O presente estudo procura reconstituir o sistema de categorias da melodia tonal a partir da investigação de algumas propriedades comuns ao aparelho fonador humano e aos instrumentos musicais reais e virtuais. Analisando essas propriedades à luz da teoria Glossemática (Hjelmslev, 1975) e da fonologia prosódica (Nespor & Vogel, 1986), a investigação chegou aos seguintes resultados: (I) dado que o sistema musical e o sistema fonológico possuem categorias comuns, pode-se sustentar a existência de um parentesco genético entre expressão verbal e expressão musical; (II) os sistemas apresentam orientações opostas: no sistema fonológico das línguas naturais, a categoria dos segmentos (ou constituintes) é relativamente expandida, enquanto a categoria dos suprasegmentos (ou caracterizantes) é concentrada. Inversamente, no sistema da melodia tonal é a categoria dos suprasegmentos que é relativamente expandida, enquanto a categoria dos segmentos é concentrada, (III) o efeito de sentido característico da melodia tonal é fruto de uma configuração sintagmática de suprasegmentos(cronemas, tonemas e dinamenas) hierarquicamente organizados; (IV) outras categorias do sistema melódico (andamento, dinâmica e timbre) ocupam um papel à parte ne hieraquia melódica e são as principais responsáveis pelas marcas deixadas no enunciado pela instância intérprete do sujeito da enunciação. / This work aims to discuss the tonal melodic system of categories by investigating some of the properties that are common to both the human vocal tract and to musical instruments - real or virtual. The analysis of these properties from the standpoint of the Glossematics theory (Hjelmslev, 1975) and of the prosodic phonology (Nespor & Vogel, 1986) led us to the following results: (I) because the music system and the phonological system comprise common categories it is possible to establish a genetic kinship between verbal and musical expression; (II) both systems present opposite properties: in the phonological system of natural languages the segmental categories (or constitutives) are relatively expanded whereas the suprasegmental categories (or characterizers) are concentrated. Conversely, in the tonal melodic system the suprasegmental categories are the ones that are relatively expanded whereas the segmental categories are concentrated; (III) the characteristic meaning effect of tonal melodies comes as a result of a hierarchly structured syntagmatic configuration of suprasegments (chronemes, tonemes, dynamenes); (IV) other categories of the melodic system (tempo, dynamics, timbre) play a distinct role in the melodic hierarchy and are the main responsible for the marks left on the text by the performer instance of the enunciation subject.

Este trabalho versa sobre desenvolver a habilidade de “reconhecer características ou propriedades de fenômenos ondulatórios ou oscilatórios, relacionando-os a seus usos em diferentes contextos” (BRASIL, 2009, p.8) de uma forma menos tradicional. O objetivo foi abordar o conteúdo de acústica utilizando instrumentos musicais (violão, guitarra, flauta, xilofone, lira...). A partir de ondas estacionárias em tubos sonoros e cordas vibrantes, foram elucidados os conceitos de altura, intensidade e timbre, relacionando com os conceitos básicos de ondas – frequência, comprimento de onda, amplitude, velocidade de propagação das ondas em cordas de diferentes densidades lineares, entre outros. Também foram trabalhadas notas musicais e conceitos bem básicos de formação de acordes. A proposta foi aplicada com os dois nonos anos de um colégio particular bastante tradicional de Novo Hamburgo: o Colégio Marista Pio XII. Nesta fase final do Ensino Fundamental, o colégio disponibiliza aos seus alunos cinco períodos de Ciências da Natureza, distribuídos em: um de Biologia, dois de Física e dois de Química. A ideia é que fossem trabalhadas Competências e Habilidades comuns aos componentes curriculares, por meio de sequências didáticas. O trabalho foi aplicado em um total de seis encontros, cada um com duração de 50 min. Alguns desses períodos foram dedicados a aulas puramente expositivas, outros deles com aulas expositivas dialogadas, com a utilização de uma espiral de caderno, uma guitarra, um cavaquinho, instrumentos de sopro e do computador, onde interpretamos as frequências fundamentais emitidas pela vibração das cordas e do ar em tubos sonoros com o software Spectrogram1. Como referencial teórico, utilizamos a teoria sócio-interacionista de Vygotsky e alguns conceitos de alfabetização científica. A discussão e o manuseio de instrumentos musicais em pequenos grupos fizeram com que os alunos interagissem entre si e com o professor, favorecendo a construção do conhecimento e a interação de signos. A partir dessas interações aluno - instrumentos musicais, professor - aluno e aluno – aluno, o objetivo era abrir espaço para questionamentos, discussões e reflexões, de maneira que o conhecimento fosse sintetizado por todos. Como referência para o planejamento de ensino, construção do significado das aulas e análise das interações, utilizamos uma ferramenta analítica de Mortimer e Scott (2002). / This work is about developing the ability to "recognize characteristics or properties of wave or oscillatory phenomena, relating them to their uses in different contexts "(BRASIL, 2009, p.8), in a less traditional way. The objective was to approach the content of acoustics using musical instruments (guitar, electric guitar, flute, xylophone, lyre ...). From stationary waves in sound tubes and vibrating strings, concepts of height, intensity and timbre, were elucidated, relating them to the basic concepts of waves - frequency, wavelength, amplitude, velocity of wave propagation in strings of different linear densities, among others. Musical notes and basic concepts of chord formation were also seen. The proposal was applied with two groups of nineth graders from a very traditional private school in Novo Hamburgo: Marista Pio XII school. In this final phase of elementary school, the school offers its students five classes of Science a week, distributed in one of Biology, two of Physics and two of Chemestry. The idea was work with common skills to these curricular components, through didactic sequences. The work was applied out in a total of six classes, each lasting 50 min. Some of these were devoted to purely expository presentation, others with dialogic lectures, with the use of the spiral of a notebook, a guitar, another small kind of guitar, wind instruments and a computer where we interpret the fundamental frequencies emitted by the vibration of the strings and air in sound tubes with the Spectrogram software2. As a theoretical reference, we use Vygotsky's socio-interactionist theory and some concepts of scientific literacy. The discussion and manipulation of musical instruments in small groups led the students to interact with each other and with the teacher, favoring the construction of knowledge and interaction. From these student - musical instruments, teacher - student and student – student interactions, the objective is to open space for questions, discussions and reflections, so that knowledge was synthesized by all. As a reference for teaching planning, construction of meaning and interaction analysis, l we used an analytical tool by Mortimer and Scott (2002).

O presente estudo procura reconstituir o sistema de categorias da melodia tonal a partir da investigação de algumas propriedades comuns ao aparelho fonador humano e aos instrumentos musicais reais e virtuais. Analisando essas propriedades à luz da teoria Glossemática (Hjelmslev, 1975) e da fonologia prosódica (Nespor & Vogel, 1986), a investigação chegou aos seguintes resultados: (I) dado que o sistema musical e o sistema fonológico possuem categorias comuns, pode-se sustentar a existência de um parentesco genético entre expressão verbal e expressão musical; (II) os sistemas apresentam orientações opostas: no sistema fonológico das línguas naturais, a categoria dos segmentos (ou constituintes) é relativamente expandida, enquanto a categoria dos suprasegmentos (ou caracterizantes) é concentrada. Inversamente, no sistema da melodia tonal é a categoria dos suprasegmentos que é relativamente expandida, enquanto a categoria dos segmentos é concentrada, (III) o efeito de sentido característico da melodia tonal é fruto de uma configuração sintagmática de suprasegmentos(cronemas, tonemas e dinamenas) hierarquicamente organizados; (IV) outras categorias do sistema melódico (andamento, dinâmica e timbre) ocupam um papel à parte ne hieraquia melódica e são as principais responsáveis pelas marcas deixadas no enunciado pela instância intérprete do sujeito da enunciação. / This work aims to discuss the tonal melodic system of categories by investigating some of the properties that are common to both the human vocal tract and to musical instruments - real or virtual. The analysis of these properties from the standpoint of the Glossematics theory (Hjelmslev, 1975) and of the prosodic phonology (Nespor & Vogel, 1986) led us to the following results: (I) because the music system and the phonological system comprise common categories it is possible to establish a genetic kinship between verbal and musical expression; (II) both systems present opposite properties: in the phonological system of natural languages the segmental categories (or constitutives) are relatively expanded whereas the suprasegmental categories (or characterizers) are concentrated. Conversely, in the tonal melodic system the suprasegmental categories are the ones that are relatively expanded whereas the segmental categories are concentrated; (III) the characteristic meaning effect of tonal melodies comes as a result of a hierarchly structured syntagmatic configuration of suprasegments (chronemes, tonemes, dynamenes); (IV) other categories of the melodic system (tempo, dynamics, timbre) play a distinct role in the melodic hierarchy and are the main responsible for the marks left on the text by the performer instance of the enunciation subject.

Musical instrument makers in the state of West Virginia in the United States pursue “singing,” lively instruments that capture ideals of musical tone and “re-enchant” their work and lives through relationships with craft materials and the forest landscape. Suitable tonewoods that grow in the region, such as red spruce (Picea rubens), intersect with makers’ desires to craft instruments in the style of famed makers such as the C.F. Martin Company and the Gibson Company as well as provide instruments imbued with a sense of place. While the demand for and symbolic import of instruments made with local wood seems to grow, the availability of the requisite tree species is dominated by resource materialities and temporalities of large land-owners and timber producers that privilege timber harvest in short cycles that clash with the needs of musical instrument crafters. As a result, makers also look to other global forests, such as those of the Carpathian Mountains of Romania, as sources for tonewood capable of becoming a singing instrument. Employing a theoretical framework that emphasizes the relationality of human actors and nonhuman materials, I argue that the work of instrument makers is rendered meaningful in part by a co-constructive process of becoming both instrument and maker. I show how this relationship extends to the forest environment, spiritual and philosophical discourse, and transnational networks that continually re-enchant the work of musical instrument makers in a region questioning the future and sustainability of economic and environmental processes. I join efforts to explore and analyze the political ecology of musical instruments through the affective material relationships and global flows of craft materials placed in an environmental locus of local, regional, and national imaginaries and the futures and failures of capitalist modes of production. By presenting narratives collected through ethnographic apprenticeships, interviews, and archival research, I argue that these makers navigate unique approaches to the forest environment, the global exchange of sonic craft materials, and meaning of their work through the craft of musical instruments.

Abstract not available

Abstract not available

<p>I denna rapport kommer du som läsare kunna ta del av en redogörelse över det arbete som den undertecknade gruppen har utfört i kursen KPP305, Examensarbete produktutveckling, 30hp. Detta arbete har sin grund från en tidigare läst kurs, på Mälardalens Högskola, som gick under namnet Industridesign 2. Under denna kurs utdelades en uppgift som bestod i att ”möjliggöra musicerande för funktionshindrade”, och gruppen tog därmed fram ett visuellt koncept över ett fotanpassat instrument för människor med rörelsehinder i överkroppen. Detta examensarbete kan ses som en fortsättning på den just nämnda uppgiften.</p><p>Under hela projektet har gruppen haft en nära dialog tillsammans med människor som befinner sig inom berörande branscher såsom instrumentbyggare, reumatiker, funktionshindrade med flera. En annan person som även varit till stor hjälp under projektet är gruppens handledare, Jan Frohm, som funnits där med tips och fungerat som ett bollplank vad gäller idéer och tankar gruppen haft angående projektet.</p><p>Målet med examensarbetet var att fortsätta det arbete gruppen åstadkommit i tidigare kurs och på så vis komma fram till en slutgiltig lösning till detta. Anledningen till att gruppen valde att fortsätta arbeta med detta projekt var att de fann det viktigt att alla människor, oavsett funktions‐ eller rörelsehinder skall ha möjligheten att musicera.</p><p>Gruppen har med en omfattande research, kontakter, ett antal avgörande intervjuer och ett flertal olika produktutvecklingsverktyg kommit fram till en lösning som svarar upp till det problem gruppen från början ställt upp. Projektet resulterade i en framtagen prototyp över ett instrument, som gruppen valt att kalla för Funkinstrument (instrument för funktionshindrade), som är ämnat för människor som lider av någon form av rörelsehinder i armar/händer, eller lider av reumatism. Gruppen själva är väldigt nöjda över hur resultatet utmynnade, samt över sin insats i detta examensarbete.</p> / <p>In this report, you as a reader will be able to take note of a statement of the work the group has performed in the course KPP305, <em>Examensarbete i Produktutveckling </em>(Master Thesis Work in Product development), 30hp. This work is based on an assignment from an earlier course, at Mälardalen University, known as <em>Industridesign 2 </em>(Industrial design 2nd). During this course the group was awarded a task which was to "give disabled people the opportunity to make music”, and the group thus developed a visual concept over an instrument which was custom made for people with disabilities in their upper body. This thesis can be seen as a continuation of the justmentioned task.</p><p>The group has through the whole project had close dialogue to people in different industries, such as people from disability associations, instrument makers, rheumatics and disabled people with several. Someone else who also been very helpful during the project is the group's supervisor, Jan Frohm, ho been there with advice and acted as a sounding board to the ideas and thoughts the group had about the project.</p><p> The objective of the project was to continue the work which the group achieved in previous course, and thus arrive at a definitive solution to it. The reason why the group chose to continue working on this project was that they found it important that all people, regardless of functional or physical disabilities must have the ability to make music.</p><p>The group has through an extensive research, contacts, a number of key interviews and a variety of tools for product development been able to come up with a solution that meets up to the problems which was set in the beginning of the project. The project resulted in a prototype of an instrument, which the group decided to call for <em>Funkinstrument</em>, which is intended for people who suffer from some form of disability in the arms and/or hands, or suffer from rheumatism. The group itself is very pleased with the outcome of the project, and of its efforts in this thesis.</p>

The purpose of this study is to present the biographical data and major accomplishments of craftsman François Louis (b. 1954, Belgium) and offer insight into Louis' creative process as evidenced by his technical theories and musical experiences, in hopes of providing exposure to academics, professionals, and laypersons alike. François Louis is a significant figure in the emerging history of woodwind musical instruments. Despite his late entry into a musical career, Louis quickly caught the attention of world-renown saxophonists with his immaculate and individualistic handmade saxophone mouthpieces. After nearly a decade of mouthpiece production, instrument repair, and saxophone performance, Louis developed a unique ligature and reed to compliment his mouthpieces' features. Louis' invention of the Aulochrome, a polyphonic chromatic double-bodied woodwind instrument, is an instrument of the new millennium. More recently, Louis further improved his ligature and designed a composite material for his hand-finished production mouthpiece, the Spectruoso. Extensive oral history was gathered in interviews with Louis and saxophonists Lovano, Ries, Cisi, and Théberge. Interview details are organized to highlight Louis' biography, inventions, and influence on other artists. Further, the unique capabilities of the Aulochrome are presented through an exploration of Lovano's approach for learning the Aulochrome, as well as a fingering diagram developed by the author.

The objective of this work is to develop mathematical simulation models for predicting the transient behaviour of strings and beams subjected to impacts. The developed models are applied to study the dynamics of the piano and the sitar. For simulating rigid point impacts on continuous systems, a new method is proposed based on the unit impulse response. The developed method allows one to relate modal velocities before and after impact, without requiring the integration of the system equations of motion during impact. The proposed method has been used to model the impact of a pinned-pinned beam with a rigid obstacle. Numerical simulations are presented to illustrate the inability of the collocation-based coefficient of restitution method to predict an accurate and energy-consistent response. The results using the unit-impulse-based coefficient of restitution method are also compared to those obtained with a penalty approach,with good agreement. A new moving boundary formulation is presented to simulate wrapping contacts in continuous systems impacting rigid distributed obstacles. The free vibration response of an ideal string impacting a distributed parabolic obstacle located at its boundary is analyzed to understand and simulate a sitar string. The portion of the string in contact with the obstacle is governed by a different partial differential equation (PDE) from the free portion represented by the classical string equation. These two PDEs and corresponding boundary conditions, along with the transversality condition that governs the dynamics of the moving boundary, are obtained using Hamilton's principle. A Galerkin approximation is used to convert them into a system of nonlinear ordinary differential equations, with time-dependent mode-shapes as basis functions. The advantages and disadvantages of the proposed method are discussed in comparison to the penalty approach for simulating wrapping contacts. Finally, the model is used to investigate the mechanism behind the generation of the buzzing tone in a sitar. An alternate formulation using the penalty approach is also proposed, and the results are contrasted with those obtained using the moving boundary approach. A model for studying the interaction between a flexible beam and a string at a point including friction has also been developed. This model is used to study the interaction between a piano hammer and the string. A realistic model of the piano hammer-string interaction must treat both the action mechanism and the string. An elastic stiff string model is integrated with a dynamic model of a compliant piano action mechanism with a flexible hammer shank. Simulations have been used to compare the mechanism response for impact on an elastic string and a rigid stop. Hammer head scuffing along the string, as well as length of time in contact, were found to increase where an elastic string was used, while hammer shank vibration amplitude and peak contact force decreased. Introducing hammer-string friction decreases the duration of contact and reduces the extent of scuffing. Finally, significant differences in hammer and string motion were predicted for a highly flexible hammer shank. Initial contact time and location, length of contact period, peak contact force, hammer vibration amplitude, scuffing extent, and string spectral content were all influenced.

I denna rapport kommer du som läsare kunna ta del av en redogörelse över det arbete som den undertecknade gruppen har utfört i kursen KPP305, Examensarbete produktutveckling, 30hp. Detta arbete har sin grund från en tidigare läst kurs, på Mälardalens Högskola, som gick under namnet Industridesign 2. Under denna kurs utdelades en uppgift som bestod i att ”möjliggöra musicerande för funktionshindrade”, och gruppen tog därmed fram ett visuellt koncept över ett fotanpassat instrument för människor med rörelsehinder i överkroppen. Detta examensarbete kan ses som en fortsättning på den just nämnda uppgiften. Under hela projektet har gruppen haft en nära dialog tillsammans med människor som befinner sig inom berörande branscher såsom instrumentbyggare, reumatiker, funktionshindrade med flera. En annan person som även varit till stor hjälp under projektet är gruppens handledare, Jan Frohm, som funnits där med tips och fungerat som ett bollplank vad gäller idéer och tankar gruppen haft angående projektet. Målet med examensarbetet var att fortsätta det arbete gruppen åstadkommit i tidigare kurs och på så vis komma fram till en slutgiltig lösning till detta. Anledningen till att gruppen valde att fortsätta arbeta med detta projekt var att de fann det viktigt att alla människor, oavsett funktions‐ eller rörelsehinder skall ha möjligheten att musicera. Gruppen har med en omfattande research, kontakter, ett antal avgörande intervjuer och ett flertal olika produktutvecklingsverktyg kommit fram till en lösning som svarar upp till det problem gruppen från början ställt upp. Projektet resulterade i en framtagen prototyp över ett instrument, som gruppen valt att kalla för Funkinstrument (instrument för funktionshindrade), som är ämnat för människor som lider av någon form av rörelsehinder i armar/händer, eller lider av reumatism. Gruppen själva är väldigt nöjda över hur resultatet utmynnade, samt över sin insats i detta examensarbete. / In this report, you as a reader will be able to take note of a statement of the work the group has performed in the course KPP305, Examensarbete i Produktutveckling (Master Thesis Work in Product development), 30hp. This work is based on an assignment from an earlier course, at Mälardalen University, known as Industridesign 2 (Industrial design 2nd). During this course the group was awarded a task which was to "give disabled people the opportunity to make music”, and the group thus developed a visual concept over an instrument which was custom made for people with disabilities in their upper body. This thesis can be seen as a continuation of the justmentioned task. The group has through the whole project had close dialogue to people in different industries, such as people from disability associations, instrument makers, rheumatics and disabled people with several. Someone else who also been very helpful during the project is the group's supervisor, Jan Frohm, ho been there with advice and acted as a sounding board to the ideas and thoughts the group had about the project.  The objective of the project was to continue the work which the group achieved in previous course, and thus arrive at a definitive solution to it. The reason why the group chose to continue working on this project was that they found it important that all people, regardless of functional or physical disabilities must have the ability to make music. The group has through an extensive research, contacts, a number of key interviews and a variety of tools for product development been able to come up with a solution that meets up to the problems which was set in the beginning of the project. The project resulted in a prototype of an instrument, which the group decided to call for Funkinstrument, which is intended for people who suffer from some form of disability in the arms and/or hands, or suffer from rheumatism. The group itself is very pleased with the outcome of the project, and of its efforts in this thesis.