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It is difficult to predict the sound radiation from large factory roofs. The existing infinite panel theories of sound insulation are not sufficient when the sound radiates at grazing angles. It has been shown that the reason for the collapse of the theory is the well known result for the radiation efficiency. This research will present a simple analytic strip theory, which agrees reasonably well with numerical calculations for a rectangular panel. Simple analytic strip theory has lead to the conclusion that it is mainly the length of the panel in the direction of radiation, rather than its width that is important in determining its radiation efficiency. The findings of the current research also indicated that apart from the effect due to coincidence, a panel was non-directional compared to an opening.

The thesis aims at developing conceptual and methodological tools in order to adapt sound in a “designerly” way within the discipline textile design. Occupational groups working with sound are to a large extent problem driven. This implies knowledge regarding sound and sound design mostly focuses on defensive strategies, not creative possibilities. The ambition with this research project is to make suggestions how textile designers can work practically with textile sound design, in a more nuanced way. /br As a starting point the thesis describes commonly used methods and processes used in the design process within an industrial context, followed by a more thorough analyze of the textile design process. These studies constitute a foundation to make it possible to see in what way these methods and processes will be affected when sound is added as new design tool./br By studies of two sound design models, the first attempts to develop a vocabulary concerning how to describe sound affecting qualities or sound expression of a textile are presented. Research focusing on language issues, especially on the development of conceptual tools done at the research institute Cresson, provides descriptive concepts, “sound effects”, embracing the interaction between human and his sound environment. These concepts are followed by a model of how to describe a “sound object” in “itself” (not in relation to anything else), developed by Pierre Schaeffer./br The theoretical models have been applied on the outcome of an phenomenological study named Describe. A number of design examples are finally presented as methodological examples of different ways to work with textiles and sound./br Keywords: sound, design, textile design, sound effect, sound object. / Thesis to be defended in public at 24 May 2011 at 13.00, at the Gallary floor 2, The Swedish School of Textiles, Bryggaregatan 17, Borås, for the degree of Philosophy.

“How to engineer a mood - A study of sound in audiovisual contexts” is a study on the perception of sound in audiovisual contexts, i.e. sound and the image combined. There seems to be a consensus among researchers in the field on the fact that music influences the interpretation on film. However, there does not seem to be a specific consensus in regards to other sounds than music, such as the human voice or sound effects. Guided by a set of theories, an audiovisual text will be analyzed, in part through results of a quasi-experimental pilot survey and partly by the author herself. This paper would like to contribute in making the relationship of different sounds in conjunction with the image become slightly clearer. The outcome will help to show how a mood can be created with sounds. Although there is a limited number of theoretical models that have been developed in this field of research, the theories that are introduced will hopefully help to create a better understanding of sound in audiovisual texts.  Finally the theories and results will come together in this thesis; this will lead to an analysis and produce ideas for further research on how sound in audiovisual contexts influence our emotions. As mentioned before there has not been much research in this field, hopefully this thesis will be able to provide some clues and could serve as a first step for further research to find more definite answers on how emotions work in a audiovisual context. However, many questions will remain unanswered, and further research is needed to answer them.

"Ears Taut to Hear" investigates the sustained engagement between American literature and sound reproduction technologies during the twentieth century. Through an analysis of texts by Gertrude Stein, John Dos Passos, Alan Lomax, Sidney Bechet, Langston Hughes, Amiri Baraka, Jack Kerouac, William S. Burroughs, and August Wilson, I explore how literature across a number of genres and modes extended formal techniques in response to the advent of the phonograph, tape, and LPs. I contend that the development of sound recording technology not only shaped many of the formal innovations that we now associate with modernism, but that it compelled writers to theorize sound. For instance, Gertrude Stein's broken-record repetitions in "Melanctha" (1909) illustrate new ways of thinking about listening and repetition in the era of the "talking machine," while Langston Hughes' "LP Book," Ask Your Mama: 12 Moods for Jazz (1961), conceptualizes the relationship between stereo recording and the spatial dimensions of sound. Tracing the shifting role of sound over the century, each chapter features a pairing of literary texts alongside key historical events in the development of sound technology and the recording industry, including the invention of the phonograph (Stein and DosPassos), ethnographic uses of recording (Lomax and Bechet), subversive uses of the tape-recorder (Kerouac and Burroughs), and the advent of long-play albums and stereo (Hughes and Baraka). The final chapter reflects upon August Wilson's Ma Rainey's Black Bottom and encapsulates the ongoing tension between live and recorded performance. Ultimately, I contend that while literary innovations were shaped by phonographic technologies, texts also played a key role in tutoring the ear to listen amidst a modern multimedia environment.

Research regarding liveness and embodiment in electronic music has tended to explore the relationship of bodies and instruments, audience perception, interfaces, and shifting definitions, less theoretical and empirical study has considered network situations, perhaps given their relative cultural novelty. Network music has seen many advances since the time of the Telharmonium, including the invention of the personal computer and the widespread proliferation of internet connectivity. These advances have fostered a unique approach to live electronic music that facilitates collaboration in a field where solo performance is perhaps more common. This thesis explores the design of network music interfaces, and how those interfaces mediate collaborations. Three new network music system interfaces, each using different a different paradigm for interface design are presented in this study. One an instrument for creating modular feedback lattices. Another is a three dimensional virtual pattern sequencer. And the last is a web based collaborative live coding language. Accompanying each system is an evaluation using quantitative and qualitative analysis to frame these instruments in a larger context regarding network music. The results highlight important themes concerning the design of networked interfaces, and the attitudes of musicians regarding networked collaborations.

Thesis (M.A.) - Carleton University, 2006. / Includes bibliographical references (p. 192-204). Also available in electronic format on the Internet.

Thesis (MMUS)--Stellenbosch University, 2015 / ENGLISH ABSTRACT: This thesis investigates the role and implementation of the checklist in audio production studios. The goal of this study is to limit frequent human error by compiling and testing a checklist to be used in these studios. Procedures and checklists implemented in the life-critical elds of medicine and aviation have been studied and used as a framework, in order to shape this checklist to be relevant to a wide variety of audio production studios. / AFRIKAANSE OPSOMMING: Hierdie tesis ondersoek die rol en toepassings van die kontrolelys in klankateljees. Die doel van hierdie studie is om te ondersoek of die gebruik van kontrolelyste aangewend kan word om menslike foute te beperk, deur middel van die samestelling en toetsing van `n kontrolelys vir gebruik in hierdie ateljees. Werkswyses en kontrolelyste wat tans in die lewenskritiese sektore van lugvaart en die mediese wetenskappe benut word, is bestudeer en as raamwerk benut om te verseker dat hierdie kontrolelys toepaslik sal wees vir `n wye verskeidenheid klankproduksie-ateljees.

This dissertation examines the evolving articulation of sound and image in contemporary culture, with particular reference to film. It argues that sound and image have undergone a historical machined separation, followed by a machined fusion or recombination. The machined fusion of sound and image has enabled the creation of soundful images, which are more than simply the sum of their parts. Through the infusion of sound, images are now routinely reinforced with a performed sense of presence, where they are made to sound more real, more powerful, more authentic. Through association with the image, sounds are reinforced to the extent of becoming ‘realer than real’. By tracing the history of sound and image from their initial machined separation to their subsequent machined fusion, it will be argued that a new relationship has been created that has shaped an influential new mode of communication and perception.

Globally, the ever increasing consumer interest in multichannel audio is a major factor driving the research intent in soundfield reconstruction and compression. The popularity of the well commercialized 5.1 surround sound system and its 6-Channel audio has been strongly supported by the advent of powerful storage medium, DVD, as well as the use of efficient telecommunication techniques. However, this popularity has also revealed potential problems in the development of soundfield systems. Firstly, currently available soundfield systems have rather poor compatibility with irregular speaker arrangements. Secondly, bandwidth requirement is dramatically increased for multichannel audio representation with good temporal and spatial fidelity. This master???s thesis addresses these two major issues in soundfield systems. It introduces a new approach to analyze and sysnthesize soundfield, and compares this approach with currently popular systems. To facilitate this comparison, the behavior of soundfield has been reviewed from both physical and psychoacoustic perspectives, along with an extensive study of past and present soundfield systems and multichannel audio compression algorithms. The 1th order High Spatial Resolution (HSR) soundfield recording and reproduction has been implemented in this project, and subjectively evaluated using a series of MUSHRA tests to finalize the comparison.