Cette thèse se propose d’appliquer un contrôle actif modal aux instruments de musique de la famille des cordes. Les objectifs principaux sont de proposer une démarche et des méthodes adaptées permettant l’application de ce type de contrôle, d’explorer les possibilités qu’il offre et d’en étudier les effets sur les instruments. Tout d’abord, les types de contrôle existants et leurs applications aux instruments de musique sont rapidement présentés. Le constat que les paramètres modaux des instruments sont de bons descripteurs de ses attributs perceptifs mène à choisir la méthode de contrôle actif modal dont le formalisme est présenté. Afin de répondre à des problématiques propres aux instruments de musique, comme par exemple modifier l’amplitude de vibration des modes de la structure, des méthodes dérivées d’un contrôle d’état modal sont proposées. Une méthode d’adimensionnement en temps du modèle utilisé dans le système de contrôle ainsi qu’une méthode de contrôle des états dérivé et proportionnel sont présentées. Le contrôle est ensuite appliqué expérimentalement sur un monocorde, une guitare et un violoncelle. Pour cela, un système de contrôle temps réel fonctionnant grâce à un environnement libre est développé. Les possibilités offertes par ce type de contrôle ainsi que ses limites sont explorées grâce à ces montages expérimentaux. Enfin, un cas particulier de phénomène régissant le fonctionnement des instruments de musique à cordes est étudié à l’aide du dispositif de contrôle proposé. Le couplage corde/table d’harmonie est observé, étudié analytiquement puis contrôlé. Afin de confronter le contrôle actif à d’autres méthodes d’investigation, les résultats du contrôle sont comparés à ceux obtenus à l’aide d’une méthode de synthèse sonore. / This PhD thesis deals with modal active control applied to string musical instruments. Its main goals are to propose an approach and adapted methods to apply this kind of control, to investigate its possibilities and to study its effects on musical instruments. First, a short presentation of the different methods of active control and their applications to musical intruments is done. While the modal parameters of musical instruments are believed to be good descriptors of their perceptual attributs, the modal active control method is chosen for this work. Adapted methods from modal state control are used to answer to specific issues related to musical instruments. To modify the amplitude of the vibration modes, a time-dimensionless model and a derivative and proportionnal modal state method are proposed. Then, these control methods are experimentally applied to a single string instrument, a guitar and a cello. A real time control system based on a free and opensource framework is developped. The possibilities and the limits of modal state control are studied using this experimental setup. Finally, a case of a complex phenomenon contributing to the sound production in string instruments is studied thanks to the developped control system. The coupling between the string and the soundboard is observed, analytically studied and controlled. The results obtained with control and with a synthesis method are studied to compare this two investigation methods.

We begin by studying field-theory amplitude relations such as the Kleiss-Kuijf, Bern-Carrasco-Johansson, Kawai-Lewellen-Tye and the double copy construction, which are important ingredients in this thesis. Going beyond the field-theory limit we study how the gauge-sector of the heterotic string relates to type I amplitudes through the single valued projection of multiple zeta values. At low energy and for a U(1) gauge group (a single brane) the type I amplitudes are generated by the Born-Infeld action, whereas the corresponding heterotic amplitudes vanish in this limit. As a simple exercise we study Yang-Mills theory deformed by a $F^4$ operator, which is the first correction induced by the Born-Infeld action. This exercise is then generalized by considering the four- and six-point amplitudes in Tseytlin's proposal for a non-Abelian Born-Infeld action. Comparing these amplitudes with those found in type I and heterotic string theory we attempt to gain more insight about the non-Abelian Born-Infeld action.

Submitted by Verena Bastos (verena@uefs.br) on 2015-11-13T13:48:10Z No. of bitstreams: 1 Disserta??o final CD.pdf: 15756040 bytes, checksum: cb9121657026e27bcf398530348211dc (MD5) / Made available in DSpace on 2015-11-13T13:48:10Z (GMT). No. of bitstreams: 1 Disserta??o final CD.pdf: 15756040 bytes, checksum: cb9121657026e27bcf398530348211dc (MD5) Previous issue date: 2013-04-19 / Coordena??o de Aperfei?oamento de Pessoal de N?vel Superior - CAPES / The study of manuscripts provides a genetic perspective see the writer's struggle with language, through the movements of the creation process, as well as assists the reader and critic, to follow his course of genesis, to better understand the work. Each author has different processes of writing, as authors of the same period and the same language, for example, have different scriptures. examine the manuscripts of authors' work is one more method to a better understanding of the text and the author's style. And not only the manuscripts of writers devoted deserve to be investigated, but also those of the representatives of popular culture. It is, in this work, the study of the process of writing the bahian writer Franklin Maxado, from the analysis of the manuscripts of two of his pamphlets: It is forbidden to tell jokes or make such anecdotes and Confusion on the bus between an old and a student. In the backstage labyrinth: a study of the process of creating Maxado Franklin is the first work resulting from a research about the process of writing the cordel literature (string literature). For the organization of this research describes some of the areas of knowledge dealing with the study of the manuscript, with emphasis on methodological perspective used for this work, the Genetic Criticism. We also did a study on the life and work of Maxado: its artistic and professional path to learn and create your profile authorial assumptions about his creative process, through the movements present in writing manuscripts analyzed. / O estudo do manuscrito numa perspectiva gen?tica possibilita ver a luta do escritor com l?ngua, atrav?s dos movimentos do processo de cria??o, bem como auxilia o leitor e o cr?tico, ao acompanharem seu percurso de g?nese, a entender melhor a obra. Cada autor possui distintos processos de escritura, uma vez que autores de um mesmo per?odo e de uma mesma l?ngua, por exemplo, possuem escrituras diferentes. Desta forma, analisar os manuscritos de trabalho dos autores constitui-se mais um m?todo para uma melhor compreens?o do texto e do estilo do autor. E n?o s? os manuscritos dos escritores consagrados merecem ser investigados, mas tamb?m aqueles dos representantes da cultura popular. Trata-se, nesta disserta??o, do estudo do processo de escritura do cordelista baiano Franklin Maxado, a partir da an?lise dos manuscritos de dois de seus folhetos, a saber: ? proibido contar piada ou fazer tais anedotas e Confus?o no ?nibus entre uma idosa e um estudante. Nos bastidores do labirinto: estudo do processo de cria??o de Franklin Maxado ? o primeiro trabalho resultante de uma pesquisa de mestrado sobre o processo de escritura na literatura de cordel e tamb?m sobre a obra do autor. Para a organiza??o desta pesquisa discorremos sobre as ?reas de conhecimentos que se ocupam do estudo do manuscrito, com ?nfase na perspectiva metodologica utilizada para a realiza??o deste trabalho, a Cr?tica Gen?tica. Tamb?m fizemos um estudo sobre a vida e a obra de Maxado: sua trajet?ria art?stico-profissional para conhecer seu perfil autoral e criamos hip?teses sobre seu processo de cria??o, atrav?s dos movimentos de escrita presentes nos manuscritos analisados.

Joseph Turrin (b.1947) is a composer, orchestrator, conductor, pianist, and teacher whose wide-ranging activities have contributed greatly to many aspects of contemporary American musical life. His numerous ASCAP awards (1981-20050, as well as his many other awards, document his professional success. His many commissions by various orchestras around the world, bands, brass ensembles, soloists, theatre groups and film scores show his popularity. He is also in high demand as a pianist for orchestras, in theatre productions, in commercials and studio recordings as well as serving as personal accompanist for Jerome Hines, Phil Smith, Joseph Alessi and others. Mr. Turrin's compositions for trumpet and piano have been particularly popular among college and professional players as seen by their frequent performance in those venues as evidenced by the International Trumpet Guild's Trumpet and Brass Programs for the years 1995-2002. The three works selected for the present study include: Elegy for Trumpet and String Orchestra (1971, rev. 1993, piano reduction, 1993), Caprice for Trumpet and Piano (1972), and Intrada for Trumpet and Piano (1988). In this in-depth study, special attention is given to those characteristics which create unity of form, and those traits that seem to be idiomatic of Mr. Turrin's style of writing. A comparison of the three pieces allows for the extrapolation of common style traits, which include certain traditional fanfare-style motifs as well as jazz-style elements. Conclusions are drawn with detailed explanation of what I consider the appropriate application of the knowledge from the analyses to quality performances of the pieces studied. Careful instruction is given concerning the various aspects of performance style which are supported by the study done on each piece. Finally, an interview by internet with the composer answers some of the questions created by the analyses. Several of the composer's comments justify many of the conclusions drawn by this study.

Gideon Gee Bum Kim is an internationally-acclaimed contemporary Korean-Canadian composer. Kim has utilized traditional Korean music with Western composition techniques in some of his works. Kim created his own style by incorporating traditional Korean musical elements such as the scale, rhythmic diversity, syncopation, variation, ornamentation, and the progression of melody into a body of music that is otherwise contemporary and Western. The purpose of this study is to develop a performance guide for Gideon Gee Bum Kim's Kangkangsullae for string trio. Kangkangsullae trio is based on Korean historical, cultural and musical influences. I give a detailed historical and cultural background for this work and demonstrate how Kim integrated Western compositional techniques with traditional Korean music. My emphasis is on defining specific characteristics of traditional Korean music which will provide several points toward understanding Kim's compositional style.

Vlastimil Novak Motor pump control unit DW, IAE, 2008, 48 pp. 54 fig. The terget of diploma work is measure od progression of vibration on motor pump control unit of electro-hydraulic servo unit placed on a vehicle. At first, a proposal of testing of vehicle for given characteristics have been created and placement of sensors and compare measured data of load of control unit in different vehicle ride modes.

abstract: In the current photovoltaic (PV) industry, the O&M (operations and maintenance) personnel in the field primarily utilize three approaches to identify the underperforming or defective modules in a string: i) EL (electroluminescence) imaging of all the modules in the string; ii) IR (infrared) thermal imaging of all the modules in the string; and, iii) current-voltage (I-V) curve tracing of all the modules in the string. In the first and second approaches, the EL images are used to detect the modules with broken cells, and the IR images are used to detect the modules with hotspot cells, respectively. These two methods may identify the modules with defective cells only semi-qualitatively, but not accurately and quantitatively. The third method, I-V curve tracing, is a quantitative method to identify the underperforming modules in a string, but it is an extremely time consuming, labor-intensive, and highly ambient conditions dependent method. Since the I-V curves of individual modules in a string are obtained by disconnecting them individually at different irradiance levels, module operating temperatures, angle of incidences (AOI) and air-masses/spectra, all these measured curves are required to be translated to a single reporting condition (SRC) of a single irradiance, single temperature, single AOI and single spectrum. These translations are not only time consuming but are also prone to inaccuracy due to inherent issues in the translation models. Therefore, the current challenges in using the traditional I-V tracers are related to: i) obtaining I-V curves simultaneously of all the modules and substrings in a string at a single irradiance, operating temperature, irradiance spectrum and angle of incidence due to changing weather parameters and sun positions during the measurements, ii) safety of field personnel when disconnecting and reconnecting of cables in high voltage systems (especially field aged connectors), and iii) enormous time and hardship for the test personnel in harsh outdoor climatic conditions. In this thesis work, a non-contact I-V (NCIV) curve tracing tool has been integrated and implemented to address the above mentioned three challenges of the traditional I-V tracers. This work compares I-V curves obtained using a traditional I-V curve tracer with the I-V curves obtained using a NCIV curve tracer for the string, substring and individual modules of crystalline silicon (c-Si) and cadmium telluride (CdTe) technologies. The NCIV curve tracer equipment used in this study was integrated using three commercially available components: non-contact voltmeters (NCV) with voltage probes to measure the voltages of substrings/modules in a string, a hall sensor to measure the string current and a DAS (data acquisition system) for simultaneous collection of the voltage data obtained from the NCVs and the current data obtained from the hall sensor. This study demonstrates the concept and accuracy of the NCIV curve tracer by comparing the I-V curves obtained using a traditional capacitor-based tracer and the NCIV curve tracer in a three-module string of c-Si modules and of CdTe modules under natural sunlight with uniform light conditions on all the modules in the string and with partially shading one or more of the modules in the string to simulate and quantitatively detect the underperforming module(s) in a string. / Dissertation/Thesis / Masters Thesis Engineering 2020

Audiovisual concatenative synthesis is an analysis-driven granular technique using a corpus of multimedia data to sequence audio and video streams on a microtemporal level. This text outlines my development of this technique as a tool for multimedia composition, using my work, Replica, as a case study. The paper illustrates how the concepts of granular structure, gesture capture, and replication are integral not only to the software but to the architecture of the composition. In doing so, machine learning approaches to music and visual art are reviewed and related to my personal compositional practice. Additionally, I attempt to show how audiovisual concatenative synthesis provides a composer with strategies for shaping one's sense of time through disorienting audiovisual cues and tightly organized counterpoint between sound and image, stage and screen, and the real and virtual.

Johann Friedrich Fasch's music displays a stylistic variability characteristic among some composers of the early eighteenth century, a time in which the mature Baroque style period of Western art music was beginning to show new elements of the Classical style. Opinions regarding Fasch's contribution vary from praise for his role as one of the most important pioneers to simple acknowledgment as merely one among many significant, forward-looking, transitional composers. During the early eighteenth century, a wealth of fine literature for solo oboe was produced. Current oboe repertoire includes many standard, mature Baroque concertos of the early eighteenth century; few works representative of evolutionary compositions hinting toward the development of a new historical style period are available. The primary purpose of the lecture recital is to introduce to the oboe repertoire an edition of a concerto by Fasch, one representative of the transition from Baroque to Classical eras.

This dissertation describes a compositional model rooted in cross-influential methodology between complementary musical compositions that share generative source material. In their simultaneous construction, two composition pairs presented challenges that influenced and mediated the other's development with respect to timbre, transposition, pitch material, effects processing, and form. A working prototype first provides a model that is later developed. The first work Thema is for piano alone, and the companion piece Am3ht is for piano and live computer processing via the graphical programming environment Max/MSP. Compositional processes used in the prototype solidify the cross-influential model, demanding flexibility and a dialectic approach. Ideas set forth in the prototype are then explored through a second pair of compositions rooted in cross-influential methodology. The first work Lusmore is scored for solo contrabass and Max/MSP. The second composition Knockgrafton is scored for string orchestra. The flexibility of the cross-influential model is revealed more fully through a discussion of each work's musical development. The utility of the cross-influential compositional model is discussed, particularly within higher academia.