Sökning: "Music Perception"
Visar resultat 1 - 5 av 40 avhandlingar innehållade orden Music Perception.
1. Modeling Music : Studies of Music Transcription, Music Perception and Music Production
Sammanfattning : This dissertation presents ten studies focusing on three important subfields of music information retrieval (MIR): music transcription (Part A), music perception (Part B), and music production (Part C).In Part A, systems capable of transcribing rhythm and polyphonic pitch are described. LÄS MER
2. Sound perception and design in multimodal environments
Sammanfattning : This dissertation is about sound in context. Since sensory processing is inherently multimodal, research in sound is necessarily multidisciplinary. The present work has been guided by principles of systematicity, ecological validity, complementarity of methods, and integration of science and art. LÄS MER
3. Expression in Live Coding: Gestural Interaction for Machine Musicianship
Sammanfattning : This thesis is centered on the performance practice of musical live coding, which can be described as on-the-fly decision-making for computer music performance and blurs the lines between programming languages and computer interfaces. I specifically focus on live coding as a human activity based on serial skilled actions, and I discuss how we can interact gesturally with interfaces that are modified dynamically. LÄS MER
4. Musikelever på gymnasiets estetiska program : En studie av elevernas bakgrund, studiegång och motivation
Sammanfattning : In previous studies research on motivation in education has tended to be focused on attribution (perceived causes of success and failure), self perception, goal orientation and autonomy. This thesis aims to describe the background and schooling of music students and to measure their motivation for music education. LÄS MER
5. Teatermusikaliska ljudhändelser. Ett bidrag till studiet av musik och angränsande ljudobjekt i talteater och opera
Sammanfattning : This dissertation focuses primarily on the following aspects concerning music in theatre: 1) its experienced peculiarity – ontologically grounded, 2) its sounding scope, and 3) its various kinds of functions. I argue that the difference between spoken theatre and opera is a question of degree rather than essence, and consider such an assertion being especially valid for the music of these genres. LÄS MER