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A thesis submitted to the Faculty of Humanities, in partial fulfilment of the degree of Master of Arts in Digital Arts,University of the Witwatersrand, 2016 / This dissertation explores different but related philosophies of material agency - the idea that all matter, human or non-human, carries some kind of agency: a capacity to affect and to be affected, the potential sociopolitical implications of such a viewpoint and the potential of sound art to explore these ideas in an experiential way. I discuss and draw connections between three materialist philosophies: the New Materialism of Gilles Deleuze, Felix Guatarri, Brian Massumi and others, the Vibrant Materialism of Jane Bennett and the Sonic Materialism of Christoph Cox, Steve Goodman, Salomé Voegelin and others. These materialist philosophies understand bodies not as static or complete, but in a constant state of flux, never fully formed but continuously form-ing; always in relation to and affected by the ongoing formation of other material bodies. Advocating the decentralisation of human experience, Vibrant Materialism takes into account material processes beyond the intentions or interventions of humans. Sonic Materialism understands sound as an exemplary illustration of affective matter in flux: always present, always moving, always in flux and always affecting and affected by everything it comes into contact with. As a case study, the collected works of a sound artist named Eleh show how these ideas can be implemented in practice. The research finally culminated in an exhibition of installations exploring the potential of sound to move, to act, to change, to affect and to be affected, towards a definition of sound as vibrant matter. / MT2017

Contemporary theorising within the field of sound art practice emphasises the pursuit and function of listening as a central tenet in forming understanding and content. This research goes some way to re-balance this bias by shifting the weight of significance from listening to sounding and its practices. In its vernacular understanding, listening is commonly attributed to the human subject, whereas the potential to sound is shared by both the animate and the inanimate. It is with this in mind that I posit a doing of sound, whether anthropomorphically generated or not, as being crucial in thinking in, through and with sound. In this thesis, I examine a performative materialism of the sonic. I advance the concept of a shared ontology between the sonic and the performative via an original application of what has been called the Performative Turn in art and the humanities, to sound art practice and its related theory. This research contributes a unique merger of concepts that are often considered to be in opposition. In combining theories that stress the primacy of objects with those that foreground agency, I am suggesting procedures for relational and generative sonic pedagogies that differ from currently accepted practices. Moreover, this adaptation moves the relational within these concepts to centre stage, creating a thinking that is disposed toward deed and emergence rather than thingness I expound a Deed-Oriented Ontology (DOO) of the sonic through a conceptual re-purposing of recent trends in philosophy, such as object-oriented ontology (OOO), speculative realism and new materialism. This is predominantly achieved by using outcomes that employ variations upon the theme of performance presentation and lecture-event. The structure of this thesis is such that it makes use of performative-writing practices and materiality (be that of text or sound or performance) as possessing modes of transformation, organisation and knowledge dissemination. Central to this thesis is the idea that sound art is capable of generating its own kind of thinking which is only accessible through practice-led procedures or doing-thinking.

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The current work is devoted to the problem of sound wave scattering by elastic cylindrical objects in a plain acoustic waveguide. The Multi- Modal Integral Method (MMIM) is proposed, which is based on nonstandard representation of the Green's function. It combines advantages of integral equation and eigenfunction methods and provides a quickly converging and highly accurate solution, taking into account all the waveguide modes up to infinite order. As illustrations of application of this method, acoustic diffraction is calculated from a system of several parallel homogeneous cylinders and from an air-filled cylindrical elastic shell. Numerical solutions are found for various versions of the system of elastic cylinders in a fluid layer with perfectly soft and rigid boundaries. Phase - frequency and amplitude - frequency characteristics are found for modal coefficients of the scattered field. Sharp increase of their amplitudes is found near resonance frequencies of the waveguide and the scattering cylinders. Pictures of the source density on the surface of the cylinders show that the nature of their distribution strongly depends on the frequency and the mutual location of the cylinders in the waveguide. Field structure near the cylinders reveals that higher-order waveguide modes play a significant role in the scattering process. Spatial distribution of the acoustic power flow near the scattering object is calculated for several frequencies and two sets of elastic properties of the cylinder. It is shown that at the critical frequencies of the waveguide as well as at the internal resonances of the cylinder the acoustic energy flows in closed paths in some regions of the waveguide. Near the internal resonances of the cylinder the closed paths are located in the near vicinity of the scattering object and partially go through its interior. It is suggested that re-radiation of the energy stored in the vortices may contribute to the echo phenomenon. The integral reflection coefficient is calculated for a system waveguide/shell for different values of wall thickness and distance between the shell and the waveguide bottom. Maxima and minima in the reflection coefficient associated with cut-on frequencies of the waveguide modes and structural resonances of the shell are identified. The calculations show that the conventional definition of target strength in a shallow waveguide is inappropriate. Different kinds of resonances are identified in frequency and angular dependencies of the velocity amplitude of the shell surface. These resonances belong to the following groups: a) critical frequencies of the waveguide modes, b) structural resonances of the elastic shell, c) resonance oscillations of the gas-filled interior of the shell, d) resonance oscillations of the coupled fluid-shell. Application of the Multi-Modal Integral Method (MMIM) to Sound Wave Scattering in an Acoustic Waveguide. Temporal sequences of pictures showing the spatial structure of the total and scattered fields in the near and far field zones are obtained. It is shown that the incident field produces waves of acoustic pressure propagating along the boundary of the scattering object, which, in turn, generate the scattered acoustic field. In the process of propagation, the waves may interact with each other via the fluid or the scattering object. This leads to significant changes of the structure of the acoustic field and of the amount of acoustic energy reflected from the scatterer. It is also shown that, in most cases, standing waves exist between the scatterer and the waveguide boundaries. Accuracy of the Multi-Modal Integral Method is discussed. It is shown that the implementation of the method requires few computer resources for good accuracy of the solution. / Thesis (Ph.D.)--School of Mechanical Engineering, 1999.

Thesis (M.Eng.)--University of Louisville, 2007. / Title and description from thesis home page (viewed December 14, 2007). Department of Electrical and Computer Engineering. "November 2007." Includes bibliographical references (p. 97-99).

Thesis (Ph. D.)--Massachusetts Institutite of Technology and Woods Hole Oceanographic Institution, 1983. / Bibliography: p. 357-360.

A comparison and analysis of existing texts whose focus was jazz and contemporary vocal ensemble techniques, in combination with the information gathered from interviews, as well as the author's personal teaching and professional experience as a jazz vocal artist, group singer, and jazz vocal ensemble director, served as the basis for developing strategies for a jazz and contemporary vocal ensemble sound. The major elements found to be the most critical for inclusion in sequence include: commonalities and differences, sound system and vocal production, ballad interpretation, swing interpretation, and contemporary interpretation. It is the author's intention to design an easy-to-follow guideline for the traditional choral director whose desire is to develop a jazz vocal ensemble within the choral program. The strategies presented are intended to introduce basic concepts of vocal production and style that are deemed relevant and idiomatic for the jazz and contemporary vocal ensemble. A compact disc is also included, demonstrating the written examples. A series of interviews were also conducted with Professor Larry Lapin (University of Miami), Dr. Stephen Zegree (Western Michigan University), Kerry Marsh (Sacramento State University), Janis Seigel (Manhattan Transfer), Lauren Kinhan (New York Voices), Michelle Amato (Yanni/Disney/studio singer), and Julia Dollison (Down Beat Jazz Vocal Winner).

I mitt examensarbete har jag valt att försöka undersöka i vilken utsträckning det i en hemmastudio är möjligt att återskapa ett sound från en professionell inspelningsstudio. Denna fråga är intressant för mig då jag fastnade för hur en produktion lät i ljudbilden. Dels instrumentuppsättningen och deras rytmisering men främst soundet på helheten i mixen. Det kändes luftigt, stort och brett i lyssningsspektrat trots att det inte var så mycket instrument. Jag har alltid velat utveckla min förmåga att skapa och producera musik men har inte tillgång till så mycket kvalitativ utrustning. Då fick jag idén att försöka se om det är möjligt att återskapa deras studioproduktion i min hemmastudio med de enkla medel jag har och applicera resultatet på mina egenskrivna låtar. Varför jag vill göra denna undersökning beror främst på grund av en viktig aspekt, det handlar om den ekonomiska biten. Många ”amatör-musiker/producenter” sitter hemma i sina bostäder/sovrum med det lilla som behövs för deras musikskapande. Som exempel kan det handla om ett par mikrofoner, ett ljudkort, dator med inspelningsprogram samt några instrument. Då det kan vara dyrt för många att hyra in sig timvis i en inspelningsstudio vill jag därför ta reda på ifall det är möjligt att med det man har för sin egen del hemma kunna återskapa ett sound från en studioproduktion och spela in på bästa sätt.   Det band jag väljer att återskapa i denna undersökning heter The National. Den typ utav musik bandet gör kan uppfattas som ambient rock och det som gör deras musik intressant är att ljudbilden känns stor trots en avskalad instrumentering. Jag har valt att försöka återskapa två av deras låtar från deras album High Violet. Låtarna heter Bloodbuzz Ohio (http://open.spotify.com/track/61yQP9FDS7ukp4eAVTdwit) och You were a kindness (http://open.spotify.com/track/5aCnL27dI95P0r1uGPRqfD).

The objective of this study is the investigation of the mechanism responsible for the squeal vibrations excited when bodies with fairly rough surfaces are rubbed on a cold dry slightly compacted snow bed. To this end, signals were recorded and analyzed when the snow surface was rubbed by the ends of baseball bats, the ends of circular wood rods, and by the thick sole of a rubber boot. It is argued that the vibration modes are confined in the rubbing bodies and that the role of the snow bed is limited to providing the right conditions for the stick-slip effect to be applicable at the rubbing interface. An attempt is made to account for the reported very intense sound emission from a sheared very cold snow bed in terms of coherent snow granule column vibrations around the shearing body, as in the case of a sheared singing sand bed.