This dissertation addresses the place of music in circuit chautauqua, the place of circuit chautauqua in American culture, and the role of music in defining that place. It takes into account the perception of chautauqua as a conduit by which higher culture and urban intellectual discourse could reach rural Americans, and the implications of this perception on musical programming. The heyday of the circuit chautauqua movement (1904-1932) occurred during a time of considerable interaction between, and discussion of, entertainment and education in the United States. Music was important to the self-image of those involved in the entertainment and education industries, and especially to those who could not easily be labeled as either entertainers or educators. Chautauqua performers, and the chautauqua movement itself, held an uneasy position on the continuum between pleasing crowds and bettering audience members’ lives. Music helped to define circuit chautauqua, both as an edifying factor and as an empty diversion. Popular music attracted crowds, while art music enhanced chautauqua’s image as a valid outlet for high culture. Music’s role in defining chautauqua’s identity was often more complex, however, as the lines between art and popular music, and thus between education and entertainment, were rarely clearly defined. Much of the programming billed as cultural outreach would have been more accurately labeled as novelty, while the popular music often espoused patriotism, loyalty, piety, and other sentiments that would cause audiences and critics to deem such music as edifying, if not purely educational. This dissertation seeks to clarify music’s role in establishing and maintaining circuit chautauqua’s reputation as a cultural conduit, an educational force, and an American institution.

This thesis studies rhythm from an evolutionary computation perspective. Rhythm is the most fundamental dimension of music and can be used as a ground to describe the evolution of music. More specifically, the main goal of the thesis is to investigate how complex rhythmic structures evolve, subject to the cultural transmission between individuals in a society. The study is developed by means of computer modelling and simulations informed by evolutionary computation and artificial life (A-Life). In this process, self-organisation plays a fundamental role. The evolutionary process is steered by the evaluation of rhythmic complexity and by the exposure to rhythmic material. In this thesis, composers and musicologists will find the description of a system named A-Rhythm, which explores the emerged behaviours in a community of artificial autonomous agents that interact in a virtual environment. The interaction between the agents takes the form of imitation games. A set of necessary criteria was established for the construction of a compositional system in which cultural transmission is observed. These criteria allowed the comparison with related work in the field of evolutionary computation and music. In the development of the system, rhythmic representation is discussed. The proposed representation enabled the development of complexity and similarity based measures, and the recombination of rhythms in a creative manner. A-Rhythm produced results in the form of simulation data which were evaluated in terms of the coherence of repertoires of the agents. The data shows how rhythmic sequences are changed and sustained in the population, displaying synchronic and diachronic diversity. Finally, this tool was used as a generative mechanism for composition and several examples are presented.

Es ist unmöglich, in einem Artikel ein ausführliches Bild der ukrainischen Musikwissenschaft aufzuzeigen. Unser Ziel besteht darin, dem Leser einen Einblick in das vielfältige Panorama der heutigen ukrainischen Musikwissenschaft zu vermitteln. Dabei ist es nötig, auch die gesellschaftlich-sozialen Umstände zu nennen, die direkt oder indirekt auf die gegenwärtige Situation in der ukrainischen Musikwissenschaft Einfluß haben und den Geist der Zeit bestimmen.

The great number of musical sources preserved in manuscript and printed form clearly reflects the prominent position held by the lute as a musical instrument during the sixteenth and early seventeenth centuries. Only a relatively small portion of this vast literature is presently available to scholars and interested laymen in the form of modern transcriptions. Referred to as "l'instrument noble par excellence," the lute's popular and fashionable appeal is evidenced by the large number of composers who dedicated themselves to this instrument. Among the number of outstanding lute composers living in Italy during the sixteenth and early seventeenth centuries was Giulio Cesare Barbetta (c. 1540-after 1603). During his lifetime Barbetta published a total of four books of lute pieces containing arrangements of polyphonic compositions of various Renaissance composers as well as a large number of original compositions including .preludes, airs, fantasias, and dance pieces. Although Barbetta achieved importance as a leading figure in the Italian school of lute composition, there is little readily available material, either biographical or musical; this study provides the scholar, the performer, and the listener with biographical data and a modern edition of the composer's complete works.

The great number of musical sources preserved in manuscript and printed form clearly reflects the prominent position held by the lute as a musical instrument during the sixteenth and early seventeenth centuries. Only a relatively small portion of this vast literature is presently available to scholars and interested laymen in the form of modern transcriptions. Referred to as "l'instrument noble par excellence," the lute's popular and fashionable appeal is evidenced by the large number of composers who dedicated themselves to this instrument. Among the number of outstanding lute composers living in Italy during the sixteenth and early seventeenth centuries was Giulio Cesare Barbetta (c. 1540-after 1603). During his lifetime Barbetta published a total of four books of lute pieces containing arrangements of polyphonic compositions of various Renaissance composers as well as a large number of original compositions including .preludes, airs, fantasias, and dance pieces. Although Barbetta achieved importance as a leading figure in the Italian school of lute composition, there is little readily available material, either biographical or musical; this study provides the scholar, the performer, and the listener with biographical data and a modern edition of the composer's complete works.

Neste trabalho investigaram-se os usos que um grupo de atores sociais ligados à música clássica fizeram do disco, do rádio e da história da música como instrumentos de educação e divulgação musicais. A investigação se concentrou no arco temporal compreendido entre os anos de 1922 a 1945. Como preocupação metodológica procurou-se levar em conta a rica semântica do termo \"história da música\", conceito investigado por meio dos periódicos consultados. Privilegiou-se uma orientação interdisciplinar para o tratamento das questões levantadas. Utilizou-se como fontes primárias um conjunto de periódicos brasileiros especializados em música, além de cartas, documentos oficiais, entrevistas, depoimentos e materiais impressos de apoio a programas de rádio. Como fontes bibliográficas destacaram-se obras de história cultural, musicologia e etnomusicologia. Como resultado da investigação, constatou-se a centralidade dos novos meios tecnológicos (disco e rádio) na pauta das discussões dos especialistas musicais. Verificou-se a importância da questão pedagógica e da divulgação em inúmeras iniciativas desses atores sociais, bem como uma produção significativa de trabalhos de história da música com objetivo de \"vulgarização\". O levantamento permitiu identificar também certo caráter autoritário nas ações dos promotores da música de concertos, comportamento caracterizado pela desconfiança e até certo desprezo pelas práticas musicais dos indivíduos visados por tais iniciativas. Perceberam-se também algumas mudanças no horizonte de escrita da história da música, em favor de uma orientação científica e de maior especialização para o pesquisador musical. / This study investigates the uses, made by a group of social actors related to classical music, of the records, radio and music history as instruments of music education and popularization. The investigation is focused on the time period from 1922 to 1945. As a methodological concern, we have taken into account the rich semantics of the expression \"music history\", a concept investigated by means of the periodicals consulted. An interdisciplinary orientation was favored for the treatments of the issues raised. The author used as primary sources an ensemble of Brazilian periodicals specializing in music, besides letters, official documents, interviews, testimonies and printed materials supporting radio programs. Bibliographical sources included particular works of cultural history, musicology and ethnomusicology. As a result of the investigation, the study evidenced the centrality of the new technological media (record and radio) in music specialists\' discussion agenda. It was demonstrated the importance of the pedagogical issue and of the broadcasting in numberless initiatives of those social actors, as well as a significant production of music history works with the purpose of \"vulgarization\". The research allowed us to identify also some authoritarian features in the actions of promoters of concert music, a behavior characterized by the mistrust and even certain contempt for the musical practices of the individuals targeted by such initiatives. It was possible to notice also some changes in the horizon of the writing of music history, in favor of a scientific approach and a greater specialization for music researchers.

Musical timbre is a complex and multidimensional entity which provides information regarding the properties of a sound source (size, material, etc.). When it comes to music, however, timbre does not merely carry environmental information, but it also conveys aesthetic meaning. In this sense, semantic description of musical tones is used to express perceptual concepts related to artistic intention. Recent advances in sound processing and synthesis technology have enabled the production of unique timbral qualities which cannot be easily associated with a familiar musical instrument. Therefore, verbal description of these qualities facilitates communication between musicians, composers, producers, audio engineers etc. The development of a common semantic framework for musical timbre description could be exploited by intuitive sound synthesis and processing systems and could even influence the way in which music is being consumed. This work investigates the relationship between musical timbre perception and its semantics. A set of listening experiments in which participants from two different language groups (Greek and English) rated isolated musical tones on semantic scales has tested semantic universality of musical timbre. The results suggested that the salient semantic dimensions of timbre, namely: luminance, texture and mass, are indeed largely common between these two languages. The relationship between semantics and perception was further examined by comparing the previously identified semantic space with a perceptual timbre space (resulting from pairwise dissimilarity rating of the same stimuli). The two spaces featured a substantial amount of common variance suggesting that semantic description can largely capture timbre perception. Additionally, the acoustic correlates of the semantic and perceptual dimensions were investigated. This work concludes by introducing the concept of partial timbre through a listening experiment that demonstrates the influence of background white noise on the perception of musical tones. The results show that timbre is a relative percept which is influenced by the auditory environment.

This thesis describes research in the computational analysis of harmony in western art music, focussing particularly on improving the accuracy and information-richness of key and chord extraction from digital score data. It is argued that a greater sophistication in automatic harmony analysis is an important contribution to the field of computational musicology. Initial experiments use hidden Markov models to predict key and modulation from automatically labelled chord sequences. Model parameters are based on heuristically formulated chord and key weightings derived from Sch¨onberg’s harmonic theory and the key and chord ratings resulting from perceptual experiments with listeners. The music theory models are shown to outperform the perceptual models both in terms of key accuracy and modelling the precise moment of key change. All of the models perform well enough to generate descriptive data about modulatory frequency, modulatory type and key distance. A robust method of classifying underlying chord types from elaborated keyboard music is then detailed. The method successfully distinguishes between essential and inessential notes, for example, passing notes and neighbour notes, and combines note classification information with tertian chord potential to measure the harmonic importance of a note. Existing approaches to automatic chord classification are unsuitable for use with complex textures and are restricted to triads and simple sevenths. An important goal is therefore to recognise a much broader set of chords, including complex chord types such as 9ths, 11ths and 13ths. This level of detail is necessary if the methods are to supply sophisticated information about the harmonic techniques of composers. Testing on the first twenty-four preludes of J. S. Bach’s Well Tempered Clavier, hand annotated by the author, a state of the art approach achieves 22.1% accuracy; our method achieves 55% accuracy.

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Denna uppsats beskriver en av många möjliga sätt att skapa ett soundscape med hjälp av digitala verktyg. Resultatet testas sedan med hjälp av en enkätundersökning för att ta reda på huruvida realistiskt och immersivt arbetet upplevs. Syftet med denna uppsats är att presentera ett tillvägagångssätt för musiker och producenter att skapa soundscapes med hjälp av digitala verktyg. Detta projekt är ett designarbete med en metod framtagen ur boken A Designer's Research Manual. Designarbetet beskrivs under rubriken Skapandet av ett soundscape. Resultatet av detta arbete visar att detta tillvägagångssätt ej upplevs lika realistiskt som andra soundscapes. Detta kan bero på flera olika anledningar som exempelvis de verktyg som använts, den testmetod som använts, författarens egna förmåga som ljuddesigner etc