Thesis (M. Phil.)--University of Hong Kong, 2007. / Title proper from title frame. Also available in printed format.

This paper is divided into two broad sections. The first section traces the life and career of John Graas through an examination of the contents of the John Graas Memorabilia and Memorial Library, which contains photo albums, newspaper clippings, records and tapes, approximately one hundred original compositions, and personal correspondence between the author and people who knew and worked with Graas.The second section is an examination and discussion of Graas's original compositions. This discussion traces Graas's compositional development and growth as an acknowledged jazz composer through the melodic analysis of selected original compositions.Findings1. John Graas was a classically-schooled horn player who studied with Max Pottag and Wilhelm Valkanier, and performed with the Indianapolis and Cleveland orchestras.2. He was best known for being the first horn player to achieve prominence in the jazz field. Graas acquired his jazz skills first as a performer with Thornhill, Beneke, and Kenton, and later as a composition student of Lennie Tristano, Shorty Rogers and Dr. Wesley LaViolette. 3. Numbering over one-hundred compositions, Graas’ works range from standard to innovative works for various-sized ensembles, including works for solo horn, solo piano, a television score, and his Jazz Symphony #1, written for full symphony orchestra and nine-piece jazz ensemble.Conclusions1. Graas was acknowledged as the first horn player to achieve prominence in the field of jazz, as recognized by such top, jazz polls as Down Beat, Metronome, and Playboy, from 1955 to 1961.2. His early improvisations helped to open the jazz field to future jazz hornists: Watkins, Amram, Ruff, Varner.3. Graas showed true pioneer spirit by working hard to expand limits placed on the horn by classical tradition, in order to reach a new and different standard of performance. / School of Music

The study's objective is to relate the development of Pat Metheny's stylistic characteristics from his interpretation of jazz standards to their incorporation into his own compositions. Stylistic elements are established and a sample of his compositions are analysed to compare his solo style in standards with his compositional style. Metheny is a recognised innovator in technique and uses a wide range of instruments in the guitar family, both traditional and radically new. The use of such instruments frees Metheny from some restrictions and the possibility that this freedom is a major influence in his improvisation and composition is remarked on. There is scope for further work based on a wider sampling, and the methodology used in this study could probably be modified to focus on this objective.

Thesis (M.C.A.-Res.)--University of Wollongong, 2007. / Typescript. Includes 2 computer discs in front pocket of v. 2. Vol. 2 entitled: Creative component. Includes bibliographical references.

Thesis (MMus)(Comp)--University of Melbourne, Faculty of the Victorian College of the Arts and Music, 2010. / Typescript.

Contemporary musicological analysis of the musical languages and aesthetics of post-Soviet states has largely avoided the effect of independence, political and social integration into the EU, and the unanticipated preponderance of sonic information and exchange on composers working and living in the Baltic States. The diffusion of composers and musicians from the Baltic States in the 1990s and 2000s, the lack of a focal point of artistic contention and backlash after the collapse of the Soviet Union, as well as a social and intellectual realignment toward the EU and Western Europe have all distinctly affected Baltic nations' musical identities. This research examines the development of Estonian music over the period of twenty years, 1991-2011; initially, by comparing compositional processes, musical motives, scoring, harmony, and orchestration techniques of the post-Soviet to the Soviet eras; further, by defining aspects of the native Estonian musical identity as relevant to modern classical music and analysing its integration into concert music; next, by detailing the political effects of such integration, if any, during the Soviet period and their continued relevance since independence; the so-called exodus of Estonian composers into Scandinavia and further afield, the arrival of foreign composers; finally, the social effects of internationalism and the extent of Estonian composers' and audiences' focus on distinctly national versus international traditions within the realm of concert music.

My dissertation is an investigation of the rhythm and fills presets on the Mellotron MKII (1964) through a series of compositions. All the sounds used in these compositions are Mellotron sounds from the MKII, which were edited and arranged using a digital audio workstation (DAW). In this study I dissect the instrument, and outline every aspect of the rhythms and fills presets. In the process, I develop an expanded model of performance practice on the instrument, presenting new playing and compositional possibilities. These are made possible through comprehensively documented analysis of the instrument’s sample set and the tempo, key and pitch permutations achievable through its on-board modulation controls. The Mellotron is significant because it was among the first samplers in history, and quickly became an iconic sound, woven into the cultural fabric of 1960s British pop. The Mellotron was used on The Beatles’ ‘Strawberry Fields Forever’, Led Zeppelin’s ‘Kashmir’, David Bowie’s ‘Space Oddity’, and The Rolling Stones’ ‘2000 Light Years From Home’, to name a few. While the Mellotron is featured on these famous songs, it has never been used as a solo instrument for a long form composition, nor have its samples ever been transcribed. The study takes a reflexive approach, using journals compiled through the composition process to support the development of new Mellotron techniques and compositions. The compositions presented in this study establish and demonstrate the Mellotron’s capability for extended solo work. The new techniques presented here make the Mellotron more practical for improvisation, composition and performance in new musical contexts. Additionally, the research expands scholarly/educational literature on electromechanical keyboards, providing in-depth technical, historical and musical data on the Mellotron. / Art History, Visual Arts and Musicology / M. Mus. (Music)

Made available in DSpace on 2014-06-11T19:26:46Z (GMT). No. of bitstreams: 0 Previous issue date: 2012-06-22Bitstream added on 2014-06-13T19:55:03Z : No. of bitstreams: 1 rossetti_daa_me_ia.pdf: 4659316 bytes, checksum: 53bf7096c9fcb3552b36485b1cd1fc66 (MD5) / Este trabalho visa a investigar e analisar a dimensão temporal do som, tendo como ponto de partida as categorias temporais propostas por Iannis Xenakis: fora-do-tempo, notempo e temporal. Inicialmente, o fenômeno sonoro é analisado dentro de suas três dimensões – altura (freqüência), intensidade (pressão sonora) e tempo (duração) – considerando as pesquisas de Pierre Schaeffer e Abraham Moles. Segue-se a este tema uma análise especifica sobre a dimensão do tempo. A fim de construir uma visão abrangente sobre as acepções deste conceito, propomos uma divisão entre tempo objetivo (visão dos filósofos da Grécia Antiga) e tempo subjetivo (visão de Santo Agostinho e Kant). Ademais, são detalhadas as acepções sobre o tempo propostas por Husserl, Bergson e Bachelard. Sempre que possível, articulamos o pensamento de Xenakis aos conceitos apresentados. A partir deste referencial teórico, realizamos uma análise de três obras de Xenakis: Metastaseis (1953 – 54), Concret PH (1958) e Bohor (1962), retomando as categorias temporais definidas por ele, além de abordar seu método composicional implementado nos anos 1950, a música estocástica. Seu trabalho composicional tem como principais características multidisciplinaridade (sua obra musical abarca conceitos arquitetônicos, filosóficos e científicos) e a indissociação dos conceitos de tempo e espaço, formando um esquema no qual os eventos musicais são justapostos ou sobrepostos. Em anexo a este trabalho, apresentamos quatro composições nas quais o tempo musical foi refletido e trabalhado a partir do referencial teórico adquirido durante esta pesquisa / This work intends to investigate and analyze the temporal dimension of the sound, departing from the temporal categories proposed by Iannis Xenakis: outside-time, in-time and temporal. Initially, the sound phenomenon is analyzed in its three dimensions – pitch (frequency), intensity (sound pressure) and time (duration) – considering the investigations of Pierre Schaeffer and Abraham Moles. Following to this topic, a specific analysis of the dimension of time is presented. In order to elaborate a comprehensive view about the meanings of this concept, a division between objective time (ancient Greek philosophers’ view) and subjective time (Saint Augustine and Kant’s view) is proposed. Moreover, significations of time by Husserl, Bergson and Bachelard are detailed. Whenever possible, Xenakis’ thought is linked with the presented ideas. From this theoretical reference, three works of Xenakis are analyzed: Metastaseis (1953 – 54), Concret PH (1958) and Bohor (1962), recovering the temporal categories defined by him, and also addressing his compositional method implemented during the 1950’s: stochastic music. His compositional work is characterized by multidisciplinarity (his musical work comprehend architectural, philosophical and scientific concepts) and by the indissociation of time and space concepts, conceiving a model in which musical events are juxtaposed or superposed. Attached to this work, four compositions are presented, in which musical time is thought and manipulated regarding the theoretical references acquired during this research

Orientador: Denise Hortência Lopes Garcia / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-16T23:41:57Z (GMT). No. of bitstreams: 1 Mamedes_ClaytonRosa_M.pdf: 56445719 bytes, checksum: 5aa77ec88f4cefec6634aaef3a7bb216 (MD5) Previous issue date: 2010 / Resumo: A presente pesquisa objetiva realizar um panorama da produção de música eletroacústica paulista entre as décadas de 1990 e 2000, focando-se no trabalho desenvolvido por doze compositores desta que consideramos a primeira geração a empregar o computador como ferramenta básica de suporte à composição. Foi aqui estudada a produção dos compositores José Augusto Mannis, Flo Menezes, Edson Zampronha, Denise Garcia, Rodolfo Coelho de Souza, Lívio Tragtenberg, Lelo Nazário, Fernando Iazzetta, Sílvio Ferraz, Ignacio de Campos, Wilson Sukorski e Jônatas Manzolli. Neste trabalho enfocamos obras características destes compositores, através das quais localizamos sua área de atuação específica no gênero eletroacústico, classificando-os de acordo com a mídia proeminente dentre o escopo de suas respectivas produções, construindo desta forma um quadro sucinto do período / Abstract: The present research aims to produce a panoramic view of the musical production on Brazilian electroacoustic music from the State of São Paulo from 1990 to 2000. It studies works produced by twelve composers of the first generation which worked exclusively with computers as a compositional tool. We studied here the production of the composers José Augusto Mannis, Flo Menezes, Edson Zampronha, Denise Garcia, Rodolfo Coelho de Souza, Lívio Tragtenberg, Lelo Nazário, Fernando Iazzetta, Sílvio Ferraz, Ignacio de Campos, Wilson Sukorski and Jônatas Manzolli. In this dissertation we focused main works of these composers, among which we localized their specific area of actuation in the electroacoustic genre, classifying them to the most important media of their production, building an approach of that period / Mestrado / Processos Criativos / Mestre em Música

Orientador: Jônatas Manzolli / Acompanhado de 1 DVD / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-16T00:39:52Z (GMT). No. of bitstreams: 1 Furlanete_FabioParra_D.pdf: 3804356 bytes, checksum: 366c9164940cf5018b191cc60707d3d8 (MD5) Previous issue date: 2010 / Resumo: Este trabalho investiga o possível papel para o compositor em uma situação de interação musical coletiva e propõe estrategias para sua atuação nesse contexto. Apresenta exemplos dessas estrategias em trabalhos composicionais e implementa um desses trabalhos na forma de uma ferramenta digital que permite ao compositor modelar contextos interativos, elaborar regras de interação e interferir nos processos enquanto eles ocorrem. A implementação das ferramentas digitais é feita na forma de um sistema para modelagem sonora coletiva que usa o projeto de jogos digitais como modelo para interação musical entre agentes artificiais e jogadores humanos em rede. Nosso trabalho tem como foco as regras de interação e como elas podem ser projetadas gerar resultados esteticamente atraentes e que ao mesmo tempo não restrinjam excessivamente a autonomia criativa dos jogadores. Essas regras devem ser aplicáveis tanto no contexto da Arte-Educação quanto no da performance. Acreditamos que o conhecimento da área de design de jogos em rede é útil para o projeto de tais regras. / Abstract: This work investigates the possible role for the composer in a situation of collective musical interaction and proposes strategies for their action in this context. It presents examples of these strategies in compositional works and implements them in the form of computer tools that allows the composer to model interactive contexts, develop rules of interaction and interfere with the processes as they occur. The implementation of the computer tools is in the form of a system for collective sound shaping. It uses digital games design patterns as models for musical interaction between artificial agents and human players in a network. Our work aimed to the interaction rules and how they can be designed to provide interactions whose outcome is aesthetically appealing and, at the same time, to not restrict the creative autonomy of the players. These rules should be applicable both in the context of Art Education and in the performance. We believe that knowledge of the project area network gaming is useful for the design of such rules. / Doutorado / Doutor em Música