Between Two Worlds, with its implied dualities, alludes both to my Italian and Australian backgrounds and to my popular and art music experiences. The dissertation comprises of analyses of and critical commentary on a selection of compositions from instrumental through electroacoustic to musico-dramatic works. Further, Part I presents a précis of relevant background in order to locate the compositions within both Australian contemporary classical music and international settings, and Part I includes sections on analytical methodology and compositional technique. Compositions examined in Part II illustrate the salient features of compositional technique, specific influences and aesthetic concerns. Both instrumental works, Fra l’urlo e il tacere and Ridendo vado sul fiume, were written during the earlier period of the doctoral candidature. The discussion presents not only the seminal influences including the use of interval-class (ic) construction and music technologies but is also intended to guide the reader from solo and chamber instrumental writing through sound design and electronic soundscape composition towards the larger-scale, musico-dramatic works. Part III discusses the major contribution. It is concerned with three mixed-media musictheatre compositions that were created in the period 2000–08 and which explore crossdisciplinary relationships. Whilst maintaining a continuous development of style, the works are on a larger scale in all respects: involve national (The Last Child and Touch Wood) and international (Lontano Blu) production teams and a greater number of performers; are interdisciplinary, conceptually more complex and multilayered, and longer in duration; include extensive use of music technologies, multimedia and multichannel surround sound in performance; and use graphic/text/prose scores. By their very nature, these compositions involved significant collaborative endeavour not only with the key members of the creative teams, such as artistic directors, writers and set designers, but also the performers in general and musicians in particular. The collaborations included development of the conceptual structures of the works with the creative teams and ‘hands on’ interaction with the musicians in shaping the sound in real time through group-devised processes where appropriate.

Between Two Worlds, with its implied dualities, alludes both to my Italian and Australian backgrounds and to my popular and art music experiences. The dissertation comprises of analyses of and critical commentary on a selection of compositions from instrumental through electroacoustic to musico-dramatic works. Further, Part I presents a précis of relevant background in order to locate the compositions within both Australian contemporary classical music and international settings, and Part I includes sections on analytical methodology and compositional technique. Compositions examined in Part II illustrate the salient features of compositional technique, specific influences and aesthetic concerns. Both instrumental works, Fra l’urlo e il tacere and Ridendo vado sul fiume, were written during the earlier period of the doctoral candidature. The discussion presents not only the seminal influences including the use of interval-class (ic) construction and music technologies but is also intended to guide the reader from solo and chamber instrumental writing through sound design and electronic soundscape composition towards the larger-scale, musico-dramatic works. Part III discusses the major contribution. It is concerned with three mixed-media musictheatre compositions that were created in the period 2000–08 and which explore crossdisciplinary relationships. Whilst maintaining a continuous development of style, the works are on a larger scale in all respects: involve national (The Last Child and Touch Wood) and international (Lontano Blu) production teams and a greater number of performers; are interdisciplinary, conceptually more complex and multilayered, and longer in duration; include extensive use of music technologies, multimedia and multichannel surround sound in performance; and use graphic/text/prose scores. By their very nature, these compositions involved significant collaborative endeavour not only with the key members of the creative teams, such as artistic directors, writers and set designers, but also the performers in general and musicians in particular. The collaborations included development of the conceptual structures of the works with the creative teams and ‘hands on’ interaction with the musicians in shaping the sound in real time through group-devised processes where appropriate.

No description available.

Cette thèse porte sur une réflexion autour de la composition musicale arabe et les nouvelles technologies, avec comme élément central, les particularités idiosyncratiques inhérentes au langage musical.La rencontre avec les nouvelles technologies soulève plusieurs interrogations sous-jacentes. L’approche proposée consiste en la détermination d’un cadre formel avec un ensemble de structures idiomatiques selon un angle pluridisciplinaire musicologique et ethnomusicologique, mais aussi historico-acoustique et théorico-empirique à la fois.Le modèle musicologique dégagé permet de souligner : l’importance des cellules mélodiques primaires, une quantification acoustique des systèmes intervalliques, les aspects de monodie et d’hétérophonie selon le niveau individuel et collectif, une instabilité des degrés, et des aspects liés à l’interprétation musicale. Des approches originales sont envisagées concernant l’étude des mécanismes d’ornementations et trois catégories sont baptisées.La confrontation de ce modèle musicologique avec la rencontre des nouvelles technologies est établie et les conséquences de celle-ci sont soulignées. Les notions de simulation et d’émulation mettent en évidence la centralité du timbre et le recours à des échantillons audiovisuels permet d’identifier le domaine implicite de l’expérimentation. Une comparaison avec le modèle expérimental sur le plan de la musique électronique en général et l’informatique musicale en particulier est alors réalisée.Enfin, un essai de modélisation informatique dans l’environnement Csound est proposé et retrace les éléments idiosyncratiques identifiés. Des compositions électroacoustiques sont citées et une pièce est analysée. / This thesis focuses on Arabic musical composition and new technologies, with the idiosyncratic characteristics inherent in the musical language as central element.The encounter with new technologies raises several underlying questions.The approach suggested consists of a formal frame with a set of idiomatic structures according to a pluridisciplinary angle musicological and ethnomusicological, but also historical-acoustical and theorico-empirical at the same time.The musicological model revealed underlines: the importance of primary melodic cells, acoustic quantification of interval systems, monody and heterophony aspects according to individual and collective level, instability of degrees, and aspects related to musical interpretation.Original approaches are envisaged concerning the study of the mechanisms of ornamentations and three categories are baptized.The confrontation of this musicological model with new technologies’ encounter is established and the consequences of this one are underlined.Simulation and emulation concepts highlight the centrality of timbre and the use of audio-visual samples allows the identification of the implicit domain of experimentation.A comparison with the experimental model of electronic music in general and computer music in particular is therefore made.Finally, a computational modelling test in the Csound environment is proposed and traces the idiosyncratic elements identified. Electroacoustic compositions are cited and a musical work is analysed.

Submitted by ALEX KANTOROWICZ BUCK (alexbuck16@gmail.com) on 2018-11-09T10:59:50Z No. of bitstreams: 1 dissertacao_ALEXBUCK_FloMenezes.pdf: 17127016 bytes, checksum: 650f5b37fc496787da1c11fd2a06cc4d (MD5) / Rejected by Laura Mariane de Andrade null (laura.andrade@ia.unesp.br), reason: Solicitamos que realize uma nova submissão seguindo as orientações abaixo: - os itens “capa” e “folha de rosto” nos itens pré-textuais são obrigatórios segundo as normas da ABNT, portanto devem constar no arquivo anexo. Caso seja necessário, consulte o modelo em: http://www.ia.unesp.br/Home/Biblioteca/orientacoes-para-a-normalizacao-de-trabalhos-academicos_iaunesp_26_03.pdf Caso haja dúvidas, consulte a biblioteca. Agradecemos a compreensão. on 2018-11-09T16:15:48Z (GMT) / Submitted by ALEX KANTOROWICZ BUCK (alexbuck16@gmail.com) on 2018-11-09T18:51:18Z No. of bitstreams: 1 dissertacao_ALEXBUCK_VFcorrigida.pdf: 17311327 bytes, checksum: dba48ccfa3746f5de4394a82e1e9f33c (MD5) / Approved for entry into archive by Laura Mariane de Andrade null (laura.andrade@ia.unesp.br) on 2018-11-09T23:25:39Z (GMT) No. of bitstreams: 1 buck_ak_me_ia.pdf: 17280007 bytes, checksum: be673561d77174ea5cddd7887280050c (MD5) / Made available in DSpace on 2018-11-09T23:25:39Z (GMT). No. of bitstreams: 1 buck_ak_me_ia.pdf: 17280007 bytes, checksum: be673561d77174ea5cddd7887280050c (MD5) Previous issue date: 2018-09-17 / Durante o período renascentista, Leonardo da Vinci cunhou o termo Fantasia Essata para descrever processos nos quais arte e ciência estivessem integrados, quando dispositivos desenvolvidos pelo conhecimento científico se colocavam a serviço da invenção artística. O objetivo do primeiro capítulo da dissertação é apresentar uma discussão sobre os efeitos produzidos pela inserção dessas máquinas, desenvolvidas especificamente para o fazer musical, sobre o campo da composição. Para isso, parti da escolha de alguns exemplos de máquinas musicais respeitando uma linha cronológica que compreende o período de meados do século XIX, com a invenção dos autômatos de Jaques de Vaucanson, aos dias atuais, com o surgimento do computador e, mais recentemente, da inteligência artificial. No segundo capítulo, trato estritamente do processo de elaboração das duas obras acusmáticas que produzi durante o Mestrado — Jazzex no1 (octofônica) e Fantasia Essata (estéreo) — e apresento uma breve discussão sobre as particularidades do processo composicional acusmático, uma modalidade de composição que estrutura o discurso a partir de sons prontos (sons concretos). No terceiro capítulo, apresento alguns patches produzidos durante o Mestrado nas linguagens de programação SuperCollider e OpenMusic. / During Renaissance period, Leonardo da Vinci coined the term Fantasia Essata to describe processes in which art and science were integrated; when devices developed by scientific knowledge were used to serve artistic invention. First chapter’s main goal is to present a discussion about effects produced by incorporation of these machines, developed specifically for musical making, into compositional field. To accomplish this goal, I arbitrarily chose some examples of those musical machines, respecting a chronological line that covers the mid-nineteenth century, with the invention of Jaques de Vaucanson’s automata, to the present day, with the emergence of computer and, more recently, artificial intelligence. In the second chapter, I deal strictly with aspect concerning the elaborating of the two acousmatic works produced during my Master degree - Jazzex nº1 (octophonic) and Fantasia Essata (stereo) - and a brief discussion on the particularities of acousmatic compositional process, a composition modality in which the discourse is constructed from ready-made sounds (concrete sounds). In the third chapter, I present some patches produced during my research in the programming languages SuperCollider and OpenMusic.

Submitted by GEORGE OLOF DE FREITAS ALVESKOG null (george_alveskog@hotmail.com) on 2016-08-25T15:20:56Z No. of bitstreams: 1 George Alveskog - Escritura do Espaço na Música Eletroacústica (2016).pdf: 6954137 bytes, checksum: 293ed4252bfbd225092d103f4ed94cf7 (MD5) / Approved for entry into archive by Juliano Benedito Ferreira (julianoferreira@reitoria.unesp.br) on 2016-08-29T18:36:40Z (GMT) No. of bitstreams: 1 alveskog_gof_me_ia.pdf: 6954137 bytes, checksum: 293ed4252bfbd225092d103f4ed94cf7 (MD5) / Made available in DSpace on 2016-08-29T18:36:40Z (GMT). No. of bitstreams: 1 alveskog_gof_me_ia.pdf: 6954137 bytes, checksum: 293ed4252bfbd225092d103f4ed94cf7 (MD5) Previous issue date: 2016-06-27 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / Esta pesquisa tem como principal objetivo elucidar como a estruturação espacial dos sons tem sido utilizada como uma importante estratégia de composição em obras eletroacústicas acusmáticas. Para isso, serão analisadas obras e escritos de alguns dos compositores que mais contribuíram para o assunto, apresentando tanto problemáticas gerais decorrentes da inserção do espacialidade na escritura musical, como técnicas de elaboração da espacialidade encontradas durante as análises das obras. / The main purpose of this research is to shed light on how the spatial structuring of sounds has been utilized as an important compositional strategy on electroacoustic acousmatic pieces. For this purpose, compositions and writings from some of the main composers which have contributed to the subject will be analyzed, presenting both the general problematics occasioned by the insertion of spatiality in the musical thinking and elaborative process and the spatial elaborative techniques found during the analyses of the compositions.

Este trabalho discute e analisa os processos harmônicos utilizados numa composição eletroacústica mista para Flauta tripla e tape denominada "Uma visão dimensional de uma gama tripla". O tape desta peça musical está composto de sons de diversos tipos de flautas étnicas, wind controller e sons de aplicativos para celulares. Os eventos musicais do tape estão construídos sobre escalas mesoamericas utilizadas na música para marimbas da região de Guanacaste (Costa Rica) discutidas e detalhadas por Acevedo (1986). A Flauta tripla executada nesta peça é uma versão moderna da Flauta triple deTenenexpan (Veracruz, México) conforme publicação de Boiles e Lafayette na revista da Universidad de Veracruz, em 1965. Os processos harmonicos e as técnicas estendidas utilizadas na peça são comparados com cinco peças do repertório da flauta doce: Fragmente (Shinohara, 1968), Music for a bird (Martin Linde, 1968), Gesten (Klaus Hashagen, 1966), East Wind (Barry Truax, 1981),e Kage (Roderik de Man, 2000). As composições: Fragmente e Music for a bird foram concebidas para flauta doce solo e as composições Gesten, East Wind e Kage são composições eletroacústicas mistas. As referências culturais inseridas em "Uma visão dimensional de uma gama tripla" também são analisadas e correspondem a objetos encontrados em sítios arqueológicos da Ámerica Central, a arquitetura mesoamericana, os desenhos e figuras geométricas, elementos da natureza e animais das regiões mencionadas, os instrumentos musicais comuns às civilizações pré-colombianas (maia e inca). O uso de diferentes digitações na execução da flauta tripla, o uso de técnicas estendidas, a utilização de amostras sonoras de instrumentos que não necessariamente seguem o temperamento igual e o processamento dos sons que constituem a parte eletroacústica revelam uma atenção especial às questões tímbricas. O resultado geral da obra corresponde a uma ampliação da palheta sonora que se obteria com o instrumento solo por meio da exploração das possibilidades musicais da flauta tripla (execução de acordes, sobreposições de notas e técnicas estendidas) no contexto da música eletroacústica mista. Isso permitiu explorar relações e diálogos entre as flauta tripla e uma ampla gama de sonoridades do tape. / This dissertation analyzes the harmonic processes used in an electroacoustic composition for triple flute and tape called "Uma visão dimensional de uma gama tripla". The tape of this piece consists of sounds produced by several types of ethnic flutes, wind controller and applications for smartphones. The musical events of the tape are based on mesoamerican scales used in music for marimbas from the Guanacaste (Costa Rica) region, as discussed and detailed by Acevedo (1986). The Triple Flute performed on this piece is a modern version of the Tenenexpan Triple Flute (Veracruz, Mexico), as published by Boiles and Lafayette in a journal of the University of Veracruz in 1965. The harmonic processes and extended techniques used in the piece “Uma visão dimensional de uma gama tripla” are compared with five other pieces of the contemporary repertoire for recorder: Fragmente (Shinohara, 1968), Music for a bird (Martin Linde, 1968), Gesten (Klaus Hashagen, 1966), East Wind (Barry Truax, 1981), and Kage (Roderik de Man, 2000). Fragment and Music for a Bird were composed for solo recorder Gesten, East Wind and Kage are mixed electroacoustic compositions. The cultural references included in the piece "Uma visão dimensional de uma gama tripla" are also analyzed. They correspond to objects found in archeological sites inCentral America, to features of the Mesoamerican architecture, geometric drawings and figures, elements of nature and animals of the regions mentioned, and also musical instruments that are common to pre-Columbian civilizations (Maya and Inca). The use of different types of fingerprints in the execution of the triple flute, the use of extended techniques, the use of sound samples of instruments that do not necessarily follow the same temperament and the processing of the sounds that make up the electroacoustic part show special attention to timbral issues. The overall result of the work corresponds to an amplification of the sound pick that would be obtained with the solo instrument through the exploration of the musical possibilities of the triple flute (chord execution, note overlays and extended techniques) in the context of mixed electroacoustic music. This allowed him to explore relationships and dialogues between the triple flute and a wide range of sonorities of the tape.. / Dissertação (Mestrado)

O objetivo dessa pesquisa é uma investigação sobre o tempo e suas diferentes possibilidades de percepção, sob ponto de vista do intérprete, durante a performance de obras eletroacústicas mistas, sejam compostas com difusão em tempo diferido ou com processamento em tempo real. Foram estabelecidas as definições de tempo diferido e de tempo real e suas implicações. Apontamos aspectos da evolução da música eletroacústica e da inserção do repertório para flauta nesse contexto. Aspectos de duas obras de referência, Musica su due Dimensioni de Bruno Maderna e Jupiter de Phillippe Manoury, foram analisados sob o enfoque da questão do tempo diferido ou do tempo real. Tendo em vista as particularidades dos aspectos interpretativos da música eletroacústica, escolhemos para estudar alguns parâmetros de interpretação que incluem a produção das técnicas expandidas e suas peculiaridades de amplificação. Realizamos três análises voltadas para a performance de obras em tempo diferido, Flautatualf de Jorge Antunes, Durações de Rodolfo Coelho de Souza e Parcours de L\'Entité de Flo Menezes e duas outras com processamento em tempo real, Lizamander de Russell Pinkston e Dawnligth de Jérôme Combier / The aim of this dissertation is a research about certain categories of musical time and their different possibilities of perception, from the point of view of the performer, during the performance of electroacustics music composed with pre-recorded tape or live electronics computer processing. We propose definitions about fixed time and real time and also their demands. We point out aspects of the evolution of electronic music and of the insertion of the flute repertoire in this context. Aspects of two referencial works, Musica su due Dimensioni by Bruno Maderna and Jupiter by Phillippe Manoury, were analyzed regarding the question of fixed or real time. Concerning the particular interpretative aspects of electroacoustic music we selected to study some parameters of performance that include the prodution of extended techniques and their amplification peculiarities. Regarding performance aspects, we have analysed three works that use pre-recorded tapes: Flautatualf by Jorge Antunes, Durações by Rodolfo Coelho de Souza e Parcours de L\'Entité by Flo Menezes. And two others with live-electronics: Lizamander by Russell Pinkston and Dawnligth by Jérôme Combier.

Les transducteurs ultrasonores font l'objet de nombreux développements en contrôle non-destructif (CND) industriel. Utilisé ponctuellement et périodiquement, le CND ultrasonore permet d'établir des diagnostics sur la santé des matériaux. La caractérisation ultrasonore en temps réel constitue un outil de surveillance de l'évolution des propriétés physiques lors de la fabrication des matériaux composites. Dans ce contexte, des études sont menées au LOMC pour optimiser le procédé de fabrication des matériaux composites par RTM (Resin Transfer Molding) afin d’améliorer la qualité du produit. Ce travail de thèse consiste à développer des méthodes ultrasonores pour le suivi des propriétés viscoélastiques d’un composite pendant la phase de production. Les propriétés viscoélastiques sont étudiées à l’aide de modèles théoriques, de simulations numériques et de résultats expérimentaux. Des études de calibration ont été menées afin d’étudier les facteurs d’influence sur le suivi de propriétés ultrasonores lors de la mise en oeuvre d’un procédé RTM. Le suivi des paramètres viscoélastiques de résines époxy est effectué dans un premier temps à basse température au cours d'une polymérisation isotherme et d’une post-cuisson. Ensuite, une approche basée sur la méthode de caractérisation en émission/transmission a été développée afin d’étudier le comportement à haute température. La modélisation de la réponse électroacoustique par série de Debye (DSM) a été effectuée en se basant sur des approches analytiques. L’utilisation des transducteurs multiéléments permet la localisation et le dimensionnement de défauts lors du déplacement de fibres de carbone dans une résine liquide, entre des moules. / The developments based on ultrasonic transducers are nowadays numerous in the industrial non-destructive testing (NDT). Used punctually and periodically, the ultrasonic NDT is used for health diagnostics of materials. Ultrasonic characterization in real time allows a physical properties monitoring during the manufacturing of composite materials. In this context, studies are conducted in LOMC in view to optimize the manufacturing process of composite materials using RTM (Resin Transfer Molding) in order to improve the product quality. This work consists to develop ultrasonic methods for the monitoring of viscoelastic properties during the production phase of composites. The viscoelastic properties are studied using theoretical models, numerical simulations and experimental measurements. Calibration studies were carried out to study the influencing factors on the monitoring of ultrasonic properties during the RTM process. The monitoring of viscoelastic parameters of epoxy resins is performed in a first time at low temperature during an isothermal polymerization and a post-curing. Then, an approach based on the transmission mode characterization was developed to study high-temperature behavior. Based on analytical approaches, the electroacoustic response was simulated by Debye series method (DSM). The use of phased array transducers was investigated for the location and sizing of defects during the movement of the carbon fiber in a liquid resin between the molds.

Ce mémoire présente l’élaboration d’une guitare augmentée et différentes techniques de traitement électroacoustique dans le but d’étendre mon langage compositionnel. Trois œuvres ont été composées et j’ai conçu différents systèmes de traitement et de générations sonores basés sur des dispositifs électroniques et informatiques. Les systèmes électroniques sont formés de différents capteurs et émetteurs sur l’instrument afin de permettre de nouvelles techniques de jeu. Ces systèmes comportent des capteurs piézoélectriques, de pressions, de mouvements et de capacitance. De plus, un système d’entretien continu sous les cordes a été fabriqué. Des logiciels ont été spécialement conçus pour l’instrument en plus d’un micrologiciel pour le microcontrôleur intégré à celui-ci. Ce dernier recueille et convertit les données des différents capteurs pour les transmettre à l’ordinateur en plus de contrôler directement le système d’entretien des cordes. Les logiciels sont contrôlés par les données des différents capteurs et sont utilisés pour déclencher des trames fixes et traiter le son de l’instrument par des algorithmes de traitement du son. / This paper presents the development of an augmented guitar combined with different electroacoustic techniques in order to expand my compositional language. Three works were composed in addition to the processes involved in their production like the design of different processing and sound generation systems based on electronic and computer devices. Electronic systems are built with different sensors and transmitters on the instrument in order to allow new and unconventional playing techniques. These are piezoelectric, pressure, movement and capacitance sensors. A hexaphonic magnetic string sustainer system was implemented below the strings. The computer systems consists of specially designed softwares for the instrument, as well as firmware for its integrated microcontroller. The firmware collects and converts the data from the various sensors and transmits it to the computer in addition to directly controlling the sustainer system. As for the softwares, it was developped to control the various sensors and to initiate the playback of samples. It also integrates the sound processing algorithms.