The aim of this thesis is to design and develop a polyphonic reanalysis instrument for analysis of school cultures, as a part of the efforts to understand and develop schools as organizations. The purpose of the new instrument is to achieve an extended possibility to highlight the values and motives underlying a school´s everyday work from the actors´ micro-oriented perspective. The concept of school culture refers to Gunnar Berg and his school development strategy of scope for action, which in turn can be understood as an empirically grounded development of Gerhard Arfwedson´s concept of school codex.  The new instrument is intended to complement these two existing and long-established analytical instruments. School development is an ambiguous concept, open to different explanation and interpretation, depending on the choice of perspectives and approaches. Christopher Hodgkinson emphasizes the difficulty in conceptualizing a discussion of the motives and values held by members of an organization. It is all about subjective concepts, the meanings of which vary, depending on the situation and the context in which they are observed. A central issue in organizations is how to reconcile the organization’s nomothetic and idiographic aspirations and structures. In school organizations the problem can be understood as the dialectical interaction between institutional and organizational values. In order to provide the kind of empirical knowledge of school development that is called for, an analytical tool is required that can capture both individual and organizational and institutional aspects of the school's everyday work. My empirical evidence is drawn from cultural analysis of schools in three municipalities and municipal districts. In the reanalysis, the emerging common features were lack of continuity in school leadership and the expectations of school leaders as educational leaders to participate more actively in the everyday work. The frequent changes of directors, was by many perceived as an inhibiting and counterproductive obstacle to sustainable school improvement. The results also showed significant differences in the schools' organizational structures of formal and informal decision-making. Knowledge of the underlying patterns that affect the school's everyday work can probably be used to make the organization more transparent and malleable. The dialectical interplay between the organization and its nomothetic-idiographic aspirations differs from school to school. The driving forces in the members’ collective action clarify the relationship between the organization and its members' goals. In-depth knowledge of actors' behavior and attitudes in the context of this interaction increases the possibility of real school development on pedagogical terms to the pupils' benefit. In conclusion: The polyphonic culture assay is still an underdeveloped area. Access to the polyphonic school culture will hopefully be the starting-point for the challenge to increase new and exciting empirical knowledge of the daily work at school.

Thesis (Ph. D.)--University of North Carolina, 1962. / Includes transcriptions of 14 Italian and 30 French part-songs of the 15th century. Includes bibliographical references (v. 1, leaves 191-202).

Este trabalho trata do processo de digitação para violão da Ciaccona BWV 1004 (original para violino) de Johann Sebastian Bach (1685-1750). O objetivo foi desenvolver uma digitação de mão esquerda capaz de refletir as intenções musicais do presente autor. Para tal, foi estabelecido um modelo de análise, onde a textura musical é dividida e classificada, com base em referenciais teóricos, como: melódica, harmônica, motívica e polifônica. Ao analisar as digitações usadas em transcrições, e compará-las às desta pesquisa, concluímos que se pode ter autonomia para contestar uma digitação grafada, pois ela reflete nada mais que as decisões do seu autor, sejam musicais ou técnicas. A partir disto, podemos deduzir que elas se alteram conforme as nossas próprias decisões. / This work deals with the process of elaborating guitar fingerings for J. S. Bach’s Ciaccona BWV 1004 (original for violin). The aim was to develop a left hand fingering able to reflect the musical intentions of the present author. To this end, a model of analysis was established, in which the musical texture is divided and classified, based on theoretical references, into the following categories: melodic, harmonic, motivic and polyphonic. By analyzing the fingering used on transcriptions, and comparing it with the results of this research, we conclude that we can question a suggested fingering, because it reflects nothing more than the decisions of its author, whether musical or technical. From this we can deduce that they change according to our own decisions.

Este trabalho trata do processo de digitação para violão da Ciaccona BWV 1004 (original para violino) de Johann Sebastian Bach (1685-1750). O objetivo foi desenvolver uma digitação de mão esquerda capaz de refletir as intenções musicais do presente autor. Para tal, foi estabelecido um modelo de análise, onde a textura musical é dividida e classificada, com base em referenciais teóricos, como: melódica, harmônica, motívica e polifônica. Ao analisar as digitações usadas em transcrições, e compará-las às desta pesquisa, concluímos que se pode ter autonomia para contestar uma digitação grafada, pois ela reflete nada mais que as decisões do seu autor, sejam musicais ou técnicas. A partir disto, podemos deduzir que elas se alteram conforme as nossas próprias decisões. / This work deals with the process of elaborating guitar fingerings for J. S. Bach’s Ciaccona BWV 1004 (original for violin). The aim was to develop a left hand fingering able to reflect the musical intentions of the present author. To this end, a model of analysis was established, in which the musical texture is divided and classified, based on theoretical references, into the following categories: melodic, harmonic, motivic and polyphonic. By analyzing the fingering used on transcriptions, and comparing it with the results of this research, we conclude that we can question a suggested fingering, because it reflects nothing more than the decisions of its author, whether musical or technical. From this we can deduce that they change according to our own decisions.

Este trabalho trata do processo de digitação para violão da Ciaccona BWV 1004 (original para violino) de Johann Sebastian Bach (1685-1750). O objetivo foi desenvolver uma digitação de mão esquerda capaz de refletir as intenções musicais do presente autor. Para tal, foi estabelecido um modelo de análise, onde a textura musical é dividida e classificada, com base em referenciais teóricos, como: melódica, harmônica, motívica e polifônica. Ao analisar as digitações usadas em transcrições, e compará-las às desta pesquisa, concluímos que se pode ter autonomia para contestar uma digitação grafada, pois ela reflete nada mais que as decisões do seu autor, sejam musicais ou técnicas. A partir disto, podemos deduzir que elas se alteram conforme as nossas próprias decisões. / This work deals with the process of elaborating guitar fingerings for J. S. Bach’s Ciaccona BWV 1004 (original for violin). The aim was to develop a left hand fingering able to reflect the musical intentions of the present author. To this end, a model of analysis was established, in which the musical texture is divided and classified, based on theoretical references, into the following categories: melodic, harmonic, motivic and polyphonic. By analyzing the fingering used on transcriptions, and comparing it with the results of this research, we conclude that we can question a suggested fingering, because it reflects nothing more than the decisions of its author, whether musical or technical. From this we can deduce that they change according to our own decisions.

Vocal polyphonic music, as one of Georgia’s primary cultural exports that has been gaining popularity in the world, plays a big part in the effort of creating a marketable Georgian identity – an effort tied to the Georgian state’s desire to join the EU and get away from its Soviet past. Whether state-sponsored or private, a number of institutions have risen to prominence in recent years, all proclaiming to be dedicated to the preservation and popularization of Georgian folklore. While their contribution to these missions is extensive, their policies and practices often carry an eerie resemblance to the Soviet attempts at selective promotion of indigenous cultures. By the very nature of their structure, these institutions impose a particular idea of power and hierarchy: wherein a few select people control the distribution of finances, information, and other resources, performers adhere to dress codes, and ensembles have centralized leadership. My argument in this work is that this idea of power and hierarchy is at odds with the practice of Georgian polyphonic singing, which involves (usually) three distinct voices coming together, without designating a “chief” or “main” one among them. Rather, the singers trade off taking the lead, with endless opportunities for melodic and textual improvisation, and the songs in question are not possible if all the voices are not present. Through a close analysis of ethnographic data from the provinces of Guria and Svaneti in Western Georgia, this project explores how power, preservation, and death — both semiotic and literal — coincide, intersect, and diverge in the Georgian folk singing communities. I approach the tradition as a dynamic habit, with its practitioners as participants in a continuous process, which can only die if performance reaches the “perfect” form, so often exulted by the very institutions that vow to keep it alive. My discussion of the singing practice in this dissertation poses broader questions within the disciplines of anthropology and ethnomusicology, such as: how does the growing popularity of a musical practice shape the worldwide discourse and local policies around it? What happens when rigid institutional power structures are imposed onto a tradition that is pre-disposed against them? And what options and choices do the practitioners of this tradition have when it comes to maintaining their commitment to it?

No description available.

Music analysis and source separation have become important and allied areas of research over the last decade. Towards this, analyzing a music signal for important events such as onsets, offsets and transients are important problems. These tasks help in music source separation and transcription. Approaches in source separation too have been making great strides, but most of these techniques are aimed at Western music and fail to perform well for Indian music. The fluid style of instrumentation in Indian music requires a slightly modified approach to analysis and source separation. We propose an onset detection algorithm that is motivated by the human auditory system. This algorithm has the advantage of having a unified framework for the detection of both onsets and offsets in music signals. This onset detection algorithm is further extended to detect percussive transients. Percussive transients have sharp onsets followed closely by sharp offsets. This characteristic is exploited in the percussive transients detection algorithm. This detection does not lend itself well to the extraction of transients and hence we propose an iterative algorithm to extract all types of transients from a polyphonic music signal. The proposed iterative algorithm is both fast and accurate to extract transients of various strengths. This problem of transient extraction can be extended to the problem of harmonic/percussion sound separation(HPSS), where a music signal is separated into two streams consisting of components mainly from percussion and harmonic instruments. Many algorithms that have been proposed till date deal with HPSS for Western music. But with Indian classical/film music, a different style of instrumentation or singing is seen, including high degree of vibratos or glissando content. This requires new approaches to HPSS. We propose extensions to two existing HPSS techniques, adapting them for Indian music. In both the extensions, we retain the original framework of the algorithm, showing that it is easy to incorporate the changes needed to handle Indian music. We also propose a new HPSS algorithm that is inspired by our transient extraction technique. This algorithm can be considered a generalized extension to our transient extraction algorithm and showcases our view that HPSS can be considered as an extension to transient analysis. Even the best HPSS techniques have leakages of harmonic components into percussion and this can lead to poor performances in tasks like rhythm analysis. In order to reduce this leakage, we propose a post processing technique on the percussion stream of the HPSS algorithm. The proposed method utilizes signal stitching by exploiting a commonly used model for percussive envelopes. We also developed a vocals extraction algorithm from the harmonic stream of the HPSS algorithm. The vocals extraction follows the popular paradigm of extracting the predominant pitch followed by generation of the vocals signal corresponding to the pitch. We show that HPSS as a pre-processing technique gives an advantage in reducing the interference from percussive sources in the extraction stage. It is also shown that the performance of vocal extraction algorithms improve with the knowledge about locations of the vocal segments. This is shown with the help of an oracle to locate the vocal segments. The use of the oracle greatly reduces the interferences from other dominating sources in the extracted vocals signal.

Made available in DSpace on 2016-04-28T19:34:18Z (GMT). No. of bitstreams: 1 LENICE AMELIA DE SA MARTINS.pdf: 636958 bytes, checksum: c941e22d7b4ec8d76b8bebc6ef56eb75 (MD5) Previous issue date: 2007-11-08 / Universidade do Estado da Bahia / This paper consists of an analysis of the polyphonic interplay embodied in the discourse of clairvoyance . In preparing it, we sought to use as a foundation the propositions set out in Enunciation Theory and Discourse Analysis, which conceive of language as an activity performed by concrete subjects within a particular time and space. The documentary sources that furnished the material for this examination are works representing the product of this dialog between heaven and earth. The corpus taken from such sources is comprised of: four texts relating to the apparitions at Fatima (Portugal); two relating to those at Angüera (Bahia); one about those in Itaperuna (Rio de Janeiro); and the last one concerning the incidents of clairvoyance in Jacareí (São Paulo). With this exercise, we aim especially to demonstrate, in terms of linguistic materiality, the way in which the polyphony is constituted in this interlocution between two disparate spheres: the material and the spiritual. Going deeper into this discursive action, we were able to perceive that it is made up of a vocal intertwining formed by the multiplication of subjects (polyphony strictly speaking, according to Ducrot, 1987) and by external voices originating with Holy Scripture and the Catholic Church (intertextuality). The study further revealed that these discourses are marked by a perceptible identity as regards ideological aspects since all of them, whether produced in Brazilian territory or coming from abroad, reflect the ideology of the Roman Catholic Apostolic Church. The unveiling of the intimate link between the voices echoing from these two dissymmetric worlds finds justification in that they make it possible to amplify the study of religious discourse, of which this topic is a part, namely the discourse of clairvoyance. / Este trabalho consiste numa análise do jogo polifônico instalado no discurso da vidência . Para tal realização, procuramos alicerçar-nos nas propostas propugnadas pela Teoria da Enunciação e da Análise do Discurso que concebem a linguagem como atividade executada por sujeitos concretos inseridos em determinado tempo e espaço. As fontes documentais que forneceram o material para este exame são obras carreiantes do produto deste diálogo entre céu e terra. O corpus extraído de tais fontes compõe-se de quatro textos relativos às aparições de Fátima (Portugal); dois referentes às de Angüera (Bahia); um alusivo às de Itaperuna (Rio de Janeiro), e um último que faz menção às vidências de Jacareí (São Paulo). Com este exercício, objetivamos, especialmente, mostrar, na materialidade lingüística, o modo como é constituída a polifonia instaurada nessa interlocução entre protagonistas de duas esferas diferentes: material e espiritual. Mergulhando nesta ação discursiva, foi-nos possível perceber que ela é constituída de um entrelaçamento vocal formado pela multiplicação de sujeitos (polifonia stricto sensu , de acordo com Ducrot, 1987) e por vozes externas oriundas da Sagrada Escritura e da Igreja Católica (intertextualidade). O estudo revelou ainda que esses discursos apresentam uma perceptível identidade no tocante ao aspecto ideológico, pois todos eles, os produzidos em território brasileiro e aqueles de além mar refletem a ideologia da Igreja Católica, Apostólica Romana. O desvendar do imbricamento das vozes ecoadas desses dois mundos dissimétricos encontra sua justificativa na possibilização de ampliamento do estudo do discurso religioso em cuja abrangência se insere o aqui contemplado, ou seja, o discurso da vidência

Ler à primeira vista ao órgão é considerada uma tarefa complexa, visto que na execução do instrumento é necessário conciliar a leitura de três pentagramas e a utilização de pés e mãos simultaneamente. O objetivo desta pesquisa é investigar as abordagens apresentadas por organistas na tarefa de leitura à primeira vista com dois trechos contrastantes (texturas homofônica e polifônica). Estudos apontam que a diferença de textura pode influenciar o resultado na leitura à primeira vista. Outros objetivos incluem: investigar se aspectos de análise musical são utilizados conscientemente na prática da leitura à primeira vista; observar o desempenho em leitura à primeira vista com sujeitos de diferentes níveis de formação e/ou experiências musicais; identificar os aspectos observados pelos participantes referente à leitura e à autorreflexão do processo. Surgem as seguintes questões de pesquisa: o resultado da leitura à primeira vista ao órgão é mais satisfatório no trecho homofônico ou no polifônico? A autoavaliação após assistir ao vídeo modifica a percepção de sua interpretação? Dez sujeitos de idades e níveis de formação musical distintos, vinculados à Universidade Federal do Rio Grande do Sul (UFRGS) foram selecionados. Utilizou-se questionário, filmagem das execuções dos dois trechos, duas entrevistas semiestruturadas, mostra dos vídeos das execuções para os participantes e avaliadores externos. Concluímos que a autoavaliação posterior à mostra do vídeo modificou a percepção da execução com a maioria dos participantes, mostrando-se uma ferramenta útil neste processo. Os níveis de formação não foram determinantes na textura homofônica, e a textura contrapontística foi considerada a mais difícil pela maioria. / Sight-reading on the organ is a complex task since this instrument requires one to reconcile reading in three staves while playing with feet and hands simultaneously. The purpose of this research is to investigate the approaches used by organists in a sight-reading exercise with two contrasting excerpts, one of homophonic and the other of polyphonic texture. Studies indicate that the difference in texture can influence the result of sight-reading tasks. Others goals include: to determine if aspects of musical analysis are utilized consciously during sight-reading; observe the performance in sight-reading with subjects of different levels of training and/or musical experiences; identify the aspects, observed by the participants relative to sight-reading and self-reflection. Thus, the research questions arise: Is the result of sight-reading on the organ more satisfactory in homophonic or polyphonic excerpts? Did the self-evaluation after watching the video modify the perception of their interpretations? Ten subjects of distinct ages and music backgrounds were selected, all linked to the Universidade Federal do Rio Grande do Sul (UFRGS). A questionnaire, videos of the performance of both excerpts, two semi-structured interviews and the exhibit of the videos to the participants were used. The audios of the performances were submitted to seven external evaluators. We concluded that self-evaluation after watching their videos modified the perception of the majority of the participants, proving to be a useful tool in this process. The musical background was not determinant in the homophonic texture, and the contrapuntal texture was considered more difficult among most participants.