Global ETD Search

121	Unerhörte Klänge: Zur performativen Analyse und Wahrnehmung posttonaler Musik und ihren historischen Voraussetzungen Utz, Christian 12 July 2023 (has links) Dieses Buch versucht ein in der Musik des 20. und 21. Jahrhunderts zunehmend an Bedeutung gewinnendes Verständnis von „Musik als Wahrnehmungskunst“ (Helmut Lachenmann) für die Musikwissenschaft fruchtbar zu machen: Die ineinander verschränkten Konzepte der performativen Analyse und des performativen Hörens rücken Wahrnehmungsprozesse ins Zentrum musikologischer Methodik. Zum einen wird dabei die zentrale Stellung von Klang, Zeit und Raum in der neuen Musik seit 1900 in breite musikhistorische und -ästhetische Diskurse eingebettet, zum anderen wird mit dem Prinzip der musikalischen Morphosyntax klangliche Materialität als Ausgangspunkt hörend-analytischer Forschung begriffen. Wahrnehmung posttonaler Musik ist als performative Aktivität durch die Erfahrungen des Alltags- und Musikhörens vielfältig ausgestaltbar und dabei durch eine Verflechtung von morphologischen und metaphorischen Schichten geprägt. Die Analysen werfen so neue Perspektiven auf ein breites Spektrum posttonaler Instrumentalmusik von Arnold Schönberg, Edgard Varèse, Giacinto Scelsi, Bernd Alois Zimmermann, György Ligeti, Pierre Boulez, Morton Feldman, György Kurtág, Helmut Lachenmann, Brian Ferneyhough, Gérard Grisey, Salvatore Sciarrino und Isabel Mundry. / This book tries to produce an understanding of “music as an art of perception” (Helmut Lachenmann) – which is becoming increasingly important in the music of the 20th and 21st centuries – in a way that is fruitful for musicology: the intertwined concepts of performative analysis and performative listening move perception processes into the centre of musicological methodology. On the one hand, Christian Utz embeds the central position of sound, time, and space in new music since 1900 in broad music-historical and music-aesthetic discourses, on the other hand, he understands sounding materiality as the starting point for listening-based analytical research, grounded in the principle of musical morphosyntax. As a performative activity, the perception of post-tonal music can be shaped in a variety of ways through the experiences of everyday auditory perception and musical listening and is characterized by an interweaving of morphological and metaphorical layers. The analyses reveal new perspectives on a broad spectrum of post-tonal instrumental music by Arnold Schoenberg, Edgard Varèse, Giacinto Scelsi, Bernd Alois Zimmermann, György Ligeti, Pierre Boulez, Morton Feldman, György Kurtág, Helmut Lachenmann, Brian Ferneyhough, Gérard Grisey, Salvatore Sciarrino, and Isabel Mundry. info:eu-repo/classification/ddc/780 ddc:780
122	Surviving Set Theory: A Pedagogical Game and Cooperative Learning Approach to Undergraduate Post-Tonal Music Theory Ripley, Angela N. 16 October 2015 (has links) No description available. Education Educational Theory Music Music Education Pedagogy Teaching music theory theory pedagogy teaching music theory pedagogical game Survivor pitch-class set theory post-tonal music atonal music twentieth-century music cooperative learning constructive competition intergroup competition challenge tribe
123	A few aspects of aircraft noise Dickson, Crispin January 2007 (has links) A few aspects of aircraft noise were evaluated. These were (i) methods of subjective evaluations, (ii) effects of equalization and (iii) the effects of cognitive aspects. In the first paper, sorting algorithms were used instead of conventional paired comparison method in order to reduce the number of pairs in the evaluation of subjective judgments. The quick sorting algorithm method revealed more than 99% correlation coefficient with paired comparison method although the method used N*log(N) evaluations instead of N(N-1)/2. In the second paper, equalization effects on perception were evaluated in two steps, first with stationary aircraft sounds and second with non-stationary aircraft sounds. The first experiment examined the effects of stationary sound segments respect to three different angle positions of the aircrafts relative to the observer (78.7°, 90° & 101.3°), two different SNR conditions (sounds having original broadband plus tonal components versus control broadband sounds having no tonal components) and two different flight conditions (arrival and take-off). Subjects were asked to scale five perceptual attributes (loudness, annoyance, hardness, power and pitch) using Borg CR100 scale. The angle condition showed highly significant effects on annoyance and hardness. Maximal effects were found at an angle of 78.7°. The SNR revealed a significant impact on loudness, power and pitch. The second experiment analyzed the effects of tonal components and the problem of appropriate equalization. The spectrum of the signals was modified in two steps (buzz-saw, isolated BPF tone). Further EPNL-equalization, A-, B-, C-, D- and spectral broadband equalizations were applied to the synthesized sounds. Annoyance, loudness, hardness and pitch in the isolated tone conditions showed significantly stronger effects than the buzz-conditions on the perceived judgments. The EPNL-equalization led to a lower degree of differentiation between the spectral conditions compared to B- and C-level equalization. In the third paper, the effects of aircraft sounds on children’s cognitive performance were investigated. Impact of aircraft noise on children cognition was found significantly higher in reading comprehensions than in basic mathematics and problem solving tests. It seems children are very sensitive to the modifications in the aircraft noise but further studies are necessary to compliment such a finding. paired comparison sorting based paired comparison sorting algorithms mergesort quicksort aircraft sound synthesis aircraft noise sound quality tonal effects angle positions flight conditions methods of equalization cognition Fluid Mechanics and Acoustics Strömningsmekanik och akustik
124	Structural Pitch Collections in Jaakko Mäntyjärvi's "Richte mich, Gott" Botha, Charlotte 12 1900 (has links) ‘Richte mich, Gott' exemplifies Jaakko Mäntyjärvi's pluralistic compositional approach through an interlaced organization of tonal and non-tonal pitch content. The development of ideas in the text of Psalm 43 and the concluding doxology is depicted across both layers of pitch organization and governed by specific structural pitch collections: (0145) and (0257). Moreover, the organic transformation of these structural pitch collections' intervallic content emerges as a fundamental means of progression throughout the work, in turn influencing the intervallic content of surrounding tonal material. This process of transformation and its relationship to the text is revealed through tonal and pitch-class analysis; a flexible approach to segmentation; and an exploration of two-way and three-way symmetry, and the disruption thereof, in pitch space and pitch-class space. An understanding of the interrelationship between pitch material from the tonal and non-tonal layers of pitch organization can aid singers, conductors, and analysts in the efficacy of their study, preparation, and performance of the psalm. The accompanying appendix of targeted choral warm-ups in this document offers choirs a practical method for studying, internalizing, and performing the non-tonal pitch content in the work. Jaakko Mäntyjärvi Mäntyjärvi Stuttgarter Psalmen choral music pitch-class analysis non-tonal music symmetry pitch collection tetrachords trichordal subsets Mäntyjärvi, Jaakko. Richte mich, Gott. Choral music -- Analysis, appreciation. Music theory. Academic theses
125	Avaliação da audição em criança de 3 a 6 anos, em creches e pré-escolas municipais, de São José do Rio Preto, São Paulo Piatto, Vânia Belintani 18 December 1998 (has links) Made available in DSpace on 2016-01-26T12:51:49Z (GMT). No. of bitstreams: 1 vaniapiatto_dissert.pdf: 265912 bytes, checksum: d6bd354613ca0a9752b4acad6612d8cd (MD5) Previous issue date: 1998-12-18 / The aim of this study was to evaluate the hearing and the prevalence of hearing impairment among children, in the age groups of 3 to 6 years old, from Municipal Nursery and Pre-schools of São José do Rio Preto, S.P. At first stage, audiometries in a free field were performed for screening in 103 children, both sexes in 8 Nursery and 8 Pre-schools previously selected. At second stage, the ones who presented audiometric alterations were referred to the Phonoaudiological Service of FAMERP to perform conventional pure tone audiometer. The classification of hearing impairment in relation to grade was made according to W.H.O. approaches. A male child (0.97%) was found with light grade of conductive hearing impairment in the left ear ( LE=35 dB). There was no significant difference among the ratio of hearing impairment in both sexes (p=1.00). Nine children (8.73%) showed alterations in the hearing thresholds by air conduction in 4000, 6000 and/or 8000 Hz sharp frequencies. The ratio among alterations in these frequencies was not statistically significant in both sexes (p=1.00). There is need of further studies to evaluate the result found in children with alterations in those sharp frequencies. The found prevalence of hearing impairment in this studied population can chek the need of use of prevention programs and earlier diagnosis of hearing impairments. / Este estudo teve como objetivo realizar a avaliação da audição e o levantamento da prevalência de deficiência auditiva em amostra de crianças, na faixa etária de 3 a 6 anos, em creches e pré-escolas municipais de São José do Rio Preto, etapa, em 103 crianças de ambos os sexos, na referida faixa etária, em 8 creches e 8 pré-escolas previamente selecionadas. As crianças que apresentaram alterações audiométricas na triagem, foram encaminhadas ao ambulatório de fonoaudiologia da famerp para realização de audiometria tonal convencional, em uma segunda etapa. A classificação da deficiência auditiva, em relação ao grau, foi feita segundo os critérios da oms. Foi encontrado uma criança do sexo masculino (0,97%) com deficiência auditiva condutiva de grau leve na orelha esquerda (m oe=35 db). Não houve diferença significativa entre as proporções de deficiência auditiva em ambos os auditivas, por via aérea, nas freqüências agudas de 4000, 6000 e/ ou 8000 hz. Nota de Resumo Não foi estatisticamente significante a diferença entre as proporções de alterações nas freqüências acima descritas em ambos os sexos (p=1,00). Há necessidade de posteriores estudas para avaliação do resultado encontrado em relação ás crianças com alterações nas referidas freqüências agudas. A prevalênciaencontrada de deficiência auditiva na população do estudo, pode comprovar a necessidade da implantação de programas de prevenção e diagnóstico precoce da deficiência auditiva. Unitermos: surdez- métodos de avaliação, classificação; crianças- pré-escolares; audiometria-tonal, da fala. Crianças - pré-escolares Audiometria - tonal, da fala Audiometria Criança Creches Perda Auditiva Audiometry Child Child Day Care Centers Hearing Loss Children - Pre-School Audiometry - pure tone, speech Niño Jardines Infantiles Pérdida Auditiva
126	以優選理論分析兩個客語方言之連讀變調 / An Optimality Theory Approach to the Tone Sandhi in Two Hakka Dialects 陳煒翰, Chen, Wei Han Unknown Date (has links) 本論文以優選理論分析六家饒平客語和寧都田頭客語雙音節詞之連讀變調，並藉由聲調內部結構說明變調的動機。在六家饒平客語方面，主要是呈現位置變調(positional tone sandhi)，較有標(more marked)的聲調位於前字時發生變調。另外，此方言的陽平和陽去因歷史演變，兩者的本調(citation tone)同為HH，但兩者因不同的變調形式而產生不同的變調(sandhi tone)。陽去的變調形式為位置變調，而陽平的變調形式為環境變調(contextual tone sandhi)。本文採用聯合制約(Local Constraint Conjunction)捕捉環境變調制約運作的環境。另外，運用「詞素特定音韻」(morpheme-specific phonology)標記聯合制約，解釋陽平和陽去不同的變調規則。在寧都田頭客語方面，變調受詞法結構影響，且兩個音節皆有可能發生變調。本文利用標記制約理論(indexed constraints approach)解釋不同結構的變調情形。另藉由位置信實制約不同的排序，嘗試說明聲調的保留屬於類型差異(typological differences)。而此方言的變調類型包含位置變調和環境變調，同樣要求較有標的聲調改變，並使用聯合制約說明在環境變調的情況下制約運作的環境。 / This thesis investigates the tone sandhi in Liujia Raoping Hakka and Ningdu Tiantou Hakka under the framework of Optimality Theory. The internal structure of the tone reveals the motivation and the mechanism of tone sandhi. In terms of the tone sandhi in Liujia Raoping Hakka, the universal tonal markedness tendency could be regarded as the motivation triggering the positional tone sandhi in the left syllable. Moreover, the morpheme-specific phonology is adapted to account for the tone sandhi of historical merged tones, Yangping and Yangqu. Yangping and Yangqu are both high level tones; however, they display different tone sandhi patterns. Yangping displays the contextual tone sandhi whereas Yangqu displays the positional tone sandhi. Local conjunction constraints are posited to restrict markedness constraints to specific contexts in order to account for the mechanism of contextual tone sandhi. On the other hand, in terms of the tone sandhi in Ningdu Tiantou Hakka, the tone sandhi is construction sensitive and takes place in both syllables. The indexed constraint approach is adopted to explain the tone sandhi in different constructions. In addition, the preservation of tone is argued to be the typological difference according to different rankings of the positional faithfulness constraints. Finally, the tonal markedness tendency motivates the positional tone sandhi and the conjoined constraints are posited to govern the contextual tone sandhi in this dialect. 優選理論連讀變調六家饒平客語寧都田頭客語聲調結構聯合制約詞素特定音韻 Optimality Theory tone sandhi Liujia Raoping Hakka Ningdu Tiantou Hakka tonal structure Local conjunction constraint morpheme-specific phonology
127	台灣地區國語二聲的聲調變異之語音學研究：閩南語/國語雙語語者和國語單語語者之比較 / The Tonal Variation of Mandarin Tone 2 in Taiwan: A Phonetic Study on Taiwanese-Taiwan Mandarin Bilinguals and Taiwan Mandarin Monolinguals 許書瑜, Hsu, Shu-Yu Unknown Date (has links) 國語二聲在文獻上多被描述為一調值35的高升調。然而近來不少學者發現台灣地區的國語二聲在閩南語/國語雙語語者族群中有變異的現象：一是323的降升調，二是接近31的低降調。文獻顯示這可能與語言背景(Lo, 2004)和地區(H. J. Hsu,2004)有關。然而對於國語單語語者的研究並不多。此外，性別、母音、聲調環境和句中位置也有可能影響聲調的變異。因此，本研究旨在調查台灣地區的聲調變異現象，藉由語音學實驗的方式，探究國語二聲的變異和語言背景（閩語/國語雙語語者或國語單語語者）的關係。並進一步探討其與社會因素：地區（北、中、南）、性別和語言學因素：母音、聲調環境和句中位置的關係。受試者以17-27歲的年輕族群為主。結果發現台灣地區的年輕人普遍以平調（中平調或低平調）(level)作為二聲變異的主要變體，另一較少數的變體則為低升調(low-rising)，低降調在本研究中並不明顯。這些二聲變體有可能是受到整體調域向下縮窄的影響。而閩語/國語雙語語者的確發出較多的聲調變異，特別是低升調，這可能是受到閩語聲調系統的影響。地區、性別，以及母音、聲調環境和句中位置都會影響二聲變異。本研究進一步證實二聲的聲調變異在台灣年輕族群中的發展，支持了台灣地區國語的調域縮窄的現況。 / Mandarin Tone 2 is canonically described as a high rising tone. However, recently, T2 in Taiwan was found to have other contour types: the dipping contour (323) and falling (31) variants (Fon, 1997; H. J. Hsu, 2004), with the former being considered as a normal rising tone, but the later totally losing the rising feature. Those were all found in Taiwanese (Tw)-Taiwan Mandarin(TM) bilinguals. The reasons causing this tonal variation is supposed to be relating to the language backgrounds and other social and linguistic factors from previous studies. However, no study has confirmed those correlated factors, especially the comparison between Tw-TM bilinguals and TM monolinguals. This study thus aims to discover what the T2 variation is and where it occurs. By sampling 24 subjects, aged 17-27, with half Tw-TM bilinguals and half TM monolinguals, we conducted three experiments to test the T2 in different contexts. Results showed that instead of the falling variant, more speakers produced a level variant and a small amount of low-rising variant. Besides, the bilinguals did produce more T2 variations than the monolinguals. The results indicated that language background does affect the T2 variation among young speakers in Taiwan. Moreover, the high percentage of the Level variant support the finding of a narrower tonal range of TM, compared to the standard Mandarin. Other factors, such as genders, regions, vowels, tonal environments and sentence positions were also found to have influence on T2 variations. 聲調聲調變異台灣地區國語雙語語者單語語者語言背景語音學聲學語音學 tone tonal variation Taiwan Mandarin bilingual monolingual language background phonetics acoustic phonetics
128	De sammansatta ordens accentuering i Skånemålen / Tonal Word Accent and Stress in Compound Words in Traditional Scanian Dialects Strandberg, Mathias January 2014 (has links) Swedish has a contrast between two so-called tonal word accents: accent 1 and accent 2. In central standard Swedish, for example, compound words generally have accent 2 and primary stress on the first element. In contrast, traditional Scanian dialects exhibit both a high occurrence of accent 1 in compounds and dialect geographic variation between accent 2 and second element stress. This dissertation argues in favour of four diachronically oriented hypotheses pertaining to the word accent distribution in compounds with monosyllabic first elements in these dialects: (1) compounds emanating from syntactic juxtapositions have accent 1; (2) compounds formed by way of compounding proper (stem compounds and comparable formations) have accent 2 or second-element stress; (3) compounds of either of these two types do, however, have accent 1 if the first element was originally disyllabic and has lost its posttonic syllable through syncope; (4) West Germanic loanwords have accent 1. This permits the generalisation that postlexical accent 2, which applies generally in compounds in central standard Swedish, for example, only applies in (non-syncopated) compounds proper in Scanian dialects, while in the other categories the word accent follows from the first element. The larger dialect geographical picture in Sweden is discussed, and it is concluded that the system found in Scanian and many other dialects represents the original state of affairs in Scandinavia as a whole, while the central standard Swedish system with general accent 2 in compounds is an innovation. The dissertation also gives a dialect geographical account of second-element stress, which, in agreement with previous research, is found to be primarily a south Scanian but to some degree also a north-west Scanian phenomenon. It is further proposed that Scanian second-element stress originated in an accent-2 curve with the floating prominence tone H (entailing the curve’s F0 maximum) timed with the posttonic syllable, by way of association of the prominence tone to the posttonic syllable. This curve is documented in south-east Scania and is hypothesised to have earlier been spread throughout southern and western Scania. tonal word accent tone accent word accent accent 1 accent 2 stress second-element stress compounds compound words Scanian dialects Swedish etymology syncope loanwords borrowing ordaccent tonaccent accent 1 accent 2 betoning efterledsbetoning sammansättningar sammansatta ord skånska dialekter svenska etymologi synkope lånord
129	Luteria composicional de algoritmos pós-tonais Soares, Guilherme Rafael 30 March 2015 (has links) Submitted by Renata Lopes (renatasil82@gmail.com) on 2015-12-07T16:46:12Z No. of bitstreams: 1 guilhermerafaelsoares.pdf: 5619162 bytes, checksum: 75fa907e315795bd1f893ed8c941e9bd (MD5) / Approved for entry into archive by Adriana Oliveira (adriana.oliveira@ufjf.edu.br) on 2015-12-07T21:41:38Z (GMT) No. of bitstreams: 1 guilhermerafaelsoares.pdf: 5619162 bytes, checksum: 75fa907e315795bd1f893ed8c941e9bd (MD5) / Made available in DSpace on 2015-12-07T21:41:38Z (GMT). No. of bitstreams: 1 guilhermerafaelsoares.pdf: 5619162 bytes, checksum: 75fa907e315795bd1f893ed8c941e9bd (MD5) Previous issue date: 2015-03-30 / FAPEMIG - Fundação de Amparo à Pesquisa do Estado de Minas Gerais / Esta pesquisa sistematiza um catálogo de experimentos constituído de estudos musicais e seus algoritmos geradores, organizando procedimentos para composição assistida por computador orientados por regras derivadas de análises musicais de contexto pós-tonal. Os procedimentos são inspirados em apontamentos de estudos sobre pós-tonalidade no compositor Béla Bartók, encontrados nas obras de Lendvai (1971), Antokoletz (1984), Cohn (1991) e Suchoff (2004). Problematizam-se aqui os conceitos de ciclos intervalares, eixos de simetria, polimodalismo e peculiaridades de coleções referenciais de classes de altura - conforme sugestões de Forte (1973), Straus (2004) e Susanni e Antokoletz (2012). São detalhadas questões computacionais para esta implementação, utilizando como base as ferramentas OpenMusic e biblioteca Python Music21. Um legado em código aberto fica disponível para continuidades possíveis deste trabalho. / This research produces a catalog of experiments in musical studies and its related generative algorithms, organizing procedures for computer aided composition oriented by constraints extracted from post-tonal musical analyses. The procedures are inspired by post-tonality studies of Béla Bartók’s music, found in the works of Lendvai (1971), Antokoletz (1984), Cohn (1991) and Suchoff (2004). Main focus on problematization of interval cycles, symmetry axis, polymodalism and peculiarity of referencial collections from pitch-class set theory - as sugested by Forte (1973), Straus (2004) and Susanni e Antokoletz (2012). Details of computational issues for the implementation, using the open source tools OpenMusic and Music21 (python library) as base. Artes visuais, música e tecnologia Música algorítmica Pós-tonalismo Teoria dos conjuntos Pitch class theory Luteria Composição assistida por computador Musicologia assistida por computador Open Music Software livre Music21 Béla Bartók Algorithmic Composition Post-Tonal theory Pitch class set theory Computer aided composition Open Music Music21 Python Free Software Béla Bartók
130	BBT Acoustic Alternative Top Bracing CADD Data Set-NoRev-2022Jun28 Hemphill, Bill 22 July 2022 (has links) This electronic document file set consists of an overview presentation (PDF-formatted) file and companion video (MP4) and CADD files (DWG & DXF) for laser cutting the ETSU-developed alternate top bracing designs and marking templates for the STEM Guitar Project’s BBT (OM-sized) standard acoustic guitar kit. The three (3) alternative BBT top bracing designs in this release are (a) a one-piece base for the standard kit's (Martin-style) bracing, (b) 277 Ladder-style bracing, and (c) an X-braced fan-style bracing similar to traditional European or so-called 'classical' acoustic guitars. The CADD data set for each of the three (3) top bracing designs includes (a) a nominal 24" x 18" x 3mm (0.118") Baltic birch plywood laser layout of (1) the one-piece base with slots, (2) pre-radiused and pre-scalloped vertical braces with tabs to ensure proper orientation and alignment, and (3) various gages and jigs and (b) a nominal 15" x 20" marking template. The 'provided as is" CADD data is formatted for use on a Universal Laser Systems (ULS) laser cutter digital (CNC) device. Each CADD drawing is also provided in two (2) formats: Autodesk AutoCAD 2007 .DWG and .DXF R12. Users should modify and adapt the CADD data as required to fit their equipment. This CADD data set is released and distributed under a Creative Commons license; users are also encouraged to make changes o the data and share (with attribution) their designs with the worldwide acoustic guitar building community. BBT acoustic guitar brace bracing top CADD CAD DWG DXF R12 lutier ETSU OM orchestra model STEM STEM Guitar building project kit storefront 3mm 0.118" Baltic birch plywood sheet 24 18 3mm 0.118 laser cut engrave etch marking template layout Martin Martin-style X-brace X-bracing X-braced X tone arm tonal variant alternative alt ladder 277 fan classicial European tab slot bump out radiused 300 inch 25 foot 762 meter radius base vertical scallop glue wood go-bar go bar deck jig fixture gage gauge headstock head plate neck contour fret stack stackable align alignment position orientation vertical perpendicular T1 upper bout lower kerfing sand chisel shape weight lighten light tone tap carbon-dioxide CO2 10.6 µm Universal Laser Systems ULS workboard waxed baker sheet Acoustics, Dynamics, and Controls Adult and Continuing Education Algebraic Geometry Appalachian Studies Art Education Educational Technology Elementary Education and Teaching Engineering Education Geometry and Topology Harmonic Analysis and Representation Higher Education and Teaching Industrial and Product Design Manufacturing Music Music Education Other Engineering Science and Materials Polymer and Organic Materials Science and Mathematics Education Secondary Education and Teaching Structural Materials Vocational Education

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