No abstract available. / Thesis (M.Mus.)-University of KwaZulu-Natal, Durban, 2012.

This thesis explores the limitations of determinism in regards to music, media, and the constitution of subjectivity. Its methodological resource is derived from a synthesis between media ecology, social psychoanalysis, and music semiotics. The case studies describe the incorporation of nostalgia into popular music ballads, the domestication of the phonograph, the contemporary trend of mashups, and the studio technique of backmasking. The conclusion asks that we readjust our approach to music, media, and subjectivity to account for the possibility of creative acts that are bound within a network of determinants. I use, finally, the writings of Maurice Merleau-Ponty to explore the body as a primary site of indeterminate mediation, which renders possible for the subject a potential of creative embodied expression.

This thesis explores the limitations of determinism in regards to music, media, and the constitution of subjectivity. Its methodological resource is derived from a synthesis between media ecology, social psychoanalysis, and music semiotics. The case studies describe the incorporation of nostalgia into popular music ballads, the domestication of the phonograph, the contemporary trend of mashups, and the studio technique of backmasking. The conclusion asks that we readjust our approach to music, media, and subjectivity to account for the possibility of creative acts that are bound within a network of determinants. I use, finally, the writings of Maurice Merleau-Ponty to explore the body as a primary site of indeterminate mediation, which renders possible for the subject a potential of creative embodied expression.

Thesis (Ph. D.)--Virginia Polytechnic Institute and State University, 2002. / Includes abstract and vita. Includes bibliographical references.

abstract: In the last few decades, the rapid development of electronic music technologies has changed the way society interacts with music, which in turn impacts the profession of music therapy. Except for a few cases, music therapy has not extensively explored the integration of new technology. However, current research trends show a willingness and excitement to explore the possibilities (Nagler, 2011; Ramsey, 2011; Magee, et al., 2011; Magee & Burland, 2008; Magee 2006). The project described in this paper intends to demonstrate one of these possibilities by combining modern technologies to create an interactive musical system with practical applications in music therapy. In addition to designing a practical tool, the project aims to question the role of technology in music therapy and to initiate dialogue between technologists and music therapists. The project, entitled MIST: A Musical Interactive Space for Therapy, uses modern gestural technology (the Microsoft® Kinect®) to capture body movements and turn them into music. It is intended for use in a clinical setting with children with mild to moderate disabilities. The system is a software/hardware package that is inexpensive, user-friendly, and portable. There are two functional modes of the system: the first sonifies specific movement tasks of reaching and balancing; the second is an interactive musical play space in which an entire room becomes responsive to presence and movement, creating a sonic playground. The therapeutic goals of the system are to motivate and train physical movement, encourage exploration of space and the body, and allow for musical expression, play, auditory perception, and social interaction. / Dissertation/Thesis / The instruction manual for MIST software / M.M. Media Arts and Sciences 2011

Computer software for music has made a significant impact by affecting the perspective of music making, music creating, music education, music production, and music distribution. This impact continues to evolve as individuals seek new avenues of musical expression. Through the papers included in this document, I seek to explore the range and impact of computer software in music, especially software related to music creativity and composition. The first paper is a review of literature concerning the effect of software on creative thought, creativity in music, and the influence this has had in musical composition. In this paper I also explore various techniques of composition, including linear and non-linear processes, which make use of the computer and music software. The second paper is a case study examining the use of music software in a compositional process. In this paper I explore the experiences of the student who was learning to compose music using music software. It offers the perspectives of the students as they developed through each step of the compositional process. It is important that the reader understand the distinction between composition and improvisation as discussed in these two papers. Simply stated, the act of composing is described as the process of forming, making, creating, or constructing music with various elements, phrases, or sections of music. Composing music is often associated with a skill set that captures inspiration and transforms it into a permanent record. Improvisation is the act of creating and playing new music without specific forethought or prior preparation. It can also be define as a skill of creating music in a spontaneous, impromptu, or impulsive way.

This thesis presents an investigation into developing musical systems with an Unconventional Computing substrate. Computer musicians have found it difficult to access the field of Unconventional Computing, which is likely due to its resource-intensive and complex nature. However, ongoing research is establishing the myxomycete Physarum polycephalum as a universally-accessible and versatile biological computing substrate. As such, the organism is a potential gateway for computer musicians to begin experimenting with aspects of Unconventional Computing. Physarum polycephalum, in its vegetative plasmodium form, is an amorphous unicellular organism that can respond with natural parallelism to the environmental conditions that surround it. This thesis explores the challenges and opportunities related to developing musical systems with Physarum polycephalum. As this area of inquiry is in its infancy, the research took inspiration from a common approach in Unconventional Computing: a journey of exploration and discovery. This journey consisted of a selection of waypoints that provided direction while allowing the research to explore applications of Physarum polycephalum in order to establish how it may be useful in Computer Music. These waypoints guided the research from adapting established prototypes for musical application to developing purpose-made musical demonstrators for use outside of the laboratory. Thus, the thesis reports on a series of Computer Music systems that explore one or more features of Physarum polycephalum's behaviour and physiology. First, the text presents an approach to algorithmic composition that exploits the organism's ability to form and reconfigure graph-like structures. Next, the thesis reports on systems that harness the plasmodium's electrical potential oscillations for sound synthesis and compositional tools. Finally, the thesis presents musical devices that encompass living plasmodium as electrical components. Where applicable, the thesis includes artefacts from demonstrations of these systems, some of which were developed in collaboration with a composer. The findings from this journey demonstrate that Physarum polycephalum is an appropriate substrate for computer musicians wanting to explore Unconventional Computing approaches creatively. Although Physarum polycephalum is relatively robust as a biological substrate, several obstacles arose during this project. This research addressed such obstacles by reviewing and selecting approaches that maintained the organism's accessibility to computer musicians. As a result, the work suggests methods for developing systems with the organism that are practical for the average music technologist and also beneficial to the wider group of scientists investigating Physarum polycephalum for other purposes.

Orientador: José Eduardo Ribeiro de Paiva / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-18T07:57:29Z (GMT). No. of bitstreams: 1 Rocha_MarcelEduardoLeal_D.pdf: 1511252 bytes, checksum: 31cce2dc1a1f22d0663cd62cde894493 (MD5) Previous issue date: 2011 / Resumo: A guitarra elétrica é um instrumento musical que nasceu das tentativas de se aumentar a projeção sonora de instrumentos como o violão, a guitarra havaiana e a guitarra acústica archtop. As primeiras guitarras elétricas foram guitarras havaianas e archtops às quais foram instalados captadores magnéticos que enviam informações sonoras para um aparelho que ficou conhecido como amplificador. Dessa maneira, uma guitarra elétrica apenas se efetiva como instrumento musical na total acepção dos termos quando está conectada a um amplificador. Com o passar dos anos o amplificador passou a também processar o som através de equalizadores, reverberadores e do efeito de tremolo. Esses tipos de processamento sonoro passaram a ser oferecidos em aparelhos externos que deram origem aos pedais de efeito sendo criada assim a rede de interfaces característica da guitarra elétrica, na qual o músico atua, além da interface de seu instrumento e de seu amplificador, com as interfaces destes outros aparelhos adicionais. Portanto, a guitarra elétrica já nasceu como instrumento musical tecnológico no sentido de estar sempre em evolução, podendo ser conectada a um número cada vez maior de artefatos de tecnologia. A partir disso, cada músico pode montar a sua rede de interfaces de maneiras completamente diferentes e particulares, com o intuito tanto de estabelecer seu timbre pessoal quanto de escolher os equipamentos e interfaces que melhor se adaptam a sua técnica musical. Devido a essa natureza, o músico deste instrumento necessita exercer, além da técnica musical propriamente dita, a técnica tecnológica, que consiste na atuação sobre esses equipamentos tecnológicos, programando seus parâmetros de acordo com a situação musical em que esteja atuando. O presente trabalho visa investigar as diferentes maneiras que cada músico faz uso desses artefatos tecnológicos como seus meios expressivos no contexto do mercado musical pop, e que tipos de resultados diferentes obtêm como sua expressão artística. Para tanto, são apresentadas e analisadas as tecnologias que lhe foram colocadas à disposição ao longo da história evolutiva da guitarra, com especial ênfase à contemporânea tecnologia da simulação de equipamentos e instrumentos / Abstract: The electric guitar is a musical instrument that was born out of attempts to improve the sound projection of the acoustic guitar, the Hawaiian guitar and the acoustic archtop guitar. The first electric guitars were Hawaiian guitars and archtops on which were installed magnetic pickups that send auditory information to a device that became known as the amplifier. Thus, an electric guitar is only effective as a musical instrument in the total meaning of the terms when it is connected to an amplifier. Over the years, the amplifier has also been made in order to process the sound through built in equalizers, reverbs and tremolo effect. These types of sound processing began to be offered in external devices, which gave rise to the effects pedals. In this way, a network of interfaces had been created and became characteristic of the electric guitar. Therefore, the electric guitar was born as a technological instrument, and is always evolving and being connected to an increasing number of technological artifacts. From this, each player can set up his network in ways quite different and particular, with the aim to establish his personal stamp on choosing equipment and interfaces that best suit their musical technique. Because of the nature of the electric guitar, beyond the musical technique, the guitar player needs to exercise the technological technique, which consists in working on the technological equipments, programming their parameters according to the musical situation. The present work aims to investigate the different ways that each musician makes use of technological artifacts as his expressive means in the context of the pop music market, and what kinds of different results can be obtained as artistic expression. In order to accomplish this, it will be presented and discussed the technologies that have been made available throughout the evolutionary history of the guitar, especially the modern technology that simulates equipments and instruments that is present in effects processors, guitars and music software / Doutorado / Doutor em Música

This dissertation is not available online. A copy of the dissertation on CD is available in the Music Library at Call number: CD MUSOV 661. The purpose of this study is to write unit standards for a Music Technology Programme in South Africa. The research focuses on the introduction of Music Technology as an integral part of the present South African education dispensation. In answering this question, the researcher also answered the sub-questions: What is technology; What is Music Technology; Will a computer replace the teacher; How will the teacher benefit from using Music Technology; How will the learner benefit from Music Technology? Necessary information and guidance for using Music Technology in Music Education is also offered. This was done to be ‘on a par with the existing formulated curricula’ for Music Education in South Africa. On the other hand this is also ‘a paradigm shift away from the existing boundaries, inherited systems and requirements of traditional examining bodies within which teachers in Music Education have operated to date’. This is in correlation with the Proposal for the MEUSSA (Music Education Unit Standards for Southern Africa) project written by Professor Caroline van Niekerk. Apart from literature review, action research was done as part of the MEUSSA team. The MEUSSA team identified the problem of writing unit standards for Music in South Africa and did something to resolve it (complete their theses and dissertations). By applying action research within the MEUSSA team, first hand experience was gained as to where the gaps are and what needed to be done to fill them. Presenting a dissertation on CD-ROM was very challenging. There were virtually no guidelines because this is a very new concept. The researcher of this dissertation is convinced that presenting the dissertation on CD-ROM should be applicable to the medium. It is important that the dissertation is still academically acceptable, but makes use of the new possibilities that the medium offers. In further studies the author intends researching the best content for a teachers’ training programme, who are willing to use technology in their teaching. Future research is recommended in order to address the problem of national employment requirements in areas of music industry and education. E12/4/210 / Dissertation (MMus (Music Education))--University of Pretoria, 2006. / Music / unrestricted

iGrooving is a generative music mobile application specifically designed for runners. The application’s foundation is a step-counter that is programmed using the iPhone’s built-in accelerometer. The runner’s steps generate the tempo of the performance by mapping each step to trigger a kick-drum sound file. Additionally, different sound files are triggered at specific step counts to generate the musical performance, allowing the runner a level of compositional autonomy. The sonic elements are chosen to promote a meditative aspect of running. iGrooving is conceived as a biofeedback-stimulated musical instrument and an environment for creating generative music processes with everyday technologies, inspiring us to rethink our everyday notions of musical performance as a shared experience. Isolation, dynamic changes, and music generation are detailed to show how iGrooving facilitates novel methods for music composition, performance and audience participation.