No description available.

Diss.--Tübingen, 1999. / Glossaire p. 577-585. Bibliogr. p. 586-598. Index.

Submitted by Carolina Reame Santos (c.reamesantos@gmail.com) on 2018-06-14T13:21:32Z No. of bitstreams: 1 SANTOS, Carolina Reame.pdf: 4661171 bytes, checksum: 4e296455dae27f827e28306db59116d2 (MD5) / Approved for entry into archive by Adriana Aparecida Puerta null (dripuerta@rc.unesp.br) on 2018-06-14T17:46:53Z (GMT) No. of bitstreams: 1 santos_cr_me_rcla.pdf: 4661171 bytes, checksum: 4e296455dae27f827e28306db59116d2 (MD5) / Made available in DSpace on 2018-06-14T17:46:53Z (GMT). No. of bitstreams: 1 santos_cr_me_rcla.pdf: 4661171 bytes, checksum: 4e296455dae27f827e28306db59116d2 (MD5) Previous issue date: 2018-04-18 / Conselho Nacional de Desenvolvimento Científico e Tecnológico (CNPq) / Diversas mudanças nos modelos sociais e econômicos desenvolvidos nas cidades podem, muitas vezes, criar ambientes insustentáveis do ponto de vista ambiental. É o caso do surgimento de brownfields, áreas que possuíam uma função anterior, e que por motivos geralmente econômicos, são abandonadas, podendo herdar passivos ambientais. Porém, estes espaços podem ser descontaminados, reutilizados e adquirir nova função. Depois de realizar diversos projetos de remediação de áreas contaminadas, um consórcio da União Europeia criou o Tailored Improvement of Brownfield Regeneration in Europe (TIMBRE) projeto que tem o objetivo de remediar áreas contaminadas levando em consideração aspectos do meio físico e socioeconômico, se adaptando à realidade dos locais e às necessidades dos envolvidos. Nesse sentido, a presente dissertação teve o objetivo de aplicar o método TIMBRE de forma simplificada na Região dos Lagos de Santa Gertrudes (RLSG), considerando as investigações ambientais já realizadas na área e instrumentos de planejamento urbano e territorial, visando a elaboração de uma proposta de gerenciamento ambiental. Após o levantamento bibliográfico inicial, que possibilitou o conhecimento da situação legal sobre áreas contaminadas no país, especialmente no Estado de São Paulo, foi possível caracterizar a área de estudo em aspectos físicos e socioambientais. Após a interpolação dos dados obtidos nessa etapa para o método TIMBRE, foi possível elaborar três categorias de análise nos resultados, sendo um banco de dados bibliográfico, a questão do planejamento urbano e territorial no município de Santa Gertrudes e a caracterização da contaminação existente na RLSG. Os resultados possibilitaram a elaboração de uma proposta de gerenciamento ambiental que, ao utilizar os instrumentos de planejamento, enfatizou a adaptabilidade do método à realidade brasileira, contribuindo para uma gestão integrada da área ao unir diversos setores da sociedade. / Various changes in the social and economic models developed in cities can often create environmentally unsustainable environments. It is the case of the emergence of brownfields, areas that had a previous function, and for economic reasons, are abandoned, being able to inherit environmental liabilities. However, these sites can be decontaminated, reused and acquire new functions. After undertaking several remediation projects for contaminated sites, the European Union created a consortium named Tailored Improvement of Brownfield Regeneration in Europe (TIMBRE) project which aims to remedy contaminated areas taking into account aspects of the physical and socioeconomic environment, adapting to the reality of the sites and the needs of those involved. In this sense, this dissertation aimed to apply the TIMBRE method in a simplified way in the Santa Gertrudes Lake Region (RLSG), considering the environmental investigations already carried out in the area and instruments of urban and territorial planning, aiming at the elaboration of an environmental management proposal. After the initial bibliographic survey, which enabled the knowledge of the legal situation on contaminated areas in Brazil, especially in the State of São Paulo, it was possible to characterize the study area in physical and socio-environmental aspects. After the interpolation of the data obtained in the previous step for the TIMBRE method, it was possible to elaborate three categories of analysis in the results, being a bibliographic database, the question of the urban and territorial planning in the municipality of Santa Gertrudes and the characterization of the existing contamination in the RLSG. The results allowed the elaboration of an environmental management proposal that, when using the planning instruments, emphasized the adaptability of the method to the Brazilian reality, contributing to an integrated management of the area by uniting diverse sectors of society. / CNPq: 144255/2015-4.

Researchers have investigated harnessing computers as a tool to aid in the composition of music for over 70 years. In major part, such research has focused on creating algorithms to work with pitches and rhythm, which has resulted in a selection of sophisticated systems. Although the musical possibilities of these systems are vast, they are not directly considering another important characteristic of sound. Timbre can be defined as all the sound attributes, except pitch, loudness and duration, which allow us to distinguish and recognize that two sounds are dissimilar. This feature plays an essential role in combining instruments as it involves mixing instrumental properties to create unique textures conveying specific sonic qualities. Within this thesis, we explore harnessing techniques for the analysis and control of instrumental timbre and timbral combinations. This thesis begins with investigating the link between musical timbre, auditory perception and psychoacoustics for sounds emerging from instrument mixtures. It resulted in choosing to use verbal descriptors of timbral qualities to represent auditory perception of instrument combination sounds. Therefore, this thesis reports on the developments of methods and tools designed to automatically retrieve and identify perceptual qualities of timbre within audio files, using specific musical acoustic features and artificial intelligence algorithms. Different perceptual experiments have been conducted to evaluate the correlation between selected acoustics cues and humans' perception. Results of these evaluations confirmed the potential and suitability of the presented approaches. Finally, these developments have helped to design a perceptually-orientated generative system harnessing aspects of artificial intelligence to combine sampled instrument notes. The findings of this exploration demonstrate that an artificial intelligence approach can help to harness the perceptual aspect of instrumental timbre and timbral combinations. This investigation suggests that established methods of measuring timbral qualities, based on a diverse selection of sounds, also work for sounds created by combining instrument notes. The development of tools designed to automatically retrieve and identify perceptual qualities of timbre also helped in designing a comparative scale that goes towards standardising metrics for comparing timbral attributes. Finally, this research demonstrates that perceptual characteristics of timbral qualities, using verbal descriptors as a representation, can be implemented in an intelligent computing system designed to combine sampled instrument notes conveying specific perceptual qualities.

abstract: The tradition of building musical robots and automata is thousands of years old. Despite this rich history, even today musical robots do not play with as much nuance and subtlety as human musicians. In particular, most instruments allow the player to manipulate timbre while playing; if a violinist is told to sustain an E, they will select which string to play it on, how much bow pressure and velocity to use, whether to use the entire bow or only the portion near the tip or the frog, how close to the bridge or fingerboard to contact the string, whether or not to use a mute, and so forth. Each one of these choices affects the resulting timbre, and navigating this timbre space is part of the art of playing the instrument. Nonetheless, this type of timbral nuance has been largely ignored in the design of musical robots. Therefore, this dissertation introduces a suite of techniques that deal with timbral nuance in musical robots. Chapter 1 provides the motivating ideas and introduces Kiki, a robot designed by the author to explore timbral nuance. Chapter 2 provides a long history of musical robots, establishing the under-researched nature of timbral nuance. Chapter 3 is a comprehensive treatment of dynamic timbre production in percussion robots and, using Kiki as a case-study, provides a variety of techniques for designing striking mechanisms that produce a range of timbres similar to those produced by human players. Chapter 4 introduces a machine-learning algorithm for recognizing timbres, so that a robot can transcribe timbres played by a human during live performance. Chapter 5 introduces a technique that allows a robot to learn how to produce isolated instances of particular timbres by listening to a human play an examples of those timbres. The 6th and final chapter introduces a method that allows a robot to learn the musical context of different timbres; this is done in realtime during interactive improvisation between a human and robot, wherein the robot builds a statistical model of which timbres the human plays in which contexts, and uses this to inform its own playing. / Dissertation/Thesis / Doctoral Dissertation Media Arts and Sciences 2016

abstract: Auditory scene analysis (ASA) is the process through which listeners parse and organize their acoustic environment into relevant auditory objects. ASA functions by exploiting natural regularities in the structure of auditory information. The current study investigates spectral envelope and its contribution to the perception of changes in pitch and loudness. Experiment 1 constructs a perceptual continuum of twelve f0- and intensity-matched vowel phonemes (i.e. a pure timbre manipulation) and reveals spectral envelope as a primary organizational dimension. The extremes of this dimension are i (as in “bee”) and Ʌ (“bun”). Experiment 2 measures the strength of the relationship between produced f0 and the previously observed phonetic-pitch continuum at three different levels of phonemic constraint. Scat performances and, to a lesser extent, recorded interviews were found to exhibit changes in accordance with the natural regularity; specifically, f0 changes were correlated with the phoneme pitch-height continuum. The more constrained case of lyrical singing did not exhibit the natural regularity. Experiment 3 investigates participant ratings of pitch and loudness as stimuli vary in f0, intensity, and the phonetic-pitch continuum. Psychophysical functions derived from the results reveal that moving from i to Ʌ is equivalent to a .38 semitone decrease in f0 and a .75 dB decrease in intensity. Experiment 4 examines the potentially functional aspect of the pitch, loudness, and spectral envelope relationship. Detection thresholds of stimuli in which all three dimensions change congruently (f0 increase, intensity increase, Ʌ to i) or incongruently (no f0 change, intensity increase, i to Ʌ) are compared using an objective version of the method of limits. Congruent changes did not provide a detection benefit over incongruent changes; however, when the contribution of phoneme change was removed, congruent changes did offer a slight detection benefit, as in previous research. While this relationship does not offer a detection benefit at threshold, there is a natural regularity for humans to produce phonemes at higher f0s according to their relative position on the pitch height continuum. Likewise, humans have a bias to detect pitch and loudness changes in phoneme sweeps in accordance with the natural regularity. / Dissertation/Thesis / Doctoral Dissertation Psychology 2017

The effects of distortion has been investigated prior to this study, however most of these studies focus on the objective physicalities of a certain type of distortion or they might apply distortion in static amounts to examine effects of loudspeaker distortion. Objectively the varying types of distortion may be different, however there are little explanations on how these types subjectively might sound different. This study aimed to investigate how subjective preference and perception of the timbral attributes warmth and roughness may vary between types of distortion, and if there was a pattern between these using three different types of distortion (zero-crossing, solid state and tube), applied at two different levels (high and low) and to two different instruments (guitar and vocals). The outcome indicated that subjects most prefer tube distortion and that this distortion was considered to provide the most amounts of warmth while also the least amounts of roughness. There were also interaction effects indicating guitar being less sensitive about the level of distortion while being more sensitive about the type of distortion for the measures of preference and amounts of roughness, when compared to vocals.

The purpose of this study was to determine the physical elements which experienced trombonists associate with selected descriptors in characterizing the tone quality of that instrument. Stimuli sampled from live trombone tones and synthesized into musical phrases represented 17 variations in (1) presence/absence of attack transient, (2) rise time, (3) duration, (4) number of harmonics, (5) upper limit of harmonicity (6) spectral envelope shape, and (7) frequency.

Esta investigación estudia la influencia de la lengüeta del oboe (estilo de rebajado, molde, grosor) en la acústica y percepción del sonido obtenido y en la propiocepción instrumental de los oboístas al interpretar. Para ello se fabrican 18 lengüetas con un diseño factorial de 3 estilos de rebajado (fr=francés, ge=alemán, us=americano), 3 moldes y 2 grosores. Diez oboístas profesionales, con el mismo oboe, graban cinco ejercicios con un micrófono de cercanía y evalúan propioceptivamente 19 criterios (escala de 1 a 7) para cada lengüeta tras cada ejercicio. Las mediciones acústicas sobre las 1900 muestras obtenidas muestran una influencia del estilo de rebajado en la afinación (p<,001; 2=,72; ge más aguda), la estabilidad de afinación (p<,001; 2=,04; fr más inestable), la intensidad (p<,001; 2=,09; fr menor intensidad), el centro de gravedad espectral (p<,001; 2=,14; fr menor riqueza espectral) y la armonicidad (p<,001; 2=,02; fr menor armonicidad). El molde y grosor dan resultados significativos pero marginales. Para estudiar las diferencias de timbre, diecinueve músicos realizaron una clasificación holística sobre un conjunto de 19 notas do5 (1 oboísta, 3 rebajados, 3 moldes y 2 grosores) y otro de 20 notas do5 (5 oboístas, 3 rebajados, 2 grosores). No aparecen diferencias significativas por estilo de rebajado, molde ni grosor. Sólo existen diferencias por intérpretes para el segundo conjunto (p<,01), corroborando un estudio previo que no destacaba diferencias de timbre por estilo de rebajado. Las respuestas propioceptivas obtienen diferencias significativas para: la evaluación de flexibilidad (p<,001; 2=,45; fr mayor), timbre (p<,001; 2=,23; ge mejor), rigidez (p<,001; 2=,18; fr menor), equilibrio (p<,01; 2=,15; us peor) y evaluación global sin el molde 168 (p<,01; 2=,15; us peor). El rebajado francés genera más facilidad para el arpegio (p<,001; 2=,36), diminuendo (p<,001; 2=30,) y legato (p<,001; 2=,54). El americano obtiene peor calidad de sonido p / Blasco Yepes, C. (2013). Influencias en la percepción sonora y en la interpretación del rebajado de la lengüeta del oboe [Tesis doctoral]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/31120 / Palancia

Primarily the writer was interested in the relationship between technique and interpretation in the concept of pianism, especially in the music of Brahms, because of the technical difficulties thereof. In this study the truism that technique = interpretation is the focus point. After giving many different opinions about this, the writer brings it into context with Brahmsian pianism specifically. It is made clear how Brahms used certain techniques for certain soundworlds that he wanted to create, in order to reach a certain interpretation, and that there are recurring technical procedures in opus 34, 35, 56b and the 51 exercises. As an interface to these Brahmsian techniques, the writer selects a mixture of generic technical aspects from a wide scope of other musical minds. There is a definite inter-reaction between all these generic aspects and those of Brahms. The background and history of opus 34 is explained, plus a short section about Brahms aesthetics/ambiguity, and some philosophical opinions about the dimension of emotions and feelings in interpretation. However, the writer explains that this dimension is outside the scope of this thesis. A summary of schools of thought on technique and theories of interpretation is given to establish the links between them. Using available literature on quintets, ensembles, pianism, idiomaticism and timbre, the piano quintet specifically was explored for the uniqueness of its features. Brahms’s individualistic approach to pianism, as exemplified by his chamber music and his unique contributions to virtuoso technical routines, is examined against the background of sonorities of the piano and underpinned by appropriate technical skills. Against a template of pianistic criteria, appropriate examples, rich in context, are analysed both technically (objectively) and interpretatively (subjectively) to educe outcomes that establish that the two approaches have a holistic relationship and are ultimately inseparable and interdependent. The score examples show how technical difficulties escalate in combinations of complex movements in the “marriage” of technique and interpretation, and how interpretation relies primarily and fundamentally on the craft of technique, which is also an art in itself. / Thesis (DMus)--University of Pretoria, 2014. / gm2014 / Music / unrestricted