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The effects of listening condition on melodic error detection by novice woodwind students /Thornton, Linda C. P. January 1998 (has links)
Thesis (Ph. D.)--University of Missouri-Columbia, 1998. / Typescript. Vita. Includes bibliographical references (leaves 99-109). Also available on the Internet.
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The effects of listening condition on melodic error detection by novice woodwind studentsThornton, Linda C. P. January 1998 (has links)
Thesis (Ph. D.)--University of Missouri-Columbia, 1998. / Typescript. Vita. Includes bibliographical references (leaves 99-109). Also available on the Internet.
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Perception of structure in auditory patternsAsh, Roisin L. January 1998 (has links)
The present research utilised five tasks to investigate non-musicians' perception of phrase, rhythm, pitch and beat structure in unaccompanied Gaelic melodies and musical sequences. Perception of phrase structure was examined using: i) a segmentation task in which listeners segmented Gaelic melodies into a series of meaningful units and ii) a novel click localisation task whereby listeners indicated where they perceived a superimposed click in the melody had occurred. Listeners consistently segmented the melodies into units of 2.4 - 5.4 seconds. Clicks which were positioned before and after perceived boundaries (identified by segmentation) were perceptually migrated towards the boundary. These results suggest that listeners perceptually differentiate between phrasal groups in melodies (See Sloboda & Gregory, 1980; Stoffer, 1985, for similar results with musicians). Short term memory for rhythmic structure was examined using rhythm recall of computer generated sequences and Gaelic melodies. Computer generated rhythms with small tonal pitch intervals (1 - 4 semitones) were easier to recall than large atonal intervals (predominantly greater than 4 semitones). Recall of Gaelic melodies, containing repetitive rhythmic units, was better than recall of computer sequences. Pitch reversal of Gaelic melodies did not effect recall. Beat-tapping with three Gaelic melodies revealed that the majority of listeners established the underlying beat 1.5 - 3 seconds (5 - 6 notes) after the start of the melodies. Perception of meaning and content in two note melodic intervals and three Gaelic melodies was examined using an adjective pair two-alternative forced choice task. Responses to musical intervals showed evidence of perceptual similarity based mainly on interval size. Perceived information content in the melodies increased significantly by the fourth note. The results suggest that the amounts of Gaelic melody which are: i) required to establish an underlying beat, ii) remembered after one hearing, and iii) perceptually grouped into a meaningful unit, include the unit of melody which is necessary to establish a basic meaning.
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Melodic Organization in Four Solos by Ornette ColemanCogswell, Michael 08 1900 (has links)
The thesis presents annotated transcriptions and detailed analyses of four improvised solos by jazz saxophonist Ornette Coleman, a leading figure within the free jazz movement. The four solos, all of which were recorded in 1959, are: "Ramblin', " "Lonely Woman," "Congeniality," and "Free." -The focus of the analyses is upon Coleman's techniques for creating melodic continuity and development. Introductory chapters survey Coleman's career and examine his original theoretical system, "Harmolodics. " The thesis concludes with an annotated bibliography and discography.
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Design and evaluation of dynamic feature-based segmentation on musicBefus, Chad R, University of Lethbridge. Faculty of Arts and Science January 2010 (has links)
Segmentation is an indispensable step in the field of Music Information Retrieval (MIR).
Segmentation refers to the splitting of a music piece into significant sections. Classically
there has been a great deal of attention focused on various issues of segmentation, such
as: perceptual segmentation vs. computational segmentation, segmentation evaluations,
segmentation algorithms, etc. In this thesis, we conduct a series of perceptual experiments which challenge several of the traditional assumptions with respect to segmentation. Identifying some deficiencies in the current segmentation evaluation methods, we present a novel standardized evaluation approach which considers segmentation as a supportive step towards feature extraction in the MIR process. Furthermore, we propose a simple but effective segmentation algorithm and evaluate it utilizing our evaluation approach. / viii, 94 leaves : ill. ; 29 cm
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Three unknown Carthusian liturgical manuscripts with music of the 14th to the 16th centuries in the Grey Collection, South African Library, Cape TownSteyn, Frances Caroline 11 1900 (has links)
Of the three manuscripts that form the basis of this thesis, MS Cape Town, South African
Library, Grey 4c7 is, in musicological terms the most important of the three manuscripts. It
is a complete Carthusian Antiphonary, of the late 14th century, written for the Charterhouse
of Champmol, near Dijon, the mausoleum of the Dukes of Burgundy. It also contains an
extensive Tonary, a Hymnary and a Kyriale. The two didactic verses which form part of the
Tonary are of particular importance, since MS 4c7is one of the few manuscripts in the world
intended for musical performance to contain the Ter terni by William of Hirsau; furthermore
it is apparently the only Carthusian manuscript of any kind to contain the Oyapente et
dyatessaron by Hucbald. The manuscript is placed in the context of the Carthusian liturgy
of the 12th to the 16th centuries and is compared with 33 manuscripts of this period. It is
shown that, although a marked textual similarity exists between the manuscripts, there are
variant melodies. The conclusion is therefore drawn that the Carthusians did not have a
single exemplar for the melodies in their liturgical books. It is shown that MS 4c7 and MS
Oijon, Bibliotheque municipale 118, also written for Champmol, were copied from the same
exemplar and that they are closely related to MSS Beaune, Bibliotheque municipale 27, 34
and 41, ot the neighbouring Charterhouse of Fontenay.
The second manuscript, MS Grey 3c23, an Antiphonary for nuns, for Lauds and Vespers,
written for the Charterhouse of Mont-Sainte-Marie, at Gosnay, near Arras, has been dated
1538 by the original scribe. This manuscript is almost identical to MS AGC C II 817. The
presence of a Sequence, foreign to the Carthusian tradition, is however unique toMS 3c23.
The third manuscript, MS Grey 6b3, is an Evangeliary, signed by the scribe, Amelontius de
Ercklems, in 1520. Its provenance is the Charterhouse of Our Lady of the Twelve Apostles
at Mont-Cornillon near Liege. Musicological features of the manuscript which are discussed
are the Hymn 'Te decet laus', and the accent neumes at the ends of pericopes. / Art History, Visual Arts & Musicology / D.Mus. (Musicology)
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Three unknown Carthusian liturgical manuscripts with music of the 14th to the 16th centuries in the Grey Collection, South African Library, Cape TownSteyn, Frances Caroline 11 1900 (has links)
Of the three manuscripts that form the basis of this thesis, MS Cape Town, South African
Library, Grey 4c7 is, in musicological terms the most important of the three manuscripts. It
is a complete Carthusian Antiphonary, of the late 14th century, written for the Charterhouse
of Champmol, near Dijon, the mausoleum of the Dukes of Burgundy. It also contains an
extensive Tonary, a Hymnary and a Kyriale. The two didactic verses which form part of the
Tonary are of particular importance, since MS 4c7is one of the few manuscripts in the world
intended for musical performance to contain the Ter terni by William of Hirsau; furthermore
it is apparently the only Carthusian manuscript of any kind to contain the Oyapente et
dyatessaron by Hucbald. The manuscript is placed in the context of the Carthusian liturgy
of the 12th to the 16th centuries and is compared with 33 manuscripts of this period. It is
shown that, although a marked textual similarity exists between the manuscripts, there are
variant melodies. The conclusion is therefore drawn that the Carthusians did not have a
single exemplar for the melodies in their liturgical books. It is shown that MS 4c7 and MS
Oijon, Bibliotheque municipale 118, also written for Champmol, were copied from the same
exemplar and that they are closely related to MSS Beaune, Bibliotheque municipale 27, 34
and 41, ot the neighbouring Charterhouse of Fontenay.
The second manuscript, MS Grey 3c23, an Antiphonary for nuns, for Lauds and Vespers,
written for the Charterhouse of Mont-Sainte-Marie, at Gosnay, near Arras, has been dated
1538 by the original scribe. This manuscript is almost identical to MS AGC C II 817. The
presence of a Sequence, foreign to the Carthusian tradition, is however unique toMS 3c23.
The third manuscript, MS Grey 6b3, is an Evangeliary, signed by the scribe, Amelontius de
Ercklems, in 1520. Its provenance is the Charterhouse of Our Lady of the Twelve Apostles
at Mont-Cornillon near Liege. Musicological features of the manuscript which are discussed
are the Hymn 'Te decet laus', and the accent neumes at the ends of pericopes. / Art History, Visual Arts and Musicology / D.Mus. (Musicology)
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Developing Variation and Melodic Contour Analysis: A New Look at the Music of Max RegerMcConnell, Sarah E. 08 1900 (has links)
Max Reger was a prolific composer on the threshold of modernism. The style of his extensive musical output was polarizing among his contemporaries. A criticism of Reger's music is its complex and dense musical structure. Despite writing tonal music, Reger often pushes the boundaries of tonality so far that all sense of formal organization is seemingly imperceptible. In this dissertation, I offer what I observed to be a new way of discerning Reger's motivic relationships and formal structures within and between movements. There are three primary tools and methods I incorporated to make these observations: Schoenberg's developing variation; melodic contour analysis as discussed by Elizabeth West-Marvin and Diana Deutsch; and Janet Schmalfeldt's motivic cyclicism stemming from internal themes. In this dissertation I examine five different musical works by Reger: D minor Piano Quartet, Clarinet Quintet, Piano Concerto, String Quartet, op. 121 and E minor Piano Trio, op. 102. My analysis shows how Reger relies on melodic contours of his motives to connect musical moments across entire movements and entire works with multiple movements. These motives are developed and often mark structurally significant moments providing the organization often perceived as missing in Reger's music.
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An Instrumental Song without Words about Hope: A Melodic Motivic Analysis of the Third Violin Sonata by Charles Ives (1874–1954)Kim, GaLeoung 05 1900 (has links)
The American composer Charles Ives is well known for musical quotation/borrowing: composing music with or from pre-existing musical sources, such as folk tunes, hymns, chants, or other composers' works. His Third Violin Sonata is one of few works that used his unique technique of cumulative setting with only hymn tunes. For analysis of his instrumental music, the text of the hymn tunes is generally disregarded, as the compositions are for instruments. Ives' Third Violin Sonata is challenging to understand in comparison with other violin sonatas, because it lacks information such as titles and subtitles. Even though Ives never mentioned the piece's meanings or extramusical meanings, almost all the elements of the piece indicate hope as a common theme. This dissertation examines which hymn tunes were quoted in the piece, gives the meanings of the hymn tunes, and discusses how Ives uses these tunes as themes with textual meanings. The study includes a brief life of Ives and his historical circumstances and presents a brief musical analysis. The research should give a better understanding of the piece to performers and others curious about it.
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<i>Hair</i> for Rent:How the Idioms of Rock 'n' Roll are Spoken Through the Melodic Language of Two Rock MusicalsStark, Eryn E. 15 September 2015 (has links)
No description available.
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