Thesis (D.M.A.)--University of North Texas, 2003. / For dancer and computer. Includes bibliographical references (p. 62-64).

Thesis (M.Mus.) -- University of Adelaide, Dept. of Music, 1974.

Thesis (Ph. D.)--University of North Carolina at Chapel Hill, 2008. / Includes bibliographical references (leaves 306-317).

Thesis (D.M.A.)--University of North Texas, 2003. / For dancer and computer. Includes bibliographical references.

<p>This thesis explores the potential advantages of incorporating color into musical analysis and musical concepts into art analysis. Music and the visual arts are vehicles of expression using two different perceptible waves as a medium. By comparing the physical attributes of these waves, analogous terminology between the disciplines is highlighted. Terminology parallels allow us to identify relationships between musical ideas and sonorities and color theory concepts and color harmonies. Cross-modal relationships have been explored in synesthetically inspired works in both disciplines. In Scriabin?s Prometheus, the luce presents the colors to the audience. These colors emphasize the harmonic, formal, and mystical elements of the piece. Messiaen?s Des Canyons aux etoiles features chords that were specifically included to paint the colors of the places he had visited. Sonata No. 6 by Ciurlionis is a painting that includes the three major sections of sonata form with the color changes to match. Symphony verte by Valensi includes complex structural variations and the various shading and saturations found in the timbral diversity of a symphony. Accounting for the bimodal aspects of these pieces provides us with a more concise holistic understanding of the artist?s purpose.

Thesis (Ph.D.)--Brown University, 2008. / Advisor : Todd Winkler. Includes supplementary digital materials: DVD 1. Audio -- DVD 2. Video. Special graduate studies are in computer music and new media. Includes bibliographical references (leaves 137-146).

Thesis (M.M.)--Baylor University, 2007. / Includes bibliographical references (p. 115-122).

Thesis (M.Mus.)--University of Akron, School of Music-Music Theory, 2009. / "May, 2009." Title from electronic thesis title page (viewed 9/30/2009) Advisor, Daniel W. McCarthy; Committee members, Michele D. Mills, Nikola Resanovic, Brooks A. Toliver; Director of the School, William K. Guegold; Dean of the College, James Lynn; Dean of the Graduate School, George R. Newkome. Includes bibliographical references.

The domain of this thesis is electroacoustic computer-based music and sound art. It investigates a facet of composition which is often neglected or ill-defined: the process of composing itself and its embedding in time. Previous research mostly focused on instrumental composition or, when electronic music was included, the computer was treated as a tool which would eventually be subtracted from the equation. The aim was either to explain a resultant piece of music by reconstructing the intention of the composer, or to explain human creativity by building a model of the mind. Our aim instead is to understand composition as an irreducible unfolding of material traces which takes place in its own temporality. This understanding is formalised as a software framework that traces creation time as a version graph of transactions. The instantiation and manipulation of any musical structure implemented within this framework is thereby automatically stored in a database. Not only can it be queried ex post by an external researcher—providing a new quality for the empirical analysis of the activity of composing—but it is an integral part of the composition environment. Therefore it can recursively become a source for the ongoing composition and introduce new ways of aesthetic expression. The framework aims to unify creation and performance time, fixed and generative composition, human and algorithmic “writing”, a writing that includes indeterminate elements which condense as concurrent vertices in the version graph. The second major contribution is a critical epistemological discourse on the question of ob- servability and the function of observation. Our goal is to explore a new direction of artistic research which is characterised by a mixed methodology of theoretical writing, technological development and artistic practice. The form of the thesis is an exercise in becoming process-like itself, wherein the epistemic thing is generated by translating the gaps between these three levels. This is my idea of the new aesthetics: That through the operation of a re-entry one may establish a sort of process “form”, yielding works which go beyond a categorical either “sound-in-itself” or “conceptualism”. Exemplary processes are revealed by deconstructing a series of existing pieces, as well as through the successful application of the new framework in the creation of new pieces.

Undersökningens syfte är att få djupare förståelse och insikt i vilken uppgift musik- och kulturskolan har i samhället. Utifrån detta syfte är avsikten att få en inblick i vilka arbetsmetoder som används för att rekrytera, behålla och utveckla elever samt att få kunskap om olika faktorer som påverkar kursutbud och utveckling av skolan. Jag har i min undersökning gjort kvalitativa intervjuer med sex skolledare från olika musik- och kulturskolor i Sverige. Studien utgår från olika teorier om musik- och kulturskolans utveckling och förändring samt teorier om förändringar i skola och samhälle.    I resultatet visas att det finns flera olika förväntningar på musik- och kulturskolan vilka skiftar från skola till skola och från kommun till kommun. På några av de i studien medverkande skolorna finns det en tydlig politisk styrning, medan andra skolor nästan helt saknar en sådan styrning. De faktorer som mest framträdande påverkar musik- och kulturskolan är enligt min undersökning följande: vilka lärare som är anställda på skolan, vilka traditioner som ska upprätthållas, hur musik- och kulturskolan samarbetar med grundskolan och olika kulturella aktörer i kommunen, budget, elevtryck, hur rekryteringen ser ut och till viss del terminsavgiftens storlek.     Musik- och kulturskolans roll har förändrats under årens lopp, vilket bland annat innebär att de traditionella genrerna i större utsträckning har fått ge plats åt populärmusiken i undervisningen. Populärmusikens ökade plats i både samhället och musik- och kulturskolan har också inneburit att bland annat blåsinstrument har sjunkit mycket i popularitet.     En slutsats är att det är önskvärt att lärare inom musik- och kulturskolan både har spetskompetens samt en stor bredd, såväl genremässigt som musikaliskt, för att kunna följa eleven länge och erbjuda bästa möjliga undervisning. / The purpose of this study is to gain a deeper understanding and insight into the role of the Community School of Music and Art in society. According to this view, the intention is to gain an insight into the working methods that are used to recruit, retain and develop students, as well as to acquire knowledge of the various factors affecting the rate of supply and development of the school. This examination contains qualitative interviews with six headmasters from different community schools of music and art in Sweden. The study is based on different theories of changes and developments within the community school of music and art. The study is also based on theories concerning cultural changes and changes in  society.     The result shows there are different expectations on community schools of music and art which vary from school to school and from municipality to municipality. Some of the schools participating in the study had an obvious political governance, while other schools almost entirely lacked such control. The factors that most affected the community schools of music and art in my survey were: the teachers that were employed at the school, which traditions were to be upheld, how the community school of music and art collaborated with schools and various cultural actors in the municipality, budget, the student population, how the school worked with recruitment and, to a certain extent, the tuition fee.     The role of the community school of music and art has changed over the years. This change has affected the traditional genres to a large extent and has created more space for popular music in the classroom. While popular music has emerged in both society and in the community school of music and art, the popularity of wind instruments has decreased greatly.     One conclusion from this examination is that it is desirable that the teachers of the community school of music and art both demonstrate excellence and a wide range, both from a genre and musical standpoint in order to guide and teach the student, and offer the best possible education.