Bibliography: leaves 277-281.

L'analyse quantitative de la parole est pratiquée couramment en milieu clinique. Il s'agit d'un moyen d'évaluation non-invasif en vue de la documentation quantitative de la qualité de voix, et de son suivi au cours du temps. En milieu clinique, les méthodes d'analyse de signaux de parole doivent être fiables pour traiter des signaux de parole de locuteurs dysphoniques et âgés. De plus, les résultats de ces analyses doivent pouvoir se résumer à un faible nombre d'indices acoustiques pertinents et interprétables par les cliniciens. Dans le cadre de cette thèse, nous nous sommes intéressés à la caractérisation des modulations basse-fréquence du signal de parole, et à son application à des locuteurs atteints de la maladie de Parkinson et à des locuteurs normophoniques. Nous avons étudié d'une part l'estimation des modulations de la fréquence phonatoire, qui est la fréquence fondamentale du signal de parole. D'autre part, nous avons examiné les méthodes de caractérisation des modulations des fréquences des formants, qui sont les effets des résonances du conduit vocal dans le signal de parole. Nous avons développé des méthodes basées sur des transformées en ondelettes continues pour analyser ces modulations. Nous nous sommes également intéressés à l'application de méthodes d'estimation d'un conduit vocal acoustiquement équivalent à partir du signal de parole. Nous avons appliqué ces méthodes à des signaux de parole de trois corpora. Le premier corpus est composé de locuteurs atteints de la maladie de Parkinson et de locuteurs normophoniques, le deuxième de locuteurs parkinsoniens enregistrés dans deux états pharmacologiques, et le troisième de locuteurs parkinsoniens enregistrés avant et après une thérapie vocale. Des analyses statistiques ont montré des différences significatives entre les indices de modulation en fonction de l'état de santé, en fonction de l'état pharmacologique, et au cours de la thérapie vocale.

The purpose of this study was to create an instructional program for high school vocal music students which would be consistent with recent theoretical writings in the areas of aesthetic perception and response.Recent literature was surveyed with the intention of deriving basic principles which could increase the ability to perceive the aesthetic qualities in an art work and which could improve the capacity to respond to Aesthetic perception is improved by focusing the attention directly on the art object, by displaying a certain amount of psychical distance, by participation in the interaction between percipient and art object as well as prior experience and expectations. Further, factors which enrich aesthetic perception are the coordination of intellectual and emotional processes, theorganization of stimuli into the most simple or most complete figures, and finally, the human ability to study the art object with the absence of judgment-making.Aesthetic response may be cultivated by recognizing the patterns of tension and resolution inherent in musical works, by using the necessary contemplation time to react to an art work and by awareness of the fact that there is no standard response to an art work on behalf of the human being. However, man's capacity to respond to music is universal. Developing this capacity for aesthetic responsiveness enables man to reach his deepest human potential.A teaching program was created which incorporated the objectives of increased ability to perceive and improved capacity to respond to musical art works. The method was derived from several aesthetic theories and subscribed to no one particular theory. The sequence of instruction was ordered so that the music would be experienced, then studied, then experienced again in an escalating developmental pattern. Students in such a program would be asked to play a vital role in the interaction relationship between art work and performer percipient. The student performer then becomes a creator who through derived sensitivity and understanding brings the music to life.Sample instructional modules were supplied to serve as suggestions for creating a rehearsal laboratory for music exploration. While retaining excellent musical skill standards in rehearsals, the modules attempt to contribute positively to the musical sensitivity and understandings of high school music performance students.In conclusion, it may be stated that the goals of any music education program should include the increased sensitivity to and the greater understanding of the inherent aesthetic qualities of the music studied. Objectives to these ends may be considered as the increased. ability to perceive the aesthetic qualities present in a musical composition and the improved capacity to respond to the qualities which are perceived.

Thesis (M. Mus. (Mus. Ed.)) -- University of Sydney, 1998. / Title from title screen (viewed November 11, 2009) Submitted in fulfilment of the requirements for the degree of Master of Music (Music Education) to the Music Education Unit of Sydney Conservatorium of Music. Includes bibliographical references. Also available in print form.

Thesis--University of Michigan. / Vol. 2 contains the author's transcription of 9 compositions by Giovanni Legrenzi into modern score. Includes bibliographical references.

Thesis (D.M.A.)--West Virginia University, 2003. / Title from document title page. Document formatted into pages; contains vii, 94 p. : music. Includes abstract. Includes bibliographical references (p. 91-94).

Ave Maria / L. Luzzi -- Per pieta bel idol mio / Vincenzo Bellini -- Ideale / Francesco Paolo-Tosti -- Mattinata / Ruggiero Leoncavallo -- I wait for you; How fair this place; Believe it not / Sergei Rachmaninoff -- L'alba separa dalla luce; Non t'amo piu; L'ultima canzone / Tosti -- In un coupe; O Mimi, tu piu non torni / Giacomo Puccini -- Giovanna, ho die rimorsi; Parla, siam soli; Un di, se ben remmentomi / Giuseppe Verdi -- On the hill / Wonho Kim -- Mountain village / Dunam Cho -- Lullaby / Leslie Adams -- Ride on King Jesus / arr. Hall Johnson -- Mountain sunset / Pangil Park -- Boating song / Doonam Cho. / text

Ave Maria / L. Luzzi -- Per pieta bel idol mio / Vincenzo Bellini -- Ideale / Francesco Paolo-Tosti -- Mattinata / Ruggiero Leoncavallo -- I wait for you; How fair this place; Believe it not / Sergei Rachmaninoff -- L'alba separa dalla luce; Non t'amo piu; L'ultima canzone / Tosti -- In un coupe; O Mimi, tu piu non torni / Giacomo Puccini -- Giovanna, ho dei rimorsi; Parla, siam soli; Un di, se ben remmentomi / Giuseppe Verdi -- On the hill / Wonho Kim -- Mountain village / Dunham Cho -- Lullaby / Leslie Adams -- Ride on King Jesus / arr. Hall Johnson -- Mountain sunset / Pangil Park -- Boating song / Doonam Cho. / text

Ave Maria / L. Luzzi -- Per pieta bel idol mio / Vincenzo Bellini -- Ideale / Francesco Paolo Tosti -- Mattinata / Ruggiero Leoncavallo -- I wait for you, op. 14, no. 1; How fair this place!; Believe it not! / Sergei Rachmaninoff -- L'alba separa dalla luce; Non t'amo piu; L'ultima canzone / Tosti -- In un coupe?; O Mimi, tu piu non torni / Giacomo Puccini -- Giovanna, ho dei rimorsi; Parla, siam soli; Un di, se ben remmentomi / Giuseppe Verdi -- On the hill / Wonho Kim -- Mountain village / Dunam Cho -- Lullaby / Leslie Adams -- Ride on King Jesus / arr. Hall Johnson -- Mountain sunset / Pangil Park -- Boating song / Doonam Cho. / text

Dirti addio / Gaetano Donizetti -- Four songs / Andre Previn -- L'amero saro costante / W. A. Mozart -- La flute enchantee / Maurice Ravel -- Une flute invisible / C. Saint-Saens -- Scena, Le nozze di Figaro / W. A. Mozart -- Trio, Der Rosenkavalier / Richard Strauss. / text