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This research into Brazilian music in general, and choro guitar music in particular, focuses primarily on the various and contrasting ways in which the repertoire is interpreted by Brazilian choro musicians, classical guitarists and jazz guitarists. Socio-cultural traditions and conventions are also explored. An important facet of performance in the Brazilian tradition is improvisation. The appropriateness of various improvisational approaches, including those used in jazz, are discussed. The research incorporates two 60-minute recitals, one of traditional Brazilian choro and the other of different Brazilian styles played in a jazz group setting, and these are central to the following exegesis. / Thesis (M.Mus.) -- University of Adelaide, Elder Conservatorium of Music, 2008

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Jazz chord-scale theory identifies scales that can be used to embellish a particular type of chord. It has fostered the notion that chords can generate their own local scales. This idea as well as many of the scale types that jazz chord-scale theory identifies are essentially foreign to classical music theory, which instead tends to focus on the scales that represent relatively global key areas--that is, the scales that accommodate entire chord successions. Both the jazz and classical perspectives can coexist, and each can inform and supplement the other. This study explores implications of the jazz chord-scale perspective for classical music and classical music theory. The scalar notes and intervals that embellish a particular chord are referred to as chord-specific scalar material (CSSM). Following the suggestion of jazz chord-scale theory and Ramon Satyendra's chord spaces, each chordal zone can exhibit its own local tonal hierarchy potentially consisting of a local tonic note (usually a chord root), chordal notes and intervals, scalar notes and intervals, and sub-scalar notes and intervals. Focusing particularly on the scalar level of these chord-specific tonal hierarchies, CSSM is a relatively foreground phenomenon that can be understood against the backdrop of a deeper, uninterrupted scalar space that is associated with the key of the passage at hand. A chord succession can occupy the deeper scalar space while each chord is embellished with CSSM suggestive of potentially different local scalar spaces. This study considers examples of CSSM spanning the music of Bach through Fauré, and it proposes a classification of four general types of CSSM found in classical repertoire. Each type suggests a different theoretical derivation for examples of CSSM, and each type has its own implications for tonal function (both locally and globally), coherence, and color. The fourth type apparently did not emerge until the Romantic era. Special attention is given to CSSM in the music of Gabriel Fauré, who seemingly developed rather innovative CSSM techniques. Practical benefits of this theoretical approach for today's composers, improvisers, and performers are also considered. Various techniques for generating CSSM are offered, and further scalar possibilities are explored. / 2016-09-29

In most flat bimetallic strip applications, the bending is employed in the transverse direction, that is, upon the application of uniform heating to the entire strip, the initially straight strip bends transversely up from the flat plane. This study is concerned with a pre-curved bimetallic strip that upon heating up from the ambient, straightens up along the chord line tending to become flatter. The initial ambient radius of curvature of the strip is smaller, and upon heating, the radius of curvature becomes larger. By mounting the curved bimetallic strip with a rotational degree of freedom at each end, and fixing one end against displacement, a chord line displacement of the free end of the strip occurs when the strip is uniformly heated. It is this chord line case that this work investigates and characterises. This work provides a way of evaluating the net combined axial loading case whereby an external load is applied to the free end of the strip as it uniformly heated. The main application of this work is for the characterisation of a curved bimetallic blade within a thermal motor. This is a novel device for converting renewable heat energy into mechanical energy and power as part of a larger energy harvesting network. The curved bimetallic strip with minor modifications, functions as a curved bimetallic blade within the thermal motor. The application of this work has a wider impact, in that it can be used in any other temperature induced force and displacement applications. Thus as a result of this investigation, a new form of linear actuator has been created that can utilise an input heat differential, and produce an output axial force and displacement. The displacements and forces generated by the axial case can be quite large, and as a result of this work, relatively easy to calculate, when designing a thermally driven linear actuator. The thermal motor, which possesses the curved bimetallic strip at the heart of its mechanism, can also be powered by other secondary heating sources such exhaust, or waste heat, that would otherwise be lost to the surroundings.

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Controlling crystal size distribution (CSD) is important to downstream processing and to product quality. It is well-recognized that selective removal functions can be used to influence CSD, for example by manufacturing a product with a larger dominant size or narrower distribution. Early work on the use of feedback control to manipulate the residence time distribution functions of fines in a continuous crystallizer demonstrated the utility of such an approach in handling process upsets and cycling that resulted from system instability. These efforts were extended to batch crystallization, although there remained significant difficulty associated with on-line analysis of the size distribution. The development of new technologies, such as Focused Beam Reflectance Measurement (FBRM), provides a methodology for on-line monitoring of a representation of the crystal population in either batch or continuous crystallization systems. The FBRM technology is based on laser light scattering; properly installed, it allows on-line determination of the chord length distribution (CLD), which is statistically related to the CSD and depends on the geometry of the crystal. The purpose of the present study is to use the FBRM to monitor the evolution of CSD characteristics and to implement a feedback control scheme that provides the flexibility to move the CSD in a preferred direction. Cooling batch crystallizations of paracetamol has been chosen to investigate implementation of the control scheme. The work will show how fines removal and varying cooling rates provide reliable and practical control of crystal size distribution.

The domain of computer music is an interesting area which combines computer science and music art. We propose a music accompaniment system using a variable-length genetic algorithm. Via the system one can make the music corresponded to his demands. In the style music accompaniment we analyze some important characteristic of pop music, and propose a new chromosome representation scheme to include the concept of rhyme, chord and melody. Chord progression is used as one of the evaluation criterions in this thesis. The system allows a user to input melody, to select emotion and rhyme, and the system will automatically generate the appropriate accompaniment based on the database compiled from some music theory relating to the chord progression. In addition, the system allows a user to select his favorite accompaniment that generated by the system. Based on the user selected accompaniment the system will generate similar accompaniments for the user.

Målet med det här arbetet har varit att utmana och utveckla mitt chord melody-spel på gitarr samt mina arrangeringsfärdigheter genom att reharmonisera och arbeta fram olika versioner av utvalda poplåtar. Det har gjorts genom att studera chord melody-arrangemang samt böcker i ämnet. Utifrån de kunskaper jag erfarit har jag arrangerat och spelat in egna chord melody- arrangemang av befintliga poplåtar. Som ett sista steg har jag analyserat vad som händer med poplåtarna när jazzharmonik appliceras i dem. Min önskan är att det här arbetet kan bidra med insikt i arrangering för sologitarr samt visa vilka några av verktygen för reharmonisering är och hur de kan appliceras i olika sammanhang.

The way humans listen to music and perceive its structure isautomatic. In an attempt by Friberg et al. (2011) to model thishuman perception mechanism, a set of nine perceptual features wasselected to describe the overall properties of music. By letting atest group rate the perceptual features in a data set of musicalpieces, they discovered that the factor with most importance fordescribing the emotions happy and sad was the perceptual featuremodality. Modality in music denotes whether the key of a musicalpiece is in major or minor.This thesis aims to predict the modality in a continuous scale (0-10) from chord analysis with multiple linear regression and a NeuralNetwork (NN) in a computational model using a custom set offeatures. The model was able to predict the modality with anexplained variability of 64 % using a NN. The results clearlyindicated that the approach of using chords as features to predictmodality, is appropriate for music data sets that consisted of tonalmusic. / Computational Modelling of Perceptual Music Features