Made available in DSpace on 2016-04-28T18:23:36Z (GMT). No. of bitstreams: 1 sergio.pdf: 2431367 bytes, checksum: 49d6c74ea903d9d0c045da08226f295b (MD5) Previous issue date: 2008-02-11 / Conselho Nacional de Desenvolvimento Científico e Tecnológico / This dissertation aims at investigating the prosodic patterns in the speech of bilingual American and Brazilian speakers. By means of acoustic phonetic analysis, the manner by which speakers structure the prosodic groups was investigated in light of models that underscore the discoursal and attitudinal functions of intonation. Analyses were carried out on various strands: pitch configurations in idioms, distribution of pitch accents within an utterance whether it be for contrastive or emphatic reasons, and loss of accentual prominence in words that are no longer part of the common ground between speaker and listener. The study involved 4 female subjects, two Brazilians and two Americans, in the 20-40 age group. The corpus is comprised of 7 sentences in English and in Portuguese, four of which were uttered in the declarative modality, one in the exclamative modality and two in the interrogative modality. The sentences were extracted from a dialogue so constructed as to allow for the expression of attitudes and emotions. The dialogue was read and interpreted in three repetitions. The recordings of the readings were carried out at PUC-SP´s Radio and TV studio. The acoustic analysis of the data was done by means of the PRAAT software program, whereby utterances were segmented into units of varying sizes: GIPC, vowels, syllables and consonants. Results point to the use of language-specific strategies by Brazilian and American speakers: (a) Brazilians seem to favor a greater number of prosodic groups in order to maintain sentence focus at terminals; (b) speakers of both languages are heavily influenced by L1 intonational patterns in YES/N0 questions; (c) idioms as produced by non-natives present pitch configurations which convey attitudes incongruent with their meanings in the target language; (d) there are major distributional differences in the two languages as regards nucleus focus; (e) shared information is not a strong enough reason for deaccenting in Portuguese / Esta dissertação tem como objetivo investigar os padrões entoacionais de produções de falantes bilíngües norte-americanos e brasileiros. Por meio de instrumentais de análise fonético-acústica, foi investigado o modo pelo qual os falantes estruturam os grupos prosódicos, à luz de modelos de descrição da entoação que privilegiem o discurso e as atitudes. Foram analisadas as configurações de pitch em expressões idiomáticas, a distribuição do acento principal de pitch em enunciados em que ocorra contrastividade ou ênfase, e a perda (ou não) de proeminência acentual de palavras que já façam parte do conhecimento mútuo entre falante e ouvinte. O trabalho envolveu quatro sujeitos do sexo feminino na faixa etária entre 20 e 40 anos, sendo duas brasileiras e duas norte-americanas. O corpus é composto de 7 sentenças em inglês e em português, sendo 4 na modalidade declarativa, uma na exclamativa e 2 na interrogativa. As sentenças foram extraídas de um diálogo construído de modo a contemplar a expressão de atitudes e emoções. O diálogo foi lido e interpretado em três repetições. A gravação das leituras foi feita no Estúdio de Rádio e TV da PUC-SP. A análise acústica dos dados foi feita por meio do programa PRAAT, a partir da segmentação dos enunciados em unidades de tamanhos variados: unidades V-V, vogais, sílabas e consoantes. Os resultados obtidos apontam para o uso de estratégias diferenciadas por parte dos falantes brasileiros e norte-americanos: (a) falantes brasileiros tendem a fazer um maior número de fronteiras prosódicas, de modo a manter o acento frasal em fronteira final; (b) falantes de ambas as línguas tendem a sofrer influência dos padrões entoacionais de L1 nas questões totais; (c) A produção de expressões idiomáticas por falantes não nativos apresenta configurações de pitch que carreiam atitudes incompatíveis com seu significado em L2; (d) há diferenças nas duas línguas em relação à posição do acento frasal; (e) nem sempre informação já compartilhada pelos participantes do discurso perde a proeminência acentual no português

Submitted by Maria Medeiros (maria.dilva1@ufcg.edu.br) on 2018-08-24T14:29:39Z No. of bitstreams: 1 ANA VITÓRIA DE ALMEIDA MACÊDO - TESE (PPgEE) 2017.pdf: 3449345 bytes, checksum: ff78e54595b43261343d5050a8dc3e50 (MD5) / Made available in DSpace on 2018-08-24T14:29:39Z (GMT). No. of bitstreams: 1 ANA VITÓRIA DE ALMEIDA MACÊDO - TESE (PPgEE) 2017.pdf: 3449345 bytes, checksum: ff78e54595b43261343d5050a8dc3e50 (MD5) Previous issue date: 2017-03-29 / CNPq / Um controle para auxílio do controle de frequência é projetado utilizando um método baseado em lógica fuzzy e no controle do ângulo de passo de turbinas eólicas de velocidade variável. O controle visa que as turbinas eólicas operem abaixo do seu valor nominal, estando sempre prontas para aumentar sua geração no caso de evento na rede elétrica, contribuindo para o controle de frequência. Com os esforços para converter tanta energia quanto seja possível com o vento disponível, a potência desperdiçada pela maioria dos controles estudados para elaboração desta tese vale a pena em relação aos benefícios do controle de frequência em sistemas com grande penetração das usinas eólicas, proporcionando a participação da energia eólica nos serviços ancilares. Ressaltando que a introdução de qualquer nova tecnologia de geração no sistema deve ser feita de modo que seja compatível com os princípios operacionais do sistema existente. O controle fuzzy de potência foi desenvolvido no Matlab®/Simulink e permite o bom funcionamento da turbina eólica utilizando uma metodologia alternativa aos controles clássicos. Com isto foi desenvolvido o controle de frequência também baseado em lógica fuzzy. Como grande vantagem do controle fuzzy destaca-se sua fácil adaptação a outros modelos de turbina que utilizem o controle de pitch (turbinas eólicas de velocidade variável), uma vez que o algoritmo é o mesmo, havendo a necessidade apenas de fazer testes para adaptação das faixas de operação do controle. / A control to support the frequency control is designed using a method based on fuzzy logic and pitch angle control in variable speed wind turbines. The control aims that some wind turbines operate below their rated value (derated or deloaded), being always ready to increase their generation in case of some event in the power grid, contributing to the frequency control. With efforts to convert as much energy as possible with the available wind, the power wasted by most controls studied in this work worth of the benefits of frequency control in systems with high power plants penetration, providing wind power to participate on ancillary services. Recalling that the introduction of any new generation technology into the system must be made in a way that is compatible with the operating principles of the existing system. The fuzzy control developed in Matlab®/Simulink for power control enables a suitable operation of the wind turbine using an alternative methodology to the classic controls, it was developed the frequency control also based on fuzzy logic. The fuzzy control great advantage highlight is its easy adaptation to other turbine design which use pitch control (variable speed wind turbines), since the algorithm is the same, just by doing tests for adjustment of the control operation ranges.

xiii, 221 p. : ill., music, forms. A print copy of this title is available through the UO Libraries under the call number: MUSIC MT35 .M87 2006 / The main purpose of the study was to examine the effects of learning songs by ear in multiple keys on skills in playing by ear and sight-reading. Secondary purposes of the study were to explore the effects of instruction on student attitudes, and to consider differential effects due to music aptitude. Students were brass and woodwind musicians ( N =28) in grades 7--8, placed in one of two instructional groups according to music aptitude, instrument, and music background. Time for instruction was three 20-minute lessons per week for four weeks. Students in the experimental group learned songs by ear in the keys of Bb, Db, and G concert, while students in the contact-control group practiced technical exercises in those same keys. Before and after instruction, students performed a well-known melody by ear in the keys of Bb, Db, and G concert, as well as a short etude in each of the three keys. Two adjudicators listened to recorded performances and evaluated pitch accuracy. To assess the effects of instruction on performance, repeated-measures ANOVAs considered the variables of group, time, and key. The experimental group improved significantly in playing by ear in the keys of Db and G concert, p < .001, but not in Bb. The contact-control group did not improve significantly in playing by ear in any of the keys. Both groups improved significantly in sight-reading in all three keys, p < .001. Analyses of qualitative and quantitative data from a researcher-authored attitude survey indicated that students in the experimental group perceived significant improvement in the new keys of Db and G, while students in the contact-control group did not perceive improvement. There were no statistically significant effects of music aptitude on performance achievement or attitude. Whether this was because the sample sizes were too small for the detection of effects, or whether there were no significant effects, is not known. The results of the study suggest that learning songs by ear may benefit student musicians. / Committee in Charge: Dr. Harry E. Price, Chair; Dr. Michael D. Bullis; Dr. Phyllis M. Paul; Dr. Steve Vacchi

Every auditory event provides an information-rich signal to the brain. The signal constitutes perceptual attributes of pitch, loudness, timbre, and also, conceptual attributes like location, emotions, meaning, etc. In the present work we examine the timbre perception of time-varying signals in particular. While stationary signal timbre, by-itself is complex perceptually, the time-varying signal timbre introduces an evolving pattern, adding to its multi-dimensionality. To characterize timbre, we conduct psycho-acoustic perception tests with normal-hearing human subjects. We focus on time-varying synthetic speech signals(can be extended to music) because listeners are perceptually consistent with speech. Also, we can parametrically control the timbre and pitch glides using linear time-varying models. In order to quantify the timbre change in time-varying signals, we define the JND(Just noticeable difference) of timbre using diphthongs, synthesized using time-varying formant frequency model. The diphthong JND is defined as a two dimensional contour on the plane of percentage change of formant frequencies of terminal vowels. Thus, we simplify the perceptual probing to a lower dimensional space, i.e, 2-D even for a diphthong, which is multi-parametric. We also study the impact of pitch glide on the timbre JND of the diphthong. It is observed that timbre JND is influenced by the occurrence of pitch glide. Focusing on the magnitude of perceptual timbre change, we design a MUSHRA-like listening test using the vowel continuum in the formant-frequency space. We provide explicit anchors for reference: 0% and 100%, thus quantifying the perceptual timbre change on a 1-D scale. We also propose an objective measure of timbre change and observe that there is good correlation between the objective measure and subjective human responses of percentage timbre change. Using the above experimental methodology, we studied the influence of pitch shift on timbre perception and observed that the perceptual timbre change increases with change in pitch. We used vowels and diphthongs with 5 different types of pitch glides-(i) Constant pitch,(ii) 3-semitone linearly-up,(iii) 3 semitone linearly-down, (iv)V–like pitch glide and (v) hat-like pitch glide. The present study shows that timbre change can be measured on a 1-D scale if the perturbation is along one-dimension. We observe that for bright vowels(/a/and/i/), linearly decreasing pitch glide(dull pitch glide)causes more timbre change than linearly increasing pitch glide(bright pitch glide).For dull vowels(/u/),it is vice-versa. To summarize, in congruent pitch glides cause more perceptual timbre change than congruent pitch glides.(Congruent pitch glide implies bright pitch glide in bright vowel or dull pitch glide in dull vowel and in congruent pitch glide implies bright pitch glide in dull vowel or dull pitch glide in bright vowel.) Experiments with quadratic pitch glides show that the decay portion of pitch glide affects timbre perception more than the attack portion in short duration signals with less or no sustained part. In case of time-varying timbre, bright diphthongs show patterns similar to bright vowels. Also, for bright diphthongs(/ai/), perceived timbre change is most with decreasing pitch glide(dull pitch glide). We also observed that listeners perceive more timbre change in constant pitch than in pitch glides, congruent with the timbre or pitch glides with quadratic changes. The main conclusion of this study is that pitch and timbre do interact and in congruent pitch glides cause more timbre change than congruent pitch glides. In the case of quadratic pitch glides, listener perception of vowels is influenced by the decay than the attack in pitch glide in short duration signals. In the case of time-varying timbre also, in congruent pitch glides cause the most timbre change, followed by constant pitch glide. For congruent pitch glides and quadratic pitch glides in time-varying timbre, the listeners perceive lesser timbre change than otherwise.

L’interférence et interaction Europe-Asie sur le plan culturel et artistique qui s’est épanouie durant le XIXe siècle a ouvert une nouvelle réserve de nouveaux matériaux pour la création littéraire et artistique. De cet échange chacun des deux continents a retiré pour lui-même des éléments qui lui étaient bénéfiques aux points de vue littérature, peinture, musique, architecture, et même religion... La thèse intitulée “Influence de la musique asiatique sur la composition chez Claude Debussy” est entreprise dans le but de rechercher les ingrédients exotiques exploités avec grande délicatesse et sensibilité par Debussy – homme progressiste ouvert aux courants nouveaux, symbole de l’Impressionnisme en musique et surtout grande célébrité pour ses nouvelles limites en timbres. L’analyse d’environ 140 œuvres officiellement publiées de Debussy confirme sa grande réussite dans la mise en œuvre des matériaux musicaux Asiatiques. D’autre part, la thèse se propose aussi de montrer cet autre aspect de Debussy, à savoir qu’il était la somme harmonieuse de l’esthéticisme dans l’art Japonais, de la pureté des échelles traditionnelles, et de la témérité dans l’emploi de timbres nouveaux provenant des instruments Asiatiques. / The cultural and artistic interference and interaction that flowered during the 19th century between Europe and Asia brought a new enormous storage of artistic material at the disposal of European artists. Both continents derived from it materials useful to them in terms of literature, paintings, music, architecture and even religion... The present thesis, “Influence of Asian music on Claude Debussy’s composing”, aims at spotting out exotic materials subtly and sensitively brought into play by Debussy – a progressist spirit open to new trends, symbol of Impressionism in music and, above all, top celebrity for his setting of the new limits for timbres. Analysis of 140 Debussy’s officially published works confirms his success in using Asian materials for his music. Moreover, the thesis also manage to bring into light this other aspect of Debussy, as the final and successful product from the blend between Japanese estheticism, purity of the traditional scales and boldness in the use of new timbres from Asian instruments.

Les études, menées en collaboration entre la société VALEOL et le laboratoire IMS, proposent des solutions pour optimiser la production et le fonctionnement d'une éolienne. Il s’agit de travailler sur les lois de commande du système ou des sous-systèmes en utilisant la commande CRONE, répondant à un besoin de robustesse. Chaque étude met en avant des aspects de modélisation, d’identification et de synthèse de lois de commande avant mises en application au travers de simulations ou d’essais sur modèles réduits et taille réelle.Le chapitre 1 donne une vision d’ensemble des problématiques traitées dans ce manuscrit, à l’aide d’états de l’art et de remise dans le contexte économique et industriel de 2013.Le chapitre 2 introduit la commande CRONE pour la synthèse de régulateurs robustes. Cette méthodologie est utilisée pour réaliser l’asservissement de la vitesse de rotation d’une éolienne à vitesse variable, présentant une architecture innovante avec un variateur de vitesse mécanique et génératrice synchrone.Le chapitre 3 établit la comparaison de trois nouveaux critères d’optimisation pour la méthodologie CRONE. Le but est de réduire sa complexité et de faciliter sa manipulation par tout utilisateur. Les résultats sur les différents critères sont obtenus par simulations sur un exemple académique, puis sur un modèle d’éolienne de type MADA.Le chapitre 4 porte sur la réduction des charges structurelles transmises par le vent à l’éolienne. Il est question d’une amélioration du contrôle de l’angle de pitch par action indépendante sur chaque pale en fonction de la position du rotor ou encore des perturbations liées au ventLe chapitre 5 est consacré à la conception d’un système d’antigivrage et dégivrage d’une pale dans le cadre d’un projet Aquitain. Après modélisation et identification du procédé, la commande CRONE est utilisée pour réguler la température d’une peinture polymère chauffante sous alimentation électrique disposée sur les pales. L’étude est complétée par la mise en place d’un observateur pour la détection de présence de givre. / The research studies, in collaboration with VALEOL and IMS laboratory, propose several solutions to optimize the production and the efficiency of a wind turbine. The general theme of the work is based on control laws of the system or subsystems using the CRONE robust design. Each part highlights aspects of modeling, system identification and design before simulations or tests of scale and full size models. Chapter 1 provides an overview of the issues discussed in this manuscript, using states of the art and precisions on the industrial and economic context of 2013.Chapter 2 introduces the CRONE command for robust design. It is used to achieve the control of the rotation speed of a variable speed wind turbine, with an innovative architecture - mechanical variable speed solution and synchronous generator.Chapter 3 makes a comparison of three new optimization criteria for CRONE design. The aim is to reduce the methodology complexity and to facilitate handling by any user. The results are obtained through simulations on an academic example, then with a DFIG wind turbine model. Chapter 4 focuses on the reduction of structural loads transmitted by the wind on the turbine. It is about better control of the pitch angle by individual pitch control, depending on the rotor position or wind disturbances.Chapter 5 deals with the design of an anti-icing/de-icing system for blades. After the modeling and identification steps, the CRONE design is used to control the temperature of a heating coating disposed on the blades. An observer is finally designed to detect the presence of ice.

‘Richte mich, Gott' exemplifies Jaakko Mäntyjärvi's pluralistic compositional approach through an interlaced organization of tonal and non-tonal pitch content. The development of ideas in the text of Psalm 43 and the concluding doxology is depicted across both layers of pitch organization and governed by specific structural pitch collections: (0145) and (0257). Moreover, the organic transformation of these structural pitch collections' intervallic content emerges as a fundamental means of progression throughout the work, in turn influencing the intervallic content of surrounding tonal material. This process of transformation and its relationship to the text is revealed through tonal and pitch-class analysis; a flexible approach to segmentation; and an exploration of two-way and three-way symmetry, and the disruption thereof, in pitch space and pitch-class space. An understanding of the interrelationship between pitch material from the tonal and non-tonal layers of pitch organization can aid singers, conductors, and analysts in the efficacy of their study, preparation, and performance of the psalm. The accompanying appendix of targeted choral warm-ups in this document offers choirs a practical method for studying, internalizing, and performing the non-tonal pitch content in the work.

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The aural development process is governed by the attitude of the teacher, student, the time factor, methodology employed and materials available. This process and the aforementioned contributing factors are explored within the context of the current requirements of the aural and practical musicianship examination syllabi of The Royal Schools of Music, Trinity College and UNISA. Suitable methods are explored which should develop skills enabling the student to deal with sounds and their corresponding symbols, first in isolation then within a musical context with attention to the curriculum, musical skills and personal development of the student within a positive learning situation. Four main areas of development are isolated i.e. rhythm, pitch, harmony and critical ear skills. A suitable development programme is presented in each area focusing on systematic skill development. / Musicology / M.Mus. (Musicology)

International Telemetering Conference Proceedings / October 25-28, 1999 / Riviera Hotel and Convention Center, Las Vegas, Nevada / The Transportable Range Augmentation and Control System (TRACS), Mobile Telemetry System (MTS), is a versatile system capable of supporting anywhere when called upon. The MTS is designed to operate anywhere on land. It is unknown how the system will perform on a floating platform without a stabilizing gimbal. The operation of a tracking system at sea generally require the use of a three-axis pedestal. The MTS is a two-axis pedestal. This paper is a report on how the MTS responds to simulated ocean-motion. Testing the system on a body of water is very expensive, especially out in the desert. The MTS was tested in the desert area of Las Cruces, New Mexico in the parking lot of EMI Technologies, prime contractor, using two forklifts to simulate ship motion in the pitch and yaw planes. The location is perfect for crossover dynamics tests. The tests conducted were for the purpose of determining if the MTS could auto-track a moving signal in space while it also moves due to “simulated ocean swells” that increase the generated tracking error signal levels in an opposite or in addition to the ones generated from the space vehicle. There is no gyroscopic correction. Successful results of the tests could preclude the use of a gyroscopically stabilized gimbaled platform necessary to keep the tracking system steady for auto-tracking a target during “6 degrees of freedom” disturbances. Several thousand dollars can be saved if the concept can be proven.