The kind of interaction occurring between a conductor and musicians while performing a musical piece together is an unique instance of human non-verbal communication. This Musical Production Process (MPP) thus provides an interesting area of research, both from a communication perspective and by its own right. The long term goal of this project is to model the MPP with machine learning methods, for which large amounts of data are required. Since the amount of data available to this master thesis stems from a single recording session (collected at KTH May 2014) a direct modeling of the MPP is unfeasible. As such the thesis can instead be considered as a pilot project which examines pre-requisites for modeling of the MPP. The main aim of the thesis is to investigate how musical expression can be captured in the modeling of the MPP. Two experiments, as well as a theoretical investigation of the MPP, are performed to this end. The first experiment consists of a HMM classification of sound represented by expressive tone parameters extracted by the CUEX algorithm, and labeled by four emotions. This experiment complements the previous classification of conducting gesture in GP-LVM representation performed by Kelly Karipidou on the same data set. The result of the classification implicitly proves that expression has been transferred from conductor to musicians. As the first experiment considers expression over the musical piece as a whole, the second experiment investigates the transfer of expression from conductor to musician on a local level. To this end local representations of the sound and conducting gesture are extracted, the separability of the four emotions are calculated for both representations by use of the Bhattacharyya distance and the results are compared in search for correlation. Some indications of correlation between the representations of sound and gesture are found. The conclusion is nevertheless that the utilized representations of conducting gesture do not capture musical expression to a sufficient extent. / Interaktionen mellan en dirigent och musiker under ett musikframförande är en unik instans av mänsklig icke-verbal kommunikation. Denna “musikproduktionsprocess” (MPP) utgör därför ett intressant forskningsområde, både ur ett kommunikationsperspektiv såväl som i sin egen rätt. Det långsiktiga målet med detta projekt är att modellera MPP:n med maskininlärningsmetoder, vilket skulle kräva stora mängder data. Då den tillgängliga datamängden härstammar från ett enstaka inspelningstillfälle (KTH, maj 2014) är en direkt modellering av MPP:n inom detta examensarbete ej möjlig. Arbetet bör istället betraktas som ett pilotprojekt som undersöker förutsättningar för att modellera MPP:n. Huvudfokuset för detta examensarbete är att undersöka hur musikaliskt uttryck kan fångas i modelleringen av MPP:n. Två experiment och en teoretisk utredning av MPP:n utförs i detta syfte. Det första experimentet utgörs av HMM-klassificering av ljud, representerat av expressiva tonparametrar framtagna genom CUEX-algoritmen och uppmärkt med fyra olika känslor. Detta experiment kompletterar den tidigare genomförda klassificeringen av dirigentrörelse i en GP-LVM representation av Kelly Karipidou på samma datamängd. Resultatet av klassificeringen bevisar implicit att musikaliskt uttryck överförts från dirigent till musiker. Då det första experimentet undersöker musikaliskt uttrycköver musikstycket i sin helhet är målet för det andra experimentet att undersöka överföringen av musikaliskt uttryck från dirigent till musiker på en lokal nivå. För detta syfte tas lokala representationer för ljud och dirigentrörelse fram, separabiliteten mellan de fyra känslorna kalkyleras via Bhattacharyya-avståndet och resultaten jämförs på jakt efter korrelation. Vissa indikationer på korrelation mellan representationerna för ljud och dirigentrörelse kan iakttas. Slutsatsen är dock att de tillämpade representationerna för dirigentrörelse inte fångar musikaliskt uttryck i tillräckligt hög grad.

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For film music composers, effective communication with others, understanding the story, recognition of emotional changes in the character, and the ability to connect and express these things through one's own music are crucial. Typically, composers convey their emotions and thoughts through the music they compose, deeply engaging with their inner selves in this creative process. Building on the works of Paul Ekman, Robert Plutchik, John D. Mayer, and Elisabeth Kübler-Ross, this paper explores the basic and complex emotions experienced by humans, focusing on the emotional and behavioral changes that occur during the grieving process. This thesis delves into how to overcome depression in personal grief experiences and transition into a healing process that accepts death through emotional intelligence. Additionally, the process of transforming personal grief experiences into music that expresses each emotion is described in detail. This process of confronting and expressing emotional changes through music serves as a healing journey for individual composers, offering insights on finding comfort through music for those who have shared similar experiences. Moreover, this thesis proposes that the awareness and in-depth management of one's feelings can serve as a vital tool for film music composers to understand and empathize with the emotions of others.

Integrating state-of-the-art sensory and display technologies with 3D computer graphics, extended reality (XR) affords capabilities to create enhanced human experiences by merging virtual elements with the real world. To better understand how Sound and Music Computing (SMC) can benefit from the capabilities of XR, this thesis presents novel research on the de- sign of musical experiences in extended reality (MusE-XR). Integrating XR with research on computer assisted musical instrument tutoring (CAMIT) as well as New Interfaces for Musical Expression (NIME), I explore the MusE-XR design space to contribute to a better understanding of the capabilities of XR for SMC. The first area of focus in this thesis is the application of XR technologies to CAMIT enabling extended reality enhanced musical instrument learning (XREMIL). A common approach in CAMIT is the automatic assessment of musical performance. Generally, these systems focus on the aural quality of the performance, but emerging XR related sensory technologies afford the development of systems to assess playing technique. Employing these technologies, the first contribution in this thesis is a CAMIT system for the automatic assessment of pianist hand posture using depth data. Hand posture assessment is performed through an applied computer vision (CV) and machine learning (ML) pipeline to classify a pianist’s hands captured by a depth camera into one of three posture classes. Assessment results from the system are intended to be integrated into a CAMIT interface to deliver feedback to students regarding their hand posture. One method to present the feedback is through real-time visual feedback (RTVF) displayed on a standard 2D computer display, but this method is limited by a need for the student to constantly shift focus between the instrument and the display. XR affords new methods to potentially address this limitation through capabilities to directly augment a musical instrument with RTVF by overlaying 3D virtual objects on the instrument. Due to limited research evaluating effectiveness of this approach, it is unclear how the added cognitive demands of RTVF in virtual environments (VEs) affect the learning process. To fill this gap, the second major contribution of this thesis is the first known user study evaluating the effectiveness of XREMIL. Results of the study show that an XR environment with RTVF improves participant performance during training, but may lead to decreased improvement after the training. On the other hand,interviews with participants indicate that the XR environment increased their confidence leading them to feel more engaged during training. In addition to enhancing CAMIT, the second area of focus in this thesis is the application of XR to NIME enabling virtual environments for musical expression (VEME). Development of VEME requires a workflow that integrates XR development tools with existing sound design tools. This presents numerous technical challenges, especially to novice XR developers. To simplify this process and facilitate VEME development, the third major contribution of this thesis is an open source toolkit, called OSC-XR. OSC-XR makes VEME development more accessible by providing developers with readily available Open Sound Control (OSC) virtual controllers. I present three new VEMEs, developed with OSC-XR, to identify affordances and guidelines for VEME design. The insights gained through these studies exploring the application of XR to musical learning and performance, lead to new affordances and guidelines for the design of effective and engaging MusE-XR. / Graduate

Doctor of Philosophy / Curriculum and Instruction Programs / Jana R. Fallin / This qualitative study sought to inquire into, identify and examine elements of musical expression as exemplified in jazz performance from a phenomenological approach. The purpose was to identify the various elements utilized by expert performers and listeners in perceiving musical expression, to determine whether or not these elements are held in common between performer and listener, and to explore the relation of personal experiences of the phenomenon with aesthetic philosophy and educational practice. Aesthetic concepts were drawn from the writings of Stephen Davies and Peter Kivy while jazz principles and foundations were drawn from Ted Gioia and Gunther Schuller. Ten subjects, five world-class jazz artists and five nationally recognized jazz critics, were selected based upon reputation and professional standing and interviewed in naturalistic settings of their own choosing (home, office, studio). Each subject listened to six recordings of the jazz standard My Funny Valentine as recorded by established jazz icons: Miles Davis, Paul Desmond, Gerry Mulligan, Bill Evans with Jim Hall, Sarah Vaughan, and Keith Jarrett. All were encouraged to comment in a stream-of-consciousness manner while listening to the examples. Additionally, fifteen statements drawn from the literature were read for subjects to rate on a five-point Lykert scale ranging from “totally agree” to “totally disagree”. Interviews were transcribed and coded into themes. Lykert responses were analyzed within group using means and ranges and between groups utilizing difference of means. Results, as interpreted by this researcher, reflect seven themes identified by performers (Sound, Individuality, Virtuosity and Intellect, Communication, Specific Musical Elements, Mood or Character, and Originality and Innovation) and six themes enumerated by critics Individuality, Virtuosity and Intellect, Communication, Specific Musical Elements, Mood or Character, and Originality and Innovation). No attempt was made at stratification of themes, as this was exploratory research. While both groups used the concept of sound, context placed it under the concept of individuality for critics while performers used it more specifically towards the establishment of mood. Lykert responses confirmed strong similarity of thought between the two groups.

abstract: When dancers are granted agency over music, as in interactive dance systems, the actors are most often concerned with the problem of creating a staged performance for an audience. However, as is reflected by the above quote, the practice of Argentine tango social dance is most concerned with participants internal experience and their relationship to the broader tango community. In this dissertation I explore creative approaches to enrich the sense of connection, that is, the experience of oneness with a partner and complete immersion in music and dance for Argentine tango dancers by providing agency over musical activities through the use of interactive technology. Specifically, I create an interactive dance system that allows tango dancers to affect and create music via their movements in the context of social dance. The motivations for this work are multifold: 1) to intensify embodied experience of the interplay between dance and music, individual and partner, couple and community, 2) to create shared experience of the conventions of tango dance, and 3) to innovate Argentine tango social dance practice for the purposes of education and increasing musicality in dancers. / Dissertation/Thesis / Doctoral Dissertation Music 2017

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No. of bitstreams: 1 castelo_dfc_dr_ia.pdf: 4921501 bytes, checksum: c5e8e7e5d774c791ffe975ad6780a2f6 (MD5) Previous issue date: 2018-02-28 / O presente trabalho aborda a relação entre a técnica instrumental e a expressão musical. Mais especificamente, investiga a possibilidade de as técnicas estendidas da flauta doce serem utilizadas como elemento veiculador da expressão musical neste instrumento. A relação entre a técnica instrumental e a expressão musical na flauta doce é um tema presente em momentos significativos de sua história. O fato de a flauta doce ser também um instrumento histórico, para o qual foi dedicada extensa bibliografia Renascentista e Barroca, contribuiu para que sua técnica tenha sido organizada em dois eixos principais: o da técnica tradicional (entendida como aquela contida nos tratados históricos) e o das técnicas estendidas (as desenvolvidas a partir da década de 1960). Essa distinção mostra-se, contudo, menos rígida ao proceder-se a um estudo mais aprofundado a respeito das técnicas descritas nos tratados históricos. Sob o ponto de vista conceitual, adota-se o entendimento de Ray (2005) sobre Performance Musical e Técnica; de Padovani; Ferraz, (2011) sobre Técnica Estendida; e de Lehmann; Sloboda; Woody (2007) sobre Expressividade. A metodologia da presente tese envolve trabalho de cunho analítico-reflexivo associado à coleta e execução de repertório. A Tese está estruturada em três capítulos assim organizados: Capítulo I - dedicado à revisão de literatura; Capítulo II - discussão sobre os recursos tradicionais de expressão musical na flauta doce, sobre as técnicas estendidas e sobre expressividade contemporânea da flauta doce; Capítulo III - apresentação dos critérios de seleção do repertório, analise do repertório selecionado e discussão sobre a utilização de técnicas estendidas e técnicas tradicionais no repertório selecionado. As conclusões da pesquisa apontam para os seguintes fatos: a) a técnica tradicional tem sido abordada de maneira superficial; b) as técnicas descritas em tratados históricos revelam que, pelo ponto de vista de suas mecânicas, se assemelham à mecânica das técnicas estendidas; c) os recursos sonoros desenvolvidos para a flauta doce, na década de 1960, e seus respectivos meios de obtenção podem ser classificados com técnicas estendidas uma vez que efetivamente promoveram um rompimento ao contexto no qual o instrumento se encontrava inserido na referida década; d) a performance contemporânea da flauta doce envolve a execução tanto de seu repertório histórico quanto de seu repertório contemporâneo. / The present work deals with the relationship between instrumental technique and musical expression. More specifically, it investigates the possibility that extended recorder techniques can be used as a vehicle for musical expression. The relationship between instrumental technique and musical expression on the recorder is a subject present at significant moments in its history. The fact that the recorder is also a historical instrument, for which an extensive Renaissance and Baroque bibliography was dedicated, contributed to its technique being organized in two main axes: that of traditional technique (understood as that contained in historical treatises) and that of extended techniques (those developed from the 1960s). This distinction is, however, less rigid when a more in-depth study is carried out on the techniques described in the historical treaties. From the conceptual point of view, Ray's (2005) understanding of Musical Performance and Technique is adopted; of Padovani; Ferraz, (2011) on Extended Techniques; and Lehmann, Sloboda and Woody (2007) on Musical Expression. The methodology of the present thesis involves analytical-reflexive work associated with repertoire collection and execution. The thesis is structured in three chapters so organized: Chapter I - dedicated to literature review; Chapter II - discussion of the traditional resources of musical expression in the recorder, on the extended techniques and on the contemporary expressiveness of the recorder; Chapter III - presentation of the selection criteria of the repertoire, analysis of the selected repertoire and discussion on the use of extended techniques and traditional techniques in the selected repertoire. The conclusions of the research point to the following facts: a) the traditional technique has been approached superficially; b) the techniques described in historical treatises reveal that, from the point of view of their mechanics, they resemble the mechanics of the extended techniques; c) the sound resources developed for the recorder in the 1960s can be classified with extended techniques since they effectively promoted a rupture to the context in which the instrument was inserted in that decade; d) the contemporary performance of the recorder involves the execution of both its historical and contemporary repertoire.

Melodrama represents a unique form that combines musical and textual component in a very distinct manner. The submitted doctoral dissertation offers a complex analysis of the contemporary Czech melodrama and places it into a European and indispensable local context. The author emphasizes typical features of this genre and describes the possibilities of its further development by means of complex analysis of melodrama as a work of art together with the evaluation of its status in the contemporary musical culture. Complex analysis of the work of art is absolutely necessary in order to understand the addressed problematics. It is a starting point that offers a further insight into the main characteristics of the form, not only in an artistic sense but also in other contexts. It provides a space for analysis pursued in a pedagogical context, and it offers a base for the pedagogical interpretation of the artwork that is determinative for the analytical perspective of the submitted dissertation. Pedagogical dimension of this doctoral dissertation that focuses on melodrama fully corresponds. Melodrama is, in fact, a very appealing tool for the understanding of music. It allows us to react appropriately to the needs of contemporary education with emphasis on the use of the integrative and poly-aesthetic...

Syftet med arbetet var att utveckla en individuellt utformad färgstödd notinstuderings- metod för att underlätta inlärning samt stärka musikaliskt uttryck avseende musikens riktning och karaktär. Det är inte ovanligt att musikstudenter kämpar med notläsning något som ofta kan förklaras av svårigheter i de väsentliga funktioner som behövs vid inlärning. Färger har en psykologisk inverkan på människan och det finns generella uppfattningar om vad de betyder. Dessa färgassociationer låg som grund för färgläggningsmetoden. I utvecklandet av färgläggningsmetoden spelades tio orkesterutdrag för cello. På åtta av dessa representerades musikens olika karaktärsdrag av specifika färger i noterna. Utdrag före och efter metodutvecklingen spelades in och bedömdes enligt en bedöm- ningsmall. De objektiva delarna av resultatet visade generellt inga större skillnader i det klingande utfallet. Däremot var förändringen i den subjektiva upplevelsen av instuderingsproces- sen mer påtagligt positiv. Fortsatt forskning med modifierad metod kan stärka resultat och ge värdefull kunskap. Förhoppningsvis inspirerar detta arbete både lärare och stu- denter till att på ett individuellt anpassat sätt använda färgläggning eller andra kreativa metoder för att förbättra instuderingsprocessen av notbaserad musik. / The overall objective of the present study was to develop an individually designed col- our based musical study method to facilitate learning and to improve musical expres- sion regarding direction and character in music. It is not unusual that music students struggle with reading music, something that can be explained by difficulties in the es- sential functions necessary in a learning process. Colours have a psychological effect on humans and there are general opinions of their individual meaning. The colouring method was based on these colour associations. During the development of the colouring method ten orchestra excerpts for cello was used. On eight of these are the different characters in the music represented by specific colours on the music sheet. The objective parts of the result showed generally no major differences in the sounding outcome. However, a positive change in the subjective experience of the learning pro- cess became apparent. Continued research with somewhat modified method could strengthen the result and give valuable knowledge. Hopefully, the present study will inspire both teachers and students to, in an individual adapted way, use creative meth- ods such as colouring to facilitate the studying process of note-based music.

Denna studie berör ämnet musikaliskt uttryck och hur det går att utveckla det musikaliska uttrycket. Under studien har de två metoderna inre bilder och inlevelse använts och syftet med studien är att undersöka hur dessa metoder påverkar det musikaliska uttrycket genom att studera hur de musikaliska parametrarna dynamik, artikulation, tempo och klang påverkas. Studien har utförts på blockflöjt och den musik som har använts har varit svensk folkmusik. Som grund för denna studie presenteras information om musikaliskt uttryck, kopplingar mellan känslor och musik samt information om blockflöjten. Därefter presenteras tidigare forskning inom området musikaliskt uttryck och vidare en beskrivning av det fenomenologiska perspektivet. I metodkapitlet presenteras bland annat de metoder som har använts i denna studie vilka är loggbok och ljudinspelning samt tematisk analys. Svar på studiens frågeställningar redovisas i resultatkapitlet och därefter diskuteras det som framkommit i resultatet. / This study is about musical expression and how to develop in musical expression. In this study the two methods inner images and visualize a feeling are used and the purpose whit this study is to investigate how theese methods affect the musical expression by studying how the musical parameters dynamic, articulation, tempo and tone are affected. This study has been performed on recorder and the music that has been used is Swedish traditional music. As a basis for this study information about musical expression, connections between music and emotions and information about the recorder is presented. Then previous research about musical expression is presented and after that a description of the phenomenological perspective. In the method chapter the methods logbook, audio recording and thematic analysis is presented. Answers for the questions of this study are given in the result chapter and after that the information in the result are discussed.