A intenção desta tese é sugerir um método avaliativo, cujo índice de desempenho venha ao encontro dos indicadores da cognição de lugares, e por fim qualifique a paisagem sonora de espaços vivenciados. Pois, entende-se que a qualidade ambiental acústica dos lugares pode ser quantificada a fim de facilitar o seu entendimento. Nesse ideário, este trabalho visou, estabelecer a interação dos fatores perceptivos do usuário com os atributos físicos da paisagem sonora relacionando-os segundo o referencial teórico: soundscape. Defendeu-se que a qualidade sonora das ambiências urbanas seja resultado da avaliação da inerência acústica da envoltória ambiental do espaço vivenciado. Buscou-se, nesse sentido, parâmetros que a fizessem mensurável, para apreender a empatia ou a repulsa às ambiências sonoras de certos locais, ou seja, a aceitação ou a recusa de suas características acústicas intrínsecas e perceptivas. O método avaliativo foi aplicado nas ambiências acústicas do campus sede da UEM, e foi balizado com a análise estatística multivariada de critérios de desempenho acústico qualitativos e quantitativos. Foram determinados todos os atributos e, valorados com a finalidade de determinar o ranking das ambiências estudadas. Finalmente, conseguiu-se as áreas qualificadas e hierarquizadas que podem auxiliar em uma tomada de decisão para futuras adequações do plano diretor do campus sede, fato que, possivelmente, norteará também adequações dos outros sete campi da UEM. Assim, através da metodologia proposta avaliou-se a qualidade acústica de parte do campus sede da Universidade Estadual de Maringá UEM, como também, validou-se a exequibilidade do método. Entendeu-se que o espaço de um campus universitário deva proporcionar ambiências sonoras de qualidade para a tríade pedagógica: ensino, pesquisa e extensão. Portanto, esta pesquisa justifica-se, pois, vem ao encontro dessa necessidade, haja visto que a ambientação sonora dos lugares de trabalho é extremamente importante ao desempenho e a vivência de qualidade. Abre-se uma porta que identifica o potencial de verificação da paisagem sonora como norteador para o planejamento espacial urbano, além de ajudar na compreensão de como as cidades e os seus lugares satisfazem, ou não a expectativa de seus habitantes. / The intention of this thesis is to suggest an evaluation method, where performance index must meet the indicators of cognition places, and finally qualify the soundscape of experienced spaces. Therefore, it is understood that the acoustic environmental quality of the places can be quantified in order to facilitate their understanding. In this ideology, this work aims to establish the interaction of perceptual user factors with the physical attributes of soundscape relating them according to the theoretical framework: soundscape.It was argued that the sound quality of urban ambiance is a result of evaluation of acoustic inherent environmental envelope of the experienced space. Looking for this direction, parameters that made measurable, to learn empathy or disgust to sound ambiences of certain sites, or the acceptance or refusal of their intrinsic perceptual and acoustic characteristics. It was proposed that the evaluation method is applied to the acoustic ambiance of the campus headquarters of UEM is based on multivariate statistical analysis of qualitative and quantitative acoustic performance criteria. Thus, all the attributes were determined and rated for the purpose of determining the ranking of the studied ambiences. Finally, they were qualified and prioritized areas that may assist in a decision-making for future adjustments of the master plan of the campus headquarters, a fact that possibly also will guide adjustments of seven other campuses of UEM. Thus, through the proposed methodology evaluated the acoustical quality of the headquarters campus of the State University of Maringa - UEM, but also validated to the feasibility of the method. It is understood that the area of a university campus should provide ambiance sound quality for pedagogical triad: teaching, research and extension. Therefore, this research is justified once it meets this need, due to the fact that the sound ambience of workplaces is extremely important to the performance and the experience of quality. A door that identifies the potential to check the soundscape as a guide for urban spatial planning it opens and helps in understanding how cities and their seats meet or not the expectations of its inhabitants.

L’écriture et la lecture sont les deux espaces, visuel le premier et auditif le deuxième, qui représentent les coordonnées sur lesquelles Calvino construit son univers de signes : l’œil et l’oreille. Ce sont les deux fonctions, sensorielles et mentales, qui permettent la transmission d’un savoir, d’un message, même en l’absence de celui qui « parle ». C’est là la raison, pouvons-nous supposer, de l’importance que l’écrivain a accordée à la fonction de l’écoute, outre, évidemment, celle qu’il conférait à la vue. Dans notre analyse de la poétique de l’écoute dans l’œuvre d’Italo Calvino, nous avons essayé de montrer en quoi consiste la particularité de son oreille. Comme pour la vue, Calvino applique pour l’ouïe une méthode personnelle de connaissance : car c’est toujours le sujet, le « moi » avec tous ses organes de perception qui nous permet de nous rapprocher du monde extérieur et de sonder notre esprit. Calvino a dès lors construit un univers de sons très particulier étant donné que cet univers sonore vient de son monde à lui, de sa propre expérience et surtout de sa façon d’entrer en relation avec le monde : or cela n’est jamais définitif, et même toujours problématique. C’est là la manière propre à celui qui refuse les dogmes et les écoles, qui sait bien qu’une seule réponse ou une seule vérité est impossible, mais qui ne peut s’empêcher de continuer à sonder l’univers réel ou fictionnel [celui de la vie comme celui de la page], même si au terme de sa recherche, le résultat est toujours le cercle vide, l’espace blanc de la page. Cela explique aussi les différentes modalités que la fonction de l’écoute a eues dans le parcours personnel et littéraire de Calvino. / Reading and writing are the two spaces, the former visual and the latter auditory, representing the co-ordinates on which Italo Calvino constructed his universe of signs: the eye and the ear. They are the two sensory and mental functions permitting the transmission of knowledge, of a message, even in absence of the one “speaking”. We may assume that this is the reason why the writer has given such importance to the pretence of listening, obviously in addition to that attributed to sight. In our analysis of the poetics of listening in the work of Italo Calvino, we have attempted to show what made up the specificity of his ear. Just as for sight, Calvino applied a personal method of understanding to hearing: it is always the subject, the “I”, with all his organs of perception, who allows us to approach the external world and probe our own mind. Thus Calvino constructed a universe of very special sounds, as that sound-universe derived f! rom his personal world, from his personal experience, and above all from his way of relating to the external world: all this is never definitive and is also problematic as well. This is the specific method of one who rejects dogmas and schools, but cannot refrain from probing the real and fictional universe [both the one relating to life and that on the written page], even if at the end of the search, the result is always an empty circle, black space on a page. This also explains the various patterns that the listening function has taken on in the personal and literary journey of Italo Calvino.

The purpose of the thesis is to investigate how sound creates distinct, cognitive and spatial entities, sound spaces, and to find out how sound spaces constitute forms of human interaction. A further aim is to establish concepts used when studying sound spaces, thus contributing to a Swedish terminology for describing and analysing sound and sound spaces.   The analysis follows a hermeneutic spiral, alternating between inductive and deductive methodology, between the individual and the general. Conclusions are transferred from Istanbul to a broader level; to people in general. Forms of representation are developed by composing an exposition of pictures, maps, graphs, notes and links to acoustic files, alongside the written account. The study is based on well-established music and acoustic terminology. Terms that are used in the thesis are explained in information boxes. Altogether, this constitutes an attempt to build a comprehensive cultural analytical vocabulary to describe in text what a sound space sounds like. The study shows how sound has much to tell about the lived life in a large city, here represented by sound spaces in Istanbul. Sound is greatly significant in people’s lives. Sound spaces can be regarded as arenas for communication between people and are included in a world of sound containing interaction and crucial information. By investigating and bringing attention to spaces of sound that are shaped by their users in such places as urban environments, insights are won concerning the significance of everyday life in the city environment. With emphasis on the importance of sound, the interconnection between the subjective and the objective world of sounds is studied, contributing to enhance the understanding of how the world functions through sounds. The sound spaces of Istanbul are the sounds of a metropolis, which means that the study not only portrays and analyses sound spaces in general, but stresses metropolis sound spaces, and conditions for listening, being heard and communicating in large cities.  The study contributes to bringing attention to and clarifying the knowledge that can be extracted by recognising the value of sound and listening in the research of cultural studies.

Orientador: Denise Hortencia Lopes Garcia / Acompanha manual de software Pro Tools versão free 5.0.1 para crianças / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-07T12:05:03Z (GMT). No. of bitstreams: 1 Santos_FatimaCarneirodos_D.pdf: 1640324 bytes, checksum: 375b0b454d0aedb8dcc5ef0466bc042f (MD5) Previous issue date: 2006 / Resumo: Ao longo do século XX, elementos como o ruído e o silêncio vêm reformular e colocar em questão a noção de música, revelando uma realidade musical cada vez mais aberta a sonoridades até então consideradas não-musicais. Tal realidade opera um alto grau de mobilidade, na qual os limites entre música e não-música tornam-se cada vez mais indiscerníveis, instaurando-se, assim, novas poéticas musicais. Esta realidade encontra ressonância na própria imagem de mundo que começa a se desvelar nas últimas décadas, diferente daquela dada por um pensamento cartesiano e fragmentário, que regeu o pensamento humano até recentemente. No decorrer do século XX, percebe-se a configuração de uma consciência da existência de um mundo, no qual, segundo a ótica de Deleuze e Guattari, tudo está em devir, possibilitando uma imagem de mundo que se dá por intensas conexões e transformações, revelando sempre um ' caminho de incertezas'. Tal situação aponta para a possibilidade de se pensar uma educação musical que leva em conta outras sonoridades e outros fazeres musicais, e que opera, basicamente, através da criação, entendendo o ato de criação enquanto um ato de resistência, que faz proliferar diferenças, condição fundamental para a atualização de outras idéias de música. Neste sentido, este estudo se propõe a pensar e desenvolver uma proposta de criação musical com crianças, tendo em vista uma idéia de educação musical que não apenas discrimina e escolhe sons, mas que também se determine em função de uma escuta que compõe e de um campo sonoro, o mais amplo possível, permitindo o desejo de músicas não apenas formatadas por modelos dados a priori e possibilitando o questionamento e a ampliação da própria idéia de música. Assim, foram desenvolvidos, junto a um grupo de crianças, exercícios de escuta e de composição de paisagem sonora, a partir dos sons da rua. A opção pela soundscape composition ocorreu por acreditarmos que tal música, ao colocar o ouvinte-compositor numa relação íntima com o ambiente sonoro, respeitando a dinâmica sonora do material e sugerindo uma atitude composicional que opera basicamente através de uma 'escuta nômade', vem ao encontro de uma educação musical, fundada na idéia de escuta como uma forma de pensamento e ato de criação, que envolve o homem e a sonoridade ao seu redor / Abstract: Over the twentieth century, elements like noise and silence reformulate and take into consideration the notion of music, showing a musical reality more and more open to sonorities considered as non-musical until then. Such a reality operates a high degree of mobility, in which the limits between music and not-music become even more indiscernible, thus establishing new musical poetics. This reality resonates in the world image that starts to unveil itself in the last decades, different from that given by a Cartesian and fragmentary thought that ruled the human thought until recently. Over the twentieth century, it is noticed the configuration of an awareness of the existence of a world in which, according to Deleuze and Guattari's perspective, everything is yet to come, taking into consideration an image of the world that happens by intense connections and transformations, pointing out a 'course of uncertainties'. Such a situation leads to the possibility of thinking of a musical education that considers other sonorities and other musical-makings and that operates basically through creation, understood as a resistance act that causes the proliferation of differences, a basic condition for the upgrading of other ideas of music. In this sense, this study intends to think of and develop a proposal of musical education with children, having in mind an idea of musical education that not only distinguishes and chooses sounds but also determines itself due to a listening that composes, and the most general sound field as possible, enabling the desire for music not only formatted by prior models but making it possible the questioning and enlargement of the idea of music itself. In this sense, some listening and soundscape composition exercises were carried out together with a group of children, based on the street sounds. The choice for the soundscape composition occurred because it is believed that such a music, as the listener-composer is set into a close relation with the sound environment, respecting the sonorous dynamics of the material and suggesting a compositional attitude that operates basically through a 'nomad listening', favors a musical education, based on the idea of listening as a way of thinking and a creation act that involves the man and the sonority that surrounds him / Doutorado / Doutor em Música

Orientador: Ana Lucia Goulart de Faria / Dissertação (mestrado) - Universidade Estadual de Campinas, Faculdade de Educação / Made available in DSpace on 2018-08-07T23:24:28Z (GMT). No. of bitstreams: 1 Pires_MariaCristinadeCampos_M.pdf: 646807 bytes, checksum: 17b40f05ad962dc74b14f27df7f63620 (MD5) Previous issue date: 2006 / Resumo: Esta dissertação estudou as experiências sonoras das crianças pequenininhas, entre 0 e 3 anos de idade, que freqüentam uma creche pública do Município de São Paulo (Centro de Educação Infantil, CEI). Traz para reflexão e contextualiza a ausência da Arte na formação das profissionais de creche, mesmo sendo apontada pela LDB/96 como área de conhecimento em suas quatro linguagens ¿ música, dança, teatro e artes plásticas; analisa tal ausência na rede municipal de São Paulo nos últimos 25 anos, em decorrência de alterações na legislação que rege o magistério municipal e, também, de mudanças de administração, seguindo o percurso profissional da autora. Este estudo inova apresentando e discutindo uma bibliografia italiana em que os estudiosos da infância destacam a temática da música e a criança pequenininha. Analisa a construção da paisagem sonora durante as atividades do dia-a-dia no CEI, pleiteando o contato das crianças com diferentes formas musicais, que podem constituir fatores importantes para o refinamento da audição, a produção de culturas infantis e o reconhecimento do ambiente onde vivem / Abstract: This is a study of experiences with sounds by 0-to-3 year-old children who attend a public daycare centre [CEI] in the City of São Paulo, Brazil. It discusses the absence of art languages ¿ music, dance, theatre, visual arts ¿ in the training of early childhood educators, though it is foreseen by current educational legislation. Such absence in São Paulo early childhood educational system is analysed in the context of legislative and administrative changes in the last 25 years, following the author's professional career within this system. This study innovates by presenting and discussing recent Italian literature that deals with music and the very young child. It highlights the building of a soundscape during CEI daily activities, pleading for children's further contact with diverse musical forms, which may improve hearing refinement, the production of children's culture, and better recognition of their environment / Mestrado / Educação, Sociedade, Politica e Cultura / Mestre em Educação

The ability to accurately characterize the soundscape, or combination of sounds, of diverse geographic areas has many practical implications. Interested parties include the United States military and the National Park Service, but applications also exist in areas such as public health, ecology, community and social justice noise analyses, and real estate. I use an ensemble of machine learning models to predict ambient sound levels throughout the contiguous United States. Our data set consists of 607 training sites, where various acoustic metrics, such as overall daytime L50 levels and one-third octave frequency band levels, have been obtained. I have data for 117 geospatial features for the entire contiguous United States, which include metrics such as distance to the nearest road or airport, and the percentage of industrialization or forest in a specific area. I discuss initial model predictions in the spatial, frequency, and temporal domains, and the statistical advantages of using an ensemble of machine learning models, particularly for limited data sets. I comment on uncertainty quantification for machine learning models originating from limited data sets.

This paper uses the concept of mimesis to clarify the debate concerning the representation of reality in music. Specifically, this study defines the audio reality effect and the three main practices of realism as a way of understanding mimetic practices in multiple artistic media, in particular regarding the multimedia works of the "Landscape series." After addressing the historical debates concerning mimesis, this study develops a framework for the understanding of mimesis in sound by addressing the writings of Weiss, Baudrillard, Barthes, Deleuze, and Prendergast and by examining mimetic practices in 19th-century European painting and multimedia performance works. The audio reality effect is proposed as a meaningful translation of Roland Barthes' literary reality effect to the sonic realm. The main trends of realist practice are applied to electroacoustic music and soundscape composition using the works and writings of Emmerson, Truax, Wishart, Risset, Riddell, Smalley, Murray Schafer, Fischman, Young, and Field. Lastly, this study mimetically analyzes "2 seconds / b minor / wave" by Michael Pisaro and Taku Sugimoto and the works of the "Landscape series" in order to demonstrate the relevance of mimesis for understanding current musical practice.

Vad är atmosfär och hur skapas det? I den här analysen undersöks atmosfär i förhållande till musikgenren doom och då utifrån ett insider-perspektiv. Insider-perspektivet är det subkulturella perspektiv som genrens anhängare ingår i, vilket innefattar ett specifikt sätt att tala, tänka och uttrycka sig i förhållande till genrens kulturella uttryck. Inom musikgenren doom behandlas atmosfär som ett insiderbegrepp för att förklara upplevelsen av musiken och vilka känslor den förmedlar. En förutsättning för den här undersökningen utgår från att atmosfär förmedlar förutbestämda känslor genom musiken som förstås via en kulturellt betingad uppfattning. Syftet med undersökningen är att kartlägga vilka komponenter som behöver ingå i konstruktionen av tre olika soundscape utifrån tre förutbestämda teman och hur dessa gemensamt bildar en specifik atmosfär. Analysens resultat återknyter till undersökningens utgångspunkt. Det finns specifika komponenter som ingår i konstruktionen av ett tematiskt soundscape som reflekteras i den atmosfär som upplevs, oberoende av om lyssnaren är en insider eller outsider. Med outsider avses någon som inte är en anhängare (insider) till genren och därmed inte har samma kännedom eller kunskap som en insider har. För alla komponenter föreligger en grundläggande kulturell förståelse för vilka känslor som representeras och som sedermera utgör respektive tema. Emellertid fanns det parametrar i komponenterna som var problematiska att mäta genom traditionella musikvetenskapliga metoder. Dessa förmedlades inte lika tydligt och var i större utsträckning beroende av den kontext de förekom i och utgjorde inte några egna komponenter.  I slutsatsen framgår en gemensam komponent för temats betydelse under konstruktionen av soundscape: atmosfär är inte beroende av en förståelse för språk eller hur väl sången artikuleras. Det handlar inte om vad som sjungs, utan hur det sjungs. Atmosfär är produkten av att lyssna aktivt och förmedlas först när det uppmärksammas av lyssnaren.

This Ph.D. thesis deals with the musical phenomenon Balkan music in Prague. The so- called Balkan music (in the sense of Shelemay's 2006 soundscape) is considered to be the result of social negotiating (counterpoint) between the agents, i.e., the Czech musicians and audience, and also those (musicians and audience) who originally come from the Balkan countries. Using the tools of ethnographic research, the thesis explores the nature of this relationship. Specifically, I focus on the very creation of the concept Balkan music in the Czech scene and the role the Balkan migration plays in its formation. It turns out that the very imagination of the 'Balkans' plays a key role in defining the phenomenon, and the form of music itself is the result of the imaginations of (an imaginary) milieu (i.e., stereotypes) that is perceived as culturally distant (Todorova 2009).

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