Tonality during the common-practice era carried conventions that ultimately manifested formal schemas. Post-tonal composers’ diverging treatment of form escapes the generality of such schemas, and the relative lack of formal methodology for post-tonal music has left a considerable gap in the literature. When writers do discuss form in post-tonal music, the discourse generally focuses on form within a single composition, a single composer’s output, or at best a narrow school of musical style or philosophy. This thesis posits a concept that I call formal synthesis as a basic principle of form applicable to a broad range of musical styles, genres, and eras. Formal synthesis is a process that combines two or more previous musical passages into one musical passage. This organizational principle covers a broad spectrum of formal possibilities, varying by formal function, structural level, and method. In chapter one, I summarize previous discussions of form in post-tonal music and define the categorizations of formal synthesis. The following chapters refine the concept of formal synthesis through analyses of Steve Reich’s Drumming, Béla Bartók’s Piano Suite op. 14, and Thomas Adès’ Asyla. These composers belong to three different generations and nationalities, and the pieces belong to distinct styles and genres.

This thesis explored two main research questions, firstly investigating whether musical expertise offers a performance advantage in working memory for sequences of tones that vary in pitch, and secondly whether any advantage of musical expertise may be present in older as well as younger individuals. Previous research on working memory for tone sequences has reported that articulatory suppression interferes with temporary storage of verbal but not with tone sequences (Koelsch et al, 2009), suggesting a “tonal loop” within a musician’s working memory (Schulze, Zysset, Mueller, Friederici, & Koelsch, 2011) that complements the phonological loop for verbal material in musicians and non-musicians alike (e.g., Baddeley, 1986; 1992). The five experiments reported here explored detection of a pitch change between pairs of tone sequences with or without concurrent articulatory suppression or singing suppression. In Experiment 1, with pairs of auditory tonal (in a musical key) sequences to be compared, singing suppression impaired non-musicians significantly more than musicians, although both groups showed an impairment, whereas only non-musicians were affected by verbal articulatory suppression. In Experiment 2, conducted only with musicians who could read music, the first sequence of each pair was presented visually and the second sequence for comparison was presented aurally. Musicians were again impaired by singing suppression but not by articulatory suppression. For Experiment 3, for auditory atonal (no musical key) pairs of sequences, non-musicians performed at floor, and musicians were again significantly more impaired by singing suppression than by articulatory suppression. In contrast, for Experiment 4, only with musicians who could read music, for visually presented atonal sequences each followed by an auditory atonal sequence for comparison, musicians were significantly more impaired by articulatory suppression than singing suppression. These results suggest that for tonal sequences, musicians use their musical training and experience, coupled with subvocalised singing, but for atonal sequences, additional strategies involving phonological rehearsal may be used. Non-musicians may also rely on musical experience and subvocal singing for tonal sequences but seem to be unable to do so for atonal sequences. Results are consistent with the use by both musicians and non-musicians of a tonal loop for the rehearsal of tone sequences, which develops with musical training and may be used in addition to subvocal rehearsal. Previous research has suggested musical expertise may offer some protection against cognitive ageing (Hanna-Pladdy & MacKay, 2011; Amer, Kalender, Hasher, Trehub, & Wong, 2013). Experiment 5 in this thesis explored whether a lifetime of musical training and experience may offer the same advantages in old age for retaining tone sequences that had been found in Experiments 1 and 3 for younger musicians. This experiment also considered whether any advantage for older musicians on this task could be explained by the proposed “bilingual advantage” (e.g., Bialystok, Craik, Klein & Viswanathan, 2004), and what other aspects of cognition might be associated with tone sequence memory performance. A test battery was utilised with 74 older adults (60-80 years of age) to assess the influence of musical and language expertise, and cognitive abilities (attention, working memory capacity, self-reported prospective and retrospective memory) on the music-related pitch sequence comparison task from Experiments 1 and 3. Working memory capacity was found to predict individual differences in the ability to detect pitch changes between pairs of tone sequences, regardless of musical experience. Older musicians performed more poorly on the pitch change detection task overall than the younger musicians in the earlier experiments, but their performance on the task was significantly better than for age-matched non-musically trained peers who were close to floor for both tonal and atonal sequences, suggesting some benefit from a lifetime of musical experience.

This thesis investigates the psychological implications of prolongation, a structural phenomenon of tonal music, which is described in the musicological literature as an elaborative process in which some pitch events - such as chords and notes - remain as if they were sounding even though they are not physically present.

When investigating the perceived similarity of two musical stimuli, systematic asymmetries emerge which depend on the nature of the two elements being compared, relative to the musical context in which they appear. At the level of individual tones, Krumhansl (1979) found that if the order of presentation was diatonic/nondiatonic (relative to a tonal context), similarity ratings were lower than if that order was reversed. She concluded that when a change results in an element becoming less stable in terms of it's position on the tonal hierarchy, similarity perception will be lower than if a change increases it's stability. At the level of melodies, Bartlett and Dowling ( 1988) obtained a similar result, but claimed the asymmetry was due to violations of scalar structure, having little or nothing to do with the tonal hierarchy. To test between these different accounts, a series of experiments was conducted in which pairs of diatonic melodies were presented for similarity ratings. Each melody consisted of a context sequence and a target sequence. The context sequences were designed to promote either a C-major or a D-minor tonal hierarchy. These respective keys share similar notes in their scales, but the tonal hierarchies are inverted with respect to one another. According to Krumhansl's account of the asymmetry, noticeable changes in one key context should not be noticeable in the other, due to the reversal in stability of the component tones of the alteration. According to Bartlett and Dowling, no differential sensitivity should be observed, since all changes were within the scale structure of both contexts. In the first experiment, repetition of the tonic was employed as the key-instantiating stimulus, the result being that strong asymmetrical perception arose, both on the measures of similarity ratings, as well as alteration detection ability. Subsequent experiments employed triadic contexts (suggested by Krumhansl and others to be strongly key-instantiating), and note-frequency controlling contexts (to rule out the possibility of note repetition playing a role in the similarity ratings). The results supported the hypothesis that asymmetric perception is a result of the dynamic tone quality differences between scale degrees in a tonal melody. Two subsequent control studies ruled out the possibility oftarget sequences themselves being responsible for the asymmetries, and confirmed that listeners perceived the melodies in the keys specified in the experiment. A model based loosely on Tversky's explanation of asymmetric perception was put forth to explain these data, as well as those of Bartlett and Dowling. / Thesis / Doctor of Philosophy (PhD)

In music education today there is a trend toward a greater understanding of the fundamentals of music. Investigations have been undertaken to determine exactly what a musical tone is made of and why individuals respond to it in certain ways. In all fields these endeavors have led to an objective view of what has been primarily a subjective area. A knowledge of why something happens or of a relationship between factors in a situation is always of ultimate value in teaching situations. In this light many studies have been done concerning musical tone analysis, and particularly, clarinet tone analysis. The clarinet has been the center of tone analysis for some thirty-five years, perhaps because it is an acoustical enigma, or perhaps because there are more clarinetists interested in analyzing their instrument. In any case, analyses have been performed dealing with characteristic partial spectrums, design of the bore in relation to the tone, effect of the reed on tone, effect of the player on tone, and comparisons of tones produced by clarinets made of various substances. This paper deals with the latter of these topics: comparisons of tones produced by clarinets made of various substances. The object of this research is not to prove or disprove a similarity or difference in sound but to identify any relative similarities and differences found in the tonal spectrums by the method of testing presented in this study.

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Community noise impact is an important factor in design of current generation aircraft, especially when considering projected trends in flight volume and urbanization. Simulation is a useful tool to evaluate the human annoyance response due to both current and proposed aircraft, and it has some advantages over field studies or playback of recordings. However, current simulation methods which are based on time-averaged prediction methods do not include short term fluctuations observed in recordings of real aircraft engines. Those fluctuations in both tonal and broadband sources provide psychoacoustic clues to listeners when evaluating flyover noise realism. When those short-term fluctuations are not included, simulation realism may suffer and evaluation results might not be applicable to real aircraft. This thesis presents work to analyze and model fluctuations in aircraft engine fan noise, using an existing set of static turbofan engine recordings. The inclusion of the observed fluctuations, which are unaccounted for in many current prediction and simulation routines, was expected to increase the perceived realism of simulated flyover events. The analysis of tonal fluctuations was performed by utilizing the complex-valued analytic signal to extract instantaneous amplitude and frequency. A simple parametric model was developed to represent each measured fluctuation using its spectral bandwidth and variance. The model was then used to generate new fluctuations which were perceptually similar to the original. Tonal synthesis was performed as the sum of many amplitude- and frequency-modulated tones. Analysis was also performed on the broadband fan noise component, which used output from the Short-Time Fourier Transform was used to characterize fluctuations in third-octave band SPL. Those fluctuations were not modeled as in the case of tonal fluctuations and were directly reproduced using an overlap-add synthesis tool. A subjective listening test was then conducted to evaluate the perceptual similarity between synthesized and recorded fan noise. That test concluded that synthesized tonal noise which included short-term fluctuations was perceived as more realistic than noise without. It also concluded that the addition of broadband fan noise components tended to mask tonal fluctuations. / Master of Science

La conception des groupes moto-ventilateurs au sein de Valeo Systèmes Thermiques et la prédiction de leurs performances aérauliques reposent majoritairement sur les méthodes de développement virtuel, i.e. la conception assistée par ordinateur et la simulation numérique de la mécanique des fluides. Dans ce cadre, le présent travail propose une méthodologie de prédiction et de minimisation de la composante tonale du bruit d'un groupe moto-ventilateur. L'approche adoptée est hybride et dissocie la génération et la propagation du bruit. La propagation en champ libre est calculée avec une formulation intégrale de l'analogie de Ffowcs-Williams et Hawkings. Dans un premier temps, les termes-sources à la surface du rotor et du stator sont calculés par une simulation numérique instationnaire. La compacité de la pale ainsi que l'influence du maillage acoustique sur la prédiction sont ensuite investiguées. Finalement, les résultats sont comparés aux mesures expérimentales. Dans un deuxième temps, les sources acoustiques à la surface du stator sont calculées avec le modèle de Sears enrichi avec des données extraites d'une simulation stationnaire du rotor complet. Avant de procéder à la prédiction acoustique, l'influence du modèle de turbulence sur les résultats finaux est évaluée à travers une comparaison entre LES et RANS pour l'écoulement autour de profils extrudés. Enfin, la problématique de minimisation du bruit tonal est traitée en tant que problème d'optimisation où la géométrie d'une aube est paramétrée et où la recherche de l'optimum est conduite par un algorithme génétique. Cette optimisation a permis de concevoir un stator moins bruyant et adapté à l'écoulement en aval du rotor étudié. / The design of fan systems at Valeo Thermal Systems and the prediction of their aerodynamic performances rely mainly on virtual development methods, i.e. computer-aided-design and computational fluid dynamics. Within this context, this dissertation develops a methodology for predicting and minimizing the tonal noise of a fan system. The hybrid approach is used, thus separating noise generation and propagation. The free-field propagation is computed via an integral formulation of the Ffowcs-Williams and Hawkings analogy. In a first step, the source terms located at the surfaces of the rotor and the stator are extracted from an unsteady numerical simulation. The compactness of the blade and the influence of the acoustic mesh on the prediction are then investigated. Finally, the computational results are compared to the experimental ones. In a second step, the acoustic sources at the surface of the stator are computed with Sears' model. Its inputs are extracted from a steady simulation of the whole rotor. Before proceeding to the acoustic prediction, the influence of the turbulence model on the final results is assessed via a comparison between LES and RANS simulations of the flow around airfoils. Finally, minimizing tonal noise is formulated as an optimization problem. The shape of a stator-blade is parametrized and the optimization is conducted with a genetic algorithm. The resulting stator is less noisy and adapted to the flow downstream of the studied rotor.

93 f.:il / Submitted by JURANDI DE SOUZA SILVA (jssufba@hotmail.com) on 2013-03-15T14:58:47Z No. of bitstreams: 1 Dissertacao Hermilo Santana.pdf: 1778400 bytes, checksum: fabab17efb01dbd37bb775b1ecc332a1 (MD5) / Approved for entry into archive by Rodrigo Meirelles(rodrigomei@ufba.br) on 2013-03-22T14:03:10Z (GMT) No. of bitstreams: 1 Dissertacao Hermilo Santana.pdf: 1778400 bytes, checksum: fabab17efb01dbd37bb775b1ecc332a1 (MD5) / Made available in DSpace on 2013-03-22T14:03:10Z (GMT). No. of bitstreams: 1 Dissertacao Hermilo Santana.pdf: 1778400 bytes, checksum: fabab17efb01dbd37bb775b1ecc332a1 (MD5) Previous issue date: 2010 / Essa dissertação é resultado de uma pesquisa orientada que teve como objetivo principal realizar uma composição musical e sua respectiva análise. A composição, denominada Na noite, compreende três partes e foi inspirada no poema homônimo de Antonio Brasileiro, autor nascido em Rui Barbosa, Bahia, em 1944. Trata-se de poeta que, em meados da década de 1960, estudou Percussão em curso livre desta Escola de Música, tocou na Orquestra Sinfônica da UFBA e teve poemas de sua autoria musicados por, entre outros, Ernst Widmer e Jamary Oliveira. A composição que se criou é um poema sinfônico estruturado pela Teoria Pós-tonal e sua partitura completa está inclusa. Neste trabalho, há uma contextualização teórica sobre o poema sinfônico, a análise do poema “Na noite” e os procedimentos composicionais da peça. / Salvador