subject:(Timbre)

1. Cabrita, Tiago Manuel Pardal. Ressonância(s): processos de escrita musical.

Degree: 2012, Repositório Científico do Instituto Politécnico de Lisboa

URL: https://www.rcaap.pt/detail.jsp?id=oai:repositorio.ipl.pt:10400.21/8350

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Dissertação - Mestrado em Música

O estudo presente neste relatório é uma reflexão acerca de uma perspetiva sobre a ressonância no contexto da composição musical,… (more)

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Dissertação - Mestrado em Música

O estudo presente neste relatório é uma reflexão acerca de uma perspetiva sobre a ressonância no contexto da composição musical, em especial, a partir do conjunto das peças, escritas para este Mestrado, “Intimidade” (Saxofone e Piano), “Anticlockwise” (Violino solo, Encomenda da 25ª Edição do Prémio Jovens Músicos), “O Vulto da Consciência” (Soprano, Duas Flautas e Percussão), “A Vida Inteira” (Encomenda do Teatro Nacional S. Carlos), “Voem, Asas..” (Clarinete e Vibrafone), “Reflexos da Memória de uma Criança” (Violoncelo e Pequena Orquestra), “Unexpressions Revisited” (Orquestra de Cordas) e “Do Outro Lado do Espelho” (para dois Pianos). Baseado na bibliografia apresentada e na observação de peças de outros compositores, propus-me refletir sobre o modo como a ressonância é tratada no universo das oito peças em análise. Este estudo levou-me a ter uma maior consciência dos processos que envolvem o meu trabalho de criação musical e a chegar a um conjunto de aplicações do conceito de ressonância na escrita instrumental, as quais me ajudarão certamente a dar os próximos passos nesse percurso. Apesar da utilização destes conceitos ter sido bastante livre nas oito obras escritas, ficou a convicção de que a clarificação das referidas aplicações pode ser um contributo para que cada uma delas tenha uma “assinatura própria” em termos sonoros na escrita musical.

ABSTRACT - The current dissertation deals with resonance in the context of musical composition, in particular in the set of pieces which includes "Intimidade" (sax and piano), "Anticlockwise" (violin solo, commissioned by the Young Musicians Award (Portugal), 25th edition), "O Vulto da Consciência" (Soprano, Two Flutes and Percussion), "A Vida Inteira" (commissioned by the S.Carlos National Theatre), "Voem, Asas..." (Clarinet and Vibraphone), "Reflexos da Memória de uma Criança" (Cello and Small Orchestra), "Unexpressions Revisited" (String Orchestra), "Do Outro Lado do Espelho" (Two Pianos). Based on both the reviewed bibliography and the observation of pieces by other composers, I aimed to reflect on how resonance is treated and developed in the universe of the eight pieces analysed. This work has led to a greater conscience of my own musical creation process and, therefore, of possible steps to be taken in the future. Despite the rather free applications of the concept of resonance in my scores, and despite the fact that the different resonance categories are not closed, in the future I hope to achieve for each and all of them a distinctive signature in terms of sound.

N/A

Advisors/Committee Members: Vargas, António Pinho, Marecos, Carlos.

Subjects/Keywords: Ressonância; Reverberação; Timbre; Resonance; Reverberation; Timbre

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APA · Chicago · MLA · Vancouver · CSE | Export to Zotero / EndNote / Reference Manager

APA (6^th Edition):

Cabrita, T. M. P. (2012). Ressonância(s): processos de escrita musical. (Thesis). Repositório Científico do Instituto Politécnico de Lisboa. Retrieved from https://www.rcaap.pt/detail.jsp?id=oai:repositorio.ipl.pt:10400.21/8350

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Chicago Manual of Style (16^th Edition):

Cabrita, Tiago Manuel Pardal. “Ressonância(s): processos de escrita musical.” 2012. Thesis, Repositório Científico do Instituto Politécnico de Lisboa. Accessed March 05, 2021. https://www.rcaap.pt/detail.jsp?id=oai:repositorio.ipl.pt:10400.21/8350.

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

MLA Handbook (7^th Edition):

Cabrita, Tiago Manuel Pardal. “Ressonância(s): processos de escrita musical.” 2012. Web. 05 Mar 2021.

Vancouver:

Cabrita TMP. Ressonância(s): processos de escrita musical. [Internet] [Thesis]. Repositório Científico do Instituto Politécnico de Lisboa; 2012. [cited 2021 Mar 05]. Available from: https://www.rcaap.pt/detail.jsp?id=oai:repositorio.ipl.pt:10400.21/8350.

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Council of Science Editors:

Cabrita TMP. Ressonância(s): processos de escrita musical. [Thesis]. Repositório Científico do Instituto Politécnico de Lisboa; 2012. Available from: https://www.rcaap.pt/detail.jsp?id=oai:repositorio.ipl.pt:10400.21/8350

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

McGill University

2. Plazak, Joseph S. Perceiving Changes of Sound-Source Size Within Musical Tone Pairs.

Degree: Schulich School of Music, 2017, McGill University

URL: https://escholarship.mcgill.ca/downloads/9g54xk85t.pdf ; https://escholarship.mcgill.ca/concern/theses/6w924d88h

► Recent research suggests that the perception of sound-source size may be based in part on attributes of timbre, and further, that it may play a… (more)

Subjects/Keywords: timbre; size perception

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APA · Chicago · MLA · Vancouver · CSE | Export to Zotero / EndNote / Reference Manager

APA (6^th Edition):

Plazak, J. S. (2017). Perceiving Changes of Sound-Source Size Within Musical Tone Pairs. (Thesis). McGill University. Retrieved from https://escholarship.mcgill.ca/downloads/9g54xk85t.pdf ; https://escholarship.mcgill.ca/concern/theses/6w924d88h

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Chicago Manual of Style (16^th Edition):

Plazak, Joseph S. “Perceiving Changes of Sound-Source Size Within Musical Tone Pairs.” 2017. Thesis, McGill University. Accessed March 05, 2021. https://escholarship.mcgill.ca/downloads/9g54xk85t.pdf ; https://escholarship.mcgill.ca/concern/theses/6w924d88h.

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

MLA Handbook (7^th Edition):

Plazak, Joseph S. “Perceiving Changes of Sound-Source Size Within Musical Tone Pairs.” 2017. Web. 05 Mar 2021.

Vancouver:

Plazak JS. Perceiving Changes of Sound-Source Size Within Musical Tone Pairs. [Internet] [Thesis]. McGill University; 2017. [cited 2021 Mar 05]. Available from: https://escholarship.mcgill.ca/downloads/9g54xk85t.pdf ; https://escholarship.mcgill.ca/concern/theses/6w924d88h.

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Council of Science Editors:

Plazak JS. Perceiving Changes of Sound-Source Size Within Musical Tone Pairs. [Thesis]. McGill University; 2017. Available from: https://escholarship.mcgill.ca/downloads/9g54xk85t.pdf ; https://escholarship.mcgill.ca/concern/theses/6w924d88h

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

University of California – San Diego

3. Marquez, Tania Lanfer. Perceptual Assertiveness of Elected Dimensions: An Extrapolation Derived From Schoenberg Op. 16, No. 3 "Farben".

Degree: Music, 2010, University of California – San Diego

URL: http://www.escholarship.org/uc/item/1v95215s

► The aim of this paper is to derive extrapolations of compositional significance from Schoenberg's Op. 16 No. 3 "Farben." An extrapolation, in this sense, is… (more)

Subjects/Keywords: Music; Cognition; Schoenberg; Timbre

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APA (6^th Edition):

Marquez, T. L. (2010). Perceptual Assertiveness of Elected Dimensions: An Extrapolation Derived From Schoenberg Op. 16, No. 3 "Farben". (Thesis). University of California – San Diego. Retrieved from http://www.escholarship.org/uc/item/1v95215s

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Chicago Manual of Style (16^th Edition):

Marquez, Tania Lanfer. “Perceptual Assertiveness of Elected Dimensions: An Extrapolation Derived From Schoenberg Op. 16, No. 3 "Farben".” 2010. Thesis, University of California – San Diego. Accessed March 05, 2021. http://www.escholarship.org/uc/item/1v95215s.

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

MLA Handbook (7^th Edition):

Marquez, Tania Lanfer. “Perceptual Assertiveness of Elected Dimensions: An Extrapolation Derived From Schoenberg Op. 16, No. 3 "Farben".” 2010. Web. 05 Mar 2021.

Vancouver:

Marquez TL. Perceptual Assertiveness of Elected Dimensions: An Extrapolation Derived From Schoenberg Op. 16, No. 3 "Farben". [Internet] [Thesis]. University of California – San Diego; 2010. [cited 2021 Mar 05]. Available from: http://www.escholarship.org/uc/item/1v95215s.

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Council of Science Editors:

Marquez TL. Perceptual Assertiveness of Elected Dimensions: An Extrapolation Derived From Schoenberg Op. 16, No. 3 "Farben". [Thesis]. University of California – San Diego; 2010. Available from: http://www.escholarship.org/uc/item/1v95215s

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

University of Toronto

4. Weiss, Michael William. Vocal Timbre Influences Memory for Melodies.

Degree: 2011, University of Toronto

URL: http://hdl.handle.net/1807/31626

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Several studies have demonstrated that melody recognition is reduced when the timbre (instrument) changes between exposure and test, but no study has evaluated the possibility… (more)

Subjects/Keywords: Memory; Music; Timbre; Melody; 0633

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APA (6^th Edition):

Weiss, M. W. (2011). Vocal Timbre Influences Memory for Melodies. (Masters Thesis). University of Toronto. Retrieved from http://hdl.handle.net/1807/31626

Chicago Manual of Style (16^th Edition):

Weiss, Michael William. “Vocal Timbre Influences Memory for Melodies.” 2011. Masters Thesis, University of Toronto. Accessed March 05, 2021. http://hdl.handle.net/1807/31626.

MLA Handbook (7^th Edition):

Weiss, Michael William. “Vocal Timbre Influences Memory for Melodies.” 2011. Web. 05 Mar 2021.

Vancouver:

Weiss MW. Vocal Timbre Influences Memory for Melodies. [Internet] [Masters thesis]. University of Toronto; 2011. [cited 2021 Mar 05]. Available from: http://hdl.handle.net/1807/31626.

Council of Science Editors:

Weiss MW. Vocal Timbre Influences Memory for Melodies. [Masters Thesis]. University of Toronto; 2011. Available from: http://hdl.handle.net/1807/31626

Universidad de Chile

5. Cortés Rodríguez, David. Música y reciclaje: tres miradas de un objeto.

Degree: 2015, Universidad de Chile

URL: http://repositorio.uchile.cl/handle/2250/136750

► La presente tesis subraya la importancia de dos motivaciones que son clave para una invitación a la composición musical. En primer término, mi interés por… (more)

Subjects/Keywords: Composición musical; Timbre (Música)

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APA · Chicago · MLA · Vancouver · CSE | Export to Zotero / EndNote / Reference Manager

APA (6^th Edition):

Cortés Rodríguez, D. (2015). Música y reciclaje: tres miradas de un objeto. (Thesis). Universidad de Chile. Retrieved from http://repositorio.uchile.cl/handle/2250/136750

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Chicago Manual of Style (16^th Edition):

Cortés Rodríguez, David. “Música y reciclaje: tres miradas de un objeto.” 2015. Thesis, Universidad de Chile. Accessed March 05, 2021. http://repositorio.uchile.cl/handle/2250/136750.

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

MLA Handbook (7^th Edition):

Cortés Rodríguez, David. “Música y reciclaje: tres miradas de un objeto.” 2015. Web. 05 Mar 2021.

Vancouver:

Cortés Rodríguez D. Música y reciclaje: tres miradas de un objeto. [Internet] [Thesis]. Universidad de Chile; 2015. [cited 2021 Mar 05]. Available from: http://repositorio.uchile.cl/handle/2250/136750.

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Council of Science Editors:

Cortés Rodríguez D. Música y reciclaje: tres miradas de un objeto. [Thesis]. Universidad de Chile; 2015. Available from: http://repositorio.uchile.cl/handle/2250/136750

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

University of Sydney

6. McNamara, Peter. The Role of Timbre and Microtones in the Music of Peter McNamara .

Degree: 2011, University of Sydney

URL: http://hdl.handle.net/2123/7903

► This dissertation examines the role that timbre and microtones perform in my music and how these elements are intrinsically linked. Timbre and microtones are the… (more)

Subjects/Keywords: Microtones; Timbre and spectral harmony

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APA · Chicago · MLA · Vancouver · CSE | Export to Zotero / EndNote / Reference Manager

APA (6^th Edition):

McNamara, P. (2011). The Role of Timbre and Microtones in the Music of Peter McNamara . (Thesis). University of Sydney. Retrieved from http://hdl.handle.net/2123/7903

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Chicago Manual of Style (16^th Edition):

McNamara, Peter. “The Role of Timbre and Microtones in the Music of Peter McNamara .” 2011. Thesis, University of Sydney. Accessed March 05, 2021. http://hdl.handle.net/2123/7903.

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

MLA Handbook (7^th Edition):

McNamara, Peter. “The Role of Timbre and Microtones in the Music of Peter McNamara .” 2011. Web. 05 Mar 2021.

Vancouver:

McNamara P. The Role of Timbre and Microtones in the Music of Peter McNamara . [Internet] [Thesis]. University of Sydney; 2011. [cited 2021 Mar 05]. Available from: http://hdl.handle.net/2123/7903.

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Council of Science Editors:

McNamara P. The Role of Timbre and Microtones in the Music of Peter McNamara . [Thesis]. University of Sydney; 2011. Available from: http://hdl.handle.net/2123/7903

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

University of New South Wales

7. Li, Weicong. The physics of playing clarinet and saxophone: how players control articulation and timbre.

Degree: Physics, 2016, University of New South Wales

URL: http://handle.unsw.edu.au/1959.4/56318 ; https://unsworks.unsw.edu.au/fapi/datastream/unsworks:40550/SOURCE02?view=true

► For musicians, a beautiful note has appropriate pitch, loudness and timbre, and is elegantly articulated. On clarinet and saxophone, frequency, sound level, spectral envelope and… (more)

▼ For musicians, a beautiful note has appropriate pitch, loudness and timbre, and is elegantly articulated. On clarinet and saxophone, frequency, sound level, spectral envelope and articulation are controlled by breath, lip, tongue, vocal tract and fingers. Fingering effects are well understood and analysed. However, in spite of their importance to players, the effects of these other parameters on the sound and how players control them are neither discussed explicitly in pedagogical literature nor well studied in music acoustics. This thesis investigates these questions and the interesting physics behind them.One study was 'ecological': expert players played notes of different fundamental frequency, sound level, spectrum and articulation. While they played, the sound, the acoustical impedance spectrum of the vocal tract, the blowing pressure and its time variation, the tongue-reed contact and the coordination of these parameters were measured. In complementary experiments, the effects of the different control parameters were investigated in detail by varying them one at a time using a clarinet-playing machine.Different articulations (e.g. accent, sforzando, etc.) have different initial transients, with different rates of exponential increase in amplitude. Players vary these rates by increasing the blowing pressure P at different rates and coordinating this with the tongue release from the reed. Notes are terminated either by decreasing P below a threshold or by tongue contact: both produce exponential decreases in sound pressure. The exponential decrease rates are similar to those calculated from the bandwidths of the bore resonances. Quiet notes can be initiated by tonguing in the hysteresis region, where notes cannot start by increasing P only. Rapid tongue release from the reed and large initial tongue force produce substantial discontinuities in air flow and thus strong transients.Experienced saxophone players can vary the sound spectrum at constant pitch and loudness by changing the acoustic impedance spectrum of their vocal tracts, though the variation is smaller in the radiated sound spectrum than in the player's mouth. Harmonics of the radiated sound falling near peaks in the tract impedance are enhanced when the magnitude of the tract impedance peak is comparable with that of the instrument bore. Advisors/Committee Members: Wolfe, Joe, Physics, Faculty of Science, UNSW, Smith, John, Physics, Faculty of Science, UNSW.

Subjects/Keywords: Timbre; Single reed; Articulation

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APA · Chicago · MLA · Vancouver · CSE | Export to Zotero / EndNote / Reference Manager

APA (6^th Edition):

Li, W. (2016). The physics of playing clarinet and saxophone: how players control articulation and timbre. (Doctoral Dissertation). University of New South Wales. Retrieved from http://handle.unsw.edu.au/1959.4/56318 ; https://unsworks.unsw.edu.au/fapi/datastream/unsworks:40550/SOURCE02?view=true

Chicago Manual of Style (16^th Edition):

Li, Weicong. “The physics of playing clarinet and saxophone: how players control articulation and timbre.” 2016. Doctoral Dissertation, University of New South Wales. Accessed March 05, 2021. http://handle.unsw.edu.au/1959.4/56318 ; https://unsworks.unsw.edu.au/fapi/datastream/unsworks:40550/SOURCE02?view=true.

MLA Handbook (7^th Edition):

Li, Weicong. “The physics of playing clarinet and saxophone: how players control articulation and timbre.” 2016. Web. 05 Mar 2021.

Vancouver:

Li W. The physics of playing clarinet and saxophone: how players control articulation and timbre. [Internet] [Doctoral dissertation]. University of New South Wales; 2016. [cited 2021 Mar 05]. Available from: http://handle.unsw.edu.au/1959.4/56318 ; https://unsworks.unsw.edu.au/fapi/datastream/unsworks:40550/SOURCE02?view=true.

Council of Science Editors:

Li W. The physics of playing clarinet and saxophone: how players control articulation and timbre. [Doctoral Dissertation]. University of New South Wales; 2016. Available from: http://handle.unsw.edu.au/1959.4/56318 ; https://unsworks.unsw.edu.au/fapi/datastream/unsworks:40550/SOURCE02?view=true

NSYSU

8. Hwang, Shin-shyan. The explanation of musical work <<Soliloque>>.

Degree: Master, Music, 2004, NSYSU

URL: http://etd.lib.nsysu.edu.tw/ETD-db/ETD-search/view_etd?URN=etd-0818104-140626

► Abstract This paper is based upon my musical workâSoliloquyâ, Duet for Flute and Violoncello, to present the musical ideas and the compositional techniques. Structurally,âSoliloquyâcan be… (more)

Subjects/Keywords: Timbre; explanation; Soliloque

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APA · Chicago · MLA · Vancouver · CSE | Export to Zotero / EndNote / Reference Manager

APA (6^th Edition):

Hwang, S. (2004). The explanation of musical work <<Soliloque>>. (Thesis). NSYSU. Retrieved from http://etd.lib.nsysu.edu.tw/ETD-db/ETD-search/view_etd?URN=etd-0818104-140626

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Chicago Manual of Style (16^th Edition):

Hwang, Shin-shyan. “The explanation of musical work <<Soliloque>>.” 2004. Thesis, NSYSU. Accessed March 05, 2021. http://etd.lib.nsysu.edu.tw/ETD-db/ETD-search/view_etd?URN=etd-0818104-140626.

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

MLA Handbook (7^th Edition):

Hwang, Shin-shyan. “The explanation of musical work <<Soliloque>>.” 2004. Web. 05 Mar 2021.

Vancouver:

Hwang S. The explanation of musical work <<Soliloque>>. [Internet] [Thesis]. NSYSU; 2004. [cited 2021 Mar 05]. Available from: http://etd.lib.nsysu.edu.tw/ETD-db/ETD-search/view_etd?URN=etd-0818104-140626.

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Council of Science Editors:

Hwang S. The explanation of musical work <<Soliloque>>. [Thesis]. NSYSU; 2004. Available from: http://etd.lib.nsysu.edu.tw/ETD-db/ETD-search/view_etd?URN=etd-0818104-140626

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

San Jose State University

9. Kim, Jeanna. Change and Transformation: The Harp as a Symbol of Liminality in Tchaikovsky’s The Nutcracker (1892).

Degree: MM, Music and Dance, 2018, San Jose State University

URL: https://doi.org/10.31979/etd.58a2-m76b ; https://scholarworks.sjsu.edu/etd_theses/4973

► The harp is a musical instrument with a uniquely resonating timbre, and a highly specialized expressive niche within the orchestral repertoire. A deeper study… (more)

Subjects/Keywords: Harp; Liminality; Nutcracker; Orchestration; Tchaikovsky; Timbre

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APA (6^th Edition):

Kim, J. (2018). Change and Transformation: The Harp as a Symbol of Liminality in Tchaikovsky’s The Nutcracker (1892). (Thesis). San Jose State University. Retrieved from https://doi.org/10.31979/etd.58a2-m76b ; https://scholarworks.sjsu.edu/etd_theses/4973

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Chicago Manual of Style (16^th Edition):

Kim, Jeanna. “Change and Transformation: The Harp as a Symbol of Liminality in Tchaikovsky’s The Nutcracker (1892).” 2018. Thesis, San Jose State University. Accessed March 05, 2021. https://doi.org/10.31979/etd.58a2-m76b ; https://scholarworks.sjsu.edu/etd_theses/4973.

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

MLA Handbook (7^th Edition):

Kim, Jeanna. “Change and Transformation: The Harp as a Symbol of Liminality in Tchaikovsky’s The Nutcracker (1892).” 2018. Web. 05 Mar 2021.

Vancouver:

Kim J. Change and Transformation: The Harp as a Symbol of Liminality in Tchaikovsky’s The Nutcracker (1892). [Internet] [Thesis]. San Jose State University; 2018. [cited 2021 Mar 05]. Available from: https://doi.org/10.31979/etd.58a2-m76b ; https://scholarworks.sjsu.edu/etd_theses/4973.

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Council of Science Editors:

Kim J. Change and Transformation: The Harp as a Symbol of Liminality in Tchaikovsky’s The Nutcracker (1892). [Thesis]. San Jose State University; 2018. Available from: https://doi.org/10.31979/etd.58a2-m76b ; https://scholarworks.sjsu.edu/etd_theses/4973

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Universidade do Porto

10. Lopes, Miguel Alexandre Gaspar. Automatic classification of latin music : some experiments on musical genre classification.

Degree: 2009, Universidade do Porto

URL: http://www.rcaap.pt/detail.jsp?id=oai:repositorio-aberto.up.pt:10216/57525

Estágio realizado no INESC Porto

Tese de mestrado integrado. Engenharia Electrotécnica e de Computadores. Faculdade de Engenharia. Universidade do Porto. 2009

Advisors/Committee Members: Gouyon, Fabien, Universidade do Porto. Faculdade de Engenharia.

Subjects/Keywords: Classificação automática; Análise de timbre; Música

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APA · Chicago · MLA · Vancouver · CSE | Export to Zotero / EndNote / Reference Manager

APA (6^th Edition):

Lopes, M. A. G. (2009). Automatic classification of latin music : some experiments on musical genre classification. (Thesis). Universidade do Porto. Retrieved from http://www.rcaap.pt/detail.jsp?id=oai:repositorio-aberto.up.pt:10216/57525

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Chicago Manual of Style (16^th Edition):

Lopes, Miguel Alexandre Gaspar. “Automatic classification of latin music : some experiments on musical genre classification.” 2009. Thesis, Universidade do Porto. Accessed March 05, 2021. http://www.rcaap.pt/detail.jsp?id=oai:repositorio-aberto.up.pt:10216/57525.

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

MLA Handbook (7^th Edition):

Lopes, Miguel Alexandre Gaspar. “Automatic classification of latin music : some experiments on musical genre classification.” 2009. Web. 05 Mar 2021.

Vancouver:

Lopes MAG. Automatic classification of latin music : some experiments on musical genre classification. [Internet] [Thesis]. Universidade do Porto; 2009. [cited 2021 Mar 05]. Available from: http://www.rcaap.pt/detail.jsp?id=oai:repositorio-aberto.up.pt:10216/57525.

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Council of Science Editors:

Lopes MAG. Automatic classification of latin music : some experiments on musical genre classification. [Thesis]. Universidade do Porto; 2009. Available from: http://www.rcaap.pt/detail.jsp?id=oai:repositorio-aberto.up.pt:10216/57525

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Brunel University

11. McGuire, Paul. Composing with an expanded instrumental palette.

Degree: PhD, 2015, Brunel University

URL: http://bura.brunel.ac.uk/handle/2438/12690 ; http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.685464

► This thesis is comprised of a portfolio of musical compositions with accompanying media and a written commentary. In each of the seven compositions, the timbral… (more)

Subjects/Keywords: 781.3; Music; Noise; Timbre; Graphic; Notation

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APA (6^th Edition):

McGuire, P. (2015). Composing with an expanded instrumental palette. (Doctoral Dissertation). Brunel University. Retrieved from http://bura.brunel.ac.uk/handle/2438/12690 ; http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.685464

Chicago Manual of Style (16^th Edition):

McGuire, Paul. “Composing with an expanded instrumental palette.” 2015. Doctoral Dissertation, Brunel University. Accessed March 05, 2021. http://bura.brunel.ac.uk/handle/2438/12690 ; http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.685464.

MLA Handbook (7^th Edition):

McGuire, Paul. “Composing with an expanded instrumental palette.” 2015. Web. 05 Mar 2021.

Vancouver:

McGuire P. Composing with an expanded instrumental palette. [Internet] [Doctoral dissertation]. Brunel University; 2015. [cited 2021 Mar 05]. Available from: http://bura.brunel.ac.uk/handle/2438/12690 ; http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.685464.

Council of Science Editors:

McGuire P. Composing with an expanded instrumental palette. [Doctoral Dissertation]. Brunel University; 2015. Available from: http://bura.brunel.ac.uk/handle/2438/12690 ; http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.685464

12. Mesquita, João de Sousa Delgado Goiana. O pensamento orquestral no treino auditivo de um pianista .

Degree: 2019, Universidade de Aveiro

URL: http://hdl.handle.net/10773/28495

► Um dos pontos frágeis da aprendizagem do nível complementar de piano em Portugal revela-se na separação das componentes práticas e artísticas. Ou seja, muitas vezes… (more)

Subjects/Keywords: Criatividade; Imaginação; Timbre; Transcrição; Pensamento orquestral

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APA (6^th Edition):

Mesquita, J. d. S. D. G. (2019). O pensamento orquestral no treino auditivo de um pianista . (Thesis). Universidade de Aveiro. Retrieved from http://hdl.handle.net/10773/28495

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Chicago Manual of Style (16^th Edition):

Mesquita, João de Sousa Delgado Goiana. “O pensamento orquestral no treino auditivo de um pianista .” 2019. Thesis, Universidade de Aveiro. Accessed March 05, 2021. http://hdl.handle.net/10773/28495.

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

MLA Handbook (7^th Edition):

Mesquita, João de Sousa Delgado Goiana. “O pensamento orquestral no treino auditivo de um pianista .” 2019. Web. 05 Mar 2021.

Vancouver:

Mesquita JdSDG. O pensamento orquestral no treino auditivo de um pianista . [Internet] [Thesis]. Universidade de Aveiro; 2019. [cited 2021 Mar 05]. Available from: http://hdl.handle.net/10773/28495.

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Council of Science Editors:

Mesquita JdSDG. O pensamento orquestral no treino auditivo de um pianista . [Thesis]. Universidade de Aveiro; 2019. Available from: http://hdl.handle.net/10773/28495

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Universitat Politècnica de València

13. Pérez Hernández, Patricia. LA TRANSFORMACIÓN DEL TIMBRE DEL PIANO: DESDE SU EVOLUCIÓN MECÁNICA HASTA LAS TÉCNICAS EXTENDIDAS, MEDIANTE ELEMENTOS INTERNOS, EXTERNOS Y ELECTRÓNICOS .

Degree: 2016, Universitat Politècnica de València

URL: http://hdl.handle.net/10251/63260

► [EN] SUMMARY (English) THE TRANSFORMATION OF THE TIMBRE OF PIANO: SINCE ITS MECHANICAL EVOLUTION TO EXTENDED TECHNIQUES, THROUGH INTERNAL, EXTERNAL AND ELECTRONIC ELEMENTS. This research… (more)

▼ [EN] SUMMARY (English) THE TRANSFORMATION OF THE TIMBRE OF PIANO: SINCE ITS MECHANICAL EVOLUTION TO EXTENDED TECHNIQUES, THROUGH INTERNAL, EXTERNAL AND ELECTRONIC ELEMENTS. This research deals with the study of piano timbre throughout its historical evolution from organological, artistic, social and technological perspectives. Since its genesis, the piano has been of interest to musicians, fans, artists, artistic movements, etc., who in one way or another have shaped the instrument and sound depending on the use and needs, identifying areas domestic, professional, creative and artistic they demanded. Considering these reasons, this thesis analyzes and explains the contexts and situations that have led to the constant changes of the instrument, both form and sound: the demand for more expressive qualities of sound and flow that originated the fortepiano; the growth of the bourgeoisie led to an expansion of the music on the piano found its means of dissemination; composers found in it a powerful tool for creating, generating a nutritious and constant relationship of mutual growth between instrument and work; the Industrial Revolution was a technological leap that made affordable the piano, bringing it closer to the homes; automation tools paved the way for record systems and reproduction of music without an performer; its peak during Romanticism led it to be subjected to hostilities by the plastic art of later centuries, as Fluxus; and the emergence of electronics and computers has created new evolutions of the instrument, giving it unlikely sonic possibilities. All these processes did not happen in a linear fashion or were subject to a single reason, but contributed to the evolution of the piano timbre, enriching its nuances and transforming through unorthodox procedures in the production of sound, such as extended techniques. This thesis describes, explores and analyzes the extended processing techniques ringer from different angles, exposing the product of his study. One goal of this research is to demonstrate, through the study of the evolution of the piano from its beginnings to the present, that unlike other orchestral instruments, processing continues and remains a source of inspiration for the development of future systems based on its philosophy and technology. Another objective is to deepen the knowledge of their timbral complexity, through its harmonic spectrum analysis and knowledge of new sonic possibilities derived from its evolution and manipulation techniques timbre. For this purpose, the methodology used in this thesis has developed both the theoretical and experimental level, from various perspectives: firstly, by the historical study of the origin and evolution of the piano as an instrument designed for use purely musical; secondly, from the analysis of noise, ringing and the evolution of the parameters in the construction of the instrument; and finally, by investigating changes in the acoustic piano through the use and experimentation with extended techniques; also considering the study of it as an… Advisors/Committee Members: Molina Alarcón, Miguel (advisor).

Subjects/Keywords: Piano; Timbre; Técnicas extendidas; Espectralismo; Música electroacústica.

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APA (6^th Edition):

Pérez Hernández, P. (2016). LA TRANSFORMACIÓN DEL TIMBRE DEL PIANO: DESDE SU EVOLUCIÓN MECÁNICA HASTA LAS TÉCNICAS EXTENDIDAS, MEDIANTE ELEMENTOS INTERNOS, EXTERNOS Y ELECTRÓNICOS . (Doctoral Dissertation). Universitat Politècnica de València. Retrieved from http://hdl.handle.net/10251/63260

Chicago Manual of Style (16^th Edition):

Pérez Hernández, Patricia. “LA TRANSFORMACIÓN DEL TIMBRE DEL PIANO: DESDE SU EVOLUCIÓN MECÁNICA HASTA LAS TÉCNICAS EXTENDIDAS, MEDIANTE ELEMENTOS INTERNOS, EXTERNOS Y ELECTRÓNICOS .” 2016. Doctoral Dissertation, Universitat Politècnica de València. Accessed March 05, 2021. http://hdl.handle.net/10251/63260.

MLA Handbook (7^th Edition):

Pérez Hernández, Patricia. “LA TRANSFORMACIÓN DEL TIMBRE DEL PIANO: DESDE SU EVOLUCIÓN MECÁNICA HASTA LAS TÉCNICAS EXTENDIDAS, MEDIANTE ELEMENTOS INTERNOS, EXTERNOS Y ELECTRÓNICOS .” 2016. Web. 05 Mar 2021.

Vancouver:

Pérez Hernández P. LA TRANSFORMACIÓN DEL TIMBRE DEL PIANO: DESDE SU EVOLUCIÓN MECÁNICA HASTA LAS TÉCNICAS EXTENDIDAS, MEDIANTE ELEMENTOS INTERNOS, EXTERNOS Y ELECTRÓNICOS . [Internet] [Doctoral dissertation]. Universitat Politècnica de València; 2016. [cited 2021 Mar 05]. Available from: http://hdl.handle.net/10251/63260.

Council of Science Editors:

Pérez Hernández P. LA TRANSFORMACIÓN DEL TIMBRE DEL PIANO: DESDE SU EVOLUCIÓN MECÁNICA HASTA LAS TÉCNICAS EXTENDIDAS, MEDIANTE ELEMENTOS INTERNOS, EXTERNOS Y ELECTRÓNICOS . [Doctoral Dissertation]. Universitat Politècnica de València; 2016. Available from: http://hdl.handle.net/10251/63260

Princeton University

14. Yamaguchi, Liesl Marie Jensen. Sensations of Tone: Colored Hearing and the Decline of Meter in French Verse .

Degree: PhD, 2017, Princeton University

URL: http://arks.princeton.edu/ark:/88435/dsp01qv33s030s

► Sensations of Tone traces the emergence of the notion that vowels possess specific visual properties (the idea that “I” is bright, or “A” is red,… (more)

▼ Sensations of Tone traces the emergence of the notion that vowels possess specific visual properties (the idea that “I” is bright, or “A” is red, for example). This idea, first attested in Europe in a Bavarian medical dissertation in 1812, grew from a curiosity of dubious credibility into a significant topic of intellectual inquiry by the 1890s. Over the course of the nineteenth century, accounts of vowels’ tones, colors, shades, and hues appeared with increasing frequency across disciplines ranging from medicine to musical acoustics, psychology, poetics, and linguistics. The ways in which vowels appeared to bear visual properties were multiple, however, and many of the nineteenth-century accounts, failing to meet the criteria eventually established by the scientific study of synesthesia, have fallen into obscurity. This dissertation, tracing the emergence of the idea of vowel color, rather than seeking to distinguish and define a medical condition, considers accounts of colored vowels that the modern study of synesthesia has been obliged to cast aside. Through close readings of these accounts—by Arthur Rimbaud, Hermann von Helmholtz, Paul Verlaine, Stéphane Mallarmé, Ferdinand de Saussure, and Roman Jakobson—the dissertation demonstrates how the vowel colors that emerge independently in disparate disciplines are mutually illuminating. Taken together, they bear witness to a subtle but decided shift in linguistic perception in the late nineteenth century: a shift emblematically realized in France in the decline of the metrical line and the emergence of vocalic color. Sensations of Tone thus furnishes a new perspective on the emergence of free verse, a watershed moment in poetic history whose contemporaneity with the scientific inquiry into colored hearing is well known, but whose relationship to that inquiry has been understood as merely coincidental. Breaking with the traditional narrative that charts meter’s decline against graphic conceptions of poetry, Sensations of Tone suggests a more complex relationship between language and visuality, and an argument that verse—poetry linguistically rather than graphically defined—persists into the present. Advisors/Committee Members: Heller-Roazen, Daniel (advisor).

Subjects/Keywords: colored hearing; poetry; symbolism; synesthesia; timbre; vowels

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APA (6^th Edition):

Yamaguchi, L. M. J. (2017). Sensations of Tone: Colored Hearing and the Decline of Meter in French Verse . (Doctoral Dissertation). Princeton University. Retrieved from http://arks.princeton.edu/ark:/88435/dsp01qv33s030s

Chicago Manual of Style (16^th Edition):

Yamaguchi, Liesl Marie Jensen. “Sensations of Tone: Colored Hearing and the Decline of Meter in French Verse .” 2017. Doctoral Dissertation, Princeton University. Accessed March 05, 2021. http://arks.princeton.edu/ark:/88435/dsp01qv33s030s.

MLA Handbook (7^th Edition):

Yamaguchi, Liesl Marie Jensen. “Sensations of Tone: Colored Hearing and the Decline of Meter in French Verse .” 2017. Web. 05 Mar 2021.

Vancouver:

Yamaguchi LMJ. Sensations of Tone: Colored Hearing and the Decline of Meter in French Verse . [Internet] [Doctoral dissertation]. Princeton University; 2017. [cited 2021 Mar 05]. Available from: http://arks.princeton.edu/ark:/88435/dsp01qv33s030s.

Council of Science Editors:

Yamaguchi LMJ. Sensations of Tone: Colored Hearing and the Decline of Meter in French Verse . [Doctoral Dissertation]. Princeton University; 2017. Available from: http://arks.princeton.edu/ark:/88435/dsp01qv33s030s

University of Toronto

15. Weiss, Michael William. Exploring the Memory Advantage for Vocal Melodies.

Degree: PhD, 2016, University of Toronto

URL: http://hdl.handle.net/1807/77421

► The voice is a biologically significant and spectrally rich signal that plays a critical role in communication and social engagement throughout life. Nevertheless, music cognition… (more)

▼ The voice is a biologically significant and spectrally rich signal that plays a critical role in communication and social engagement throughout life. Nevertheless, music cognition and perception research does not typically use vocal music as stimuli, opting instead for timbres that are easier to manipulate and control (e.g., digital instruments). The evolutionary and ontogenetic significance of the voice are among the reasons to expect distinctive and favored processing of vocal music. The single previous comparison of memory for vocal and instrumental melodies revealed superior recognition of vocal melodies and no differences among various instrumental renditions (Weiss, Trehub, Schellenberg, 2012). This dissertation explores various facets of the â vocal memory advantageâ by (1) testing additional populations of listeners (children, Brazilian musicians and nonmusicians), (2) using physiological (pupil dilation) as well as behavioral responses, (3) examining the implications of divided attention (a concurrent task), and (4) confirming the generality of the findings across male and female vocalists. Children between 7 and 11 years of age remembered vocal melodies better than instrumental renditions, but younger children had poorer overall memory and were biased to judge vocal melodies as familiar. Brazilian musicians and nonmusicians displayed a similar memory advantage for vocal melodies, and expert pianists remembered piano melodies no better than other instrumental melodies. Listeners exhibited enhanced arousal for vocal melodies relative to piano melodies and for melodies heard previously than for novel melodies, as reflected in greater pupil dilation. Conditions of divided attention revealed greater attention allocation to vocal melodies than to piano melodies, as reflected in modestly greater impairment on a concurrent visual task during vocal melody presentation. Finally, the memory advantage was comparable for the original female vocalist used in Weiss et al. (2012) and two new vocalistsâ one female, and one male. Collectively, the research in this dissertation provides definitive evidence that musical timbres are unequal in their consequences for music perception and cognition. Specifically, vocal and instrumental melodies have differential effects on arousal, attention, and memory. Advisors/Committee Members: Trehub, Sandra E., Schellenberg, E. Glenn, Psychology.

Subjects/Keywords: Melody; Memory; Music; Timbre; Voice; 0621

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APA (6^th Edition):

Weiss, M. W. (2016). Exploring the Memory Advantage for Vocal Melodies. (Doctoral Dissertation). University of Toronto. Retrieved from http://hdl.handle.net/1807/77421

Chicago Manual of Style (16^th Edition):

Weiss, Michael William. “Exploring the Memory Advantage for Vocal Melodies.” 2016. Doctoral Dissertation, University of Toronto. Accessed March 05, 2021. http://hdl.handle.net/1807/77421.

MLA Handbook (7^th Edition):

Weiss, Michael William. “Exploring the Memory Advantage for Vocal Melodies.” 2016. Web. 05 Mar 2021.

Vancouver:

Weiss MW. Exploring the Memory Advantage for Vocal Melodies. [Internet] [Doctoral dissertation]. University of Toronto; 2016. [cited 2021 Mar 05]. Available from: http://hdl.handle.net/1807/77421.

Council of Science Editors:

Weiss MW. Exploring the Memory Advantage for Vocal Melodies. [Doctoral Dissertation]. University of Toronto; 2016. Available from: http://hdl.handle.net/1807/77421

University of New Mexico

16. Gomez, Steven M. Selected Works of Steven Matthew Gomez (Diaz) 2015-2018.

Degree: 2018, University of New Mexico

URL: https://digitalrepository.unm.edu/mus_etds/28

► Abstract The focus of my work as a composer during my Master’s program at the University of New Mexico from 2015 to 2018 has… (more)

Subjects/Keywords: Music; Composition; Improvisation; Timbre; Collaboration.; Music

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APA (6^th Edition):

Gomez, S. M. (2018). Selected Works of Steven Matthew Gomez (Diaz) 2015-2018. (Masters Thesis). University of New Mexico. Retrieved from https://digitalrepository.unm.edu/mus_etds/28

Chicago Manual of Style (16^th Edition):

Gomez, Steven M. “Selected Works of Steven Matthew Gomez (Diaz) 2015-2018.” 2018. Masters Thesis, University of New Mexico. Accessed March 05, 2021. https://digitalrepository.unm.edu/mus_etds/28.

MLA Handbook (7^th Edition):

Gomez, Steven M. “Selected Works of Steven Matthew Gomez (Diaz) 2015-2018.” 2018. Web. 05 Mar 2021.

Vancouver:

Gomez SM. Selected Works of Steven Matthew Gomez (Diaz) 2015-2018. [Internet] [Masters thesis]. University of New Mexico; 2018. [cited 2021 Mar 05]. Available from: https://digitalrepository.unm.edu/mus_etds/28.

Council of Science Editors:

Gomez SM. Selected Works of Steven Matthew Gomez (Diaz) 2015-2018. [Masters Thesis]. University of New Mexico; 2018. Available from: https://digitalrepository.unm.edu/mus_etds/28

University of Minnesota

17. Allen, Emily. Perception and Processing of Pitch and Timbre in Human Cortex.

Degree: PhD, Psychology, 2018, University of Minnesota

URL: http://hdl.handle.net/11299/198406

► Pitch and timbre are integral components of auditory perception, yet our understanding of how they interact with one another and how they are processed cortically… (more)

Subjects/Keywords: auditory; fMRI; neuroimaging; perception; pitch; timbre

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APA (6^th Edition):

Allen, E. (2018). Perception and Processing of Pitch and Timbre in Human Cortex. (Doctoral Dissertation). University of Minnesota. Retrieved from http://hdl.handle.net/11299/198406

Chicago Manual of Style (16^th Edition):

Allen, Emily. “Perception and Processing of Pitch and Timbre in Human Cortex.” 2018. Doctoral Dissertation, University of Minnesota. Accessed March 05, 2021. http://hdl.handle.net/11299/198406.

MLA Handbook (7^th Edition):

Allen, Emily. “Perception and Processing of Pitch and Timbre in Human Cortex.” 2018. Web. 05 Mar 2021.

Vancouver:

Allen E. Perception and Processing of Pitch and Timbre in Human Cortex. [Internet] [Doctoral dissertation]. University of Minnesota; 2018. [cited 2021 Mar 05]. Available from: http://hdl.handle.net/11299/198406.

Council of Science Editors:

Allen E. Perception and Processing of Pitch and Timbre in Human Cortex. [Doctoral Dissertation]. University of Minnesota; 2018. Available from: http://hdl.handle.net/11299/198406

Louisiana State University

18. Goncalves, Pitagoras. Human Perception of Piano Timbre Variations Relative to the Piano's Dynamic Range.

Degree: DMA, Music, 2014, Louisiana State University

URL: etd-11112014-190646 ; https://digitalcommons.lsu.edu/gradschool_dissertations/2385

► The purpose of this study was to investigate the perception of brightness as it relates to loudness variations in piano tone. A single note was… (more)

Subjects/Keywords: Piano timbre; piano dynamics; piano tone; brightness

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APA (6^th Edition):

Goncalves, P. (2014). Human Perception of Piano Timbre Variations Relative to the Piano's Dynamic Range. (Doctoral Dissertation). Louisiana State University. Retrieved from etd-11112014-190646 ; https://digitalcommons.lsu.edu/gradschool_dissertations/2385

Chicago Manual of Style (16^th Edition):

Goncalves, Pitagoras. “Human Perception of Piano Timbre Variations Relative to the Piano's Dynamic Range.” 2014. Doctoral Dissertation, Louisiana State University. Accessed March 05, 2021. etd-11112014-190646 ; https://digitalcommons.lsu.edu/gradschool_dissertations/2385.

MLA Handbook (7^th Edition):

Goncalves, Pitagoras. “Human Perception of Piano Timbre Variations Relative to the Piano's Dynamic Range.” 2014. Web. 05 Mar 2021.

Vancouver:

Goncalves P. Human Perception of Piano Timbre Variations Relative to the Piano's Dynamic Range. [Internet] [Doctoral dissertation]. Louisiana State University; 2014. [cited 2021 Mar 05]. Available from: etd-11112014-190646 ; https://digitalcommons.lsu.edu/gradschool_dissertations/2385.

Council of Science Editors:

Goncalves P. Human Perception of Piano Timbre Variations Relative to the Piano's Dynamic Range. [Doctoral Dissertation]. Louisiana State University; 2014. Available from: etd-11112014-190646 ; https://digitalcommons.lsu.edu/gradschool_dissertations/2385

19. Shimoda, Lucas Takeo. O estatuto conotativo do timbre em semiótica da canção.

Degree: Mestrado, Semiótica e Lingüística Geral, 2014, University of São Paulo

URL: http://www.teses.usp.br/teses/disponiveis/8/8139/tde-26052014-121524/ ;

► O presente trabalho tem como objetivo discutir o papel do timbre no edifício teórico da Semiótica da Canção, entendida aqui como a vertente teórica da… (more)

▼ O presente trabalho tem como objetivo discutir o papel do timbre no edifício teórico da Semiótica da Canção, entendida aqui como a vertente teórica da semiótica francesa desenvolvida principalmente por A. J. Greimas mas também por demais integrantes da assim chamada Escola de Paris voltada para o estudo da canção popular brasileira. Preconizada pelo semioticista Luiz Tatit, essa linha de estudos vem se consolidando gradativamente como um instrumental analítico especializado no estudo da canção popular tomada como uma unidade orgânica constituída pela integração entre letra e melodia. Após um primeiro período de formulação e consolidação das ferramentas analíticas que constituem a base do modelo, assistiu-se ao surgimento de diversos estudos que buscaram expandir seu escopo de abrangência em direção aos elementos não contemplados até o momento, como é o caso do timbre. Dentre estes, as teses de doutorado de Carmo Jr. (2007), Coelho (2007) e Dietrich (2008) assumem posição de destaque por levantar questionamentos primordiais para delimitar o estatuto semiótico do timbre enquanto elemento produtor de efeitos de sentido. As proposições apresentadas por estes autores foram submetidas a uma revisão crítica a fim de extrair os vetores teóricos e metodológicos que deverão orientar as investigações futuras sobre esse objeto. Desse confronto de perspectivas, elaboramos a hipótese de que o timbre se comporta como elemento pertinente ao domínio das semióticas conotativas, conforme o modelo de análise hierarquizada idealizado pelo linguista Louis Hjelmslev (2006). Essa abordagem visa elucidar os mecanismos pelos quais o timbre participa na construção de efeitos de sentido, embora ele possa ser descartado como dado variável e secundário até determinado estágio da descrição semiótica. Com esse objetivo em mente, foi realizado um levantamento da presença da conotação nos textos do semioticista A. J. Greimas a fim viii de determinar seu lugar de pertinência no edifício conceitual da teoria e delimitar com maior precisão as potencialidades analíticas desse conceito. As diretrizes teóricas e metodológicas traçadas até esse ponto foram aplicadas em dois momentos. No primeiro, foi analisado como a descrição verbal presente em manuais de instrumentação e orquestração registra de maneira implícita as cifras tensivas subjacentes ao timbre. No segundo, foi analisado o papel do timbre no álbum Música de Brinquedo da banda Pato Fu, observando especialmente quais efeitos de sentido eram produzidos pelas substituições tímbricas do arranjo desse álbum em comparação com o arranjo original. As análises permitem concluir que, enquanto fenômeno da ordem da conotação, o timbre pode criar fisionomias no âmbito do uso, ora pela instauração de assimetrias e irregularidades, ora pelas variações implicadas nas práticas de rearranjo musical. Em ambos os casos, verifica-se que o lugar privilegiado de pertinência do timbre está no campo do uso e da práxis enunciativa. Graças a essas distinções conceituais, a perspectiva linguística e discursiva pode trazer… Advisors/Committee Members: Tatit, Luiz Augusto de Moraes.

Subjects/Keywords: Canção; Connotation; Conotação; Semiótica; Semiótica da canção; Semiotics; Semiotics of song; Song; Timbre; Timbre

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APA (6^th Edition):

Shimoda, L. T. (2014). O estatuto conotativo do timbre em semiótica da canção. (Masters Thesis). University of São Paulo. Retrieved from http://www.teses.usp.br/teses/disponiveis/8/8139/tde-26052014-121524/ ;

Chicago Manual of Style (16^th Edition):

Shimoda, Lucas Takeo. “O estatuto conotativo do timbre em semiótica da canção.” 2014. Masters Thesis, University of São Paulo. Accessed March 05, 2021. http://www.teses.usp.br/teses/disponiveis/8/8139/tde-26052014-121524/ ;.

MLA Handbook (7^th Edition):

Shimoda, Lucas Takeo. “O estatuto conotativo do timbre em semiótica da canção.” 2014. Web. 05 Mar 2021.

Vancouver:

Shimoda LT. O estatuto conotativo do timbre em semiótica da canção. [Internet] [Masters thesis]. University of São Paulo; 2014. [cited 2021 Mar 05]. Available from: http://www.teses.usp.br/teses/disponiveis/8/8139/tde-26052014-121524/ ;.

Council of Science Editors:

Shimoda LT. O estatuto conotativo do timbre em semiótica da canção. [Masters Thesis]. University of São Paulo; 2014. Available from: http://www.teses.usp.br/teses/disponiveis/8/8139/tde-26052014-121524/ ;

20. Coelho, Fabiana Moura. A influência da configuração do trato vocal na sonoridade da flauta.

Degree: PhD, Musicologia, 2014, University of São Paulo

URL: http://www.teses.usp.br/teses/disponiveis/27/27157/tde-05112014-092753/ ;

►

O presente trabalho busca demonstrar de forma objetiva a influência das diferentes configurações de trato vocal na sonoridade da flauta. As alterações ocorridas na sonoridade… (more)

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O presente trabalho busca demonstrar de forma objetiva a influência das diferentes configurações de trato vocal na sonoridade da flauta. As alterações ocorridas na sonoridade do instrumento são, em geral, percebidas empiricamente pelos músicos a partir de imagens mentais acerca da configuração de seu trato vocal. Todavia, não há, entre os flautistas, uma visão mais clara e objetiva dos fenômenos ocorridos para que as alterações de timbre se viabilizem. Isso se deve, em grande parte, ao considerável número de variáveis envolvidas, como o ângulo de incidência do jato de ar no orifício do instrumento, movimentos de mandíbula, pressão do jato, entre outros. Considerando-se que as alterações de timbre são elemento essencial da interpretação musical e compõem não apenas o vocabulário técnico do instrumentista, mas, sobretudo, seu vocabulário criativo e sua sensibilidade musical, foi realizado um experimento que procurou mostrar com maior objetividade o papel do trato vocal nas alterações de timbre da flauta. O experimento consistiu em um aparato composto por um fonte de ar, um tanque/pulmão, modelos de trato vocal, embocadura artificial e o instrumento. Os resultados foram gravados e, posteriormente, analisados e comparados às medidas de impedância dos protótipos de trato vocal construídos para o experimento. Foram também realizadas entrevistas qualitativas com flautistas profissionais e professores com larga experiência na execução e no ensino do instrumento, que agregaram elementos à análise. A partir desses elementos, foram constatadas evidências contundentes de que as diferentes configurações do trato vocal são capazes de modificar a sonoridade da flauta.

The main objective of this research is to objectively demonstrate the influence of changes in the configuration of the vocal tract on the sound of the flute. These alterations are generally noticed empirically by musicians and are represented by mental images of the configuration of the vocal tract. The alterations of the vocal tract configuration are considered an important element of the musical interpretation. Nevertheless, there is not a clear and objective perception among flutists of how the vocal tract works to influence the sound of the flute. This is due to the considerable number of variables that are involved in this process, such as the angle and the pressure of the air jet on the instrument, the movements of the jaw, among others. In order to achieve the proposed objective, we designed an experiment whose main goal was to demonstrate the existence of vocal tract influence on the timbre of the flute. For this purpose we built an artificial blower that enables the elimination of the influence caused by modifications in the shape and position of lips and jaw. The results were recorded and analyzed in comparison with the measurement of the impedance of the prototypes of vocal tract that were built to the experiment. Moreover, we also conducted interviews with professional flutists and professors with extensive experience on the field, to aggregate elements…

Advisors/Committee Members: Iazzetta, Fernando Henrique de Oliveira.

Subjects/Keywords: acoustics; acústica; flauta; flute; sonologia; sonology; sonoridade; sonority; timbre; timbre; trato vocal; vocal tract

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APA · Chicago · MLA · Vancouver · CSE | Export to Zotero / EndNote / Reference Manager

APA (6^th Edition):

Coelho, F. M. (2014). A influência da configuração do trato vocal na sonoridade da flauta. (Doctoral Dissertation). University of São Paulo. Retrieved from http://www.teses.usp.br/teses/disponiveis/27/27157/tde-05112014-092753/ ;

Chicago Manual of Style (16^th Edition):

Coelho, Fabiana Moura. “A influência da configuração do trato vocal na sonoridade da flauta.” 2014. Doctoral Dissertation, University of São Paulo. Accessed March 05, 2021. http://www.teses.usp.br/teses/disponiveis/27/27157/tde-05112014-092753/ ;.

MLA Handbook (7^th Edition):

Coelho, Fabiana Moura. “A influência da configuração do trato vocal na sonoridade da flauta.” 2014. Web. 05 Mar 2021.

Vancouver:

Coelho FM. A influência da configuração do trato vocal na sonoridade da flauta. [Internet] [Doctoral dissertation]. University of São Paulo; 2014. [cited 2021 Mar 05]. Available from: http://www.teses.usp.br/teses/disponiveis/27/27157/tde-05112014-092753/ ;.

Council of Science Editors:

Coelho FM. A influência da configuração do trato vocal na sonoridade da flauta. [Doctoral Dissertation]. University of São Paulo; 2014. Available from: http://www.teses.usp.br/teses/disponiveis/27/27157/tde-05112014-092753/ ;

21. Ansari Dezfoul, Mona. Transposition des valeurs des voitures européennes à travers la bande-son des spots publicitaires produits à l'année 2012 : Transposition of the values of European cars through the soundtrack advertising.

Degree: Docteur es, Sciences de l'Information et de la Communication, 2016, Limoges

URL: http://www.theses.fr/2016LIMO0059

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Le son, sur un support audio-visuel, est le vecteur d’un sens supplémentaire pour l’image. La captation de ce sens concerne trois attitudes de l’individu vis-à-vis… (more)

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Le son, sur un support audio-visuel, est le vecteur d’un sens supplémentaire pour l’image. La captation de ce sens concerne trois attitudes de l’individu vis-à-vis de la bande-son: réaction affective, cognitive et comportementale. Cette recherche aborde la réaction cognitive de l’individu par rapport à une bande-son publicitaire produite, en 2012, pour les voitures européennes. Ce travail de recherche vérifie quelles modalités des éléments constitutifs d’une bande-son sont adéquates aux valeurs « dynamisme, modernité et sécurité» des voitures européennes. La méthodologie de cette recherche comporte deux parties. La première partie est l’analyse de la structure narrative de chaque spot publicitaire afin de découvrir les stratégies narratives de chaque spot publicitaire de notre corpus. L’autre partie consiste à effectuer une expérimentation dans le cadre d’un entretien directif avec deux échantillons: l’un comprend des consommateurs potentiels quelconques, et l’autre sera constitué de consommateurs potentiels experts. L’entretien avec ces deux groupes nous permet de faire une comparaison entre la réaction cognitive des experts et celle des non experts vis-à-vis de la même bande-son.

The sound, on an audio visual support, is the vector of meaning to the image. The capture of this sense covers three attitudes of the individual vis-a-vis the soundtrack: emotional response, cognitive and behavioral. This research addresses the cognitive reaction of the individual in relation to soundtracks advertising produced in 2012, for European cars. This research verifies what terms the constituent elements of a soundt rack are adequate values "dynamism, modernity and security" of european cars. The methodology of this research has two parts. The first part is the analysis of the narrative structure of each commercial to discover the narrative strategies of each commer cial of our corpus. The other part is to perform an experiment in the context of a structured interview with two samples: one comprises any potential consumers, and the other will consist of potential consumer’s experts. The meeting with these groups allows us to make a comparison between the cognitive response of experts and of noun experts vis-a-vis the same soundtrack.

Advisors/Committee Members: Chandes, Gérard (thesis director).

Subjects/Keywords: Jingle; Congruence; Timbre; Bande-son; Marketing musical; Jingle; Congruency; Timbre; Sound track; Musical marketing; 410

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APA · Chicago · MLA · Vancouver · CSE | Export to Zotero / EndNote / Reference Manager

APA (6^th Edition):

Ansari Dezfoul, M. (2016). Transposition des valeurs des voitures européennes à travers la bande-son des spots publicitaires produits à l'année 2012 : Transposition of the values of European cars through the soundtrack advertising. (Doctoral Dissertation). Limoges. Retrieved from http://www.theses.fr/2016LIMO0059

Chicago Manual of Style (16^th Edition):

Ansari Dezfoul, Mona. “Transposition des valeurs des voitures européennes à travers la bande-son des spots publicitaires produits à l'année 2012 : Transposition of the values of European cars through the soundtrack advertising.” 2016. Doctoral Dissertation, Limoges. Accessed March 05, 2021. http://www.theses.fr/2016LIMO0059.

MLA Handbook (7^th Edition):

Ansari Dezfoul, Mona. “Transposition des valeurs des voitures européennes à travers la bande-son des spots publicitaires produits à l'année 2012 : Transposition of the values of European cars through the soundtrack advertising.” 2016. Web. 05 Mar 2021.

Vancouver:

Ansari Dezfoul M. Transposition des valeurs des voitures européennes à travers la bande-son des spots publicitaires produits à l'année 2012 : Transposition of the values of European cars through the soundtrack advertising. [Internet] [Doctoral dissertation]. Limoges; 2016. [cited 2021 Mar 05]. Available from: http://www.theses.fr/2016LIMO0059.

Council of Science Editors:

Ansari Dezfoul M. Transposition des valeurs des voitures européennes à travers la bande-son des spots publicitaires produits à l'année 2012 : Transposition of the values of European cars through the soundtrack advertising. [Doctoral Dissertation]. Limoges; 2016. Available from: http://www.theses.fr/2016LIMO0059

UCLA

22. Saulle, Joshua H. Vocal Timbre and Technique in Caroline Shaw's Partita for 8 Voices.

Degree: Music, 2019, UCLA

URL: http://www.escholarship.org/uc/item/6t13v7fr

► The vocal ensemble Roomful of Teeth has attracted a great deal of attention since its founding in 2009 for its exploration of vocal timbre, extended… (more)

Subjects/Keywords: Musical composition; Music theory; Caroline Shaw; Extended Techniques; Roomful of Teeth; Timbre; Vocal Timbre; Voice

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APA · Chicago · MLA · Vancouver · CSE | Export to Zotero / EndNote / Reference Manager

APA (6^th Edition):

Saulle, J. H. (2019). Vocal Timbre and Technique in Caroline Shaw's Partita for 8 Voices. (Thesis). UCLA. Retrieved from http://www.escholarship.org/uc/item/6t13v7fr

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Chicago Manual of Style (16^th Edition):

Saulle, Joshua H. “Vocal Timbre and Technique in Caroline Shaw's Partita for 8 Voices.” 2019. Thesis, UCLA. Accessed March 05, 2021. http://www.escholarship.org/uc/item/6t13v7fr.

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

MLA Handbook (7^th Edition):

Saulle, Joshua H. “Vocal Timbre and Technique in Caroline Shaw's Partita for 8 Voices.” 2019. Web. 05 Mar 2021.

Vancouver:

Saulle JH. Vocal Timbre and Technique in Caroline Shaw's Partita for 8 Voices. [Internet] [Thesis]. UCLA; 2019. [cited 2021 Mar 05]. Available from: http://www.escholarship.org/uc/item/6t13v7fr.

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Council of Science Editors:

Saulle JH. Vocal Timbre and Technique in Caroline Shaw's Partita for 8 Voices. [Thesis]. UCLA; 2019. Available from: http://www.escholarship.org/uc/item/6t13v7fr

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

23. Evanno-Ledoux, Gwenaëlle. Les parodies de spectacles parisiens sous l'Ancien Régime : étude des procédés musicaux : The parodies of Parisian spectacles under L'Ancien Régime (1676-1752) : study of musical methods.

Degree: Docteur es, Musique et musicologie, 2014, Université François-Rabelais de Tours

URL: http://www.theses.fr/2014TOUR2033

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La parodie dramatique du XVIIIe siècle est un thème qui a bien souvent été traité. Il existe en effet de nombreux travaux sur le sujet,… (more)

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La parodie dramatique du XVIIIe siècle est un thème qui a bien souvent été traité. Il existe en effet de nombreux travaux sur le sujet, s'attachant à aborder la question d'un point de vue littéraire ou scénique. La particularité de mes travaux réside dans l'appréhension de la discipline à laquelle ils se rattachent : la musicologie. À travers l‟analyse musicologique et la réhabilitation des airs populaires ainsi que l'étude et la classification des timbres selon leur dramaturgie, la finalité de cette thèse sera de comprendre comment les parodies sont élaborées du point de vue musical. L'étude de sources primaires a permis de théoriser la compréhension littéraire et musicale du genre. Par ailleurs, ces recherches ont donné naissance à de nouveaux outils tels qu'une typologie des timbres ou un catalogue des airs, classés par incipits métriques et rythmiques. Car finalement, la parodie est-elle un genre musical si dilettante qu'il y paraît ? Le corpus des oeuvres étudiées sera par conséquent très diversifié, les parodies ciblant en effet plusieurs genres, tels que la tragédie lyrique, le ballet, l‟opéra-comique et déjà la parodie

The dramatic parody in the XVIIIth century is a theme which has often been tackled with. Indeed, there are numerous works about this subject, approaching the question in a literary or scenic point of view. What makes my work being special is identifying the subject which it belongs: musicology. Through the musicological analysis and popular airs rehabilitation, so as the study and the classification of the timbres according to their dramaturgy, the purpose of this thesis will be to understand how the parodies are built in a musical way. The study of the primary sources made possible the theorization of the literary and the musical understanding of this genre. Besides, these researches gave birth to new tools such as a typology of timbres or a catalogue of these airs, filed in metric and rhythmic incipits. Eventually, the point is: is the parody a so dilettante musical genre as it sounds? As a consequence, the musical works studied through this corpus will be very eclectic, the parodies aiming at several genres, such as the lyric tragedy, the ballet, the comic- opera and even the parody

Advisors/Committee Members: Bisaro, Xavier (thesis director).

Subjects/Keywords: Parodie; Musicologie; Timbre; Spectacles parisiens; Airs populaires; Parody; Musicology; Timbre; Parisian spectacles; Tunes

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APA · Chicago · MLA · Vancouver · CSE | Export to Zotero / EndNote / Reference Manager

APA (6^th Edition):

Evanno-Ledoux, G. (2014). Les parodies de spectacles parisiens sous l'Ancien Régime : étude des procédés musicaux : The parodies of Parisian spectacles under L'Ancien Régime (1676-1752) : study of musical methods. (Doctoral Dissertation). Université François-Rabelais de Tours. Retrieved from http://www.theses.fr/2014TOUR2033

Chicago Manual of Style (16^th Edition):

Evanno-Ledoux, Gwenaëlle. “Les parodies de spectacles parisiens sous l'Ancien Régime : étude des procédés musicaux : The parodies of Parisian spectacles under L'Ancien Régime (1676-1752) : study of musical methods.” 2014. Doctoral Dissertation, Université François-Rabelais de Tours. Accessed March 05, 2021. http://www.theses.fr/2014TOUR2033.

MLA Handbook (7^th Edition):

Evanno-Ledoux, Gwenaëlle. “Les parodies de spectacles parisiens sous l'Ancien Régime : étude des procédés musicaux : The parodies of Parisian spectacles under L'Ancien Régime (1676-1752) : study of musical methods.” 2014. Web. 05 Mar 2021.

Vancouver:

Evanno-Ledoux G. Les parodies de spectacles parisiens sous l'Ancien Régime : étude des procédés musicaux : The parodies of Parisian spectacles under L'Ancien Régime (1676-1752) : study of musical methods. [Internet] [Doctoral dissertation]. Université François-Rabelais de Tours; 2014. [cited 2021 Mar 05]. Available from: http://www.theses.fr/2014TOUR2033.

Council of Science Editors:

Evanno-Ledoux G. Les parodies de spectacles parisiens sous l'Ancien Régime : étude des procédés musicaux : The parodies of Parisian spectacles under L'Ancien Régime (1676-1752) : study of musical methods. [Doctoral Dissertation]. Université François-Rabelais de Tours; 2014. Available from: http://www.theses.fr/2014TOUR2033

University of Florida

24. Smock, Brandon. A Perception-Centric Framework for Digital Timbre Manipulation in Music Composition.

Degree: PhD, Computer Engineering - Computer and Information Science and Engineering, 2014, University of Florida

URL: https://ufdc.ufl.edu/UFE0046695

► In this work, a new framework is developed for the unrestricted manipulation of timbre in musical composition. Unlike other perceptual musical attributes such as pitch… (more)

Subjects/Keywords: Auditory perception; Harmonics; Loudness; Musical instruments; Musical perception; Musical timbre; Signals; Sound; Sound pitch; Timbre; composition – instantaneous – mds – music – perception – space – timbre

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APA · Chicago · MLA · Vancouver · CSE | Export to Zotero / EndNote / Reference Manager

APA (6^th Edition):

Smock, B. (2014). A Perception-Centric Framework for Digital Timbre Manipulation in Music Composition. (Doctoral Dissertation). University of Florida. Retrieved from https://ufdc.ufl.edu/UFE0046695

Chicago Manual of Style (16^th Edition):

Smock, Brandon. “A Perception-Centric Framework for Digital Timbre Manipulation in Music Composition.” 2014. Doctoral Dissertation, University of Florida. Accessed March 05, 2021. https://ufdc.ufl.edu/UFE0046695.

MLA Handbook (7^th Edition):

Smock, Brandon. “A Perception-Centric Framework for Digital Timbre Manipulation in Music Composition.” 2014. Web. 05 Mar 2021.

Vancouver:

Smock B. A Perception-Centric Framework for Digital Timbre Manipulation in Music Composition. [Internet] [Doctoral dissertation]. University of Florida; 2014. [cited 2021 Mar 05]. Available from: https://ufdc.ufl.edu/UFE0046695.

Council of Science Editors:

Smock B. A Perception-Centric Framework for Digital Timbre Manipulation in Music Composition. [Doctoral Dissertation]. University of Florida; 2014. Available from: https://ufdc.ufl.edu/UFE0046695

25. Pereira, Flavia Vieira. As práticas de reelaboração musical.

Degree: PhD, Musicologia, 2011, University of São Paulo

URL: http://www.teses.usp.br/teses/disponiveis/27/27157/tde-24062011-104128/ ;

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Este trabalho tem como principal objetivo realizar um estudo das práticas de reelaboração musical relacionadas aqui como: transcrição, orquestração, redução, arranjo, adaptação e paráfrase, promovendo… (more)

Subjects/Keywords: Adaptação; Adaptation; Arrangement; Arranjo; Orchestration; Orquestração; Paráfrase; Paraphrase; Re-elaboration; Redução; Reduction; Reelaboração; Textura; Texture; Timbre; Timbre; Transcrição; Transcription

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APA · Chicago · MLA · Vancouver · CSE | Export to Zotero / EndNote / Reference Manager

APA (6^th Edition):

Pereira, F. V. (2011). As práticas de reelaboração musical. (Doctoral Dissertation). University of São Paulo. Retrieved from http://www.teses.usp.br/teses/disponiveis/27/27157/tde-24062011-104128/ ;

Chicago Manual of Style (16^th Edition):

Pereira, Flavia Vieira. “As práticas de reelaboração musical.” 2011. Doctoral Dissertation, University of São Paulo. Accessed March 05, 2021. http://www.teses.usp.br/teses/disponiveis/27/27157/tde-24062011-104128/ ;.

MLA Handbook (7^th Edition):

Pereira, Flavia Vieira. “As práticas de reelaboração musical.” 2011. Web. 05 Mar 2021.

Vancouver:

Pereira FV. As práticas de reelaboração musical. [Internet] [Doctoral dissertation]. University of São Paulo; 2011. [cited 2021 Mar 05]. Available from: http://www.teses.usp.br/teses/disponiveis/27/27157/tde-24062011-104128/ ;.

Council of Science Editors:

Pereira FV. As práticas de reelaboração musical. [Doctoral Dissertation]. University of São Paulo; 2011. Available from: http://www.teses.usp.br/teses/disponiveis/27/27157/tde-24062011-104128/ ;

Universidad de Chile

26. Isla Mateluna, Carlos Andrés. Alcances de la eliminación del impuesto de timbres y estampillas, y su reemplazo poe el impuesto al valor agregado para los creditos de bancos e instituciones financiera.

Degree: 2009, Universidad de Chile

URL: http://repositorio.uchile.cl/handle/2250/113585

Este tipo de operaciones le reporta una importante recaudación al fisco, y siempre se ha discutido su eventual eliminación.

Subjects/Keywords: Impuestos de timbre – Chile; SELLOS DE TIMBRE; Tributación

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APA · Chicago · MLA · Vancouver · CSE | Export to Zotero / EndNote / Reference Manager

APA (6^th Edition):

Isla Mateluna, C. A. (2009). Alcances de la eliminación del impuesto de timbres y estampillas, y su reemplazo poe el impuesto al valor agregado para los creditos de bancos e instituciones financiera. (Thesis). Universidad de Chile. Retrieved from http://repositorio.uchile.cl/handle/2250/113585

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Chicago Manual of Style (16^th Edition):

Isla Mateluna, Carlos Andrés. “Alcances de la eliminación del impuesto de timbres y estampillas, y su reemplazo poe el impuesto al valor agregado para los creditos de bancos e instituciones financiera.” 2009. Thesis, Universidad de Chile. Accessed March 05, 2021. http://repositorio.uchile.cl/handle/2250/113585.

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

MLA Handbook (7^th Edition):

Isla Mateluna, Carlos Andrés. “Alcances de la eliminación del impuesto de timbres y estampillas, y su reemplazo poe el impuesto al valor agregado para los creditos de bancos e instituciones financiera.” 2009. Web. 05 Mar 2021.

Vancouver:

Isla Mateluna CA. Alcances de la eliminación del impuesto de timbres y estampillas, y su reemplazo poe el impuesto al valor agregado para los creditos de bancos e instituciones financiera. [Internet] [Thesis]. Universidad de Chile; 2009. [cited 2021 Mar 05]. Available from: http://repositorio.uchile.cl/handle/2250/113585.

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Council of Science Editors:

Isla Mateluna CA. Alcances de la eliminación del impuesto de timbres y estampillas, y su reemplazo poe el impuesto al valor agregado para los creditos de bancos e instituciones financiera. [Thesis]. Universidad de Chile; 2009. Available from: http://repositorio.uchile.cl/handle/2250/113585

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Virginia Tech

27. Locy, Raymond S. The effect of instrumental timbre preference and instrumental timbre on the pitch error detection skills of university conducting students.

Degree: EdD, Curriculum and Instruction, 1996, Virginia Tech

URL: http://hdl.handle.net/10919/39543

► The purpose of this study was to determine the effect of instrumental timbre preference and instrumental timbre on the error detection skills of undergraduate conducting… (more)

Subjects/Keywords: Error detection; Timbre; Timbre preference; LD5655.V856 1996.L639

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APA · Chicago · MLA · Vancouver · CSE | Export to Zotero / EndNote / Reference Manager

APA (6^th Edition):

Locy, R. S. (1996). The effect of instrumental timbre preference and instrumental timbre on the pitch error detection skills of university conducting students. (Doctoral Dissertation). Virginia Tech. Retrieved from http://hdl.handle.net/10919/39543

Chicago Manual of Style (16^th Edition):

Locy, Raymond S. “The effect of instrumental timbre preference and instrumental timbre on the pitch error detection skills of university conducting students.” 1996. Doctoral Dissertation, Virginia Tech. Accessed March 05, 2021. http://hdl.handle.net/10919/39543.

MLA Handbook (7^th Edition):

Locy, Raymond S. “The effect of instrumental timbre preference and instrumental timbre on the pitch error detection skills of university conducting students.” 1996. Web. 05 Mar 2021.

Vancouver:

Locy RS. The effect of instrumental timbre preference and instrumental timbre on the pitch error detection skills of university conducting students. [Internet] [Doctoral dissertation]. Virginia Tech; 1996. [cited 2021 Mar 05]. Available from: http://hdl.handle.net/10919/39543.

Council of Science Editors:

Locy RS. The effect of instrumental timbre preference and instrumental timbre on the pitch error detection skills of university conducting students. [Doctoral Dissertation]. Virginia Tech; 1996. Available from: http://hdl.handle.net/10919/39543

The Ohio State University

28. Reymore, Lindsey E. Empirical approaches to timbre semantics as a foundation for musical analysis.

Degree: PhD, Music, 2020, The Ohio State University

URL: http://rave.ohiolink.edu/etdc/view?acc_num=osu1586792450387823

► This dissertation presents empirical investigations of the cognitive linguistics of musical instrument timbre qualia and explores applications of these results to musical analysis. First, interviews… (more)

▼ This dissertation presents empirical investigations of the cognitive linguistics of musical instrument timbre qualia and explores applications of these results to musical analysis. First, interviews and rating tasks, based on imagined instrument timbres, are used to build a 20-dimensional model of timbre qualia. The final model includes the dimensions airy/breathy, brassy/metallic, direct/loud, focused/compact, hollow, muted/veiled, nasal/reedy, open, percussive, pure/clear, raspy/grainy, resonant/vibrant, ringing/long decay, rumbling/low, shrill/noisy, soft/singing, sparkling/brilliant, sustained/even, watery/fluid, and woody. Further analysis of the interview transcripts and comparison with previous studies in timbre semantics suggests five primary response strategies for describing timbre: Adjectival description, Qualia-metaphor, Onomatopoeia, Mimesis, and Association.Next, the 20-dimensional model is used in a rating task to generate Timbre Trait Profiles for 34 Western orchestral instruments. These profiles contain ratings for each of the 20 dimensions and are intended for use in musical analysis. Timbre varies not only from instrument to instrument, but also within instruments due to the manipulation of parameters such as pitch, intensity, and articulation. Accordingly, timbral variations with pitch/register and dynamics are mapped for two instruments, the oboe and the French horn, using rating tasks. While some shared trends in dimension variance are observed between the two instruments (e.g. ratings of rumbling/low increase as pitch decreases), much of the timbral variation is apparently idiosyncratic, as is the amount of variation for each instrument on a given dimension.Next, three studies are reported investigating the relationship between timbre linguistics and cross-modal matching of instrumental timbre to color. Participants’ ratings of timbres on the cross-modal terms high, low, bright, dark, small, big, light (in weight), heavy, happy, and sad were predictive of the lightness and saturation of colors matched to the same timbres. While some differences in instrument timbre were observed, pitch played the most important role in explaining participants’ color choices.Finally, the dissertation explores techniques for musical analysis using the Timbre Trait Profiles. A close reading of the opening of Barber’s wind quintet Summer Music illustrates how the TTPs can be integrated into theoretical discourse on a fine level of detail. A distant reading of the first movement of Mahler’s Symphony No.1, which relies on computational analysis, demonstrates how qualia related to instrumentation evolve throughout the course of the piece. Instrument qualia changes at formal boundaries and at the Durchbruch, or breakthrough, are examined in greater detail. Advisors/Committee Members: Shanahan, Daniel (Advisor).

Subjects/Keywords: Music; timbre, qualia, music cognition, timbre semantics, cognitive linguistics, musical analysis, cross-modal correspondence, music and color

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APA · Chicago · MLA · Vancouver · CSE | Export to Zotero / EndNote / Reference Manager

APA (6^th Edition):

Reymore, L. E. (2020). Empirical approaches to timbre semantics as a foundation for musical analysis. (Doctoral Dissertation). The Ohio State University. Retrieved from http://rave.ohiolink.edu/etdc/view?acc_num=osu1586792450387823

Chicago Manual of Style (16^th Edition):

Reymore, Lindsey E. “Empirical approaches to timbre semantics as a foundation for musical analysis.” 2020. Doctoral Dissertation, The Ohio State University. Accessed March 05, 2021. http://rave.ohiolink.edu/etdc/view?acc_num=osu1586792450387823.

MLA Handbook (7^th Edition):

Reymore, Lindsey E. “Empirical approaches to timbre semantics as a foundation for musical analysis.” 2020. Web. 05 Mar 2021.

Vancouver:

Reymore LE. Empirical approaches to timbre semantics as a foundation for musical analysis. [Internet] [Doctoral dissertation]. The Ohio State University; 2020. [cited 2021 Mar 05]. Available from: http://rave.ohiolink.edu/etdc/view?acc_num=osu1586792450387823.

Council of Science Editors:

Reymore LE. Empirical approaches to timbre semantics as a foundation for musical analysis. [Doctoral Dissertation]. The Ohio State University; 2020. Available from: http://rave.ohiolink.edu/etdc/view?acc_num=osu1586792450387823

University of California – Berkeley

29. Griscom, William. Visualizing Sound: Cross-Modal Mapping Between Music and Color.

Degree: Psychology, 2015, University of California – Berkeley

URL: http://www.escholarship.org/uc/item/7px9h0gg

► Within the realm of perception, the phrase "cross-modal correspondences" refers to consistent associations between features in two different sensory domains, such as the fact that… (more)

Subjects/Keywords: Psychology; Music; Aesthetics; Audio; Multi-sensory; Perception; Timbre; Vision; Visualization

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APA · Chicago · MLA · Vancouver · CSE | Export to Zotero / EndNote / Reference Manager

APA (6^th Edition):

Griscom, W. (2015). Visualizing Sound: Cross-Modal Mapping Between Music and Color. (Thesis). University of California – Berkeley. Retrieved from http://www.escholarship.org/uc/item/7px9h0gg

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Chicago Manual of Style (16^th Edition):

Griscom, William. “Visualizing Sound: Cross-Modal Mapping Between Music and Color.” 2015. Thesis, University of California – Berkeley. Accessed March 05, 2021. http://www.escholarship.org/uc/item/7px9h0gg.

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

MLA Handbook (7^th Edition):

Griscom, William. “Visualizing Sound: Cross-Modal Mapping Between Music and Color.” 2015. Web. 05 Mar 2021.

Vancouver:

Griscom W. Visualizing Sound: Cross-Modal Mapping Between Music and Color. [Internet] [Thesis]. University of California – Berkeley; 2015. [cited 2021 Mar 05]. Available from: http://www.escholarship.org/uc/item/7px9h0gg.

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Council of Science Editors:

Griscom W. Visualizing Sound: Cross-Modal Mapping Between Music and Color. [Thesis]. University of California – Berkeley; 2015. Available from: http://www.escholarship.org/uc/item/7px9h0gg

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

University of Utah

30. Iachimciuc, Igor. Part I: Sound color in the music of Gyorgy Kurtag, Part II: Leopard's path, thirteen visions for chamber ensemble.

Degree: PhD, Music (School of);, 2010, University of Utah

URL: http://content.lib.utah.edu/cdm/singleitem/collection/etd2/id/810/rec/863

► The dissertation is in two parts, a theoretical study and a musical composition. In Part I the music of György Kurtág is analyzed from the… (more)

Subjects/Keywords: Gyorgy Kurtag; Music; Sonorism; Sound color; Timbre; Tone color

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APA · Chicago · MLA · Vancouver · CSE | Export to Zotero / EndNote / Reference Manager

APA (6^th Edition):

Iachimciuc, I. (2010). Part I: Sound color in the music of Gyorgy Kurtag, Part II: Leopard's path, thirteen visions for chamber ensemble. (Doctoral Dissertation). University of Utah. Retrieved from http://content.lib.utah.edu/cdm/singleitem/collection/etd2/id/810/rec/863

Chicago Manual of Style (16^th Edition):

Iachimciuc, Igor. “Part I: Sound color in the music of Gyorgy Kurtag, Part II: Leopard's path, thirteen visions for chamber ensemble.” 2010. Doctoral Dissertation, University of Utah. Accessed March 05, 2021. http://content.lib.utah.edu/cdm/singleitem/collection/etd2/id/810/rec/863.

MLA Handbook (7^th Edition):

Iachimciuc, Igor. “Part I: Sound color in the music of Gyorgy Kurtag, Part II: Leopard's path, thirteen visions for chamber ensemble.” 2010. Web. 05 Mar 2021.

Vancouver:

Iachimciuc I. Part I: Sound color in the music of Gyorgy Kurtag, Part II: Leopard's path, thirteen visions for chamber ensemble. [Internet] [Doctoral dissertation]. University of Utah; 2010. [cited 2021 Mar 05]. Available from: http://content.lib.utah.edu/cdm/singleitem/collection/etd2/id/810/rec/863.

Council of Science Editors:

Iachimciuc I. Part I: Sound color in the music of Gyorgy Kurtag, Part II: Leopard's path, thirteen visions for chamber ensemble. [Doctoral Dissertation]. University of Utah; 2010. Available from: http://content.lib.utah.edu/cdm/singleitem/collection/etd2/id/810/rec/863

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Open Access Theses and Dissertations