Atualmente é comum ver jovens e adultos utilizando das novas tecnologias digitais para atividades musicais como entretenimento. No entanto, a maioria limita-se somente ao papel de ouvinte, munidos de seus players de som, dificilmente ousando criar suas próprias composições ou sons, às vezes pelo custo de aplicações pagas, outras vezes pela complexidade inerente a aplicações voltadas a músicos. Esta pesquisa foi focada em simplificar a prática musical voltada ao público leigo e descompromissado. Quando se trata de software voltado a este nicho, não existem muitos disponíveis. Neste trabalho utilizamos conceitos e técnicas da Música Ubíqua para preencher esta lacuna: foi desenvolvido o protótipo mixDroid 2G CS, que propicia recursos para criação de mixagens em dispositivos móveis. Com este protótipo foram realizados testes com alunos de uma instituição de nível técnico em informática, utilizando equipamentos portáteis como celulares e tabletes Android. Neste volume, serão apresentados conceitos e definições técnicas do mixDroid 2G CS, assim como dois experimentos com usuários reais. Com base nos resultados dos experimentos, analisamos as implicações dos perfis dos produtos criativos e o desempenho dos sujeitos e indicamos as limitações e as perspectivas abertas para seu uso em atividades criativas, discutindo a sua viabilidade e possíveis aplicações futuras. / Nowadays, it is common to see young people and adults using new digital technologies for music production as entertainment. However, most people are only listeners, hardly ever daring to create their own compositions or sounds because of the cost and the complexity of the programs targeted for musicians. The purpose of this research is to simplify music production for the public without musical experience. In this study, we used concepts and techniques of Ubiquitous Music to solve various problems: a prototype software called mixDroid 2G CS was developed, which uses a new interaction metaphor for mixing sonic content on mobile devices. Tests were conducted with students of an institution devoted to technical courses in computer science. Targeting the use of portable devices, the Android system was used on a variety of cell phones and tablets. In this volume, I will present concepts and the technical description of mixDroid 2G CS, including two experiments with real users. Based on the results of the experiments, I analyzed the implications of the creative's products profiles and the subjects' performance during the tasks, and indicated the limitations and perspectives for its use in creative activities, discussing the feasibility of its application in future projects.

The PhD consists of a portfolio of electric-acoustic compositions and is accompanied by a scholarly dissertation. The portfolio of works explores the development of real time electro-acoustic composition techniques using microphone-captured audio. The portfolio focuses particularly on the voice as a sound source and aims to bring together the author’s background as a popular vocalist with her ‘music-concrete’ influenced electro-acoustic compositional work. The portfolio culminates in the development of a HCI (Human Computer Interface) called the eMic (eMic extended Mic-stand interface controller) which allows the performer to control sound parameters in real-time via common music performance gestures. / Doctor of Philosophy (PhD)

Thesis (D.M.A.)--Columbia University, 2003. / Repeat after me for flute and electronics; Biology I/II/III for violin. First work is a commentary to accompany the three scores. Department: Music. Includes bibliographical references (leaves 98-101). Pro Quest Digital Dissertations Online; Subscription required. Also available via the World Wide Web;

Thesis (M.A.)--York University, 2008. Graduate Programme in Music. / Typescript. Includes bibliographical references. Also available on the Internet. MODE OF ACCESS via web browser by entering the following URL: http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&res_dat=xri:pqdiss&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&rft_dat=xri:pqdiss:MR45982

From Heaven, Through the World, to Hell is a theatrical piece which makes reference to various versions of the Faust legend. There are two versions of the piece: the full version for actress-singer, CD, computer, and four chamber ensembles (piano quintet, baroque trio, jazz quartet and modern ensemble), and the solo version for actress-singer, CD, and computer. The work explores the Faust legend within a technological musical theatre framework, and makes extensive use of live computer interaction using the Max/MSP programming environment. The singer interacts with the computer using an infrared sensor, allowing her to trigger as well as shape many of the sounds in the piece through physical gestures. This piece was written for g.e.m.s. (the Group of the Electronic Music Studio) as part of the McGill University Faculty of Music composer-in-residence program between 1998--1999.

A software system that automatically classifies MIDI files into hierarchically organized taxonomies of musical genres is presented. This extensible software includes an easy to use and flexible GUI. An extensive library of high-level musical features is compiled, including many original features. A novel hybrid classification system is used that makes use of hierarchical, flat and round robin classification. Both k-nearest neighbour and neural network-based classifiers are used, and feature selection and weighting are performed using genetic algorithms. A thorough review of previous research in automatic genre classification is presented, along with an overview of automatic feature selection and classification techniques. Also included is a discussion of the theoretical issues relating to musical genre, including but not limited to what mechanisms humans use to classify music by genre and how realistic genre taxonomies can be constructed.

This thesis describes an approach to create high-quality music synthesis by automatically constructing an instrument model and a performance model; the latter module generates control signals from score input and drives the former module to produce synthetic instrumental sounds. By designing and applying appropriate machine learning techniques as well as domain knowledge, the instrument model and the performance model are constructed from acoustic examples and their corresponding scores for a musical instrument. The automated model is able to synthesize realistic instrumental performances from scores.

This thesis concerned the design and implementation of an extensible computer language for microcomputer users. The language was shown to provide a minimal set of features which can be extended toward particular applications. The interactive nature of the language was discussed, along with a description of each language feature.Also presented were implementation specifics involving the use of a technique called threaded code. Motivations for the use of extensible languages were discussed, along with suggestions for further extensions and applications. / School of Music

Mawson is a piece for computer realized quadraphonic tape, and Mertz is a duo for clarinet and horn. The pieces were written in celebration of the accomplishments of the 1911-1914 Mawson Antartic Expedition. The compositions are totally serialized, with a hexachord derived from Cartesian coordinates of Antartic locations used as source material. This hexachord was rotated and cyclically transformed to control attack, rhythm, pitch, and dynamics.Performance materials can be obtained from the Electronic Systems for Music Syntheses studio at Ball State University. / School of Music

Univ., Magisterarbeit--Karlsruhe, 2004.