Nesta dissertação, buscou-se realizar um estudo histórico e analítico acerca do desenvolvimento da poética e dos processos da música eletroacústica na trilha sonora - principalmente na trilha musical - do cinema de ficção científica norte-americano. A música eletroacústica, a começar por suas primeiras manifestações através dos instrumentos eletrônicos e de técnicas de manipulação de tape magnético, esteve associada, desde o início do cinema sonoro, à ficção científica e ao terror. Na década de 1950, com o início da era de exploração espacial no cinema norte-americano, os sons eletrônicos se associaram ao universo alienígena e às narrativas de futuro. Nos anos seguintes, os gestos e funções indiciais desses primeiros instrumentos foram adaptados aos sintetizadores e às novas gerações de dispositivos eletrônicos. Assim, lentamente se consolidou uma tradição que relacionaria, durante os anos subsequentes, a música eletroacústica às narrativas de suspense, terror e ficção científica. Para entender como se deu a utilização de sons eletrônicos no cinema de ficção científica ao longo do século XX, partimos da exposição de alguns pressupostos metodológicos de análise audiovisual e de música eletroacústica. Estes, por sua vez, serviram como norteadores para as análises realizadas no final da dissertação. Posteriormente, seguimos por dois caminhos: um, cujo objetivo é descrever o desenvolvimento dos processos formadores da poética da música eletroacústica e seu uso no cinema; e outro, onde tentamos delinear o desenvolvimento da trilha sonora de filmes de ficção científica que se apropriaram de elementos advindos da música eletroacústica. No último capítulo, realizamos a análise de quatro filmes de diferentes períodos. Cada filme selecionado pode ser considerado representativo no uso de processos e técnicas da música eletroacústica de sua época; são eles: O planeta proibido (1956), THX 1138 (1971), Tron: uma odisseia eletrônica (1982) e A última profecia (2002). / The electroacoustic music, starting with its first manifestations such as electronic instruments and magnetic tape manipulation techniques, have been associated, since the beginning of movies with sound, to science fiction and horror. In the 50\'s, with the beginning of an era of space exploration in north-american motion pictures, the electroacoustic sounds were definitely associated with the alien\'s universe and futuristic narratives. In the following years, the gestures and functions of those first instruments were adapted to the synthesizers and to the new electronic device generation. Thus, it slowly consolidated a tradition that would relate the electroacoustic music to suspense, horror and science fiction narratives for the subsequent years. In order to understand how the use of electronic sounds in science fiction movie pictures happened during the twentieth century, we will start with the exposure of some methodological assumptions of audio-visual and electroacoustic music analysis. These will, on the other hand, work as guides for the final analysis in the end of this dissertation. Afterwords, we followed through two paths: one of them aimed to describe the developmental processes of electroacoustic music\'s poetic since its origin and its use in the cinema; and for the other path we tried to outline the soundtrack\'s development of science fiction motion pictures that made use of elements coming from electroacoustic music. Each selected movie may be considered representative of its own time in this use of electroacoustic music\'s processes; which are: Forbidden Planet (1956), THX 1138 (1971), Tron (1982) and The Mothman Prophecies (2002).

Voices reveal information about the speaker, such as their age, what they are feeling and how they look. Vocal modulation is sometimes used by role-players, mostly game masters, in a tabletop role-playing context, to portray non-playable characters. This study investigated whether signal processing software could be used to enhance the vocal qualities of the speaker so that they represent different creatures with certain attributes. A listening test was conducted in which 24 participants evaluated different processings for physical attributes related to Dungeons & Dragons depiction of the creatures orc and elf with the purpose of finding design approaches for a vocal modulation software. The results showed that none of the processings were perceived to be very much like the suggested creature, but it was found that some processings were more effective than others to create desirable attributes. It was also shown that the same processings does not work equally well for different voice inputs.

[pt] A pesquisa propõe uma série de métodos e princípios para explorar o som em um processo projetual de design. Questões relativas aos aspectos sonoros parecem ser negligenciadas durante o processo projetual de design. Como poderia um designer, mesmo sem um treinamento formal acerca do som, utilizar o som em seus projetos de uma forma construtiva, intencional e objetiva? Para responder a essa pergunta, investigamos o impacto das mudanças sofridas pelas paisagens sonoras nas últimas décadas, ocasionadas pela industrialização e mecanização da sociedade. O impacto e a percepção dessas sonoridades pelo indivíduo também são discutidos, utilizando-se, para isso, os conhecimentos provenientes da acústica, psico-acústica e os mecanismos atencionais. Mapeamos, também, o estado da arte, evolução e aplicação desses sons em diferentes campos do saber, tais como a interação homem-computador, sonic interaction design, cinema e a musicologia, com a finalidade de obtermos um recorte teórico acerca do som que seja pertinente ao campo do design. Como resultado dessa exploração, propomos um conjunto de princípios norteadores e de métodos exploratórios sonoros para prototipar o som para o design. Por fim, aplicações e desdobramentos futuros em relação ao uso desses princípios e métodos são sugeridos. / [en] This research proposes a number of methods and principles to explore the sound in a design process. Issues related to sound aspects seems to be neglected during the design process. So, how could a designer, even without a formal sound or musical training, use sound in the projects in a constructive, intentional and objective way? In order to answer this question, we investigated the impact of changes in sound landscapes in the last decades, caused by the industrialization and mechanization of society, which made it possible to dissociate the sound from its emitter, allowing the former one to be manipulated, examined and dissected. The impact and perception of sounds by individuals are also discussed. To do so, the knowledge coming from acoustics, psychoacoustics and attentional mechanisms are used. We also mapped the state of the art, evolution and, application of these sounds in different fields of knowledge, such as human-computer interaction, sonic interaction design, cinema, and musicology, with the purpose of obtaining a relevant contribution to the design field. As a result of this exploration, we propose a set of guiding principles and exploratory methods for sounds as audible affordances for design. Finally, future applications and studies in relation to the use of these principles and methods are suggested.

This thesis aims at developing conceptual and methodological tools in order toadapt sound within the textile design area. Occupational groups working with soundare to a large extent problem driven. Accordingly, textile designers working withsound- affecting properties of textiles concentrate on their dampening qualities. Theambition with this research project is to make suggestions how textile designers canwork practically with textile sound design, in a more nuanced way.The overall aim of the thesis is to develop a vocabulary to make textile designersable to express the sound affecting qualities of textiles in a language full of nuances.As a starting-point the thesis briefl y describes commonly used methods andprocesses used to describe the expressiveness of a design, followed by a morethoroughly analyze of the textile design process illustrated by a practical example.These studies constitute a foundation to make it possible to see in what way thesemethods and processes will be affected when sound is added as new design tool.By studies of two sound design models, the fi rst attempts to develop a vocabularyconcerning how to describe sound affecting qualities of a textile are developed.Research focusing on language issues, especially on the development of conceptualtools done at the research institute CRESSON, provides descriptive soundconcepts, “sound effects”, embracing the interaction between human and his soundenvironment. These concepts are followed by a model of how to describe just asound or “sound object” in “itself” (not in relation to anything else), developed byPierre Schaeffer. These theoretical models have been complemented with empiricalstudies in form of a survey, named LISTEN. Interviews were performed from aphenomenological perspective. A number of informants were asked to tell aboutthe sound environment and single sounds occurring at their working places. Theinterviews were interpreted from a phenomenographic perspective. A number ofdesign projects are fi nally presented as practical examples of different ways to workwith textiles and sound.The theoretical models provided by Schaeffer have been used to make the fi rstsystematic attempts to describe sound environments; sounds and textiles soundaffecting properties.Since the model presented by Schaeffer is developed to be used within musicalcomposition the concepts have to be additionally modifi ed to be a useful tool withinthe textile design area. The thesis presents just the fi rst attempts to use this model.The next step to take in the research project is to adjust the theoretical systems ofCRESSON and Schaeffer to suit the special area of textile design. The interactiveideas of a sound-affecting textile will also be a subject of further development.

A presente dissertação propõe uma abordagem da televisão brasileira através de um diálogo com os estudos do som, tendo como objeto a dimensão sonora das telenovelas. O estudo procura mapear as principais transformações ocorridas no aparato técnico sonoro televisivo, bem como a evolução dos processos da produção do som no período de 1950 até o início do século XXI. Posteriormente, visando investigar as funções desempenhadas pelos elementos sonoros - vozes, ruídos e músicas - na construção da narrativa das telenovelas, este trabalho apresenta uma análise da trilha sonora de cinco telenovelas da TV Globo: Pecado Capital (1975), Roque Santeiro (1985), Renascer (1993), Senhora do Destino (2004) e Avenida Brasil (2012). / This essay proposes an approach on Brazilian television through a dialogue with sound studies, having as object the soap operas\' sound aspects. It intends to map the main changes that occurred on television\'s audio technical apparatus, as well as the evolution on the sound production processes from 1950 until the beginning of the twenty first century. Subsequently, this work aims to investigate the functions performed by the sound elements - dialogues, sound effects, music - on the development of soap opera narratives and presents an analysis of the soundtracks of five soap operas produced by TV Globo: Pecado Capital (1975), Roque Santeiro (1985), Renascer (1993), Senhora do Destino (2004) and Avenida Brasil (2012).

Transforming human movement into live sound can be used as a method to enhance motor skill learning via the provision of augmented perceptual feedback. A small but growing number of studies hint at the substantial efficacy of this approach, termed 'movement sonification'. However there has been sparse discussion in Psychology about how movement should be mapped onto sound to best facilitate learning. The current thesis draws on contemporary research conducted in Psychology and theoretical debates in other disciplines more directly concerned with sonic interaction - including Auditory Display and Electronic Music-Making - to propose an embodied account of sonification as feedback. The empirical portion of the thesis both informs and tests some of the assumptions of this approach with the use of a custom bimanual coordination paradigm. Four motor skill learning studies were conducted with the use of optical motion-capture. Findings support the general assumption that effective mappings aid learning by making task-intrinsic perceptual information more readily available and meaningful, and that the relationship between task demands and sonic information structure (or, between action and perception) should be complementary. Both the theoretical and empirical treatments of sonification for skill learning in this thesis suggest the value of an approach which addresses learner experience of sonified interaction while grounding discussion in the links between perception and action.

<p>This dissertation explores creative music, sound design and image production in the context of consumer culture (as defined by how its participants socialize in late-capitalist culture using commodities). Through the stylization of image, music and sound effects, advertisers communicate an abstract concept of a brand, and instantiate the brand through an audience member's heightened experience of the brand via the ad. Facilitated by socialized and mediatized frameworks for brand communications, branding is an embodied practice that relies on the audience member's participation with the brand through her/his real experience with an (audiovisual) advertisement. The effect of making the abstract brand tangible relies on successfully executing advertising objectives to create "impact" through stylized and often hyperreal representations of reality. At the same time, audience members' encounters with ads and branding practices represent bona fide experiences for them within American-capitalist cultural practices, and audience members take part in these practices as part of social participation and general making-sense of their everyday lives.</p><p>In late-capitalist consumer culture, the idea of the "consumer" operates within the liminal space of constructions of hyper-reality and the self. Through advertising, corporate interests mediate how people relate to and through commodities as consumers. Through ads, producers communicate an idea of a brand, that is, the collection and stylistic design of specific visual and sonic symbols, and the associated ideas, values or emotions that project an identity or persona about a company and its products or services. In attempts to increase the efficacy of their ads, ad producers fashion image, music and sound design specifically in ways they believe will generate "impact," that is, a physical, physiological or emotional response to audiovisual stimuli that are infused with symbolic meanings and values. </p><p>In their attempts to create effective ads, ad producers circumscribe identities of people based on demographics, behavior metrics, or a host of other measures intended to define what the industry calls "target audiences." With the belief that target audience members share wants, needs and values, ad producers build constellations of audiovisual signifiers that they believe will resonate with target audience members. These signifiers borrow from cultural narratives and myths to tell stories about brands and products, and communicate how people's lived experiences might be transformed through consumption practices. </p><p>With meticulous formulation of image, music and sound design, ad producers create a "hyperreality," that is exaggerated, heightened or stylized representation of reality. Through these carefully produced audio and visual artifacts, ad producers (re)circulate cultural narratives they believe communicate meaning and ideas of value, and make those abstract beliefs tangible through the audience member's sensorial experiences. With hyperreality grounded in an audience members' body and emotions, ad producers believe they can shape and direct audience members' ideas about their personal identities, and that of others and social groups. Additionally, ad image, music and sound design contribute to the naturalization of the ways people can socialize around branded identities and interconnect through commodities.</p> / Dissertation

To be able to design product sounds that elicit a predetermined expression a study was performed to find how sound properties influence the experience of their expression. Two explorative studies using figurative against abstract visual stimuli were performed to create insight in how people experience sounds and to create a list of usable semantic associations. This list was ordered in 25 expression categories each under one descriptive semantic association. A third study using mind mapping was conducted to examine what sound properties were considered as influences on a few of these categories and to optimize the categorization. The sound properties that were considered as most influential were sharpness and noisiness. The final descriptive semantic associations were placed on a scale with the axes unpleasant-pleasant and calm-active. From these the following were considered to be most usable: activated, angry, boring, calm, chaotic, cheerful, eerie, energetic, pleasant, relaxed, trustworthy and unpleasant. In a fourth study the sounds of six domestic appliances were chosen and adjusted for sharpness, noisiness and their combination. They were evaluated for their valued expression on the 12 semantic associations by 30 participants. The results showed that increased sharpness elicited a more unpleasant and activated expression and decreased sharpness elicited a more pleasant and calm expression. This indicates that a general influence of sound properties can be established to design sounds for expression.

A pesquisa propõe a construção de um possível conceito de trilha sonora no teatro, e a análise das funções dos profissionais responsáveis por ela, bem como das dificuldades encontradas por esses profissionais para a efetiva realização do seu ofício, em particular no que se refere ao seu papel criador e não apenas executor. Através de entrevistas com criadores de trilha sonora teatral que atuam em Porto Alegre, escolhidos por seus trabalhos diferenciados, buscam-se novas abordagens entre o teatro e a música. Ao problematizar a trilha sonora, o trabalho tem como principais referenciais as teorias de Murray Schafer, Giovanni Piana e Lívio Tragtenberg, no que dizem respeito ao som e à sonoridade no teatro. A investigação dialoga com duas acepções sobre trilha sonora teatral: trilha sonora total, em que todos os sons no espetáculo fazem parte do conceito, e trilha sonora musical, quando se trata diretamente das músicas cênicas da montagem teatral. / This research proposes the construction of a different theater sound design concept, and a sound designer function analyze, also difficulty on the creation to execution process, especially to sound designer creator and not just executor. Through interviews with theater sound designers that act in Porto Alegre, chosen by yours different works, we search new ideas between theater and music. Through writers as Murray Schafer, Giovanni Piana and Lívio Tragtenberg, this research dialogues about sound in theater. We learn about two definitions about theater sound design: total sound design, when every sound in the play is in the concept, and musical sound design, when we deal only with the music of the play.

A pesquisa propõe a construção de um possível conceito de trilha sonora no teatro, e a análise das funções dos profissionais responsáveis por ela, bem como das dificuldades encontradas por esses profissionais para a efetiva realização do seu ofício, em particular no que se refere ao seu papel criador e não apenas executor. Através de entrevistas com criadores de trilha sonora teatral que atuam em Porto Alegre, escolhidos por seus trabalhos diferenciados, buscam-se novas abordagens entre o teatro e a música. Ao problematizar a trilha sonora, o trabalho tem como principais referenciais as teorias de Murray Schafer, Giovanni Piana e Lívio Tragtenberg, no que dizem respeito ao som e à sonoridade no teatro. A investigação dialoga com duas acepções sobre trilha sonora teatral: trilha sonora total, em que todos os sons no espetáculo fazem parte do conceito, e trilha sonora musical, quando se trata diretamente das músicas cênicas da montagem teatral. / This research proposes the construction of a different theater sound design concept, and a sound designer function analyze, also difficulty on the creation to execution process, especially to sound designer creator and not just executor. Through interviews with theater sound designers that act in Porto Alegre, chosen by yours different works, we search new ideas between theater and music. Through writers as Murray Schafer, Giovanni Piana and Lívio Tragtenberg, this research dialogues about sound in theater. We learn about two definitions about theater sound design: total sound design, when every sound in the play is in the concept, and musical sound design, when we deal only with the music of the play.