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\n  \n 2022\n \n \n (2)\n \n \n
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\n \n\n \n \n \n \n \n Teoria dos Contornos aplicada: composição da peça `Em forma de feitiço' a partir do samba urbano carioca dos anos 1930.\n \n \n \n\n\n \n Bittencourt, R. d. M.\n\n\n \n\n\n\n Monografia (Graduação em Composição), Universidade Federal da Paraíba, João Pessoa, PB, 2022.\n \n\n\n\n
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@MastersThesis{    bittencourt2022-teoria,\n    author       = {Bittencourt, Rodrigo de Morais},\n    year         = {2022},\n    title        = {Teoria dos Contornos aplicada: composição da peça `Em\n                   forma de feitiço' a partir do samba urbano carioca dos\n                   anos 1930},\n    address      = {João Pessoa, PB},\n    school       = {Universidade Federal da Paraíba},\n    type         = {Monografia (Graduação em Composição)}\n}\n\n
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\n \n\n \n \n \n \n \n Melodic Contour and Rhythm as Organizing Principles in Schoenberg's Wind Quintet, Op. 26.\n \n \n \n\n\n \n Carmona, T.\n\n\n \n\n\n\n Ph.D. Thesis, Texas Tech University, 2022.\n \n\n\n\n
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@PhDThesis{        carmona2022-melodic,\n    author       = {Carmona, Taylor},\n    year         = {2022},\n    title        = {Melodic {Contour} and {Rhythm} as {Organizing}\n                   {Principles} in {Schoenberg}'s {Wind} {Quintet}, {Op}.\n                   26},\n    school       = {Texas Tech University}\n}\n\n
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\n \n\n \n \n \n \n \n A utilização de técnicas minimalistas e da teoria do contorno no planejamento e composição da peça `Frevindo-Minimalismando' para grupo de percussão.\n \n \n \n\n\n \n Lima, F. F. d.; and Alves, J. O.\n\n\n \n\n\n\n In Anais do XXXI Congresso da ANPPOM, João Pessoa, PB, 2021. \n \n\n\n\n
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@InProceedings{    lima.ea2021-utilizacao,\n    author       = {Lima, Fl\\'{a}vio Fernandes de and Alves, Jos\\'{e} Orlando},\n    year         = {2021},\n    title        = {A utiliza\\c{c}\\~{a}o de t\\'{e}cnicas minimalistas e da\n                   teoria do contorno no planejamento e composi\\c{c}\\~{a}o da\n                   pe\\c{c}a `Frevindo-Minimalismando' para grupo de percuss\\~{a}o},\n    booktitle    = {Anais do {XXXI} {Congresso} da {ANPPOM}},\n    address      = {Jo\\~{a}o Pessoa, PB}\n}\n\n
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\n \n\n \n \n \n \n \n Perfis composicionais como base metodológica para a modelagem do Prelúdio n.2 de Santoro.\n \n \n \n\n\n \n Moreira, D.; Oliveira, H.; Pires, L.; Padrão, L.; Trindade, V.; and Pitombeira, L.\n\n\n \n\n\n\n Revista Vórtex, 9: 1–52. 2021.\n \n\n\n\n
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@Article{          moreira.ea2021-perfis,\n    author       = {Moreira, Daniel and Oliveira, Helder and Pires, Leandro\n                   and Padr\\~{a}o, Lucas and Trindade, Vilane and Pitombeira,\n                   Liduino},\n    year         = {2021},\n    title        = {Perfis composicionais como base metodol\\'{o}gica para a\n                   modelagem do Prel\\'{u}dio n.2 de Santoro},\n    journal      = {Revista V\\'{o}rtex},\n    volume       = {9},\n    pages        = {1--52}\n}\n\n
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\n \n\n \n \n \n \n \n Measuring the Amount of Freedom for Compositional Choices in a Textural Perspective.\n \n \n \n\n\n \n Moreira, D.\n\n\n \n\n\n\n MusMat - Brazilian Journal of Music and Mathematics, 5(1): 126–156. 2021.\n \n\n\n\n
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@Article{          moreira2021-measuring,\n    author       = {Moreira, Daniel},\n    year         = {2021},\n    title        = {Measuring the Amount of Freedom for Compositional Choices\n                   in a Textural Perspective},\n    journal      = {MusMat - Brazilian Journal of Music and Mathematics},\n    number       = {1},\n    volume       = {5},\n    pages        = {126--156}\n}\n\n
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@Article{          almada2020-transformational,\n    author       = {Almada, Carlos de Lemos},\n    year         = {2020},\n    title        = {A transformational approach for musical variation},\n    journal      = {Revista Orfeu},\n    number       = {3},\n    volume       = {5},\n    pages        = {373--411}\n}\n\n
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\n \n\n \n \n \n \n \n Sistema Composicional Intermarkoviano.\n \n \n \n\n\n \n Ferreira, E. S.; Santos, R. S.; Lima, F. F. d.; Carvalho, H. T. d.; and Pitombeira, L.\n\n\n \n\n\n\n Revista Vórtex, 8(2). 2020.\n \n\n\n\n
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@Article{          ferreira.ea2020-sistema,\n    author       = {Ferreira, Esdras Sarmento and Santos, Raphael Sousa and\n                   Lima, Fl\\'{a}vio Fernandes de and Carvalho, Hugo Tremonte\n                   de and Pitombeira, Liduino},\n    year         = {2020},\n    title        = {Sistema Composicional Intermarkoviano},\n    journal      = {Revista V\\'{o}rtex},\n    number       = {2},\n    volume       = {8}\n}\n\n
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\n \n\n \n \n \n \n \n Reading Textural Functions, Instrumental Techniques, and Space Through Partition Complexes.\n \n \n \n\n\n \n Gentil-Nunes, P.\n\n\n \n\n\n\n MusMat - Brazilian Journal of Music and Mathematics, 4(2): 80–97. 2020.\n \n\n\n\n
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@Article{          gentil-nunes2020-reading,\n    author       = {Gentil-Nunes, Pauxy},\n    year         = {2020},\n    title        = {Reading Textural Functions, Instrumental Techniques, and\n                   Space Through Partition Complexes},\n    journal      = {MusMat - Brazilian Journal of Music and Mathematics},\n    number       = {2},\n    volume       = {4},\n    pages        = {80--97}\n}\n\n
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\n \n\n \n \n \n \n \n Matrizes bidimensionais e derivação serial na poética violonística de Marcos Alan.\n \n \n \n\n\n \n Ribeiro, S. V. d. S.\n\n\n \n\n\n\n Revista Vórtex, 8(3): 1–22. 2020.\n \n\n\n\n
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@Article{          ribeiro2020-matrizes,\n    author       = {Ribeiro, S\\'{e}rgio Vitor de Souza},\n    year         = {2020},\n    title        = {Matrizes bidimensionais e deriva\\c{c}ão serial na\n                   poética violon\\'{i}stica de Marcos Alan},\n    journal      = {Revista V\\'{o}rtex},\n    number       = {3},\n    volume       = {8},\n    pages        = {1--22}\n}\n\n
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\n \n\n \n \n \n \n \n A quantitative study of pitch registers in string quartets opus 17, by Joseph Haydn.\n \n \n \n\n\n \n Sampaio, M. d. S.; de Oliveira, V. S.; Travassos, M.; and Castro, C.\n\n\n \n\n\n\n Musica Theorica, 5(1): 119–177. 2020.\n \n\n\n\n
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@Article{          sampaio.ea2020-quantitative,\n    author       = {Sampaio, Marcos da Silva and de Oliveira, Vicente Sanches\n                   and Travassos, Matheus and Castro, Carla},\n    year         = {2020},\n    title        = {A quantitative study of pitch registers in string\n                   quartets opus 17, by Joseph Haydn},\n    journal      = {Musica Theorica},\n    number       = {1},\n    pages        = {119--177},\n    volume       = {5}\n}\n\n
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@Article{          kant.ea2019-structure,\n    author       = {Kant, David and Polansky, Larry},\n    year         = {2019},\n    title        = {The {Structure} of {Morphological} {Space}},\n    volume       = {57},\n    issn         = {2325-7180},\n    url          = {https://muse.jhu.edu/article/778501},\n    doi          = {10.1353/pnm.2019.0022},\n    language     = {en},\n    number       = {1},\n    urldate      = {2023-02-23},\n    journal      = {Perspectives of New Music},\n    tags         = {musical contour},\n    pages        = {441--498}\n}\n\n
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\n \n\n \n \n \n \n \n Composição de duas novas obras a partir de repositórios gerados pela modelagem sistêmica do Ponteio Nº 14 de Camargo Guarnieri.\n \n \n \n\n\n \n Moraes, P. M. d.; and Pitombeira, L.\n\n\n \n\n\n\n Revista Vórtex, 7(1): 1–20. 2019.\n \n\n\n\n
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@Article{          moraes.ea2019-composicao,\n    author       = {Moraes, Pedro Miguel de and Pitombeira, Liduino},\n    year         = {2019},\n    title        = {Composi\\c{c}\\~{a}o de duas novas obras a partir de\n                   reposit\\'{o}rios gerados pela modelagem sist\\^{e}mica do\n                   Ponteio Nº 14 de Camargo Guarnieri},\n    journal      = {Revista V\\'{o}rtex},\n    number       = {1},\n    volume       = {7},\n    pages        = {1--20}\n}\n\n
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\n \n\n \n \n \n \n \n Composing with Textures: A Proposal For Formalization of Textural Spaces.\n \n \n \n\n\n \n Moreira, D.\n\n\n \n\n\n\n MusMat - Brazilian Journal of Music and Mathematics, 3(1). 2019.\n \n\n\n\n
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@Article{          moreira2019-composing,\n    author       = {Moreira, Daniel},\n    year         = {2019},\n    title        = {Composing with Textures: A Proposal For Formalization of\n                   Textural Spaces},\n    journal      = {MusMat - Brazilian Journal of Music and Mathematics},\n    number       = {1},\n    volume       = {3}\n}\n\n
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\n \n\n \n \n \n \n \n An Extension of the Minimally Divergent Contour Network: Considering Nonconsecutive Repeated Contour Pitches.\n \n \n \n\n\n \n Wu, Y. D.\n\n\n \n\n\n\n Music Theory Spectrum. 2019.\n \n\n\n\n
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@Article{          wu2019-extension,\n    author       = {Wu, Yi-Cheng Daniel},\n    year         = {2019},\n    title        = {An {Extension} of the {Minimally} {Divergent} {Contour}\n                   {Network}: {Considering} {Nonconsecutive} {Repeated}\n                   {Contour} {Pitches}},\n    journal      = {Music Theory Spectrum}\n}\n
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\n \n\n \n \n \n \n \n Composição de Caldeirão da Santa Cruz do Deserto a partir da modelagem sistêmica do Ponteio n. 26 de Camargo Guarnieri.\n \n \n \n\n\n \n Lima, M. M. d. C.; and Pitombeira, L.\n\n\n \n\n\n\n In Anais do XXVIII Congresso da Associação Nacional de Pesquisa e Pós-Graduação em Música, Manaus, AM, 2018. \n \n\n\n\n
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@InProceedings{    lima.ea2018-composicao,\n    author       = {Lima, Marcel Macedo de Castro and Pitombeira, Liduino},\n    year         = {2018},\n    title        = {Composi\\c{c}\\~{a}o de Caldeir\\~{a}o da Santa Cruz do\n                   Deserto a partir da modelagem sist\\^{e}mica do Ponteio n.\n                   26 de Camargo Guarnieri},\n    booktitle    = {Anais do XXVIII Congresso da Associa\\c{c}\\~{a}o Nacional\n                   de Pesquisa e P\\'{o}s-Gradua\\c{c}\\~{a}o em M\\'{u}sica},\n    address      = {Manaus, AM}\n}\n\n
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\n \n\n \n \n \n \n \n Um Planejamento composicional a partir de elementos do frevo de rua pernambucano.\n \n \n \n\n\n \n Lima, F. F. d.; and Alves, J. O.\n\n\n \n\n\n\n Per Musi, (38): 1–24. 2018.\n \n\n\n\n
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@Article{          lima.ea2018-planejamento,\n    author       = {Lima, Fl\\'{a}vio Fernandes de and Alves, Jos\\'{e} Orlando},\n    year         = {2018},\n    title        = {Um {Planejamento} composicional a partir de elementos do\n                   frevo de rua pernambucano},\n    number       = {38},\n    journal      = {Per Musi},\n    pages        = {1--24}\n}\n\n
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\n \n\n \n \n \n \n \n Teoria dos Contornos e a abordagem paramétrica do frevo de rua: planejamentos e realizações musicais.\n \n \n \n\n\n \n Lima, F. F. d.; and Alves, J. O.\n\n\n \n\n\n\n Musica Theorica, 3(2): 133–158. 2018.\n \n\n\n\n
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@Article{          lima.ea2018-teoria,\n    author       = {Lima, Fl\\'{a}vio Fernandes de and Alves, Jos\\'{e} Orlando},\n    year         = {2018},\n    title        = {Teoria dos {Contornos} e a abordagem param\\'{e}trica do\n                   frevo de rua: planejamentos e realiza\\c{c}\\~{o}es musicais},\n    volume       = {3},\n    number       = {2},\n    journal      = {Musica Theorica},\n    pages        = {133--158}\n}\n\n
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\n \n\n \n \n \n \n \n A Teoria dos Contornos aplicada à fusão do frevo de rua com aspectos seriais na composição Frevindo - Serializando.\n \n \n \n\n\n \n Lima, F. F. d.; and Alves, J. O.\n\n\n \n\n\n\n In Anais do III Encontro da Associação Brasileira de Teoria e Análise Musical, pages 35–43, João Pessoa, PB, 2018. \n \n\n\n\n
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@InProceedings{    lima.ea2018-teoria-a,\n    author       = {Lima, Fl\\'{a}vio Fernandes de and Alves, Jos\\'{e} Orlando},\n    year         = {2018},\n    title        = {A {Teoria} dos {Contornos} aplicada \\`{a} fus\\~{a}o do\n                   frevo de rua com aspectos seriais na composi\\c{c}\\~{a}o\n                   {Frevindo} - {Serializando}},\n    address      = {Jo\\~{a}o Pessoa, PB},\n    booktitle    = {Anais do {III} {Encontro} da {Associa\\c{c}\\~{a}o}\n                   {Brasileira} de {Teoria} e {An\\'{a}lise} {Musical}},\n    pages        = {35--43}\n}\n\n
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\n \n\n \n \n \n \n \n A Systemic Model for Debussy's Prelude No.1.\n \n \n \n\n\n \n Pitombeira, L.\n\n\n \n\n\n\n Musica Theorica, 2(2): 37–58. 2018.\n \n\n\n\n
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@Article{          pitombeira2018-systemic,\n    author       = {Pitombeira, Liduino},\n    year         = {2018},\n    title        = {A Systemic Model for Debussy's Prelude No.1},\n    journal      = {Musica Theorica},\n    number       = {2},\n    volume       = {2},\n    pages        = {37--58}\n}\n\n
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\n \n\n \n \n \n \n \n Contour Similarity Algorithms.\n \n \n \n\n\n \n Sampaio, M. d. S.\n\n\n \n\n\n\n MusMat - Brazilian Journal of Music and Mathematics, 2(2): 58–78. 2018.\n \n\n\n\n
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@Article{          sampaio2018-contour,\n    author       = {Sampaio, Marcos da Silva},\n    year         = {2018},\n    title        = {Contour {Similarity} {Algorithms}},\n    volume       = {2},\n    number       = {2},\n    journal      = {MusMat - Brazilian Journal of Music and Mathematics},\n    pages        = {58--78}\n}\n\n
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\n \n\n \n \n \n \n \n Intertextualidade aplicada ao processo criativo a partir da sagração da primavera e Prélude à L'après-midi d'un faune.\n \n \n \n\n\n \n Moreira, D.\n\n\n \n\n\n\n In Anais do XXVII Congresso da ANPPOM, pages 1–10, Campinas, SP, 2017. \n \n\n\n\n
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@InProceedings{    moreira2017-intertextualidade,\n    author       = {Moreira, Daniel},\n    year         = {2017},\n    title        = {Intertextualidade aplicada ao processo criativo a partir\n                   da sagra\\c{c}\\~{a}o da primavera e Pr\\'{e}lude \\`{a}\n                   L'apr\\`{e}s-midi d'un faune},\n    booktitle    = {Anais do {XXVII} {Congresso} da {ANPPOM}},\n    address      = {Campinas, SP},\n    pages        = {1--10}\n}\n\n
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\n \n\n \n \n \n \n \n Investigação dos princípios de variação progressiva e Grundgestalt no domínio textural na terceira das Três Peças para Piano op. 11, de Arnold Schoenberg.\n \n \n \n\n\n \n Moreira, D.\n\n\n \n\n\n\n In , editor(s), Anais do II Congresso da Associação Brasileira de Teoria e Análise Musical, pages 95–103, Florianópolis, SC, 2017. \n \n\n\n\n
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@InProceedings{    moreira2017-investigacao,\n    author       = {Moreira, Daniel},\n    year         = {2017},\n    title        = {Investiga\\c{c}\\~{a}o dos princ\\'{i}pios de\n                   varia\\c{c}\\~{a}o progressiva e Grundgestalt no dom\\'{i}nio\n                   textural na terceira das Tr\\^{e}s Pe\\c{c}as para Piano op.\n                   11, de Arnold Schoenberg},\n    booktitle    = {Anais do II Congresso da Associa\\c{c}\\~{a}o Brasileira de\n                   Teoria e An\\'{a}lise Musical},\n    editor       = {},\n    address      = {Florian\\'{o}polis, SC},\n    pages        = {95--103}\n}\n\n
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\n \n\n \n \n \n \n \n A Teoria de Relações de Contornos no Brasil.\n \n \n \n\n\n \n Sampaio, M. d. S.\n\n\n \n\n\n\n In Nogueira, I., editor(s), Teoria e Análise Musical em perspectiva didática, pages 123–138. EDUFBA, Salvador, BA, 2017.\n \n\n\n\n
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@InCollection{     sampaio2017-teoria,\n    author       = {Sampaio, Marcos da Silva},\n    year         = {2017},\n    title        = {A {Teoria} de {Rela\\c{c}\\~{o}es} de {Contornos} no\n                   {Brasil}},\n    address      = {Salvador, BA},\n    booktitle    = {Teoria e {An\\'{a}lise} {Musical} em perspectiva\n                   did\\'{a}tica},\n    publisher    = {EDUFBA},\n    editor       = {Nogueira, Ilza},\n    pages        = {123--138}\n}\n\n
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\n \n\n \n \n \n \n \n Fuzzy Family Ties: Familial Similarity Between Melodic Contours of Different Cardinalities.\n \n \n \n\n\n \n Wallentinsen, K.\n\n\n \n\n\n\n Ph.D. Thesis, THe University of Western Ontario, 2017.\n \n\n\n\n
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@PhDThesis{        wallentinsen2017-fuzzy,\n    author       = {Wallentinsen, Kristen},\n    year         = {2017},\n    title        = {Fuzzy {Family} {Ties}: {Familial} {Similarity} {Between}\n                   {Melodic} {Contours} of {Different} {Cardinalities}.},\n    school       = {THe University of Western Ontario}\n}\n\n
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\n \n\n \n \n \n \n \n A New Similarity Measurement of Pitch Contour for Analyzing 20th- and 21st-century.\n \n \n \n\n\n \n Wu, Y. D.\n\n\n \n\n\n\n Indiana Theory Review, 31(1): 5–51. 2017.\n \n\n\n\n
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@Article{          wu2017-new,\n    author       = {Wu, Yi-Cheng Daniel},\n    year         = {2017},\n    title        = {A {New} {Similarity} {Measurement} of {Pitch} {Contour}\n                   for {Analyzing} 20th- and 21st-century},\n    volume       = {31},\n    number       = {1},\n    journal      = {Indiana Theory Review},\n    pages        = {5--51}\n}\n\n
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\n \n\n \n \n \n \n \n Ruth Crawford's String Quartet, Mvt. 3: An Analysis of Dynamic Counterpoint, Contour Similarity, and Musical Form.\n \n \n \n\n\n \n Wu, Y. D.\n\n\n \n\n\n\n Intersections: Canadian Journal of Music, 37(2): 123–160. 2017.\n \n\n\n\n
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@Article{          wu2017-ruth,\n    author       = {Wu, Yi-Cheng Daniel},\n    year         = {2017},\n    title        = {Ruth {Crawford}'s {String} {Quartet}, {Mvt}. 3: {An}\n                   {Analysis} of {Dynamic} {Counterpoint}, {Contour}\n                   {Similarity}, and {Musical} {Form}},\n    volume       = {37},\n    number       = {2},\n    journal      = {Intersections: Canadian Journal of Music},\n    pages        = {123--160}\n}\n\n
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\n  \n 2016\n \n \n (13)\n \n \n
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\n \n\n \n \n \n \n \n Regard de l'Onction terrible de Olivier Messiaen : relações de projeção entre elementos em pequena, média e larga escala.\n \n \n \n\n\n \n Alves, A.; and Moreira, A. L. d. C.\n\n\n \n\n\n\n In Anais do XXVI Congresso da ANPPOM, Belo Horizonte, MG, 2016. \n \n\n\n\n
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@InProceedings{    alves.ea2016-regard,\n    author       = {Alves, Aline and Moreira, Adriana Lopes da Cunha},\n    year         = {2016},\n    title        = {Regard de l'Onction terrible de {Olivier} {Messiaen} :\n                   rela\\c{c}\\~{o}es de proje\\c{c}\\~{a}o entre elementos em\n                   pequena, m\\'{e}dia e larga escala},\n    address      = {Belo Horizonte, MG},\n    booktitle    = {Anais do {XXVI} {Congresso} da {ANPPOM}}\n}\n\n
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\n \n\n \n \n \n \n \n Contour Recursion and Auto-Segmentation.\n \n \n \n\n\n \n Carter-Ényì, A.\n\n\n \n\n\n\n Music Theory Online, 22(1): 1–17. 2016.\n \n\n\n\n
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@Article{          carter-enyi2016-contour,\n    author       = {Carter-\\'{E}ny\\`{i}, Aaron},\n    year         = {2016},\n    title        = {Contour {Recursion} and {Auto}-{Segmentation}},\n    volume       = {22},\n    number       = {1},\n    journal      = {Music Theory Online},\n    pages        = {1--17}\n}\n\n
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\n \n\n \n \n \n \n \n A Teoria dos contornos aplicada na ordenação de elementos extraídos de um frevo de rua pernambucano no planejamento composicional da peça Criação nº 3 para quinteto para metais.\n \n \n \n\n\n \n Lima, F. F. d.; and Alves, J. O.\n\n\n \n\n\n\n In Anais do XXVI Congresso da ANPPOM, Belo Horizonte, 2016. \n \n\n\n\n
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@InProceedings{    lima.ea2016-teoria,\n    author       = {Lima, Fl\\'{a}vio Fernandes de and Alves, Jos\\'{e} Orlando},\n    year         = {2016},\n    title        = {A {Teoria} dos contornos aplicada na ordena\\c{c}\\~{a}o de\n                   elementos extra\\'{i}dos de um frevo de rua pernambucano no\n                   planejamento composicional da pe\\c{c}a {Cria\\c{c}\\~{a}o}\n                   nº 3 para quinteto para metais},\n    address      = {Belo Horizonte},\n    booktitle    = {Anais do {XXVI} {Congresso} da {ANPPOM}}\n}\n\n
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\n \n\n \n \n \n \n \n Densidade textural e morfologia no planejamento das três peças do ciclo Dimensões, para orquestra de câmara.\n \n \n \n\n\n \n Moraes, P. M. d.\n\n\n \n\n\n\n Master's thesis, Universidade Federal da Paraíba, 2016.\n \n\n\n\n
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@MastersThesis{    moraes2016-densidade,\n    author       = {Moraes, Pedro Miguel de},\n    year         = {2016},\n    title        = {Densidade textural e morfologia no planejamento das\n                   tr\\^{e}s pe\\c{c}as do ciclo {Dimens\\~{o}es}, para\n                   orquestra de c\\^{a}mara},\n    school       = {Universidade Federal da Para\\'{i}ba}\n}\n\n
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\n \n\n \n \n \n \n \n Planejamento composicional no domínio da textura a partir da expansão dos espaços musicais.\n \n \n \n\n\n \n Moreira, D.; and Gentil-Nunes, P.\n\n\n \n\n\n\n In Anais do XXVI Congresso da ANPPOM, Belo Horizonte, MG, 2016. \n \n\n\n\n
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@InProceedings{    moreira.ea2016-planejamento,\n    author       = {Moreira, Daniel and Gentil-Nunes, Pauxy},\n    year         = {2016},\n    title        = {Planejamento composicional no dom\\'{i}nio da textura a\n                   partir da expans\\~{a}o dos espa\\c{c}os musicais},\n    booktitle    = {Anais do {XXVI} {Congresso} da {ANPPOM}},\n    address      = {Belo Horizonte, MG}\n}\n\n
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\n \n\n \n \n \n \n \n Contornos musicais e textura: perspectivas para análise e composição.\n \n \n \n\n\n \n Moreira, D.\n\n\n \n\n\n\n In Anais do IV Simpósio Brasileiro de Pós-Graduandos em Música e XII Colóquio do Programa de Pós-Graduação em Música da UNIRIO, pages 99–109, Rio de Janeiro, RJ, 2016. \n \n\n\n\n
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@InProceedings{    moreira2016-contornos,\n    author       = {Moreira, Daniel},\n    year         = {2016},\n    title        = {Contornos musicais e textura: perspectivas para\n                   an\\'{a}lise e composi\\c{c}\\~{a}o},\n    booktitle    = {Anais do IV Simp\\'{o}sio Brasileiro de P\\'{o}s-Graduandos\n                   em M\\'{u}sica e XII Col\\'{o}quio do Programa de\n                   P\\'{o}s-Gradua\\c{c}\\~{a}o em M\\'{u}sica da UNIRIO},\n    pages        = {99--109},\n    address      = {Rio de Janeiro, RJ}\n}\n\n
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\n \n\n \n \n \n \n \n Relações entre textura, performance e superfície musical a partir do contorno textural.\n \n \n \n\n\n \n Moreira, D.\n\n\n \n\n\n\n In Anais do XXVI Congresso da ANPPOM, Belo Horizonte, MG, 2016. \n \n\n\n\n
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@InProceedings{    moreira2016-relacoes,\n    author       = {Moreira, Daniel},\n    year         = {2016},\n    title        = {Rela\\c{c}\\~{o}es entre textura, performance e\n                   superf\\'{i}cie musical a partir do contorno textural},\n    booktitle    = {Anais do {XXVI} {Congresso} da {ANPPOM}},\n    address      = {Belo Horizonte, MG}\n}\n\n
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\n \n\n \n \n \n \n \n Relações entre textura e orquestração a partir da análise da Promenade da suite Quadros em Exposição de Mussorgsky.\n \n \n \n\n\n \n Moreira, D.\n\n\n \n\n\n\n In Anais do 14o Colóquio de Pesquisa do Programa de Pós-Graduação em Música da Universidade Federal do Rio de Janeiro (PPGM-UFRJ), volume 2, pages 46–61, Rio de Janeiro, RJ, 2016. \n \n\n\n\n
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@InProceedings{    moreira2016-relacoes-a,\n    author       = {Moreira, Daniel},\n    year         = {2016},\n    title        = {Rela\\c{c}\\~{o}es entre textura e orquestra\\c{c}\\~{a}o a\n                   partir da an\\'{a}lise da Promenade da suite Quadros em\n                   Exposi\\c{c}\\~{a}o de Mussorgsky},\n    booktitle    = {Anais do 14o Col\\'{o}quio de Pesquisa do Programa de\n                   P\\'{o}s-Gradua\\c{c}\\~{a}o em M\\'{u}sica da Universidade\n                   Federal do Rio de Janeiro (PPGM-UFRJ)},\n    address      = {Rio de Janeiro, RJ},\n    volume       = {2},\n    pages        = {46--61}\n}\n\n
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\n \n\n \n \n \n \n \n Contornando falas.\n \n \n \n\n\n \n Pochat, A.; and Sampaio, M. d. S.\n\n\n \n\n\n\n In Anais do V Simpósio Internacional de Música na Amazônia, Belém, PA, 2016. \n \n\n\n\n
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@InProceedings{    pochat.ea2016-contornando,\n    author       = {Pochat, Alex and Sampaio, Marcos da Silva},\n    year         = {2016},\n    title        = {Contornando falas},\n    address      = {Bel\\'{e}m, PA},\n    booktitle    = {Anais do {V} {Simp\\'{o}sio} {Internacional} de\n                   {M\\'{u}sica} na {Amaz\\^{o}nia}}\n}\n\n
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\n \n\n \n \n \n \n \n Aplicação de Contornos na Composição Musical.\n \n \n \n\n\n \n Sampaio, M. d. S.; and Pochat, A.\n\n\n \n\n\n\n In Schwebel, H. K. N.; and Brandão, J. M. V., editor(s), Perspectivas de interpretação, teoria e composição musical, pages 11–24. EDUFBA, Salvador, BA, 2016.\n \n\n\n\n
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@InCollection{     sampaio.ea2016-aplicacao,\n    author       = {Sampaio, Marcos da Silva and Pochat, Alex},\n    year         = {2016},\n    title        = {Aplica\\c{c}\\~{a}o de {Contornos} na {Composi\\c{c}\\~{a}o}\n                   {Musical}},\n    address      = {Salvador, BA},\n    booktitle    = {Perspectivas de interpreta\\c{c}\\~{a}o, teoria e\n                   composi\\c{c}\\~{a}o musical},\n    publisher    = {EDUFBA},\n    editor       = {Schwebel, Heinz Karl Novaes and Brand\\~{a}o, Jos\\'{e}\n                   Maur\\'{i}cio Valle},\n    pages        = {11--24}\n}\n\n
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\n \n\n \n \n \n \n \n Contour Algorithms Review.\n \n \n \n\n\n \n Sampaio, M. d. S.; and Kroger, P.\n\n\n \n\n\n\n MusMat - Brazilian Journal of Music and Mathematics, 1(1): 72–85. 2016.\n \n\n\n\n
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@Article{          sampaio.ea2016-contour,\n    author       = {Sampaio, Marcos da Silva and Kroger, Pedro},\n    year         = {2016},\n    title        = {Contour {Algorithms} {Review}},\n    volume       = {1},\n    number       = {1},\n    journal      = {MusMat - Brazilian Journal of Music and Mathematics},\n    pages        = {72--85}\n}\n\n
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\n \n\n \n \n \n \n \n Tonality and Contour in Melodic Processing.\n \n \n \n\n\n \n Schmuckler, M. A.\n\n\n \n\n\n\n Oxford University Press, 2016.\n \n\n\n\n
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@Book{             schmuckler2016-tonality,\n    author       = {Schmuckler, Mark A.},\n    year         = {2016},\n    title        = {Tonality and {Contour} in {Melodic} {Processing}},\n    publisher    = {Oxford University Press},\n    editor       = {Hallam, Susan and Cross, Ian and Thaut, Michael}\n}\n\n
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\n \n\n \n \n \n \n \n Normalizing Musical Contour Theory.\n \n \n \n\n\n \n Schultz, R. D.\n\n\n \n\n\n\n Journal of Music Theory, 60(1): 23–50. 2016.\n \n\n\n\n
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@Article{          schultz2016-normalizing,\n    author       = {Schultz, Rob D.},\n    year         = {2016},\n    title        = {Normalizing {Musical} {Contour} {Theory}},\n    volume       = {60},\n    number       = {1},\n    journal      = {Journal of Music Theory},\n    pages        = {23--50}\n}\n\n
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\n \n\n \n \n \n \n \n Três abordagens analíticas da melodia de Melopéias Nº 3 / I para flauta solo de Guerra-Peixe.\n \n \n \n\n\n \n Almada, C. d. L.; Moreira, D.; and Gentil-Nunes, P.\n\n\n \n\n\n\n In Anais do XXV Congresso da ANPPOM, pages 1–9, Vitoria, ES, 2015. \n \n\n\n\n
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@InProceedings{    almada.ea2015-tres,\n    author       = {Almada, Carlos de Lemos and Moreira, Daniel and\n                   Gentil-Nunes, Pauxy},\n    year         = {2015},\n    title        = {Tr\\^{e}s abordagens anal\\'{i}ticas da melodia de\n                   {Melop\\'{e}ias} {Nº} 3 / {I} para flauta solo de\n                   {Guerra}-{Peixe}},\n    address      = {Vitoria, ES},\n    pages        = {1--9},\n    booktitle    = {Anais do {XXV} {Congresso} da {ANPPOM}}\n}\n\n
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\n \n\n \n \n \n \n \n Planejamento da 3a peça do ciclo Dimensões : contorno e densidade textural.\n \n \n \n\n\n \n de Moraes, P. M.; and Alves, J. O.\n\n\n \n\n\n\n In Anais do XXV Congresso da ANPPOM, Vitoria, ES, 2015. \n \n\n\n\n
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@InProceedings{    moraes.ea2015-planejamento,\n    author       = {de Moraes, Pedro Miguel and Alves, Jos\\'{e} Orlando},\n    year         = {2015},\n    title        = {Planejamento da 3a pe\\c{c}a do ciclo {Dimens\\~{o}es} :\n                   contorno e densidade textural},\n    address      = {Vitoria, ES},\n    booktitle    = {Anais do {XXV} {Congresso} da {ANPPOM}}\n}\n\n
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\n \n\n \n \n \n \n \n Relações de contornos entre elementos sonoros e visuais do jogo Super Mario Bros.\n \n \n \n\n\n \n Moraes, T.; and Sampaio, M.\n\n\n \n\n\n\n In Proceedings of SBGame 2015, pages 714–717, Teresina, PI, 2015. \n \n\n\n\n
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@InProceedings{    moraes.ea2015-relacoes,\n    author       = {Moraes, Tharcisio and Sampaio, Marcos},\n    year         = {2015},\n    title        = {Rela\\c{c}\\~{o}es de contornos entre elementos sonoros e\n                   visuais do jogo {Super} {Mario} {Bros}},\n    address      = {Teresina, PI},\n    booktitle    = {Proceedings of {SBGame} 2015},\n    pages        = {714--717}\n}\n\n
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\n \n\n \n \n \n \n \n Contorno textural: ferramentas computacionais para análise da textura.\n \n \n \n\n\n \n Moreira, D.; and Gentil-Nunes, P.\n\n\n \n\n\n\n In Anais do 13o Colóquio de Pesquisa do Programa de Pós-Graduação da Escola de Música da UFRJ, pages 40–47, Rio de Janeiro, 2015. \n \n\n\n\n
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@InProceedings{    moreira.ea2015-contorno,\n    author       = {Moreira, Daniel and Gentil-Nunes, Pauxy},\n    year         = {2015},\n    title        = {Contorno textural: ferramentas computacionais para\n                   an\\'{a}lise da textura},\n    address      = {Rio de Janeiro},\n    booktitle    = {Anais do 13o {Col\\'{o}quio} de {Pesquisa} do {Programa}\n                   de {P\\'{o}s}-{Gradua\\c{c}\\~{a}o} da {Escola} de\n                   {M\\'{u}sica} da {UFRJ}},\n    pages        = {40--47}\n}\n\n
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\n \n\n \n \n \n \n \n Ornamental functions in textural domain from the proposal for a textural contour.\n \n \n \n\n\n \n Moreira, D.; and Gentil-Nunes, P.\n\n\n \n\n\n\n In Anais do XXV Congresso da ANPPOM, Vitoria, ES, 2015. \n \n\n\n\n
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@InProceedings{    moreira.ea2015-ornamental,\n    author       = {Moreira, Daniel and Gentil-Nunes, Pauxy},\n    year         = {2015},\n    title        = {Ornamental functions in textural domain from the proposal\n                   for a textural contour},\n    address      = {Vitoria, ES},\n    booktitle    = {Anais do {XXV} {Congresso} da {ANPPOM}}\n}\n\n
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\n \n\n \n \n \n \n \n Perspectivas para a análise textural a partir da mediação entre a Teoria dos Contornos e a Análise Particional.\n \n \n \n\n\n \n Moreira, D.\n\n\n \n\n\n\n Master's thesis, Universidade Federal do Rio de Janeiro, 2015.\n \n\n\n\n
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@MastersThesis{    moreira2015-perspectivas,\n    author       = {Moreira, Daniel},\n    year         = {2015},\n    title        = {Perspectivas para a an\\'{a}lise textural a partir da\n                   media\\c{c}\\~{a}o entre a {Teoria} dos {Contornos} e a\n                   {An\\'{a}lise} {Particional}},\n    school       = {Universidade Federal do Rio de Janeiro}\n}\n\n
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\n \n\n \n \n \n \n \n Modelagem sistêmica do Ponteio Nº 2 de Camargo Guarnieri segundo a teoria dos contornos.\n \n \n \n\n\n \n Pitombeira, L.\n\n\n \n\n\n\n Revista Brasileira de Música, 28(2): 331–348. 2015.\n \n\n\n\n
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@Article{          pitombeira2015-modelagem,\n    author       = {Pitombeira, Liduino},\n    year         = {2015},\n    title        = {Modelagem sist\\^{e}mica do {Ponteio} {Nº} 2 de {Camargo}\n                   {Guarnieri} segundo a teoria dos contornos},\n    volume       = {28},\n    number       = {2},\n    journal      = {Revista Brasileira de M\\'{u}sica},\n    pages        = {331--348}\n}\n\n
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\n \n\n \n \n \n \n \n Modelagem sistêmica do Ponteio n. 2, Caderno 1, de Camargo Guarnieri a partir da teoria dos contornos, da teoria da variação progressiva e da análise particional.\n \n \n \n\n\n \n Pitombeira, L.\n\n\n \n\n\n\n In Anais do 13o Colóquio de Pesquisa do Programa de Pós-Graduação em Música da UFRJ, volume 1, pages 70–78, Rio de Janeiro, RJ, 2015. \n \n\n\n\n
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@InProceedings{    pitombeira2015-modelagem-a,\n    author       = {Pitombeira, Liduino},\n    year         = {2015},\n    title        = {Modelagem sist\\^{e}mica do Ponteio n. 2, Caderno 1, de\n                   Camargo Guarnieri a partir da teoria dos contornos, da\n                   teoria da varia\\c{c}\\~{a}o progressiva e da an\\'{a}lise\n                   particional},\n    booktitle    = {Anais do 13o Col\\'{o}quio de Pesquisa do Programa de\n                   P\\'{o}s-Gradua\\c{c}\\~{a}o em M\\'{u}sica da UFRJ},\n    pages        = {70--78},\n    volume       = {1},\n    address      = {Rio de Janeiro, RJ}\n}\n\n
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\n \n\n \n \n \n \n \n Análisis de un espacio arquitectónico mediante teoría de contornos y su utilización en la composición de una pieza para sexteto de cuerdas.\n \n \n \n\n\n \n Puelma, H. G.\n\n\n \n\n\n\n In XXV Congresso da Associação Nacional de Pesquisa e Pós-Graduação em Música, Vitoria, ES, 2015. \n \n\n\n\n
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@InProceedings{    puelma2015-analisis,\n    author       = {Puelma, H\\'{e}ctor Garc\\'{e}s},\n    year         = {2015},\n    title        = {An\\'{a}lisis de un espacio arquitect\\'{o}nico mediante\n                   teor\\'{i}a de contornos y su utilizaci\\'{o}n en la\n                   composici\\'{o}n de una pieza para sexteto de cuerdas},\n    address      = {Vitoria, ES},\n    booktitle    = {{XXV} {Congresso} da {Associa\\c{c}\\~{a}o} {Nacional} de\n                   {Pesquisa} e {P\\'{o}s}-{Gradua\\c{c}\\~{a}o} em {M\\'{u}sica}}\n}\n\n
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\n \n\n \n \n \n \n \n Utilizing Computer Programing to Analyze Post-Tonal Music: Contour Analysis of Four Works for Solo Flute.\n \n \n \n\n\n \n Sekula, K.\n\n\n \n\n\n\n In Collins, T.; Meredith, D.; and Volk, A., editor(s), Mathematics and Computation in Music 5th International Conference, MCM 2015, pages 219–230, London, UK, 2015. \n \n\n\n\n
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@InProceedings{    sekula2015-utilizing,\n    author       = {Sekula, Kate},\n    year         = {2015},\n    title        = {Utilizing {Computer} {Programing} to {Analyze}\n                   {Post}-{Tonal} {Music}: {Contour} {Analysis} of {Four}\n                   {Works} for {Solo} {Flute}},\n    address      = {London, UK},\n    booktitle    = {Mathematics and {Computation} in {Music} 5th\n                   {International} {Conference}, {MCM} 2015},\n    editor       = {Collins, Tom and Meredith, David and Volk, Anja},\n    pages        = {219--230}\n}\n\n
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\n  \n 2014\n \n \n (5)\n \n \n
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\n \n\n \n \n \n \n \n A teoria do contorno como uma das ferramentas de construção de uma performance do Sexteto - Seis prelúdios e um enigma de Francisco Mignone : apontamentos de um camerista.\n \n \n \n\n\n \n Ficarelli, A. F.\n\n\n \n\n\n\n Master's thesis, Universidade de São Paulo, 2014.\n \n\n\n\n
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@MastersThesis{    ficarelli2014-teoria,\n    author       = {Ficarelli, Alexandre Fontainha},\n    year         = {2014},\n    title        = {A teoria do contorno como uma das ferramentas de\n                   constru\\c{c}\\~{a}o de uma performance do {Sexteto} -\n                   {Seis} prel\\'{u}dios e um enigma de {Francisco} {Mignone}\n                   : apontamentos de um camerista},\n    school       = {Universidade de S\\~{a}o Paulo}\n}\n\n
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\n \n\n \n \n \n \n \n Contornos musicais e os operadores particionais: uma ferramenta computacional para o planejamento textural.\n \n \n \n\n\n \n Moreira, D.; and Gentil-Nunes, P.\n\n\n \n\n\n\n In Anais do XXIV Congresso da ANPPOM, pages 1–8, São Paulo, 2014. \n \n\n\n\n
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@InProceedings{    moreira.ea2014-contornos,\n    author       = {Moreira, Daniel and Gentil-Nunes, Pauxy},\n    year         = {2014},\n    title        = {Contornos musicais e os operadores particionais: uma\n                   ferramenta computacional para o planejamento textural},\n    address      = {S\\~{a}o Paulo},\n    pages        = {1--8},\n    booktitle    = {Anais do {XXIV} {Congresso} da {ANPPOM}}\n}\n\n
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\n \n\n \n \n \n \n \n Contour Analyzer: ferramenta computacional para a análise de contornos musicais.\n \n \n \n\n\n \n Moreira, D.\n\n\n \n\n\n\n In Anais do I Congresso da TeMA, pages 35–42, Salvador, BA, 2014. \n \n\n\n\n
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@InProceedings{    moreira2014-contour,\n    author       = {Moreira, Daniel},\n    year         = {2014},\n    title        = {Contour {Analyzer}: ferramenta computacional para a\n                   an\\'{a}lise de contornos musicais},\n    address      = {Salvador, BA},\n    booktitle    = {Anais do {I} {Congresso} da {TeMA}},\n    pages        = {35--42}\n}\n\n
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\n \n\n \n \n \n \n \n Contributions of Pitch Contour, Tonality, Rhythm, and Meter to Melodic Similarity.\n \n \n \n\n\n \n Prince, J. B.\n\n\n \n\n\n\n Journal of experimental psychology. Human perception and performance, 40(6): 2319–37. December 2014.\n \n\n\n\n
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@Article{          prince2014-contributions,\n    author       = {Prince, Jon B.},\n    year         = {2014},\n    title        = {Contributions of {Pitch} {Contour}, {Tonality}, {Rhythm},\n                   and {Meter} to {Melodic} {Similarity}.},\n    volume       = {40},\n    number       = {6},\n    journal      = {Journal of experimental psychology. Human perception and\n                   performance},\n    month        = dec,\n    pmid         = {25264859},\n    pages        = {2319--37}\n}\n\n
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\n \n\n \n \n \n \n \n Utilização de contorno fotográfico no planejamento composicional de Açude velho para quinteto de metais.\n \n \n \n\n\n \n da Silva, H. C.; Santos, R. S.; and de Oliveira, L. J. P.\n\n\n \n\n\n\n In Anais do XXIV Congresso da ANPPOM, São Paulo, 2014. \n \n\n\n\n
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@InProceedings{    silva.ea2014-utilizacao,\n    author       = {da Silva, Halley Chaves and Santos, Raphael Sousa and de\n                   Oliveira, Liduino Jos\\'{e} Pitombeira},\n    year         = {2014},\n    title        = {Utiliza\\c{c}\\~{a}o de contorno fotogr\\'{a}fico no\n                   planejamento composicional de {A\\c{c}ude} velho para\n                   quinteto de metais},\n    address      = {S\\~{a}o Paulo},\n    booktitle    = {Anais do {XXIV} {Congresso} da {ANPPOM}}\n}\n\n
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\n \n\n \n \n \n \n \n Comparação de contornos intervalares como parâmetro para medição de similaridade.\n \n \n \n\n\n \n Almada, C. d. L.\n\n\n \n\n\n\n In Anais do III Encontro Internacional de Teoria e Análise Musical, pages 60–67, São Paulo, SP, 2013. \n \n\n\n\n
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@InProceedings{    almada2013-comparacao,\n    author       = {Almada, Carlos de Lemos},\n    year         = {2013},\n    title        = {Compara\\c{c}\\~{a}o de contornos intervalares como\n                   par\\^{a}metro para medi\\c{c}\\~{a}o de similaridade},\n    booktitle    = {Anais do III Encontro Internacional de Teoria e\n                   An\\'{a}lise Musical},\n    address      = {S\\~{a}o Paulo, SP},\n    pages        = {60--67}\n}\n\n
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\n \n\n \n \n \n \n \n Preferences for melodic contours transcend pitch.\n \n \n \n\n\n \n Graves, J; Micheyl, C; and Oxenham, A.\n\n\n \n\n\n\n The Journal of the Acoustical Society of America, 133(5): 3366. 2013.\n \n\n\n\n
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@Article{          graves.ea2013-preferences,\n    author       = {Graves, J and Micheyl, C and Oxenham, AJ},\n    year         = {2013},\n    title        = {Preferences for melodic contours transcend pitch},\n    volume       = {133},\n    number       = {5},\n    journal      = {The Journal of the Acoustical Society of America},\n    pages        = {3366}\n}\n\n
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\n \n\n \n \n \n \n \n Contornos musicais: aplicações no indexograma e na curva derivativa.\n \n \n \n\n\n \n Moreira, D.; Gentil-Nunes, P.; and Almada, C. d. L.\n\n\n \n\n\n\n In Anais do XXIII Congresso da ANPPOM, Natal, 2013. \n \n\n\n\n
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@InProceedings{    moreira.ea2013-contornos,\n    author       = {Moreira, Daniel and Gentil-Nunes, Pauxy and Almada,\n                   Carlos de Lemos},\n    year         = {2013},\n    title        = {Contornos musicais: aplica\\c{c}\\~{o}es no indexograma e\n                   na curva derivativa},\n    address      = {Natal},\n    booktitle    = {Anais do {XXIII} {Congresso} da {ANPPOM}}\n}\n\n
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\n \n\n \n \n \n \n \n Contornos particionais: aplicações metodológicas na Introdução da Sagração da Primavera de Igor Stravinsky.\n \n \n \n\n\n \n Moreira, D.\n\n\n \n\n\n\n In Anais do 12o Colóquio de Pesquisa do Programa de Pós-Graduação em Música da Escola de Música da UFRJ, volume 3, pages 27–34, Rio de Janeiro, 2013. \n \n\n\n\n
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@InProceedings{    moreira2013-contornos,\n    author       = {Moreira, Daniel},\n    year         = {2013},\n    title        = {Contornos particionais: aplica\\c{c}\\~{o}es\n                   metodol\\'{o}gicas na {Introdu\\c{c}\\~{a}o} da\n                   {Sagra\\c{c}\\~{a}o} da {Primavera} de {Igor} {Stravinsky}},\n    address      = {Rio de Janeiro},\n    volume       = {3},\n    pages        = {27--34},\n    booktitle    = {Anais do 12o {Col\\'{o}quio} de {Pesquisa} do {Programa}\n                   de {P\\'{o}s}-{Gradua\\c{c}\\~{a}o} em {M\\'{u}sica} da\n                   {Escola} de {M\\'{u}sica} da {UFRJ}}\n}\n\n
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\n \n\n \n \n \n \n \n The Implementation of a Contour Module for Music21.\n \n \n \n\n\n \n Sampaio, M. d. S.; Kroger, P.; Menezes, M. P.; da Rocha, J. M.; Ourives, N. d. S.; and de Carvalho, D. Q.\n\n\n \n\n\n\n ART Music Review, 24. 2013.\n \n\n\n\n
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@Article{          sampaio.ea2013-implementation,\n    author       = {Sampaio, Marcos da Silva and Kroger, Pedro and Menezes,\n                   Mara Pinheiro and da Rocha, Jean Menezes and Ourives,\n                   Natanael de Souza and de Carvalho, Dennis Queiroz},\n    year         = {2013},\n    title        = {The {Implementation} of a {Contour} {Module} for\n                   {Music21}},\n    volume       = {24},\n    journal      = {ART Music Review}\n}\n\n
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\n  \n 2012\n \n \n (3)\n \n \n
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\n \n\n \n \n \n \n \n Algoritmo composicional baseado na teoria de contornos: proposições e aplicações.\n \n \n \n\n\n \n Pires, C. A. V.\n\n\n \n\n\n\n Ph.D. Thesis, Universidade Federal da Bahia, 2012.\n \n\n\n\n
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@PhDThesis{        pires2012-algoritmo,\n    author       = {Pires, Carlos Augusto Vasconcelos},\n    year         = {2012},\n    title        = {Algoritmo composicional baseado na teoria de contornos:\n                   proposi\\c{c}\\~{o}es e aplica\\c{c}\\~{o}es},\n    school       = {Universidade Federal da Bahia}\n}\n\n
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\n \n\n \n \n \n \n \n A Teoria de Relações de Contornos Musicais: inconsistências, soluções e ferramentas.\n \n \n \n\n\n \n Sampaio, M. d. S.\n\n\n \n\n\n\n Ph.D. Thesis, Universidade Federal da Bahia, 2012.\n \n\n\n\n
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@PhDThesis{        sampaio2012-teoria,\n    author       = {Sampaio, Marcos da Silva},\n    year         = {2012},\n    title        = {A {Teoria} de {Rela\\c{c}\\~{o}es} de {Contornos}\n                   {Musicais}: inconsist\\^{e}ncias, solu\\c{c}\\~{o}es e\n                   ferramentas},\n    school       = {Universidade Federal da Bahia}\n}\n\n
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\n \n\n \n \n \n \n \n Reflection and representation: A unitary theory of voice leading and musical contour in 20th-century atonal and serial contrapuntal music.\n \n \n \n\n\n \n Wu, Y. D.\n\n\n \n\n\n\n Ph.D. Thesis, State University of New York at Buffalo, 2012.\n \n\n\n\n
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@PhDThesis{        wu2012-reflection,\n    author       = {Wu, Yi-Cheng Daniel},\n    year         = {2012},\n    title        = {Reflection and representation: {A} unitary theory of\n                   voice leading and musical contour in 20th-century atonal\n                   and serial contrapuntal music},\n    school       = {State University of New York at Buffalo}\n}\n\n
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\n \n\n \n \n \n \n \n Generalizing Syncopation: Contour, Duration and Weight.\n \n \n \n\n\n \n Leong, D.\n\n\n \n\n\n\n Theory and Practice, 36: 111–150. 2011.\n \n\n\n\n
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@Article{          leong2011-generalizing,\n    author       = {Leong, Daphne},\n    year         = {2011},\n    title        = {Generalizing {Syncopation}: {Contour}, {Duration} and\n                   {Weight}},\n    volume       = {36},\n    journal      = {Theory and Practice},\n    pages        = {111--150}\n}\n\n
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\n \n\n \n \n \n \n \n Polynomial functions as a representation of melodic phrase contour.\n \n \n \n\n\n \n Müllensiefen, D.; and Wiggins, G.\n\n\n \n\n\n\n In Schneider, A.; and von Ruschkowski, A., editor(s), Systematic musicology: empirical and theoretical studies, pages 63–88. Peter Lang, Frankfurt, 2011.\n \n\n\n\n
\n\n\n\n \n\n \n\n \n link\n  \n \n\n bibtex\n \n\n \n\n \n\n \n \n \n \n \n \n \n\n  \n \n \n\n\n\n
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@InCollection{     mullensiefen.ea2011-polynomial,\n    author       = {M\\"{u}llensiefen, Daniel and Wiggins, Geraint},\n    year         = {2011},\n    title        = {Polynomial functions as a representation of melodic\n                   phrase contour},\n    address      = {Frankfurt},\n    number       = {1940},\n    booktitle    = {Systematic musicology: empirical and theoretical\n                   studies},\n    publisher    = {Peter Lang},\n    editor       = {Schneider, Albrecht and von Ruschkowski, Arne},\n    pages        = {63--88}\n}\n\n
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\n \n\n \n \n \n \n \n Retrato II, para duas flautas, de Gilberto Mendes: análise musical.\n \n \n \n\n\n \n Palopoli, C.; and Moreira, A. L. d. C.\n\n\n \n\n\n\n In Anais do XXI Congresso da ANPPOM, pages 1694–1700, Uberlândia, 2011. \n \n\n\n\n
\n\n\n\n \n\n \n\n \n link\n  \n \n\n bibtex\n \n\n \n\n \n\n \n \n \n \n \n \n \n\n  \n \n \n\n\n\n
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@InProceedings{    palopoli.ea2011-retrato,\n    author       = {Palopoli, Cibele and Moreira, Adriana Lopes da Cunha},\n    year         = {2011},\n    title        = {Retrato {II}, para duas flautas, de {Gilberto} {Mendes}:\n                   an\\'{a}lise musical},\n    address      = {Uberl\\^{a}ndia},\n    booktitle    = {Anais do {XXI} {Congresso} da {ANPPOM}},\n    pages        = {1694--1700}\n}\n\n
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\n  \n 2010\n \n \n (2)\n \n \n
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\n \n\n \n \n \n \n \n Prolongando contornos: aplicação composicional de operações de contornos.\n \n \n \n\n\n \n Pires, C. A. V.\n\n\n \n\n\n\n Master's thesis, Universidade Federal da Bahia, 2010.\n \n\n\n\n
\n\n\n\n \n\n \n\n \n link\n  \n \n\n bibtex\n \n\n \n\n \n\n \n \n \n \n \n \n \n\n  \n \n \n\n\n\n
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@MastersThesis{    pires2010-prolongando,\n    author       = {Pires, Carlos Augusto Vasconcelos},\n    year         = {2010},\n    title        = {Prolongando contornos: aplica\\c{c}\\~{a}o composicional de\n                   opera\\c{c}\\~{o}es de contornos},\n    school       = {Universidade Federal da Bahia}\n}\n\n
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\n \n\n \n \n \n \n \n Melodic Contour Similarity Using Folk Melodies.\n \n \n \n\n\n \n Schmuckler, M. A.\n\n\n \n\n\n\n Music Perception, 28(2): 169–194. 2010.\n \n\n\n\n
\n\n\n\n \n\n \n\n \n link\n  \n \n\n bibtex\n \n\n \n\n \n\n \n \n \n \n \n \n \n\n  \n \n \n\n\n\n
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@Article{          schmuckler2010-melodic,\n    author       = {Schmuckler, Mark A.},\n    year         = {2010},\n    title        = {Melodic {Contour} {Similarity} {Using} {Folk}\n                   {Melodies}},\n    volume       = {28},\n    number       = {2},\n    journal      = {Music Perception},\n    pages        = {169--194}\n}\n\n
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\n  \n 2009\n \n \n (4)\n \n \n
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\n \n\n \n \n \n \n \n Contour reduction algorithms: a theory of pitch and duration hierarchies for post-tonal music.\n \n \n \n\n\n \n Bor, M.\n\n\n \n\n\n\n Ph.D. Thesis, University of British Columbia, 2009.\n \n\n\n\n
\n\n\n\n \n\n \n\n \n link\n  \n \n\n bibtex\n \n\n \n\n \n\n \n \n \n \n \n \n \n\n  \n \n \n\n\n\n
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@PhDThesis{        bor2009-contour,\n    author       = {Bor, Mustafa},\n    year         = {2009},\n    title        = {Contour reduction algorithms: a theory of pitch and\n                   duration hierarchies for post-tonal music},\n    school       = {University of British Columbia}\n}\n\n
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\n \n\n \n \n \n \n \n Cross-modal melodic contour similarity.\n \n \n \n\n\n \n Prince, J. B.; Schmuckler, M. A.; and Thompson, W. F.\n\n\n \n\n\n\n Journal of the Canadian Acoustical Association, 37(1): 11–24. 2009.\n \n\n\n\n
\n\n\n\n \n\n \n\n \n link\n  \n \n\n bibtex\n \n\n \n\n \n\n \n \n \n \n \n \n \n\n  \n \n \n\n\n\n
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@Article{          prince.ea2009-cross-modal,\n    author       = {Prince, Jon B. and Schmuckler, Mark A. and Thompson,\n                   William Forde},\n    year         = {2009},\n    title        = {Cross-modal melodic contour similarity},\n    volume       = {37},\n    number       = {1},\n    journal      = {Journal of the Canadian Acoustical Association},\n    pages        = {11--24}\n}\n\n
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\n \n\n \n \n \n \n \n Goiaba: a software to process musical contours.\n \n \n \n\n\n \n Sampaio, M. d. S.; and Kroger, P.\n\n\n \n\n\n\n In Proceedings of the 12th Brazilian Symposium on Computer Music, pages 207–210, Recife, 2009. \n \n\n\n\n
\n\n\n\n \n\n \n\n \n link\n  \n \n\n bibtex\n \n\n \n\n \n\n \n \n \n \n \n \n \n\n  \n \n \n\n\n\n
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@InProceedings{    sampaio.ea2009-goiaba,\n    author       = {Sampaio, Marcos da Silva and Kroger, Pedro},\n    year         = {2009},\n    title        = {Goiaba: a software to process musical contours},\n    address      = {Recife},\n    booktitle    = {Proceedings of the 12th {Brazilian} {Symposium} on\n                   {Computer} {Music}},\n    pages        = {207--210}\n}\n\n
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\n \n\n \n \n \n \n \n A diachronic-transformational theory of musical contour relations.\n \n \n \n\n\n \n Schultz, R. D.\n\n\n \n\n\n\n Ph.D. Thesis, University of Washington, 2009.\n \n\n\n\n
\n\n\n\n \n\n \n\n \n link\n  \n \n\n bibtex\n \n\n \n\n \n\n \n \n \n \n \n \n \n\n  \n \n \n\n\n\n
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@PhDThesis{        schultz2009-diachronic-transformational,\n    author       = {Schultz, Rob D.},\n    year         = {2009},\n    title        = {A diachronic-transformational theory of musical contour\n                   relations},\n    school       = {University of Washington}\n}\n\n
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\n  \n 2008\n \n \n (3)\n \n \n
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\n \n\n \n \n \n \n \n Oliver Messiaen Inter-Relação Entre Conjuntos, Textura, Rítmica e Movimento Em Peças Para Piano.\n \n \n \n\n\n \n Moreira, A. L. d. C.\n\n\n \n\n\n\n Ph.D. Thesis, Universidade Estadual de Campinas, 2008.\n \n\n\n\n
\n\n\n\n \n\n \n\n \n link\n  \n \n\n bibtex\n \n\n \n\n \n\n \n \n \n \n \n \n \n\n  \n \n \n\n\n\n
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@PhDThesis{        moreira2008-oliver,\n    author       = {Moreira, Adriana Lopes da Cunha},\n    year         = {2008},\n    title        = {Oliver {Messiaen} {Inter}-{Rela\\c{c}\\~{a}o} {Entre}\n                   {Conjuntos}, {Textura}, {R\\'{i}tmica} e {Movimento} {Em}\n                   {Pe\\c{c}as} {Para} {Piano}},\n    school       = {Universidade Estadual de Campinas}\n}\n\n
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\n \n\n \n \n \n \n \n Em torno da romã: aplicações de operações com contornos na composição.\n \n \n \n\n\n \n Sampaio, M. d. S.\n\n\n \n\n\n\n Master's thesis, Universidade Federal da Bahia, 2008.\n \n\n\n\n
\n\n\n\n \n\n \n\n \n link\n  \n \n\n bibtex\n \n\n \n\n \n\n \n \n \n \n \n \n \n\n  \n \n \n\n\n\n
\n
@MastersThesis{    sampaio2008-torno,\n    author       = {Sampaio, Marcos da Silva},\n    year         = {2008},\n    title        = {Em torno da rom\\~{a}: aplica\\c{c}\\~{o}es de\n                   opera\\c{c}\\~{o}es com contornos na composi\\c{c}\\~{a}o},\n    school       = {Universidade Federal da Bahia}\n}\n\n
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\n \n\n \n \n \n \n \n Melodic Contour and Nonretrogradable Structure in the Birdsong of Olivier Messiaen.\n \n \n \n\n\n \n Schultz, R. D.\n\n\n \n\n\n\n Music Theory Spectrum, 30(1): 89–137. April 2008.\n \n\n\n\n
\n\n\n\n \n\n \n\n \n link\n  \n \n\n bibtex\n \n\n \n\n \n\n \n \n \n \n \n \n \n\n  \n \n \n\n\n\n
\n
@Article{          schultz2008-melodic,\n    author       = {Schultz, Rob D.},\n    year         = {2008},\n    title        = {Melodic {Contour} and {Nonretrogradable} {Structure} in\n                   the {Birdsong} of {Olivier} {Messiaen}},\n    volume       = {30},\n    number       = {1},\n    journal      = {Music Theory Spectrum},\n    month        = apr,\n    pages        = {89--137}\n}\n\n
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\n  \n 2007\n \n \n (1)\n \n \n
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\n \n\n \n \n \n \n \n Pitch contour, text setting in Anton Webern's song `Die Geheimnisvolle Flöete' op. 12 no. 2.\n \n \n \n\n\n \n Wu, Y. D.\n\n\n \n\n\n\n Master's thesis, State Univesity of New York at Buffalo, 2007.\n \n\n\n\n
\n\n\n\n \n\n \n\n \n link\n  \n \n\n bibtex\n \n\n \n\n \n\n \n \n \n \n \n \n \n\n  \n \n \n\n\n\n
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@MastersThesis{    wu2007-pitch,\n    author       = {Wu, Yi-Cheng Daniel},\n    year         = {2007},\n    title        = {Pitch contour, text setting in {Anton} {Webern}'s song\n                   `{Die} {Geheimnisvolle} {Fl\\"{o}ete}' op. 12 no. 2},\n    school       = {State Univesity of New York at Buffalo}\n}\n\n
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\n  \n 2006\n \n \n (1)\n \n \n
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\n \n\n \n \n \n \n \n Contour and Melodic Structure in Two Homophonic Instrumental Works by Anton Webern.\n \n \n \n\n\n \n Harper, S. A.\n\n\n \n\n\n\n College Music Symposium, 46: 105–122. 2006.\n \n\n\n\n
\n\n\n\n \n\n \n\n \n link\n  \n \n\n bibtex\n \n\n \n\n \n\n \n \n \n \n \n \n \n\n  \n \n \n\n\n\n
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@Article{          harper2006-contour,\n    author       = {Harper, Steven A.},\n    year         = {2006},\n    title        = {Contour and {Melodic} {Structure} in {Two} {Homophonic}\n                   {Instrumental} {Works} by {Anton} {Webern}},\n    volume       = {46},\n    journal      = {College Music Symposium},\n    pages        = {105--122}\n}\n\n
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\n  \n 2005\n \n \n (1)\n \n \n
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\n \n\n \n \n \n \n \n Navengando em Suave Mari Magno, Op . 97 de Ernst Widmer: uma aplicação da teoria dos conjuntos e da an'alise de contornos.\n \n \n \n\n\n \n Thiesen, R.\n\n\n \n\n\n\n Ictus-Periódico do PPGMUS/UFBA, 6. 2005.\n \n\n\n\n
\n\n\n\n \n\n \n\n \n link\n  \n \n\n bibtex\n \n\n \n\n \n\n \n \n \n \n \n \n \n\n  \n \n \n\n\n\n
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@Article{          thiesen2005-navengando,\n    author       = {Thiesen, Roberto},\n    year         = {2005},\n    title        = {Navengando em {Suave} {Mari} {Magno}, {Op} . 97 de\n                   {Ernst} {Widmer}: uma aplica\\c{c}\\~{a}o da teoria dos\n                   conjuntos e da an'{a}lise de contornos},\n    volume       = {6},\n    journal      = {Ictus-Peri\\'{o}dico do PPGMUS/UFBA}\n}\n\n
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\n  \n 2004\n \n \n (2)\n \n \n
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\n \n\n \n \n \n \n \n The Trace, Its Relation to Contour Theory, and an Application to Carter's String Quartet No. 2.\n \n \n \n\n\n \n Carson, S. H.\n\n\n \n\n\n\n Intégral, 18(2): 113–149. 2004.\n \n\n\n\n
\n\n\n\n \n\n \n\n \n link\n  \n \n\n bibtex\n \n\n \n\n \n\n \n \n \n \n \n \n \n\n  \n \n \n\n\n\n
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@Article{          carson2004-trace,\n    author       = {Carson, Sean H.},\n    year         = {2004},\n    title        = {The {Trace}, {Its} {Relation} to {Contour} {Theory}, and\n                   an {Application} to {Carter}'s {String} {Quartet} {No}.\n                   2},\n    volume       = {18},\n    number       = {2},\n    journal      = {Int\\'{e}gral},\n    pages        = {113--149}\n}\n\n
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\n \n\n \n \n \n \n \n A Note on the Pitch Contour Similarity Index.\n \n \n \n\n\n \n Shmulevich, I.\n\n\n \n\n\n\n Journal of New Music Research, 33(1): 17–18. March 2004.\n \n\n\n\n
\n\n\n\n \n\n \n\n \n link\n  \n \n\n bibtex\n \n\n \n\n \n\n \n \n \n \n \n \n \n\n  \n \n \n\n\n\n
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@Article{          shmulevich2004-note,\n    author       = {Shmulevich, Ilya},\n    year         = {2004},\n    title        = {A {Note} on the {Pitch} {Contour} {Similarity} {Index}},\n    volume       = {33},\n    number       = {1},\n    journal      = {Journal of New Music Research},\n    month        = mar,\n    pages        = {17--18}\n}\n\n
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\n  \n 2003\n \n \n (2)\n \n \n
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\n \n\n \n \n \n \n \n Contour modeling by multiple linear regression of the nineteen piano sonatas by Mozart.\n \n \n \n\n\n \n Beard, R. D.\n\n\n \n\n\n\n Ph.D. Thesis, Florida State University, 2003.\n \n\n\n\n
\n\n\n\n \n\n \n\n \n link\n  \n \n\n bibtex\n \n\n \n\n \n\n \n \n \n \n \n \n \n\n  \n \n \n\n\n\n
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@PhDThesis{        beard2003-contour,\n    author       = {Beard, R. Daniel},\n    year         = {2003},\n    title        = {Contour modeling by multiple linear regression of the\n                   nineteen piano sonatas by {Mozart}},\n    school       = {Florida State University}\n}\n\n
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\n \n\n \n \n \n \n \n Trace analysis : some applications for musical contour and voice leading.\n \n \n \n\n\n \n Carson, S. H.\n\n\n \n\n\n\n Ph.D. Thesis, University of New York, 2003.\n \n\n\n\n
\n\n\n\n \n\n \n\n \n link\n  \n \n\n bibtex\n \n\n \n\n \n\n \n \n \n \n \n \n \n\n  \n \n \n\n\n\n
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@PhDThesis{        carson2003-trace,\n    author       = {Carson, Sean H.},\n    year         = {2003},\n    title        = {Trace analysis : some applications for musical contour\n                   and voice leading},\n    school       = {University of New York}\n}\n\n
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\n \n\n \n \n \n \n \n .\n \n \n \n\n\n \n Hisama, E. M.\n\n\n \n\n\n\n The politics of contour in Crawford's \"Chinaman, Laundryman\". Cambridge University Press, 2002.\n \n\n\n\n
\n\n\n\n \n\n \n\n \n link\n  \n \n\n bibtex\n \n\n \n\n \n\n \n \n \n \n \n \n \n\n  \n \n \n\n\n\n
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@InBook{           hisama2002-politics,\n    author       = {Hisama, Ellie M.},\n    year         = {2002},\n    title        = {The politics of contour in {Crawford}'s "{Chinaman},\n                   {Laundryman}"},\n    booktitle    = {Gendering {Musical} {Modernism}: {The} {Music} of {Ruth}\n                   {Crawford}, {Marion} {Bauer}, and {Miriam} {Gideon}},\n    publisher    = {Cambridge University Press}\n}\n\n
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\n \n\n \n \n \n \n \n As Sonatas e Sonatinas para violino e piano de Ernst Mahle: uma abordagem dos aspectos estil'isticos.\n \n \n \n\n\n \n Tokeshi, E.\n\n\n \n\n\n\n Per Musi, 3: 43–56. 2002.\n \n\n\n\n
\n\n\n\n \n\n \n\n \n link\n  \n \n\n bibtex\n \n\n \n\n \n\n \n \n \n \n \n \n \n\n  \n \n \n\n\n\n
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@Article{          tokeshi2002-as,\n    author       = {Tokeshi, Eliane},\n    year         = {2002},\n    title        = {As Sonatas e {Sonatinas} para violino e piano de {Ernst}\n                   {Mahle}: uma abordagem dos aspectos estil'{i}sticos},\n    volume       = {3},\n    journal      = {Per Musi},\n    pages        = {43--56}\n}\n\n
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\n \n\n \n \n \n \n \n Terra Selvagem, Lamentos da Terra e Alternâncias: o componente octatônico nas últimas três peças para piano de Bruno Kiefer.\n \n \n \n\n\n \n Gerling, C. C.\n\n\n \n\n\n\n Per Musi, (4): 52–71. 2001.\n \n\n\n\n
\n\n\n\n \n\n \n\n \n link\n  \n \n\n bibtex\n \n\n \n\n \n\n \n \n \n \n \n \n \n\n  \n \n \n\n\n\n
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@Article{          gerling2001-terra,\n    author       = {Gerling, Cristina Capparelli},\n    year         = {2001},\n    title        = {Terra {Selvagem}, {Lamentos} da {Terra} e\n                   {Altern\\^{a}ncias}: o componente octat\\^{o}nico nas\n                   \\'{u}ltimas tr\\^{e}s pe\\c{c}as para piano de {Bruno} {Kiefer}},\n    number       = {4},\n    journal      = {Per Musi},\n    pages        = {52--71}\n}\n\n
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\n  \n 1999\n \n \n (2)\n \n \n
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\n \n\n \n \n \n \n \n The combinatorial model of pitch contour.\n \n \n \n\n\n \n Quinn, I.\n\n\n \n\n\n\n Music Perception, 16(4): 439–456. 1999.\n \n\n\n\n
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@Article{          quinn1999-combinatorial,\n    author       = {Quinn, Ian},\n    year         = {1999},\n    title        = {The combinatorial model of pitch contour},\n    volume       = {16},\n    number       = {4},\n    journal      = {Music Perception},\n    pages        = {439--456}\n}\n\n
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\n \n\n \n \n \n \n \n Testing Models of Melodic Contour Similarity.\n \n \n \n\n\n \n Schmuckler, M. A.\n\n\n \n\n\n\n Music Perception, 16(3): 295–326. 1999.\n \n\n\n\n
\n\n\n\n \n\n \n\n \n link\n  \n \n\n bibtex\n \n\n \n\n \n\n \n \n \n \n \n \n \n\n  \n \n \n\n\n\n
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@Article{          schmuckler1999-testing,\n    author       = {Schmuckler, Mark A.},\n    year         = {1999},\n    title        = {Testing {Models} of {Melodic} {Contour} {Similarity}},\n    volume       = {16},\n    number       = {3},\n    journal      = {Music Perception},\n    pages        = {295--326}\n}\n\n
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\n  \n 1997\n \n \n (1)\n \n \n
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\n \n\n \n \n \n \n \n Fuzzy extensions to the theory of contour.\n \n \n \n\n\n \n Quinn, I.\n\n\n \n\n\n\n Music Theory Spectrum, 19(2): 232–263. 1997.\n \n\n\n\n
\n\n\n\n \n\n \n\n \n link\n  \n \n\n bibtex\n \n\n \n\n \n\n \n \n \n \n \n \n \n\n  \n \n \n\n\n\n
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@Article{          quinn1997-fuzzy,\n    author       = {Quinn, Ian},\n    year         = {1997},\n    title        = {Fuzzy extensions to the theory of contour},\n    volume       = {19},\n    number       = {2},\n    journal      = {Music Theory Spectrum},\n    pages        = {232--263}\n}\n\n
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\n\n
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\n  \n 1996\n \n \n (1)\n \n \n
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\n \n\n \n \n \n \n \n A synthesis of recent theories of tonal melody, contour, and the diatonic scale: Implications for aural perception and cognition.\n \n \n \n\n\n \n Foulkes-Levy, L.\n\n\n \n\n\n\n Ph.D. Thesis, University of New York at Buffalo, 1996.\n \n\n\n\n
\n\n\n\n \n\n \n\n \n link\n  \n \n\n bibtex\n \n\n \n\n \n\n \n \n \n \n \n \n \n\n  \n \n \n\n\n\n
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@PhDThesis{        foulkes-levy1996-synthesis,\n    author       = {Foulkes-Levy, Laudella},\n    year         = {1996},\n    title        = {A synthesis of recent theories of tonal melody, contour,\n                   and the diatonic scale: {Implications} for aural\n                   perception and cognition},\n    school       = {University of New York at Buffalo}\n}\n\n
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\n  \n 1995\n \n \n (1)\n \n \n
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\n \n\n \n \n \n \n \n Contour as a structural element in selected pre-serial works by Anton Webern.\n \n \n \n\n\n \n Clifford, R. J.\n\n\n \n\n\n\n Ph.D. Thesis, University of Wisconsin-Madison, 1995.\n \n\n\n\n
\n\n\n\n \n\n \n\n \n link\n  \n \n\n bibtex\n \n\n \n\n \n\n \n \n \n \n \n \n \n\n  \n \n \n\n\n\n
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@PhDThesis{        clifford1995-contour,\n    author       = {Clifford, Robert John},\n    year         = {1995},\n    title        = {Contour as a structural element in selected pre-serial\n                   works by {Anton} {Webern}},\n    school       = {University of Wisconsin-Madison}\n}\n\n
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\n\n
\n
\n  \n 1994\n \n \n (1)\n \n \n
\n
\n \n \n
\n \n\n \n \n \n \n \n Melodic contour in hearing and remembering melodies.\n \n \n \n\n\n \n Dowling, W. J.\n\n\n \n\n\n\n Musical Perceptions,173–190. 1994.\n \n\n\n\n
\n\n\n\n \n\n \n\n \n link\n  \n \n\n bibtex\n \n\n \n\n \n\n \n \n \n \n \n \n \n\n  \n \n \n\n\n\n
\n
@Article{          dowling1994-melodic,\n    author       = {W. Jay Dowling},\n    year         = 1994,\n    title        = {Melodic contour in hearing and remembering melodies},\n    journal      = {Musical Perceptions},\n    pages        = {173--190}\n}\n\n
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\n  \n 1993\n \n \n (2)\n \n \n
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\n \n\n \n \n \n \n \n Melodic Contour and Musical Style: A Quantitative Study.\n \n \n \n\n\n \n Eitan, Z.\n\n\n \n\n\n\n Musikometrika, 5: 1–68. 1993.\n \n\n\n\n
\n\n\n\n \n\n \n\n \n link\n  \n \n\n bibtex\n \n\n \n\n \n\n \n \n \n \n \n \n \n\n  \n \n \n\n\n\n
\n
@Article{          eitan1993-melodic,\n    author       = {Eitan, Zohar},\n    year         = {1993},\n    title        = {Melodic {Contour} and {Musical} {Style}: {A}\n                   {Quantitative} {Study}},\n    volume       = {5},\n    journal      = {Musikometrika},\n    pages        = {1--68}\n}\n\n
\n
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\n\n\n
\n \n\n \n \n \n \n \n New Directions in the Theory and Analysis of Musical Contour.\n \n \n \n\n\n \n Morris, R. D.\n\n\n \n\n\n\n Music Theory Spectrum, 15(2): 205–228. October 1993.\n \n\n\n\n
\n\n\n\n \n\n \n\n \n link\n  \n \n\n bibtex\n \n\n \n\n \n\n \n \n \n \n \n \n \n\n  \n \n \n\n\n\n
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@Article{          morris1993-new,\n    author       = {Morris, Robert Daniel},\n    year         = {1993},\n    title        = {New {Directions} in the {Theory} and {Analysis} of\n                   {Musical} {Contour}},\n    volume       = {15},\n    number       = {2},\n    journal      = {Music Theory Spectrum},\n    month        = oct,\n    pages        = {205--228}\n}\n\n
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\n  \n 1992\n \n \n (1)\n \n \n
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\n \n\n \n \n \n \n \n Possible and Impossible Melody: Some Formal Aspects of Contour.\n \n \n \n\n\n \n Polansky, L.; and Bassein, R.\n\n\n \n\n\n\n Journal of Music Theory, 36(2): 259. 1992.\n \n\n\n\n
\n\n\n\n \n\n \n\n \n link\n  \n \n\n bibtex\n \n\n \n\n \n\n \n \n \n \n \n \n \n\n  \n \n \n\n\n\n
\n
@Article{          polansky.ea1992-possible,\n    author       = {Polansky, Larry and Bassein, Richard},\n    year         = {1992},\n    title        = {Possible and {Impossible} {Melody}: {Some} {Formal}\n                   {Aspects} of {Contour}},\n    volume       = {36},\n    number       = {2},\n    journal      = {Journal of Music Theory},\n    pages        = {259}\n}\n\n
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\n  \n 1991\n \n \n (1)\n \n \n
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\n \n\n \n \n \n \n \n The perception of rhythm in non-tonal music: Rhythmic contours in the music of Edgard Varèse.\n \n \n \n\n\n \n Marvin, E. W.\n\n\n \n\n\n\n Music Theory Spectrum, 13(1): 61–78. 1991.\n \n\n\n\n
\n\n\n\n \n\n \n\n \n link\n  \n \n\n bibtex\n \n\n \n\n \n\n \n \n \n \n \n \n \n\n  \n \n \n\n\n\n
\n
@Article{          marvin1991-perception,\n    author       = {Marvin, Elizabeth West},\n    year         = {1991},\n    title        = {The perception of rhythm in non-tonal music: {Rhythmic}\n                   contours in the music of {Edgard} {Var\\`{e}se}},\n    volume       = {13},\n    number       = {1},\n    journal      = {Music Theory Spectrum},\n    pages        = {61--78}\n}\n\n
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\n
\n  \n 1990\n \n \n (2)\n \n \n
\n
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\n \n\n \n \n \n \n \n Ear Training for Twentieth-Century Music.\n \n \n \n\n\n \n Friedmann, M. L.\n\n\n \n\n\n\n Yale University Press, New Haven, 1990.\n \n\n\n\n
\n\n\n\n \n\n \n\n \n link\n  \n \n\n bibtex\n \n\n \n\n \n\n \n \n \n \n \n \n \n\n  \n \n \n\n\n\n
\n
@Book{             friedmann1990-ear,\n    author       = {Michael L. Friedmann},\n    year         = 1990,\n    title        = {Ear Training for Twentieth-Century Music},\n    publisher    = {Yale University Press},\n    address      = {New Haven}\n}\n\n
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\n \n\n \n \n \n \n \n Row Derivation and Contour Association in Berg's Der Wein.\n \n \n \n\n\n \n Headlam, D.\n\n\n \n\n\n\n Perspectives of New Music, 28(1): 256–292. 1990.\n \n\n\n\n
\n\n\n\n \n\n \n\n \n link\n  \n \n\n bibtex\n \n\n \n\n \n\n \n \n \n \n \n \n \n\n  \n \n \n\n\n\n
\n
@Article{          headlam1990-row,\n    author       = {Headlam, Dave},\n    year         = {1990},\n    title        = {Row {Derivation} and {Contour} {Association} in {Berg}'s\n                   {Der} {Wein}},\n    volume       = {28},\n    number       = {1},\n    journal      = {Perspectives of New Music},\n    pages        = {256--292}\n}\n\n
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\n\n
\n
\n  \n 1988\n \n \n (1)\n \n \n
\n
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\n \n\n \n \n \n \n \n A generalized theory of musical contour: its application to melodic and rhythmic analysis of non-tonal music and its perceptual and pedagogical implications.\n \n \n \n\n\n \n Marvin, E. W.\n\n\n \n\n\n\n Ph.D. Thesis, University of Rochester, 1988.\n \n\n\n\n
\n\n\n\n \n\n \n\n \n link\n  \n \n\n bibtex\n \n\n \n\n \n\n \n \n \n \n \n \n \n\n  \n \n \n\n\n\n
\n
@PhDThesis{        marvin1988-generalized,\n    author       = {Marvin, Elizabeth West},\n    year         = {1988},\n    title        = {A generalized theory of musical contour: its application\n                   to melodic and rhythmic analysis of non-tonal music and\n                   its perceptual and pedagogical implications},\n    school       = {University of Rochester}\n}\n\n
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\n
\n  \n 1987\n \n \n (3)\n \n \n
\n
\n \n \n
\n \n\n \n \n \n \n \n My contour, their contour.\n \n \n \n\n\n \n Friedmann, M. L.\n\n\n \n\n\n\n Journal of Music Theory, 31(2): 268–274. 1987.\n \n\n\n\n
\n\n\n\n \n\n \n\n \n link\n  \n \n\n bibtex\n \n\n \n\n \n\n \n \n \n \n \n \n \n\n  \n \n \n\n\n\n
\n
@Article{          friedmann1987-my,\n    author       = {Friedmann, Michael L.},\n    year         = {1987},\n    title        = {My contour, their contour},\n    volume       = {31},\n    number       = {2},\n    journal      = {Journal of Music Theory},\n    pages        = {268--274}\n}\n\n
\n
\n\n\n\n
\n\n\n
\n \n\n \n \n \n \n \n Relating musical contours: Extensions of a Theory for Contour.\n \n \n \n\n\n \n Marvin, E. W.; and Laprade, P. A.\n\n\n \n\n\n\n Journal of Music Theory, 31(2): 225–267. 1987.\n \n\n\n\n
\n\n\n\n \n\n \n\n \n link\n  \n \n\n bibtex\n \n\n \n\n \n\n \n \n \n \n \n \n \n\n  \n \n \n\n\n\n
\n
@Article{          marvin.ea1987-relating,\n    author       = {Marvin, Elizabeth West and Laprade, Paul A.},\n    year         = {1987},\n    title        = {Relating musical contours: {Extensions} of a {Theory} for\n                   {Contour}},\n    volume       = {31},\n    number       = {2},\n    journal      = {Journal of Music Theory},\n    pages        = {225--267}\n}\n\n
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\n\n\n
\n \n\n \n \n \n \n \n Composition with pitch-classes: A theory of compositional design.\n \n \n \n\n\n \n Morris, R. D.\n\n\n \n\n\n\n Yale University Press, New Haven, 1987.\n \n\n\n\n
\n\n\n\n \n\n \n\n \n link\n  \n \n\n bibtex\n \n\n \n\n \n\n \n \n \n \n \n \n \n\n  \n \n \n\n\n\n
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@Book{             morris1987-composition,\n    author       = {Morris, Robert Daniel},\n    year         = {1987},\n    title        = {Composition with pitch-classes: {A} theory of\n                   compositional design},\n    publisher    = {Yale University Press},\n    address      = {New Haven}\n}\n\n
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\n  \n 1986\n \n \n (1)\n \n \n
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\n \n\n \n \n \n \n \n Music Cognition.\n \n \n \n\n\n \n Dowling, W. J.; and Harwood, D. L.\n\n\n \n\n\n\n Academic Press, 1986.\n \n\n\n\n
\n\n\n\n \n\n \n\n \n link\n  \n \n\n bibtex\n \n\n \n\n \n\n \n \n \n \n \n \n \n\n  \n \n \n\n\n\n
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@Book{             dowling.ea1986-music,\n    author       = {W. Jay Dowling and Dane L. Harwood},\n    year         = 1986,\n    title        = {Music Cognition},\n    publisher    = {Academic Press}\n}\n\n
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\n  \n 1985\n \n \n (1)\n \n \n
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\n \n\n \n \n \n \n \n A Methodology for the Discussion of Contour: Its Application to Schoenberg's Music.\n \n \n \n\n\n \n Friedmann, M. L.\n\n\n \n\n\n\n Journal of Music Theory, 29(2): 223–248. 1985.\n \n\n\n\n
\n\n\n\n \n\n \n\n \n link\n  \n \n\n bibtex\n \n\n \n\n \n\n \n \n \n \n \n \n \n\n  \n \n \n\n\n\n
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@Article{          friedmann1985-methodology,\n    author       = {Friedmann, Michael L.},\n    year         = {1985},\n    title        = {A {Methodology} for the {Discussion} of {Contour}: {Its}\n                   {Application} to {Schoenberg}'s {Music}},\n    volume       = {29},\n    number       = {2},\n    journal      = {Journal of Music Theory},\n    pages        = {223--248}\n}\n\n
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\n  \n 1984\n \n \n (1)\n \n \n
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\n \n\n \n \n \n \n \n Infants' perception of melodies: the role of melodic contour.\n \n \n \n\n\n \n Trehub, S. E; Bull, D; and Thorpe, L a\n\n\n \n\n\n\n Child development, 55(3): 821–30. June 1984.\n \n\n\n\n
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@Article{          trehub.ea1984-infants,\n    author       = {Trehub, Sandra E and Bull, D and Thorpe, L a},\n    year         = {1984},\n    title        = {Infants' perception of melodies: the role of melodic\n                   contour.},\n    volume       = {55},\n    number       = {3},\n    journal      = {Child development},\n    month        = jun,\n    pmid         = {6734320},\n    pages        = {821--30}\n}\n\n
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\n  \n 1978\n \n \n (1)\n \n \n
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\n \n\n \n \n \n \n \n Scale and contour: Two components of a theory of memory for melodies.\n \n \n \n\n\n \n Dowling, W. J.\n\n\n \n\n\n\n Psychological Review, 85(4): 341–354. 1978.\n \n\n\n\n
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@Article{          dowling1978-scale,\n    author       = {Dowling, W. Jay},\n    year         = {1978},\n    title        = {Scale and contour: {Two} components of a theory of memory\n                   for melodies.},\n    volume       = {85},\n    number       = {4},\n    journal      = {Psychological Review},\n    pages        = {341--354}\n}\n\n
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\n  \n 1976\n \n \n (1)\n \n \n
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\n \n\n \n \n \n \n \n Melodic contour typology.\n \n \n \n\n\n \n Adams, C. R.\n\n\n \n\n\n\n Ethnomusicology, 20(2): 179–215. 1976.\n \n\n\n\n
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@Article{          adams1976-melodic,\n    author       = {Adams, Charles R.},\n    year         = {1976},\n    title        = {Melodic contour typology},\n    volume       = {20},\n    number       = {2},\n    journal      = {Ethnomusicology},\n    pages        = {179--215}\n}\n\n
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\n  \n 1971\n \n \n (2)\n \n \n
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\n \n\n \n \n \n \n \n Contour, interval and pitch recognition in memory for melodies.\n \n \n \n\n\n \n Dowling, W. J.; and Fujitani, D. S.\n\n\n \n\n\n\n Journal of Acoustic Society of America, 49: 524–531. 1971.\n \n\n\n\n
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@Article{          dowling.ea1971-contour,\n    author       = {W. Jay Dowling and Diane S. Fujitani},\n    year         = 1971,\n    title        = {Contour, interval and pitch recognition in memory for\n                   melodies},\n    journal      = {Journal of Acoustic Society of America},\n    volume       = 49,\n    pages        = {524--531}\n}\n\n
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\n \n\n \n \n \n \n \n Recognition of inversions of melodies and melodic contours.\n \n \n \n\n\n \n Dowling, W. J.\n\n\n \n\n\n\n Perception & Psychophysics, 9(3): 348–349. 1971.\n \n\n\n\n
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@Article{          dowling1971-recognition,\n    author       = {W. Jay Dowling},\n    year         = 1971,\n    title        = {Recognition of inversions of melodies and melodic\n                   contours},\n    journal      = {Perception \\& Psychophysics},\n    volume       = 9,\n    pages        = {348--349},\n    number       = 3\n}\n\n
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\n  \n 1965\n \n \n (1)\n \n \n
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\n \n\n \n \n \n \n \n The General Direction of Melodic Movement.\n \n \n \n\n\n \n Kolinski, M.\n\n\n \n\n\n\n Ethnomusicology, 9(3). 1965.\n \n\n\n\n
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@Article{          kolinski1965-general,\n    author       = {Mieczyslaw Kolinski},\n    year         = {1965},\n    title        = {The General Direction of Melodic Movement},\n    journal      = {Ethnomusicology},\n    number       = {3},\n    volume       = {9}\n}\n\n
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