En metod för att simulera exteriört bussljud med hjälp utav Ray Tracing har testats och utvärderats. En modell av en buss har byggts upp i ett CAD program. Dominerande ljudkällor i bussen samt materialkoefficienter har tagits fram för de material som ingår i bussen. Bussen har sedan förts in i simuleringsprogrammet Odeon, där ett antal simuleringar har utförts. Olika pass-by simulering har utförts och jämförts med mätningar. Olika grader inkapsling av motorrummet har simulerats. Ett grid response har tagits fram för att se vart det lönar sig att placera absorbenter. Ett beräkningsfel har hittats i den använda programvaran Odeon 10.13 vilket ledde till att en jämförelse mellan Odeon 10.13 och demoversionen av Odeon 12. Resultatet visar att simuleringsmetoden i dagsläget fungerar bäst då ingen ljudtransmission tas hänsyn till, detta kräver dock att det finns öppningar i bussen eftersom detta annars leder till ett antal problem ifall bussen simuleras med alltför hög grad av inkapsling. Inga strålar skulle i detta fall kunna nå någon mottagare. Anledningen till att transmissionen inte kan tas i hänsyn beror på de fel som hittats i Odeon 10.13. Programmet räknar fel och överskattar transmissionen samt transmitterar strålar även i de fall där en yta är definierad att inte transmittera några strålar alls, något som Odeon 12 räknar rätt på. Metoden kan tills detta är löst med fördel användas för att se energifördelning mellan frekvensbanden, optimal placering av absorbenter samt i viss mån även den totala ljudnivån för bussen. / A method to simulate exterior bus sound with the help of ray tracing has been tested and evaluated. To do this a model of a bus has been built up using CAD software. Dominant noise sources in the bus and material coefficients for the materials included in the bus have been researched. The bus has been imported into the simulation program Odeon where a number of simulations have been performed. Different pass-by simulations have been performed and compared with physical measurements. Different degrees of encapsulation of the engine compartment have been simulated. A grid response has been formulated to optimize the positioning of the absorbers. A calculation error has been found in release 10.13 of the Odeon Software which led to a comparison between Odeon 10.13 and a demonstration version of Odeon 12. The results show that the simulation method in its current state performs best when no sound transmission is taken into account. This requires that there are openings in the bus as problems will arise if the bus is simulated with too high a level of encapsulation. Theoretically, no rays would in this case be able to reach any receiver outside the engine compartment. The reason that the transmission loss cannot be taken into account depends on the errors found in Odeon 10.13. The software incorrectly overestimates the sound transmission and transmits rays even in cases where an area is defined to not transmit any rays at all, something that Odeon 12 calculates correctly. Until this is resolved, the simulation method can be used to estimate the energy distribution between the octave bands, the optimal placement of absorbers and to some extent the overall sound level of the bus.

Submitted by André Repizo Marques null (andre_repizo@hotmail.com) on 2017-08-15T21:43:11Z No. of bitstreams: 1 Dissertação Interpretações da música de Ernesto Nazareth.pdf: 9010999 bytes, checksum: 20ee7a255dc41896bc0cd69b3d8fa928 (MD5) / Approved for entry into archive by Monique Sasaki (sayumi_sasaki@hotmail.com) on 2017-08-22T18:21:14Z (GMT) No. of bitstreams: 1 marques_ar_me_ia.pdf: 9010999 bytes, checksum: 20ee7a255dc41896bc0cd69b3d8fa928 (MD5) / Made available in DSpace on 2017-08-22T18:21:14Z (GMT). No. of bitstreams: 1 marques_ar_me_ia.pdf: 9010999 bytes, checksum: 20ee7a255dc41896bc0cd69b3d8fa928 (MD5) Previous issue date: 2017-06-26 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / A presente dissertação tem por propósito investigar a diversidade de interpretações da obra de Ernesto Nazareth, cuja performance tem sido realizada tanto por pianistas eruditos como por rodas de choro. Tal diversidade nos leva a algumas questões que permeiam este trabalho: quais são as ferramentas auditivas e interpretativas de que dispomos para fruição e construção de uma performance das músicas de Nazareth? Tais ferramentas existem em função da obra escrita ou do ambiente, da instrumentação ou do meio social em que a música é tocada? Como era atuação de Nazareth como pianista e compositor? Como era a prática musical dos pianistas desse período? O que nós temos que levar em conta a partir da história da música popular urbana do Rio de Janeiro para abordar essa música? Para tanto, o trabalho analisa a interpretação de quatro músicos: Jacob do Bandolim, na gravação da música Confidências; Carolina Cardozo de Menezes com seu arranjo para Odeon; Hércules Gomes com seu arranjo de Odeon; e Sônia Rubinsky, na gravação de Batuque. Ainda nesta investigação, a presente pesquisa estuda o período em que Ernesto Nazareth compôs suas músicas e a relação do compositor com os grupos de choro. / The present dissertation aims to investigate the diversity of Ernesto Nazareth interpretations, whose music has been performed by classical pianists and choro groups. Such diversity leads us to some questions that permeate this work: what are the auditory and interpretative tools available to us to enjoy and build a performance of Nazareth’s music? Do such tools exist in function of the written music or the environment, instrumentation or social surroundings in which the music is played? How was Nazareth acting as a pianist and composer? How was the musical practice of the pianists of this period? What do we have to take into account from the history of popular urban music in Rio de Janeiro to address this song? Therefore, the work analyzes the interpretation of four musicians: Jacob do Bandolim, on the recording of the song Confidências; Carolina Cardozo de Menezes on her arrangement for Odeon; Hercules Gomes on his arrangement for Odeon; and Sônia Rubinsky, on the recording of Batuque. Still in this investigation, the present research studies the period in which Ernesto Nazareth composed his songs and the relation of composer with choro groups.

The Diploma Thesis "Evaluation of tomatoes species with focus on technological features" at its literary part contains description of origin as well as a botanical characteristic of tomato, impact of consumption of tomatoes and products made of them on human health and structure of tomatoes´ substance. It also deals with the technology of growing, reaping and storing the tomatoes, the literature regarding mechanical features of tomatoes and the possibilities of their processing has been perused. Within the experimental part of the thesis there is the evaluation of individual species of tomatoes which are suitable for cannery processing conducted by appraising the cycle of reaping and quality of fruit (overall condition, crackle inclination, weight and dimension parameters, solidity, variegation, content of soluble solid, occurrence of acids, vitamins as well as amount of waste).

El análisis acústico de espacios arquitectónicos ha sido ampliamente estudiado en los últimos años. Este análisis se ha enfocado desde diferentes puntos de vista, siendo la simulación uno de ellos. En salas de grandes dimensiones y en particular en aquellas que poseen un determinado valor patrimonial, es muy interesante conocer, además de las condiciones acústicas de la situación actual, las que resulten de futuras intervenciones que puedan conllevar un cambio de uso de dicho espacio. Para ello, es necesario disponer de un modelo fiable que permita prever la variación de estas condiciones ya que cualquier intervención tendente a mejorar su acústica es siempre costosa, tanto en presupuesto como en la posible alteración de la arquitectura interior. Por todo ello, la posibilidad de simular el efecto que pueda tener cualquier cambio en cuanto a las características geométricas de la sala o de los materiales que la componen cobra una especial relevancia. En general, los programas de simulación acústica (Odeon, Caat, etc.) trabajan sobre un modelo tridimensional de la sala y aplican unos valores de los coeficientes de absorción de los materiales de revestimiento, que se toman de la bibliografía o directamente de ensayos, cuando el caso lo permite. Como resultado de esta simulación, se obtienen los valores de los parámetros de calidad, tanto temporales como energéticos, siendo el más importante el tiempo de reverberación en función de la frecuencia (para cada octava o tercio de octava). Por otra parte, se realiza una medición "in situ" de estos parámetros cuyos valores suelen presentar diferencias respecto a los simulados. En estas condiciones se ajustan los resultados procedentes de la simulación a los medidos, hasta conseguir un determinado grado de coincidencia entre ellos. En la actualidad, este ajuste se realiza mediante un método iterativo, generalmente basado en la experiencia del operador, que introduce variaciones razonables de los valores de los coeficiente / Llinares Millán, J. (2012). Contribución a la simulación virtual de parámetros de calidad acústica en espacios arquitectónicos. Aplicación del método de superficies de respuesta [Tesis doctoral]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/17938

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.

This theoretical diploma thesis deals with room acoustics and the closely related issue of reverberation. Part of the work is a drafting of acoustic modifications of the church based on manual calculation, which was further modified in a specialized software Odeon Room Acoustics Program. For the surrounding buildings of the church was created a study of the noise in a program Hluk+ in order to assess what will be the noise impact of this new building on its surroundings. On the basis of specialization was created several proposals for the design of the church. The approximate proposal of the double-plated dome, a system of drainage of the coupling neck, and the ways the anchor of the hard large-format window glazing. The result of the work is suitable design of acoustic adjustments and improvement of the listening qualities for the future construction of this church.

This thesis aims to identify and explain how, through the consumption of the wireless as a modern consumer durable, modernism was brought to society. To understand this process, the study will map how social change during the period responded to wider intellectual and aesthetic currents and trends but was driven by emergent commercial, cultural and political economies of a newly mediated society. Furthermore, it seeks to establish that this happened not as a result of social engineering through model housing schemes but as a result of consumer-led demand. This investigation considers how, as part of that newly mediated social environment, the wireless developed following its arrival on the domestic market without having adopted a single stylistic form. It addresses how that form, both stylistically and technically, evolved over a relatively short period to address the economic and cultural requirements and expectations of a new electrically powered domestic entertainment technology. In so doing, a discourse will be established considering these expectations and requirements related to how the wireless in Britain adopted and adapted the Modernist design idiom. It will further consider how the language of Modernism was propagated as the accepted version of what a radio could or should look like, so developing the modernist paradigm in a broader sense. To gain an appreciation of this it is necessary to understand the contemporary public conception of what the modern was in a more general sense. To decipher this public perception of modernity the project aims to extrapolate that public conception through examining other popular forms and products. Although this suggests that Radio was not alone in adopting the language of the moderne, as a product it is notable for its widespread commercial success and as such can be identified as a significant carrier of the coded message of what was modern. Design historians such as Yagou and Forty have attempted to incorporate radio into various strands of historical perception but the typologies they have devised to describe and understand wireless fall short in addressing the relationship between modernity and the wireless and instead see the wireless in terms of being an independent consumer product, a quasi-scientific instrument or else a furnishing form, rather than creating categories which accommodate the wireless and its position as a design type in its own right. To overcome this shortcoming a strand of this thesis seeks to argue that the wireless was itself a proto-modernist device during the early years of market expansion. That device then developed along a natural stylistic course embracing contemporary decorative ideas. By assessing the response of radio manufacturers to the socio-economic conditions of their market, this study has highlighted how through producing a product which addressed contemporary ideas of glamour, ease of use and functionality, the wireless entered a wide range of homes during the 1920s and 1930s. For the public, the immediate appeal of the wireless was that it provided access to the international experience of listening in while simultaneously it provided a template for the consumer to base their understanding of the modern World, both in its mediated form and stylistic appearance. This thesis seeks to demonstrate that during the period 1925 to 1939, the wireless established itself as an unashamedly modern device which appealed to a broad socio economic cross section of the public. By consuming the wireless, the British public accepted a significant technological and stylistic aspect of modernity into their homes. This was achieved despite the privations of the era because of the perceived desirability of wireless broadcasts and the perception of listening in as a popular leisure activity. As a result of that consumer demand, the British public was given access to a range of stylistic versions of modernity through the design of radio cabinetry. These modern styles were readily consumed throughout the social spectrum in preference to historicist alternatives. This demonstrates that the wireless was instrumental in introducing the modernist aesthetic to the British domestic environment.

Colonie grecque, Apollonia d’Illyrie (Albanie), a connu à l’époque romaine des phases de construction et d’aménagement importantes. En témoigne le centre monumental qui a fait l’objet de fouilles et de dégagements sous la direction du français Léon Rey au début du XXe siècle. Après la seconde guerre mondiale, les équipes albanaises ont poursuivi les recherches archéologiques et ont réalisé les restaurations et les présentations actuelles. Le centre monumental est organisé autour de deux édifices principaux, l’odéon et le monument des agonothètes. Ces lieux d’assemblée attestent du caractère public de ce secteur de la ville comme le fait un arc de triomphe légèrement postérieur. Des boutiques témoignent d’une fonction commerciale annexe. L’aspect religieux est illustré par un temple ionique, entouré d’un portique, associé à un bâtiment nommé usuellement "prytanée", et par un petit sanctuaire. Enfin, un édifice de plan carré peut être soit une bibliothèque soit un Augusteum. Après l’analyse des vestiges accessibles et de la documentation, une approche des fonctions des différents monuments et les renvois aux éléments comparatifs des hypothèses de restitutions sont proposées puis transposées en images de synthèse. Elles sont ensuite assemblées en une vision globale du centre monumental romain, dans son état du début du IIIe siècle ap. J.-C. Dans l’attente de l’achèvement des recherches sur l’agora, localisée à quelques centaines de mètres, cet ensemble pourrait être un complexe architectural dédié au culte impérial dont l’importance aurait attiré, dans le courant du IIe siècle, le bouleuterion que prudemment on désigne encore comme "monument des agonothètes". / During the Roman period, “Apollonia of Illyria”, a greek settlement in Albania, knew several phases of construction and development. This is demonstrated by the study of the monumental center which was the object of excavations supervised by a French archaeologist Léon Rey at the beginning of the XXth century. After World War II, Albanian teams pursued the researches. They realized the restorations and the current presentations. The monumental center is organized around two main buildings, the Odeon and the “monument of Agonothetes”. These meeting places give evidence of the public character of this part of the city, just like the existence of a triumphal arch built later on. Shops also prove the commercial function of this place. Then, the religious function is illustrated by an ionic temple surrounded by a portico associated with a building named “prytaneum’ and by a small sanctuary. Finally, a square building is either a library or an “augusteum”. After an analysis of the visible vestiges and documentation, a report on the functions of the various monuments and a presentation of the comparative elements, the hypothesis of reconstructions will be proposed and transposed into computer-generated images. They will be assembled in a global vision of the roman monumental center at the beginning of the third century. Researches concerning the agora, localized a few hundred meters further, are not achieved yet but this place could be an architectural complex dedicated to imperial cult. During the second century, its importance could have attracted the bouleuterion that remains, for the moment, named as “monument of Agonothetes”. / Kolonia greke e Apolonisë së Ilirisë, në Shqipëri, ka njohur faza të rëndësishme ndërtimi dhe riorganizimi urban në periudhën romake. Këtë e dëshmon qendra monumentale që ka qenë pikësynimi i gërmimeve dhe zbulimeve të kryera nën drejtimin e francezit Leon Rei, në fillim të shekullit të XX. Pas Luftës së II Botërore, ekipet shqiptare kanë vazhduar nxjerrjen në dritë të saj, si dhe kanë realizuar restaurimet dhe pamjet që shohim sot. Qendra monumentale është organizuar rreth dy godinave kryesore, odeoni dhe monumenti i Agonotetëve. Këto vende mbledhjesh dëshmojnë për karakterin publik të kësaj zone të qytetit, ashtu si dhe një hark triumfi pak më i vonshëm. Dyqanet dëshmojnë për një funksion tregtar aneks. Aspekti religjioz ilustrohet me praninë e një tempulli jonik, të rrethuar me një portik, dhe që lidhet me një godinë të ashtuquajtur prytaneum, si dhe me një faltore e vogël. Së fundmi, një ndërtesë në formë katrore mund të jetë ndoshta një bibliotekë apo augusteum. Në përfundim të studimit të rrënojave të dukshme dhe të dokumentacionit përkatës, parashtrohet trajtimi i funksioneve të monumenteve të ndryshme dhe i elementeve krahasuese të rimëkëmbjes hipotetike të tyre, që më tej transformohen në paraqitjet e informatizuara. Më pas, të gjithë elementët janë bashkuar në një pamje gjithëpërfshirëse të qendrës monumentale romake, ashtu siç paraqitej ajo në fillimin e shek. III të e. sonë. Në pritje të përfundimit të kërkimeve në agora, e cila gjendet vetëm disa qindra metra larg, ky ansambël duket të ketë qenë një kompleks arkitekturor që i kushtohej kultit perandorak, rëndësia e të cilit do të tërhiqte përgjatë shek. II të e. sonë buleterionin, që ende në mënyrë të kujdesshme emërtohet si “monumenti i Agonotetëve”.