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  • About
  • The Global ETD Search service is a free service for researchers to find electronic theses and dissertations. This service is provided by the Networked Digital Library of Theses and Dissertations.
    Our metadata is collected from universities around the world. If you manage a university/consortium/country archive and want to be added, details can be found on the NDLTD website.
21

A Study of the Instrumental Music of Frank Zappa

Clement, Brett G. 03 November 2009 (has links)
No description available.
22

An Enumerative-Probabilistic Study of Chord Diagrams

Acan, Huseyin 03 September 2013 (has links)
No description available.
23

Exploring the Hidden Resources of the Classical Guitar : An Inquiry into Techniques to Enhance the Range and the Chordal Possibilities of the Instrument for Compositional Purposes. / Utforskning av de dolda resurserna hos den klassiska gitarren : En undersökning av tekniker för att öka instrumentets omfång och ackordsmöjligheter för kompositionsändamål.

Persson, Carl Federico January 2023 (has links)
In this paper, the limitations of the six-string classical guitar in terms of chordal possibilities and range are discussed, and ways are presented to overcome those limitations. The study describes some of the problems and limitations that the author experiences when composing for the instrument he plays. Moreover, some solutions that partly overcome these issues are presented and discussed. The presented solutions are drawn from the literature as well as developed through personal insights. In addition, conclusions regarding the practical usage of the presented solutions are drawn from the personal experiences of the author when incorporating them in two short compositions composed for this specific study.
24

Giant Steps: Chord Substitutions and Chord-Scales for Improvisation

Kasler, Ariel 14 April 2014 (has links)
No description available.
25

Nontraditional Six-Four Chords and Their Impact on Middleground Structures in Schumann, Brahms, and Saint-Säens

Gao, Yiyi 12 1900 (has links)
This dissertation explores middleground functionality of six-four chords by combining a voice-leading approach with hypermetrical analysis. By acknowledging the functional ambiguity of certain six-four chords that do not fit into traditional classifications (Aldwell and Schachter's cadential, consonant, passing, and neighboring six-four), or that can be seen as fitting in more than one category, I show that our interpretation of deeper-level structures is contingent upon how we choose to hear the functionality of these harmonies. Three types of six-four chords are introduced: cadential/consonant, passing/cadential, and neighboring/consonant six-four, illustrated by works by Robert Schumann, Brahms, and Saint-Säens. Each pair refers to an ambiguity—the same chord invites two alternative harmonic interpretations. I call these chords nontraditional in the sense that they shed more light on the musical structure with their ambiguity, rather than when being wedged into a single type of a six-four chord. This approach renews the ways of hearing the malleability of nonconventional Romantic structures and permits us to trace the path of each work as a unique tonal trajectory from a listener's perspective.
26

Klang, form, struktur eller funktion? : En kvalitativ studie i hur gitarrlärare och gitarrelever ser på ackordundervisning på elgitarr.

Kvarnbrink, Johannes January 2019 (has links)
The purpose of this study was to investigate how a small selection of guitar teachers go about to teach chords on electric guitar, as well as how a small selection of guitar students have experienced the phenomena during their studies. To answer the research questions, two experienced guitar teacher and two guitar students were subjects to qualitative interviews. The theoretical perspective of the study was hermeneutic. The results showed that the methods employed by the teachers to a high degree related to how they have been taught and also learned by themselves. Another result is that the combination of systems, music theory and practical musical performance can help guitar students to reach a point of musical independence. The results provide an insight in how chordal playing on electric guitar can take place on a higher level, and also opens up for research within several areas of guitar education. / Syftet med denna studie var att undersöka hur ett mindre urval av gitarrlärare lär ut ackord på elgitarr, samt hur ett mindre urval gitarrelever upplevt att de undervisats i ackordspel. För att besvara forskningsfrågorna genomfördes kvalitativa intervjuer med två erfarna gitarrlärare, samt två gitarrelever som studerat elgitarr på musikgymnasium och folkhögskola. Studiens teoretiska perspektiv var hermeneutiskt. Resultaten visar att lärarna till stor del undervisar med metoder som fungerat för dem själva, samt att en kombination av system, musikteori och framförallt praktiskt musicerande kan ge gitarrelever de grundkunskaper som behövs för att vara självgående som elgitarrist. Resultat ger en inblick i hur ackordundervisning kan ta form på högre nivå, och öppnar upp för flera områden av framtida forskning i elgitarrmetodik.
27

Alberto Ginastera and the Guitar Chord: An Analytical Study

Gaviria, Carlos A. 12 1900 (has links)
The guitar chord (a sonority based on the open strings of the guitar) is one of Alberto Ginastera's compositional trademarks. The use of the guitar chord expands throughout forty years, creating a common link between different compositional stages and techniques. Chapters I and II provide the historical and technical background on Ginastera's life, oeuvre and scholar research. Chapter IV explores the origins of the guitar chord and compares it to similar specific sonorities used by different composers to express extra-musical ideas. Chapter V discusses Ginastera's initial uses and modifications of the guitar chord. Chapter VI explores the use of the guitar chord as a referential sonority based on Variaciones Concertantes, Op. 23: I-II, examining vertical (subsets) and horizontal (derivation of motives) aspects. Chapter VII explores uses of trichords and hexachords derived from the guitar chord in the Sonata for Guitar Op. 47.
28

A Study of the Origins and Early Development of the Major Seventh Chord

Hanslowe, Nannette Reese 08 1900 (has links)
The purpose of this study is to trace the development of the major seventh chord from the earliest recorded music through the German School of composition up to the time of Johann Sebastian Bach. The term "major seventh chord" is used to denote the four-tone chord comprised of a major triad plus a tone which is a major seventh above the root. In major keys this chord may be built on the tonic and subdominant degrees of the scale without alterations, and in the "natural" minor on the mediant and the submediant. The full, or structural, name "major-major seventh chord"--used in the present thesis only when it is necessary to distinguish it from other seventh chords with major sevenths-- arises from the fact that the triad (1, 3, 5) is major and the interval between the root and the seventh is major.
29

Properties of Graphs Used to Model DNA Recombination

Arredondo, Ryan 21 March 2014 (has links)
A model for DNA recombination uses 4-valent rigid vertex graphs, called assembly graphs. An assembly graph, similarly to the projection of knots, can be associated with an unsigned Gauss code, or double occurrence word. We define biologically motivated reductions that act on double occurrence words and, in turn, on their associated assembly graphs. For every double occurrence word w there is a sequence of reduction operations that may be applied to w so that what remains is the empty word, [epsilon]. Then the nesting index of a word w, denoted by NI(w), is defined to to be the least number of reduction operations necessary to reduce w to [epsilon]. The nesting index is the first property of assembly graphs that we study. We use chord diagrams as tools in our study of the nesting index. We observe two double occurrence words that correspond to the same circle graph, but that have arbitrarily large differences in nesting index values. In 2012, Buck et al. considered the cellular embeddings of assembly graphs into orientable surfaces. The genus range of an assembly graph [Gamma], denoted gr([Gamma]), was defined to be the set of integers g where g is the genus of an orientable surface F into which [Gamma] cellularly embeds. The genus range is the second property of assembly graphs that we study. We generalize the notion of the genus range to that of the genus spectrum, where for each g [isin] gr([Gamma]) we consider the number of orientable surfaces F obtained from [Gamma] by a special construction, called a ribbon graph construction, that have genus g. By considering this more general notion we gain a better understanding of the genus range property. Lastly, we show how one can obtain the genus spectrum of a double occurrence word from the genus spectrums of its irreducible parts, i.e., its double occurrence subwords. In the final chapter we consider constructions of double occurrence words that recognize certain values for nesting index and genus range. In general, we find that for arbitrary values of nesting index [ge] 2 and genus range, there is a double occurrence word that recognizes those values.
30

Comparing the Emotional Impact of a Vadd11 Chord versus a V Chord

York, Perrin 01 January 2019 (has links)
The psychological research on music and emotion supports how the two concepts have always been intertwined. The most common line of research in this field is related to the commonly experienced phenomenon that major chords sound happy while minor chords sound sad. This proposed study takes a specific extended major chord (the Vadd11 chord) and tests whether the V chord with a color note, an added 11, has a significantly different emotional impact on listeners as compared to a V chord without an 11. The chord will be played within a I-V-I progression so that the Vadd11 chord is given musical context. Participants are asked to rate the how emotional the progression is and to indicate their preference between the two chords. Both piano and strings timbres will be tested. The chord progression change is hypothesized to cause a significantly increased emotional impact. Multiple confounding variables will be examined within the study (specifically cultural musical background, or what culture’s music participants listened to in their upbringing, and musical sophistication, or how musically adept participants are). Neither of these variables nor the timbre are anticipated to affect the changes in emotional reaction.

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