The present thesis comprises a musical score and a set of specifications for a programmer to employ in the creation of a computer patch required to run the electronics. Scored for symphony orchestra and solo cello, the work also incorporates a computer operator and sound engineer who function as performers, following detailed instructions to store, activate, shape, spatialize, and regulate electronic material. The computer patch manifests two main components: the recording and playback of live sound (with the solo cello acting as the input source) and a virtual instrument feedback module. Electronic superimpositions of solo cello samples, ranging in density between a single layer and many simultaneous layers, intertwine with the live instrumentalist, forming timbrally distinct polyrhythmic contrapuntal lines. The feedback component allows for an interaction between the soloist and electronics, in which the computer operator manipulates faders connected to a series of feedback sub-patches, each employing a range of diverse delay parameters. The musical language of the work, which evolves from a series of expanding and contracting pitch clusters, continually transmutes, shifting back and forth from atonality, tonality, and polytonality. Formally, the work both opposes and espouses traditional paradigms; and it is this dichotomy, the tension created between old and new, which ultimately unifies the structure. Finally, the expansion of the role of the soloist, which entails not only the integration of multiple superimposed electronic layers but of the immersive diffusion of sound in multidimensional space, broadens the concerto form.

Micromachined microphones with diffraction-based optical displacement detection are presented. A compliant membrane is made part of a phase sensitive diffraction grating, and the deflection resulting from external acoustic pressure alters the intensities of the diffracted orders which are monitored with integrated photodiodes. The scheme provides the displacement sensitivity of a Michelson interferometer and can be integrated without beam splitters or critical alignment problems into volumes on the order of 1mm³. The method is implemented and characterized using microphone membranes with integrated diffraction grating back electrodes fabricated on silicon using Sandia National Laboratories' dedicated processing platform. Detailed response characterization in both air and vacuum environments is performed to extract the diaphragm properties and high frequency cutoff frequencies of the microphone. Results from a finite element model of the microphone structure are in good agreement with measured data. The sensor's internal noise is characterized with measurements performed in the anechoic acoustic test facility at Georgia Tech. While utilizing 2.4mW of laser power, an (A) weighted displacement resolution of 6×10⁻⁴Å/√Hz is measured which is limited by thermal acoustic noise caused by the microphone's back-plate flow resistance.

The present thesis comprises a musical score and a set of specifications for a programmer to employ in the creation of a computer patch required to run the electronics. Scored for symphony orchestra and solo cello, the work also incorporates a computer operator and sound engineer who function as performers, following detailed instructions to store, activate, shape, spatialize, and regulate electronic material. The computer patch manifests two main components: the recording and playback of live sound (with the solo cello acting as the input source) and a virtual instrument feedback module. Electronic superimpositions of solo cello samples, ranging in density between a single layer and many simultaneous layers, intertwine with the live instrumentalist, forming timbrally distinct polyrhythmic contrapuntal lines. The feedback component allows for an interaction between the soloist and electronics, in which the computer operator manipulates faders connected to a series of feedback sub-patches, each employing a range of diverse delay parameters. The musical language of the work, which evolves from a series of expanding and contracting pitch clusters, continually transmutes, shifting back and forth from atonality, tonality, and polytonality. Formally, the work both opposes and espouses traditional paradigms; and it is this dichotomy, the tension created between old and new, which ultimately unifies the structure. Finally, the expansion of the role of the soloist, which entails not only the integration of multiple superimposed electronic layers but of the immersive diffusion of sound in multidimensional space, broadens the concerto form.

Doctor of Philosophy / The aim of this compositional research project is to find new paradigms of expression and representation of musical information, supported by technology. This may further our understanding of how artistic intention materialises during the production of a musical work. A further aim is to create a software device, which will allow the user to generate, analyse and manipulate abstract musical information within a multi-dimensional environment. The main intent of this software and composition portfolio is to examine the process involved during the development of a compositional tool to verify how transformations applied to the conceptualisation of musical abstraction will affect musical outcome, and demonstrate how this transformational process would be useful in a creative context. This thesis suggests a reflection upon various technological and conceptual aspects within a dynamic multimedia framework. The discussion situates the artistic work of a composer within the technological sphere, and investigates the role of technology and its influences during the creative process. Notions of space are relocated in the scope of a personal compositional direction in order to develop a new framework for musical creation. The author establishes theoretical ramifications and suggests a definition for micro-composition. The main aspect focuses on the ability to establish a direct conceptual link between visual elements and their correlated musical output, ultimately leading to the design of a software called 3D-Composer, a tool for the visualisation of musical information as a means to assist composers to create works within a new methodological and conceptual realm. Of particular importance is the ability to transform musical structures in three-dimensional space, based on the geometric properties of micro-composition. The compositions Six Electroacoustic Studies and Dada 2009 display the use of the software. The formalisation process was derived from a transposition of influences of the early twentieth century avant-garde period, to a contemporary digital studio environment utilising new media and computer technologies for musical expression.

This PhD in Music Composition is in the form of a written dissertation plus a series of electroacoustic music compositions on Audio CD. The thesis develops the “Segregation, Integration, Assimilation and Meaning” (SIAM) framework for the analysis of acousmatic musical works derived from research on auditory cognition. This framework is applied to a detailed analysis of Denis Smalley’s “Wind Chimes”. The dissertation finally asserts that the framework developed for the analysis of acousmatic music has been demonstrated to be effective and it discusses some implications for future research. (For complete abstract open document)

Doctor of Philosophy / The aim of this compositional research project is to find new paradigms of expression and representation of musical information, supported by technology. This may further our understanding of how artistic intention materialises during the production of a musical work. A further aim is to create a software device, which will allow the user to generate, analyse and manipulate abstract musical information within a multi-dimensional environment. The main intent of this software and composition portfolio is to examine the process involved during the development of a compositional tool to verify how transformations applied to the conceptualisation of musical abstraction will affect musical outcome, and demonstrate how this transformational process would be useful in a creative context. This thesis suggests a reflection upon various technological and conceptual aspects within a dynamic multimedia framework. The discussion situates the artistic work of a composer within the technological sphere, and investigates the role of technology and its influences during the creative process. Notions of space are relocated in the scope of a personal compositional direction in order to develop a new framework for musical creation. The author establishes theoretical ramifications and suggests a definition for micro-composition. The main aspect focuses on the ability to establish a direct conceptual link between visual elements and their correlated musical output, ultimately leading to the design of a software called 3D-Composer, a tool for the visualisation of musical information as a means to assist composers to create works within a new methodological and conceptual realm. Of particular importance is the ability to transform musical structures in three-dimensional space, based on the geometric properties of micro-composition. The compositions Six Electroacoustic Studies and Dada 2009 display the use of the software. The formalisation process was derived from a transposition of influences of the early twentieth century avant-garde period, to a contemporary digital studio environment utilising new media and computer technologies for musical expression.

Thesis (Ph. D.)--State University of New York at Binghamton, Thomas J. Watson School of Engineering and Applied Science, Department of Mechanical Engineering, 2009. / Includes bibliographical references.

Este trabalho tem como finalidade usar a técnica do pulso eletroacústico (PEA) para investigar a formação de carga espacial em materiais poliméricos utilizados na isolação elétrica, tais como, polietileno de alta densidade e o XLPE e a também investigar a resposta ferroelétrica do PZT durante o processo de polarização. O método de pulso eletroacústico é baseado na propagação do sinal acústico gerado pela aplicação de um pulso de tensão elétrico de 5ns de largura. Apresentamos todas as etapas da montagem do sistema PEA, a análise do sistema elétrico e o tratamento matemático dos sinais de forma obter urna melhor resposta do sistema. Iniciamos o trabalho utilizando duas amostras de PET polarizadas previamente no triodo corona. O par de amostras carregado com a mesma polaridade foi unido pelas faces carregadas eletricamente e foi determinada a origem do sinal obtido na interface inferior amostra-eletrodo. Confrontamos os resultados experimentais obtidos no PEA (com a amostra em curto-circuito) com a análise teórica o qual nos forneceu subsídios para determinar o sinal da carga que aparece nas faces da amostra e de onde o sinal era proveniente na interface. Empregamos a mesma idéia aplicada ao PET para determinar a origem do sinal na interface PZT-eletrodo, concluímos que a origem do sinal era proveniente do material de maior impedância acústica. Investigamos com a técnica do pulso eletroacústico, originalmente desenvolvido para polímeros, o chaveamento ferroelétrico de cerâmicas ferroelétricas. Abordamos o comportamento do decaimento da polarização ferroelétrica após a remoção do campo elétrico de saturação, determinamos a curva de histerese e o perfil do campo elétrico dentro da amostra quando se aplica rampa de tensão com taxa muito baixa e admitimos que o processo era quase-estacionário. Nos polímeros utilizados na isolação elétrica investigamos a formação da carga espacial no PE e nos materiais relacionados sob alto campo elétrico e em função do tempo de polarização. / The purpose this work was using to PEA method for investigation of the ferroelectrics response in PZT and space charge formation in polymeric materials (PE, XLPE) used as electrical insulation for high voltage devices. The PEA method is based on propagation acoustic signal generated by the application of a short electric field pulse, typically 5 ns in duration. Show all the steps of the experimental set-up PEA system, analysis of the electrical system and the mathematical treatment of the signals. Start up the work with double layer PET samples previously poled in corona triode with aim of determination of the origin of the signal obtained to in the sample-lower electrode interface and the experimental results obtained to PEA satisfactorily explain the theory. Make up his mind to apply a same idea to PZT, but only one sample it was poling. From that measurements with PET and PZT, is found that the signal come from of material biggest acoustic impedance. With the PEA method, in the first place development for polymers, it was investigated the ferroelectrics ceramics: ferroelectric switching, decaying of ferroelectric polarization after removal saturation electrical field, hysteresis loop measurements and the determination of coercive field. To obtain the electrical field profile through the thickness of the ferroelectrics ceramics it was applied ramp voltage method in process steady-state (low rate). The space charge formation in polymers under high electric field and in time function was investigated.

Electroacoustic music has a unique ability to connect the listener to places, space and stories both real and imaginary. Each work within the portfolio explores specific objects, spaces and places. The intrinsic sonic qualities are explored and a musical narrative takes the listener through a newly composed imaginary space. Six original compositions are presented in this portfolio. The titles of these works are as follows: Lamenting, 192, All Along the Bell Tower, Oz, The Thing About Listening is…. and A Bit Closer to Home. Narrative structures that simulate a journey are used as a guide for the listener through immersive, virtual soundworlds. These spoken word and musical narratives also serve as a structural tool for the composer. Imagined and real sonic layers within stories and soundscapes are analysed, deconstructed and manipulated. These works convey a message, story or sense of place to the listener, while revealing sonic qualities that are not normally the focus of listening. My aim as a composer is to enhance the daily listening experiences of the listener, as they become more aware and appreciative of the sounds around them, through the sounds and spaces they experience in my music.

This commentary details the methods and ideas involved in creating the seven portfolio works. The portfolio is comprised of stereo acousmatic works, one mixed work and a multi-channel work, forming the practice-based research completed during the PhD programme at the University of Manchester. The works explore a number of aesthetic concepts encompassing instrumental timbres, cultural sound objects, rhythm incorporation, habitual spaces (the kitchen), imaginary and real objects (jukebox), and visual art sculpture (origami). Uniting the portfolio works is the use of Denis Smalley’s spectromorphology (1997). In its intended function, this tool provides the listener of electroacoustic music with thorough and accessible sets of vocabulary to describe sound events, structures and spaces. The use of this descriptive tool need not stop here. Fortunately, and often unconsciously for the composer, it does not, since all composers create music that is spectromorphological with or without an awareness of its presence at work. In a reversal of conventional practice, my research approaches spectromorphology from an alternate angle, viewing the vocabulary as the informer upon sound material choice and creation. In this reversal, vocabulary no longer functions descriptively; instead the vocabulary precedes the composition, directing my compositional pathway in each piece. This new application, used as a method for selecting and creating sound in the creation of each portfolio work, is an attempt at systemisation and an effort to partly remedy the seemingly endless choice of possibilities we are faced with when beginning a new work.