Submitted by Geandra Rodrigues (geandrar@gmail.com) on 2018-09-04T12:58:08Z No. of bitstreams: 1 guilhermevallelouresbrandao.pdf: 12401220 bytes, checksum: 9bc0af060b36cbc30fae487ed61aa6cd (MD5) / Approved for entry into archive by Adriana Oliveira (adriana.oliveira@ufjf.edu.br) on 2018-09-04T13:24:55Z (GMT) No. of bitstreams: 1 guilhermevallelouresbrandao.pdf: 12401220 bytes, checksum: 9bc0af060b36cbc30fae487ed61aa6cd (MD5) / Made available in DSpace on 2018-09-04T13:24:55Z (GMT). No. of bitstreams: 1 guilhermevallelouresbrandao.pdf: 12401220 bytes, checksum: 9bc0af060b36cbc30fae487ed61aa6cd (MD5) Previous issue date: 2018-03-28 / A ambiência acústica dos lugares é fator preponderante para o adequado desempenho laboral, intelectual ou simplesmente vivencial do ser humano. O local de vivência, se possuir fatores que potencializam a percepção da ambiência acústica, tais como ruído de tráfego, pode causar estresse fisiológico, contribuindo para uma avaliação qualitativa desfavorável do espaço urbano. O objeto de estudo desta pesquisa é o conjunto de características acústicas inerentes às linhas ferroviárias, que se materializam no espaço segundo esses preceitos e os irradiam ao entorno. A presença dessas linhas na malha urbana da cidade de Juiz de Fora – MG – influi diretamente na produção do espaço e direciona vetores de crescimento e valoração do solo, representando um importante aspecto a ser considerado nas políticas de produção da cidade. Este trabalho tem por objetivo identificar as características acústicas ao longo das linhas ferroviárias e suas especificidades, propondo alternativas para mitigação dos problemas verificados nas áreas adjacentes. O recorte desta pesquisa, que se insere no campo da acústica ambiental, se dá pela delimitação de estudo das características acústicas das linhas férreas, focando nas características sonoras das áreas habitadas lindeiras à faixa de domínio na malha urbana de Juiz de Fora. Com relação à metodologia de desenvolvimento, utiliza-se a Revisão Sistemática de Literatura – RSL – para definição do arcabouço teórico referencial e, para realização do estudo de caso, utiliza-se a metodologia proposta pelos referenciais normativos, através de medições in loco. O trabalho se desenvolve em seis capítulos que englobam os conhecimentos necessários à sua realização, focando na aplicação dos conceitos ao ambiente ferroviário. As análises realizadas demonstram que o ambiente acústico ao longo da linha ferroviária é drasticamente impactado pela passagem das composições, provocando o aumento do nível de ruído equivalente para além dos parâmetros normativos de conforto. A partir da situação existente, propõe-se a implantação de um misto de dispositivos convencionais e não convencionais para a redução do ruído, focando em soluções que mantenham permeabilidade visual e busquem reduzir a segregação espacial, gerando resultados que podem ser replicados em outras áreas urbanas, tanto na cidade de Juiz de Fora quanto em outras cidades. Conclui-se que a utilização dos dispositivos de proteção auxilia consideravelmente na redução do nível de pressão sonora equivalente nas áreas lindeiras, entretanto, percebe-se que é necessário o atendimento das edificações do entorno às normas construtivas para mitigação mais eficaz do problema. / Acoustic ambience is a predominant factor for adequate performance levels of work, intellect or simply experiential tasks for human beings. The vivency place itself, when possessing factors that enhance the acoustic ambience perception such as traffic noise can cause physiological stress, contributing to an unfavorable qualitative assessment of the urban space. This research’s object of study is the set of acoustic characteristics inherent to the railway lines, which materialize in space according to these precepts and radiate towards the surroundings. The presence of these railways in the Juiz de Fora city – MG – urban network directly influences the spatial production and directs land growth and valuation vectors, representing an important aspect to be considered in the city's production policies. This work aims to identify the acoustic characteristics along the railway lines and their specificities, proposing alternatives to mitigate problems observed its adjacent areas. The research clipping, which is inserted in the environmental acoustics’ field, is given by binding the study to the railway lines acoustic characteristics, focusing on the inhabited areas neighboring to the railway’s domain range sound characteristics in the Juiz de Fora city’s urban mesh. Regarding the development methodology, the systematic revision of literature method– RSL – is used to define the reference theoretical framework and, to carry out the case study, the methodology proposed by the current normative references is used, through on-the-spot measurements. The work develops in six chapters that encompass the knowledge necessary for its realization, focusing on the concept application to the railway environment. The analyses performed shows that the acoustic environment along the railway line is drastically impacted by the rail compositions passages, causing an increase in the equivalent noise level beyond the normative comfort parameters. From the existing situation, it is proposed to implement a mixture of conventional and non-conventional devices for noise reduction, focusing on solutions that maintain visual permeability and seek to reduce spatial segregation, generating results that can be replicated in other urban areas, both in Juiz de Fora and other cities. It is concluded that using protection devices greatly assists in reducing the equivalent sound pressure levels in the railway’s neighboring areas. However, it is understood that it is necessary for the surrounding buildings to meet the constructive norms for a more effective problem mitigation.

這是一個結合音樂創作專輯和現場展演（火車音樂會）的作品，探討城市之間旅途的往返和時空的轉換，創作過程同時也是尋找「自我」的過程。 專輯發想於我多年來在揚州、北京和台北三地之間往返的移動經歷。十四首曲目通過「出發」「海島」「都市」「歸家」這樣的線索串連，其中也將收錄城市不同角落的聲景，期盼透過作品，讓聽眾思考心目中城市的樣貌，也藉由出發找到自我。展演的部分的是由火車音樂會構成，將音樂表演安排在區間車車廂內舉行，試圖將聽眾們帶回我最初創作歌曲的場景，更好地感受我的音樂創作。 本創作論述提供創作的背景與動機，關於城市、空間、民謠的歷史的文獻探討和其他作品討論，以及專輯和火車音樂會的創作內容說明，觀眾回饋。最後附上結論與參考文獻，構成共五章的創作論述。 / Between Cities is a comprehensive work which combines music album and live show(train concert). It intends to discuss the journeys between cities and time-space transposition. Also, the process of creation is a process of finding myself. Inspired by the travel experience among Yangzhou, Beijing and Taipei over the years, the music album contains 14 tracks through a clue of “Departures” “The island” “Cities” and  “Homecoming”. It also records soundscapes of different cities’ corners. I hope these songs can let the audience think about the appearance of their imaginative cities and find themselves by starting from somewhere. Consisting of music performance which is arranged in train cabin, the train concert intends to bring the audience back to my original scene of songwriting and make them learn my songs more deeply. The thesis declares my motives and songwriting background of this creation in the first part. It then reviews the literary writings about cities, space, folk history and other songwriters’ artworks. In the third and fourth part, I explain all the treatment of my album and train concert, including the audience feedback. Adding on the conclusion and reference, working records above become a five-chapter thesis in the end.

The development of effective management plans for animal populations relies on an understanding of how the population is utilizing the habitat as well as the identification of any critical habitat areas. The St. Johns River (SJR), an urban estuary with a high level of anthropogenic disturbance, is home to a resident population of bottlenose dolphins (Tursiops truncatus). In chapter one, SJR dolphin habitat use patterns, the factors that influenced these patterns, and the critical habitat areas were identified. Significant associations were found in most pair-wise comparisons between season, behavioral state, group size, water depth, and location, indicating that the overall habitat use patterns of SJR dolphins were influenced by complex interactions among these variables. Additionally, two critical habitat areas were identified. Both critical habitats had high levels of anthropogenic activity and the SJR will undergo further development during the Jacksonville Port expansion project. In conjunction with increasing levels of activity, anthropogenic sound can have numerous effects on cetaceans including the masking of signals, alterations in behavior, abandonment of critical habitats, and physiological stress. In chapter two, the soundscape of the SJR was characterized to evaluate the potential impacts of anthropogenic sound on SJR dolphins. Sound levels in the SJR were consistently high and anthropogenic sound was pervasive throughout the river. Therefore, the dolphins in the SJR are at risk of experiencing long-term behavioral and physiological stress due to anthropogenic sound. Together, this work provides valuable knowledge about dolphin habitat use and the soundscape ecology of an urbanized estuary that will enable more informed management decisions and hopefully lead to more effective conservation practices.

Avec l’actuelle crise de la biodiversité, nos modes de vie de plus en plus urbains diminuent nos opportunités d’expériences de nature. Cependant, une relation intime avec la nature a de nombreux bénéfices, que ce soit pour le bien être individuel, la santé ou la restauration de l’attention, mais aussi les enjeux environnementaux. De nombreuses recherches ont exploré le degré auquel les citoyens se sentent faire partie du monde naturel, et se sont ainsi intéressées plus récemment à l’importance de reconnecter les citoyens – en particulier urbains – à la nature et aux enjeux de conservation, à travers les expériences de nature. Au travers de ce travail de thèse, nous avons exploré si les zoos pourraient participer à une telle reconnexion. Pour cela, une approche interdisciplinaire a été adoptée, avec des concepts et méthodes issus de la biologie de la conservation, de l’anthropologie, de la psychologie sociale et psychologie de la conservation, de la psycho acoustique, et de l’économie environnementale. Nous avons tout d’abord exploré si les zoos étaient considérés comme des espaces de nature. Puis, nous nous sommes intéressés plus particulièrement à la perception de la nature dans le zoo, d’un point de vue visuel et sonore. L’analyse comparative entre des visiteurs de zoos et des utilisateurs de parcs urbains nous a permis d’explorer l’impact de la visite au zoo sur le sentiment de connexion à la nature et sur les attitudes envers la conservation. Enfin, nous nous sommes intéressés aux comportements pro-conservation au zoo, au travers de l’analyse du choix de l’animal et du montant de la donation chez des participants à un programme de parrainage d’un animal au zoo.Ce travail démontre que même si le zoo est considéré et utilisé comme un espace de nature, il n’affecte pas le sentiment de connexion à la nature des visiteurs. Cependant, en comparaison à une visite d’un parc urbain, la visite au zoo a le potentiel de promouvoir les attitudes envers la conservation, au travers de la connexion à la nature. De plus, même au zoo, si l’accent est largement mis sur les espèces captives, exotiques, les visiteurs semblent aussi percevoir la biodiversité urbaine. Néanmoins, à l’inverse des attitudes pour la conservation, il reste incertain que le zoo promulgue les comportements pro-conservation. Pour conclure, ce projet de thèse a mis en évidence que dans le processus de reconnexion des citoyens à la nature et aux enjeux de conservation, les zoos offrent indubitablement un type d’expérience de nature aux citoyens urbains, qui devrait être pris en considération au même titre que d’autres types d’expériences de nature (e.g. forêts), notamment puisque les zoos sont des institutions qui accueillent une très large et diverse proportion de la population dans le monde. / With the on-going biodiversity crisis, growing urban lifestyles decrease opportunities to experience nature. However, an intimate relationship with nature has various benefits, for individual well-being, health or attention restoration, but also for environmental issues. Much research effort explored the extent to which people feel being part of the natural world, and thus focused more recently on the importance of reconnecting people – especially urban dwellers – with nature and conservation issues, through experiences of nature. In this work, we investigated whether zoos could participate in such reconnection. We used an interdisciplinary approach, with concepts and methods from conservation biology, anthropology, social and conservation psychology, psychoacoustics, and ecological economics. We first explored whether zoos were considered as natural places. Then, we looked more closely at people’s perception of nature at the zoo, from both visual and auditory perspectives. Comparative analysis between zoo visitors and urban park users allowed us investigate the impact of the zoo visit on sense of connection to nature and conservation attitudes. Finally, we focused on pro-conservation behaviors at the zoo through the analysis of animal choice and amount of donations of participants to an animal adoption program at the zoo. This work demonstrates that although the zoo is considered and used as a natural place, it does not affect sense of connection to nature. However, compared to a visit to an urban green park, the zoo visit has the potential to raise conservation attitudes, through connectedness to nature. Additionally, despite an emphasis on captive, exotic species at the zoo, visitors also seemed to perceive urban wildlife. Nevertheless, unlike conservation attitudes, the contribution of the zoo in enhancing pro-conservation behaviors remains doubtful. To conclude, this PhD project highlighted that in the process of reconnecting people to nature and conservation issues, zoos undoubtedly provide one type of experience of nature to urban dwellers, that should be considered along with other types of experiences of nature, e.g. woodlands, especially because zoos are institutions that target a very large and diverse part of the population, worldwide.

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.

Split Soundscape est un projet artistique d’installation sonore inspiré par les notions de paysage sonore et de schizophonie introduites par le compositeur R. Murray Schafer. Ce projet artistique propose la reconstitution de l’espace sonore en temps réel par un double dispositif : des microphones disposés dans un territoire captent et transmettent leur environnement sonore par internet en temps réel (technique du streaming). Dans un espace d’exposition dédié à l’écoute, des haut-parleurs diffusent les sons transmis et construisent un espace nouveau.La recherche interroge la notion d’espace dans sa définition géographique, sociale et philosophique. La notion de paysage sonore est définie, remise en question, et mise en perspective par l’archéologie sonore et l’espace sonore dans sa dimension sociale, deux notions qui nous amènent à considérer l’écoute comme centrale dans la réception et la construction du paysage sonore. La notion de schizophonie (la séparation d’un son originel de sa reproduction), est définie et mise en perspective avec celle d’objet sonore et comme avatar de la reproductibilité technique.Le travail artistique est situé dans le champ de la création sonore et contemporaine, et particulièrement dans son rapport aux notions de flux, d’indéterminisme et de composition. Dans le contexte du doctorat « pratique et théorie », l’aspect pratique de la recherche est évoqué, et l’évolution du projet plastique est présentée à travers des expérimentations inspirées de la recherche théorique. / Split Soundscape is a practice based research project that revisits the concepts of Soundscape and Schizophonia originally introduced by the composer R. Murray Schafer. The artistic practice consists of a series of sound installations that focus on the reconstitution of sound space in real time. A number of “Open” microphones located in given territories are employed to transmit the local sonic environment via the internet in real time (using audio streaming technologies). A new soundscape is composed from these transmitted soundscapes and played through loudspeakers in a dedicated (exhibition) listening space. The theoretical research investigates geographical, sociological and philosophical definitions of space. The concept of soundscape as defined by Schafer is called into question and reconsidered from the perspective of sound archeology and as a social construct. This in turn, leads to the positioning of listening as being central in the construction of soundscape. The notion of Schizophonia (the separation of an original sound from his technical reproduction) is examined in detail and compared with Pierre Schaeffer’s definition of the sound object or objet sonore as an alternative consequence of mechanical reproduction. The artistic practice is contextualized in relation to the field of contemporary sound art and more specifically the concepts of flux, indeterminism in composition. The tools developed to facilitate the practice are described, and the evolution of the art project is presented as a succession of experiments informed by the academic research.

Detta kandidatarbete undersöker ljudbilder i film och vad som påverkar ljudbildens mättnad. Med stort fokus på Walter Murchs Dense Clarity, Clear Density (2005) bryter vi ner uppbyggnaden av en ljudbild för att få bättre förståelse kring detta. Med en egenframtagen analysmetod som fokuserar på filmers ljudbild analyserar vi scener ifrån flertalet filmer och tv-program, hittar mönster kring deras ljudläggning och hur det påverkar ljudbilden. Därefter bygger vi upp en lista med förhållningspunkter för olika typer av ljudbilder. Resultatet av undersökningen blir en förklaring av hur man uppnår olika former av ljudbilder i film och varför det blir så.

I Stockholm pratades det om klubbdöden under 2019 eftersom flera högljudda kulturaktiviteter behövt stänga i innerstaden. Den huvudsakliga anledningen var konflikter mellan boende och kulturaktiviteter om bullerstörningar som naturligt uppstår när människor ska bo, verka och leva i en tät blandstadsmiljö. I Slakthusområdet ska denna problematik bemötas för att bli en nöjes- och evenemangsknutpunkt tillsammans med höga målsättningar om bostadsbyggande i blandstad. Den tidigare forskningen visar på att god ljudmiljö är mer komplext än endast reduceringen av önskade ljud utefter mätbara decibel. I Kulturkvarteren möts förståelsen av god ljudmiljö och blandstaden vid planeringen av högljudda kulturaktiviteter och utgör därför fallet i denna studie. I form av en kvalitativ innehållsanalys studerades planeringens förutsättningar, intentioner och åtgärder för att svara på om god ljudmiljö och blandstad är förenligt vid planeringen av högljudda kulturaktiviteter. För att studera det tillämpades teorin om ljud som en resurs och ljud som oönskat buller tillsammans med teorier om vad som utgör blandstaden. Dokumentstudier innefattade Slakthusområdets planprogram och Kulturkvarterens olika plandokument. Övergripande dokument från myndigheter studerades också för att skapa en större förståelse för planeringens förutsättningar. Intervjuer utförde med en planarkitekt, miljöutredare, nationell bullersamordnare, jurist och akustiker på Boverket, Naturvårdsverket, Miljöförvaltningen och Stockholms stad. Resultaten visar på att, i Kulturkvarteren, har ett defensivt förhållningssätt utgåtts ifrån där kulturaktiviteters ljudnivåer begränsas för att möjliggöra blandstadskvaliteteter. Möjliggörandet av en större variation i funktioner, människor och aktiviteter på den lilla skalan underbygger planeringens intentioner och åtgärder för en ljudmiljö där ljudkällor ska vara i balans med varandra för att inte maskera andra ljud. Bostadens riktvärden för ljud är den centrala faktorn i förutsättningarna för ljudmiljön i blandstaden och planeringens intentioner för den urbana ljudmiljön kunde därför ses som en funktion av bulleråtgärder snarare än direkta intentioner och åtgärder. Planeringen av kulturaktiviteter innebar därför inte en god ljudmiljö där högre kulturella ljud konsolideras i blandstadsmiljön utefter ljudets mening och sociokulturella kontext. Kulturkvarteren som en plats där högre kulturellt ljud görs möjligare, i högre grad, än i resten av innerstaden kunde därför ifrågasättas. Förenligheten i god ljudmiljö och blandstad vid planeringen av högljudda kulturaktivitet i Kulturkvarteren är hög i många aspekter. Högre ljudnivåer i lokaler möjliggörs och en god ljudmiljö utomhus och i bostäder säkerställs baserat på effekten på människors fysiologiska hälsa. Det förutsätter däremot en förståelse av god ljudmiljö som tystare där högre ljud, oberoende av dess subjektiva uppskattning, ska reduceras eller kontrolleras. Förenligheten i god ljudmiljö och blandstad är därför kontextuell. Högre ljudnivåer som en resurs kan innebär goda ljudkvaliteter utifrån platsens sociokulturella aspekt och ljudets mening men det är mindre förenligt med blandstaden på grund av riktvärdenas tillämpning men även planeringen intentioner för blandstadskvaliteter på den lilla skalan. Möjliggörandet av högre kulturljud i Kulturkvarteren innebar en reglering som säkerställer att riktvärden inte överstigs och inte att högre ljudnivåer möjliggörs i den urbana miljön. Jag anser därför att god ljudmiljö måste lyftas i bredare mening för att möjliggöra en större variation av ljudmiljöer som kan skapa platser i innerstaden för de kulturaktiviteter som inte ryms under riktvärdenas mätbarhet men som tillför andra goda ljudkvaliteteter. / In Stockholm, there was a discussion about the death of clubs in 2019 due to the closure of several vibrant cultural activities in the city centre. The main reason behind this was conflicts between residents and cultural activities regarding noise disturbances that naturally occur when people live, work, and coexist in a densely populated urban environment. In the Slakthusområdet area, efforts are being made to address this issue and transform it into a hub for entertainment and events, while also setting ambitious goals for mixed-use residential development. Previous research indicates that a good sound environment is more complex than simply reducing the desired sounds based on measurable decibels. In one of Slakthusområdets areas, Kulturkvarteren, the understanding of a good sound environment meets mixed-use urban development when planning for loud cultural activities, thereby making it the case of the study. Using a qualitative content analysis approach, this study examines the conditions, intentions, and measures taken in the planning process to determine whether a good sound environment and mixed-use urban development are compatible when planning for loud cultural activities. To study this, a theoretical framework consisting of sound as a resource and sound as unwanted noise was applied. This was then studied by applying theory regarding what constitutes the mixed-use city. The study involved examining documents such as the Slakthusområdet's master plan and various planning documents related to the Kulturkvarteren. Additionally, overarching documents from relevant authorities were also studied to gain a better understanding of the planning conditions. Interviews were conducted with a planning architect, environmental assessor, national noise coordinator, lawyer, and acoustician from Boverket, Naturvårdsverket, Miljöförvaltningen, and the City of Stockholm.  The findings demonstrate that, in Kulturkvarteren, a defensive approach has been taken, wherein the sound levels of cultural activities are limited to enable mixed-use qualities. Facilitating a greater variety of functions, people, and activities on a small scale supports the intentions and measures of the planning process aimed at achieving a sound environment where sound sources are balanced to avoid masking other sounds. The residential sound standards serve as a pivotal factor in shaping the acoustic conditions in the mixed-use city, and the planning intentions for the urban sound environment can therefore be viewed as a function of noise control rather than direct intentions and measures. Consequently, the planning of cultural activities does not result in a good sound environment where higher cultural sounds are integrated into the mixed-use environment based on the meaning of sound and sociocultural context. Therefore, the notion of the Kulturkvarteren as a place where higher cultural noise levels are enabled compared to the rest of the city could be subject to scrutiny. The compatibility between a good sound environment and mixed-use in the planning of loud cultural activities in Kulturkvarteren is favourable in several aspects. Higher sound levels indoors are made possible, and a favourable sound environment is ensured outdoors and in residential areas based on the impact on people's physiological well-being. However, this presupposes an understanding of a good sound environment as being quieter, where higher sounds, regardless of their subjective appreciation, should be reduced or controlled. Therefore, the compatibility between a good sound environment and mixed-use is context dependent. Higher sound levels, as a resource, may provide favourable sound qualities based on the sociocultural aspect of the location and the meaning of sound. However, it is less compatible with the mixed-use city due to the application of sound standards and the planning intentions for mixed-use qualities on a small scale. The facilitation of higher cultural sounds in the Kulturkvarteren entailed regulation to ensure that sound standards are not exceeded, rather than enabling higher sound levels in the urban environment. Hence, I argue that a broader understanding of a good sound environment is necessary to allow for a greater variety of sound environments that can create spaces in the city centre for cultural activities that fall outside the scope of measurable sound standards but contribute to other favourable sound qualities.

This thesis studies the soundscapes of five different urban courtyards in Västerås, Sweden and presents suggestions on how to improve them. Due to the increasing urbanization there is now an increased need for housing in cities, this leads to buildings that are close to both other buildings, roads and noise emitting activities. On the grounds of that there is now a higher amount of effort required to make urban courtyards a somewhat quiet and tranquil space. The need for such a courtyard is due to the negative health effects connected to a bad soundscape. Noise pollution can lead to both hearing loss and cardio-vascular diseases. The study was done by first conducting a research of the scientific literature about the subject and then making measurements and observations at the courtyards. The soundscapes of the studied courtyards ranged from annoying to pleasing and comfortable. The sound levels measured from 46 to 57 dBA, this difference of 11 dBA is perceived as about twice as loud by the human ear. To solve the issue with noise pollution we suggest a variety of solutions to the different courtyards. These mainly include noise barriers, green walls and roof, vegetation and sound masking techniques. The main conclusions are that even the best performing courtyard could be acoustically enhanced and that solutions that employ vegetation both reduce the sound level and introduce natural sounds that are pleasing to most humans.

[pt] O som e o silêncio, como elementos constitutivos do cinema, têm sido atravessados por diferentes mudanças tecnológicas no decorrer de sua história. Cada modificação alterou de certa forma os seus modos de realização e de escuta, transformando também as próprias estruturas da indústria cinematográfica. Atualmente, devido à passagem da tecnologia analógica para a digital, características como: o considerável aumento de faixas de áudio para captura e edição simultânea, maior facilidade na manipulação das ondas sonoras capturadas, o desenvolvimento eletroacústico das salas de cinema e sistemas de produção particular, entre outros, sugerem a impressão de um incremento sensitivo nas produções cinematográficas recentes, revelando uma notoriedade acentuada nos ruídos e, principalmente, no silêncio e em seu potencial efeito dramático. O objetivo desta pesquisa é, portanto, analisar as diferentes propriedades que pode presentar o silêncio como efeito sonoro dentro do cinema contemporâneo brasileiro e colombiano. O estudo deste fenômeno acústico, como elemento da linguagem cinematográfica, estará baseado em pesquisas anteriores sobre o som e o silêncio no audiovisual e em produções realizadas principalmente no século XXI, procurando reflexionar sobre o silêncio no cinema dentro da era digital. / [en] Sound and silence, as constituent elements of cinema, have been crossed by diferent technological changes throughout its history. Each modification has altered its ways of realization and listening to some extent, also transforming the very structures of the film industry. Currently, due to the transition from analogue to digital technology, features such as: the considerable increase in audio tracks for simultaneous capture and editing, greater ease in handling captures sound waves, the electroacoustic development of movie theaters and private productions systems, among others, they suggest the impression of a sensory increase in recent cinematographic productions, revealing a marked notoriety in noise and, mainly, in silence and its potential dramatic effect. The objective of this research is, therefore, to analyze the different properties that silence can present as a sound effect within contemporary Brazilian and Colombian cinema. The study of this acoustic phenomenon, as an element of cinematographic language, will be based on previous research on sound and silence in audiovisual and on productions executed mainly in the 21st century, seeking to reflect on silence in cinema within the digital age.