No description available.

No description available.

No description available.

As a composer of electroacoustic music, I’m interested in understanding which characteristics of classical orchestration can be used in electroacoustic music after these years of its development. In specific, which aspects of orchestration can be used as powerful techniques in acousmatic music? The aim of this study is to create connections between the conventional acoustic orchestration practice and electroacoustic orchestration by using a transfer2 technique.

This research deals with acoustoelectric interactions in CdS. The first part is devoted to an experimental study of acoustoelectric effects occurring under high field conditions. An acoustic amplifier in which trapping effects are important is described, the decay time for current saturation is measured, and extreme non-uniformities in field distributions are measured and discussed. [...]

No description available.

No description available.

No description available.

It is my contention that the worlds of instrumental and electroacoustic music are essentially grounded in one basic reality – the physical properties of sound. If there is a divide, then it is based on compositional models and conventions. This is not to diminish the stylistic or technical differences between the two but rather to make the case for a focus on the core aspects of sound, in order to discover different ways of exploring various possible relationships between music for instrumental performer(s) and digital (electroacoustic) means. My thesis stems from the argument that every sound has its own spectromorphology– its own inner life governed by envelope, spectral content, energy and internal pulsation. This leads architecturally to considering the relationship of micro- to macro- phenomena and provides the essential foundations for all the compositions in this portfolio. Taking Pierre Schaeffer’s concept of the “sound object” as its starting point, my portfolio explores various forms of interaction between instrumental and electroacoustic techniques, methodologies and aesthetics, via a range of outcomes for fixed media, acoustic instruments, and combination of instruments with electroacoustic media.

The purpose of this paper is to provide an instructional format in the presentation of the clinical application of electroacoustic impedance measurements. Journal articles and impedance procedural booklets were used as a source of data for the information contained in the learning packet. Fundamentals of acoustic theory were treated to show the conceptual relationship of acoustic impedance and acoustic admittance. The terminology, normative data, and clinical interpretation of static acoustic impedance measures were examined. Diagnostically significant variables of the tympanogram were related to the audiometric-medical status of the patient. Clinical application of the acoustic reflex was investigated through descriptions of various pathologies and the particular indications expected in acoustic reflex testing for those pathologies . The learning packet is divided into four sections: impedance versus admittance, static acoustic impedance measurements, tympanometry, and acoustic reflex.