Made available in DSpace on 2015-04-11T13:40:58Z (GMT). No. of bitstreams: 1 marcio lima.pdf: 3776647 bytes, checksum: 29d244ef09a5bb6c2780d15f87f3cea4 (MD5) Previous issue date: 2013-10-24 / The present work argues about the perceptions used about the soundscapes and how musical composite experience can use new creative possibilities with this element that we have in our days. For this research, it was used, as study camp, the round of de Sambodromo of Manaus which is localized in the urban perimeter of this city. This happened with the general objective in investigate the soundscapes of our studied ambient and it uses in compositional experiences. We developed the specific objectives investigating the systems of sounds that compose the soundscapes, doing an attempt hearing crossing the diversificated sounds realizing composite sound experiences. It was captures a lot of systems of sounds in this place, like words. sounds of cars, e singing of frogs and birds that can be used as musical material. It was made rearing of this sounds and their variations, doing compositions with acoustics and electroacoustic sources with the intent of showing the very kind of ambient with the more meanings as possible. With this we porpoise some ideas that can help in the study of musical compositions using the soundscapes as a creative element. / O presente trabalho discute as percepções lançadas sobre as paisagens sonoras e de como a experiência compositivo musical pode ter novas possibilidades de criação ao se utilizar desse elemento presente em nosso dia a dia. Para esta pesquisa, foi utilizado, como campo de estudo, o entorno do Sambódromo de Manaus que está localizado dentro do perímetro urbano desta cidade. Isso se deu com o objetivo geral de investigar as paisagens sonoras de nosso ambiente de estudo e seu uso em experiências composicionais. Desenvolvemos os objetivos específicos, investigando as redes de sons que compõe as paisagens sonoras, realizando uma escuta atenta e associando-as de forma a desenvolver experiências composicionais com os sons deste ambiente. Para isso captamos os mais diversos tipos redes sonoras ali presentes, tais como falas, sons de carros, coaxar de sapos e cantos de pássaros de forma que pudessem servir como material musical. Foram realizadas escutas destes sons e de suas variações realizando composições por meios acústicos e eletroacústicos, de forma a se considerar e caracterizar os ambientes através de diversas maneiras. Com isso apresentamos ideias que possam contribuir para o estudo de composições musicais tendo as paisagens sonoras como elemento de criação.

In our relationship with the world around us, emotions play a vital role. As technology has become increasingly integrated and influential in our daily lives and activities, the design of systems that can support the human experience is of high interest.  This thesis explores how the emergence of emotional response in sound- based interaction can be facilitated. Through an exploratively based design process three affectively inspired soundscapes are designed. The states they relate to are Happiness, Sorrow and Fear. The experience of interacting with the soundscapes through ultrasonic distance sensors is then evaluated through three user testing sessions. The findings from this points to potential in the use of affectively aimed soundscapes to facilitate emotional response. Further, the findings indicate that levels of abstractions in subjective experience allow space for personal interpretation making for a more involving experience. The importance and potentials of contextual influences are also highlighted.

Animal diversity is rapidly decreasing across the globe as their habitats are being degraded by human activities. At the same time, forest restoration is an increasing practice, contributing to preserving nature values, but to what extent? On Borneo, only a fraction of its previous tropical rainforest remains today as conversion into monoculture tree plantations has been increasingly profitable. This study aims at investigating the potential of tropical reforestation in sustaining native animal diversity, a group that is often overlooked when it comes to studying restoration success. I collected audio recordings from four different land uses in Sabah, Borneo, Malaysia (oil palm and eucalypt plantations, primary and restored forest) to compare their soundscapes, i.e., all the sounds stemming from the different landscapes. I also created a list of 57 species based on the recordings, used it to compare species richness and presence of threatened species within the land uses. Both the animal diversity and soundscape composition differed significantly between restored forest and tree plantations, with more than twice as many species found in the rainforest both in total and per plot. The largest difference was observed comparing oil palm and restored forest plots; the latter harbored an average of 3.7 times more species. The soundscape from the restored forest showed high similarity to primary forest and the mean number of threatened species were the same in both land uses. More species were on average found in the restored plots than in the primary sites, 26 compared to 21. The findings from this study are promising, giving insight in the possibility to restore animal diversity simultaneously to restoring plant diversity. At the same time, it also stresses the need for a more sustainable alternative to the present plantation forestry and more comprehensive studies on how tropical rainforest restoration affects animal diversity.

Yes / A pilot study had previously demonstrated the utility of a tranquillity prediction tool TRAPT for use in 3 green open spaces in a densely populated area. This allows the calculation of perceived levels of tranquillity in open spaces. The current study expands the range of sites to 8 and importantly considers the views of visitors to these spaces. In total 252 face to face interviews were conducted in these spaces. An important aim of the survey was to determine the extent to which reported tranquillity obtained from the questionnaire survey could be predicted by a previously developed prediction tool TRAPT. A further aim was to determine what additional factors may need to be considered in addition to the purely physical descriptors in TRAPT. The questions included the sounds and sights that were noticed, factors affecting tranquillity as well as questions relating to the benefits of visiting these areas. Predictions were considered satisfactory and could be further improved by taking account of issues surrounding personal safety. Examining the trends in these data it was also shown that the percentage of people feeling more relaxed after visiting the spaces was closely related to overall assessments of perceived tranquillity. Further trends and their implications are presented and discussed in the paper. / Made available in full text March 2014 at the end of the publisher's embargo period.

Passive acoustic monitoring (PAM) is a valuable tool in wildlife research, offering non-invasive and cost-effective means to collect acoustic data. However, the processing of PAM recordings can be time-consuming, prompting the use of acoustic indices to expedite analysis. Acoustic indices are numerical values that characterize biological information in sound recordings based on an environment’s acoustic characteristics. While acoustic indices have been correlated with species richness across ecological contexts, their reliability diminishes in areas with heightened vehicular noise. However, it is unclear if index biases caused by vehicular noise are consistent across all traffic levels, and which acoustic indices are most biologically informative in these human-developed contexts. I assessed the direct impact of vehicular noise on nine acoustic indices through controlled manipulation of vehicular noise within 598 computer-generated bird assemblage soundscapes. Using the bird assemblage soundscapes, I also investigated the effects of three high-pass filter treatments (482 Hz, 1 KHz, and 2 KHz) on these acoustic indices under different levels of traffic noise interference. These filtering effects were also assessed within empirical PAM recordings taken from 147 sites in southern Illinois from May into mid-July of 2022 and 220 sites across the state during late-April to mid-July of 2023. Results indicate that proximity to roads and vehicular traffic significantly affect index values, albeit to varying degrees. Four indices – Bioacoustic Index, Acoustic Complexity Index, Acoustic Diversity Index, and Acoustic Evenness Index – exhibited greater resilience to vehicular noise and may be better suited for urban environments. Notably, the Acoustic Diversity Index, Acoustic Evenness Index, and the Number of Frequency Peaks also displayed consistent species richness estimations regardless of vehicular noise level. While filtering had variable interactive effects with vehicular noise, no consistent benefits of filtering were observed across all indices. Nevertheless, the Acoustic Complexity Index, Acoustic Richness Index, and CityBioNet displayed minimal biases when high-pass filters were applied, and CityBioNet demonstrated particularly high correlations with species richness. These findings underscore the importance of understanding index behavior under anthropogenic noise and different filtering methodologies. My findings serve to inform acoustic index implementation within acoustic monitoring efforts, thus expanding access and reliability of these methodologies within human-developed environments.

Η ακουστική οικολογία είναι το επιστημονικό πεδίο το οποίο μελετά την επίδραση διαφόρων παραγόντων, όπως η ανθρώπινη δραστηριότητα, σε συγκεκριμένα οικοσυστήματα μέσω επιλεγμένων ηχογραφήσεων των γεωγραφικών περιοχών των ηχοτοπίων. Εδώ παρουσιάζεται μελέτη αυτόματης ανάλυσης, αναγνώρισης και κατηγοριοποίησης από τέτοιες ηχογραφήσεις. Δοκιμάζονται διάφοροι αλγόριθμοι και επιλέγεται μέθοδος που βασίζεται στην επεξεργασία του ηχητικού φάσματος, μέσω των Mel Frequency Cepstral Coefficients (MfCC) του φάσματος του ηχητικού σήματος. Τα ομαδοποιημένα δεδομένα που προέκυψαν, μελετήθηκαν ως προς το ποσοστό επιτυχούς αναγνώρισης της προέλευσης των ήχων που διακρίνονται στις ηχογραφήσεις. Η κατηγοριοποίηση και ταξινόμηση αυτή έγινε με τη δοκιμή διαφόρων αλγορίθμων ταξινόμησης. Επιπλέον πραγματοποιείται σύγκριση των αλγορίθμων αυτών με βάση το ποσοστό επιτυχούς αναγνώρισης αλλά και της ταχύτητας ταξινόμησης των ηχογραφημένων δειγμάτων η οποία οδηγεί σε συμπεράσματα για τη βελτιστοποίηση της συγκεκριμένης διαδικασίας / Acoustic ecology is the scientific field which studies the effect of human activity and other factors to ecosystems via the recording of soundscapes which constitute a database of selected recordings of geographic regions. The parameters that are examined are based on the processing of the sound spectrum, they are named Mel Frequency Cepstral Coefficients (MfCC) and represent factors of the signal spectrum. The rate of the successful recognition of the origin of sounds distinguished in the set of the soundscape recordings is estimated. Various classification algorithms are tested for the sound data classification. Moreover a comparison among the algorithms is realised based both on the ratio of successful recognition and the classification speed of the recorded samples which leads to conclusions on the optimisation of this particular process.

Esta pesquisa se propÃe a compreender as relaÃÃes participativas e de convivÃncia entre os moradores da comunidade SÃo Vicente de Paulo (Quadra) e a rÃdio poste Centro de ComunicaÃÃo Alternativa, localizada no bairro Aldeota, em Fortaleza (CearÃ). A partir da pesquisa participante (BrandÃo, 1984; 2006) como metodologia, foi possÃvel investigar a histÃria de criaÃÃo da rÃdio poste, refletir sobre as diversas formas de participaÃÃo (Bordenave, 1983) de dois grupos de moradores da Quadra, jovens catÃlicos e mulheres evangÃlicas, e compreender a relaÃÃo deles com a rÃdio dentro da convivÃncia com as paisagens sonoras (Schafer, 2011) da comunidade. Entre as consideraÃÃes finais, foi possÃvel entender que a participaÃÃo de jovens e mulheres religiosos na rÃdio deu-se atravÃs da mobilizaÃÃo dos prÃprios grupos religiosos. Por fim, o campo ainda proporcionou momentos interventivos, durante o aniversÃrio do programa âRecordar à Viverâ e participaÃÃo no projeto de reforma da rÃdio. Este percurso de pesquisa tambÃm me fez perceber que a intervenÃÃo esteve presente desde minhas primeiras aproximaÃÃes com a Quadra. PorÃm, antes, pesquisa e intervenÃÃo pareciam se distanciar. Agora, concluo que as metodologias participativas unem esses processos. / This research aims to understand the participatory coexistence and relations between the residents of SÃo Vicente de Paulo community (Quadra) and the radio post Centro de ComunicaÃÃo Alternativa, located in Aldeota district, in Fortaleza (CearÃ). From the participatory research (BrandÃo, 1984; 2006) as a methodology, it was possible to investigate the history of creation of the post radio, consider about the various forms of participation (Bordenave, 1983) of two groups of residents of Quadra, young Catholics and evangelical women, and understand their relationship within the radio in the living with soundscapes (Schafer, 2011) community. Among the final comments, it was possible to understand that the participation of young women and religious radio was given by mobilizing of their own religious groups. Finally, the course of this research also provided interventional times during the anniversary of the program "Remembering is living" and participation in the radio reform. This search path also made me realize that the intervention has been present since my first contact with Quadraâs community. However at first, research and intervention seemed to be distance. I concluded that the participatory methodologies unite these processes.

This paper describes an exploration of interactive soundscapes at the Malmö city library and the effects it has on the space and its inhabitants. It investigates views of the library and it’s soundscape to conclude that the users view of the library correlates with their experience of the space. The project deployed an interactive soundscape installation that was active for the period of a month. Research done to inform the design of the installation grounds itself in soundscape studies and studies done in libraries. The fieldwork was conducted with a grounded theory and research by design approach. The Results suggests that sound can be an effective material to co-create the environment and highlight the way we move within a space. It shows that soundscaping can create new venues for interaction between humans and serve as a tool to create personal and interpersonal spaces.

[ES] La utilización de los medios audiovisuales en la educación musical está ampliamente documentada y especialmente desde la implementación de las nuevas tecnologías de la información y la comunicación. Desde su incorporación se han desarrollado multitud de metodologías y recursos tanto para el estudio como para el desarrollo de destrezas y habilidades. La música de bandas sonoras es un recurso que tiene una amplia aceptación entre los docentes por su carga simbólica que, en muchos casos, pertenecen al imaginario popular. Si hay un sello que se ha convertido en un referente universal ha sido Disney que desde el inicio de la década de los veinte ha venido creando largometrajes y cortometrajes de animación, así como películas de imagen real. Probablemente, como material educativo estos productos ofrecen grandes posibilidades de trabajo en el aula. Un ejemplo es el caso de Cinderella, objeto de esta tesis doctoral. Así pues, el objetivo principal de la tesis es descifrar la doble mirada adulto-niño y, al igual que ocurre en el tratamiento del guion y de la imagen, descubrir las características musicales que definen esa doble audiencia. Así mismo conocer su paisaje sonoro y los recursos netamente musicales utilizados en las secciones claramente dedicadas a los niños y niñas. Este análisis se hará atendiendo a dos criterios diferentes. En primer lugar, comprobando el metraje de música utilizado en las tramas principales, del utilizado en las sub-tramas y como éstas pueden ir dirigidas a diferentes públicos. En segundo lugar, comprobando los elementos técnicos que corresponde a cada uno de los lenguajes y por extensión a cada uno de los públicos objetivo. Por otra parte, se analizará la función gramatical y expresiva de los elementos musicales y su utilización. Referente a la pregunta de investigación se parte de la siguiente hipótesis: existen elementos musicales dirigidos a una doble audiencia al igual que existen desde el punto de vista visual y literario. Para los objetivos planteados, se han tenido en cuenta paradigmas de investigación basada en artes en la educación, además de procedimientos metodológicos tanto cualitativos y cuantitativos. Los resultados apuntan que la banda sonora actúa en gran medida como lienzo sobre el que pintar la acción o la trama. Es decir, como paisaje sonoro. Por otra parte, el uso que hacen los compositores de música para cine de las dinámicas y las velocidades durante la denominada "primera época dorada" de Disney muestra que poseían una comprensión intuitiva de cómo las variaciones en velocidad, modo y orquestación podían influir en el estado de ánimo y la percepción de la audiencia. La música de Cenicienta evoca una amplia gama de emociones en los espectadores, desde la felicidad y la esperanza hasta la tristeza y la angustia. La partitura y las canciones capturan y transmiten las emociones de los personajes y las situaciones de manera magistral, creando una experiencia emocionalmente rica y significativa. / [CA] La utilització dels mitjans audiovisuals en l'educació musical està àmpliament documentada i especialment des de la implementació de les noves tecnologies de la informació i la comunicació. Des de la seua incorporació s'han desenvolupat multitud de metodologies i recursos tant per a l'estudi com per al desenvolupament de destreses i habilitats. La música de bandes sonores és un recurs que té una àmplia acceptació entre els docents per la seua càrrega simbòlica que, en molts casos, pertanyen a l'imaginari popular. Si hi ha un segell que s'ha convertit en un referent universal ha sigut Disney que des de l'inici de la dècada dels vint ha vingut creant llargmetratges i curtmetratges d'animació, així com pel·lícules d'imatge real. Probablement, com a material educatiu aquests productes ofereixen grans possibilitats de treball a l'aula. Un exemple és el cas de Cinderella, objecte d'aquesta tesi doctoral. Així doncs, l'objectiu principal de la tesi és desxifrar la doble mirada adult-xiquet i, igual que ocorre en el tractament del guió i de la imatge, descobrir les característiques musicals que defineixen eixa doble audiència. Així mateix conéixer el seu paisatge sonor i els recursos netament musicals utilitzats en les seccions clarament dedicades als xiquets i xiquetes. Aquesta anàlisi es farà atenent dos criteris diferents. En primer lloc, comprovant el metratge de música utilitzat en les trames principals i l'utilitzat en les sub-trames i com aquestes poden anar dirigides a diferents públics. En segon lloc, comprovant els elements tècnics que correspon a cadascun dels llenguatges i per extensió a cadascun dels públics objectiu. D'altra banda, s'analitzarà la funció gramatical i expressiva dels elements musicals i la seua utilització. Referent a la pregunta d'investigació es parteix de la següent hipòtesi: existeixen elements musicals dirigits a una doble audiència igual que existeixen des del punt de vista visual i literari. Per als objectius plantejats, s'han tingut en compte paradigmes d'investigació basada en arts en l'educació, a més de procediments metodològics punt qualitatius i quantitatius. Els resultats apunten que la banda sonora actua en gran manera com a llenç sobre el qual pintar l'acció o la trama. És a dir, com a paisatge sonor. D'altra banda, l'ús que fan els compositors de música per a cinema de les dinàmiques i les velocitats durant la denominada "primera època daurada" de Disney mostra que posseïen una comprensió intuïtiva de com les variacions en velocitat, mode i orquestració podien influir en l'estat d'ànim i la percepció de l'audiència. La música de Cinderella evoca una àmplia gamma d'emocions en els espectadors, des de la felicitat i l'esperança fins a la tristesa i l'angoixa. La partitura i les cançons capturen i transmeten les emocions dels personatges i les situacions de manera magistral, creant una experiència emocionalment rica i significativa. / [EN] The use of audio-visual media in musical education is widely documented, especially since the implementation of new information and communication technologies. Since their incorporation, numerous methodologies and resources have been developed for both study and the development of skills and abilities. Film music is a resource widely accepted by educators due to its symbolic content, which often belongs to the popular imagination. If there is a brand that has become a universal reference, it is Disney, which has been creating animated feature films and shorts, as well as live-action films, since the beginning of the twenties. Probably, as educational material, these products offer great possibilities for classroom work. An example is the case of Cinderella, the subject of this doctoral thesis. Therefore, the main objective of the thesis is to decipher the dual adult-child perspective and, as in the treatment of the script and image, discover the musical characteristics that define this dual audience. Also, to understand its soundscape and the purely musical resources used in sections clearly dedicated to children. This analysis will be carried out considering two different criteria. First, by checking the length of music used in the main plots, that used in subplots, and how these can be directed to different audiences. Second, by checking the technical elements corresponding to each of the languages and, by extension, to each of the target audiences. On the other hand, the grammatical and expressive function of musical elements and their use will be analysed. Regarding the research question, the following hypothesis is assumed: there are musical elements aimed at a dual audience, just as there are from a visual and literary point of view. For the stated objectives, research paradigms based on arts in education have been considered, as well as both qualitative and quantitative methodological procedures. The results indicate that the soundtrack largely acts as a canvas on which to paint the action or plot, that is, as a soundscape. On the other hand, the use by film music composers of dynamics and tempos during the so-called "first golden age" of Disney shows that they had an intuitive understanding of how variations in speed, mode, and orchestration could influence the mood and perception of the audience. Cinderella's music evokes a wide range of emotions in viewers, from happiness and hope to sadness and distress. The score and songs masterfully capture and convey the emotions of the characters and situations, creating an emotionally rich and meaningful experience. / Fernández Maximiano, R. (2023). La doble audiencia en las películas de Disney. Análisis de la música y del paisaje sonoro de la Cinderella [Tesis doctoral]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/202191

La version intégrale de ce mémoire est disponible uniquement pour consultation individuelle à la Bibliothèque de musique de l’Université de Montréal (www.bib.umontreal.ca/MU). / L’hypothèse d’une influence réciproque entre l’environnement et notre perception sonore représente la base de ma recherche musicale. Villusions est un projet acousmatique qui puise sa source dans l’analyse introspective de cette complexe relation, plus précisément entre les sons du quotidien et l’oreille curieuse d’un voyageur éternel. Les parties les plus intimement liées à mes expériences personnelles de la ville de Montréal et ses banlieues représentent donc le théâtre de cette exploration assidue; les illusions correspondent à trois pièces acousmatiques inspirées par ce contexte de réciprocité. Dans l’ensemble des œuvres présentées, les moments musicaux s’alternent, s’intègrent et se confondent aux éléments sonores naturels qui en constituent souvent la racine génératrice. Ces matériaux ont été développés suivant trois axes principaux : d’abord l’axe des mouvements, associés aux moyens de transport et aux centres névralgiques à travers lesquels se répandent les impulsions de la ville; ensuite l’axe des voix qui témoigne de sa multiethnicité, de sa lymphe vitale; finalement, l’axe de l’alternance des saisons comme prétexte sonore lié au contexte temporel. Des sources sonores instrumentales, dérivées des tablâ et de la harpe, trouvent également leur place dans le projet, en lui donnant une empreinte à la fois rythmique et harmonique. La composante spatiale doit être considérée comme un élément incontournable du discours musical de Villusions. Sa construction octophonique porte sur l’équilibre, délicat et illusoirement immersif, généré par des trajectoires dessinées sur la même ligne temporelle que celle des évènements musicaux, suivant des stratégies intégrées directement dans le processus compositionnel. / This musical research is based on the theory of interaction between the environment and our sound perception. Villusions is an acousmatic project that emerged from the introspective analysis of this complex relationship, in particular between daily sounds and the curious ear of an eternal traveller. Thus, the parts most closely related to my personal experiences in the city (“ville”) of Montréal and its suburbs are where this diligent exploration took place; the illusions are three acousmatic pieces inspired by this context of reciprocity. In the works presented, musical moments alternate, integrate with each other, and merge with the natural sound elements that often constitute the originating roots. This material was developed with three main focuses: firstly, movement, associated with modes of transportation and the nerve centres through which beats the city’s pulse; secondly, the voices that express its multi ethnicity, its vital lymph; and, lastly, the changing of the seasons as an acoustic proxy related to the temporal context. Instrumental sound sources, derived from the tablâ and the harp, are also used in the project, lending both a rhythmic and a harmonic feel. The spatial component should be seen as an essential element of the musical discourse of Villusions. Its octophonic construction features the delicate and deceptively immersive balance created by trajectories drawn on the same timeline as those of the musical events, using techniques directly integrated into the compositional process.