Digital musical instruments pose a number of unique challenges for designers and performers. These issues stem primarily from the lack of innate physical connection between the performance interface and means of sound generation, for the latter is usually dematerialised. Thus, this relationship must instead be explicitly determined by the designer, and can be essentially any desired. However, many design issues and constraints remain poorly understood, from the nature of control to the provision of performer-instrument feedback. This practice-based research contends that while the digital and acoustic domains are so different as to be fundamentally incompatible, useful antecedents for digital musical instruments can be found in the histories of electronic music. Specifically, it argues that the live electronics of David Tudor are of particular prescience. His home-made circuits offer an electronic music paradigm quite antithetical to both the familiar keyboard interface and the electronic music studios that grew up in the years after World War II, and are seen to embody a number of aspirational qualities. These include performer-instrument interaction more akin to steering rather than fine control, the potential for musical outcomes that are unknown and unknowable in advance, and distinct instrumental character. This leads to the central contribution of this research; the development of a Tudor-inspired conceptual framework that can inform how digital musical instruments are designed, played, and evaluated. To enable more detailed and nuanced discussion, the framework is broken down into a series of sub-themes. These include both design issues such as nuance, plasticity and emergence, and human issues such as experience, expressiveness, skill, learning, and mastery. The notion of sketching in hardware and software is also developed in relation to the rapid iteration of multiple designs. Informed by this framework, seven new digital musical instruments are presented. These instruments are tested from two different perspectives, with the personal experiences of the author supplemented with data from a series of smallscale user studies. Particular emphasis is placed on how the instruments are played, the music they can produce, and their capacity to convey the musical intentions of the performer (i.e. their expressiveness). After the evaluation of the instruments, the Tudorian framework is revisited to form the basis of the conclusions. A number of modifications to the original framework are proposed, from the addition of a dialogical model of performerinstrument interaction, to the situation of digital musical instruments within a wider musical ecology. The thesis then closes with a suggestion of possibilities for future research.

The pi-calculus [61] is one the most influential formalisms for modelling and analyzing the behaviour of concurrent systems. This calculus provides a language in which the structure of terms represents the structure of processes together with an operational semantics to represent computational steps. For example, the parallel composition term P | Q, which is built from the terms P and Q, represents the process that results from the parallel execution of the processes P and Q. Similarly, the restriction (v x)P represents a process P with local resource x. The replication !P can be thought of as abbreviating the parallel composition P | P | . . . of an unbounded number of P processes. As for other language-based formalisms (e.g., logic, formal grammars and the pi-calculus) a fundamental part of the research in process calculi involves the study of the expressiveness of fragments or variants of a given process calculus. In this dissertation we shall study the expressiveness of some variants of the pi-calculus focusing on the role of the terms used to represent local and infinite behaviour, namely restriction and replication. The first part of this dissertation is devoted to the expressiveness of the zero-adic variant of the (polyadic) pi-calculus, i.e., CCS with replication (CCS!) [21]. Busi et al [22] show that CCS! is Turing powerful [22]. The result is obtained by encoding Random Access Machines (RAMs) in CCS!. The encoding is said to be non-faithful because it may move from a state which can lead to termination into a divergent one which do not correspond to any configuration of the encoded RAM. I.e., the encoding is not termination preserving. In this dissertation we shall study the existence of faithful encodings into CCS! of models of computability strictly less expressive than Turing Machines. Namely, grammars of Types 1 (Context Sensitive Languages), 2 (Context Free Languages) and 3 (Regular Languages) in the Chomsky Hierarchy. We provide faithful encodings of Type 3 grammars. We show that it is impossible to provide a faithful encoding of Type 2 grammars and that termination-preserving CCS! processes can generate languages which are not Type 2. We finally conjecture that the languages generated by termination-preserving CCS! processes are Type 1 . We also observe that the encoding of RAMs [22] and several encoding of Turing-powerful formalisms in pi-calculus variants may generate an unbounded number of restrictions during the simulation of a given machine. This unboundedness arises from having restrictions under the scope of replication (or recursion) as in e.g., !(v x)P or μX.(v x)(P | X). This suggests that such an interplay between these operators is fundamental for Turing completeness. We shall also study the expressive power of restriction and its interplay with replication. We do this by considering several syntactic variants of CCS! which differ from each other in the use of restriction with respect to replication. We consider three syntactic variations of CCS! which do not allow the generation of unbounded number of restrictions: C2 is the fragment of CCS! not allowing restrictions under the scope of a replication, C3 is the restriction-free fragment of CCS!. The third variant is C4 which extends C2 with Phillips' priority guards [76]. We shall show that the use of an unboundedly many restrictions in CCS! is necessary for obtaining Turing expressiveness in the sense of Busi et al [22]. We do this by showing that there is no encoding of RAMs into C2 which preserves and reflects convergence. We also prove that up to failures equivalence, there is no encoding from CCS! into C2 nor from C2 into C3. Thus up to failures equivalence, we cannot encode a process with an unbounded number of restrictions into one with a bounded number of restrictions, nor one with a bounded number of restrictions into a restriction-free process. As lemmata for the above results we prove that convergence is decidable for C2 and that language equivalence is decidable for C3 but undecidable for C2. As corollary it follows that convergence is decidable for restriction-free CCS. Finally, we show the expressive power of priorities by providing a faithful encoding of RAMs in C4 thus bearing witness to the expressive power of Phillips' priority guards [76]. The second part of this dissertation is devoted to expressiveness of the asynchronous monadic pi-calculus, A [15, 47]. In [70] the authors studied the expressivenessn of persistence in Api [15, 47] wrt weak barbed congruence. The study is incomplete because it ignores divergence. We shall present an expressiveness study of persistence in Api wrt De Nicola and Hennessy's testing scenario which is sensitive to divergence. Following [70],,we consider Api and three sub-languages of it, each capturing one source of persistence: the persistent-input Api-calculus (PIA), the persistent-output Api-calculus (POA) and the persistent Api-calculus (PA). In [70] the authors showed encodings from Api into the semi-persistent calculi (i.e., POA and PIA) correct wrt weak barbed congruence. We show that, under some general conditions related to compositionality of the encoding and preservation of the infinite behaviour, there cannot be an encoding from Api into a (semi)-persistent calculus preserving the must testing semantics. We also prove that convergence and divergence are decidable for POA (and PA). As a consequence there is no encoding preserving and reflecting divergence or convergence from Api into POA (and PA). This study fills a gap on the expressiveness study of persistence in A in [70].

Este trabalho pretende analisar os diferentes empregos de adjetivação no romance modernista Memórias sentimentais de João Miramar, de Oswald de Andrade, bem como a expressividade alcançada por eles dentro de seu universo textual. Procura, também, investigar a contribuição dos usos dos adjetivos para o traço de estilo mais marcante da obra: a brevidade. / This research intends to analyse different adjective uses in the modernist novel Memórias sentimentais de João Miramar, by Oswald de Andrade, as well as the expressiveness reached by them in their textual universe. It will also try to investigate the contribuition of the adjective uses to the novel more characteristic style aspect: conciseness.

Made available in DSpace on 2016-04-27T18:12:10Z (GMT). No. of bitstreams: 1 Cintia Ortegosa Cordeiro.pdf: 1242702 bytes, checksum: c919c903405cdb5ce72811fed9489012 (MD5) Previous issue date: 2015-09-14 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / This paper reports the results of an investigation of the effects of a story-readingaloud program on some expressiveness features in kindergarten teachers. Methods: Three preschool teachers were engaged in a simulated story-reading-aloud task and produced narrations as they normally do with their students. The narrations were audio-recorded using a Marantz professional tape recorder and an AKG microphone. Each narration was digitized individually using Praat. The effects of the programs were assessed doing the same recording procedures after the intervention. Thirty five kindergarten experienced teachers listened to the speech samples from the different moments (before and after the story-reading program) and made comparative judgments regarding pauses, clarity, interesting, motivation and melody. Results: Results showed that the teachers modified their speech at multiple levels. As a group, the participants demonstrated increased enunciation duration. The majority of the judges noticed statistically significant differences between the reading samples (before and after intervention) in all participants, considering the moment after intervention from the teachers as more: interesting, motivational, paused and melodic. The teachers referred positive effects from the intervention, referred in every aspect of oral expressiveness practiced. The participants reveled obtaining new vocal expressiveness knowledge after intervention and put this is use during in their work activities. Conclusion: Enunciation duration significantly increased when reading the stories aloud after intervention. The kindergarten experienced teachers, who listened the samples, noticed statistically significant differences between the reading samples and judged the moment after intervention as the best, mainly as being more paused, melodic, interesting, and motivating for children. The intervention program had a positive effect among the participants / A leitura em voz alta em sala de aula exige uso de recursos vocais para obter a atenção, motivação, suspense e curiosidade dos alunos. Objetivo: investigar os efeitos de uma intervenção realizada por um fonoaudiólogo, com foco na expressividade oral, para melhorar a leitura de histórias em voz alta de professoras de educação infantil. Método: três professoras foram submetidas a essa intervenção (seis encontros) e a gravação (gravador Marantz, com microfone AKG) de leitura em voz alta do livro: Bruxa Bruxa! Por favor venha a minha festa , nos momentos pré e pós-intervenção.. As amostras de leitura foram, digitalizadas em formato wav., editadas, e devidamente etiquetadas no Praat. Apenas o trecho correspondente a frase Gato, Gato! Por favor venha a minha festa foi destacado para análise. Foram extraídas medidas acústicas da duração desse enunciado e 35 professores, na função de juízes, ouviram individualmente as amostras referente à leitura das professoras sem o conhecimento de quais situações eram pré ou pós intervenção. Esses registraram as impressões auditivas classificando-as como iguais ou diferentes. Caso fossem diferentes, deveriam escolher qual era mais: cativante, motivante, interessante, melodiosa, clara e pausada. Verificou-se os conhecimentos obtidos das participantes, por meio de uma ficha de avaliação entregue após a intervenção. Resultados: Na inspeção acústica houve aumento das medidas de duração do enunciado nas três participantes depois da intervenção. A maioria dos juízes notou diferença estatisticamente significativa entre as leituras (pré e pós intervenção) em todas participantes, considerando o momento pós-intervenção das três professoras como mais cativante, interessante, motivador, pausado e melodioso. As professoras referiram efeitos positivos da intervenção, percebidos em todos aspectos de expressividade oral trabalhados. Após a intervenção as participantes revelaram terem obtido novos conhecimentos em relação à expressividade e colocaram esses em prática. Conclusões: Os professores juízes perceberam diferença significativa nas leituras e julgaram melhor o momento pósintervenção, principalmente quanto a estar mais pausada, melodiosa, interessante, cativante e motivadora para o público infantil. O programa de intervenção gerou efeito positivo nas participantes

Esta tese de doutorado apresenta como objetivo analisar a transformação que ocorre, no período clássico e no moderno, das formas: balada, canção, ode e soneto, da poesia em Língua Portuguesa, considerando os conceitos estabelecidos pela tradição poética. Essa transformação é observada sob o aspecto fonoestilístico, com ênfase na sonoridade que compõe os poemas: traços fonológicos, rimas, ritmo e metro. Destaque-se ainda que o foco será o estudo dessas características sonoras, a sua expressividade e como se desenvolve a combinação desses elementos, na constituição do(s) sentido(s), no interior dos poemas. / The present PhD thesis aims at analyzing the changes that occur in the classical and modern periods on some forms such as: ballade, song, ode and sonnet of the poetry in Portuguese. For this it was taken into consideration the established concepts which guide the poetry tradition. The transformation mentioned above is seen from the phonostylistics point of view with emphasis in the following sonority features, which constitute the poems: phonological traces, rhymes, rhythm and meter. It is relevant to mention that the focus given will be the study of such sonority features, the expressiveness presented by them and how the combinations of these elements are developed so as to achieve the constitution of the meaning(s) within the poems.

Submitted by Rosivalda Pereira (mrs.pereira@ufma.br) on 2017-06-05T17:16:54Z No. of bitstreams: 1 ElieteCruz.pdf: 796051 bytes, checksum: 7d9ab748dc5369bd36b3d0f28f3f6c3c (MD5) / Made available in DSpace on 2017-06-05T17:16:54Z (GMT). No. of bitstreams: 1 ElieteCruz.pdf: 796051 bytes, checksum: 7d9ab748dc5369bd36b3d0f28f3f6c3c (MD5) Previous issue date: 2017-01-31 / The main objective of this dissertation is to investigate the musical ideas of Jean-Jacques Rousseau, thoroughly analyzing its line of argument as well as his criticism and censorship approach. Therefore, we use as a starting point the work entitled Carta sobre a música francesa. In this paper we focus our attention on the temporal aspects, analyzing the circumstances that led Rousseau to draw up the Carta. The time vector has as common respect the origin of languages and music, and how language impacts the music on the aesthetics and sound. Thus, it is essential that the approach to the subject was drawn from a historical perspective on the origin of the Italian and French operas, and on the opera features in the Age of Enlightenment. / O objetivo principal desta dissertação é investigar as concepções musicais de Jean-Jacques Rousseau, analisando detalhadamente sua linha argumentativa como também sua abordagem crítica e de censura. Para tanto, utilizamos como ponto de partida o trabalho intitulado Carta sobre a música francesa. Neste trabalho focamos nossa atenção nos aspectos temporais, analisando as circunstâncias que levaram Rousseau a elaboração da Carta. O vetor temporal tem como relação comum a origem das línguas e da música, e de como a língua impacta a música sob os aspectos estéticos e de sonoridade. Assim, tornou-se fundamental que a abordagem sobre o tema fosse elaborada a partir de uma perspectiva histórica sobre a origem das óperas italiana e francesa, e as características musicais vigentes no século das Luzes.

Esta tese de doutorado apresenta como objetivo analisar a transformação que ocorre, no período clássico e no moderno, das formas: balada, canção, ode e soneto, da poesia em Língua Portuguesa, considerando os conceitos estabelecidos pela tradição poética. Essa transformação é observada sob o aspecto fonoestilístico, com ênfase na sonoridade que compõe os poemas: traços fonológicos, rimas, ritmo e metro. Destaque-se ainda que o foco será o estudo dessas características sonoras, a sua expressividade e como se desenvolve a combinação desses elementos, na constituição do(s) sentido(s), no interior dos poemas. / The present PhD thesis aims at analyzing the changes that occur in the classical and modern periods on some forms such as: ballade, song, ode and sonnet of the poetry in Portuguese. For this it was taken into consideration the established concepts which guide the poetry tradition. The transformation mentioned above is seen from the phonostylistics point of view with emphasis in the following sonority features, which constitute the poems: phonological traces, rhymes, rhythm and meter. It is relevant to mention that the focus given will be the study of such sonority features, the expressiveness presented by them and how the combinations of these elements are developed so as to achieve the constitution of the meaning(s) within the poems.

La focalisation prosodique désigne le soulignement d’un constituant dans un énoncé au moyen de différentes ressources prosodiques, en particulier l’accentuation et l’intonation. Plusieurs fonctions sont attribuées à la focalisation : le marquage des différentes catégories de focus, ainsi que des fonctions emphatiques (ici appelées insistance et expressivité). Cette thèse a pour principal but de savoir si la focalisation et ses fonctions présentent des propriétés spécifiques dans le phonogenre de la parole interprétée, c’est-à-dire l’oralisation d’un texte écrit mémorisé au préalable par le locuteur (généralement un comédien). Cette question présente un intérêt pour la linguistique et la phonétique à plusieurs titres. Tout d’abord, les différences de réalisation prosodique entre les fonctions de la focalisation sont encore mal connues. Par ailleurs, peu d’études ont été consacrées aux caractéristiques prosodiques de la parole interprétée. Enfin, notre thèse présente un apport sur le plan méthodologique à travers le protocole relativement novateur de ses deux expériences. Dans une expérience de production, des locuteurs ont reproduit des conversations spontanées en parole lue et en parole interprétée. Un groupe d’experts en prosodie a ensuite relevé les occurrences de focalisation dans le corpus et a effectué une classification fonctionnelle de ces occurrences. Nous avons également mené une expérience de perception afin de comparer la réalisation des fonctions de la focalisation indépendamment du phonogenre. Malgré un taux d’accord entre experts relativement faible (ce qui soulève plusieurs questions méthodologiques et théoriques), nos analyses révèlent plusieurs résultats originaux. La fréquence d’occurrence de la focalisation est la plus élevée en parole interprétée, suivie de la parole lue. Ce résultat confirme notre prédiction et suggère que la parole interprétée est un phonogenre favorable à l’étude de la focalisation. Une forte relation est observée entre la fonction d’insistance et le trait d’accentuation initiale, ce qui confirme de nombreuses études précédentes. Le phonogenre se révèle en revanche avoir très peu d’influence sur la réalisation de la focalisation et de ses fonctions. Ce résultat est dû selon nous à un manque de données et au fait que certains traits prosodiques n’ont pas été pris en compte dans l’analyse. / Prosodic highlighting refers to the distinction of a constituent through various prosodic means, especially accentuation and intonation. It is taken to fulfill several functions: marking the different types of focus, as well as emphatic functions (named here “insisting” and “expressiveness”). The main goal of this thesis is to determine whether prosodic highlighting and its functions display specific features in interpreted speech, a speaking style that can be defined as the oralization of a written text previously memorized by the speaker (typically an actor). This question is relevant for linguistics and phonetics on several counts. First, little is still known about prosodic differences between functions of prosodic highlighting. Moreover, few studies have analyzed the prosodic characteristics of interpreted speech. Finally, through their innovative protocols, the two experiments described in this thesis present a methodological contribution. A production experiment consisted in having speakers replicate spontaneous conversations in read and interpreted speech. A group of experts then annotated the occurrences of prosodic highlighting in the corpus, and assigned a function to each occurrence. A perception experiment was also led in order to compare the realization of each function independently of speaking style. Despite a relatively low agreement rate between experts (which raises several methodological and theoretical questions), our analyses reveal several important results. The frequency of occurrence of prosodic highlighting is highest in interpreted speech, followed by read speech. This confirms our prediction and suggests that interpreted speech is more suited to the study of prosodic highlighting than other speaking styles. A strong association is observed between insisting and initial secondary accent, which confirms many previous studies. However, there is almost no influence of speaking style on the realization of prosodic highlighting and its functions. We attribute this result to a lack of data and to the fact that some prosodic features were not taken into account in the analysis.

Sustainability is a growing trend and companies are increasingly engaging sustainability in their core business strategy. One example of how this is manifested is through the development of products that are  labelled as energy-efficient. There is a lack of insights into how consumers perceive and gain benefits from such sustainable products, particularly so regarding the nonfunctional and non-economical benefits and into how culture influences those benefits. The purpose of this study is to investigate consumer perceived non-functional and non-economical benefits that are associated  with energy-efficient products,  in order to gain a deeper understanding on how the Swedish compared to the Thai culture influence consumers perception of energy efficient products within the home appliance industry. The literature review regarding the  symbolic meaning of products concludes that the most relevant perceived benefits of products includes emotional-, self-expressiveness-, and social benefits. A cross-cultural quantitative study performed in Sweden and Thailand determines that culture influences consumers understanding of products and thereby influence their perceived benefit from energyefficient home appliances. How culture influences consumer perceived benefits depends on the characteristics of the different cultural dimensions established by Hofstede (2010), involving: power distance, masculinity, individualism, uncertainty avoidance, and long-term orientation.

Facial expressions provide valuable information in making judgments about internal emotional states. Evaluation of facial expressions can occur through mimicry processes via the mirror neuron system (MNS) pathway, where a decoder mimics a target’s facial expression and proprioceptive perception prompts emotion recognition. Female participants rated emotional facial expressions when mimicry was inhibited by immobilization of facial muscles and when mimicry was uncontrolled, and were evaluated for self-expressiveness level. A mixed ANOVA was conducted to determine how self-expressiveness level and manipulation of facial muscles impacted recognition accuracy for facial expressions. Main effects of self-expressiveness level and facial muscle manipulation were not found to be significant (p > .05), nor did these variables appear to interact (p > .05). The results of this study suggest that an individual’s self-expressiveness level and use of mimicry processes may not play a central role in emotion recognition.