Tesis para optar al grado de Magíster en Tributación / No disponible a texto completo / Este tipo de operaciones le reporta una importante recaudación al fisco, y siempre se ha discutido su eventual eliminación.

Abstract This paper is based upon my musical work¡§Soliloquy¡¨, Duet for Flute and Violoncello, to present the musical ideas and the compositional techniques. Structurally,¡§Soliloquy¡¨can be divided into three parts. And the unity of the music is achieved by manipulating musical elements such as pitch materials, motives and dynamics. However, the timbre is always significant, as one of these elements to fulfill the imagination of the composer. The paper consists of four chapters. The first chapter is the introduction, generalizing my ideas and thoughts on arts and composing. The second chapter illustrates several musical examples and statements by three Asian composers who did inspire my composition. On the following chapter, the relationship of the musical elements manipulating in the piece are explained. The last chapter is the conclusion. By reading the paper, the listeners are expected to comprehend further more the compositional process and the composer¡¦s intent.

No description available.

Diss.--Philosophie--San Diego, Calif., 1977. / Bibliogr. p. 129-134.

Diss.--Münster--Universität, 1995. / Bibliogr. p. 287-308.

magíster en artes con mención en composición musical / La presente tesis subraya la importancia de dos motivaciones que son clave para una invitación a la composición musical. En primer término, mi interés por todo lo que se relaciona con el timbre en la música, que incluye como el timbre se entiende físicamente hasta un acercamiento de carácter mas intuitivo; en segundo lugar, la motivación del medio ambiente, es decir, como mi entorno desarrolla en mi imaginario un sin fin de paisajes acústicos que sirven de pie inicial para realizar una composición.

Note:

The purpose of this study was to determine the effect of instrumental timbre preference and instrumental timbre on the error detection skills of undergraduate conducting students. The study sought to answer two specific questions: Is timbre preference, as determined by Gordon's (1984) <u>Instrumental Timbre Preference Test</u> (ITPT), a factor in the ability of undergraduate conducting students to detect errors in pitch in short melodies while viewing the score? Is the ability of undergraduate conducting students to detect pitch errors in melodic passages influenced by the instrumental timbres of the band ensemble? To answer these two questions, Gordon's ITPT and the researcher developed <u>Test of Timbre Effect</u> (TTE) were administered to 147 undergraduate conducting students in 11 colleges and universities in Virginia, North Carolina, and Tennessee. The TTE was designed to consist of seven different subtests, each intended to be administered to a different sample of homogeneous undergraduate conducting students. Each subtest consisted of 14 randomized test items, including two melodies designated as "target melodies" that differed only in timbre across the subtests. The effect of timbre preference, timbre, and the interaction of the two independent variables was determined by a 2 x 7 analysis of covariance (ANCOVA) of each target melody. Further analysis was conducted using a two-way multivariate analysis of covariance (MANCOVA). Results indicated that timbre preference, timbre, and the interaction of timbre preference and timbre did not have an effect on the ability of undergraduate conducting students to detect pitch errors in short melodic passages. / Ed. D.

Estágio realizado no INESC Porto / Tese de mestrado integrado. Engenharia Electrotécnica e de Computadores. Faculdade de Engenharia. Universidade do Porto. 2009

Several studies have demonstrated that melody recognition is reduced when the timbre (instrument) changes between exposure and test, but no study has evaluated the possibility that different timbres have differential effects on melody recognition. The current study evaluated adults’ recognition and liking of unfamiliar Irish melodies presented in four timbres: two familiar (voice, piano) and two less familiar (banjo, marimba). After exposure to a set of melodies, participants judged whether each melody from a larger set (original and novel) was old or new. Melodies presented vocally were remembered significantly better than those presented instrumentally even though they were liked less. The findings confirm that surface features of music and abstract, relational features are processed jointly as well as separately.