Orientador: Fernando Augusto de Almeida Hashimoto / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-26T13:09:49Z (GMT). No. of bitstreams: 1 Cunha_HelioAlexandrinoPacheco_M.pdf: 31557883 bytes, checksum: ef51be576b219e2cfcfa18422b33177a (MD5) Previous issue date: 2014 / Resumo: Este trabalho parte da compreensão inicial de que o estudo da caixa é um fundamento da bateria. Dessa forma, propõe o estudo do ritmo e da interpretação do samba a partir de estudos e peças de caixa. O trabalho composicional é orientado por conceitos já desenvolvidos pela musicologia sobre a performance do samba em diálogo com os dados levantados pelo autor através das entrevistas aos sambistas cariocas, das transcrições e das experiências musicais vivenciadas pelo próprio pesquisador durante o processo de pesquisa. Ao final do trabalho os estudos e as peças relacionadas têm como principal objetivo explorar a forma de desenvolvimento fraseológico, de "manulação" dos toques e de exploração dos timbres da caixa a partir dos aspectos idiomáticos dos instrumentos de percussão característicos do samba / Abstract: This work starts from the initial understanding that the study of the snare drum is the foundation of the drum study. Thus, we propose the study of the rhythm and interpretation of samba by studies and pieces of snare drum. The compositional work is guided by concepts already developed by musicology on the performance of samba in dialogue with the data gathered by the author through interviews with carioca samba players, the transcriptions and the musical pratice experienced by the researcher during the research process. At the end of the work, studies and related pieces has as the main goals to explore the development of the phrasing, the sticking and the exploration of tones on the snare drum based on the idiomatic aspects of the samba characteristic instruments of percussion / Mestrado / Praticas Interpretativas / Mestre em Música

A perceptual sound field synthesis approach for music is presented. Its signal processing implements critical bands, the precedence effect and integration times of the auditory system by technical means, as well as the radiation characteristics of musical instruments. Furthermore, interaural coherence, masking and auditory scene analysis principles are considered. As a result, the conceptualized sound field synthesis system creates a natural, spatial sound impression for listeners in extended listening area, even with a low number of loudspeakers. A novel technique, the “precedence fade”, as well as the interaural cues provided by the sound field synthesis approach, allow for a precise and robust localization.Simulations and a listening test provide a proof of concept. The method is particularly robust for signals with impulsive attacks and long quasi-stationary phases, as in the case of many instrumental sounds. It is compatible with many loudspeaker setups, such as 5.1 to 22.2, ambisonics systems and loudspeaker arrays for wave front synthesis. The perceptual sound field synthesis approach is an alternative to physically centered wave field synthesis concepts and conventional, perceptually motivated stereophonic sound and benefits from both paradigms.

This paper discusses design and implementation of classifying system for recognition of musical instruments from audio records with use of Musical Information Retrieval techniques. In the first part, paper describes parameters used for instrument classification, calculation of said parameters from records and reduction of feature vector. Next part is devoted to tuning and implementation of various classifiers with focus on neural networks. These classifiers ar further tested on records from IRMAS dataset wchich contain 11 musical instruments playing solo or with other instruments. Results of classifiers tested on different parameters and different numbers of instruments are discussed in the last part.

This report is guide along simulation of sound sources and orchestra. Basic physical characteristics necessary to the simulation of sound sources are described here. Description of the creation of directivity files in ODEON and theirs conversion from CATT-Acoustic to ODEON are described here too. Acquired directivity files were used for simulation of orchestra and for testing the directivity characteristics to room acoustics parameters.

Im Rahmen des Forschungsprojektes wurden zwei Verfahren zur Herstellung thermisch modifizierter Furniere entwickelt. Nach Verfahren 1 erfolgt die Herstellung von Furnier durch Messern von thermisch modifizierten Blöcken, wobei der Hauptanteil der Untersuchungen an längs gemesserten Furnieren durchgeführt wurde. Ein Industrieversuch belegt die Machbarkeit der Herstellung thermisch modifizierter Furniere aus modifizierten Blöcken durch quer messern, also nach dem üblichen Verfahren zur Herstellung dekorativer Furniere. Nach Verfahren 2 erfolgt die Herstellung von thermisch modifizierten Furnieren durch thermische Modifizierung handelsüblicher dünner Messerfurniere (d=0,5...0,6 mm). Parameter für eine thermische Modifikation sind im Wesentlichen die Dauer der Behandlung sowie die Temperatur. Die Temperatur wurde im Bereich zwischen 170°C und 210°C variiert, die Dauer der Hochtemperaturbehandlung zwischen 2 h und 4 h. Als Holzarten wurden Rotbuche, Ahorn, Birke, Pappel und Esche untersucht. Die hergestellten Furniere wurden hinsichtlich verschiedener mechanischer Eigenschaften, farblicher Eigenschaften sowie verarbeitungstechnischer Eigenschaften untersucht und bewertet.

Contemporary professional violinists face constant exposure to multicultural compositions. For best results, they should be able to understand, capture, and express the subtleties of different styles. The violin and its repertoire spread to China through European missionaries during the late seventeenth century and continued to be developed by Chinese scientists and musicians who studied abroad. During the twentieth and twenty-first centuries, Chinese composers wrote many violin pieces inspired by the unique sounds of Chinese instruments. Additionally, Chinese music scholars wrote numerous essays to discuss the new Chinese style. However, much of this research has been focused on the composers and the structures of the compositions rather than on the details of violin techniques necessary to play the repertoire. The techniques in Chinese violin compositions are unique and are influenced by the traditional instruments including string, wind, and percussion instruments. Furthermore, the style of such compositions is affected by the elements of Chinese culture, such as the language, the elite society and its poetic tradition, and historical legends and events. This dissertation provides examples of Chinese violin repertoire which demonstrate the principles of three main violin techniques in the Chinese style: slides, chords, and pizzicati. In order to help professional violinists better perform Chinese violin compositions, the dissertation also includes a number of exercises covering each technique above.

Thesis (Ph.D.)--University of the Witwatersrand, Faculty of Arts, School of Music,1958 / The tribes that fall under the Northern Sotho or Pedi language group are found in the area more or less bounded by Middelburg, Pilgrims Rest, Malopene, the Blaauwberg and Hamanskraal . No print can adequately describe the vital panorama of Pedi life. In surveying the musical practices of the Pedi I soon realised that their music was not an isolated entity but an integral unit of their whole pattern of living, both socially and ceremonially. It is from this essentially ' alive' standpoint, rather than as a scientific analysis of scale systems, etc., that I approached the subject of Pedi music. [Abbreviated Abstract. Open document to view full version] / WS2016

In this master’s thesis, a sound-based notation system is explored and developed in the composition and performance of a musical work for live electronics. My approach builds on existing systems for electroacoustic music analysis, most notably Dennis Smalley’s (1997) theory of spectromorphology and the symbolic language of Lasse Thoresen &amp; Andreas Hedman (2007) based on Pierre Schaeffer’s typo-morphology, as well as Mattias Sköld’s (2023) adaptation of this system for composition and transcription (Sound Notation).  By separating the compositional processes from the interpretational process in the creation of a mixed work for live electronics and acoustic instruments, the notation could be explored as an isolated activity in the writing of sound objects, later realized in a studio environment in the form playable instrument patches. This resulted in two performances of the piece Sonic Mechanics (2022) where the author performed the electronics part together with musicians from the ensembles Norrbotten NEO in Piteå (Sweden) and Ensemble mise-en in NYC (USA).  The thesis shows how symbolic notation does not need to be dismissed in live electronic performance, but that a sound-based score can complement the compositional and interpretational processes of instrument design and improvisation. The project thus demonstrates the plausibility of composing electronic music using a reduced sound- based notation system (spectromorphological reduction) and provides an example of how a sound-based score can be executed by an electronic performer, as well as investigating the affordances that this approach has for both the compositional and interpretational process. For composition, the affordances of sound-based notation are that it becomes a technology for thinking about sound and musical structures themselves, without interaction with audio technology. For performance, this approach enables different interpretations for other electronic instruments and setups. / <p>Artistic outcomes are presented in their entirety through the accompanying Research Catalogue Expositions:</p><p>https://www.researchcatalogue.net/profile/show-exposition?exposition=2012206</p><p>https://www.researchcatalogue.net/profile/show-exposition?exposition=2241923</p>

Made available in DSpace on 2016-04-25T16:45:17Z (GMT). No. of bitstreams: 1 Daniel Rodrigues Pires Bezerra.pdf: 988901 bytes, checksum: 81a0295bb3ecc423e0e100ad77f93071 (MD5) Previous issue date: 2009-06-10 / The musical instrument industry in Brazil has developed considerably in the last years. The opening of the national trade frontiers in the early 90 s has forced the national industry to search for development in order to survive, and nowadays several Brazilian companies participate in the international market through regular exports. The majority of these companies are located in the state of São Paulo, and even facing eventual economic crisis, companies of this sector have increased their international participation, with signs of a good acceptance of Brazilian products abroad. The objective of this Dissertation is to analyze the decision making to implement international marketing strategies in the musical instrument industry of the state of São Paulo during its initial steps of internationalization. A profile of the Brazilian musical instrument sector was drawn from a research about competitiveness that consolidates the relevance of the study object, and afterwards, a profiles of the studied companies is presented, with the following analysis of data obtained through interviews and documental research, together with the work s generated conclusions. The study shows that generally the companies analyzed developed differentiated products, and presented communication and product lines extension strategies, with differences only in the promotion media choice / A indústria brasileira de instrumentos musicais desenvolveu-se consideravelmente nos últimos anos. A abertura das barreiras comerciais no início da década de 90 forçou a indústria nacional a buscar o desenvolvimento em busca da sobrevivência, e atualmente diversas empresas brasileiras participam do mercado internacional através de exportações regulares. A maior parte destas empresas encontra-se no estado de São Paulo, e mesmo com as eventuais crises econômicas, as empresas do setor têm aumentado sua atuação internacional, e há indícios de uma boa aceitação dos produtos brasileiros no exterior. Esta Dissertação tem por objetivo analisar a tomada de decisão para a implementação das estratégias de marketing internacional da indústria de instrumentos musicais no Estado de São Paulo durante os estágios iniciais de internacionalização destas empresas. Traçou-se um perfil do setor de instrumentos musicais brasileiro, obtido através de um estudo de competitividade que consolida a relevância do objeto de estudo. Em seguida, foram apresentados os perfis das empresas estudadas e a conseqüente análise dos dados obtidos junto a elas através de entrevistas e pesquisa documental, com as decorrentes reflexões geradas pelo estudo. O estudo conclui que as empresas estudadas em geral desenvolveram produtos diferenciados, e apresentam estratégias de extensão de linhas de produtos e de comunicação, com diferenças apenas na escolha dos meios de promoção

This thesis concerns with the recognition of music instruments from isolated notes. Music instrument recognition is a relatively nascent problem fast gaining importance not only because of the academic value the problem provides, but also for the potential it has in being able to realize applications like music content analysis, music transcription etc. Line spectral frequencies are proposed as features for music instrument recognition and shown to perform better than Mel filtered cepstral coefficients and linear prediction cepstral coefficients. Assuming a linear model of sound production, features based on the prediction residual, which represents the excitation signal, is proposed. Four improvements are proposed for classification using Gaussian mixture model (GMM) based classifiers. One of them involves characterizing the regions of overlap between classes in the feature space to improve classification. Applications to music instrument recognition and speaker recognition are shown. An experiment is proposed for discovering the hierarchy in music instrument in a data-driven manner. The hierarchy thus discovered closely corresponds to the hierarchy defined by musicians and experts and therefore shows that the feature space has successfully captured the required features for music instrument characterization.