Exploration of Timbre by Analysis and Synthesis 115
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Focusing Attention T O P I
43-2410 - Module 7: Introduction Page 1 of 14 43-2410 - Aesthetics of the Motion Picture Soundtrack MODULE 07: (Film) Music, Meaning, Emotion, Communication INTRODUCTION t o p i c s Focusing attention - Accents Cognitive aspects of pitch and time in music -Melody - Contours - Tonality Memory limits - Data reduction - Categories Complexity, Prediction, Preference, Interest Maximal variety with minimal elements - Musical scales as psychological constructs Focusing Attention Experiencing time Our experience of time seems to often proceed independently from clock time. Musical organization of sounds may offer us means to explore this difference. The fleeting nature of non-linguistic sound events (in music, film, etc), accentuated by the potential absence of a referent, highlights the larger problem of defining the perceptual 'present.' Present is shaped by our selective attention to events or aspects of events. This selective attention and, therefore, our experience of 'present' events is always mediated by the memory of past events and the expectation of future ones, while at the same time reshaping both our memories and our expectations. The dialectic nature of the way we experience the present, past, and future is defining of the human experience of time and is explored within phenomenological research (e.g. Ricoeur, 1991; "Time and Narrative"). 43-2410 - Module 7: Introduction Page 2 of 14 Two competing theories of time within psychology I_ Storage-size theory (Ornstein, 1969). Memory storage-needs influence our estimates of time: a percept containing a large amount of information will require more storage capacity in short-term memory, generating the impression of greater elapsed time. II_ Attentional capacity theories (Hicks et al., 1976; Block, 1978; etc.). -
A Qualitative Exploration of the Internalised Use of Aural, Visual, Kinaesthetic, and Other Imagery in the Perception and Performance of Music
University of Wollongong Thesis Collections University of Wollongong Thesis Collection University of Wollongong Year In search of the inner voice: a qualitative exploration of the internalised use of aural, visual, kinaesthetic, and other imagery in the perception and performance of music Nicole Saintilan University of Wollongong Saintilan, Nicole, In search of the inner voice: a qualitative exploration of the inter- nalised use of aural, visual, kinaesthetic, and other imagery in the perception and performance of music, PhD thesis, Faculty of Education, University of Wollongong, 2008. http://ro.uow.edu.au/theses/725 This paper is posted at Research Online. http://ro.uow.edu.au/theses/725 In Search of the Inner Voice: A Qualitative Exploration of the Internalised use of Aural, Visual, Kinaesthetic, and Other Imagery in the Perception and Performance of Music Completed in fulfilment of requirements for the degree of Doctor of Philosophy Nicole Saintilan BCA (Hons), M Mus, A Mus A, Grad Dip Ed Faculty of Education, University of Wollongong 2008 Statement of Sources Apart from the acknowledged borrowings from other sources, the work in this thesis, to my knowledge, is original. No part of this thesis has been submitted to any other institution for academic credit. Nicole Saintilan. September, 2008 ii Style Guidelines According to Departmental advice received, the Style Guidelines to be adopted for the presentation of this thesis were optional. Therefore, the guidelines of choice were those of the Publication Manual of the American Psychological Society (5th.ed.). Taken into account was the variation allowed by these guidelines (for material other than journal articles) that is not only permissible, but also desirable in the interests of clear communication. -
Shepard, 1982
Psychological Review VOLUME 89 NUMBER 4 JULY 1 9 8 2 Geometrical Approximations to the Structure of Musical Pitch Roger N. Shepard Stanford University ' Rectilinear scales of pitch can account for the similarity of tones close together in frequency but not for the heightened relations at special intervals, such as the octave or perfect fifth, that arise when the tones are interpreted musically. In- creasingly adequate a c c o u n t s of musical pitch are provided by increasingly gen- eralized, geometrically regular helical structures: a simple helix, a double helix, and a double helix wound around a torus in four dimensions or around a higher order helical cylinder in five dimensions. A two-dimensional "melodic map" o f these double-helical structures provides for optimally compact representations of musical scales and melodies. A two-dimensional "harmonic map," obtained by an affine transformation of the melodic map, provides for optimally compact representations of chords and harmonic relations; moreover, it is isomorphic to the toroidal structure that Krumhansl and Kessler (1982) show to represent the • psychological relations among musical keys. A piece of music, just as any other acous- the musical experience. Because the ear is tic stimulus, can be physically described in responsive to frequencies up to 20 kHz or terms of two time-varying pressure waves, more, at a sampling rate of two pressure one incident at each ear. This level of anal- values per cycle per ear, the physical spec- ysis has, however, little correspondence to ification of a half-hour symphony requires well in excess of a hundred million numbers. -
The Development of the Role of the Actor-Musician in Britain by British Directors Since the 1960’S
1 The Development of the Role of the Actor-Musician in Britain by British Directors Since the 1960’s Francesca Mary Greatorex Theatre and Performance Department Goldsmiths University of London A thesis presented in fulfilment of the requirements for the degree of Doctor of Philosophy (PhD) 2 I hereby declare that the work presented in this thesis is my own. Signed: ……………………………………………. 3 Acknowledgements This thesis could not have been written without the generosity of many individuals who were kind enough to share their knowledge and theatre experience with me. I have spoken with actors, musical directors, set designers, directors, singers, choreographers and actor-musicians and their names and testaments exist within the thesis. I should like to thank Emily Parsons the archivist for the Liverpool Everyman for all her help with my endless requests. I also want to thank Jonathan Petherbridge at the London Bubble for making the archive available to me. A further thank you to Rosamond Castle for all her help. On a sadder note a posthumous thank you to the director Robert Hamlin. He responded to my email request for the information with warmth, humour and above all, great enthusiasm for the project. Also a posthumous thank you to the actor, Robert Demeger who was so very generous with the information regarding the production of Ninagawa’s Hamlet in which he played Polonius. Finally, a big thank you to John Ginman for all his help, patience and advice. 4 The Development of the Role of the Actor-Musician in Britain by British Directors During the Period 1960 to 2000. -
Commentary on the Portfolio of Compositions
Commentary on the Portfolio of Compositions Cobi van Tonder Doctor of Philosophy Music Department Trinity College Dublin 2016 Copyright © 2016 Cobi van Tonder i Composition Portfolio Contents 1. String Quartet No 1 - KO (2012/13) 17’ 2. Fata Morgana for Female Choir, Percussion and Computer (2015) 30’ Loss (13’) Arrest 3 (17’) 3. Haute Rorschach microtonal electronic music (2015) 8’30” 4. When all memory is gone microtonal electronic music (2015) 12’ 5. Drift for 12 musicians (2014) 12’ 6. Gala for 8-12 musicians (2015) 5’ 7. Mutation 2 for 4 musicians (2014) 13’ Total: 98’ ii Contents of Accompanying CDs This portfolio is accompanied by 2 audio CDs. Haute Rorschach and When all memory is gone contain important low frequencies and needs to be listened at over loudspeakers that specify Frequency response as 40 Hz -22 kHz, are ideal. Mutation 2 needs to be played through external loudspeakers – the main compositional intention will not come across via headphones. The audio outcomes may be quite diverse as many of the pieces (Haute Rorschach, When all memory is gone, Drift, Gala and Mutation 2) have certain aspects left open to interpretation. CD 1: Audio Recordings Track No. 1. String Quartet No 1 - KO Kate Ellis (Cello), Joanne Quigley (Violin), Paul O'Hanlon (Violin) , Lisa Dowdall (Viola). 2. Fata Morgana – Loss Michelle O’Rourke (Voice), Cobi van Tonder (Computer: Ableton Live). 3. Fata Morgana – Arrest 3 Michelle O’Rourke (Voice), Cobi van Tonder (Computer: Ableton Live). iii CD 2: Audio Recordings Track No. 1. Haute Rorschach Cobi van Tonder (Max/MSP Micro Tuner patch routed to 6 individual Ableton Live Virtual Instruments created with the Ableton Tension physical modeling string synthesizer, Tape Part: Glitch and Reverb). -
For the Mande Bala Todd G. Martin A
TOWARD A PEDAGOGY OF "PLAY" FOR THE MANDE BALA TODD G. MARTIN A DISSERTATION SUBMITTED TO THE FACULTY OF GRADUATE STUDIES IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY GRADUATE PROGRAM IN MUSIC YORK UNIVERSITY TORONTO, ONTARIO APRIL, 2017 © Todd Martin, 2017 ABSTRACT A theoretical model is proposed that posits "play" as both the long-term goal of bala learning, and as the means through which the short-term steps toward that goal can best be achieved. Play is defined in two different ways. In the first sense it is an orchestrating of means and ends in which means are at the centre of interest. In this sense, play is a goal of bala learning. In the second sense, play is defined (using the framework of Applied Behaviour Analysis) as: activities that (a) are inherently reinforcing (and not inherently punishing), and (b) do not eventuate extinction, escape, or avoidance. In this sense, play is conceived as one possible means through which to achieve pedagogical goals. The case is made that owing to its intrinsic (musical) characteristics—in particular, the inherent scalability of pattern density—Mande bala music is especially well suited to a pedagogy of "play." Although the model proposed is supported by empirical evidence and has a strong rational underpinning, the model itself is not tested in the present study, but rather, is herein articulated (via illustrative case studies depicting the learning of various bala patterns through digitally mediated means—books, CDs, DVDs, etc.) An argument is built to support the notion that in comparison with traditional, immersion- based pedagogical modalities, the digital mediation of bala teaching eventuates a pedagogical loss, but that this pedagogical loss can be attenuated through a more "playful" pedagogical approach. -
Deep Listening, Touching Sound
WHAT IS DEEP LISTENING? What is Deep Listening? There’s more to listening than meets the ear. Pauline Oliveros describes Deep Listening as “listening in every possible way to everything possible to hear no matter what one is doing.” Basically Deep Listening, as developed by Oliveros, explores the difference between the involuntary nature of hearing and the voluntary, selective nature – exclusive and inclusive -- of listening. The practice includes bodywork, sonic meditations, interactive performance, listening to the sounds of daily life, nature, one’s own thoughts, imagination and dreams, and listening to listening itself. It cultivates a heightened awareness of the sonic environment, both external and internal, and promotes experimentation, improvisation, collaboration, playfulness and other creative skills vital to personal and community growth. The Deep Listening: Art/Science conference provides artists, educators, and researchers an opportunity to creatively share ideas related to the practice, philosophy and science of Deep Listening. Developed by com- poser and educator Pauline Oliveros, Deep Listening is an embodied meditative practice of enhancing one’s attention to listening. Deep Listening began over 40 years ago with Oliveros’ Sonic Meditations and organi- cally evolved through performances, workshops and retreats. Deep Listening relates to a broad spectrum of other embodied practices across cultures and can be applied to a wide range of academic fields and disci- plines. This includes, but not limited to: • theories of cognitive -
Napier 85-108
J. NAPIER: ’HETEROPHONY’ IN NORTH INDIA, IRASM 37 (2006) 1, 85-108 85 A ’FAILED’ UNISON OR CONSCIOUS DIFFERENTIATION: THE NOTION OF ’HETEROPHONY’ IN NORTH INDIAN VOCAL PERFORMANCE JOHN NAPIER UDC: 78.021(540) Original Scientific Paper School of Music and Music Education Izvorni znanstveni rad Received: July 29, 2005 University of New South Wales Primljeno: 29. srpnja 2005. SYDNEY 2052, Australia Accepted: November 7, 2005 E-mail: [email protected] PrihvaÊeno: 7. studenog 2005. Abstract — Résumé This paper is inspired in part by the ne- phony as a term of translation lies in its insist- cessity for examination of the cross-cultural ap- ent multivalence, its imprecision. I emphasise the plication of musical terminology, and suggests importance of understanding both musical proc- that such examination is illuminating of both our esses and the aesthetic and socio-musical factors understanding and of our own interpretative as- that help to determine and are represented sumptions. I examine the term flheterophony«, therein. both in general and in how it is used to describe Key words: Heterophony; North Indian melodic accompaniment, or sangat, in North In- music; Hindustani music; Terminology dian music. I argue that the value of hetero- The language of a translation can — in fact must — let itself go, so that it gives voice to the intentio of the original not as reproduction but as harmony, as its own kind of intentio. (BENJAMIN 1969: 79).1 In writing ethnomusicology, the use and limits of western terminology in nam- ing and describing the musical procedures of other cultural contexts always should be contentious. -
Creative Musical Instrument Design
CREATIVE MUSICAL INSTRUMENT DESIGN: A report on experimental approaches, unusual creations and new concepts in the world of musical and sound instruments. A thesis submitted to the SAE Institute, London, in fulfillment of the requirements for the degree in Recording Arts, awarded by Middlesex University. Author: Andrea Santini Student: 42792 Intake: RAD0503X Project Tutors: Christopher Hayne Darren Gash London, August 2004 c r e a t i v e m u s i c a l i n s t r u m e n t d e s i g n Abstract The following document presents the results of an investigation into the current reality of creative musical-instrument and sound-instrument design. The focus of this research is on acoustic and electro-acoustic devices only, sound sources involving oscillators, synthesis and sampling, be it analogue or digital, have therefore been excluded. Also, even though occasional reference will be made to historical and ‘ethnical’ instruments, they will not be treated as a core issue, the attention being primarily centered on contemporary creations. The study includes an overview of the most relevant “sonic creations” encountered in the research and chosen as representative examples to discuss the following aspects: o Interaction between body and instrument. o Sonic Space o Tuning and layout of pitches o Shapes, materials and elements o Sonic objects, noise and inharmonic sources o Aesthetics: sound instruments as art objects o Amplification and transducer technologies These where chosen to provide some degree of methodology during the research process and a coherent framework to the analysis of a subject which, due to its nature and to the scarcity of relevant studies, has unclear boundaries and a variety of possible interdisciplinary connections. -
View 2008 Program
Third Annual Conference December 5-7, 2008 Improvisation and Identity: Discovering Self and Community in a Trans-Cultural Age ISIM promotes performance, education, and research in improvised music, and illuminates connections between musical improvisation and creativity across fields. Keynote Address: Roscoe Mitchell Featured Performers and Speakers: Joëlle Léandre and India Cooke isim INTERNATIONAL SOCIETY FOR IMPROVISED MUSIC THIRD ANNUAL CONFERENCE About ISIM Mission Statement ISIM promotes performance, education, and research in improvised music, and illuminates connections between musical improvisation and creativity across fields. Narrative Reflecting the melding of diverse cultures, ethnicities, disciplines, and ideas that shapes society at large, today’s musical world is increasingly characterized by creative expressions that transcend conventional style categories. Improvisation is a core aspect of this global confluence, and in recent years the phrase “improvised music” has emerged as a kind of an overarching label for much of this eclectic musical activity. Initially used to describe jazz and its offshoots, the phrase now encompasses a broad spectrum of formats—from computer music and multi-media 1 collaborations to string quartets, bebop quintets and multiethnic fusion. Enabling spontaneous interactions between musicians from the most disparate backgrounds, the dissolution of boundaries between performers and listeners, and access to the transcendent dimensions of creative experience, improvisation is at the heart of a new musical paradigm that is uniquely reflective of contemporary life. Musical improvisation may also shed light on creativity in a wide variety of fields, as corporate executives, educators, athletes, medical professionals and other practitioners recognize an improvisatory core to success, progress, and fulfillment in their respective disciplines. -
The Vocal Constructivists
THE VOCAL CONSTRUCTIVISTS Walking Still 1 Mark Applebaum - Medium (2008) 10’08 2 Ronald Kuivila - A City of No Allusions (2012) 8’36 3 Pauline Oliveros - Sound Patterns (1961) 3’58 4 Lauren Redhead - concerto (2011) 6’41 5 Michael Parsons - Nevrazumitelny (2013) 8’05 Cornelius Cardew - Treatise (1963–67) 6 Treatise ‘movement 1’, pages 18-45 8’51 7 Treatise ‘movement 2’, pages 111-135 7’05 8 Treatise ‘movement 3’, pages 145-166 7’30 9 Treatise ‘movement 4’, pages 174-190 5’40 Total 66’34 Sopranos: Jane Alden, Stef Conner, Alison Cross, Iris Ederer, Rebecca Hardwick, Penny Homer, Celia Jackson Altos: Barbara Alden, Linn D., Rachel Hewitt, Jill House, Celia Springate, Ali Warner Tenors: James Bull, George Chambers, Charles Céleste Hutchins, Simon Walton Basses: Aubrey Botsford, Peter Johnson, John McLeod, Kevin Raftery, Stephen Rice, David Till Production: Antony Pitts, Erik Nyström www.vocalconstructivists.com twitter@constructivists 2 3 Walking Still brings into dialogue three British and three American composers, from generations born in the 1930s, the 1950s/60s, and the 1980s, who share a distinct approach to experimentalism. Cornelius Cardew’s Treatise (composed between 1963 and 1967) remains one of the most iconic graphic scores ever written. Its 193 pages include a variety of shapes, symbols, numbers, lines, and elements of traditional musical notation that have been extended, truncated, and fragmented. Cardew provided no key to decipher the notation, requiring mus- icians to devise their own methods and means of interpretation. Precise pitches, rhythms, tempi, registration, style, and instrumentation are all left for the per- formers to decide. -
Eg Phd, Mphil, Dclinpsychol
This thesis has been submitted in fulfilment of the requirements for a postgraduate degree (e.g. PhD, MPhil, DClinPsychol) at the University of Edinburgh. Please note the following terms and conditions of use: This work is protected by copyright and other intellectual property rights, which are retained by the thesis author, unless otherwise stated. A copy can be downloaded for personal non-commercial research or study, without prior permission or charge. This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the author. The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the author. When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given. The Secret Gardeners: An Ethnography of Improvised Music in Berlin (2012-13) Tom Arthurs PhD Music The University of Edinburgh 2015 Abstract This thesis addresses the aesthetics, ideologies and practicalities of contemporary European Improvised Music-making - this term referring to the tradition that emerged from 1960s American jazz and free jazz, and that remains, arguably, one of today's most misunderstood and under-represented musical genres. Using a multidisciplinary approach drawing on Grounded Theory, Ethnography and Social Network Analysis, and bounded by Berlin's cosmopolitan local scene of 2012-13, I define Improvised Music as a field of differing-yet-interconnected practices, and show how musicians and listeners conceived of and differentiated between these sub-styles, as well as how they discovered and learned to appreciate such a hidden, ‘difficult’ and idiosyncratic artform.