15,449 research outputs found
Methods and ideas for the creation of 'transparent' music in the classroom
This thesis was submitted for the degree of Doctor of Philosophy and awarded by Brunel University.Methods and ideas for the creation of âtransparentâ music in the classroom
The aims of this port-folio are as follows;
- To provide a coherent sequence of pieces and methods which can be used to create music in an educational context and also encourage students and teachers to develop their own creativity.
- To provide pieces which develop studentâs confidence in their own ability to
create music in a variety of ways including composition, improvisation and
creative leadership.
- To provide exercises and pieces which help to develop the listening and appreciation skills essential for ensemble musicmaking.
- To provide methods that enable the creation of âtransparent musicâ. This is
music in which the some, or all, of the decision making involved in the
creation of a piece is accessible and apparent to an audience during its
performance.
This submission consists of a teaching book containing thirteen pieces/exercises,
instructions giving guidance on their possible use in a teaching context and recorded
examples. Also included are separate instructions where appropriate for the use of
pieces in a concert or other non-educational setting and two essays giving context and
background information on the ideas behind the pieces
The Colored Soldier Boys of Uncle Sam: We\u27re Coming
World War I- era notated music for voice and piano dedicated to Black American soldiers. Front cover features a Black soldier standing at attention.https://scholarsjunction.msstate.edu/mss-rob-sad-wier-papers/1225/thumbnail.jp
Towards musical interaction : 'Schismatics' for e-violin and computer.
This paper discusses the evolution of the Max/MSP
patch used in schismatics (2007, rev. 2010) for electric
violin (Violectra) and computer, by composer Sam
Hayden in collaboration with violinist Mieko Kanno.
schismatics involves a standard performance paradigm
of a fixed notated part for the e-violin with sonically unfixed
live computer processing. Hayden was unsatisfied
with the early version of the piece: the use of attack
detection on the live e-violin playing to trigger stochastic
processes led to an essentially reactive behaviour in the
computer, resulting in a somewhat predictable one-toone
sonic relationship between them. It demonstrated
little internal relationship between the two beyond an
initial e-violin âactionâ causing a computer âeventâ. The
revisions in 2010, enabled by an AHRC Practice-Led
research award, aimed to achieve 1) a more interactive
performance situation and 2) a subtler and more
âmusicalâ relationship between live and processed
sounds. This was realised through the introduction of
sound analysis objects, in particular machine listening
and learning techniques developed by Nick Collins. One
aspect of the programming was the mapping of analysis
data to synthesis parameters, enabling the computer
transformations of the e-violin to be directly related to
Kannoâs interpretation of the piece in performance
Graduate recital: perspective and analysis: an overview of Morton Feldman's The King of Denmark, Michael Gordon's XY, and Jacob Druckman's Reflections on the Nature of Water
Master's Project (M.Mu.) University of Alaska Fairbanks, 201
Musicians and Commoners in Late Medieval London
This dissertation examines music making in late medieval London (c.1300-c.1550) from the commonersâ perspective, and with this emphasis, does not discuss royal or monastic musical ensembles or music in aristocratic households, nor does it examine the music of St Paulâs Cathedral in detail. This shifts the focus from mensurally notated, pre-composed music towards monophony and extemporized polyphony which, unnotated, was realized in performance. These kinds of music more than any others were those made by medieval musicians and heard by commoners; through a study of archival documents and their printed editions, including account books, chronicles and other sources, the dissertation identifies the events at which musicians performed and commoners encountered music: civic and royal processions; the Midsummer Watches; processions of criminals with ârough musicâ; liturgical feast days, and at associated meals. It also locates the music of daily life in the streets and in many dozens of parish churches.
The extant notated music from medieval London is mostly in chant books. No complete extant source of polyphony survives, but neither would such a source accurately represent a musical culture in which mensural polyphony and notated music itself were inaccessible to most. Used with methodological caution, documents from London reveal details where little notated music survives and describe or hint at the music that commoners knew. Also examined are two songs (âSovereign Lord Welcome Ye Be,â âRow the bote Normanâ) with surviving texts that may be original. A major appendix lists over 300 musicians who flourished in London in the period
When Sambo Goes to France
World War I- era notated music for voice and piano dedicated to the 92nd Division at Camp Funston. Cover art features a Black soldier marching with a rifle over his shoulder.https://scholarsjunction.msstate.edu/mss-rob-sad-wier-papers/1224/thumbnail.jp
Extended methods of notation in Josh Levine's Les yeux ouverts and Daniel Tacke's Einsamkeit
Master's Project (M.Mu.) University of Alaska Fairbanks, 201
Characterizing the Landscape of Musical Data on the Web: State of the Art and Challenges
Musical data can be analysed, combined, transformed and exploited for diverse purposes. However, despite the proliferation of digital libraries and repositories for music, infrastructures and tools, such uses of musical data remain scarce. As an initial step to help fill this gap, we present a survey of the landscape of musical data on the Web, available as a Linked Open Dataset: the musoW dataset of catalogued musical resources. We present the dataset and the methodology and criteria for its creation and assessment. We map the identified dimensions and parameters to existing Linked Data vocabularies, present insights gained from SPARQL queries, and identify significant relations between resource features. We present a thematic analysis of the original research questions associated with surveyed resources and identify the extent to which the collected resources are Linked Data-ready
The Temperament Police: The Truth, the Ground Truth, and Nothing but the Truth
The tuning system of a keyboard instrument is chosen so that frequently used musical intervals sound as consonant as possible. Temperament refers to the compromise arising from the fact that not all intervals can be maximally consonant simultaneously. Recent work showed that it is possible to estimate temperament from audio recordings with no prior knowledge of the musical score, using a conservative (high precision, low recall) automatic transcription algorithm followed by frequency estimation using quadratic interpolation and bias correction from the log magnitude spectrum. In this paper we develop a harpsichord-specific transcription system to analyse over 500 recordings of solo harpsichord music for which the temperament is specified on the CD sleeve notes. We compare the measured temperaments with the annotations and discuss the differences between temperament as a theoretical construct and as a practical issue for professional performers and tuners. The implications are that ground truth is not always scientific truth, and that content-based analysis has an important role in the study of historical performance practice. 1
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