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Alrededor de una música auscente / Alrededor de una música auscenteBudón, Osvaldo, 1965- January 2003 (has links)
Alrededor de una musica ausente is an 18-minutes long composition, written for three Instrumental Groups (Group I: two trombones; Group II: four flutes; Group III: strings [6 0 3 2 1]) and three computer-based Digital Signal Processing Stations, positioned in the performance space so as to form a circle around the audience. / Instrumental Groups and DSP Stations establish a relationship of outputs to inputs with respect to each other. Throughout the composition, sound material is gradually transformed as it flows from one Instrumental Group or Digital Signal Processing Station to another. Transformation of the sound material is accomplished by means of digital signal processing and, in the instrumental parts, by way of compositional techniques modeled after specific electroacoustic sound processing techniques. / The organization of musical structures and formal processes was informed by certain characteristics associated with devices that handle information represented digitally, by techniques of electroacoustic sound production and transformation, and by particular extended instrumental techniques. / Volume 1 of this dissertation is a written text articulated in two parts. The first part gives a historical and aesthetical context for my composition. The second part is an analysis of materials and formal processes used in the piece. Volume 2 is the music score of the composition. A CD containing the patches and soundfiles utilized in the electronic part supplements both volumes.* / *This dissertation is a compound document (contains both a paper copy and a CD as part of the dissertation). The CD requires the following system requirements: Windows MediaPlayer or RealPlayer.
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In Search of Computer Music Analysis: Music Information Retrieval, Optimization, and Machine Learning from 2000-2016Persaud, Felicia Nafeeza 21 August 2018 (has links)
My thesis aims to critically examine three methods in the current state of Computer Music Analysis. I will concentrate on Music Information Retrieval, Optimization, and Machine Learning. My goal is to describe and critically analyze each method, then examine the intersection of all three. I will start by looking at David Temperley’s The Cognition of Basic Musical Structures (2001) which offers an outline of major accomplishments before the turn of the 21st century. This outline will provide a method of organization for a large portion of the thesis. I will conclude by explaining the most recent developments in terms of the three methods cited. Following trends in these developments, I can hypothesize the direction of the field.
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Alrededor de una música auscenteBudón, Osvaldo, 1965- January 2003 (has links)
No description available.
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Tourniquet mirageChristensen, Justin January 2003 (has links)
Tourniquet Mirage, a piece for orchestra and processed sound, is based on the recitation of a poem of the same name. Recitations are recorded and altered electronically through granulation and phase vocoding. Granular synthesis cuts audio up into "short sound grains" and combines them into a sequence of grains to form a longer final output. Phase vocoding uses Fourier analysis to analyze audio and represent it as a series of amplitudes, phases, and frequencies. The phase vocoder then uses this information to manipulate the audio without altering the overall structure of the waveform. / The processed sound part is closely linked to the music in the orchestra. This is as a result of developing the pitch-material of the orchestra by spectrally analyzing the processed audio. At certain times, the relationship between the electronics part and the sound of the orchestra is blurred. To accomplish this, the related formal sections of the orchestra are situated in a canonic relationship with respect to the processed-sound part. The thesis is in two parts: an analysis and an orchestral score.
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Crystal Clear: A Performance Guide and Electronic Accompaniment of Mario Lavista's Marsias for Oboe and Crystal GlassesThompson, Jonathan (Oboist) 08 1900 (has links)
Mario Lavista (b. 1943) is a dominant figure in Mexican classical music. In the second half of the twentieth century, he promoted the use of contemporary techniques, leading to a series of collaborations with expert instrumentalists to explore extended techniques. Marsias for Oboe and Crystal Glasses is one of those pieces. Due to the nature of contemporary techniques, different oboes and reed styles produce different effects with the same fingerings. This document analyzes the contemporary fingerings in the two published editions of the work in consideration of the long-scrape reed style and oboes commonly used in the United States. The contemporary techniques were played on twelve professional oboe models as a way to collect data on how the printed fingerings work. The data is the foundation for the performance guide, which details every contemporary technique in the work. The performance guide also provides comprehensive information about the crystal glass logistics. The document also presents an electronic accompaniment created with Max/MSP in the event that the crystal glasses or crystal glass players are unavailable.
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Tourniquet mirageChristensen, Justin January 2003 (has links)
No description available.
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Portfolio of compositions (Canti Sacri, Cantico, …ed erra l’armonia…, Pneuma) and dissertation (An exploration of the connections between music theory and cognition in composition)Timossi, Alessandro January 2012 (has links)
This study is an exploration of the integration in composition of theoretical and psychoacoustic properties of pitch and duration; its aims are essentially practical in showing how cognitive research can inform composition, but it also addresses more broadly the value and role cognition can have in the current musical compositional climate. Various contexts for this exploration are discussed: the mediating role analysis has within theory and composition; constraints imposed by aesthetic positions and music theory/pedagogy templates; the role of cognitive psychology in connecting music templates and listening experiences; and the ultimately mythopoetic (Cook, 1992) rather than scientific nature of any such theory/psychology integration. Using Huovinen’s “pitch constellation” approach and Lerdahl’s theory of tonal pitch space, a hierarchical pitch-space is set up for the string piece ed erra l’armonia, developing from pc set 5-22 a non-standard octatonic scale (pc set 8-27) as the basic pitch collection of the piece. Similarly, using the works of Fraisse, Hasty and London, a hierarchical rhythm-space is set up for the orchestral piece Pneuma developing, from the indifference interval in duration, the temporal and metric envelops and the duple and triple subdivisions of the tactus, a three layered metrical structure as the generative rhythmic template of the piece. This is contextualised against the problematic notion of metre in modern art-music. General characteristic of both spaces are discussed: redundancy according to information theory, hierarchy in relation to cognitive opaqueness, salience and association; and elaborational and permutational processes. It is argued that composition needs to bridge, in practice, the gap between music theory and psychology of music, looking beyond their often absolutist positions; that cognitive constrains in music should be seen as opportunities to work compositionally along the mind’s cognitive grains in order to maximise structural and expressive communication; and that at a time of a ‘deregulated’ musical language it is necessary to re-develop cognitive heuristics to secure the connection between compositional choices and listening experiences. Three principles are given as guidelines for the alignment of theoretical and cognitive issues in composition. It is proposed that cognitive analysis should be developed as an independent discipline as well as a compositional tool, and that the connections style/cognition should be looked at more closely to gain a more unified perspective on diverse (and divisive) stylistic musical camps.
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A multiple discriminate analysis of Elizabethan keyboard variationsSchenck-Hamlin, Donna. January 1984 (has links)
Call number: LD2668 .T4 1984 S335 / Master of Music / Music, Theatre, and Dance
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Key profile optimisation for the computational modelling of tonal centreVermeulen, Hendrik Johannes 12 1900 (has links)
Thesis (MPhil)--Stellenbosch University, 2012. / ENGLISH ABSTRACT: Tonality cognition incorporates a number of diverse and multidisciplinary aspects, including music
cognition, acoustics, culture, computer-aided modelling, music theory and brain science. Current
research shows growing emphasis on the use of computational models implemented on digital
computers for music analysis, particularly with reference to the analysis of statistical properties,
form and tonal properties. The applications of these analytical techniques are numerous, including
the classification of genre and style, Music Information Retrieval (MIR), data mining and
algorithmic composition.
The research described in this document focuses on three aspects of tonality analysis, namely music
cognition, computational modelling and music theory, particularly from the perspectives of
statistical analysis and key-finding. Mathematical formulations are presented for a number of
computational algorithms for analysing the statistical and tonal properties of music encoded in
symbolic format. These include algorithms for determining the distributions of note durations,
pitch intervals and pitch classes for statistical analysis and for template-based key-finding for tonal
analysis. The implementation and validation of these computational algorithms on the Matlab
software platform are subsequently discussed.
The software application is used to determine whether a more optimal combination of pitch class
weighing model and key profile template for the template-based key-finding algorithm can be
derived, using the 24 preludes from Bach’s Well-tempered Clavier Book I, the Courante from
Bach's Cello Suite in C major and the Gavotte from Bach's French Suite No. 5 in G major (BWV
816) as test material. Four pitch class weighing models, namely histogram weighing, flat weighing,
linear durational weighing and durational accent weighing, are investigated. Two prominent key
profile templates proposed in literature are considered, namely a key profile derived from tonality
cognition experiments and a key profile based on classical music theory principles. The results
show that the key-finding performances of all the combinations of the pitch class weighing models
and existing key profile templates depend on the nature of the test material and that none of the
combinations perform optimally for all test material.
The software application is subsequently used to determine whether a more optimal key profile
template can be derived using a pattern search parameter estimation algorithm. This investigation
was conducted for diverse sets of search conditions, including unconstrained and constrained key
profile coefficients, different pitch class weighing models, various key resolutions and different
search algorithm parameters. Using the same sample material as for the key-finding evaluations,
the investigation showed that a more optimal key profile, compared to existing profiles, can be
derived. In comparing the average key-finding scores for all of the test material, the optimised
profiles outperform the existing profiles substantially. The optimised key profiles introduce new
pitch class hierarchies where the supertonic and the subdominant rate higher at the expense of the
mediant in the major profile to improve the tracking of key modulations. / AFRIKAANSE OPSOMMING: Kognitiewe tonaliteit behels 'n aantal uiteenlopende en multidissiplinêre aspekte, insluitende
musiek, akoestiek, kultuur, rekenaargesteunde modelering, musiekteorie en breinwetenskap.
Huidige navorsing toon toenemende klem op die gebruik van berekenende modelering wat op
digitale rekenaars geimplimenteer is vir musiekanalise, veral met verwysing na die analise van
statistiese eienskappe, vorm en tonale eienskappe. Die aanwending van hierdie analitiese tegnieke
is veelvoudig, insluitende die klassifikasie van genre of styl, onttrekking van musiekinformasie,
dataversameling en algoritmiese komposisie.
Die navorsing wat in hierdie dokument beskryf word fokus op drie aspekte van tonaliteit analise,
naamlik musiekkognisie, berekenende modelering en musiekteorie, veral vanuit die perspektiewe
van statistiese analise and toonsoortsoek. Wiskundige formulerings word aangebied vir 'n aantal
berekeningalgoritmes vir die analise van die statistiese en tonale eienskappe van musiek wat in
simboliese formaat ge-enkodeer is. Hierdie sluit algoritmes in vir die bepaling van die
verspreidings van nootlengtes, toonintervalle en toonklasse vir statistiese analise en vir templaatgebaseerde
toonsoortsoek vir tonale analise. Die implementering en validering van hierdie
berekeningalgoritmes op die Matlab programmatuur platvorm word vervolgens bespreek.
Die programmatuur toepassing word vervolgens gebruik om te bepaal of 'n meer optimale
kombinasie van toonklas weegmodel en toonsoortprofiel templaat vir die templaat-gebaseerde
toonsoortsoek algoritme afgelei kan word, deur gebruik te maak van Bach se Well-tempered Clavier
Book I, die Courante van Bach se Cello Suite in C major en die Gavotte van Bach se French Suite
No. 5 in G major (BWV 816) as toetsmateriaal. Vier toonklas weegmodelle, naamlik histogram
weging, plat weging, lineêre duurtyd weging en duurtyd aksent weging, word ondersoek. Twee
prominente toonsoortprofiel template uit die literatuur word oorweeg, naamlik 'n toonsoortprofiel
wat van tonaliteit kognisie eksperimente afgelei is en 'n toonsoortprofiel gebaseer op klassieke
musiekteoretiese beginsels. Die resultate wys dat die toonsoortsoek prestasies van al die
kombinasies van die toonklas weegmodelle en bestaande toonsoortprofiel template afhang van die
aard van die toetsmateriaal en dat geen van die kombinasies optimaal presteer vir alle toetsmateriaal
nie.
Die programmatuur toepassing word vervolgens aangewend om vas te stel of 'n meer optimale
toonsoortprofiel afgelei kan word deur gebruik te maak van 'n patroonsoek parameterestimasie
algoritme. Hierdie ondersoek is uitgevoer vir uiteenlopende stelle soektoestande, insluitende
onbeperkte en beperkte toonsoortprofiel koëffisiënte, verskillende toonklas weegmodelle, 'n
verskeidenheid toonsoort resolusies en verskillende soekalgoritme parameters. Deur gebruik te
maak van dieselfde toetsmateriaal as vir die toonsoortsoek evaluerings, toon die ondersoek dat 'n
meer optimale toonsoortprofiel, in vergelyking met bestaande profiele, afgegelei kan word. In 'n
vergelyking van die gemiddelde toonsoortsoek prestasie vir al die toetsmateriaal, presteer die geoptimeerde
profiele aansienlik beter as die bestaande profiele. The ge-optimeerde toonsoortprofiele
lei tot nuwe toonklas hiërargiee waar die supertonikum en die subdominant hoër rangposissies
beklee ten koste van die mediant in die majeur profiel, ten einde die navolg van toonsoort
modulasies te verbeter.
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A stylistic analysis of selected piano works of Louis Moreau GottschalkDicus, Kent Timothy, 1958- January 1988 (has links)
Although Louis Moreau Gottschalk's works are not generally recognized as being exceptionally significant in the development of musical style, they do serve as a link between the music of Frederic Chopin and that of Charles Ives. Certain stylistic characteristics of Chopin are seen in many of Gottschalk's works, especially those which incorporate "Scherzo" and "Mazurka" passages. Simultaneously, Gottschalk's concept of using popular tunes as prominent melodies and themes was later expanded by Charles Ives. Gottschalk's works include some of America's first experimentations with form through utilization and expansion of the basic form of ABA Coda. Through his use of varied ABA form with repeated and parallel passages, Gottschalk developed his particular style of phrasing, texture, and rhythm, all of which figure prominently in his works. Four pieces are examined with these concepts as the basis for analysis.
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