L’environnement sonore de la région de La Roche-Bernard en Haute-Bretagne arrive, à la fin du 19e siècle, dans une période de changements importants qui accompagne le déclin d’une société rurale traditionnelle. Une reconstitution de cet environnement disparu s’avère compliquée, partielle et subjective, compte tenu de la disparité des sources d’information disponibles. Basée principalement sur des enquêtes orales complétées par des recherches en archives, cette étude permet, plutôt que d’établir les relations exactes des sons les uns avec les autres, de réfléchir à une catégorisation qui prenne davantage en compte leur perception et leur émission, ou plus exactement leurs fonctions, usages et interprétations. Le classement qui en découle tient de surcroît compte du caractère traditionnel ou folklorique des sons retenus. Cette manière d’inventaire, qui n’est pas exhaustif, repère cependant dans un second temps les moments de rupture où un type d’environnement sonore disparaît et cède la place à un autre. Une chronologie générale établit enfin, dans la société rurale traditionnelle étudiée, les éventuels rapports entre sa disparition et l’évolution de son environnement sonore. / At the end of the 19th century, the sonic environment of the region of La Roche-Bernard in Upper Brittany was affected by a period of important modifications which accompanied the decline of traditional rural society. A reconstitution of this disappearing environment is necessarily complex, partial and subjective with regard to the disparity of the available resources. This study, principally based on oral interviews supplemented by archive research, rather than establishing the exact relationships between sounds, opens up reflection around a possible categorization which principally considers their perception and emission, or more precisely their functions, usage and interpretations. In addition, the resulting classification takes into account the folklore or traditional character of the sounds studied. This manner of inventory, which is non exhaustive, does however reveal, on closer inspection, the periods of change where one type of sonic environment gives place to another. Lastly, a general chronology establishes possible links between the disappearance and the evolution of the sonic environment in the traditional rural society studied.

O presente trabalho se propõe a esboçar um referencial histórico e teórico para o estudo do som nas sociedades do Ocidente medieval. O som é entendido aqui como uma \"forma semantizada\" e, ao mesmo tempo, um \"conteúdo enformado\", perspectiva que busca pôr em relevo a dialética entre objetivo e subjetivo (que, concretamente existem apenas como processos relacionados de objetivação do subjetivo e subjetivação do objetivo), dialética inerente à existência social de qualquer \"objeto\" e da própria sociedade. A dissertação se compõe de três partes: (1) na primeira parte, enfocamos privilegiadamente a semantização da forma sonora, buscando desvendar as transformações históricas nas modalidades de circunscrição do som pelo pensamento; (2) na segunda parte, tomamos, dialeticamente, a direção contrária e privilegiamos o exame da enformação sonora do conteúdo, investigando mais especificamente a evolução da forma sonora da liturgia latina; (3) por fim, na terceira parte, propomos um estudo de caso que busca apreender, na temporalidade de sua efetivação, a dinâmica entre os processos de semantização da forma sonora e de enformação sonora do conteúdo. / This dissertation aims at sketching a system of historical and theoretical references for the study of sound in the societies of the medieval West. Sound is understood throughout this work as both \"semanticized form\" and \"enformed content\". This perspective seeks to emphasize the dialectics of subjectivity and objectivity (which concretely exist only as the interrelated processes of objectivation of subjectivity and subjectivation of objectivity) inherent to the social existence of any \"object\" and of society itself. The dissertation comprises three parts: (1) in the first, we focus mainly on the semantization of sound form, attempting to understand the historical changes in the modalities of apprehension of sound by thought; (2) in the second part, we dialectically assume the opposite direction and focus on the enformation of content as sound, dealing more specifically with the evolution of sound form in Latin liturgy; (3) finally, in the third part, we propose a case study which seeks to apprehend, in its concrete temporality, the dynamics of the interrelated processes of semantization of sound as form and enformation of content as sound.

Em espaços urbanos abertos, particularmente nas grandes cidades de climas tropicais, os pedestres estão expostos não somente a níveis sonoros elevados como também a elevadas cargas térmicas, situação que pode gerar tanto o desconforto acústico quanto o térmico. Entretanto, na maioria das vezes, a relação entre a exposição a condições acústicas e térmicas adversas e a percepção humana dessas condições são estudadas separadamente. Neste trabalho propõe-se, portanto, uma abordagem integrada para a avaliação do conforto acústico e térmico urbano e para o estudo de seus prováveis efeitos combinados. Esta pesquisa foi realizada em Belo Horizonte - MG, Brasil, cidade localizada em região de clima tropical de altitude, com verões quentes e úmidos e invernos frios e secos. Utilizou-se o método indutivo experimental na condução dos trabalhos. Dados acústicos e climáticos foram medidos simultaneamente à aplicação de formulários em dois dias representativos do verão (março/2013) e do inverno (agosto/2013), e em duas praças contrastantes em relação ao seu ambiente acústico e térmico bem como aos seus parâmetros morfológicos como o fator de visão do céu, o altura dos edifícios, o tipo de pavimento, a presença de fontes de água e vegetação. Os índices Nível de Pressão Sonora Equivalente Contínuo, ponderado na curva A (LAeq) e Temperatura Equivalente Fisiológica (PET) foram usados para representar, respectivamente, as condições acústicas e microclimáticas. Foram coletados por meio dos formulários variáveis subjetivas (percepção do volume do ambiente sonoro, avaliação de incômodo relacionado ao ambiente sonoro, avaliação de conforto acústico, percepção de sensações térmicas, preferência de sensações térmicas e avaliação de conforto térmico), variáveis individuais (vestimenta, atividade física, idade, peso, altura, sexo) e dadoscontrole, relacionados aos aspectos psicológicos, sociais e culturais que podem interferir na percepção acústica e térmica do ambiente. A amostra compreendeu aproximadamente 1.700 entrevistados. O tratamento estatístico dos dados coletados abarcou análise descritiva, correlações e regressões. Modelos de regressão logística ordinal foram utilizados para predizer as faixas de percepção acústica e térmica; e modelos de regressão logística, para predizer as faixas de conforto e desconforto acústico e térmico. Os resultados do estudo incluem, dentre outros: 1) a calibração do índice LAeq para percepção do volume sonoro - faixas: \"Baixo\", <35dB(A), \"Normal\", de 36 a 67dB(A), e \"Alto\", >68dB(A); e para avaliação de conforto acústico - faixas: \"Confortável\", <67dB(A), e \"Desconfortável\", >68dB(A); 2) a calibração do índice PET para percepção de sensações térmicas - faixas: \"Frio\", <18,9°C, \"Bem\", de 19 a 27°C, e \"Calor\", >27,1; e para avaliação de conforto térmico - faixas: \"Confortável\", de 23 a 31°C, e \"Desconfortável\", <22,9 e >31,1°C; 3) a definição das temperaturas neutra e preferida para verão (27,7 e 14,9°C) e inverno (15,9°C e 20,9°C), respectivamente, demonstrando a influência da expectativa na avaliação das condições térmicas; e 4) a comprovação de que o aumento do desconforto acústico pode acarretar (ainda que em pequena escala) o aumento do desconforto térmico e vice-versa. Estes resultados podem nortear o esclarecimento de questões referentes à percepção e ao conforto acústico e térmico em espaços urbanos, orientando as políticas públicas em projetos urbanísticos relacionados a esses temas. / In urban open public spaces, particularly in big cities of tropical climate, city-users are often exposed not only to high sound levels but also to high thermal loads, a situation that can cause both acoustic and thermal discomfort. Nevertheless, in most cases, the relationship between the exposure to each of these adverse conditions and human perceptions towards each of them are studied separately. In order to address the lack of a combined analysis of these conditions, this research has adopted an integrated approach to evaluate urban acoustic and thermal comfort and their likely combined effects. This study was carried out in in the Brazilian city of Belo Horizonte, in the state of Minas Gerais, a city located in a region of tropical of altitude climate, with hot wet summers and cold dry winters. Acoustic and climatic data were measured simultaneously with the administration of questionnaires in two representative days of summer (March/2013) and winter (August/2013), in two squares that noticeably differ in relation to their acoustic and thermal environment and their morphological parameters such as the sky view factor, the height of the buildings, the type of pavement, the presence of water sources and the vegetation. The LAeq,T and the PET index were used to represent acoustic and microclimatic conditions respectively. Subjective variables (perceived volume of the environmental sound, assessment of annoyance caused by environmental sound, acoustic comfort evaluation, perception of thermal sensation, thermal sensation preference and evaluation of thermal comfort), personal variables (clothing, physical activity, age, weight, height, gender) and control data related to psychological, social and cultural issues that might interfere with acoustic and thermal perception of the environment were collected through the questionnaires. The sample consisted of approximately 1,700 respondents. The statistical treatment of the data collected was comprised of descriptive analysis as well as analysis using correlations and regressions. Ordinal logistic regression models were used to predict the ranges of acoustic and thermal perception and logistic regression models were used to predict the ranges of acoustic and thermal comfort and discomfort. Some of the results of this study are: 1) the calibration of the LAeq index for perceived loudness - ranges: \"Low\", <35dB(A), \"Normal\", between 36 and 67dB(A), and \"High\", >68dB(A); and for evaluation of acoustic comfort - ranges: \"Comfortable\" <67dB(A), and \"Uncomfortable\", >68dB(A); 2) the calibration of the PET index for perceived thermal sensations - ranges, \"Cold\", <18.9°C, \"Well\", 19-27°C, and \"Hot\", >27.1°C; and for evaluation of thermal comfort - ranges: \"Comfortable\", 23-31°C, and \"Uncomfortable\", <22.9 and >31.1°C; 3) the definition of neutral and preferred temperatures for Summer (27.7 and 14.9°C) and Winter (15.9°C and 20.9°C), respectively, showing the influence of expectation on evaluation of thermal conditions; and 4) the confirmation that an increase of the acoustic discomfort may cause (albeit on a small scale) an increase in the thermal discomfort and vice versa. These results might shed light on the issues of acoustic and thermal perception and comfort in urban spaces, helping to guide public policies on urban projects related to these topics.

This dissertation is about sound in context. Since sensory processing is inherently multimodal, research in sound is necessarily multidisciplinary. The present work has been guided by principles of systematicity, ecological validity, complementarity of  methods, and integration of science and art. The main tools to investigate the mediating relationship of people and environment through sound have been empiricism and psychophysics. Four of the seven included papers focus on perception. In paper A, urban soundscapes were reproduced in a 3D installation. Analysis of results from an experiment revealed correlations between acoustic features and physiological indicators of stress and relaxation. Paper B evaluated soundscapes of different type. Perceived quality was predicted not only by psychoacoustic descriptors but also personality traits. Sound reproduction quality was manipulated in paper D, causing two effects on source localisation which were explained by spatial and semantic crossmodal correspondences. Crossmodal correspondence was central in paper C, a study of colour association with music. A response interface employing CIE Lab colour space, a novelty in music emotion research, was developed. A mixed method approach supported an emotion mediation hypothesis, evidenced in regression models and participant interviews. Three papers focus on design. Field surveys and acoustic measurements were carried out in restaurants. Paper E charted relations between acoustic, physical, and perceptual features, focussing on designable elements and materials. This investigation was pursued in Paper F where a taxonomy of sound sources was developed. Analysis of questionnaire data revealed perceptual and crossmodal effects. Lastly, paper G discussed how crossmodal correspondences facilitated creation of meaning in music by infusing ecologically founded sonification parameters with visual and spatial metaphors. The seven papers constitute an investigation into how sound affects us, and what sound means to us. / Denna doktorsavhandling handlar om ljud i sammanhang. Eftersom informationsbehandling genom sinnena alltid är multimodal så kräver ljudforskning en tvärvetenskaplig forskningsansats. Arbetet i denna avhandling har vägletts av principer såsom systematik, ekologisk validitet, samspel mellan metoder, och integration av vetenskap och konst. De viktigaste redskapen för att undersöka den ömsesidiga påverkan mellan människa och miljö genom ljud har varit empiri och psykofysik.Fyra artiklar handlar om perception. I artikel A återskapades urbana ljudlandskap i en 3D-ljudinstallation. Analys av experimentresultat avslöjade samband mellan akustiska mått och fysiologiska markörer av stress och avslappning.  Artikel B utvärderade olika typer av ljudlandskap. Upplevd kvalitet kunde prediceras inte bara av psykoakustiska mått utan även av personlighetsdrag. Ljudåtergivningskvalitet manipulerades i artikel D och orsakade två effekter på lokalisering av en ljudkälla vilka förklarades av rumslig och semantisk korsmodala kopplingar. Korsmodalitet var huvudpunkten i artikel C, en studie av färgassociation till musik. Ett användargränssnitt utvecklades som använder färgrymden CIE Lab, en nyhet i forskningfältet musik och känslor. En abduktiv metod stödde hypotesen att känslouttryck medierar korsmodala kopplingar, vilket framgick av regressionsmodeller och intervjuer med försökspersonerna.Tre artiklar handlar om design. Fältundersökningar och ljudmätningar utfördes i restauranger. Artikel E kartlade samband mellan akustiska, fysiska och perceptuella särdrag, med fokus på formbara element och material. Detta arbete fortsattes i artikel F varigenom en taxonomi av ljudkällor utvecklades. Analys av enkätdata avslöjade perceptuella och korsmodala effekter. Slutligen, artikel G diskuterade hur korsmodala kopplingar främjade meningsskapande i musik genom att ekologiskt motiverade sonifikationsparametrar samverkade med visuella och spatiala uttryck. De sju artiklarna utgör landmärken i avhandlingens utforskande av hur ljud påverkar oss, och vad ljud betyder för oss. / <p>QC 20151118</p>

Made available in DSpace on 2014-06-11T19:32:56Z (GMT). No. of bitstreams: 0 Previous issue date: 2004-04Bitstream added on 2014-06-13T20:44:21Z : No. of bitstreams: 1 toffolo_rbg_me_ia.pdf: 1927405 bytes, checksum: c4f73e2861b3d35ca9bdedde40c71a0a (MD5) / Universidade Estadual Paulista (UNESP) / As composições do Tipo Paisagem sonora, que se utilizam praticamente de sons ambientais como material principal para a composição, têm gerado amplas discussões no âmbito da música eletroacústica. Tais discussões são presentes tanto em vertentes mais estruturalistas, que não vêm qualquer possibilidade de organização a priori desse tipo de material sonoro, quanto naquelas que se aproximam mais da música concreta, que não concordam com o alto nível de referencialidade sonora empregado nesse tipo de obra por entrar em desacordo com as proposições da escuta reduzida de Pierre Schaeffer. A partir de tal análise, foi possível apresentar algumas possibilidades de organização de sons ambientais em composições do tipo Paisagem Sonora através da comparação dos resultados da análise com as proposições de Wishart (1986) e Emmerson (1986). / The Soundscapes compositions, which use environmental sounds as main material, have generated wide discussions in the scope of electroacustical music. Such quarrels are found in structuralist sources, which do not agree with any possibility of organization a priori to this type of sonorous material, as in those which approach more to concret music, that do not agree with the high level of sounds external references applied in this type of work, because it disagrees with the proposals of the Reduced Listening of Pierre Schaeffer. From such analysis, it was possible to demonstrate some possibilities of organization of environmental sounds in Soundscapes Compositions through the comparision of the results of the analysis with the proposals of Wishart (1986) and Emmerson (1986).

On appelle installation sonore une forme d'art multimédia dans laquelle l'accent est mis en particulier sur l’aspect sonore, sans pour autant ignorer toutes les autres composantes qui constituent l’installation. Bien qu’elle soit une forme classée parmi les arts plastiques, l’installation sonore se rapporte plutôt à l’art sonore. En effet, l’art sonore se caractérise par la prééminence de l’usage du son comme moyen d’expression et comme préoccupation artistique (le grand nombre de manifestations, de blogs et de festivals d’art sonore en témoignent). Parmi les pratiques expérimentales ayant trait à l’art sonore, une nette préférence va à l’installation sonore et il semblerait qu’elle devienne une forme d’art en soi. On peut s’interroger sur la possibilité d’envisager ceci de cette manière. Dans cette thèse, il faut comprendre l’installation sonore comme une pratique artistique hétérogène, interdisciplinaire, expérimentale et hybride, pratique qu’on retrouve dans l’installation artistique en général. Cependant, on peut constater que des préoccupations reviennent souvent : la visualisation du son, la perception de l’espace à travers le sonore, l’écoute et sa relation avec la position et le déplacement du corps de l’auditeur. Afin de contribuer à une plus grande compréhension d’une culture sonore contemporaine qui est largement partagée, le propos de cette thèse est d’étudier les divers domaines auxquels l’installation sonore appartient et ceci à partir de plusieurs points de vue : historique, esthétique, culturel et médiatique. / Sound installation is an inter media-based art form that draws particular attention to the component of sound, although not at the expense of its visual underpinnings. Considering that it is a form of art, sound installation refers to sound art, an area that requires separate recognition and independence among existing art forms, due to the use of sound as a means of expression as well as the current artistic preoccupation with it (as reflected in the growing number of sound art demonstrations, blogs and festivals).Among the different experimental practices within sound art, sound installation is clearly favored, thus it would appear that it is becoming an art form in itself. Could it be seen in this way? In this thesis, Sound Installation is viewed as a current art form connected to “Art installation”, a field with its own characteristics: heterogeneous, multi-disciplinary, experimental and hybrid. However, as a singular art form, it is a source of insight, which emerges repeatedly and is amplified by the exploration of both sound and sound perception; for example, sound imaging, the perception of space through sound, listening and its relationship to the position of the listener’s body in space. The purpose of this thesis is to approach the field in which Sound Installation belongs from different perspectives such as history, aesthetics, culture and media. With the question of how to conceptualize sound components always in mind, we intend to contribute to the understanding of an ever –growing contemporary culture of sound.

This work explores soundscape and histories of sound technologies as they relate to the formation of subjectivity. It proposes voice as a cultural practice and a means for theorizing one’s own subjectivity. What is modernity in sonic terms? What does it mean to listen deeply in an industrialized society? What does it mean to be a socialized listener, a revolutionized listener? How might voice be taken as an avatar of the self? How does the auditory realm allow for embodied theorizing that responds to systems of power and oppressed subjectivities?

La fonte rapide des glaces de l'Arctique dans le contexte actuel du réchauffement climatique est un sujet scientifique majeur de ces 30 dernières années. L'Arctique joue un rôle fondamental dans l'équilibre du climat et requiert une attention particulière. Les régions arctiques sont alors surveillées par des observations satellitaires et des mesures in-situ. L'impact climatique de la fonte totale de la glace arctique est encore spéculatif. Des recherches sont donc nécessaires pour le suivi à long terme de l'Océan Arctique, en particulier la dynamique spatio-temporelle de la couverture de glace et ses conséquences sur les écosystèmes. Notre travail s'inscrit dans ce contexte, et est porté sur le paysage sonore des régions polaires avant leur possible industrialisation qui accompagnera la fonte de la glace. Ainsi, nous avons d'abord examiné les conséquences de la disparition du couvert de glace sur les paysages sonores de ces régions. Nous avons alors étudié les variations saisonnières du bruit de fond et ses pilotes environnementaux. De ce fait, nous avons développé un algorithme d'estimation du bruit ambiant afin de pouvoir constituer des séries temporelles à partir des données acoustiques longue durée. Deuxièmement, nous avons étudié les transitoires générés par le comportement mécanique de la banquise en Arctique. Cette étude vise d'une part à comprendre le mécanisme de production de ces transitoires sous la glace, et d'autre part à évaluer leur potentiel comme moyen d'observation de la dynamique de la glace de mer. / The Arctic sea ice melting, in the global warming context, has become a major scientific topic during the last 30 years. The Arctic Ocean plays a fundamental role in the global climate balance and requires a particular attention. The Arctic Regions are then monitored by satellite observations and in-situ measurements. The climatic impact of the total melting of the Arctic sea ice is not yet understood and researches are still needed for long term monitoring of Arctic Ocean, particularly the dynamics of the ice cover and its consequences on the ecosystems. Our work focused on the natural soundscapes of these Polar Regions prior to their possible industrialization. So, we first examined the impact of climate warming alone on polar soundscapes by studying the seasonal variability of ambient noise and its environmental drivers. We then developed an ambient noise estimation algorithm for automatic extraction of this noise component from long term measurements. In second, we examined the acoustic transients generated by the mechanical behavior of the ice cover at its maximum extent. This aims to better understanding of the physical processes involved in under-ice noise production and their potential use for sea ice monitoring.

No description available.

Submitted by Cássia Santos (cassia.bcufg@gmail.com) on 2017-05-30T11:39:10Z No. of bitstreams: 2 Dissertação - Rodrigo Candido Invernizzi - 2017.pdf: 3587342 bytes, checksum: e5155b3e6300c865d7d57f2eed54cdc5 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Approved for entry into archive by Luciana Ferreira (lucgeral@gmail.com) on 2017-05-30T15:57:09Z (GMT) No. of bitstreams: 2 Dissertação - Rodrigo Candido Invernizzi - 2017.pdf: 3587342 bytes, checksum: e5155b3e6300c865d7d57f2eed54cdc5 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Made available in DSpace on 2017-05-30T15:57:10Z (GMT). No. of bitstreams: 2 Dissertação - Rodrigo Candido Invernizzi - 2017.pdf: 3587342 bytes, checksum: e5155b3e6300c865d7d57f2eed54cdc5 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Previous issue date: 2017-03-30 / Fundação de Amparo à Pesquisa do Estado de Goiás - FAPEG / The dissertation in question aims at a look at rock and roll with a focus on the listener and on the possible auditory sensations and brain connections occasioned at the moment when the music reaches the receiver. Based on the theoretical discussion about the possibilities of analyzing a work, based on Imbert (1987), we seek to understand where such a fascination for rock and roll comes from, especially the work Rock around the clock (understood here as the music that inaugurates the rock and roll genre). The work methodology consisted of a bibliographical review aiming to contribute with analyzes about the musical genre studied. In order to do so, we initially used the analytical approaches systematized by Imbert (1987), and then, in a second moment, to focus on the analysis of the reception, by the jakobsonian model, of the cultural industry and the imaginary. Finally, we observed the act of fruition, which involved diving into the field of acoustics and psychoacoustics, based on Schafer (1977). It was verified that: the function, the meanings and the feelings attributed to the music also arise from the biological conditions and not only from the socio-cultural references of the artist. In addition, both the acoustic context and the soundscape play important roles in the construction of musical reception theory. Finally, it is suggested the comprehensiveness of the analyzes about rock and roll and the receiver of this musical genre. / A dissertação em questão visa um olhar sobre o rock and roll com foco no ouvinte e nas possíveis sensações auditivas e conexões cerebrais ocasionados no momento em que a música atinge o receptor. A partir da discussão teórica a respeito das possibilidades de análise de uma obra, baseando em Imbert (1987), buscamos entender de onde vem tamanha fascinação pelo rock and roll, em especial pela obra Rock around the clock (entendida aqui como a música que inaugura o gênero rock and roll). A metodologia do trabalho consistiu em revisão bibliográfica com vistas a contribuir com análises a cerca do gênero musical estudado. Para tanto, inicialmente, foram utilizados as abordagens analíticas sistematizadas por Imbert (1987), para posteriormente, em um segundo momento, concentrar na análise da recepção, pelo modelo jakobsoniano, da indústria cultural e do imaginário. Por fim observou-se o ato de fruição, que implicou em mergulhar no campo da acústica e da psicoacústica tendo como base Schafer (1977). Constatou-se que: a função, os significados e os sentidos atribuídos à música brotam também das condições biológicas e não apenas das referências sócio-culturais do fruidor. Além disso, tanto o contexto acústico quanto a paisagem sonora exercem papeis relevantes na construção da teoria da recepção musical. Por fim, sugere-se a abrangência das análises a cerca do rock and roll e do receptor desse gênero musical.