The goal of this project is to incorporate electronic music concepts into ensemble playing and composition. To achieve this, I composed music designed for improvisation using techniques such as looping, sound mimicking, and sound designing. To better understand the language of electronic dance music, I analyzed the behavior of instruments like drum machines and synthesizers, and then implemented those findings into ways of making an ensemble sound like electronic music. The aim is to explore new ways of improvising music and to develop skills as a musician, composer, and band leader.   This music was presented in a concert at Kungliga Musikhögskolan in Stockholm on March 6th. / <p>Kompositör och arrangör: Sammy Hsia</p><p>Repertoar: Intro, Tjuven, Dotted 8, Gilmore, Ballad 7</p><p>Medverkande musiker:</p><p>Anna Wohlfarth - Fender Rhodes</p><p>Joel Henryson - Elbas, synthesizer</p><p>Magnus Jonasson - Slagverk, synthesizers</p><p>Sammy Hsia - Trumset</p><p>Bifogat inspelning från konserten. Mixning av Sammy Hsia</p>

Skapandet av spatialiserade ljudböcker är idag inte gynnsamt för företag då det tar för lång tid att skapa, och företag ofta förhåller sig till en allt för snar deadline. För att förenkla processen och för att skapa ett tydligt arbetssätt att utgå ifrån, kommer denna artikel att behandla skapandet av en användbar arbetsprocess för skapandet av spatiala ljudböcker. Artikeln behandlar olika teorier som kan gynna skapandet av ljudmiljön, och presenterar även ett förslag för hur man på bästa sätt lägger upp skapandeprocessen. Denna uppsats pekar på att en arbetsprocess för detta hade varit användbart, speciellt för folk i branschen som inte är så vana vid att skapa spatialiserade ljudböcker. Artikeln undersöker om skapandet av en arbetsprocess för spatialiserade ljudböcker kommer att underlätta för företag att återskapa processen. Detta hoppas kunna leda till att fler spatialiserade ljudböcker blir till, att det blir ett vanligare koncept, samt att företag ska kunna producera dessa enklare. / The making of spatialized audiobooks is not favorable for companies today as it takes too long to create, and companies often relate to an all too prompt deadline. To make the process easier and to create a clear working process to proceed from, this article will approach the making of a useful work process for the creation of spatial audiobooks. This article deals with various theories that can benefit the creation of the sound environment/ambience, and also presents a proposal for how to best set up the creation process. This article points out that a work process for this could be useful, especially for people in the industry who are not so used to creating spatialized audiobooks. The article investigates whether the creation of a work process for spatialized audiobooks will facilitate companies to recreate the process. It is hoped that this will lead to more spatialized audiobooks being created, that it will become a more common concept, and that companies will be able to produce these more easily.

Audio augmented reality är en teknik som jämfört med dess visuella motsvarighet och virtual reality inte får samma utrymme i diskussionen av nya och spännande interaktiva medium. Dessutom brukar ljud överlag i interaktiva medier primärt användas för att endast stödja det visuella. I detta utforskande arbete undersöks därför möjligheterna av ljudbaserad navigation inom fysiskt interaktiva audio augmented reality-upplevelser genom utformning och testning av ett ljudbaserat spel. För att skapa förståelse för hur ljudbaserade spel förmedlar information till användaren har en kvalitativ analys utförts av åtta olika titlar som använder sig av tredimensionella spelytor. Tillsammans med applicering av designteorier inom användarupplevelse och ljuddesign skapades ett ramverk för utformningen av arbetets gestaltning. Genom kvalitativa användartester och intervjuer där deltagarna fick interagera med det ljudbaserade spelet och sedan utvärdera det, undersöktes hur väl det utformade ramverket lyckades med att skapa en navigerbar, virtuell miljö. Resultaten indikerar att ramverket och dess innehållande teorier och metoder är väl applicerbara för detta syfte, samt att ljudbaserade spel i augmented reality upplevdes som ett spännande och intressant medium att interagera med. / Audio augmented reality is a technology that is not as frequently appearing in the public discourse regarding new and exciting interactive mediums compared to its visual counterpart or virtual reality. Audio is generally also less highlighted or utilized in interactive mediums, with its main purpose being to support the visual elements. In this explorative work we have therefore studied the possibilities of auditory navigation in physically interactive audio augmented reality environments through an audio game. To better understand how audio games convey information to the user, a qualitative analysis was done on eight titles which incorporates three dimensional navigation. Combined with the application of design theory within the fields of user experience and sound design, a framework for the design of the study's audio game was made. The framework's level of success at creating a navigable, virtual environment was tested through qualitative user testing and interviews where participants could interact with and evaluate the audio game. Results indicate that the design and the framework it was built from is applicable for its purpose, as well as audio games in audio augmented reality being perceived as an exciting and interesting medium to interact with.

Nous proposons, dans ce mémoire, d’explorer les possibilités pratiques et pédagogiques d’une approche autopoïétique de la création sonore au cinéma. Notre principal souci sera de saisir les modalités de l’ascèse propre aux artistes qui se livrent à une telle activité, comprise comme un « apprentissage de soi par soi » (Foucault), afin de faire celui qui peut faire l’œuvre (processus de subjectivation), et le rôle descriptif et opératoire de cet exercice - en tant qu’effort pour penser de façon critique son propre savoir-faire -, dans le faire-œuvre et l’invention de possibles dans l’écriture audio-visuelle cinématographique. Pour ce faire, d’une part, nous étudierons, à partir de témoignages autopoïétiques, le rapport réflexif de trois créateurs sonores à leur pratique et leur effort pour penser (et mettre en place) les conditions d’une pratique et d’une esthétique du son filmique comme forme d’art sonore dans un contexte audio-visuel, alors qu’ils travaillent dans un cadre normalisant : Randy Thom, Walter Murch et Franck Warner. D’autre part, nous recourrons à différentes considérations théoriques (la théorie de l’art chez Deleuze et Guattari, la « surécoute » chez Szendy, l’histoire de la poïétique à partir de Valéry, etc.) et pratiques (la recherche musicale chez Schaeffer, la relation maître-apprenti, les rapports entre automatisme et pensée dans le cinéma moderne chez Artaud et Godard, etc.), afin de contextualiser et d’analyser ces expériences de création, avec l’objectif de problématiser la figure de l’artiste-poïéticien sur un plan éthique dans le sillage de la théorie des techniques de soi chez Foucault. / It is our aim, in this study, to explore the practical and pedagogical possibilities of an auto-poietic approach to sound designing in cinema. Our main concern is to grasp the modalities of the asceticism unique to artists of this trade, understood as a apprenticeship of the self, by the self (Foucault) in order to generate the one who can make the work of art, and the descriptive and operational roles of this exercise - as a means of producing critical thought with respect to one’s own know-how-, in the making of the film and the invention of possibilities in audio-visual cinematographic “writing”. To do this, firstly, based on various forms of autopoietic testimony, we study the reflexive relation of three sound designers (Randy Thom, Walter Murch and Frank Warner) with respect to their practice and their efforts to think (and put in place) the conditions of a practice and an esthetics of film sound as a form of sound art in the audio-visual context, while these are working in normative framework. Secondly, we will use various theoretical (the art theories of Deleuze and Guattari, the “surécoute” of Szendy, the history of poietic from Valéry, etc.) and practical (Schaeffer’s musical research, the master-student relationship, the relationship between automatism and thought in the modern cinemas of Artaud and Godard, etc.) considerations to help contextualize and analyze these experiences of artistic creation, with the objective of problematizing the figure of the poietic-artist in the wake of Foucault’s theories on the techniques of self.

Suite à un état de l'art détaillant la création et l'utilisation de l'espace sonore dans divers environnements urbains virtuels (soundmaps, jeux vidéo, réalité augmentée), il s'agira de déterminer une méthodologie et des techniques de conception pour les espaces sonores urbains virtuels du point de vue de l'immersion, de l'interface et de la dramaturgie.ces développements se feront dans le cadre du projet terra dynamica, tendant vers une utilisation plurielle de la ville virtuelle (sécurité et sureté, transports de surface, aménagement de l'urbanisme, services de proximité et citoyens, jeux). le principal objectif du doctorat sera de déterminer des réponses informatiques concrètes à la problématique suivante : comment, en fonction de leur utilisation anticipée, les espaces sonores urbains virtuels doivent-ils être structurés et avec quels contenus?la formalisation informatique des solutions étayées au fil du doctorat et la création du contenu sonore illustrant le projet seront basés sur l'analyse de données scientifiques provenant de domaines variés tels que la psychologie de la perception, l'architecture et l'urbanisme, l'acoustique, la recherche esthétique (musicale) ainsi que sur l'observation et le recueil de données audio-visuelles du territoire urbain, de manière à rendre compte tant de la richesse du concept d'espace sonore que de la multiplicité de ses déclinaisons dans le cadre de la ville virtuelle. / In video gaming and interactive media, the making of complex sound ambiences relies heavily on the allowed memory and computational resources. So a compromise solution is necessary regarding the choice of audio material and its treatment in order to reach immersive and credible real-time ambiences. Alternatively, the use of procedural audio techniques, i.e. the generation of audio content relatively to the data provided by the virtual scene, has increased in recent years. Procedural methodologies seem appropriate to sonify complex environments such as virtual cities.In this thesis we specifically focus on the creation of interactive urban sound ambiences. Our analysis of these ambiences is based on the Soundscape theory and on a state of art on game oriented urban interactive applications. We infer that the virtual urban soundscape is made of several perceptive auditory grounds including a background. As a first contribution we define the morphological and narrative properties of such a background. We then consider the urban background sound as a texture and propose, as a second contribution, to pinpoint, specify and prototype a granular synthesis tool dedicated to interactive urban sound backgrounds.The synthesizer prototype is created using the visual programming language Pure Data. On the basis of our state of the art, we include an urban ambiences recording methodology to feed the granular synthesis. Finally, two validation steps regarding the prototype are described: the integration to the virtual city simulation Terra Dynamica on the one side and a perceptive listening comparison test on the other.

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Made available in DSpace on 2016-12-08T16:51:56Z (GMT). No. of bitstreams: 1 morgana.pdf: 2940515 bytes, checksum: 9931ca00fc551a232abee33f06950858 (MD5) Previous issue date: 2012-04-16 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / This dissertation presents an analysis regarding the sonorous repertoire within the theater ambit and how it can become the conductor in a dramaturgy. This analysis runs through the importance and functions of the sound repertoire in the theatrical ambit as well as other aspects of the subject. The explanation on the subject is discussed from a study about the Circo Teatro Udi Grudi from Brasilia. This group is known for its eminence on the sound repertoire as diversity. For this dissertation three plays were analyzed: O Cano, O Ovo e A Devolução Industrial. In all three plays it s possible to realize that the sound repertoire is the conductor of the scene´s dramaturgy, each one in it´s own way. The following authors were used as reference for the theoretical basis support: Lívio Tragtenberg, Luiz Otávio Carvalho Gonçalves de Souza e Roberto Gill Camargo. They are theoretical and in practice researchers. The following authors were taken to deepen the discussion: José Miguel Wisnik and Murray Schafer, who write about sound in a reflective matter / A presente pesquisa tem como principais focos a análise do repertório sonoro no âmbito teatral e como este elemento cênico pode se tornar o condutor da dramaturgia da cena. Essa análise explora diversas vertentes do tema, partindo da importância e das funções do repertório sonoro em meio ao contexto cênico. A explanação dos assuntos levantados é discutida e refletida por meio do estudo realizado sobre o trabalho do Circo Teatro Udi Grudi de Brasília. Esse grupo dedica grande destaque e diversidade aos repertórios sonoros de seus espetáculos teatrais. São três os trabalhos do grupo analisados nesta dissertação: O Cano, O Ovo e A Devolução Industrial. Nos três espetáculos é possível perceber, cada um a sua maneira, que o repertório sonoro é o condutor da dramaturgia da cena. Como sustentação da base teórica deste estudo recorri aos autores Lívio Tragtenberg, Luiz Otávio Carvalho Gonçalves de Souza e Roberto Gill Camargo, pesquisadores práticos e teóricos a respeito do tema. E para aprofundar a discussão utilizei também as teorias de José Miguel Wisnik e Murray Schafer, autores que discorrem de maneira reflexiva a respeito do som

This thesis analyses if the change of auditory feedback can improve the effectiveness of performance in the interaction with a non-visual system, or with a system used by individuals with visual impairment. Two prototypes were developed, one with binaural audio and the other with stereo audio. The interaction was evaluated in an experiment where 22 participants, divided into two groups, performed a number of interaction tasks. A post-interview were conducted together with the experiment. The result of the experiment displayed that there were no great difference between binaural audio and stereo regarding the speed and accuracy of the interaction. The post-interviews displayed interesting differences in the way participants visualized the virtual environment that affected the interaction. This opened up interesting questions for future studies.

Modulära synthesizers blev en stor kommerciell succé in på 1960-talet som sedan in på 2010-talet skulle få uppmärksamhet på nytt, troligtvis i samband med en "Do it yourself-rörelse" (DIY-movement). En sampler är ett instrument som finns både självständigt och som styrspänningskontrollerad modul inom modulärsyntes. Vanligt är att vissa aspekter till uppspelning går att kontrollera med styrspänning, exempelvis uppspelningshastigheten. Något varken jag eller min handledare har sett tidigare är direktåtkomst med styrspänning till minnespekare i en ljudbuffer för samplermoduler. Därför implementerade jag The Buffer, en samplermodul i en virtuell modulärsyntesmiljö - VCV Rack. I arbetet undersökte jag två frågeställningar: kopplingen mellan inspänningen till modulen och det resulterande ljudet, samt även vilket maximalt minnesområde som går att adressera för styrspänningen så att pekarna sveper konsekutivt genom varje frame av ljudspåret. I den senare utforskade jag två möjliga svar, ett teoretiskt största möjliga, och ett med utgångspunkt i min implementation. Jag utförde även en användarstudie på mer subjektiv basis för en indikation på modulens användbarhet.

Ce mémoire emprunte à la ludomusicologie tout en s’inscrivant dans le cadre des études du jeu vidéo et des études cinématographiques. Il est une exploration du sonore à l’intérieur d’une situation de conflit présente dans un jeu vidéo. Nous y appréhendons la construction sonore de la situation de conflit, caractérisée par un combat entre un personnage jouable et un antagoniste. Nous posons les problématiques suivantes : de quelle manière le sonore se construit-il dans une situation de conflit vidéoludique? Qu’est-ce que cette construction apporte au joueur ou à la joueuse? En prenant appui sur le cinéma puis le cinéma d’animation, nous envisageons le son dans sa construction audio-visuelle, rattaché à une image mouvante. Il apparaît rapidement que le son en rapport à l’image possède des fonctions qui permettent à l’auditeur-spectateur d’appréhender, voire d’amplifier à la fois l’histoire et les émotions. À travers le cognitivisme, nous transposons ensuite ces fonctions vers le jeu vidéo, en prenant en compte le paradigme de la jouabilité. En nous intéressant au joueur, nous partons de ses attitudes d’écoute pour proposer la construction d’une concrétion sonore, un ensemble de sons et de musiques inhérents à toute situation audio-visuelle. Il ne s’agit plus de séparer sons, musique et bruits, mais bien de les hiérarchiser en fonction des besoins du joueur, qui sont déterminés par la situation de jeu. Une étude de cas nous permet d’expliciter la concrétion sonore. Nous précisons enfin les enjeux relatifs à la concrétion sonore dans le cadre de la situation de conflit. Il apparaît au fil de nos recherches que le son, les bruits et la musique possèdent des fonctions qui dépendent moins de leur structure que de l’assemblage sonore complet. De nombreux exemples présenteront des strates sonores aux multiples fonctions. La musique comme le son peuvent constituer aussi bien une aide qu’un frein à la jouabilité. Des techniques de production (volume, spatialisation, complexité du sonore) permettent au joueur de hiérarchiser la concrétion sonore pour profiter d’une meilleure expérience audio-visuelle. / This dissertation is the result of research in ludomusicology, game studies and cinema studies. It is an exploration of sound in the context of a conflict situation present in a video game. We apprehend the sound construction of the conflict situation, characterized by a fight between a playable character and an antagonist. We propose the following questions: how is sound constructed in a video game conflict situation? What does this construction bring to the player? By studying the cinema and then animation, we consider sound in its audio-visual structure, linked to a moving image. It quickly appears that the sound in relation to the image has functions that allow the listener-spectator to apprehend, even amplify both the story and the emotions. Through cognitivism, we then transpose these functions to video games, taking into account the paradigm of playability. By focusing on the player, we start from his listening attitudes to suggest the construction of a sound concretion, a set of sounds and music inherent to any audio-visual situation. It is no longer a question of separating sounds, music and noises, but rather of prioritizing them according to the player's needs, which are determined by the gaming situation. A case study allows us to explain the sound concretion. Finally, we specify the stakes related to sound concretion in the context of the conflict situation. It appears through our research that sound, noises and music have functions that depend less on their structure than on the entire sound assembly. Many examples will present sound layers with multiple functions. Music and sound can be both an aid and a hindrance to playability. Production techniques (volume, spatialization, sound complexity) allow the player to prioritize the sound concretion to enjoy a better audio-visual experience.