Thesis (D.M.A.)--University of Texas at Austin, 2002. / Vita. Includes bibliographical references and discography.

Issued also as Thesis (Ph. D.)--Vanderbilt University. / Includes bibliographical references (1 leaf at end).

Thesis (D.M.A.)--University of Texas at Austin, 2000. / Vita. Includes bibliographical references (leaves 246-250). Available also in a digital version from Dissertation Abstracts.

Treatise (D.M.A.)--University of Texas at Austin, 2002. / Vita. Includes bibliographical references. Available also from UMI Company.

Electroacoustic music is music that uses electronic technology for the compositional manipulation of sound, and is a unique genre of music for many reasons. Analyzing electroacoustic music requires special measures, some of which are integrated into the design of a preliminary percussion analysis tool set for electroacoustic music. This tool set is designed to incorporate the human processing of music and sound. Models of the human auditory periphery are used as a front end to the analysis algorithms. The audio properties of percussivity and self-similarity are chosen as the focus because these properties are computable and informative. A collection of human judgments about percussion was undertaken to acquire clearly specified, sound-event dimensions that humans use as a percussive cue. A total of 29 participants was asked to make judgments about the percussivity of 360 pairs of synthesized snare-drum sounds. The grouped results indicate that of the dimensions tested rise time is the strongest cue for percussivity. String resonance also has a strong effect, but because of the complex nature of string resonance, it is not a fundamental dimension of a sound event. Gross spectral filtering also has an effect on the judgment of percussivity but the effect is weaker than for rise time and string resonance. Gross spectral filtering also has less effect when the stronger cue of rise time is modified simultaneously. A percussivity-profile algorithm (PPA) is designed to identify those instants in pieces of music that humans also would identify as percussive. The PPA is implemented using a time-domain, channel-based approach and psychoacoustic models. The input parameters are tuned to maximize performance at matching participants’ choices in the percussion-judgment collection. After the PPA is tuned, the PPA then is used to analyze pieces of electroacoustic music. Real electroacoustic music introduces new challenges for the PPA, though those same challenges might affect human judgment as well. A similarity matrix is combined with the PPA in order to find self-similarity in the percussive sounds of electroacoustic music. This percussive similarity matrix is then used to identify structural characteristics in two pieces of electroacoustic music. / text

The purpose of this study was to provide an objective evaluation of older adults' self-assessed musical needs and preferences. Older adults were defined as individuals 65 and over. The survey and its analysis provided information from which recommendations have been made concerning musical experiences for this age group. The data for this study was obtained by means of a questionnaire which was administered to two hundred and seventy-six volunteer subjects. Eight sites in the Tucson, Arizona, area and four sites in Mansfield, Ohio, were used. The participants represented a cross-section of the 65-and-over age group. The questionnaire was divided into three parts: (1)personal data and past and present musical experience; (2)a twelve-minute listening preference assessment; (3)five areas of inquiries that included kinds of music classes desired, the meaning of music, individual music skills, music as a leisure-time pursuit, and participation in musical performances. Only a small percentage of the persons involved with the study were taking part in a musical activity, but a significant number of individuals indicated that they would participate under different circumstances. Their preferences were for afternoon classes, once a week, free, and in an age-segregated group. They also indicated that a music class would be a worthwhile and entertaining leisure-time pursit and would fulfill a need for meeting people with similar interests. Reluctance to go out at night, lack of transportation, and expense of programs were frequently given as reasons for non-participation in musical activities. Questionnaire respondents rated music "important" and stated that its importance had increased as they became older. The role of music was considered to be recreational and a personally fulfilling endeavor. The majority of older adults in the survey listen to music daily. The types of music they preferred, in rank order, were: popular, opera, folk, country, classical, jazz, non-Western music, and rock. Recommended areas for research concerning the role and use of music in gerontology might include: vocal versus instrumental music preferences; music education as a continuum throughout the life span; hearing loss of the elderly as it relates to music listening; and the relationship between educational attainment and partcipation in music activities. From the data presented in this study, it is clear that music is an important part of the life of the older adult. It is projected that in the year 2030 the 65-and-over age group will comprise 18.3% of the population. Society must begin to prepare for their needs. Government agencies, educational institutions, music educators and all interested individuals are encouraged to promote and develop music experiences for the aged.

No description available.

Thesis (M.M.) -- Florida State University, 2004. / Advisor: Matthew Shaftel, Florida State University, School of Music. Title and description from thesis home page (viewed 12-14-04). Document formatted into pages; contains 90 pages. Includes biographical sketch. Includes bibliographical references.

Thesis (Ph. D.)--University of New South Wales, 1999.

Thesis (Ph. D.)--University of Chicago, Department of Music, August 2002. / Includes bibliographical references. Also available on the Internet.