The purpose of this study was twofold: first, to collect information relating to `classic' sound synthesis methodologies which have formed the basis of current synthesis methods into one comprehensive report, and secondly, to describe and develop an interactive CD-ROM as a new tool for the instruction of these synthesis methods. The historic trend has been the acquisition of sound synthesis through direct interaction with a particular piece of software or hardware. The intentions of this interactive media are to allow students to form conceptual knowledge, and develop the ability to perceive timbral differences produced by these methods. This environment allows students to interact at their own speed and assist in customizing their learning development.

The study has identified seven Puerto Rican composers that shared a common bond as first products of the recently established system of post-secondary music education of the island of Puerto Rico. A review of relevant literature produced only one fugitive document with any information about these composers. Through the use of a questionnaire and documents supplied by the composers, information available about these artists was collected and updated in order to provide accurate documentation of their artistic activities. An orchestral work from each of these composers was examined in order to give an insight into some aspects of their individual style, although it was not possible to make generalizations about each composer's style due to the limits of the sample.The study demonstrated the existence of significant works for orchestra by these composers and provided, for each of these artists, a short biographical sketch and a complete list of works up to the present. The composers and works studied were:Esther Alejandro, El zapatero prodigioso Carlos Cabrer, CanticosErnesto Cordero, Concierto evocativo (guitar concerto)Jose Daniel Martinez, Tiempo sinfdnicoJose A. Montalvo, Canto para la America sufridaRoberto Sierra, PolarizacionesCarlos A. Vazquez, Casa LlenaDuring preliminary research, the study also identified substantial errors and omissions in general reference works in music on the subject of Puerto Rican music. The first chapter includes a review of all available literature on the subject of the study, covering published and fugitive sources. The bibliography includes a section with annotated newspaper articles on some of the composers appearing in the study. Computer print-outs from searches of the Comprehensive Dissertation Index and the Repertoire International de Literature Musicale on key words "Puerto Ric" and "music" appear in the appendices.

The view that the lute exercised an important influence on the formation of French harpsichord style in the seventeenth century is a commonplace of musicology which has not until now been thoroughly investigated. This thesis is an attempt to determine the nature of that influence taking into account as much of the available relevant material as possible. The first chapter outlines the status and function of stringed keyboard instruments, particularly in the late sixteenth and early seventeenth centuries, using a wide variety of non-musical sources whether literary, archival, or documentary. It also charts the relative standing of the two instruments and the interrelationship of their repertoires as viewed by contemporaries throughout the seventeenth century. The second chapter provides a survey of the evolution of French lute style based on a detailed study of most of the French lute sources from the period cl600-cl670 and including the more important sources from cl670-cl700. The third chapter presents detailed comparisons of individual works existing in versions for both lute and keyboard. These are based on numerous parallel transcriptions presented in the second volume. The material for this section is provided by a concordance file for virtually all French seventeenth-century lute sources designed to be usable in conjunction with Gustafson's keyboard catalogue. The final chapter is an attempt to define the degree of affinity existing between particular features of the central harpsichord style and that of the lute on the basis of principles established in the previous discussions. This thesis contains the first detailed discussion of the works of the principal seventeenth-century French lutenists in the context of a survey of the general development of the lute style. Numerous illustrative examples of hitherto unpublished lute music are included in the second volume. The final chapter also discusses some new sources of French harpsichord music dating from the late sixteenth and early seventeenth centuries, with transcriptions. Also discussed for the first time is the Premier Livre (1687) of Elizabeth Jacquet de la Guerre, and a transcription of a suite supposedly written in imitation of the lute is given. A comprehensive concordance of pieces existing in versions for both lute and harpsichord is given in Volume II.

The videogame now occupies a unique territory in contemporary culture that offers a new perspective on conceptions of high and low art. While the fear that the majority of videogames 'pacify' their audience in an Adornian "culture industry" is not without justification, its reductionism can be countered by a recognition of the diversity and aesthetic potential of the medium. This has been proposed by sociologist, Graeme Kirkpatrick, although without close attention to the role of music. Videogame music often operates in similar ways to music in other mixed-media scenarios, such as film, or opera. In the same way that film music cannot be completely divorced from film, videogame music is contingent on and a crucial part of the videogame aesthetic. However, the interactive nature of the medium - its différance - has naturally led to the development of nonlinear musical systems that tailor music in real time to the game's dynamically changing dramatic action. Musical non-linearity points beyond both music and videogames (and their respective discourses) toward broader issues pertinent to contemporary musicology and critical thinking, not least to matters concerning high modernism (traditionally conceived of as resistant to mass culture). Such issues include Barthes's "death of the author", the significance of order/disorder as a formal spectrum, and postmodern conceptions and experiences of temporality. I argue that in this sense the videogame medium - and its music - warrants attention as a unique but not sui generis aesthetic experience. Precedent can be found for many of the formal ideas employed in such systems in certain aspects of avant-garde art, and especially in the aleatoric music prevalent in the 1950s and 60s. This thesis explores this paradox by considering videogames as both high and low, and, more significantly, I argue that the aesthetics of videogame music draw attention to the centrality of "play" in all cultural objects.

In this dissertation, overviews and detailed examinations of three compositions are presented. These compositions which constitute the portfolio of the M.MUS degree, are an attempt to explore syncretism between Indian and western music. Two of these works are written for a flute quartet (flute, violin, viola and cello) accompanied in part by a mridangam (Indian percussion instrument). The third work is written for a jazz quartet (piano, saxophone, double bass and drums). Syncretism between western and Indian music can take on a variety of forms, and while this concept is not new, there exists no suitable model or framework through which these compositions can be analysed. The approach used In this dissertation IS therefore guided solely by the compositions themselves. The syncretism in these works lies in the use of melodic, rhythmic and timbral elements of Indian music within two ensembles which are essentially western. This dissertation describes each of these elements in their traditional context as well as the method of incorporating them into western ensemble playing.

This thesis on the Rise of the French Organ Symphony refers especially to the relevant works of Alexandre Guilmant and Charles-Marie Widor. It commences with a survey of the historical background, dealing with the development of French organ music from the 16th to 19th Century and the development of organ building in France from the 17th to 19th Century. It then proceeds to descriptions of the organs of St Clotilde, La Trinité and St Sulpice Churches in Paris, which are followed by biographical profiles of Cesar Franck, Alexandre Guilmant and Charles-Marie Widor, respectively. The major part of the thesis is devoted to a detailed analysis of the organ sonatas of Guilmant and the organ symphonies of Widor, which are discussed from the point of their cyclic outline and aspects of form and of style. The final chapter summarises the major findings of the analytical research and evaluates by comparative method, the merits and achievements of the two composers. In addition, Appendices are attached, providing specifications of various French organs and pictorial material relevant to the thesis. A separate cassette tape features characteristic sounds of Cavailie-Coll organs.

Einojuhani Rautavaara's oeuvre is characterised by four distinctive creative periods, each demonstrating a remarkable variety of compositional idioms and styles. His application of multifaceted elements, often within a single work leading to notions of postmodernism, is derived from multifarious sources, such as (Finnish) folklore, Orthodox mysticism and a wide variety of standard twentieth century compositional techniques. Furthermore, Rautavaara regularly quotes from his own material, thus creating elements of auto-allusions within his oeuvre; a predisposition which forms an essential part of his compositional aesthetic. Analyses of eight piano works (1952-2007) provide a cross-section of Rautavaara's output which, together with a consideration of biographical factors and analytical focus on the intertextual elements of his writing, offers a rationale for determining the development of his musical identity. The analyses conclude that intertextual elements, which appear through a diverse array of expressive modes (such as mysticism, nationalism and constructivism) are an essential part of Rautavaara's eclectic compositional style and contribute to an understanding of the on-going development of his musical identity.

This thesis investigates the design and implementation of an object-oriented toolkit for music notation. It considers whether object-oriented technology provides features that are desirable for representing music notation. The ability to sympathetically represent the conventions of music notation provides software tools that are flexible to use, and easily extended to represent less common features of music notation. The design and implementation of an object-oriented class hierarchy that captures the structural and semantic relationships of music notation symbols is described. Functions that search for symbols, and update symbol positions are also implemented. Traditional context-sensitive and spatial relationships between music symbols may be maintained, or extended to provide notational features found in modern music. MIDI functionality includes the ability to play music notation and to allow step-recording of MIDI events. The toolkit has been designed to simplify the creation of applications that make use of music notation; example applications are created to demonstrate its capabilities. / Microsoft Word / Adobe Acrobat 9.46 Paper Capture Plug-in

Made available in DSpace on 2014-06-11T19:28:20Z (GMT). No. of bitstreams: 0 Previous issue date: 2013-06-24Bitstream added on 2014-06-13T20:57:54Z : No. of bitstreams: 1 franco_lj_me_ia.pdf: 1858255 bytes, checksum: 7073124a61dd78b45b49278de09a7755 (MD5) / O presente trabalho disserta sobre hibridismos em música, sobretudo na obra violonística do cubano Leo Brouwer. Foi feita uma discussão de caráter geral sobre os diversos usos de hibridismos presentes em algumas músicas de compositores latinoamericanos. Para tanto foram abordados alguns autores dos chamados estudos culturais, por tratarem especificamente desse tema, ainda que usem outros termos ou palavras. Com isso pretende-se dar aos intérpretes de violão subsídios baseados na diversidade cultural, trazendo a interpretação como um campo de possibilidades. Por fim, a pesquisa apresentou elementos diversificados presentes na música de Brouwer, o que a caracteriza como uma prática híbrida / This dissertation is about hybridity in music, focusing on the work of the Cuban guitarist Leo Brouwer. The various ways hybridity is present in some songs of Latin American composers were discussed here. Therefore, some authors from what is called cultural studies were addressed, by specifically refer to this topic, albeit using other terms or words. This is intended to provide subsidies to guitar interpreters based on cultural diversity, bringing interpretation as a field of possibilities. Lastly, the research presented several elements found in Brouwer’s music that characterizes it as a hybrid practice

Orientador: Paulo Mugayar Kuhl / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-17T10:52:09Z (GMT). No. of bitstreams: 1 DiGiorgi_CamiloHernandez_M.pdf: 24336856 bytes, checksum: 4ffd57df4b4ac5b042834952ae1a899c (MD5) Previous issue date: 2010 / Resumo: Neste estudo, o duo formado pela flauta e tambor tocados pela mesma pessoa, conhecido também como tamboril, é abordado morfológica e historicamente em sua trajetória e situação atual na Europa e América Latina. Discute-se aspectos relativos à sua acústica, aos seus usos sócio-musicais e à sua representação na iconografia. Realiza-se também um levantamento e exame de informações sobre este conjunto em alguns dos tratados e obras enciclopédicas dos séculos XVI, XVII e XVII / Abstract: The tabor pipe duo, also known as tamboril, is approched morfologically and historically in its trajectory and present state in Europe and Latin America. Aspects relative to acustics, socialmusical uses and iconography are discussed. Issues about this ensemble in the XVI, XVII and XVIII centuries treatises and encyclopedical works are also raised, examined and discussed / Mestrado / Fundamentos Teoricos / Mestre em Música