Formal function and phrase structure in contemporary music : Pierre Boulez’s late solo works and Sean Clarke’s "Lucretia Overture" and "4 Impromptus"

Cette thèse présente une théorie de la fonction formelle et de la structure des phrases dans la musique contemporaine, théorie qui peut être utilisée aussi bien comme outil analytique que pour créer de nouvelles œuvres. Deux concepts théoriques actuels aident à clarifier la structure des phrases : les projections temporelles de Christopher Hasty et la théorie des fonctions formelles de William Caplin, qui inclut le concept de l’organisation formelle soudée versus lâche (tight-knit vs. loose). Les projections temporelles sont perceptibles grâce à l’accent mis sur les paramètres secondaires, comme le style du jeu, l’articulation et le timbre. Des sections avec une organisation formelle soudée ont des projections temporelles claires, qui sont créées par la juxtaposition des motifs distincts, généralement sous la forme d'une idée de base en deux parties. Ces projections organisent la musique en phrases de présentation, en phrases de continuité et finalement, à des moments formels charnières, en phrases cadentielles. Les sections pourvues d’une organisation plus lâche tendent à présenter des projections et mouvements harmoniques moins clairs et moins d’uniformité motivique. La structure des phrases de trois pièces tardives pour instrument soliste de Pierre Boulez est analysée : Anthèmes I pour violon (1991-1992) et deux pièces pour piano, Incises (2001) et une page d’éphéméride (2005). Les idées proposées dans le présent document font suite à une analyse de ces œuvres et ont eu une forte influence sur mes propres compositions, en particulier Lucretia Overture pour orchestre et 4 Impromptus pour flûte, saxophone soprano et piano, qui sont également analysés en détail. Plusieurs techniques de composition supplémentaires peuvent être discernés dans ces deux œuvres, y compris l'utilisation de séquence mélodiques pour contrôler le rythme harmonique; des passages composés de plusieurs couches musicales chacun avec un structure de phrase distinct; et le relâchement de l'organisation formelle de matériels récurrents. Enfin, la composition de plusieurs autres travaux antérieurs a donné lieu à des techniques utilisées dans ces deux œuvres et ils sont brièvement abordés dans la section finale.

Project Flappy Crab : an edugame for music learning

This chapter discusses some possibilities of gamification and remixing processes for music education. It also analyzes the concepts of gamification, mashup/remix and presents its possible usage in education—music teaching—through the development of the project/educational game FLAPPY CRAB. The chapter begins with a brief introduction to the concepts listed above, trying to consider them in the school context. After that, we will make the summary presentation of the music educational game FLAPPY CRAB, a clone of the GEARS Studios Flappy Bird, developed for mobile devices and other platforms with the UNITY 3D© game engine. In this chapter we’ll talk yet, albeit briefly, about the game engine used in the development of this educational application. This educational game aims to assess the possible impacts that its use has on learning and skill development related to auditory memory, qualitative discrimination of musical sound height (pitch—in the range of an octave with a central point in 440 Hz), visual identification of musical notation symbols and its relative organization according to the grammar rules of traditional music spelling. The game has been tested by a group of approximately 30 teenagers over a period of about 6 months, over which data was collected. In this chapter, we will present a review of the preliminary data collected to date.

Exploring Armenian keyboard music : roots to modern times

The extended program notes include historical facts of the composers and characteristics of the pieces being performed. The thesis also includes information about Armenian composers starting from 18th to the 20th century, composition's historical background, brief biographies of the composers as well as analysis of form and structure. The graduate piano recital comprised the following compositions: Sayat Nova - R. Andriasian Yes Mi Kharib Blbuli Pes; Komitas - R. Andriasian Garun a, Shoker Jan, Dzirani Dzar, Gakavik; A. Khachaturyan Poem; A. Babadjanyan Elegy in Commemoration of A. Khachaturyan; E. Bagdasarian Humoresque, Prelude in D Minor, Prelude in B Minor; A. Babadjanyan Improvisation and Traditional from six Pictures; A. Babadjanyan Prelude and Vagarshapat Dance; A. Arutyunian Dance of Sasoon; A. Arutyunian - A. Babadjanyan Armenian Rhapsody for Two Pianos.

A dedicated greedy pursuit algorithm for sparse spectral representation of music sound

A dedicated algorithm for sparse spectral representation of music sound is presented. The goal is to enable the representation of a piece of music signal as a linear superposition of as few spectral components as possible, without affecting the quality of the reproduction. A representation of this nature is said to be sparse. In the present context sparsity is accomplished by greedy selection of the spectral components, from an overcomplete set called a dictionary. The proposed algorithm is tailored to be applied with trigonometric dictionaries. Its distinctive feature being that it avoids the need for the actual construction of the whole dictionary, by implementing the required operations via the fast Fourier transform. The achieved sparsity is theoretically equivalent to that rendered by the orthogonal matching pursuit (OMP) method. The contribution of the proposed dedicated implementation is to extend the applicability of the standard OMP algorithm, by reducing its storage and computational demands. The suitability of the approach for producing sparse spectral representation is illustrated by comparison with the traditional method, in the line of the short time Fourier transform, involving only the corresponding orthonormal trigonometric basis.

Pathfinder. Performance at the Sonorities Festival of Contemporary Music 2016

Pathfinder (2016) is an audiovisual performance-game for a solo drummer,exploring the synergies between multiple contemporary creative practices.The work navigates between music composition, improvisation, projection/ light art and game art. At its heart lies a bespoke electro-acoustic instrument,the augmented drum-kit, used not only to provide the sonic content of the work in real-time, but also as a highly expressive game controller that interacts with an instrument-specific game. The musical instrument offers a much wider range of expressive possibilities, control and tactile feedback in comparison to a traditional general-purpose game controller, and as a result it affords a very diverse and nuanced gameplay performance. Live electronics, lights, projections and the drum-kit all make up the performance-game’s universe, within which the performer has to explore, adjust, navigate and complete a journey.

Iberian and Latin American Music Scholarship on the Ascent: Reflections from the United States

In the early twentieth century, musicology was established as an academic discipline in the United States. Nonetheless, with the exception of Iberian medieval and Renaissance repertories, U.S. scholars largely overlooked the music of the Spanish- and Portuguese- speaking world. Why should this have been the case, especially in light of Spain’s strong historical presence in the United States? This autobiographical essay examines this question by tracing the career of an individual musicologist, the Hispanist musicologist Carol A. Hess. Evaluated here are disciplinary shifts in U.S. musicology —methodological, philosophical, and ideological— over the past thirty years. These transformations have combined to make this repertory a viable field of study today. Musicologists in the United States can now make their careers by specializing in Iberian and Latin American music, as well as the music of the Hispanic diaspora. They research topics ranging from the avant-garde composer Llorenç Barber to the rapper Nach Scratch or the popular bandleader Xavier Cugat and his U.S. audiences of the 1940s, while others also pursue the time-tested areas of medieval and Renaissance music. Iberian and Latin American music is regularly offered in postsecondary institutions while instructors now have a variety of textbooks and other pedagogical resources from which to choose. All add up to a disciplinary freedom that would have been unthinkable only a few decades ago.

Elementos musicais a serem abordados na formação profissional em educação fisica

Universidade Estadual de Campinas . Faculdade de Educação Física

Characterizing chaotic melodies in automatic music composition

In this paper, we initially present an algorithm for automatic composition of melodies using chaotic dynamical systems. Afterward, we characterize chaotic music in a comprehensive way as comprising three perspectives: musical discrimination, dynamical influence on musical features, and musical perception. With respect to the first perspective, the coherence between generated chaotic melodies (continuous as well as discrete chaotic melodies) and a set of classical reference melodies is characterized by statistical descriptors and melodic measures. The significant differences among the three types of melodies are determined by discriminant analysis. Regarding the second perspective, the influence of dynamical features of chaotic attractors, e.g., Lyapunov exponent, Hurst coefficient, and correlation dimension, on melodic features is determined by canonical correlation analysis. The last perspective is related to perception of originality, complexity, and degree of melodiousness (Euler's gradus suavitatis) of chaotic and classical melodies by nonparametric statistical tests. (c) 2010 American Institute of Physics. [doi: 10.1063/1.3487516]

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.

Comparative study of the biochemical changes and volatile compound formations during the production of novel whey-based kefir beverages and traditional milk kefir

Cheese whey (CW) and deproteinised cheese whey (DCW) were investigated for their suitability as novel substrates for the production of kefir-like beverages. Lactose consumption, ethanol production, as well as organic acids and volatile compounds formation, were determined during CW and DCW fermentation by kefir grains and compared with values obtained during the production of traditional milk kefir. The results showed that kefir grains were able to utilise lactose from CW and DCW and produce similar amounts of ethanol (7.8-8.3 g/l), lactic acid (5.0 g/l) and acetic acid (0.7 g/l) to those obtained during milk fermentation. In addition, the concentration of higher alcohols (2-methyl-1-butanol, 3-methyl-1-butanol, 1-hexanol, 2-methyl-1-propanol, and 1-propanol), ester (ethyl acetate) and aldehyde (acetaldehyde) in cheese whey-based kefir and milk kefir beverages were also produced in similar amounts. Cheese whey and deproteinised cheese whey may therefore serve as substrates for the production of kefir-like beverages similar to milk kefir. (C) 2010 Elsevier Ltd. All rights reserved.

Corrosion behavior of Eurofer 97 and ODS-Eurofer alloys compared to traditional stainless steels

In the present work, the corrosion resistance of ferritic-martensitic EUROFER 97 and ODS-EUROFER steels was tested in solutions containing NaCl or H(2)SO(4) and KSCN, both at 25 degrees C. The results were compared to those of AISI 430 ferritic and AISI 410 martensitic conventional stainless steels. The as-received samples were tested by electrochemical techniques, specifically, electrochemical impedance spectroscopy, potentiodynamic polarization curves, and double-loop electrochemical potentiokinetic reactivation tests. The surfaces were observed by scanning electron microscopy after exposure to corrosive media. The results showed that EUROFER 97 and ODS-EUROFER alloys present similar corrosion resistance but lower than ferritic AISI 430 and martensitic 410 stainless steels.

Bioactive compounds and antioxidant capacities of 18 non-traditional tropical fruits from Brazil

The bioactive compounds and antioxidant capacities of polyphenolic extracts of 18 fresh and dry native non-traditional fruits from Brazil were determined using ABTS, DDPH, FRAP and beta-carotene bleaching methods. The study provides an adaptation of these methods, along with an evaluation of the compounds related to antioxidant potential. The results show promising perspectives for the exploitation of non-traditional tropical fruit species with considerable levels of nutrients and antioxidant capacity. Although evaluation methods and results reported have not yet been sufficiently standardised, making comparisons difficult, our data add valuable information to current knowledge of the nutritional properties of tropical fruits, such as the considerable antioxidant capacity found for acerola - Malpighia emarginata and camu-camu - Myrciaria dubia (ABTS, DPPH and FRAP) and for puca-preto - Mouriri pusa (all methods). (C) 2010 Elsevier Ltd. All rights reserved.

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

Traditional architecture in the Pacific

Architecture of the Pacific covers a region of more than third of the earth’s surface. The sparse Pacific population spreads over some 30 000 islands, which graduate in size from small atolls to the largest island, Australia, a continent. Pacific architecture can be studied as four cultural units: Micronesia, Polynesia, Melanesia, and Australasia (Australia and New Zealand). While many of the islands of Micronesia lie above the Equator, the remaining Pacific islands are in the southern hemisphere. With the exception of Australia, most of the islands have a warm and humid tropical climate with high rainfalls and lush vegetation. Some islands lie in the cyclonic and earthquake belts. Two distinct racial groups settled the region. The indigenous people, the Micronesians, Melanesians, Polynesians, Australian Aborigines and New Zealand Maoris, migrated from Asia thousands of years ago. The second group, the recent immigrants, were Europeans, who occupied the region during the last two centuries, and pockets of Asians brought in by colonial administrations as labourers during the early twentieth century.