The diegetic and non-diegetic functions that exist when dealing with music for film can affect the way that viewers perceive scenes and characters. It is therefore important to be well informed about what effect these two functions can have on the viewers as a sound designer. This study tested if audiences could perceive a difference between diegetic source music and non-diegetic underscore. The participants rated how romantic, happy, sad, scary & intimate they perceived a scene in a romantic setting to be. It was found that the two functions had major differences in how the scene was interpreted by the participants. The non-diegetic version was seen as looking back at something or looking at someone’s memory, while the diegetic version was seen as something happening in the present in front of the participant. The diegetic version ended up being perceived as scarier, while the non-diegetic version was perceived as happier. This study suggests that when creating the illusion of watching something from the past like a memory, it would be beneficial to use non-diegetic music rather than diegetic music.

Foley, a term named after Universal Studios sound pioneer Jack Foley, is an allencompassing word for the creation of sound effects with materials that can emulate the sound of real world occurrences. While it is used heavily in the film and television world, Foley does not see much direct use in live theatrical performances. The widespread availability and use of prerecorded sound effects has altered the field of theatrical sound design. With thousands of audio files at a designer’s disposal, the need to create custom sounds is reduced. However, certain scripts do call for the use of live Foley. While most of these plays are staged radio dramas, Donald Margulies’s Shipwrecked! An Entertainment… is a brilliant theatrical work that focuses on the art of storytelling. His request for a Foley Artist is a request to stay true to the essence of the play. This thesis will detail the production process for a theatrical Foley designer by outlining the research, design, and execution phases and detailing the experimental nature of adding Foley to a live theatre performance.

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This paper outlines the artistic research process I followed as I made a short fiction film. It defines the stages that I’ve undertaken as I tried to learn more about filmmaking during my master’s studies in Film and Media at Stockholm University of the Arts. How to write a screenplay? How to dramatize a personal experience? What making a movie entails? How to write a moving story and the impact of storytelling on human beings. Here I share my learning about – and I try to investigate the interplay between – craftmanship, art, theory, conception, industry, and the neuroscience of storytelling. / Filmmaking

The licentiate thesis Designing with Urban Sound explores the constitution and qualitative characteristics of urban sonic space from a design-oriented and practice-based perspective. The act of lifting forth and illuminating the interaction between architecture, the creation of sound and a sonic experience aims to examine and develop useful tools and methods for the representation, communication and analysis of the exterior sonic environment in complex architectural spaces. The objective is to generate theoretical and practical knowledge within the field of urban sound planning and design by showing examples of different and complementary ways of communicating and analyzing sound than those which are commonly recognized. / Licentiatavhandlingen Designa med stadens ljud undersöker det urbana ljudrummets konstitution och kvalitativa egenskaper utifrån ett designorienterat och praktiknära perspektiv. Avsikten med arbetet är att utveckla verktyg och metoder för representation, kommunikation och analys av stadens exteriöra ljudmiljö genom att synliggöra interaktionen mellan arkitektur, ljudbildning och upplevelse. Genom att visa exempel på andra sätt att kommunicera och analysera ljud i staden än dagens vedertagna metoder, är syftet är att bidra till kunskapsutvecklingen inom fältet för urban ljudplanering- och design. / <p>QC 20181211</p>

Binaural beats är den subjektiva upplevelsen hos någon som, genom hörlurar, exponeras för en ton i ena örat och en ton på en annan frekvens i det andra. Somliga förnimmer differensen mellan de två tonerna som en tredje ton, andra upplever det mer som en spänning. Med hjälp av EEG (Elektroencefalografi), vilket mäter hjärnans elektricitet, har påvisats att det går att reglera hjärnrytmen med hjälp av binaural beats. Det audiella fenomenet förekommer i hjärnforskning inom sömn, meditation och kognition. Vidare har det föreslagits som behandlingsmetod och hjälpmedel vid diagnostisering av vissa neuropsykiatriska besvär. Denna konstnärliga studie utforskar tillämpningen av binaural beats i musikproduktion och musiklyssnande. Det primära syftet är att undersöka om binaural beats kan fungera som ett verktyg inom musikproduktion. Påverkar användandet av binaural beats musikskaparen i den konstnärliga processen? Har binaural beats potential att platsa som ett användbart redskap i den musikaliska verktygslådan? Påverkar förekomsten av ett integrerat binaural beat i ett musikstycke lyssnarens upplevelse på något sätt? Detta har har metodologiskt undersökts genom att komponera musik innehållande binaural beats. Processen har dokumenterats löpande varvat med reflektion för att åskådliggöra om eller hur det har influerat förloppet. Sedan har delar av detta musikaliska material prövats på testpersoner, i en mindre enkätstudie byggd på självskattning, för att se om förekomsten av binaural beats förändrar lyssnarens upplevelse på något vis. Binaural beats påverkade den konstnärliga skapandeprocessen då det genererade inspiration under arbetet. Om det beror på de effekter binaural beats tros ha på hjärnan eller om kreativiteten stimulerades av det faktum att dessa ljud var ett nytt element i det egna musikskapandet kan diskuteras. Resultaten av studiens lyssningsexperiment indikerar inga förändringar hos lyssnarnas upplevelse. Däremot har det gett upphov till idéer kring hur liknande tester skulle kunna utformas för att leda till mer användbara data. De vaga tendenser som förekom skulle kunna vara intressanta att undersöka i en mer omfattande studie.

The increasing number of electric and hybrid vehicles in urban areas has shown to be beneficial in reducing both air and noise pollution. However, the lack of sound when driving at low speed has negatively affected the pedestrian safety since many rely on the vehicle sound for orientation. Regulatory bodies have therefore introduced minimum sound requirements for all silent vehicles, which has resulted in a key challenge for car manufacturers to develop external warning signature sounds. The objective of this project has been to study how these signals should sound in order to fit the image of electric and hybrid vehicles and minimize noise and annoyance. To complete the study, five sound concepts with different characteristics and rhythms were developed using the concept generation process. In order to gain subjective impressions of the sounds, three measurement methods were utilized. The first listening test was performed to eliminate the possibility that the sound samples would be perceived variously loud in the upcoming tests. The second listening test was performed to gain information on how suitable the signals are for electric and hybrid vehicles, and the third listening test was conducted to obtain information on how much annoyance the signals contributed with. A reference signal representing an internal combustion engine was included in the tests as well. The results of the measurement methods showed that the sound samples with long tone sequences were more preferred than those with short tone sequences, and that the artificial approach was more popular than the sound of an internal combustion engine vehicle. It was also established that additional tests need to be performed in order to confirm that these results are valid. It was suggested that field tests should be conducted and that new sound concepts should be developed based on the results of these tests.

Emotion is a large part of the experience when playing video-games, and sound design can strongly influence the emotional response in players. This study is about the effect reverb, which is part of the sound design, can have on a players perceived emotion. An experiment was conducted, where twenty subjects got to play a video-game level which included two churches. These were identical both visually and audibly, except for the frequency content in the reverb in each church. Results show that the subjects perceived different emotions depending on what reverb they heard.

Made available in DSpace on 2015-03-05T18:24:07Z (GMT). No. of bitstreams: 0 Previous issue date: 28 / Nenhuma / A presente dissertação tem por finalidade estudar o desenho das sonoridades televisivas e a criação de ambiências para programas. Para alcançar tal objetivo, foi necessário um confronto dos pressupostos teóricos e metodológicos, através de uma pesquisa empírica, em que experimento um procedimento metodológico próprio, construído a partir de referenciais teórico de autores como Bergson, Deleuze e Kilpp. A intenção precípua do estudo é atualizar o desenho do som na TV e de redimensionar metodologicamente a pesquisa das audiovisualidades. Para tanto, tomo por base o processamento de infografias que dão a ver a participação do áudio no ritmo audiovisual. Orientando-se sob este foco definido, a dissertação reflete a sonoridade televisiva, considerando-a como intensidades desarticuladas de durações múltiplas sobrepostas em que decorre a instauração das ritmicidade e que constitui e coexiste no estado sizígio pop de televisão / The present dissertation has as the aim of studying the design of the television sonorities and the creation of ambiences for programs. To reach this aim it was necessary to compare the theoretical and methodological postulates, through an empirical research, where I experiment my own methodological procedure, which was constructed based on the theoretical framework of authors like Bergson, Deleuze and Kilpp. The foremost intention of this work is to update the sound design in television and methodologically redirect the research of audiovisualities. In order to do that I take as a basis the processing of infographies that convey the participation of audio in the audiovisual rhythm. Oriented by this defined focus, the dissertation reflects about television sonority, considering it as disarticulated intensities of superimposed multiple durations in which the establishment of the rhythmicity that constitutes and co-exists in the pop syzygie state of television occurs

La thèse étudie le rapport « musique-média » dans une perspective communicationnelle. Par une recherche centrée sur la musicalisation médiatisée, il s’agit d’analyser les intégrations musicales à la télévision entre 1949 et 2015. Construite sur un héritage intermédiatique et intergénérique, la mise en musique des programmes de télévision français témoigne depuis les années 1980 de l’industrialisation croissante de la production de deux filières des industries culturelles : la filière de l’audiovisuel et la filière de la musique enregistrée. Pour appréhender les enjeux sous-jacents à ces questionnements, une méthodologie inter-dimensionnelle a été mise en place : enquête sur l’activité professionnelle des monteurs (historiographie et entretiens semi-directifs) et analyses de corpus (analyse statistique et analyse de contenu thématique). Majoritairement focalisée sur la télévision de flux (magazine, télé-réalité, journaux télévisés, etc.), l’enquête s’est aussi ouverte à des productions fictionnelles (longs métrages et séries télévisées). Il ressort de ces analyses que dans un contexte de création rationalisée, les intégrations attestent de la prise en considération des valeurs symboliques de la musique dans des stratégies de captations des publics. Visibles au sein même des contenus, les changements remarqués entraînent ainsi une augmentation et une circulation accrue des images musicalisées, ce qui révèle une participation des médias à une culture industrialisée. / This doctoral thesis questions the relationship between music and the media from a communicational perspective. Relying upon the notion of mediatized musicalization, this research work offers an analysis of musical integrations featured on French television from 1949 to 2015. Building upon intermedia and integeneric foundations, the musical setting of French television programs bears witness to the ever increasing industrialization of two sectors of the cultural industries since the 1980’s: the audiovisual sector and the recorded music sector. In order to fully appreciate the issues at stake here, a composite methodology has been adopted mixing investigative research on the work of video editors (historiographical readings, semi-directive interviews) and corpus analyses (statistical analyses and thematically-oriented content analyses). One of the conclusions that can be drawn from these analyses is that, in a context of rationalized creation, musical integrations indicate that the symbolic value of music is taken into consideration as part of a wider strategy aimed at grabbing the attention of the public. These changes, noticeable in the contents, have led to the multiplication and to the growing circulation of musicalized images, thus reveal the involvement of the media in our industrialized culture.