Orientadores: Edson do Prado Pfützenreuter, Anna Paula Silva Gouveia / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-20T07:52:01Z (GMT). No. of bitstreams: 1 Rezende_AndreNovaesde_D.pdf: 133268389 bytes, checksum: e0ce46145e8906cad7a46c671ea5c52e (MD5) Previous issue date: 2012 / Resumo: No fim do século XIX, o diálogo entre as artes visuais e a música abriu precedentes para que as artes aplicadas, ou comerciais, incentivassem o consumo do espetáculo musical. Paralelamente, com o desenvolvimento tecnológico da indústria fonográfica, a música passou a ser gravada e comercializada. A comercialização da música gravada, por sua vez, também foi beneficiada por um interesse de explorar-se uma conexão visual com o conteúdo da gravação. Em 1940, este interesse foi diretamente manifestado pelo designer gráfico norte-americano Alex Steinweiss, quando começou a projetar capas de álbuns de discos de 78rpm para a gravadora Columbia Records. Steinweiss não foi o primeiro artista comercial ou designer gráfico a projetar uma capa ilustrada para álbuns de discos de 78rpm mas, ao projetar capas, foi pioneiro na intenção de exercer uma correspondência semântica com o conteúdo musical dos discos. Esta tese tem como grande objetivo o resgate das principais condições históricas e culturais que ajudaram a caracterizar o trabalho de Steinweiss e que possibilitaram fosse ele incorporado com sucesso pela indústria fonográfica. Por meio do levantamento de tais condições e também do próprio método de projeto de Steinweiss, observou-se que seu sucesso proporcionou o estabelecimento de um paradigma, na medida em que as soluções propostas por ele foram, posteriormente, tomadas como modelo e substituíram as regras vigentes para o projeto gráfico das capas dos álbuns de discos / Abstract: By the end of the nineteenth century, the dialog between visual arts and music was a great influence on the applied arts, or commercial arts, in its own task of promoting the music spectacle. Meanwhile, with the technological development of the music industry, music started to be recorded and commercialized. The recorded music business, moved by its own interests, also explored a visual connection with the recorded musical content of their product. In 1940, the early work of the American graphic designer Alex Steinweiss was a consequence of this interest, as he started to design album covers for 78rpm records while working at Columbia Records. Steinweiss was not the first commercial artist or graphic designer to design illustrated album covers for 78rpm records, but he was the first one who expected to achieve semantic correspondence with the musical content of the record. The main goal of this thesis is to retrieve key historical and cultural conditions that influenced Steinweiss' work and allowed him to succeed as a graphic designer inside the recorded music business. By doing so, and by setting up aspects of Steinweiss' design methods, we have come to the conclusion that his success characterized a paradigm. The solutions he offered were taken as models and replaced the rules that determined how an album cover should be designed / Doutorado / Artes Visuais / Doutor em Artes

Sound Source Separation refers to separating sound signals according to their sources from a given observed sound. It is efficient to code and very easy to analyze and manipulate sounds from individual sources separately than in a mixture. This thesis deals with the problem of source separation in monaural recordings of harmonic musical instruments. A good amount of literature is surveyed and presented since sound source separation has been tried by many researchers over many decades through various approaches. A prediction driven approach is first presented which is inspired by old-plus-new heuristic used by humans for Auditory Scene Analysis. In this approach, the signals from different sources are predicted using a general model and then these predictions are reconciled with observed sound to get the separated signal. This approach failed for real world sound recordings in which the spectrum of the source signals change very dynamically. Considering the dynamic nature of the spectrums, an approach which uses covariance matrix of amplitudes of harmonics is proposed. The overlapping and non-overlapping harmonics of the notes are first identified with the knowledge of pitch of the notes. The notes are matched on the basis of their covariance profiles. The second order properties of overlapping harmonics of a note are estimated with the use of co-variance matrix of a matching note. The full harmonic is then reconstructed using these second order characteristics. The technique has performed well over sound samples taken from RWC musical Instrument database.

In my diploma thesis i deal with legal aspects of the protection of sound recordings of musical compositions in the Czech Republic and the Russian Federation. In connection with the development of modern technoligies that facilitate access to copyright works, for example the internet, protection of copyright and rights related to copyright is becoming a very important and should be corresponding. The first chapter deals with the definition of the basic concepts of copyright. The second chapter focuses on the issue of copyright infringement and infringement of related rights in the Czech Republic and Russia. In the following section copyright's international treaties (TRIPS, ACTA and others) are analyzed and liabilities, which arise from them. The fourth chapter deals with the issue of enforcement of copyright. In the last chapter, I compare effectiveness of Czech and Russian legal norms for the protection of copyright, based on anonymous sociological research among university students relatively to the origin of audio recordings of musical compositions.

This diploma thesis deals with complex issue of American recording industry and its specifics in retail industry. The thesis is composed of three main parts which are being linked with its theme, and they complement one another. The first part is a theoretical framework of American recording industry. The chapters pursue basic terminology of music market, analysis of business environment in the USA and comparison of the recorded music to other entertainment markets. The second part engages in history of the recorded music, yet it specially concentrates on market's outputs, i.e. volume of sold recordings and corresponding revenues for the period 1989-2012. Eventually, the final part thoroughly studies music business, its subjects and principles. Chapters describe and analyze the profile of American music consumer, the theory of music copyright and financial aspects of recording as well as music publishing.

The recordings of the legendary pianist Ignacy Jan Paderewski are a valuable documentation of his piano performance style. Knowledge of late-Romantic performance practices gleaned from Paderewski's recordings suggest ways of approaching the performance of his Sonata in E-Flat Minor, Op. 21. This Sonata, composed in 1903 near the end of his compositional career, is a work of the highest caliber, deserving a permanent place in the concert pianist's repertoire. The purpose of this paper is to provide performance suggestions based on Paderewski's performance style which will produce a performance closer to the spirit of the times in which it was written. This study provides an overview of the project in Chapter 1, and a background of Paderewski's life as pianist, composer, and statesman in Chapter 2. A time-line chart of his complete works is included for reference. Chapter 3 analyzes Sonata, Op. 21 in regards to form, sound, melody, harmony, and rhythm. Following the analysis, the Sonata is compared compositionally to sonatas that appear alongside Sonata, Op. 21 on Paderewski's programs, including those by Chopin, Beethoven, and Liszt. Graphs summarize the form and dynamic density of the Sonata, and examples illustrate Paderewski's craft at thematic transformation. Chapter 4 examines Paderewski's performance style documented in recordings of his own compositions and of works by Chopin, Schumann, Liszt, and Beethoven. Consideration is given to various aspects of interpretation, including counterpoint, asynchrony, tempo rubato, rhythmic variance, and pedaling. Each of these aspects of Paderewski's performance style is illustrated with transcriptions of excerpts from Paderewski's recordings. The author proposes examples of application of these aspects to Paderewski's Sonata, Op. 21. Chapter 5 provides a summary of the project. Appendix A contains an analysis of the rhythmic grouping that performers may find useful, and Appendix B contains the recital programs required for the degree program.

This dissertation presents evidence for the influence which tenor Enrico Caruso had on the Italian Vocal Tradition. This impact was clearly boosted by the revolution realized in the fledgling recording industry, and the recordable disc. In the years of 1902-1920 gramophones became commonplace, and collecting recordings became an interest for many. This new technology required specialized skills, and was especially suited to certain qualities of voice. Caruso enjoyed immense success in this medium, in recording over 250 records. Italian vocal style at the turn of the century was changing, and Caruso employed a new "modern" style in his singing. His interpretive decisions, vocal method, and repertoire which he championed had an impact on the vocal tradition of future generations. Comparison of his recordings with tenors Fernando de Lucia, Giuseppe Anselmi, and Alessandro Bonci shows a marked contrast in styles of "the old school" and Caruso's "more straightforward" approach. A collection of historical documents for those who succeeded him include many biographies, reviews, and quotes to demonstrate the extent of his influence. Recordings also show a movement toward "the Caruso Sound." Jussi Bjoerling, Franco Corelli, Richard Tucker, Mario Lanza, and Luciano Pavarotti were all influenced by the great Caruso. Almost 100 years have passed since he sang his last performance. He continues to inspire singers to this day, through his recordings and legacy passed on by many generations. He is the ideal, the measuring stick for all tenors to follow, and continues even to today.

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A significant number of action recognition research efforts use spatio-temporal interest point detectors for feature extraction. Although the extracted features provide useful information for recognizing actions, a significant number of them contain irrelevant motion and background clutter. In many cases, the extracted features are included as is in the classification pipeline, and sophisticated noise removal techniques are subsequently used to alleviate their effect on classification. We introduce a new action database, created from the Weizmann database, that reveals a significant weakness in systems based on popular cuboid descriptors. Experiments show that introducing complex backgrounds, stationary or dynamic, into the video causes a significant degradation in recognition performance. Moreover, this degradation cannot be fixed by fine-tuning the system or selecting better interest points. Instead, we show that the problem lies at the descriptor level and must be addressed by modifying descriptors.

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