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Sound radiation from an acoustic source typically exhibits directional behavior, as is the case for the human voice, musical instruments, and loudspeakers, to name just a few. The necessity of directional data for many applications, such as sound source modeling, microphone placement, room acoustical design, and auralization, motivates directivity measurements. However, these measurements require careful understanding and implementation to produce the most meaningful results. Accordingly, this dissertation addresses several topics relevant to directivity theory, measurement, processing, and application. It first expands and amends previously published concepts of an acoustic source center and demonstrates the close relationship between the center and a source's far-field directional response. This relationship subsequently leads to an acoustic centering method that improves source placements within directivity measurement arrays. The dissertation then addresses several measurement considerations, including the required numbers of sampling positions for directivity measurements, quadrature rules applicable to standardized dual-equiangular sampling schemes, and a source's far-field response from arbitrarily shaped microphone arrays. Selected directivity results for the human voice and musical instruments illustrate applications of the developed measurement theories for procuring high-resolution results over a sphere. Compiled voice and musical instrument directivities now appear in an open-source database for use in room acoustical modeling, microphone placements, and other applications. To better elucidate and help predict sound source radiation, this work proposes several theoretical models, including equivalent point-source models, low-frequency radiation from a radially vibrating cap set on a rigid spherical shell with a circular aperture, and radiation from a vibrating cap on a rigid sphere with imposed mode shapes. Finally, this dissertation presents two microphone placement methods for audio and other applications. The first method approximates the measurement of a source's sound power spectrum through a single-channel measurement; the second considers microphone placement for maximum perceived loudness. The work's various developments, results, and conclusions will assist researchers and practitioners in better evaluating, predicting, and applying sound source directivities for many uses.

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The intent of this thesis is to explore the relationship between spatial ability and the wide range of musical instruments musicians play. Existing literature has established a link between musicianship and improved spatial ability, but researchers have yet to look at how the spatial makeup of different musical instruments may, in turn, reveal unique levels of spatial proficiency from one instrumentalist to the next. This study was formatted as an online survey that included a music experience scale, a demographics scale, and two measures of spatial ability: the Card Rotations Test (CRT) and the Paper Folding Test (PFT). Participants who played larger instruments were hypothesized to score higher on the spatial ability tests. Results show that specific musical instruments score differently on spatial ability measures, and large instruments like the piano and marimba consistently outperform smaller instruments. This largely exploratory study attempts to show that the psychological discipline as a whole should reevaluate how it categorizes and studies musicians. Furthermore, these preliminary findings will encourage better practice for how music educators handle the musical instrument selection process, hopefully leading to a more long-term, student-centered approach.

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Smart musical instruments are an emerging class of digital musical instruments designed for music creation in an interconnected Internet of Musical Things scenario. These instruments aim to integrate embedded computation, real-time feature extraction, gesture acquisition, and networked communication technologies. As embedded computers become more capable and new embedded audio platforms are developed, new avenues for real-time embedded gesture acquisition open up. Expressive guitar technique recognition is the task of detecting notes and classifying the playing techniques used by the musician on the instrument. Real-time recognition of expressive guitar techniques in a smart guitar would allow players to control sound synthesis or to wirelessly interact with a wide range of interconnected devices and stage equipment during performance. Despite expressive guitar technique recognition being a well-researched topic in the field of Music Information Retrieval, the creation of a lightweight real-time recognition system that can be deployed on an embedded platform still remains an open problem. In this thesis, expressive guitar technique recognition is investigated by focusing on real-time execution, and the execution of deep learning inference on resource-constrained embedded computers. Initial efforts have focused on clearly defining the challenges of embedded real-time music information retrieval, and on the creation of a first, fully embedded, real-time expressive guitar technique recognition system. The insight gained, led to the refinement of the various steps of the proposed recognition pipeline. As a first refinement step, a novel procedure for the optimization of onset detectors was developed. The proposed procedure adopts an evolutionary algorithm to find parameter configurations that are optimal both in terms of detection accuracy and latency. A subsequent study is devoted to shedding light on the performance of generic deep learning inference engines for embedded real-time audio classification. This consisted of a comparison of four common inferencing libraries, which focus on the applicability of each library to real-time audio inference, and their performance in terms of execution time and several additional metrics. Different insights from these studies supported the development of a new expressive guitar technique classifier, which is accompanied by an in-depth analysis of different aspects of the recognition problem. Finally, the experience collected during these studies culminated in the definition of a procedure to deploy deep learning inference to a prominent embedded platform. These investigations have been shown to improve the state-of-the-art by proposing approaches that surpass previous alternatives and providing new knowledge on problems and tools that can aid the creation of a smart guitar. The new knowledge provided was also adopted for embedded audio tasks that differ from real-time expressive guitar technique recognition.

Made available in DSpace on 2016-12-08T17:06:53Z (GMT). No. of bitstreams: 1 gabriele.pdf: 970597 bytes, checksum: a6ab8412653db62601a782a9225a3589 (MD5) Previous issue date: 2011-10-06 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / The aim of this study was to analyse the understanding that students and lecturers in the Musical Instrument Degree Course, Federal University of Paraiba (UFPB), have with regard to teacher-training in this field. The specific goals consisted of the following: contextualising the musical instrument degree programmes in Brazil; examining the guidelines that govern teacher-training in the musical instrument degree course of UFBA; identifying how the students decided on the musical paths they would follow, the factors that determined their choice of course, their understanding of training and their professional expectations; and characterising the training of the teaching staff, as well as their understanding of training with regard to their students and future musical instrument teachers. This investigation is linked to the research study ¨Training Music Teachers in Brazil¨ which is funded by CAPES/INEP/SECAD [Brazilian Federal Agency for the support of Post-Graduate Education/ National Institute of Research and Study/ Secretary of Continuing Education, Literacy and Diversity] a Teacher Education Observatory - and was carried out by the MusE-Music and Education Research Group, State University of Santa Catarina (UDESC). We carried out a review of the literature on legislative questions that have affected the music degree courses, the training in teaching musical instruments and its particular features with regard to professional training and identity. The research adopted a qualitative approach and data were collected by means of the Educational Policy Project of musical instrument degree courses in Brazil, the INEP databank and a case study undertaken with UFPB. The case study involved setting questionnaires for the students and conducting on-line interviews with nine students and seven course lecturers. The results suggest that the musical instrument teacher-training was in accordance with the understanding of the students and UFPB lecturers and should give priority to the relationship between the theoretical domains of music, music instrument practice and the specific features of the instruments. In the case of the students, the criterion for measuring the degree of success of their training lay in the connection between different aspects of the syllabus during the training programme. They stated that they had difficulty in coping with the fact that their lecturers failed to strike a balance in their subject-areas and only regarded the objective of the training as being, for example, in the area of basic education. However, although they have made suggestions about improvements, the students are generally satisfied with the training they have been given and most of them have high expectations of working as music intrument teachers in specialist music schools / Este trabalho teve como objetivo pesquisar as concepções de alunos e professores do curso de licenciatura em instrumento da Universidade Federal da Paraíba - UFPB a respeito da formação do professor de instrumento. Os objetivos específicos consistiram em fazer uma contextualização dos cursos de licenciatura em instrumento no Brasil; investigar os direcionamentos que orientam a formação do professor de instrumento no curso de licenciatura em instrumento da UFPB; identificar as trajetórias musicais, motivações para a escolha do curso, concepções de formação e expectativas profissionais dos alunos matriculados na licenciatura em instrumento da UFPB; analisar as concepções dos alunos sobre ser e tornar-se professor de instrumento; identificar a formação do corpo docente, bem como as suas concepções de formação com relação aos seus alunos e futuros professores de instrumento. Esta investigação está vinculada à pesquisa A Formação do Professor de Música no Brasil , financiada pela CAPES/INEP/SECAD Programa Observatório da Educação e que vem sendo desenvolvida pelo Grupo de Pesquisa MusE-Música e Educação, da Universidade do Estado de Santa Catarina (UDESC). A revisão de literatura permeou os temas de legislação para os cursos de graduação em música, a formação do professor de instrumento e suas especificidades de formação e identidade profissional. A pesquisa adotou a abordagem qualitativa e coletou dados através do Projeto Político Pedagógico dos cursos de licenciatura em instrumento brasileiros, banco de dados do INEP e estudo de caso com a UFPB. Neste estudo de caso foram aplicados questionários aos alunos e entrevistas on-line com nove alunos e sete professores do curso. Os resultados indicam que a formação do professor de instrumento, de acordo com as concepções dos alunos e professores da UFPB, deve primar pela relação entre os domínios teóricos musicais, pedagógicos musicais e específicos do instrumento. Para os alunos, o sucesso para uma formação adequada está na conexão entre os conteúdos trabalhados ao longo do processo formativo. Eles salientam encontrar dificuldade durante o curso, em relação aos professores que não buscam um equilíbrio nas suas disciplinas e que focam apenas num objetivo de formação, como por exemplo, educação básica. Apesar de terem apresentado sugestões de melhorias, os alunos estão satisfeitos com a formação que têm recebido e a maioria tem como expectativa atuar como professor de instrumento em escolas específicas de música

The problem with which this investigation is concerned is that of presenting a concise English translation of the book which Martin Agricola wrote in 1528 in German on the musical instruments and practices of his time. In addition to the translation itself, there is a major section devoted to a comparison of the material of Musica instrumentalis deudsch with other books and treatises on the same and related subjects which were written at approximately the same time or within the next hundred years. Agricola states that the purpose of his book was to teach the playing of various instruments such as organs, lutes, harps, viols, and pipes. He also noted that the material was prepared expressly for young people to study. To facilitate the accomplishment of this purpose Agricola wrote the book in short, two-lined, rhymed couplets so that the youths might quickly memorize the material and thus retain the instructions better.

Made available in DSpace on 2017-07-24T19:45:50Z (GMT). No. of bitstreams: 1 Luis Alexandre Rauch.pdf: 13794820 bytes, checksum: b9c61efb765c133ca989b82f0bed4b97 (MD5) Previous issue date: 2016-09-23 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / This study presents the development of the Product – In the strings of musical instruments – and analysis of its application. Basically, the Product is a set to study mechanical waves through experiments and the use of musical instruments, both created with alternative material which is easily available. The product aids the teacher and comprises: text with approach to the physical concepts worked in the classroom; texts supporting teacher’s work and texts supporting students’ work, unit plans and lesson plans; manuals guiding the apparatuses assembly and their use in the classroom. This proposal contains 08 (eight) sessions, distributed into 12 (twelve) lessons, which seek, from a teaching sequence, to approach wave basic concepts and develop those concepts at the high school level aiming at providing advances to the teachinglearning process regarding the students involved. In such elaboration, the activities were based on Ausubel’s learning theorie. Finally, from the Product use and analysis, it was seen that the sequence of lessons given made it possible to enhance the study of mechanical waves through strings, and the activities with musical instruments and experiments developed in the classroom provided the students better interaction with the content worked, since these practices motivated them to inquire and observe in their own context the physics content being studied. Therefore, the product application, through a differentiated practice, resulted in advances to the learning-teaching process in a meaningful manner. / No presente trabalho são apresentados o desenvolvimento do Produto Nas cordas dos instrumentos musicais – e análise de sua da aplicação. Em linhas gerais o Produto é um conjunto para o estudo de ondas mecânicas a partir de experimentos e instrumentos musicais, ambos confeccionados com materiais alternativos e de fácil acesso. Basicamente, o Produto é um material de apoio ao professor e contém: texto com abordagem dos conceitos físicos trabalhados em sala de aula; textos de apoio ao professor e textos de apoio aos educandos; planejamento de unidade e planos de aula; manuais de montagem dos aparatos e utilização destes em sala de aula. Nesta proposta foram planejadas 08 (oito) seções, distribuídas em 12 (doze) aulas, as quais buscam, a partir de uma sequência didática, abordar os conceitos básicos de ondulatória e efetuar a devida transposição dos conceitos em nível de ensino médio a fim de proporcionar avanços no processo de ensino-aprendizagem por parte dos educandos. Nesta elaboração, as atividades foram fundamentadas na teoria de aprendizagem de Ausubel. Por fim, da aplicação do Produto e posterior análise, constatou-se que a sequência de aulas realizadas possibilitou contemplar o estudo das ondas mecânicas por meio de cordas, sendo que as atividades dos instrumentos musicais e experimentos em sala de aula proporcionaram uma melhor interação dos educandos com os conteúdos trabalhados porque tais práticas instigaram os mesmos a perguntar e a observar em seu próprio contexto a física abordada. Assim, a aplicação do produto proporcionou, por meio de uma prática diferenciada, avanços no processo de ensino-aprendizagem de uma forma significativa.