Submitted by Luciana Ferreira (lucgeral@gmail.com) on 2018-05-02T11:59:29Z No. of bitstreams: 2 Dissertação - Halley Chaves da Silva - 2018.pdf: 6012139 bytes, checksum: eee8ec2f7253ef689d470172bbd4b7bb (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Approved for entry into archive by Luciana Ferreira (lucgeral@gmail.com) on 2018-05-02T12:56:24Z (GMT) No. of bitstreams: 2 Dissertação - Halley Chaves da Silva - 2018.pdf: 6012139 bytes, checksum: eee8ec2f7253ef689d470172bbd4b7bb (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Made available in DSpace on 2018-05-02T12:56:24Z (GMT). No. of bitstreams: 2 Dissertação - Halley Chaves da Silva - 2018.pdf: 6012139 bytes, checksum: eee8ec2f7253ef689d470172bbd4b7bb (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Previous issue date: 2018-03-23 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / This paper is divided into two parts: (A) artistic production and (B) article. The artistic production includes compositions that belong to the electroacoustic phase of my academic career, which can be applied in the development of new technologies for musical composition, in addition two unpublished pieces of music, as a result of the current research: Lissajous x Chladni Op. 33 and Santa Iemanjá Op. 34. This work aims to use the Cymatics phenomenon, the influence of sound on physical environment, as a compositional process to develop chamber and electroacoustic pieces. The article presents the compositional memorial of the two abovementioned Cymatics pieces of music. For this aim, we employed bibliographic analysis and experimental methods with a qualitative approach for discussing the data. We first investigated the physical aspects of Cymatics in order to apply them in the composition of sound materials. These aspects are based on the theory developed by the physicist Hans Jenny (1904-1972), which mathematically formalizes the 2D projection of Chladni (1756-1827) figures. As a source for structuring the musical pieces, we applied the experience required for the composition of Symphony no. 1, Op. 28, which was described in the present work, as well as the completion of sound-physical experiments that generated compositional materials. In order to describe such materials, data was split into four categories: sound, material, intentional and technical specifications. The work Lissajous x Chladni, Op. 33 puts forward an audiovisual idea of ​​antagonism between the physical and the virtual. It is a minimalist piece of work built through a Pure Data Extended patch that simulates an oscilloscope with virtual Lissajous figures and cymatics figures on the water through the physical environment. The second piece is Santa Iemanjá, Op. 34. This acousmatic piece was composed to be played on the electroacoustic table, which is an electronic version of the vibroacoustic table, especially built for the attainment of cymatics appreciation of this piece. As a result, in addition to the previously described pieces, we point out in the conclusions challenges and possibilities that cymatics music offers composers. / Este artigo é dividido em duas partes: (A) produção artística e (B) artigo. A produção artística abarca composições da fase eletroacústica de minha carreira acadêmica, com aplicação no desenvolvimento de novas tecnologias para composição musical e duas obras inéditas, resultado da pesquisa atual: Lissajous x Chladni, Op. 33 e Santa Iemanjá, Op. 34. Este trabalho tem o objetivo de utilizar o fenômeno da Cimática, influência do som no meio físico, como processo composicional para construir obras de câmara e eletroacústicas. O artigo apresenta o memorial composicional das duas obras de Música Cimática supracitadas de minha autoria. Para isso, utilizamos metodologia de análise documental e experimental com uma abordagem qualitativa da discussão dos dados. Primeiramente investigamos os aspectos físicos da Cimática para aplicar na composição de materiais sonoros. Estes aspectos são fundamentados na teoria desenvolvida pelo físico Hans Jenny (1904-1972), na qual formaliza matematicamente a projeção em 2D das figuras de Chladni (1756-1827). Como fonte de estruturação das obras utilizamos da experiência da composição de minha Sinfonia n° 1, Op. 28 a qual descrevemos no trabalho, e da realização de experimentos sonoro-físicos que geraram materiais composicionais. Para descrever esses materiais, apresentamos os dados em quatro categorias: sonora, material, de intenção, e especificações técnicas. A obra Lissajous x Chladni, Op. 33 apresenta uma ideia audiovisual de antagonismo entre o físico e o virtual. Trata-se de uma obra minimalista construída através de um patch de Pure Data Extended que simula um osciloscópio com figuras de Lissajous virtualmente e figuras de Cimática na água pelo meio físico. A segunda obra é a Santa Iemanjá, Op. 34. Ela é acúsmática, composta para ser tocada na mesa eletroacústica, que é uma versão eletrônica da mesa vibroacústica, construída especialmente para realização da Apreciação Cimática desta música. Como resultado, além das obras, apontamos, nas conclusões, desafios e possibilidades que a Música Cimática oferece ao artista compositor.

This essay summarizes my artistry and approach as it has evolved during my five years at the Royal Institute of Art in Stockholm. My artistry is multidisciplinary where I find inspiration in art, technology, science, and society. My artistic process often relates to a full concept, where I explore and tell multi-layered stories. I study and engage with scientific theories and engage with them in a playful and experimental non-scientific way. These stories are expressed in my work that are physical and digital created from my intent and from physical phenomena that the eye cannot always see.  I firstly describe how I have created paintings by using technology generated frequencies and how I have put them on canvas. “Painting with technology frequencies and vibrations” uses a technology-oriented approach in making paintings inspired from the Chladni plate method. The conclusion is that it was possible to capture frequencies on canvas.  Secondly, I describe how I have made paintings, and associated pieces, that relate to frequencies and disturbances in human characteristics. For the concept “Painting with emotional frequencies and vibrations” I brought in phenomena from quantum physics and specifically the observer effect to make the paintings. I focused on morals and ethics and how art possibly can positively affect us human beings. In my mind I also drew parallels to the future mass-surveillance society and how we may be affected by being observed all the time.

This diploma thesis deals with the spectrum analysis, frequency characteristics, Chladni figures and simulation of modal and harmonic analysis of an acoustic guitar in ANSYS program interface. In the acoustic guitar analysis, various details that can influence the instrument spectrum are discussed. Especially on its performance over time, the number of generated harmonic components and their performance. Then the guitar bracing innovation of the dreadnought guitar was created from the measured, simulated and calculated data. Four acoustic guitars with the innovation were then made. These innovated instruments were further analyzed and compared with the acoustic guitar before the innovation and with a competitor’s guitar. Furthermore, the thesis describes parts of an acoustic guitar, wood properties, theoretical background and measurement methods.