A number of companies have developed a variety of network approaches to the transfer of audio and MIDI data. By doing this, they have addressed the configuration complications that were present when using direct patching for analogue audio, digital audio, word clock, and control connections. Along with their approaches, controlling software, usually running on a PC, is used to set up and manage audio routings from the outputs to the inputs of devices. However one of the advantages of direct patching is the conceptual simplicity it provides for a user in connecting plugs of devices, the ability to connect from the host plug of one device to the host plug of another. The connection management or routing applications of the current audio networks do not allow for such a capability, and instead employ what is referred to as a two-step approach to connection management. This two-step approach requires that devices be first configured at the transport layer of the network for input and output routings, after which the transmit and receive plugs of devices are manually configured to transmit or receive data. From a user’s point of view, it is desirable for the connection management or audio routing applications of the current audio networks to be able to establish routings directly between the host plugs of devices, and not the audio channels exposed by a network’s transport, as is currently the case. The main goal of this work has been to retain the conceptual simplicity of point-to-point connection management within digital audio networks, while gaining all the benefits that digital audio networking can offer.

Usando o modelo de ajustamento apresentado por Schaffrin (2001), este trabalho apresenta uma metodologia para ajustamento de redes geodésicas GPS de densificação e extensão, a qual substitui com vantagem o tratamento clássico que utiliza um ajustamento livre seguido por uma \"transformação de Helmert\". A característica deste método é introduzir um procedimento estatisticamente ótimo, baseado no princípio dos mínimos quadrados, que permita ajustar a nova rede, vinculando-a a pontos fiduciais, e conectando-a a pontos de ligação com redes vizinhas de mesmo nível, considerados \"hierarquicamente superiores\" no processo. A técnica da \"propriedade reprodutora\" permite que esses pontos sejam ponderados em função das variâncias decorrentes de suas determinações, mas tenham suas coordenadas preservadas. Para a implementação dessa metodologia, foi desenvolvido um programa, em linguagem FORTRAN, que realiza o ajustamento vetorial da rede, utilizando o modelo paramétrico do método dos mínimos quadrados. O procedimento adotado consiste em fazer com que as variâncias dos pontos de injunção sejam introduzidas na nova rede, e que as coordenadas desses pontos, modificadas pelo ajustamento, sejam recuperadas. O programa apresenta também uma seqüência de testes que possibilitam a detecção, investigação e adaptação de possíveis erros encontrados. / By using the adjustment model presented by Schaffrin (2001), this work presents a methodology for the adjustment of GPS geodetic networks of densification and extension, which substitutes with advantage the classic treatment that uses a free net adjustment followed by a \"Helmert transformation\". The feature of this method is to introduce a statistically optimal procedure, based on least squares principle, that allows adjust the new network, linking it to fiducial points and connecting it to tiepoints with same level neighbor networks, all of them considered \"hierarchically superior\" in the process. The \"reproducing property\" technique allows that these points were weighed up as a function of the variances obtained in the preliminary determination, but they have their coordinates preserved. For this methodology implementation, a software in FORTRAN language was developed for the network vectorial adjustment, by using the linear parametric model of least-squares method. The adopted procedure allows the constraint point variances to propagate in the new network, but afterwards the coordinates of these points, changed in the adjustment, are retrieved. The software presents a sequence of tests to detect, to investigate and to analyze possible encountered errors, too.

Orientador: Orly Zucatto Mantovani de Assis / Dissertação (mestrado) - Universidade Estadual de Campinas, Faculdade de Educação / Made available in DSpace on 2018-08-06T12:15:43Z (GMT). No. of bitstreams: 1 Abrahao_AnaMariaPaesLemeCarrijo_M.pdf: 8957924 bytes, checksum: 892100e4fbc023a5355bf39870841dd9 (MD5) Previous issue date: 2006 / Resumo: A presente pesquisa pretende discutir a importância das atividades musicais para o trabalho com crianças no cotidiano da escola. Apresenta uma avaliação qualitativa intitulada rede semântica natural proposta por Figueroa, González e Solís (1981) sobre a concepção dos professores de educação infantil e ensino fundamental 1º e 2º ciclos de talento musical e a importância da música no ambiente escolar. Os resultados confirmam o julgamento, muito freqüente, do privilégio de poucos ¿dotados¿ de talento nato para o fazer musical e revela um reconhecimento das contribuições da música para o desenvolvimento cognitivo, afetivo, social e motor das crianças, embora as concepções dos professores sobre a música na escola não apresentem categorias que envolvam a prática musical como o cantar, tocar ou fazer música. Esses resultados provocaram algumas necessidades. Para tanto, pretendeu-se conhecer o processo de construção das noções musicais em crianças de educação infantil e propor um caminho de reflexão sobre as possibilidades musicais comum a todos. Assim, o estudo apresenta o registro gráfico do som realizado por crianças de 3 a 6 anos de idade que visa analisar à luz da psicologia genética o processo de representação gráfica do som e sua relação com a natureza da inteligência. Foram propostas duas observações, uma do ambiente sonoro da escola e outra da percepção de quatro instrumentos musicais: o par de cocos, o metalofone, a queixada e a flauta doce. Os estudos permitiram observar uma evolução do registro do som que parte das garatujas, sem semelhanças com os sons emitidos, passando pelo registro da fonte sonora, inicialmente sem nenhum sinal acompanhando o corpo do objeto e posteriormente com sinais que indicam o som como um prolongamento do objeto sonoro. Algumas representações apresentaram a evocação de objetos ausentes, características nas crianças pré-operatórias. Os registros mais evoluídos apresentaram o som desligado da fonte sonora se mantendo estável pela generalização do significante para um mesmo significado, caracterizando a passagem de símbolo para signo. A partir dessas observações, pôde-se concluir que a compreensão dos signos musicais exige a construção de estruturas mentais, fruto das explorações e invenções organizadas e criadas pelas crianças em contato com os elementos sonoros e das possibilidades de transformação do invisível para visível por meio da escrita, relacionando os signos arbitrários e convencionais às suas experiências anteriores. À guisa de conclusão, são apresentadas algumas reflexões sobre as práticas musicais decorrentes da exploração sonora e de suas representações escritas, possíveis de serem realizadas por qualquer profissional da educação, independente de ser ou não um especialista em música / Abstract: The present research intends to argue the importance of the musical activities for the work with children in the daily one of the school. It presents a qualitative evaluation intitled net natural semantics proposal for Figueroa, González and Solís (1981) on the conception of the professors of infantile education and basic education 1º and 2º cycles on musical talent and the importance of music in the pertaining to school environment. The results confirm the judgment, very frequent, of the privilege of few "endowed" with born talent to make musical comedy and disclose a recognition to it of the contributions of music for cognizance, affective, social and motor the development of the children, even so the conceptions of the professors on music in the school do not present categories that involve the practical musical comedy as singing, touching or to make music. These results had provoked some necessities. For in such a way, it was intended to know the process of construction of the musical slight knowledge in children of infantile education and to consider a reflection way on the musical possibilities common to all. Thus, the study it presents the graphical register of the sound carried through for children of 3 the 6 years of age that it aims at to analyze to the light of genetic psychology the process of graphical representation of the sound and its relation with the nature of intelligence. Two comments environment the school the sonorous another one of the perception of four musical instruments had been proposals, one of and: the pair of coconuts, metalofone, the jaw and the flute candy. The studies had allowed to observe an evolution of the register of the sound that has left of garatujas, without similarities with the emitted sounds, passing for the register of the sonorous source, initially without no signal following the body of the object and later with signals that indicate the sound as a prolongation of the sonorous object. Some representations had presented the absent, characteristic object mandate in the children daily pay-operative. The evolved registers more had presented the off sound of steady the sonorous source if keeping for the generalization of the significant one for one exactly meant, characterizing the ticket of symbol for sign. To leave of these comments, it could be concluded that the understanding of the musical signs demands the construction of mental structures, fruit of the explorations and inventions organized and created for the children in contact with the sonorous elements and of the possibilities of transformation of the invisible one for visible by means of the writing, relating the arbitrary and conventional signs to its previous experiences. To it stews of conclusion, are presented some reflections on the practical decurrent musical comedies of the sonorous exploration and its written, possible representations to be carried through for any professional of the education, independent of being or not a specialist in music / Mestrado / Psicologia, Desenvolvimento Humano e Educação / Mestre em Educação

O estudo teve por objetivo mostrar que as formas de relevo observadas na Bacia do Piracicamirim/SP traduzem a dependência genética de todo o conjunto de estruturas que se articulam no geossistema paisagístico dessa unidade geográfica, tendo por isso, grande importância como indicadoras da dinâmica precedente e da situação atual do mesmo, razão pela qual, o seu estudo foi tomado como fundamental não só para explicar a evolução dos processos geoecológicos da área mas, também, como norteador e, portanto, subsídio para o (re) planejamento futuro da referida bacia. A escolha da bacia em questão se justifica por sua meso-escala, o que a coloca, metodologicamente como adequada, para estudos de tendências, padrões de comportamento e de processos. A elaboração da carta morfodinâmica como método da pesquisa decorreu da intenção de avaliar a participação relativa do relevo na dinâmica dos processos, bem como da meta de identificar os graus de fragilidade ambiental. O estudo comprovou que a dinâmica das formas de relevo e as propriedades adquiridas em sua gênese determinaram a evolução dos processos geoecológicos e sócio-reprodutores observados na área; reforçou a adequação da perspectiva sistêmica e da sua materialização em uma carta síntese para estudos geomorfológicos com a pretensão técnica de subsidiar planejamento territorial; comprovou os riscos decorrentes da adoção, para o estudo de realidades complexas, de procedimentos exclusivamente analíticos; disponibilizou elementos de crítica em relação a procedimentos empíricos e computacionais de cartografação geomorfológica; identificou a relação relevo/solo/uso da terra como a que principalmente está a responder pela fragilidade ambiental na bacia; disponibilizou o ferramental que poderá subsidiar as necessárias ações públicas de (re) planejamento urbano/rural e de educação ambiental da área. / This study had the objective of showing that the shapes of the relief seen in the Piracicamirim Basin/SP translate the genetic dependence of all set of structures that articulate themselves in the geosystem of the landscape of this geographic unit, having thus great importance as indicators of the precedent dynamic and of its actual situation, this been the reason why its study was taken as fundamental not only to explain the evolution of the area geoecological processes but also as a north, and therefore a subside to the future (re)planning of the referred basin. The choice of this particular basin justifies itself for its meso-scale, which places itself methodologically as adequate to the studies of tendencies, processes and behavioral standards. The elaboration of the morphodynamic chart as methodology of research resulted from the intention of evaluating the relative participation of the relief in the dynamic of the processes as well as of the goal of identifying the levels of environmental fragility.The study proved that the dynamic of the shapes of relief and the acquired properties in their genesis determined the evolution of the geoecological and social- reproducing processes seen in the area ; reinforced the adequation of the systematic perspective and its materialization in a chart synthesis to geomorphological studies with the technical intension of subsidizing territorial planning; reassured the resultant risks of the adoption, to the study of complex realities, of exclusively analytical approaches; made critic elements in relation to empiric and computational approaches of geomorphologic cartographing available; identified the relation relief/soil/use of the land like the principal one to answer to environmental fragility of the basin; made the tool that can subsidize the necessary public actions of rural/urban (re)planning and of environmental education of the area.

Due to the accelerated growth in digital music distribution, it becomes easy to modify, intercept, and distribute material illegally. To overcome the urgent need for copyright protection against piracy, several audio watermarking schemes have been proposed and implemented. These digital audio watermarking schemes have the purpose of embedding inaudible information within the host file to cover copyright and authentication issues. This thesis proposes an audio watermarking model using MATLAB® and Simulink® software for 1K and 2K fast Fourier transform (FFT) lengths. The watermark insertion process is performed in the frequency domain to guarantee the imperceptibility of the watermark to the human auditory system. Additionally, the proposed audio watermarking model was implemented in a Cyclone® II FPGA device from Altera® using the Altera® DSP Builder tool and MATLAB/Simulink® software. To evaluate the performance of the proposed audio watermarking scheme, effectiveness and fidelity performance tests were conducted for the proposed software and hardware-in-the-loop based audio watermarking model.

Wind bands have been recording for over one hundred years. Through advancements in both technology and process, recordings have made a monumental impact on the wind band and its repertoire. These advancements have created clarity regarding the performance practice of pieces and helped to preserve the wind band repertoire. Many early works have gained masterwork status due, in large part, to the fact that recordings have preserved them. The increase in popularity of recording and, in particular, the wind band, warrants an investigation into the various aspects of the process. Additionally, gaining insight from wind band professionals who record will help to evaluate the contributions that recording has made to the education of performers and listeners, the preservation of repertoire and the artistic enhancement of the wind band. Each chapter explores aspects of the recording process and how those aspects have shaped the wind band, its repertoire and performance practice. Information from conductors, composers and engineers provide valuable insight pertaining to the educational, historical and artistic components of the recording process. The goal of all involved in the recording process should be the pursuit of technical perfection, which does not eclipse the ultimate musical goals of the project and the integrity of the composer's intentions.

Three original software programs utilizing improvisation and live sampling are presented here, along with a discussion of aesthetic issues raised by each. They are entitled Zur Elektrodynamik bewegter Musiker, Motet, and Gamepad Sampler. These programs vary in the degree of required interaction and in the kind of user control. They are each studies in imitative counterpoint through live sampling, with an approach seeking elegance before solutions. Because of the improvisational nature of these works, there is no standard musical score. Instead the complete Max/MSP source code and a sound recording of performances making use of these programs in varied situations are included. A discussion of issues raised by these works includes aesthetics, ontology, performance, and the role of the composer. Non-interactive indeterminate compositions are ontologically thin, because some composerly agency is required of the performer. An interactive work can be ontologically substantial if it makes distinct and significant contributions to performance, even though it may not make sound on its own. Although reproducibility reduces ontology and eliminates aura, live sampling within a performance can deepen the ontology of the performance by recontextualizing previous events, reframing the original event as the first reference to an abstract musical idea that lies outside the musical performance. Reproducibility also diminishes the aura or stage presence in live performance with computers. Complex feedback systems can be used to create computation instruments: musical instruments whose unique structure resonates in ways not explicit in their programs. As the human condition and the situation of the composer change, definitions of the composer and performer must be revised. Composition is shifting away from the creation of static artifacts toward the design of dynamic systems.

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