Physical modeling synthesis has proven to be a successful method of synthesizing realistic sounds, but providing expressive controls for performance remains a major challenge. This thesis presents a new approach to playing physical models, based on multidimensional signals. Its focus is on the long-term research question, “How can we make a computermediated instrument with control intimacy equal to the most expressive acoustic instruments?” In the material world, the control and sounding properties of an instrument or other object are intimately linked by the object’s construction. Multidimensional signals, used as connections between a gestural controller and a physical model, can in principle provide the same intimacy. This work presents a new, low-cost sensor design capable of generating a 2D force signal, a new implementation of the 2D digital waveguide mesh, and two experimental computer music instruments that combine these components using di erent metaphors. The new instruments are evaluated in terms of intimacy, playability and plausibility. Multidimensional connections between sensors and a physical model are found to facilitate a high degree of control intimacy, and to reproduce as emergent behavior some important phenomena associated with acoustic instruments.

Made available in DSpace on 2016-12-08T17:06:46Z (GMT). No. of bitstreams: 1 122562.pdf: 4648704 bytes, checksum: b8d15231e9613b7a23f61a2cc5bd8227 (MD5) Previous issue date: 2015-03-31 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / This dissertation represents the result of a research of manuscripts held at the Mário de Andrade s Archive, IEB-USP, São Paulo, and with the published works of this author, aiming to detect the repertoire of the Brazilian fiddles in his work. Part of the pieces was played in Brazilian fiddles, for analysis through the approach of ‗learning to perform , as presented by John Baily. The dissertation presents the content in three chapters: the first discusses the ethnomusicological research with musical instruments; the second is about the Brazilian fiddles; the last one brings the repertoire of these instruments found inside the Mário de Andrade s work and a proposal of how to approach it in a practical way. / O presente trabalho é resultado de uma pesquisa de manuscritos realizada no Arquivo Mário de Andrade (IEB-USP) e em trabalhos publicados do autor, para detectar o repertório de rabecas em sua obra. Parte das músicas foi tocada na rabeca, para análise de acordo com a abordagem de ―aprender a performar‖ (―learn to perform‖), como discutida pelo etnomusicólogo John Baily. A dissertação apresenta três capítulos: o primeiro discute a pesquisa em etnomusicologia sobre instrumentos musicais; o segundo aborda as rabecas brasileiras; o último traz o levantamento do repertório de rabecas e uma proposta de como se abordar esse repertório de maneira prática.

The dissertation concerns the use of modern music during liturgy. The first chapter is devoted to a music mentioned in the Bible. Church documents about the music in liturgy are investigated in the second and third chapter. Fourth chapter describes musical instruments and their use. Fifth chapter brings knowledge about modern scared music in Czech countries from beginning till today. Sixth chapter describes particular genres of modern sacred music. The specification of genres begins with spirituals and gospel music. These songs are traditional sacred music from Africa and America. The chapter continues with church jazz and rock. These genres originate from traditional sacred music. The next is church folk and songs from Taizé. Sixth chapter ends with music with electronic instruments. Seventh chapter describes hymn-books from totalitarianism till the present. The dissertation closes with eighth chapter with the tittle Prognosis in the future which is about modern sacred music in future.

Submitted by Liliane Ferreira (ljuvencia30@gmail.com) on 2018-09-06T11:28:21Z No. of bitstreams: 2 Dissertação - André Luiz Oliveira - 2018.pdf: 2339025 bytes, checksum: 58545d7c99af0fffe3fba4761d169ff1 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Approved for entry into archive by Luciana Ferreira (lucgeral@gmail.com) on 2018-09-10T10:41:57Z (GMT) No. of bitstreams: 2 Dissertação - André Luiz Oliveira - 2018.pdf: 2339025 bytes, checksum: 58545d7c99af0fffe3fba4761d169ff1 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Made available in DSpace on 2018-09-10T10:41:57Z (GMT). No. of bitstreams: 2 Dissertação - André Luiz Oliveira - 2018.pdf: 2339025 bytes, checksum: 58545d7c99af0fffe3fba4761d169ff1 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Previous issue date: 2018-08-17 / The objective of this work was to evaluate if a didactic sequence for the teaching of wave phenomena, using musical instruments, stimulates the autonomy, the critical thinking, the creativity, the capacity of abstraction and the epistemological curiosity of the students. The Three Pedagogical Moments (Três Momentos Pedagógicos) of Delizoicov and Angotti were used as teaching technique. This qualitative research was carried out with students of the second year of high school, in a public school of the city of Goiânia. For the data collection, the classes were recorded in audio and vídeo and transcribed and analyzed. In the development of the Three Pedagogical Moments, students were able to demonstrate if they achieved the qualifications of the objective. During the problematization (first moment) and the organization of the knowledge (second moment), the students were able to identify phenomena of their daily life that involved the wave phenomena, exposing their doubts the personal observations. Six classes were used to carry out the research, and the students' speeches and discussions were analyzed. In these analyzes, according to the view of Paulo Freire, it was observed several moments in which the students demonstrated critical thinking, abstraction capacity and epistemological curiosity, indicating that the dynamics was able to promote an education in the critical perspective, thus avoiding a scientific literacy of the banking type. / O objetivo deste trabalho foi avaliar se uma sequência didática para o ensino de ondulatória, utilizando instrumentos musicais, estimula a autonomia, o pensamento crítico, a criatividade, a capacidade de abstração e a curiosidade epistemológica dos estudantes. Como técnica de ensino foram utilizados os Três Momentos Pedagógicos de Delizoicov e Angotti. A pesquisa, de cunho qualitativo, foi realizada com estudantes do segundo ano do ensino médio em uma escola pública da rede estadual de ensino da cidade de Goiânia. Para a coleta de dados, as aulas foram gravadas em áudio e vídeo, posteriormente transcritas e analisadas. No desenvolvimento dos Três Momentos Pedagógicos, os estudantes puderam demonstrar se atingiram as qualificações do objetivo. Durante a problematização (primeiro momento) e na organização do conhecimento (segundo momento) os alunos conseguiram identificar fenômenos de seu cotidiano que envolviam a ondulatória, expondo suas dúvidas o observações pessoais sobre o assunto. Foram utilizadas seis aulas para a realização da pesquisa, nas quais, as falas e discussões dos alunos foram analisadas. Nestas análises, segundo o olhar de Paulo Freire, pôde-se observar que vários foram os momentos em que os alunos demonstraram pensamento crítico, capacidade de abstração e curiosidade epistemológica, indicando que a dinâmica foi capaz de promover uma educação na perspectiva crítica, evitando, assim, uma alfabetização científica do tipo bancária.

Orientador: Fernando Augusto de Almeida Hashimoto / Anexo I. Áudios originais dos trechos transcritos: CD 1 e CD 2 - Anexo II. Áudios originais na íntegra: CD1 e CD 2 - Bill Stewart, CD 3 - Max Roach, CD 4 - Elvin Jones, CD 5 - Tony Williams, CD 6 Roy Haynes - Anexo III. Material complementoar em vídeo - reprodução das frases vocabulário musical de Bill Stewart pelo autor: DVD 1, DVD 2 e DVD 3 - Anexo IV. Gravação do Recital de Mestrado: DVD 4 / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-23T09:52:05Z (GMT). No. of bitstreams: 1 Goncalves_RaphaelMarcondesdaSilva_M.pdf: 4737749 bytes, checksum: 60f9779e58eb20d9f3e6eab401b1dd9a (MD5) Previous issue date: 2013 / Resumo: A presente dissertação tem como objetivo investigar a performance musical do baterista norte-americano Bill Stewart, detentor de uma maneira de tocar única e um dos músicos predominantes do jazz atualmente. Dando continuidade à pesquisa "A linguagem singular de Bill Stewart na bateria", que determinou alguns dos elementos definidores de sua performance no instrumento, o intuito desta dissertação é identificar se esses traços característicos possuem semelhança com a abordagem de outros bateristas, presentes nas décadas de 1950 e 1960, como Max Roach, Elvin Jones, Tony Williams e Roy Haynes. A metodologia deste trabalho consiste na delimitação do repertório, na transcrição de músicas selecionadas, e o posterior estudo comparativo. As entrevistas com Stewart serviram para cruzar informações e confirmar algumas das conclusões dessa análise. A pesquisa nos permitiu organizar um material comparativo, o qual coloca em discussão se as semelhanças encontradas entre a abordagem de Stewart e a dos bateristas de décadas anteriores a ele caracterizam-se como suas possíveis influências musicais no instrumento / Abstract: This dissertation has as goal to investigate the musical performance of the American drummer Bill Stewart, detainer of a peculiar way of playing and one of the predominant jazz musicians nowadays. Continuing the research "The peculiar language of Bill Stewart on drumset", which determinate some defining elements of his performance on the instrument, this dissertation aims to identify whether those characteristic traits are similar to the approach of other drummers, which acted in the decades of 1950 and 1960, such as Max Roach, Elvin Jones, Tony Williams and Roy Haynes. The methodology utilized in this research consists of definition of the repertory, transcription of selected works, and a further comparative study. The interviews with Stewart served to cross check the information and to confirm some of the outputs of this analysis. This study allowed us to organize a comparative material that discuss if the similarities founded between the Stewart's approach and the musical language of the drummers of the preceding decades to him could be considered as his musical influences on drumset / Mestrado / Praticas Interpretativas / Mestre em Música

Thesis is dedicated to traditional folklore music of Portugal and introduces different kinds of traditional music. Chosen are those kinds that are even nowadays very popular and that are to be found around the country. The main focus of thesis is on music and tradition of folklore groups called Rancho Folclórico. History of Portuguese traditional music in general as well as the origins of rancho are introduced. Those are connected to the context of general Portuguese history. Furthermore, traditional musical instruments typical for rancho groups are described as well as the musical repertoire and traditional dances. The character of rancho groups, their members, rehearsals, costumes and festivals the groups preform in are closely examined. Final chapter introduces concrete activities and ideas for utilization of Portuguese traditional music in pedagogical practice. Thesis is also based on information obtained from interviews with current members of variant rancho groups. Hereafter, appendix is attached to thesis consisting mainly of photographs and video recordings taken personally by the author in Lisbon.

In the Old Testament there are many references to musical instruments and each one performs its own specific function. Especially in the Psalms we come across quite a few musical instruments. What is very obvious is the vast amount of references to musical instruments in Psalm 150. In the entire Psalms the most references are made to musical instruments in Psalm 150. The question of this study is: What role did the musical instruments play in the composition of the Psalms? The many references to musical instruments in the Psalms are compared to the other references made to them in the rest of the Old Testament. The psalms in which the musical instruments are mentioned, are discussed and sheds light on how the musical instruments are dispersed in the Psalms’ composition. Recent studies on the composition of the Psalms are also discussed. Every musical instrument that occurs in the Psalms is discussed and with the help of iconographic illustrations it is shown how the musical instruments might have looked. A literary analysis of Psalm 150 helps to argue that this psalm is the final doxology and grand finalé of the Psalms. The studies about the musical instruments’ role in the Psalms shows that the musical instruments build up to a crescendo in the Psalms. The Psalms end with a tremendous grand finalé in Psalm 150. The Psalms is regarded in this study as a great musical composition (a symphony) and the entire symphony orchestra is spread throughout the whole of Psalms. At the end of Psalms the whole symphony orchestra plays together and every one and everything that is created by God is called upon to praise and worship the Lord. / Dissertation (MA (Ancient Languages))--University of Pretoria, 2005. / Ancient Languages / unrestricted

Sound Source Separation refers to separating sound signals according to their sources from a given observed sound. It is efficient to code and very easy to analyze and manipulate sounds from individual sources separately than in a mixture. This thesis deals with the problem of source separation in monaural recordings of harmonic musical instruments. A good amount of literature is surveyed and presented since sound source separation has been tried by many researchers over many decades through various approaches. A prediction driven approach is first presented which is inspired by old-plus-new heuristic used by humans for Auditory Scene Analysis. In this approach, the signals from different sources are predicted using a general model and then these predictions are reconciled with observed sound to get the separated signal. This approach failed for real world sound recordings in which the spectrum of the source signals change very dynamically. Considering the dynamic nature of the spectrums, an approach which uses covariance matrix of amplitudes of harmonics is proposed. The overlapping and non-overlapping harmonics of the notes are first identified with the knowledge of pitch of the notes. The notes are matched on the basis of their covariance profiles. The second order properties of overlapping harmonics of a note are estimated with the use of co-variance matrix of a matching note. The full harmonic is then reconstructed using these second order characteristics. The technique has performed well over sound samples taken from RWC musical Instrument database.

L'objectif est de mieux connaître les diverses propriétés (physico-mécaniques, biologiques et chimiques) du bois de Mûrier blanc (Morus alba L.), en tant que matériau éminemment utilisé dans la fabrication de luths Iraniens. La différence de caractéristiques vibratoires de cette espèce a été mesurée en fonction de la présence d'extractibles, mais aussi pour trois traitements artisanaux qui ont été adaptés à l'échelle du laboratoire.Le bois Mûrier blanc est caractérisé par un module spécifique modéré, un amortissement plus bas que prévu et une anisotropie faible entre ses trois axes. Il est précisé que cette espèce ne peut pas être classifiée avec les mêmes normes que les autres bois utilisés pour les instruments classiques Européens. En utilisant les deux extractions indépendantes et successives, il est révélé que l'amortissement est régi par deux types d'extraits, certains l'abaissent et certains l'augmentent. Ces composés ne sont pas tous extractibles par les mêmes solvants. L'immersion de longue durée dans une eau à température ambiante ne modifie pas les propriétés mécaniques de l'espèce, toutefois, elle peut laisser le bois avec des défauts irréversibles. Un court traitement à l'eau chaude (70°C) entraîne l'augmentation de l'amortissement et la diminution du module spécifique. Dans ce dernier cas, des modifications sont presque progressives avec le temps.Le bois de Mûrier blanc semble être « très durable » par rapport à une attaque fongique, même dans des conditions extrêmes. Le délavage dans l'eau n'a pas d'effets sur la résistance de cette espèce contre basidiomycètes. Ce bois est classé « moyennement durable » contre l'attaque des termites et devient sensible après le délavage. Ses extractibles ont donc des effets toxique sur les termites. Les phénols, acides gras, stérols, hydrocarbures supérieurs, et composés aromatiques sont les composés présents dans les extraits de cette espèce. Le résorcinol, composé prédominant trouvé dans l'espèce, a été récemment rapporté comme la cause de plusieurs problèmes de santé, ce qui est aujourd'hui observé chez les artisans Iraniens. / This work aims at studying the several divers properties (Physico-mechanical, biological and chemical) of white Mulberry (Morus alba L.), as the leading material used in fabrication of Iranian lutes. The vibrational characteristic of this species is measured in relation with secondary metabolites (extractives) as well as three artisanal hygro-thermal treatments adapted to laboratory scale.White Mulberry wood is characterized with a moderate specific modulus, less than expected damping and a low anisotropy between three directions. It is specified that this species cannot be described with the same standards as other woods used in European classical instruments. Using independent and successive extractions reveal that two types of extraneous compounds govern the damping in this wood, some raising it, when the rest have a decreasing effect. These compounds are not all extractable by the same solvents.Long time immersion in water at ambient temperature hardly changes mechanical properties of the species, however, it can leave wood with irreversible defects. Hot water treatment at 70°C results for damping and moduli to be increased and decreased respectively. These changes are time related. Several mild desorption and adsorption cycles, seem to reduce damping without greatly endangering the moduli. White Mulberry wood is found to be very durable towards fungi, even in extreme conditions. Water leaching seems to be affectless on this species resistance towards basidiomycetes. This wood is rated moderately durable towards termites and becomes sensible after water leaching. Extractives seem to play important role in this wood natural resistance, as they are found to have toxic effect on termites. Resorcinol, a phenol, is the leading compound in the extractives of white Mulberry. Fatty acids, sterols, higher hydrocarbons, and aromatic compounds are also found as the constituents of secondary metabolites. Resorcinol is documented to cause irritations close to what is normally experienced by the fabricants working with white Mulberry for a long time.

Cette thèse se propose d’appliquer un contrôle actif modal aux instruments de musique de la famille des cordes. Les objectifs principaux sont de proposer une démarche et des méthodes adaptées permettant l’application de ce type de contrôle, d’explorer les possibilités qu’il offre et d’en étudier les effets sur les instruments. Tout d’abord, les types de contrôle existants et leurs applications aux instruments de musique sont rapidement présentés. Le constat que les paramètres modaux des instruments sont de bons descripteurs de ses attributs perceptifs mène à choisir la méthode de contrôle actif modal dont le formalisme est présenté. Afin de répondre à des problématiques propres aux instruments de musique, comme par exemple modifier l’amplitude de vibration des modes de la structure, des méthodes dérivées d’un contrôle d’état modal sont proposées. Une méthode d’adimensionnement en temps du modèle utilisé dans le système de contrôle ainsi qu’une méthode de contrôle des états dérivé et proportionnel sont présentées. Le contrôle est ensuite appliqué expérimentalement sur un monocorde, une guitare et un violoncelle. Pour cela, un système de contrôle temps réel fonctionnant grâce à un environnement libre est développé. Les possibilités offertes par ce type de contrôle ainsi que ses limites sont explorées grâce à ces montages expérimentaux. Enfin, un cas particulier de phénomène régissant le fonctionnement des instruments de musique à cordes est étudié à l’aide du dispositif de contrôle proposé. Le couplage corde/table d’harmonie est observé, étudié analytiquement puis contrôlé. Afin de confronter le contrôle actif à d’autres méthodes d’investigation, les résultats du contrôle sont comparés à ceux obtenus à l’aide d’une méthode de synthèse sonore. / This PhD thesis deals with modal active control applied to string musical instruments. Its main goals are to propose an approach and adapted methods to apply this kind of control, to investigate its possibilities and to study its effects on musical instruments. First, a short presentation of the different methods of active control and their applications to musical intruments is done. While the modal parameters of musical instruments are believed to be good descriptors of their perceptual attributs, the modal active control method is chosen for this work. Adapted methods from modal state control are used to answer to specific issues related to musical instruments. To modify the amplitude of the vibration modes, a time-dimensionless model and a derivative and proportionnal modal state method are proposed. Then, these control methods are experimentally applied to a single string instrument, a guitar and a cello. A real time control system based on a free and opensource framework is developped. The possibilities and the limits of modal state control are studied using this experimental setup. Finally, a case of a complex phenomenon contributing to the sound production in string instruments is studied thanks to the developped control system. The coupling between the string and the soundboard is observed, analytically studied and controlled. The results obtained with control and with a synthesis method are studied to compare this two investigation methods.