<p> The persuasive power of music is often relegated to the dimension of <i> pathos</i>: that which moves us emotionally. Yet, the music commodity is now situated in and around the liminal spaces of digitality. To think about how music functions, how it argues across media, and how it moves us, we must examine its material and immaterial realities as they present themselves to us and as we so create them. This dissertation rethinks the relationship between rhetoric and music by examining the creation, performance, and distribution of music in its material and immaterial forms to demonstrate its persuasive power. While both Plato and Aristotle understood music as a means to move men toward virtue, Aristotle tells us in his <i>Laws</i>, through the Athenian Stranger, that the very best kinds of music can help guide us to truth. From this starting point, I assess the historical problem of understanding the rhetorical potential of music as merely that which directs or imitates the emotions: that which "Soothes the savage breast," as William Congreve writes. By furthering work by Vickers and Farnsworth, who suggest that the Baroque fascination with applying rhetorical figures to musical figures is an insufficient framework for assessing the rhetorical potential of music, I demonstrate the gravity of musical persuasion in its political weight, in its violence--the subjective violence of musical torture at Guantanamo and the objective, ideological violence of music--and in what Jacques Attali calls the prophetic nature of music. I argue that music has a <i>significant function</i>, and as a non-discursive form of argumentation, works on us beyond affect. Moreover, with the emergence of digital music distribution and domestic digital recording technologies, the digital music commodity in its material and immaterial forms allows for ruptures in the former methods of musical composition, production, and distribution and in the political potential of music which Jacques Attali describes as being able to foresee new political realities. I thus suggest a new theoretical framework for thinking about rhetoric and music by expanding on Lloyd Bitzer's rhetorical situation, by offering the idea of "openings" to the existing exigence, audience, and constraints. The prophetic and rhetorical power of music in the aleatoric moment can help provide openings from which new exigencies can be conceived. We must, therefore, reconsider the role of rhetorical-musical composition for the citizen, not merely as a tool for entertainment or emotional persuasion, but as an arena for engaging with the political.</p>

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A study was carried out to examine the interaction between music and language in learning and recall in children with autism spectrum condition (ASC). The research comprised initial interviews (N=12), a questionnaire (N=320), and a comparative intervention with children with ASC (N=24), and a comparison group of neurotypical individuals (N=32). Results from the questionnaire showed that, in the view of parents and teachers, there was a high prevalence of singing amongst children with ASC, especially in those with language delay. Furthermore, in the view of parents and teachers, music was more likely to enhance relationships for children with some language delay (as opposed to children who were non-verbal and children with age- appropriate speech). In the practical phase of the study, where children were asked to learn and subsequently recall both spoken and sung material, it was found that singing as opposed to speaking could enhance verbal recall for some children with ASC - particularly those with some language delay. With regard to the effects of language on melodic recall, for children with the lowest levels of musical development, the presence of language had a positive effect, but as the level of children’s musical development increased, the impact of language on melodic recall diminished. With regard to the comparison group, for children at Key Stage 1 (5-7 year olds), music had a positive effect on verbal recall in the long term, but for children at Key Stage 2 (8 -11 year olds), music had a negative effect, although this may have been due to external factors.

Submitted to the Faculty of Arts in fulfillment of the requirements for the degree of MASTER OF ARTS in the Department of African Languages at the University of Zululand, South Africa, 2009. / The main concern of this dissertation is an attempt to bring forward the contributions Choral Music has and is still playing in the promotion of Language and Literary aspects. The study commences by laying out the challenges this art form (choral music) is facing, namely that its composers are not taken seriously and are not fully recognised in promoting the economy of the country and the well being of all, through the message it passes on in a form of entertainment. This study further attempts to describe the historical background of choral music by giving its definition, goals, essential elements of music, notation and form including musical instruments that are used in African and Western cultures. The study continues explaining how the different individuals participate either in listening and/or creating music in order to understand the emotional content of the piece, pathos, love, anger - as well as the story itself which is communicated through words, music, movement and technical aspects of the entertainment as an integrated whole. Last but not least, the study rounds up by showing how the linguistic aspect of music is conducted either in a Western or African route by learners in Mpumalanga Province in order to promote social, political and cultural tolerance. The study finally closes by recommending on how the literal aspects of introducing music in Mpumalanga Schools could be introduced. This includes proposed resources in curriculum such as buildings and the type of personnel that could be identified and be supported in order to introduce music as an examination subject in schools.

Automatic music transcription (AMT) is commonly defined as the process of converting an acoustic musical signal into some form of musical notation, and can be split into two separate phases: (1) multi-pitch detection, the conversion of an audio signal into a time-frequency representation similar to a MIDI file; and (2) converting from this time-frequency representation into a musical score. A substantial amount of AMT research in recent years has concentrated on multi-pitch detection, and yet, in the case of the transcription of polyphonic music, there has been little progress. There are many potential reasons for this slow progress, but this thesis concentrates on the (lack of) use of music language models during the transcription process. In particular, a music language model would impart to a transcription system the background knowledge of music theory upon which a human transcriber relies. In the related field of automatic speech recognition, it has been shown that the use of a language model drawn from the field of natural language processing (NLP) is an essential component of a system for transcribing spoken word into text, and there is no reason to believe that music should be any different. This thesis will show that a music language model inspired by NLP techniques can be used successfully for transcription. In fact, this thesis will create the blueprint for such a music language model. We begin with a brief overview of existing multi-pitch detection systems, in particular noting four key properties which any music language model should have to be useful for integration into a joint system for AMT: it should (1) be probabilistic, (2) not use any data a priori, (3) be able to run on live performance data, and (4) be incremental. We then investigate voice separation, creating a model which achieves state-of-the-art performance on the task, and show that, used as a simple music language model, it improves multi-pitch detection performance significantly. This is followed by an investigation of metrical detection and alignment, where we introduce a grammar crafted for the task which, combined with a beat-tracking model, achieves state-of-the-art results on metrical alignment. This system's success adds more evidence to the long-existing hypothesis that music and language consist of extremely similar structures. We end by investigating the joint analysis of music, in particular showing that a combination of our two models running jointly outperforms each running independently. We also introduce a new joint, automatic, quantitative metric for the complete transcription of an audio recording into an annotated musical score, something which the field currently lacks.

Made available in DSpace on 2016-04-26T18:15:22Z (GMT). No. of bitstreams: 1 Maria Noronha Portugal.pdf: 8425273 bytes, checksum: f08951b156781d7fe6f8fab7ebdea210 (MD5) Previous issue date: 2015-12-11 / This Master s thesis arises from practical artistic experiences in improvisation and composition which question extant paradigms both of the history of musical communication as well as of common knowledge. Such assumptions include the autonomy of the musical text and the notion that musical communication is exclusively sensory. In affirming the hypothesis that all music experience is embodied and that musical meaning emerges from this connection to the body, this research brings to the musical field a discussion which combines theories of communication and cognitive sciences (corpomidia theory), stressing the need to include the body in these debates. To this end, five of the author s artistic experiences over the last thirteen years are analyzed, in addition to a theoretical corpus that considers both physicality, referentiality and spatiality as elements of musical experience (Cook, Smalley); as well as the importance of conceptual metaphor and embodied meaning as foundations of communication (Lakoff and Johnson, Katz and Greiner). The result raises preliminary questions that suggest new possibilities in the context of artistic creation and musical communication / Esta dissertação de mestrado nasce de experiências práticas de improvisação e composição que questionam paradigmas presentes tanto na história da linguagem musical como no senso comum, como, por exemplo, a autonomia da música e sua comunicação exclusivmente sensível. Ao afirmar a hipótese de que toda experiência musical constitui-se corporalmente e que é a partir dessa conexão que emergem os seus significados, esta pesquisa traz para o campo musical discussões que aliam teorias da comunicação e ciências cognitivas (teoria corpomídia), insistindo na necessidade de incluir o corpo nestes debates. Para tanto, são analisadas cinco experiências artísticas realizadas pela autora nos últimos 13 anos, relacionadas a um escopo teórico que evidencia: a fisicalidade, a referencialidade e a espacialidade como elementos da experiência musical (espectromorfologia de Smalley, 1997); e a metáfora e o significado corporificado como fundamentos da comunicação (Lakoff e Johnson, 1980; Katz e Greiner, 2005). O resultado esperado é um levantamento preliminar de questões que apontem para novas possibilidades no âmbito da criação e da comunicação musical

The aim of my examination work was to compare and research how russian respective swedish teachers make use of educational aesthetic methods such as drawing, drama, music and dance in the teaching of core school subjects – mathematics and swedish respective russian languages. The aim of this work was to find out which of these methods are used by pedagogues in the process of education and on what level are they integrated into the theoretical pedagogic work. The point was to also analyse the regulation documents used as pedagogical base in schools i've been doing my survey in. This was done to partly find out what arts perspective is given in the curriculum and partly to see what pieces of it are reflected in the process of education. I compared the pedagogic organisation and methods practiced in the classes I've researched. That helped to get the whole picture and possible image of overall students' performance. The questions I used as core: •    What aesthetic forms of expression are used by teachers in the process of education? •    On what level are they integrated into the theoretical work? •    What support to the art perspective is given in the curriculum? Secondary question that helped me to clarify the answers was: •    What parts of curriculum are reflected in the education process? My survey was built on a qualitative research method, that included my own observations and interviews with teachers in both Russian and Swedish schools.Summing up, I've learned that aesthetic forms of expression used by the russian teacher were: drawing, drama, dance and music. These methods integrate with mathematics and russian on different levels.The aesthetic forms of expression used by the swedish teacher are drawing, usually integrated with mathematics and language subjects, and music, used mostly in swedish lessons. The comparison of methods and organisation lined out great difference between how the learning proccess is organised by the russian and the swedish teachers. The bad part here is that it can influence pupils' performance, according to PISA studies.To sum up, I've come to a conclusion that the swedish curriculum is more supportive and contains more concrete examples on how the learning process should be organised, taking into account the art perspective, compared to the russian learning plan, that lack the art perspective for the major part.

Orientador: Alberto T. Ikeda / Resumo: Este trabalho busca compreender o pensamento sobre a Linguagem Musical do compositor Willy Corrêa de Oliveira a partir de transcrições das aulas do curso Linguagem e Estruturação Musicais, ministrado por ele no Departamento de Música da Escola de Comunicações e Artes (ECA) da Universidade de São Paulo (USP). O autor desta dissertação parte de trechos de aulas para encontrar relações desse pensamento com a Filosofia Marxista e com diversas teorias e metodologias que resultam em uma maneira de "entender a idéia por trás das notas", característica de suas análises. O materialismo-dialético é compreendido no pensamento de Willy a partir da prática e de uma consciência histórica marxista. Esses também seriam os pontos de ligação entre a teoria marxista e outras, como a fenomenologia, a hermenêutica e a semiótica, no caso. As transcrições encontram-se integrais nos Anexos. Assim, o pensamento musical de um compositor brasileiro contemporâneo torna-se disponível e acessível para os que buscam trilhar os mesmos caminhos. / Abstract: This work aims to understand the musical thought of composer Willy Corrêa de Oliveira from transcriptions of a course named Musical Language and Structure taught by him at Music Department of Arts and Communication School of University of São Paulo. Author works from takes of registered classes to relate this thought to Marxist Philosophy and other theories and methodologies resulting in a way of "understanding the idea behind the notes", which is one of its characterizes. Dialectic-materialism is understood in Willy's thought from practice and a Marxistconscience of History. These would be the basis to join Marxist theory to others, like Phenomenology, Hermeneutics and Semiotics, in this case. All transcriptions are part of this work. Thus, musical thought of a Brazilian contemporary composer is accessible for those who go by the same track. / Mestre

Die eingehende Analyse ausgewählter Aspekte der Wort-Ton-Gestaltung in Gustav Mahlers Vokalsinfonik ist Schwerpunkt der vorliegenden Untersuchung. Prämisse ist Mahlers Ausarbeitung ideenprogrammatischer Intentionen, wobei er sich die besondere Stärke der Musik, geistige Sachverhalte in gewisser Weise präziser als Sprache (die hier ins Symbolhafte ausweichen muss) verdeutlichen zu können, offensichtlich bewusst zunutze gemacht hatte. Die Differenziertheit der musikalischen Textinterpretation, zugleich Fokus der Analysen, weist deutliche graduelle Unterschiede auf. Sie reicht vom ,Vertonungscharakter‘ bis hin zur innigsten Anverwandlung von Musik und Textaussage bzw. -semantik. Wesentlich ist das oft proportionale Verhältnis von Grad der Freiheit, die sich Mahler hinsichtlich der Beziehung der Musik zur formalen Topographie des Textes nimmt, zu Intensität und Vielschichtigkeit der musikalischen Textexegese. Je stärker sich ihre musikalische Umsetzung in Richtung ‚Semantik-Ausarbeitung‘ bewegt, verliert die äußerliche Sprache an Materialität, wobei das im Lied von der Erde zutage tretende Amalgam von sprachlicher Semantik und Musik gesondert zu nennen ist. Letztendlich wird die überwiegend eher unbestimmte Textsemantik durch Mahlers Musik denotiert und in zuvor im Bereich der Vokalsinfonik nicht erreichter Intensität zum Klingen gebracht. / Focal point of this thesis is the detailed analysis of selected aspects of the relationship between music and text in Gustav Mahler’s vocal-instru-mental symphonies. Mahler’s elaboration of programmatic intentions functions as background. The composer obviously used the specific quality of music which is able to make spiritual or immaterial facts clearer than language (which here often has to switch over to symbolism). The variety of the text interpretation by Mahler’s music (on which the analyses are focused) shows distinct differences: from a relatively simple setting to music-character to an intense amalgam of music and semantics of the words. An important result of the analyses is the approximate proportionality between independency of Mahler’s music from the text’s formal parameters and intensity of the musical exegesis of the words. The more the music tends to elaborate the semantics, the more decreases the materiality of language. In this context the semantics-music-amalgam in the final movement of Das Lied von der Erde represents an unique example. Ultimately Mahler’s music supplies the denotation of the text semantics. This intermixture shows previously – in the history of development of vocal symphonic tradition – not heard intensity.

Made available in DSpace on 2014-06-11T19:32:56Z (GMT). No. of bitstreams: 0 Previous issue date: 2005-06-28Bitstream added on 2014-06-13T20:44:22Z : No. of bitstreams: 1 ulbanere_a_me_ia.pdf: 2169241 bytes, checksum: 6831d68b53ef115571d0696868229fd2 (MD5) / Universidade Estadual Paulista (UNESP) / Este trabalho busca compreender o pensamento sobre a Linguagem Musical do compositor Willy Corrêa de Oliveira a partir de transcrições das aulas do curso Linguagem e Estruturação Musicais, ministrado por ele no Departamento de Música da Escola de Comunicações e Artes (ECA) da Universidade de São Paulo (USP). O autor desta dissertação parte de trechos de aulas para encontrar relações desse pensamento com a Filosofia Marxista e com diversas teorias e metodologias que resultam em uma maneira de entender a idéia por trás das notas, característica de suas análises. O materialismo-dialético é compreendido no pensamento de Willy a partir da prática e de uma consciência histórica marxista. Esses também seriam os pontos de ligação entre a teoria marxista e outras, como a fenomenologia, a hermenêutica e a semiótica, no caso. As transcrições encontram-se integrais nos Anexos. Assim, o pensamento musical de um compositor brasileiro contemporâneo torna-se disponível e acessível para os que buscam trilhar os mesmos caminhos. / This work aims to understand the musical thought of composer Willy Corrêa de Oliveira from transcriptions of a course named Musical Language and Structure taught by him at Music Department of Arts and Communication School of University of São Paulo. Author works from takes of registered classes to relate this thought to Marxist Philosophy and other theories and methodologies resulting in a way of understanding the idea behind the notes, which is one of its characterizes. Dialectic-materialism is understood in Willy's thought from practice and a Marxistconscience of History. These would be the basis to join Marxist theory to others, like Phenomenology, Hermeneutics and Semiotics, in this case. All transcriptions are part of this work. Thus, musical thought of a Brazilian contemporary composer is accessible for those who go by the same track.