In the world of digital interactive entertainment, there has yet to be a well-defined system for the dynamic production of music. It is commonplace for a user to be able to interact with the visual aspect of a presentation or video game, yet the audio and musical aspects have been neglected, often being static musical scores or triggered audio events with no inherent interaction at all. The purpose of this study is to provide the groundwork for an extensible, modular, adaptive musical transformation system that is small and lightweight enough to be embedded within larger applications (such as games or web browsers), providing another level of interactivity for the user.

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Typescript. / Thesis (Ph. D.)--University of Hawaii, 1968. / Bibliography: leaves [31]-32. / v, 32 l maps, graphs

Fem låtar från Richard Pages skiva Peculiar Life har analyserats med syfte att ta reda på vad det är som ger dem dess sound. Analyserna har gjorts genom läsning av bookleten till skivan, informationssökning på internet, genom att titta på videodagbok från inspelning av skivan och genom att lyssna på låtarna. Analyserna har delats upp i kategorierna skriven information, video, utrustning och låtanalyser. Analyserna har visat att alla led i produktionen har stor betydelse för slutresultatet. Informationen som samlats in har använts till att återskapa soundet genom att komponera, arrangera, producera, spela in och mixa fem egna låtar baserat på analyserna. En undersökning gjordes med en grupp bestående av 66 gymnasieelever på estetiskt program med syfte att ta reda på om de egenkomponerade låtarna har samma sound som referensmaterialet. Ljudklipp från referenslåtarna och de egenkomponerade låtarna spelades upp tätt efter varandra varpå eleverna fick besvara en lyssnarenkät som tagits fram. De kategorier som betygsattes i enkäten var harmonier, arrangering och produktion. På enkäten fanns en förklaring av kategorierna. Resultatet från enkäten har sammanställts och analyserats och visar på ett delvis lyckat genomförande inom samtliga bedömningskategorier. Det första låtparet fick högt betyg, det andra låtparet fick medelbetyg och det tredje låtparet högt betyg.

This paper is about the sound iconicity of the Late Middle Chinese entering tone in two of Du Fu's long narrative poems, "The Journey to the North" and "Singing my Heart out in Five Hundred Characters on the Way from the Capital to Fongxian County", as well as Du Fu's grammar of poetry in these two poems. In poetry, rhyme is an arbitrary and 'visible' figure reiterated with regulation which forms an axis of sequence, and this axis will work jointly with all the other poetic elements—semantics, images, and grammar to form the whole of a poem. In these two poems, all the rhyme characters carry a voiceless —t ending, which is classified with —k and —p endings as the entering tone in Late Middle Chinese reconstructed by Edwin Pulleyblank. These voiceless stops are short, tense, and uncomfortable to utter; when they are repeated fifty and seventy times at the end of each couplet, it naturally brings about a strong, rough, and uncomfortable feeling which correlates with the feeling of suffering in both poems. It is sound iconicity, because an icon resembles the object it stands for in an immediate and concrete manner, and the —t ending rhyme characters do have the characteristics to make the reader grasp the feeling of suffering when she reads the poems. In terms of Du Fu's grammar of poetry, I used Jakobsonian methodology and found how Du Fu's poeticity was created with lexical meaning and grammar. Although Classical Chinese does not have a huge grammatical repertoire (e.g., person, case, gender, finite, non-finite . . .) which can figure in a poem, this language still has its own obligatory categories that will provide for the 'grammar of poetry'. Classical Chinese is already known for its grammatical parallelism in poetry, because this language is extremely isolating and analytical. However, grammatical parallelism is little in these two poems, but there are different kinds of grammatical tropes. They are mainly anti-syntactic inversions interacting with semantics. I found Du Fu a fascinating artist of grammar; he may be anti-grammatical but never agrammatical.

230 leaves : ill., diags., graphs, photos, tables ; 30 cm. / Title page, contents and abstract only. The complete thesis in print form is available from the University Library. / Thesis (Ph.D.)--University of Adelaide, Dept. of Mechanical Engineering, 1980

3 offprints in back pocket / xviii, 250 leaves : ill. ; 26 cm. / Title page, contents and abstract only. The complete thesis in print form is available from the University Library. / Thesis (Ph.D.1973) from the Dept. of Electrical Engineering, University of Adelaide

Thesis (M.S.)--West Virginia University, 2008. / Title from document title page. Document formatted into pages; contains iii, 44 p. : ill. (some col.). Includes abstract. Includes bibliographical references (p. 42-44).

Thesis (Ph. D.)--University of Adelaide, Dept. of Mechanical Engineering, 1989. / Includes bibliographical references (leaves 140-149).

Thesis (Ph.D.) Dept. of Mechanical Engineering, University of Adelaide, 1979. / Typescript (photocopy).