Dissertations / Theses on the topic 'Music – Acoustics and physics'
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Baumbusch, Brian. "The lightbulb project| New music for new percussion instruments." Thesis, Mills College, 2014. http://pqdtopen.proquest.com/#viewpdf?dispub=1549992.
Full textThis thesis is about the process behind building, tuning, and composing music for a new set of metallophones called the "Lightbulb" instruments. This project began in 2011 and has continued to expand over the past two years: the first piece to be written for the instruments is titled Prana, and this thesis describes how the process of building and tuning the instruments informed the compositional process behind Prana. The premiere of Prana led to the formation of the Lightbulb Ensemble, which performs on these new instruments. The instruments and the group continue to develop.
Wolfe, Brian Thomas. "An analysis of texture, timbre, and rhythm in relation to form in Magnus Lindberg's "Gran Duo"." Thesis, The University of Oklahoma, 2013. http://pqdtopen.proquest.com/#viewpdf?dispub=3592105.
Full textGran Duo (1999-2000) by Magnus Lindberg (b. 1958) is the result of a commission by Sir Simon Rattle, former conductor of the City of Birmingham (England) Symphony Orchestra, and the Royal Festival Hall to commemorate the third millennium. Composed for twenty-four woodwinds and brass, Lindberg divides the woodwind and brass families into eight characters that serve as participants in an attentive twenty-minute conversation.
The document includes biographical information about the composition to further understand Lindberg’s writing style. The composer’s use of computer-assisted composition techniques inspires an alternative structural analysis of Gran Duo. Spectral graphs provide a supplementary tool for score study assisting with the verification of formal structural elements. A tempo chart allows the conductor to easily identify form and tempo relationships between each of the nineteen sections throughout the five-movement composition.
In order to reveal character areas and their relation to the structure of the work, the analysis of texture, timbre, and rhythm reveal the formal structure of the composition, which reflects a conversation between the brass and woodwinds in this setting for wind instruments.
Parris, Stephen. "Towards a harmonic approach to composing for central Javanese gamelan." Thesis, Mills College, 2015. http://pqdtopen.proquest.com/#viewpdf?dispub=1589493.
Full textThe purpose of this thesis is to share the process behind the development of an approach to composing for central Javanese gamelans that utilizes vertical harmony. This paper will include my history with Javanese gamelan, work on the development of a piano tuning that would work with a gamelan, compositional works that led to the development of the system, a study of existing Javanese gamelan tunings, and a presentation of intervallic relationships and cadences that can be utilized with any gamelan. All of this is done with hope that others who may take interest in writing for central Javanese gamelan will have a new tool at their disposal, and to pique the interest of others in the rich world of possibilities that exist within the instruments.
There is also an explanation of the process of developing a piano tuning to be used with a traditional gamelan to perform the Concerto for PIano And Javanese Gamelan by Lou Harrison.
There is some brief discussion on the cognition of interval, and how the brain simplifies complex intervals, and begins to hear them as more simple intervals.
Tocheff, Robert Dale. "Acoustical placement of voices in choral formations /." Connect to resource, 1990. http://rave.ohiolink.edu/etdc/view.cgi?acc%5Fnum=osu1248976452.
Full textAdvocat, Amy. "[A] New tonal world: The Bohlen-Pierce Scale." Thesis, McGill University, 2010. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=96150.
Full textCe document compare la gamme Bohlen-Pierce d'autres systmes d'accord octave et non-octave-bass, tablissant des parallles entre soi et le systme la plus utilis, temprament de I2-gal. Ces parallles mnent la possibilit qu'il peut tre des rgles harmoniques applicables la gamme BohlenPierce qui sont analogues la pratique musicale courante. Ces rgles thorises sont alors appliques quelques exemples du corps croissant de compositions musicales crites la gamme Bohlen-Pierce. Il-y-a aussi inclus des arguments qui support la prfrence d'utilisation des timbres impair-partiels dans la performance de cette gamme, qui ferait l'invention de la clarinette Bohlen-Pierce un point tournant majeur dans la dveloppement de cette gamme. Certains compositions etudi a t ecris pour la prformance sur clarinet Bohlen-Pierce par cette auteure .
Birnbaum, David M. "Musical vibrotactile feedback." Thesis, McGill University, 2007. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=101876.
Full textJeon, Woojay. "Pitch detection of polyphonic music using constrained optimization." Thesis, Georgia Institute of Technology, 2002. http://hdl.handle.net/1853/15802.
Full textWarneke, Andrew Travis. "An evaluation of the efficacy of digital real-time noise control techniques in evoking the musical effect." Thesis, Nelson Mandela Metropolitan University, 2012. http://hdl.handle.net/10948/d1020158.
Full textCorey, Jason Andrew. "An integrated system for dynamic control of auditory perspective in a multichannel sound field /." Thesis, McGill University, 2002. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=38474.
Full textThe control system incorporates a number of modules including simulated room modes, "fuzzy" sources, and tracking early reflections, whose parameters are dynamically changed according to sound source location within the simulated space. The control functions of the basic elements, derived from theories of perception of a source in a real room, have been carefully tuned to provide efficient, effective, and intuitive control of a sound source's perceived location.
Seven formal listening tests were conducted to evaluate the effectiveness of the algorithm design choices. The tests evaluated: (1) loudness calibration of multichannel sound images; (2) the effectiveness of distance control; (3) the resolution of distance control provided by the system; (4) the effectiveness of the proposed system when compared to a commercially available multichannel room simulation system in terms of control of source distance and proximity to a room boundary; (5) the role of tracking early reflection patterns on the perception of sound source distance; (6) the role of tracking early reflection patterns on the perception of lateral phantom images.
The listening tests confirm the effectiveness of the system for control of perceived sound source distance, proximity to room boundaries, and azimuth, through fine, dynamic adjustment of parameters according to source location. All of the parameters are grouped and controlled together to create a perceptually strong impression of source location and movement within a simulated space.
Usher, John S. "Subjective evaluation and electroacoustic theoretical validation of a new approach to audio upmixing." Thesis, McGill University, 2006. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=102741.
Full textThe new system removes short-term correlated components from two electronic audio signals using a pair of adaptive filters, updated according to a frequency domain implementation of the normalized-least-means-square algorithm. The major difference of the new system with all extant audio upmixers is that unsupervised time-alignment of the input signals (typically, by up to +/-10 ms) as a function of frequency (typically, using a 1024-band equalizer) is accomplished due to the non-minimum phase adaptive filter. Two new signals are created from the weighted difference of the inputs, and are then radiated with two loudspeakers behind the listener. According to the consensus in the literature on the effect of interaural correlation on auditory image formation, the self-orthogonalizing properties of the algorithm ensure minimal distortion of the frontal source imagery and natural-sounding, enveloping reverberance (ambiance) imagery.
Performance evaluation of the new upmix system was accomplished in two ways: Firstly, using empirical electroacoustic measurements which validate a theoretical model of the system; and secondly, with formal listening tests which investigated auditory spatial imagery with a graphical mapping tool and a preference experiment. Both electroacoustic and subjective methods investigated system performance with a variety of test stimuli for solo musical performances reproduced using a loudspeaker in an orchestral concert-hall and recorded using different microphone techniques.
The objective and subjective evaluations combined with a comparative study with two commercial systems demonstrate that the proposed system provides a new, computationally practical, high sound quality solution to upmixing.
Quist, Amanda Renee. "Choral Resonance: Re-Examining Concepts of Tone and Unification." Thesis, University of North Texas, 2008. https://digital.library.unt.edu/ark:/67531/metadc9049/.
Full textKosek, Paul C. "Improved analysis of musical sounds using time-frequency distributions." Thesis, McGill University, 2005. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=83189.
Full textFerguson, Robert W. III. "Automatic segmentation in concert recordings." Thesis, McGill University, 2004. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=81489.
Full textFew definitions are adequate to describe music, but a "point of time" is a concept with which people are familiar. When musicians give concerts they try to create these points in a context, which allows the audience to observe each moment by itself. Concert practice has developed to define the edges of musical points, guided by cues such as clapping, pauses, and concert program notes.
This masters thesis investigates how to analyze concert recordings of Western music and their program notes to produce segments which best fit the boundaries of musical points. Modern segmentation techniques are reviewed and a new method specific to concert recordings is examined.
Botha, Alison. "A survey of the development of pitch perception theories, their application to bell sounds and an investigation of perceived differences between ringing and chiming bells." Thesis, Rhodes University, 1998. http://hdl.handle.net/10962/d1002296.
Full textAbbott, Carol A. "A 21st Century Investigation of the Historical, Musical and Acoustical Contexts of a 19th Century Comic Opera, Schermania in America, Composed by Dr. Gabriel Miesse, Jr." Ohio University / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1303937248.
Full textKaratsovis, Christos. "Acoustic features of piano sounds." Thesis, University of Southampton, 2011. https://eprints.soton.ac.uk/333304/.
Full textMcCorkle, Tricia Dawn. "Math, music, and membranes: A historical survey of the question "can one hear the shape of a drum"?" CSUSB ScholarWorks, 2005. https://scholarworks.lib.csusb.edu/etd-project/2933.
Full textVerster, Charl Pierre Franscois. "Investigation of a Sweep Technique for Microphone Placement." Thesis, Stellenbosch : Stellenbosch University, 2015. http://hdl.handle.net/10019.1/96703.
Full textSchoonderwaldt, Erwin. "Mechanics and acoustics of violin bowing : Freedom, constraints and control in performance." Doctoral thesis, Stockholm : Datavetenskap och kommunikation, Kungliga Tekniska högskolan, 2009. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-9826.
Full textThibault, François. "High-level control of singing voice timbre transformations." Thesis, McGill University, 2004. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=81514.
Full textThe transformation methods use a harmonic plus noise representation from which voice timbre descriptors are derived. This higher-level representation, closer to our perception of voice timbre, offers more intuitive controls over timbre transformations. The topics of parametric voice modeling and timbre descriptor computation are first introduced, followed by a study of the acoustical impacts of voice breathiness variations. A timbre transformation system operating specifically on the singing voice quality is then introduced with accompanying software implementations, including an example digital audio effect for the control and modification of the breathiness quality on normal voices.
Colburn, Steven. "Amateur concert filming for YouTube : recalibrating the live music experience in an age of amateur reproduction." Thesis, University of Sussex, 2013. http://sro.sussex.ac.uk/id/eprint/46412/.
Full textMaiorino, Alexandre Virginelli 1972. "Influência acústica de concha orquestral na área da plateia de teatro de múltiplo uso." [s.n.], 2013. http://repositorio.unicamp.br/jspui/handle/REPOSIP/258541.
Full textDissertação (mestrado) - Universidade Estadual de Campinas, Faculdade de Engenharia Civil, Arquitetura e Urbanismo
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Resumo: A construção de Teatros para Múltiplo uso tem se tornado cada vez mais comum devido à necessidade de abrigar diversos tipos de espetáculos em um único espaço. Para adequar à acústica destes espaços para a música orquestral é necessário o uso de elementos que possibilitem a variação acústica do espaço como é o caso de conchas de orquestra. O principal objetivo das conchas de orquestra é melhorar a acústica no palco para os músicos e para o maestro, melhorando a sensação de conjunto e fazendo com que os músicos ouçam melhor seus instrumentos e o grupo em geral. Entretanto, a concha de orquestra pode também melhorar o desempenho acústico da área da platéia. A hipótese deste trabalho foi o de analisar a diferença do desempenho acústico percebido na área da platéia devido à inclusão de uma concha de orquestra no palco de um teatro de múltiplo uso. Medições acústicas foram realizadas em cinco diferentes tipos de montagem da concha de orquestra no palco. As medições foram feitas de acordo com a norma ISO 3382-1 (2009). Os parâmetros acústicos medidos foram o Tempo de Reverberação, Tempo Inicial de Decaimento e Índice de Clareza. Os resultados mostraram que a concha de orquestra pode de fato mudar o desempenho acústico na área da platéia, modificando a percepção acústica subjetiva do ambiente
Abstract: The construction of multiple use theatres is becoming more common due to the need to accommodate different kinds of performances at the same space. In order to acoustically adequate this space to concert music, the inclusion of an orchestra shell becomes necessary. The main objective of an orchestra shell is to improve the acoustic quality on stage, both for musicians and for the conductor. The goal is to improve balance of the group allowing musicians to hear themselves and the orchestra better. However, the orchestra shell can also improve the acoustic quality for the audience. The objective of this study was to analyze the difference of the acoustic performance perceived at the audience area with the inclusion of a lightweight orchestra shell with diffuse surface in a proscenium theatre. Acoustic measurements were done in five different assembles of the orchestra shell. Measurements were done using the impulse response technique according to ISO3382-1 (2009). Measured parameters were Reverberation Time, Early Decay Time and Clarity index. Results showed that the orchestra shell can in fact modify the acoustic performance at audience area, changing the subjective acoustic perception of the space
Mestrado
Arquitetura e Construção
Mestre em Engenharia Civil
Dribus, John Alexander. "Characterizing Noise and Harmonicity: The Structural Function of Contrasting Sonic Components in Electronic Composition." Thesis, University of North Texas, 2010. https://digital.library.unt.edu/ark:/67531/metadc30427/.
Full textTsiappoutas, Kyriakos Michael. "Statistical Spectral Parameter Estimation of Acoustic Signals with Applications to Byzantine Music." ScholarWorks@UNO, 2011. http://scholarworks.uno.edu/td/1358.
Full textPloeger, Daniël. "Sonified freaks and sounding prostheses : sonic representation of bodies in performance art." Thesis, University of Sussex, 2012. http://sro.sussex.ac.uk/id/eprint/43348/.
Full textBlamey, Peter J. "Sine waves and simple acoustic phenomena in experimental music : with special reference to the work of La Monte Young and Alvin Lucier /." Thesis, View thesis, 2008. http://handle.uws.edu.au:8081/1959.7/25659.
Full textRauhe, Hermann, Hans-Peter Reinecke, and Wilfried Ribke. "Hören und Verstehen." Saechsische Landesbibliothek- Staats- und Universitaetsbibliothek Dresden, 2012. http://nbn-resolving.de/urn:nbn:de:bsz:14-qucosa-86565.
Full textFONTANA, Federico. "Physics-based models for the acoustic representation of space in virtual environments." Doctoral thesis, Università degli Studi di Verona, 2003. http://hdl.handle.net/11562/342240.
Full textThis work deals with the simulation of virtual acoustic spaces using physics-based models. The acoustic space is what we perceive about space using our auditory system. The physical nature of the models means that they will present spatial attributes (such as, for example, shape and size) as a salient feature of their structure, in a way that space will be directly represented and manipulated by means of them.
Santos, Bogdan Skorupa Ribeiro dos. "Oficina de luteria e laboratório de acústica: uma relação desvelada na perspectiva do ser-luthier." Universidade Tecnológica Federal do Paraná, 2017. http://repositorio.utfpr.edu.br/jspui/handle/1/2465.
Full textComo é a relação entre acústica e luteria? Tal pergunta é a que se faz o pesquisador ao início da escrita desta dissertação. Mesma pergunta que faz para cinco professores envolvidos com ensino de luteria, participantes da formação do luthier em cursos de duas instituições brasileiras. Esta pesquisa, diante da questão central, tem como objetivo delinear contribuições para esclarecer e favorecer a relação entre luteria e acústica desvelada na perspectiva de ser-luthier, em experiência e compreensão. Através de um estudo de campo, voltou o olhar para a comunidade formada por professores e estudantes ligados à acústica e luteria, particularmente, nas duas instituições brasileiras, sendo que numa delas o pesquisador se colocou como observador participante. Realizou entrevistas com os professores nas duas instituições. Numa delas, especificamente, participou em sala de aula como professor. Assim, tomou contato com reverberações imediatas da atividade didática nos estudantes em formação como luthiers. Antes da entrada em sala e aula, renovava a perspectiva como professor enquanto elaborava uma estratégia didática para favorecer a relação. Para isto, considerou experiências em campo e base na invenção de uma Ilha de Interdisciplinar de Racionalidade de Gérard Fourez, assim como na Teoria das Situações Didáticas de Guy Brousseau, principalmente, sob a noção de situações adidáticas. Os discursos dos entrevistados foram compreendidos através de uma das maiores lições da fenomenologia, a redução fenomenológica. O pesquisador buscou desvelar o fenômeno (antes estruturado para sua consciência) na descrição de cada entrevistado, ao que contribuíram as experiências em campo. Ao fim, desvelou a relação entre acústica e luteria na perspectiva do ser-luthier. Encontrava as próprias possibilidades de vir a ser luthier. Em conclusão do captado com a pesquisa, uma separação apareceu entre acústica e luteria, como um muro impedindo sua relação. Porém, ao perscrutar a essência através da consciência pura da relação (destituída de preconceitos, limitações, predefinições), o muro apareceu insustentável. A relação está nos fundamentos basais da prática da luteria, que tem a acústica como parte indispensável da formação do luthier. Precisa ser reencontrada no enfrentamento dos desafios da prática, sem ludibriá-los através da estética visual e de modelos predefinidos. Ao mesmo tempo, dependerá da superação dos obstáculos interpostos ao confrontar os desafios, contanto com a colaboração entre diversas perspectivas, bem como com a comunicação e compartilhamento aberto de informações. A reflexão sobre as ações didáticas do pesquisador e pela própria redução fenomenológica foi constante. Dela, emergiu um caminho para favorecer a relação entre acústica e luteria. O produto final das experiências e reflexões aparece no Guia Adidático que acompanha esta dissertação.
How is the relation between acoustics and lutherie? The researcher asks himself this question at the beginning of the dissertation, the same that directs to five teachers involved in lutherie teaching, participants in the luthier formation in courses of two Brazilian institutions. This research, from the initial question, aims to delineate contributions to clarify and favor the relation between lutherie and acoustics unveiled in the perspective of the being that takes it in experience and understanding. Delineated as a field study, looks inside a community formed by teachers and students correlated to acoustics and lutherie, particularly in the two Brazilian institutions. In one institution the researchers becomes a participant observer, where conducts interviews with five teachers in both institutions. In one of them, specifically, toked participant observation in classroom. So takes contact with effects of the immediate implications of (your and by others teachers) didactic's activities on students of lutherie. Concomitantly, developed a didactic strategy to favor the relation between acoustics and lutherie, considering experiences in the field and reasoned in the Interdisciplinary Island of Rationality of Gérard Fourez, as well as Theory of the Didactic Situations of Guy Brousseau, especially the concept of adidactic situation. The discourses of the interviewers are understood through one of the greatest lessons of phenomenology, the phenomenological reduction. The researcher sets out to unveil the phenomenon, previously structured for him, to which the experiences in the field contribute. At the end, the relation between acoustics and lutherie is revealed in being-luthier perspective. Also as a becoming-luthier, taking part in the possibility luthier formation. By field study and the phenomenological reduction, a separation was shown between acoustic and lutherie as a wall blocking the relation. However, inside pure consciousness of relation (leaving of prejudice, limitation, determinism), the wall seemed unsustainable. The relation is in basal foundations for practice lutherie, that take the acoustic how indispensable component of luthier formation. Need to be rediscovered through facing practice’s challenges, without cod them by aesthetics and predefined templates. At same time, will depend overcoming obstacles step in practice, counting on collaboration by others perspectives, as well with open communication and sharing information. In the constant reflection of the didactic actions of the researcher, from the beginning to end of the research, he elaborates and re-elaborates didactic's activities. The experiences and reflections conform an Adidactic Guide, as technical production parallel to present dissertation.
Paiva, Guilherme Orelli 1987. "Análise modal vibroacústica da caixa de ressonância de uma viola caipira." [s.n.], 2013. http://repositorio.unicamp.br/jspui/handle/REPOSIP/263227.
Full textDissertação (mestrado) - Universidade Estadual de Campinas, Faculdade de Engenharia Mecânica
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Resumo: Atualmente, um importante aspecto da pesquisa em acústica musical consiste em relacionar propriedades físicas mensuráveis de um instrumento musical e a avaliação subjetiva de sua qualidade sonora ou tonal. Tem sido necessário, portanto, o desenvolvimento de métodos analíticos e numéricos para previsão do comportamento vibroacústico do instrumento, possibilitando a determinação de parâmetros objetivos que possam ser usados para controlar a sua qualidade tonal. Dessa forma, o presente trabalho realiza análises modais acústica, estrutural e vibroacústica (acoplamento entre fluido e estrutura), calculadas pelo método de elementos finitos (MEF), com o objetivo de determinar o comportamento dinâmico da caixa de ressonância da viola em termos de frequências naturais e as correspondentes formas dos modos. Primeiramente, é apresentado um modelo simplificado, que despreza as estruturas internas de reforço, mas adota as dimensões principais de uma viola real. Depois o mesmo modelo foi expandido, sendo acrescentados os reforços internos, porém com dimensões ainda aproximadas. Por fim, o terceiro modelo foi elaborado em relação às dimensões de uma viola real e seus respectivos reforços internos. Com isso, também foram realizados procedimentos experimentais a fim de verificar as capacidades e limitações do método computacional empregado. Finalmente, os resultados obtidos pelos métodos numéricos e experimentais são comparados e discutidos
Abstract: An important aspect of musical acoustics research is to identify the relationship of measurable physical properties of a musical instrument with the subjective evaluation of their sound quality or tone. Therefore, for musical instruments including resonance box, it is important to develop analytical or numerical methods to predict accurately its vibroacoustic behavior. These methods will enable the determination of key parameters that can be used to control the tone and sound quality. This work uses theoretical modal analysis with finite element method (FEM) to determine the dynamic behavior of a Brazilian guitar resonance box in terms of natural frequency and mode shapes. At first, is presented a simplified model that neglects the internal structures of reinforcement (struts, ribs, brackets, etc.), but adopts the main dimensions of a real Brazilian guitar. Then the same model was expanded with the addition of the internal reinforcements, but with approximate dimensions yet. Finally, the third model was designed regarding the dimensions of a real Brazilian guitar and their internal reinforcements. Experimental procedures were also performed to verify the capabilities and limitations of the computational method employed. The results obtained by numerical and experimental methods are compared and discussed
Mestrado
Mecanica dos Sólidos e Projeto Mecanico
Mestre em Engenharia Mecânica
Quintana, James R. A. "Frequency Responsive Beam Tracing." Oberlin College Honors Theses / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=oberlin1462957979.
Full textHAND, SCOTT ANTHONY. "ADAPTABLE ACOUSTICS IN MULTI-USE MUSIC PERFORMANCE SPACES." University of Cincinnati / OhioLINK, 2004. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1083634977.
Full textMiller, Nolan W. "Athenian Acoustics: A Sonic Exploration." Ohio University Honors Tutorial College / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=ouhonors1556289254557967.
Full textLerias, Washington Roberto. "A física da música e a pluralidade didática." Universidade Tecnológica Federal do Paraná, 2016. http://repositorio.utfpr.edu.br/jspui/handle/1/2686.
Full textCAPES
Esta dissertação visa apresentar uma proposta de sequência didática para explorar significativamente conteúdos de ondulatória, acústica e conteúdos relacionados à sua compreensão, utilizando elementos da música como agente motivacional ao aprendizado de física, bem como uma gama de recursos didáticos com o objetivo de oferecer uma pluralidade didática adaptada a partir dos fundamentos da pluralidade metodológica de Paul Feyerabend. Estes recursos são desde quadro giz, a inventos, instrumentos musicais, experimentos, softwares, simuladores, imagens, animações, videoaulas, músicas, poesias e alguns aspectos epistemológicos da física da música.
This thesis aims to present a proposal for didactic sequence to significantly explore waves, acoustics and related content to their understanding, using elements of music as a motivational agent to the physics learning, as well as a range of instructional resources with the aim of offering a didactic plurality it was adapted from the fundamentals of methodological plurality of Paul Feyerabend. These features are since chalk framework, to inventions, musical instruments, experiments, softwares, simulators, images, animations, video lessons, songs, poetry and some epistemological aspects of the physics of music.
Carmo, Rodrigo Salvadori Baptista do. "Ambiente virtual de aprendizagem em ondas e acústica para auxiliar o processo ensino e aprendizagem da física no ensino médio." Universidade Federal de São Carlos, 2013. https://repositorio.ufscar.br/handle/ufscar/4439.
Full textThis work describes the development of a VLE Virtual Learning Environment, where music is the basis for studying sound waves. New educational tools such as videos, animations, simulations, as well as the Moodle platform, were used to create a virtual environment, where students can learn about sound waves in an autonomous and interactive way, motivating them to use computers and internet as facilitators of the teaching/learning process, making it more effective and interesting. This material was applied to High School students - which translates to Ensino Médio and/or Pré-Vestibular in Brazil s schooling system - in the following schools: Carlos Drummond de Andrade and Nomelini Cirandinha, both in Barretos, Escola Espaço Livre, in Bebedouro and Coc Cardiofísico, in Jaboticabal. Both the teaching experience related to the VLE construction and its learning results are also described in this work.
O presente trabalho descreve o desenvolvimento de um AVA Ambiente Virtual de Aprendizagem, onde utilizamos a música como fio condutor para o estudo das ondas sonoras. Fazendo uso das novas ferramentas educacionais como vídeos, animações, simulações bem como a plataforma Moodle, produzimos um ambiente virtual onde os alunos podem estudar as ondas sonoras de uma forma interativa e autônoma, incentivando-os a utilizar o computador e a internet como facilitadores do processo de ensino/aprendizagem, tornando este processo mais efetivo e interessante. Esse material foi aplicado a turmas de alunos do Ensino Médio e Pré-Vestibular das escolas Carlos Drummond de Andrade e Nomelini Cirandinha, ambas de Barretos, Escola Espaço Livre, de Bebedouro e escola COC Cardiofísico, de Jaboticabal. Tanto a experiência didática quanto a construção do AVA e seus resultados de aprendizagem são também descritos neste trabalho.
McLennan, John Ewan Physics Faculty of Science UNSW. "The violin music acoustics from baroque to romantic." Awarded by:University of New South Wales. Physics, 2008. http://handle.unsw.edu.au/1959.4/43805.
Full textStewart, Rebecca. "Spatial auditory display for acoustics and music collections." Thesis, Queen Mary, University of London, 2010. http://qmro.qmul.ac.uk/xmlui/handle/123456789/413.
Full textBruck, Daniel C. "Objective measures and musician preference for concert state acoustics /." Thesis, Connect to this title online; UW restricted, 1991. http://hdl.handle.net/1773/11395.
Full textMcMurray, Peter. "Pathways to God: The Islamic Acoustics of Turkish Berlin." Thesis, Harvard University, 2014. http://nrs.harvard.edu/urn-3:HUL.InstRepos:13064989.
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Kanapesky, Aaron Peter. "Acoustics as an Inspiration in Architecture." Thesis, Virginia Tech, 2017. http://hdl.handle.net/10919/78334.
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Byrne, David A. "The Harmonic Theories of Sigfrid Karg-Elert: Acoustics, Function, Transformation, Perception." University of Cincinnati / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1522417315389199.
Full textFabiani, Marco. "Interactive computer-aided expressive music performance : Analysis, control, modification and synthesis." Doctoral thesis, KTH, Musikakustik, 2011. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-34099.
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Zhang, Wei. "Simulation and experimental study of room acoustics." Thesis, University of Ottawa (Canada), 2006. http://hdl.handle.net/10393/27311.
Full textHuan, C. H. A. "Phase transformation and nuclear resonance in acoustics." Thesis, University of Oxford, 1987. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.379905.
Full textMahmud, Sakib. "Comparing the Performance of Bottom-Moored and Unmanned Surface Vehicle Towed Passive Acoustic Monitoring Platforms for Marine Mammal Detections." Thesis, University of Louisiana at Lafayette, 2018. http://pqdtopen.proquest.com/#viewpdf?dispub=10636502.
Full textPassive acoustic monitoring (PAM) is a more effective method of monitoring cetaceans’ distribution and abundance than conventional visual surveys. Cetaceans are highly vocally active and produce identifiable acoustic signals during echolocation and communication. Three different PAM platforms recorded data in overlapping time periods in the vicinity of the 2010 Deepwater Horizon oil spill site: bottom-moored buoys (EARS), Unmanned Surface Vehicle towed arrays (USV), and subsurface glider-mounted hydrophones. Detection rates of the EARS and USV were compared to investigate their efficiency in detecting marine mammals. Detection events were obtained using independent detectors for each platform and then compared by feeding data through a common detector. Results from both detectors and platforms were compared, and a comparable trend of detection rates was found. The purpose of this study is to aid in the development of cost-efficient PAM methodology for mitigation and environmental impact assessment purposes.
Lefebvre, Antoine. "Computational acoustic methods for the design of woodwind instruments." Thesis, McGill University, 2011. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=97000.
Full textCette thèse présente des méthodes pour la conception d'instruments de musique à vent à l'aide de calculs scientifiques. La méthode des matrices de transfert pour le calcul de l'impédance d'entrée est décrite. Une méthode basée sur le calcul par Éléments Finis est appliquée à la détermination des paramètres des matrices de transfert des trous latéraux des instruments à vent, à partir desquels de nouvelles équations sont développées pour étendre la validité deséquations de la littérature. Des simulations par Éléments Finis de l'effet d'une clé suspendue au-dessus des trous latéraux donnent des résultats différents de la théorie pour les trous courts. La méthode est aussi appliquée à des trous sur un corps conique et nous concluons que les paramètres des matrices de transmission développées pour les tuyaux cylindriques sont également valides pour les tuyaux coniques.Une condition frontière pour l'approximation des pertes viscothermiques dans les calculs par Éléments Finis est développée et permet la simulation d'instruments complets. La comparaison des résultats de simulations d'instruments avec plusieurs trous ouverts ou fermés montre que la méthode des matrices de transfert présente des erreurs probablement attribuables aux interactions internes et externes entre les trous. Cet effet n'est pas pris en compte dans laméthode des matrices de transfert et pose une limite à la précision de cette méthode. L'erreur maximale est de l'ordre de 10 cents. L'effet de la courbure du corps de l'instrument est étudié avec la méthode des Éléments Finis. L'impédance de rayonnement du pavillon d'un instrument est calculée avec la méthode des matrices de transfert et comparée aux résultats de la méthode des Éléments Finis; nous concluons que la méthode des matrices de transfert n'estpas appropriée à la simulation des pavillons.Finalement, une méthode d'optimisation est présentée pour le calcul de la position et des dimensions des trous latéraux avec plusieurs contraintes, qui est basé sur l'estimation des fréquences de jeu avec la méthode des matrices de transfert. Plusieurs instruments simples sont conçus et des prototypes fabriqués et évalués.
Buckiewicz-Smith, Alexander. "Methods for measuring the acoustic response of wind instruments." Thesis, McGill University, 2008. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=18800.
Full textCette thèse étudie des méthodes pour prendre des mesures acoustiques des corps et embouchures d'instruments à vent. Les réponses acoustiques et les méthodes existantes de mesure sont passées en revue. Mesures de multiples pressions et pression unique sont contrastées par un discussion des limitations sur la longueur de l'objet et la réponse en fréquences. Les mesures de réponse d'impulsion employant un signal d'entrée complexe sont discutée et des signaux utilisés pour mesurer l'acoustique de salles sont passés en revue. Les méthodes de construction et de déconvolution pour plusieurs types de signaux sont spécifiés et les façons dont la dégradation des signaux affecte les mesures sont discutées. Une nouvelle technique de réflectométrie d'impulsion qui peut employer ces signaux comme stimulus est présentée. Les signaux sont employés dans un modèle de guide d'ondes qui simule les scénarios défavorables de mesures et calculent les impédances. Des mesures de modèles sont alors comparées aux mesures réelles de fonction de réflexion de deux prototypes fabriqués pour montrer les limitations de la réflectométrie d'impulsion lors de calculs de l'impédance de longs objets. Les pertes viscothermiques et les caractéristiques de rayonnement d'extrémité ouverte mesurées en utilisant une installation de réflectométrie d'impulsion sont alors comparées à leurs valeurs théoriques prévues. En conclusion, l'impédance d'entrée calculée à partir de plusieurs embouchures de saxophones sont présentées ainsi qu'une nouvelle méthode pour mesurer la fréquence tubulaire de résonance d'une embouchure.
Shi, Yong. "Comparing theory and measurements of woodwind-like instrument acoustic radiation." Thesis, McGill University, 2009. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=32497.
Full textCette thèse propose une analyse des techniques de modélisation informatique des instruments de musique de la famille des bois à perce et trous arbitraires. Le modèle d'une structure acoustique simple implémenté avec Matlab est vérifié par des mesures expérimentales de la directivité du rayonnement. Les méthodes de calcul de l'impédance acoustique à l'entrée ainsi que de la pression acoustique à n'importe quelle position le long de l'instrument sont présentées. La procedure de calcul de la pression de radiation est détaillée pour le cas d'un tuyau cylindrique ouvert avec deux trous latéraux. Les formules de calcul du rayonnement en champ lointain et en champ proche sont données. Un système de mesure de la réponse impulsionnelle est utilisé pour mesurer la directivité de la radiation sur un prototype d'instrument ayant les caractéristiques de la famille des bois. La mesure et le traitement des données sont simulés en utilisant un modèle de guide d'ondes numérique pour tester la validité du système de mesure. Les mesures finales sont effectuées pour les cinq doigts de l'objet mesuré. Les résultats sont comparés aux valeurs théoriques pour évaluer la qualité du modèle. Des suggestions pour l'amélioration de la mesure et du modèle sont données.
Scherrer, Bertrand. "Physically-informed indirect acquisition of instrumental gestures on the classical guitar: Extracting the angle of release." Thesis, McGill University, 2013. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=116950.
Full textLes guitaristes classiques peuvent apporter de multiples nuances aux sons de leur instrument grâce à un large éventail de techniques de jeu. Il leur est même possible d'identifier comment une guitare a été jouée par l'écoute attentive d'un enregistrement, en confrontant les sons entendus à leurs connaissances sur la pratique instrumentale. Ce dernier point suggère la présence d'informations sur les manipulations des instrumentistes dans les sons produits. L'objectif de ce travail de doctorat est donc de développer des méthodes automatiques permettant d'extraire une partie de ces informations à partir d'enregistrements des vibrations de l'instrument. Cette thèse se concentre sur un paramètre spécifique: l'angle avec lequel une corde quitte le doigt à la fin du pincement, désigné "angle de lâcher" par la suite. En effet, ce paramètre de jeu, au même titre que la position de pincement le long de la corde, a une influence claire sur le son produit. L'utilisation faite de connaissances physiques sur la production des sons de guitare classique est un élément central des travaux présentés dans cette thèse. En effet, des considérations physiques sont utilisées pour expliciter l'effet d'un changement de l'angle de lâcher sur les caractéristiques du signal sonore.Après avoir précisé le contexte de cette thèse par rapport aux travaux existant sur l'acquisition du geste sur la guitare classique, l'acoustique de l'instrument est abordée. Cette revue du fonctionnement de la guitare permet de dégager la structure sous-jacente des sons de guitare. Les techniques de jeux sont aussi présentées afin de montrer comment les guitaristes exploitent les degrés de liberté à leur portée pour modifier le son de leur instrument. La contribution majeure de cette thèse est ensuite détaillée: l'adaptation d'un modèle physique standard de corde de guitare afin d'y inclure l'effet de l'angle de lâcher, et de relier la variation de cet angle aux changements de contenu sonore. La mise au point d'un système d'analyse visant à extraire les paramètres des signaux de vitesse dépendant de l'angle de lâcher est ensuite abordée.La dernière partie de ce travail présente les résultats obtenus par la méthode d'extraction de l'angle de lâcher sur des signaux de vitesse mesurés. À la lumière de ces résultats, les forces et faiblesses de la méthode sont dégagées, ainsi que des pistes de recherche futures.
Freour, Vincent. "Acoustic and respiratory pressure control in brass instrument performance." Thesis, McGill University, 2014. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=121361.
Full textCette thèse présente une étude expérimentale et numérique sur le contrôle des pressions aéroacoustiques et quasi-statiques au sein de la colonne d'air formée par le musicien et son instrument dans le jeu du trombone.L'axe principal de ce travail s'articule autour de l'étude de l'interaction entre les lèvres du musicien et son conduit vocal. En premier lieu, une méthode de mesure est développée dans le but de quantifier les caractéristiques de couplage acoustique entre les lèvres, le résonateur formé par l'instrument, et les voies respiratoires en amont. Chez les sujets pouvant jouer sur le registre complet de l'instrument, le conduit vocal contribue de façon significative à la productiondu son dans le registre aigu. Deux catégories de stratégies sont proposées en fonction des caractéristiques de phase de l'impédance du conduit vocal à la fréquence fondamentale, ainsi que de la capacité à générer un maximum d'énergie acoustique. Afin d'étudier plus précisément l'influence du conduit vocal sur le comportement mécanique des lèvres d'un tromboniste, différentes conditions de couplage en amont sont simulées sur un système de bouche artificielle. Cette expérience permet de démontrer l'importance de l'ajustement de la phase de l'impédance en amont sur le comportement mécanique des lèvres. Les résultats obtenus mettent particulièrement en évidence les capacités d'une résonance de conduit vocal à déplacer la fréquence de jeu afin de potentiellement la rapprocher d'une fréquence de résonance mécanique des lèvres, produisant ainsi une efficacité maximale du système d'excitation. Des simulations numériques utilisant différents modèles physiques de lèvres et différentes conditions de couplage acoustique avec le conduit vocal confirment les hypothèses formulées; un couplage avec le conduit vocal à la fréquence fondamentale influence la fréquence de jeu. En conséquence, ces variations induisent des changements, d'une part de l'impédance acoustique chargeant les lèvres, et d'autre part de leur mobilité mécanique. Il en résulte différents degrés d'efficacité du mécanisme de production sonore en ce qui concerne l'énergie acoustique générée. Pour terminer, une étude quantitative de la dynamique du thorax est conduite sur un tromboniste. Différentes tâches musicales sont analysées en termes de pression développée par les muscles intercostaux et abdominaux, de l'activité du diaphragme, ainsi que de la résistance des lèvres et de la glotte à l'écoulement pendant le jeu. Cette étude a ainsi pour but d'évaluer les caractéristiques physiologiques du contrôle de la production du son et leurs relations à la gestion de la pression quasi-statique dans la cavité buccale. Elle suggère également de nouveaux éléments quant à l'influence du contrôle respiratoire sur l'effet acoustique du conduit vocal.