Title: The issue of musicality in gymnastics programs at UK FTVS Objectives: Qualify changes in the level of musicality on students due to the intervention program of subjects Rhythmic gymnastics, Gymnastics I - Dance and Adapted movement and dance pedagogy at UK FTVS and present results of testing. Methods: In my thesis I mostly used analytic and synthetic method based on consolidation of data from written and video sources and their organization in content of my thesis and context of time period. The thesis also used an experimental method associated with data collection and their evaluation. The practical part is conceived as testing. Results: Description of the musicality test results. Keywords: Musicality, height of tones, melodic memory, harmonies, rhythmic memory, A. Bentley.

Cette thèse propose une réflexion sur le développement du sens musical de l’enfant tunisien de 6 à 13 ans dans le contexte musical particulier du XXIème siècle. La problématique de base est de savoir si la culture musicale tunisienne qui repose principalement sur une esthétique modale arabe favorise le développement d’un ensemble d’habitudes d’écoutes chez l’enfant tunisien en rapport avec le système modal arabe. Peut-on alors postuler l’existence d’un éventuel « sens modal » chez l’enfant tunisien qui se développe progressivement de 6 à 13 ans et qui favorise l’acquisition des éléments caractéristiques du système modal tels que les intervalles spécifiques à la gamme arabe, la hiérarchie modale et les formules-types spécifiques à un mode ? Dans son aspect théorique, cette étude qui revêt une dimension psychologique passe en revue l’ensemble de travaux en psychologie de la musique et en psychologie du développement musical qui se sont intéressés à l’étude de la perception musicale en général et à la perception de la tonalité en particulier. Dans son aspect pratique, elle reprend un principe d’expérience effectué par Le Professeur Imberty dans son étude de l‘acquisition des structures tonales chez l’enfant occidental. Cette expérience qui a été réadaptée au contexte de la musique modale repose sur l’idée de la succession de trois épreuves : une première épreuve de mémorisation immédiate, une deuxième épreuve d’achèvement mélodique et une troisième épreuve de production vocale. Mots clefs : Développement musical - sens musical- système modal arabe - enfant tunisien- mémorisation- achèvement mélodique – production vocale / The present thesis offers a reflection on the development of 6-to-13 year-old Tunisian children’s musical awareness in the musical context of the XXI century. The basic argument here is whether the Tunisian musical culture that resides primarily in Arabic modal aesthetical system promotes the development of some listening habits among Tunisian children. Also postulated is the development of a modal awareness among the of 6-to-13 years old Tunisian children which boosts the acquisition of particular features of the modal system such as the specific intervals in the range Arab modal scale, the modal hierarchy, and standard formulas specific to a given mode. In its theoretical aspect, this study holds a psychological dimension in its review of literature attendant to the disciplines of psychology of music and musical developmental psychology which are concerned with the study of musical perception in general and the perception of tone in particular. In its practical aspect, the study draws on experimental model advanced by Professor Imberty in his account of the acquisition of the tonal structure among the Western children. The experimental procedure here has been adapted to the context of modal music which is based on the idea of three successive testing episodes related to the working memory, melodic attainment, and melodic vocal production.Keywords: Musical development - musical awareness - Arabic modal system - Tunisian children - memory - melodic attainment - vocal production

This study documents and analyzes cyclic patterns used as melodic vocabulary in John Coltrane's improvisations from compositions of 1965 to 1967. The analysis is categorized in two distinct sections. The first section analyzes melodic vocabulary that is derived from the cycle of descending major thirds progressions found in the compositions of 1959 to 1960. The second section analyzes melodic vocabulary that is derived from Nicolas Slonimsky's Thesaurus of Scales and Melodic Patterns using the theoretical terminology incorporated in the treatise. Musical examples consist of patterns from the Thesaurus and excerpts from selected improvisations of John Coltrane as transcribed by Andrew White. Important scholarly contributions relevant to the subject by Carl Woideck, Lewis Porter, David Demsey, and Walt Weiskopf are included. Every effort has been made to cite interviews with musicians and commentaries by writers contemporary to that period of time with special emphasis on the important influence of Thelonious Monk, Miles Davis, and Ornette Coleman. Chapter headings include: Literature Review and Methodology; Thelonious Monk, Miles Davis, and Ornette Coleman: Converging Influences; Analysis: Coltrane's Major Thirds Harmonic Cycles Used as Melodic Vocabulary; Interval Cycles in Coltrane's Melodic Vocabulary Based on Patterns from Slonimsky's Thesaurus; Summary and Conclusion.

During my studies at the Royal College of Music in Stockholm I have been exploring how I can develop as an improviser and as an ensemble musician. The main focus has been to use more arco playing, but also to sing unison and in harmony with the bass in order to broaden my expression. Another aim has been to compose music for my trio to implement my expanded way of performing. When I began the master’s program, I wanted to return to my roots as a classical cellist. With the help from classical teachers I was able to improve my bass technique, especially with the bow, and use that as a way to further widen my improvisation and accompany- ment skills. As a bonus, my cello playing got a boost from this work and it eventually became another important part of my artistic voice. The methods of my project have been to continuously test new ideas in my freelance work outside of KMH. I also interviewed fellow musicians to be able to reflect on whether my newly acquired knowledge and technique have had an effect on the way we make music together. In the thesis I also reflect on my inspiration from other musicians and artists and my personal philosophy not being bound to certain musical genres. Instead I want to take impressions from many different kinds of music and be open to all the different techniques in playing double bass that comes with a wide range of styles. An important result of this process is the making of the album “Arrival”, with Adam Forkelid on piano, Calle Rasmusson on drums and the Polish jazz violinist Adam Bałdych as a guest soloist. The record was released in March 2020 by the international jazz label Prophone/Naxos.

En ljudlogotyp är en ljudkomposition som används för att särskilja ett varumärke. Ljudlogotypen ingår i varumärkens strategiska arbete för att skapa sig en bild i konsumenters medvetande. Denna bild kallas varumärkesuppfattning. Syftet med denna studie var att utöka kunskapen om hur musik kan användas i kommunikativt syfte i allmänhet och om hur melodin påverkar uppfattningen av varumärken i synnerhet. En webbenkät genomfördes för att studera om olika typer av melodisk kontur hos en ljudlogotyp kan ge olika effekter på hur ett fiktivt varumärke uppfattas ifråga om varumärkespersonlighet. Deltagare rekryterades via sociala medier. Till undersökningen utformades åtta videoklipp innehållande en ljudlogotyp och en grafisk logotyp. Videoklippen var identiska förutom att den melodiska konturen skilde dem åt. Deltagarna skattade i vilken grad de uppfattade fem olika personlighetsdrag hos den ljudlogotyp de fick höra. Resultaten analyserades statistiskt. Genom undersökningen genererades inget stöd för att typ av melodisk kontur skulle ha någon påverkan på uppfattningen av de fem personlighetsdragen. Lämpliga metoder för undersökningar om ljudlogotyper och varumärkesuppfattning diskuteras. För framtida studier inom området föreslås kvalitativa studier samt studier som undersöker andra musikaliska parametrar. Vidare efterfrågas mer forskning om melodisk kontur. / An audio logo, also called sonic logo or sound logo, is a sound composition utilized to differentiate a brand. A sonic logo is part of a brand’s strategy to create an image in the awareness of consumers. This image is called brand perception. The objective of this study was to expand general knowledge about music’s applicability for communicative purposes and moreover to specifically look at how melody affects brand perception. A web survey was conducted to investigate if different types of melodic contour in an audio logo can have different effects on the perception of brand identity for a fictional brand. Participants were recruited using social media. Eight videos consisting of an audio logo and a graphic logo were designed. The videos were identical apart from their melodic contours. Participants rated the degree to which they perceived five different personality traits for the audio logo they heard. The results were analyzed statistically. Through the survey, no support was generated for an impact from the type of melodic contour on the perception of the five personality traits. Appropriate methods for investigating audio logos and brand perception are discussed. For future research within the field qualitative design is suggested, as well asinvestigations into other musical parameters. Furthermore, additional research into melodic contour is proposed.

Im Vorwort zu Terpsichore (1612) schreibt Michael Praetorius, die Melodien und Arien dieser »Französischen Tänze« habe ein Tänzer und sehr guter Geiger aus Frankreich zusammengestellt. Zu einigen Tänzen ergänzte Praetorius Bass- und/oder Mittelstimmen, übernahm aber auch vollstimmige Tanzsätze oft unbekannter Autorschaft aus bereits existierenden Sammlungen. Im Gegensatz dazu komponierte Johann Hermann Schein in seiner Sammlung Banchetto musicale (1617) die Tanzmelodien selbst. Ausgehend von den analytischen Werkzeugen, mit denen Melodietypen solcher Sammlungen in jüngerer Zeit beschrieben wurden, wird gezeigt, welche Unterschiede sich in der Melodiebildung der beiden Sammlungen erkennen lassen. Mit einem Rekurs auf Hugo Riemann wird zudem ausgeführt, welche analogen melodischen Elemente paarig angeordnete Tänze aufweisen und welche rhythmischen und diastematischen Strategien dabei für Variation sorgen. / In the preface to Terpsichore (1612), Michael Praetorius writes that the melodies and arias of these »French dances« were compiled by a dancer and very good violinist from France. Praetorius added the bass and/or middle voices to several dances, but he also adopted fully voiced dance movements of often unknown authorship from already existing collections. In contrast, Johann Hermann Schein in his collection Banchetto musicale (1617) composed the dance melodies himself. Starting from the analytical tools with which melody types from such collections have been described in recent years, this article shows the differences in the melodic design of these two collections. Through reference to Hugo Riemann, analogous melodic elements in coupled dance movements and rhythmic and diastematic strategies used for variation are demonstrated.

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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.

Ce travail de recherche propose une description du style mélodique et harmonique du groupe britannique Portishead et s’appuie sur l’analyse du répertoire complet, soit 33 chansons réparties sur trois albums (11 chansons par albums). Étant donné que le corpus étudié est restreint, il est possible de procéder à une analyse statistique qui permet de dégager une grammaire mélodico-harmonique. L’hypothèse de ce travail de recherche repose sur l’idée que l’évolution du langage musical de Portishead s’articule autour de procédés mélodiques et harmoniques favorisant un élargissement d’un cadre tonal équivoque. Pour ce faire, Portishead a recours à plusieurs procédés mélodiques et harmoniques qui entretiennent l’équivoque tonale. Or, ces procédés sont similaires, sans toutefois être identiques, aux six procédés répertoriés par Sylvain Caron (Caron 2002) au sujet de la grammaire de Gabriel Fauré. Par la mise en œuvre de plusieurs outils d’analyses, nous procédons à une étude comparée et contextualisée de certains mécanismes mélodique et harmonique qui font émerger l’équivoque, tant chez Fauré que chez Portishead. Ces outils d’analyse, comme l’analyse des vecteurs de ruptures mélodico-harmoniques, l’analyse paradigmatique ou l’analyse néo-riemannienne, ont été bonifiés afin de rendre compte de certaines particularités liées au corpus étudié. Ce travail de recherche est divisé en deux parties précédés d’une introduction, d’une notice biographique et d’une revue de littérature analytique. La première partie se divise en trois chapitres et s’intéresse spécifiquement au traitement mélodique équivoque. La deuxième partie, constituée des deux derniers chapitres, abordent les procédés d’équivoque harmonique. Ce travail de recherche a démontré que même si un siècle sépare les compositions de Gabriel Fauré et Portishead, l’équivoque se manifeste par une grammaire musicale commune. Nous constatons aussi que l’équivoque articule le discours formel et conditionne les rapports structurants de tension – détente de l’œuvre. / This research provides a description of the melodic and harmonic style of the British band Portishead. It is based on analysis of the full repertoire or 33 songs over three albums (11 songs per album). Since the entire corpus is analyzed, one may be able to detect chronologically trends and perform statistical analysis of the evolution of the melodic- harmonic grammar and aesthetics of the group. The hypothesis of this research work is based on the idea that the evolution of the musical language of Portishead revolves around melodic and harmonic processes favoring an expansion of tonal ambiguity frame. To do this, Portishead uses several melodic and harmonic processes that maintain tonal ambiguity. However, these processes are similar, but not identical, to the six processes listed by Sylvain Caron (Caron 2002) about the grammar of Gabriel Fauré. For the implementation of various analysis tools, we perform a comparative and contextualized study of certain melodic and harmonic mechanisms that brings out the ambiguity, both in Fauré than Portishead. These analysis tools, such as analysis of melodic-harmonic vectors of ruptures, paradigmatic analysis or neo-Riemannian analysis were enhanced to reflect certain particularities of the studied corpus. This research consists of two parts preceded by an introduction, a manual and a review of literature analystique. The first part is divided into three chapters and focuses specifically on clear melodic treatment. The second part, consisting of the last two chapters address the ambiguity of harmonic processes. This research has shown that even if a century separates the compositions of Gabriel Fauré and Portishead, ambiguity is manifested by a common grammar. We also notice that ambiguity revolves formal speeches and determines the structuring of tension – release relationships.

While the concept of teaching jazz style to vocal students is not a new one, previous materials written on the subject have not addressed two important aspects of this process. One is the concept of selecting jazz vocal solo repertoire that is both musically and vocally purposeful and appropriate for the student. The other is how to teach stylistic concepts that will apply to both current repertoire as well as songs the student will learn in the future. This doctoral essay provides both a categorized list of solo jazz vocal repertoire as well as strategies for introducing stylistic elements of jazz into the private-lesson setting. Through a systematic analysis of jazz vocal standards, a list of repertoire selections was categorized by rhythmic style, melodic range, melodic harmony, melodic rhythm, and harmonic content. In addition, the stylistic need to add syncopations to swing songs with non-syncopated melodies was addressed. Suggestions are included on how to implement this categorized list in the music selection process for students. Furthermore, this essay provides jazz voice teachers with strategies to efficiently incorporate important aspects of jazz styles such as rhythmic feel, song form, improvisation, and harmony into the lesson setting. By showing connections between these concepts and the literature that is being taught, students can become more competent and confident within the vocal and stylistic elements of the jazz idiom.