Sonification is the process of mapping non-musical data to sound. The field is comprised of three key areas of research: (1) psychological research in perception and cognition, (2) the development of tools, and (3) sonification design and application. The goals of this research were twofold: (1) To provide insights to the development of sonification tools within the programming environment Max for use in further sonification/interdisciplinary research, as well as (2) provide a framework for a musical sonification system. The sonification system discussed was developed to audify spectrometry data, with the purpose of better understanding how multi-purpose systems can be easily modified to suit a particular need. Since all sonification systems may become context specific to the data they audify, a system was developed in the programming language Max that is both modular and responsive to the parameterization of data to create musical outcomes. The trends and phenomena of spectral data in the field of spectroscopy are plotted musically through the system and further enhanced by processes that associate descriptors of said data with compositional idioms, rhythmically, melodically, and harmonically. This process was achieved in Max by creating a modular system that handles the importing and formatting of spectral data (or any data in an array format) to send that data to a variety of subprograms for sonification. Subprograms handle timing and duration, diatonic melody, harmony, and timbral aspects including synthesis and audio effects. These systems are accessible both at a high level for novice users, as well as within the Max environment for more nuanced modification to support further research.

Classical music performers use instruments to transform the symbolic notationof the score into sound which is ultimately perceived by a listener. For acoustic instruments, the timbre of the resulting sound is assumed to be strongly linked to the physical and acoustical properties of the instrument itself. However, rather little is known about how much influence the player has over the timbre of the sound - is it possible to discriminate music performers by timbre? This thesis explores player-dependent aspects of timbre, serving as an individual means of musical expression. With a research scope narrowed to analysis of solo cello recordings, the differences in tone quality of six performers who played the same musical excerpts on the same cello are investigated from three different perspectives: perceptual, acoustical and gestural. In order to understand how the physical actions that a performer exerts on an instrument affect spectro-temporal features of the sound produced, which then can be perceived as the player's unique tone quality, a series of experiments are conducted, starting with the creation of dedicated multi-modal cello recordings extended by performance gesture information (bowing control parameters). In the first study, selected tone samples of six cellists are perceptually evaluated across various musical contexts via timbre dissimilarity and verbal attribute ratings. The spectro-temporal analysis follows in the second experiment, with the aim to identify acoustic features which best describe varying timbral characteristics of the players. Finally, in the third study, individual combinationsof bowing controls are examined in search for bowing patterns which might characterise each cellist regardless of the music being performed. The results show that the different players can be discriminated perceptually, by timbre, and that this perceptual discrimination can be projected back through the acoustical and gestural domains. By extending current understanding of human-instrument dependencies for qualitative tone production, this research may have further applications in computer-aided musical training and performer-informed instrumental sound synthesis.

This thesis is a socio-economic history of the relationship between music technology and organisational practices in twentieth-century Australia. It argues that the history of technology in the Australian music economy is dependent not only upon the changing technical characteristics of musical instruments and electronic consumer goods but also upon government policy-making, management practices in music technology manufacturing firms and patterns of music technology consumption. The thesis examines economic statistics regarding the import, export and local production of music technology in Australia. The economic statistics have not previously been examined in relation to the history of music technology in Australia. The historical analysis is structured according to a four-part periodisation which includes the Electric Age (1901-1930), the Electronic Age (1930-1950), the Transistor Age (1950-1970) and the Information Age (1970-1990). This periodisation enables the analysis to continually be refocussed as the key technological and socio-economic dynamics change. With this perspective, the history of the relationship between technology and organisation in the Australian music economy has been demonstrated to be dependent on a number of key technological changes. The thesis examines changes including the shift from acoustic to electric recording; the development of transistor-based consumer electronics goods; and the advent of digital information technology. However, a number of key social determinants, particularly organisational modes, are examined including changes from protectionist to more deregulated trade policy; lack of business skills in areas such as marketing, manufacturing technique and industrial research and development; and the development of a sense of popular modernity which is expressed in the consumption of new, technically advanced and glamorous music technology. In addition to the new perspectives on the history of music technology provided by the analysis of empirical economic data, this thesis contributes to the historiography of technology. The analytical framework it proposes locates music technology within what is described as an assemblage of technologies: technologies of production, technologies of sign systems, technologies of power and technologies of the self. This approach makes clear the interdependence of technological and social factors, and the inadequacy of narrow technological determinist and social constructivist accounts. The notion of an assemblage of technologies is further embellished by drawing upon key elements of recent theories of systems analysis: the seamless web, evolution and chaos theory. Through this analytical framework and the socio-economic analysis of the relationship between music technology and organisational practices, the thesis demonstrates that the history of technology cannot be understood unless it is seen as part of a complex and interacting technical, social, economic and institutional system.

The starting point for this project was my MPhil thesis (University of Leeds, 1995) Aural Geographies. An Investigation of Sound In Everyday Space, which has as its subject matter the concept of sound in everyday space. The MPhil thesis argued that in considering everyday space more attention should be paid to the aural experience. The argument did not try to `bolt on' what is heard to what is seen. Rather it contemplated the intricate relationships between the visual and aural senses within everyday space. Following from the work which was undertaken for the MPhil it became clear that further and more substantial research into the area of sound and space was merited. This research has been carried out at the University of East London as a PhD programme, under the supervision of Professor Andrew Blake, who introduced me to numerous aspects of music analysis. The thesis acknowledges and expands upon the work on sound carried out by the limited number of social theorists who have addressed this issue such as Adorno, Attali and in particular Schafer and his work on soundscapes. There is discussion throughout of the inspirational ideas of John Cage. The aim of the thesis, which is explored through many inter-related pieces of analysis and empirical work, is to expand upon our knowledge of the role of sound in everyday life. The thesis contributes towards knowledge by providing many new insights about the soundworld and its place in human experience. As befits a thesis which centres on the aural, the research methods are also innovatory allowing the readers/listeners themselves to experience sound worlds. The thesis therefore relies 111 heavily on newly-developed new recording/mapping techniques, using high quality audio recordings which are then used to produce digital sound maps in the form of hypermedia made available on a CD-ROM. The thesis demonstrates how these maps enable us to comprehend some of the complex sensory processes associated with sound worlds. Sound worlds are the main focus here, and in particular the way in which sound worlds are constructed by individuals. Where the MPhil examined sound in public spaces, this thesis further reflects on that investigation before going on to investigate the sound worlds generated in the living room (a key everyday space). This enables us to hear/see how the sound worlds associated with the living room link up with other everyday spaces. The contention is that sound is crucial for the organisation and operation of everyday space Though the thesis is persuasive in indicating the importance of the aural in everyday life, the question arises as to how the relationship between the aural and the visual can be represented in academic work, and especially in the discipline of geography. This question is addressed in the thesis by the presentation of a number of specially developed aural terms, such as `sonic order' and `sound maps'. The thesis describes how people organise their activities around sonic order, and explains how conflicts arise over sonic order. The thesis concludes that sound maps are present in everyday space and that people use them to navigate everyday space. This sensitivity to sound spaces generates geographical (aur/imagin)ations, which are in turn subject to study from within the discipline of geography.

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The seven compositions that comprise this dissertation are represented by the following files: text file (pdf), seven video performances (mp4), and corresponding zipped files of custom software and affiliated files (various file types). / This Digital Portfolio Dissertation presents seven compositions including text documents that explain the synthesis techniques, data mapping and routing, visual elements, the software used, all software needed to reproduce these works, and a video recording of all seven compositions. The unifying thread in my seven works is magic. The sense of magic in a live performance is the connection between artist and audience that lies beyond the immediate understanding of any work. I use this insight to create a new world inspired by sound and visuals. I perform each of these works by combining my understanding of data-driven instruments and my experience as a classically trained musician. The combination of sound design, visual composition, and a sense of magic allows me to realize these seven works. My goal is to contribute to the extensive library of electroacoustic works through my performance of my music with data-driven instruments.

This thesis presents the design and implementation of a generative model of tonal tension. It further describes the application of the generative model in realtime sonification. The thesis discusses related theoretical work in musical fields including generative system design, sonification, and perception and cognition. It highlights a review of the related research from historical to contemporary work. It contextualizes this work in informing the design and application of the generative model of tonal tension. The thesis concludes by presenting a formal evaluation of the system. The evaluation consists of two independent subject-response studies assessing the effectiveness of the generative system to create tonal tension and map it to visual parameters in sonification.

The field of Adaptive Music Technology is rapidly expanding and evolving. While there have been a number of theses and dissertations devoted to the study of new computer music instrument design for persons with disabilities, there is, as yet, no comprehensive study of all of the instruments that have been developed, along with recommendations for how to develop future musical instruments given rapid changes in technology. In this thesis, a comprehensive literature review of previous instruments developed is presented, along with personal interviews of developers where literature has not yet been published about a given instrument. Then recommendations for future development of instruments based on this information are presented. Finally, a case study of the development of one such instrument using the Microsoft Kinect is undertaken, and observations and conclusions based on this research are drawn. / Graduate

The advances in music technology and cinematography in recent years has granted a higher level of importance to the film music. There exists a gap in the academic study of film music as it relates to music technology, as no appropriate methodology exists that can accurately measure the contribution that music technology makes towards the music as it exists in film. This study aims to contribute towards existing methodologies for analysing film music, but from the perspective of music technology, and more specifically how audio processing in the domains of dynamic, spectral, spatial and temporal processing contribute towards the music in the film. This is achieved by building on the proposed methodologies of the study of film music as proposed by Kassabian (2009) and Altman (2000). This new method can be utilized to create a reference list of contributions that audio processing can make towards the soundtrack of a film by isolating the particular contribution that every moment of music is contributing to the film, and then finding how audio processing adds to this. / Mini Dissertation (MMus)--University of Pretoria, 2017. / Music / MMus / Unrestricted

Thesis (M.Mus.)--University of Stellenbosch, 2006. / ENGLISH ABSTRACT: In South Africa there has been an increase over the last few years in audio engineering courses which include modules of study in audio post-production or even offer audio post-production as a major focus of study. From an academic standpoint however, and despite the growth in the local film industry, very little study of this field has been undertaken in South Africa until recently. In 2005, a MMus thesis was submitted at the University of KwaZulu-Natal entitled Acoustic Ambience in Cinematography: An Exploration of the Descriptive and Emotional Impact of the Aural Environment (Turner, 2005: online). The thesis briefly outlines the basic components of the soundtrack and focuses on describing and analysing the properties of ambience, a sub-section of sound effects. At Stellenbosch University, research has recently begun in the fields of film music and Foley (sound effects associated with human movement onscreen). The purpose of this thesis is to provide an overview of audio post-production and the contribution of sound to the film medium. It provides an outline of the processes involved in creating a soundtrack for film and includes a description of the components of the soundtrack and recommendations for practical application. / AFRIKAANSE OPSOMMING: Gedurende die afgelope paar jaar was daar ‘n toename in oudio-ingenieurskursusse, insluitend studiemodules in oudio post-produksie, en selfs ‘n aanbod vir modules in post-produksie as hoofstudierigting. Desnieteenstaande, en ten spyte van die groei in die plaaslike filmindustrie is tot onlangs min akademiese studies op dié terrein in Suid-Afrika onderneem. In 2005 is ‘n MMus-tesis aan die Universiteit van KwaZulu-Natal voorgelê, met die titel Acoustic Ambience in Cinematography: An Exploration of the Descriptive and Emotional Impact of the Aural Environment (Turner, 2005: aanlyn). Hierdie tesis gee ‘n basiese oorsig oor die basiese komponente van die klankbaan, en fokus op die beskrywing en analise van die eienskappe van ambience – ‘n onderafdeling van klankeffekte. By die Universiteit van Stellenbosch is onlangs ‘n begin gemaak met navorsing oor die terreine van filmmusiek en Foley, d.w.s. klankeffekte geassosieer met menslike bewegings op die skerm.. Hierdie tesis beoog om ‘n oorsig te gee van oudio post-produksie en die bydrae van klank tot die filmmedium. Dit verskaf ‘n oorsig oor die prosesse betrokke by die daarstelling van ‘n filmklankbaan en sluit ook in ‘n beskrywing van die komponente van die klankbaan en aanbevelings vir die praktiese toepassing daarvan.