A multidimensional scaling analysis of musical sounds based on pseudo phase plane

This paper studies musical opus from the point of view of three mathematical tools: entropy, pseudo phase plane (PPP), and multidimensional scaling (MDS). The experiments analyze ten sets of different musical styles. First, for each musical composition, the PPP is produced using the time series lags captured by the average mutual information. Second, to unravel hidden relationships between the musical styles the MDS technique is used. The MDS is calculated based on two alternative metrics obtained from the PPP, namely, the average mutual information and the fractal dimension. The results reveal significant differences in the musical styles, demonstrating the feasibility of the proposed strategy and motivating further developments towards a dynamical analysis of musical sounds.

Musical timbre analysis

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Petr Eben's oratorio Apologia Sokratus (1967) and ballet Curses and Blessings (1983): An interpretative analysis of the symbolism behind the text settings and musical style

The Czech composer Petr Eben (1927-2007) has written music in all genres except symphony, but he is highly recognized for his organ and choral compositions, which are his preferred genres. His vocal works include choral songs and vocal-instrumental works at a wide range of difficulty levels, from simple pedagogical songs to very advanced and technically challenging compositions. This study examines two of Eben‘s vocal-instrumental compositions. The oratorio Apologia Sokratus (1967) is a three-movement work; its libretto is based on Plato‘s Apology of Socrates. The ballet Curses and Blessings (1983) has a libretto compiled from numerous texts from the thirteenth to the twentieth centuries. The formal design of the ballet is unusual—a three-movement composition where the first is choral, the second is orchestral, and the third combines the previous two played simultaneously. Eben assembled the libretti for both compositions and they both address the contrasting sides of the human soul, evil and good, and the everlasting fight between them. This unity and contrast is the philosophical foundation for both compositions. The dissertation discusses the multileveled meanings behind the text settings and musical style of the oratorio and ballet in analyses focusing on the text, melodic and harmonic construction, and symbolism. Additional brief analyses of other vocal and vocal-instrumental compositions by Eben establish the ground for the examination of the oratorio and ballet and for understanding features of the composer‘s musical style. While the oratorio Apologia Sokratus was discussed in short articles in the 1970s, the ballet Curses and Blessings has never previously been addressed within Eben scholarship. The dissertation examines the significant features of Eben‘s music. His melodic style incorporates influences as diverse as Gregorian chant and folk tunes on the one hand, and modern vocal techniques such as Sprechgesang and vocal aleatoricism on the other. His harmonic language includes bitonality and polytonality, used to augment the tonal legacy of earlier times, together with elements of pitch collections and limited serial procedures as well as various secundal and quartal harmonic sonorities derived from them. His music features the vibrant rhythms of folk music, and incorporates other folk devices like ostinato, repetitive patterns, and improvisation.

Zoroastrianism, Cosmology, and Chaos: A Detailed Analysis of the Musical Composition, Druj Aeterni

Druj Aeterni is a large chamber ensemble piece for flute, clarinet, French horn, two trumpets, piano, two percussionists, string quintet, and electric bass. My composition integrates three intellectual pursuits and interests, ancient mythology, cosmology, and mathematics. The title of the piece uses Latin and the language of the Avesta, the holy book of Zoroastrianism, and comments upon a philosophical perspective based in string theory. I abstract the cosmological implications of string theory, apply them to the terminology and theology of Zoroastrianism, and then structure the composition in consideration of a possible reconciliation. The analysis that follows incorporates analytical techniques similar to David Cope’s style of Vectoral Analysis.

Everybody's Talking About Jamie: a comparative analysis between the English musical and the Italian translation and its influence on the LGBTQIA+ community

“Culture has been, is and always will be useful to the political and social fight, precisely because it stirs consciences and prompts reflection”, stated Pero Di Blasio, producer of the Italian version of the musical Everybody’s Talking About Jamie in our private interview (Savoia, 2022). And the invitation for reflection mentioned by the producer represents the main topic of my dissertation, as its aim is to underline, starting from a translation point of view, the differences and similarities conveyed by the two versions of the musical, to raise awareness and spread validation towards the issues and struggles members of the LGBTQIA+ community are forced to face every day. The four chapters in which this dissertation is divided into proceed from a more generic and theoretical one (chapter 1), followed by the introduction of the musical in Chapter 2 with its British and Italian versions, contextualised in their national realities thanks to their press reviews. Then the focus will zoom into the more practical chapters, where the topic of the Italian translation will be gradually approached. The dissertation will then be concluded with the fourth chapter, where the findings identified in the third chapter will be commented, taking into consideration the audience perception and the social issues portrayed on stage by the cast of the West End musical.

Musical genres: beating to the rhythms of different drums

Online music databases have increased significantly as a consequence of the rapid growth of the Internet and digital audio, requiring the development of faster and more efficient tools for music content analysis. Musical genres are widely used to organize music collections. In this paper, the problem of automatic single and multi-label music genre classification is addressed by exploring rhythm-based features obtained from a respective complex network representation. A Markov model is built in order to analyse the temporal sequence of rhythmic notation events. Feature analysis is performed by using two multi-variate statistical approaches: principal components analysis (unsupervised) and linear discriminant analysis (supervised). Similarly, two classifiers are applied in order to identify the category of rhythms: parametric Bayesian classifier under the Gaussian hypothesis (supervised) and agglomerative hierarchical clustering (unsupervised). Qualitative results obtained by using the kappa coefficient and the obtained clusters corroborated the effectiveness of the proposed method.

MULTIDIMENSIONAL SCALING OF MUSICAL TIME ESTIMATIONS

The aim of this study was to identify the psycho-musical factors that govern time evaluation in Western music from baroque, classic, romantic, and modern repertoires. The excerpts were previously found to represent variability in musical properties and to induce four main categories of emotions. 48 participants (musicians and nonmusicians) freely listened to 16 musical excerpts (lasting 20 sec. each) and grouped those that seemed to have the same duration. Then, participants associated each group of excerpts to one of a set of sine wave tones varying in duration from 16 to 24 sec. Multidimensional scaling analysis generated a two-dimensional solution for these time judgments. Musical excerpts with high arousal produced an overestimation of time, and affective valence had little influence on time perception. The duration was also overestimated when tempo and loudness were higher, and to a lesser extent, timbre density. In contrast, musical tension had little influence.

Dynamical analysis of compositions

This paper analyzes musical opus from the point of view of two mathematical tools, namely the entropy and the multidimensional scaling (MDS). The Fourier analysis reveals a fractional dynamics, but the time rhythm variations are diluted along the spectrum. The combination of time-window entropy and MDS copes with the time characteristics and is well suited to treat a large volume of data. The experiments focus on a large number of compositions classified along three sets of musical styles, namely “Classical”, “Jazz”, and “Pop & Rock” compositions. Without lack of generality, the present study describes the application of the tools and the sets of musical compositions in a methodology leading to clear conclusions, but extensions to other possibilities are straightforward. The results reveal significant differences in the musical styles, demonstrating the feasibility of the proposed strategy and motivating further developments toward a dynamical analysis of musical compositions.

As expressões musical e dramática na prática educativa em contexto de Jardim-de-Infância e 1º ciclo do Ensino Básico

Mestrado, Educação Pré-Escolar e Ensino do 1º Ciclo do Ensino Básico, 12 de Dezembro de 2011, Universidade dos Açores (Relatório de Estágio).

Análise da problemática da exposição dos músicos ao ruído: perceção ao ruído e determinação dos níveis de pressão sonora na prática musical em contexto escolar

A atenção face dada à problemática da perda auditiva induzida pelo ruído nos profissionais da música tem sido enfatizada estudos nos últimos anos. No entanto, no que respeita aos alunos de música, são ainda poucos os estudos que analisam esta problemática de modo a permitir compreender se estes poderão estar expostos a elevados níveis de ruído no decorrer da sua formação e desenvolver problemas auditivos. O presente estudo pretende caraterizar os níveis de pressão sonora a que alunos de música estão expostos no decorrer das aulas e analisar a perceção do risco dos mesmos e potenciais efeitos sobre o sistema auditivo. Foram analisadas duas Orquestras de Jazz e uma Orquestra Sinfónica de uma Escola Superior de Música (ESM) e de um Conservatório de Música (CM). No total foram selecionados 24 alunos de acordo com o seu instrumento, e medidos os níveis de pressão sonora em diversas aulas, ao longo de duas semanas com recurso a 8 dosímetros. Foi aplicado um questionário para a análise da perceção dos alunos ao ruído e realizados exames audiométricos para a avaliação auditiva dos alunos. Em geral, os resultados demostraram que os alunos estão expostos a níveis elevados de ruído no decurso das aulas de instrumento e ensaios. Foram obtidos elevados níveis de Lp,A,eqT na bateria, vibrafone, saxofone, trombone, clarinete e trompa. Nas três escolas, verificou-se valores mais baixos de exposição no contrabaixo, nomeadamente nas Aulas Individuais. Os valores de Lp,Cpico ultrapassaram o valor de ação inferior de 135 dB(C) na percussão e saxofone. Nas aulas teóricas os valores obtidos ultrapassaram recomendação de 35 dB(A). No que respeita à perceção dos alunos verificou-se que em geral consideram que a exposição a elevados níveis de pressão sonora não tem efeitos significativos na saúde. Apesar de se ter verificado que todos os alunos avaliados apresentam uma audição normal, tinnitus, hiperacusia, distorção e diplacusia foram identificados por um número significativo de alunos. Os resultados obtidos neste estudo refletem a necessidade de implementação de medidas de prevenção e controlo dos níveis de exposição dos alunos de música com vista a um aumento da sua consciencialização do risco.

A director’s approach to art and religion : o quadro, um musical da Paixão segundo o sr. João (The masterpiece, a musical of The passion according to John): trabalho de projecto

Trabalho de Projecto submetido à Escola Superior de Teatro e Cinema para cumprimento dos requisitos necessários à obtenção do grau de Mestre em Teatro - especialização em Encenação.

Towards a classification scheme for musical sounds

Signal Processing: Algorithms, Architectures, Arrangements, and Applications (SPA), 2013

Estudo empírico : motivação e aprendizagem nas aulas de formação musical e classe de conjunto coral : um estudo de caso comparativo

Relatório de Estágio apresentado à Escola Superior de Artes Aplicadas do Instituto Politécnico de Castelo Branco para cumprimento dos requisitos necessários à obtenção do grau de Mestre em Ensino da Música – Formação Musical e Música de Conjunto.

Creació d'una ràdio musical participativa amb difusió online i FM

Aquest projecte té com a propòsit crear una ràdio musical participativa amb difusió online i FM on a partir d’una interfície web l’usuari pugui participar-hi activament votant les cançons que hi sonaran. A més a més els usuaris registrats gaudiran d’una xarxa social on podran fer amistats i deixa’ls-hi comentaris. Primer de tot faig una ràpida introducció a l’estat de l’art de les ràdios actuals, a continuació analitzo els requeriments, especifico el comportament desitjat del sistema, explico detalladament el disseny i l’ implementació i, per últim, faig un seguit de proves de les quals n’extrec les conclusions.

Musical training intensity yields opposite effects on grey matter density in cognitive versus sensorimotor networks.

Using optimized voxel-based morphometry, we performed grey matter density analyses on 59 age-, sex- and intelligence-matched young adults with three distinct, progressive levels of musical training intensity or expertise. Structural brain adaptations in musicians have been repeatedly demonstrated in areas involved in auditory perception and motor skills. However, musical activities are not confined to auditory perception and motor performance, but are entangled with higher-order cognitive processes. In consequence, neuronal systems involved in such higher-order processing may also be shaped by experience-driven plasticity. We modelled expertise as a three-level regressor to study possible linear relationships of expertise with grey matter density. The key finding of this study resides in a functional dissimilarity between areas exhibiting increase versus decrease of grey matter as a function of musical expertise. Grey matter density increased with expertise in areas known for their involvement in higher-order cognitive processing: right fusiform gyrus (visual pattern recognition), right mid orbital gyrus (tonal sensitivity), left inferior frontal gyrus (syntactic processing, executive function, working memory), left intraparietal sulcus (visuo-motor coordination) and bilateral posterior cerebellar Crus II (executive function, working memory) and in auditory processing: left Heschl's gyrus. Conversely, grey matter density decreased with expertise in bilateral perirolandic and striatal areas that are related to sensorimotor function, possibly reflecting high automation of motor skills. Moreover, a multiple regression analysis evidenced that grey matter density in the right mid orbital area and the inferior frontal gyrus predicted accuracy in detecting fine-grained incongruities in tonal music.