A pesquisa propõe a construção de um possível conceito de trilha sonora no teatro, e a análise das funções dos profissionais responsáveis por ela, bem como das dificuldades encontradas por esses profissionais para a efetiva realização do seu ofício, em particular no que se refere ao seu papel criador e não apenas executor. Através de entrevistas com criadores de trilha sonora teatral que atuam em Porto Alegre, escolhidos por seus trabalhos diferenciados, buscam-se novas abordagens entre o teatro e a música. Ao problematizar a trilha sonora, o trabalho tem como principais referenciais as teorias de Murray Schafer, Giovanni Piana e Lívio Tragtenberg, no que dizem respeito ao som e à sonoridade no teatro. A investigação dialoga com duas acepções sobre trilha sonora teatral: trilha sonora total, em que todos os sons no espetáculo fazem parte do conceito, e trilha sonora musical, quando se trata diretamente das músicas cênicas da montagem teatral. / This research proposes the construction of a different theater sound design concept, and a sound designer function analyze, also difficulty on the creation to execution process, especially to sound designer creator and not just executor. Through interviews with theater sound designers that act in Porto Alegre, chosen by yours different works, we search new ideas between theater and music. Through writers as Murray Schafer, Giovanni Piana and Lívio Tragtenberg, this research dialogues about sound in theater. We learn about two definitions about theater sound design: total sound design, when every sound in the play is in the concept, and musical sound design, when we deal only with the music of the play.

A presente dissertação propõe uma abordagem da televisão brasileira através de um diálogo com os estudos do som, tendo como objeto a dimensão sonora das telenovelas. O estudo procura mapear as principais transformações ocorridas no aparato técnico sonoro televisivo, bem como a evolução dos processos da produção do som no período de 1950 até o início do século XXI. Posteriormente, visando investigar as funções desempenhadas pelos elementos sonoros - vozes, ruídos e músicas - na construção da narrativa das telenovelas, este trabalho apresenta uma análise da trilha sonora de cinco telenovelas da TV Globo: Pecado Capital (1975), Roque Santeiro (1985), Renascer (1993), Senhora do Destino (2004) e Avenida Brasil (2012). / This essay proposes an approach on Brazilian television through a dialogue with sound studies, having as object the soap operas\' sound aspects. It intends to map the main changes that occurred on television\'s audio technical apparatus, as well as the evolution on the sound production processes from 1950 until the beginning of the twenty first century. Subsequently, this work aims to investigate the functions performed by the sound elements - dialogues, sound effects, music - on the development of soap opera narratives and presents an analysis of the soundtracks of five soap operas produced by TV Globo: Pecado Capital (1975), Roque Santeiro (1985), Renascer (1993), Senhora do Destino (2004) and Avenida Brasil (2012).

Orientadores: Claudiney Rodrigues Carrasco, Eduardo Simões dos Santos Mendes / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-26T01:35:33Z (GMT). No. of bitstreams: 1 PintonFilho_Nelson_D.pdf: 65846668 bytes, checksum: 970c3b3c5edef6766351e32b3bc7d1c1 (MD5) Previous issue date: 2014 / Resumo: Um olhar atento para os eventos que compõe a trilha sonora da Trilogia da Morte de Gus van Sant: Gerry (2002), Elephant (2003) e Last Days (2005). Os materiais sonoros são tratados como um aliado, auxiliando na construção narrativa. De maneira geral, incorporam músicas de paisagens sonoras, cujos fonogramas originais são combinados aos demais elementos da banda sonora, resultando numa mixagem particular e surpreendente que impacta na montagem fílmica, nos processos inerentes e complexos do tempo, nas tensões sonoras internas compostas de timbres e no resultado cognitivo para o espectador. Esta pesquisa auxilia na compreensão do processo de sound design, surgido em meados dos anos 70, e que se estabelece nos dias atuais como forma expressiva de tratar os sons nos filmes / Abstract: A closer look at the events that comprehend the soundtrack of Gus van Sant's Death Trilogy: Gerry (2002), Elephant (2003) and Last Days (2005). These films use the sound material as an ally, which helps the narrative construction. In general terms, they make use of pieces of soundscape music, the original phonograms are blended with other elements of the soundtrack, thus producing a new and surprising mix that impact in the film montage, e.g. the inherent and complex time, the inner sound tensions made of timbres and cognitive results in the audience. This research helps to understand the sound design process, which appeared in the mid 70¿s and establishes itself in the present days as an expressive form to treat sounds materials in movies / Doutorado / Multimeios / Doutor em Multimeios

While there is a lot of research about other aspects of game design, there are fairly few studies about music and sound in video games. Since music and sound are components of next to all games, it is interesting to investigate how this aspect affects the perceived immersion of gamers. The aim of this study is to investigate how sound and music affect player sense of presence in a video game, Transistor [19], which was chosen due to its distinct and strongly emotional music and sound. Five video prototypes were made using gameplay and sound from the game. The videos presented different variations of the soundscape. These were tested by a web survey with questions from the PENS questionnaire [15], providing the users a seven point Likert scale by which they could rate their experience. The answers were analyzed with a mixed model regression and compared with an estimated image of which degree of immersion would be experience for each of the videos. The result of the study showed that the complete soundscape was significantly more immersive than all the other soundscapes, while silence was significantly less immersive than the other soundscapes. The conclusions were the more complete the soundscape is, the more immersive it is, and that even a small part of the total soundscape is more immersive than complete silence.

Fait unique dans l’histoire du cinéma, les partitions du gigantesque cycle dischronique qu’est la saga Star Wars, couvrant une période très étirée de vingt-huit ans, sont toutes de la main de John Williams. Cette constance compositionnelle devrait a priori faire des deux trilogies (1977-1983 et 1999-2005) un tout cohérent et unifié, d’autant que George Lucas envisage les six épisodes comme une seule et même entité. Pourtant, l’unité musicale de l’hexalogie et la signature musicale « starwarsienne » sont loin d’aller de soi, prenant la forme d’un idéal dénué de fondements solides réels.En adoptant une approche comparative transversale et en faisant varier différentes échelles d’analyse (épisode, trilogie, saga), la présente thèse a ainsi pour projet de montrer de quelles manières le matériau musical, les pratiques compositionnelles de Williams, mais aussi le traitement et l’intégration de la partition au sein du complexe audio-visuel font l’objet de profondes transformations entre les deux trilogies. Notre recherche interroge également dans quelle mesure et selon quelles modalités ces changements dans l’écriture musicale et l’utilisation de la partition dans les différents épisodes sont liés aux mutations des techniques cinématographiques, en particulier aux bouleversements dunumérique. Mettant à profit l’exploitation de sources manuscrites inédites et d’entretiens personnels réalisés auprès de l’orchestrateur principal de Williams, Conrad Pope, et de son music editor Kenneth Wannberg, notre travail met en oeuvre une interdisciplinarité affirmée au croisement de l’analyse musicale, de l’histoire du cinéma et des technologies. / The scores of the Star Wars saga, a gigantic dischronic cycle spanning over a long period of twentyeight years, are all composed by John Williams, a unique configuration in cinema history. This compositional consistency should theoretically establish the two trilogies (1977-1983 and 1999-2005) as a coherent and unified whole, especially as George Lucas considers the six episodes as one single entity. Nevertheless, the hexalogy’s musical unity and the existence of a Star Wars musical signature are far from self-evident, instead taking the form of an ideal devoid of real, solid foundations.By adopting a comparative cross-disciplinary approach and by resorting to different scales of analysis (episode, trilogy, saga), this dissertation aims to show in which ways the musical material, Williams’ compositional practice as well as the use and integration of the score within the audiovisual complex are subjected to profound transformations between the two trilogies. This research also questions how and to what extent these changes in Williams’s writing and the score’s treatment in the different episodes are related to the mutations of film techniques, especially those of the digital age.Drawing on unreleased hand-written sources and personal interviews conducted with Williams’ main orchestrator, Conrad Pope, and his music editor, Kenneth Wannberg, this dissertation implements a firm interdisciplinarity at the intersection of musical analysis, cinema and technology history

Abstract Usability methodology has matured into a well-defined, industrially relevant field with its own findings, theories, and tools, with roots in applying information technology to user interfaces ranging from control rooms to computers, and more recently to mobile communications devices. The purpose is regularly to find out the users’ goals and to test whether a design fulfils the usability criteria. Properly applied, usability methods provide reliable and repeatable results, and are excellent tools in fine-tuning existing solutions The challenges of usability methodologies are in finding new concepts and predicting their characteristics before testing, especially when it comes to the relatively young field of mobile user interfaces. Current usability methods concentrate on utilising available user-interface technologies. They do not provide means to clearly identify, e.g., the potential of auditory or haptic output, or gestural input. Consequently, these new interaction techniques are rarely used, and the long-envisioned useful multimodal user interfaces are yet to appear, despite their assumed and existing potential in mobile devices. Even the most advocated and well-known multimodal interaction concepts, such as combined manual pointing and natural language processing, have not materialised in applications. An apparent problem is the lack of a way to utilise a usage environment analysis in finding out user requirements that could be met with multimodal user interfaces. To harness the full potential of multimodality, tools to identify both little or unused and overloaded modalities in current usage contexts are needed. Such tools would also help in putting possibly existing novel interaction paradigms in context and pointing out possible deficiencies in them. In this thesis, a novel framework for analysing the usage environment from a user-centric perspective is presented. Based on the findings, a designer can decide between offering a set of multiple devices utilising various user-interface modalities, or a single device that offers relevant modalities, perhaps by adapting to the usage environment. Furthermore, new techniques for creating mobile user interfaces utilising various modalities are proposed. The framework has evolved from the experiences gathered from the designs of experimental and actual product-level uni- and multimodal user interface solutions for mobile devices. It has generated novel multimodal interaction and interface techniques that can be used as building blocks in system designs.

With an ever increasing pool of theories designed to help the creator instill emotion, we’reapproaching a point where even the most stubborn audience can’t fully escape the grasp thatfilm can have on their feelings. Thanks to multidisciplinary research for the cognitive andsympathetic structures that make up emotions (Blincoe, 2011; Dolan, 2002; Ekman, 1973;Panksepp, 2004), a larger understanding for emotions has been built. In succession, anintegrative emotion model is becoming a realistic proposition (Loui & Harrison, 2014). Inthis thesis I’m suggesting that to make such a model a success, an understanding of the targetgroup is a requirement. I argue that each project has unique criteria found in the individual,rather than in the current general understanding of the human mind and body, and it’s appliedknowledge in modern design theories. This angle requires new tools, which I attempt tocreate based on Scherer’s (2001) Sequential Check Theory, in combination with establishedethnographic methods. In turn the tools will be tested on a local self-defined group as anintroduction to the workflow and data collection. To prove the model’s transdisciplinarypotential I attempt to apply this data in a real world sound design context, where this methodis hypothetically less effective than earlier stages in production, like writing. To generatequalitative data, the films, in the form of two pilot episodes of a series, will be shown to thetarget group. One episode without our theory applied, and the other with changes accordingto data collection and model directions. Rounding it out with a questionnaire regardingelicited emotion, and qualitative interviews, it stands as a sufficient base for discussion, albeitrather lacking as proof of concept. The thesis ends with a discussion of potential futureapplications where models like this one could be applied. / Med den ständigt ökande mängden teorier designade för att hjälpa skaparen att framhävakänslor börjar vi nå en punkt där till och med den mest envisa åskådaren inte kan undgågreppet som film har på våra känslor. Tack vare multidisciplinär forskning om de kognitivaoch sympatiska strukturerna som står för uppbyggnaden utav känslor (Blincoe, 2011; Dolan,2002; Ekman, 1973; Panksepp, 2004), så har det byggts en bättre förståelse kring ämnet.Därav har en integrativ känslomodell blivit en realistisk proposition (Loui & Harrison, 2014).I denna uppsats föreslår jag att för att göra en sådan modell en succé så är förståelse förmålgrupp ett krav. Jag argumenterar för att varje projekt har unika kriterier som hittas hosindividen, snarare än i den generella förståelse för sinne och kropp, och dess appliceradekunskap i moderna designteorier. Den här vinkeln kräver nya verktyg, som jag försöker skapabaserat på Scherers (2001) Sequential Check Theory, i kombination med etnografiskametoder. I sin tur så testas verktygen på en lokal egendefinerad grupp som en introduktion förarbetssättet och datasamlandet. För att bevisa modellens transdisciplinära potential försökerjag applicera datan i ett verkligt ljuddesignkontext, där metoden hypotetiskt sett är mindreeffektiv än i tidigare stadier inom produktion, som skrivandeprocessen. För att genererakvalitativ data så har filmerna, i form av två pilotavsnitt i en serie, visats för gruppen. Ettavsnitt utan applicerad teori, och ett med ändringar enligt den insamlade datan och modellensriktlinjer. Avrundas med ett frågeformulär som berör de framhävda känslorna utav avsnitten.Detta står som en tillräcklig bas för diskussion, om än aningen otillräcklig för konkreta bevis.Uppsatsen avslutas med diskussion om potentiella framtida applikationer där modeller somdenna kan florera. / HYENOR

In this study, the understanding about multimodal perception from previous studies has been used to create a perceptually demanding visual search task inside a game. Also, a subtle multimodal cue was created to be in-directly informative about the visual search target’s location by attracting subjects’ attention. 20 subjects were divided equally among the experiments two conditions, one where the subjects had no access to the multimodal information and one where the subjects did have access to the multimodal information. The multimodal information conveyed to the subjects in this experiment was temporal synchrony between a visual light pulsating and a sound being modulated using level and low-pass filtering. Results showed that the subjects that were given the multimodal information improved more on the search task than the group without multimodal information, but the subjects in the multimodal group also perceived the pace of the task as higher. However, it is unclear exactly how the multimodal cue helped the subjects since the playing subjects did not seem to change their search movement pattern to favor the location of the search target, as was expected. Further, the difficulties and considerations of testing in a game environment is discussed and it is concluded that the gamer population is a very varied group which has big impacts on methodology of in-game experiments. To identify sub-groups, further research could study why different players use different search behaviors.

Motion sickness has been a significant obstacle for the development of Virtual Reality technology since the beginning of its existence. Research has shown that audio can be used to reduce motion sickness in VR. It has also been proven that binaural ambisonic audio can enhance a player’s feelings of immersion and spatial presence, which is known to correlate negatively with motion sickness. This study aims to determine if the application of spatialized binaural ambisonic audio in VR environments can make users feel less motion sick, by enhancing the feeling of presence, compared to environments that utilize regular stereo sound. To validate our hypothesis, two versions of the same VR environment were created: one with binaural ambisonic audio, and another with regular stereo audio. The data was collected with surveys that included both motion sickness-related and experience-related questions. The results indicate that binaural ambisonic audio helped to reduce motion sickness compared to regular stereo audio, even though testers did not show any clear preference for one type of sound over another. / Rörelsesjuka har utgjort ett allvarligt hinder för utveckling av virtual reality-teknologi  (VR) från dess tidigaste utvecklingsfas. Forskning har visat att ljud kan användas för reducering av rörelsesjuka i VR. Det har också påvisats att binauralt ambisoniskt ljud kan förstärka spelarens känsla av immersion och spatial närvaro, som har en negativ korrelation med rörelsesjuka. Denna studies syfte är att avgöra om  användning av spatialt binauralt ambisoniskt ljud i VR-miljö kan reducera användarens rörelsesjuka, genom att förstärka känslan av närvaro, till skillnad från miljöer där rådande stereoteknologi används. Hypotesen testades genom att två  versioner av samma VR-miljö skapades: ett med binauralt ambisonisk ljud och ett  med vedertaget stereoljud. Insamlad data genom ett frågeformulär inkluderade även frågor rörande rörelsesjuka och tidigare erfarenhet av VR. Resultatet indikerar att binauralt ambisoniskt ljud reducerar rörelsesjuka, till skillnad från stereoljud, trots att testpersonerna inte visade på en tydlig preferens för den ena eller den andra ljudtypen.

The research investigates the transposition of circus performance to the aural and sonic realm asking the question:  How and can circus exist in and through sound?