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Ever wonder why two people can sing the same note with the same loudness, but sound completely different? Middle C is middle C no matter who sings it, yet for some reason Lucianno Pavarotti1s middle C sounds richer and more beautiful than Bob Dylan1s middle C, for example. But then again, what is beauty in singing? It is a completely biased and abstract concept. To some, Bob Dylan1s voice may epitomize tonal beauty, while to others his voice may be comparable to fingernails on a chalk board. Anyway, differences in tone quality, or timbre, are due to differences in the spectral characteristics in different voices. The Music Muse is a computer program designed to help singers train their voices by showing them the individual components of their voices that combine to produce timbre. In paintings, many colors are combined to produce different hues and shades of color. The individual colors that make up the hue are difficult to distinguish. Similarly in music, harmonics with varying amplitudes combine to create voice colors, or timbres. These individual harmonics are difficult to distinguish by the ear alone. The Music Muse splits the voice up into its harmonic components by means of a Fourier transform. The transformed data is then plotted on a harmonic spectrum, from which singers can observe the number of harmonics in their tone, and their amplitudes relative to one another. It is these spectral characteristics that are important to voice timbre. The amplitudes of the harmonics in a voiced tone are determined by the resonant frequencies of the vocal tract. These resonances are called formants. When a harmonic that is produced by the vocal cords has a frequency that is at or near a formant frequency, it is amplified. Formants are determined by the length, size, and shape of the vocal tract. These parameters differ from person to person, and change during articulation. Optimal tonal quality during singing is obtained by placing formants at a desired frequency. The Music Muse calculates the formants of the voice by means of cepstral analysis. The formants are then plotted. With this tool, singers can learn how to place their formants. One of the difficulties of voice training is that singing is rated on a scale of quality, which is difficult to quantify. Also, feedback tends to be biased, and therefore subjective in nature. The Music Muse provides singers with the technology to quantify quality to a degree that makes it less of an abstract concept, and therefore more attainable. / Master of Science

Previous analyses have made insightful progress on how Lushootseed functions primarily based upon elicitation work and morphosyntactic observations. Much of this work is based upon a structural linguistic analysis. For years, this form of analysis has been the primary way Lushootseed has been presented and these insights have been helpful in understanding how Lushootseed functions. Indeed, much of what has been said about Lushootseed on this level is the basis for my analysis in this dissertation. However, there are elements of Lushootseed that do not fit well within this more traditional frame work and are not fully understood through just a structural linguistic analysis. This includes morphological elements, such as: the functions of the s- ‘nominalizer’; ʔu-, previously analyzed as a perfective marker; and =əxʷ, previously analyzed as marking a change of state. In addition, previous analysis on the diachronic Salish passive construction does not hold as a synchronic passive among four Central Salish languages. The methodology in this dissertation examines natural speech patterns and leans towards analyzing morphosyntactic elements in terms of focus and discourse marking. When certain Lushootseed constructions are analyzed using this approach, their distributions have promising results.

This dissertation explores various ways of working with acoustic analyses of speech in music composition. The first chapter presents an overview of whistled languages and discusses their potential to act as blueprints for optimizing phonetic data for compositional use. The second chapter details my workflow for incorporating formant and fundamental frequency analysis data from the phonetics software Praat into my compositional methodology. Broadly inspired by the ways in which whistled utterances transform spoken language, the workflow consists of an analysis phase in Praat followed by the conversion, optimization and orchestration of the extracted phonetic data in the computer-assisted composition environments OpenMusic and bach. Also included in the dissertation are two compositions that are both informed by phonetics. The first composition, ŠÀ {karāz} for large ensemble, contains, among the various ways it attempts to instrumentally imitate speech, a section that is constructed with the help of the workflow described in the second chapter. The second composition, eschaton according to bēl-rē’u-šu for percussion trio, engages in a deconstruction of the established roles of speech and instruments in my music, in which the performers are, at times, asked to imitate the sounds of percussion instruments with their voice, in an attempt to blur the line between speech as “the imitated” and instruments as “the imitators.”

AC2017

Ph.D. / Computer Science and Electrical Engineering / Nasalization refers to the process of speech production in which significant amounts of airfow and sound energy are transmitted through the nasal tract. In phonetics, nasalization is necessary for certain phonemes to be produced in normal speech; and it can also be a normal consequence of coarticulation. In disordered speech, however, inappropriate nasalization can be one of the causes that reduces the intelligibility of speech. Instrumental measurement and analysis techniques are needed for better understanding the relationship between the physiological status and the aerodynamic and acoustic effects of nasalization during speech. The main aim of the research work presented in this dissertation is to investigate the aerodynamic and acoustic effects of nasalization, and to develop objective approaches to measure, analyze, and detect the nasalized segments in speech. Based on an extensive survey of existing literature on the measurements of velopharyngeal function, the acoustic production models of speech, the analysis methods and results of normal nasalization, and the analysis methods of resonance disorders, it is understood that the final acoustic representation of nasalization is a complex outcome that is affected by the degree of velopharyngeal opening, the variation of vocal tract configurations, the mixture of multiple acoustic channels and speaker differences. It is proposed to incorporate more available information besides single channel acoustic signals during the analysis of nasalization. In our research work, a parallel study of acoustic and aerodynamic signals reveals the complimentary information within the signals. In addition, dual-channel acoustic studies help to understand the acoustic relationship between the oral and nasal cavities, and show inherent advantages over the single-channel analysis. Based on the derivation and analysis of the dual-channel acoustic properties, automatic detectors of nasalization are developed and successfully tested. The techniques developed in these explorations provide novel instrumental and analysis approaches to possible applications such as phonetic studies of the normal nasalization process, clinical assessment of disordered nasal resonance, and special feature extraction for speech recognition.

Têm sido muitas as formas como o homem ocidental encara a morte desde a idade média: evento natural da vida, destino certo do homem, castigo de Deus, glamour exclusivo dos jovens amantes, fracasso da medicina, descarte de mercadoria. Assim como na história do homem, a história do cinema também retratou as diferentes formas do homem encarar a morte. O objetivo do presente estudo foi identificar, no discurso fílmico, o que dizem os filmes sobre a morte, formas contemporâneas de encarar a morte. O método de pesquisa consistiu na análise dos filmes Mar Adentro (Alejandro Amenabar), O Quarto do Filho (Nanni Moretti) e O Sétimo Selo (Ingmar Bergman), sob dois aspectos: a análise dos elementos fílmicos fotografia, iluminação, câmera, figurino, cenário, maquiagem, roteiro, montagem, personagens; a análise do filme como narrativa, identificando a fábula, os temas e o discurso. As análises fílmicas revelaram um discurso intimista da morte. A morte foi retratada como experiência íntima e singular. De acordo com a literatura tanatológica, a morte como experiência subjetiva é uma das formas atuais de encarar a morte nas sociedades ocidentais. O fenômeno da intimização da morte também se apresenta no discurso fílmico de algumas obras cinematográficas, confirmando uma mentalidade histórico-cultural do homem / There have been many ways of the western man face the death since the middle Ages: natural event of life; inevitable fate; God punishment; exclusive glamour of young lovers; medicine failure, discard material. In the history of cinema as well as in the human history face death is also portrayed in different ways. The purpose of this study was identifying in the film discourse what the films says about this event and the contemporary ways to face it. The method of the research consists in analyze the films; The Sea Inside (Alejandro Amenabar), The Son´s Room (Nanni Moretti), The Seventh Seal (Ingmar Bergman) in two aspects: analysis of the film elements like cinematography, lighting, camera, costumes designer, scenery, makeup, script, editing, characters; and the film analysis like a narrative, identifying the fable, the themes and the discourses. This analyses show an intimate narrative of death which was portrayed like a unique experience. According to the thanatological literature, death as subjective experience is one of the current ways of facing death in Western societies. The phenomenon of death in an intimate perspective also appears in the film discourse of some cinematographic works, confirming a historical-cultural mentality of humanity

MORENO, C. da C. Leitura de imagens na Educação Infantil: análise discursiva. 2016. 136 f. Dissertação (Mestrado) Faculdade de Filosofia, Ciências e Letras, Universidade de São Paulo, Ribeirão Preto, 2016. O presente trabalho visa a investigar, no âmbito da Análise de Discurso de matriz francesa (AD), o movimento de produção de sentidos nos processos de leitura de imagens no contexto da Educação Infantil. O conceito de leitura aqui empregado é compreendido sob a ótica da perspectiva discursiva, para a qual os processos de produção da leitura extrapolam a simples noção de decodificação. O material que constitui o corpus de análise resulta de observações realizadas em escolas de Educação Infantil da rede municipal de Ribeirão Preto, interior de São Paulo, além de entrevistas com os sujeitos-professores cujas práticas pedagógicas foram observadas. O estudo divide-se em cinco seções que abordam os fundamentos teóricos da AD; um breve percurso histórico do ensino de arte no Brasil e o contexto de suas práticas escolares; reflexões sobre a formação de professores; os aspectos metodológigos que embasam as investigações e, por fim, são apresentadas as análises. Os resultados encontrados indicam que, embora a maior parte das práticas escolares observadas no campo remetam a práticas que vêm sendo tradicionalmente reproduzidas no contexto escolar, é possível encontrar fissuras que apontam para a possibilidade de que o diferente se instale, superando a tradição da paráfrase, do mesmo. Contudo, muito ainda é possível avançar no que diz respeito à possibilidade de circulação do discurso lúdico, característico do discurso artístico, nas instituições escolares, mesmo quando as práticas pedagógicas têm como plano de fundo a Educação Infantil. / The present work aims to search, in the discursive analysis of frech matrix (AD), the scholar practices involving the images reading in the context of childhood education. The concept of reading used here is comprehend in the view of discursive perspective, in which the process of production of the reading goes beyond the simple notion of decodification. The material of the analysis results from observations made in schools of childhood education in Ribeirão Preto, countryside of the state of São Paulo, besides the interviews with the teachers-subject whose pedagogical practices were observed. This study is divided in five sections that include the theoretical fundamentals of AD; an brief historical path of the arts education in Brazil and the context of its scholars practices; reflections about the teachers formation; the methodological aspects which gave background the investigations and, at the end, are broght the analysis. The foundings show that, though the major part os the scholars practices observed in the field refers to the practices that have been tradicional reproduced in the school context, its possible to find holes which points to the possibilities that the different instals itself, overcoming the paraphrases tradition. However, much is still possible to go forward in the possibilities of the circulation if the playfull speech, caracteristics of the arts speech, in the scholar institutions, even when the pedagogical practices has background plan on the childhood education.

MORENO, C. da C. Leitura de imagens na Educação Infantil: análise discursiva. 2016. 136 f. Dissertação (Mestrado) Faculdade de Filosofia, Ciências e Letras, Universidade de São Paulo, Ribeirão Preto, 2016. O presente trabalho visa a investigar, no âmbito da Análise de Discurso de matriz francesa (AD), o movimento de produção de sentidos nos processos de leitura de imagens no contexto da Educação Infantil. O conceito de leitura aqui empregado é compreendido sob a ótica da perspectiva discursiva, para a qual os processos de produção da leitura extrapolam a simples noção de decodificação. O material que constitui o corpus de análise resulta de observações realizadas em escolas de Educação Infantil da rede municipal de Ribeirão Preto, interior de São Paulo, além de entrevistas com os sujeitos-professores cujas práticas pedagógicas foram observadas. O estudo divide-se em cinco seções que abordam os fundamentos teóricos da AD; um breve percurso histórico do ensino de arte no Brasil e o contexto de suas práticas escolares; reflexões sobre a formação de professores; os aspectos metodológigos que embasam as investigações e, por fim, são apresentadas as análises. Os resultados encontrados indicam que, embora a maior parte das práticas escolares observadas no campo remetam a práticas que vêm sendo tradicionalmente reproduzidas no contexto escolar, é possível encontrar fissuras que apontam para a possibilidade de que o diferente se instale, superando a tradição da paráfrase, do mesmo. Contudo, muito ainda é possível avançar no que diz respeito à possibilidade de circulação do discurso lúdico, característico do discurso artístico, nas instituições escolares, mesmo quando as práticas pedagógicas têm como plano de fundo a Educação Infantil. / The present work aims to search, in the discursive analysis of frech matrix (AD), the scholar practices involving the images reading in the context of childhood education. The concept of reading used here is comprehend in the view of discursive perspective, in which the process of production of the reading goes beyond the simple notion of decodification. The material of the analysis results from observations made in schools of childhood education in Ribeirão Preto, countryside of the state of São Paulo, besides the interviews with the teachers-subject whose pedagogical practices were observed. This study is divided in five sections that include the theoretical fundamentals of AD; an brief historical path of the arts education in Brazil and the context of its scholars practices; reflections about the teachers formation; the methodological aspects which gave background the investigations and, at the end, are broght the analysis. The foundings show that, though the major part os the scholars practices observed in the field refers to the practices that have been tradicional reproduced in the school context, its possible to find holes which points to the possibilities that the different instals itself, overcoming the paraphrases tradition. However, much is still possible to go forward in the possibilities of the circulation if the playfull speech, caracteristics of the arts speech, in the scholar institutions, even when the pedagogical practices has background plan on the childhood education.