Thesis (M.M.)--University of North Texas, 2005. / System requirements: Adobe Acrobat Reader. Includes bibliographical references (p. 52-54).

Thesis (doctoral)--Universität zu Köln, 1994. / Includes bibliographical references (p. 236-246). Discography: p. 231-235.

A study of selected chance and indeterminate piano pieces was made with a two-fold purpose: (1) to provide an intermediate stage between the composition and performance of the selected works and (2) to illustrate the diverse ways spontaneity may be invoked. The investigation centered on three points: (1) the problems the performer might encounter in examining the pieces, (2) implications of the instructions and (3) possible realizations of the score. While each score examined showed a slightly different approach to chance or indeterminacy, the pieces within the two categories were seen to exhibit common features. Generalizations were made in three broad areas: (1) the instructions in the scores, (2) the notation and (3) possible solutions. The instructions in the indeterminate scores were found to be relatively straightforward; the performer is made aware of his choices or alternatives and manner of performance is discussed. Instructions in chance works are less explicit; the performer is not directed to any one solution. Some explanation of the notation is given and the performer is led to discover how extensive his freedoms are. Indeterminate works on the whole are found to use traditional notation. The notation may be altered in some way, but retains a resemblance to its traditional source. Chance notation is very diverse, but three general categories exist: (1) works using traditional notation, (2) works using traditional and non-traditional (graphic) notation and (3) works using only graphic notation. The possible solutions of indeterminate works are concerned with either the juxtaposition or the metric relationship of material. The degree to which the choices are guided varies in the works discussed. Possible solutions of the chance works involve interpretation of notation and various ideas presented in the instructions. The performer must respond in an individual way, drawing on his own ideas. In general, analyses of the works illustrated some features that might be expected in other chance and indeterminate works. / Arts, Faculty of / Music, School of / Graduate

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Promulgation is an interactive composition in which the orchestra and computer communicate through musical motives contained in the Command Motive Score. The musical content as well as the highly organized aleatoric environment is controlled by a system of probabilities. The orchestra is divided into four ensembles of dissimilar instrumentation. The music consists of several scores that are performed different ways. The first score is the Command Motive Score performed by the computer. The second is the Prelude Score performed by the orchestra. The third is the Continuum Score performed by the orchestra. The fourth is a group of scores called Auxiliary Scores performed by each respective ensemble. The fifth is another group of four scores performed by trumpet, cello, piano, and tuba.

Digital technology provides a very powerful medium for musical creativity, and the way in which we interface and interact with computers has a huge bearing on our ability to realise our artistic aims. The standard input devices available for the control of digital music tools tend to afford a low quality of embodied control; they fail to realise our innate expressiveness and dexterity of motion. This thesis looks at ways of capturing more detailed and subtle motion for the control of computer music tools; it examines how this motion can be used to control music software, and evaluates musicians' experience of using these systems. Two new musical controllers were created, based on a multiparametric paradigm where multiple, continuous, concurrent motion data streams are mapped to the control of musical parameters. The first controller, Phalanger, is a markerless video tracking system that enables the use of hand and finger motion for musical control. EchoFoam, the second system, is a malleable controller, operated through the manipulation of conductive foam. Both systems use machine learning techniques at the core of their functionality. These controllers are front ends to RECZ, a high-level mapping tool for multiparametric data streams. The development of these systems and the evaluation of musicians' experience of their use constructs a detailed picture of multiparametric musical control. This work contributes to the developing intersection between the fields of computer music and human-computer interaction. The principal contributions are the two new musical controllers, and a set of guidelines for the design and use of multiparametric interfaces for the control of digital music. This work also acts as a case study of the application of HCI user experience evaluation methodology to musical interfaces. The results highlight important themes concerning multiparametric musical control. These include the use of metaphor and imagery, choreography and language creation, individual differences and uncontrol. They highlight how this style of interface can fit into the creative process, and advocate a pluralistic approach to the control of digital music tools where different input devices fit different creative scenarios.

The aim of this thesis is to investigate techniques for, and applications of automatic sound synthesizer programming. An automatic sound synthesizer programmer is a system which removes the requirement to explicitly specify parameter settings for a sound synthesis algorithm from the user. Two forms of these systems are discussed in this thesis: tone matching programmers and synthesis space explorers. A tone matching programmer takes at its input a sound synthesis algorithm and a desired target sound. At its output it produces a configuration for the sound synthesis algorithm which causes it to emit a similar sound to the target. The techniques for achieving this that are investigated are genetic algorithms, neural networks, hill climbers and data driven approaches. A synthesis space explorer provides a user with a representation of the space of possible sounds that a synthesizer can produce and allows them to interactively explore this space. The applications of automatic sound synthesizer programming that are investigated include studio tools, an autonomous musical agent and a self-reprogramming drum machine. The research employs several methodologies: the development of novel software frameworks and tools, the examination of existing software at the source code and performance levels and user trials of the tools and software. The main contributions made are: a method for visualisation of sound synthesis space and low dimensional control of sound synthesizers; a general purpose framework for the deployment and testing of sound synthesis and optimisation algorithms in the SuperCollider language sclang; a comparison of a variety of optimisation techniques for sound synthesizer programming; an analysis of sound synthesizer error surfaces; a general purpose sound synthesizer programmer compatible with industry standard tools; an automatic improviser which passes a loose equivalent of the Turing test for Jazz musicians, i.e. being half of a man-machine duet which was rated as one of the best sessions of 2009 on the BBC's 'Jazz on 3' programme.

Estudo sobre a possibilidade de revisão do contrato aleatório por superveniente onerosidade excessiva de uma das partes contratantes em virtude de acontecimentos extraordinários e imprevisíveis. Mesmo diante de um posicionamento vacilante de vários teóricos a respeito desse tema, a tendência é a plena possibilidade da revisão e até mesmo a extinção do contrato aleatório por conta da superveniente e imprevista onerosidade excessiva ocorrida no curso do cumprimento da avença, à luz das modernas diretrizes do Direito Civil, sobretudo se considerada a necessidade de adequação do direito positivo às soluções que melhor se amoldem à estabilização das relações contratuais, de modo a evitar o desequilíbrio além da âlea contratada. De um ponto de vista criterioso, é plenamente possível prever situações que, no contrato aleatório, permitam e justifiquem evitar a perpetuação do ônus excessivo e nocivo imposto a uma das partes contratantes em razão de indesejáveis e imprevisíveis eventos supervenientes. / Study on the possibility of aleatory contract review for impracticability or supervening excessive burden of a contracting party by virtue of extraordinary and unpredictable events. Even with an unsteady position of many theorists on this subject, the tendency is the full possibility of review and even the resolution of aleatory contract due to the supervening excessive burden or impracticability occurred in the course of fulfillment of the covenant, according to the guidelines of the modern civil law, especially when considering the need to adapt the positive law to the right solutions that are best conformed to the stabilization of contractual relations, in order to avoid the imbalance beyond the contracted alley. In an insightful perspective, it is fully possible to foresee situations that permit and justify, in an aleatory contract, to avoid the perpetuation of excessive and harmful burden imposed on a contracting party by reason ofthe occuffence of unwanted and unpredictable events.

Nearly every decision must be made with a degree of uncertainty regarding the outcome. Decision making based on modeling and simulation predictions needs to incorporate and aggregate uncertain evidence. To validate multiscale simulation models, it may be necessary to consider evidence collected at a length scale that is different from the one at which a model predicts. In addition, traditional methods of uncertainty analysis do not distinguish between two types of uncertainty: uncertainty due to inherently random inputs, and uncertainty due to lack of information about the inputs. This thesis examines and applies a Bayesian approach for model parameter validation that uses generalized interval probability to separate these two types of uncertainty. A generalized interval Bayes’ rule (GIBR) is used to combine the evidence and update belief in the validity of parameters. The sensitivity of completeness and soundness for interval range estimation in GIBR is investigated. Several approaches to represent complete ignorance of probabilities’ values are tested. The result from the GIBR method is verified using Monte Carlo simulations. The method is first applied to validate the parameter set for a molecular dynamics simulation of defect formation due to radiation. Evidence is supplied by the comparison with physical experiments. Because the simulation includes variables whose effects are not directly observable, an expanded form of GIBR is implemented to incorporate the uncertainty associated with measurement in belief update. In a second example, the proposed method is applied to combining the evidence from two models of crystal plasticity at different length scales.

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