Este trabalho apresenta um estudo analítico dos elementos melódicos e gestuais presentes em Notas Soltas (1978) para flauta transversal solo e Notas Irresponsáveis (1986/87) para trio de flautas transversais de Bruno Kiefer. O livro Introduction to Post-Tonal Theory de Joseph Straus é utilizado como referencial teórico para a abordagem melódica. Buscamos identificar quais são os padrões de escrita empregados pelo compositor e procurar relações entre as duas peças. Utilizamos o catálogo de Gestos Musicais apresentados por Luciane Cardassi em A música de Bruno Kiefer : "terra", "vento", "horizonte" e a poesia de Carlos Nejar. Através dos resultados dessas análises, procuramos entender como se dá a escrita idiomática do compositor, bem como encontrar traços em comum entre repertório escolhido para essa pesquisa e obras de Kiefer investigadas por outros autores. / The purpose of this work is to present an analytical study of the melodic elements and gestures in Bruno Kiefer’s pieces entitled Notas Soltas (1978) for solo flute and Notas Irresponsáveis (1986/87) for flute trio. The theoretical framework for the melodic approach is based on Joseph Straus’ Introduction to Post-Tonal Theory. The aim has been to identify the musical patterns employed by the composer and their relationship in both works. The catalogue of Musical Gestures compiled by Luciane Cardassi in A música de Bruno Kiefer: "terra", "vento", "horizonte" e a poesia de Carlos Nejar was also used. Through the analyses of these two works it was possible to understand the idiomatic character of Kiefer’s style, while finding common traces in other works by the same composer.

O solfejo, em seu conceito mais amplo, é uma técnica usual no processo de ensinoaprendizagem musical, o qual envolve a realização vocal de melodias, considerando as alturas e as durações dos sons musicais registrados em partitura, devidamente associado à marcação de compassos por intermédio de gestos que definem a estrutura métrica e o andamento da peça musical. Este trabalho apresenta uma abordagem audiovisual para avaliação automática dessa prática de estudo pertinente à leitura e à estruturação musicais. O sistema proposto é dividido em três partes. A primeira efetua o reconhecimento visual dos gestos de marcação de compassos realizados pela mão, por intermédio de um classificador probabilístico. Um processo de alinhamento temporal garante o reconhecimento dos padrões de movimento mesmo em casos com variação de andamento, permitindo também a avaliação da precisão rítmica do aluno, quando comparado com um referencial metronômico. A segunda parte deste sistema obtém a transcrição melódica do canto a partir da análise do respectivo sinal de áudio. Os fragmentos melódicos detectados são agrupados e mapeados em relação às notas da partitura do exercício de solfejo, permitindo uma avaliação direta nota-a-nota da performance do canto. Por fim, a terceira parte do sistema proposto faz a integração entre o gesto de marcação de compassos e a transcrição melódica. Nesse caso, o gesto atua como um metrônomo, controlando o fluxo temporal. Assim, a avaliação nota-a-nota do solfejo pode ser empregada também em casos onde exista grande variação no andamento da peça. Tanto o processo de avaliação do gesto de marcação de compassos quanto a avaliação do canto são obtidos por intermédio de um classificador Bayesiano gerado a partir de avaliações reais, feitas por especialistas em música. Dessa forma, o sistema desenvolvido efetua o mapeamento advindo da opinião de especialistas humanos em um sistema de avaliação automática de solfejo executado por máquina, que é capaz de identificar as notas musicais cantadas pelo aluno em cada instante métrico determinado, devidamente conduzido pelo gesto, sem a necessidade de sincronização por um metrônomo ou manutenção de um andamento fixo. / Solfége is a general technique used in the music learning process, which involves the vocal performance of melodies, regarding the time and duration of musical sounds as specified in the music score, properly associated the meter-mimicking performed by the hand movement. This thesis presents an audiovisual approach for automatic assessment of this relevant musical study practice. The proposed system is divided into three parts. First, a probabilistic classifier recognizes the musical metric patterns drawn by the hand movement. A time alignment process assures the proper recognition of the movement patterns even in cases where there are changes in the musical tempo. Also, this process allows to estimate the accuracy of the rhythmic performance. In the second part of this work, audio analysis is applied to achieve the melodic transcription of the sung notes. The detected melodic fragments are then grouped and mapped into single notes, which are connected to their related notes on the music score of the solfège exercise. This mapping procedure allows the direct assessment (note by note) of the singing performance, even if there are slight discrepancies between the transcribed notes and the music score. Finally, the last part of the proposed system combines the gesture of meter-mimicking (video information) with the melodic transcription (audio information), where the hand movement works as a metronome, controlling the time flow (tempo) of the musical piece. Thus, the meter-mimicking is used to align the music score (ground truth) with the sung melody, allowing the assessment even in time dynamic scenarios. Both meter-mimicking and sung notes are evaluated by a set of Bayesian classifiers that were generated from real evaluations done by experts listeners. In this way, the developed model performs the mapping of the point of view from human experts into an automatic system which is able to make the solfege assessment, regarding the pitch, onset and duration of the music notes, without the need for external synchronization with a metronome or the maintenance of a fixed tempo.

Este trabalho apresenta um estudo analítico dos elementos melódicos e gestuais presentes em Notas Soltas (1978) para flauta transversal solo e Notas Irresponsáveis (1986/87) para trio de flautas transversais de Bruno Kiefer. O livro Introduction to Post-Tonal Theory de Joseph Straus é utilizado como referencial teórico para a abordagem melódica. Buscamos identificar quais são os padrões de escrita empregados pelo compositor e procurar relações entre as duas peças. Utilizamos o catálogo de Gestos Musicais apresentados por Luciane Cardassi em A música de Bruno Kiefer : "terra", "vento", "horizonte" e a poesia de Carlos Nejar. Através dos resultados dessas análises, procuramos entender como se dá a escrita idiomática do compositor, bem como encontrar traços em comum entre repertório escolhido para essa pesquisa e obras de Kiefer investigadas por outros autores. / The purpose of this work is to present an analytical study of the melodic elements and gestures in Bruno Kiefer’s pieces entitled Notas Soltas (1978) for solo flute and Notas Irresponsáveis (1986/87) for flute trio. The theoretical framework for the melodic approach is based on Joseph Straus’ Introduction to Post-Tonal Theory. The aim has been to identify the musical patterns employed by the composer and their relationship in both works. The catalogue of Musical Gestures compiled by Luciane Cardassi in A música de Bruno Kiefer: "terra", "vento", "horizonte" e a poesia de Carlos Nejar was also used. Through the analyses of these two works it was possible to understand the idiomatic character of Kiefer’s style, while finding common traces in other works by the same composer.

O solfejo, em seu conceito mais amplo, é uma técnica usual no processo de ensinoaprendizagem musical, o qual envolve a realização vocal de melodias, considerando as alturas e as durações dos sons musicais registrados em partitura, devidamente associado à marcação de compassos por intermédio de gestos que definem a estrutura métrica e o andamento da peça musical. Este trabalho apresenta uma abordagem audiovisual para avaliação automática dessa prática de estudo pertinente à leitura e à estruturação musicais. O sistema proposto é dividido em três partes. A primeira efetua o reconhecimento visual dos gestos de marcação de compassos realizados pela mão, por intermédio de um classificador probabilístico. Um processo de alinhamento temporal garante o reconhecimento dos padrões de movimento mesmo em casos com variação de andamento, permitindo também a avaliação da precisão rítmica do aluno, quando comparado com um referencial metronômico. A segunda parte deste sistema obtém a transcrição melódica do canto a partir da análise do respectivo sinal de áudio. Os fragmentos melódicos detectados são agrupados e mapeados em relação às notas da partitura do exercício de solfejo, permitindo uma avaliação direta nota-a-nota da performance do canto. Por fim, a terceira parte do sistema proposto faz a integração entre o gesto de marcação de compassos e a transcrição melódica. Nesse caso, o gesto atua como um metrônomo, controlando o fluxo temporal. Assim, a avaliação nota-a-nota do solfejo pode ser empregada também em casos onde exista grande variação no andamento da peça. Tanto o processo de avaliação do gesto de marcação de compassos quanto a avaliação do canto são obtidos por intermédio de um classificador Bayesiano gerado a partir de avaliações reais, feitas por especialistas em música. Dessa forma, o sistema desenvolvido efetua o mapeamento advindo da opinião de especialistas humanos em um sistema de avaliação automática de solfejo executado por máquina, que é capaz de identificar as notas musicais cantadas pelo aluno em cada instante métrico determinado, devidamente conduzido pelo gesto, sem a necessidade de sincronização por um metrônomo ou manutenção de um andamento fixo. / Solfége is a general technique used in the music learning process, which involves the vocal performance of melodies, regarding the time and duration of musical sounds as specified in the music score, properly associated the meter-mimicking performed by the hand movement. This thesis presents an audiovisual approach for automatic assessment of this relevant musical study practice. The proposed system is divided into three parts. First, a probabilistic classifier recognizes the musical metric patterns drawn by the hand movement. A time alignment process assures the proper recognition of the movement patterns even in cases where there are changes in the musical tempo. Also, this process allows to estimate the accuracy of the rhythmic performance. In the second part of this work, audio analysis is applied to achieve the melodic transcription of the sung notes. The detected melodic fragments are then grouped and mapped into single notes, which are connected to their related notes on the music score of the solfège exercise. This mapping procedure allows the direct assessment (note by note) of the singing performance, even if there are slight discrepancies between the transcribed notes and the music score. Finally, the last part of the proposed system combines the gesture of meter-mimicking (video information) with the melodic transcription (audio information), where the hand movement works as a metronome, controlling the time flow (tempo) of the musical piece. Thus, the meter-mimicking is used to align the music score (ground truth) with the sung melody, allowing the assessment even in time dynamic scenarios. Both meter-mimicking and sung notes are evaluated by a set of Bayesian classifiers that were generated from real evaluations done by experts listeners. In this way, the developed model performs the mapping of the point of view from human experts into an automatic system which is able to make the solfege assessment, regarding the pitch, onset and duration of the music notes, without the need for external synchronization with a metronome or the maintenance of a fixed tempo.

Este trabalho apresenta um estudo analítico dos elementos melódicos e gestuais presentes em Notas Soltas (1978) para flauta transversal solo e Notas Irresponsáveis (1986/87) para trio de flautas transversais de Bruno Kiefer. O livro Introduction to Post-Tonal Theory de Joseph Straus é utilizado como referencial teórico para a abordagem melódica. Buscamos identificar quais são os padrões de escrita empregados pelo compositor e procurar relações entre as duas peças. Utilizamos o catálogo de Gestos Musicais apresentados por Luciane Cardassi em A música de Bruno Kiefer : "terra", "vento", "horizonte" e a poesia de Carlos Nejar. Através dos resultados dessas análises, procuramos entender como se dá a escrita idiomática do compositor, bem como encontrar traços em comum entre repertório escolhido para essa pesquisa e obras de Kiefer investigadas por outros autores. / The purpose of this work is to present an analytical study of the melodic elements and gestures in Bruno Kiefer’s pieces entitled Notas Soltas (1978) for solo flute and Notas Irresponsáveis (1986/87) for flute trio. The theoretical framework for the melodic approach is based on Joseph Straus’ Introduction to Post-Tonal Theory. The aim has been to identify the musical patterns employed by the composer and their relationship in both works. The catalogue of Musical Gestures compiled by Luciane Cardassi in A música de Bruno Kiefer: "terra", "vento", "horizonte" e a poesia de Carlos Nejar was also used. Through the analyses of these two works it was possible to understand the idiomatic character of Kiefer’s style, while finding common traces in other works by the same composer.

This interdisciplinary study examines a collection of chants intrinsically connected to the larger body of Western Chant: the psallendae. These chants of the Ambrosian rite, the form of Christian worship proper to the archdiocese of Milan, were sung during religious processions. With over 700 psallendae assigned to the Church calendar, this study examines only those assigned to feast days of the Virgin Mary, and in doing so, reveals a rich history of devotion to her. The primary sources examined are thirteenth-century manuscripts and medieval liturgical manuals. The processional chants are subjected to a thorough literary and musical analysis. Rooted in François-Auguste Gevaert's thematic theory, and using tools of reticular and stemmatic analysis, the psallendae are grouped according to melodic profile. Each group is then reduced to a core melodic theme, which, when juxtaposed with the ancient practice of religious processions, makes a compelling argument for the psallendae as among the oldest Christian chants.

Klangfarbenmelodien is a term first mentioned by Schoenberg in his Harmonielehre (1911) in a discussion suggesting the idea of tone colors as a structural element equal to other musical components such as harmony, rhythm, pitch, and dynamics. The intent of this study is to investigate significant influences that led to Webern's adoption and application of Klangrfarben techniques in the Symphony, op. 21, first movement. Webern's expression of Klangfarbenmelodien was his method of dispersing melodic lines and the manipulation of a wide gamut of varying tone colors. A brief biography is included in the paper and Webern's professional career as a conductor is viewed and considered as to its affect on the creation of the Symphony with emphasis on his relationship with Schoenberg and the Society for Private Musical Performance. The genesis of the Symphony and its early performance history is examined, as well as the structure of op. 21 with specific examples of Klangrfarbenmelodien. These techniques include the presentation of melodic lines in terms of octave register, timbre, dynamics, articulation, durations, rhythm, and instrumentation.

The aim of this study is to identify the main differences in compositional style in selected chamber music works by Hendrik Hofmeyr (Sonata per Flauto e Pianoforte, Sonata per Clarinetto e Pianoforte and Sonata per Violoncello e Pianoforte) and Alexander Johnson (Imicabango for flute and piano, Three Incantations for flute, clarinet and piano, and Khalagari for flute and piano). After a thorough analysis of the melodic-, harmonic-, rhythmic-, and structural elements, it was clear that the two composers’ composition style is different from one another. Differences can be identified under the following main points: form structure, melodic and harmonic content, recurring motives and texture. Hofmeyr makes use of traditional form structures, such as sonata form, ternary form, and theme and variations. Johnson does not use traditional form structures and makes use of free form structures, such as: A1-A2-A3-A4-A5- A6-A7 (second movement from Khalagari), ABABC (third movement from Three Incantations), and A1-A2-B-A3-closing section (first movement from Three Incantations). The first movement from Khalagari is the only movement where references to sonata form can be found. Hofmeyr uses existing modes and scales in his works. Both his Sonata per Flauto e Pianoforte and Sonata per Violoncello e Pianoforte contain numerous examples where he makes use of the octatonic scale and the phrygian mode. Examples of the hexatonic scale can be found in the first and second movements of the Sonata per Clarinetto e Pianoforte. Hofmeyr’s chord structures are also based on these scales and modes. Alexander Johnson does not use any of the above-mentioned scales, but rather makes use of his own scale (labeled as the “Johnson-scale” in this study). His chord structures are also based on this scale. Hofmeyr does not use themes and motives from other compositions in the three works in this study. He does however combine themes from earlier movements within a composition. Examples of this can be found in the third movements from Sonata per Flauto e Pianoforte and Sonata per Clarinetto e Pianoforte. Johnson combines motives and themes from other compositions in his works. Motives from Three Incantations can be found in Khalagari. A detailed summary can be found in the conclusion of this study. / Thesis (DMus)--University of Pretoria, 2014. / tm2015 / Music / DMus / Unrestricted

Der Beitrag beschreibt ein laufendes Projekt zur computergestützten Erschließung und Analyse einer großen Sammlung handschriftlicher Liedblätter mit Volksliedern aus dem deutschsprachigen Raum. Am Beispiel dieses praktischen Projekts werden Chancen und Herausforderungen diskutiert, die der Einsatz von Digital Humanities-Methoden für den Bereich der Musikwissenschaft mit sich bringt. / This article presents an ongoing project for the computer-based transcription and analysis of handwritten music scores from a large collection of German folk tunes. Based on this project, I will discuss the challenges and opportunities that arise when using Digital Humanities methods in musicology.

A product pair is two products with similar functionality that satisfy the same high level need but are different by design. The goal of this research is to apply association rule-based learning to product pairs and develop universal design rules to be used during the conceptual design phase. The Apriori algorithm produced 1,023 association rules with input parameters of 70% minimum confidence and 0.5% minimum support levels. These rules were down-selected based on the prescribed rule format of: (Function, Typical User Activity) ? (Change, Universal User Activity). In other words, for a given product function and user activity, the rules suggest a design change and new user activity for a more universal product. This research presents 29 universal design rules to be used during the conceptual design stage. These universal design rules suggest a parametric, morphological, functional, or no design change is needed for a given user activity and product function. No design change rules confirm our intuition and also prevent inefficient design efforts. A parametric design change is suggested for actionfunction elements involving find hand use to manipulate a product. Morphological design changes are proposed to solve actionfunction elements in a slightly more complex manner without adding or subtracting overall functionality. For example, converting human energy to mechanical energy with the upper body opposed to the lower body or actuating fluid flow with motion sensors instead of manual knobs. The majority of the recommended functional changes involve automating a product to make it more universal which might not be apparently obvious to designers during conceptual design.