Despite the extensive Brazilian coast areas, little is known on underwater acoustic environments in Brazil. Acoustic environments (or soundscape) are composed by biological, geological and man-made sound sources. Soundscapes are strongly linked to ecosystems dynamics, and follow temporal patters that can vary at daily and seasonal scales. Thus, for soundscape characterization, it is necessary to undertake sound recordings for long periods, which demands innovative analyzing methods. Accordingly, the present research focuses in two principal objectives: (1) to develop methods for analyzing long-term acoustic recordings and, (2) to characterize marine soundscapes of selected points in São Paulo State. Four deployment sites were selected for the underwater acoustic monitoring: a point located at the channel entrance of the Santos Harbor, and three marine Protected Areas (PAs) in Sao Paulo state. As a result, the largest underwater acoustic database from Brazilian seas was acquired. The present work used Power Spectral Density (PSD), Sound Pressure Level (SPL) and Spectrograms to develop an innovative methodology for analyzing long-term acoustic data. In addition, a new visualization tool and a method for automatic detection of dawn and dusk choruses are presented. The achieved results validated the proposed methodology as an effective tool for analyzing long-term acoustic data. The area close to the first site, the vicinity of Santos Harbor, was dominated by ship noise, which values reach levels that can affect some species of fish and marine mammals. The soundscapes of the other three remaining measurement sites were dominated by fish and crustacean choruses, with daily and seasonal patterns (related to sunrise and sunset). For the monitored regions, the present work signifies the first contribution for cataloguing fish choruses, and establishes a baseline for the study of their underwater acoustic environment. Although the proposed methodology has used long-term undersea acoustic datasets as case-study, it can also be extended for monitoring other aquatic or terrestrial ecosystems. Finally, the research indicates to Brazilian environmental agencies and to the related scientific community that passive acoustic monitoring is a noninvasive and cost-effective tool that can be used for the management of PAs and points of economic relevance. / Apesar da ampla área dos mares brasileiros, pouco se conhece sobre paisagens acústicas submarinas no Brasil. Estas paisagens são compostas por sons de origens biológicas, geológicas e as produzidas pelo homem. As paisagens acústicas estão fortemente ligadas à dinâmica dos ecossistemas, mostrando padrões temporais diários e sazonais. Para caracterizar paisagens acústicas é necessário realizar gravações de sons por períodos de tempos prolongados, o que demanda métodos de análise inovadores. Neste sentido, a presente pesquisa visa dois objetivos principais: (1) desenvolver métodos para a análise de gravações acústicas de longa duração, (2) caracterizar a paisagem acústica do litoral do estado de São Paulo. Quatro pontos de coleta foram selecionados para monitoramento acústico passivo: um ponto situado no canal de entrada do Porto de Santos e os outros três em áreas de proteção marinhas (APM) do estado de São Paulo. Como resultado foi obtida a base de dados de sons submarinhos mais extensa dos mares brasileiros. Do ponto de vista da análise destes dados, o presente trabalho baseia-se no cálculo da Densidade Espectral de Potência, Níveis de Pressão Sonora e Espectrogramas, obtendo métodos de análise novedosos a partir técnicas tradicionais. Neste contexto a tese apresenta uma ferramenta para a visualização de dados acústicos e um método para a detecção automática de coros biológicos matutinos e vespertinos. Os resultados obtidos permitiram validar a efetividade dos métodos propostos na descrição e análise de dados acústicos de longa duração. O ambiente acústico nas proximidades do Porto de Santos foi dominado por ruído de embarcações, alcançando valores de níveis sonoros capazes de afetar algumas espécies de peixes e mamíferos marinhos. As paisagens acústicas dos três pontos restantes foram dominadas por coros de peixes e crustáceos, com padrões diários e sazonais (relacionados ao nascer e pôr do sol). O presente trabalho constitui a primeira pesquisa que cataloga coro de peixes e que estabelece uma referência para o estudo do ambiente acústico das regiões monitoradas. Embora os métodos apresentados usaram como estudo de caso dados de sons submarinos, a sua aplicação pode ser estendida para o monitoramento de outros ambientes aquáticos ou terrestres. Por último, a pesquisa mostra aos órgãos ambientais brasileiros que o monitoramento acústico passivo é uma ferramenta eficaz para o manejo e monitoramento de áreas protegidas e pontos de relevância econômica.

O som e a imagem constroem a narrativa no cinema. Efeitos sonoros, diálogos, música e o silêncio ‐ junto com a imagem ‐ compõem e transmitem significado à obra cinematográfica na sua totalidade. Tendo como objeto de estudo o curta‐metragem De Lá pra Cá, do cineasta Frederico Pinto, o presente trabalho cartografa os sons que compõem sua trilha sonora e verifica seu papel na narrativa fílmica a partir do conceito de Paisagem Sonora, em duas de suas dimensões, a acústica e a Psicoacústica. Objetiva‐se perceber em que medida a Paisagem Sonora influencia dramática e narrativamente na obra cinematográfica. Metodologicamente, após cartografar o som do curta‐metragem De Lá Pra Cá, identificou‐se as Paisagens Sonoras existentes no filme e seus papéis na construção narrativa. A cartografia e a análise sonora das cenas decompõem os sons do filme em seus diferentes atributos, possibilitando sua compreensão em diversos níveis. A análise e posterior interpretação da cartografia sonora de De Lá pra Cá permitiram concluir que diferentes Paisagens Sonoras o constituem, havendo uma predominância das hi‐fi sendo em alguns momentos contrapostas pelas lo‐fi. A Paisagem Sonora dá ritmo, provoca emoções, evoca sentimentos, gera tensões, tendo um importante papel narrativo. / The sound and image build a narrative film. Sound effects, dialogue, music and silence ‐ along with the image ‐ compose and transmit meaning to film in its entirety. With the short film De Lá pra Cá, of the filmmaker Frederico Pinto, as object of study this work makes a map of the sounds that compose its soundtrack and verifies its role in film narrative based on the concept of Soundscape in two of its dimensions, acoustics and Psychoacoustics. The objective is to verify how the Soundscape influences the drama and narrative of the film. Methodologically, after mapping the sound of the short film De Lá pra Cá, we identified the existing Soundscapes in the film and their roles in narrative construction. The mapping and analysis decompose the sounds of the film in its different attributes, allowing its understanding on several levels. The analysis and subsequent interpretation of the mapping of sounds of the De Lá pra Cá film allowed to conclude that it’s made by different Soundscapes, with a predominance of hi‐fi,and at times opposed by the lo‐fi. The Soundscape gives rhythm, triggers emotions, evokes feelings, generates tensions, having an important narrative role.

Submitted by Renata Lopes (renatasil82@gmail.com) on 2018-08-17T11:42:15Z No. of bitstreams: 1 julianasimilideoliveira.pdf: 12854204 bytes, checksum: bb1d07ff2ea82614b92f9de478adac80 (MD5) / Approved for entry into archive by Adriana Oliveira (adriana.oliveira@ufjf.edu.br) on 2018-08-17T11:43:44Z (GMT) No. of bitstreams: 1 julianasimilideoliveira.pdf: 12854204 bytes, checksum: bb1d07ff2ea82614b92f9de478adac80 (MD5) / Made available in DSpace on 2018-08-17T11:43:44Z (GMT). No. of bitstreams: 1 julianasimilideoliveira.pdf: 12854204 bytes, checksum: bb1d07ff2ea82614b92f9de478adac80 (MD5) Previous issue date: 2017-11-30 / PROQUALI (UFJF) / Esta Tese trata do tema da surdez sob o viés socioantropológico e tem como objetivo geral compreender quem é o sujeito surdo e como este se relaciona com o espaço, principalmente no que se refere às sonoridades urbanas: como as pessoas surdas sentem, percebem, interpretam e representam os sons que os rodeiam. A partir do pressuposto de que o espaço arquitetônico e o espaço urbano são espaços sensíveis, podendo ser percebidos, interpretados e representados culturalmente, tem-se como hipótese deste trabalho a convicção de que pessoa surda é capaz de vivenciar e organizar os sons existentes no espaço, gerando uma construção sensível e cultural da paisagem sonora. Desta forma, esta Tese constitui-se como sendo uma Pesquisa Exploratória, com abordagem interdisciplinar e qualitativa. A metodologia geral da pesquisa foi organizada em duas partes: estruturação de aporte teórico e desenvolvimento de Estudo de Caso. O estudo de caso foi desenvolvido a partir de entrevistas semiestruturadas e de Passeios Sonoros Comentados com surdos congênitos e pré-linguísticos. Através da análise dos resultados foi possível constatar que os sons são interpretados e representados por meio de leituras auditivas, cinestésicas, visuais, mas sempre culturais. Grande parte das representações das paisagens sonoras urbanas são compartilhadas pelos surdos, os quais “constroem” eventos sonoros a partir “sensações sonoras”, ou seja, percepções do corpo, mas também da mente. Assim, por meio dos resultados do estudo de caso e do aporte teórico, foi possível concluir que existe um compartilhamento das representações sonoras vivenciadas pelos surdos em seu cotidiano, a partir de uma construção sensível e cultural de uma Paisagem Sonora além da Audição. / This Thesis deals with deafness under the socio-anthropological perspective, and the general objective is to understand who the deaf subjects are and how they relate to space, especially regarding sonorities: how deaf people feel, perceive, interpret and represent the sounds that surround them. Considering that the architectural and the urban spaces are sensitive spaces that can be perceived, interpreted and represented culturally, the hypothesis of this work is that the deaf person experiences and organizes the existing sounds in space through a sensitive and cultural construction of the soundscape. Thus, this Thesis is exploratory with an interdisciplinary and qualitative approach. The general methodology of the research was organized in two parts: theoretical structuring and case study development. The case study was developed from a semi-structured interview and Commented Soundwalking with deaf people. Based on the results, it was verified that the sounds are interpreted and represented by auditory, kinesthetic and visual reading, but always through cultural means. What is understood by a deaf person as a producer or transmitter of a sound event, will not always mean the same for a hearing person. However, the relativized reading made by the deaf people identifies these elements as a "sonorous sensation” that makes them feel the sounds through their body and mind. From the results of the case study and the theoretical support, it was possible to conclude that there is a correlation of the sound representations experienced by the deaf in their daily lives from a sensitive and cultural construction of a Soundscape beyond the Hearing.

Denna uppsats har som syfte att studera hur föreställningar om ljud påverkar den fysiska planeringen i städer. För arbetet har åtgärdsprogram mot buller i Malmö och Göteborg analyserats utifrån de två teoretiska fälten Soundscape och Environmental Noise.  Soundscape definieras av människans uppfattning av den akustiska miljön. Detta teoretiska fält hanterar främst ljud som uppskattas av människan vilket är beroende av rumslig- och social kontext. Environmental noise tar utgångspunkt i ljudets negativa effekter på hälsan, vilket studeras genom ljudets fysiskt mätbara värden främst ljudnivå. Resultatet av arbetet visar att det teoretiska fältet soundscape endast kan identifieras i vissa rumsliga kontexter i staden. I parker och rekreationsområden framstår soundscape vara som mest tydligt, detta visa att stärkande åtgärder för uppskattade ljud ska genomföras måste många människor gynnas. Vidare framstår soundscape delvis kunna identifieras i bostadens utomhusmiljö genom åtgärden tyst sida. Det verkar finnas svårigheter att föreslå praktiska lösningar inom soundscape på grund av brist på kunskap och att lösningar ska baseras på platsen kontext. Det teoretiska fältet environmental noise framstår vara närvarande i nästintill alla stadens rumsliga kontexter och abstraktionsnivåer. Detta då kommunerna alltid har ett ansvar att hantera och prioritera hälsorisker. / This bachelor thesis aims to examine how the notions of sound affects the spatial planning of cities. Two cases, one of Malmö and one of Gothenburg will be analyzed through the two theoretical fields Soundscape and Environmental Noise. Soundscape is defined by human perception of the acoustic environment. This theoretical field is mostly dealing with sound that is appreciated and is dependent on spatial- and social context. Environmental noise is based on the negative health effects from noise, which is studied through physical measurable values of sounds. The results of this bachelor thesis show that the theoretical field soundscape can be identified only in certain spatial contexts in the city. Soundscape seems to be most prominent in parks and recreational areas. This implies that enhancing measures for appreciated sounds are only implemented in places where a large number of people will benefit. Furthermore it appears that soundscape is partially identifiable in urban environments in close proximity to dwellings in concept of a quiet side. Due to the lack of knowledge and the fact that solutions linked with soundscape should be based on specific spatial context there appears to be a difficulty for municipalities to take concreate actions associated with this notion of sound. The theoretical field environmental noise appears to exist in most of the city's spatial contexts and levels of abstraction. This is because municipalities always have a responsibility to manage and prioritize health risks.

This thesis surveys the sounds of everyday street and work life to argue for a reassessment of the way historians have understood community, space, materiality and identity in late-nineteenth and early-twentieth-century Germany and Britain. It will demonstrate that sound played an important role in the organisation of urban space and social order. Furthermore it will show how the historical subject as listener emphasises the volatility of identity, place-making and community. Sounds either defined a community through positive responses or created conflict where one group heard the sounds of another group as noise. Sound helps to define the social groups that this thesis focuses on, such as experts, intellectuals, local administrators, immigrants or factory labourers. The ephemeral nature of sound and the subjectivity of listening, however, also pull apart such neat definitions and reveal the fractures within each of these social groups. Throughout this thesis, differing reactions to everyday sounds in the conurbations of Manchester and Düsseldorf will demonstrate how communities sought to define themselves and their environments through the production and reception of sound. What emerges is a re-composition of everyday life in the late-nineteenth and early twentieth century that challenges examinations of it based on images of class, sociability and culture. Düsseldorf and Manchester were substantial cities that grew during the period studied here and underwent similar processes of technological change that affected both the social order and the physical environment. This thesis demonstrates that the audibility of specific technologies, buildings and machines physically affected listeners, and that working classes, middle-class professionals and local administrators all created regimes of noise intent on controlling behaviour in streets and workplaces. One of the key tropes within studies of sound is that listening places the historical subject at the centre of their environment while seeing places them outside of it. Using this idea, this thesis will make an original contribution to a number of debates. First of all, sounds broke down visual boundaries between street and workplace and this dissertation examines how that changes historical notions of place and space. Secondly, this thesis establishes how sound exposes the lines of fracture and cohesion within and between social groups that historians of popular street culture have tried to emphasise through class relations. Thirdly, sound allows for a re-examination of the power structures in which factory labourers and immigrants worked and lived as it presents practices of listening and sound production that breathe new life into ‘histories from below’ and challenge the top-down approaches associated with governmentality. Finally, this thesis will challenge the notion of noise as unwanted sound, prevalent in the growing number of histories on urban noise by demonstrating the diversity of everyday and medical reactions to ‘noise’ and exploring the problem of ‘silence’ in negotiations of migrant and worker identity and the development of road technologies. Overall, this thesis will determine that the role of sound in the late-nineteenth and early twentieth-century complicates historical debates on the physical and social organisation of urban space. Different communities transformed their identities around shared listening practices and adapted their rhythms of everyday life to sounds that resonated between street and home, work and leisure.

This dissertation contains five chapters: 1. Introduction, 2. Basic Digital Processing Used in Summer Rain, 3. Part I Summer Rain - Dawn, 4. Part II After the Summer Rain and 5. Conclusion. Introduction contains a brief historical background of musique concrète, Electronische Musik, acousmatic music and music for instruments and tape, followed by basic descriptions of digital technique used in both parts of Summer Rain in Chapter 2. Also Chapter 2 describes software used in Summer Rain including "Kawamoto's VST," which is based on MAX/MSP, to create new sounds from the recorded samples using a Macintosh computer. In both Chapter 3 and 4, Kawamoto discusses a great deal of the pre-compositional stage of each piece including inspirational sources, especially Rainer Maria Rilke's poems and Olidon Redon's paintings, as well as her visual and sound imageries. In addition Chapter 3 she talks about sound sources, pitch, form and soundscape. Chapter 4 contains analysis on pitch in the piano part, rhythm, form and the general performance practice. Chapter 5 is a short conclusion of her aesthetics regarding Summer Rain, which is connected to literature, visual art and her Japanese cultural background.

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.

Denna studie undersöker hur övergångar mellan miljöljud och musik påverkar spelupplevelsen i dataspel. Studien avgränsar till specifikt utforskande av äventyrsspel. I denna studie används termen soundscape som en översättning av ljudlandskap. Fokus är inte på den konstnärliga grenen som till exempel Truax komponerar i även om delar av den soundscape genren diskuteras. I bakgrundskapitlet presenteras relevant forskning genom teoretiska utgångspunkter för definitionen av soundscape och miljöljud. Därefter görs en kartläggning av tidigare forskning som behandlar musik i dataspel, med fokus på soundscapeaspekterna. I kapitel 3 diskuteras frågeställningen, metoden och etiska frågor. Frågeställningen som diskuteras handlar om hur en dramaturgi kan skapas i dataspel genom musik som övergår till miljöljud med hjälp av teknikerna abrupt cut, crossfading och fragmentering. Metodvalet i denna undersökning är en kvantitativ undersökning, som kommer att genomföras i form av en enkät med frågor relaterade till hur övergångar från musik till miljöljud kan ha dramatisk effekt. Dessa besvaras i samband med att respondenter har fått lyssna på en komposition där 3 olika övergångar från musik till miljöljud används. / <p>Det finns övrigt digitalt material (t.ex. film-, bild- eller ljudfiler) eller modeller/artefakter tillhörande examensarbetet som ska skickas till arkivet.</p><p>There are other digital material (eg film, image or audio files) or models/artifacts that belongs to the thesis and need to be archived.</p>

A growing body of research focuses on how background sounds shape and alter critical elements of animals’ lives, such as foraging behavior, habitat use, and ecological interactions (Bradbury & Vehrencamp, 2011; Barber et al., 2010; Kight & Swaddle, 2011; Shannon et al., 2016). Much of this research has centered on the effects of anthropogenic noise (Dominoni et al., 2020; Francis & Barber, 2013; Ortega, 2012; Swaddle et al., 2015), but recent studies have also revealed that natural sound sources can influence animal behavior (Davidson et al., 2017; Le et al., 2019). Natural sounds, such as crashing surf, can create conditions where signaling and listening are difficult, but how this influences different species’ ecological interactions are unknown. To study the effects of crashing surf sound we experimentally introduced landscape-level acoustic playbacks where surf sound was not naturally present to create a “phantom ocean”. Phantom ocean treatment sites were employed alongside higher frequency “shifted” treatment sites to test for frequency-dependent effects, “real ocean” sites where surf sound was endemic, and ambient control sites. The phantom and shifted treatments were played continuously during the spring and summer of 2017-2019. Within this acoustic experimental landscape we conducted multiple studies to test the effects of crashing surf sound on animal behavior, habitat use, and ecological interactions. Through an artificial caterpillar predation experiment modeled after Roslin et al. (2017), we found that when exposed to natural sound treatments the foraging activity of rodents and arthropods increased, while that of birds declined. A potential explanation for this pattern includes taxon-specific responses reflecting different perceived risk-reward trade-offs in natural sound conditions. To follow this up we performed occupancy modeling on data collected by camera traps set within our system. We observed different responses among groups of species with different functional roles in the community for both detection (p) and occupancy (Ψ) probabilities. Our combined results indicate different species and functional groups have unique foraging behavior and patch use responses to natural sounds, likely based on their ecological interactions. Specifically, Cricetid rodents are likely more active in areas exposed to natural sounds, possibly due to lower perceived predation risk because mesocarnivores are less active. Insectivorous birds are also likely less active under natural sounds conditions, although the frequency of the sound, and the body size and diet of the bird appear influential. Together these findings suggest that natural sounds shape not only individual behavioral adjustments, but also multi-trophic, community level interactions. Our results show that natural sounds are an important driver of ecological interactions, but much remains to be uncovered. The mechanisms by which natural sounds influence individuals, populations, and many other aspects of ecology remain unexplored and provide fertile ground for future inquiry.

Jag har analyserat Malmö stads ljudidentitet ur flera perspektiv och funnit att de i stort har följt tidigare forskning och vedertagna varumärkesprocesser när de arbetat fram stadens ljudidentitet. I jämförelse med tidigare forskning och branschpraxis saknas dock ett par delar i processen som kan haft betydelse för slutresultatet. En del är att Malmö stad inte konsekvent använt varumärkesplattformen när de arbetat fram de ljudattribut som de grundande ljudidentiteten på. En annan del är det inte framkommer på vilka grunder Malmö stad valde de fem olika inspelningsplatserna. Övriga moment som saknas i processen men som sannolikt har mindre betydelse för slutresultatet är att det saknas en analys av Malmös ljudande historik, samt att Malmö stad inte kraftsamlat platsens aktörer i framtagandet av ljudidentiteten. Malmö stads ljudidentiteten grundar sig i stort på ljudattributen och val av inspelningsplats. Det innebär att om de fullt ut hade arbetat utifrån varumärkesplattformen samt identifierat stadens ljudlandskap så hade ljudidentiteten sannolikt låtit helt annorlunda. Vägval tidigt i processen har stor påverkan på slutresultatet.