Dissertations / Theses: 'Performance recording'

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Bulut, Hasan. "High performance recording and manipulation of distributed streams." [Bloomington, Ind.] : Indiana University, 2007. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&res_dat=xri:pqdiss&rft_dat=xri:pqdiss:3274268.

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Thesis (Ph.D.)--Indiana University, Dept. of Computer Science, 2007.
Source: Dissertation Abstracts International, Volume: 68-07, Section: B, page: 4582. Adviser: Geoffrey C. Fox. Title from dissertation home page (viewed Apr. 22, 2008).

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Miller, Eric R. "The Influence of Recording Technology on Music Performance and Production." Ohio University Honors Tutorial College / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=ouhonors1367581047.

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Ait, Saidi Adel. "Implementing electronic identification for performance recording in sheep and goat farms." Doctoral thesis, Universitat Autònoma de Barcelona, 2014. http://hdl.handle.net/10803/283364.

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Los costes de implementación de la identificación electrónica (e-ID) para cumplir la legislación europea preocupan el sector ovino y caprino. Con el motivo de cuantificar los beneficios secundarios del uso de la e-ID para el ganadero, se realizaron 4 experimentos para evaluar los resultados productivos, costes y beneficios de implementar un sistema manual (M; crotales visuales y anotación en papel) o semi-automatico (SA; bolos electrónicos y descarga automática de datos) para el registro de producciones in caprino y ovino. En Exp.1, se utilizaron 24 cabras Murciano-Granadina para comparar el uso de M y SA en el control lechero realizado con 1 ordeño/d (×1) y en una sala 2×12. No se observaron diferencias en el tiempo de control lechero, pero SA fue 75% más rápido en la descarga de datos que el M. El uso de SA ahorró 8 s/cabra en el tiempo total. No se observaron diferencias entre M y SA en los errores de datos (0.6%), pero M produjo un 1.1% más de errores de descarga de datos. La reducción del coste de trabajo con SA varió según el tamaño del rebaño (24-480 cabras) y se evaluó por el 40% del coste de implementación de e-ID. En el Exp.2, se utilizó un rebaño de 48 ovejas lecheras para comparar los sistemas M y SA (HHR, e-ID con bolos; PDA, agenda electrónica e ID visual) en condiciones de ×1 (n = 24) o ×2 (2 ordeños/d; n = 24) y una sala de 2×12. No se observó interacción entre día × sistema indicando una experiencia previa del operador. La descarga de datos fue más rápida en ambos sistemas SA que en M. Como resultado, el control lechero incluyendo la descarga de datos, fue más rápido en SA que en M, siendo el ahorro de 7 y 15 s/oveja para ×1 y ×2, respectivamente. Los errores en M fueron 3.6%, no detectándose en SA. En el Exp.3 se compararon los sistemas M y SA para el control de paridera, utilizando 2 rebaños de 73 ovejas de leche y 80 de carne, durante 2 periodos distintos. A pesar de que la prolificidad fue similar, el tiempo de control de paridera fue mayor en ovejas de leche que en carne, debido a la menor experiencia del operador y la suciedad de crotales. El tiempo total de control de paridera fue mayor en M que SA en las ovejas de leche y de carne, resultando con un ahorro de 36 y 48 s/oveja, respectivamente. Los errores de descarga de datos sólo ocurrieron en M (4.9%). Finalmente, en Exp.4, se implementaron los sistemas M y automático (AU) para el registro de peso vivo (PV) utilizando una báscula electrónica en un rebaño de 120 ovejas de leche y 120 de carne. El tiempo medio de pesado, descarga de datos y el tiempo total, fueron mayores en M que AU, resultando con un ahorro de medio de 22 s/oveja. Los errores de descarga de datos sólo ocurrieron en M (8.8%). Los resultados de las Exp. 2, 3 y 4 se integraron en un estudio coste-beneficio para 4 tipos de granjas de ovino tipo de carne (700 ovejas; sistema extensivo o intensivo) y de leche (400 ovejas; control lechero ×1 o ×2). Los beneficios de usar SA o AU variaron según la raza, el número de controles/año, el coste de lectores y el tamaño del rebaño. Como conclusión, el uso de e-ID para el control de producciones ahorró el 50% de tiempo y mejoró la fiabilidad de los datos. En el caso de e-ID opcional, los costes del control de producciones cubrieron del 15 al 70% la inversión inicial. En el caso de e-ID obligatoria o cuando se usó la PDA, los ahorros pagaron la totalidad de los costes. El coste de los lectores fue responsable del 40 al 90% del total en los 2 escenarios.
European legislation made mandatory the use of electronic identification (e-ID) for sheep and goats which cost is questioned in practice. This thesis aimed to quantify the costs and derived benefits of using e-ID at farm level. Thus, 4 experiments were carried out to assess the performance and the cost-benefit of manual (M; visual ear tags and paper forms) or semi-automated (SA; e-ID boluses and automated data downloading) systems implemented for performance recording. In Exp.1, 24 dairy goats were used to compare M and SA (standard boluses) for milk recording under once daily milking (×1). No difference in milk recording time was observed but SA was 75% faster in uploading data into a computer than M. Use of SA instead of M saved 8 s/goat in total time of milk recording. Although, no difference in data error was detected between M and SA at milk recording, 1.1% of errors occurred only at M data uploading. Reduction in labor time cost varied by herd size and accounted 40% of e-ID implementation costs. Results highlighted the need of operator training in SA system. In Exp.2, a flock of 48 dairy ewes was used to compare M and SA (HHR, handheld reader and small-boluses; PDA, personal digital assistant and v-ID) milk recording systems under ×1, (n = 24) or twice- (×2, n = 24) daily milkings. No interaction between system×test-day was observed, agreeing with the operator expertise. Data transfer was markedly faster for both SA systems than in M. Consequently, total milk recording was faster for both ×1 and ×2 in SA systems than for M, saving 7 and 15 s/ewe, respectively. Data errors averaged 3.6% in M, whereas no errors were found in SA. Results demonstrated the time-affectivity of HHR and PDA systems for milk recording in dairy ewes. In Exp.3, Data recording at lambing by M and HHR systems were compared using 2 flocks of 73 dairy and 80 meat ewes. Time for lambing recording was greater in dairy than in meat ewes, due to the lower operator experience and ear tag dirtiness. Overall time for lambing recording was greater in M than HHR for both dairy and meat flocks, saving 36 and 48 s/ewe, respectively. Data uploading errors only occurred in M (4.9%). Finally, in Exp.4, BW recording of 120 dairy and 120 meat ewes using an electronic scale was performed by M and AU (automatic using e-ID and stationary reader) systems. In both flocks, mean BW recording and data uploading times, as well as overall BW recording time, were greater in M than in AU, saving on average 22 s/ewe. Uploading errors only occurred in M (8.8%). In conclusion, e-ID for SA and AU performance recording saved time and increased the reliability of the collected data. Results of Exp.2, 3 and 4 were integrated into a whole cost-benefit study for typical meat (700 ewes; extensive or intensive) and dairy (400 ewes; ×1 or ×2 milk recording daily) farms. Benefits of using SA or AU mainly depended on sheep breed, test-days per yr, reader prices and flock size. Use of e-ID increased the cost of performance recording in the optional scenario, partially paying the investment made (15 to 70%). For mandatory e-ID or by using PDA, savings paid 100% of the extra-costs in all farm types, indicating their cost-effectiveness for sheep performance recording. In both scenarios, reader price was the most important extra-cost (40 to 90%) of e-ID implementation.

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Yang, Peter D. (Peter Dong Myung) 1978. "Improving the performance of TCP in the presence of packet recording." Thesis, Massachusetts Institute of Technology, 2001. http://hdl.handle.net/1721.1/86752.

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Eom, Han Joo. "Computer-aided recording and mathematical analysis of team performance in volleyball." Thesis, University of British Columbia, 1989. http://hdl.handle.net/2429/28139.

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The purpose of this study was to develop and test a method to analyze and evaluate team performance in volleyball in terms of individual skill performance as well as sequential skill performances. Seventy-two sample games from the F.I.V.B Cup international men's volleyball competition were video taped, computer recorded, and statistically analyzed. Games were grouped into two categories according to the team standing and game status: Top 4-Bottom 4 teams and Winning-Losing games. MANOVAs and discriminant function analysis were used to investigate the playing characteristics of individual skill performance and to select the best predictor(s) of team success among the skill components. Log-linear procedures were used to examine the dependencies (first- and second-order transition patterns) among the sequential playing actions. Results showed that: 1) the significant differences between the groups were due to better performances on those skills which took place in the Counterattack Process (i.e., Block, Dig, Set, and Spike), demonstrated by the Top 4 teams and in Winning games. Among these the Block and Spike were the most (relatively) important skills determining team success; 2) Success in spiking performance was more dependent upon the given outcomes of the set (1st-order) than those of the reception (2nd-order); and 3) the patterns of 1st- and 2nd-order transitions were stable and consistent regardless of the Team, Game and Process Status. Both the methodology and subsequent results provide a viable aid for effective coaching in volleyball. In addition, this tool may also be applicable to other sporting contexts.
Education, Faculty of
Curriculum and Pedagogy (EDCP), Department of
Graduate

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Jackson, Timothy John. "Multiple track performance of a digital magnetic tape system : experimental study and simulation using parallel processing techniques." Thesis, University of Plymouth, 1991. http://hdl.handle.net/10026.1/2787.

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The primary aim of the magnetic recording industry is to increase storage capacities and transfer rates whilst maintaining or reducing costs. In multiple-track tape systems, as recorded track dimensions decrease, higher precision tape transport mechanisms and dedicated coding circuitry are required. This leads to increased manufacturing costs and a loss of flexibility. This thesis reports on the performance of a low precision low-cost multiple-track tape transport system. Software based techniques to study system performance, and to compensate for the mechanical deficiencies of this system were developed using occam and the transputer. The inherent parallelism of the multiple-track format was exploited by integrating a transputer into the recording channel to perform the signal processing tasks. An innovative model of the recording channel, written exclusively in occam, was developed. The effect of parameters, such as data rate, track dimensions and head misregistration on system performance was determined from the detailed error profile produced. This model may be run on a network of transputers, allowing its speed of execution to be scaled to suit the investigation. These features, combined with its modular flexibility makes it a powerful tool that may be applied to other multiple-track systems, such as digital HDTV. A greater understanding of the effects of mechanical deficiencies on the performance of multiple-track systems was gained from this study. This led to the development of a software based compensation scheme to reduce the effects of Lateral Head Displacement and allow low-cost tape transport mechanisms to be used with narrow, closely spaced tracks, facilitating higher packing densities. The experimental and simulated investigation of system performance, the development of the model and compensation scheme using parallel processing techniques has led to the publication of a paper and two further publications are expected.

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Smith, Grant M., and Dave Gaskill. "The Need for Standardized Performance Characteristics for Digital Strip Chart Recorders." International Foundation for Telemetering, 1988. http://hdl.handle.net/10150/615243.

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International Telemetering Conference Proceedings / October 17-20, 1988 / Riviera Hotel, Las Vegas, Nevada
Digital-based linear-array chart recorders are replacing conventional stylus recorders in telemetry data stations everywhere. They offer advantages in virtually all respects, and are becoming indispensable. But because of the completely different writing method and technology employed, it is difficult to make completely analogous performance comparisons between analog and digital chart recorders. This has led to some confusion when replacing aging stylus recorders is contemplated. Objectives: Establish a set of universal, standardized performance characteristics for digital chart recorders. Introduce appropriate terminology, allowing valid, repeatable comparison of old and new systems.

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Michaud, Alyssa R. ""Copies without Originals": Manipulation, Mediation, and Mediatization in Performance and Recording Practices." Thèse, Université d'Ottawa / University of Ottawa, 2012. http://hdl.handle.net/10393/23605.

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This thesis examines case studies and historical accounts taken from different periods of the history of recording technology, and addresses questions concerning the impact of mediatization, manipulation, and mediation on listeners' and performers' approaches to music. The project considers the development of the idea of "copies without originals," and of the ideological frameworks that have been used to describe and classify recorded sound. The first case study covers the early days of the phonograph and its development in Victorian society, then contrasts the values and motivations of those early years with modern-day rock performance and its own value systems. Moving into the mid-twentieth century, a chapter of this thesis is devoted to the work of Glenn Gould, and the possibilities for tape manipulation that the Canadian pianist explored during the period of his career that was focused on the recording studio. Lastly, this project examines the innovative, user-driven methods of music-making that are gaining momentum today, including Bjork's "Biophilia" app album, and the emergence of a new genre of popular music in Asia that uses vocal synthesizers in place of live performers. By exploring these case studies alongside the works of scholars in musicology, media studies, sound theory, film and television, and popular music studies, this thesis demonstrates how cultural need, individual innovation, and social involvement interact to direct the development and application of emerging media technologies.

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Wigent, Mark A., and Andrea M. Mazzario. "Spectrum Savings from High Performance Network Recording and Playback Onboard the Test Article." International Foundation for Telemetering, 2012. http://hdl.handle.net/10150/581609.

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ITC/USA 2012 Conference Proceedings / The Forty-Eighth Annual International Telemetering Conference and Technical Exhibition / October 22-25, 2012 / Town and Country Resort & Convention Center, San Diego, California
The Test Resource Management Center's (TRMC) Spectrum Efficient Technologies (SET) S&T program is sponsoring development of the Enhanced Query Data Recorder (EQDR), a network flight recorder that is intended to meet the future needs of the networked telemetry environment. EQDR is designed to support the "fetch" of recorded test data during a test without interrupting the ongoing recording of data from the test article vehicle network. The key benefits of the network data recorder as implemented in EQDR are increased flexibility and efficiency of test in an environment with increasing demands on spectrum available for telemetered data. EQDR enables retrieval of individual recorded parameters on an as-needed basis. Having the flexibility to send data only when it is required rather than throughout the duration of the test significantly increases the efficiency with which limited spectrum resources are used. EQDR enables parametric-level data retrieval, based not only on time interval and data source, but also on the content of the recorded data messages. EQDR enables selective, efficient retrieval of individual parameters using indexes derived from the actual values of recorded data. This paper describes the design of EQDR and the benefits of selective data storage and retrieval in the application of networked telemetry. In addition it describes the performance of the EQDR in terms of data recording and data retrieval rates when implemented on single board computers designed for use in the aeronautical test environment with size, weight, and power constraints.

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McKinney, Chad. "Collaboration and embodiment in networked music interfaces for live performance." Thesis, University of Sussex, 2016. http://sro.sussex.ac.uk/id/eprint/65244/.

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Research regarding liveness and embodiment in electronic music has tended to explore the relationship of bodies and instruments, audience perception, interfaces, and shifting definitions, less theoretical and empirical study has considered network situations, perhaps given their relative cultural novelty. Network music has seen many advances since the time of the Telharmonium, including the invention of the personal computer and the widespread proliferation of internet connectivity. These advances have fostered a unique approach to live electronic music that facilitates collaboration in a field where solo performance is perhaps more common. This thesis explores the design of network music interfaces, and how those interfaces mediate collaborations. Three new network music system interfaces, each using different a different paradigm for interface design are presented in this study. One an instrument for creating modular feedback lattices. Another is a three dimensional virtual pattern sequencer. And the last is a web based collaborative live coding language. Accompanying each system is an evaluation using quantitative and qualitative analysis to frame these instruments in a larger context regarding network music. The results highlight important themes concerning the design of networked interfaces, and the attitudes of musicians regarding networked collaborations.

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Di, Ruihui. "A USRP-Based Flexible GNSS Signal Recording and Playback System: Performance Evaluation and Study." Miami University / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=miami1377279204.

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Anderson, Isobel. "My words trace a path : encounters with place through voice, performance and field recording." Thesis, Queen's University Belfast, 2015. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.695216.

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Through a creative portfolio of autotopographic sound works and a written thesis, this research explores the role of sound within individual and collective constructions of place. The process of walking in specific locations has generated materials such as text, field recordings, photographs, and objects, which together form a body of site-specific work that includes soundwalks, fixed audio pieces, installations and live performances. The voices present in these works are often disembodied, and play with language and time to test the possibilities of re-contextualising, or mis-'placing', the body and the mind within primarily aural surroundings. This practice-as-research. PhD examines the many layers of association, meaning, and significance that interconnect across our surrounding environments, not only in places of physical and conceptual stability but also in sites of liminality. This research offers new insights into the role of sound art in geographic identity, while placing language and voice at the centre of this work. I argue that artworks and discourses that consider interactions between sound and site can contribute to an understanding of these subjective relationships, and their influence on self-identity.

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Curran, Terence William. "Recording classical music in Britain : the long 1950s." Thesis, University of Oxford, 2015. https://ora.ox.ac.uk/objects/uuid:2340cf56-c2be-4c0b-b5a6-2cfe06c22fe4.

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During the 1950s the experience of recording was transformed by a series of technical innovations including tape recording, editing, the LP record, and stereo sound. Within a decade recording had evolved into an art form in which multiple takes and editing were essential components in the creation of an illusory ideal performance. The British recording industry was at the forefront of development, and the rapid growth in recording activity throughout the 1950s as companies built catalogues of LP records, at first in mono but later in stereo, had a profound impact on the music profession in Britain. Despite this, there are few documented accounts of working practices, or of the experiences of those involved in recording at this time, and the subject has received sparse coverage in academic publications. This thesis studies the development of the recording of classical music in Britain in the long 1950s, the core period under discussion being 1948 to 1964. It begins by considering the current literature on recording, the cultural history of the period in relation to classical music, and the development of recording in the 1950s. Oral history informs the central part of the thesis, based on the analysis of 89 interviews with musicians, producers, engineers and others involved in recording during the 1950s and 1960s. The thesis concludes with five case studies, four of significant recordings - Tristan und Isolde (1952), Peter Grimes (1958), Elektra (1966-67), and Scheherazade (1964) - and one of a television programme, The Anatomy of a Record (1975), examining aspects of the recording process. The thesis reveals the ways in which musicians, producers, and engineers responded to the challenges and opportunities created by advances in technology, changing attitudes towards the aesthetics of performance on record, and the evolving nature of practices and relationships in the studio. It also highlights the wider impact of recording on musical practice and its central role in helping to raise standards of musical performance, develop audiences for classical music, and expand the repertoire in concert and on record.

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Watson, John Lawrence, and not supplied. "An investigation into the identification of objective parameters correlating with the subjective functional performance of critical listening rooms." RMIT University. Applied Sciences, 2006. http://adt.lib.rmit.edu.au/adt/public/adt-VIT20080218.092220.

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The link to subjective parameters and objective parameters in the field of room acoustics has been the source of much research. This thesis surveys some of the available objective room acoustical analysis methods, quantify their advantages and disadvantages with respect to the measurement of acoustical qualities of professionally operated critical listing rooms, and implements these methods in a range of critical listening rooms. In conjunction with the objective room analysis, a subjective component of research was also performed. A series of anechoically recorded standard instrument sounds were presented to professional listeners in their critical listening spaces with the listeners asked to alter the sounds to taste: to

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Lu, Jie. "Performance evaluation of packet video transfer over local area networks." Thesis, This resource online, 1993. http://scholar.lib.vt.edu/theses/available/etd-06162009-063207/.

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Thomas, Craig W. "Current practices and future possibilities of performance recording extensively-grazed commercial beef herds in New Zealand." Diss., Lincoln University, 2008. http://hdl.handle.net/10182/844.

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There is little evidence that the productivity of New Zealand beef herds has improved over time. Data from the NZ Meat and Wool Board’s Economic Service (2006) suggest that the average national calving percentage has declined over the last two decades. During the same period cattle carcass weights have increased but so too has the average cow live-weight which has resulted in increased maintenance costs of the cow herds. It is unclear whether production efficiency in the industry has improved or declined over time. The aim of this research was to develop means of improving productivity in commercial beef herds through practical methods of performance recording. The objectives were firstly to establish current management practices in commercial herds and secondly to develop an objective system for cow selection and culling which would have practical application in commercial herds. Beef management survey Ninety two commercial beef producers with more than 100 breeding cows from the greater Canterbury region of New Zealand were surveyed. Pasture control was the main reason given for owning a beef herd. Size and conformation were the main selection criteria for choosing replacement heifers and bulls. Over 80% of herds retained their own heifers as replacements and >60% mated yearling heifers to first calve at two years of age. Fertility was poor in the surveyed herds. In-calf rates at pregnancy testing averaged 88% for maiden heifers, 92% for rising second calvers and 93% for mixed age (m.a.) cows. There was no significant difference between in-calf rates of maiden heifers mated to first calve at two or three years of age; nor was there any significant difference between the re-breeding success of the two groups. Heifers mated at least one week earlier than m.a. cows, achieved a re-breeding success 4.7% greater (P<.01) than those mated at the same time. Reasons for cows not weaning a calf included wet dry (9.3% of pregnant cows wintered), pregnancy tested not-in-calf (7.4%) and dam death (2.6%). Only 87.9% of pregnant females wintered weaned a calf (89.4% of m.a. cows and 84.9% of heifers). Reasons why cows exited the herds included diagnosed empty (37.2% of all exits), involuntary culls (25.4%), sold wet dry (16.2%), deaths (13.1%) and poor calf production (5.1%). Vaccination was infrequent with clostridial vaccines the most common in m.a. cows (15.2%) and in calves (40.7%); vaccination against Leptospirosis was much less common. Very few of the surveyed farms used any system of performance recording; as a result there was very little performance-based selection or culling practiced. Evaluation of alternative measures of cow productivity Data from four performance recording beef herds were used to compare alternative measures of cow productivity with the industry standard which is calf weaning weight adjusted for sex (SOC) and age of calf and age of dam (AOD), i.e. the “200 day weight.” None of the alternative measures evaluated required knowledge of calving date and all were relatively easily obtainable in extensively managed beef herds. The assessment of cows was based not on their estimated breeding values but instead on their most probable producing ability which, as the sum of all of the permanent, repeatable aspects of the calf-rearing ability of the cow, explains considerably more of the variance of weaning weight than does breeding value alone. SOC and AOD-adjusted marking weight, weaning weight and average daily gain (ADG) between marking and weaning were the traits mostly highly correlated with the 200d wt of calves (r = 0.68, 0.90 and 0.74. respectively). An Extensively- Grazed-Cow-Weaning-Index of these three indicator traits was found to be more highly correlated than any of the individual traits on their own (r = 0.94). Index weights for the three indicator traits were calculated within each herd and then those within-herd index weights were regressed on readily obtainable herd descriptive variables to obtain a regression equation that could predict index weights for any herd. When the model was applied to data from two additional herd years not included in the original model, the EGCW Index was highly correlated with the 200d weights (r>0.90). Performance-based culling of previously unselected commercial beef herds based on the EGCW Index will result in improved productivity due to the moderately high repeatability of calf weaning weight. Objective data from extensively grazed commercial herds will also make possible the use of commercial herd data in genetic evaluations of herd sires.

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Chatziiosifidis, Stelios. "Tracing the idea in Schoenberg's Violin Concerto: an interpretation through performance practice, analysis and recording analysis." Thesis, University of Kent, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.592679.

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Schoenberg's twelve-tone music has attracted widespread musicological research and attention. The performance of his twelve-tone music, however, has not received the same prominence. The tension between these two opposing trends is the foundation of this thesis, which applies academic research to shaping an interpretation that leads to a performance of Schoenberg's Violin Concerto. In order to understand Schoenberg's musical thinking this study begins with the exploration of his concept of performance practice, identifying and organising the manifold issues around the concept of the Idea. In chapter two the Idea is traced in the material of the Violin Concerto, demonstrating how it can be associated with a specific group of notes, the tetrachord set-class 4-3. The appearance of this tetrachord in key moments, and the intention to project large-scale sections of the movements, influence the performer-oriented analysis at the end of chapter two. The performer-oriented analysis includes graphs that combine information about dynamics, tempo and a score reduction in order to assist the performer in his task of shaping each section. Chapter three explores the extent to which the projection of these large-scale sections occurs successfully in other recordings. The recording analysis program Sonic Visualiser has been employed in order to assist this research. The research focuses mainly on a contemporary recording, which at the time of the research was the most recent, and a recording that was in close proximity to Schoenberg and his circle: the 2000 recording with Rolf Schulte and Robert Craft (Philhannonia Orchestra) and the 1967 recording of Rudolf Kolisch and Rene Leibowitz (Wisconsin Festival Orchestra). Louis Krasner's 1954 recording with Dimitri Mitropoulos (Cologne Radio Orchestra) is also briefly examined, in order to make a comparison with another violinist that premiered the Concerto and was close to Schoenberg's circle. Chapter four amalgamates the previous research findings in order to produce three graphs, one for each movement, that outline a personal interpretation of the Concerto. The emphasis of these graphs focuses on the handling of tempo and how it influences the projection of large-scale sections that " organically connect to each other. At the end of the chapter the discussion returns to the performance practice issues outlined in chapter one, in order to demonstrate how they fit within the proposed interpretation of the piece.

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Han, Yang. "LDPC Coding for Magnetic Storage: Low Floor Decoding Algorithms, System Design and Performance Analysis." Diss., The University of Arizona, 2008. http://hdl.handle.net/10150/195972.

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Low-density parity check (LDPC) codes have experienced tremendous popularity due to their capacity-achieving performance. In this dissertation, several different aspects of LDPC coding and its applications to magnetic storage are investigated. One of the most significant issues that impedes the use of LDPC codes in many systems is the error-rate floor phenomenon associated with their iterative decoders. By delineating the fundamental principles, we extend to partial response channels algorithms for predicting the error rate performance in the floor region for the binary-input AWGN channel. We develop three classes of decoding algorithms for mitigating the error floor by directly tackling the cause of the problem: trapping sets. In our experiments, these algorithms provide multiple orders of improvement over conventional decoders at the cost of various implementation complexity increases.Product codes are widely used in magnetic recording systems where errors are both isolated and bursty. A dual-mode decoding technique for Reed-Solomon-code-based product codes is proposed, where the second decoding mode involves maximum-likelihood erasure decoding of the binary images of the Reed-Solomon codewords. By exploring a tape storage application, we demonstrate that this dual-mode decoding system dramatically improves the performance of product codes. Moreover, the complexity added by the second decoding mode is manageable. We also show the performance of this technique on a product code which has an LDPC code in the columns.Run-length-limited (RLL) codes are ubiquitous in today's disk drives. Using RLL codes has enabled drive designers to pack data very efficiently onto the platter surface by ensuring stable symbol-timing recovery. We consider a concatenation system design with an LDPC code and an RLL code as components to simultaneously achieve desirable features such as: soft information availability to the LDPC decoder, the preservation of the LDPC code's structure, and the capability of correcting long erasure bursts.We analyze the performance of LDPC-coded magnetic recording channel in the presence of media noise. We employ advanced signal processing for the pattern-dependent-noise-predictive channel detectors, and demonstrate that a gain of over 1 dB or a linear density gain of about 8% relative to a comparable Reed-Solomon is attainable by using an LDPC code.

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Pras, Amandine. "How to draw out the best musical performance: best practices for studio recording in the digital era." Thesis, McGill University, 2012. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=110619.

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This thesis aims to identify best practices for musical recording, involving the capture of multiple takes of a musical work in studio. Digital technologies and Internet file sharing have brought the recording industry to a transitional phase in which studio professions (sound engineer and record producer) need to be reinvented. To better understand the impact of technological advances on recording production, there is a critical need to investigate studio practices and studio professional's tacit knowledge, an area that has received scant attention in the academic research. This investigation lies at the intersection of knowledge management, and cultural and media studies. It is based on the theoretical concept of mediating roles in artistic creation and management.This thesis on studio professionals' practices includes three parts: 1) musicians' expectations when collaborating with studio professions; 2) record producers' best practices; and 3) the impact of record producers' comments on perceived quality. Specifically, this dissertation reports five studies combining surveys addressed to young musicians and sound engineers, interviews of experienced record producers who have worked throughout the transition of the recording industry, and studio experiments bringing together musicians and studio professionals. A mixed-design approach was chosen with qualitative (content and discourse) analyses of verbal descriptions and statistical analyses of closed-ended questions.Results show that musicians expect studio professionals to exhibit strong communication and interpersonal skills, and to take into consideration the aesthetics of their project. In response, record producers adapt their level of involvement from light coaching to deeper artistic collaboration according to the musicians' requests and personality. Furthermore, producers' comments between takes give a common ground to the ensemble and enhance musicians' focus throughout the recording session. Taken together, the findings highlighted the fact that recent changes in the music industry have not yet transformed the perceived roles and the recording approaches of sound engineers and record producers. However, studio professionals have adapted their organization to budget constraints and challenging conditions to produce high-quality recordings.ivvRecord producers "extend" the ears of the musicians, guide them and provide feedback according to the aesthetic context of the project. Their mediating role between musicians and their audience is similar to the role of actor directors, and comparable with the role of managers in other production contexts. Theoretical investigations with field experiments provided a deep understanding of studio professionals' contribution to the quality of musical recording, hence this thesis contributes to a new methodology for artistic creation studies. On a practical ground, this study of the artistic aspect of recording production can help musicians make informed decisions when hiring studio professionals. On a theoretical ground, this dissertation extends the framework of mediating roles from management to the context of artistic creation.
Cette thèse a pour but d'identifier les pratiques professionnelles de l'enregistrement musical qui implique la «capture» en studio de nombreuses prises d'une même œuvre. Les technologies numériques et les échanges de fichiers sur Internet ont déclenché une phase de transition de l'industrie de l'enregistrement dans laquelle les professions du studio (ingénieur du son et directeur artistique) ont besoin d'être réinventées. Pour mieux com- prendre l'impact des avancées technologiques sur la production d'enregistrements, il est important d'enquêter sur les pratiques et les connaissances tacites des professionnels du studio, un domaine qui a reçu peu d'attention dans la recherche académique. Cette investigation se situe à l'intersection de la gestion des connaissances, de l'étude des cultures et de l'étude des médias. Elle est basée sur le concept théorique des rôles de médiateur en création artistique et en gestion.Cette thèse inclut trois parties : 1) les attentes des musiciens lorsqu'ils collaborent avec des professionnels du studio ; 2) les «meilleures pratiques» des directeurs artistiques ; et 3) l'impact des commentaires des directeurs artistiques sur la qualité perçue. En particulier, cinq études sont présentées alliant des enquêtes adressées à des jeunes musiciens et ingénieurs du son, des entretiens avec des directeurs artistiques expérimentés qui ont travaillé à travers la transition de l'industrie de l'enregistrement, et des études en studio réunissant des musiciens et des professionnels du studio. Une approche mixte a été choisie avec des analyses qualitatives (de contenu et de discours) des descriptions verbales et des analyses statistiques des questions fermées.Les résultats montrent que les musiciens attendent des professionnels du studio d'afficher des aptitudes de communication et de prendre en considération l'esthétique de leur projet. En réponse, les directeurs artistiques adaptent leur niveau d'implication d'un accompagnement léger à une collaboration artistique profonde selon les demandes des musiciens et leur personnalité. De plus, les commentaires des directeurs artistiques donnent une base commune à l'ensemble et améliorent la concentration des musiciens pendant la séance d'enregistrement. Les résultats soulignent le fait que les changements récents de l'industrie de l'enregistrement n'ont pas encore transformé la perception des rôles et les approches des ingénieurs du son et directeurs artistiques. Cependant, les professionnels de studio ont du adapter leur organisation aux contraintes budgétaires et aux conditions difficiles pour produire des enregistrements de qualité.Les directeurs artistiques «prolongent» les oreilles des musiciens, guident et critiquent selon le contexte esthétique du projet. Leur rôle de médiateur entre les musiciens et leur public est similaire au rôle des directeurs d'acteurs, et comparable à celui des directeurs dans d'autres contextes de production. Les investigations théoriques avec les expériences en studio ont fourni une compréhension profonde de la contribution des professionnels de studio dans la qualité des enregistrements musicaux, donc cette thèse valide une nouvelle méthodologie pour les études en création artistique. D'un point de vue pratique, cette étude de l'aspect artistique de la production d'enregistrement peut aider les musiciens à prendre des décisions fondées lorsqu'ils embauchent des professionnels du studio. D'un point de vue théorique, cette thèse élargit le cadre du rôle de médiateur au contexte de la création artistique.

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Mok, Lucille Yehan. "Glenn Gould, Oscar Peterson, and New World Virtuosities." Thesis, Harvard University, 2014. http://nrs.harvard.edu/urn-3:HUL.InstRepos:13064972.

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This dissertation centers on virtuosity as a source of creative genesis, boundary-pushing, and musical debate. Focusing on the careers and works of pianists Oscar Peterson (1925-2007) and Glenn Gould (1932-1982), I examine the role of the virtuoso in twentieth-century music-making, and his encounter with Canadian national identity. Gould and Peterson were contemporaries, and despite their differences - Gould was a white classical musician from Toronto, and Peterson, an African Canadian jazz artist from Montréal - their career paths share points of connection. Using archival material from the Glenn Gould fonds and the Oscar Peterson fonds at Library and Archives Canada, I analyze the work of both figures as sources of musical creativity through musical performance and composition. The first part of this dissertation demonstrates how Gould's and Peterson's respective performances sparked furor through their contestation of musical boundaries. In the first chapter, my analysis of outtakes from Gould's 1955 recording session of the Goldberg Variations illuminates how his radical musical philosophies emerged from his early recording practices. In chapter two, I examine critiques of Peterson's performance aesthetic from an extensive collection of reviews, and argue that his style of virtuosic jazz allowed him to push back against musical expectations. In the third chapter, I examine the work of Canadian filmmaker Norman McLaren whose experimental animation provided opportunities for partnerships with both musicians; with Peterson in 1949 and with Gould in 1969. The second part of my dissertation takes the reader outside the realm of performance and demonstrates how Gould and Peterson engaged with landscape through sound composition. The fourth chapter investigates the spatial and sonic interpretation of Canadian locales in Gould's Solitude Trilogy, a series of three experimental radio documentaries. In the final chapter, I unravel the biographical and musical influences in Peterson's multi-movement suite for jazz trio, Canadiana Suite. By studying these iconic virtuosos side-by-side, my dissertation illuminates the significance of the performer in Canada's cultural life in the second half of the twentieth-century and yields a new understanding of how Gould and Peterson exploded expectations in their respective musical communities.
Music

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Ruivo, Nicola Ribeiro. "Microsatellite genotyping of contributing broodstock and selected offspring of Haliotis midae submitted to a growth performance recording scheme." Thesis, Stellenbosch : Stellenbosch University, 2007. http://hdl.handle.net/10019.1/21755.

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Thesis (MSc)--University of Stellenbosch, 2007.
ENGLISH ABSTRACT: The indigenous abalone Haliotis midae is one of the most remarkable and highly exploited species of marine molluscs in South Africa. It is the only species of southern African Haliotidae to be commercially reared and has been successfully cultured for almost two decades. Its short history of domestication along with market demands and the need to develop efficiency in the production process has resulted in an increased interest in the possible genetic improvement of this species. The unhurried growth rate associated with H. midae is a cause of particular concern to the industry, predominantly with regards to profitability and competitiveness in the market place. A modest amount of work has so far been directed at establishing a means of enhancement for selective breeding on the commercial level. Genetics plays a key role in the establishment of successful improvement programmes in various aquaculture species. The aim of this study was to develop species-specific microsatellite markers for the abalone and subsequently perform parentage assignment on farm produced animals entered into a growth performance recording scheme. Animals were obtained from the hatcheries of three commercial abalone farms situated in the Walker Bay region in the Western Cape. Microsatellites were isolated using the enrichment-based FIASCO method, and characterised into perfect, imperfect and compound repeats according to the structural nature of their repetitive units. From the partial gDNA libraries obtained and 365 screened colonies, a total of 54 loci were located. PCR primers were designed for 36 markers and the 15 primer pairs that displayed loci with the highest level of polymorphism were subsequently chosen for fluorescent labelling. The markers were tested on a subset of 32 wild H. midae individuals to determine their usefulness and efficiency in genotyping. Five markers, along with five others that were previously designed, were chosen for assigning parentage to the animals submitted to the performance recording scheme. Three thousand offspring from each of the three participating farms were equally divided and reared at five different locations. From each location 20 fast growing and 20 slow growing juveniles, as well as the broodstocks, were sampled and genotyped using the ten chosen microsatellite loci. Two farms had 60% of offspring unambiguously assigned to a single parental couple. Assignments showed patterns of dominant male and female brooders, but no trend in brooders specifically contributing to fast or slow growing offspring. Parentage assignment for the third farm was, however, unsuccessful due to lack of broodstock data. In future, screening of all available broodstock will ensure acquisition of relevant pedigree information. The results obtained in this study are an initial step in the development of a genetic improvement programme for commercial Haliotis midae.
AFRIKAANSE OPSOMMING: Die inheemse skulpvis Haliotis midae is een van die mees merkwaardige en hoogs oorbenutte mariene slakspesies in Suid-Afrika. Dit is die enigste suidelike Afrika Haliotidae spesie wat kommersieel benut word en dit word al meer as twee dekades suksesvol geteel. Die spesie se kort domestiseringsgeskiedenis, toenemende mark aanvraag en die behoefte om meer effektiewe produksie daar te stel, het gelei tot toenemende belangstelling in die moontlike genetiese verbetering van die spesie. Die stadige groeitempo geassosieer met H. midae is veral ‘n punt van kommer vir die industrie, veral in terme van winsgewendheid en kompetering in die markplek. Minimale werk is sover gedoen in die daarstelling van verbetering deur selektiewe teling op ‘n kommersiële skaal. Genetika speel ’n sleutelrol in die daarstelling van suksesvolle verbeteringsprogramme van verskeie akwakultuur spesies. Die doel van hierdie studie was om spesie-spesifieke mikrosatelliet merkers vir perlemoen te ontwikkel en vervolgens ouerskapsbepaling van kommersiële diere, wat deelneem aan ‘n groeiprestasie aantekenstelsel, uit te voer. Diere is voorsien deur die teelstasies van drie kommersiële perlemoenplase geleë in die Walker Bay omgewing in die Wes-Kaap. Mikrosatelliete is geïsoleer deur die verrykings-gebaseerde FIASCO metode, en gekarakteriseer as perfekte, onderbroke of saamgestelde herhalings gebaseer op die strukturele aard van die herhalings eenhede. Vanaf die gedeeltelik gDNA biblioteke wat bekom is en 365 gesifte kolonies, is ‘n totaal van 54 loki opgespoor. PKR inleiers is ontwerp vir 36 merkers en die 15 inleierpare, wat loki met die hoogste polimorfisme geamplifiseer het, is vervolgens geselekteer vir fluoreserende merking. Die merkers is getoets op ’n kleiner groep van 32 natuurlike H. midae individue om hulle bruikbaarheid en genotiperingseffektiwiteit te bepaal. Vyf merkers is saam met vyf reeds ontwikkelde merkers gekies vir ouerskapsbepaling van die diere in die prestasie aantekenstelsel. Drieduisend nageslag diere vanaf elkeen van die drie deelnemde plase is gelykop verdeel en grootgemaak op die vyf verskillende lokaliteite. ‘n Monster van 20 vinnig groeiende en 20 stadig groeiende jong perlemoen, sowel as broeidiere, is vanaf elke lokaliteit geneem en gegenotipeer deur middel van die 10 geselekteerde mikrosatelliet loki. Sestig persent van twee van die plase se nageslag is onteenseglik toegesê aan ‘n enkele ouerpaar. Ouerskapstoekenning het patrone van dominante vroulike en manlike broeidiere getoon, maar geen tendens in terme van bydrae tot vinnig en stadig groeiende nageslag kon gevind word nie. Ouerskapstoekenning vir die derde plaas was onsuksesvol as gevolg van ’n gebrek aan data vir die broeidiere. In die toekoms sal genotipering van alle beskikbare broeidiere die daarstelling van relevante stamboominligting verseker. Die resultate verkry in hierdie studie verteenwoordig ‘n eerste stap in die ontwikkeling van ’n genetiese verbeteringsprogram vir kommersiële Haliotis midae.

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Hlynsson, Baldvin Snær. "Are there benefits to the mistakes? : A comparison between recording jazz music in the studio and a live performance." Thesis, Kungl. Musikhögskolan, Institutionen för jazz, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-4154.

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In this thesis, two different ways of music performing will be compared: • Music as recorded in a recording studio • Music performed on stage before an audience. My main focus was to compose music that was complex enough so that the band might face some problems when playing it live but rehearse it well enough to overcome those problems. I started by making “produced” versions of the songs in Ableton, where I recorded every single part with sampled instruments. These versions had the finished arrangements and sounded pretty close to what I wanted to achieve with the band. Then I wrote the sheet music carefully and sent it, along with the recordings, to the band. I made a rehearsing schedule and booked rooms well in advance to minimize the risk of problems later on. I also booked a studio to record the music after the rehearsals and before the concert. In the studio, we first recorded the jazz band and later recorded the string quartet as an overdub. After I had mixed those two recordings together, I listened very carefully to everything that could be improved. Some musicians wanted to overdub their solos afterwards and I overdubbed some solos myself as well. When listening back and going through all the details the days before the concert, I found out what could be improved and made a list of possible improvements for the dress rehearsal. I ended up being more satisfied with the studio recording though than the concert, sound and performance-wise. I had much more control over the sound, which made the end result better to my ears than the concert. Of course, the concert had its pros as well. The concert went very well according to plan thanks to good planning in advance as well as well written-out arrangements and problem-free parts. One of the research questions was if mistakes could possibly benefit the music at the concert.I think mistakes don’t necessarily benefit the music, but the live scenario might sometimes be more exciting since nothing is edited and the players have to find their way back home if they go out of the road. However, the profoundness of a well recorded recording can be very pleasing to listen to as well so both have their strengths and weaknesses. Those two recordings, the one from the studio and the one from the concert are obviously different and in this thesis, the difference between the two will be investigated furthermore.

Locomotive - Baldvin Hlynsson

Lost in Translation - Baldvin Hlynsson

Lost but not Least - Baldvin Hlynsson

Milders Mailbox - Baldvin Hlynsson

Psalm - Baldvin Hlynsson

A lullaby for the possessed - Baldvin Hlynsson

Encore: Thank you Maestro - Baldvin Hlynsson

Jazz group:

Tumi Torfason – trumpet

Björgvin Ragnar Hjálmarsson - tenor saxophone

Bjarni Már Ingólfsson - jazz guitar

Baldvin Hlynsson (myself) – piano and synthezisers

Olle Adell - electric bass

Sammy Hsia – drums

Classical group:Sara-Felicia Nyman Stjärnskog – violin I

Emma Alriksson – violin II

Ragnhild Kvist – viola

Hillevi Rasmusson Klingberg - cello

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Pan, Genhua. "Investigation into the microstructure, magnetic properties and read/write performance of thin-film media for perpendicular recording computer disks." Thesis, University of Plymouth, 1993. http://hdl.handle.net/10026.1/2363.

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Pronounced effect of under layers on the squareness and slope T of the perpendicular loops of very thin CoCr films was observed. Experimental and theoretical studies suggest that, depending on the film microstructure, there are two origins on the anomalous shearing of perpendicular loops of Cc-based perpendicular films: the columnar shape anisotropy and the wall-motion-like magnetization reversal process. For films with larger intercolumnar separation, the contribution of the columnar shape anisotropy to the total demagnetizing factor is mainly responsible for the deshearing of the loops. For continuous perpendicular films, the intergranular exchange coupling controls the magnetization reversal process and the wall-motion-like reversal explains the anomalous shearing of the hysteresis loop. The square and desheared perpendicular loops of very thin CoCr films originated from their strong perpendicular anisotropy and large intergranular nonmagnetic separation. Study of the orientation relationship between the Co-based films and their underlayers suggested that the texture of the very thin CoCr and CoCrTa films is determined by the thermodynamic nature of hcp Co crystal itself and the nature of the underlayers or substrates on which it grows. Amorphous underlayers provide "neutral" substrate surfaces for. the [0002] self-oriented growth of hcp Co-based films. Hcp Ti and [111] textural fee Pt, Au underlayers favour the [0002] oriented epitaxial growth. [100] or [110] textural bee Cr underlayers favour the [1010] oriented growth. The perpendicular coercivity of a Co-based medium is determined by its crystalline anisotropy and intergranular exchange coupling, and can be largely affected by the morphology of its underlayers. The larger perpendicular coercivity of the CoCrTa films on Ti underlayers was mainly due to the large grain diameter which results in a reduction in the intergranular exchange coupling constant. The difference between the surface and bulk coercivity of the CoCrTa films on Ti underlayers was attributed to the improvement of the crystallographic orientation of the hcp Co crystals and the development of large grains as the film grows thicker, which causes the reduction in the surface intergranular exchange coupling due to large grains as well as large intergranular separation. Co84Nb12Fe4 amorphous films were investigated as back-layers for double layer media. Very low coercivity down to 0.0125 Oe was achieved for films of 10000 Å-thick with a saturation magnetic induction of 11 kG. The thickness dependence of coercivity follows the Neel formula for films thicker than 400 Å. A D5o density of 160 KFRPI was achieved for the 2000 Å-thick medium on Pt underlayers using MIG heads of gap length 0.15 µm. Experimental and theoretical analyses of the read/write processes show both the achieved D5o density and the reproduced output level for these media were head field and head-medium spacing limited. Lower medium noise and higher SNR were achieved by the media with Ti underlayers, which supports the intergranular exchange coupling noise theory.

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Rodríguez, Salinas Roberto Javier. "El uso e impacto de las técnicas de grabación y mezcla analógica en la producción musical estadounidense de pop y rock (2011-2017): Alternativas para su aplicación en el estudio digital." Bachelor's thesis, Universidad Peruana de Ciencias Aplicadas (UPC), 2020. http://hdl.handle.net/10757/654919.

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El presente trabajo de investigación trata de identificar y analizar la influencia y la aplicación del audio analógico en la producción musical contemporánea, abarcando diversos criterios: sonoro/técnico, de ejecución, social, de preservación o archivo, entre otros. A pesar de que el audio digital, y el uso derivado de las herramientas de edición y mezcla, se consideran el estándar en la industria musical actual, se conoce que un número importante de productores, ingenieros y artistas siguen empleando hoy en día las técnicas de grabación y mezcla analógica desarrolladas décadas atrás. Por ello, el audio analógico surge como una alternativa a los procesos de creación y producción musical modernos, tanto a nivel sonoro como de ejecución. Este trabajo parte del desarrollo técnico y estético en la grabación analógica, realizando comparaciones con su contraparte digital. Para ello, se toman en cuenta las opiniones y los procesos de producción de productores musicales y profesionales a cargo de las producciones discográficas más relevantes en los últimos años en el circuito norteamericano. Es en estas producciones donde se evidencia el uso creativo del audio analógico, así como su adaptación al entorno digital. Finalmente, se tiene en cuenta al productor independiente como principal beneficiario de esta publicación, quien conoce directa o indirectamente los beneficios del audio analógico, pero no necesariamente cuenta con los recursos para integrarlo a su estación de trabajo. Por ello, se busca brindar herramientas y soluciones para poder emplear e integrar las principales funciones del formato analógico y digital en una producción moderna.
The hereby thesis attempts to identify and analyze the influence and application of analog audio in contemporary music production by covering diverse criteria: sonic/technical, performative, social, of preservation or archive, among others. Although digital audio, and its derived use of editing and mixing tools, are currently considered standard in the music industry, it is also known that a significant number of producers, engineers and artists still employ analog recording and mixing techniques developed decades ago. Hence, analog audio presents itself as an alternative to the modern creative and production processes, at both sonic and performance levels. This work begins with the technical and aesthetical development within an analog recording, comparing it afterwards with its digital counterpart. To serve this purpose, the opinion and detailed production processes of renowned American producers and professionals, responsible for the most acclaimed records in the last ten years, are taken into consideration. Those records evidence the creative use of analog audio, as well as its adaptation to a digital setup. Finally, independent producers could benefit the most from the information and arguments in this paper, because they directly or indirectly know the benefits of working analog, even when they often lack the resources to acquire these tools. Therefore, the author attempts to bring tools and solutions for the application of analog and digital audio in a single modern production.
Tesis

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Klinkradt, Bradley Hugh. "An investigation into the application of the IEEE 1394 high performance serial bus to sound installation contro." Thesis, Rhodes University, 2003. http://hdl.handle.net/10962/d1004899.

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This thesis investigates the feasibility of using existing IP-based control and monitoring protocols within professional audio installations utilising IEEE 1394 technology. Current control and monitoring technologies are examined, and the characteristics common to all are extracted and compiled into an object model. This model forms the foundation for a set of evaluation criteria against which current and future control and monitoring protocols may be measured. Protocols considered include AV/C, MIDI, QSC-24, and those utilised within the UPnP architecture. As QSC-24 and the UPnP architecture are IP-based, the facilities required to transport IP datagrams over the IEEE 1394 bus are investigated and implemented. Example QSC-24 and UPnP architecture implementations are described, which permit the control and monitoring of audio devices over the IEEE 1394 network using these IP-based technologies. The way forward for the control and monitoring of professional audio devices within installations is considered, and recommendations are provided.
KMBT_363
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Vlok, Arnoldus Christiaan. "Genetic assessment of five breeding populations of abalone (Haliotis midae) through a comparative Performance Testing Scheme." Thesis, Stellenbosch : Stellenbosch University, 2015. http://hdl.handle.net/10019.1/96870.

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Thesis (MSc)--Stellenbosch University, 2015.
ENGLISH ABSTRACT: Cultured abalone in South Africa is undomesticated. For the local industry to remain competitive on the international markets it is essential to improve production. This study is part of a selective breeding component of a larger genetic programme that aims to enhance productivity of the local industry by genetic improvement of growth rates. Selective breeding programmes are based on genetic variation and correlations. Molecular studies proved genetic differentiation exist between the broodstock- and offspring populations and among the offspring populations used in this study. Five commercial abalone farms from the Walker bay region each entered 3000 randomly selected animals obtained from synchronised mass spawning of conditioned broodstock into a Performance Recording Scheme (PRS). Microsatellite marker analysis proved these broodstock populations to be representative of the wild populations. The five cohorts were assessed over the five locations represented by three replicates per location with 200 randomly assigned animals per replicate. The average growth rate was used as growth performance parameter by measuring shell length and body weight at three month intervals over a period of 24 months. Interaction was observed between cohort and location effects when analysing the full data set. This was unexpected as the cohorts were constructed from parent stick that was randomly sampled from the same geographical area, the larger Walker bay. The factors suspected of causing this observed interaction were considered in a stepwise analysis. Initial and progressive tag loss, differences in initial size of animals entered into the study and on-farm management errors were considered as possible causes of the observed interaction in a stepwise analysis. Statistically significant differences were observed between the five cohorts and between the five locations in terms of length and weight growth rates. Based on these findings it is advised that a central facility is used to effectively compare the growth rates of different cohorts or populations. Any future research in selective breeding to follow this study should involve the integration of molecular techniques and biotechnologies.
AFRIKAANSE OPSOMMING: In Suid-Afrika is gekweekte perlemoen wild. Vir die plaaslike bedryf om op die internasionale markte kompeterend te bly, is dit noodsaaklik om produksie te verbeter. Hierdie studie vorm deel van ’n selektiewe telingskomponent van ‘n groter genetiese program met die doel om die produktiwiteit van die plaaslike bedryf deur die genetiese verbetering van groeitempo’s te verbeter. Selektiewe teelprogramme word gebaseer op genetiese variasie en korrelasies. Molekulêre studies het bewys dat daar genetiese differensiasie bestaan tussen die teel- en nageslagpopulasies en onder die nageslagpopulasies wat in hierdie studie gebruik is. Vyf kommersiële perlemoenplase in die Walkerbaaistreek het elk 3000 ewekansig geselekteerde diere vanaf gesinkroniseerde massa broei van gekondisioneerde teelpopulasies aan ‘n Performance Recording Scheme (PRS) bygedra. Mikrosatelliet merker-analise het bewys dat hierdie teelpopulasies verteenwoordigend is van die wilde populasies. Die vyf kohorte is oor die vyf liggings geassesseer, elkeen waarvan verteenwoordig is deur drie replikate bestaande uit 200 ewekansig toegedeelde diere per replikaat. Die gemiddelde groeitempo is gebruik as die groeiprestasieparameter deur skulplengte en liggaamsgewig elke drie maande oor ‘n tydperk van 24 maande te meet. Daar is interaksie waargeneem tussen kohort- en liggingseffekte toe die volledige datastel geanaliseer is. Hierdie was onverwags, aangesien die kohorte gekonstrueer is uit teelouers waarvan monsters ewekansig vanuit dieselfde geografiese gebied, naamlik die groter Walkerbaai, geneem is. Die faktore wat vermoedelik hierdie waargenome interaksie veroorsaak het, is in ‘n stapsgewyse analise beskou. Aanvanklike en progressiewe merkerverlies, verskille in die aanvanklike grootte van die diere wat in die studie ingesluit is en bestuursfoute op die plaas is as moontlike oorsake van die waargenome interaksie voorgestel. Statisties betekenisvolle verskille is tussen die vyf genotipes en tussen die vyf liggings in terme van lengte en gewigsgroeitempo’s waargeneem. Op grond van hierdie bevindings word daar voorgestel dat ‘n sentrale fasiliteit gebruik word om die groeitempo’s van die verskillende genotipes of populasies doeltreffend te vergelyk. Enige toekomstige navorsing oor selektiewe teelt wat op hierdie studie sou volg, moet die integrasie van molekulêre tegnieke en biotegnologieë behels.

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Hanson, Andrew Todd. "Markerless Motion Capture and Analysis System to Enhance Exercise Professional Effectiveness: Preliminary Study." University of Akron / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=akron1481223866357858.

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Madouasse, Aurélien. "An evaluation of milk recording, somatic cell counts and reproductive performance in a large cohort of dairy herds in England and Wales." Thesis, University of Nottingham, 2010. http://eprints.nottingham.ac.uk/11203/.

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Milk recording consists in the regular, usually monthly, collection of a milk sample from all the lactating cows of a dairy herd. A large sample of milk recording data collected in England and Wales between 2004 and 2006 was used in this thesis. A sample of 8,211,988 recordings in 2,128 herds, representing 16 % of the dairy herds in activity in December 2006, were described and analysed. Calvings followed a seasonal pattern with 80 % more calving in September than in May. Milk production was highest in May (26.5 kg) and lowest in October (24.1 kg). Butterfat was stable, close to 4 % from October to March and reached a minimum at 3.7 % in June and July. Protein stayed between 3.2 and 3.3 % all the year. Geometric mean somatic cell count was between 177 and 180 between October and March and reached 205,000 cells/mL in July and August. At the individual cow level, the mean milk yield, percentage of butterfat, percentage of protein, fat to protein ratio and somatic cell count (geometric mean) were 26.4 kg, 3.96 %, 3.29 %, 1.21 and 90,000 cells/mL, between 5 and 305 days in milk. Changes in individual cow somatic cell counts around a threshold of 200,000 cells/mL between consecutive recording dates were used to predict bulk milk somatic cell count at both the herd-year and test-day levels. The main contributors to bulk milk somatic cell counts were cows staying above the threshold for 2 consecutive test-days. Milk yields and composition at the start of lactation were used to predict the calving to conception interval. Higher milk yield, lower percentage of protein, lower percentage of lactose, higher somatic cell count and higher percentage of butterfat were associated with lower probabilities of conception before 145 days in milk.

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Morris, Jeffrey Martin. "Live Sampling in Improvised Musical Performance: Three Approaches and a Discussion of Aesthetics." Thesis, connect to online resource, 2007. http://digital.library.unt.edu/permalink/meta-dc-3936.

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Edwards, Maria-Benedicta. "A novel method for detecting and recording movement and functional performance of cardiac valve prostheses exposed to the static magnetic field associated with magnetic resonance imaging." Thesis, University of Strathclyde, 2013. http://oleg.lib.strath.ac.uk:80/R/?func=dbin-jump-full&object_id=24081.

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Aging and disease processes are known to compromise tissue strength and consequently increase the risk of harmful movement or detachment of a heart valve prosthesis in vivo when exposed to strong magnetic forces associated with magnetic resonance imaging (MRI). Research however, has failed to fully assess prosthetic valve movement or functional valve impedance in the MR environment. This study seeks to design and evaluate an MR compatible device which aims to detect and measure ex vivo, frequency, direction and magnitude of movements and leaflet function in vitro of nine prosthetic heart valves in the static magnetic field (B0) of a 1.5 Tesla (T) and a 3.0 T MR system. A valve holder incorporating strain gauges connected to a strain gauge recorder and laptop computer were used to detect and record displacement and rotational valve movements and, a hydro-pneumatic system recorded pressure changes across the valve indicative of any MR induced alteration in leaflet performance in vitro. The data confirms the compatibility of the test apparatus in the MR environment and its capacity to detect and record valve movement and changes in functional valve performance in field strengths =3.0 T. Real-time three-dimensional movements were detected in both B0 fields in all valves, differences in entry and return profiles and static and dynamic measurements were recorded. Furthermore, applied magnetic forces leading to prosthesis movement were greater than previously reported. Functional valve impedance was detected in three valves but no commonality between valve types or sub-groups regarding this, type, frequency, magnitude or patterns of valve movements were noted. These data suggests magnetism is induced and retained in valve prostheses during exposure to the MR environment and patients with friable valvular tissue are at significantly increased risk of prosthetic valve movement and/or dehiscence. Furthermore, current uses of static measurements to assess risk are inadequate.

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Cobb, Stephen. "Performance based portfolio encapsulating the performance profile of the international staff band of the Salvation Army (conductor S. Cobb) with emphasis on the commissioning, premiering and recording of repertoire significant to the brass band genre." Thesis, University of Salford, 2006. http://usir.salford.ac.uk/43014/.

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Wang, Zeqi. "A design research study of the effects of process variation on the performance and functionality of a multi-input neural sensor (MINS) IC for neural signal recording." Thesis, Boston University, 2014. https://hdl.handle.net/2144/21272.

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(Thesis: M.Sc.Eng.) PLEASE NOTE: Boston University Libraries did not receive an Authorization To Manage form for this thesis or dissertation. It is therefore not openly accessible, though it may be available by request. If you are the author or principal advisor of this work and would like to request open access for it, please contact us at open-help@bu.edu. Thank you.
In recent years, the effects of process variation have become increasingly more severe as technology has been scaling down in lithographic dimension. This problem also has affected the operation of the MINS IC (Multi-Input Neural Sensor) designed at Boston University by Dr. Lu Wang. This MINS chip was designed for use in both in-vitro and in-vivo applications of measuring and recording neural action potentials and local field potentials in the brains of animals. The MINS chip has been tested and is fully functional, however, with a serious problem of output level shifting from input-to-input due to process variation. This thesis will focus on the study of the effect of process variation on the MINS chip and a proposed method for process variation correction. The effect of process variation on the MINS chip is an extremely serious issue, given the large amount of gain required to sense and record neural signals, especially local field potentials, which have an input voltage of the order of 10-100 μV. The previous version of the printed circuit board designed to correct for process variation can center the output between the upper and lower rails by measuring the required column bias current independently for each of 256 inputs individually and storing these on an FPGA. However, this process variation correction procedure has jeopardized the ability to scan at the required rate in order to record action potentials (spikes). This thesis has two parts: The first part includes the study of the effects of process variation on the functionality of the 8HP MINS chip by doing Gaussian distribution analysis. The second part is the design of a new printed circuit board to increase the speed of the process variation correction procedure in scan mode, and as a goal, to center the output level in both stop mode and scan mode. The study of the effects of process variation on MINS utilizes circuit simulations with the IBM 8HP device models and design kit, using extracted models based on the MINS chip layout. According to the Monte Carlo sampling analysis, only 12 out of 200 samples are showing output level to be around center, with 65% of the samples having output voltage at upper and lower rails. What is more, as the study of 1000 cases shows, a column bias current of about 105uA and/or a bias voltage of 1.212 V, with 3σ to be 3.798uA and 0.131V respectively, is needed to center the output. A new developed version of the variation correction PCB has been designed and fabricated, utilizing a charge pump methodology to quickly charge up (or discharge) the large stabilization capacitor (4.7μF) placed on the Ibias0 node for stability, on the existing MINS PCB. Given that the Ibias0 current on MINS is only around 100μA, a large current of the order of 250-500mA is used in order to achieve the desired scan rate on the chip. A ping-pong approach is used, having two 4.7μF capacitors so that one can be readied while the other is being used for the testing. This PCB design also includes the needed controls with comparators and logic to terminate the charging/discharging operation at the exact correct voltage on the Ibias0 node, for each of the 256 inputs. On this new board, the required voltage at the Ibias0 node (Vbias0) to center the output, instead of Ibias0, will be measured and stored for each of 256 inputs in both stop mode and scan mode.
2031-01-01

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Klypchak, Bradley C. "Performed Identities: Heavy Metal Musicians Between 1984 and 1991." Connect to this title online, 2007. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=bgsu1167924395.

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Burchfield, Rebekah Lynn. "Pressed between the Pages of My Mind: Tangibility, Performance, and Technology in Archival Popular Music Research." Bowling Green State University / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1277073992.

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Popoutsis, Nickolas D. "Amenable Building: Designing for Change in the Musical Process." University of Cincinnati / OhioLINK, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1242749951.

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Albornoz, Javier Ignacio. "A interpretação na milonga sureña de Juan José Ramos : entre o popular e o erudito." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2016. http://hdl.handle.net/10183/156645.

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O presente trabalho foi realizado sobre a interpretação da obra para piano Milonga Sureña do compositor argentino Juan José Ramos (1930-1995), tomando como base sua relação com as primeiras milongas campeiras populares de tradição oral de mediados do século XIX, e pesquisando nelas recursos interpretativos aplicáveis à obra mencionada, que são característicos do estilo mas que não são expressos na partitura. Também se escutaram, analisaram e compararam três gravações da obra mencionada, duas em versão original e uma para arranjo de dois violões. Os elementos a analisar nelas foram andamento, dinâmica, articulação e forma, encontrando semelhanças e diferenças entre elas no uso dos mesmos, e também em relação com as milongas tradicionais.
This work deals with the interpretation of the piano work Milonga Sureña of argentine composer Juan Jose Ramos ( 1930-1995 ), based on his relationship with the first popular milongas camperas of oral tradition of the mid-nineteenth century, and researching on them interpretative resources applicable to the work mentioned, which are characteristic of the style but are not specified in the score. Also three recordings of the work were analyzed and compared, two in the original version and one arrenged for two guitars. The analyzed elements were tempo, dynamics, articulation, and form, founding similarities and differences between them and also with the traditional milongas.

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Silva, Caiti Hauck da. "Dicção, expressividade e escolhas do regente em obras corais em alemão: discutindo relações entre escritos e gravações." Universidade de São Paulo, 2017. http://www.teses.usp.br/teses/disponiveis/27/27158/tde-23052017-152507/.

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A performance coral requer que o regente faça uma série de escolhas técnicas e interpretativas. Um dos elementos a respeito dos quais o regente faz escolhas é a dicção do texto cantado, visto que a notação musical ocidental não especifica o exato instante de articulação, a duração ou a dinâmica de vogais e consoantes. Manuais de regência coral geralmente discutem a dicção em termos de uniformidade de pronúncia e clareza de enunciação, ou também de sua relação com a homogeneidade do timbre coral e/ou com uma linha legato. Entretanto, são poucos os escritos sobre regência coral que explicitam possíveis durações, dinâmicas e/ou instantes de articulação de vogais e consoantes, e ainda mais raros aqueles que exemplificam como tais escolhas podem contribuir para uma performance expressiva. Nas últimas décadas, houve um aumento de pesquisas sobre a expressividade na performance, contudo poucas mencionam que a maneira como o texto é pronunciado pode colaborar com a expressividade. Ademais, pouco se sabe sobre os efeitos expressivos da dicção em performances especificamente corais. Neste trabalho, estudamos as escolhas interpretativas de regentes quanto à dicção do texto em obras corais cantadas em alemão, visando a observar os efeitos dessas escolhas na expressividade da performance coral. Para isso, utilizamos um conjunto de métodos e técnicas que incluem estudos bibliográficos e estudos de caso, entrevistas, análises de partituras, assim como análises de gravações feitas com o software Sonic Visualiser. A primeira parte apresenta os pontos de partida da pesquisa, que se referem às questões de escolhas e de expressividade na performance. A segunda parte apresenta os estudos bibliográficos, que incluem uma análise de escritos sobre regência coral e também dados coletados nas entrevistas que fizemos com seis regentes. Nessa parte, discutimos a pronúncia do alemão para o canto, as sugestões de regentes quanto à dicção do texto (principalmente em relação à duração, à dinâmica e ao instante de articulação de vogais e consoantes), as relações entre a articulação do texto e a articulação musical, e as possibilidades expressivas da dicção. A terceira parte apresenta os estudos de caso, nos quais analisamos partituras e gravações de obras corais de J. S. Bach, F. Schubert e J. Brahms e descrevemos os efeitos de diferentes escolhas relativas à dicção. A quarta e última parte confronta os dados apresentados nos estudos bibliográficos e nos estudos de caso. Nela, discutimos as relações entre as gravações e a literatura pesquisada em termos das escolhas interpretativas relacionadas à dicção, da influência da articulação do texto sobre articulação musical, e do papel da dicção na expressividade da performance coral. Os resultados sugerem que, em situações específicas, a dicção pode ter um papel central na expressividade da performance, sendo eventualmente tão ou mais significativa que aspectos mais comumente analisados, como variações de andamento, portamento ou vibrato. Por fim, sugerimos dois elementos relacionados à dicção que podem contribuir para compreender a experiência de escuta de uma performance expressiva: um sentido de que os músicos são parte da música e um sentido de estar no momento presente.
Choral performance requires several interpretative and technical choices by the conductor. One of the elements about which the conductor makes choices is the diction of the sung text, since Western musical notation does not specify the precise instant of articulation, the duration or the dynamic of vowels and consonants. Choral conducting handbooks generally discuss diction in terms of uniformity of pronunciation and clearness of enunciation, or also in terms of its relationship with choral blend and/or with a legato line. However, few writings on choral conducting are explicit in relation to possible durations, dynamics and/or instants of articulation of vowels and consonants, and even rarer are those which exemplify how these choices may contribute to an expressive performance. In the last decades, researches on expressivity in music performance have increased, yet few of such researches mention that the way one pronounces a text may play a part in expressivity. Moreover, little is known about the effects of an expressive diction specifically in choral performances. In this research, I investigate conductors\' interpretative choices regarding text diction in choral music sung in German, aiming to identify the effects of these choices on the expressivity of choral performance. My research uses mixed methods and techniques, which include bibliographical studies, case studies, interviews, score analyses, as well as recording analyses made with the software Sonic Visualiser. The first part presents the research\'s starting points, which refer to questions on choices in performance and on expressivity in performance. The second part presents the bibliographical studies, which include an analysis of writings about choral conducting and data collected in the interviews I did with six conductors. In this part I discuss German diction for singing, conductor\'s suggestions with respect to text diction (especially as regards the duration, the dynamic and the instant of articulation of vowels and consonants), the relationships between text articulation and musical articulation, and the expressive possibilities of diction. The third part presents the case studies, in which I analyse scores and recordings of choral works by J. S. Bach, F. Schubert and J. Brahms, and describe the effects of different choices related to diction. The fourth and last part compares data presented in the bibliographical studies and in the case studies. In this final part, I discuss the relationships between the recordings and the researched literature in terms of the interpretative choices regarding text diction, the influence of text articulation on musical articulation, and the role of diction in the expressivity of choral performance. Results suggest that in particular situations text diction can play a central role in performance expressivity, eventually being as significant as (or perhaps even more than) aspects more commonly analysed in researches, such as variations in tempo, portamento or vibrato. Finally, I suggest two elements concerning text diction that may contribute to an understanding of the experience of listening to an expressive performance: a sense that the musicians are part of the music, as well as a sense of being in the present moment.

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Ure, Abigail Christine. "The Effect of Raters and Rating Conditions on the Reliability of the Missionary Teaching Assessment." BYU ScholarsArchive, 2010. https://scholarsarchive.byu.edu/etd/2456.

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This study investigated how 2 different rating conditions, the controlled rating condition (CRC) and the uncontrolled rating condition (URC), effected rater behavior and the reliability of a performance assessment (PA) known as the Missionary Teaching Assessment (MTA). The CRC gives raters the capability to manipulate (pause, rewind, fast-forward) video recordings of an examinee's performance as they rate while the URC does not give them this capability (i.e., the rater must watch the recording straight through without making any manipulations). Few studies have compared the effect of these two rating conditions on ratings. Ryan et al. (1995) analyzed the impact of the CRC and URC on the accuracy of ratings, but few, if any, have analyzed its impact on reliability. The Missionary Teaching Assessment is a performance assessment used to assess the teaching abilities of missionaries for the Church of Jesus Christ of Latter-day Saints at the Missionary Training Center. In this study, 32 missionaries taught a 10-minute lesson that was recorded and later rated by trained raters based on a rubric containing 5 criteria. Each teaching sample was rated by 4 of 6 raters. Two of the 4 ratings were rated using the CRC and 2 using the URC. Camtasia Studio (2010), a screen capture software, was used to record when raters used any type of manipulation. The recordings were used to analyze if raters manipulated the recordings and if so, when and how frequently. Raters also performed think-alouds following a random sample of the ratings that were performed using the CRC. These data revealed that when raters had access to the CRC they took advantage of it the majority of the time, but they differed in how frequently they manipulated the recordings. The CRC did not add an exorbitant amount of time to the rating process. The reliability of the ratings was analyzed using both generalizability theory (G theory) and many-facets Rasch measurement (MFRM). Results indicated that, in general, the reliability of the ratings obtained from the 2 rating conditions were not statistically significantly different from each other. The implications of these findings are addressed.

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Ivana, Tomić. "Analiza indikatora performanse u procesu donošenja strateških odluka u industrijskom preduzeću." Phd thesis, Univerzitet u Novom Sadu, Fakultet tehničkih nauka u Novom Sadu, 2017. https://www.cris.uns.ac.rs/record.jsf?recordId=105043&source=NDLTD&language=en.

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Predmet istraživanja predstavlja definisanje i analizu ključnih indikatora performanse prilikom donošenja strateških odluka u industrijskim preduzećima. Ispituje se uticaj ključnih indikatora performanse na organizovanje efektivne i efikasne proizvodnje uz minimalne troškove, kao i uticaj lojalnosti zaposlenih na performansu u uslužnim preduzećima. Pored naučnog doprinosa u oblasti menadžmenta, istraživanje ima i praktičnu primenu.
The research subject is defining and analyzing key performance indicators for making strategic decisions in industrial companies. Examines the impact of key performance indicators for organizing effective and efficient production with minimum costs, and the impact of employees' loyalty to the performance of the service companies. In addition to scientific contributions in the field of management, the research also has practical application.

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Mohamad, Zulfadhli. "Estimating performance parameters from electric guitar recordings." Thesis, Queen Mary, University of London, 2018. http://qmro.qmul.ac.uk/xmlui/handle/123456789/36695.

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The main motivation of this thesis is to explore several techniques for estimating electric guitar synthesis parameters to replicate the sound of popular guitarists. Many famous guitar players are recognisable by their distinctive electric guitar tone, and guitar enthusiasts would like to play or obtain their favourite guitarist's sound on their own guitars. This thesis starts by exploring the possibilities of replicating a target guitar sound, given an input guitar signal, using a digital filter. A preliminary step is taken where a technique is proposed to transform the sound of a pickup into another on the same electric guitar. A least squares estimator is used to obtain the coefficients of a finite impulse response (FIR) filter to transform the sound. The technique yields good results which are supported by a listening test and a spectral distance measure showing that up to 99% of the difference between input and target signals is reduced. The robustness of the filters towards changes in repetitions, plucking positions, dynamics and fret positions are also discussed. A small increase in error was observed for different repetitions; moderate errors arose when the plucking position and dynamic were varied; and there were large errors when the training and test data comprised different notes (fret positions). Secondly, this thesis explored another possible way to replicate the sound of popular guitarists in order to overcome the limitations provided by the first approach. Instead of directly morphing one sound into another, replicating the sound with electric guitar synthesis provides flexibility that requires some parameters. Three approaches to estimate the pickup and plucking positions of an electric guitar are discussed in this thesis which are the Spectral Peaks (SP), Autocorrelation of Spectral Peaks (AC-SP) and Log-correlation of Spectral Peaks (LC-SP) methods. LC-SP produces the best results with faster computation, where the median absolute errors for pickup and plucking position estimates are 1.97 mm and 2.73 mm respectively using single pickup data and the errors increased slightly for mixed pickup data. LC-SP is also shown to be robust towards changes in plucking dynamics and fret positions, where the median absolute errors for pickup and plucking position estimates are less than 4 mm. The Polynomial Regression Spectral Flattening (PRSF) method is introduced to compensate the effects of guitar effects, amplifiers, loudspeakers and microphones. The accuracy of the estimates is then tested on several guitar signal chains, where the median absolute errors for pickup and plucking position estimates range from 2.04 mm to 7.83 mm and 2.98 mm to 27.81 mm respectively.

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Molina, Júnior Sidney José. "O violão na era do disco: interpretação e desleitura na arte de Julian Bream." Pontifícia Universidade Católica de São Paulo, 2006. https://tede2.pucsp.br/handle/handle/4729.

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Made available in DSpace on 2016-04-26T18:15:19Z (GMT). No. of bitstreams: 1 O Violao na Era do Disco.pdf: 1552859 bytes, checksum: 0a6e9bc8f1e3dda79176cc3c97f8225c (MD5) Previous issue date: 2006-03-13
Coordenação de Aperfeiçoamento de Pessoal de Nível Superior
This thesis shows how the classical guitar canon is a phenomenon of the twentieth century in contrast, for example, with the piano, violin and orchestral repertoires, whose canons had been formed step by step since the end of the eighteenth century and dependent as such on the criteria fixed by its interpreters through the medium of sound recording. The project highlights especially, the Age of LPs (1950-90) as the central part of a process where the act of listening to recordings seems to be as important as the edition of music scores. So, for the guitar, the writing is also a sound, and the music is primarily the musicians. Therefore, there are important analogies between the ascension and stabilization of the instrument in the international concert scene and the conceptual development of the recordings, which moves from the Recital LP , simulacrum of live performance, to the Art Work LP , influenced by the historically informed performance and constituting a kind of sound simulacrum of the edited music score. Two important artists who contributed to this process are studied here: Andrés Segovia (1893-1987) and mainly Julian Bream (1933), whose wide phonographic work, released during the second half of the twentieth century, has been analyzed in contrast with the recordings made by Segovia in the first half of the century. Taking that into consideration, authors such as Dahlhaus, Adorno, Lotman, Said and especially Bloom provide decisive conceptual tools for the thesis. Based on this theoretical approach, our study of Juliam Bream s discography has been divided into three moments: the poetical origins (the swerving from Segovia); the middle period (constitution of an independent voice); and the late phase ( misreading of the precursor). The thesis also includes a detailed research of the recordings made by both interpreters and it restores the original context of their albums
Esta tese procura mostrar como ao contrário, por exemplo, dos repertórios pianístico, violinístico e orquestral, cujos cânones formaram-se pouco a pouco desde finais do século XVIII o cânone do violão clássico é um fenômeno do século XX e, como tal, bastante dependente de critérios sonoros fixados por seus intérpretes através de gravações. Em especial, o trabalho destaca a Era dos LPs (aproximadamente 1950-90) como centro de um processo no qual a escuta de discos parece ser ao menos tão importante quanto a edição de partituras. Assim, para o violão, a escrita é também som, e as músicas são antes de tudo os músicos. Há, portanto, fortes analogias entre o processo de ascensão e estabilização do instrumento no cenário internacional de concertos e o desenvolvimento conceitual do disco, que caminha do LP Recital , simulacro da performance ao vivo, para o LP Obra , influenciado pela performance historicamente informada e espécie de simulacro sonoro da partitura editada. Dois artistas centrais para esse processo são estudados no trabalho: o espanhol Andrés Segovia (1893-1987) e sobretudo o inglês Julian Bream (1933), cuja larga obra fonográfica lançada durante a segunda metade do século XX analisamos contra o pano de fundo das gravações realizadas por Segovia na primeira metade do século. Para tanto, autores como Dahlhaus, Adorno, Lotman, Said e especialmente Bloom fornecem ferramentas conceituais decisivas para a fundamentação teórica da pesquisa. A partir desses pressupostos, dividimos nosso estudo crítico da discografia de Julian Bream em três momentos: as origens poéticas, onde predomina o desvio em relação a Segovia; o período médio, caracterizado pela constituição de uma voz própria independente; e a fase de maturidade, onde ocorre a desleitura do precursor. Nesse percurso, o trabalho realiza também um minucioso levantamento das gravações dos dois intérpretes e recupera o contexto original de seus discos

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Tucker, Roy Colin. "Visualisation Studio for the analysis of massive datasets." Thesis, University of Plymouth, 2016. http://hdl.handle.net/10026.1/4870.

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This thesis describes the research underpinning and the development of a cross platform application for the analysis of simultaneously recorded multi-dimensional spike trains. These spike trains are believed to carry the neural code that encodes information in a biological brain. A number of statistical methods already exist to analyse the temporal relationships between the spike trains. Historically, hundreds of spike trains have been simultaneously recorded, however as a result of technological advances recording capability has increased. The analysis of thousands of simultaneously recorded spike trains is now a requirement. Effective analysis of large data sets requires software tools that fully exploit the capabilities of modern research computers and effectively manage and present large quantities of data. To be effective such software tools must; be targeted at the field under study, be engineered to exploit the full compute power of research computers and prevent information overload of the researcher despite presenting a large and complex data set. The Visualisation Studio application produced in this thesis brings together the fields of neuroscience, software engineering and information visualisation to produce a software tool that meets these criteria. A visual programming language for neuroscience is produced that allows for extensive pre-processing of spike train data prior to visualisation. The computational challenges of analysing thousands of spike trains are addressed using parallel processing to fully exploit the modern researcher’s computer hardware. In the case of the computationally intensive pairwise cross-correlation analysis the option to use a high performance compute cluster (HPC) is seamlessly provided. Finally the principles of information visualisation are applied to key visualisations in neuroscience so that the researcher can effectively manage and visually explore the resulting data sets. The final visualisations can typically represent data sets 10 times larger than previously while remaining highly interactive.

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Beebe, Marla. "Teaching and Rehearsal Behaviors of Instrumental Music Teachers." Bowling Green State University / OhioLINK, 2007. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1181923968.

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44

Stoll, Renan Eduardo. "Variationen für klavier, op. 27 de Anton Webern : sobre duas práticas de performance distintas a partir da edição dos textos e da gravação de Peter Stadlen e das gravações de Yvonne Loriod e Charles Rosen." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2016. http://hdl.handle.net/10183/149552.

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A presente pesquisa investiga duas práticas de performance da obra Variationen für Klavier, Op. 27 de Anton Webern através da comparação de duas edições da obra e da comparação de três gravações realizadas por Peter Stadlen (1948), Yvonne Loriod (1961) e Charles Rosen (1969). Foram comparadas a primeira edição da obra (a edição Urtext de 1937) e a edição Prática elaborada por Peter Stadlen (1979), resultado de sua interação com o compositor durante o período que antecedeu a estreia do Op. 27. Os aspectos estéticos e interpretativos da obra foram considerados a partir dos textos de Stadlen e da literatura recente. Utilizando o software Sonic Visualiser foram mapeadas as flutuações de tempo nas três gravações do Op. 27. Os resultados evidenciaram dois estilos diferentes de performance. De um lado, o estilo pós-guerra (Cook, 2016) de Loriod e Rosen, marcado pela influência da vanguarda de Darmstadt; de outro lado, o estilo pré-guerra de Stadlen, o qual lança questionamentos sobre o cânone interpretativo estabelecido pelo estilo do pós-guerra.
This research investigates two performance practices of Anton Webern’s Variationen für Klavier, Op. 27 through a comparison between two editions and three recordings of the work. The first edition (the Urtext edition of 1937) and Stadlen’s practical edition of 1979 were compared in regards to the expressive markings added by the composer and the performer, and interpretive aspects of recente literature as well as Stadlen’s texts were considered. Using the software Sonic Visualiser tempo fluctuations were analysed in the recordings by Peter Stadlen (1948), Yvonne Loriod (1961) and Charles Rosen (1969). The results brought to evidence two contrasting performance styles. On the one hand, the post-war style (Cook, 2016) of Loriod and Rosen, marked by the influence of the Darmstadt avant-garde, and, on the other hand, the pre-war style of Peter Stadlen, which calls into question the interpretive canon of the work established by the post-war style of performance.

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Lowe, Bethany Laura. "Performance, analysis, and interpretation in Sibelius's Fifth Symphony." Thesis, University of Southampton, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.364710.

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Nebojša, Brkljač. "Uticaj primene faktora uspešnosti povratne logistike i barijera za implementaciju na performanse organizacije." Phd thesis, Univerzitet u Novom Sadu, Fakultet tehničkih nauka u Novom Sadu, 2018. https://www.cris.uns.ac.rs/record.jsf?recordId=106855&source=NDLTD&language=en.

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Cilj ovog istraživanja je ispitivanje uticaja orijentisanosti organizacije kaimplementaciji faktora uspešnosti povratne logistike i prisustva barijera zaimplementaciju povratne logistike na performanse organizacije.je i utvrđivanje međuzavisnih uticaja faktora uspeodnosno međuzavisnih uticaja barijera za implementaciju povratne logistikeIspitane su veze navedenih faktora i izdvojeni ključni faktori, koji utiču naproces implementacije povratne logistike u organizacijamadiskutovane i predložene mogućnosti za buduća istraživanja i dsmernice daljih poboljšanja.Doprinos istraživanja ogleda se, pre sveganaučnu i stručnu javnost, koje mogu predstavljati kvalitetne podlogerazvoju u oblasti.
The aim of this research is to examine the impact of the organization'sorientation on the implementation of reverse logistics (RL) success factorsand the presence of barriers to the implementation of RL on theorganization's performance. Also, the goal is to determine the interdependentimpacts of the RL success factors, ie the interdependent impactbarriers for the implementation of RL.The links between these factors are examined and the key factors whichinfluence the process of implementation of RL in organizations have beenidentified. The possibilities for future research have been identified,discussed and proposed, and further improvement guidelines are given.The research contribution is reflected, above all, in new information for thescientific and professional public, which can represent qualitativebackgrounds for further development in the field.

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Davidovic, Inja. "Chopin in Great Britain, 1830 to 1930 : reception, performance, recordings." Thesis, University of Sheffield, 2016. http://etheses.whiterose.ac.uk/13312/.

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This thesis focuses on three principal areas: the reception of Chopin's music in Great Britain, both during his lifetime and following his death; early sound recordings of Chopin's music, particularly those from the end of the nineteenth and the beginning of the twentieth centuries; and differing approaches to the performance of Chopin's music, including those by the composer himself, and interpretations by some of his contemporaries, students and 'grandstudents'. These three areas are presented in four chapters, which complement one another by exploring links between cultural, social and historical contexts of Chopin's music in Great Britain in the period from 1830 to 1930. The thesis addresses some of the varied features that contribute to an understanding of historically-informed performance practice, and ultimately demonstrates how these features - which allow for greater comprehension of nineteenth-century pianistic styles and techniques - have enriched the author's own interpretations. The written thesis is accompanied by the author's own performance of several of Chopin's works informed by late nineteenth-century expressive techniques.

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Jiménez, Manuel Anthony. "Bamboo power : performance in gamelan jégog and comparisons with UK gamelan performance." Thesis, SOAS, University of London, 2015. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.690468.

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Nena, Tomović. "Prilog istraživanju uticaja modela integrisanog sistema menadžmenta na performanse transportnih organizacija." Phd thesis, Univerzitet u Novom Sadu, Fakultet tehničkih nauka u Novom Sadu, 2016. http://www.cris.uns.ac.rs/record.jsf?recordId=101379&source=NDLTD&language=en.

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Naučni cilj istraživanja u okviru doktorske disertacije je kompleksnog karaktera, koji se manifestuje:identifikacijom performansi transportne organizacije, koje se mogu smatrati značajnim za uspešno upravljanje organizacijom i prevođenje iz postojećeg u željeno stanjeidentifikacijom SMS, kojom su posmatrane transportne organizacije implementirale i koje su postale sastavni delovi menadžment sistema organizacijeistraživanjem načina na koje je moguće meriti uticaj primene SMS, odnosno IMS na performanse organizacije, sa ciljem da se istovremeno ukaže na slabosti i mogućnosti razvoja organizacije.Polazeći od formulisanih ciljeva, definisana je orginalna metodologija, postupak kojim se dokazuje opravdanost uspostavljenih osnovnih hipoteza disertacije, čija suština je da modeli integrisanih sistema menadžmenta imaju uticaja na performanse transportnih organizacija.
Scientific aim of this research is complex and it is manifested by following: Identification of transport organization performances which can be considered as important for succesful organization management and shift from existing to favorable condition; Identification of SMS which transport organizations implemented and which became parts of organization management system; Research of ways on which is possible to measure effect of SMS application or IMS to organization performances with aim to emphasize defeciencies and possibilities for organization development.According to formulated aims, original methodology is defined. Is is practice which justifies main hypotheses of disertation. Their purpose is to make integrated management system models effective for performances of transport organizations.

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Duško, Petrović. "Uticaj personalnih karakteristika zaposlenih u uslužnim sistemima na performanse organizacije." Phd thesis, Univerzitet u Novom Sadu, Fakultet tehničkih nauka u Novom Sadu, 2020. https://www.cris.uns.ac.rs/record.jsf?recordId=112490&source=NDLTD&language=en.

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Ispitivanje uticaja personalnih karakteristika davaoca usluga (osobine ličnosti imoral) na procenu kvaliteta usluge od strane korisnika usluga i procenu performansipreduzeća (rekreacionih cenrara) pokazalo je da personalne karakteristike davaocausluge direktno utiču na kvalitet usluge i performanse.
An examination of the impact of the personal characteristics of the service provider(personality traits and morale) on the assessment of the quality of service by theservice users and the assessment of the performance of the company (recreationalcenters) showed that the personal characteristics of the service provider directlyaffect the quality of service and performance.

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Dissertations / Theses on the topic 'Performance recording'

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