Thesis--Philosophie--Urbana-Champaign, Ill., 1998. / Comporte des textes en français. Programmes des concerts de la Société p. 609-662. Bibliogr. p. 663-681.

Η παρούσα διπλωματική εργασία ασχολείται με τη μέθοδο αλλά και υλοποίηση ηχητικών συστημάτων με τη χρήση περιβάλλοντος Matlab. Το περιβάλλον το οποίο εξομοιώνουμε είναι μια σκηνή με καθορισμένες διαστάσεις, στην οποία υπολογίζεται η στάθμη ηχητικής πίεσης (SPL), κάνοντας χρήση δύο ηχείων-monitors. Βρίσκουμε το βέλτιστο τρόπο χρήσης των ηχείων και τη θέση του δέκτη σύμφωνα με την ακουστική. Παρουσιάζεται βήμα βήμα η δημιουργία και η εξέλιξη του απαιτούμενου κώδικα, καθώς και ο τρόπος με τον οποίο καταλήγουμε στα συμπεράσματά μας. Τα κυριότερα σημεία των προγραμμάτων που δημιουργήθηκαν παρουσιάζονται στο παράρτημα. / This paper uses Matlab in order to simulate acoustic systems. We have a music stage with given dimensions. We calculate the amount SPL using two monitors and a system of a microphone and a source. The result is to find the better acoustic way to use the two monitors in the stage.

Orientador: Emerson Luiz de Biaggi / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-14T03:18:02Z (GMT). No. of bitstreams: 1 Kubala_RicardoLobo_D.pdf: 9122246 bytes, checksum: 3619885cdef78ff9e1b48b23e899406d (MD5) Previous issue date: 2009 / Resumo: O Concerto para Viola e Orquestra de Antônio Borges-Cunha foi composto em 2007 e estreado no mesmo ano, em apresentação que teve o autor desta investigação como solista e o próprio compositor como regente. Desde o início do projeto do Concerto, ocorreu amplo diálogo entre compositor e solista acerca da natureza da viola e da concepção estética da obra. Dessa forma, o intérprete pôde acompanhar o processo de criação da obra com proximidade, que, ao permitir uma visão abrangente dos procedimentos composicionais e ideário estético de Borges-Cunha, forneceu informações acerca da organização do material musical e expectativas do compositor em relação a aspectos expressivos. No primeiro capítulo, investiga-se a obra por meio da observação de sua estruturação formal, o que resulta em associações entre variedade de elementos de relevância, tanto para o entendimento da obra em si como para tomadas de decisões no âmbito interpretativo. Nos capítulos que se seguem, estudam-se aspectos do processo criativo, com enfoque na participação do intérprete durante a elaboração da escrita para a viola solista. No segundo capítulo, observa-se o tratamento das possibilidades tímbricas da viola. Por meio de viés histórico, realiza-se uma reflexão sobre maneiras de manipular o potencial sonoro da viola, as quais resultaram no estabelecimento de alguns padrões de atribuição de valor ao timbre do instrumento. Verifica-se a ocorrência desses modelos sonoros e suas variações na obra investigada. No terceiro capítulo, desenvolvem-se considerações sobre gesto em música, circunscritas ao contexto do percurso de elaboração da escrita para viola solista. São seguidas de aplicação desses conceitos a questões específicas da área de práticas interpretativas, mediante um trabalho de delineamento de sensação de movimento e direção, coadunado com características estilísticas levantadas anteriormente. Por fim, no último capítulo, disserta-se sobre temas relacionados à técnica instrumental. Busca-se conciliar aspectos ligados à dificuldade técnica demandada pela escrita do Concerto com atributos estilísticos dessa obra, entre os quais está a intenção do compositor de escrever algumas passagens propositalmente de maneira pouco idiomática. Listam-se exemplos de alterações que resultaram do diálogo entre compositor e intérprete. Esta investigação versa sobre o tema interpretação e sobre questionamentos quanto aos caminhos que instrumentistas podem tomar na busca por resultados ricos em elementos expressivos, resultados esses que, conclui-se, também são objetivos de Borges-Cunha. É um estudo dirigido especificamente para a área de práticas interpretativas e, em âmbito mais abrangente, também para compositores que se interessem pelo ponto de vista do intérprete sobre o processo de criação de uma obra / Abstract: The Concerto for Viola and Orchestra by Antônio Borges-Cunha was composed in 2007 and premiered in the same year in a concert, which featured the author as soloist and the composer as conductor. From the very beginning of the project, there was ample dialogue between composer and soloist as to the nature of the viola and as to the aesthetic concept of the work. The performer was thus able to closely accompany the work's creative process, which permitted an allencompassing vision of Borges-Cunha's compositional procedures and aesthetic ideal, and which rendered information on the organization of the musical material and the composer's expectations regarding expressive aspects. In the first chapter, the work's formal structure is investigated. This results in associations between a variety of elements which are relevant to the comprehension of the work itself and to decisive procedures in its interpretation. The subsequent chapters are dedicated to the study of aspects which relate to the creative process, focusing on the interpreter's participation during the elaboration of the compositional process for the solo viola. In the second chapter we observe the treatment of the viola's timbristic possibilities. We then discuss the manners in which the viola's potential sound qualities have been manipulated in the past, and this enables us to establish some standards of measure which are attributed to the instrument's timbristic qualities. We subsequently verify the occurrence of these sound models and their variations in the concerto. The third chapter examines musical gesture circumscribed to the context of the path chosen for the elaboration of the compositional process for the solo viola. These concepts are then applied to specific issues in the area of performance practice, by means of a process whereby the sensations of movement and direction, combined with the stylistic characteristics described above, are delineated. In the last chapter we discuss topics related to instrumental technique. An attempt is made to reconcile aspects linked to the technical demands of the compositional process in the concerto with the stylistic attributes of the work, such as the composer's intention to purposefully write some passages in a non-idiomatic manner. Examples are listed of alterations that resulted from the dialogue between the composer and performer. This investigation discusses interpretation and the queries regarding the paths which performers can choose in their quest for positive results in expressivity, which one concludes is also Borges-Cunha's objective. It is a study specifically geared to the area of performance and, in a broader sense, serves composers that are interested in the performer's contribution to the creative process of a work / Doutorado / Mestre em Música

Este trabalho busca mensurar os efeitos do compartilhamento de arquivos na internet sobre o mercado de shows, importante canal de remuneração para músicos. São utilizados dados retirados do Guia da Folha, uma das principais publicações especializadas em cultura na cidade de São Paulo. A especificação principal adota um estimador de diferença em diferenças tendo shows como grupo de tratamento e peças teatrais como grupo de controle. As estimações indicam que a pirataria provocou um choque positivo de oferta, reduzindo os preços de ingressos em até 8,2% e aumentando a quantidade em 14 apresentações por semana. Além disso, a capacidade média foi reduzida, e a diversidade de apresentações e de casas de show aumentou. Esses resultados apontam para a ocorrência de um processo de pulverização do mercado, onde artistas menores fazem shows menores e mais baratos. Artistas muito famosos, entretanto, subiram os preços em torno de 10% e reduziram em até 2,5 o número de apresentações semanais / This dissertation measures the effects of file-sharing on the market for music concerts, an important source of income for most musicians.We use information published by Folha de São Paulo, one of the most popular Brazilian newspapers. The main analysis consists of using a differences-in-differences estimator with music concerts as treatment group and theatrical plays as control group.We find evidence that music piracy had a positive effect on the supply of concerts with an up to 8.2% reduction of ticket prices and an increase of 14 weekly performances.We also find a decrease in the mean capacity of venues; an significant increase in the variety of music venues and of unique musicians performing. These results indicate an increasingly competitive market with less popular musicians performing at lower prices for smaller audiences. Famous musicians however have risen ticket prices up to 10% and reduced their number of concerts at around 2.5 weekly performances

In this thesis I explain how Western art music gained a political, social and cultural role in Colombia during the decades that spanned from 1848 to 1910. This analysis engages the different attributes that Colombian political and cultural leaders of the time ascribed to art music in order to integrate it as part of their projects of Nation and confronts them with what is known about traditional music practices. In doing so, I explain discourses and social practices that developed around and because of the integration of art music to urban life in Colombia during the period of research. The purpose of this analysis is to elucidate the processes and contradictions that characterized the social practice of art music in Colombia as well as the limitations of the implementation of art music as an inclusive practice during the second half of the nineteenth century. This last notion underlies cultural policies implemented during present times and highlights the contradiction between art music as an exclusive social practice and the political discourse about art music as a space for learning democratic republican values.

This thesis deals with the issue of public appearances of amateur rock bands in Prague after the introduction of the so-called "requlifications" which basically destroyed professional rock music in Czechoslovakia. This affected especially the capital city which had witnessed an unprecedented rise of this genre only several years earlier. Thereafter, independent rock music could be practiced only as a hobby, and even the amateur musicians had to face extensive regulations and general mistrust. As a result, opportunities to appear in public were very sparse because organizers were worried about the consequences of such events. The research investigates the mechanisms and conditions for durable opportunities to play publicly in Prague before 1984. The effects of the article Nová vlna se starým obsahem - the pinnacle of the media and social campaign against new forms of rock music, were already becoming apparent in that year and the Union of musicians and its sections - main pillars of independent culture in Czechoslovakia - were dissolved. The conclusion is that in such difficult circumstances persistence, creativity and readiness to lose one's job proved crucial qualities. They enabled people to overcome not only the regulations but mainly the concerns about sanctions for nonconformist appearance and...

This thesis is an approach to formalize the dynamics of a physical concert experience and then translate the individual psychological factors by means of communication technology to the computer-mediated context. It discusses socio-psychological factors of live concert attendance as well as socio-technical affordances of communication technologies to establish a three-dimensional framework. The derived temporal, spatial and social dimensions are used to conduct a requirement analysis concerning suitable technological platforms to find common mechanics that foster the mediation of a virtual concert experience. Based on bigraphical reactive systems (BRS), a formalism is developed which models and simulates audience behaviour at distributed events. Concluding, computational model checking is used for the model’s validation as well as formal exploration, evaluation, and iterative refinement of the derived mechanics. Thereby, this work contributes to the improvement of computer-based model-checking in the context of bigraph analysis and affirms the potential of formal modelling of socio-technical phenomena such as virtual events.

As the strict lockdowns during the global COVID-19 pandemic made the world more digital, nearly every industry was affected. The music industry in particular had already been going through many changes, though maybe none of them as big so far—musicians were restricted from performing "in real life" and had to think out of the box. Thus, coming to life virtual concerts and festivals. The purpose of this paper is to investigate how the transition to a digital live scene has been handled in the live music industry during the pandemic, and what the experiences of Generation Z and Millennials have been with specific video streaming platforms. To find the answers to these questions, a mixed-methods approach was taken, combining semi-structured qualitative interviews and an online questionnaire. The study provides an insight into what approaches music industry professionals took in handling different aspects of the changing world of concerts, both in terms of technical aspects and in the general shift that the music community experiences. Moreover, it provides an insight into users' preferences for streaming platforms, together with their respective advantages and flaws. More generally, a deeper understanding of what people perceive as gains and losses from the digitization of live events is also provided, with a look into the potential future of concerts.

This thesis is concerned with the classical music concert, its traditions and potential shortcomings, and how breaking these traditions might be beneficial in certain aspects with regard to audience engagement, as well as a means for the conductor to express him- or herself in a new or more meaningful way. It is written from the perspective of a composer and conductor, but also someone that has performed in orchestras and wind ensembles for nearly two decades. Generally, concerts today might consist of three or four works, one usually a symphony, with little consideration as to why those works were chosen. However,  concerts that had more thought put into them seemed to be appreciated, even by non-musicians. What seems to be missing is a sort of curation in these concerts. The ones that are seemingly more popular are those that have a theme, a story to tell, an idea to share. This thesis looks into this premise. It delves into different ways one might curate a concert, different techniques one might use to mold a concert into something non-traditional, and whether or not these techniques are successful.

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