Includes an exploration of working memory models from a musical standpoint. / A musical key can only be retained in memory for approximately 20 seconds. However, other factors may be influencing the strength of this retention. The current study tests the influence of time and number of events (chords) in an intervening key on the deterioration in memory of a nonadjacent key. Stimuli first established a major key using traditional harmonic rules, then modulated to an intervening key that was either 6 or 9 seconds in duration and formed from either 4 or 6 chords. Stimuli then returned to the original key in a probe cadence. Participants were asked to rate this cadence in terms of its sense of closure. It was revealed that there is a significant negative effect of time on the probe cadence though no effect of number of events was found. This suggests that spending more time in an intervening key, and not the number of intervening chords, diminishes the memory of the original key. However, it is unclear from this study where in memory the nonadjacent key relationship is processed. Relevant literature is examined to form a working hypothesis with the goal of strengthening future studies with a capable foundation in memory research and theories. / Thesis / Master of Science (MSc) / We have a very short memory span for musical keys. Humans can only remember a key for approximately 20 seconds after it’s changed. However, it is unclear whether it is time spent away from the key that makes us forget or if it is the number of chords we heard in a second, interrupting key. The current study tests this distinction using nonadjacent key relationships—in which a key is established, a different key interrupts for a random amount of time and number of chords before returning to the original key for two target chords. Results confirmed previous findings as there was a significant effect of time on memory. However, there was no effect of number of chords, suggesting that it is the length of time spent away from a key, not number of chords that has an effect on memory.

Résumé: Dans un turboréacteur civil à haut taux de dilution, l'étage de soufflante contribue significativement au rayonnement acoustique d'un avion en phase d'approche. La problématique de ce projet de recherche s'inscrit dans le cadre de l'amélioration des méthodes de prédiction du bruit tonal et large bande créé par l'interaction rotor-stator d'un étage de soufflante, afin de fournir des outils pour une conception silencieuse des avions. Une étude bibliographique conduit à choisir deux approches pour la prédiction du bruit de soufflante. D'une part, les modèles analytiques prenant en compte l'effet de grille sont adaptés à des études paramétriques dans un contexte industriel, mais font appel à plusieurs hypothèses simplificatrices. D'autre part, les méthodes numériques permettent de considérer des configurations réalistes au prix d'efforts de calculs importants. Les objectifs originaux consistent donc à évaluer des modèles avec effets de grille, à proposer des améliorations afin de les rendre plus fiables et à développer une nouvelle méthode numérique pour le bruit de turbomachine. Celle-ci repose sur des simulations aérodynamiques compressibles instationnaires dans lesquelles les sources acoustiques sont directement calculées puis rayonnées à l'aide d'une analogie acoustique. Dans le cadre du bruit tonal, des simulations instationnaires d'écoulement par la méthode des équations de Navier-Stokes moyennées (UftANS) sont réalisées sur des configurations simplifiées d'étages rotor-stator et sur un compresseur axial réaliste. Les sources acous-tiques déterministes créées par l'interaction des sillages moyens du rotor avec les aubes du stator sont correctement résolues, permettant l'application de la méthode numérique. Un modèle de grille est amélioré afin de prendre en compte une décomposition plus fine de l'excitation ainsi que les effets de cambrure de l'aube dans la prédiction des sources. Ces améliorations sont validées par comparaisons avec les résultats de la méthode numérique. Cette dernière s'avère très efficace pour la prédiction du bruit tonal lorsque les sources sont réparties sur la cambrure réelle des aubes puisque les effets pleinement 3D de la réponse du stator et de la géométrie des aubes sont inclus. Concernant le bruit à large bande, trois modèles avec effets de grilles sont évalués sur deux cas tests réalistes. L'effet de grille est significatif pour des stators avec recouvrement, à la fois sur les sources et sur la puissance rayonnée sur toute la bande de fréquences. De plus, un modèle avec une réponse de grille tridimensionnelle et une analogie acoustique en conduit fournit les meilleurs résultats relativement aux mesures. Par ailleurs, une simulation aux grandes échelles (LES) est effectuée sur le compresseur axial. L'interaction des sillages turbulents du rotor avec les aubes est correctement résolue et crée les sources acoustiques à large bande. La LES permet une meilleure compréhension des phénomènes physiques en vue d'une amélioration des modèles analytiques. Enfin, l'application de la méthode numérique fournit les spectres de puissances acoustiques et s'avère prometteuse.||Abstract: In a modern high bypass ratio turbofan engine, the fan stage significantly contributes to the acoustic energy radiated by an aircraft at approach conditions. This research project takes place in the framework of improving prediction methods for tonal and broadband noise created by the rotor-stator interaction in a fan stage in order to provide tools for quieter designs of aircrafts. A literature review leads to the choice of two approaches for the fan noise prediction. On the one hand, analytical models taking into account cascade effects are designed for parametrical studies in an industrial context although they use several simplifying hypotheses. On the other hand, numerical methods allow considering realistic configurations but are computationally demanding. Thus the original objectives of this work consist in evaluating cascade based acoustic models, in proposing modifications to improve their reliability, and in developing a new numerical method for turbomachinery noise. The latter is based on unsteady compressible aerodynamic simulations to directly compute acoustic sources that are then radiated with an acoustic analogy. For tonal noise studies, unsteady flow simulations using Reynolds-Averaged Navier-Stokes equations (URANS) are performed on simplified rotor-stator configurations as well as on a realistic axial compressor stage. The deterministic acoustic sources created by the rotor wake interaction with the downstream stator vanes are correctly resolved, allowing the application of the numerical method. A cascade analytical model is improved in order to introduce a better decomposition of the excitation as well as vane camber effects in the acoustic sources prediction. These improvements are validated by comparisons with the results of the numerical method. The vane thickness is also seen to have a second order effect. Finally the developed numerical method is shown to be very efficient for tonal noise prediction with a distribution of sources following the mean vane camber line since the fully 3D effects of the stator response and of the vane geometry are included. In the broadband noise context, three cascade based analytical models are evaluated and compared to an isolated airfoil model on two realistic test cases. Cascade effects are found to play a major role both on the acoustic sources and on the acoustic power over the frquency band for overlapping vanes. A model including a tri-dimensional cascade response as well as an acoustic analogy within an annular duct provides the best results compared to measurements. Moreover a Large-Eddy Simulation (LES) is performed on the axial compressor. The turbulent rotor wakes interaction with the downstream stator vanes is correctly resolved and creates broadband acoustic sources. The LES allows a better understanding of physical phenomena in order to improve analytical models. Finally the application of the numerical method provides the acoustic power spectra radiated within the duct and appears to be promising.

This thesis presents an analysis of Copland's first major serial work, the Quartet for Piano and Strings (1950), using pitch-class set theory and tonal analytical techniques.

The purpose of this thesis is to provide translation of documents on lu from two primary sources for a study of the theory of ,lu, with the main focus on the interpretation and the signification attached to each of the twelve lu-pitch names. To establish the background information of the lu-10 system, an explanation of its acoustical properties is first presented. Based on the most important and widely used tonal system in ancient China -- the san-fen-sun-i system, the illustration is provided for the process of tone generation. Methods proposed by the main theorists who engaged in the discussion of the system of lu are presented. The introduction of the concept of yin and yang in reference to the twelve lu and the signification of the lu-lu system in relation to the human and natural world will also be discussed. The main body of this study is devoted to the translation of written references on the meaning of the twelve lu. The first part is the translation of the selected passages from The Anthology of the Historical Document of Ancient Chinese Music. edited by Tsai-Ping Liang; the second part is the translation of a modern exegesis from an article written by Deh-I Liu. This translation offers a perspective to understand the concept of l-pitch names from the ancient points of view in relation to philosophy, education, religion, and science.

The purpose of this study is to analyze four late solo piano works of Franz Liszt that all bear the name "Mephisto" in their titles, in order to examine, identify and trace the development in the use of harmonic and melodic idioms that produced non-tonal or "omnitonic" effects, on the one hand, and to emphasize the need to duly accord Liszt a recognition of historical position as the nineteenth century's most influential avant garde composer whose attitude and approach had helped to shape much of the ideal of the atonal composition of this century, on the other. Chapter One presents the issues and the purpose of this study; Chapter Two investigates the principal forces that shaped Liszt's mature compositional style; Chapter Three identifies and discusses the requisites for tonal and atonal compositions; Chapter Four analyzes the four "Mephisto" dances: Waltz no.1 (1860); Polka (1883); Waltz no.3 (1883); and Bagatelle (1885). Chapter Five summarizes the findings from this study and attempts to identify in these late works of Liszt a pattern of conscientious, continuous, purposeful and progressive use of devices toward creating musical effect that would defy the established tonal requisites and undermine the tonal orientation in the composition. This study submits that it was Liszt who had first shown a way to free music from the shackles of prescribed idiomatic constraints, and to force us the listeners to approach and appreciate music for its own sound's sake. Additionally, this study submits that this effort of Liszt should be understood and appreciated in terms of programmatic association; that is, Liszt found in the persona of Mephisto the Diablo the ideal imagery for depicting the nature of the "music of the future" where tonality would be freed from any prescribed procedural requisites.

Estudos com a utilização de técnicas de imageamento realizados na última década revelaram modulação da atividade de estruturas mesolímbicas envolvidas em processamento de recompensa, durante a audição passiva de música tonal. O achado trouxe à tona antigas especulações envolvendo, principalmente, formação de expectativas e respostas emocionais à música, permitindo a revisita a importantes trabalhos publicados no campo da musicologia e psicologia da música sob a luz do conhecimento hodierno. O presente trabalho tem por objetivo investigar de forma mais ampla o papel dos mecanismo de recompensa em relação à música, bem como identificar processos cognitivos envolvidos na apreensão de elementos da música tonal e na formação de expectativas e, assim, identificar possíveis influências de tais mecanismos em aspectos específicos da escuta da música tonal, assim como na manutenção da utilização de música tonal em seu caráter funcional e de entretenimento. O vetor principal do trabalho foi estabelecido na interpretação de questões relativas ao campo da musicologia sob a ótica da neurociência. Foram estabelecidas três frentes de pesquisa documental sendo: (1) Musicologia, (2) Estudos de imageamento e neurofisiologia; (3) cognição musical e cognição implícita. O levantamento bibliográfico foi feito via Banco de dados bibliográficos e Biblioteca Digital de Teses e Dissertações da Universidade de São Paulo além da utilização das bases de dados: PsycInfo, PubMed, SCOPUS, SciELO entre outras. A descoberta da participação do sistema de recompensa na escuta musical trouxe sustentação experimental à conceituações, antes somente teóricas, no campo da musicologia. A música tonal é construída sob a égide de relações bem definidas que atuam sobre unidades sonoras discretas (notas musicais) assemelhando-se à linguagem verbal, sem, no entanto, incorporar significado designativo, o que a torna objeto peculiar de estudo no campo da cognição. O material bibliográfico analisado permitiu demonstrar que a base sintática do idioma tonal pode ser adquirida sem mobilização voluntária de mecanismos atencionais, pela oferta estatística do material musical, permitindo que sujeitos, mesmo sem qualquer formação musical, sejam capazes de inferir regras e formar expectativas dentro do contexto tonal de forma a alimentar um ciclo que envolve apreensão, formação de expectativa e resposta hedônica, pela ação protagonista dos mecanismos de recompensa, mediados por dopamina (motivação e aprendizado) e -opióide (resposta hedônica). Tais características, concomitantes à presença ubíqua da música na sociedade atual favorecem a realimentação contínua do ciclo, sobretudo na utilização do sistema em caráter funcional e de entretenimento / Not informed by the author

No description available.

<p>Psychology of music has shown renewed interest in how music expresses emotion to listeners. However, there is an obvious lack of research on how interactions between musical factors such as harmony, rhythm, melodic contour, loudness, and articulation may affect perceived emotion. From previous literature on music analysis and music cognition there is evidence that tonality may be activated and affected by rhythm and melody. These ideas generated hypotheses regarding melodic organization and performance, for instance, (a) certain notes in a melodic structure have expressive potentials due to their place in the key/chord, (b) these notes could be activated by accents in the melodic structure and/or in live music performance. In Study I, a simple tune was systematically manipulated with regard to harmonic progression, rhythm and melodic contour. Listener ratings of the resulting versions showed that perceived structure (instability, complexity, tension) and emotion (sadness, anger, expressivity) could be partly interpreted as resulting from accent structures and stress on certain notes. In Study II, musicians were asked to perform some of the above-mentioned versions so as to express happiness, sadness, tenderness and anger. The performers used loudness and articulation to compensate for lack of adequate inherent expression in melodies. They also highlighted certain notes of relevance for the emotional meaning by means of stress in articulation, loudness and timing. In Study III, simple three-note sequences were manipulated with regard to melodic, metric and rhythmic accents as well as (computer-) performed accents (loudness, articulation and timing) on certain target notes. Listening tests showed that accent on a tense note enhanced perceived anger. A note essential for the identity of major mode affected perception of happiness, whereas a note essential for minor mode affected perception of sadness. The results in this thesis have implications for a dynamic view of melodic organization and performance.</p>

Psychology of music has shown renewed interest in how music expresses emotion to listeners. However, there is an obvious lack of research on how interactions between musical factors such as harmony, rhythm, melodic contour, loudness, and articulation may affect perceived emotion. From previous literature on music analysis and music cognition there is evidence that tonality may be activated and affected by rhythm and melody. These ideas generated hypotheses regarding melodic organization and performance, for instance, (a) certain notes in a melodic structure have expressive potentials due to their place in the key/chord, (b) these notes could be activated by accents in the melodic structure and/or in live music performance. In Study I, a simple tune was systematically manipulated with regard to harmonic progression, rhythm and melodic contour. Listener ratings of the resulting versions showed that perceived structure (instability, complexity, tension) and emotion (sadness, anger, expressivity) could be partly interpreted as resulting from accent structures and stress on certain notes. In Study II, musicians were asked to perform some of the above-mentioned versions so as to express happiness, sadness, tenderness and anger. The performers used loudness and articulation to compensate for lack of adequate inherent expression in melodies. They also highlighted certain notes of relevance for the emotional meaning by means of stress in articulation, loudness and timing. In Study III, simple three-note sequences were manipulated with regard to melodic, metric and rhythmic accents as well as (computer-) performed accents (loudness, articulation and timing) on certain target notes. Listening tests showed that accent on a tense note enhanced perceived anger. A note essential for the identity of major mode affected perception of happiness, whereas a note essential for minor mode affected perception of sadness. The results in this thesis have implications for a dynamic view of melodic organization and performance.

This study aims to examine the ways in which English composer Edward Elgar (1857–1934) expanded common-practice tonality; it shows how Elgar employed harmonic structures and syntax in an innovative manner through specific extended-tonal techniques such as the use of chromatic-third relations (both harmonically and as a tonal plan), harmonic substitutions, and local ambiguous sonorities that at times lead to tonal ambiguity. The system that Elgar expanded upon has been called “Classical diatonic tonality”, which was extended when late nineteenth-century composers such as Elgar infused their music with chromaticism. Through an investigation of Elgar’s extended tonal techniques one can come to a better appreciation of his late nineteenth-century harmonic vocabulary. It has been well documented that Elgar modeled his music after that of Wagner and his Germanic contemporaries (from Mendelssohn to Brahms), so that the Elgarian tonal language is one possible projection of a post-Wagnerian extended-tonal discourse. The discussion presented here will survey those parts of Elgar’s tonal language that he learned from his Germanic contemporaries, thereby establishing the context for his own unique chromatic compositional style. This study of Elgar’s work therefore further represents a study of the broader impact of post-Wagnerian chromaticism on late nineteenth-century English extended tonality.