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.

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.

Polyphonic or multiple music instrument detection is a difficult problem compared to detecting single or solo instruments in an audio recording. As music is time series data it be can modelled using sequence learning methods within deep learning. Recently, temporal convolutional networks (TCN) have shown to outperform conventional recurrent neural networks (RNN) on various sequence modelling tasks. Though there have been significant improvements in deep learning methods, data scarcity becomes a problem in training large scale models. Weakly labelled data is an alternative where a clip is annotated for presence or absence of instruments without specifying the times at which an instrument is sounding. This study investigates how TCN model compares to a Long Short-Term Memory (LSTM) model while trained on weakly labelled dataset. The results showed successful training of both models along with generalisation on a separate dataset. The comparison showed that TCN performed better than LSTM, but only marginally. Therefore, from the experiments carried out it could not be explicitly concluded if TCN is convincingly a better choice over LSTM in the context of instrument detection, but definitely a strong alternative. / Polyfonisk eller multipel musikinstrumentdetektering är ett svårt problem jämfört med att detektera enstaka eller soloinstrument i en ljudinspelning. Eftersom musik är tidsseriedata kan den modelleras med hjälp av sekvensinlärningsmetoder inom djup inlärning. Nyligen har ’Temporal Convolutional Network’ (TCN) visat sig överträffa konventionella ’Recurrent Neural Network’ (RNN) på flertalet sekvensmodelleringsuppgifter. Även om det har skett betydande förbättringar i metoder för djup inlärning, blir dataknapphet ett problem vid utbildning av storskaliga modeller. Svagt märkta data är ett alternativ där ett klipp kommenteras för närvaro av frånvaro av instrument utan att ange de tidpunkter då ett instrument låter. Denna studie undersöker hur TCN-modellen jämförs med en ’Long Short-Term Memory’ (LSTM) -modell medan den tränas i svagt märkta datasätt. Resultaten visade framgångsrik utbildning av båda modellerna tillsammans med generalisering i en separat datasats. Jämförelsen visade att TCN presterade bättre än LSTM, men endast marginellt. Därför kan man från de genomförda experimenten inte uttryckligen dra slutsatsen om TCN övertygande är ett bättre val jämfört med LSTM i samband med instrumentdetektering, men definitivt ett starkt alternativ.

This dissertation attempts a Bakhtinian analysis of the polyphonic dialogue between Joseph Conrad's Heart of Darkness, Francis Ford Coppola's Apocalypse Now, Karel Schoeman's Na die Geliefde Land and Jason Xenopoulos' Promised Land. Specific Bakthinian concepts are employed to determine whether the films are "apt" adaptations of the literary texts; how the stylistically hybrid texts engage in conversation with different movements, genres and trends; how the polyphonic conversations between different texts and discourses, such as literature and film, or colonialism and postcolonialism, can provide insight into the variety of discourses, textual and ideological, of a postcolonial, post-apartheid South Africa; and how identity crises experienced by key characters can be explained using the notions of hybridity, "The Marginal Man" and liminality. All four texts have key characters that experience identity crises that spring from cultural hybridity; their cultural hybridity has the potential to either render them marginally stagnant or lead them to liminally active participation within their imagined communities. This dissertation argues that even though there are major differences between the films and the literary texts they are based upon, they are relevant to a specific target audience and therefore enrich the ur-texts. Salient characteristics of realism, symbolism, impressionism, modernism, postmodernism, postcolonialism and the apocalyptic dialogise one another within the four texts, thereby liberating the texts from one authorial reading. The dialogue between the discourses of literature and film supplement an understanding of the dialogue between war, imperialism, colonialism, postcolonialism and the Will to Power. / Thesis (M.A. (Applied Language and Literary Studies))--North-West University, Potchefstroom Campus, 2006

À travers une étude sur le renouveau de la chanson polyphonique française au début du XXe siècle, cette thèse tente de mettre en évidence l’émergence d’un nouveau modèle vocal, lui-même influencé par des styles d’écriture d’époques différentes (musique médiévale, Bach, Bizet, Wagner, etc.). Le corpus analysé comprend les cycles de chansons de Debussy (1908), Ravel, Poulenc (1936) mais aussi ceux de René de Castéra, Albert Doyen, Paul Ladmirault, Jean Langlais ou encore Jacques Pillois, composés sur des poèmes anciens (Charles d’Orléans, Clément Marot, Jean-Antoine de Baïf) ou modernes (Guillaume Apollinaire, Paul Éluard, Paul Fort), précisément à une époque où les chansons de la Renaissance et les chants traditionnels populaires arrangés pour chœur connaissent un immense succès. Ainsi, cette étude se propose-t-elle successivement de s’intéresser aux principales caractéristiques de ce modèle vocal, aux facteurs puis aux enjeux de l’émergence de ce modèle. Ce travail permettra de souligner les points communs entre les cycles intitulés chansons et d’autres pièces composées à la même époque par Darius Milhaud, Jacques Chailley, Angèle Ravizé et bien autres et de déterminer les spécificités de ce répertoire moderne par rapport aux polyphonies profanes de la Renaissance ou même par rapport à des œuvres orphéoniques. / Through a study on the revival of the French polyphonic song at the beginning of the XXth century, this thesis attempts to highlight the rise a new vocal model, influenced by several compositions from différent periods (medieval music, Bach, Bizet, Wagner, etc.). This study is about songs cycles of Debussy (1908), Ravel, Poulenc (1936) but also those of René de Castera, Albert Doyen, Paul Ladmirault, Jean Langlais or Jacques Pillois, composed on ancient (Charles d'Orléans, Clement Marot, Jean-Antoine de Baïf) or modern poems (Guillaume Apollinaire, Paul Eluard, Paul Fort), exactly in a time when the songs of the Renaissance and the traditional folk songs arranged for choir were hugely successful. This study successively focuses on the main features of this vocal model, on the factors and the issues of the rise of this model. This work emphasizes the similarities between the song cycles and pieces composed by Darius Milhaud, Jacques Chailley, Angèle Ravizé and many others, and determines the specifics of this modern repertoire compared to the Renaissance partsongs or even compared to orpheonic works.

Submitted by JOSIANE SANTOS DE OLIVEIRA (josianeso) on 2019-03-22T16:01:46Z No. of bitstreams: 1 Dieter Axt_.pdf: 1891437 bytes, checksum: 52a175b26dfc55da0461a7728a91cb3f (MD5) / Made available in DSpace on 2019-03-22T16:01:46Z (GMT). No. of bitstreams: 1 Dieter Axt_.pdf: 1891437 bytes, checksum: 52a175b26dfc55da0461a7728a91cb3f (MD5) Previous issue date: 2018-12-14 / Nenhuma / O presente estudo propõe debater o constructo de polifonia, na perspectiva ético-estética bakhtiniana, em diálogo com os enfoques da hermenêutica jurídica – de matriz heideggeriana e gadameriana (CHD) –, tendo em vista as possibilidades e os limites da interpretação judicial e a importância da concretização de um processo jurisdicional plural e democrático, que garanta voz aos envolvidos. Busca-se, assim, pensar de que forma a Justiça polifônica contemplaria o espaço à diversidade e à diferença, em consonância com os propósitos da Constituição da República de 1988 e com o paradigma da intersubjetividade. O enfoque metodológico que sustentou a busca e a obtenção dos objetivos foi o fenomenológico-hermenêutico, sem descuidar, no entanto, da abordagem dialógica. Os achados apontam para o constructo do modelo do juiz-regente, como coroamento do processo judicial polifônico, cujas condições procedimentais e substanciais revelam-se acordes com a estrutura e o funcionamento das instituições jurídicas e cujos pressupostos ontológicos encontram abrigo no ordenamento jurídico brasileiro. / The present study proposes to debate the polyphony construct, in the Bakhtinian ethico aesthetic perspective, in dialogue with the approaches of juridical hermeneutics – of Heideggerian and Gadamerian matrix (Hermeneutic Critique of Law) –, bearing in mind the possibilities and limits of judicial interpretation and the importance of the implementation of a pluralistic and democratic judicial process, guaranteeing those involved a voice. It seeks, therefore, to think in what way the polyphonic Justice would contemplate the space to the diversity and difference, in consonance with the purposes of the Brazilian Constitution of 1988 and with the paradigm of intersubjectivity. The methodological approach that underpinned the pursuit and achievement of the objectives was phenomenological-hermeneutic, without neglecting, however, the dialogical approach. The findings point to the construct of the model of the conducting-judge, crowning the polyphonic judicial process, whose procedural and substantial conditions are in accordance with the structure and functioning of legal institutions and whose ontological presuppositions find shelter in the Brazilian legal system.

Thesis (M.A. (Applied Language and Literary Studies))--North-West University, Potchefstroom Campus, 2006.

The musical culture of the female monastic institution called La Concezione, or il monastero nuovo, reflected the political, social and devotional objectives of the Medici court. In 1562, at the close of the Council of Trent, the convent was founded through the last testament of Grand Duchess Eleonora de Toledo de'Medici with the support of Grand Duke Cosimo I's personal knighthood-- the Cavalieri di Santo Stefano. Glorified as a "reformed" institution reflecting the piety of Florence and the rectitude of the Medici family, the public image of the convent required strict adherence to Catholic Reformation ideals of female virtue. Musically, the women of the convent restricted their public performance to monophonic chant. The only universally approved music for monastics, chant was thought to be the most appropriate form of public musical devotion for the virginal daughters of the court. In private, the patrician women perhaps enjoyed the popular polyphonic music that the vast resources of their families, the Florentine court, and their superiors, afforded them. The public image of perfection was of the utmost importance to the Medici; polyphonic performance was only allowed in the most private spaces of the cloister--away from the public eyes and ears. A counter-example to recent scholarship, this view of female monastic music is in contrast to studies that have highlighted examples of wealthy convents that actively sought opportunities for polyphonic performance as part of their public character. This dissertation relies on various extant archival documents of the convent, the Order of Santo Stefano and the Medici family in an examination of the role that music played in both the public and private spheres of the most elite convent of early modern Florence. / text

This dissertation attempts a Bakhtinian analysis of the polyphonic dialogue between Joseph Conrad's Heart of Darkness, Francis Ford Coppola's Apocalypse Now, Karel Schoeman's Na die Geliefde Land and Jason Xenopoulos' Promised Land. Specific Bakthinian concepts are employed to determine whether the films are "apt" adaptations of the literary texts; how the stylistically hybrid texts engage in conversation with different movements, genres and trends; how the polyphonic conversations between different texts and discourses, such as literature and film, or colonialism and postcolonialism, can provide insight into the variety of discourses, textual and ideological, of a postcolonial, post-apartheid South Africa; and how identity crises experienced by key characters can be explained using the notions of hybridity, "The Marginal Man" and liminality. All four texts have key characters that experience identity crises that spring from cultural hybridity; their cultural hybridity has the potential to either render them marginally stagnant or lead them to liminally active participation within their imagined communities. This dissertation argues that even though there are major differences between the films and the literary texts they are based upon, they are relevant to a specific target audience and therefore enrich the ur-texts. Salient characteristics of realism, symbolism, impressionism, modernism, postmodernism, postcolonialism and the apocalyptic dialogise one another within the four texts, thereby liberating the texts from one authorial reading. The dialogue between the discourses of literature and film supplement an understanding of the dialogue between war, imperialism, colonialism, postcolonialism and the Will to Power. / Thesis (M.A. (Applied Language and Literary Studies))--North-West University, Potchefstroom Campus, 2006

This study is the first step toward a better understanding of the introduction of pervasive imitation at the end of the fifteenth century. The focus is on selected works of Loyset Compère: the ténor motet Omnium bonorum plena, two motetti missales cycles and twenty chansons. Four types of repetition have been identified in these works: imitation, free repetition, repeated modules and doubling. The main analysis is based on the statistical frequency of the different types of repetition. Percentage tables allow us to observe stylistic changes between early and late chansons and also underline some resemblances between late chansons and motetti missales. Different types of repetition tend to vary in length; imitation generally uses longer melodic lines than other types of repetition. I also studied pitch intervals of repetition used by Compère. I have noticed that unlike some composers of the time, Compère used pitch intervais other than the octave and unison, mainly the fifth and principally in his late chansons. Finally, I have constructed a System of modular classification which allowed me to identify unifying devices used by Compère in his motetti missales. The results presented in this thesis suggest that Loyset Compère was a major contributor to the evolution of pervasive imitation.