Orientador: Marcos Fernandes Pupo Nogueira / Banca: Edilson Vicente de Lima / Banca: Monica Isabel Lucas / Banca: Paulo Augusto Castagna / Banca: Lutero Rodrigues da Silva / Resumo: O objetivo deste trabalho foi estudar aspectos estruturais em peças polifônicas de Adrian Willaert, visando identificar possíveis relações entre sua obra vocal e instrumental, nominadamente os gêneros moteto e ricercare. Entre os diversos aspectos estruturais que serviram como base de comparação, a cadência foi eleita como elemento comum predominante e mensurável, por seus padrões de ocorrência e tipologia associados à uma classificação relativamente bem estabelecida por Bernhard Meier. Alguns tipos cadenciais pouco comuns foram identificados em peças de Willaert, em especial a cláusula melódica cantizans fuggita, que contudo não poderia ser atribuída ao próprio compositor sem uma investigação sobre sua possível ocorrência em obras de compositores influentes pregressos, como Josquin. Tal observação implicou no estudo de fontes primárias pregressas a Willaert, no intuito de identificar, de um lado, aspectos que corroboraram o desenvolvimento da música instrumental a partir de modelos vocais ao longo dos séculos XV e XVI e, de outro, possíveis influências relacionadas ao uso de tipos cadenciais incomuns. Foi desenvolvido um modelo de plano cadencial expandido na medida em que as peças foram analisadas, contemplando também um método de análise motívica que estimulou o exame de escopo deste método analítico convergente em uma peça de Clemens non Papa, compositor contemporâneo mas pouco relacionado ao círculo de Willaert. Como conseqüência desta pesquisa, foi possível identificar ... (Resumo completo, clicar acesso eletrônico abaixo) / The goal of this work was the study of structural aspects in polyphonic pieces by Adrian Willaert, aiming to identify possible relations between his vocal and instrumental works, namely the moteto and ricercare genres. Among the various structural aspects that served as a basis for comparison, cadence was chosen as a measurable and predominant common element, by patterns of occurrence and typology associated with a relatively well-established classification by Bernhard Meier. Some unusual cadential species were identified in Willaert's pieces, specially the melodic clausula cantizans fuggita, which however could not be attributed to the composer without an investigation on its possible occurrence in works by influential composers such as Josquin. This modification implied in the study of primary sources previous to Willaert, in order to identify, on the one hand, aspects that corroborated the development of the instrumental music from vocal models during the fifteenth- and sixteenth-centuries and, on the other hand, possible influences related to the use of these unusual cadential species. An expanded cadential plan model was developed as the pieces were being analyzed, including a method of motivic analysis that prompted the scope examination of this converging analytical method in a piece by Clemens non Papa, a contemporary but unrelated composer to Willaert's circle. As a consequence of this research, it was possible to identify a cadential structure nominated 'staggered cadence' as a ultimate means of potential articulation, besides some structural groupings coupled with the basic cadential pattern cantizans-tenorizans, here nominated as 'C/T-cadence'. / Doutor

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.

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.

From its outset, the Iliad stitches women into the fabric of its story with purpose. How women relate to men is of paramount concern to the poem from the theft of Briseis in Bk. 1 to the closing laments of Bk. 24. Yet studies of men and women’s relationships have largely focused on relative positions of power or on the separation between male and female worlds. This study of male-female relationships of the Iliad takes its inspiration from Odysseus’ exhortation to Nausicaa in Odyssey 6. There the hero endorses ὁμοφροσύνη (“like-mindedness”) between a man and woman as an ideal for a successful relationship and well-maintained household. At its core, Odysseus’ recommendation calls for harmony between two people’s minds and thoughts; however, it does not provide a prescription for how that harmony may be achieved. This dissertation examines how Iliadic women interact with their men and discovers an array of relationships exhibiting what may be called a form of ὁμοφροσύνη, even amid disagreement and strain in a time of stress. In the Iliad, male-female relationships at their best are marked by a way of listening and communicating that helps to absorb or move past conflict and division, that expresses shared understanding, and that seeks out some form of resolution, even if that resolution proves ultimately impermanent. Since each pairing of characters is unique, so too is the manner in which characters attempt or express harmony with their partners. This like-mindedness (ὁμοφροσύνη), however, is not guaranteed to last, or even be present, nor does the poem give it the same compass in every pair. Sometimes we are shown a potential for ὁμοφροσύνη that does not or will not fully actualize, and sometimes we are made privy to the resonance or echoes of a past like-mindedness that is now in crisis. The chapters of this dissertation are arranged by the Iliad’s four central women. Chapter 1 discusses Hekabe’s interactions with Priam and Hector. Chapter 2 investigates Helen’s relationships with Priam, Paris, and Hector. Chapter 3 considers Andromache’s complex relationship with Hector. And Chapter 4 looks at Briseis’ relationships with Achilles and Patroclus. / 2020-11-07T00:00:00Z

This thesis describes research in the computational analysis of harmony in western art music, focussing particularly on improving the accuracy and information-richness of key and chord extraction from digital score data. It is argued that a greater sophistication in automatic harmony analysis is an important contribution to the field of computational musicology. Initial experiments use hidden Markov models to predict key and modulation from automatically labelled chord sequences. Model parameters are based on heuristically formulated chord and key weightings derived from Sch¨onberg’s harmonic theory and the key and chord ratings resulting from perceptual experiments with listeners. The music theory models are shown to outperform the perceptual models both in terms of key accuracy and modelling the precise moment of key change. All of the models perform well enough to generate descriptive data about modulatory frequency, modulatory type and key distance. A robust method of classifying underlying chord types from elaborated keyboard music is then detailed. The method successfully distinguishes between essential and inessential notes, for example, passing notes and neighbour notes, and combines note classification information with tertian chord potential to measure the harmonic importance of a note. Existing approaches to automatic chord classification are unsuitable for use with complex textures and are restricted to triads and simple sevenths. An important goal is therefore to recognise a much broader set of chords, including complex chord types such as 9ths, 11ths and 13ths. This level of detail is necessary if the methods are to supply sophisticated information about the harmonic techniques of composers. Testing on the first twenty-four preludes of J. S. Bach’s Well Tempered Clavier, hand annotated by the author, a state of the art approach achieves 22.1% accuracy; our method achieves 55% accuracy.

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This dissertation is comprised of a pair of related compositions, Sadhana (2015) for viola and electronics, and k. tracing (2015), a violin concerto, and a thesis that outlines my approach, detailing the influences and derivation of some of the parameters of these works and my compositional process. I offer a clear approach to working in relative intonation, for which I’ve also developed a small device called the “Maya proportional scale tool.” In this essay, I trace the structure and inner-movement of each work with regard to the derivation of its harmony, melody, rhythm and orchestration.The discussion of Sadhana focuses on the derivation of its harmonies and melodic lines from the influence of a string, as well as the conception of the electronics part and the role electronics play in the formation of the composition, whereas the discussion of k. tracing focuses on the coordinating of many independent instrumental parts, and the adaptation of rhythm and orchestration.

Through Boundaries is a string quartet that attempts to recalibrate the way one listens by focusing on two spectrums, time and pitch. I explore what falls between the boundaries, in reference to the space between sound and silence and to frequencies between the conventional twelve pitches. The two movements are differing interpretations of the same graphical sketch material, viewing it from different perspectives. I. In-Between is structured with short gestures that are juxtaposed with longer periods of time that lack notated sound. Each gesture represents an unnamed event. For example, one gesture may represent the toss of a ball and the next gesture may represent it bouncing against the concrete. Each of these is a discrete point. At first, the space between these points appears empty, but on deeper investigation, it is overflowing with movement and energy. Visually, the ball floats up and falls to the ground. The electronics represent this energy, slowly fading into perception and forming waves of sound that weave in and out, nearly overpowering the quartet. II. Glide explores the interaction of pitches on a micro-level, including quartertones and glissandi that occupy a small pitch range. The movement begins with a still, seemingly static nature. Deviations appear, and harmonies seemingly blur and crystallize. When a larger melodic interval finally arrives, it is overwhelming.

This dissertation focuses on vowel harmony in Maasai, an Eastern Nilotic language spoken in Kenya and Tanzania. The main goal of this dissertation is to determine whether an adequate account of the Maasai pattern of Advanced Tongue Root (ATR) harmony can be formulated in Optimality Theory. Ultimately it is seen that it can, relying on directional Maximal Licensing constraints Walker (2011). Maasai is a language with dominant-recessive harmony. There are two sets of vowels--ATR and non-ATR. A word can only include members of one vowel set; if there is an AT R vowel anywhere in a word, all vowels will be ATR in the output. The only exception to this is the non-ATR low vowel, which lacks an ATR counterpart. It is opaque--it does not harmonize and it blocks the spread of harmony if it is followed by an ATR vowel, but it harmonizes to [o] when preceded by an ATR vowel. All earlier analyses have been based on mainly one source, Tucker and Mpaayei (1955). To avoid using inaccurate or inaccurate data, the data analyzed in this thesis were collected from native speakers in Arusha, Tanzania. Earlier accounts have been based on impressionistic transcriptions. Acoustic analysis of the data were performed to explore the properties of the vowels. The height of the first formant was found to be the most robust acoustical cue to differentiate ATR and non-ATR vowels, though the height of the second formant has some use as a secondary cue. Like many previous studies of languages with an ATR contrast, in this study, it was found that the ATR vowels in Maasai have lower F1s than their non-ATR counterparts (Ladefoged 1964, Lindau et al. 1972, Lindau 1976, Jacobson 1980, Hess 1992, Maddieson and Gordon 1996, Fulop et al. 1998, Anderson 1999, 2007, Przezdziecki 2005, Gick et al. 2006, Starwalk 2008, Kang and Ko 2012). Guion (2004)'s acoustic analysis of Maasai, which showed that ATR and non-ATR vowels in minimal pairs or near minimal pairs differ in F1 was confirmed. Unlike previous research, vowels that have undergone harmony were also investigated. It was observed that not only does Maasai show an ATR/ non-ATR distinction, but that the harmony process is neutralizing. An ATR suffix will force a non-ATR root to harmonize, and an ATR root will force a non-ATR prefix to harmonize. The vowel that has undergone harmony to become ATR is not distinguishable from one is always ATR. It was also found that distance from the trigger (the ATR vowel that causes harmony) does not affect the harmony process. Maasai has been described as having one lexically ATR prefix which causes only less peripheral prefixes to harmonize (Tucker and Mpaayei 1955, Mol 1995, 1996). This claim was investigated, but no acoustic evidence was found to support the claim that there is an ATR prefix. Instead, it is suggested that the perception of the prefix as ATR arises from coarticulatory effects that are the result of the unique environment of the prefix. Acoustic analysis of prefixes preceding the putative ATR prefix were found to be non-ATR. Although previous OT analyses of Maasai have been either unduly complex, incapable of accounting for all the data or have dismissed elements of the harmony as morphological, the harmony system can be accounted for rather simply with two directional harmony constraints. Walker (2011) suggests that languages which appear to demonstrate one bidirectional harmony process might actually be the result of two unidirectional harmony processes. The analysis of Maasai presented her supports this suggestion. There are two directional Maximal Licensing constraints which are high-ranked there is another constraint that must be ranked between them to account for the asymmetric behavior of the low vowel.

The purpose of this study was to test a hypothesized model of wind-band intonation, using equipment, instruction and director and student attributes as components. Band directors (N= 5) and their students N= 200) were given a combination of published and researcher designed tests to measure equipment quality, experience, knowledge of instrument pitch tendencies and aural discrimination skills. In addition, each band was video recorded to observe their warm-up, tuning and rehearsal procedures and activities. Spectrum analysis using Praat phonetic analysis software (Boersma & Weenik, 2010) was used to measure wind-band intonation. Structural equation modeling (SEM) using AMOS (Arbuckle, 2008) was the method chosen to analyze and interpret the data. Although the hypothesized model could not be estimated, a model generating approach resulted in a three-factor model describing the effects of instruction and student attributes on wind-band intonation. Model fit was good (χ2 = 3.486, df = 7, p = .837, GFI = .994, CFI = 1.00, RMSEA = .000). The respecified model indicated that instruction and student attributes explain 99.3% of the variance in the dependent variable wind-band intonation. For each SD increase in the latent instruction variable, wind-band intonation increases by .95 a SD. Activities involving aural-based tuning strategies, tuning intervals and chords evidenced higher intonation scores. For each SD increase in the latent student attributes variable, wind-band intonation increases by .16 a SD. This suggests that instrument quality, experience in band and private lessons, and aural acuity combine to affect intonation scores, but these student attributes are less influential than instruction. A supplementary finding revealed that 72.5% of the students n = 145) made at least one error (M = 4.05, SD = 3.76) on the test measuring knowledge of their instrument’s pitch tendencies.