abstract: Mongolian overtone singing (höömii) and Mongolian wrestling songs (tsols) are vocal styles that evoke physical and mental strength in the vocalist through the accessing of nature. The phrase “höömii-tsol-thinking computer” conveys my end-goal while composing, performing, and researching for my original composition strong.mng. I wanted to create a work in which the computer would be informed by the performance methods and philosophies employed during Mongolian höömii and tsols. Strong.mng is a 25-minute production for dancer, live digital illustrator, and overtone singer with a laptop computer serving as both a fixed and interactive responsive musical instrument. The music draws upon themes from höömii and tsols through the lens of virtual fieldwork, which was the research method I used to inform strong.mng. Through the composing and performing of strong.mng, I arrived at the following three-part hypothesis: firstly, the development of a robust symbiotic relationship between höömii, tsols, and today’s electronic music technology may transform the technological devices used into agents of deep ecology and bodily interconnectedness. Secondly, this transformation may metamorphose the performer into a more courageous being who is strengthened both physically and mentally by the Mongolian belief that, when performing höömii and tsols, the musician is drawn into kinship with nature. Lastly, I believe some computer music is restrained in its potential by techno-somatic discreteness as well as anthropocentrism, and that applying philosophies from höömii and tsols can help move computer music more towards a physically embodying means of sonification; one that is also akin with the natural world. / Dissertation/Thesis / This document provides links to audio and video of the dissertation composition. / Doctoral Dissertation Composition 2016

Orientador: Florivaldo Menezes Filho / Banca: Alexandre Lunsqui / Banca: Silvio Ferraz / Acompanha CD com exemplos sonoros / Resumo: Uma problemática fundamental e recorrente da música eletroacústica mista consiste nas distorções - anamorfoses - decorrentes da interação do performer com os meios eletroacústicos, situações ambíguas em que não só a natureza das fontes sonoras é velada, como também o processo pelo qual pode ter passado o som instrumental. Também na performance da música mista, sons e imagens visuais instauram um elo complexo com o fruidor, e as anamorfoses atuam no limiar entre relações audiovisuais mais diretas - o que é visto em termos gestuais é coerente com o que é escutado - e relações mais distantes - o que é visto não apresenta conexão imediata com o que é escutado. Através de um mapeamento de exemplos considerados representativos, da análise de duas obras mistas (Parcours de l'Entité de Flo Menezes e Altra voce de Luciano Berio) e da aplicação dos conceitos discutidos na prática composicional, investigam-se as anamorfoses na música eletroacústica mista tanto do ponto de vista do gesto instrumental como da dinâmica global da performance, uma vez que elementos extramusicais são frequentemente previstos por compositores para enfatizar tais distorções. / Abstract: One of the most recurring and essential issues of mixed electroacoustic music lies in the distortions - anamorphosis - that result from the interaction of a performer with electroacoustic means, ambiguous situations in which not only the nature of a sound source is veiled, but also the process through which this sound might have gone through. In the performance of mixed pieces, sounds and visual images trigger intricate connections with the public, and anamorphosis acts in between a more direct audiovisual relationship - what is seen in gestural terms is coherent with what is heard - and an "illusory" one - what is seen does not relate immediately to what is heard. Cases considered representative in the repertoire of mixed pieces, the analysis of two works (Parcours de l'Entité, by Flo Menezes, and Altra voce, by Luciano Berio), and the practical investigation in two composed pieces contribute to investigate anamorphosis in the realm of instrumental gesture as well as in the dynamics of the performance, given the fact that extra-musical elements are often used by composers to emphasize such distortions. / Mestre

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 field of Adaptive Music Technology is rapidly expanding and evolving. While there have been a number of theses and dissertations devoted to the study of new computer music instrument design for persons with disabilities, there is, as yet, no comprehensive study of all of the instruments that have been developed, along with recommendations for how to develop future musical instruments given rapid changes in technology. In this thesis, a comprehensive literature review of previous instruments developed is presented, along with personal interviews of developers where literature has not yet been published about a given instrument. Then recommendations for future development of instruments based on this information are presented. Finally, a case study of the development of one such instrument using the Microsoft Kinect is undertaken, and observations and conclusions based on this research are drawn. / Graduate

No description available.

O estudo da acústica de salas data do início do século XX e, até então, esta atividade era vista quase como uma arte e não como ciência. Foram desenvolvidas teorias, como a acústica geométrica de salas, que tornou o estudo do fenômeno acústico mais facilmente inteligível. Com o advento dos computadores digitais, os pesquisadores da área de acústica, como Asbjørn Krokstad e Manfred Robert Schroeder desenvolveram, em torno de 1960, os primeiros algoritmos para simular o comportamento do campo sonoro dentro de salas. Desde então, vários métodos de simulação acústica foram criados [QIK+08]. Nesta dissertação descrevemos uma implementação funcional do algoritmo de Traçado de Raios na linguagem Java. Explicamos em nosso trabalho os vários métodos de simulação acústica existentes nos dias de hoje e descrevemos os passos necessários para a correta implementação de um algoritmo de traçado de raios. Nossa implementação foi realizada como um módulo do sistema AcMus, uma ferramenta de software livre que reúne, em um único ambiente integrado, medição, análise e, agora, simulação acústica de salas, tornando-se o único software livre existente a integrar essas três funcionalidades em um único ambiente. O módulo de simulação foi implementado como um arcabouço orientado a objetos de forma que outros pesquisadores possam estendê-lo incluindo, com pouco esforço, novos algoritmos de simulação e novas funcionalidades. / Research on Room Acoustics dates back to the beginning of the 20th century; at that time this activity was not seen as a science but almost as an art. Since then, researchers in the eld have developed theories, such as Geometric Room Acoustics, that were a simplication of the acoustical phenomena. With the advent of digital computers, researchers such as Asbjørn Krokstad and Manfred Robert Schroeder have developed, in the 1960s, the rst algorithms to simulate the sound eld behavior inside rooms. Since then, various acoustic simulation methods have been created. In this thesis, we describe our working implementation, using the Java language, of the Ray Tracing algorithm. We also explain the various acoustic simulation algorithms used nowadays and describe the necessary steps to a correct ray tracing algorithm implementation. Our implementation was built as a module of AcMus, a free software system, which combines acous- tic measurement, analysis and, now, simulation in one integrated computational environment. The simu- lation module was built as an object-oriented framework so that other researchers and developers can extend it, including new simulation algorithms and new features with little effort.

Animations is a composition in six movements (Fish, Seals, Birds, Cats, Zebras, Snakes) for percussion and computer music on tape. One percussionist performs on various percussion instruments: two suspended cymbals, crotales, triangle, vibraphone, glockenspiel, marimba, three bongos, snare drum, field drum, large tom-tom, bass drum, kettle drum, temple blocks and vibraslap. The computer music on tape employs sampled sounds in a MIDI sequencing environment. The melodic and harmonic materials for the piece are derived from a matrix of twelve heptatonic scales. The individual movements are notated using both traditional and proportional notation systems. The score is 37 pages long with a twenty-two page analysis preceding the score. Animations is approximately nine minutes in duration.

This paper observes the problems that impede meaningful analysis of form and structure in modern music, specifically electronic music. The premise of this research is to present methods, tools and practice for analyzing music whose visual interpretation, if any, do not represent the aural result of the composition. The means for suggesting a method are derived from documented observations in aural psychology, as well as composers' writings about musical perception. The result is an analytic model that focuses on the aural experience rather than the composers' compositional strategies which do not always agree with the resultant composition. The results from the analysis of music by Parmegiani, Harvey, Vega and Harrison help prove the general applicability of this research.

The analysis of computer music presents new challenges to the field of music theory. This study examines the fixed media composition Phoné by John Chowning from its aesthetic perspective, compositional theory and computer sound synthesis techniques. Fast Fourier Transform analyses are used to create spectrograms. The findings from the spectrograms are juxtaposed with compositional philosophies of John Chowning, Jean-Claude Risset, Pierre Schaeffer and Arnold Schoenberg and the techniques are represented via PureData patches.

No description available.