An in-depth analysis of original compositions

The purpose of this thesis is two-fold. It presents six original pieces composed and arranged by the author, and it provides a thorough analysis of each. The compositions draw from many different musical genres: contemporary jazz, swing, funk, fusion, soul, neo-soul, and rhythm and blues. The applications of melodic, harmonic, and rhythmic techniques derived from these genres can be found in these original compositions. These compositions are inspired by -- and attempt to narrate --life experiences. Parallels between life and music are drawn and explained. By way of introduction, some information is given regarding the ensemble that first performed these original compositions. The ensemble comprised trumpet, tenor saxophone, keyboards, piano, electric bass, upright acoustic bass, drums, and percussion.

Spheres of Influence: A Few Reflections on the Concept

In the frame of the Ukrainian crisis the question of spheres of influence has returned to political discourse. This may be an awkward subject, but what if we only deny the existence of such power constellations as spheres of influence? Do spheres of influence exist, or are they relics of history, and mere rhetoric? And if they exist, where can we find them? The hypothesis in this article is that instead of being a tangible reality, spheres of influence are obscure and contested political constructions, which nevertheless can have an impact on political behaviour. To demonstrate this, the article will first introduce a few examples of the current use of the concept. Secondly, a few remarks follow concerning the different IR schools of thought, and conceptual history as a method. Next, the article turns to discussing a few dictionaries and the empirical material for the present inquiry, which consists of recent textbooks, i.e. the current political science curriculum in one particular university, at the University of Tampere, Finland. More empirical cases deal with the division of Africa, the post-WWII situation, and the Hungarian revolution of 1956.

Criar e participar : uma análise ao envolvimento em projetos artístico-culturais no Instituto Federal de Brasília - Campus Planaltina

Dissertação apresentada para obtenção do grau de mestre em Educação Social e Intervenção Comunitária

Boris Vian adaptateur de la légende arthurienne : étude comparée de la pièce de théâtre et de l'opéra Le Chevalier de Neige

Ce mémoire interroge la posture d'adaptateur de Boris Vian, encore fort méconnue. En 1953, il a repris à son compte la littérature arthurienne afin d'écrire – en réponse à une commande de la part du Festival dramatique de Caen – une pièce de théâtre, Le Chevalier de Neige. Par la suite, cette pièce est devenue un opéra, produit à Nancy en 1957. Malgré le succès de ces deux spectacles, le souvenir de cette œuvre n'a pas dépassé la mort de son auteur. Il n'en reste aujourd'hui que les textes et les partitions musicales, puisqu'aucun des spectacles n'a été enregistré. L'objectif de ce mémoire est de mettre en lumière ce travail d'adaptation et de réécriture d'un auteur phare du XXème siècle, connu principalement pour ses romans et ses chansons, et qui a consacré ses dernières années à la création d'une œuvre globale alliant texte, musique et art de la scène. Qu'est-il possible de savoir sur l'entreprise du Chevalier de Neige? Quel est le poids de l'intertexte médiéval et contemporain dans ces deux réécritures? Quels furent les procédés d'adaptation mis en œuvre dans l'élaboration de cette pièce, puis de cet opéra? C'est à toutes ces questions que nous nous proposons de répondre, afin de découvrir l'importance et l'intérêt du Chevalier de Neige dans le parcours littéraire de Boris Vian.

Criar e participar : uma análise ao envolvimento em projetos artístico-culturais no Instituto Federal de Brasília - Campus Planaltina

Dissertação apresentada para obtenção do grau de mestre em Educação Social e Intervenção Comunitária

Human-Computer interaction methodologies applied in the evaluation of haptic digital musical instruments

Recent developments in interactive technologies have seen major changes in the manner in which artists, performers, and creative individuals interact with digital music technology; this is due to the increasing variety of interactive technologies that are readily available today. Digital Musical Instruments (DMIs) present musicians with performance challenges that are unique to this form of computer music. One of the most significant deviations from conventional acoustic musical instruments is the level of physical feedback conveyed by the instrument to the user. Currently, new interfaces for musical expression are not designed to be as physically communicative as acoustic instruments. Specifically, DMIs are often void of haptic feedback and therefore lack the ability to impart important performance information to the user. Moreover, there currently is no standardised way to measure the effect of this lack of physical feedback. Best practice would expect that there should be a set of methods to effectively, repeatedly, and quantifiably evaluate the functionality, usability, and user experience of DMIs. Earlier theoretical and technological applications of haptics have tried to address device performance issues associated with the lack of feedback in DMI designs and it has been argued that the level of haptic feedback presented to a user can significantly affect the user’s overall emotive feeling towards a musical device. The outcome of the investigations contained within this thesis are intended to inform new haptic interface.

Contributos para o estudo da arquitectura cisterciense, em Portugal, no âmbito do Projecto ORFEUS: forma e música

Abstract This communication reflects the work done in the Department of Civil Engineering and Architecture at the University of Beira Interior (Portugal), and still ongoing, in the framework of the project ORFEUS - The Tridentine Reform and music in the cloistral silence: the Monastery of S. Bento de Cástris (Project FCT EXPL/EPH-PAT/2253/2013) and aims to bring the debate to a contribution to the study of the specificity of the monastery of St. Bento de Cástris in the context of Cistercian architecture, in which the shape and the music are intertwined. In this way, two dissertations have been developed in Architecture (integrated master course of architecture of the University of Beira Interior) within the project ORFEUS, which are divided by the importance and contributions of the Cistercian Architecture in contemporary religious architecture, the morphology of the Cistercian churches and the relationship between architecture and music in the specific case study of the church of the monastery of St. Bento de Cástris. Resumo Esta comunicação reflecte o trabalho desenvolvido no Departamento de Engenharia Civil e Arquitectura da Universidade da Beira Interior, e ainda em curso, no âmbito do Projecto ORFEUS - A Reforma tridentina e a música no silêncio claustral: o mosteiro de S. Bento de Cástris (Projecto FCT EXPL/EPH- PAT/2253/2013) e pretende-se com esta comunicação trazer a debate um contributo para o estudo da especificidade do Mosteiro de S. Bento de Cástris, no contexto da arquitectura cisterciense, no qual a forma e a música se entrelaçam. Neste sentido foram desenvolvidas duas dissertações de mestrado integrado em Arquitectura, no âmbito do Projecto ORFEUS, que se repartem pela importância e contributos da Arquitectura Cisterciense na Arquitectura religiosa contemporânea, a morfologia das igrejas cistercienses e a relação entre a arquitectura e música patente no estudo de caso da igreja do Mosteiro de S. Bento de Cástris.

«Norma a' piu famosi compositori di sonate a solo». Le sonate per violino di Carlo Ambrogio Lonati

Sempre più spesso negli ultimi decenni la figura e la musica di Carlo Ambrogio Lonati (c.1645-post 1701) hanno destato l’interesse degli studiosi e degli esecutori, i quali hanno preso in considerazione singoli aspetti della sua biografia e della sua produzione. Tuttavia, il processo di riscoperta e di recupero è stato ostacolato dalla mancanza di un’investigazione complessiva e integrata, capace tanto di dar conto della poliedricità di Lonati – violinista, compositore, cantante, didatta – quanto di riesaminare e ricontestualizzare le sue composizioni. Questa dissertazione tenta di colmare tale lacuna e propone una riconsiderazione di Lonati alla luce della sua produzione per violino. L’impiego di un approccio circolare fa in modo che mentre le composizioni violinistiche offrono un canale privilegiato allo studio del percorso artistico e dell’opera di questo compositore, la riconsiderazione critica della biografia permette di calare la musica per violino in un contesto ampio, oltre le distinzioni tra generi. L’integrazione di approcci metodologici differenti ha permesso di proporre una visione completamente nuova del compositore e di riformulare lo studio delle sonate violinistiche. Uno scrupoloso studio codicologico e filologico ha investito quattro testimoni a stampa e diciannove manoscritti e ha permesso di riconsiderare profondamente alcune composizioni già individuate. Suddivise in certe, attribuibili e dubbie, le trentuno sonate sono state poste sotto la lente di diverse prospettive interpretative e analitiche e appaiono differenti per tradizione e statuto testuale, stile, forma e scrittura. Il quadro multiforme che esse descrivono permette un approccio trasversale al repertorio violinistico e strumentale europeo del tardo Sei e del primo Settecento e introduce questioni relative all’autorialità, all’attribuzionismo e ai concetti di opus, creatività e stile. L’edizione critica delle diciannove sonate per violino inedite offre un primo confronto con questo repertorio; l’inventario di tutte le composizioni oggi note attribuite a Lonati fornisce invece le basi per i prossimi studi.

A double chance to investigate populist influence: The Five Star Movement.

In the last decade, new kinds of European populist parties and movements characterized by a left wing, right wing or “eclectic” attitude have succeeded in entering in governments where they could exert a direct populist influence on their coalition partners or, conversely, become victims themselves of the influence of the institutional background. Such a scenario brought this research to formulate two questions: (i) “To what extent did populist parties succeed in influencing their government coalition partners, leading them to adopt populist rhetoric and change their policy positions?” and (ii) “Have populist parties been able to retain their populist “outside mainstream politics” identity, or have they been assimilated to mainstream parties?”. As a case study this project chose the Italian Five Star Movement. Since 2018 this eclectic populist actor has experienced three different governments first with the radical right wing populist League (2018-2019) and then with the mainstream center left Democratic Party (2019-2021). In addition to this, currently the Five Star Movement is a coalition partner of the ongoing Draghi’s government. Theoretically based on the ideological definition of populism (Mudde, 2004), on a new “revised” model of the inclusionary - exclusionary framework to classify populist parties and on a novel definition of “populist influence”,this research made use of both quantitative (bidimensional and text analysis) and qualitative methods (semi-structured interviews) and mainly focuses on the years 2017- 2020.The importance of this study is threefold. First it contributes to the study of populist influence in government in relation to the ideological attachment of the political actors involved. Second, it contributes to understand if populists in power necessarily need to tone down their anti-system character in order to survive. Third, this study introduces conceptual and methodological novelties within the study of populism and populist influence in government.

Knowledge-based Chord Embeddings

This thesis develops AI methods as a contribution to computational musicology, an interdisciplinary field that studies music with computers. In systematic musicology a composition is defined as the combination of harmony, melody and rhythm. According to de La Borde, harmony alone "merits the name of composition". This thesis focuses on analysing the harmony from a computational perspective. We concentrate on symbolic music representation and address the problem of formally representing chord progressions in western music compositions. Informally, chords are sets of pitches played simultaneously, and chord progressions constitute the harmony of a composition. Our approach combines ML techniques with knowledge-based techniques. We design and implement the Modal Harmony ontology (MHO), using OWL. It formalises one of the most important theories in western music: the Modal Harmony Theory. We propose and experiment with different types of embedding methods to encode chords, inspired by NLP and adapted to the music domain, using both statistical (extensional) knowledge by relying on a huge dataset of chord annotations (ChoCo), intensional knowledge by relying on MHO and a combination of the two. The methods are evaluated on two musicologically relevant tasks: chord classification and music structure segmentation. The former is verified by comparing the results of the Odd One Out algorithm to the classification obtained with MHO. Good performances (accuracy: 0.86) are achieved. We feed a RNN for the latter, using our embeddings. Results show that the best performance (F1: 0.6) is achieved with embeddings that combine both approaches. Our method outpeforms the state of the art (F1 = 0.42) for symbolic music structure segmentation. It is worth noticing that embeddings based only on MHO almost equal the best performance (F1 = 0.58). We remark that those embeddings only require the ontology as an input as opposed to other approaches that rely on large datasets.

Music and faith: The religious scene in the Brazilian phonographic market

This text discusses the phonographic segment of religious music in Brazil in its two main manifestations, linked respectively to the Catholic and Protestant traditions. The text offers a brief history of both traditions, as well as a description of their main recording companies and artists of greatest prominence. In its final part. the text presents the strategies that bring together recording companies and independent artists, as well as ponders over Brazil`s independent musical production as a whole.

The Effects of Live, Taped and No Music on People Experiencing Posttraumatic Amnesia

This study compared the effects of live, taped, and no music, on agitation and orientation levels of people experiencing posttraumatic amnesia (PTA). Participants (N = 22) were exposed to all 3 conditions, twice over 6 consecutive days. Songs used in the live and taped music conditions were identical and were selected based on participants' own preferred music. Pre and posttesting was conducted for each condition using the Agitated Behavior Scale (Corrigan, 1989) and the Westmead PTA Scale (Shores, Marosszeky, Sandanam, Batchelor, 1986). Participants' memory for the music used was also tested and compared with their memory for pictorial material presented in the Westmead PTA Scale. Results indicate that music significantly reduced agitation (p

The knowledge gap: A perspective on trade, industry, technology and policy from pre-war Australian music technology manufacturing (1903-30)

Australia struggles to achieve economic competitiveness, prevent expansion of the trade deficit and develop value-added production despite applications of policy strategies from protectionism to trade liberalisation. This article argues that these problems were emerging at the turn of the century, and that an investigation of music technology manufacturing in the first two decades of this century reveals fundamental problems in the conduct of relevant policy analysis. Analysis has focused on the trade or technology gap which is only symptomatic of an underlying knowledge gap. The article calls for a knowledge policy approach which can allow protection without the negative effects of isolation from global markets and without having to resort to unworkable utopian free-trade dogma. A shift of focus from a 'goods traded' view to a knowledge transaction (or diffusion) perspective is advocated.