Os avanços tecnológicos têm refletido não somente no modo de aprender e ensinar, mas também nas práticas pedagógicas e nas arquiteturas para o contexto educacional. Neste panorama, cresce a busca pela interdisciplinaridade, associada a uma visão holística do indivíduo, que leva em conta não somente a cognição, mas também os aspectos sociais e afetivos dos alunos. Diante desta realidade, percebe-se a necessidade de se construir e aplicar arquiteturas pedagógicas voltadas a esses aspectos, que englobem recursos tecnológicos tais como o computador e a construção de interfaces tangíveis pelos estudantes, a exemplo dos instrumentos musicais digitais (IMDs). Juntamente com esses, ampliaram-se as possibilidades da utilização da música no contexto educacional. Compreende-se que uma, dentre as características do público adolescente, é a busca pelo sentimento de pertença a um grupo. Esta pode ocorrer através da participação em diversas atividades voltadas para a expressão sonora e/ou musical através de tecnologias, tais como os IMDs. Perante essas premissas, esta pesquisa tem o objetivo de analisar como uma Arquitetura Pedagógica (AP) voltada para a construção e utilização de instrumentos musicais digitais (IMDs) pode contribuir para fomentar aspectos socioafetivos em estudantes adolescentes não musicistas. Para isso, o presente estudo fundamenta-se numa abordagem qualitativa. A coleta de dados foi realizada a partir de observações, questionários, vídeos, produções tecnológicas e registros sobre as interações sociais e os estados de ânimo dos estudantes. Entende-se que as contribuições desta investigação podem implicar em mudanças quanto ao design dos espaços de aprendizagem relacionados às arquiteturas pedagógicas para a construção e uso de protótipos físico-sonoros e/ou instrumentos musicais digitais com finalidade educacional. / Technological advances have reflected not only on the way of learning and teaching but also on pedagogical practices and architectures for the educational context. In this panorama, the search for interdisciplinarity, coupled with a holistic view of the individual, considers not only the cognition but also the social and affective aspects of the students. Faced with this reality, one can see the need to construct and apply pedagogical architectures focused on these aspects, which encompass technological resources such as the computer and the construction of tangible interfaces by students, such as digital musical instruments (DMIs). Along with these, the possibilities of the use of music in the educational context were extended. It is understood that one of the characteristics of the adolescent public is the search for the feeling of belonging to a group. This can occur through participation in various activities focused on sound and/or musical expression through technologies such as DMIs. Given these premises, this research has the goal of analyzing how a Pedagogical Architecture (PA) aimed at the construction and use of digital musical instruments (DMIs) can contribute to foster socio-affective aspects in non-musician adolescent students. For this, the present study is based on a qualitative approach. The data collection was made from observations, questionnaires, videos, technological productions and records about the social interactions and moods states of the students. It is understood that the contributions of this investigation may imply changes in the design of learning spaces related to pedagogical architectures for the construction and use of physical-sounding prototypes and/or digital musical instruments for educational purposes.

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A method to synthesize the sound radiation characteristics of musical instruments in a wave field synthesis (WFS) system is proposed and tested. Radiation patterns of a violin are measured with a circular microphone array which consists of 128 pressure receivers. For each critical frequency band one exemplary radiation pattern is decomposed to circular harmonics of order 0 to 64. So the radiation characteristic of the violin is represented by 25 complex radiation patterns. On the reproduction side, these circular harmonics are approximated by 128 densely spaced monopoles by means of 128 broadband impulses. An anechoic violin recording is convolved with these impulses, yielding 128 filtered versions of the recording. These are then synthesized as 128 monopole sources in a WFS system and compared to a virtual monopole playing the unfiltered recording. The study participants perceive the tone color of the recreated virtual violin as being dependent on the listening position and report that the two source types have a different ‘presence’. The test persons rate the virtual violin as less natural, sometimes remarking that the filtering is audible at high frequencies. Further studies with a denser spacing of the virtual monopoles and a presentation in an anechoic room are planned.

A simple method is described to record the radiated sound of musical instruments and to extrapolate the sound field to distances further away from the source. This is achieved by considering instruments as complex point sources. It is demonstrated that this simplification method yields plausible results not only for small instruments like the shakuhachi but also for larger instruments such as the double bass: The amplitude decays in a given manner and calculated interaural signal differences reaching the listener decrease with increasing distance to the source. The method can be applied to analyze the sound radiation characteristics as well as the radiated sound field in a listening region regardless of room acoustical influences. Implementations in terms of room acoustical simulations, spatial additive synthesis and sound field synthesis are discussed.

abstract: This research paper is an explanatory document for the lecture recital presented by the author. The lecture recital focused on the mimicking of instruments in arrangements and transcriptions for piano of Chinese traditional music. There are five Chinese music instruments discussed in the paper, namely guqin, zheng, erhu, suona, and pipa. This document provides an introduction to the five instruments, including their origin, historical background, and physical characteristics. Then it discusses the selected traditional pieces for these instruments and compares them to their corresponding piano arrangements. The traditional pieces are Three Stanzas of Plum Blossoms (arranged by Jianzhong Wang), Liu Yang River (arranged by Jianzhong Wang), Moon Reflected on the Er-quan Spring (arranged by Wanghua Chu), A Hundred Birds Paying Homage to the Phoenix (arranged by Jianzhong Wang), and Flute and Drum at Sunset (arranged by Yinghai Li). The comparison and the discussion of the technical issues in certain passages will help the pianist to create a fitting sound when performing the works. / Dissertation/Thesis / Doctoral Dissertation Music 2020

From at least the twelfth century, amid the growth of commerce, towns, and universities, notaries charged with the writing of various administrative documents formed an increasingly important professional group in the Italian communes and, later, across the whole northwestern Mediterranean. A large quantity of sources from the late medieval period were written by notaries, including notarial registers, court records, and other administrative books. Unlike modern administrative records, medieval counterparts surprise us with poems that look like contracts, images that have nominal functions, prayers interspersed with the text of the official record, and musical imagery that allows us to compare notaries to musicians. What do these marginalia betray about the meaning of contractual text and the notaries as their producers?“Minds and Margins: Notarial Culture in Bologna, ca. 1250-1350” is the first interdisciplinary study of notarial registers examining how notarial acts were brought together with poems, prayers, images, and music as they were entered into the registers’ pages by the notaries themselves. It demonstrates that to understand the contents of a quantitatively important source of medieval economic, social, legal, and political history—records written by notaries—we must not only take into account the social and legal-institutional contexts of their production, but also the cultural and religious worlds that shaped the registers and the minds of their makers, the notaries. “Minds and Margins” thus explores how notaries absorbed cultural modes of thought and practice and applied them to their administrative work. Examining poetry, images, music, and prayers in notarial registers—evidence that is not only physically located on the margins, but that has also been marginalized by previous scholars—I argue that notaries were both accountable officials and creators of an ideal urban order, using their culture to define contractual and institutional relationships. Bologna is at the center of this research because of its wealth of surviving notarial records and its university functioning as medieval Europe’s leading institution for the study of law. Moreover, the density and variety of archival records in Bologna provides the opportunity to draw out the connections notaries forged between the marginalia and their profession. Chapter 1, “Medicine and Literature in Salatiele’s Ars notarie,” treats notaries’ formation and shows how Salatiele (d. 1280), a Bolognese notary and jurist who maintained a school for notaries, relied on Galenic medical theory and Ovidian verses to theorize notarial instruments and notaries’ professional roles. I argue that Galen and Ovid allowed Salatiele to conceptualize the intellectual underpinnings of commercialization and monetization as ordering principles of the common good. Chapters 2 through 5 observe notaries at work to demonstrate how they used different cultural media to shape documentary principles and practices. Chapter 2, “Trustworthy Lovers,” examines poems notaries entered into the registers of the Memoriali, a Bolognese office that collected all notarial contracts involving sums of 20 lire. The two textual genres, poems and contracts, contain parallels in their formal and thematic frameworks. I argue that the poems are media by which notaries established for their colleagues and the public their own trustworthiness and ability to write truthfully. Chapter 3, “Signing with Religious Imagery,” examines signs that are analogous to monstrances and other religious objects notaries drew as part of signatures. I argue that in using images of devotional objects as signature signs, notaries were staking a claim to be creators of a quasi-sacred urban order. In Chapter 4, “The Music of Instruments,” I examine how the experience of music shaped notaries’ perceptions of contracts and their professional self-images. Liturgical chant may have inspired notaries’ reading practices, influencing their manner of reading instruments aloud to the contracting parties. From there, I turn to a broader question of the relationship between musical instruments and notarial instruments. The musical portrait of Zachetus de Viola can be seen as relating his musical skill to his reputation not only as a musician but also as a notary. While the teacher of notarial arts, Salatiele, turned to Galen and Ovid, former students drew on music and musical instruments as models for the social harmony they saw themselves constructing with notarial “instruments,” the technical term used for contracts. “Contracts,” “court records,” and “registers” are familiar legal terms. “Minds and Margins” argues that to medieval notaries, they could also mean musical instruments or poems—sometimes both at once. By examining the margins of notarial registers, we discover that the contracts, court records, and texts of other notarial acts at the center of today’s state archives in fact took shape out of a much broader cultural context. In this sense, “Minds and Margins” contributes to our understanding of historical margins as places that shaped the center—urban administrations, contractual and institutional relationships—in unexpected ways. The present research urges us to reconsider contractual and administrative principles—too hastily accepted by previous scholars as predecessors of their modern counterparts—through the lens of the minds of those who shaped them, medieval people.

This thesis deals with the problematic of methods of measurement of the acoustical behavior in the field of brass wind instruments. The principles of videokymography are shown and a new kymography-based method of high-speed measuring of lips opening area is derived and described. Various other methods are discussed. The essential physics of brasses is explained. Powered by TCPDF (www.tcpdf.org)

In order to further investigate the efficacy of interactive musical toys developed by students in the course DM2799 at KTH Royal Institute of Technology, we conducted a user study. The intended users of the toys are primary school children with special needs. The trials were held at the Rullen Dibber special needs school in Solna, Sweden. The study was conducted in order to be able to further develop the instruments and to better understand the needs and wants of the intended users. In order to do this, we studied the emergence of positive behaviors linked to musical expression. The study concluded that although the instruments did not result in any significant change in togetherness and nonverbal communication in the children during playing with the instruments, they were observed to be an effective tool in music therapy. / För att närmare undersöka inverkan av interaktiva musikaliska leksaker utvecklade av studenter i kursen DM2799 på KTH så har vi utfört en utförlig användarstudie. Den avsedda användaren av leksakerna är primärt barn i skolålder med funktionsvariationer. Försöken utfördes på Rullen Dibber särskola i Solna. Studien utfördes för att vidareutveckla instrumenten och att bättre förstå behoven hos den avsedda användaren. För att göra detta undersökte vi framväxten av positiva beteende kopplade till musikaliskt uttryck. Studien visar att trots att instrumenten inte påvisar någon ökad gemenskap bland barnen är de effektiva verktyg för musikterapi.

Many professional musicians change careers, and yet there is little research on this topic. The experiences of post-professional musicians are largely unknown, their stories untold and uncelebrated. Informed by phenomenology, this dissertation explores the experiences of professional musicians who leave successful careers as performing artists. It looks at the challenges, beauty and complexity of their musical life stories. Out of this phenomenological inquiry, the mystery of composing a new life story emerges. Guided by hermeneutic phenomenology, this inquiry centers on story-crafting as a means of allowing meaning to reveal itself, while affirming the role of the inquirer in the story crafting process. Central to this study are the ways in which encounters with its insights occur and are held in a state of wonder. The semi-structured phenomenological interview serves as the primary source of data collection. A digital journal functions as a secondary source. The role of the researcher is accounted for through movement within the hermeneutic circle. It is here that the effect of both the inquirer’s fore-sights / fore-conceptions, ranging from personal biases to knowledge of the literature, and presence (Dasein – being there) are addressed. Data exploration (analysis) and reflection (synthesis) are approached through nuanced readings for apparent insights in which the essence of the phenomenon might reveal itself. Study findings are rendered through five musical life stories. In addition, a general narrative forms a composite description of all five stories, and a general description relays the structure of the composite experience. Findings reveal that all five participants experienced successful careers as professional musicians, while simultaneously maintaining interests in other endeavors. Considerations that moved them toward a decision to leave their music careers varied: from health or physiological challenges to the desire to increase earning potential or from a growing sense of fatigue relative to the effort required to remain competitive to a sense of having accomplished everything anyone in a music career could reasonably expect to accomplish. Another consideration for some of them centered on a sense of restlessness and no longer feeling sufficiently challenged. Once established in a new career, all became once again successful, as evidenced by fast career trajectory and increased earning potential. All participants have made a new post-performance life defined largely by music-listening and inter-arts engagement. For the most part, they no longer play their primary instrument. With one exception, when they do make music, it is on their secondary instrument, and it is non-performative, meditative, participatory or for leisure. They have lived their dreams of becoming and being a professional musician and find themselves now living out the realization of a new dream. Summary reflections consider the costs of building, maintaining and leaving a music career and the benefits of setting clear intentions in the context of leisure music making. Recommendations center on questions for music educators and topics for related future study. They imagine a more dynamic role of composing a musical life story throughout a music educative experience.

This dissertation explores the intangible cultural heritage of the collection of musical instruments from the Mandé region of West Africa (present-day Senegal, Mali, Guinea, Guinea-Bissau and the Gambia) currently held at the Metropolitan Museum of Art in New York City. It uses the geographical shadow of the Mandé empire—once the locus of economic power globally—to circumscribe a collection of twenty-three instruments at the museum that share historical and socio-cultural characteristics, although the ruptures between them are also illustrated through individual analysis of each. It then considers their significance over time at the museum, in current debates concerning African cultural heritage and in terms of community access. The culmination of eleven years of musical study and practice in and out of Senegal, the U.K. and the U.S., this dissertation argues for a practice-oriented rather than object-oriented analysis of cultural heritage.