Orientador: Jonatas Manzolli / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-11T01:31:44Z (GMT). No. of bitstreams: 1 Porres_AlexandreTorres_M.pdf: 11455716 bytes, checksum: ea6618983f2e1d8ab253db22a60f9f9f (MD5) Previous issue date: 2007 / Resumo: Foram estudados, na presente pesquisa, Sistemas de Afinação com o intuito de investigar a aplicação desse conhecimento em Processos Criativos. Para tal, desenvolvemos uma distinção de abordagens composicionais na música do Século XX, e também estudamos o mecanismo de construção de escalas adotando, principalmente, o estudo da Psicoacústica (i.e. Modelo de Dissonância Sensorial), que propiciou o desenvolvimento de uma ferramenta computacional tanto de análise de sons e Sistemas de Afinação, quanto de criação sonora. Os estudos serviram de base para o desenvolvimento de Processos Criativos com comentários de acordo com os objetivos de pesquisa / Abstract: On the present research, Tuning Systems were studied in order to investigate its application in Creative Processes. For such, we created a distinction of compositional approaches in the music of the 20th Century, and we also studied mechanisms of scale development by mainly adopting Psychoacoustics (i.e. Roughness Model), which enabled the development of a computational tool for the analysis of sounds and Tuning Systems, as well as musical creation. The studies have been applied in Creative Processes with comments and discussions over the research¿s objectives / Mestrado / Mestre em Música

Digital watermarking is a technique for digital multimedia copyright protection. The robustness and the imperceptibility are the main requirements of the watermark. This thesis deals with watermarking audio signals using artificial neural networks. There is described audio watermarking method in the DCT domain. Method is based on human psychoacoustic model and the techniques of neural networks.

Digital watermarking is a technique for digital multimedia copyright protection. The robustness and the imperceptibility are the main requirements of the watermark. This thesis deals with watermarking audio signals using artificial neural networks. There is described audio watermarking method in the DCT domain. Method is based on human psychoacoustic model and the techniques of neural networks.

<div><div><div><p>Tonal sounds are a particular problem of concern in building environments, arising from the widely used rotating machinery (e.g., compressors, fans, motors, trans- formers, etc.). In the recent trend of designing and manufacturing high-performance building mechanical systems, higher output power and higher rotation speed are pursued, this inevitably results in a more severe noise problem, since the equipment noise not only becomes louder but also shifts to a higher frequency region (which, in most cases, results in a poorer sound quality due to the shift in spectral balance and tonal components moving into the frequency regions where people are most sensitive to tones). Tonal sounds from rotary machines can be annoying, even at relative low levels.</p><p>Currently, noise criteria guidelines in Chapter 48 of the ASHRAE HVAC Applications Handbook can be used to design the building mechanical system, but this does not apply well for tonal noise. Reducing the limit for noise with perceptible tones is one common strategy in the industry. However, it’s not adequate for some cases, over-design in others. Thus, an adequate understanding of the annoyance threshold of tonal noises associated with building services equipment is valuable technical information not only in the design and manufacture of machines but also in the development of noise regulations related to building services equipment.</p><p>This research aims to develop a sound quality model that cooperates with sound level and tonalness and relates tonal building noises to the perceived annoyance.</p></div></div></div>

The purpose of this study was to determine the prevalence of the binaural interaction component (BIC) in a large sample of normal hearing adults, and to measure the absolute latency and amplitude of the BIC as a function of the click rate of the stimulus and the electrode montage. The BIC is obtained by subtracting the auditory evoked potential waveform obtained with binaural stimulation from the waveform obtained by adding the responses from the left and right monaural stimulation. The tested hypothesis was that the recordings of the BIC vary among normal hearing individuals, and BIC latency and amplitude values change as a function of stimulus rate. Studies of the BIC help to explain the neural correlates of some binaural processes, and to develop an electrophysiological index of binaural processes for objective clinical evaluations. Data was completed and analyzed on 47 adults between the ages of 20 and 41 (mean = 25) with hearing in the normal range (thresholds less than or equal to 20 dB HL at 500, 1000, 2000, and 4000 Hz in each ear) and no known neurological disorders. The results revealed a great variability in BIC morphology between subjects. The BIC waveforms were categorized into five distinct groups according to the number of positive and negative peaks present. Chi-square analyses revealed a significant relationship between click rate and BIC category; however, the relationship between recording montage and BIC category was insignificant. An Analysis of Variance (ANOVAs) revealed a significant increase in absolute latency and decrease in absolute amplitude of both negative and positive peaks as click rate increased from 7.7/s to 57.7/s. The results did not reveal a significant change in the type of BIC as an effect of electrode montage. In conclusion, the BIC within the binaural difference waveform may be obtained in the majority of young individuals with normal hearing. Specifically, a slower stimulus rate revealed more components of the waveform, as well as an improvement in the morphology of the BIC compared to a faster stimulus rate. As these findings may aid in the development of an electrophysiological index of binaural neural processes in young individuals with normal hearing, more research should be attempted in the study of BIC in other age groups and patients with different audiograms.

Binaural beats är den subjektiva upplevelsen hos någon som, genom hörlurar, exponeras för en ton i ena örat och en ton på en annan frekvens i det andra. Somliga förnimmer differensen mellan de två tonerna som en tredje ton, andra upplever det mer som en spänning. Med hjälp av EEG (Elektroencefalografi), vilket mäter hjärnans elektricitet, har påvisats att det går att reglera hjärnrytmen med hjälp av binaural beats. Det audiella fenomenet förekommer i hjärnforskning inom sömn, meditation och kognition. Vidare har det föreslagits som behandlingsmetod och hjälpmedel vid diagnostisering av vissa neuropsykiatriska besvär. Denna konstnärliga studie utforskar tillämpningen av binaural beats i musikproduktion och musiklyssnande. Det primära syftet är att undersöka om binaural beats kan fungera som ett verktyg inom musikproduktion. Påverkar användandet av binaural beats musikskaparen i den konstnärliga processen? Har binaural beats potential att platsa som ett användbart redskap i den musikaliska verktygslådan? Påverkar förekomsten av ett integrerat binaural beat i ett musikstycke lyssnarens upplevelse på något sätt? Detta har har metodologiskt undersökts genom att komponera musik innehållande binaural beats. Processen har dokumenterats löpande varvat med reflektion för att åskådliggöra om eller hur det har influerat förloppet. Sedan har delar av detta musikaliska material prövats på testpersoner, i en mindre enkätstudie byggd på självskattning, för att se om förekomsten av binaural beats förändrar lyssnarens upplevelse på något vis. Binaural beats påverkade den konstnärliga skapandeprocessen då det genererade inspiration under arbetet. Om det beror på de effekter binaural beats tros ha på hjärnan eller om kreativiteten stimulerades av det faktum att dessa ljud var ett nytt element i det egna musikskapandet kan diskuteras. Resultaten av studiens lyssningsexperiment indikerar inga förändringar hos lyssnarnas upplevelse. Däremot har det gett upphov till idéer kring hur liknande tester skulle kunna utformas för att leda till mer användbara data. De vaga tendenser som förekom skulle kunna vara intressanta att undersöka i en mer omfattande studie.

O som e a imagem constroem a narrativa no cinema. Efeitos sonoros, diálogos, música e o silêncio ‐ junto com a imagem ‐ compõem e transmitem significado à obra cinematográfica na sua totalidade. Tendo como objeto de estudo o curta‐metragem De Lá pra Cá, do cineasta Frederico Pinto, o presente trabalho cartografa os sons que compõem sua trilha sonora e verifica seu papel na narrativa fílmica a partir do conceito de Paisagem Sonora, em duas de suas dimensões, a acústica e a Psicoacústica. Objetiva‐se perceber em que medida a Paisagem Sonora influencia dramática e narrativamente na obra cinematográfica. Metodologicamente, após cartografar o som do curta‐metragem De Lá Pra Cá, identificou‐se as Paisagens Sonoras existentes no filme e seus papéis na construção narrativa. A cartografia e a análise sonora das cenas decompõem os sons do filme em seus diferentes atributos, possibilitando sua compreensão em diversos níveis. A análise e posterior interpretação da cartografia sonora de De Lá pra Cá permitiram concluir que diferentes Paisagens Sonoras o constituem, havendo uma predominância das hi‐fi sendo em alguns momentos contrapostas pelas lo‐fi. A Paisagem Sonora dá ritmo, provoca emoções, evoca sentimentos, gera tensões, tendo um importante papel narrativo. / The sound and image build a narrative film. Sound effects, dialogue, music and silence ‐ along with the image ‐ compose and transmit meaning to film in its entirety. With the short film De Lá pra Cá, of the filmmaker Frederico Pinto, as object of study this work makes a map of the sounds that compose its soundtrack and verifies its role in film narrative based on the concept of Soundscape in two of its dimensions, acoustics and Psychoacoustics. The objective is to verify how the Soundscape influences the drama and narrative of the film. Methodologically, after mapping the sound of the short film De Lá pra Cá, we identified the existing Soundscapes in the film and their roles in narrative construction. The mapping and analysis decompose the sounds of the film in its different attributes, allowing its understanding on several levels. The analysis and subsequent interpretation of the mapping of sounds of the De Lá pra Cá film allowed to conclude that it’s made by different Soundscapes, with a predominance of hi‐fi,and at times opposed by the lo‐fi. The Soundscape gives rhythm, triggers emotions, evokes feelings, generates tensions, having an important narrative role.

O som e a imagem constroem a narrativa no cinema. Efeitos sonoros, diálogos, música e o silêncio ‐ junto com a imagem ‐ compõem e transmitem significado à obra cinematográfica na sua totalidade. Tendo como objeto de estudo o curta‐metragem De Lá pra Cá, do cineasta Frederico Pinto, o presente trabalho cartografa os sons que compõem sua trilha sonora e verifica seu papel na narrativa fílmica a partir do conceito de Paisagem Sonora, em duas de suas dimensões, a acústica e a Psicoacústica. Objetiva‐se perceber em que medida a Paisagem Sonora influencia dramática e narrativamente na obra cinematográfica. Metodologicamente, após cartografar o som do curta‐metragem De Lá Pra Cá, identificou‐se as Paisagens Sonoras existentes no filme e seus papéis na construção narrativa. A cartografia e a análise sonora das cenas decompõem os sons do filme em seus diferentes atributos, possibilitando sua compreensão em diversos níveis. A análise e posterior interpretação da cartografia sonora de De Lá pra Cá permitiram concluir que diferentes Paisagens Sonoras o constituem, havendo uma predominância das hi‐fi sendo em alguns momentos contrapostas pelas lo‐fi. A Paisagem Sonora dá ritmo, provoca emoções, evoca sentimentos, gera tensões, tendo um importante papel narrativo. / The sound and image build a narrative film. Sound effects, dialogue, music and silence ‐ along with the image ‐ compose and transmit meaning to film in its entirety. With the short film De Lá pra Cá, of the filmmaker Frederico Pinto, as object of study this work makes a map of the sounds that compose its soundtrack and verifies its role in film narrative based on the concept of Soundscape in two of its dimensions, acoustics and Psychoacoustics. The objective is to verify how the Soundscape influences the drama and narrative of the film. Methodologically, after mapping the sound of the short film De Lá pra Cá, we identified the existing Soundscapes in the film and their roles in narrative construction. The mapping and analysis decompose the sounds of the film in its different attributes, allowing its understanding on several levels. The analysis and subsequent interpretation of the mapping of sounds of the De Lá pra Cá film allowed to conclude that it’s made by different Soundscapes, with a predominance of hi‐fi,and at times opposed by the lo‐fi. The Soundscape gives rhythm, triggers emotions, evokes feelings, generates tensions, having an important narrative role.

O som e a imagem constroem a narrativa no cinema. Efeitos sonoros, diálogos, música e o silêncio ‐ junto com a imagem ‐ compõem e transmitem significado à obra cinematográfica na sua totalidade. Tendo como objeto de estudo o curta‐metragem De Lá pra Cá, do cineasta Frederico Pinto, o presente trabalho cartografa os sons que compõem sua trilha sonora e verifica seu papel na narrativa fílmica a partir do conceito de Paisagem Sonora, em duas de suas dimensões, a acústica e a Psicoacústica. Objetiva‐se perceber em que medida a Paisagem Sonora influencia dramática e narrativamente na obra cinematográfica. Metodologicamente, após cartografar o som do curta‐metragem De Lá Pra Cá, identificou‐se as Paisagens Sonoras existentes no filme e seus papéis na construção narrativa. A cartografia e a análise sonora das cenas decompõem os sons do filme em seus diferentes atributos, possibilitando sua compreensão em diversos níveis. A análise e posterior interpretação da cartografia sonora de De Lá pra Cá permitiram concluir que diferentes Paisagens Sonoras o constituem, havendo uma predominância das hi‐fi sendo em alguns momentos contrapostas pelas lo‐fi. A Paisagem Sonora dá ritmo, provoca emoções, evoca sentimentos, gera tensões, tendo um importante papel narrativo. / The sound and image build a narrative film. Sound effects, dialogue, music and silence ‐ along with the image ‐ compose and transmit meaning to film in its entirety. With the short film De Lá pra Cá, of the filmmaker Frederico Pinto, as object of study this work makes a map of the sounds that compose its soundtrack and verifies its role in film narrative based on the concept of Soundscape in two of its dimensions, acoustics and Psychoacoustics. The objective is to verify how the Soundscape influences the drama and narrative of the film. Methodologically, after mapping the sound of the short film De Lá pra Cá, we identified the existing Soundscapes in the film and their roles in narrative construction. The mapping and analysis decompose the sounds of the film in its different attributes, allowing its understanding on several levels. The analysis and subsequent interpretation of the mapping of sounds of the De Lá pra Cá film allowed to conclude that it’s made by different Soundscapes, with a predominance of hi‐fi,and at times opposed by the lo‐fi. The Soundscape gives rhythm, triggers emotions, evokes feelings, generates tensions, having an important narrative role.

his thesis describes Perceptual Audio Coding of MPEG1 Layer 3 format (ISO/IEC 11172-3), principles and algorithms of psychoacoustic model. MATLAB application for modeling of Psychoacoustic model 2 of this audio format is developed.