The dissertation identifies three types of tonality: scalicfmodal, melodic, and harmonic. Scalic/modal tonality and melodic tonality are known to have been existent in Antiquity. Messiaen adheres to these ancient types of tonality and also harmonic tonality. Messiaen uses these types of tonality in his own combinations -- his concept of tonality is revealed to be highly complex. / Musicology / M.Mus. (Musicology)

Dentre as diversas operações que podem ser realizadas com composições musicais, representadas através de uma notação, está a avaliação de similaridade melódica, utilizada principalmente na busca e recuperação dessas obras. O presente trabalho apresenta o método de avaliação de similaridade melódica denominado Correspondência de Monofonia Contida (CMC), focado na operação de busca de composições. Também estão descritos os detalhes de implementação de uma ferramenta para busca de tablaturas textuais da web utilizando o método proposto. A análise dos experimentos realizados demonstrou que o método CMC consegue localizar composições específicas em dois terços das consultas (69,44%), conseguindo colocar o resultado esperado, em média, na 11ª posição de ranqueamento. / Among the various operations that can be performed with musical compositions, represented through a notation, is the evaluation of melodic similarity mainly for search and retrieval of these works. This paper presents the method of evaluation of melodic similarity named Monophonic Contained Matching, focused on the search of compositions. Also describes the implementation details of a tool to search textual tabs in web using the proposed method. The analysis of the experiments demonstrated that the CMC method can locate specific compositions in two-thirds of queries (69.44%), managing to place the expected result on average in the 11th ranking position.

abstract: Language and music are fundamentally entwined within human culture. The two domains share similar properties including rhythm, acoustic complexity, and hierarchical structure. Although language and music have commonalities, abilities in these two domains have been found to dissociate after brain damage, leaving unanswered questions about their interconnectedness, including can one domain support the other when damage occurs? Evidence supporting this question exists for speech production. Musical pitch and rhythm are employed in Melodic Intonation Therapy to improve expressive language recovery, but little is known about the effects of music on the recovery of speech perception and receptive language. This research is one of the first to address the effects of music on speech perception. Two groups of participants, an older adult group (n=24; M = 71.63 yrs) and a younger adult group (n=50; M = 21.88 yrs) took part in the study. A native female speaker of Standard American English created four different types of stimuli including pseudoword sentences of normal speech, simultaneous music-speech, rhythmic speech, and music-primed speech. The stimuli were presented binaurally and participants were instructed to repeat what they heard following a 15 second time delay. Results were analyzed using standard parametric techniques. It was found that musical priming of speech, but not simultaneous synchronized music and speech, facilitated speech perception in both the younger adult and older adult groups. This effect may be driven by rhythmic information. The younger adults outperformed the older adults in all conditions. The speech perception task relied heavily on working memory, and there is a known working memory decline associated with aging. Thus, participants completed a working memory task to be used as a covariate in analyses of differences across stimulus types and age groups. Working memory ability was found to correlate with speech perception performance, but that the age-related performance differences are still significant once working memory differences are taken into account. These results provide new avenues for facilitating speech perception in stroke patients and sheds light upon the underlying mechanisms of Melodic Intonation Therapy for speech production. / Dissertation/Thesis / Masters Thesis Communication Disorders 2015

The following essay aims to examine the use of lyrical themes linked to religion. The music styles in focus in this study are death metal and melodic death metal in Sweden. The study is based on 14 Swedish bands that are or have been active during the last 30 years. In this study I ask which themes connected to religion are used in the lyrics from the middle of the 80’s till today and how the use of themes changes during this time period.       My hypothesis was that since metal’s function and purpose is to break boundaries and test the social limits the lyrics inevitably must change over time to continue to draw attention and provoke. The lyrics have been studied with qualitative text analysis and put in a timeline divided in four eras to see the changes over time and how they are expressed. Each era is divided into different categories and themes that are found in the lyrics.       This study shows that the lyrics in the chosen genres connected to religion change over time, in accordance with my hypothesis. The main lyrical themes are Satanism, Anti-religion and religion critics, Christian themes, Esoterism and mysticism and Mythology. The lyrical themes have changed from dealing primarily with Satanism and anti-Christianity/religion in the 80’s and early 90’s to more complex lyrics about esoterism, mysticism, spiritism, and mythology today.

Dentre as diversas operações que podem ser realizadas com composições musicais, representadas através de uma notação, está a avaliação de similaridade melódica, utilizada principalmente na busca e recuperação dessas obras. O presente trabalho apresenta o método de avaliação de similaridade melódica denominado Correspondência de Monofonia Contida (CMC), focado na operação de busca de composições. Também estão descritos os detalhes de implementação de uma ferramenta para busca de tablaturas textuais da web utilizando o método proposto. A análise dos experimentos realizados demonstrou que o método CMC consegue localizar composições específicas em dois terços das consultas (69,44%), conseguindo colocar o resultado esperado, em média, na 11ª posição de ranqueamento. / Among the various operations that can be performed with musical compositions, represented through a notation, is the evaluation of melodic similarity mainly for search and retrieval of these works. This paper presents the method of evaluation of melodic similarity named Monophonic Contained Matching, focused on the search of compositions. Also describes the implementation details of a tool to search textual tabs in web using the proposed method. The analysis of the experiments demonstrated that the CMC method can locate specific compositions in two-thirds of queries (69.44%), managing to place the expected result on average in the 11th ranking position.

The purpose of this project has been to explore different methods that would bring melodic quality to melodies, in improvisations as well as compositions. Different standpoints on melody and melodicism, taken by different musical profiles, have been examined and from those standpoints different strategies have been formed. The goal of the project is to find out if skill in melodicism is something that can be gained through practice with concrete methods. The process of forming each method is described and the results of those methods are presented through outtakes from compositions and improvisations that I performed on my exam concert. The strategies that are explored are periodicity and idea development, flow of eight notes and sixteenth notes based on triads, pentatonicism and different forms of phrasing. Conclusion is made that all of the strategies serve their purpose, but it’s still a question if they do so for individual reasons or for the same reason, that all of the strategies simply are different variations of idea development. / <p>Repertoar, samtliga titlar komponerade av Rasmus Hansen:</p><p>Now or never</p><p>Spegel spegel på väggen där, jag har rätt du har fel</p><p>På Mammas fötter, på Pappas axlar</p><p>Cm</p><p>Out for a walk</p><p>Medverkande musiker:</p><p>Rasmus Hansen - Elgitarr</p><p>Linnea Jonsson - trumpet</p><p>Kalle Johansson - piano</p><p>August Eriksson - kontrabas</p><p>Kristian Remnelius - trummor</p>

The present study sought to confirm melodic expectancy patterns discovered in a previous investigation and to determine whether data would be affected by altering the rhythmic condition of the stimuli. The three problems of this investigation were to study expectancies generated by two-note stimulus intervals of equal duration; the expectancies generated by stimulus intervals presented with a long-short rhythm; and the expectancies generated by stimulus intervals presented with a short-long rhythm. Fifty subjects were asked to sing what they believed would be the natural continuation of the melody begun by a two-note stimulus interval. The stimulus intervals were grouped in rhythmic sets, one set of neutral-rhythm stimuli, one set of long-short stimuli, and one set of short-long stimuli. The interval from the second note of the stimulus interval to the first sung note was transcribed as the generated expectancy response interval. The data were examined in two basic ways, using response data as a whole and examining data for each stimulus interval separately. A third method of data evaluation concerned harmonic triads occurring in the response data. Both when considering response frequency as a whole, and when considering response data separately for each melodic beginning, no significant difference associated with rhythmic condition could be found. Smaller response intervals were generated much more often than large intervals. Some stimulus intervals, notably the major second ascending, were observed to be much more powerful generators than others. It was concluded from these results that in response to two-note stimulus intervals melodic expectancy can clearly be shown to operate, confirming the results of an earlier study, but that no effect of rhythm on melodic expectancy can be shown to operate.

In this thesis, I explore various techniques for achieving greater melodicism with the drumset. My approach centers primarily through different arranging methods. The basis of this work is four of my own compositions, specifically arranged in order to enable melodic playing with the drumset. Within the Jazz tradition certain instruments have specific roles. For example, the drums usually have an accompanying role behind the soloists and melody presentation. This is key within the context of the music however, in this project I try to discover the other musical roles primarily melodic and soloistic expression, with the drumset. This work could be of value to any jazz musician wanting to learn more about how different musical roles can influence improvisation and their general playing, and especially for those drummers wishing to develop their melodic playing. Keywords: Exploring different musical roles, compositions, drums, arranging, melodic playing / <p><strong><em>På konsersten framfördes fyra original kompositioner ut av mig:</em></strong></p><p><em>Aqua, På Väg, Framför Brasan &amp; The Last Dance</em></p><p><strong>Medverkande:</strong></p><p>Melker Annas - Trombon</p><p>Eskil Larsson - Tenorsax</p><p>Maja Svantesson - Sång</p><p>Anton Brodin - Gitarr</p><p>Jakob Ulmestrand - Bas</p><p>Ryan Ward - Trumset &amp; kompositioner</p>

No description available.

This dissertation explores the influence of melody on harmonic function in pop and rock songs from around 1950 to the present. While authors define the term "function" in several ways, none consider melody in their explanations, and I contend that any discussion of harmonic function in rock must include melody. I offer a novel perspective on function by defining it through what I call tension-as-anticipation, and I define a "melodic function" that accounts for the sense of tension and relaxation a melody creates within a particular moment in a track. My dissertation defines two types of melodic function—dominant and tonic—based on the melody's goal-directed scale-degree content, position within a phrase, and relation with the harmony. Dominant-melodic function results in two musical phenomena that I call the "imposed dominant" and the "dominant remainder." An imposed dominant occurs when a dominant-melodic function is initially dissonant with the harmony and resolves over a tonic. A dominant remainder occurs when a dominant-melodic function occurs over a harmonic resolution to the tonic, creating a slower dissipation of tension. Tonic-melodic function produces a phenomenon I call the "tonic anticipation," where a melody outlines a tonic mode over a pretonic harmony, creating a maximum sense of tension-as-anticipation. By including melody in considering harmonic function, we can more adequately describe the cycles of tension and resolution found in pop styles.