This Thesis proposes three main objectives: (i) to provide the concept of a new generalized non-standard synthesis model that would provide the framework for incorporating other non-standard synthesis approaches; (ii) to explore dynamic sound modeling through the application of new non-standard synthesis techniques and procedures; and (iii) to experiment with dynamic sound synthesis for the creation of novel sound objects. In order to achieve these objectives, this Thesis introduces a new paradigm for non-standard synthesis that is based in the algorithmic assemblage of minute wave segments to form sound waveforms. This paradigm is called Extended Waveform Segment Synthesis (EWSS) and incorporates a hierarchy of algorithmic models for the generation of microsound structures. The concepts of EWSS are illustrated with the development and presentation of a novel non-standard synthesis system, the Dynamic Waveform Segment Synthesis (DWSS). DWSS features and combines a variety of algorithmic models for direct synthesis generation: list generation and permutation, tendency masks, trigonometric functions, stochastic functions, chaotic functions and grammars. The core mechanism of DWSS is based in an extended application of Cellular Automata. The potential of the synthetic capabilities of DWSS is explored in a series of Case Studies where a number of sound object were generated revealing (i) the capabilities of the system to generate sound morphologies belonging to other non-standard synthesis approaches and, (ii) the capabilities of the system of generating novel sound objects with dynamic morphologies. The introduction of EWSS and DWSS is preceded by an extensive and critical overview on the concepts of microsound synthesis, algorithmic composition, the two cultures of computer music, the heretical approach in composition, non- standard synthesis and sonic emergence along with the thorough examination of algorithmic models and their application in sound synthesis and electroacoustic composition. This Thesis also proposes (i) a new definition for “algorithmic composition”, (ii) the term “totalistic algorithmic composition”, and (iii) four discrete aspects of non-standard synthesis.

Underwater sound from anthropogenic sources such as seismic surveys, marine renewable device installations and naval exercises has the potential to disturb and cause injury to a variety of marine species. There is particular concern for the potential effects upon marine mammals, which utilise sound to communicate, hunt and navigate. Observed effects include behavioural changes and reduced sighting rates, with unknown consequences for individuals or populations over time. Potential effects on marine mammals include sound induced damage to auditory systems, altered diving behaviour potentially resulting in decompression sickness, stranding and death. The aim of the thesis was to develop a framework of best practice measures relating to mitigating the potential effects of underwater sound on marine mammals during offshore exploration and development operations. In order to mitigate the potential effects of underwater sound, regulatory guidelines have been developed and implemented around the world, principally for seismic surveys. These guidelines limit the activation of seismic sources when in proximity to marine species, and involve the use of specially trained personnel on survey vessels known as Marine Mammal Observers (MMOs). A critical review of the guidelines identified variation in the level of precaution applied to measures, such as the distance at which species can be sighted before reducing sound output from the operation. MMOs collect sighting information for all encounters with marine species, resulting in large volumes of data detailing species occurrence and behaviour. A sample dataset was found to be subject to variation in quality due to the different academic backgrounds and training levels of personnel. The data highlighted significant differences in relation to sighting distance while the sound source is active or inactive, though lacked detail with regard to behaviours, likely due to the lack of ethological expertise among the observers. A questionnaire was conducted to determine any differences of opinion regarding current mitigation practice and the underlying issue between stakeholder groups. There was no difference of opinion between stakeholders regarding the importance of underwater sound compared to other environmental issues facing marine species such as fisheries by-catch and overfishing. Areas of consensus were evident, with most stakeholders finding current mitigation practice to be only ‘somewhat’ effective, and that sightings data collected by MMOs should be better utilised, with it being more useful for adding to our knowledge of marine mammal distributions than for determining the effects from operations. A framework for enhancing the collection, use and dissemination of MMO data is described with recommendations for the development of a Global Positioning System (GPS) enabled smartphone/ tablet based field data collection system, linked to an internet based geographical information system to enhance species distribution analysis. By coupling this with a simplified mitigation methodology, the outcome would enhance the risk management of operations in relation to where species are known to occur, with mitigation aimed at reducing exposure at critical times or in critical habitats. Simplifying mitigation and enhancing data collection and use will benefit stakeholders in managing essential operations responsibly.

published_or_final_version / Physics / Master / Master of Philosophy

published_or_final_version / abstract / Economics and Finance / Doctoral / Doctor of Philosophy

published_or_final_version / abstract / Electrical and Electronic Engineering / Doctoral / Doctor of Philosophy

From minstrelsy to hip-hop, the black performer has always been entangled in a complex network of branding, packaging, and promotion. The black body is cultural capital and in hip-hop, the black thug and his dangerous body are the fetishized objects of desire. Despite these exploitative constraints, artists find spaces to enact what little resistance is possible. In the following report, I perform a close reading and close listening of Jay-Z and Kanye West’s “Otis.” Paying particular attention to the intersections of the visual and the aural, I find that Jay-Z and West encode desire, pleasure, and imagination beneath boastful rhymes and material opulence. Jay-Z and West adopt American symbols of prosperity and freedom and, in disruptive fashion, resignify black masculinity in the cultural imagination. Soul sound, as intoned through Otis Redding and James Brown, lends a politics of brotherhood and radicalism to Jay-Z and West’s articulation of affective black masculinity. I employ a collage-like network of theoretical frames that span performance, sound, and literary theory to trace how race and gender performance codes a discourse of disruption. I find that “Otis” is a type a blueprint—an instruction manual for youth of color to deconstruct, innovate, and feel deeply. Through linguistic and performative codes, Jay-Z and West create a safe space, a cipher for men of color to desire and, in turn, experience pleasure. I trace how Jay-Z and West move closer to a practice of hip-hop feminism and, in a field notorious for rampant homophobia, misogyny, and violence—that’s remarkable. / text

Cellists are interested in ways to produce the largest sound possible in order to meet modern acoustic challenges. This research examined cellists' lower body posture, how lower posture affected the manner in which the cello was held, and ultimately, what effect this had on the instrument's sound. Lower posture is significant because it affects sound production. This research analyzed cello treatises, images of prominent cellists, and conducted sound lab tests. The treatise and image research investigated how foot placement, endpin length, angle, and tilt of the cello affected the amount of leg contact with the instrument. The sound lab research used a bowing apparatus and audio software to measure the effect of leg contact on sound production. The results of this study showed that lower posture affected the amount of contact made between the player and cello. The sound lab tests revealed that less leg contact led to larger amplitudes produced by the cello. This research also discovered that the contact from each leg uniquely affected certain frequencies. Research on lower posture's effect on sound may benefit performing cellists, pedagogues, luthiers, and researchers.

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