L'objectif de la thèse est l'analyse des signaux audio-numériques basée sur la modélisation sinusoïdale. La première partie de la thèse est dédiée à l'estimation des paramètres sinusoïdaux, et en particulier aux méthodes basées sur la transformée de Fourier. Les avantages de cette famille de méthodes sont une faible complexité algorithmique et une grande facilité d'utilisation. Un état de l'art complet des méthodes d'estimation sinusoïdale basées sur la transformée de Fourier est présenté. Nous parlons ensuite des nouveaux estimateurs qui ont été développé pendant la thèse, en particulier deux nouvelles méthodes qui permettent d'estimer tous les paramètres d'une sinusoïde modulée à la fois en amplitude et en fréquence, et dont les performances se sont révélées meilleures que la seule méthode équivalente de l'état de l'art existante, l'interpolation quadratique de la transformée de Fourier (QIFFT). L'indexation sonore est un domaine assez vaste dont la problématique est de répondre aux besoins d'accès par le contenu des documents audio. Dans la deuxième partie de la thèse nous nous sommes attachés à appliquer la modélisation sinusoïdale à deux tâches d'indexation audio pour lesquelles cette modélisation est particulièrement adaptée: l'estimation de pitch et la détection d'objets sonores. Les deux algorithmes développés font intervenir des principes similaires : un appariement des pics sinusoïdaux estimés dans le flux audio avec ceux de l'objet sonore de référence, ainsi qu'une mesure de vraisemblance de l'appariement.

<p>The purpose of this thesis is to develop software to stream input and output audio from a large number of computers in a network to one specific computer in the same network. This computer will save the audio to disk. The audio that is to be saved will consist mostly of spoken communication. The saved audio is to be used in a framework for modeling and visualization.</p><p>There are three major problems involved in designing a software to fill this purpose: recording both input and output audio at the same time, efficiently receiving multiple audio-streams at once and designing an interface where finding and organizing the computers to record audio from is easy.</p><p>The software developed to solve these problems consists of two parts; a server and a client. The server captures the input (microphone) and output (speaker) audio from a computer. To capture the output and input audio simultaneously an external application named Virtual Audio Cable (VAC) is used. The client connects to multiple servers and receives the captured audio. Each one of the client’s server-connections is handled by its own thread. To make it easy to find available servers an Automatic Server Discovery System has been developed. To simplify the organization of the servers they are displayed in a tree-view specifically designed for this purpose.</p>

Video Respite (VR) refers to a series of videotapes designed to engage cognitively impaired individuals so that caregivers can have opportunities for respite. Previous work has evaluated the impact of VR with family caregivers. This study assessed use of VR in special care units (SCUs) for persons with dementia. The foci of the study were 10 SCUs and the individual staff members caring for the residents. The findings suggest VR is more likely to be used in SCUs with relatively higher levels of organization and lower levels of conflict. In addition, resident agitation was found to be significantly lower after VR use. Implications for future evaluation of Video Respite in special care units are discussed. / Graduation date: 1995

En del av en Audioanalystor har blivit utveckladoch implementerad som en applikation i det hårdvarubeskrivande språket VHDL. Denna del har sedan programmerats in i en PLD-krets på ett kretskort som används i audiotester för mobiltelefoner på Flextronics. Applikationen konverterar data så att det ska gå att skicka information mellan telefonen och olika mätinstrument. Applikationen består av två äldre applikationer. Av dessa två har en blivit helt implementerad. I den andra kvarstår att finna orsaken till varför den ger ifrån sig felaktigt data i form av oönskat brus. Arbetet avbröts p.g.a. slutdatum. A part of an audio analyzer has been developed and implemented as an application in the hardware description language VHDL. This part has later been programmed into a PLD device on a circuit board used for audio tests on mobile telephones at Flextronics. The application converts data, making it possible to send information between the telephone and different measuring instruments. The application consists of two older applications. One of them has been fully implemented. What is left in the other part is to find the cause why it is sending wrong data as unwanted noise. The work had to be stopped when deadline was reached / A part of an audio analyzer has been developed and implemented as an application in the hardware description language VHDL. This part has later been programmed into a PLD device on a circuit board used for audio tests on mobile telephones at Flextronics. The application converts data, making it possible to send information between the telephone and different measuring instruments. The application consists of two older applications. One of them has been fully implemented. What is left in the other part is to find the cause why it is sending wrong data as unwanted noise. The work had to be stopped when deadline was reached.

Audio is an effective but often overlooked component of World Wide Web delivery. Of the nearly twenty billion web pages estimated to exist, statistically few use sound. Those few using sound often use it poorly and with hardly any regard to theoretical and rhetorical issues. This thesis is an examination of the uses of audio on the World Wide Web, specifically focusing on how that use could be informed by current and historical rhetorical theory. A theoretical methodology is applied to suggest the concepts and disciplines required to make online audio more meaningful and useful. The thesis argues for the connection between the Web and the modern orator, its embodiment, its place in sound reproduction technology, and awareness of the limitations placed on it by design and convention.

Control oriented local area networks (COLANs) are being installed in factories at an increasing rate. Traditionally, process control has operated with a master scheduler (computer) monitoring a number of points in a control grid. As the complexity of today's process control needs grow, the need to process information locally increases. Microcontrollers, networked with a master scheduler, can collect data from a locus of points and make decisions as to whether the master needs to be notified or not. By processing data locally, memory and execution time are freed up for the master scheduler. Task implementation becomes modular in nature, resulting in process control software that is easier to write, and maintain. This structure is the basis for COLAN V, a low cost, real-time, distributed control network developed at Oregon State University. COLAN V was used as the foundation for the creation of a multi-media presentation system. Six microcontrollers were networked together to remotely control the operation of projectors, projector screens, and lighting. Based on the application the master scheduler was replaced by a tape player. This allowed the storage of the audio part of the presentation on one track of the tape and the storage of the synchronized control signals on the other track. This distributed control network supplied a low cost solution to a need that was not addressed by the commercial market at any price. / Graduation date: 1992

Multimedia performances, uniting music and interactive images, are a unique form of entertainment that has been explored by artists for centuries. This audio-visual combination has evolved from rudimentary devices generating visuals for single instruments to cutting-edge video image productions for musical groups of all sizes. Throughout this evolution, a common goal has been to create real-time, audio-responsive visuals that accentuate the sound and enhance the performance. This paper explains the creation of a project that produces real-time, audioresponsive and artist interactive visuals to accompany a live musical performance by a symphony orchestra. On April 23, 2006, this project was performed live with the Brazos Valley Symphony Orchestra. The artist, onstage during the performance, controlled the visual presentation through a user interactive, custom computer program. Using the power of current visualization technology, this digital program was written to manipulate and synchronize images to a musical work. This program uses pre-processed video footage chosen to reflect the energy of the music. The integration of the video imagery into the program became a reiterative testing process that allowed for important adjustments throughout the visual creation process. Other artists are encouraged to use this as a guideline for creating their own audio-visual projects exploring the union of visuals and music.

<p>En del av en Audioanalystor har blivit utveckladoch implementerad som en applikation i det hårdvarubeskrivande språket VHDL. Denna del har sedan programmerats in i en PLD-krets på ett kretskort som används i audiotester för mobiltelefoner på Flextronics. Applikationen konverterar data så att det ska gå att skicka information mellan telefonen och olika mätinstrument. Applikationen består av två äldre applikationer. Av dessa två har en blivit helt implementerad. I den andra kvarstår att finna orsaken till varför den ger ifrån sig felaktigt data i form av oönskat brus. Arbetet avbröts p.g.a. slutdatum. A part of an audio analyzer has been developed and implemented as an application in the hardware description language VHDL. This part has later been programmed into a PLD device on a circuit board used for audio tests on mobile telephones at Flextronics. The application converts data, making it possible to send information between the telephone and different measuring instruments. The application consists of two older applications. One of them has been fully implemented. What is left in the other part is to find the cause why it is sending wrong data as unwanted noise. The work had to be stopped when deadline was reached</p> / <p>A part of an audio analyzer has been developed and implemented as an application in the hardware description language VHDL. This part has later been programmed into a PLD device on a circuit board used for audio tests on mobile telephones at Flextronics. The application converts data, making it possible to send information between the telephone and different measuring instruments. The application consists of two older applications. One of them has been fully implemented. What is left in the other part is to find the cause why it is sending wrong data as unwanted noise. The work had to be stopped when deadline was reached.</p>

Amongst the modern day abundance of audio-visual media, where sounds represent everything from the swooping of virtual cameras through 3D spaces to the pressing of buttons and receiving of emails, and conversely where VJs routinely accompany live musical performance with an increasingly sophisticated language of abstract computer animation, the notion of music as a necessarily exclusively aural medium seems somewhat out of place. Psychological theories relating to the cognition of sound, in particular physical schema, accounting for the ubiquity of vertical plane pitch metaphors in most musical cultures, provide evidence of a deep-rooted spatially informed understanding of sound thus providing a common ground for both sound and vision in music. Furthermore, Western Classical composition is rife with examples of visually conceived forms from Bach’s Crab Canon (1747) to Xenakis’ architecturally inspired Metastasis (1954). However, in practice the gap between the listener’s auditory experience and the composer’s visual concept is often insurmountable. Rising to Schaeffer’s call for “Primacy to the ear!” (Schaeffer, 1967, pp. 28-30), acousmatic composers have sought to derive music exclusively from experientially verifiable criteria. However, in its pervasiveness of other musical genres, no doubt aided by technologically and commercially driven domination of the pre-recorded over the live listening experience in the latter half of the twentieth century, such an approach has lead to the neglect of visual aspects in the live performance of much art-music. This research aims to begin to redress this balance through the composition of, largely computer realised, audio-visual works whose conception arises not from a superimposition of one medium upon another, but through the very relations between the media themselves. Utilising modern computers’ ability to synchronise physical and virtual visual events with synthesised sound in real time not only affords composers an invaluable tool for enhancing listener’s perception of formal structures but also implies causal relationships between the sonic and the visual which can provide a base of intuitive understanding on which more complex formal ideas can be built.

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