Thesis (D.M.A.)--Columbia University, 2003. / Repeat after me for flute and electronics; Biology I/II/III for violin. First work is a commentary to accompany the three scores. Department: Music. Includes bibliographical references (leaves 98-101). Pro Quest Digital Dissertations Online; Subscription required. Also available via the World Wide Web;

This thesis attempts to gauge the strengths and limitations of the Java programming language in terms of its use in the production of multimedia compositions: in particular, the ways in which Java supports the creation of interactive, non-deterministic musical works. An original solution to the problem of multimedia design is presented: a hierarchically defined, basic, yet flexible scripting language that is interpreted using Java. This scripting language allows the user to incorporate his/her own media into a coherent and interactive form using a small set of simple keywords and basic operators. It also allows new functionality to be added by advanced users with a basic knowledge of Java. By investigating how such a scripting language may be implemented, the extent to which Java may be applied towards multimedia applications in general is revealed.

This essay explores the benefits and limits of teaching and learning music in a changing technological environment, where both students and instructors are faced with the perpetual problem of keeping up with new methods of practicing music for the purpose of maintaining competence. The essay critically reflects on the argument that present societies overvalue technical instruments, at times giving consumers a false hope of achieving quick results in a brief period of time, and with the unintended consequence that playing techniques can be compromised. The idealizing of mechanical devices has become strongly associated today with sophisticated taste and class. Following Mumford and Postman, the essay argues that these technological tools should be seen as posing a challenge to instructional values and to human agency. This essay concludes that while we cannot help the fact that tradition is constantly being renewed, in part through technological change, the role of teaching that learning music needs to be focused on are historic values which incorporate experience and reciprocity.

The purpose of the proposed thesis is to:1. Define expert systems and discuss various implementation techniques for the components of expert systems. This includes discussion on knowledge representation, inference methods, methods for dealing with uncertainty, and methods of explanation. Specifically, the focus will be on the implementation of rule-based expert systems;2. Apply selected expert system techniques to a case study. The case study will be a rule-based expert system in Prolog to recognize and identify musical chords from tonal harmony. The system will have a general knowledge base containing fundamental rules about chord construction. It will also contain some knowledge that will allow it to deduce non-trivial chords. Furthermore, it will contain procedures to deal with uncertainty and explanation;3. Explain general concepts about music theory and tonal chord classification to put the case study in context; and4. Discuss the limitations of expert systems based on the results of the case study and the current literature. / Department of Computer Science

Doctor of Philosophy / The aim of this compositional research project is to find new paradigms of expression and representation of musical information, supported by technology. This may further our understanding of how artistic intention materialises during the production of a musical work. A further aim is to create a software device, which will allow the user to generate, analyse and manipulate abstract musical information within a multi-dimensional environment. The main intent of this software and composition portfolio is to examine the process involved during the development of a compositional tool to verify how transformations applied to the conceptualisation of musical abstraction will affect musical outcome, and demonstrate how this transformational process would be useful in a creative context. This thesis suggests a reflection upon various technological and conceptual aspects within a dynamic multimedia framework. The discussion situates the artistic work of a composer within the technological sphere, and investigates the role of technology and its influences during the creative process. Notions of space are relocated in the scope of a personal compositional direction in order to develop a new framework for musical creation. The author establishes theoretical ramifications and suggests a definition for micro-composition. The main aspect focuses on the ability to establish a direct conceptual link between visual elements and their correlated musical output, ultimately leading to the design of a software called 3D-Composer, a tool for the visualisation of musical information as a means to assist composers to create works within a new methodological and conceptual realm. Of particular importance is the ability to transform musical structures in three-dimensional space, based on the geometric properties of micro-composition. The compositions Six Electroacoustic Studies and Dada 2009 display the use of the software. The formalisation process was derived from a transposition of influences of the early twentieth century avant-garde period, to a contemporary digital studio environment utilising new media and computer technologies for musical expression.

Doctor of Philosophy / The aim of this compositional research project is to find new paradigms of expression and representation of musical information, supported by technology. This may further our understanding of how artistic intention materialises during the production of a musical work. A further aim is to create a software device, which will allow the user to generate, analyse and manipulate abstract musical information within a multi-dimensional environment. The main intent of this software and composition portfolio is to examine the process involved during the development of a compositional tool to verify how transformations applied to the conceptualisation of musical abstraction will affect musical outcome, and demonstrate how this transformational process would be useful in a creative context. This thesis suggests a reflection upon various technological and conceptual aspects within a dynamic multimedia framework. The discussion situates the artistic work of a composer within the technological sphere, and investigates the role of technology and its influences during the creative process. Notions of space are relocated in the scope of a personal compositional direction in order to develop a new framework for musical creation. The author establishes theoretical ramifications and suggests a definition for micro-composition. The main aspect focuses on the ability to establish a direct conceptual link between visual elements and their correlated musical output, ultimately leading to the design of a software called 3D-Composer, a tool for the visualisation of musical information as a means to assist composers to create works within a new methodological and conceptual realm. Of particular importance is the ability to transform musical structures in three-dimensional space, based on the geometric properties of micro-composition. The compositions Six Electroacoustic Studies and Dada 2009 display the use of the software. The formalisation process was derived from a transposition of influences of the early twentieth century avant-garde period, to a contemporary digital studio environment utilising new media and computer technologies for musical expression.

Thesis (M.Sc.) - Simon Fraser University, 2005. / Theses (School of Interactive Arts and Technology) / Simon Fraser University.

Thesis (Ph. D.)--University of California, San Diego, 2008. / Title from first page of PDF file (viewed Jun. 17, 2008). Available via ProQuest Digital Dissertations. Vita. Includes bibliographical references: P. 92-98.

Thesis (M. S.)--City Planning, Georgia Institute of Technology, 2008. / Greene, Todd, Committee Member ; Sawicki, David, Committee Member ; Clark, Jennifer, Committee Chair.

First part for bass flute with b-foot, and computer; 2nd part for metal percussion (vibraphone, glockenspiel, crotales) and computer; 3rd part for clarinet (in A and B-flat) and computer. Includes specifications for computer. System requirements: Adobe Acrobat Reader. Includes bibliographical references (p. 48-50).