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1
Di, Bona Elvira. „Sound and sound sources“. Paris, EHESS, 2013. http://www.theses.fr/2013EHES0058.
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Dans cette thèse je vais proposer une théorie de la perception auditive selon laquelle les sons sont strictement attachés aux objets matériels qui sont leurs sources. Dans le Chapitre l, je propose une taxonomie des théories du son. Ma taxonomie range les théories du son dans quatre catégories : le groupe minimaliste, le groupe modéré, le groupe maximaliste et le groupe plus-que-maximaliste. Dans le Chapitre II, je fais deux choses: je traite des questions sur l'a-spatialité de la perception auditive, et ensuite, je caractérise la relation entre les sources sonores et les sons. Par ailleurs, mon intention est de justifier le point de vue maximaliste en défendant une nouvelle théorie du son comme événement vibratoire qui arrive aux sources sonores. Dans le Chapitre III e IV je m'occupe des qualités sonores du son qui sont la hauteur, l'intensité, le timbre, la durée et la location. En générale, je vais montrer que non seulement les qualités sonores peuvent être considérées comme des contreparties perceptibles des propriétés physiques des ondes sonores dans un milieu, mais qu'elles sont aussi en corrélation avec les propriétés physiques de la vibration de l'objet sonore. L'objectif du Chapitre V est d'aborder le problème de la perception directe du son et des sources sonores. En particulier, je vais prétendre que mon analyse des qualités sonores -qui prête une attention particulière au timbre -et la caractérisation du son comme événement source nous permet de conclure que nous pouvons entendre directement les sources sonores -et que nous pouvons, donc, justifier la vue maximaliste. Dans l'Excursus j'évalue la possibilité auditive de percevoir la causalitéLn this dissertation I defend two theses: the "identity view" and the "maximalist view". According to the first thesis, when we hear sounds, we hear also events and happenings which occur at the sources where sounds have been produced. According to the second thesis, our auditory landscape is constituted by sounds which not only are identical to the audible events occurring at sound sources, but they are also the tools which help us to recover information about the material objects which generate sound. This dissertation is composed by five chapters and an Excursus. In Chapter 1, I propose a taxonomy of sound theories. My taxonomy organises sound theories into four groups: the minimalist group, the moderate group, the maximalist group and the overmaximalist group. In Chapter Il, I deal with issues on the a-spatiality of auditory perception, in the attempt to demonstrate that we hear sound as co-Iocated with sound sources. Furthermore, I define the relation between sound sources and their sounds and justify the identity view by virtue of the distinction between two aspects of sound sources -the thing source (such as bells or violins) and the event source (such as collisions or vibratory events at the object). In Chapters III and IV, I tackle the problem of the audible qualities of sound (pitch, loudness, timbre, duration and location) in the light of the characterization of sound as event source. The objective of the last chapter is the problem of the direct perception of sound and sound sources in the light of the considerations made in the previous chapters. I add an Excursus in which I evaluate the possibility of perceiving causality by audition
2
Liao, Wei-Hsiang. „Modelling and transformation of sound textures and environmental sounds“. Thesis, Paris 6, 2015. http://www.theses.fr/2015PA066725/document.
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Le traitement et la synthèse des sons environnementaux sont devenue un sujet important. Une classe des sons, qui est très important pour la constitution d'environnements sonore, est la classe des textures sonores. Les textures sonores sont décrit par des relations stochastiques et qui contient des composantes non-sinusoïdales à caractère fortement bruité. Il a été montré récemment que la reconnaissance de textures sonores est basée sur des mesures statistiques caractérisant les enveloppes dans les bandes critiques. Il y actuellement très peu d'algorithmes qui permettent à imposer des propriétés statistiques de façon explicite lors de la synthèse de sons. L'algorithme qui impose l'ensemble de statistique qui est perceptivement relevant pour les textures sonore est très couteuse en temps de calcul. Nous proposons une nouvelle approche d'analyse-synthèse qui permet une analyse des statistiques relevant et un mécanisme efficace d'imposer ces statistiques dans le domaine temps-fréquence. La représentation temps-fréquence étudié dans cette thèse est la transformée de Fourier à court terme. Les méthodes proposées par contre sont plus générale et peuvent être généralisé à d'autres représentations temps-fréquence reposant sur des banques de filtres si certaines contraintes sont respectées. L'algorithme proposé dans cette thèse ouvre plusieurs perspectives. Il pourrait être utilisé pour générer des textures sonores à partir d'une description statistique créée artificiellement. Il pourrait servir de base pour des transformations avancées comme le morphing, et on pourrait aussi imaginer à utiliser le modèle pour développer un contrôle sémantique de textures sonoresThe processing of environmental sounds has become an important topic in various areas. Environmental sounds are mostly constituted of a kind of sounds called sound textures. Sound textures are usually non-sinusoidal, noisy and stochastic. Several researches have stated that human recognizes sound textures with statistics that characterizing the envelopes of auditory critical bands. Existing synthesis algorithms can impose some statistical properties to a certain extent, but most of them are computational intensive. We propose a new analysis-synthesis framework that contains a statistical description that consists of perceptually important statistics and an efficient mechanism to adapt statistics in the time-frequency domain. The quality of resynthesised sound is at least as good as state-of-the-art but more efficient in terms of computation time. The statistic description is based on the STFT. If certain conditions are met, it can also adapt to other filter bank based time-frequency representations (TFR). The adaptation of statistics is achieved by using the connection between the statistics on TFR and the spectra of time-frequency domain coefficients. It is possible to adapt only a part of cross-correlation functions. This allows the synthesis process to focus on important statistics and ignore the irrelevant parts, which provides extra flexibility. The proposed algorithm has several perspectives. It could possibly be used to generate unseen sound textures from artificially created statistical descriptions. It could also serve as a basis for transformations like stretching or morphing. One could also expect to use the model to explore semantic control of sound textures
3
Liao, Wei-Hsiang. „Modelling and transformation of sound textures and environmental sounds“. Electronic Thesis or Diss., Paris 6, 2015. https://accesdistant.sorbonne-universite.fr/login?url=https://theses-intra.sorbonne-universite.fr/2015PA066725.pdf.
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Le traitement et la synthèse des sons environnementaux sont devenue un sujet important. Une classe des sons, qui est très important pour la constitution d'environnements sonore, est la classe des textures sonores. Les textures sonores sont décrit par des relations stochastiques et qui contient des composantes non-sinusoïdales à caractère fortement bruité. Il a été montré récemment que la reconnaissance de textures sonores est basée sur des mesures statistiques caractérisant les enveloppes dans les bandes critiques. Il y actuellement très peu d'algorithmes qui permettent à imposer des propriétés statistiques de façon explicite lors de la synthèse de sons. L'algorithme qui impose l'ensemble de statistique qui est perceptivement relevant pour les textures sonore est très couteuse en temps de calcul. Nous proposons une nouvelle approche d'analyse-synthèse qui permet une analyse des statistiques relevant et un mécanisme efficace d'imposer ces statistiques dans le domaine temps-fréquence. La représentation temps-fréquence étudié dans cette thèse est la transformée de Fourier à court terme. Les méthodes proposées par contre sont plus générale et peuvent être généralisé à d'autres représentations temps-fréquence reposant sur des banques de filtres si certaines contraintes sont respectées. L'algorithme proposé dans cette thèse ouvre plusieurs perspectives. Il pourrait être utilisé pour générer des textures sonores à partir d'une description statistique créée artificiellement. Il pourrait servir de base pour des transformations avancées comme le morphing, et on pourrait aussi imaginer à utiliser le modèle pour développer un contrôle sémantique de textures sonoresThe processing of environmental sounds has become an important topic in various areas. Environmental sounds are mostly constituted of a kind of sounds called sound textures. Sound textures are usually non-sinusoidal, noisy and stochastic. Several researches have stated that human recognizes sound textures with statistics that characterizing the envelopes of auditory critical bands. Existing synthesis algorithms can impose some statistical properties to a certain extent, but most of them are computational intensive. We propose a new analysis-synthesis framework that contains a statistical description that consists of perceptually important statistics and an efficient mechanism to adapt statistics in the time-frequency domain. The quality of resynthesised sound is at least as good as state-of-the-art but more efficient in terms of computation time. The statistic description is based on the STFT. If certain conditions are met, it can also adapt to other filter bank based time-frequency representations (TFR). The adaptation of statistics is achieved by using the connection between the statistics on TFR and the spectra of time-frequency domain coefficients. It is possible to adapt only a part of cross-correlation functions. This allows the synthesis process to focus on important statistics and ignore the irrelevant parts, which provides extra flexibility. The proposed algorithm has several perspectives. It could possibly be used to generate unseen sound textures from artificially created statistical descriptions. It could also serve as a basis for transformations like stretching or morphing. One could also expect to use the model to explore semantic control of sound textures
4
Davies, Shaun, of Western Sydney Nepean University und Faculty of Visual and Performing Arts. „Sound art and the annihilation of sound“. THESIS_FVPA_XXX_Davies_S.xml, 1995. http://handle.uws.edu.au:8081/1959.7/402.
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This thesis describes the way in which sound is taken up and subsequently suppressed within the visual arts. The idealisation and development of sound as a plastic material is able to be traced within the modernist trajectory, which, reflecting a set of cultural practices and having developed its own specific terminologies, comes to regard any material, or anything conceived of as material, as appropriate and adequate to the expression of its distinctive and guiding concepts and metaphors. These concepts and metaphors are discussed as already having at their bases strongly visualist biases, the genealogies of which are traced within traditional or formal philosophies. Here, the marginalising tendency of ocularcentrism is exposed, but the very nature and contingency of marginalisation is found to work for the sound artist (where the perpetuation of the mythologised 'outsider' figure is desired) but against sound which is positioned in a purely differential and negative relation. In this epistemological and ontological reduction, sound becomes simply a visual metaphor or metonymic contraction which forecloses the possibility of producing other ways of articulating its experience or of producing any markedly alternative 'readings'. Rather than simply attempting to reverse the hierarchisation of the visual over the aural, or of prefacing sound within a range of artistic practices (each which would keep the negative tradition going) sound's ambiguous relation to the binarism of presence/absence, system and margin, is, however oddly, elaborated. The strategy which attempts to suspend sound primarily within and under the mark of the concept is interrogated and its limits exposed. The sound artist, the 'margin surfer' is revealed as a perhaps deeply conservative figure who may in the end desire the suppression of sound, and who, actually rejecting any destabilising and threatening notion of 'radical alterity' anxiously clings to the 'marginalised' modernist pretence. It is the main contention of this thesis that the marginalisation of sound obscures the more pressing question of its ambiguous relation to notions of sameness and difference, and that its conceptualisation suppresses the question of the ethical. That the ethical question should (and always does) take 'precedence' over purely epistemological and ontological considerations, and that more genuinely open attitudes should be assumed with respect to sound studies are forwarded in this thesisMaster of Arts (Hons)
5
Davies, Shaun. „Sound art and the annihilation of sound“. Thesis, View thesis, 1995. http://handle.uws.edu.au:8081/1959.7/402.
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This thesis describes the way in which sound is taken up and subsequently suppressed within the visual arts. The idealisation and development of sound as a plastic material is able to be traced within the modernist trajectory, which, reflecting a set of cultural practices and having developed its own specific terminologies, comes to regard any material, or anything conceived of as material, as appropriate and adequate to the expression of its distinctive and guiding concepts and metaphors. These concepts and metaphors are discussed as already having at their bases strongly visualist biases, the genealogies of which are traced within traditional or formal philosophies. Here, the marginalising tendency of ocularcentrism is exposed, but the very nature and contingency of marginalisation is found to work for the sound artist (where the perpetuation of the mythologised 'outsider' figure is desired) but against sound which is positioned in a purely differential and negative relation. In this epistemological and ontological reduction, sound becomes simply a visual metaphor or metonymic contraction which forecloses the possibility of producing other ways of articulating its experience or of producing any markedly alternative 'readings'. Rather than simply attempting to reverse the hierarchisation of the visual over the aural, or of prefacing sound within a range of artistic practices (each which would keep the negative tradition going) sound's ambiguous relation to the binarism of presence/absence, system and margin, is, however oddly, elaborated. The strategy which attempts to suspend sound primarily within and under the mark of the concept is interrogated and its limits exposed. The sound artist, the 'margin surfer' is revealed as a perhaps deeply conservative figure who may in the end desire the suppression of sound, and who, actually rejecting any destabilising and threatening notion of 'radical alterity' anxiously clings to the 'marginalised' modernist pretence. It is the main contention of this thesis that the marginalisation of sound obscures the more pressing question of its ambiguous relation to notions of sameness and difference, and that its conceptualisation suppresses the question of the ethical. That the ethical question should (and always does) take 'precedence' over purely epistemological and ontological considerations, and that more genuinely open attitudes should be assumed with respect to sound studies are forwarded in this thesis
6
Davies, Shaun. „Sound art and the annihilation of sound /“. View thesis, 1995. http://library.uws.edu.au/adt-NUWS/public/adt-NUWS20030902.141711/index.html.
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7
Chapman, David P. „Playing with sounds : a spatial solution for computer sound synthesis“. Thesis, University of Bath, 1996. https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.307047.
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8
Browne, Vicky Kay. „Images of sound and the sound of images“. Thesis, The University of Sydney, 2010. https://hdl.handle.net/2123/24589.
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'The line between art and life should be kept as fluid, and perhaps indistinct, as possible'
Allan Kaprow1
Shortly before beginning this paper I moved into a new house, under the house was my office a
humble room to write in. For over ten years I had been stock piling articles and papers these
were placed in boxes on the floor ready to be unpacked and incorporated into my paper. Away
we went on holiday so I could return, refreshed to start writing. While we were away everything
flooded. I returned to a floating soup of Derrida and Deleuze, a sodden mash of Virilio and
Baudrillard. Floating down the drain was ten years of collected French theory and art writings. It
was like my brain had gone soggy along with my office and all its contents. However, as
everything began to dry out so too did my methodology and writing plan. Sometimes it takes a
flood to reveal the old and come up with the new.
I began to ask why was I doing a masters degree and what kind of paper would my practice
benefit from. I decided that trawling though academic theories in art and using artists as
illustrations for these theories was not going to inform my practice. After considerable thought I
concluded the main things that influenced my work was the stuff of life, the theories and ideas
floating around my brain. Walking the dog, living in the mountains, the radio station I listen to,
are the things that have influenced and moulded both my work and therefore the choice material
and the method of writing this paper. Along the way it is hoped that I can contextualise my work,
where it sits in the art world, what the materials I use mean, and the wider environmental and
political comments I am trying to make.
The paper floats much like the articles in the flood; there is no hypothesis, no monumental
conclusion; no light bulb moment. This mirrors my work, where meaning is often open ended
and contradictory, scale is out of whack, technique is shonky and materials are used in an ad
hoc way. There exists a kind of philosophical approach to the position of art and life, a blurring.
It is this blurring that is the catalyst for this paper. I do not dismiss art theory or theorists, indeed
the paper references Virilio, Bachelard and Deleuze to name a few, but they are not the driving
force behind the paper. The forces that drive the paper are the tangents, the intersections, the
trains of thought that occur when out walking or taking a shower. These are the trails that are
played out, investigated and recorded in this paper.
Chapter one by way of introduction looks at sound devices and music culture ('pop' culture) that
informs my work. It also considers how I use these devices and the wider meanings and
implications arising from this use. I additionally investigate different techniques and influences in my practice such as humour, theatrics and songs. These materials, techniques and influences
give the work meaning which is grounded in the realm of domestic life and social structures.
Chapter two discusses my practice in relation to the wider art world. It is a meditation both on art
movements that have influenced my work and on one way of reading those art movements;
namely Virilio's theories regarding trauma and the catastrophe. The chapter traces some
modernist movements from the futurists to 1960's video and sound artists through to presentday
installations, via Virilio's writings on trauma; it considers the trauma of war and the impact
on art at the time. Then the chapter considers possible traumas existing in the 1960's and the
present day and their impact on art. The chapter concludes with an examination of the impact of
perceived traumas and catastrophes in contemporary society and how they manifest
themselves in my practice.
The remainder of the paper looks at specific things that have informed my practice; namely;
iPods, housing, radio, scale and craft. I try to contextualise these things within my practice and
also give them a wider context via an investigation into their inherent meanings and politics.
The things I have chosen to consider are by no means the only things that inform my work, nor
are they finite. The things that inform my practice today may easily be rejected tomorrow; rather
it is the meditations and considerations behind writing about iPods or radios that are important.
It is the construction of a framework, the casting out of a wider net. I am hoping to capture
meaning and information that works towards contextualising, informing and clarifying my
practice, yet in a method which does not pin it down or estrange it from other possibilities and
directions. In a way this paper could work like a recording of my practice, the Dictaphone could
record another story and lay-down another track but right now, you have this one to read...........
9
Wennebjörk, Turdell Johan. „Sound Fence“. Thesis, Umeå universitet, Designhögskolan vid Umeå universitet, 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-92054.
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To fence in pastures for sheep today is a major cost, especially because of the time required when using current methods. What takes most time is starting to fence off a new area, but to maintain a fence is also a continuous effort. The main function is to keep the sheep at the field.! ! By interviewing and observing sheep farmers on how they work with fence today and what their problems was, I got a better understanding of the problem. Also looking at a number of other things like the context, statistics on sheep farming, laws and competition mapping gave a wider image. But the most important part in my research occurred when I talked to experts about sheep behavior. The main characteristic is the flocking behavior which the final result is based on. ! By stressing a sheep with a sound as it is on its way out of the given area the sheep will, cos of flocking behavior, stop and move back to the other sheep.
10
Stone, Anne. „De'ath sound“. Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp03/MQ29515.pdf.
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11
Stone, Anne 1969. „De'ath Sound“. Thesis, McGill University, 1997. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=26709.
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This thesis consists of De'ath Sound, a short poetic novel (of approximately 27,000 words), and Check Your Sex at the Door, a critical postface.In the novel, traditional notions of plot and character fracture, and the underlying story, a kind of impulsion towards plot, plays itself out in ambiguous, even disturbing ways. The work itself, much shorter than a traditional novel, shares some of the sensibilities and structures of a long poem. The use of repetition, recurrent imagery, and the rhythm of sound, informs the narrative.
The postface, intimately connected with the fictional text, employs language, syntax, and rhythms of speech which echo those used in the fictional text. As in any good work of fiction, language is privileged, suffusing and even disrupting form and content.
12
Penrose, Joshua Adam. „Situating Sound“. The Ohio State University, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=osu1282156333.
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13
Reilly, Andrew J. „Sound + architecture“. This title; PDF viewer required. Home page for entire collection, 2005. http://archives.udmercy.edu:8080/dspace/handle/10429/9.
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14
Lee, Chung. „Sound texture synthesis using an enhanced overlap-add approach /“. View abstract or full-text, 2008. http://library.ust.hk/cgi/db/thesis.pl?CSED%202008%20LEE.
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15
Kawaguchi, Nobuo, und Yuya Negishi. „Instant Learning Sound Sensor: Flexible Environmental Sound Recognition System“. IEEE, 2007. http://hdl.handle.net/2237/15456.
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16
Østhagen, Hans Aleksander, und Anders Stenberg. „Sound body and sound mind : Ny idrettspark på Gløshaugen“. Thesis, Norges teknisk-naturvitenskapelige universitet, Fakultet for arkitektur og billedkunst, 2012. http://urn.kb.se/resolve?urn=urn:nbn:no:ntnu:diva-17623.
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Stevenson, Ian Robert. „The sound effect: a study in radical sound design“. Thesis, The University of Sydney, 2014. http://hdl.handle.net/2123/13368.
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This research project combines a theoretical intervention into sound ontology, with an empirical investigation into listening experience, in parallel with two technologically focused, research-led creative practice projects. The design follows an iterative cycle of research and creative practice that integrates theory, practice and empirical approaches. The research makes an initial contribution to the field of sound studies by re-appraising the work of pioneers in the field—Pierre Schaeffer and R. Murray Schafer—in light of the concept of the sonic effect. This concept is developed as an effective tool for both sound studies and sound design. This theoretical work attempts to critically and creatively examine the ontology or mode of existence of sonic phenomena and is informed by the post-structural theory of the effect. The theory of the sonic effect is empirically investigated by examining verbal accounts of listening experience elicited by semi-structured interview. Finally, having deconstructed sonic phenomena in terms of their potential to be actualised in diverse contexts, sonic effects are interrogated as a creative strategy in the field of sound design for performance and installed sonic art. Two projects are documented. One is a hybrid live performance installation utilising a novel software design for sound composition and projection. The other is a sound installation work demonstrating a novel loudspeaker design for the creation of very dense sound fields. In this context, design occurs as an effect at the intersection of new technologies of sound production and the production of audible sense. This approach enacts a radical pragmatism that underlies the radical sound design strategy outlined in the thesis.
18
Rådsten-Ekman, Maria. „MAY NOISY SOUND ENVIRONMENTS BE IMPROVED BY ADDING PLEASANT WATER SOUNDS?“ Thesis, Stockholms universitet, Psykologiska institutionen, 2010. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-43834.
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Chatterley, James J. „Sound Quality Analysis of Sewing Machines“. BYU ScholarsArchive, 2005. https://scholarsarchive.byu.edu/etd/424.
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Sound quality analysis is a tool designed to help determine customer preferences, which can be used to help the designer improve product quality. Many industries desire to know how the consuming public perceives their product, as this affects the product life and success. This research investigates which of the six sewing machines provided by Viking Sewing Machine Group (VSM group) consumers find most acoustically appealing. The sound quality analysis methods used include both jury based listening tests and quantitative sound quality metrics from empirical equations. The results from both methods are completely independent and are shown to have a very strong correlation. The procedures and results of both methods, jury listening tests and mathematical metrics, are presented. Near field sound intensity scans identified acoustic hot spots and give direction for possible design modifications to improve the acoustic signature of the two top tier machines, the Designer 1 and Creative 2144 (Husqvarna Viking and Pfaff respectively). This research determined that the entry level Pfaff Select 1530 has the most acoustically appealing sound of the six machines evaluated. In addition, it was also determined that a reduction in the higher frequency sounds produced by the machines is preferred over a reduction in the lower frequency sounds. Further investigations, including an evaluation of machine isolation and startup sounds, were also performed. The machine isolation results are highly dependant on the individual machine being evaluated and would require independent evaluation. In the machine startup sound assessment, it was discovered that again the Pfaff Select 1530 has the preferred sound. Near field acoustic intensity scans provide additional information on locations of strong acoustic radiation. The near field scans provided valuable design information. The acoustic "hot" spots were discovered to exist in the lower portions of the machines near the main stepper motor in the Designer 1, and radiating from the bottom plate of the machine in the Pfaff Creative 2144. This analysis has led to various design modifications that could be implemented to improve the sound quality of the machines, specifically the Designer 1 and the Creative 2144.
20
Nykänen, Arne. „Methods for specification of sound quality applied to saxophone sound /“. Luleå, 2004. http://epubl.luth.se/1402-1757/2004/70.
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21
Lee, JungSuk. „Categorization and modeling of sound sources for sound analysis/synthesis“. Thesis, McGill University, 2013. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=116954.
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In this thesis, various sound analysis/re-synthesis schemes are investigated in a source/filter model framework, with emphasis on the source component. This research provides improved methods and tools for sound designers, composersand musicians to flexibly analyze and synthesize sounds used for gaming, film or computer music, ranging from abstract, complex sounds to those of real musical instruments. First, an analysis-synthesis scheme for the reproduction of a rolling ball sound is presented. The proposed scheme is based on the assumption that the rolling sound is generated by a concatenation of micro-contacts between a ball and a surface, each having associated resonances. Contact timing information is extracted from the rolling sound using an onset detection process, allowing for segmentation of a rolling sound. Segmented sound snippets are presumed to correspond to micro-contacts between a ball and a surface; thus, subband based linear predictions (LP) are performed to model time-varying resonances and anti-resonances. The segments are then resynthesized and overlap-added to form a complete rolling sound. A "granular" analysis/synthesis approach is also applied to various kinds of environmental sounds (rain, fireworks, walking, clapping) as an additional investigation into how the source type influences the strategic choices for the analysis/synthesis of sounds. The proposed granular analysis/synthesis system allows for flexible analysis of complex sounds and re-synthesis with temporal modification. Lastly, a novel approach to extract a pluck excitation from a recorded plucked string sound is proposed within a source / filter context using physical models. A time domain windowing method and an inverse filtering-based method are devised based on the behavior of wave propagation on the string. In addition, a parametric model of the pluck excitation as well as a method to estimate its parameters are addressed.Dans cette thèse, nous avons étudié plusieurs scéhmas d'analyse/synthèse dans le cadre des modèles source/filtre, avec un attention particulière portée sur la composante de source. Cette recherche améliore les méthodes ainsi que les outils fournis créateurs de sons, compositeurs et musiciens désirant analyser et synthétiser avec flexibilité des sons destinés aux jeux vidéos, au cinéma ou à la musique par ordinateur. Ces sons peuvent aller de sons abstraits et complexes à ceux provenant d'instruments de musique existants. En premier lieu, un schéma d'analyse-synthèse est introduit permettant la reproduction du son d'une balle en train de rouler. Ce schéma est fondé sur l'hypothèse que le son de ce roulement est généré par la concaténation de micro-contacts entre balle et surface, chacune d'elles possédant sa proper série de résonances. L'information relative aux temps de contact est extradite du son du roulement que l'on cherche à reproduire au moyen d'une procédure détectant le début du son afin de le segmenter. Les segments de son ainsi isolés sont supposés correspondre aux micro-contacts entre la balle et la surface. Ainsi un algorithme de prédiction linéaire est effectué par sous-bande, préalablement extraites afin de modéliser des résonances et des anti-résonances variants dans le temps. Les segments sont ensuite re-synthétisés, superposés et additionnés pour reproduire le son du roulement dans son entier. Cette approche d'analyse/synthèse "granulaire" est également appliquée à plusieurs sons de types environnementaux (pluie, feux d'artifice, marche, claquement) afin d'explorer plus avant l'influence du type de la source sur l'analyse/synthèse des sons. Le système proposé permet une analyse flexible de sons complexes et leur synthèse, avec la possibilité d'ajouter des modifications temporelles.Enfin, une approche novatrice pour extraire le signal d'excitation d'un son de corde pincée est présentée dans le contexte de schémas source/filtre sur une modèlisation physique. A cet effet, nous introduisons une méthode de type fenêtrage, et une méthode de filtrage inverse fondée sur le type de propagation selon laquelle l'onde se déplace le long de la corde. De plus, un modèle paramétrique de l'excitation par pincement ainsi qu'une méthode d'estimation de ces paramètres sont détaillés.
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Nykänen, Arne. „Methods for specification of sound quality applied to saxophone sound“. Licentiate thesis, Luleå tekniska universitet, Drift, underhåll och akustik, 2004. http://urn.kb.se/resolve?urn=urn:nbn:se:ltu:diva-18010.
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Product specifications that include descriptors of sound qualities are most helpful when a description contains adequate detail and utilises understandable wording. Good specifications require that any descriptions used are familiar to users and that these descriptions are interpretable as acoustical quantities. The objectives of the studies reported upon in this thesis were to investigate how musicians use verbal descriptions of musical sounds and to interpret the descriptions in terms of some commonly used acoustical quantities. Interviews were made with saxophone players and the results were analysed with respect to how frequently different words were used. The most frequently used words were evaluated through listening tests using binaurally recorded test sounds of two saxophone players playing on two saxophones of different brands. Two groups of subjects participated in the listening tests, saxophone players and non-saxophone players. The subjects were asked to judge how well words selected from the interviews described the timbre of the test sounds. Data from the listening tests was analysed to examine how 3 factors: musician, saxophone, and type of listener influenced subject judgements. Principal Component Analysis (PCA) was used to find the most significant perceptual dimensions for the test sounds. Results from factorial analysis of variance and PCA were used to select the most appropriate verbal descriptions that best described significant perceptual dimensions. A small set of words (9 words) suitable for describing the variations in the analysed sounds was developed. To interpret the perceptual dimensions in terms of physically measurable indices, a number of acoustical quantities were added one by one to the set of perceptual variables. PCA of these extended data sets, resulted in a suggestion as to how the perceptual dimensions could be defined in terms of acoustical quantities. The procedure resulted in two significant perceptual dimensions being developed and described. A bipolar scale was used to describe Dimension 1 where items on the scale ranged from sharp/keen/rough to soft/warm/full-toned. Dimension 2 was described by a unipolar scale using the term E-like. The acoustical quantities sharpness, tonality, loudness, specific roughness (5-6 Bark and 21-22 Bark) and specific loudness (8-14 Bark) correlated with sharp/keen/rough. Roughness and specific roughness (13- 14 Bark and 20-21 Bark) correlated with soft/warm/full-toned. Specific loudness (10-11 Bark ) correlated negatively with E-like/large and specific loudness (9-10 Bark) and specific roughness (7-9 Bark) correlated positively with E-like/large. These findings demonstrate that it is possible to subjectively describe sound quality and to relate acoustical quantities to the descriptions. This suggests that it is practical to develop sound description terminology useful for work such as preparation of specifications and subsequent product standardisation.Godkänd; 2004; 20070111 (biem)
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Krause, Timothy Allen. „Sound Effects: Age, Gender, and Sound Symbolism in American English“. PDXScholar, 2015. https://pdxscholar.library.pdx.edu/open_access_etds/2304.
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This mixed-method study investigated the correlation of sound symbolic associations with age and gender by analyzing data from a national survey of 292 American English speakers. Subjects used 10 semantic differential scales to rate six artificial brand names that targeted five phonemes. Subjects also described the potential products they imagined these artificial brand names to represent. Quantitative analysis alone provided insufficient evidence to conclude that age or gender affect sound symbolism in American English. While 26 out of 60 scales showed a monotonic shift among the means of the three age groups, only three were statistically significant. The evidence of differences between genders was similarly weak; only five scales out of 60 showed a statistically significant difference when comparing genders. Analysis of the qualitative data, however, suggested both monotonic generational shifts as well as generational blips in sound-symbolic associations. Of particular interest is the possible influence of pop culture, fashions, and fads, and society's shifting focus from broadcast to narrowcast media. The implications of this research are relevant for both theory (empirical evidence for iconicity in language) and application (e.g., devising brand names that communicate particular attributes to specific demographics).
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Verviers, Claire Juliette. „The Influence Of Sound Properties On The Semantic Associations Of Product Sounds“. Master's thesis, METU, 2010. http://etd.lib.metu.edu.tr/upload/12612412/index.pdf.
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To be able to design product sounds that elicit a predetermined expression a study was
performed to find how sound properties influence the experience of their expression. Two
explorative studies using figurative against abstract visual stimuli were performed to
create insight in how people experience sounds and to create a list of usable semantic
associations. This list was ordered in 25 expression categories each under one descriptive
semantic association. A third study using mind mapping was conducted to examine what
sound properties were considered as influences on a few of these categories and to
optimize the categorization. The sound properties that were considered as most influential
were sharpness and noisiness. The final descriptive semantic associations were placed
on a scale with the axes unpleasant-pleasant and calm-active. From these the following
were considered to be most usable: activated, angry, boring, calm, chaotic, cheerful, eerie,
energetic, pleasant, relaxed, trustworthy and unpleasant. In a fourth study the sounds of
six domestic appliances were chosen and adjusted for sharpness, noisiness and their
combination. They were evaluated for their valued expression on the 12 semantic
associations by 30 participants. The results showed that increased sharpness elicited a
more unpleasant and activated expression and decreased sharpness elicited a more
pleasant and calm expression. This indicates that a general influence of sound properties
can be established to design sounds for expression.
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Yu, Deyue. „Disturbing Sound Cancellation“. Thesis, University of Gävle, Department of Electronics, Mathematics and Natural Sciences, 2010. http://urn.kb.se/resolve?urn=urn:nbn:se:hig:diva-7409.
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When doing recording work in the studio, disturbing sound must be removed. In this thesis, the purpose of this thesis is to formulate a mathematical equation, by using MATLAB to identify a system, then using the system to do cancellation of disturbing sound. The method of doing cancellation is to subtract the simulated output by the actual output, and then the disturbing sound was cancelled. The main thesis work will focus on the system identification, which is the process of determining the characteristic of an unknown system. Three systems were identified with the same model structure, which is linear (ARX) model. After finding out the model, the model quality must be evaluated. If the model is valid, there is a discussion if it is possible to run the mathematical equation in the real application, and how is the market today.
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Jonsson, Lisa. „Sound and Play“. Thesis, Högskolan i Jönköping, Tekniska Högskolan, 2010. http://urn.kb.se/resolve?urn=urn:nbn:se:hj:diva-14520.
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Abstract The project "Sound and Play" have been implemented in collaboration with the toy company BRIO in Malmo. The purpose of the project was to examine whether and how BRIO in the future could develop toys around sound for Toddlers. The problem formulations that would be answered after completion of the project was "How could BRIO broaden its product range with the help of audio toys?", "How can you combine toys and sounds in an interesting way for children?", "How do you create a toy with sound that is fun for the child, but not annoying for parents?". Currently BRIO only has two toys with sound in this age group. The expression of the toy was going to be a mix of classic and cool and the overall feeling of the toy was going to be explorative and arouse curiosity in the child. This feeling would be communicated through simplicity and joy. The project began with an extensive research, including a visit to one of the world's largest toy fair in Nürnberg, Germany, and a comprehensive survey of parents' attitude to sound toys. Based on the first sketching phase three concepts where chosen; Module Cars, Beat Box and Record Player. Module Cars was a concept where you could replace parts of the car and in that way get different sounds. Beat Box was a box of three cylindrical blocks which consisted of various surfaces and materials. While they were spinning in the box they would hit different materials and in that way create different sound and rhythms. The construction of the idea meant that over a thousand different sounds and rhythms could be created. Record Player was a similar concept in which the child could change the discs and in that way create different rhythms and sounds. Together with the product development department, I decided to keep working with the Modul Car concept. Within this concept, I chose to work on two different tracks, different fronts and figures. By changing the front of the car it would get a new sound or by changing the driver in the car it would also get a new sound. After several weeks of shaping digital 3D models and many ideas and thoughts later I finally reached a solution that was built as a prototype. The result is a vehicle where the front can be replaced by two other fronts. Depending on which, the system will give you different sounds. This is because each front has a plastic flap placed underneath that hits a piece of plastic stuck to the wheel axle. Nine children play tested the toy and their parents were responding to questions about the outcome. The play tests went well and it turned out to be a suitable toy from one year and up to about five years. The play takes various forms in different ages which is good since this means that the toy may last longer. The response among the parents was also very positive. I am very pleased with the outcome and hope to see it in store shelves one day and also that it becomes played with in homes.Sammanfattning Projektet "Sound and Play" har genomförts i samarbete med leksaksföretaget BRIO i Malmö. Syftet med projektet var att undersöka hur BRIO i framtiden skulle kunna utveckla leksaker kring ljud i ålderskategorin 12-36 månader. De problemformuleringar som skulle besvaras efter slutfört projekt var "På vilket sätt skulle BRIO kunna bredda sitt sortiment med hjälp av ljudleksaker?", "Hur kan man kombinera leksaker och ljud på ett intressant sätt för barn?", "Hur skapar man en leksak med ljud som är rolig för barnet, men samtidigt inte är irriterande för föräldrar?". BRIO har i dagsläget endast två leksaker med ljud i denna ålderskategori. Leksakens uttryck skulle vara en mix av klassiskt och coolt och den övergripande känslan skulle vara upptäckande samt väcka nyfikenhet. Känslan skulle förmedlas genom enkelhet och glädje. Projektet inleddes med en omfattande research med bland annat ett besök på en av världens största leksaksmässor i Nürnberg, Tyskland samt en omfattande enkätundersökning av föräldrars attityd till ljudleksaker. Utifrån en första idégenereringsfas valdes tre koncept ut; Modul Cars, Beat Box och Record Player. Modul Cars byggde på att man skulle kunna byta ut en del på bilen och på så sätt få olika ljud, t.ex. att man skulle kunna byta hjul eller underrede. Beat Box var en låda med tre cylinderformade klossar i. Dessa bestod av olika ytor och material som i lådan slog emot tre olika material. Konstruktionen av idé innebar att över tusen olika ljud och rytmer skulle kunna skapas. Record Player var ett liknande koncept där barnet skulle kunna byta "skivor" och på så sätt skapa olika rytmer och ljud. Tillsammans med produktutvecklingsavdelningen bestämde jag mig för att arbete vidare med modul cars. Inom detta koncept valde jag att arbeta vidare med två olika spår; olika fronter och gubbar. Antingen skulle man genom att byta fronten på bilen få olika ljud eller att man istället hade en bil med gubbar och där den som var föraren bestämde ljudet. Efter flera veckors caddande och många idéer och tankar senare så hade jag till slut tagit fram ett koncept med tre fordon som jag skulle bygga modell på. Resultatet är ett fordon som är bussliknande och där fronten går att byta ut. Beroende på vilken front man använder så låter leksaken olika. Detta beror på att varje front har en plastflärp undertill som träffar var sin plastbit som sitter fast på hjulaxeln. Modellen lektestades på nio barn och deras föräldrar fick även vara med och svara på frågor kring resultatet. Lektesterna gick bra och det visar sig vara en passande leksak från ett år och upp till cirka fem år. Leken tar sig olika uttryck i de olika åldrarna vilket är positivt då detta gör att leksaken får en längre livslängd. Mottagandet av leksaken bland föräldrarna var också mycket positivt. Jag är mycket nöjd över resultatet och hoppas att den någon dag i framtiden står i butikshyllor runt om i Sverige och även att den blir nött och vällekt med i hemmen.
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Törnell, Mattias. „Richard Pages Sound“. Thesis, Linnéuniversitetet, Institutionen för musik och bild (MB), 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-27178.
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Fem låtar från Richard Pages skiva Peculiar Life har analyserats med syfte att ta reda på vad det är som ger dem dess sound. Analyserna har gjorts genom läsning av bookleten till skivan, informationssökning på internet, genom att titta på videodagbok från inspelning av skivan och genom att lyssna på låtarna. Analyserna har delats upp i kategorierna skriven information, video, utrustning och låtanalyser. Analyserna har visat att alla led i produktionen har stor betydelse för slutresultatet. Informationen som samlats in har använts till att återskapa soundet genom att komponera, arrangera, producera, spela in och mixa fem egna låtar baserat på analyserna. En undersökning gjordes med en grupp bestående av 66 gymnasieelever på estetiskt program med syfte att ta reda på om de egenkomponerade låtarna har samma sound som referensmaterialet. Ljudklipp från referenslåtarna och de egenkomponerade låtarna spelades upp tätt efter varandra varpå eleverna fick besvara en lyssnarenkät som tagits fram. De kategorier som betygsattes i enkäten var harmonier, arrangering och produktion. På enkäten fanns en förklaring av kategorierna. Resultatet från enkäten har sammanställts och analyserats och visar på ett delvis lyckat genomförande inom samtliga bedömningskategorier. Det första låtparet fick högt betyg, det andra låtparet fick medelbetyg och det tredje låtparet högt betyg.
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Bogdany, Bert. „A VISUAL SOUND“. Master's thesis, University of Central Florida, 2007. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/2437.
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The repetitive nature of my work allows me to divide the tactile experience of the creative process into a contemplative state. Repetition causes the body to move automatically, less aware of its surroundings; the recurrent contact of the hand with the form causes them to merge systematically. This is the point where the sculpture for me becomes conceptually complete. It is this harmonious balance between material and the physical process that I wish to reveal to the viewer.M.F.A.
Department of Art
Arts and Humanities
Studio Art and the Computer MFA
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Wu, Michael Daniel. „Responsive sound surfaces“. Thesis, Massachusetts Institute of Technology, 1994. http://hdl.handle.net/1721.1/62927.
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Zetterblom, Margareta. „Textile Sound Design“. Doctoral thesis, Högskolan i Borås, Institutionen Textilhögskolan, 2011. http://urn.kb.se/resolve?urn=urn:nbn:se:hb:diva-3588.
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The thesis aims at developing conceptual and methodological tools in order to adapt sound in a “designerly” way within the discipline textile design. Occupational groups working with sound are to a large extent problem driven. This implies knowledge regarding sound and sound design mostly focuses on defensive strategies, not creative possibilities. The ambition with this research project is to make suggestions how textile designers can work practically with textile sound design, in a more nuanced way. /br As a starting point the thesis describes commonly used methods and processes used in the design process within an industrial context, followed by a more thorough analyze of the textile design process. These studies constitute a foundation to make it possible to see in what way these methods and processes will be affected when sound is added as new design tool./br By studies of two sound design models, the first attempts to develop a vocabulary concerning how to describe sound affecting qualities or sound expression of a textile are presented. Research focusing on language issues, especially on the development of conceptual tools done at the research institute Cresson, provides descriptive concepts, “sound effects”, embracing the interaction between human and his sound environment. These concepts are followed by a model of how to describe a “sound object” in “itself” (not in relation to anything else), developed by Pierre Schaeffer./br The theoretical models have been applied on the outcome of an phenomenological study named Describe. A number of design examples are finally presented as methodological examples of different ways to work with textiles and sound./br Keywords: sound, design, textile design, sound effect, sound object.Thesis to be defended in public at 24 May 2011 at 13.00, at the Gallary floor 2, The Swedish School of Textiles, Bryggaregatan 17, Borås, for the degree of Philosophy.
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Zetterblom, Margareta. „Textile sound design“. Licentiate thesis, Högskolan i Borås, Institutionen Textilhögskolan, 2008. http://urn.kb.se/resolve?urn=urn:nbn:se:hb:diva-3486.
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This thesis aims at developing conceptual and methodological tools in order toadapt sound within the textile design area. Occupational groups working with soundare to a large extent problem driven. Accordingly, textile designers working withsound- affecting properties of textiles concentrate on their dampening qualities. Theambition with this research project is to make suggestions how textile designers canwork practically with textile sound design, in a more nuanced way.The overall aim of the thesis is to develop a vocabulary to make textile designersable to express the sound affecting qualities of textiles in a language full of nuances.As a starting-point the thesis briefl y describes commonly used methods andprocesses used to describe the expressiveness of a design, followed by a morethoroughly analyze of the textile design process illustrated by a practical example.These studies constitute a foundation to make it possible to see in what way thesemethods and processes will be affected when sound is added as new design tool.By studies of two sound design models, the fi rst attempts to develop a vocabularyconcerning how to describe sound affecting qualities of a textile are developed.Research focusing on language issues, especially on the development of conceptualtools done at the research institute CRESSON, provides descriptive soundconcepts, “sound effects”, embracing the interaction between human and his soundenvironment. These concepts are followed by a model of how to describe just asound or “sound object” in “itself” (not in relation to anything else), developed byPierre Schaeffer. These theoretical models have been complemented with empiricalstudies in form of a survey, named LISTEN. Interviews were performed from aphenomenological perspective. A number of informants were asked to tell aboutthe sound environment and single sounds occurring at their working places. Theinterviews were interpreted from a phenomenographic perspective. A number ofdesign projects are fi nally presented as practical examples of different ways to workwith textiles and sound.The theoretical models provided by Schaeffer have been used to make the fi rstsystematic attempts to describe sound environments; sounds and textiles soundaffecting properties.Since the model presented by Schaeffer is developed to be used within musicalcomposition the concepts have to be additionally modifi ed to be a useful tool withinthe textile design area. The thesis presents just the fi rst attempts to use this model.The next step to take in the research project is to adjust the theoretical systems ofCRESSON and Schaeffer to suit the special area of textile design. The interactiveideas of a sound-affecting textile will also be a subject of further development.
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Novais, Ana Maria Teixeira Duarte de Sousa. „Play sound system“. Master's thesis, Universidade de Lisboa. Faculdade de Arquitetura, 2015. http://hdl.handle.net/10400.5/12449.
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Dissertação apresentada na Universidade de Lisboa - Faculdade de Arquitetura, para obtenção do grau de Mestre em Design de Produto.A consciência da importância de espaços públicos dedicados a crianças no seu desenvolvimento integral, tem vindo a crescer desde os finais do século XIX. Esta importância aumenta quando nos deparamos com algumas transformações na nossa sociedade como a redução do tamanho das famílias e a diminuição dos espaços domésticos para brincar, entre outras. Paralelamente, há um crescimento do mercado de brinquedos e equipamentos lúdico-pedagógicos de teor científico. Assim, na presente dissertação, pretende-se projectar um sistema de equipamentos urbanos lúdicos para o público infantil que englobe música e os benefícios desta, com o objectivo de associar o conhecimento a uma actividade lúdica, facilitar a aprendizagem e, ao mesmo tempo, promover o exercício físico e o desenvolvimento social. Sendo uma dissertação de teor prático, recorrer-se-á a uma metodologia mista. Primeiramente não intervencionista de observação directa, recolha e organização da literatura e numa segunda fase, intervencionista, a investigação activa, que consiste no projecto do sistema que será confrontada com diversos especialistas. Teve-se como objectivo projectar um sistema que leve à interacção com a música contribuindo para uma melhor relação entre as crianças e o conhecimento facilitando-lhes a aprendizagem. Assim esperamos contribuir para um maior conhecimento nas áreas do design de equipamentos infantis e criar um sistema passível de ser divulgado e comercializado mais tarde.
ABSTRACT: The awareness of the importance of public spaces dedicated to children in their full development has been growing since the late nineteenth century. This importance increases when we face with some changes in our society such as the reducing size of families and domestic space to play, among other. In parallel, there is also a growth of recreational and educational toys and equipment for scientific content market. Thus, in the present work, we intend to design an urban recreational equipment system for children that embraces music and its benefits in order to link knowledge to a recreational activity, facilitate learning and, at the same time, promoting exercise and social development. Being a practical dissertation, it will be applied a mixed methodology. First non-interventional of direct observation, gathering and organizing literature. In a second stage an interventional one through active interventional research, which consists in the designing of the system that will be confronted with different experts. The objective is to lead to the interaction with music contributing to a better relationship between children and knowledge and facilitating their learning. We hope to collaborate for a better knowledge in children equipment design area and create a system that can be marketed later.
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Fazi, Filippo Maria. „Sound field reproduction“. Thesis, University of Southampton, 2010. https://eprints.soton.ac.uk/158639/.
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This thesis is concerned with the problem of reproducing a desired sound field with an array of loudspeakers. A theory based on functional analysis and the theory of integral equations is developed for the study of this problem. An attempt is made to develop a mathematical framework that can be adopted as a generalized theory of sound field reproduction. The reproduction problem is formulated as an acoustical inverse problem, in which the target sound field is given on the boundary of a control volume located in the interior of the loudspeaker array, while the loudspeaker signals required for the reproduction of the desired field are to be determined. The loudspeaker array is initially modeled as a continuous distribution of secondary sources, mathematically represented by a single layer potential, whose density is to be determined. The singular value decomposition of the integral operator involved is proposed as a method for solving the inverse problem. Closed form expressions are derived for the singular system for the cases of secondary sources arranged on a sphere and on a circle. An attempt is also made to extend the calculation to unbounded geometries, such as an infinite line and a plane. The inverse problem under consideration is in general ill-posed, and the existence and uniqueness of its solution are studied in relation to sound fields of practical interest. It is shown that an exact and unique solution exists for a large family of sound fields. Strategies are proposed for overcoming the problem of nonexistence and nonuniqueness of the solution, arising in cases such as the reproduction of focused sources or when the operating frequency corresponds to one of the Dirichlet eigenvalues of the control region. An important analogy is also drawn between the problem of sound field reproduction and the theory of acoustic scattering. In a later part of this work, the assumptions of a continuous layer of secondary sources and of a single operating frequency are removed, and the resulting consequences are analyzed. The experimental validation of some of the theoretical results is described in the final part of the thesis. A large spherical loudspeaker array is used in an attempt to reproduce the sound field generated by a single virtual source, located in the exterior of the array. Experimental results are in good agreement with the theoretical results over a wide range of frequencies.
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Bykova, V. O. „Environmentally sound technologies“. Thesis, Sumy State University, 2015. http://essuir.sumdu.edu.ua/handle/123456789/40363.
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Jackson, Asti Joy. „Structure of Sound“. Thesis, Virginia Tech, 2016. http://hdl.handle.net/10919/73778.
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This thesis creates a complementarity relationship with the use of timber and concrete as primary structural and accent materials. Key elements of this thesis include (1) The development of a wood latticing system (2) Stairs that posses a strong sculptural language (3) The Lantern, a free standing lobby/box office, clad in wood and glass (4) Circulation towers that accommodate balcony seating. Studies of these elements went through many iterations resulting in over one hundred drawings. Progression of these drawings are directed to the interpretation of building form and the interaction with the site.
These concepts are then implemented in the design of a multifaceted music venue located on a hillside in the New River Valley. Minutes from the college town of Blacksburg, Virginia this event complex caters to an array of musical functions. Spaces include The Lantern, which is a multipurpose lobby/lounge, the main auditorium, and an outdoor amphitheater.Master of Architecture
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Juhlin, Rasmus. „Anovel: Sound Reading“. Thesis, Malmö universitet, Fakulteten för teknik och samhälle (TS), 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-20550.
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Över en trestegsprocess brukar studien research through design för att utforska narrativ presenterade genom ett multimodalt medium bestående av komponenterna text och stream (ljud). En existerande applikation, Booktrack, har blivit undersökt under studien. Därefter utveckades tre prototyped för att identifiera och förstå hur narrativ design kan formas i förhållande till de två komponenterna. Studien har fokuserat på stream design och på uppfattningen av noveller och fiktiva texter som presenteras genom både text och ljud. Med sitt ursprung i sound studies identifierar studien fem generella och tre specifika stream design principer vid arbete av ljud i relation till text. Utöver dessa indikerar studien att en streams närvaro påverkar hur en läsare visualiserar narrativet. Vidare har studien utforskat narrativ design där båda komponenterna är beaktade. Därigenom markeras potentialen hos den multimodala presentationen att kunna expandera narrativet, genom medveten användningen av både text och stream. Den multimodala presentationen antyder dock att likheten med traditionella noveller och liknande ”tysta” texter både skapade intresse och oro. Sammanfattningsvis förstärkte närvaron av en stream inlevelsen samtidigt som det inhöll risken och förmågan att tvingat vägleda en läsares tolkning och föreställning av narrativet. I ett samtid där multimodala presentationer är tillgängliga genom diverse smart-devices, är det troligt att presentationer i likhet med de som undersökts i studien kan utgöra ett nästa steg i alldagliga presentationer. Ta nyhetsartiklar, annonsering, och informationsbrochyrer som ett par områden utanför noveller och fiktion där liknande multimodala presentationer kan komma att utvecklas och användas i samhället inom en snar framtid.Through a three-part process employing research through design, this study has explored narratives being presented through a multimodal technical medium consisting of both textual and stream (sound) components. It has examined an existing application, Booktrack, and through developing three separate prototypes, has sought to identify and understand how one might approach a narrative when constructed using the aforementioned components. Specifically, it has explored the stream (sound) design and the perception of novels and fiction texts when presented through both text and sound. Taking on a perspective with its origin in sound studies, the study has identified five general and three specific stream design guidelines for working with sound in relation to text. Moreover, it has indicated that contextually appropriate streams’ presences alongside written text affect how a reader visualizes the narrative. Further, it has explored narrative design with both the textual and stream components in mind. Thereby, it posits a venue where the multimodality of the presentation might be used to expand the narrative presentation, using both the text and the stream as tools to further the narrative. However, it also identifies the similarities of the narrative presentation with the traditional novel and similar silent texts as being an indictment of concern. Namely, participants of the study expressed the stream’s intrusion and impact upon their immersion and visualization of written stories as both immersion enhancing and as forcibly guiding their imagination. In a society where multimodal presentations are available through phones, tablets, and other devices, it seems plausible a multimodal presentation, such as the one explored, might constitute the next step in everyday presentations. Take news articles, advertisements, and information brochures as a few tangible areas where this kind of presentation might be employed in the close future.
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Enoksson, Karl, und Bohan Zhou. „Sound following robot“. Thesis, KTH, Maskinkonstruktion (Inst.), 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-226665.
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There are many different areas of use for sound localization. This concept is not only used to localize a person that is talking but can also be applied for finding a person in need One method of localizing the position of a sound source is to use several microphones to register the difference of time in which each microphone detects the same sound. Using this information and trigonometry, the direction of the sound source can be calculated. The objective of this thesis is to investigate how precisely the position of a sound source can be determined using the aforementioned technique whilst varying the distance and angle of the sound source. In order to explore the capabilities of TDOA and test the obtainable accuracy, a demonstrator was built. On a complete car chassis, four microphones were mounted and used to determine the direction towards the sound source. Thereafter the robot rotated towards the sound source with an IMU keeping track of how much it had rotated. After this movement a comparison was made between the robots direction and the actual direction of the sound source. Lastly an ultrasonic sensor was placed on the robot for obstacle detection whilst tracking the sound. The vehicle traveled straight forward until the ultrasonic sensor deemed that an object was too close. The results show that an increased distance yields a more accurate sound localization and that there are some angles in which the sound localization functioned better.Idag finns det många olika användningsområden för ljudlokalisering. Konceptet används inte enbart till att lokalisera en person som pratar men kan också appliceras för att hitta en person i nöd. En metod för att lokalisera en ljudkällas position innebär kortfattat att med flera mikrofoner registrera de olika tiderna då ljudet når de olika mikrofonerna. Utifrån denna information kan riktningen till ljudkällans position beräknas med hjälp av trigonometri. Målet med denna rapport är att undersöka hur precist en ljudkällas position kan beräknas med den ovannämnda teknik genom att variera avståndet och vinkeln till ljudkällan. I syfte att genomföra tester byggdes en prototyp. På ett färdigbyggt chassi monterades fyra mikrofoner som användes för att bestämma riktningen till ljudkällan. Därefter roterade roboten mot ljudkällan med hjälp av en IMU som håller reda på hur mycket den har roterat. Efter denna rörelse utfördes en jämförelse mellan robotens riktning och ljudets faktiska riktning. Slutligen placerades en ultraljudssensor på roboten för att detektera objekt när den spårade ljudet. Fordonet färdades rakt fram tills ett objekt låg för nära ultraljudssensorn. Resultaten visar att ett ökat avstånd ger en mer nogrann ljudlokalisering samt att för vissa vinklar fungerade ljudlokaliseringen bättre.
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Lalor, Stephen. „Ethnicities of sound“. Thesis, The University of Sydney, 2014. http://hdl.handle.net/2123/10770.
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Abstract Ethnicities of Sound is a commentary on a folio of four sets of musical works by Stephen Lalor which comprise the Doctoral submission in Composition. The six movements of the Suite for Solo Mandolin embrace a cross-cultural and pan-historical approach to exploring the unique tonal features of the mandolin, presenting an alternative view on writing for the instrument. The Suite for Solo Plectrum Guitar is a set of six movements specifically written for concert performance on unamplified plectrum guitar (as opposed to ‘classical’ or finger style guitar). It similarly embraces a cross-cultural and pan-historical approach exploiting the use of the plectrum. Quincerto for Mandola and String Quartet is a contribution to the repertoire of the mandola (octave mandolin), which is a rarely heard instrument in a formal concert setting. Quincerto explores the mandola’s timbral qualities, which are deeper and richer (with more of a visceral essence) than those of the mandolin, often employing techniques and gestures drawn from Balkan and middle-Eastern plucked string instrument performance traditions. Troika for Cimbalom, Cello and Plectrum Guitar, a set of three movements, is the first concert piece specifically composed for this combination of instruments, and explores the rich possibilities and challenges inherent in composing for an ensemble of hammered, plectrum and bowed string instruments. The composition of these works has been concerned with creating an innovative body of work for plectrum-played stringed instruments, reviving ancient techniques and exploring new ones drawn from diverse traditions.
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Parham, Nancy Jean. „Sound and mathematics“. CSUSB ScholarWorks, 1992. https://scholarworks.lib.csusb.edu/etd-project/621.
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Pogaku, Sindhuja. „SOUND MODE APPLICATION“. CSUSB ScholarWorks, 2017. https://scholarworks.lib.csusb.edu/etd/445.
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Currently there are millions of Android cell phone users. Whenever a user changes location, he/she should manually modify the sound mode (ring, vibrate, silent). So, it’s slightly inconvenient to constantly monitor whether the phone is in general or silent mode. Sometimes user might forget to switch the mobile mode and may create a disturbance in the classroom or in the work area.
To overcome this problem “Sound Mode Application” is an Android application that allows a user to automatically change the sound mode depending on his/her GPS location. Additionally, the user may activate or deactivate the application whenever need be, and user can add as many locations as required based on their daily life.
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Wenrich, Richard Joseph. „Sound and fury“. Thesis, University of Iowa, 2015. https://ir.uiowa.edu/etd/2021.
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Regan, Scott B. „The Brisbane Sound“. Thesis, Queensland University of Technology, 2019. https://eprints.qut.edu.au/130584/9/Scott%20Regan%20Thesis.pdf.
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This study asks ‘what is the Brisbane Sound, and what does it sound like?’ The Brisbane Sound refers to music made by a small group of post-punk bands hailing from Brisbane between 1978-1983, most notably The Go-Betweens. This research by Creative Works is the first scholarly account of the Brisbane Sound. It examines how the term has been constructed in the media over time. Then, the music of these bands is analysed to verify these claims. Finally, this data informs the production of five original songs that aim to sound like the Brisbane Sound.
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Väisänen, Janne. „Sound as feedback on motionin active games : A sound preference experiment“. Thesis, Linköpings universitet, Institutionen för datavetenskap, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:liu:diva-139155.
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This thesis is a pilot study on sound as feedback to motion in active video games. The subject addressed herein has been approached from a multidisciplinary perspective drawing from several fields as audio, film and computer science. The study was set up as a user experience study. Participants where exposed to two videos of identical gameplay, one with feedback sound turned on and a second with feedback sound turned off. Each video was followed by a questionnaire and the study was ended by a semi-structured interview. The main aim was to answer whether users preferred gameplay with feedback sound turned on or off. Results of main question were slightly in favour of sound scenario with feedback sound off even thou not statistically significant. The study also highlights several issues with implemented feedback sound (a secondary goal of the study). Main finding here was problem with perceiving sounds intended function. Even thou results can be somewhat discouraging one should see this study in the light of it being a pilot study. The main value and contribution of this study can be found in lessons learned for future implementations.
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Ouzounian, Gascia. „Sound art and spatial practices situating sound installation art since 1958 /“. Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 2008. http://wwwlib.umi.com/cr/ucsd/fullcit?p3291983.
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Thesis (Ph. D.)--University of California, San Diego, 2008.Title from first page of PDF file (viewed May 14, 2008). Available via ProQuest Digital Dissertations. Vita. Includes bibliographical references P. 359-373.
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Pompei, F. Joseph (Frank Joseph) 1973. „Sound from ultrasound : the parametric array as an audible sound source“. Thesis, Massachusetts Institute of Technology, 2002. http://hdl.handle.net/1721.1/7987.
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Thesis (Ph. D.)--Massachusetts Institute of Technology, School of Architecture and Planning, Program in Media Arts and Sciences, 2002.Vita.
Includes bibliographical references (leaves 91-94).
A parametric array exploits the nonlinearity of the propagation medium to emit or detect acoustic waves in a spatially versatile manner, permitting concise, narrow directivity patterns otherwise possible only with physically very large transducer geometries. This thesis explores the use of the parametric array as an audible sound source, permitting audible sound to be generated with very high directivity compared to traditional loudspeakers of comparable size. The thesis begins with a review of basic underlying mathematics and relevant approximate solutions of nonlinear acoustic systems. Then, these solutions are used to construct suitable methods of ultrasonic synthesis for low-distortion audio reproduction. Geometrical modelling methods for predicting the acoustic distribution are presented and evaluated, and practical applications are explored experimentally. Issues of risk associated with ultrasonic exposure are presented, and the feasibility of a phased-array system for beam control is explored.
F. Joseph Pompei.
Ph.D.
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Fernandez, Comesana Daniel. „Scan-based sound visualisation methods using sound pressure and particle velocity“. Thesis, University of Southampton, 2014. https://eprints.soton.ac.uk/366935/.
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Sound visualisation techniques have played a key role in the development of acoustics throughout history. Progress in measurement apparatus and the techniques used to display sound and vibration phenomena has provided excellent tools for understanding specific acoustic problems. Traditional methods, however, such as step-by-step measurements or simultaneous multichannel systems, require a significant trade-off between time requirements, flexibility, and cost. This thesis explores the foundations of a novel sound field mapping procedure. The proposed technique, Scan and Paint, is based on the acquisition of sound pressure and particle velocity by manually moving a p-u probe (pressure-particle velocity sensor) across a sound field, whilst filming the event with a camera. The sensor position is extracted by applying automatic colour tracking to each frame of the recorded video. It is then possible to directly visualise sound variations across the space in terms of sound pressure, particle velocity or acoustic intensity. The high flexibility, high resolution, and low cost characteristics of the proposed measurement methodology, along with its short time requirements, define Scan and Paint as an efficient sound visualisation technique for stationary sound fields. A wide range of specialised applications have been studied, proving that the measurement technique is not only suitable for near-field source localisation purposes but also for vibro-acoustic problems, panel noise contribution analysis, source radiation assessment, intensity vector field mapping and far field localisation.
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Buenafe, Mistén Louise. „Sound - Sense - Space: Might sound affect our experience of a room?“ Thesis, Malmö högskola, Fakulteten för kultur och samhälle (KS), 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-21463.
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Syfte: Rapportens syfte är att kartlägga om upplevelsen av ett rum kan förändras beroende på om och vilka ljud som spelas upp i rummet.Metod: I samband med en ljudinstallation på Plattan vid Malmö Högskola har rörelsemönster och beteende för Plattans besökare observerats. Dessutom har flera besökare besvarat en enkät.Resultat: Inga eventuella förändringar i rörelsemönstret eller beteendet för Plattans besökare kan ses som en konsekvens av ljudinstallationen. Det finns inte heller någon skillnad i enkätsvaren beroende på installationen. Slutsats: Resultatet ses som en konsekvens av bristfälliga forskningsmetoder. I rapportens slutsats bildas hypotesen att en installerad ljuddesign inte är en tillräcklig åtgärd i den undersökta typen av miljö. Tesen menar att en förändring av ljudmiljön och påverkan på människors upplevelse av rummet i första hand kräver akustiska åtgärder.
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Milano, Omar. „It's a Wonderful Business: The Art of Production Sound“. Thesis, University of North Texas, 2011. https://digital.library.unt.edu/ark:/67531/metadc68016/.
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It's a Wonderful Business: The Art of Production Sound is a documentary film that offers an inside look at what it takes to record the dialog of actors and diegetic sounds on a movie set. This is the job of the production sound crew, in charge of recording the voices of some of the most talented and prominent performers in the motion picture industry. The documentary features interviews with former and current production sound mixers and boom operators from some of the most acclaimed films in the history of cinema. The film also explores the personal demands, the working conditions, and the sacrifices sound crews have endured to succeed in the always challenging, but very exciting, world of film making.
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Bird, Noele. „I'm dangerous with sound, a performance project of sound, poetry and movement“. Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape11/PQDD_0020/MQ57910.pdf.
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Saussus, Patrick T. „Investigation into sound sources for anechoic chamber qualification and related sound issues“. Thesis, Georgia Institute of Technology, 2003. http://hdl.handle.net/1853/17910.
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