Run-Length-Limited (RLL) channels are found in digital recording systems like the Hard Disk Drive (HDD), Compact Disc (CD), and Digital Versatile Disc (DVD). This thesis presents novel encoding algorithms for RLL channels based on a simple technique called bit stuffing. First, two new capacity-achieving variable-rate code constructions are proposed for (d,k) constraints. The variable-rate encoding ideas are then extended to (0,G/I) and other RLL constraints. Since variable-rate codes are of limited practical value, the second half of this thesis focuses on fixed-rate codes. The fixed-rate bit stuff (FRB) algorithm is proposed for the design of simple, high-rate (0,k) codes. The key to achieving high encoding rates with the FRB algorithm lies in a novel, iterative pre-processing of the fixed-length input sequence prior to bit stuffing. Detailed rate analysis for the proposed FRB algorithm is presented, and upper and lower bounds on the asymptotic (in input block length) encoding rate are derived. Several system-level issues of the proposed FRB codes are addressed, and FRB code parameters required to design rate 100/101 and rate 200/201 (0,k) codes are tabulated. Finally, the proposed fixed-rate encoding is extended to (0,G/I) constraints.

Music recordings contain the mixed contribution of multiple overlapping instruments. In order to better understand the music, it would be beneficial to understand each instrument independently. This thesis focuses on separating the individual instrument recordings within a song. In particular, we propose novel algorithms for separating instrument recordings given only their mixture. When the number of source signals does not exceed the number of mixture signals, we focus on a subclass of source separation algorithms based on joint diagonalization. Each approach leverages a different form of source structure. We introduce repetitive structure as an alternative that leverages unique repetition patterns in music and compare its performance against the other techniques. When the number of source signals exceeds the number of mixtures (i.e. the underdetermined problem), we focus on spectrogram factorization techniques for source separation. We extend single-channel techniques to utilize the additional spatial information in multichannel recordings, and use phase information to improve the estimation of the underlying components.

Thesis (MScEng)--University of Stellenbosch, 2003. / ENGLISH ABSTRACT: Two non-destructive methods of extracting audio from Edison phonographic cylinders were investigated. A recording device with high accuracy positioning was designed and manufactured. A microscopic image method was investigated first. Surface images of the cylinder were obtained using a webcamera. An audio signal was then extracted from the width modulation. Results were not pleasing as echoes caused by intergroove modulation were perceptable. The audio also lacked resolution. The true modulation of the audio is not embedded in the width, but in the depth of the groove. The second audio extraction method involved using a laser pick-up from a compact disc player to measure the depth of the groove. Three laser recording methods were investigated. The first was forward recording, that measured the depth modulation in the recording direction of the groove. The second method, backward recording, was identical to forward recording with the mechanical system moving in reverse. Four recordings from different positions in the groove were combined to create an audio signal. This combination of recordings showed a substantial improvement in the signal-to-noise ratio. A third recording method, transverse recording, that measured the whole depth profile of the groove was also investigated. The groove profile was then processed to an audio signal. A manual audio restoration program was written to replace visible sections of distorted data with better interpolations. Two speech enhancement methods were investigated, the first being the most commonly used speech enhancement method for digital audio restoration, Short-Time Spectral Attenuation (STSA). The second method is based on linear predictive coefficient (LPC) estimation of short-time frames. The two methods were evaluated by means of listening tests. The LPC enhancement method was preferred because it enhanced the intelligibility of the speech. / AFRIKAANSE OPSOMMING: Twee nie-destruktiewe metodes om klank van Edison-fonograafsilinders te onttrek, is ondersoek. 'n Opneemtoestel, wat die silinders met baie hoë akkuraatheid posisioneer, IS ontwerp en vervaardig. 'n Mikroskopiese beeldrnetode IS as eerste klankonttrekkingsmetode ondersoek. Mikroskopiese beelde is met 'n webkamera van die silinderoppervlak geneem. Klank is vanuit die wydtemodulasie sigbaar in die beelde onttrek. Resultate was nie bevredigend nie weens groefintermodulasie-eggo's en 'n tekort aan resolusie. Die ware modulasie van die klank is nie in die wydte van die groefie gegraveer nie, maar in die diepte. Die tweede klankonttrekkingsmetode gebruik 'n aangepaste lasersensor van 'n CD-speler om die dieptemodulasie van die groefie te meet. Drie laseropneemmetodes is ondersoek. Die eerste is voorwaartse opname, wat die dieptemodulasie in die opneemrigting van die groefie meet. 'n Tweede opneemmetode, truwaartse opname, is identies aan voorwaartse opname, behalwe dat die meganiese stelsel in trurat beweeg. Vier opnames vanuit verskillende posisies in die groefbreedte is gekombineer om 'n klanksein te vorm. Die kombinasie van vier opnames toon 'n beduidende verbetering op die sein-tot-ruis-verhouding. Dit het aanleiding gegee tot die derde opneemmetode, dwarsskandering, wat die hele profiel van die groef meet. Die groefprofiel word dan verwerk tot 'n klanksein. 'n Handoudiorestourasieprogram is geskryf om sigbare verwringing in die klanksein met beter interpolasies te vervang. Twee spraakverheffingsmetodes is ondersoek. Short- Time Spectral Attenuation (STSA) is die mees gebruikte metode vir oudiorestourasie. 'n Tweede spraakverheffingsmetode wat van 'n lineêre voorspellingskoëffisiëntafskatting (LPC-afskatting) van korttydraampies gebruik maak, is ook toegepas. Die twee metodes is deur luistertoetse teen mekaar opgeweeg. Die LPCmetode is verkies aangesien dit die verstaanbaarheid van die spraak beter behoue laat bly.

Orientador: Luiz Antonio Rossi / Dissertação (mestrado) - Universidade Estadual de Campinas, Faculdade de Engenharia Agricola / Made available in DSpace on 2018-08-11T08:27:55Z (GMT). No. of bitstreams: 1 Velloso_NinaMiglioranza_M.pdf: 2115577 bytes, checksum: a41a9cbebf41a1039131c1d816d64d5e (MD5) Previous issue date: 2008 / Resumo: A importância da suinocultura brasileira no contexto socioeconômico do país é cada vez mais evidente. Por ser uma atividade que gera milhares de empregos anualmente, além de incrementar o produto interno bruto da nação por meio das expressivas exportações da carne suína, cada vez mais atenção é despendida com os requerimentos dos animais. Apesar disso, pouco tem sido pesquisado sobre as exigências de uma categoria em especial, a dos machos reprodutores do plantel, que são extremamente susceptíveis a condições climáticas adversas. Deste modo, torna-se importante a realização de estudos acerca dos requisitos necessários para mantê-los em conforto térmico, visto que são grandes as perdas na produção devido aos dias muito quentes e às grandes amplitudes térmicas. Uma alternativa para minimizar estas perdas é o uso de sistemas de climatização. Este trabalho teve por objetivo avaliar dois grupos de cachaços, grupos A e B, alojados, respectivamente, em instalações climatizadas por meio de sistema automatizado de ventilação artificial e nebulização, e em instalações climatizadas apenas por ventilação artificial e seguindo o manejo de acionamento dos ventiladores já praticado na propriedade. Foram considerados aspectos de desempenho reprodutivo e conforto térmico dos animais e do uso de energia elétrica pelos equipamentos de climatização. O experimento foi conduzido em uma granja comercial localizada na cidade de Capivari/São Paulo, com animais de uma mesma linhagem genética. O parâmetro utilizado na comparação do desempenho reprodutivo dos animais de ambos os grupos foi a análise das características do sêmen, que se relacionam diretamente com a taxa de prenhez das fêmeas. As edificações de alojamento dos animais também foram comparadas, avaliando-se variáveis climáticas, custos operacionais, gastos com equipamentos de climatização e automação, além da utilização da energia elétrica por parte dos mesmos. Os principais resultados obtidos demonstraram que o sistema de climatização automatizado manteve os animais em uma condição ambiental mais segura, porém não houve melhora nos índices de qualidade seminal dos animais deste grupo. Os valores médios de volume seminal e concentração espermática foram superiores nos animais do grupo B. Os impactos no custo mensal da conta de energia elétrica do posto transformador que fornece energia elétrica para a instalação dos cachaços foram de 2,26% e de 4,82%, para os dois meses completos avaliados / Abstract: Swine grow activities in Brazil is exhibiting an increasing importance to the national social economy. The particular attention devoted to the animal physical requirements is strongly supported by the direct and indirect job opportunities generated as well as by the significant swine meet exportation which push the national internal gross product to high levels. In spite of that, little research efforts has been directed to a special animal group identified as the breeding stock reproducing males, which are very susceptible to temperature changes. That information gives support to a deep study on animal thermal comfort, which is strongly associated to production losses and to the thermal amplitude variations. The application of environmental controlling systems aims to minimize these above referred losses. This research work aimed to evaluate two groups of males, named group A and group B, kept under artificial automatic ventilation and nebulization, as well as only under artificial ventilation following the traditional fan operation, respectively. Factors as reproducing performance, animal thermal comfort, as well as electrical energy use by the environment controlling system have been considered. Experimental trials were carried in a swine growing facility located at Capivari, SP, Brazil by employing animals belonging to a same commercial genetic group. Semen characteristics were employed as a factor of comparison, which are associated to the female pregnancy rate. The shelter¿s building of those animals were also compared, by assessing up climatic variables, operating costs, spending on air conditioning equipment and automation, and the use of electric energy by them. The main results showed that the automated system of air conditioning kept the animals in a safer environmental condition, however there was no improvement in seminal quality scores for the animals of this group. The mean values of seminal volume and sperm concentration were higher in the animals of group B. The impacts on the cost of monthly account of electric energy of the post processor, which provides electricity for the installation of males, were 2.26% and 4.82% for the two whole months assessed. / Mestrado / Construções Rurais e Ambiencia / Mestre em Engenharia Agrícola

Orientador: Pedro Peixoto Ferreira / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciências Humanas / Made available in DSpace on 2018-08-25T12:51:50Z (GMT). No. of bitstreams: 1 Malhao_RafaeldaSilva_M.pdf: 19665783 bytes, checksum: 97dedddf16af7fdc50c3ab0adc13a7b9 (MD5) Previous issue date: 2014 / Resumo: A presente dissertação tem como objeto e objetivo central compreender o processo tecno-genético de formação dos DJs de Música Eletrônica de Pista (MEP) para uma atuação efetiva frente a uma pista de dança. Para dar conta da tarefa que me propus dediquei-me a analisar este processo a partir de três de abordagens distintas, a saber, tecnologia, técnica e habilidade, que assumem dinâmicas relacionais diferentes que dependem do objetivo e combinação estabelecida entre elas, e a partir destes diferentes cenários relacionais estas combinações orientam ritmos específicos de interação entre humanos e máquinas. Estas combinações e ritmos foram o núcleo para a análise mais profícuo identificado para explorar o DJ como conceito e prática no âmbito da MEP. Estas três abordagens visam desdobrar as questões relativas a cada tópico supracitado e a integração destas abordagens se dá por meio de uma experiência estética não contemplativa. A primeira abordagem tem como preocupação central as diferentes formas em que a tecnologia de reprodução sonora foi relevante para MEP e visa constituir uma base material da mudança tecnológica para as discussões abordadas subsequentemente. A segunda abordagem parte desta base tecnológica a fim de apresentar as possíveis formas de constituição das habilidades, das técnicas e do corpo por meio da atuação sinérgica para fins comuns entre DJs e tecnologias de reprodução sonora. A terceira abordagem se vale das duas anteriores para tentar compreender a relação que se estabelece entre estes modos tecnológicos e técnicos de formação das habilidades e percepção que contribuem na forma de interação entre DJs e pista de dança, atendo-se principalmente, nas potencialidades e especificidades de uma proposta tecno-estética que busca escapar da passividade contemplativa na relação entre público e executores de atos estéticos. Este percurso se fez necessário para a compreensão do papel das tecnologias na formação dos sentidos e das ações a eles correspondentes durante o processo de aprendizado das técnicas sendo elas de discotecagem ou modos de dança. Por fim, identifico, assim como alguns autores que perpassam o texto, que o modo de percepção, bem como o corpo que percebe ? e todas as implicações desta situação ? não são dados a priori, e sim, se constituem ao longo das diferentes interações com o ambiente e com a tecnologia. E que uma abordagem estética que privilegie a experiência estética mediada por objetos que não são necessariamente estéticos, mas objetos que possibilitam diferentes reticulações do espaço e do tempo por meio do seu modo de manipulação e inserção em contextos específicos foi a maneira mais interessante para descrever a relação entre DJs, tecnologias e pista de dança / Abstract: The aim of this study is to understand the techno-genetic process of the development of Electronic Dance Music (EDM) DJs in an effective performance in the dance floor. To be able to accomplish this task I analyse the process from three distinct approaches, namely technology, techniques, and skills that assume different relational dynamics depending on the goal and the combination stabilished among them, and from those different relational scenaries those combinations orient toward specific rhythms of interaction between mankind and machines.These combinations and rhythms were the most proficuous nucleous to the analysis, identified to explore the DJ as concept and practise in EDM. Those three approaches are to unfold the issues regarding each topic above mentioned and the integration of the approaches happens through a non-contemplative aesthetic experience. The first approach aims the different ways sound reproduction technology was relevant to EDM and intends to build a material base of technological change to the discussions subsequently dealt. The second approach derives from said technological base in order to present the possible ways of developing skills, techniques, and body by the synergic movement to common goals between DJs and sound reproduction technology. The third approach derives from the first two aiming to understand the relation stablished among the technological ways and the techniques to form the skills and perceptions that contribute the way of interaction between DJs and the dance floor. It focuses mainly in potencialities and specificity of the techno-aesthetic proposal that tries to scape from contemplative passivity in the relation between the audience and the performer of aesthetic acts. All this process was needed to understand the role the technologies play in the formation of senses and actions corresponding to them during the technique learning process of either DJing or dance moves. Consequently, I identified, as well as some autors who perpassed the text, the fact that the way of perception and the body that perceives and also all implications of this situation are not given a priori, and that way, are constituted during the different interactions with the environment and technology. Also an aesthetic approach that previleges the aesthetic experience mediated by objects not necessarily aesthetic, but objects with different reticulations of the space and the time through their form of manipulation and inserction in specific contexts was the most interesting way to describe the relation between DJs, technologies, and dance floor / Mestrado / Sociologia / Mestre em Sociologia

The representer theorem from the reproducing kernel Hilbert space theory is the origin of many kernel-based machine learning and signal modelling techniques that are popular today. Most kernel functions used in practical applications behave in a homogeneous manner across the domain of the signal of interest, and they are called stationary kernels. One open problem in the literature is the specification of a non-stationary kernel that is computationally tractable. Some recent works solve large-scale optimization problems to obtain such kernels, and they often suffer from non-identifiability issues in their optimization problem formulation. Many practical problems can benefit from using application-specific prior knowledge on the signal of interest. For example, if one can adequately encode the prior assumption that edge contours are smooth, one does not need to learn a finite-dimensional dictionary from a database of sampled image patches that each contains a circular object in order to up-convert images that contain circular edges. In the first portion of this thesis, we present a novel method for constructing non-stationary kernels that incorporates prior knowledge. A theorem is presented that ensures the result of this construction yields a symmetric and positive-definite kernel function. This construction does not require one to solve any non-identifiable optimization problems. It does require one to manually design some portions of the kernel while deferring the specification of the remaining portions to when an observation of the signal is available. In this sense, the resultant kernel is adaptive to the data observed. We give two examples of this construction technique via the grayscale image up-conversion task where we chose to incorporate the prior assumption that edge contours are smooth. Both examples use a novel local analysis algorithm that summarizes the p-most dominant directions for a given grayscale image patch. The non-stationary properties of these two types of kernels are empirically demonstrated on the Kodak image database that is popular within the image processing research community. Tensors and tensor decomposition methods are gaining popularity in the signal processing and machine learning literature, and most of the recently proposed tensor decomposition methods are based on the tensor power and alternating least-squares algorithms, which were both originally devised over a decade ago. The algebraic approach for the canonical polyadic (CP) symmetric tensor decomposition problem is an exception. This approach exploits the bijective relationship between symmetric tensors and homogeneous polynomials. The solution of a CP symmetric tensor decomposition problem is a set of p rank-one tensors, where p is fixed. In this thesis, we refer to such a set of tensors as a rank-one decomposition with cardinality p. Existing works show that the CP symmetric tensor decomposition problem is non-unique in the general case, so there is no bijective mapping between a rank-one decomposition and a symmetric tensor. However, a proposition in this thesis shows that a particular space of rank-one decompositions, SE, is isomorphic to a space of moment matrices that are called quasi-Hankel matrices in the literature. Optimization over Riemannian manifolds is an area of optimization literature that is also gaining popularity within the signal processing and machine learning community. Under some settings, one can formulate optimization problems over differentiable manifolds where each point is an equivalence class. Such manifolds are called quotient manifolds. This type of formulation can reduce or eliminate some of the sources of non-identifiability issues for certain optimization problems. An example is the learning of a basis for a subspace by formulating the solution space as a type of quotient manifold called the Grassmann manifold, while the conventional formulation is to optimize over a space of full column rank matrices. The second portion of this thesis is about the development of a general-purpose numerical optimization framework over SE. A general-purpose numerical optimizer can solve different approximations or regularized versions of the CP decomposition problem, and they can be applied to tensor-related applications that do not use a tensor decomposition formulation. The proposed optimizer uses many concepts from the Riemannian optimization literature. We present a novel formulation of SE as an embedded differentiable submanifold of the space of real-valued matrices with full column rank, and as a quotient manifold. Riemannian manifold structures and tangent space projectors are derived as well. The CP symmetric tensor decomposition problem is used to empirically demonstrate that the proposed scheme is indeed a numerical optimization framework over SE. Future investigations will concentrate on extending the proposed optimization framework to handle decompositions that correspond to non-symmetric tensors.

In reviewing the events of the advances of science and technology of the past two decades one is struck by the magnificence of man's accomplishments. The first moon walk televised live in 1969, the widespread utilization of color television receivers, the educational uses of sophisticated audio-visual equipment such as overhead projectors, slide projection, sound tape recorders, close-circuit television and videotape and the almost omniscient usage of television, is ample evidence to demonstrate that the tools necessary to accomplish a task are readily accessible items in this age. We are introduced to new gadgets, innovations, and events (like the moon walk) at such a rapid pace that we have become more flexible and more receptive to change; so much so that at times many of us are even blase about nearly miraculous accomplishments.

Thesis (M. Phil. (Music Technology)) -- University of Stellenbosch, 2006. / ENGLISH ABSTRACT: Modern digital signal processing, allowing a much greater degree of flexibility in audio processing and therefore greater potential for noise removal, pitch correction, filtering and editing, has allowed transfer and audio restoration engineers a diversity of ways in which to “improve” or “reinterpret” (in some cases even drastically altering) the original sound of recordings. This has lead to contrasting views regarding the role of the remastering engineer, the nature and purpose of audio restoration and the ethical implications of the restoration process. The influence of audio restoration on the recorded legacy of a performing artist is clearly illustrated in the case of Maria Callas (1923 - 1977), widely regarded not only as one of the most influential and prolific of opera singers, but also one of the greatest classical musicians of all time. EMI, for whom Callas recorded almost exclusively from 1953 - 1969, has reissued her recordings repeatedly, continually adapting their sound “to the perceived preferences of the record-buying public” (Seletsky 2000: 240). Their attempts at improving the sound of Callas’s recordings to meet with the sonic quality expected of modern recordings, as reissued in the latest releases that form part of EMI’s Callas Edition, Great Recordings of the Century (GROTC) and Historical Series, have resulted in often staggeringly different reinterpretations of the same audio material that bear no resemblance to previous CD or LP incarnations or “evince no consolidated conviction about exactly how Callas’s voice should sound.” In essence, some commentators argue that the “Callas sound” we hear on recent CD releases is not necessarily exactly as the great diva might have sounded. The purpose of this study is to consider the influence of audio restoration and remastering techniques on the recorded legacy of Callas, by illustrating the sometimes startlingly different ways in which her voice has been made to sound, examining and comparing the way in which different remasterings of the same audio material can vary in quality, as well as demonstrating how vastly different sonic reinterpretations of a single recording can affect our perception of an artist’s “true” sound. To this end, various reissues of six different complete opera recordings, including four studio recordings: Tosca (1953), Lucia di Lammermoor (1953), Norma (1954), Madama Butterfly (1955), as well as two “live” performances of Macbeth (1953) and La Traviata (1958), have been evaluated and compared, using the “true” sound of Callas’s voice as reference in comparing the different remasterings. Pitch and frequency spectrum analysis was used to confirm or support any subjective claims and observations and further analysis performed with the aid of a specialised Matlab algorithm. / AFRIKAANSE OPSOMMING: Moderne digitale seinprossesering bied kragtige en veelsydige moontlikhede vir die verwerking van klankseine. Die groter potensiaal vir ruisverwydering, toonhoogte verstelling, filtrering en redigering van opnames bied klankingenieurs ‘n wye verskeidenheid van maniere om die oorspronklike klank van opnames te verbeter, te interpreteer en soms ingrypend te verander. Dit het aanleiding gegee tot teenstrydige en uiteenlopende menings oor die funksie van die klankrestourasie-ingenieur, die aard en doel van klankrestourasie en die etiese gevolge van die restourasieproses. Die invloed van klankrestourasie op die klanknalatenskap van ‘n uitvoerende kunstenaar kan duidelik bestudeer word in die geval van Maria Callas (1923 – 1977), algemeen aanvaar as een van die mees invloedryke en grootse klassieke musici van alle tye. Die platemaatskappy EMI, vir wie Callas feitlik uitsluitlik vanaf 1953 tot 1969 opgeneem het, het haar klankopnames reeds verskeie kere heruitgereik en die klank daarvan deurlopend aangepas om aanklank te vind by die “veronderstelde voorkeure van die publiek” (Seletsky 2000: 240). EMI se pogings om die klank van Callas se opnames te verbeter om aan die klankvereistes van moderne opnames te voldoen, het ontaard in dikwels aangrypend verskillende interpretasies van dieselfde audio materiaal wat geen ooreenkomste toon met vorige laserskyf of langspeelplaat uitgawes nie, asook “geen vasgestelde oortuigings openbaar oor hoe Callas se stem presies moet klink nie.” Sommige critici argumenteer dat die “Callas klank” wat ons op hedendaagse CD uitgawes hoor, nie noodwendig klink soos wat Callas werklik geklink het nie. Die doel van hierdie studie is om die invloed van klankrestourasie op die klanknalatenskap van Callas te bestudeer deur die verskillende wyses waarop die klank van haar stem aangepas is te illustreer, die verskille in klankkwaliteit tussen verskillende uitgawes van dieselfde materiaal te ondersoek en te vergelyk, asook te demonstreer hoe uiteenlopend verskillende interpretasies van ‘n enkele opname die persepsie van ‘n kunstenaar se “ware” klank kan affekteer. Vir hierdie doel is verkeie uitgawes van ses verskillende volledige opera opnames, insluitend vier studio opnames van onderskeidelik Tosca (1953), Lucia di Lammermoor (1953), Norma (1954) en Madama Butterfly (1955), asook twee “lewendige” opnames van Macbeth (1952) en La Traviata (1958) bestudeer deur Callas se “ware” klank as maatstaf te gebruik om die onderskeie opnames te vergelyk. Toonhoogte- en frekwensie spektrum analise, asook analise deur middel van ‘n gespesialiseerde Matlab algoritme, is deurlopend gebruik om enige subjektiewe gevolgtrekkings en waarnemings te staaf.

Este trabalho é dedicado ao estudo de propriedades teóricas dos operadores integrais positivos em \'L POT. 2\' (X; u), quando X é um espaço topológico localmente compacto ou primeiro enumerável e u é uma medida estritamente positiva. Damos ênfase à análise de propriedades espectrais relacionadas com extensões do Teorema de Mercer e ao estudo dos espaços de Hilbert de reprodução relacionados. Como aplicação, estudamos o decaimento dos autovalores destes operadores, em um contexto especial. Finalizamos o trabalho com a análise de propriedades de suavidade das funções do espaço de Hilbert de reprodução, quando X é um subconjunto do espaço euclidiano usual e u é a medida de Lebesgue usual de X / In this work we study theoretical properties of positive integral operators on \'L POT. 2\'(X; u), in the case when X is a topological space, either locally compact or first countable, and u is a strictly positive measure. The analysis is directed to spectral properties of the operator which are related to some extensions of Mercer\'s Theorem and to the study of the reproducing kernel Hilbert spaces involved. As applications, we deduce decay rates for the eigenvalues of the operators in a special but relevant case. We also consider smoothness properties for functions in the reproducing kernel Hilbert spaces when X is a subset of the Euclidean space and u is the Lebesgue measure of the space

Submitted by Filipe dos Santos (fsantos@pucsp.br) on 2018-07-04T12:24:09Z No. of bitstreams: 1 Fernanda Manzo Ceretta.pdf: 64197918 bytes, checksum: 89e46d8729046a5162627527f8dcd7bc (MD5) / Made available in DSpace on 2018-07-04T12:24:09Z (GMT). No. of bitstreams: 1 Fernanda Manzo Ceretta.pdf: 64197918 bytes, checksum: 89e46d8729046a5162627527f8dcd7bc (MD5) Previous issue date: 2018-06-26 / Conselho Nacional de Pesquisa e Desenvolvimento Científico e Tecnológico - CNPq / This research analyzes the sound design of movie monsters, especially their voices. Chewbacca (Star Wars, 1977), Godzilla (1954) and Predator (1987) constitute our corpus. These monsters have voices composed by designers who have experimented different creation processes, using sounds generated by nature, body and manipulated objects, in order to create the sound identity of these characters. We investigate the contexts of these creation processes and the resulting sounds in their particularities to make a proposition of a method for creating the sound of monsters. Our method covers the potential sources of base sounds and other sonic characteristics such as frequencies, timbre and intensity. The research was based in the observation of the selected audio-visual materials and in the documentation available regarding the making ofs (which is vast, given the popularity of the selected monsters). The thesis is based mainly on articulations with the works of Rick Altman, Michel Chion and William Whittington, on the cinematographic sound, and of Theo Van Leeuwen in his proposition of sonorous analysis / Este trabalho analisa o sound design de monstros do cinema, sobretudo suas vozes. Chewbacca (Star Wars, 1977), Godzilla (1954) e Predador (1987) constituem o corpus da presente pesquisa. Estes monstros possuem vozes compostas por designers que experimentaram diferentes processos de criação, utilizando sons na natureza, do corpo e de objetos manipulados para criar a identidade sonora destas personagens. investigamos os contextos destes processos de criação e os sons criados, em suas particularidades, para compor uma proposta de método de composição de som de monstros, o qual abarca as potenciais fontes dos sons de base e demais características sonoras, como frequências, timbres e intensidade. A pesquisa foi feita a partir da observação dos materiais audiovisuais selecionados e do resgate da documentação disponível sobre os bastidores da criação dos mesmos (bastante vasta dada a popularidade dos monstros selecionados). A tese se baseia sobretudo em articulações com obras de Rick Altman, Michel Chion, William Whittington acerca do som cinematográfico e em Theo Van Leeuwen em sua proposição de análise sonora