Pitcher is a prototype which makes it easier for inexperienced guitar players to tune their guitars without any prior knowledge required. This thesis will explore how the construction varies between the usage of DC and a stepper motor, how reliable the tuner is and how long it takes to tune the guitar. The tuner will capture sound with a microphone and calculate the current frequency of the string with YIN autocorrelation. Based on the frequency a control system regulator is used to determine the speed and direction of a motor which turns the tuning peg, this is repeated until the string is in tune. 30 tests were conducted from different starting frequencies, and the time it took for the tuner to find the right pitch and the string’s corresponding frequency was measured. Some of the measurements were a couple of Hz off pitch, and only about half of the frequencies measured belonged to the interval where there is no noticeable dierence of the pitch, therefore the tuner could not be considered reliable. The time it takes to tune the guitar is dependent on how far off pitch the string is andthe dierence in time does not depend linearly with the starting frequency, it increases faster the further off pitch the string is.The tuner is portable and to apply the tuner to the guitar it is held and placed on the tuning peg with one hand as the other hand is plucking the string. / Den automatiska gitarrstämmaren, Pitcher, är en prototyp som möjliggör för oerfarna gitarranvändare utan förkunskaper att stämma en gitarr. Den här avhandlingen kommer att undersöka hur konstruktionen skiljer sig åt vidanvändning utav en stegmotor respektive en likströmsmotor, hur lång tid det tar att stämma gitarren samt hur tillförlitligprototypen är. Stämmaren avläser ljudsignaler med en mikrofon och beräknar sedan frekvensen av strängen med hjälp av YIN autokorrelation. Den beräknade frekvensen behandlas i en regulator som avgör vilken hastighet och i vilken riktningmotorn ska rotera stämskruven. Detta repeteras tills korrekt frekvens erhålls. 30 test gjordes då gitarren stämdes från olika startfrekvenser där tiden att stämma strängen respektive dess frekvens mättes. Några mätningar hade en frekvens som avvek flera Hz från korrekt frekvens, och cirka hälften av frekvenserna från alla mätningar tillhörde frekvensintervallet där ingen skillnad kan höras på tonen, därför kan gitarrstämmaren ej anses vara tillförlitlig. Tidendet tar att stämma en sträng är beroende på hur ostämd den är och skillnaden i tid beror inte linjärt av startfrekvens, utan den ökar snabbare desto mer ostämd gitarren är. Stämmaren är portabel och för att applicera den på gitarren placeras munstycket på stämskruven medan den andra handen slår an strängen.

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This bachelor thesis explores the use of blues language within the realm of jazz music. Through examination of solo excerpts from various jazz musicians spanning different eras, this study offers a comprehensive analysis of the tangible incorporation of melodic and technical elements inherent in the blues tradition within jazz. The primary objective of this research is to grasp the essence of the blues as a theoretical framework within music, with the ultimate aim of applying this understanding to enhance personal improvisational and guitar-playing abilities. To achieve this goal, a dual approach was adopted, encompassing both theoretical exploration and practical application. Theoretical concepts central to the blues sound were investigated, alongside a detailed study of technical nuances that define its characteristic resonance. Central to the methodology employed was the process of transcription and analysis, allowing for a nuanced examination of how jazz musicians adeptly infuse the blues language into their improvisations. By scrutinizing the intricate interplay between theory and practice, this study shed light on the dynamic evolution of the blues within the jazz idiom. The study resulted in a deeper understanding of the use of blues language as an improvisational device within traditional ways of playing jazz music such as bebop and swing. / <p>“Let The Cat Out” - John Scofield</p><p>“Hipsippy Blues” - Hank Mobley</p><p>“If Ever I Would Leave You” - Frederick Loewe</p><p>“That’s When We Thought About Love” - Harold Ousley</p><p>“Morningside Heights” - Dag Weibel</p><p>Medverkande var Jacob Sandberg på bas, Victor Nordmark på trummor och Malte Boqvist på hammondorgel och piano.</p>

Architecture and music share intrinsic meanings generated by a constant stream of metaphors which are forms of poetic transformations. This thesis sought to challenge the present way an architect-musician makes drawings through the exploration of multimedia possibilities at hand. The drawings are composed using Macromedia Flash MX. OPEN HOMEPAGE.EXE To download flash player, click here: <a href="http://www.macromedia.com/shockwave/download/download.cgi?P1_Prod_Version=ShockwaveFlash"> Download flash Player</a> / Master of Architecture

Traditional media has a long history of marginalising women and ethnic minorities by trivialising their contributions and obscuring their involvement. Ethnic minorities have been kept out of top roles in films – as evidenced in 2016, with the #Oscarssowhite controversy, when not a single nomination was extended to a person of colour. Women, too, have been objectified and typecast in supporting and “love interest” roles. This marginalisation, whereby male and white are the norm and everyone else is “the other”, extends far beyond movies. YouTube has transformed from its humble beginnings of a video sharing site into one of the main video-based services, capable of extending producers’ voices across national boundaries. With this change, amateur contributors have professionalised their productions. Analysing four top-rated guitar review YouTube videos using critical discourse analysis, this thesis explores the overrepresentation of white men in online spaces for the reviewing of music instruments and looks specifically at subtle ways in which discourse is used to reinforce social exclusions online. Keywords: Gender, Feminism, Ethnicity, Minorities, YouTube, Guitar, Produsers, Music, Canon, Formats, Audiences

Tratando música e performance violonística como um problema a ser resolvido e procurando por ferramentas que facilitassem o processo de solução de problemas a presente pesquisa levantou vários conceitos em outras áreas do conhecimento, notadamente o Pensamento Divergente de Joy P. Guilford (1950), o Método Científico (principalmente a partir de Tang, 1984), o Pensamento Reflexivo de John Dewey (1933), o Brainstorm de Alex F. Osborn e a Heurística (segundo Duailibi e Simonsen, 1990) e os aplicou à obra selecionada, a saber, os 12 Estudos para Violão de Francisco Mignone (1897-1986), criando inúmeras soluções de execução de suas passagens, expressas pelos 875 exemplos musicais contidos na tese, no intuito de demonstrar como estes conceitos podem auxiliar na solução de problemas violonísticos. O presente trabalho foi realizado com apoio da Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - Brasil (CAPES) - Código de Financiamento 001. / By considering music and musical performance as a problem to be solved and searching ways of facilitate this problem-solving process this research gathered many concepts or tools of problem solving as the Divergent Thinking by Joy P. Guilford (1950), the Scientific Method (mainly based in Tang, 1984), the Reflexive Thinking by John Dewey (1933), Brainstorm by Alex F. Osborn and the Heuristic (mainly by Duailibi and Simonsen, 1990) and applied then to the selected work, the 12 Guitar Studies by Francisco Mignone (1897-1986). With this approach many solutions where created for it\'s passages, and where expressed by 875 musical exemples, wishing to demonstrate how this concepts can assist the guitar problem solving process. This study was financed in part by the Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - Brasil (CAPES) - Finance Code 001.

此作品集提供有一篇文章介紹72-TET記譜法及七首音樂作品。音樂作品採用不同編寫，包括樂團三首，室內樂作品三首，藝術歌曲一首。 / Seven works (three orchestral, three chamber, and one vocal) written and performed in the last three years constitute this portfolio, along with an introductory essay discussing a common feature in many, a form of 72-TET notation. For all of these pieces, microtones are employed; for some, this is fundamental to the technical construction of the piece, while, for others, microtones function as ornamental devices. / The variety of compositional goals enabled through microtonal notation is reflected in the differing technical approaches to the works: East Cathedral for full orchestra requires a representation of 19 just intonation overtone pitches (as high as the 125th harmonic) which enable a shifting timbral palette, sometimes orchestrating closely defined intervals otherwise impossible to approximate using conventional notation. A similar approach is found in ON/OFF which retunes five electric guitars to certain overtones between the eighth and 39th harmonics but which accomplishes much higher partials by employing a violin bow. Suite for string orchestra with sheng employs traditional diatonic harmonies employing simple just thirds juxtaposed with natural harmonic clusters in the low strings and at other times leading to untraditional diatonic clusters or extended collisions of microtonal comma values. Study and Variation on an Extended Pythagorean Tuning for violin, cello, and guzheng employs a collection of pitches selected from a spiral of perfect fifths, while Hymn to Morning, on the classic hymn text of Thomas Ken, uses quarter tones in the vocal part only, constructing modes outside of the established diatonic system. Duo: in cerca for violin and viola uses quartertones and glissandos to contribute to its wide range of techniques approximating dramatic dialogue between the instrumentalists, employing pitch “bending and characteristics of vocal portamento, while, similarly, Déjà vu for solo violin, harp, piano, and string orchestra also includes quartertone notation and glissandos to help lead the listener into a series of interludes at odds with the melodic statements of the soloist. / East Cathedral : for full orchestra -- Déjà vu : for solo violin, harp, piano, and string orchestra -- Suite : for string orchestra with sheng -- Study and variation on an extended Pythagorean tuning : for violin, cello, and guzheng -- Duo : in cerca : for violin and viola -- Hymn for morning : for voice and piano -- ON\OFF : for five electric guitars. / Detailed summary in vernacular field only. / Marshall, Eli Matthew Bakaley. / Thesis (D.Mus.) Chinese University of Hong Kong, 2014. / Includes bibliographical references (leaves xxxiii-xxxvi). / Abstract also in Chinese.

Thesis (Ph. D.)--University of California, Los Angeles, 2008. / CD-ROM entitled "The motion graphics scores of Severin Behnen" includes the animated scores. Includes bibliographical references (v. 1, leaves 138-142).

Submitted by Luciana Ferreira (lucgeral@gmail.com) on 2018-10-23T15:13:26Z No. of bitstreams: 2 Dissertação - Vinicius Maurício Queiróz Hipólito da Silva - 2018.pdf: 12569716 bytes, checksum: 2822ab561698f1cf50cee304b21410c6 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Approved for entry into archive by Luciana Ferreira (lucgeral@gmail.com) on 2018-10-23T15:19:35Z (GMT) No. of bitstreams: 2 Dissertação - Vinicius Maurício Queiróz Hipólito da Silva - 2018.pdf: 12569716 bytes, checksum: 2822ab561698f1cf50cee304b21410c6 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Made available in DSpace on 2018-10-23T15:19:35Z (GMT). No. of bitstreams: 2 Dissertação - Vinicius Maurício Queiróz Hipólito da Silva - 2018.pdf: 12569716 bytes, checksum: 2822ab561698f1cf50cee304b21410c6 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Previous issue date: 2018-07-10 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / In preliminary researches we have noticed the existence of a significant tradition of guitar solo in the city of Goiânia still rarely addressed in scientific papers. Thus, the present study presents a historical narrative of this musical practice during the period that covers the end of the 19th century until nowadays. This time frame was split into three stages, defined according to the acute transformations of the guitar solo activity in the city. It was elected for each of these stages one representative composer, Odilon Kneipp Fleury Curado (1898-1980), Sebastião Martins de Oliveira (1911-1977) and Estércio Marquez Cunha (1941-), whose compositions was examined in the last part this research. This research has been divided into four chapters: I – The guitar consolidation process in concert music in Brasil; II – The guitar solo in the city of Goiânia; III – Evaluation and analysis of works and Final considerations. As background of our historical approach we have used the concepts of some authors of Cultural History, such as Bakhtin, Pesavento, Freire and Burke. For the musical analysis, addressed in chapter 3, we have used Nattiez’s theory. / Em pesquisas preliminares notamos a existência de uma relevante tradição do violão solista na cidade de Goiânia ainda muito pouco discutida em trabalhos científicos. Desta forma, esta pesquisa apresenta uma narrativa histórica da trajetória desta prática em um recorte temporal que abrange o período final do séc. XIX até a atualidade. Todo este intervalo de tempo foi dividido em três momentos, definidos a partir das transformações mais agudas identificadas com relação ao violão solista nesta cidade. Foi eleito para cada um destes momentos um compositor representante, a saber, Odilon Kneipp Fleury Curado (1898-1980), Sebastião Martins de Oliveira (1911-1977) e Estércio Marquez Cunha (1941-), cujas obras foram analisadas na última etapa deste trabalho. A pesquisa foi dividida em quatro capítulos: I – O processo de consolidação do violão na música de concerto no Brasil, II – O violão solista na cidade de Goiânia, III – Apreciação e análise das obras e Considerações Finais. Como pano de fundo de nossa abordagem histórica fizemos uso de alguns dos conceitos de teóricos da História Cultural, como Bakhtin, Pesavento, Freire e Burke. A análise musical teve como arcabouçou teórico a abordagem de Nattiez.

Orientador: José Roberto Zan / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-16T23:13:54Z (GMT). No. of bitstreams: 1 Visconti_EduardodeLima_D.pdf: 3049814 bytes, checksum: b724fe60737a7a167889c3e8a9c53840 (MD5) Previous issue date: 2018-08-16T20:13:40Z / Resumo: O tema desta tese é a inserção da guitarra elétrica na música popular brasileira, processo que se deu de forma gradativa a partir de meados do século XX. Através do estudo dos estilos de José Meneses e Olmir Stocker, dois músicos que se dedicaram a esse instrumento, procuro compreender o modo pelo qual a guitarra elétrica não apenas foi introduzida, mas se adequou ao repertório da nossa música popular. Identificada como instrumento dotado de dispositivos artificiais (captadores eletrônicos) e portadora de uma carga de significados associados ao jazz e à música pop anglo-americana, a guitarra foi objeto de veneração e rejeição por parte de críticos e músicos. Ao mesmo tempo em que fora repudiada por uns como símbolo de "estrangeirismo" ou até mesmo do imperialismo cultural sobre a nação brasileira, era reconhecida por outros como elemento de sofisticação e de modernidade musical. Apoiado em análises de composições e gravações de José Meneses e Olmir Stocker, procurei demonstrar que os estilos desses músicos expressam, de certa forma, uma gama de conflitos simbólicos que permearam o meio musical ao longo de décadas, balizados pelas oposições entre nacional x internacional, erudito x popular, comercial x não comercial, tradicional x moderno. Além disso, foi possível verificar que, enquanto José Meneses - músico que iniciou sua carreira ainda nos anos de 1940 - pode ser reconhecido como um instrumentista que faz a transição do violão para a guitarra elétrica, Olmir Stocker faz parte de uma geração que consolidou o instrumento na nossa música popular, construindo um estilo que se amolda a um amplo leque de ritmos e gêneros populares regionais / Abstract: The subject of this thesis is the insertion of the electric guitar in Brazilian popular music, a process that occurred progressively from the beginning of the 20th century. Through the study of the styles of guitar players José Meneses e Olmir Stocker, I seek to understand how the electric guitar was not only introduced, but also adapted to the Brazilian popular repertoire. Identified as an instrument with artificial devices (electromagnetic pickups) and symbolically associated to jazz and Anglo-American pop music, the electric guitar was object both of veneration and rejection by critics and players. Even as it was repudiated by some as a symbol of "foreignness" or even of cultural imperialism against the "Brazilian nation," it was acknowledged by other as an element of musical sophistication and modernity. Based on analyses of compositions and recordings by José Meneses and Olmir Stocker, I have sought to show that the styles of these two musicians express, in a certain way, a series of symbolic conflicts that pervaded the musical milieu for decades. These conflicts were focused on binary oppositions between national/international, erudite/popular; commercial/non-commercial, traditional/modern. Moreover, it was possible to verify that, whereas José Meneses - a musician who began his career still in the 1940's - can be acknowledged as a player who made a transition from acoustic to electric guitar, Olmir Stocker is part of a generation that consolidated the instrument in Brazilian popular music, building a style adapted to a wide range of popular and regional rhythms and genres / Doutorado / Musica / Doutor em Música