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The Shaping of Time in Kaija Saariaho's Emilie
THE SHAPING OF TIME IN KAIJA SAARIAHO’S ÉMILIE: A PERFORMER’S PERSPECTIVE Maria Mercedes Diaz Garcia A Dissertation Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of DOCTOR OF MUSICAL ARTS May 2020 Committee: Emily Freeman Brown, Advisor Brent E. Archer Graduate Faculty Representative Elaine J. Colprit Nora Engebretsen-Broman © 2020 Maria Mercedes Diaz Garcia All Rights Reserved iii ABSTRACT Emily Freeman Brown, Advisor This document examines the ways in which Kaija Saariaho uses texture and timbre to shape time in her 2008 opera, Émilie. Building on ideas about musical time as described by Jonathan Kramer in his book The Time of Music: New Meanings, New Temporalities, New Listening Strategies (1988), such as moment time, linear time, and multiply-directed time, I identify and explain how Saariaho creates linearity and non-linearity in Émilie and address issues about timbral tension/release that are used both structurally and ornamentally. I present a conceptual framework reflecting on my performance choices that can be applied in a general approach to non-tonal music performance. This paper intends to be an aid for performers, in particular conductors, when approaching contemporary compositions where composers use the polarity between tension and release to create the perception of goal-oriented flow in the music. iv To Adeli Sarasola and Denise Zephier, with gratitude. v ACKNOWLEDGMENTS I would like to thank the many individuals who supported me during my years at BGSU. First, thanks to Dr. Emily Freeman Brown for offering me so many invaluable opportunities to grow musically and for her detailed corrections of this dissertation. -
OTHER WORLDS 2019/20 Concert Season at Southbank Centre’S Royal Festival Hall Highlights 2019/20
OTHER WORLDS 2019/20 Concert season at Southbank Centre’s Royal Festival Hall Highlights 2019/20 November Acclaimed soprano Diana Damrau is renowned for her interpretations of the music of Richard Strauss, and this November she sings a selection of her favourite Strauss songs. Page 12 September October Principal Conductor and Mark Elder conducts Artistic Advisor Vladimir Elgar’s oratorio Jurowski is joined by The Apostles, arguably Julia Fischer to launch his greatest creative the second part of Isle achievement, which of Noises with Britten’s will be brought to life elegiac Violin Concerto on this occasion with alongside Tchaikovsky’s a stellar cast of soloists Sixth Symphony. and vast choral forces. Page 03 Page 07 December Legendary British pianist Peter Donohoe plays his compatriot John Foulds’s rarely performed Dynamic Triptych – a unique jazz-filled, exotic masterpiece Page 13 February March January Vladimir Jurowski leads We welcome back violinist After winning rave reviews the first concert in our Anne-Sophie Mutter for at its premiere in 2017, 2020 Vision festival, two exceptional concerts we offer another chance presenting the music in which she performs to experience Sukanya, of three remarkable Beethoven’s groundbreaking Ravi Shankar’s works composed Triple Concerto and extraordinary operatic three centuries apart, a selection of chamber fusion of western and by Beethoven, Scriabin works alongside LPO traditional Indian styles. and Eötvös. Principal musicians. A love story brought to Page 19 Pages 26–27 life through myth, music -
Sequence Distance Embeddings
Sequence Distance Embeddings by Graham Cormode Thesis Submitted to the University of Warwick for the degree of Doctor of Philosophy Computer Science January 2003 Contents List of Figures vi Acknowledgments viii Declarations ix Abstract xi Abbreviations xii Chapter 1 Starting 1 1.1 Sequence Distances . ....................................... 2 1.1.1 Metrics ............................................ 3 1.1.2 Editing Distances ...................................... 3 1.1.3 Embeddings . ....................................... 3 1.2 Sets and Vectors ........................................... 4 1.2.1 Set Difference and Set Union . .............................. 4 1.2.2 Symmetric Difference . .................................. 5 1.2.3 Intersection Size ...................................... 5 1.2.4 Vector Norms . ....................................... 5 1.3 Permutations ............................................ 6 1.3.1 Reversal Distance ...................................... 7 1.3.2 Transposition Distance . .................................. 7 1.3.3 Swap Distance ....................................... 8 1.3.4 Permutation Edit Distance . .............................. 8 1.3.5 Reversals, Indels, Transpositions, Edits (RITE) . .................... 9 1.4 Strings ................................................ 9 1.4.1 Hamming Distance . .................................. 10 1.4.2 Edit Distance . ....................................... 10 1.4.3 Block Edit Distances . .................................. 11 1.5 Sequence Distance Problems . ................................. -
Applied Psychological Measurement
Applied Psychological Measurement http://apm.sagepub.com/ Applications of Multidimensional Scaling in Cognitive Psychology Edward J. Shoben Applied Psychological Measurement 1983 7: 473 DOI: 10.1177/014662168300700406 The online version of this article can be found at: http://apm.sagepub.com/content/7/4/473 Published by: http://www.sagepublications.com Additional services and information for Applied Psychological Measurement can be found at: Email Alerts: http://apm.sagepub.com/cgi/alerts Subscriptions: http://apm.sagepub.com/subscriptions Reprints: http://www.sagepub.com/journalsReprints.nav Permissions: http://www.sagepub.com/journalsPermissions.nav Citations: http://apm.sagepub.com/content/7/4/473.refs.html >> Version of Record - Sep 1, 1983 What is This? Downloaded from apm.sagepub.com at UNIV OF ILLINOIS URBANA on September 3, 2012 Applications of Multidimensional Scaling in Cognitive Psychology Edward J. Shoben , University of Illinois Cognitive psychology has used multidimensional view is intended to be illustrative rather than ex- scaling (and related procedures) in a wide variety of haustive. Moreover, it should be admitted at the ways. This paper examines some straightforward ap- outset that the proportion of applications in com- plications, and also some applications where the ex- and exceeds the planation of the cognitive process is derived rather di- prehension memory considerably rectly from the solution obtained through multidimen- proportion of such examples from perception and sional scaling. Other applications examined include psychophysics. Although a conscious effort has been and the use of MDS to assess cognitive development, made to draw on more recent work, older studies as a function of context. Also examined is change have been included when deemed appropriate. -
March 15 – 19, 2016
SFCMP in residence at Z Space 2016 Mar 15 & 17 works by David Lang Mar 16 & 18 works by Gérard Grisey and Marianthi Papalexandri-Alexandri Mar 19 45th Anniversary Retrospective Celebration San Francisco Contemporary Music Players Hrabba Altadottir, violin Bill Kalinkos, clarinet Jeff Anderle, clarinet Adam Luftman, trumpet Tod Brody, flute Loren Mach, percussion Kyle Bruckmann, oboe Roy Malan, violin Kate Campbell, piano Lawrence Regent, french horn Susan Freier, violin Sarah Rathke, oboe Chris Froh, percussion Nanci Severance, viola Hall Goff, trombone David Tanenbaum, guitar Karen Gottlieb, harp Peter Wahrhaftig, tuba Stephen Harrison, cello William Winant, percussion Graeme Jennings, violin Nick Woodbury, percussion Peter Josheff, clarinet Richard Worn, contrabass Special Preview: 2016-17 Season Our 46th Year will offer Bay Area at the Crossroads Series audiences the greatest and latest Join us in a comfortable atmosphere works of composers from around the to listen to iconic contemporary world with an emphasis on California classical composers alongside top composers. We’ll bring you behind the emerging composers in the classical scenes to explore classical music that contemporary music scene is advancing and challenging musical space and sound, and you’ll hear new “Stravinsky Interpolations” works by talented national and local Fri, Feb 17, 2017 emerging composers. Herbst Theatre on Stage Series “Lou Harrison and Companions“ Join us in concert to hear the leading Fri and Sat Apr 21 – 22, 2017 national and international works of Venue TBA contemporary classical music SFCMP in the Community “In the Light of the Air” Sat, Oct 8, 2016 Phil Kline’s “Unsilent Night” Herbst Theatre Dec 10, 2016 in the Laboratory Series Sound and Wine with SFCMP Join us in concert to hear leading Mar 25, 2017 works in the contemporary classical repertoire with unusual instrumentation SFCMP Education Series or stage arrangements. -
A Listening Guide for the Indispensable Composers by Anthony Tommasini
A Listening Guide for The Indispensable Composers by Anthony Tommasini 1 The Indispensable Composers: A Personal Guide Anthony Tommasini A listening guide INTRODUCTION: The Greatness Complex Bach, Mass in B Minor I: Kyrie I begin the book with my recollection of being about thirteen and putting on a recording of Bach’s Mass in B Minor for the first time. I remember being immediately struck by the austere intensity of the opening choral singing of the word “Kyrie.” But I also remember feeling surprised by a melodic/harmonic shift in the opening moments that didn’t do what I thought it would. I guess I was already a musician wanting to know more, to know why the music was the way it was. Here’s the grave, stirring performance of the Kyrie from the 1952 recording I listened to, with Herbert von Karajan conducting the Vienna Philharmonic. Though, as I grew to realize, it’s a very old-school approach to Bach. Herbert von Karajan, conductor; Vienna Philharmonic (12:17) Today I much prefer more vibrant and transparent accounts, like this great performance from Philippe Herreweghe’s 1996 recording with the chorus and orchestra of the Collegium Vocale, which is almost three minutes shorter. Philippe Herreweghe, conductor; Collegium Vocale Gent (9:29) Grieg, “Shepherd Boy” Arthur Rubinstein, piano Album: “Rubinstein Plays Grieg” (3:26) As a child I loved “Rubinstein Plays Grieg,” an album featuring the great pianist Arthur Rubinstein playing piano works by Grieg, including several selections from the composer’s volumes of short, imaginative “Lyrical Pieces.” My favorite was “The Shepherd Boy,” a wistful piece with an intense middle section. -
Spectralism in the Saxophone Repertoire: an Overview and Performance Guide
NORTHWESTERN UNIVERSITY Spectralism in the Saxophone Repertoire: An Overview and Performance Guide A PROJECT DOCUMENT SUBMITTED TO THE BIENEN SCHOOL OF MUSIC IN PARTIAL FULFILLMENT OF THE REQUIREMENTS for the degree DOCTOR OF MUSICAL ARTS Program of Saxophone Performance By Thomas Michael Snydacker EVANSTON, ILLINOIS JUNE 2019 2 ABSTRACT Spectralism in the Saxophone Repertoire: An Overview and Performance Guide Thomas Snydacker The saxophone has long been an instrument at the forefront of new music. Since its invention, supporters of the saxophone have tirelessly pushed to create a repertoire, which has resulted today in an impressive body of work for the yet relatively new instrument. The saxophone has found itself on the cutting edge of new concert music for practically its entire existence, with composers attracted both to its vast array of tonal colors and technical capabilities, as well as the surplus of performers eager to adopt new repertoire. Since the 1970s, one of the most eminent and consequential styles of contemporary music composition has been spectralism. The saxophone, predictably, has benefited tremendously, with repertoire from Gérard Grisey and other founders of the spectral movement, as well as their students and successors. Spectral music has continued to evolve and to influence many compositions into the early stages of the twenty-first century, and the saxophone, ever riding the crest of the wave of new music, has continued to expand its body of repertoire thanks in part to the influence of the spectralists. The current study is a guide for modern saxophonists and pedagogues interested in acquainting themselves with the saxophone music of the spectralists. -
A Distance Model for Rhythms
A Distance Model for Rhythms Jean-Fran¸cois Paiement [email protected] Yves Grandvalet [email protected] IDIAP Research Institute, Case Postale 592, CH-1920 Martigny, Switzerland Samy Bengio [email protected] Google, 1600 Amphitheatre Pkwy, Mountain View, CA 94043, USA Douglas Eck [email protected] Universit´ede Montr´eal, Department of Computer Science, CP 6128, Succ. Centre-Ville, Montr´eal, Qu´ebec H3C 3J7, Canada Abstract nested periodic components. Such a hierarchy is im- Modeling long-term dependencies in time se- plied in western music notation, where different levels ries has proved very difficult to achieve with are indicated by kinds of notes (whole notes, half notes, traditional machine learning methods. This quarter notes, etc.) and where bars establish measures problem occurs when considering music data. of an equal number of beats. Meter and rhythm pro- In this paper, we introduce a model for vide a framework for developing musical melody. For rhythms based on the distributions of dis- example, a long melody is often composed by repeating tances between subsequences. A specific im- with variation shorter sequences that fit into the met- plementation of the model when consider- rical hierarchy (e.g. sequences of 4, 8 or 16 measures). ing Hamming distances over a simple rhythm It is well know in music theory that distance patterns representation is described. The proposed are more important than the actual choice of notes in model consistently outperforms a standard order to create coherent music (Handel, 1993). In this Hidden Markov Model in terms of conditional work, distance patterns refer to distances between sub- prediction accuracy on two different music sequences of equal length in particular positions. -
Goodchild & Mcadams 1 Perceptual Processes in Orchestration To
Goodchild & McAdams 1 Perceptual Processes in Orchestration to appear in The Oxford Handbook of Timbre, eds. Emily I. Dolan and Alexander Rehding Meghan Goodchild & Stephen McAdams, Schulich School of Music of McGill University Abstract The study of timbre and orchestration in music research is underdeveloped, with few theories to explain instrumental combinations and orchestral shaping. This chapter will outline connections between orchestration practices of the 19th and early 20th centuries and perceptual principles based on recent research in auditory scene analysis and timbre perception. Analyses of orchestration treatises and musical scores reveal an implicit understanding of auditory grouping principles by which many orchestral effects and techniques function. We will explore how concurrent grouping cues result in blended combinations of instruments, how sequential grouping into segregated melodies or stratified (foreground and background) layers is influenced by timbral (dis)similarities, and how segmental grouping cues create formal boundaries and expressive gestural shaping through changes in instrumental textures. This exploration will be framed within an examination of historical and contemporary discussion of orchestral effects and techniques. Goodchild & McAdams 2 Introduction Orchestration and timbre are poorly understood and have been historically relegated to a secondary role in music scholarship, victims of the assumption that music’s essential identity resides in its pitches and rhythms (Sandell 1995; Boulez 1987; Schoenberg 1994; Slawson 1985). Understanding of orchestration practices has been limited to a speculative, master-apprentice model of knowledge transmission lacking systematic research. Orchestration treatises and manuals mainly cover what is traditionally considered as “instrumentation,” including practical considerations of instrument ranges, articulations, abilities and limitations, tone qualities, and other technical details. -
Concerto for Clarinet for Solo B Clarinet, Chamber Orchestra and Electronics B
MITYA Concerto for Clarinet for solo B clarinet, chamber orchestra and electronics b Taylor Brook 2010 Score in C Instrumentation flute (+ piccolo) oboe Bb clarinet tenor saxophone baritone saxophone Bassoon horn trumpet in C (cup, straight and harmon mutes) trombone (cup, straight and harmon mutes) tuba solo Bb clarinet 2 percussion: I - 3 sizzle cymbals I - 3 suspended cymbals I - vibraphone I - almglocken (A3, D4, E4, A4 and B4) I - crotale (G6 only) I - lion’s roar I - bass drum I - pitched gongs (D3 and A3) II - almglocken (B3, C#4, F#4 and G#4) II - 3 sizzle cymbals II - pitched gongs (E3, A3 and D4) II - 3 timpani (32”, 29” and 26”) II - wine glass (D5) II - tubular bells harp 2 violins viola cello contrabass MIDI keyboard (77 or more keys) electronics (see performance instructions for details) Concert Notes Mitya, a clarinet concerto by Taylor Brook, was composed in partial fulfilment of the Master’s of Music degree at McGill University, under the supervision of Brian Cherney and Sean Ferguson. Mitya is dedicated to the clarinetist Mark Bradley. The title of this clarinet concerto is a reference to Kitty and Levin’s son in Leo Tolstoy’s Anna Karenina. In the final chapters of the novel, Tolstoy describes the process of conception, pregnancy, birth and infancy from the perspective of the father. Simply put, the emotional state of the father, Levin, moves from confusion and fear to understanding and acceptance. In addition to informing the composition on a purely abstract level, I also used passages of the novel to develop the large-scale form and structure of the work. -
Modèles D'instruments Pour L'aide À L'orchestration
THESE DE DOCTORAT DE L’UNIVERSITE PIERRE ET MARIE CURIE Spécialité Acoustique, traitement du signal et informatique appliqués à la musique Présentée par M. Damien Tardieu Pour obtenir le grade de DOCTEUR de l’UNIVERSITÉ PIERRE ET MARIE CURIE Sujet de la thèse : Modèles d’instruments pour l’aide à l’orchestration soutenue le 15/12/2008 devant le jury composé de : M. Xavier Rodet Directeur de thèse M. Philippe Leray Rapporteur M. François Pachet Rapporteur M.Gaël Richard Examinateur M.Stephen McAdams Examinateur M.Jean Dominique Polack Examinateur M.Geoffroy Peeters Examinateur Université Pierre & Marie Curie - Paris 6 Tél. Secrétariat : 01 42 34 68 35 Bureau d’accueil, inscription des doctorants et base de Fax : 01 42 34 68 40 données Tél. pour les étudiants de A à EL : 01 42 34 69 54 Esc G, 2ème étage Tél. pour les étudiants de EM à ME : 01 42 34 68 41 15 rue de l’école de médecine Tél. pour les étudiants de MF à Z : 01 42 34 68 51 75270-PARIS CEDEX 06 E-mail : [email protected] 2 3 Résumé Modèles d’instruments pour l’aide à l’orchestration Cette thèse traite de la conception d’une nouvelle méthode d’orchestration assistée par ordinateur. L’orchestration est considérée ici comme l’art de manipuler le timbre d’un orchestre par l’assemblage des timbres des différents instruments. Nous proposons la formulation suivante du problème de l’or- chestration assistée par ordinateur : Il consiste à trouver les combinaisons de sons instrumentaux dont le timbre se rapproche le plus possible d’un timbre cible fournit par le compositeur. -
Perceptual and Semantic Dimensions of Sound Mass
PERCEPTUAL AND SEMANTIC DIMENSIONS OF SOUND MASS Jason Noble Composition Area Department of Music Research Schulich School of Music McGill University, Montreal April 2018 A dissertation submitted to McGill University in partial fulfillment of the requirements of the degree of Doctor of Philosophy © Jason Noble 2018 In memory of Eleanor Stubley, Clifford Crawley, and James Bradley, for whose guidance and inspiration I am eternally grateful Table of Contents Abstract ...............................................................................................................................v Résumé ................................................................................................................................viii Acknowledgments................................................................................................................xi Contributions of Authors ......................................................................................................xiii List of Figures ......................................................................................................................xiv List of Tables .......................................................................................................................xvii Introduction ....................................................................................................................1 Chapter 1: Perceptual Dimensions of Sound Mass .............................................5 1.1 Introduction: Defining ‘Sound Mass’ .........................................................................5