance quality. Previous research studies on musical performance constructs, musical achievement, musical expression, and scale construction were examined to identify the factors that influence assessments of performance quality. A total of eight factors were identified: tone, intonation, rhythmic accuracy, articulation, tempo, dynamics, timbre, and interpretation. These factors were categorized as either technique or musical expression factors. Items representing these eight variables were chosen from previous research on scale development. Additional items, along with researcher created items, were also chosen to represent the variables of technique, musical expression and overall perceptions of performance quality. The 44 selected items were placed on the Aural Musical Performance Quality (AMPQ) measure and paired with a four-point Likert scale. The reliability for the AMPQ measure was reported at .977. A total of 58 volunteer adjudicators were recruited to evaluate four recordings that represented one of each instrumental category of interest: brass, woodwind, voice, and string. The resulting performance evaluations (N = 232) were analyzed using statistical regression and path analysis techniques. The results of the analysis provide empirical support for the existence of the model of aurally perceived performer-controlled musical factors. Technique demonstrated significant direct effects on overall perceptions of performance quality and musical expression. Musical expression also demonstrated a significant direct effect on overall perceptions of performance quality. The results of this study are consistent with hypothesized model of performer-controlled musical factors.

Thesis (Ph.D.)--Michigan State University. Music Theory, College of Music, 2008. / Title from PDF t.p. (viewed on March 30, 2009) Includes bibliographical references (p. 155-158). Also issued in print.

Thesis (M.S.)--Rochester Institute of Technology, 1988. / Typescript. Includes bibliographical references (leaves 49-50).

Thesis (Ph.D.)--Texas Christian University, 2007. / Title from dissertation title page (viewed Jul. 27, 2007). Includes abstract. Includes bibliographical references.

Thesis (Ph. D.)--University of Texas at Austin, 1999. / Vita. Includes bibliographical references (leaves 281-285). Available also in a digital version from Dissertation Abstracts.

Orientador: Claudiney Rodrigues Carrasco / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-06T19:03:29Z (GMT). No. of bitstreams: 1 Berton_CesarGabriel_M.pdf: 1112284 bytes, checksum: 685219d6957f184b52260e1aa6179240 (MD5) Previous issue date: 2005 / Resumo: Esta pesquisa sugere uma técnica de análise e composição não tradicional, passível de sistematização, aplicada à música popular. A organização desta foi baseada nas relações de tensão & resolução obtidas quando as alturas de uma melodia são comparadas com as da harmonia que as acompanha. A resultante da quantidade de notas não coincidentes entre estes dois objetos gera níveis de tensão que são arbitrados em uma forma lógica e coerente. Identificar centros onde cada um dos complexos gravita é o passo inicial do processo. Essa identificação é sugerida pela soma das principais notas destes, que resultam em uma fonte escalar. Estipulando unidades melódicas definidas, a tese sugere que seja possível arbitrar uma ferramenta em que a manipulação das alturas musicais destas, quando aplicadas sobre cada grau da fonte escalar, gera movimentos cadenciais. Elaborado seguindo uma ordem crescente, este trabalho arbitra a conceituação dos parâmetros desde uma análise intervalar até a sugestão de arbitragens obtidas pelo contorno melódico de uma peça. Dada a originalidade do assunto, esta pesquisa extraiu, do vocabulário musical já existente, os conceitos para essa elaboração. Visto que somente a definição da ferramenta já é um objeto de estudo considerável, a conceituação prática desta não foi abordada / Mestrado / Musica / Mestre em Música