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In a fragmented media landscape, the Melody Festival (Melodifestivalen) is one of the few Swedish media productions that still gathers audiences for ritual media consumption. Despite its position as one of the largest media institutions in Swedish society, research regarding the event is limited and this bachelor study aims to counteract this. The aim of the study is to investigate what values and ideological assumptions about interpersonal relationships that are discursively constructed in the song lyrics performed at the Melody Festival. The study is based on critical discourse analysis, and Eva Illouz's sociological theories concerning relationships, as a theoretical framework. Every winning entry from every even year between 2002-2023 (a sample of 11 song lyrics) has been analyzed using critical discourse analysis. In line with previous research on pop music, the results of the study show how the most common type of relationship in the material is of a romantic nature. Love is frequently depicted metaphorically as an all-consuming force in accordance with Illouz. However, love as work (à la Illouz) is not represented in the material. The results also show how the private is prioritized over the societal where the relationship between “I” and “you” is the most prominent.

Music generation is a popular task in the domain of music artificial intelligence, aiming at generating music automatically. Music generation includes both symbolic and acoustic music generation. The former focuses on the score level, while the latter emphasizes the audio signal level. This thesis focuses on one task of symbolic music generation: generating symbolic melodies from lyrics and attempting to solve several pre-existing issues in this field. Firstly, we address the problem of melody generation from lyrics for non-popular music, which has not been widely studied in the literature, in addition to the generation of popular music. We study the following two music types: popular music with English lyrics and traditional Chinese music with classical Chinese poetry. The former has been extensively researched, while the latter has seldom been explored. Secondly, to mitigate the challenge of insufficient modeling of the relationship between lyrics and melody in non-popular music, we utilize deep neural networks to learn from a larger paired dataset for generating melodies from classical Chinese poetry. This approach enhances the model's ability to understand the relationship between classical Chinese poetry and its associated melodies. Another motivation behind this endeavor stems from historical context: many classical Chinese poems could be sung in ancient times, but many associated melodies have been lost, leaving only the poetry itself. Given the assumption that the lost melodies share similar elements, such as styles and genres, with the preserved melodies, this thesis employs deep neural networks to model the remaining melodies and their corresponding poems, which may assist in restoring these lost melodies. Thirdly, prior research integrates human music rules to enhance performance, which has limitations in generalization and adaptability. To tackle this issue, we employ methods allowing the model to autonomously encode music theory information for melody generation. Specifically, part-of-speech embeddings and tone embeddings are incorporated into the model, improving the capture of relationships between prosodic boundaries in lyrics (applicable to both English and Chinese lyrics) and melody, as well as between the tone of Chinese characters and the pitch of the melody, without manually designed rules. Fourthly, to address the problem of generated melodies lacking stylistic features, we incorporate style constraints into the inference phase. This adjustment enables the model to grasp the global style features of music to some extent. After implementing these adaptations, both objective and subjective evaluations are conducted. Objective ablation studies confirm that each adaptation contributes to improving the model's fit to the data. Subjective evaluations corroborate that our model can generate high-quality melodies akin to real music. / La génération de musique est une tâche populaire dans le domaine de l’intelligence artificielle musicale, visant à générer automatiquement de la musique. La génération musicale comprend la génération de musique symbolique et acoustique. La première se concentre sur le niveau de la partition, tandis que la seconde met l’accent sur le niveau du signal audio. Ce mémoire se concentre sur une tâche de génération musicale symbolique : générer des mélodies symboliques à partir de paroles et tenter de résoudre plusieurs problèmes existants dans ce domaine. Premièrement, nous abordons le problème de génération de la mélodie à partir de la parole pour la musique non populaire, un problème assez peu étudié. Nous étudions non seulement la génération de la musique populaire à partir de la parole en anglais, mais aussi et surtout de la musique chinoise traditionnelle avec de la poésie classique. La première a fait l’objet de nombreuses recherches, tandis que la dernière a rarement été explorée. Deuxièmement, pour atténuer le défi de la modélisation insuffisante de la relation entre les paroles et la mélodie dans la musique non populaire, nous utilisons des réseaux neuronaux profonds pour apprendre à partir d’un ensemble de données appariées plus grand pour générer des mélodies à partir de la poésie chinoise classique. Cette approche renforce la capacité du modèle à comprendre la relation entre la poésie chinoise classique et ses mélodies associées. Une autre motivation derrière cette démarche provient du contexte historique : de nombreux poèmes chinois classiques pouvaient être chantés dans l’Antiquité, mais de nombreuses mélodies associées ont été perdues, ne laissant que la poésie elle-même. En supposant que les mélodies perdues partagent des éléments similaires, tels que les styles et les genres, avec les mélodies préservées, ce mémoire utilise des réseaux neuronaux profonds pour modéliser les mélodies restantes et leurs poèmes correspondants, ce qui peut aider à restaurer ces mélodies perdues. Troisièmement, la recherche précédente intègre des règles musicales humaines pour améliorer les performances, ce qui a des limitations en matière de généralisation et d’adaptabilité. Nous employons des méthodes permettant au modèle de coder de manière autonome des informations théoriques sur la musique pour la génération de mélodies. Plus précisément, des plongements de parties du discours et des plongements de tons sont intégrés au modèle, améliorant la capture des relations entre les frontières prosodiques dans les paroles (applicables à la fois aux paroles anglaises et chinoises) et la mélodie, ainsi qu’entre le ton des caractères chinois et la hauteur de la mélodie, sans règles conçues manuellement. Quatrièmement, pour aborder le problème du manque de caractéristiques stylistiques des mélodies générées, nous intégrons des contraintes de style dans la phase d’inférence. Cet ajustement permet au modèle de saisir dans une certaine mesure les caractéristiques stylistiques globales de la musique. Après avoir mis en œuvre ces adaptations, des évaluations objectives et subjectives sont menées. Les études objectives d’ablation confirment que chaque adaptation contribue à améliorer l’ajustement du modèle aux données. Les évaluations subjectives corroborent que notre modèle peut générer des mélodies de haute qualité semblables à de la vraie musique.

La version intégrale de ce mémoire est disponible uniquement pour consultation individuelle à la Bibliothèque de musique de l’Université́ de Montréal (www.bib.umontreal.ca/MU). / Ce mémoire est une analyse de mon langage musical à travers trois œuvres récentes composées entre 2011 et 2013. Il présente une analyse en détail de trois compositions d’instrumentations différentes : - Akme, pour piano seul - Les Yeux d’une fille dans un cimetière, pour piano, violon, violoncelle, flûte et clarinette - Epitafe, pour orchestre Avec des exemples musicaux tirés de ces trois compositions, j’étudie plusieurs volets de mon approche de la composition musicale, notamment les influences extra-musicales, la forme, la mélodie, l’harmonie et l’orchestration. En guise d’introduction, on retrouve également un chapitre qui traite de la place que les influences extra-musicales, la forme et la métrique occupent dans mon travail en général. / This memoir is a musical analysis of my musical language through the study of three of my recent works that were composed between 2011 and 2013. It presents a detailed analysis of three compositions of varied instrumentation : - Akme, for solo piano - Les Yeux d’une fille dans un cimetière, for piano, violin, cello, flute and clarinette - Epitafe, for orchestra With musical examples taken from these works, I study various components of my approach to musical composition such as extra-musical influences, form, melody, harmony and orchestration. As introduction to these studies, we find a chapter that speaks of the role that extra-musical influences, form and musical time holds in my work as a composer in general.

O presente trabalho procura analisar a relação melodia-tom no interior do canto de origem africana nas comunidades-terreiro de candomblé Queto. O caráter estável da palavra cantada conduziu-nos às análises de textos com música. Para a implementação das investigações foram selecionados dez cantos nagôs gravados sem acompanhamento de instrumentos pelo próprio povo do santo e um canto iorubá gravado por um iorubá nativo de Abeokutá. Os cantos foram organizados em tessituras (partituras simplificadas) divididas em versos com vistas à visualização simultânea do canto com a letra; para cada verso do canto, fez-se, com a utilização do programa WinPitchPro, um sonograma com a curva de pitch, espectrograma e medidas de Fo. Inicialmente, por meio de uma primeira comparação entre canto e fala iorubá, observou-se, na relação entre pitch melódico e tom fonológico, que estávamos diante de três possibilidades: (i) ignorar os tons fonológicos e o significado das palavras e utilizar as variações de pitch exclusivamente para marcar a melodia, o que preservaria a musicalidade, mas reduziria a inteligibilidade lírica; (ii) preservar as variações regulares de pitch relacionados aos tons lexicais, ignorando a musicalidade, sacrificando a musicalidade pela inteligibilidade; (iii) tentar manter, mesmo que parcialmente, os contrastes de pitches lexicais sem restringir excessivamente as regras melódicas de Fo. Para o desenvolvimento do nosso trabalho, acatamos, principalmente, a terceira hipótese. Tanto no cotejo da fala e canto iorubá quanto no confronto iorubá/nagô, foi possível identificar a imanência dos supra-segmentos da língua africana. A realização dos tons por meio dos pitches melódicos apresentou a reprodução de fenômenos universais como downdrift, downstep e processos recíprocos de assimilação e propagação. As análises evidenciam a manutenção parcial dos tons lexicais da língua iorubá na palavra sagrada nagô, confirmando o caráter estável de uma palavra condicionado por elementos lingüísticos e extralingüísticos. / This work aims at analyzing the melody-tone relationship in African origin chants in Queto houses of candomble. The stable character of the sung word has led to the analysis of musical texts. In order to implement investigations ten Nago chants have been selected. They have been recorded without instruments by the people of Saint themselves and an Yoruba chant was recorded by a native Yoruba speaker from Abeokuta. Chants have been organized in tessitures (simplified partitures) divided in verses aiming at the simultaneous visualization of the singing and lyrics; one has made, for each chant verse, with the use of the WinPitchPro program, a sonogram with the pitch wave, spectrogram and Fo measures. By comparing the chant and Yoruba speech one has initially observed three possibilities between melody pitch and phonological tone: (i) to ignore phonological tones and the meaning of words and use pitch variations to exclusively designate the melody, which would preserve musicality but would reduce the lyrical intelligibility; (ii) to preserve the regular pitch variations related to lexical tones ignoring musicality and sacrificing musicality in order to achieve intelligibility; (iii) to try to keep, even partially, the contrasts of lexical pitches without excessively restricting Fo melodical rules. In order to develop this work one has mainly followed the third hypothesis. In the analysis of both the Yoruba speech and chants and in the confrontation of Yoruba/Nago, it has been possible to identify the stableness of supra-segments of the African language. The achievement of tones by the use of melody pitches has presented the reproduction of universal phenomena such as downdrift, downstep and reciprocal processes of assimilation and spread. The analyses show the partial maintenance of the lexical tones in the sacred Nago word confirming the stable character of a word conditioned by linguistic and extra linguistic elements.

Este trabalho se destina a investigar a técnica de composição conhecida como Gráfico para Fixar a Melodia das Montanhas do Brasil, utilizada pelo compositor Heitor Villa-Lobos (1887-1959) nas peças orquestrais: New York Sky-Line Melody (1939) e Sinfonia No. 6 - sobre as linhas das montanhas (1944). A hipótese lançada é de que a referida técnica não se sustenta enquanto método que responda integralmente pela construção do discurso musical de tais obras, mas simplesmente como procedimento utilizado para a elaboração de seus principais temas. / The aim of this work is to analyze the compositional technique known as Gráfico para Fixar a Melodia das Montanhas do Brasil,[where composers translate physical shapes to musical parameters, or millimetrization] used by the composer Heitor Villa-Lobos (1887-1959) for New York Sky-Line Melody (1939) and Symphony No. 6 - sobre as linhas das montanhas (1944).The launched hypothesis is that this technique cannot be sustained as a method that addresses the full construction of the musical discourse of such works, but simply as a procedure used for the preparation of its main themes.

Este trabalho se destina a investigar a técnica de composição conhecida como Gráfico para Fixar a Melodia das Montanhas do Brasil, utilizada pelo compositor Heitor Villa-Lobos (1887-1959) nas peças orquestrais: New York Sky-Line Melody (1939) e Sinfonia No. 6 - sobre as linhas das montanhas (1944). A hipótese lançada é de que a referida técnica não se sustenta enquanto método que responda integralmente pela construção do discurso musical de tais obras, mas simplesmente como procedimento utilizado para a elaboração de seus principais temas. / The aim of this work is to analyze the compositional technique known as Gráfico para Fixar a Melodia das Montanhas do Brasil,[where composers translate physical shapes to musical parameters, or millimetrization] used by the composer Heitor Villa-Lobos (1887-1959) for New York Sky-Line Melody (1939) and Symphony No. 6 - sobre as linhas das montanhas (1944).The launched hypothesis is that this technique cannot be sustained as a method that addresses the full construction of the musical discourse of such works, but simply as a procedure used for the preparation of its main themes.

FundaÃÃo de Amparo à Pesquisa do Estado do Cearà / Neste trabalho, pretendemos examinar um conjunto de dez canÃÃes (melodia e letra) do chamado Pessoal do CearÃ, grupo de cancionistas cearenses que migraram para o centro-sul do paÃs, no princÃpio da dÃcada de 1970. Temos como escopo averiguar se emerge da anÃlise uma imagem-fim de um enunciador geral que perpasse os textos selecionados, dando identidade ao percurso do grupo e justificando a designaÃÃo referida, cujas razÃes sÃo objeto de muita controvÃrsia. Para isto, optamos pela abordagem da SemiÃtica do Discurso, por ela operar com a noÃÃo de discurso em ato, pela qual a constituiÃÃo do sujeito-enunciador de cada texto-discurso pode ser acompanhada em seu devir, isto Ã, num fazendo-se ininterrupto mediante o prÃprio ato enunciativo. Outros dois conceitos-chave da abordagem teÃrica selecionada, que favorecem esta apreensÃo dinÃmica do ato de enunciar e do sujeito que enuncia, sÃo os de prÃxis e de instÃncia enunciativas, que repropÃem as relaÃÃes entre texto e contexto sÃcio-histÃrico, dando a elas uma feiÃÃo dialÃtica, em termos de modos de existÃncia semiÃtica. Nesta perspectiva teÃrica, averiguamos se o percurso do sujeito Pessoal do Cearà faz sentido, ou seja, se hà uma coerÃncia narrativa unindo as diferentes fases do percurso e os seus sujeitos-enunciadores. Feito isto, concluÃmos pela pertinÃncia ou impertinÃncia da designaÃÃo. Para a anÃlise da canÃÃo como objeto semiÃtico sincrÃtico fundado na relaÃÃo basilar melodia-letra, lanÃamos mÃo da teoria semiÃtica da canÃÃo, elaborada pelo semioticista-mÃsico Luiz Tatit. Este teÃrico chega a um conjunto de categorias passÃveis de aplicaÃÃo tanto no exame do plano de expressÃo quanto no do plano do conteÃdo, como preconizava Hjelmslev. Sob esta Ãtica, foi possÃvel descrever as imbricaÃÃes entre as dimensÃes lingÃÃstica e musical, tÃpicas da canÃÃo, que concorrem para a construÃÃo de um efeito de sentido Ãnico, perdido toda vez que se opera a fissÃo entre melodia e letra para se estudar apenas uma delas. / In this work, we intend to examine a set of ten songs (melody and lyrics) of Pessoal do CearÃ, a group of songwriters from Cearà who migrated to the Central and Southestern part of Brazil, in the beginning of the 1970âs. Our purpose is to investigate if a general enunciator image emerges from the analysis of the selected texts. Besides, if this image supplies and identity to the route of the group and justifies the referred designation, which has had a lot of controversy. For this purpose, we choose the Semiotics of the Discourse approach, since it deals with the discourse in act notion, through which the enunciator-subject of each text or discourse may be followed along its becoming, that is, it appears continuously in the enunciative act itself. Two other key-words of the selected theoretical approach which favor this dynamic apprehension of the enunciative act and the subject who enunciates consist of enunciative praxis and enunciative instance. These concepts suggest a new relationship between text and social historical context and give them a dialectical feature in regard to the ways of semiotic existence. In this theoretical perspective, we investigate if the route of âPessoal do CearÃâ makes sense, that is, if there is a narrative coherence that joins the different phases of the route and their enunciative subjects. Afterwards, we conclude if the designation is relevant or not. In order to analyse the song as a syncretic semiotic object based on the fundamental relationship between melody and lyrics, we use the semiotic song theory, that was worked out by the semiotician and musician Luiz Tatit. He suggests a set of categories which not only can be applied in the expression level but also in the content level, such as Hjelmslev conceived. From this point of view, it was possible to describe the imbrications between linguistic and musical dimensions which are typical to the song. Also, this partnership helps the construction of a unique meaning effect, that is lost every time that melody and lyrics are set apart to study only one of them.

O presente trabalho procura analisar a relação melodia-tom no interior do canto de origem africana nas comunidades-terreiro de candomblé Queto. O caráter estável da palavra cantada conduziu-nos às análises de textos com música. Para a implementação das investigações foram selecionados dez cantos nagôs gravados sem acompanhamento de instrumentos pelo próprio povo do santo e um canto iorubá gravado por um iorubá nativo de Abeokutá. Os cantos foram organizados em tessituras (partituras simplificadas) divididas em versos com vistas à visualização simultânea do canto com a letra; para cada verso do canto, fez-se, com a utilização do programa WinPitchPro, um sonograma com a curva de pitch, espectrograma e medidas de Fo. Inicialmente, por meio de uma primeira comparação entre canto e fala iorubá, observou-se, na relação entre pitch melódico e tom fonológico, que estávamos diante de três possibilidades: (i) ignorar os tons fonológicos e o significado das palavras e utilizar as variações de pitch exclusivamente para marcar a melodia, o que preservaria a musicalidade, mas reduziria a inteligibilidade lírica; (ii) preservar as variações regulares de pitch relacionados aos tons lexicais, ignorando a musicalidade, sacrificando a musicalidade pela inteligibilidade; (iii) tentar manter, mesmo que parcialmente, os contrastes de pitches lexicais sem restringir excessivamente as regras melódicas de Fo. Para o desenvolvimento do nosso trabalho, acatamos, principalmente, a terceira hipótese. Tanto no cotejo da fala e canto iorubá quanto no confronto iorubá/nagô, foi possível identificar a imanência dos supra-segmentos da língua africana. A realização dos tons por meio dos pitches melódicos apresentou a reprodução de fenômenos universais como downdrift, downstep e processos recíprocos de assimilação e propagação. As análises evidenciam a manutenção parcial dos tons lexicais da língua iorubá na palavra sagrada nagô, confirmando o caráter estável de uma palavra condicionado por elementos lingüísticos e extralingüísticos. / This work aims at analyzing the melody-tone relationship in African origin chants in Queto houses of candomble. The stable character of the sung word has led to the analysis of musical texts. In order to implement investigations ten Nago chants have been selected. They have been recorded without instruments by the people of Saint themselves and an Yoruba chant was recorded by a native Yoruba speaker from Abeokuta. Chants have been organized in tessitures (simplified partitures) divided in verses aiming at the simultaneous visualization of the singing and lyrics; one has made, for each chant verse, with the use of the WinPitchPro program, a sonogram with the pitch wave, spectrogram and Fo measures. By comparing the chant and Yoruba speech one has initially observed three possibilities between melody pitch and phonological tone: (i) to ignore phonological tones and the meaning of words and use pitch variations to exclusively designate the melody, which would preserve musicality but would reduce the lyrical intelligibility; (ii) to preserve the regular pitch variations related to lexical tones ignoring musicality and sacrificing musicality in order to achieve intelligibility; (iii) to try to keep, even partially, the contrasts of lexical pitches without excessively restricting Fo melodical rules. In order to develop this work one has mainly followed the third hypothesis. In the analysis of both the Yoruba speech and chants and in the confrontation of Yoruba/Nago, it has been possible to identify the stableness of supra-segments of the African language. The achievement of tones by the use of melody pitches has presented the reproduction of universal phenomena such as downdrift, downstep and reciprocal processes of assimilation and spread. The analyses show the partial maintenance of the lexical tones in the sacred Nago word confirming the stable character of a word conditioned by linguistic and extra linguistic elements.

Le présent mémoire propose une analyse des processus de composition via la mélodie, la polytonalité et la polyrythmie à travers l’improvisation pianistique, pour finir par l’orchestration des cinq pièces musicales composées durant les deux années de la maîtrise en composition instrumentale et vocale à l’Université de Montréal, soit de septembre 2017 à avril 2019. Ces pièces sont un Sextuor, un Octuor, un Mouvement pour deux pianos et percussions, 5 Miniatures pour orchestre et Tristesse de la lune, une mélodie sur un poème de Charles Baudelaire, l’ensemble totalisant 33 minutes de musique. Nous tentons de situer dans un contexte général la place de ces processus à travers les différentes références de l’auteur pour ouvrir le champ des possibilités qu’ils amènent pour le futur. / This thesis proposes an analysis of the composition process via melody, polytonality and polyrhythm through piano improvisation, ending with the orchestration of the five musical pieces composed during the two years of the master's in instrumental and vocal composition at the University of Montreal, from September 2017 to April 2019. These pieces are a Sextet, an Octet, a Movement for two pianos and percussions, 5 Miniatures for orchestra and Tristesse de la lune, a melody on a poem by Charles Baudelaire, totaling 33 minutes of music. We try to situate in a general context the place of these processes through the different references of the author to open fields of possibilities they bring to the future.