Thesis: B.S., Massachusetts Institute of Technology, Department of Mechanical Engineering, 1980 / by Seth James Gussow. / B.S. / B.S. Massachusetts Institute of Technology, Department of Mechanical Engineering

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Contours can be understood as the shape or format of an object. In Music contour can represent a parameter in function of another, like pitch in function of density or density in function of amplitude. Contours are important because, as well as pitch sets and motives, they can help giving coherence to a musical piece.Theories of contours have been used in areas such as Ear Training and Analysis, but the systematic use of contours for generation of compositional material is an issue still lacking literature.In this thesis I present the piece "Em torno da romã" [Around the pomegranate] and its analysis. This piece, for woodwind quintet, was composed using combinations of contour operations associated with parameters such as pitch, tempo, density and texture. In order to accomplish this task, I did a literature review of contour theories, I did a mapping of contours to musical elements, I composed studies of possibilities for experimentation with contours, I develop the Goiaba, a software to assist in processing contours for composition, and finally composed the piece "Em torno da romã".This study helps to advance the state of art of contour theories through composition contour operations experiments using contour operations and contributes with new tools to the composition field.My conclusion is that contours can be used in a systematic way in musical composition, but we still need further study. Thus this depth and continuity in development of Goiaba are possible future activities resulting from this work.

Thesis (D. Mus. Arts)--University of Washington, 1995. / Score of Gdod kreasi baru : for trombone and computer-realized sound / by Ron Averill, in pocket. Compact disc contains: Painting legs on the snake / by Ron Averill. Vita. Includes bibliographical references (leaves [104]-108).

My thesis aims to critically examine three methods in the current state of Computer Music Analysis. I will concentrate on Music Information Retrieval, Optimization, and Machine Learning. My goal is to describe and critically analyze each method, then examine the intersection of all three. I will start by looking at David Temperley’s The Cognition of Basic Musical Structures (2001) which offers an outline of major accomplishments before the turn of the 21st century. This outline will provide a method of organization for a large portion of the thesis. I will conclude by explaining the most recent developments in terms of the three methods cited. Following trends in these developments, I can hypothesize the direction of the field.

jn4.gesture is an interactive multimedia composition for dancer and computer designed to extend the possibilities of artistic expression through the use of contemporary technology. The software produces the audiovisual materials, which are controlled by the movement of the dancer on a custom rug sensor. The software that produces the graphic and sonic material is created using a modular design. During run-time, the software's modules are directed by a scripting language developed to control and adjust the audiovisual production through time. The visual material provides the only illumination of the performer, and the projections follow the performer's movements. The human form is isolated in darkness and it remains the focal point in the visual environment. These same movements are used to create the sonic material and control the diffusion of sound in an eight channel sound system. The video recording of the performance was made on April 22, 2002. The work was produced in a specialized performance space using two computer projectors and a state of the art sound system. Arleen Sugano designed the costumes, choreographed and performed the composition in the Merrill Ellis Intermedia Theatre (MEIT) at the University of North Texas. The paper focuses on the design of the program that controls the production of the audiovisual environment. This is achieved with a discussion of background issues associated with gesture capture. A brief discussion of human-computer interface and its relationship with the arts provides an overview to the software design and mapping scenarios used to create the composition. The design of the score, a graphical user interface, is discussed as the element that synchronizes the media creation in "scenes" of the composition. This score delivers a hybrid script to the modules that controls the production of audiovisual elements. Particular modules are discussed and related to sensor mapping routines that give multiple mapping control to computer function enabling a single gesture o have multiple outcomes.