Submitted by Filipe dos Santos (fsantos@pucsp.br) on 2018-07-04T12:24:09Z No. of bitstreams: 1 Fernanda Manzo Ceretta.pdf: 64197918 bytes, checksum: 89e46d8729046a5162627527f8dcd7bc (MD5) / Made available in DSpace on 2018-07-04T12:24:09Z (GMT). No. of bitstreams: 1 Fernanda Manzo Ceretta.pdf: 64197918 bytes, checksum: 89e46d8729046a5162627527f8dcd7bc (MD5) Previous issue date: 2018-06-26 / Conselho Nacional de Pesquisa e Desenvolvimento Científico e Tecnológico - CNPq / This research analyzes the sound design of movie monsters, especially their voices. Chewbacca (Star Wars, 1977), Godzilla (1954) and Predator (1987) constitute our corpus. These monsters have voices composed by designers who have experimented different creation processes, using sounds generated by nature, body and manipulated objects, in order to create the sound identity of these characters. We investigate the contexts of these creation processes and the resulting sounds in their particularities to make a proposition of a method for creating the sound of monsters. Our method covers the potential sources of base sounds and other sonic characteristics such as frequencies, timbre and intensity. The research was based in the observation of the selected audio-visual materials and in the documentation available regarding the making ofs (which is vast, given the popularity of the selected monsters). The thesis is based mainly on articulations with the works of Rick Altman, Michel Chion and William Whittington, on the cinematographic sound, and of Theo Van Leeuwen in his proposition of sonorous analysis / Este trabalho analisa o sound design de monstros do cinema, sobretudo suas vozes. Chewbacca (Star Wars, 1977), Godzilla (1954) e Predador (1987) constituem o corpus da presente pesquisa. Estes monstros possuem vozes compostas por designers que experimentaram diferentes processos de criação, utilizando sons na natureza, do corpo e de objetos manipulados para criar a identidade sonora destas personagens. investigamos os contextos destes processos de criação e os sons criados, em suas particularidades, para compor uma proposta de método de composição de som de monstros, o qual abarca as potenciais fontes dos sons de base e demais características sonoras, como frequências, timbres e intensidade. A pesquisa foi feita a partir da observação dos materiais audiovisuais selecionados e do resgate da documentação disponível sobre os bastidores da criação dos mesmos (bastante vasta dada a popularidade dos monstros selecionados). A tese se baseia sobretudo em articulações com obras de Rick Altman, Michel Chion, William Whittington acerca do som cinematográfico e em Theo Van Leeuwen em sua proposição de análise sonora

Resumo Este trabalho tem por objetivo identificar e propor caminhos para aprimorar a relação criativa entre o compositor da música do teatro e o encenador. Em um primeiro momento ele ilustra o surgimento destes dois personagens, através de eventos que se entrelaçam, se contrapõe, ou mesmo se complementam. Em uma segunda parte, apresenta o estudo de uma relação criativa que permanece prolífica há mais de trinta e cinco anos em um dos mais destacados coletivos teatrais do século XX, o Théâtre Du Soleil: a parceria entre a encenadora Ariane Mnoucknine e o compositor Jean-Jacques Lemêtre (que colaborou pessoalmente e de maneira fundamental com este trabalho). Em uma terceira parte, apresenta a análise de quatro montagens teatrais nas quais tomei parte como compositor, provendo uma visão interna da relação criativa estabelecida com os diferentes encenadores em cada uma das ocasiões. Finalmente, introduz a hipótese da macro-harmonia da música do teatro - a ideia de considera-la um dos elementos integrantes e modificadores da encenação ao mesmo tempo em que é também integrada e modificada por ela - como uma possibilidade analítica e, consequentemente, representante de um possível campo no qual o compositor e o encenador possam dialogar durante o processo de criação teatral. / This study aims to identify and propose ways to enhance the creative relationship between music composer and stage director. At first it illustrates the emergence of these two characters, through events that intertwine, opposes, or even complement each other. In a second section discusses the study of a creative relationship that remains prolific for more than thirty-five years in one of the most theatrical collectives prominent in the twentieth century, the Théâtre Du Soleil: the partnership between stage director Ariane Mnoucknine and composer Jean-Jacques Lemêtre (who collaborated personally and in a fundamental way with this work). In a third section discusses the analysis of four stage productions in which I took part as a composer, providing insight into the creative relationship established with different directors on each occasion. Finally, we introduce the possibility of a macro-harmony of the theater music - the idea that it is one of the staging elements and modifiers at the same time is also integrated and modified by it - as an analytical possibility, and hence representative of a possible field in which the composer and the stage director can dialogue during the process of theater creation.

Submitted by JOSIANE SANTOS DE OLIVEIRA (josianeso) on 2017-12-04T15:16:22Z No. of bitstreams: 1 Magda Rosí Ruschel_.pdf: 6348747 bytes, checksum: e1fe2a31f1f2ec8bb5536dd3710161c9 (MD5) / Made available in DSpace on 2017-12-04T15:16:23Z (GMT). No. of bitstreams: 1 Magda Rosí Ruschel_.pdf: 6348747 bytes, checksum: e1fe2a31f1f2ec8bb5536dd3710161c9 (MD5) Previous issue date: 2017-09-29 / UNISINOS - Universidade do Vale do Rio dos Sinos / A presente tese aborda a invenção de construtos de silêncio em imagens fílmicas. A reflexão dialetiza os imaginários e as tecnologias do silêncio no cinema em perspectiva tecnocultural e das audiovisualidades, inclui os atravessamentos provocados por outros meios de comunicação. A pesquisa investiga e problematiza sobre a técnica e a estética no processo de produção de imagens audiovisuais que ampliam e aprofundam a formalização de um misto composto pelas sonoridades do silêncio como uma virtualidade atualizada em efeitos no desenho de som retratados em três filmes: O silêncio (1963), de Ingmar Bergman, Gravidade (2013), de Alfonso Cuarón, e Aningaaq (2013), de Jonas Cuarón. Os aportes teóricos-metodológicos utilizados associam os procedimentos cartográficos de Benjamin, o método intuitivo de Bergson e a metodologia das molduras de Kilpp. Articula conceitos de autores, tais como, Dubois, Flusser, Didi-huberman, Rancière e Virilio. O objetivo é potencializar os estudos sobre as dimensões sonoras do audiovisual e sobre a voluminosidade do silêncio como lugar da compenetração de estados, trabalhando imagens-memória, como se fossem uma frase-imagem ou forma-imagem. Experimentando por meio do ato de auscultar e de fotografar inscrições em infonográficos extraídos mediante percepções e afecções que emolduram uma experiência sensível e do entendimento de uma legibilidade dos efeitos produzidos em tessituras de tempo e espaço. Essa foi a maneira de autenticar velocidades de leituras rítmicas do som e do silêncio em sucessividade, em simultaneidade e em espessurização. Elege estados que produzem a sensação ou ilusão de presença e sentido considerados como pertencimentos a arquiteturas e instrumentos de medidas gerando operações de apreensão do objeto de estudos formado pelos retratos sonoros: expressões, salões, códigos e espessuras de silêncio. A colocação do problema desta pesquisa, intencionou a autenticação de uma escuta do silêncio como uma imagem sonora e, ou como uma audioperformance. Os resultados alcançados contribuem na compreensão dos processos de imaginação no rearranjo técnico e estético de uma paisagem sonora que engendra o sistema analógico e o digital de codificar imagens em movimento, nos modos de ser e do agir dos efeitos em ambiências audiovisuais, e no projetar formas no desenho de som para criar possibilidades teóricas-metodológicas de uma escuta das materialidades do silêncio na experiência fílmica. / The present dissertation focuses on the invention of silence constructs in filmic images. The reflection dialyzes the imaginary and the technologies of silence in the cinema in a technocultural and audiovisual perspective, and it includes the crossings provoked by other means of communication. The research investigates and problematizes on the technique and the aesthetics in the process of producing audiovisual images that amplify and deepen the formalization of a composite consisting of the sonorities of silence as a virtuality updated in effects in the drawing of sound portrayed in three films: The silence (1963), by Ingmar Bergman, Gravity (2013, by Alfonso Cuarón, and Aningaaq (2013), by Jonas Cuarón. The theoretical-methodological contributions used are associated with Benjamin’s cartographic procedures, Bergson's intuitive method, and Kilpp’s frame methodology. It articulates authors’ concepts such as Dubois, Flusser, Didi-huberman, Rancière and Virilio. The aim is to strengthen the studies on the audio-visual dimensions and the voluminosity of silence as a place for the interpenetration of states, working memory images as if they were a sentence-image or image-form. Experiencing through the act of listening and photographing inscriptions in infonografics extracted by perceptions and affections that frame a sensitive experience and the understanding of a readability of the effects produced in tessituras of time and space. This was the way to authenticate velocities of rhythmic readings of sound and silence in successiveness, simultaneity and thickening. It elects states that produce the sensation or illusion of presence and meaning considered as belonging to architectures and instruments of measures generating operations of apprehension of the object of studies formed by the sonorous portraits: expressions, halls, codes and thickenesses of silence. The placement of this research problem intended the authentication of a listening of silence as a sound image and, or as an audio performance. The results obtained contribute to the understending of the processes of imagination in the technical and aesthetic rearrangement of a soundscape that engenders the analogue and digital system of coding moving images, in the modes of being and acting of effects in audiovisual environments, and in designing forms in the sound design to create theoretical-methodological possibilities of a listening of the materialities of the silence in the filmic experience.

The prospect of computer applications making "noises" is disconcerting to some. Yet the soundscape of the real world does not usually bother us. Perhaps we only notice a nuisance? This thesis is an approach for designing sounds that are useful information rather than distracting "noise". The approach is called TaDa because the sounds are designed to be useful in a Task and true to the Data. ¶ Previous researchers in auditory display have identified issues that need to be addressed for the field to progress. The TaDa approach is an integrated approach that addresses an array of these issues through a multifaceted system of methods drawn from HCI, visualisation, graphic design and sound design. A task-analysis addresses the issue of usefulness. A data characterisation addresses perceptual faithfulness. A case-based method provides semantic linkage to the application domain. A rule-based method addresses psychoacoustic control. A perceptually linearised sound space allows transportable auditory specifications. Most of these methods have not been used to design auditory displays before, and each has been specially adapted for this design domain. ¶ The TaDa methods have been built into computer-aided design tools that can assist the design of a more effective display, and may allow less than experienced designers to make effective use of sounds. The case-based method is supported by a database of examples that can be searched by an information analysis of the design scenario. The rule-based method is supported by a direct manipulation interface which shows the available sound gamut of an audio device as a 3D coloured object that can be sliced and picked with the mouse. These computer-aided tools are the first of their kind to be developed in auditory display. ¶ The approach, methods and tools are demonstrated in scenarios from the domains of mining exploration, resource monitoring and climatology. These practical applications show that sounds can be useful in a wide variety of information processing activities which have not been explored before. The sounds provide information that is difficult to obtain visually, and improve the directness of interactions by providing additional affordances.

<p>In this paper, a navigation support approach for speech-only interaction based on auditory icons for room-based designs is presented, i.e. naturally occurring sounds that have a natural mapping to the system's underlying design metaphor. In contrast to many recent investigations that have focused on multi-modal or augmented reality systems, this paper concerns a unimodal speech and sound-only system. An auditory icon based prototype system for buildings maintenance support using a room-based metaphor was developed. The design was evaluated in a comparison with earcons and no-sound designs. The users’ subjective attitudes toward auditory icons were significantly more positive than to earcons.</p>

Cette étude se déplie en deux temps. En premier lieu, nous explorons les conditions d’émergence d’une intégration du « total sonore » dans l’idiome musical au cours du vingtième siècle. Dans ce dessein, nous revisitons les écrits théoriques de Luigi Russolo, Edgar Varèse et Pierre Schaeffer, trois figures marquantes du paysage musical moderne. Cette démarche met en relief certains principes fondateurs d’une musicalité du sonore, permettant de concevoir un « art des bruits » (Russolo) fondé sur une « organisation sonore » (Varèse) dans une intention d’édifier des « structures musicales » (Schaeffer). En second lieu, nous confrontons ces notions à notre propre travail de conception sonore pour le film Qui va droit son chemin (Michèle Gauthier, 2010, 24 min 10 secs) en examinant chaque étape de la production – de l’écriture du scénario à la constitution des banques de sons jusqu’au montage son et au mixage – pour explorer les conditions de création qui permettent l’émergence d’une musicalité du sonore cinématographique. Ce faisant, à l’aide de conceptions théoriques diverses (Chion, Fano, Roy, Gallet), nous tentons de cerner et de décrire les fondements d’une esthétique du sonore musicalisé au cinéma. / This study is two-fold. To begin with, it explores the conditions that permitted the emergence and integration of “all sound” into the musical idiom of the twentieth century. With this end in mind, it revisits the theoretical writings of Luigi Russolo, Edgar Varèse and Pierre Schaeffer, three defining figures of the modern musical landscape. From their work, it extracts certain founding principles of the musicality of sound that permit us to conceive an “art of noise” (Russolo) based on the “organization of sound” (Varèse) in order to build “musical structures” (Schaeffer). Secondly, I bring these notions to bear on my own experience of designing the sound for the film Qui va droit son chemin (Michèle Gauthier, 2010, 24min 10secs) by examining each stage of production – writing the script, collecting sounds, sound editing and mixing – to explore the creative conditions which permit the emergence of musicality in the cinematographic acoustic environment. In doing so, with the help of various theoretical conceptions (Chion, Fano, Roy, Gallet), I attempt to discern and describe the foundations of an esthetic of musicalized sound in film.

Between Two Worlds, with its implied dualities, alludes both to my Italian and Australian backgrounds and to my popular and art music experiences. The dissertation comprises of analyses of and critical commentary on a selection of compositions from instrumental through electroacoustic to musico-dramatic works. Further, Part I presents a précis of relevant background in order to locate the compositions within both Australian contemporary classical music and international settings, and Part I includes sections on analytical methodology and compositional technique. Compositions examined in Part II illustrate the salient features of compositional technique, specific influences and aesthetic concerns. Both instrumental works, Fra l’urlo e il tacere and Ridendo vado sul fiume, were written during the earlier period of the doctoral candidature. The discussion presents not only the seminal influences including the use of interval-class (ic) construction and music technologies but is also intended to guide the reader from solo and chamber instrumental writing through sound design and electronic soundscape composition towards the larger-scale, musico-dramatic works. Part III discusses the major contribution. It is concerned with three mixed-media musictheatre compositions that were created in the period 2000–08 and which explore crossdisciplinary relationships. Whilst maintaining a continuous development of style, the works are on a larger scale in all respects: involve national (The Last Child and Touch Wood) and international (Lontano Blu) production teams and a greater number of performers; are interdisciplinary, conceptually more complex and multilayered, and longer in duration; include extensive use of music technologies, multimedia and multichannel surround sound in performance; and use graphic/text/prose scores. By their very nature, these compositions involved significant collaborative endeavour not only with the key members of the creative teams, such as artistic directors, writers and set designers, but also the performers in general and musicians in particular. The collaborations included development of the conceptual structures of the works with the creative teams and ‘hands on’ interaction with the musicians in shaping the sound in real time through group-devised processes where appropriate.

Between Two Worlds, with its implied dualities, alludes both to my Italian and Australian backgrounds and to my popular and art music experiences. The dissertation comprises of analyses of and critical commentary on a selection of compositions from instrumental through electroacoustic to musico-dramatic works. Further, Part I presents a précis of relevant background in order to locate the compositions within both Australian contemporary classical music and international settings, and Part I includes sections on analytical methodology and compositional technique. Compositions examined in Part II illustrate the salient features of compositional technique, specific influences and aesthetic concerns. Both instrumental works, Fra l’urlo e il tacere and Ridendo vado sul fiume, were written during the earlier period of the doctoral candidature. The discussion presents not only the seminal influences including the use of interval-class (ic) construction and music technologies but is also intended to guide the reader from solo and chamber instrumental writing through sound design and electronic soundscape composition towards the larger-scale, musico-dramatic works. Part III discusses the major contribution. It is concerned with three mixed-media musictheatre compositions that were created in the period 2000–08 and which explore crossdisciplinary relationships. Whilst maintaining a continuous development of style, the works are on a larger scale in all respects: involve national (The Last Child and Touch Wood) and international (Lontano Blu) production teams and a greater number of performers; are interdisciplinary, conceptually more complex and multilayered, and longer in duration; include extensive use of music technologies, multimedia and multichannel surround sound in performance; and use graphic/text/prose scores. By their very nature, these compositions involved significant collaborative endeavour not only with the key members of the creative teams, such as artistic directors, writers and set designers, but also the performers in general and musicians in particular. The collaborations included development of the conceptual structures of the works with the creative teams and ‘hands on’ interaction with the musicians in shaping the sound in real time through group-devised processes where appropriate.

Εξετάζονται οι μελέτες τεσσάρων ελληνικών θεατρικών αιθουσών τόσο υπολογιστικά όσο και με αναλυση ηλεκτροακουστικών μετρήσεων κρουστικής απόκρισης. Εξάγονται επιμέρους και συγκριτικά συμπεράσματα. / The sound design of four theatre sound installations are examined. E.A.S.E. electroacoustic simulation results are presenteed.The final electrocoustic impulse response measurments of installed systems are presented and examined in correlation to the simulation results

In this paper, a navigation support approach for speech-only interaction based on auditory icons for room-based designs is presented, i.e. naturally occurring sounds that have a natural mapping to the system's underlying design metaphor. In contrast to many recent investigations that have focused on multi-modal or augmented reality systems, this paper concerns a unimodal speech and sound-only system. An auditory icon based prototype system for buildings maintenance support using a room-based metaphor was developed. The design was evaluated in a comparison with earcons and no-sound designs. The users’ subjective attitudes toward auditory icons were significantly more positive than to earcons.