Thesis--Indiana University. / Vita. Includes bibliographical references.

Thesis (Ph. D.)--State University of New York at Buffalo, 1986. / Typescript. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (p. 279-289).

Thesis (M.A.)--York University, 2005. Graduate Programme in Interdisciplinary Studies. / Typescript. Includes bibliographical references (leaves 161-169). Also available on the Internet. MODE OF ACCESS via web browser by entering the following URL: http://gateway.proquest.com/openurl?url%5Fver=Z39.88-2004&res%5Fdat=xri:pqdiss &rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&rft_dat=xri:pqdiss:MR11859.

555 pages / This study focuses on the development of harmonic vocabulary in Bulgarian music. It analyzes the incorporation of harmony in village music from the 1930s to the 1990s, "wedding music" from the 1970s to 2000, and choral and instrumental arrangements (obrabotki, creations of the socialist period (1944-1989). This study also explains that terms which are frequently applied to Bulgarian music, such as "westernization," "socialist-style arrangements," or "Middle Eastern influence," depict sophisticated networks of codified and non-codified rules for harmonization which to date have not been studied. The dissertation classifies different approaches to harmony in the above mentioned styles and situates them in historical and cultural contexts, examines existing principles for harmonizing and arranging Bulgarian music, and establishes new systems for analysis. It suggests that the harmonic language of the layers of Bulgarian music is based upon systems of rules which can be approached and analyzed using Western music theory. TV1y analysis of harmony in Bulgarian music focuses on representative examples of each style discussed. These selections are taken from the most popular and well-received compositions available in the repertoire. / 10000-01-01

Devido à incompatibilidade entre as medidas cefalométricas e a análise facial de alguns casos de retrusão de maxila, e a ausência de estudos que indiquem essa variação e sua implicação no diagnóstico e tratamento dos pacientes, o objetivo desta pesquisa foi determinar: a média e o desvio padrão do ângulo nasolabial (ANL) e da medida linear Prn-A em repouso e sorrindo e a diferença entre sorriso e repouso, em indivíduos com oclusão normal e harmonia facial, além de avaliar a presença de dimorfismo sexual. A amostra constituiu-se de 40 participantes brasileiros, sendo 20 de cada sexo, leucodermas, de faixa etária de 20 a 30 anos de idade, com oclusão normal, perfil facial agradável e harmonia facial. Foram analisadas, nas fotografias de perfil em repouso e sorrindo, com uma régua milimetrada à frente do perfil, e com a utilização do programa Dolphin, as medidas ANL e Prn-A. A análise estatística incluiu a estatística descritiva, testes t dependentes para comparar as variáveis em repouso e sorrindo, e testes t independentes para avaliar o dimorfismo sexual. Como resultados, observou-se que: a média do ANL em repouso foi de 104,93º, com desvio padrão de 8,04, e sorrindo, foi de 110,67º, com desvio padrão de 9,01, sendo que a diferença entre eles foi estatisticamente significante, com média 5,74º e desvio de padrão de 4,11. A média da variável linear Prn-A em repouso foi de 23,25mm, com desvio padrão de 1,95, e sorrindo, foi de 24,04mm, com desvio padrão de 2,07, sendo que a diferença entre eles foi estatisticamente significante, com média 0,79mm e desvio de padrão de 0,65. Não houve dimorfismo sexual para o ANL. A medida Prn-A em repouso e sorrindo se mostrou maior para o sexo masculino quando comparado ao sexo feminino. / Due to the incompatibility of the cephalometric measurements and the facial analysis in some cases of maxillary retrusion, and the absence of studies that indicate this variation and implication in diagnosis and treatment of the patients, the objective of this study was to determine: the mean and standard deviation of the nasolabial angle (NLA) and the linear measure Prn-A during rest and smile and the difference between smile and rest, in subjects with normal occlusion and facial harmony, besides of evaluating the presence of sexual dimorphism. The sample comprised 40 Brazilian subjects, 20 of each sex, leucoderms, aging from 20 to 30 years, with normal occlusion, pleasant facial profile and facial harmony. It was analyzed, in profile photographs in rest and during smile, with a millimeter ruler in front of the profile, and using the Dolphin software, the measures NLA and Prn-A. The statistical analysis included descriptive statistics and dependent t tests to compare the rest and smiling variables and independent t tests to evaluate sexual dimorphism. As results, it was observed that: the mean of the NLA in rest was 104,93º, with a standard deviation of 8,04, and during smile, it was of 110,67º, with standard deviation of 9,01, and the difference between them was statistically significant, with mean of 5,74º and standard deviation of 4,11. The mean of the linear variable Prn-A in rest was of 23,25mm, with standard deviation of 1,95, and during smile, it was of 24,04mm, with standard deviation of 2,07, and the difference between them was statistically significant, with mean of 0,79mm and standard deviation of 0,65. There was no sexual dimorphism for the NLA. The measure Prn-A in rest and during smile showed greater for the males, when compared to females.

A expressão é uma das noções mais importantes da filosofia de Leibniz. O filósofo a aborda diretamente em alguns textos, porém, mais que um objeto de análise, a noção de expressão organiza e faz convergir reflexões acerca da teologia, da ontologia e da epistemologia leibnizianas. Leibniz não é o primeiro a tratar da expressão, a originalidade de sua abordagem está em uma interpretação matemática da expressão, que permite defini-la como uma analogia de relações entre a expressão e o exprimido. Uma coisa exprime outra, diz Leibniz, quando há uma correspondência regular e recíproca entre as duas, ou entre o que se pode dizer de uma e de outra. Assim, a expressão pressupõe a analogia e a harmonia. Definida a relação expressiva nesses termos é possível, no nível teológico ou metafísico, explicar como Deus se exprime em formas simples, absolutas e infinitas, que se exprimem em sistemas gerais de fenômenos ou mundos possíveis, que estão exprimidos em noções individuais e não existem fora delas. No nível ontológico, diremos que os indivíduos exprimem Deus como causa e o mundo de que fazem parte. Esses indivíduos, por sua vez, se exprimem como fenômenos que são unificados pelo pensamento como corpos. A relação que define os corpos e a relação entre corpos exprimem as relações ideais que as substâncias individuais mantêm entre si, a ordem física exprime a ordem metafísica. No nível epistemológico, diremos que nossas idéias exprimem as idéias de Deus, convimos com Deus nas mesmas relações. Mas para conhecer essas relações é preciso desenvolver a expressão presente em uma idéia. A classificação das idéias em Leibniz pressupõe esse desenvolvimento progressivo que se dá como uma análise gradual: as idéias podem ser obscuras ou claras, estas confusas ou distintas, estas inadequadas ou adequadas, e as idéias adequadas podem ser objeto de um conhecimento cego ou simbólico e de um conhecimento intuitivo, muito raro. A abrangência da noção de expressão permite colocar em relação ordens heterogêneas e mostrar a convergência e a semelhança dos diferentes. Nessa medida, podemos relacionar coisas tão diferentes como caracteres e pensamentos, daí a busca de Leibniz por uma língua ou Característica universal. / Expression is one of the most important notions of Leibniz\'s philosophy. The philosopher addresses it directly in some texts, however, more than an object of analysis, the notion of expression organizes and makes reflections about Leibnizian theology, ontology and epistemology converge. Leibniz is not the first to deal with expression; the originality of his approach lies in a mathematical interpretation of expression, which makes it possible to define it as an analogy of relations between expression and expresser. One thing expresses another, says Leibniz, when there is a regular and reciprocal correspondence between the two, or between what can be said of one and the other. Accordingly, expression presupposes analogy and harmony. Having defined the relation of expression in these terms, it is possible, at the theological or metaphysical level, to explain how God expresses himself in simple, absolute and infinite forms, which express themselves in general systems of phenomena or possible worlds, which are expressed in individual notions and do not exist outside them. At the ontological level, we shall say that individuals express God as a cause and the world which they are part of. These individuals, in turn, express themselves as phenomena that are unified by tho ught as bodies. The relation that defines the bodies and the relation between bodies express the ideal relations that individual substances maintain amongst themselves, the physical order expresses the metaphysical order. At the epistemological level, we shall say that our ideas express the ideas of God; we agree with God in the same relations. But to know these relations, the present expression in an idea has to be developed. The classification of ideas in Leibniz presupposes this progressive development that takes place as a gradual analysis: the ideas may be obscure or clear, these ones confused or distinct, these ones inadequate or adequate, and the adequate ideas may be the object of a blind or symbolic knowledge and of an intuitive knowledge, very rare. The scope of the notion of expression makes it possible to put heterogeneous orders into a relation and to show the convergence and similarity of different things. In this measure, we can relate such different things as characters and thoughts, hence Leibniz\'s quest for a universal language or Characteristic.

Orientador: Marcos Siqueira Cavalcante / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-08T14:36:55Z (GMT). No. of bitstreams: 1 Batista_AdrianodeCarvalho_M.pdf: 713091 bytes, checksum: a2b6db85291dd1dc0d5a08dd668648f8 (MD5) Previous issue date: 2006 / Resumo: Essa dissertação é um estudo sobre a formação e aplicabilidade das chamadas Tétrades na guitarra elétrica. O presente trabalho descreve o processo de construção de tais acordes, além de sistematizar alguns procedimentos de expansão harmônica levando em consideração as características técnicas e idiomáticas do instrumento. O estudo ainda busca organizar, de maneira sistêmica, as principais aberturas de acordes usadas na guitarra elétrica para a confecção de encadeamentos harmônicos aplicados em acompanhamento de importantes gêneros da Música Popular. Por meio das análises de transcrições também é possível perceber claramente os procedimentos estudados ao longo da pesquisa. Desta forma, esse trabalho é uma tentativa de amenizar as lacunas existentes na metodologia de ensino da guitarra, e se propõe a contribuir para a organização e elaboração do material harmônico utilizado por este instrumento. Além disso, também poderá ser utilizado como método ao estudo da harmonia e construção de tétrades na guitarra, para alunos ingressantes no ensino superior, assim como alunos dos cursos de música em nível fundamental e médio / Abstract: Four-Note Chord Voicings: A Harmonic Study of the Electric Guitar This research project is about the construction and application of four-note chord voicings for the electric guitar. The present work describes the building process of these chords and introduces a systematic procedure for harmonic expansion, taking in consideration the technical characteristics and idiomatic nature of the instrument. This study attempts to organize the main voicings used on the electric guitar to create harmonic cadences applied in the rhythm sections of important styles of Contemporary Popular Music. The procedures studied and utilized for this work are clearly evident through transcriptions and analysis. This work proposes to diminish the existing gaps in the study of four- note chord voicings and contribute to the organization and elaboration of study material for the instrument. Besides, it could be a method to the study of harmony and the building process of the four note chord voicings to the beginners in the college as well as students at basic and intermediate stages / Mestrado / Mestre em Música

Two twentieth-century music theorists, Paul Hindemith and Franz Alfons Wolpert, are unique in having independently developed their own systems of chord classification and principles of chord movement or succession. While Hindemith’s ideas on these subjects are familiar among the majority of music theorists, Wolpert’s theories remain relatively unknown. It was decided that since both men had attempted similar tasks at similar points in time, that a comparison of both theorists' ideas should be attempted. Therefore, both Hindemith's and Wolpert's systems of chord classification and chord connection were discussed in detail to attempt to determine the rationale behind each theorist's approach. Firstly, both systems of chord classification were examined and compared. It was found that although there were many differences between Hindemith’s and Wolpert's systems of chord grouping, both succeeded, each in his own way, in arranging all possible combinations of pitches within the twelve-note division of the octave. Similarly, each theorist's ideas concerning chord movement were investigated. While it was reaffirmed that Hindemith's system rested on concepts which he invented and developed such as "degree progression" and "harmonic fluctuation," it was discovered that Wolpert’s system of chord movement was more traditionally oriented, and yet adhered to some rather disturbing notions about the desirability of certain kinds of voice-leading, e.g., "adhesion," "diversion," etc. Furthermore, while Hindemith had strong ideas about the necessity of tonal organization, it was found that Wolpert saw his system as valid for both tonal and atonal frames of reference. Finally, it was recognized that Hindemith's theories contained a unity and cohesiveness through the extension of his system of chord connection to include his system of chord classification so that the way chords were classified influenced how they were treated in chord progressions. With Wolpert, however, there is no attempt to unify both systems and therefore his ideas about chord movement are completely divorced from his system of chordal groupings / Arts, Faculty of / Music, School of / Graduate

Orientador: Antonio Rafael Carvalho dos Santos / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-08T03:10:40Z (GMT). No. of bitstreams: 1 Lima_AdrianoFagundesOliveira_M.pdf: 1384309 bytes, checksum: 009724025c8fc3ab9b2f5d9cd9d8d8fb (MD5) Previous issue date: 2006 / Resumo: O presente trabalho ocupa-se em pesquisar os policordes, formações acordais compostas pela sobreposição de uma ou mais tríades ou tétrades sobre uma base simples ou composta, discutindo as diferentes formas como são encontrados e oferecendo uma proposta de sistematização. Por tratar-se de uma linguagem relativamente nova, procurou-se primeiramente investigar como eles são apresentados conceitualmente e graficamente nos trabalhos de diversos autores e sugerir uma sistematização baseada nessas informações. Em seguida, buscou-se identificar, com base nesta proposta de sistematização, sua utilização no repertório de música brasileira / Abstract: This work is concerned in researching the polychords, chordal structures formed by the superimposition of one or more triads or thetrads over a simple or complex base, discussing the different ways they are found and proposing a system for it¿s use. Being such a new language, primarily this work searches for how they are presented both conceptually and graphically in different works of several authors and suggests a system based upon these informations. Secondly, this work tries to identify, based upon this system proposal, the use of the polychords in popular music / Mestrado / Mestre em Música

From the early stage of Optimality Theory (OT) (Prince, Alan and Paul Smolensky (1993): Optimality Theory: Constraint Interaction in Generative Grammar. [ROA: 537-0802: http://roa.rutgers.edu], McCarthy, John J. and Alan Prince (1995). Faithfulness and reduplicative identity. In Jill Beckman, Laura W. Dickey and Suzanne Urbanczyk (eds.) Papers in Optimality Theory. Amherst, MA: GLSA. 249-384), a number of analyses have been proposed to account for vowel harmony in the OT framework. However, because of the diversity of the patterns attested cross-linguistically, no consensus has been reached with regard to the OT treatment of vowel harmony. This, in turn, raises the question whether OT is a viable phonological theory to account for vowel harmony; if a theory is viable, a uniform account of the diverse patterns of vowel harmony should be possible.The main purpose of this thesis is to discuss the application of five different OT approaches to vowel harmony, and to investigate which approach offers the most comprehensive coverage of the diverse vowel harmony patterns. Three approaches are the main focus: feature linking with SPREAD (Padgett, Jaye (2002). Feature classes in phonology. Language 78. 81-110), Agreement-By-Correspondence (ABC) (Walker, Rachel (2009). Similarity-sensitive blocking and transparency in Menominee. Paper presented at the 83rd Annual Meeting of the Linguistic Society of America. San Francisco), and the Span Theory of harmony (McCarthy, John J. (2004). Headed spans and autosegmental spreading. [ROA: 685-0904: http://roa.rutgers.edu]). The applications of these approaches in the following languages are considered: backness and roundness harmony in Turkish and in Yakut (Turkic), and ATR harmony in Pulaar (Niger-Congo). It is demonstrated that both feature linking and ABC analyses are successful in offering a uniform account of the different types of harmony processes observed in these three languages. However, Span Theory turns out to be empirically inadequate when used in the analysis of Pulaar harmony. These results lead to the conclusion that there are two approaches within OT that can offer a uniform account of the vowel harmony processes. This also suggests that OT is viable as a phonological theory.