Ljudens och musikens påverkan på människan har alltid intresserat mig i egenskap av violinbyggarmästare men också som cellopedagog. Forskningen inom detta område är starkt begränsad och rör till största delen terapeutiska metoder och då främst musikterapi. Dock använder sig musikterapeuter inte av utifrån kommande frekvenser i sitt arbete och de alternativa terapeuterna har inte vetenskapliga belägg för frekvensernas verkan. Syftet med studien har varit att utföra en grundforskning om hälsoklanger som kan inspirera till vidare forskning om hur utifrån tillförda ljud och musik påverkar människan samt exemplifiera hur några musikterapeuter och tomatiskonsulter i Sverige och Tyskland erbjuder musik och ljud som behandlings- eller träningsform. Studien genomfördes genom en kombination av kvantitativa och kvalitativa metoder: med en enkätundersökning, intervjuer samt personlig kommunikation med musikterapeuter och alternativa terapeuter, en stressforskare och två tomatiskonsulter. Resultaten tyder på att ljud och musik både kan ha stimulerande och lugnande inverkan på människan, men att en tillförlitlig vetenskaplig värderingsmetod saknas för dem som erbjuder behandlingar. En fortsatt forskning blir att vidare undersöka hur utifrån tillförda ljud och musik påverkar människan. Förutsättningen för att kunna mäta detta är att de valda ljud- eller musikavsnitten inte förekommer enbart punktuellt utan under en längre sammanhängande tidsperiod samt att tillgång finns till därför passande medicinsk mätutrustning och en undersökningsgrupp vars storlek utgår från ett antagande om hur stora effekter man kan förvänta sig på en viss definierad utfallsvariabel (2.7 Musikens påverkan på kropp och själ). Studien kan i bästa fall även ge inspiration till fortsatt forskning kring förbättring av negativa bullriga ljudmiljöer. / The effects of sound and music have always been of great interest to me, both as a Luthier, as a Cellist and Strings teacher. Research in this area is very limited and mainly confined to methods of therapy, in particular Music Therapy. Music Therapists, however, do not employ the use of different sound frequencies in their therapy and the effects of frequencies in other forms of alternative therapy have not yet been scientifically researched or validated. The object of this study has been to research how external sounds and music affect people, and to examine the means by which this is used in therapeutic contexts, such as in Music Therapy and Tomatis training. This research was conducted using quantitative and qualitative methods, through surveys, interviews and personal communication with Music Therapists, Alternative Therapists, Stress Researchers and two Tomatis Consultants. The research suggests that sound and music can have a stimulating as well as a soothing influence on people, but that a thorough scientifically based investigation into how external sounds and music affect people is needed for professionals in this field of work. Continued research in this area would involve using chosen external sounds or excerpts of music that are not only short impulses but of a longer duration, access to relevant medical equipment to measure the effects of these sounds and an appropriately sized group of research subjects to correlate with the expected effects of a defined research variable. (2.7 Musikens påverkan på kropp och själ) It is hoped that this study will provide a foundation for further research into the effects of frequencies, sound and music, also with a view to finding means to improve negative, disturbing sound environments.

This study investigates the effects of frequency variance on duration perception, using musically trained subjects. In the experiment three silent duration intervals were examined (4.75, 5.00, and 5.25 seconds); each interval was preceded and followed by tone markers. The onset marker was preceded by seven discrete tones one second apart, on the frequency 174.968 Hertz. This established a pulse or an external standard time measure. The subjects made judgments as to whether the offset marker fell "before," "on," or "after," the pulse. The offset marker had a variable frequency. In the study, the direction of the frequency change, the distance of frequency change, and the mathematical intervallic relationships of the two frequencies show possible influence on duration perception.

Orientador: Stelamaris Rolla Bertoli / Dissertação (mestrado) - Universidade Estadual de Campinas, Faculdade de Engenharia Civil, Arquitetura e Urbanismo / Made available in DSpace on 2018-08-23T06:13:27Z (GMT). No. of bitstreams: 1 Maiorino_AlexandreVirginelli_M.pdf: 20810001 bytes, checksum: 874af06d3cad4ebebbbda0ac07b75cd5 (MD5) Previous issue date: 2013 / Resumo: A construção de Teatros para Múltiplo uso tem se tornado cada vez mais comum devido à necessidade de abrigar diversos tipos de espetáculos em um único espaço. Para adequar à acústica destes espaços para a música orquestral é necessário o uso de elementos que possibilitem a variação acústica do espaço como é o caso de conchas de orquestra. O principal objetivo das conchas de orquestra é melhorar a acústica no palco para os músicos e para o maestro, melhorando a sensação de conjunto e fazendo com que os músicos ouçam melhor seus instrumentos e o grupo em geral. Entretanto, a concha de orquestra pode também melhorar o desempenho acústico da área da platéia. A hipótese deste trabalho foi o de analisar a diferença do desempenho acústico percebido na área da platéia devido à inclusão de uma concha de orquestra no palco de um teatro de múltiplo uso. Medições acústicas foram realizadas em cinco diferentes tipos de montagem da concha de orquestra no palco. As medições foram feitas de acordo com a norma ISO 3382-1 (2009). Os parâmetros acústicos medidos foram o Tempo de Reverberação, Tempo Inicial de Decaimento e Índice de Clareza. Os resultados mostraram que a concha de orquestra pode de fato mudar o desempenho acústico na área da platéia, modificando a percepção acústica subjetiva do ambiente / Abstract: The construction of multiple use theatres is becoming more common due to the need to accommodate different kinds of performances at the same space. In order to acoustically adequate this space to concert music, the inclusion of an orchestra shell becomes necessary. The main objective of an orchestra shell is to improve the acoustic quality on stage, both for musicians and for the conductor. The goal is to improve balance of the group allowing musicians to hear themselves and the orchestra better. However, the orchestra shell can also improve the acoustic quality for the audience. The objective of this study was to analyze the difference of the acoustic performance perceived at the audience area with the inclusion of a lightweight orchestra shell with diffuse surface in a proscenium theatre. Acoustic measurements were done in five different assembles of the orchestra shell. Measurements were done using the impulse response technique according to ISO3382-1 (2009). Measured parameters were Reverberation Time, Early Decay Time and Clarity index. Results showed that the orchestra shell can in fact modify the acoustic performance at audience area, changing the subjective acoustic perception of the space / Mestrado / Arquitetura e Construção / Mestre em Engenharia Civil

Orientador: José Maria Campos dos Santos / Dissertação (mestrado) - Universidade Estadual de Campinas, Faculdade de Engenharia Mecânica / Made available in DSpace on 2018-08-22T11:33:43Z (GMT). No. of bitstreams: 1 Paiva_GuilhermeOrelli_M.pdf: 4245499 bytes, checksum: dbf4eaee15fa8956c837eb4d59464baf (MD5) Previous issue date: 2013 / Resumo: Atualmente, um importante aspecto da pesquisa em acústica musical consiste em relacionar propriedades físicas mensuráveis de um instrumento musical e a avaliação subjetiva de sua qualidade sonora ou tonal. Tem sido necessário, portanto, o desenvolvimento de métodos analíticos e numéricos para previsão do comportamento vibroacústico do instrumento, possibilitando a determinação de parâmetros objetivos que possam ser usados para controlar a sua qualidade tonal. Dessa forma, o presente trabalho realiza análises modais acústica, estrutural e vibroacústica (acoplamento entre fluido e estrutura), calculadas pelo método de elementos finitos (MEF), com o objetivo de determinar o comportamento dinâmico da caixa de ressonância da viola em termos de frequências naturais e as correspondentes formas dos modos. Primeiramente, é apresentado um modelo simplificado, que despreza as estruturas internas de reforço, mas adota as dimensões principais de uma viola real. Depois o mesmo modelo foi expandido, sendo acrescentados os reforços internos, porém com dimensões ainda aproximadas. Por fim, o terceiro modelo foi elaborado em relação às dimensões de uma viola real e seus respectivos reforços internos. Com isso, também foram realizados procedimentos experimentais a fim de verificar as capacidades e limitações do método computacional empregado. Finalmente, os resultados obtidos pelos métodos numéricos e experimentais são comparados e discutidos / Abstract: An important aspect of musical acoustics research is to identify the relationship of measurable physical properties of a musical instrument with the subjective evaluation of their sound quality or tone. Therefore, for musical instruments including resonance box, it is important to develop analytical or numerical methods to predict accurately its vibroacoustic behavior. These methods will enable the determination of key parameters that can be used to control the tone and sound quality. This work uses theoretical modal analysis with finite element method (FEM) to determine the dynamic behavior of a Brazilian guitar resonance box in terms of natural frequency and mode shapes. At first, is presented a simplified model that neglects the internal structures of reinforcement (struts, ribs, brackets, etc.), but adopts the main dimensions of a real Brazilian guitar. Then the same model was expanded with the addition of the internal reinforcements, but with approximate dimensions yet. Finally, the third model was designed regarding the dimensions of a real Brazilian guitar and their internal reinforcements. Experimental procedures were also performed to verify the capabilities and limitations of the computational method employed. The results obtained by numerical and experimental methods are compared and discussed / Mestrado / Mecanica dos Sólidos e Projeto Mecanico / Mestre em Engenharia Mecânica

This dissertation examines the role of noise in shaping the form of several recent musical compositions. This study demonstrates how the contrast of noisy sounds and harmonic sounds can impact the structure of compositions. Depending on context, however, the specific use and function of noise can vary substantially from one work to the next. The first portion of this paper describes methods for quantifying noise content using FFT analysis procedures. A number of tests on instrumental and synthetic sound sources are described in order to demonstrate how the analysis system may react to certain sounds. The second part of this document consists of several analyses of whole musical works. Works for acoustic instruments are examined first, followed by works for electronic media. During these analyses, it becomes clear that while the use of noise in each work is based largely upon context, some common patterns do exist across different works. The final portion of the paper examines an original work which was written with the function of noise specifically in mind. The original work is put through the same analysis procedures as works seen earlier in the paper, and some conclusions are drawn regarding both the possibilities and limitations of noise analysis as a compositional tool.

The purpose of this treatise is not so much to discover heretofore unknown facts through original research; however, certain research is planned to assist in deleting the obvious handicaps one might encounter from using faulty instruments or mouthpieces, but rather to assemble under one cover practical data that may be of value in improving intonation in the band ensemble. Various definitions of terms will be established, purposes determined, opinion and methods of teachers evaluated, conclusions reached, and highlights of other persons’ experiments that may bear upon the subject will be presented.

In 1966 Mark Kac posed an interesting question regarding vibrating membranes and the sounds they make. His article entitled "Can One Hear the Shape of a Drum?", which appeared in The American Mathematical Monthly, generated much interest and scholarly debate. The evolution of Kac's intriguing question will be the subject of this project.

Ces travaux s'articulent autour du calcul des solutions périodiques dans les systèmes dynamiques non linéaires, au moyen de méthodes numériques de continuation. La recherche de solutions périodiques se traduit par un problème avec conditions aux limites périodiques, pour lequel nous avons implémenté deux méthodes d'approximation : - Une méthode spectrale dans le domaine fréquentiel, l'équilibrage harmonique d'ordre élevé, qui repose sur une formulation quadratique des équations. Nous proposons en outre une extension de cette méthode aux cas de non-linéarités non rationnelles. - Une méthode pseudo-spectrale dans le domaine temporel, la collocation à l'aide fonctions polynômiales par morceaux. Ces méthodes transforment le problème continu en un système d'équations algébriques non linéaires, dont les solutions sont calculées par continuation à l'aide de la méthode asymptotique numérique. L'ensemble de ces outils, complétés d'une analyse linéaire de stabilité, sont intégrés au code de calcul MANLAB. Applications : Un modèle physique non-régulier de clarinette est étudié en détail : à partir de la branche de solutions statiques et ses bifurcations, on calcule les différentes branches de solutions périodiques, ainsi que leur stabilité et leurs bifurcations. Ce modèle est ensuite adapté au cas du saxophone, pour lequel on intègre une caractérisation acoustique expérimentale, afin de mieux tenir compte de la géométrie complexe de l'instrument. Enfin, nous étudions un modèle physique simplifié de violon, avec une non-régularité liée frottement de Coulomb. / Periodic solutions of nonlinear dynamical systems are the focus of this work. We compute periodic solutions through a BVP formulation, solved with two numerical methods: - a spectral method, in the frequency domain: the hogh-order Harmonic Balance Method, using a quadratic formulation of the original equations. We also propose an extension to nonrational nonlinearities. - a pseudo-spectral method, in the time domain : the arthogonal collocation at Gauss point, with piece-wise polynomial interpolation. Both methods lead to a system of nonlinear algebraic equations, and its solutions are computed by a continuation algorithm : the Asymptotic Numerical Method. These methods are embeded in the numerical package MANLAB, together with a linear stability analysis. Application We then apply these methods to physical models of several instruments : a clarinet, a saxophone, and a violin. The clarinet model contains a non-smooth contact between the reed and the mouthpiece. The study focuses on the evolution of frequency, loudness, and spectrum along the branch of periodic solutions when varying the mouth pressure. The saxophone model is very similar, but an experimental characterization of the bore is used in that case. Finally, the violin model with a non-smooth Coulomb contact law and a simplified resonator is studied, showing the variety of models that can be treated using this method.

CAPES / Utilizando-se da relação entre a Matemática e a Física e tendo a música como fonte de recursos associados a conceitos matemáticos, este trabalho objetiva contribuir com o desenvolvimento de habilidades nos estudantes na aprendizagem de conteúdos matemáticos como as funções trigonométricas. Conceitos importantes relacionados à acústica são apresentados, mostrando a importância da Série de Fourier Contínua no desenvolvimento de sintetizadores analógicos aditivos e seu uso no ensino de trigonometria. / Using the relationship between Mathematics and Physics and having music as a source of features associated with mathematical concepts, this work aims to contribute to the development of skills in students who are learning mathematical subjects such as trigonometric functions. Important concepts related to acoustics are presented, showing the importance of Continuous Fourier Series (CFS) in the development of Additive Synthesizer and its use in trigonometry.

Acompanha: Encarte do produto educacional: a física da música e a pluralidade didática / CAPES / Esta dissertação visa apresentar uma proposta de sequência didática para explorar significativamente conteúdos de ondulatória, acústica e conteúdos relacionados à sua compreensão, utilizando elementos da música como agente motivacional ao aprendizado de física, bem como uma gama de recursos didáticos com o objetivo de oferecer uma pluralidade didática adaptada a partir dos fundamentos da pluralidade metodológica de Paul Feyerabend. Estes recursos são desde quadro giz, a inventos, instrumentos musicais, experimentos, softwares, simuladores, imagens, animações, videoaulas, músicas, poesias e alguns aspectos epistemológicos da física da música. / This thesis aims to present a proposal for didactic sequence to significantly explore waves, acoustics and related content to their understanding, using elements of music as a motivational agent to the physics learning, as well as a range of instructional resources with the aim of offering a didactic plurality it was adapted from the fundamentals of methodological plurality of Paul Feyerabend. These features are since chalk framework, to inventions, musical instruments, experiments, softwares, simulators, images, animations, video lessons, songs, poetry and some epistemological aspects of the physics of music.