Made available in DSpace on 2016-04-26T18:15:45Z (GMT). No. of bitstreams: 1 Tese Marcos Ribeiro de Moraes.pdf: 1232753 bytes, checksum: f8f1787d13dbd2e1e92985c317912afe (MD5) Previous issue date: 2003-04-08 / Most of the premises on which tonal music elementary theory is based are rooted in a secular historical process which consists of a literal description of the visual signs of music notation. Such notation tends to make us believe that its constitutive features are there, virtually raised to the position of the musical sign, representing musical features and properties of its object the musical sounds. Thus, the two main attributes or parameters of sound represented in the notation, i.e., pitch and duration, are then accepted inside the group pitch, intensity, tone color and duration as parameters of music. Thus, elementary music theory tends to recognize in the liaison sound-notation, music semiosis itself, which we are inclined to complete with the locus of the interpretant, which is often filled in with verbal narratives. Yet visual signs are extra-musical, thus being, strictly speaking, external to the scope of the investigation on the semiotic functioning of music. Once left with sound alone, we can recognize its status, not as an object, but as a sign (representamen), which demands an object for itself, in other words, something this sound stands for. Along these lines, it is claimed in this study that that which are called notes in a melody are signs of an indexical kind, which stand for time vs. space loci. It is these loci which are the objects in music semiosis. As for pitch, the sounds would have the semiotic property of indicating/representing specific vertices of an spatiality which, homologically, can be represented by a heptagonal form whose sides are proportional to 2-2-1-2-2-2-1, that is, the Diatonic Form. As for rhythm, we shall claim that the instant of the coming-into-being of, i.e., the inchoative gesture that initiates a sound not the duration of the sound has the semiotic property of indicating/representing a point (a when , not a how much ), within a field of temporality inaugurated by a hierarchic set of pulsations. Given the appropriate conditions, that complex of pulsations could be understood as that which accounts for the fundamental syntax of tonal music. / Muitas das premissas em que se apoia a teoria elementar da música tonal têm raízes num processo histórico já secular que consiste na descrição literal dos signos visuais constitutivos da notação musical. Como que alçada à posição de signo musical, tal notação tende a levar a crer que suas características constitutivas estão ali de fato representando as características e propriedades musicais de seu objeto: os sons musicais. Assim, os dois principais atributos ou parâmetros do som representados na notação , i.e., altura e duração, passam a ser aceitos no conjunto altura, intensidade, timbre e duração como parâmetros da música. Dessa forma, a teoria musical elementar tende a reconhecer no vínculo som-notação (objeto-representamen) a própria semiose musical, a qual somos propensos a completar com o lugar do interpretante, preenchido muitas vezes com narrativas verbais. No entanto, os signos visuais são extra-musicais, e assim, são, a rigor, externos ao escopo da investigação sobre o funcionamento sígnico da música. Reduzidos, assim, ao som, podemos reconhecer seu status não de objeto (objeto representado na notação), mas de signo (representamen), que exige para si um objeto, ou seja, algo que esse som representa (stands for). Nessa perspectiva, é postulado neste estudo que aquilo que chamamos de notas de uma melodia são signos do tipo indicial, que representam (stand for) localidades de tempo vs. espaço que, estas sim, constituem os objetos na semiose musical. No que se refere às alturas (pitch), os sons teriam a propriedade sígnica de indicar/representar vértices específicos de uma espacialidade que, por homologia, representa-se na forma heptagonal de lados proporcionais a 2-2-1-2-2-2-1, ou seja, a Forma Diatônica. No campo do ritmo, diremos que o instante do passar a ser , i.e., o gesto incoativo que inicia um som não a duração do som tem a propriedade sígnica de indicar/representar um ponto (um quando, não um quanto) num campo de temporalidade instaurado por um conjunto hierarquizado de pulsações. Dentro das condições adequadas, esse complexo hierarquizado de pulsações poderá ser entendido como aquilo que dá conta da sintaxe fundamental da música tonal.

L’imitation est un comportement largement répandu dans le règne animal et chez l’être humain, nous aidant à faire de nombreuses choses dont : nous adapter à notre environnement social et culturel, communiquer, et apprendre des autres. Dans ce travail, nous considérons des aspects de l’imitation en parole au niveau prosodique, et plus précisément, dans le contexte de la remédiation phonétique au moyen de la Méthode Verbo-Tonale (MVT). Per se, la pratique phonétique en classe constitue un jeu d’imitations, soulevant des questions passionnantes, liées aussi bien à la perception et à la production d’une langue étrangère qu’à la reproductibilité des paramètres acoustiques de la parole en langue première, i.e. le contrôle prosodique. Notre première étude traite du contrôle prosodique chez l’enseignant et elle questionne les relations de l’évaluation auditive de la similarité prosodique par les paradigmes AX et AXB avec la mesure de la similarité au moyen de différentes métriques. Ces résultats sont croisés et révèlent une bonne corrélation entre méthodes semi-automatiques de mesures et tests de perception. Notre seconde étude se fonde sur les résultats précédents et propose d’explorer plus avant une mesure de la similarité prosodique obtenue à partir de courbe de f0 stylisées rectilinéaires au moyen d’une Turning Function. Appliquer cette méthode à un corpus d’imitations parolières lexicalisées et delexicalisées nous aide à souligner les bénéfices et les lacunes de la méthode. Il est finalement proposé d’appliquer de telles techniques de détection de la similarité prosodique à l’entraînement du contrôle prosodique de l’enseignant. / Imitation is a widespread behavior amongst animals and humans, helping us do many things, including adapting to our cultural and social environment, communicating with and learning from others. In this work, we consider aspects of imitation in speech at a prosodic level; more specifically, we will focus on phonetic remediation using the Verbo Tonal Method (VTM). Phonetic practice in the classroom, per se, is an imitation game raising interesting open questions linked to L2 speech perception and production as well as L1 acoustic features reproducibility, i.e phonetic-prosodic control. Our first study deals with the teacher’s ability to control prosodic features; it questions the link between the perception of prosodic similarity using the AX and AXB paradigms, and measures of similarity using other metrics on a more objective level. Results are then cross-compared: they reveal a fair correlation between semi-automatic methods and perceptual tests. Our second study builds on previous results and further tests measurements of prosodic similarity obtained from rectilinear stylized f0 curves using a Turning Function. Applying this method to a corpus of lexicalized and delexicalized speech imitations helps us underline the benefits and flaws of the method. We propose to apply such evaluation techniques to train teacher’s phonetic control.

Das Ziel der vorliegenden Arbeit war die Identifizierung und quantitative Analyse intervallartiger Strukturen in den Melodieverläufen chinesischer Säuglinge der ersten Postnatalwoche. Das ausgewählte Probandenkollektiv bestand aus 55 medizinisch unauffälligen, ein bis sechs Tage alten chinesischen Neugeborenen, deren Mütter einen regelrechten Schwangerschaftsverlauf vorweisen konnten. Die Lautaufnahmen erfolgten an den beiden größten Kliniken im Zentrum Pekings durch zwei chinesische Studentinnen (Yun Feng; Yufang Ruan). Die Bearbeitung und Auswertung der digitalen Aufnahmen wurde anschließend im Zentrum für vorsprachliche Entwicklung und Entwicklungsstörungen der Poliklinik für Kieferorthopädie des Universitätsklinikums Würzburg durchgeführt. Insgesamt konnten 3641 Neugeborenenlaute (spontane Weinlaute) für die finale Analyse herangezogen werden. Mithilfe des Computerized-Speech-Lab- Systems (CSL©-System; Kay PENTAX/ USA) erfolgte die Erstellung der Frequenzspektrogramme. Anschließend wurden mit dem Programm Praat© die Melodie- und Intensitätsverläufe berechnet. Die weitere Analyse erfolgte mithilfe des Cry-Data-Analysis-Program (CDAP©; pw-project). Anhand der ermittelten Melodieverläufe konnten neben der Identifizierung von Intervall- und Melodietypstrukturen auch die Untersuchung zeitlicher Strukturen und die Analyse der Grundfrequenz (F0) erfolgen. Dies sind wichtige Kenngrößen in der vorsprachlichen Lautanalyse. Die Häufigkeitsverteilungen der Intervall- und Melodietypstrukturen erfolgten auf kindbasierter Ebene. Der Gruppenvergleich wurde zwischen männlichen und weiblichen Probanden durchgeführt. Die Untersuchung zeitlicher Strukturen und der Grundfrequenz (F0) innerhalb der Intervallstrukturen erfolgte auf lautbasierter Ebene. Der Gruppenvergleich erfolgte hier zwischen steigenden und fallenden Intervallen. Der Vergleich der Auftrittshäufigkeit der unterschiedlichen Intervall- und Melodietypstrukturen ergab keine statistisch signifikanten Unterschiede zwischen männlichen und weiblichen Probanden. Aufgrund des Untersuchungszeitraumes, der vor der Mini-Pubertät lag, war dieses Ergebnis zu erwarten. Für alle hier ermittelten Melodieeigenschaften konnten keine für die tonale Sprache spezifischen Phänomene festgestellt werden. Die hier untersuchten intervallartigen Phänomene scheinen regelhaft als Ausdruck der physiologischen laryngealen Regelung zu entstehen. Inwieweit die beobachtete Häufigkeit von Halbtonintervallen tatsächlich im Zusammenhang mit sprachspezifischen Frequenzmodulationsphänomenen stehen könnte, muss in nachfolgenden Studien untersucht werden. Allein die gefundenen sehr niedrigen F0min-Werte könnten typisch für die chinesischen Kinder sein (Dahlem 2008; Wermke et al. 2016). Die Auftrittshäufigkeit der musikalischen Intervalle entspricht den in der Literatur berichteten Ergebnissen. Neugeborene sind bereits in der Lage den Unterschied eines Halbtons zu erkennen. Weiterhin konnten signifikante Unterschiede bezüglich der Tonhöhenverhältnisse zwischen steigenden und fallenden Intervallen gefunden werden. Es wäre interessant, durch weiterführende Studien zu klären, ob sich im weiteren Verlauf der vorsprachlichen Entwicklung doch noch bestimmte Spezifika abzeichnen. Unter anderem auch mit dem Ziel, eventuell auftretende sprachspezifische Eigenschaften charakterisieren und somit von anderen, die Sprachentwicklung störenden Risikofaktoren, unterscheiden zu können. Für weiterführende Studien sollten sowohl der Umfang der Stichprobe als auch der Untersuchungszeitraum erweitert werden. Außerdem könnte man auch über eine „Verschärfung“ der Messkriterien nachdenken. Die vorliegende Arbeit hat erstmalig Referenzwerte und Fragestellungen für systematische Untersuchungen auf diesem Gebiet erarbeitet. / The aim of this thesis was the identification and quantitative analysis of intervallic structures in the melody sequences of Chinese infants of the first postnatal week. The selected group of volunteers consisted of 55 medically unobtrusive, one to six day old Chinese newborns, whose mothers had a regular pregnancy. The sound recordings were conducted by two Chinese students (Yun Feng, Yufang Ruan) at the two largest clinics in the center of Beijing. The processing and evaluation of the digital images was then carried out at the Center for Pre-linguistic Development and Developmental Disorders of the Polyclinic for Orthodontics of the University Clinic of Würzburg. A total of 3641 newborn babies (spontaneous vintages) were used for the final analysis. The computerized speech lab (CSL © system, Kay PENTAX / USA) was used to create the frequency spectrograms. Subsequently the program Praat © was used to calculate the melody and intensity profiles. Further analysis was carried out using the Cry Data Analysis Program (CDAP ©; pw-project). On the basis of the determined melody sequences, the analysis of temporal structures and the analysis of the fundamental frequency (F0) could be carried out in addition to the identification of interval and melody type structures. These are important parameters in pre-speech sound analysis. The frequency distributions of the interval and melody types were carried out on a child-based basis. The group comparison was carried out between male and female volunteers. The investigation of temporal structures and the fundamental frequency (F0) within the interval structures took place at the sound level. The group comparison took place between rising and falling intervals. The comparison of the occurrence frequency of the different interval and melodietype structures showed no statistically significant differences between male and female subjects. This result was to be expected as a result of the examination period preceding the mini-puberty. No phenomena specific to the tonal language could be found for all the melody characteristics determined here. The intervallic phenomena investigated here appear to arise as an expression of physiological laryngeal regulation. The extent to which the observed frequency of halftone intervals may actually be associated with language-specific frequency modulation phenomena must be investigated in subsequent studies. The very low F0min values ​​found could be typical for the Chinese children (Dahlem 2008, Wermke et al., 2016). The occurrence frequency of the musical intervals corresponds to the results reported in the literature. Newborns are already able to recognize the difference of a halftone. Furthermore, significant differences in the pitch ratios between rising and falling intervals were found. It would be interesting to clarify by means of further studies whether certain specific features are still emerging in the course of the pre-linguistic development. Among other things, with the aim of characterizing possibly occurring language-specific characteristics and thus to be able to distinguish them from other risk factors that interfere with speech development. For further studies, the scope of the sample as well as the investigation period should be extended. In addition, one could also think about a "tightening" of the measuring criteria. This work has for the first time produced reference values ​​and questions for systematic investigations in this field

This work will explore the musical ideas and philosophy discussed by George Russell in his book “The Lydian Chromatic Concept of Tonal Organization” (2001). Through the lens of a performing musician, improviser and composer/arranger, it will explore how the ideas of unity (vertical) and duality (horizontal), interact with each other through Tonal Gravity, and how they can be practically implemented as tools used to expand the scope of vertical (harmonic) consciousness and individual expression. Through my studies of the LCC, I have composed new music, in addition to contextualizing familiar jazz repertoire, in new and refreshing ways. Russell describes the Lydian Chromatic scale and its eleven member scales, as well as three different coexistent levels of Tonal Gravity in his River Trip analogy (Vertical, Horizontal and Supra-Vertical), which together opens up both ingoing and outgoing tonal resources. I have been exploring ways of integrating these elements in my expression. George Russell’s 50 years of work on The Concept was explicitly made to inspire future innovators to develop “[…] intellectual brilliance, intuitive perception, emotional fire, and spiritual depth.” (Russell, 2001, p. 98). Studying the Concept has helped me find my own expression more believable. By avoiding mechanical playing and rather developing my ears and fluency on the instrument, it allows for harmonic color and expression to be felt and created, instead of prepared licks and patterns. / <p><strong>For my exam concert I chose to play my own compositions in a quartet with the following contributing musicians:</strong></p><p>Trumpet and compositions - Øyvind Solheim</p><p>Piano - Rasmus Mannervik</p><p>Double bass - Anton Berndts</p><p>Drums - Richard Andersson Rasheed</p><p>The concert took place at the Royal College of Music in Stockholm on the 26th of March 2024. The set list consisted of six pieces, some of which had seamless transitions in-between each other. Since we had rehearsed with an open approach, we went in to the performance with the same attitude of playing something new.</p><p><strong>Repertoire (with timestamps from the recording)</strong></p><p>1. [00:00:40 – 00:05:40] October March - Øyvind Solheim</p><p>2. [00:06:35 – 00:15:40] Reaching - Øyvind Solheim</p><p>3. [00:16:30 – 00:25:40] Acrimony - Øyvind Solheim</p><p>4. [00:25:40 – 00:36:32] Wheelez - Øyvind Solheim</p><p>5. [00:38:02 – 00:47:40] Acending, Decending - Øyvind Solheim</p><p>6. [00:49:29 – 00:58:47] Lam-ent - Øyvind Solheim</p>

No description available.

Fuel consumption and noise reduction trigger the evolution of aircraft engines towards Ultra High Bypass Ratio (UHBR) architectures. Their short air inlet design and the reduction of their interstage length lead to an increased circumferential inhomogeneity of the flow close to the fan. This inhomogeneity, called distortion, may have an impact on the tonal noise radiated from the fan module. Usually, such a noise source is supposed to be dominated by the interaction of fan-blade wakes with Outlet Guide Vanes (OGVs). At transonic tip speeds, the noise generated by the shocks and the steady loading on the blades also appears to be significant. The increased distortion may be responsible for new acoustic sources while interacting with the fan blades and the present work aims at evaluating their contribution. The effects of distortion on the other noise mechanisms are also investigated. The work is based on full-annulus simulations of the Unsteady Reynolds-Averaged Navier-Stokes (URANS) equations. A whole fan module including the inlet duct, the fan and the Inlet and Outlet Guide Vanes (IGVs/OGVs) is studied. The OGV row is typical of current engine architecture with an integrated pylon and two different air inlet ducts are compared in order to isolate the effects of inlet distortion. The first one is axisymmetric and does not produce any distortion while the other one is asymmetric and produces a level of distortion typical of the ones expected in UHBR engines. A description and a quantification of the distortion that is caused by both the potential effect of the OGVs and the inlet asymmetry are proposed. The effects of the distortion on aerodynamics are highlighted with significant modifications of the fanblade wakes, the shocks and the unsteady loading on the blades and on the vanes. Both direct and hybrid acoustic predictions are provided and highlight the contribution of the fan-blade sources to the upstream noise. The downstream noise is still dominated by the OGV sources but it is shown to be significantly impacted by the inlet distortion via the modification of the impinging wakes.

No description available.

This thesis presents orthographic analyses of selected works of Musorgsky. The thesis argues that more traditional methods, such as voice-leading analysis or set-theory analysis, are, because of their particular historical and stylistic origins, limited in their application to Musorgsky's music and, on this basis, it sets out to demonstrate the value of an orthographic approach. The thesis takes existing orthographic analyses of the music of later transitional, or post-tonal, figures such as Skriabin and Bartók, and extends the application of this approach to an earlier transitional notation and attempts by composers to give cogent articulation to an increasing number of non-traditional pitch structures. The thesis falls into six chapters. The first chapter reviews common perceptions of Musorgsky, especially the notion that his music is somehow technically deficient or limited by a self-didactic eccentricity. It concludes by surveying analytical approaches to Musorgsky's music, and orthographic analyses of Bartók and Skriabin. The second chapter expounds the methodological principles of orthographic analysis. It examines common-practice conventions of orthography and then takes typical orthographic "problems" found in post-common-practice styles in order to show how novel structures are illuminated by the notational friction described above. The chapter concludes with a case study of Brahms's Intermezzo op.118, no 6, which demonstrates how conventions of common-practice notation are sustained in a piece from the central tradition. Chapters Three and Five are dedicated to the analysis of Musorgsky's music. Each takes a work, or selections from a work, leading to a discussion of several related orthographic and tonal issues. The music examined includes selected passages from Boris Godunov and Pictures at an Exhibition, and the entire song cycle Sunless. Several issues arise from these analyses, notably Musorgsky's use of octave symmetry and polymodalism, and his radical conception of relationships between individual chords and prevailing keys. The sixth chapter synthesises these findings and presents a revised view of Musorgsky's tonal thinking and practice, based on his orthography. At the centre of these findings lie key observations concerning the fusion in his music of "functional" and "non-functional" elements. This concluding chapter also speculates on the further potential role of orthographic analytical methods for musics of a traditional nature, especially those of Eastern European traditions.

A música gera conhecimento e tem significado porque opera com forma especial na percepção e na cognição humana. A educação musical é uma das alternativas que configuram uma sólida aprendizagem da música. Tem a função de acionar e desenvolver tanto a capacidade no indivíduo para compreender as relações que possibilitam a expressão, quanto os mecanismos cognitivos presentes nos processos de organização sonora. No mundo ocidental convivem, lado a lado, dois tipos de música e, consequentemente, dois tipos de abordagens educacionais, com características organizacionais próprias e diferenciadas, aqui denominadas tonal e não-tonal. A proposta desta pesquisa é identificar os meios de estruturação presentes na música tonal, na música não-tonal. Mais especificamente, identificar, analisar e comparar as formas de conhecimento musical existentes nas abordagens tonal e não-tonal, na aprendizagem. Como processo e tradição cultural, a prática da música tonal tem gerado e desenvolvido, nos individuas, modelos sonoros de organização e relações sonoras caracteristicas que, por sua vez, vem gerando hábitos e disposiçôes, orientando perceptiva e cognitivamente os indivíduos. As abordagens não-tonais convivem ou esbarram com os referenciais existentes na mente dos individuas tonalmente aculturados. Procurando ampliar a experiéncia musical, valorizam os processos criativos por meio da vivência e da prática musical. Tais abordagens têm contribuído de forma significativa para a eficiência da aprendizagem de um modo geral. Os processos estruturais são construidos e desenvolvidos gradativamente, como na abordagem tonal. A aprendizagem fundamentada na música do Século XX aponta caminhos e possibilidades perceptivas e cognitivas, em favor do conhecimento da música como um todo.

A música gera conhecimento e tem significado porque opera com forma especial na percepção e na cognição humana. A educação musical é uma das alternativas que configuram uma sólida aprendizagem da música. Tem a função de acionar e desenvolver tanto a capacidade no indivíduo para compreender as relações que possibilitam a expressão, quanto os mecanismos cognitivos presentes nos processos de organização sonora. No mundo ocidental convivem, lado a lado, dois tipos de música e, consequentemente, dois tipos de abordagens educacionais, com características organizacionais próprias e diferenciadas, aqui denominadas tonal e não-tonal. A proposta desta pesquisa é identificar os meios de estruturação presentes na música tonal, na música não-tonal. Mais especificamente, identificar, analisar e comparar as formas de conhecimento musical existentes nas abordagens tonal e não-tonal, na aprendizagem. Como processo e tradição cultural, a prática da música tonal tem gerado e desenvolvido, nos individuas, modelos sonoros de organização e relações sonoras caracteristicas que, por sua vez, vem gerando hábitos e disposiçôes, orientando perceptiva e cognitivamente os indivíduos. As abordagens não-tonais convivem ou esbarram com os referenciais existentes na mente dos individuas tonalmente aculturados. Procurando ampliar a experiéncia musical, valorizam os processos criativos por meio da vivência e da prática musical. Tais abordagens têm contribuído de forma significativa para a eficiência da aprendizagem de um modo geral. Os processos estruturais são construidos e desenvolvidos gradativamente, como na abordagem tonal. A aprendizagem fundamentada na música do Século XX aponta caminhos e possibilidades perceptivas e cognitivas, em favor do conhecimento da música como um todo.