O objetivo deste trabalho é estudar os metros das Odes de Horácio segundo gramáticos, comentadores e metricistas antigos, para compreender como esses autores interpretam aqueles metros; quais são, segundo eles, suas classificações e escansões; e, por fim, partindo do pressuposto de que aos metros, quando recitados, era atribuído certo ritmo, quais seriam as possíveis ritmizações, de acordo com os preceitos da métrica e da rítmica / The objective of this dissertation is the study of the metres used by Horace in his Odes, according to ancient grammarians, comentators and metricians, in order to understand how these scholars analised those metres; secondly, which are, according to them, the classifications and scansions of the metres; and finaly, assuming that in the metres, when recited, there was imposed a rhythm, which rythmic compositions would be possible for those metres, based on the doctrinal precepts of metrics and rhythmics.

O Traité des Objets Musicaux de Pierre Schaeffer (1910-1995) é um trabalho teórico que propõe uma revisão radical dos fundamentos teórico-musicais. Nesse sentido, ele pode ser considerado com um dos tratados mais relevantes da História da Música. Dentre os muitos assuntos abordados no Traité, Schaeffer investiga o som tal como ele é escutado, ou seja, o som como fenômeno. No primeiro capítulo expomos um rápido contexto histórico e as razões de Schaeffer escolher essa abordagem do som. Frente a uma situação de crise da produção e do conhecimento teórico-musical, várias correntes estéticas tomam como fundamento as Ciências exatas e a Física acústica. O resultado disso é aquilo que Schaeffer denominará \"músicas a priori\". Essa abordagem é recusada com o argumento de que a percepção sonora não pode ser reduzida às medições que descrevem o sinal acústico. Como alternativa, Schaeffer propõe uma pesquisa musical fundamental que conceba a música como uma interdisciplina e que, sobretudo, aborde o som como fenômeno (objeto sonoro). No segundo capítulo, explicitamos a filiação fenomenológica de Schaeffer apresentando as suas fontes: Merleau-Ponty e Husserl. Ainda nesse segundo capítulo, demonstramos de que forma a concepção de objeto sonoro é entendida por Schaeffer como um objeto intencional. No terceiro capítulo, expomos a gênese do conceito de objeto sonoro começando pela \"acusmática\" e, logo em seguida, apresentando de que forma uma série de concepções fenomenológicas (como transcendência, epoché e redução) são expostas por Schaeffer no próprio texto do Traité. No quarto capítulo, descrevemos a \"Teoria das quatro escutas\" e demonstramos em que sentido ela pode ser entendida como uma análise intencional da escuta. No quinto e último capítulo, apresentamos os dois principais resultados da análise intencional da escuta: em primeiro lugar, a correlação entre a escuta do físico e do músico; em segundo lugar, o reconhecimento de que o objeto sonoro representa uma síntese de um dualismo estrutural. Na conclusão, discutimos rapidamente as consequências da fenomenologia schaefferiana para o Programa da Pesquisa Musical proposto por Schaeffer nos Livros finais do Traité. / Pierre Schaeffer\'s (1910-1995) Traité des Objets Musicaux is a work which aims at a radical revision of the theoretical foundations of music. In this sense, it can be considered as one of the most important treatises ever written. Among the many topics covered in his Traité, Schaeffer investigates the sound as it is heard, i. e. the sound as a phenomenon. In the first chapter I provide a brief historical background, trying to expose some of the reasons for Schaeffer\'s choice of this specific approach towards the sound. Faced with a crisis of both production and theoretical knowledge of music, many aesthetic trends adopted as fundament the model of hard sciences and acoustical physics. The result was what Schaeffer called \"a priori music\". This approach is rejected by him on the basis that our perception of sound cannot be reduced to measurements that merely describe the acoustic signal. As an alternative, Schaeffer proposes to carry out a fundamental music research which conceives music as an interdiscipline and, above all, approaches the sound as a phenomenon (i.e. as a sound object). In the second chapter, I point out Schaeffer\'s phenomenological affiliation through analysis of his theoretical sources, i. e. Merleau-Ponty and Husserl. In this very chapter, I provide evidence for the fact that Schaeffer conceives the idea of sound object as an intentional object. The third chapter is devoted to the discussion of the origins of the concept of sound object, beginning with \"acousmatic\" and then analyzing how a series of phenomenological concepts (e.g. transcendence, epoché and reduction) is applied by Schaeffer in his Traité. The fourth chapter describes Schaeffer\'s \"Theory of Listening\" and discusses in what sense it can be understood as an intentional analysis of listening. In the fifth and final chapter, I present the two main results of the intentional analysis of listening: firstly, the correlation between the listening of a physicist and that of a musician; secondly, the recognition that the sound object represents a synthesis of a structural dualism. In conclusion, I briefly summarize the consequences of schaefferian phenomenology for the program of musical research proposed by Schaeffer in the final books of his Traité

"Video games are more popular now than they have ever been, and the video game industry is on the verge of hitting its Golden Age (Diver, 2015). In 2015 alone, the video game industry is predicted to reach $91 billion in sales revenue (Nunnely, 2015). Video games have become a key element in today’s youth culture (Seel, 2001; Aarsand, 2007; Gee, 2007). With such a successful and culturally relevant medium at their disposal, pedagogues can use this form of entertainment as a gateway medium for educational instruction. This paper describes the progressive integration of technology in music education as well as the implications of using a non-traditional method of educational instruction through a video game. Focusing specifically on the instruction of music theory, several methods of instruction are examined. Past studies using video games as a medium to convey instruction are further examined. The development of an educational music theory video game is explored along with several development tools in its design. A randomized controlled trial was conducted in an undergraduate classroom where participants completed a series of activities using either the music theory video game prototype or a simulated method book application. The data suggests a significant improvement in each skill topic when using the video game and compares similarly to the simulated method book application."

O objetivo deste trabalho é estudar os metros das Odes de Horácio segundo gramáticos, comentadores e metricistas antigos, para compreender como esses autores interpretam aqueles metros; quais são, segundo eles, suas classificações e escansões; e, por fim, partindo do pressuposto de que aos metros, quando recitados, era atribuído certo ritmo, quais seriam as possíveis ritmizações, de acordo com os preceitos da métrica e da rítmica / The objective of this dissertation is the study of the metres used by Horace in his Odes, according to ancient grammarians, comentators and metricians, in order to understand how these scholars analised those metres; secondly, which are, according to them, the classifications and scansions of the metres; and finaly, assuming that in the metres, when recited, there was imposed a rhythm, which rythmic compositions would be possible for those metres, based on the doctrinal precepts of metrics and rhythmics.

O Traité des Objets Musicaux de Pierre Schaeffer (1910-1995) é um trabalho teórico que propõe uma revisão radical dos fundamentos teórico-musicais. Nesse sentido, ele pode ser considerado com um dos tratados mais relevantes da História da Música. Dentre os muitos assuntos abordados no Traité, Schaeffer investiga o som tal como ele é escutado, ou seja, o som como fenômeno. No primeiro capítulo expomos um rápido contexto histórico e as razões de Schaeffer escolher essa abordagem do som. Frente a uma situação de crise da produção e do conhecimento teórico-musical, várias correntes estéticas tomam como fundamento as Ciências exatas e a Física acústica. O resultado disso é aquilo que Schaeffer denominará \"músicas a priori\". Essa abordagem é recusada com o argumento de que a percepção sonora não pode ser reduzida às medições que descrevem o sinal acústico. Como alternativa, Schaeffer propõe uma pesquisa musical fundamental que conceba a música como uma interdisciplina e que, sobretudo, aborde o som como fenômeno (objeto sonoro). No segundo capítulo, explicitamos a filiação fenomenológica de Schaeffer apresentando as suas fontes: Merleau-Ponty e Husserl. Ainda nesse segundo capítulo, demonstramos de que forma a concepção de objeto sonoro é entendida por Schaeffer como um objeto intencional. No terceiro capítulo, expomos a gênese do conceito de objeto sonoro começando pela \"acusmática\" e, logo em seguida, apresentando de que forma uma série de concepções fenomenológicas (como transcendência, epoché e redução) são expostas por Schaeffer no próprio texto do Traité. No quarto capítulo, descrevemos a \"Teoria das quatro escutas\" e demonstramos em que sentido ela pode ser entendida como uma análise intencional da escuta. No quinto e último capítulo, apresentamos os dois principais resultados da análise intencional da escuta: em primeiro lugar, a correlação entre a escuta do físico e do músico; em segundo lugar, o reconhecimento de que o objeto sonoro representa uma síntese de um dualismo estrutural. Na conclusão, discutimos rapidamente as consequências da fenomenologia schaefferiana para o Programa da Pesquisa Musical proposto por Schaeffer nos Livros finais do Traité. / Pierre Schaeffer\'s (1910-1995) Traité des Objets Musicaux is a work which aims at a radical revision of the theoretical foundations of music. In this sense, it can be considered as one of the most important treatises ever written. Among the many topics covered in his Traité, Schaeffer investigates the sound as it is heard, i. e. the sound as a phenomenon. In the first chapter I provide a brief historical background, trying to expose some of the reasons for Schaeffer\'s choice of this specific approach towards the sound. Faced with a crisis of both production and theoretical knowledge of music, many aesthetic trends adopted as fundament the model of hard sciences and acoustical physics. The result was what Schaeffer called \"a priori music\". This approach is rejected by him on the basis that our perception of sound cannot be reduced to measurements that merely describe the acoustic signal. As an alternative, Schaeffer proposes to carry out a fundamental music research which conceives music as an interdiscipline and, above all, approaches the sound as a phenomenon (i.e. as a sound object). In the second chapter, I point out Schaeffer\'s phenomenological affiliation through analysis of his theoretical sources, i. e. Merleau-Ponty and Husserl. In this very chapter, I provide evidence for the fact that Schaeffer conceives the idea of sound object as an intentional object. The third chapter is devoted to the discussion of the origins of the concept of sound object, beginning with \"acousmatic\" and then analyzing how a series of phenomenological concepts (e.g. transcendence, epoché and reduction) is applied by Schaeffer in his Traité. The fourth chapter describes Schaeffer\'s \"Theory of Listening\" and discusses in what sense it can be understood as an intentional analysis of listening. In the fifth and final chapter, I present the two main results of the intentional analysis of listening: firstly, the correlation between the listening of a physicist and that of a musician; secondly, the recognition that the sound object represents a synthesis of a structural dualism. In conclusion, I briefly summarize the consequences of schaefferian phenomenology for the program of musical research proposed by Schaeffer in the final books of his Traité

MIRRORS is a cycle of songs composed for soprano voice and piano using five poems by Sylvia Plath. The work features the creation of a protagonist and tells a chronological story through the arrangement of the five poems colored and unified by the manipulation of a thematic twelve-tone row.

The songwriting process, inspiration to song, can take many forms. This project explores a highly structured approach, using themes derived from reported individual experience to direct the creation of musical ends addressing common experience.

The psychological research on music and emotion supports how the two concepts have always been intertwined. The most common line of research in this field is related to the commonly experienced phenomenon that major chords sound happy while minor chords sound sad. This proposed study takes a specific extended major chord (the Vadd11 chord) and tests whether the V chord with a color note, an added 11, has a significantly different emotional impact on listeners as compared to a V chord without an 11. The chord will be played within a I-V-I progression so that the Vadd11 chord is given musical context. Participants are asked to rate the how emotional the progression is and to indicate their preference between the two chords. Both piano and strings timbres will be tested. The chord progression change is hypothesized to cause a significantly increased emotional impact. Multiple confounding variables will be examined within the study (specifically cultural musical background, or what culture’s music participants listened to in their upbringing, and musical sophistication, or how musically adept participants are). Neither of these variables nor the timbre are anticipated to affect the changes in emotional reaction.

Agustin Barrios's guitar music has become increasingly popular over the last forty years. After his death, a revival of interest in his compositions began in the 1970s, motivated by a series of publications and recordings of his music by important guitar performers at that time. The most important of these recordings came from the Australian guitar performer John Williams, who was interviewed in 1976 by ABC Television Australia for a film about the Paraguayan composer. The next year, Williams recorded a collection of fifteen works in his album John Williams-Barrios: John Williams Plays the Music of Agustín Barrios Mangoré. After this, the published editions of Barrios's works have proliferated, many of these transcriptions of the composer's own recordings. However, the publication of differing transcriptions has led to a lack of authoritative editions, creating a confusing situation for performers. Therefore, this research intends to highlight the importance of making critical editions of Barrios's works based on folk music, using the Cueca as an example. This research offers an analysis and comparison of Chilean cuecas from the first half of the twentieth-century--the timeframe in which Barrios was in contact with this genre--to Barrios's Cueca. Second, it proposes a critical/performance edition of Barrios's work taking into account both the performance practice of traditional Chilean cuecas, and the two primary sources of this work: a handwritten manuscript and the composer's own recording. This research does not analyze nor compares the Argentinian and Bolivian versions of the cueca.

Since the 1950s, composers worldwide have explored the use of the trombone in new and exciting ways, from expanding the functional range of the instrument to creating unique timbres through the use of mutes and extended techniques. Since then, many standard works in the literature have been born from this pushing of the envelope from composers like John Cage, Luciano Berio, Iannis Xenakis, and Daniel Schnyder. On the forefront of the newest crop of composers expanding the voice of the trombone is Tyler Kline (b. 1991). This project will function as a formal analysis and performer’s guide to his 2015 work render for bass or tenor trombone and fixed electronics. Through examination of this music, as well as a discussion with the composer and performances of this work, the performer will gain insight into the inspirations behind this work, Kline’s compositions on the whole, as well as performance considerations for this work. In addition to the performance guide, a recording of render, as well as several other works of Kline’s, will be produced and released as an album through New Branch Records in Lexington, KY.