Global ETD Search

1	Bishop John Medley : missionary and reformer Craig, Barry January 2001 (has links) No description available.
2	Queen of the Night : ett konsertprojekt i Whitney Houstons ära Bensing, Emma January 2013 (has links) Projektet går ut på att göra en konsert med Whitney Houstons låtar. Konserten görs i samarbete med två andra sångerskor, och ett band på fyra personer. Musiken arrangeras av oss sångerskor, och hela konserten utformas som en helhet, med inslag av a capellasång, medleyn och koreografi. Målet är framförandet, men syftet är även att kunna göra konserten i framtiden. Materialet som kommer att användas i konserten består endast av Whitneys låtar, och låtvalen sträcker sig genom hela hennes karriär. / The project is to do a concert with the music of Whitney Houston. The concert will be done in co-operation with two other singers, and will be performed with a band of four members. I and the other singers will arrange the songs, and the concert will contain a capella singing, medleys, and choreography. The aim of the project is the concert it self, but the purpose is to be able to do it more then one time. The material that is going to be used is only the songs of Whitney Houston, and the songs of choice will be from her entire carrier. / <p>Bilaga: 1 DVD</p> Whitney Houston tribute konsert sångerskor medley a cappella
3	Att arrangera TV-spelsmusik Paulsson, Ola January 2018 (has links) Under de senaste 20 åren har TV-spelskonserter blivit mer vanliga och framförs med varierad kvalité. Detta arbete bottnar i problematik kring orkesterns storlek och att ge musikerna en givande stämma att spela. Fokus ligger på att skriva arrangemang för mindre ensemble och skapa roliga stämmor som inte är för enkla eller för svåra. Projektet genomfördes med hjälp av återkoppling från andra musiker, datorprogram, hemsidor och tidigare forskning. Arbetet resulterade i ackumulerad fördjupad kunskap inom arrangering och två medleyn: Final Fantasy Battle och Final Fantasy Soft, som består av musik från Final Fantasy-serien. Originalmusiken är skriven av kompositören Nobuo Uematsu och i denna uppsats beskrivs hur det var att bearbeta hans verk. Under arbetets gång har några utmaningar utkristalliserat sig och behövt tacklas: Hur fångas lyssnaren? Hur får man arrangemangen spelbara? Hur gör man musiken rolig att spela? Att arrangera TV-spelsmusik visade sig vara mer omfattande än förväntat. Men under arbetets gång har genvägar uppkommit, till exempel bearbetning av existerande arrangemang med digitala verktyg. Arrangering Medley TV-spelsmusik Stråkkvartett Music Musik Pedagogy Pedagogik
4	Trendy ve specializovaném plaveckém tréninku v disciplínách polohový závod / Trends in swimming training for individual medley events Brtník, Tomáš January 2013 (has links) Title: Trends in swimming training for individual medley events Objectives: The aim of our study was to analyze performance and training for 200 and 400 m individual medley events and describe new trends in training for these swimming events Methods: Our research design was a case study. We were interested in training of three swimmers of elite performance in the 200 and 400 m individual medley events. To identify cases, we used the analysis of documents and literature, to a limited extent, the method of interview. Results: Training of elite swimmers is characterized by a high training volume. Coaches uses mainly interval training methods. Training is highly specific. During the later stages of the annual training cycle training is focused on race pace in the high training volume. Key words: training, swimming, individual medley, periodization.
5	The legacy of duo-pianists Bill and Pat Medley Whipple, William Perry, III 01 January 2014 (has links) The purpose of this D.M.A. Essay is to highlight the legacy of duo-pianists, Bill and Pat Medley. To that end, this essay will explore: (a) the early biographical information of the Medleys (developing their musical talents in the Depression and World War II Era), (b) the Medleys' concert touring career, including a section on the logistics of travelling with their own concert grand pianos across the United States and Canada, (c) the Medleys' teaching career which included both secondary and pre-college levels, (d) a collection of comical stories learned through personal interviews with the Medleys that speak to their many years of concertizing, and (e) the Medleys' composing and arranging career, which includes a detailed overview of The Medley Way method book series published by The Hal Leonard Corporation and a detailed review and analysis of twenty-two of their educational solos, which were published by the Alfred Music Company, The FJH Music Company, and The Willis Music Company. Bill Medley stated, "As I look back on our lives and the past sixty years, I see two teenagers striking out on a journey that would take them to unfathomable destinations. It would not be done alone, by any means, but with the help of many, many people..." It is my hope that this essay will shed light on a career that has endured sixty plus years and counting. The Medleys' touring career allowed small town communities to experience the art of classical music, who otherwise would not have experienced such beauty. The Medleys' teaching career passed along a musical lineage from their teachers, including Pierre Luboshutz and Genia Nemenoff, along with a composing and arranging career that continues to serve as a pedagogical essence of quality to this day. publicabstract Bill and Pat Medley Duo-Pianism Duo-Pianists Piano Pedagogy Music
6	Hostility and Negative Emotion: Implications for Verbal Learning and Cardiovascular Regulation Mollet, Gina Alice 22 June 2004 (has links) Hostility is a multidimensional construct that has been extensively studied. It has been shown that hostility affects cognitive (Shimojima et al., 2003), behavioral (Prkachin & Silverman, 2002), visual (Herridge, Mollet, Harrison, & Shenal, in press), somatosensory (Herridge, Harrison, & Demaree, 1997a), auditory (Demaree & Harrison, 1997a), motor (Demaree et al., 2002) and pre-motor functioning (Williamson & Harrison, 2003). In order to extend and integrate the present literature on hostility and the effects of negative emotional state on cognition, the present investigation used a cold pressor to induce a negative emotional/pain state in high and low hostile participants and measured. The subsequent effects on the acquisition of the Auditory Affective Verbal Learning Test (AAVLT; Snyder & Harrison, 1997) were measured. Blood pressure (BP) readings were taken before and after the cold pressor to examine cardiovascular regulation in high and low hostiles. Further, before the first trial participants were asked to predict the number of words that they would be able to recall on the first trial. After completion of the experiment participants were asked to estimate their performance relative to other participants. The measures were used to assess self-awareness in high and low hostile participants, which may be impaired in high hostile individuals (Demaree & Harrison, 1997b). As expected, high hostiles learned negative emotional words significantly better than they learned positive words. Additionally, high hostiles were impaired in their acquisition of verbal material relative to low hostile participants. Low hostile participants learned more words faster and reached asymptote sooner. A significant primacy effect for negative emotional words and an overall better recall of negative information was found. Analysis on each of the four groups of the experiment indicated that participants in the cold pressor group performed similar to the high hostile participants. The cold pressor facilitated negative learning and also slowed verbal learning relative to the no cold pressor group. It was predicted that high and low hostiles would differ on baseline measures of systolic blood pressure (SBP), diastolic blood pressure (DBP), and heart rate (HR) and that they would demonstrate increased cardiovascular reactivity in response to the cold pressor. These hypotheses were not supported. Self-awareness measures also failed to produce significance. These results support the proposal that high hostiles differ from low hostiles in a number of modalities. They demonstrate the persistence of negative emotional material. Future work should address what kinds of implications these factors have on high hostiles in daily interactions / Master of Science primacy effect verbal learning Affective Auditory Verbal Learning Test Cook Medley Hostility Scale cold pressor negative emotion hostility cardiovascular regulation positive emotion
7	Aspekte des „Samplings“ Braun, Stefan K. 16 July 2014 (has links) (PDF) Mash-Ups (auch Bootlegging, Bastard Pop oder Collage genannt) erfreuen sich seit Jahren steigender Beliebtheit. Waren es zu Beginn der 1990er Jahre meist nur 2 unterschiedliche Popsongs, deren Gesangs- und Instrumentenspuren in Remixform ineinander gemischt wurden, existieren heute Multi-Mash-Ups mit mehreren Dutzend gemixten und gesampelten Songs, Interpreten, Videosequenzen und Effekten. Eine Herausforderung stellt die Kombination unterschiedlichster Stile dar, diese zu neuen tanzbaren Titeln aus den Charts zu mischen. Das Mash-Up Projekt Pop Danthology z.B. enthält in einem knapp 6 minütigen aktuellen Musikclip 68 verschiedene Interpreten, u. a. Bruno Mars, Britney Spears, Rhianna und Lady Gaga. Die Verwendung und das Sampeln fremder Musik- und Videotitel kann eine Urheberrechtsverletzung darstellen. Die Komponisten des Titels „Nur mir“ mit Sängerin Sabrina Setlur unterlagen in einem Rechtsstreit, der bis zum BGH führte. Sie haben im Zuge eines Tonträger-Samplings, so der BGH , in das Tonträgerherstellerrecht der Kläger (Musikgruppe Kraftwerk) eingegriffen, in dem sie im Wege des „Sampling“ zwei Takte einer Rhythmussequenz des Titels „Metall auf Metall“ entnommen und diese im eigenen Stück unterlegt haben. Der rasante technische Fortschritt macht es mittlerweile möglich, immer einfacher, schneller und besser Musik-, Film- und Bildaufnahmen zu bearbeiten und zu verändern. Computer mit Bearbeitungssoftware haben Keyboards, Synthesizer und analoge Mehrspurtechnik abgelöst. Die Methoden des Samplings unterscheiden sich von der klassischen Raubkopie dahingehend, dass mit der Sampleübernahme eine weitreichende Umgestaltung und Bearbeitung erfolgt. Die Raubkopie zeichnet sich durch eine unveränderte Übernahme des Originals aus. Betroffen von den Auswirkungen eines nicht rechtmäßig durchgeführten Sampling sind Urheber- und Leistungsschutzrechte ausübender Künstler sowie Leistungsschutzrechte von Tonträgerherstellern. U. U. sind auch Verstöße gegen das allgemeine Persönlichkeits- und Wettbewerbsrecht Gegenstand von streitigen Auseinandersetzungen. Bastard Pop Bootlegging Einzeltonsampling Forensik Frequenzanalyse Mash-Up Mixproduktion Multisampling Phaseninvertierung Remix Sample-Medley Sampling Sound Separation Soundsampling Spektrogramm Spektrometermessungen Toncollage Zitat Tonfolgensampling audio authentication Bootlegging copyright cryptography forensics interference Mash-Up melody mix production multi-sampling neighbouring rights phase inversion real-time frequency analysis Remix Sample-Medley single sound sampling sound collage sound sampling Sound Separation sound sequence sampling spectrogram spectrometer measurement watermarking ddc:780 rvk:PE 745 rvk:LS 48660
8	Aspekte des „Samplings“: Eine Frage des Sounds? Braun, Stefan K. January 2014 (has links) Mash-Ups (auch Bootlegging, Bastard Pop oder Collage genannt) erfreuen sich seit Jahren steigender Beliebtheit. Waren es zu Beginn der 1990er Jahre meist nur 2 unterschiedliche Popsongs, deren Gesangs- und Instrumentenspuren in Remixform ineinander gemischt wurden, existieren heute Multi-Mash-Ups mit mehreren Dutzend gemixten und gesampelten Songs, Interpreten, Videosequenzen und Effekten. Eine Herausforderung stellt die Kombination unterschiedlichster Stile dar, diese zu neuen tanzbaren Titeln aus den Charts zu mischen. Das Mash-Up Projekt Pop Danthology z.B. enthält in einem knapp 6 minütigen aktuellen Musikclip 68 verschiedene Interpreten, u. a. Bruno Mars, Britney Spears, Rhianna und Lady Gaga. Die Verwendung und das Sampeln fremder Musik- und Videotitel kann eine Urheberrechtsverletzung darstellen. Die Komponisten des Titels „Nur mir“ mit Sängerin Sabrina Setlur unterlagen in einem Rechtsstreit, der bis zum BGH führte. Sie haben im Zuge eines Tonträger-Samplings, so der BGH , in das Tonträgerherstellerrecht der Kläger (Musikgruppe Kraftwerk) eingegriffen, in dem sie im Wege des „Sampling“ zwei Takte einer Rhythmussequenz des Titels „Metall auf Metall“ entnommen und diese im eigenen Stück unterlegt haben. Der rasante technische Fortschritt macht es mittlerweile möglich, immer einfacher, schneller und besser Musik-, Film- und Bildaufnahmen zu bearbeiten und zu verändern. Computer mit Bearbeitungssoftware haben Keyboards, Synthesizer und analoge Mehrspurtechnik abgelöst. Die Methoden des Samplings unterscheiden sich von der klassischen Raubkopie dahingehend, dass mit der Sampleübernahme eine weitreichende Umgestaltung und Bearbeitung erfolgt. Die Raubkopie zeichnet sich durch eine unveränderte Übernahme des Originals aus. Betroffen von den Auswirkungen eines nicht rechtmäßig durchgeführten Sampling sind Urheber- und Leistungsschutzrechte ausübender Künstler sowie Leistungsschutzrechte von Tonträgerherstellern. U. U. sind auch Verstöße gegen das allgemeine Persönlichkeits- und Wettbewerbsrecht Gegenstand von streitigen Auseinandersetzungen. info:eu-repo/classification/ddc/780 ddc:780
9	流行音樂組曲之電腦音樂編曲 / Computer Music Arrangement for Popular Music Medley 董信宗, Tung,Hsing-Tsung Unknown Date (has links) 在音樂中，組曲是一種特別的創作形式。組曲將多首音樂段落組合排列，並且在音樂段落之間加入間奏，形成一首音樂組曲。組曲的編曲重點在於音樂段落的編排順序及段落之間的連結。平時在宴會、舞會、餐廳、賣場等場合中，往往都會連續播放多首流行音樂。利用電腦編曲自動產生流行音樂組曲，將可提升播放音樂的銜接與流暢感。因此，本研究利用資料探勘技術及音樂編曲理論，將多首音樂重新改編成一首組曲。系統首先將每首音樂分段並找出每首音樂的代表段落。接著，系統根據代表段落間的相似度編排順序。最後，為了達到組曲中音樂段落連接的流暢性，我們以模型訓練的方式在段落連結間加入間奏。系統從訓練資料學習產生旋律發展、和弦進程與節奏的模型，接著分析代表段落的動機、旋律、和弦及節奏，使得組曲編曲後的段落連結更為流暢且完整。本研究以流行音樂鋼琴伴奏曲為測試資料，我們分別邀請三十四位受過音樂訓練與未受音樂訓練的測試者，針對本研究所提出的鋼琴伴奏節奏辨識、代表段落萃取、段落順序編排及間奏產生，評估其效果。實驗結果顯示，本研究所提出的順序編排與間奏產生技術，對於組曲的流暢感，有著相當大的幫助。 / In music, a medley is an organized piece composed from segments of existing pieces. Ordering and bridge for connection between segments are the important elements for medley arrangement. Automatic medley arrangement is helpful for playing a set of music continuously which is common in banquet, party, restaurant, shopping mall, etc.. This thesis aims to develop the automatic medley arrangement method by using data mining techniques and music arrangement theory. The proposed method first segments each music and discovers the significant segment from each music. Then, the linear arrangement based on the similarities between significant segments is generated. Finally, in order to connect segments smoothly in the medley, the bridge between two segments is generated and inserted by using model training. Three models, melody progression, chord progression and rhythm models are learned from training data. For the experiments, testing data is collected from popular piano music and thirty-four people are invited to evaluate the effectiveness of the rhythm recognition of accompaniment, the extraction of significant segment, the linear arrangement of segments, and the creation of bridge. Experimental results show that the proposed medley arrangement method performs well. 組曲編曲音樂分段線性排列模型訓練間奏產生旋律發展和弦進程節奏辨識音樂動機探勘基因演算法 Medley Arrangement Music Segmentation Linear Arrangement Model Training Bridge Generation Melody Progression Chord Progression Rhythm Recognition Music Motivic Mining Genetic Algorithm
10	Techniques for automated and interactive note sequence morphing of mainstream electronic music Wooller, René William January 2007 (has links) Note sequence morphing is the combination of two note sequences to create a ‘hybrid transition’, or ‘morph’. The morph is a ‘hybrid’ in the sense that it exhibits properties of both sequences. The morph is also a ‘transition’, in that it can segue between them. An automated and interactive approach allows manipulation in realtime by users who may control the relative influence of source or target and the transition length. The techniques that were developed through this research were designed particularly for popular genres of predominantly instrumental electronic music which I will refer to collectively as Mainstream Electronic Music (MEM). The research has potential for application within contexts such as computer games, multimedia, live electronic music, interactive installations and accessible music or “music therapy”. Musical themes in computer games and multimedia can morph adaptively in response to parameters in realtime. Morphing can be used by electronic music producers as an alternative to mixing in live performance. Interactive installations and accessible music devices can utilise morphing algorithms to enable expressive control over the music through simple interface components. I have developed a software application called LEMorpheus which consists of software infrastructure for morphing and three alternative note sequence morphing algorithms: parametric morphing, probabilistic morphing and evolutionary morphing. Parametric morphing involves converting the source and target into continuous envelopes, interpolation, and converting the interpolated envelopes back into note sequences. Probabilistic morphing involves converting the source and target into probability matrices and seeding them on recent output to generate the next note. Evolutionary morphing involves iteratively mutating the source into multiple possible candidates and selecting those which are judged as more similar to the target, until the target is reached. I formally evaluated the probabilistic morphing algorithm by extracting qualitative feedback from participants in a live electronic music situation, benchmarked against a live, professional DJ. The probabilistic algorithm was competitive, being favoured particularly for long morphs. The evolutionary morphing algorithm was formally evaluated using an online questionnaire, benchmarked against a human composer/producer. For particular samples, the morphing algorithm was competitive and occasionally seen as innovative; however, the morphs created by the human composer typically received more positive feedback, due to coherent, large scale structural changes, as opposed to the forced continuity of the morphing software.

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