This dissertation provides the first comprehensive analysis of the phonology of vowels in SENĆOŦEN (Salish). Evidence from various phonological and phonetic phenomena are brought together to support a proposal that there are two types of phonological vowels in SENĆOŦEN (full vowels versus schwa). Understanding the phonological representations and distributions of these two types of vowels contributes a unique perspective on how words are built in the language. The study contributes to linguistic theory by showing how the interplay between faithfulness to morphological form and markedness conditions on ideal surface prosodic shape triggers a series of vowel processes, such as deletion, epenthesis, harmony and reduction, which make it difficult to trace back to the original morphological form. In taking steps towards unraveling the complicated interaction between morphology and phonology in the language and providing insights crucial to an understanding of the underlying forms of roots and suffixes, the dissertation contributes to pedagogy by making it easier for language learners to figure out for themselves how words are related to one another. The dissertation is organized into seven chapters. Chapter 1 provides an overview of the language situating it within the context of research on other Salish languages. Chapter 2 lays out the theoretical assumptions about SENĆOŦEN that are adopted in this dissertation. Chapter 3 argues for a phonological contrast between two types of vowels in SENĆOŦEN and argues against the notion that consonants bear phonological weight in SENĆOŦEN. Chapter 4 presents a preliminary acoustic analysis of vowel length and quality. Chapter 5 argues that syllables in SENĆOŦEN are basically simple and that the phonological environments when they are not simple are highly constrained and predictable. Chapter 6 argues that patterns of zero-schwa alternations found in complex morphological structures are accounted for by wellformed foot structure. Chapter 7 is a conclusion. / Graduate

During the past 60 years fluid-structure interaction in a wide range of three dimensional circular cylinder problems have been studied. Initial problems considered a rigid wall structure which were solved using impedance model comparisons. Soon after, further solution techniques were used, such as computer simulation, transfer matrix methods and finite element techniques. However such problems were only valid for low frequencies when compared with experiments, this was because that did not include higher order modes. The importance of higher order modes was then established and studies have since included these modes. More recently, mode matching methods have been used to find the amplitudes of waves in structures comprising two or more ducts. This has been done with using an orthogonality relation to find integrals which occur from the application this method. This methodology is demonstrated in as background information and is applied to prototype problems formed of rigid ducts. The rigid duct theory led to the consideration of elastic shells, of which several shell modelling equations were available from the vibration theory. In this thesis, the Donnell-Mustari equations of motion are used to model thin, elastic, fluid-loaded shells of circular cross-section. It is demonstrated that generalised orthogonality relations exist for such shells. Two such relations are found: one for shells subject to axisymmetric motion and one for shells subject to non-axisymmetric motion. These generalised orthogonality relations are new to the field of acoustics and are specific to shells modelled with the Donnell-Mustari equations of motion. The mode matching method is used to find the amplitudes of waves propagating in prototype problems and the generalised orthogonality relations are used to find integrals which occur through this method. Expressions for energy for all considered structure types are used to find the resulting energy for each prototype problem and results for equivalent problems are compared. In addition, verification of the resulting amplitudes is done by ensuring that the matching conditions are suitably satisfied. It is anticipated that the method will have application to the understanding and control of the vibration of cylindrical casings such as those enclosing turbo-machinery. Another application of the method would be the tuning of cylindrical casings, such as those featured on car exhaust systems or HVAC (heating, ventilation and air conditioning) systems.

À quel genre d’entités fait-on référence quand on parle d’«oeuvres musicales»? Le problème du statut ontologique de l’oeuvre musicale est très débattu aujourd’hui, surtout dans la philosophie analytique. Les nombreuses théories élaborées au cours des dernières décennies se concentrent principalement sur l’objet et ne prennent presque pas en compte le sujet. Nous croyons, au contraire, que l’apport de la conscience est essentiel pour la pleine existence d’une oeuvre musicale. C’était la conviction de Roman Ingarden, qui la considérait comme un objet purement intentionnel. À partir de sa réflexion et de la réactualisation critique qu’en fait la philosophe américaine Amie Thomasson, nous proposons notre réponse à la question «Qu’est-ce qu’une œuvre musicale?». / What kind of entities does one relate to by speaking of «musical works»? The problem of the ontological status of musical works is highly debated nowadays, especially in the field of analytical philosophy. The numerous theories developed over the last decades on this issue tend to treat the musical work mainly as an object, without almost contemplating the part played by the subject. We think, on the contrary, that the role of the consciousness is essential for the full-fledged existence of a musical work. This was the conviction of Roman Ingarden, who considered musical works as purely intentional objects. Starting from his thought and its critical update by the American philosopher Amie Thomasson, we do propose our answer to the question «What a musical work is?».

The application of the label music to complex sound requires structure. Musical or rhythmic structure can be thought of as being due to the interaction of two theoretically distinct structures of phrase and metre. Perception of both metrical and phrase structure is dependent not only on the physical structure of the acoustic presentation but also upon cognitive structure being imposed on the auditory sensations. Early work in the psychology of music focused on establishing the perceptual cues that determine the parsing of music in time. These perceptual determinants can be categorized on the basis of the theoretical components of music: melody, harmony, rhythm, and timbre. With the exception of accent strength based on stability judgments of tones or chords (i.e., structural accenting), phenomenal accents have been assumed by some theorists to be equally-salient, additive, and categorical. The assumption of equal accent strength not only has been applied to different phenomenal accents within a theoretical component category but also between categories. Three series of experiments were conducted to test the assumption of equal weight and additivity of rhythmic cues. In the first series, a harmonic and a temporal accent were pitted against each other in such a way as to form different rhythm patterns. As well, two harmonic conditions which varied in the frequency of chord presentations (i.e., the compositerhythm) but not the frequency of chord changes (i.e., the harmonic-rhythm) were presented. Musicians and nonmusicians were requested to report perceived rhythm patterns in an attempt to determine the relative salience of the harmonic and temporal accents. In addition, a behavioural measure of the perceived metre was taken. Results indicated that the location of chord changes was the main determinant of subjects' rhythmic perceptions and the perceived onset of a measure. As well, although subjects primarily inferred different metres based on the composite-rhythm, an interaction of metrical and rhythmic choices was found indicating that perception of rhythm patterns and inference of metrical structure may not always be independent. In the second series of experiments, the contribution of harmonic-temporal and harmonic-structural features to the perception of rhythm patterns was investigated by pitting a harmonic and a temporal accent against each other in such a way as to form 5 possible rhythm patterns. Across the experiments, the chord progressions employed were varied, as was the timing of chord onsets (i.e., the composite-rhythm) and changes (i.e., the harmonic-rhythm). In all experiments, musicians and nonmusicians were requested to report perceived rhythm patterns in an attempt to determine the relative salience of the various accents. Results indicated that changes in the composite-and harmonic-rhythm led to a predictable change in an inferred metrical structure, and that all diatonic chord progressions lead to similar patterns of responses in which coincidences of harmonic, temporal, and inferred metrical accents were perceptually salient events. When a nondiatonic chord progression was employed however, there was neither evidence of an inferred metre, nor of responses on the basis of accent coincidence. Overall, musicians were found to primarily report rhythm patterns defined by the location of harmonic accents, while nonmusicians reported rhythm patterns defined by an inferred metrical structure. In the third series of experiments, the relative contribution of cues for metre inference was determined. In many theories of metre inference, the cues which serve as markers for major metrical accent locations are the basis from which one infers or determines a metre. However, phrase and metrical structure often support one another with phrase boundaries coinciding with metrically important locations. Thus, it becomes difficult to determine which cues, if any, are used exclusively, or predominantly as the basis for metre inference. Three experiments were conducted in which different time-spans defined by harmonic, melodic, and temporal accents, and their coincidences were systematically pitted against one another. Musicians and nonmusicians were requested to identify the metre of the stimuli as belonging to a category of either a triple (e.g., 6/8 or 3/4 time), or a duple metre (e.g., 2/4 or 4/4 time). It was found that musicians use harmonic information much more often and reliably than do nonmusicians who also use the temporal accent to define a metrical structure. Nevertheless, across the experiments, when a harmonic accent was present, subjects used that accent to define the metre. Furthermore, the coincidence of melodic accents was used more often than a temporal accent to determine a metrical structure. Together the three series of experiments highlight the significant role of harmonic accents in the perception of rhythm patterns in music. / Thesis / Doctor of Philosophy (PhD)

This thesis presents the practical and novel work in the area of optimal placement of actuators and sensors for sound-structure interaction systems. The work has been done by the author during his PhD candidature. The research is concentrated in systems with non-ideal boundary conditions as in the case in practical engineering applications. An experimental acoustic cavity with five walls of timber and a thin aluminium sheet fixed tightly on the cavity mouth is chosen in this thesis as a good representation of general sound-structure interaction systems. The sheet is intentionally so fixed that it does not satisfy ideal boundary conditions. The existing methods for obtaining optimal sensor-actuator location using analytic models with ideal boundary conditions are of limited use for such problem with non-ideal boundary conditions. The method presented in this thesis for optimal placement of actuators and sensors is motivated by energy based approach and model uncertainty inclusion. The optimal placement of actuator and sensor for the experimental acoustic cavity is used to construct a robust feedback controller based on minimax LQG control design method. The controller is aimed to reduce acoustic potential energy in the cavity. This energy is due to the structure-borne sound inside the sound-structure interaction system. Practical aspects of the method for optimal placement of actuator and sensors are highlighted by experimental vibration and acoustic noise attenuation for arbitrary disturbance using feedback controllers with optimal placement of actuator and sensor. The disturbance is experimentally set to enter the system via a spatial location different from the controller input as would be in any practical applications of standard feedback disturbance rejections. Experimental demonstration of the novel methods presented in this thesis attenuate structural vibration up to 13 dB and acoustic noise up to 5 dB for broadband frequency range of interest. This attenuation is achieved without the explicit knowledge of the model of the disturbance.

This thesis provides a comprehensive investigation of flow-sound-structure coupling in spring-loaded valves subjected to air flow. While they are commonly used in a multitude of applications, these types of valves have been found to experience severe vibrations when interaction is present among the structure, the hydrodynamic field, and the acoustic field for a range of operational valve structural characteristics, flow parameters, and connected piping length. The first part of this investigation was aimed at characterizing experimentally the valve’s dynamic behaviour and the parameters affecting the onset of self-excited instability. The occurrence of instability was mainly driven by the presence of acoustic feedback: the connected length of piping had to be sufficiently long, with a longer pipe correlating to more severe vibrations. In addition, it was found that the valve’s oscillation frequency depends on the modal characteristics of the combined valve piping system, rather than the structural natural frequency alone. Furthermore, an increase in the valve’s spring stiffness caused the vibrations to become more severe. Meanwhile, other parameters such as initial spring preload force and valve plate area only had moderate effects on the stability behaviour of the valve. The second part of the investigation sought to develop a theoretical model that could simulate the valve’s response when subjected to air flow while considering the effects of acoustic feedback and impact on the seat and limiter. Thus, a structural model of the valve was developed based on a single-degree-of-freedom model of the system with impact computed based on a pseudo-force method. The hydrodynamic field relied on a one dimensional unsteady Bernoulli description of the flow. Finally, the acoustic interaction was accounted for using the one-dimensional wave equation resolved using a finite difference scheme. The model has demonstrated remarkable agreement with the experimental results. It has shown an ability to predict the modal characteristics of the system as well as correctly predict the effect of increased stiffness or increased piping length on vibration amplitude. The final part of the investigation consisted in designing countermeasures to mitigate the effects of this self-excited instability mechanism. A concentric Helmholtz-type cavity resonator, an orifice plate, and an anechoic termination are placed at the downstream side of a model valve which were seen to be unstable in the experimental and modelling phases of the investigation. All tested devices were able to eliminate the self excited instability mechanism. The applicability and robustness of each of these methods were discussed. / Thesis / Doctor of Philosophy (PhD)

S’intéressant aux différents rôles du son dans les jeux vidéo d’horreur, ce mémoire vise à exposer le travail cognitif effectué par le joueur lors de son activité de jeu. De la structuration des sons jusqu’à la production de sens à partir de leurs fonctions, cette recherche mesure l’implication du phénomène sonore dans la mise en scène de la peur vidéoludique. Dans cette optique, elle présente, critique et développe une pluralité de concepts portant sur la jouabilité, les postures d’écoute, la diégèse, les générateurs sonores, les fonctions sonores systémiques et immersives ainsi que sur la création de la peur à l’aide de différentes stratégies sonores. / Focusing on the different roles of sound in horror videogames, this master thesis aims to expose the cognitive process of a gamer during his gameplay activity. From the structure of the soundscape to the production of meaning through the sound’s functions, this research measures the implication of audio in the creation of a mise en scène of videoludic fear. As a means to do so, it presents, evaluates and develops a plurality of concepts about gameplay, modes of listening, diegesis, sound generators, systemic and immersive audio functions, and the building of fear with different sound strategies.

S’intéressant aux différents rôles du son dans les jeux vidéo d’horreur, ce mémoire vise à exposer le travail cognitif effectué par le joueur lors de son activité de jeu. De la structuration des sons jusqu’à la production de sens à partir de leurs fonctions, cette recherche mesure l’implication du phénomène sonore dans la mise en scène de la peur vidéoludique. Dans cette optique, elle présente, critique et développe une pluralité de concepts portant sur la jouabilité, les postures d’écoute, la diégèse, les générateurs sonores, les fonctions sonores systémiques et immersives ainsi que sur la création de la peur à l’aide de différentes stratégies sonores. / Focusing on the different roles of sound in horror videogames, this master thesis aims to expose the cognitive process of a gamer during his gameplay activity. From the structure of the soundscape to the production of meaning through the sound’s functions, this research measures the implication of audio in the creation of a mise en scène of videoludic fear. As a means to do so, it presents, evaluates and develops a plurality of concepts about gameplay, modes of listening, diegesis, sound generators, systemic and immersive audio functions, and the building of fear with different sound strategies.