Med detta masterprojekt har jag siktat på att göra ett album bestående av tolv låtar med syftet att skapa ett sammanhängande sound för mitt bandprojekt ”isolate”. Processen har varit en metod för att få djupare kunskaper om hur man skapar en sonisk signatur genom begränsning av konstnärliga och tekniska möjligheter. Detta examensarbete är en dokumentation av skrivprocessen, förproduktion, inspelning och ljuddesign, som undersöker min viktigaste fråga: Hur kommer jag till ljudet? Forskningen har genomförts som en autoetnografisk studie. Genom att fokusera de viktigaste instrumentrollerna på albumet har jag utforskat hur deras sound definierar albumets signatur och skapar ett soniskt narrativ. Inspelningen av albumet har genomförts både digitalt och analogt och jag har fokuserat mig på hur de tekniska verktygen främjar känslor i låtarna. I det här arbetet diskuterar jag även mitt ledarskap som musikproducent och musiker i bandsammanhang. / With this master’s project, I have been aiming for a record consisting of twelve tracks with the purpose of creating a coherent sound for my band project ”isolate”. The process of making this record has been a method to gain deeper knowledge on how to create a signature sound, limit myself in possibilities to gather inspiration and capture creativity. This thesis is a documentation of the writing process, pre-production, recording, and sound design, which investigates the main question: What brings me to the sound? The research has been done through an auto-ethnographic observation. By emphasising the main instrument roles on the record, I have been exploring how their sound defines the signature of the album and creates a sonic narrative. Both digital and analogue sound-shaping has been utilised during the recording stage and I have been focusing on how the technical tools facilitate emotions in the songs. This thesis also brings my leadership as a music producer, as well as musician in the band context, to the table.

Im Genehmigungsverfahren für den Bau hochliegender Schallquellen (z.B. Windenergieanlagen) muss der Nachweis geführt werden, dass von den Anlagen keine schädlichen Umwelteinwirkungen ausgehen. Es ist es daher notwendig, die Schallausbreitung derartiger Quellen grundsätzlich zu untersuchen. Eine Schwierigkeit stellt dabei die gekoppelte Wirkung von Temperatur-, Windgeschwindigkeits- und Windrichtungsprofil in Zusammenhang mit dem Bodeneinfluss auf die Schallausbreitung dar. Dieser zeitlich und räumlich variable Atmosphäreneinfluss wird insbesondere bei Langzeituntersuchungen der Schallimmission bisher nur unzureichend in den operationellen Modellen beschrieben. Das Ziel der Studie besteht deshalb darin, die gekoppelte Wirkung von Atmosphäre- und Boden-Einfluss auf die Schallausbreitung in einem Bereich bis zu 2 km Entfernung von der Schallquelle mit dem Modell SMART (Sound propagation model of the atmosphere using ray-tracing ) zu untersuchen. / The licensing procedure for the construction of high-placed sound sources (e.g. wind power stations) demands to proof that no (significant and) harmful impact on environment is outgoing from these systems. Therefore, it is necessary to analyse the sound propagation of such a kind of sources. In this context one central problem has to be managed: the coupled effect of temperature, wind speed and wind direction profiles combined with the influence of surface on sound propagation. The temporally and spatially variable influence of the atmosphere is only insufficiently described by the operational models, especially in relation to long-time investigations of sound immission. Consequently, the aim of this study was to investigate the coupled effect of atmospheric and surface influence on sound propagation up to distances of 2 km away from the sound source using the model SMART (Sound propagation model of the atmosphere using ray-tracing).

Ever since the introduction of sound in film, sound effects have played a big part in the experience of the film audience. Acousmatic sound effects are diegetic sounds that lack a visual source on screen, and they are frequently used in horror films. This research explores the relationship between familiarity with sound effects and the emotional response in the audience. An experiment was conducted where two test groups watched an excerpt from a horror film where acousmatic sounds were a big part of the soundtrack. One of the test groups watched a version where there were reoccurring familiar acousmatic sounds, and the other group watched a version with random un-familiar acousmatic sounds. Data was collected through self-report and physiological measurements. The results suggest that there is a dissonance between the conscious and unconscious emotional experience of suspense and fear. The physiological measurements indicate a higher emotional arousal in the group that watched the unfamiliar version of the stimuli, while the self-report propose a stronger conscious build-up of suspense leading to a stronger experience of fear in the group watching the familiar version. Further research directions based on the result of this research are presented.

This paper presents a means of modulating timbre in digital sound synthesis using additive processes . A major portion of the paper is a computer program, written in Pl/1, which combines this additive method of timbre modulation with several other sound manipulation ideas to form a compositional program. This program-which is named CART for Computer Aided Rotational Translation-provides input for the Music 360 digital sound synthesis program. The paper contains three major parts: (1) a discussion of the CART program's evolution; (2) a manual describing in detail the use of CART; and (3) two tape compositions realized using the program. An appendix contains the program listing and listing of the input cards that were used to produce the two compositions.

Misophonia is a condition characterized by a strong physiological, emotional, and behaviouralresponse to specific auditory stimuli, which have a significant negative impact on the wellbeingof affected individuals. The present investigation focuses on emotional dysregulation, which arises due to the triggering of specific auditory stimuli. Individuals with misophoniastruggle to regulate their emotions when exposed to sounds, leading to emotional reactions, including anger, anxiety, disgust, avoidance behaviour, fight or flight, and feeling overwhelmed. These reactions might even lead to violent impulses directed towards the source of the sound. Despite its growing recognition, little is yet known about misophonia, and experts have not established any clear boundaries or criteria for the condition to be considered adisorder. As such, it is not yet included in any classification systems for disorders. The aim of this study is to understand how individuals with misophonia experience emotional dysregulation, how do they describe their experience, what is it like to live with misophonia ona day-to-day basis, and how do individuals understand and cope with emotional dysregulation caused by misophonia? The study utilized a qualitative approach with semi-structured interviews as the data collection method. Thematic analysis was used to identify patterns and themes within the data. Participants stated that misophonia causes significant distress and disruption impacting emotional well-being and daily functioning. Validation of this new condition can be very helpful and make a positive impact in their social circle, and that lack of awareness and effective treatment may hold back seeking professional help.

In this essay I will describe my working method as an artist with a political perspective, talking about what political art can be and how it can have an effect. I also write about the development of my work, from the interest in the independent nature person to the contrasting role as a citizen. I contextualize my artistic method by raising some questions that I find interesting when dealing with the public in relation to my method; I am recording sound in the city. / Erla Silfá Þorgrímsdóttir

The thesis explores the use of religious themes and the notion of self-design in contemporary art practice. It argues that art today that addresses religion does so primarily for its rhetorical function: for a recognizable pattern of persuasiveness, which is ultimately defined by its established mechanisms of belief. Furthermore, it suggests that it is through an engagement with this secularized rhetoric that the art viewer today can potentially be provoked to re-create oneself in ones own terms; or, in Richard Rorty's terms, to 'revocabularize'.

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Thesis (MPhil (Music))--University of Stellenbosch, 2011. / ENGLISH ABSTRACT: This thesis investigates the role of natural or realistic audio recordings in popular music in the context of the different nature of popular music where the goal is not necessarily the recreation of the original acoustic space. Traditional microphone techniques are investigated from the perspective of the identifiable characteristics of popular music to establish the role of microphone techniques to obtain a desired outcome. / AFRIKAANSE OPSOMMING: Hierdie tesis ondersoek die rol van natuurlike of realistiese klankopnames in populêre musiek in die lig daarvan dat die aard van populêre opnames verskil van reproduksie wat poog om die opnameruimte akoesties te herskep. Tradisionele mikrofoontegnieke word bestudeer vanuit die hoek van die identifiseerbare eienskappe van populêre musiek om te bepaal watter rol mikrofoontegniek kan speel om ’n verlangde uitkoms te bewerkstellig.