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Hella, Vegard. "Digital Audio Restoration : Denoising phonograph recordings." Thesis, Norges teknisk-naturvitenskapelige universitet, Institutt for elektronikk og telekommunikasjon, 2013. http://urn.kb.se/resolve?urn=urn:nbn:no:ntnu:diva-23521.
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This master's thesis realize an audio noise reduction tool by use of digital signal processing. The tool is used to restore phonograph recordings. The recordings are restored on behalf of Ringve Museum, Norway's national museum of music and musical instruments. Sometimes the noise can be louder than the actual audio. In the view of a museum or library institution, this makes them less valuable as they are not presentable to the general public. A common restoration environment will include multiple tools. We will only specialize in one of them reducing broadband, stationary and additive noise. This is often perceived as static hiss or buzz. To realize the tool we use the numerical computation environment MATLAB. In MATLAB the calculations are written using a high-level programming language with many embedded functions. There are several established algorithms specializing in noise reduction of audio and speech. We will look at some basic and some complex algorithms that are based on the Short Time Fourier Transform (STFT). This technique slices the audio in short time frames to be able to analyze the local complex frequency spectrum. The noise reduction procedure compare the audio spectrum with its estimated noise spectrum to calculate an attenuation at each frequency. The attenuated signal is transformed back into time domain. Some of the algorithms are based on the Wiener filter or AR-modeling. The program will include a user interface with selectable algorithms and parameters. In old recordings a certain level of noise may be wanted to preserve authenticity. Thus a noise floor generator will be implemented.Some necessary theory of digital signal processing will be given, but some general knowledge will be required. The noise reduction theory is presented before the realization and program flow is explained. A listening test will be conducted. Audio examples are used to illustrate the general results, and the development process, results and further work is discussed. The program gave better results than one of the commercial available softwares. Another important result is that the stationary property is a poor approximation. The phonograph noise exhibits periodical properties with longer time periods than used in the short time transform. A model incorporating this feature should be implemented.
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Gauss, Stefan. "Nadel, Rille, Trichter Kulturgeschichte des Phonographen und des Grammophons in Deutschland (1900 - 1940)." Köln Weimar Wien Böhlau, 2007. http://d-nb.info/98881434X/04.
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Janukiewicz, Kristofer. "A Laser Triangulation Approach for Optical Audio Reconstruction of Phonograph Records." Thesis, Linköpings universitet, Medie- och Informationsteknik, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:liu:diva-133207.
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This thesis introduces a method for contact-free optical audio reconstruction of phonograph records using laser triangulation. The reconstruction is done using a 3D-profile camera and by scanning the surface of record in a single circumference. The depth-map created by the camera is then used to decode the audio information stored in the record. To evaluate the quality of the decoded audio information, it is tested against digital copies of the same record in order to analyze the correlation between it and the extracted sound. The result of this thesis presents a decoded and high correlated audio which is recognizable to an original digital copy. The method is well suited for fast real-time or faster than real-time decoding implementations.
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Lai, Catherine Wanwen. "Metadata for phonograph records : facilitating new forms of use and access." Thesis, McGill University, 2007. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=102835.
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This dissertation presents a new metadata design, as part of a large digitization management system being developed, to assist in the consistent creation of digital libraries of phonograph records. The Metadata provides digital libraries with an effective tool for the description, discovery, management, control, delivery, and sharing of digital objects of phonograph record. The metadata design is the outcome of two pilot projects for the digitization of phonograph records that took place at the Marvin Duchow Music Library at McGill University. The new design offers an approach to maintaining and using digital sound and ensures the long-term viability of digital libraries of phonograph records.The dissertation discusses key areas of preservation and addresses the most common retrieval problems of music in digital libraries. These problems include challenges in the digital context of bibliographic control, cataloging, distribution, and copyright protection. The dissertation revisits traditional cataloging approaches, summarizes historical music cataloging and metadata development, sets up preservation principles and rationales for digitizing phonograph records, and presents state-of-the-art techniques for preserving phonograph records in the digital domain.
The dissertation contains three main parts. The first is an introduction to the new metadata design for phonograph records. The second is a metadata dictionary, which assigns precise syntactic and semantic meanings to metadata elements, to guide digitizers working in libraries, archives, museums, and heritage sectors. These will be followed by two case studies of phonograph record digitization projects using the Metadata and the Data Dictionary. The dissertation concludes by examining three challenges that are critical to future development in both the preserving of and access to phonograph records: the issue of interoperability between different metadata standards, the need for usability and quality evaluation of digitization management systems, and the importance of further development in digital library retrieval services and tools.
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Katz, Mark. "The phonograph effect : the influence of recording on listener, performer, composer : 1900-1940 /." Ann Arbor : UMI, 2001. http://catalogue.bnf.fr/ark:/12148/cb37659535m.
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Li, Beinan. "Optical audio reproduction for stereo phonograph records by using white-light interferometry and image processing." Thesis, McGill University, 2011. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=103586.
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This dissertation presents an optical approach for reproducing stereo audio from the stereo disc phonograph records (LPs). Since the late nineteenth century, as one of the most influential recording technologies, the phonograph recording has enjoyed its popularity and produced numerous cylinders and discs that carry speeches, music, and all kinds of audio cultural heritage. The preservation of phonograph sound recordings is thus of world-wide concern. This research provides an alternative approach to digitizing the stereo disc phonograph records, potentially for long-term preservation, by optically acquiring the 3D disc record surface profile and extracting the audio signals from the record surface profile images by using software algorithms. The dissertation discusses the workflow of optically reproducing stereo audio from the stereo disc phonograph records by using the white-light interferometry technique. This workflow includes the acquisition of the 3D disc record surface profile by using a commercial white-light interferometry microscope, the extraction of the record groove undulations, which encodes the stereo audio information, by using our custom image processing algorithms, and finally the reproduction of the stereo audio signal from the groove undulations through signal processing. The workflow is evaluated with a test stereo record containing standard sinusoid signals and a musical record. The quality of the optically-reproduced audio is quantitatively evaluated and compared with that of the audio digitized by a turntable. The dissertation contains three main parts. The first include an introduction to the general background of the optical audio reproduction for the stereo disc phonograph records and the review of the phonograph recording technology, the previous efforts in optically reproducing audio from the cylinder and disc phonograph records, and the relevant optical techniques including the white-light interferometry. The second part focuses on our complete workflow for optically reproducing the stereo audio from the stereo disc phonograph records. This is followed by the evaluation of our workflow and the output audio quality. The dissertation concludes by introducing the challenges and the possible directions in the future development of our optical audio reproduction workflow.Cette thèse présente une nouvelle approche de reproduction optique d'enregistrements phonographiques stéréo. L'enregistrement phonographique s'est imposé, vers la fin du XIXème siècle, comme la technologie d'enregistrement de référence partout dans le monde. Il existe donc une pléthore de cylindres et autres disques où ont été gravés discours, morceaux de musique, et autres artefacts culturel sonores. La préservation de ces enregistrements sonores phonographiques est donc une préoccupation mondiale. Le présent travail de recherche propose une approche alternative de numérisation des enregistrements phonographiques stéréo en vue de leur éventuelle préservation. En effet, à partir de l'acquisition optique du profil (en trois dimensions) de la surface d'enregistrement du disque, les signaux audio peuvent être reconstruits grâce à nos algorithmes d'analyse d'images. Cette thèse examine les étapes de la reproduction optique audio stéréo à partir d'enregistrements phonographiques sur disques stéréo en utilisant l'interférométrie en lumière blanche. Ces étapes comportent: l'acquisition du profil de la surface d'enregistrement d'un disque 3D en utilisant un microscope commercial interférométrique en lumière blanche ; l'extraction des ondulations du sillon, qui encode l'information audio stéréo en utilisant nos algorithmes de traitement d'images ; et finalement, la reproduction du signal audio stéréo depuis les ondulations du sillon par des techniques de traitement du signal. Le processus complet est évalué sur un enregistrement stéréo test comprenant des signaux sinusoïdaux et un enregistrement musical. La qualité de l'audio reproduit par voie optique est évaluée de façon quantitative et comparée avec celle de l'audio numérisé de manière « traditionnelle », à l'aide d'une platine. Cette thèse s'articule en trois parties. La première comporte une introduction des principes nécessaires à la reproduction d'enregistrements phonographiques stéréo par voie optique. Plus précisément, les principes de la technologie d'enregistrement phonographique sont passés en revue ; l'état de l'art des efforts de reproduction optique des enregistrements phonographiques sur disques et cylindres est présenté ; et enfin, les techniques optiques pertinentes incluant l'interférométrie en lumière blanche sont décrites. La deuxième partie livre une présentation détaillée du processus de reproduction optique que nous avons développé. Dans la troisième partie, l'évaluation quantitative de la qualité de la restitution du signal audio obtenue par notre procédé est aussi décrite. La thèse se conclue sur un bilan des défis et des directions possibles dans le futur développement de notre approche de reproduction des signaux audio par voie optique.
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Chamoux, Henri. "La diffusion de l'enregistrement sonore en France à la Belle Epoque (1893-1914) : artistes, industriels et auditeurs du cylindre et du disque." Thesis, Paris 1, 2015. http://www.theses.fr/2015PA010622.
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Le miracle technique de la voix et de la musique enregistrées pour être écoutées dans le cadre domestique, se répandit plus tôt qu’on ne l’a admis jusqu’ici. Produits par dizaines de millions en France avant 1914, les enregistrements phonographiques sur cylindres et disques révèlent aujourd'hui qu’une puissante industrie s’épanouit dès l’aube du XXe siècle en France pour conduire, bien avant la radio, à une forme de banalisation de la musique. Ces phonogrammes sont désormais numérisés, accessibles et audibles en grand nombre. Avec d'autres sources naguère difficiles à exploiter, ils révèlent la richesse du répertoire enregistre et nous restituent une image sonore altérée mais suffisamment fidèle, de la plupart des genres musicaux alors à la mode, notamment les genres vocaux, alors les plus goutes. L'audition commentée des contenus enregistres ouvre de nombreuses portes pour conter l'histoire politique et sociale de leur temps. Cet ouvrage traite par ailleurs des circonstances de la première application du droit d'auteur au disque, ainsi que de l'identité, voire l'authenticité des personnes enregistres, liées aux contraintes techniques de la fabrication et de la reproduction des enregistrements. Sont également prises en considération la réception du phonographe dans divers milieux, ainsi que les pratiques des premiers acteurs de ce marche : artistes qui confièrent leur voix au phonographe, producteurs, auditeurs et autres usagersThe technical miracle of recording voices and music to be listened to within the home developed much earlier than anybody has ever acknowledged. Manufactured in tens of millions in France before 1914, phonographic recordings on cylinders and records reveal today that powerful industries thrived in France very early in the 20th century, thus making music quite commonplace long before the radio ever did. These recordings have now been digitized, and a great many can be accessed and listened to on line. Along with other source materials that not long ago proved hard to exploit, they show how rich the recorded repertoire was. These recordings offer a slightly distorted but sufficiently faithful sound and give us access to most of the music genres fashionable at the time, namely the much appreciated vocal genres. The recorded content of this repertoire with its detailed listening guide gives a new insight into the political and social history of their time. This work also deals with the circumstances in which the first copyright legislation was implemented, the identity and exactness of the recorded artists in connection with the technical constraints in the making and reproduction of recordings. How the phonograph itself was greeted is also examined in detail as well as the habits and routines of the very first players on the market : artists, manufacturers, listeners and other users
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Schereka, Wilton. "Sonic Afrofuturism: Blackness, electronic music production and visions of the future." University of the Western Cape, 2018. http://hdl.handle.net/11394/6548.
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Magister Artium - MAThis thesis is an exploration and analysis of the ways in which we might use varying forms of Black thought, theory, and art to think Blackness anew. For this purpose I work with electronic music from Nigeria and Detroit between 1976 and 1993, as well as with works of science fiction by W.E.B. Du Bois, Samuel Delany, Ralph Ellison, and Octavia Butler. Through a conceptual framework provided by theorists such as Fred Moten and Kodwo Eshun and the philosophical work of Afrofuturists like Delany, Ellison, Butler, and Du Bois, I explore the outer limits of what is possible when doing away with a canon of philosophy that predetermines our thinking of Blackness. This exploration also takes me to the possible depths of what this disavowal of a canon might mean and how we work with sound, the aural, and the sonic in rethinking the figuring of Blackness. This thesis is also be woven together by the theory of the Black Radical Tradition – following Cedric Robinson and Fred Moten specifically. At the centre of this thesis, and radiating outwards, is the assertion that a set of texts developed for a University of the West – Occidental philosophy as I refer to it in the thesis – is wholly insufficient in attempting to become attuned to the possibilities of Blackness. The thesis, finally, is a critique of ethnomusicology and its necessity for a native object, as well as sound studies, which fails to conceptualise any semblance of Black noise.
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Van, Drie Mélissa. "Théâtre et technologies sonores (1870-1910). Une réinvention de la scène, de l'écoute, de la vision." Thesis, Paris 3, 2010. http://www.theses.fr/2010PA030175.
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La plupart des études menées sur la dimension scénique du théâtre français et européen pour la période couvrant la fin du XIXe siècle et le début du XXe siècle portent sur la scénographie (espace, décor, éclairage, liens avec la peinture et le nouveau média cinématographique). Si les éléments sonores sont souvent mentionnés et parfois analysés, c’est de façon compartimentée, selon des catégories (voix – déclamation et diction–, musique, bruitage) qui ne sont pas réinterrogées. La dimension acoustique en tant que telle n’est pas problématisée. Or, l’art du théâtre se fonde sur un dispositif où l’écoute importe autant que la vue, la première pouvant l’emportant sur la seconde, et la période étudiée constitue dans l’histoire du son un moment-charnière, avec l’apparition groupée du téléphone, du phonographe et du microphone (1875-1878), les progrès de l’acoustique scientifique et de l’otologie, la transformation des pratiques de l’écoute. Les raisons de l’oubli du sonore sont complexes : la prééminence accordée à la vision dans la pensée occidentale, l’invention de la « mise en scène », la résistance du théâtre aux nouvelles technologies sonores. Nourrie de l’apport des Sound Studies, la thèse remet le son dans le jeu : après avoir dressé un panorama de la pensée et du paysage sonore intermédial à la fin du XIXe siècle (théâtrophone, enregistrements d’acteurs, etc.), elle observe les effets plus profonds du « tournant acoustique » sur l’espace dramatique, sur la figure scénique, sur la vocalité, respectivement étudiés à travers les pratiques de trois poètes-hommes de théâtre : Maeterlinck, Jarry, Charles Cros. Ce sont les bases du théâtre qui ont été interrogéesThe majority of studies on scenic dimensions of late 19th - early 20th century French and European theatre center on scenography (space, scenery, lights, relations to painting and new cinematographic media). If certain aspects of sound are mentioned, and sometimes analyzed, the approaches are often compartmentalized into categories including voice (declamation, music, sound effects, which are never themselves questioned). The acoustical dimension is never fully problematized. However, the art of theatre is founded on a schema where listening matters as much as seeing, if not more. In the history of sound, the period on which this study comports constitutes an important turning point, with the invention of the telephone, phonograph, and microphone (1875-1878), progress in the fields of acoustical science and otology, and the transformation of listening practices. The reasons for sound’s oversight are multiple, including the pre-eminence accorded to vision in Occidental thought, the invention of the “mise en scène”, theatre’s resistance to new sound technologies. Nourished by Sound Studies, this dissertation seeks to bring sound back into play. After presenting a panorama of the activities and thought emerging from the intermedial soundscape at the end of the 19th century (théâtrophone, actor’s recordings, etc), it observes the deeper effects of these acoustical phonomena on dramatic space, the scenic figure, and vocality through respective studies of three poets-theatre creators: Maurice Maeterlinck, Alfred Jarry and Charles Cros. The very bases of theatre are interrogated
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Allen, Edward Joseph Frank. "Lyric technologies : the sound media of American modernist poetry." Thesis, University of Cambridge, 2014. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.708318.
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Surber, Greg A. "Record Progressions: Technology and its Role in the Development and Dissemination of Jazz." Ohio University Honors Tutorial College / OhioLINK, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=ouhonors1258571630.
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Heniqui, Fanny. "L'interprétation sémiographique des phonogrammes : les voyelles du français : ai, ain, au, eau, ei, ein." Thesis, Strasbourg, 2014. http://www.theses.fr/2014STRAC009.
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Toute orthographe est mixte, elle fait coexister deux principes : le principe phonographique, qui consiste en la transcription des phonèmes, et le principe sémiographique, en vertu duquel une unité graphique renvoie à du sens. Les analyses actuelles des spécialistes de l’écriture tendent à réévaluer la dimension sémiographique de l’orthographe. L’objectif est de faire apparaitre l’importance de ce versant de l’orthographe. Il s’agit d’établir la sémiographie des graphèmes vocaliques eau, au, ein, ain, ai et ei du français, en dégageant leurs valeurs logogrammique, morphogrammique grammaticale et morphogrammique lexicale, cette dernière valeur comportant deux aspects, d’une part, la valeur sémantique des graphèmes, d’autre part, la régularité des séries lexicales dans lesquelles apparaissent les mots comportant le graphème étudié. Pour cela, nous constituons des inventaires aussi vastes que possible de leurs occurrences lexicales et grammaticalesEvery orthography is a dual object, it combines two principles : the phonographic principle, which consists of the transcription of the language’s sounds, and the semiographic principle, in accordance with which a graphic unit refers to sense. Writing specialists’ current analyses tend to reevaluate the orthography’s semiographical dimension. The aim of this essay is to make appear the importance of the semiography of the vocalic graphemes ei, ein, ai, ain, au, eau, seeking their logogrammic, grammatical morphogrammic and lexical morphogrammic part, the morphogrammic part making appear the graphemes’ semantic part and the lexical series of the studied graphemes. We form a corpus as wide as possible of their lexical and grammatical occurrences
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Kelly, Caleb, and n/a. "Cracked and Broken Media in 20th and 21st Century Music and Sound." University of Canberra. Creative Communication, 2007. http://erl.canberra.edu.au./public/adt-AUC20070601.135617.
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From the mid 20th century into the 21st, artists and musicians manipulated,
cracked and broke audio media technologies to produce novel, unique and
indeterminate sounds and performances. Artists such as John Cage, Nam June
Paik, Milian Kn��k, Christian Marclay, Yasunao Tone, Oval and Otomo
Yoshihide pulled apart the technologies of music playback, both the playback
devices � phonographs and CD players � and the recorded media � vinyl records
and Compact Discs. Based in the sound expansion of the 20th century musical
avant garde, this practice connects the interdisciplinary Fluxus movement with
late 20th century sound art and experimental electronic music. Cracked and
broken media techniques play a significant role in 20th century music and sound,
and continue to be productive into the 21st. The primary contribution of this
thesis is to provide a novel and detailed historical account of these practices. In
addition it considers theoretical approaches to this work. After considering
approaches through critiques of recording media, and concepts of noise, this
thesis proposes novel theorisations focusing on materiality and the everyday.
Ultimately it proposes that these practices can be read as precursors to
contemporary new media, as music and sound art cracked open the fixed
structures of �old media� technologies for their own creative purposes.
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Mahrer, Rudolf. "Lire l'oral. Pour une typologie linguistique des représentations écrites de l'oralité. (Le cas du français)." Thesis, Paris 3, 2014. http://www.theses.fr/2014PA030058.
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Cette thèse propose de passer en revue les modalités de la représentation écrite de l’oralité. L’écrit littéraire sert de matériau à la théorisation.La problématique – comment l’écrit représente-t-il l’oral ? – est d’abord située et reformulée dans le cadre de la linguistique de la parole (I). Les rapports entre oralité et scripturalité sont ensuite étudiés sous trois angles. L’angle biotechnologique compare la matérialité et l’affordance des signaux graphiques et des signaux acoustiques (II 1). L’examen sémiotique reconnaît dans le français écrit un système dit phonographique dont la fonction est de représenter l’expression des signes du français oral. Sont analysées alors les relations entre les systèmes de signes impliqués, la diversité des actualisations possibles du système phonographique (effets de voix), ainsi que diverses sémiotiques analogiques (II 2). On étudie ensuite le rôle de la prosodie dans la lecture. La position adoptée est la suivante : bien qu’elle soit facultative dans l’activité de lecture, la prosodie est spécialement sollicitée par des écrits qu’on peut caractériser linguistiquement. L’interprétation prosodique apporte à ces écrits un surcroît de signification en même temps qu’il produit un mode spécifique de représentation de l’oral appelé effet prosodique (II 3). L’angle sémantique est esquissé finalement : il conduit à dégager deux modalités de représentation supplémentaire. Pour la première, l’oral se situe sur le plan sémantico-référentiel de l’expression écrite (écrire à propos d’oral) ; pour la seconde, l’oral est un extérieur discursif modalisant le dire écrit : l’écrit est reconnu comme énoncé à la manière de l’oral (effet de style oral)This PhD thesis attempts to review the modalities of orality in written representation. Literary writings act as the material for theorization. First of all, the thesis statement – how does writing represent oral – is situated and then, reformulated within the frame of linguistique de la parole (the linguistic field of speech) (I). The connections between orality and writing are then studied under three angles. The biotechnological angle compares the materiality and the affordance of graphic signs and acoustic signals (II 1). A semiotic examination acknowledges, in French, a phonographical system whose function is to represent the expression of French oral signs. Thus, the relationships between the systems of implicated signs, the diversity of possible actualisations of the phonographic system (voice effects), as well as various analogical semiotics are analysed (II 2). Furthermore, the role of prosody is studied within reading. The stand taken is the following : even though it is optional during a reading activity, prosody is especially sought-after by linguistically characterised writings. The prosodic interpretation brings to these writings a surge of signification while producing a specific mode of oral representation called the prosodic effects (II 3). The semantic angle is finally drawn : it leads to two additional modalities of representation. For the first part, speech is located on the semantic and referential plan of the written expression (writing about speech); as for the second part, spoken language is a discursive exteriority : writing is recognised as an oral-like utterance (oral-like effect)
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Rowsell, Timothy Dominic. "Real-time analysis of fetal phonography signals." Thesis, University of Cambridge, 1993. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.308245.
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Moreira, Maria Beatriz Cyrino 1985. "Fusões de gêneros e estilos na produção musical da banda Som Imaginário." [s.n.], 2011. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284415.
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Orientador: Antônio Rafael Carvalho dos SantosDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
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Resumo: O Som Imaginário foi um grupo que surgiu no Brasil em 1969 com o intuito de acompanhar o músico Milton Nascimento em sua turnê realizada em 1970. A partir da reunião de diversos músicos vindos de formações diferentes e com influências distintas, criou uma obra musical cheia de hibridismos fruto também de um contexto social-político e cultural específico. Através da análise musical dos três discos do grupo, Som Imaginário (1970), Som Imaginário (1971) e Matança do Porco (1973), buscou-se observar os aspectos de forma, gêneros e estilos presentes na sonoridade do grupo, instrumentação utilizada, harmonia e letra, com o objetivo de relacionar as formas de expressão musical do grupo com o contexto cultural e político do Brasil no período em que atuou, a transição da década de 60 para os anos 70. Ao se construir a narrativa da trajetória do grupo, procurou-se também relacioná-la à crescente indústria fonográfica no Brasil e associar elementos da produção musical do grupo com os traços comportamentais e maneiras de pensar relacionadas à contracultura e à vigência do regime ditatorial militar na sua fase mais repressiva
Abstract: The Brazilian group "Som Imaginário" emerged in 1969 with the purpose of accompanying the musician Milton Nascimento in his tour of 1970. The group gathered different musicians from differents music backgrounds and influences, and created a musical work full of hybridism as a result of the specific social, political and cultural context. Through the musical analysis of their three albuns, Som Imaginário (1970), Som Imaginário (1971), this study tried to identify many musical aspects such as form, genres and styles present in the sonority of the group, instrumentation used, harmony and lyrics, in order to relate these forms of musical expression with the cultural and political context of Brazil in that period, the transition between the 60's and 70's. By developing the narrative trajectory of the group, we tried to relate it to the growing phonographic industry in Brazil and associate elements of the musical production of the group with behavioral traits and ways of thinking related to the counterculture and to the term of military dictatorship in it most repressive stage
Mestrado
Fundamentos Teoricos
Mestre em Música
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Silva, Neto João Marcondes da. "Fonograma: transnformações histórico-culturais e tendências tecnológicas no mercado da música popular brasileira (1902-2007)." Universidade Presbiteriana Mackenzie, 2009. http://tede.mackenzie.br/jspui/handle/tede/2022.
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The study notes that line the main Brazilian phonographic market changes, between 1902 and 2007. Classifying primary sources, phonograms, the structuring of knowledge. Includes in its history, the principle of the Brazilian phonographic market. The changes between the XIX and XX century for musicians in general. Illustrates a second time, the profiles of musicians, instruments and their role in the phonogram, the formation of Brazilian popular music. Presents the main changes to the product phonographic. It proposes a way to work artistically with the technologies available in the phonographic market.
Estudo que observa linearmente as principais modificações do mercado fonográfico brasileiro, entre 1902 e 2007. Classificando fontes primárias, fonogramas, na estruturação do conhecimento. Contempla em seu histórico, o princípio do mercado fonográfico brasileiro. As modificações ocorridas entre o século XIX e XX para os musicistas de forma geral. Ilustra num segundo momento, os perfis de musicistas, dos instrumentos e sua função no fonograma, da constituição da música popular brasileira. Apresenta as principais modificações do produto fonográfico. E propõe uma forma para trabalhar artisticamente com as tecnologias disponíveis no mercado fonográfico.
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Meireles, Matilde. "Extended phonography, expanding field recording through a multi-sensorial practice." Thesis, Queen's University Belfast, 2017. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.727956.
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This research is based on my practice as a field recordist, a graphic designer and a visual artist. It is through an interchange between these three languages that I propose extended phonography, a form of expanding field recording through a plural and multi-sensorial practice that primarily intersects field recording, photography and design. Extended phonography is a site-and-context-specific practice—its multi-sensorial focus on the act of recording is also extended to its presentation making the recordings and their presentation inextricably linked. The strategies developed throughout this thesis provided me with a new insight into the acts of recording, composing and presenting. The final outcomes are still anchored in sound. However through extended phonnography, other nuances of the recorded event are explored in multi-sensory experiences. These experiences transcend the notion of recording as merely a tool for representation and veracity. In extended phonography the acts of recording and the act of presenting these recordings in different spaces, are simultaneously acts of composing. The portfolio of works comprises eight projects: Phragmites australis, Constructing a Soundscape, Sounds of the City, X Marks the Spot, Almost Sound Diary, Som da Mare: urn projecto participativo de arte sonora, and Moving Still. I also introduced some of the ideas behind my interest in—and reservations about—fostering collaboration and participation as catalysts for a shared understanding of place through the projects: Sounds of the City, X Marks the Spot, Almost Sound Diary, and Som da Mare: urn projecto participativo de arte sonora,. This research also presents how the term site, in extended phonography, is used to refer not only to the physical site, but also the contextual, the experiential, and the virtual site.
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Western, Thomas James. "National phonography : field recording and sound archiving in Postwar Britain." Thesis, University of Edinburgh, 2016. http://hdl.handle.net/1842/33113.
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Vast numbers of historical field recordings are currently being digitised and disseminated online; but what are these field recordings-and how do they resonate today? This thesis addresses these questions by listening to the digitisation of recordings made for a number of ethnographic projects that took place in Britain in the early 1950s. Each project shared a set of logics and practices I call national phonography. Recording technologies were invested with the ability to sound and salvage the nation, but this first involved deciding what the nation was, and what it was supposed to sound like. National phonography was an institutional and technological network; behind the encounter between recordist and recorded lies a complex and variegated mess of cultural politics, microphones, mediality, sonic aesthetics, energy policies, commercial interests, and music formats. The thesis is structured around a series of historical case studies. The first study traces the emergence of Britain's field recording moment, connecting it to the waning of empire, and focusing on sonic aspects of the 1951 Festival of Britain and the recording policies of national and international folk music organisations. The second study listens to the founding of a sound archive at the University of Edinburgh, also in 1951, asking how sound was used in constructing Scotland as an object of study, stockpiling the nation through the technologies and ideologies of preservation. The third study tracks how the BBC used fieldwork - particularly through its Folk Music and Dialect Recording Scheme (1952-57) - as part of an effort to secure the aural border. The fourth study tells the story of The Columbia World Library of Folk and Primitive Music, produced by Alan Lomax while based in Britain and released in 1955. Here, recordings were presented in fragments as nations were written onto long-playing records, and the project is discussed as a museum of voice. The final chapter shifts perspective to the online circulation of these field recordings. It asks what an online sound archive is, hearing how recordings compress multiple agencies which continue to unfold on playback, and exploring the archival silences built into sonic productions of nations. Finally, online archives are considered as heritage sites, raising questions about whose nation is produced by national phonography. This thesis brings together perspectives from sound studies and ethnomusicology; and contributes to conversations on the history of ethnomusicology in Europe, the politics of technology, ontologies of sound archives, and theories of recorded sound and musical nationalisms.
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Guritanu, Elena. "Types d'écriture et apprentissage." Thesis, Sorbonne Paris Cité, 2016. http://www.theses.fr/2016USPCB217/document.
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Avant d'être plus spécifiquement dédiée à l'apprentissage de l'écrit, cette thèse consacre une importante partie à la genèse et à l'évolution de l'écriture. Elle sonde les divers états et formes que les systèmes d'écriture ont connus depuis les grandes civilisations qui les virent naître jusqu'à nos sociétés modernes et aborde un ensemble de problématiques qui forment ce que nous nommons ici "le champ de l'écriture : l'invention de l'écriture, ses prémices, son récit dans les mythes et légendes, les liens qu'elle entretient avec l'image et la langue, les mécanismes de son évolution, les questions de société que l'écriture pose ainsi que son traitement épistémologique et les théories linguistiques dont elle est l'objet. L'examen de ce champ offre un éclairage particulier à la deuxième partie de cette étude, agencée autour des questions de didactique de l'écrit. Reposant sur un corpus constitué de cinq systèmes graphiques : l'idéographie chinoise, l'écriture consonantique arabe et les systèmes alphabétiques russe, roumain et français, cette étude analyse et compare les méthodes d'enseignement de la lecture et de l'écriture pour chacun d'entre eux et rend compte des spécificités de l'apprentissage de l'écrit en fonction du système considéré ainsi que des tendances majeures partagées d'un système à l'autreBefore being more specifically dedicated to the learning of writing, this thesis concentrates on an important part of the genesis and evolution of writing. It analyses the diverse states and forms of writing systems known since the great civilisations that originated them to our modern societies, and exposes various problems which form what we call here "the field of writing" : the invention of writing, its beginnings, its evolution in the myths and legends, the connections between the image and the language, the mechanics of this evolution, the questions of society that the written word poses to its treatment and the epistemological linguistic theories that it relates to. The examination of this field, particularly throws light on the second part of this study articulated around questions about the technicalities of writing. Based on a corpus made of five graphic systems - Chinese idiographic, Arabic consonantal writing and the Russian , Romanian and French alphabet systems, this study analyses and compares the teaching methods of reading and writing for each of them and supports the different learnings of writing in each system but also the important convergences shared from one system to an other
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Hrubý, Ondřej. "Gramofonový elektronkový zesilovač." Master's thesis, Vysoké učení technické v Brně. Fakulta elektrotechniky a komunikačních technologií, 2020. http://www.nusl.cz/ntk/nusl-413191.
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This master´s thesis deals with a design and simulation of an audio power phono amplifier using vakuum tubes. The frequency response of suggested solution should comply with the norm specified by RIAA. It also describes a vacuum tube basic description and also its advantages for audio applications and principle of usage a magnetodynamic pick-up. Last part contains a design of microprocessor system and power supply.
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Bennett, Hogg. "The Cultural Imagination of the Phonographic Voice, 1877-1940." Thesis, University of Newcastle upon Tyne, 2008. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.489287.
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This thesis argues that the cultural effects ofphonography can be traced most vividly in its relations with the human voice, and that this is registered most explicitly not in music but in literature. The encounter ofthe voice with phonography traces a cultural nexus of the human-machine relationship, and the thesis proposes that the phonography be read in tenus ofthis relationship as a four-fold prosthesis - as writing, memory, listening and speech. The primary sources consist of literature from the first thirty years of the twentieth century, and the writings of Benjamin, Adorno, Freud, and the development of Freud's ideas by Lacan. Lacan's ideas also infonu the analytical perspective in the second half of the thesis, in particular his theory of 'the ego's era', a historical tum in Lacan's work uncovered by Brennan in HistOlY After Lacan. The thesis locates technology and the human in relation to modernism and modernity, and then examines Kafka's In the Penal Colony, Mann's 17le Magic MOllntain, and Renard's Death and the Shell in tenus of the culturally significant interconnections of writing, memory and death, drawing these ideas together around the paradox ofhow phonography seems to 'kill' or 'silence' the voice at the same time it renders it 'immortal'. Lacan's theory of history can be productively deployed to account for the relative absence, in comparison to photography and cinema, of theoretical accounts of phonography up to the 1970s, but also to interpret the cultural significance of phonography understood as prosthetic listening versus prosthetic speech. Breton's Manifesto ofSurrealism is read as a site ofprosthetic listening, and Eliot's The Waste Land as an articulation ofprosthetic speech, where these works are respectively understood as an articulation of, and a possible counter-current to, the characteristic attributes of the ego's era.
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Teichner, Noah. "Le “canned” vaudeville et la mise en conserve médiatique aux États-Unis, du phonographe au film sonore : étude média-archéologique des courts métrages Vitaphone au format son-sur-disque (1926-1930)." Electronic Thesis or Diss., Paris 8, 2021. http://www.theses.fr/2021PA080071.
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L’expression historique “canned” vaudeville désigne la « mise en conserve » du vaudeville américain (un spectacle de variétés dépendant de numéros diversifiés) par des moyens filmiques ou phonographiques. En croisant l’analyse des discours et l’analyse technique et formelle, cette thèse propose une archéologie de la mise en conserve médiatique à partir du vaudeville filmique et du vaudeville phonographique. Les courts métrages Vitaphone de la Warner Bros. au format son-sur-disque occupent une place centrale dans l’articulation de cette problématique sur une période allant des débuts de la phonographie et de l’institutionnalisation du vaudeville à la fin du 19ème siècle jusqu’à la généralisation de la technologie électro-acoustique dans le cinéma et les médias sonores dans la seconde moitié des années 1920. Suite à l’investigation du vaudeville sous le double angle de média de masse et de médium sensible, la place négligée du terme “canned” dans l’histoire des médias est revisitée à partir du cas de la phonographie acoustique et des discours corporatifs sur la “canned” music et le “canned” vaudeville. Il est ensuite question du contexte intermédiatique du vaudeville filmique à la généralisation du parlant et de la production, distribution et réception des courts métrages Vitaphone. Une analyse des possibilités matérielles du procédé son-sur-disque et de la mise en œuvre de son dispositif multi-caméra permet de mener une étude approfondie des stratégies d’adresse et de diégétisation dans les courts métrages restaurés de 1926-1930 et de les mettre en perspective pour la première fois avec des pratiques du vaudeville phonographique remontant au tournant du 20ème siècleThis dissertation reads the discourses, practices, and materialities of filmic and phonographic vaudeville through the broader history of “canned” media. Warner Bros.’ short films produced with the sound-on-disc Vitaphone process play a central role in this study which covers a period ranging from the beginnings of the phonograph industry and the institutionalization of vaudeville in the late 19th century to the introduction of electroacoustic technology in film and sound media during the second half of the 1920s. After studying vaudeville’s infrastructure as a mass media institution and its aesthetic capacities as a medium, the neglected role of the term “canned” in media history is reconsidered through practices of early phonography and trade press discourses on “canned” music and “canned” vaudeville. This leads to a contextualization of filmic vaudeville within the media landscape of the 1920s—the decline of big-time vaudeville and the rise of stage presentations in movie theatres—and an analysis of Vitaphone shorts’ production, distribution, and reception. The material possibilities afforded by the Vitaphone sound-on-disc technology and multi-camera set-up are then outlined and examined in relation to debates regarding sound and image scale. These technical considerations lay the groundwork for an in-depth investigation of approaches to address and diegetisation in the restored Vitaphone shorts from 1926-1930. The films’ means of addressing the spectator and of representing both the audience and the space of performance are put in perspective through examples of phonographic vaudeville dating back to the turn of the 20th century
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Feaster, Patrick. ""The following record" making sense of phonographic performance, 1877--1908 /." [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:3264321.
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Thesis (Ph. D.)--Indiana University, Dept. of Folklore and Ethnomusicology, 2007.Source: Dissertation Abstracts International, Volume: 68-05, Section: A, page: 2108. Adviser: Richard Bauman. "Title from dissertation home page (viewed Jan. 12, 2008)."
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Gillespie, Mark. ""Another Darkchild Classic": Phonographic Forgery and Producer Rodney Jerkins'Sonic Signature." Thesis, Université Laval, 2007. http://www.theses.ulaval.ca/2007/24164/24164.pdf.
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Jackson, Jonathan. "Some Soundwalks (Denton, Tx)." Thesis, University of North Texas, 2013. https://digital.library.unt.edu/ark:/67531/metadc271833/.
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some soundwalks (Denton, TX) is an audio portrait of the Denton square - the area in downtown Denton bordered by the streets Oak, Hickory, Elm, and Locust. For three months (June - August, 2012), I went on soundwalks in this area, recording the soundscape and collecting material from each hour of the twenty-four hours of the day. The resulting work is presented as a layered montage of this gathered material that takes the listener on a twenty-four hour journey through the Denton square in about eighteen minutes. Ultimately, this sonic portrait of the Denton square is my subjective reaction to the daily soundscape of an area of Denton that embodies a strong sense of tradition combined with a newer presence of a growing population.
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Hammons, Duncan G. "Scott Walker and the late twentieth century phenomenon of Phonographic Auteurism." Thesis, The Florida State University, 2013. http://pqdtopen.proquest.com/#viewpdf?dispub=1539237.
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The music of Scott Walker (b. Noel Scott Engel, January 9, 1943) continues to influence multiple generations of respected figures in popular music from David Bowie to Radiohead, yet Walker has not set foot on stage to perform since the 1970s. Instead, the singer-songwriter-producer's latter-day reputation has instead thrived upon the basis of his recorded works. Following a radical self re-invention on the Walker Brothers' farewell album Nite Flights (1978) Walker has pushed the boundaries of his chosen media to the extent that his recorded tracks belong more to the aesthetic sphere of fixed art forms such as films rather than performance-oriented forms such as music as it is traditionally categorized among the liberal arts. In the same manner that Sergei Eisenstein and Orson Welles abandoned the rules of theatrical formalism to create works native to the cinematic medium itself, Walker has likewise approached his work in recording studios as a Phonographic Auteur. To abstract Walker's works by discussing them as "songs" detached from their recorded "track" form would be as detrimental to their analysis as would the discussion of Citizen Kane outside of the form language of the cinema. As deconstructions of the binary opposition between track and song the problems surrounding the analysis of Walker's post-1978 works are largely those confronting the analysis of Euro-American popular music that arise from its troublesome relationship with the recorded format. Further, Walker's career evidences how a number of artists in Euro-american contexts have come to regard the recorded, studio intensive format of music as a solution to the problems they are confronted within the the modern public concert spectacle. In doing so these individuals have given birth to a burgeoning autonomous art form, and by extension, a new model of the composer-listener-performer dynamic.
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Gillespie, Mark373. ""Another Darkchild Classic" : phonographic forgery and producer Rodney Jerkins' Sonic Signature." Master's thesis, Université Laval, 2007. http://hdl.handle.net/20.500.11794/18658.
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Bird, D. J. "From hyperreal sonic-images to phonographic sound : a portfolio of original compositions." Thesis, Queen's University Belfast, 2014. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.678699.
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Erasmus, Aidan. "The sound of war: Apartheid, audibility, and resonance." University of the Western Cape, 2018. http://hdl.handle.net/11394/6523.
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Philosophiae Doctor - PhDThis study approaches the field of military history with approaches to the study of sound in order to interrogate the concept of war that underpins military historiography as a disciplinary formation. It delineates the notion of the phonographic attitude with which to think about the ways in which technology, war, and the senses coalesce in broader historical writing about war, colonialism, and apartheid in South Africa. In so doing, it suggests that an attention to what it calls the warring motifs is necessary if a reorientation of a reading of war and apartheid away from a politics of deadness is to be achieved. It does so through a methodological approach that attends to various objects in South African historiography that may be attended to differently through an emphasis on the sensorial. These include the state-sponsored Walkman bomb that killed ANC lawyer Bheki Mlangeni, a record produced by artist Roger Lucey in memory of the death of activist Lungile Tabalaza, the supposed whistle or shout that led the indigenous Khoikhoi to victory over the Portuguese in 1510, a lithographic print by William Kentridge named after a radio programme for troops engaged in South Africa’s border war, the bell of sunken troopship SS Mendi, and the first recording of the hymn ‘Nkosi Sikelel’ iAfrika’ by intellectual and key figure in a history of nationalism in South Africa, Sol T Plaatje.
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Blondel, Carole. "Description linguistique et évaluation des capacités orthographiques d'adultes en difficulté avec l'écrit." Thesis, Université Grenoble Alpes, 2020. https://tel.archives-ouvertes.fr/tel-02632800.
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Dans cette thèse, nous nous intéressons aux compétences orthographiques de scripteurs âgés de 16 à 65 ans et résidant en France métropolitaine, qui ont été considérés en difficulté dans le domaine de l’écrit dans l’enquête Information Vie Quotidienne (IVQ) (INSEE, 2011). Le matériau de notre recherche se compose de deux dictées qui reflètent une situation de scription ordinaire (la rédaction d’une liste de courses), qui comportent des mots, des pseudo-mots et des syntagmes nominaux et verbaux. Elles sont issues d’une première enquête d’IVQ et d’une enquête complémentaire que nous avons conduite en 2014. Notre approche s’inscrit dans le cadre de la littératie et vise à mettre en évidence non pas seulement les lacunes de ces publics mais également leurs savoirs et savoir-faire. Notre hypothèse est que l’on peut envisager les compétences orthographiques de scripteurs même en grande difficulté autrement que sous l’angle d’une opposition entre forme correcte et forme erronée, et qu’une analyse plus fine est possible en mobilisant les apports de la linguistique. Nous montrons en particulier comment les scripteurs s’approprient la composante phonographique de l’orthographe : bien que certains soient jugés « illettrés » selon l’enquête IVQ, ils ont développé des connaissances sur le système orthographique du français, à la fois dans ses régularités et ses spécificités. Notre recherche se veut ainsi un préalable servant à mieux outiller les actions de formation par la prise en compte des difficultés des scripteurs de manière plus ciblée et par la mise en place de diagnostics qui peuvent prendre la forme d’une évaluation de type dictée, mais en travaillant sur le choix des items en regard des résultats de notre étude sur les niveaux de compétence à l’écrit des scripteurs en difficultéIn this thesis, we are interested in the spelling abilities of writers aged 16 to 65 living in metropolitan France, who were considered to be in difficulty with writing according to the IVQ survey (INSEE, 2011). The material of our research consists of two dictations that reflect a situation of ordinary scription (the writing of a shopping list), which include words, pseudo-words and noun and verbal phrases. They come from a first IVQ survey and a complementary survey that we conducted in 2014. Our approach is part of the literacy framework and aims to highlight not only the weaknesses of these audiences but also their knowledge and know-how. Our hypothesis is that the spelling abilities of writers even in great difficulty, may be considered from a point of view that differs from the opposition between right and wrong forms, and that a more refined analysis is possible by mobilizing the contributions of linguistics. We show in particular how writers appropriate the phonographic component of spelling: although some are considered "illiterate" according to the IVQ survey, they have developed knowledge about the French spelling system, both in its regularities and its specificities. Our research thus provides a helpful tool for training by taking into account the difficulties of writers in a more targeted way, and by setting up diagnostics that can take the form of a dictated evaluation type, but by working on the choice of items against the results of our study on the writing proficiency levels of writers in difficulty
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Jiminez, Gonzalez Aida. "Antenatal foetal monitoring through abdominal phonogram recordings : a single-channel independent component analysis approach." Thesis, University of Southampton, 2010. https://eprints.soton.ac.uk/190815/.
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BARROS, MONIQUE PEREIRA IBITINGA DE. "ANALYSIS OF THE BRAZILIAN PHONOGRAPHIC INDUSTRYNULLS FUTURE FACING THE THREAT OF PIRACY AND DIGITAL MUSIC." PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2003. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=4820@1.
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PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIROEsta dissertação tem como objetivo avaliar qual a tendência da indústria fonográfica nos próximos anos, tendo em vista as mudanças estruturais que ela vêm passando em conseqüência das alterações ocorridas no ambiente. O setor vem sendo drasticamente abalado por uma oferta ilegal de produtos, além de inovações tecnológicas que podem ser utilizadas de forma benéfica, mas também possibilitam um acesso incontrolável à principal matéria prima das gravadoras. A metodologia utilizada para buscar esta tendência foi o método Delfos de previsão. Este método foi o escolhido por se tratar de um setor desprovido de um histórico confiável, devido às constantes mudanças tecnológicas e de padrão de consumo, e dos eventos atuais que provocam a insegurança sobre o futuro da indústria proporcionarem alterações inesperadas. O método permite a elaboração de uma previsão com base na opinião de especialistas, e tem como resultado uma avaliação do futuro da indústria com base na percepção de pessoas diretamente ligadas a ela. Através deste estudo foi possível verificar que existe uma expectativa de que o governo vá se posicionar mais fortemente com relação à repressão da pirataria musical e que as gravadoras eventualmente passem a tratar como negócio não só a produção de CDs, mas também outros produtos e serviços diretamente ligados à música. Também foi possível concluir que a música digital, de forma geral, não é percebida como uma ameaça à indústria de música tradicional, e pode ser vista como uma oportunidade de negócio. Assim, foi possível diagnosticar o futuro mais provável para as empresas e a estrutura do setor fonográfico brasileiro, além de verificar as variáveis que indicarão a formação deste cenário.
The present work intends to evaluate the most probable scenario for the Brazilian phonographic industry in the next few years, taking in account the structural changes that have been going on in the environment. This industry has been suffering from the continuous increase on the illegal products offering, in addition to new technological solutions, which may have positive implications, but may also allow innovative and uncontrollable ways of obtaining the recording companies´ main asset without paying for it. The Delfos technique has been the methodology chosen for this study. The method was the best choice bearing in mind that the industry does not have a trustworthy historical data, partially because of the technological innovation and chances on the consumption pattern, and the current events on the sector had resulted on unexpected turn a rounds on the industry´s development. Trough this work it has become possible to identify that it is expected from the government to take stronger measures to reprehend the music piracy and also that the recording organizations will eventually make their ways not only with CDs themselves but also with everything music related. Besides, digital music is not perceived as a threat, but in fact is expected to become a business and distribution opportunity for the music industry. Therefore, it has been possible to forecast the most likely future for the companies on the Brazilian music business, along with defining the variables that will indicate the structuring of this scenario.
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Macé, Pierre-Yves. "Phonographies documentaires : étude du document sonore dans la musique depuis les débuts de la phonographie." Paris 8, 2009. http://octaviana.fr/document/150240112#?c=0&m=0&s=0&cv=0.
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Depuis l’invention en 1877 du phonographe par Edison, il est devenu possible d'archiver ce qui jusqu'alors échappait à toute objectivation : les sons du dehors. Grâce à l'appareil technique, le son devient, sous sa forme enregistrée, un document, une trace, un témoignage du réel. À partir d’un choix d'exemples très divers empruntés à la musique contemporaine et à l'art sonore (Bernd Alois Zimmermann, Luigi Nono, Steve Reich, Luc Ferrari…), le présent travail étudie les conséquences de cette mutation sur le plan de l'esthétique musicale. Le document sonore est abordé comme "corps étranger" au sein de la structure autotélique du musical, un corps étranger qui ne cesse de faire signe vers le réel empirique : le moment t de la capture sonore. Le document affecte l'œuvre musicale dans sa supposée inaliénable autonomie, mais dans le même temps offre un terrain d’expression à une variété de pratiques jusqu'alors inédites dans le champ musicalSince 1877 and Edison's phonograph, it has become possible to archive the sounds of the outside real, which hitherto could not be objectified. A recorded sound can be considered the objective trace or document of a past event : a testimony of the empirical real. Through a bunch of examples chosen in contemporary music and sound art (Bernd Alois Zimmermann, Luigi Nono, Steve Reich, Luc Ferrari…), this thesis studies the consequences of this mutation on the aesthetic field. What is here called "sound document" is the "foreign body" which appears in a musical composition as a sign refering to the real, the very moment of the sound capture. This element affects the musical composition in its supposedly inalienable autonomy, yet at the same time offers a wide range of expressions for a variety of practices which were hitherto unfamiliar to the musical field
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Machado, Adelcio Camilo 1986. "Quem te viu, quem te vê = o samba pede passagem para os anos 1970." [s.n.], 2011. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284462.
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Orientador: José Roberto ZanDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
Made available in DSpace on 2018-08-19T07:43:25Z (GMT). No. of bitstreams: 1 Machado_AdelcioCamilo_M.pdf: 34560506 bytes, checksum: ff0682b1007467b2e1c3b0e9daee2274 (MD5) Previous issue date: 2011
Resumo: Depois de ter experimentado certa queda de popularidade ao final da década de 1960, o samba voltou a aparecer com grande força no mercado da música dos anos 1970, revelando uma série de novos artistas e figurando constantemente nas paradas de sucesso do período. Todavia, uma parte desse repertório veio acompanhada por juízos negativos de alguns críticos musicais, que a consideravam como expressão da "decadência" do samba, sobretudo da canção engajada da década anterior. A presente dissertação buscou estudar esse segmento do samba através da produção musical de Antonio Carlos e Jocafi, Benito di Paula e Martinho da Vila. Procurou-se perceber de que maneira esses artistas se posicionaram no campo musical daquele período, que tipo de relação estabeleceram com o repertório hegemônico, quais referenciais orientavam a legitimidade dos produtos musicais, e de que maneira sua produção se relaciona com as transformações políticas, econômicas e culturais que aconteceram na transição da década de 1960 para a de 1970
Abstract: After having experienced some drop in popularity in the late 1960s, samba reappeared with great strength in the music of the 1970s, revealing a series of new artists and constantly appearing on the charts of the period. However, a portion of this repertoire has been accompanied by negative judgments of some music critics, who considered it as an expression of samba "decadence", primarily the engaged song of the previous decade. This dissertation aimed to study this segment of samba through the musical production of Antonio Carlos and Jocafi, and Benito di Paula Martinho da Vila. We sought to understand how these artists positioned themselves in the musical field of that period, what kind of relationship they established with the hegemonic repertoire, which references guided the legitimacy of music products, and how its production was related to the political, economic and cultural changes that occurred in the transition from the 1960s to the 1970s
Mestrado
Fundamentos Teoricos
Mestre em Música
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Ortiz, Ceron Maria Carolina. "Paysage esthétique de l'installation sonore." Thesis, Paris 1, 2015. http://www.theses.fr/2015PA010566.
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On appelle installation sonore une forme d'art multimédia dans laquelle l'accent est mis en particulier sur l’aspect sonore, sans pour autant ignorer toutes les autres composantes qui constituent l’installation. Bien qu’elle soit une forme classée parmi les arts plastiques, l’installation sonore se rapporte plutôt à l’art sonore. En effet, l’art sonore se caractérise par la prééminence de l’usage du son comme moyen d’expression et comme préoccupation artistique (le grand nombre de manifestations, de blogs et de festivals d’art sonore en témoignent). Parmi les pratiques expérimentales ayant trait à l’art sonore, une nette préférence va à l’installation sonore et il semblerait qu’elle devienne une forme d’art en soi. On peut s’interroger sur la possibilité d’envisager ceci de cette manière. Dans cette thèse, il faut comprendre l’installation sonore comme une pratique artistique hétérogène, interdisciplinaire, expérimentale et hybride, pratique qu’on retrouve dans l’installation artistique en général. Cependant, on peut constater que des préoccupations reviennent souvent : la visualisation du son, la perception de l’espace à travers le sonore, l’écoute et sa relation avec la position et le déplacement du corps de l’auditeur. Afin de contribuer à une plus grande compréhension d’une culture sonore contemporaine qui est largement partagée, le propos de cette thèse est d’étudier les divers domaines auxquels l’installation sonore appartient et ceci à partir de plusieurs points de vue : historique, esthétique, culturel et médiatiqueSound installation is an inter media-based art form that draws particular attention to the component of sound, although not at the expense of its visual underpinnings. Considering that it is a form of art, sound installation refers to sound art, an area that requires separate recognition and independence among existing art forms, due to the use of sound as a means of expression as well as the current artistic preoccupation with it (as reflected in the growing number of sound art demonstrations, blogs and festivals).Among the different experimental practices within sound art, sound installation is clearly favored, thus it would appear that it is becoming an art form in itself. Could it be seen in this way? In this thesis, Sound Installation is viewed as a current art form connected to “Art installation”, a field with its own characteristics: heterogeneous, multi-disciplinary, experimental and hybrid. However, as a singular art form, it is a source of insight, which emerges repeatedly and is amplified by the exploration of both sound and sound perception; for example, sound imaging, the perception of space through sound, listening and its relationship to the position of the listener’s body in space. The purpose of this thesis is to approach the field in which Sound Installation belongs from different perspectives such as history, aesthetics, culture and media. With the question of how to conceptualize sound components always in mind, we intend to contribute to the understanding of an ever –growing contemporary culture of sound
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Salmon, Stéphanie. "Le coq enchanteur : Pathé, une entreprise pour l'industrie et le commerce de loisirs (1896-1929)." Paris 1, 2007. http://www.theses.fr/2007PA010586.
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Dédiée au phonographe et au cinématographe, deux attractions apparues à la fin du XIXe siècle, la Compagnie générale de Cinématographes, Phonographes et Pellicules (Pathé), créée en décembre 1897 à Paris, devient en moins de dix ans leader sur les marchés français et étrangers. Sa capacité à diffuser ses produits constitue à ce titre un modèle de l'excellence française au début du XXe siècle. Société de la seconde révolution industrielle, Pathé est un exemple d'étude des méthodes de gestion, de production et de commercialisation. Elle est à la fois une industrie de masse dans laquelle la recherche appliquée joue un rôle important et une firme qui imagine des marchés à l'origine de l'économie du cinéma. La complémentarité du Conseil d'administration et de la direction, mais aussi les enjeux de pouvoir, qui sont au cœur de la société anonyme dès ses débuts, créent une dynamique favorable à l'émergence d'une figure du patronat, Charles Pathé.
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Kang, Chang Il. "Les débuts du cinéma en Corée : entre projection et spectacle vivant." Thesis, Paris 8, 2018. http://www.theses.fr/2018PA080032.
Full textAbstract:
Cette recherche est une étude sur les débuts de l'histoire du cinéma en Corée des premières projections de films dans ce pays jusqu'en 1935, année pendant laquelle les Coréens ont commencé à produire des films parlants. Dans la première partie, nous avons étudié l’arrivée du cinéma en Corée, quand et par qui il a été introduit dans ce pays. Puis, quels films ont été vus par le public coréen et quels effets ils ont produits sur ce public.Dès les premiers temps du cinéma, chaque région du monde a essayé de surmonter les manques du film muet. Aussi, la deuxième partie s’intéresse à la particularité de la projection des premiers films muets en Corée. Le mot « spectacle cinématographique » se réfère, d’abord, à la représentation de films dans les premiers temps des débuts du cinéma. Le spectacle cinématographique sous-entend la possibilité d’un accompagnement supplémentaire, surtout sonore. En effet, les premiers films étaient « muets » et le moyen de mettre du son sur la pellicule n’avait pas encore été trouvé. De plus, souvent, il y avait aussi un concert ou un court spectacle secondaire (clown, bonimenteur, etc.) pendant, avant ou même après la projection des films. Cet ensemble autour de la projection de films représentait un véritable « spectacle cinématographique ». Nous avons étudié ce spectacle mixte présenté depuis 1919 à Séoul en Corée, et qui combine concert, projections de films, théâtre occidental moderne et boniment appelé Chosŏn Sinp'a Hwaltong Yŏnswaegŭk ou Chosŏn Kino-drama.Dans la troisième partie, nous avons présenté et analysé les données sur les films muets coréens dont nous avons pu retrouver les tracesThis research is a study of the history of cinema in Korea from the first motion pictures screenings until 1935, the year in which Koreans began making their talking films.In the first part, we study the arrival of cinema in Korea, when and by whom was the motion picture introduced in this country. Then, what films were seen by the Korean public and what effects they had on this audience. From the early times of cinema, the diverse regions of the world have tried to overcome the lack of the silent motion picture. The second part is focused on the specificity of the first silent motion pictures screenings in Korea. The Spectacle cinématographique can refer to the form of the representation of the motion pictures in the early days of cinema. The word Spectacle cinématographique implies the possibility of an additional accompaniment, especially the sound. The first films were "silent" and the way of putting sound on films had not been found yet. At that time, there was a concert or a short secondary show (clown, pitch, etc.) during, before or even after the screening of the films. We study the Spectacle cinématographique called Chosŏn Sinp'a Hwaltong Yŏnswaegŭk or Chosŏn Kino-drama which was presented since 1919 in Korea that combines the pitch, the concert, the modern western theater and the motion pictures screenings.In the third part, we report all the data concerning silent Korean films of which we still found the traces
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P, Bouliane Sandria. "L'impact de Herbert Berliner et Roméo Beaudry sur la structuration du champ de la phonographie populaire canadienne-française, 1918-1932." Thesis, Université Laval, 2006. http://www.theses.ulaval.ca/2006/24073/24073.pdf.
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Kang, Chang Il. "Les débuts du cinéma en Corée : entre projection et spectacle vivant." Electronic Thesis or Diss., Paris 8, 2018. http://www.theses.fr/2018PA080032.
Full textAbstract:
Cette recherche est une étude sur les débuts de l'histoire du cinéma en Corée des premières projections de films dans ce pays jusqu'en 1935, année pendant laquelle les Coréens ont commencé à produire des films parlants. Dans la première partie, nous avons étudié l’arrivée du cinéma en Corée, quand et par qui il a été introduit dans ce pays. Puis, quels films ont été vus par le public coréen et quels effets ils ont produits sur ce public.Dès les premiers temps du cinéma, chaque région du monde a essayé de surmonter les manques du film muet. Aussi, la deuxième partie s’intéresse à la particularité de la projection des premiers films muets en Corée. Le mot « spectacle cinématographique » se réfère, d’abord, à la représentation de films dans les premiers temps des débuts du cinéma. Le spectacle cinématographique sous-entend la possibilité d’un accompagnement supplémentaire, surtout sonore. En effet, les premiers films étaient « muets » et le moyen de mettre du son sur la pellicule n’avait pas encore été trouvé. De plus, souvent, il y avait aussi un concert ou un court spectacle secondaire (clown, bonimenteur, etc.) pendant, avant ou même après la projection des films. Cet ensemble autour de la projection de films représentait un véritable « spectacle cinématographique ». Nous avons étudié ce spectacle mixte présenté depuis 1919 à Séoul en Corée, et qui combine concert, projections de films, théâtre occidental moderne et boniment appelé Chosŏn Sinp'a Hwaltong Yŏnswaegŭk ou Chosŏn Kino-drama.Dans la troisième partie, nous avons présenté et analysé les données sur les films muets coréens dont nous avons pu retrouver les tracesThis research is a study of the history of cinema in Korea from the first motion pictures screenings until 1935, the year in which Koreans began making their talking films.In the first part, we study the arrival of cinema in Korea, when and by whom was the motion picture introduced in this country. Then, what films were seen by the Korean public and what effects they had on this audience. From the early times of cinema, the diverse regions of the world have tried to overcome the lack of the silent motion picture. The second part is focused on the specificity of the first silent motion pictures screenings in Korea. The Spectacle cinématographique can refer to the form of the representation of the motion pictures in the early days of cinema. The word Spectacle cinématographique implies the possibility of an additional accompaniment, especially the sound. The first films were "silent" and the way of putting sound on films had not been found yet. At that time, there was a concert or a short secondary show (clown, pitch, etc.) during, before or even after the screening of the films. We study the Spectacle cinématographique called Chosŏn Sinp'a Hwaltong Yŏnswaegŭk or Chosŏn Kino-drama which was presented since 1919 in Korea that combines the pitch, the concert, the modern western theater and the motion pictures screenings.In the third part, we report all the data concerning silent Korean films of which we still found the traces
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Dubé, Jacinthe. "Ducharme et Vian, phonographes du pornographe? : approche de l'esthétique de la transgression langagière dans "Le nez qui voque" et "L'automne à Pékin"." Thesis, Université Laval, 2012. http://www.theses.ulaval.ca/2012/29456/29456.pdf.
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Ce mémoire propose un parallèle entre deux figures centrales des mouvements de
transgression propres au XXe siècle, Boris Vian et Réjean Ducharme. Issu de l'interdiscursivit
et ducharmienne et de la fascination de Vian pour l'Amérique, ce croisement
d'imaginaires se veut une lecture accompagnée des parcours des deux auteurs et un
approfondissement de leurs afinités par l'entremise de deux romans, Le nez qui voque
et L'automne à Pékin. Sous l'égide de la transgression langagière, ces deux oeuvres
déploient une critique ludique des institutions et, plus largement, une critique de la
société de consommation et de la société du mérite. Cette mise à mal des systèmes
dominants prend pour bouc-émissaire l'écrivain commercial, que Ducharme se plaît à
qualifier de pornographe, et a pour arme un plurilinguisme désinvolte qui prend ses
racines dans la langue parlée, reléguant Ducharme et Vian au statut de phonographes.In this dissertation are analysed two major figures of the transgression that characterizes the 20th century, Boris Vian and Réjean Ducharme. This parallel is born of the interdiscursivity that is present in the work of Ducharme and of the fascination of Vian for America. It suggests a reading of their two imaginative worlds through the exploration of two novels, Le nez qui voque and L'automne à Pékin. In both works we see deployed, through transgressive language, a playful criticism of institutions and, more broadly, of consumer and meritocratic culture. The figure of the commercial writer, labelled as pornographer by Ducharme, acts as a scapegoat in this criticism, just as Ducharme's and Vian's multilingualism transforms them in phonographs who play with words and language with complete freedom.
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Cahn, Peter. "Phonographische Aufzeichnungen in Bartóks Niederschrift." Bärenreiter Verlag, 1998. https://slub.qucosa.de/id/qucosa%3A36809.
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Thoben, Jan. "Phonographische Ereignisse." Saechsische Landesbibliothek- Staats- und Universitaetsbibliothek Dresden, 2014. http://nbn-resolving.de/urn:nbn:de:bsz:14-qucosa-145869.
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Phonographische Wiedergabe und Kategorien der Performativität scheinen zunächst einander auszuschließen, hat sich doch die Präsenz einer musikalischen Darbietung längst verflüchtigt, wenn sie von einem Tonträger abgehört wird. Die Annahme, eine Tonaufnahme repräsentiere eine Aufführung, ist illusionistisch. Sie basiert auf der Idee eines bedeutungsgenerierenden Systems, welches der Wiedergabe den Anschein eines Abbildes verleiht, jedoch die Signalebene nicht betrifft.
Medien haben jedoch eine eigene Klanglichkeit, die Wahrnehmungsschwellen unterlaufen kann, aber gerade im Fall der Schallplatte hörbar ist. Darüber hinaus erzeugen die spezifischen Handlungsoptionen der Phonographie, etwa die Zeitachsenmanipulation, auditive Artefakte, die ausschließlich an ihr technisches Dispositiv gekoppelt sind. Der Aufführungscharakter dieser durch medientechnische Vorgänge erzeugten Klänge wird vor dem Hintergrund eines Urteils des Bundesfinanzhofs zur Besteuerung von DJ-Performances erläutert.
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Losso, Fabio Malina. "Os direitos autorais no mercado da música." Universidade de São Paulo, 2008. http://www.teses.usp.br/teses/disponiveis/2/2131/tde-28092009-082901/.
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A presente tese parte da constatação de que diversas crises nos direitos autorais impactaram o mercado da música, todas coincidentes com a introdução de novas tecnologias. Com o advento das tecnologias digitais de fixação de obras musicais e da internet, passou-se a questionar se o momento atual permite identificar uma autêntica crise no direito do autor e, a partir disso, como se pode refletir sobre as questões decorrentes das novas tecnologias que, fatalmente, são pensadas com as velhas normas e teorias. São linhas essenciais do trabalho: a) a criatividade musical e o impacto de diferentes tecnologias para sua fixação e distribuição; b) a criatividade musical e o reconhecimento e a proteção de direitos do criador; c) a inflexão entre os interesses do criador e os outros diversos sujeitos envolvidos na fixação e distribuição da obra artística musical ao lado do interesse dos destinatários; d) a pluralidade de soluções para definir os moldes dessa inflexão e as direções tomadas pelo direito brasileiro. Verifica-se, no decorrer do presente estudo, a existência de conflito de interesses entre o investidor cultural, o compositor e o consumidor, que se projeta no conflito entre os direitos autorais e o direito de acesso aos bens culturais. A conformação de ambos constitui um relevante desafio trazido pelos novos tempos da chamada \"sociedade da informação\", na qual a música digital está inserida.The present thesis parts from the affirmative that many crises in copyright impacted the music market, all coincident with the introduction of new technologies. With the advent of digital technologies for the fixation of musical works and of the intemet, it was questioned whether the present moment permits identification of an authentic crisis in copyright, and, from that, how is it possible to reflect about the issues due to the new technologies that, fatally, are thought according to old laws and theories. The essential guidelines of the thesis are: a) musical creativity and the impact of different technologies for its fixation and distribution; b) musical creativity and the acknowledgement and copyrights protection; c) the inflexion between the author\'s and other people\'s, who are involved in the fixation and distribution of artistic musical works, interests contrasted with the interests of the addressees; d) the plurality of solutions to define the molds of this inflexion and the directions taken by Brazilian law. It is verified, throughout the present study, the existence of a conflict of interests between the cultural investor, the composer and the consumer, that projects itself on the conflict between copyrights and the right to access cultural assets. The conformation of both constitutes a relevant challenge brought by the new times of what is called \"information society\", in which digital music is inserted.
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De, carvalho Leandro. "Abordagem discursiva da ação pública : análise da transformação da crise na indústria fonográfica em problema público." Thesis, Sorbonne Paris Cité, 2017. http://www.theses.fr/2017USPCD001/document.
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Face à la chute brusque dans le volume de ventes de disques qui déjà persistait depuis ledébut des années 2000, les sociétés du secteur phonographique brésilien ont fait appelau Pouvoir Législatif Brésilien dans la tentative de dépasser la crise qui affrontaient.L'instrument d'interaction entre l'État et le secteur phonographique a été la Propositiond'Amendement Constitutionnel (PEC), qui a eu transaction initiée en 2007. Laproposition connue comme PEC de la Musique a été approuvé en 2013 et, commeconséquence, l'industrie phonographique brésilienne a été incluse entre petit grouped'activités sociales et culturelles qui reçoivent immunité fiscale enregistrée directementdans la Constitution Fédérale. Devant ce contexte, l'objectif central de cette recherche aété enquêter quelles conditions sont déterminant pour qu'une crise sectorielle soitcomprise comme un problème public qui justifie de l'intervention de l'État. Commeoption théorique-méthodologique, ce travail a proposé l'Approche Discursive del'Action Publique, en réunissant les conceptions d'État et des acteurs de la Sociologie del'Action Publique, ainsi que les conceptions de langue et le sujet de l'Analyse deDiscours Française. Les principaux matériels d'analyse ont été la Propositiond'Amendement Constitutionnel 98/2007 et les transcriptions des audiences publiquesqui ont débattu le thème, au-delà des documents historiques qui ont été utilisés pourreconstruire partie des moments de consolidation du modèle d’affaires de l'industriephonographique. Pour comprendre comme s'il construit l'approbation de PEC de laMusique, cette recherche a initialement analysé historicité du discours qui a établi et aconsolidé le modèle d’affaires de l'industrie phonographique. Ensuite, en deuxièmepartie du travail, ont été analysés les réseaux de formulation qui ont soutenu lesglissements de sens exposés au moment de discussion. Donc, cette recherche prouveque deux facteurs ont contribué au succès en la transformation d'une crise sectorielledans problème public : en premier lieu, le joint des mémoires discursives quisuggéraient une relation directe et indiscutable entre musique et le marché de lamusique, en effaçant que cette forme d'appropriation de la musique a été construite àpartir d'une technologie contrôlée par un groupe petit de sociétés et que l'intermédiationentre des artistes et de l'audience s'est donnée dans environnement où les sociétés plusgrand pouvoir de financier contrôlaient l'exposition des productions et les artistes pourle grand public ; et, en deuxième lieu, l'utilisation minutieuse des glissements de senspendant les moments d'audience, qui a rendu possible de généraliser les effets de lacrise, en convainquant que la fin du modèle d’affaires représentait la fin de laproduction musicale au Brésil et que les principaux endommagés par la piraterie étaientles artistes brésiliens en généralIn the face of the sharp fall in the record sales amount that had persisted since thebeginning of the 2000s, companies in the Brazilian music sector turned to the BrazilianLegislative Branch in an attempt to overcome the crisis they faced. The instrument ofinteraction between the State and the phonographic sector was one ConstitutionalAmendment Proposal (PEC, initials in Portuguese), which began its procedures in 2007.The proposal known as “Music PEC” was approved in 2013 and, as a consequence, inBrazil the music industry was included among the small group of social and culturalactivities that receives fiscal immunity, directly registered in the Federal Constitution. Inview of this context, the main objective of this research was to investigate whatconditions are determinant for a sectoral crisis, such to be understood as a public issuethat justifies State intervention. As a methodological-theoretical option, this workproposed the Discursive Approach of Public Action, bringing together the Stateconceptions and actors of the Public Action Sociology, as well as the language andsubject conceptions from French Discourse Analysis. The main analysis materials werethe Constitutional Amendment Proposal 98/2007 and the transcriptions from the publichearings that debated the theme, as well as historical documents that were used toreconstruct part of the moments from the music industry business model consolidation.To understand how the approval of the Music PEC was built, this research initiallyanalyzed the discourse historicity that founded and consolidated the music industrybusiness model. Then, in the second part of the work, we analyzed the formulationnetworks that sustained the sense displacements exposed in the discussion moments.Therefore, this research shows that two factors contributed to the successfultransformation of a sectoral crisis into a public issue: first, the articulation of discursivememories that suggested a direct and indisputable relationship between music and themusic market, erasing that this music appropriation way was constructed from atechnology controlled by a small group of companies, and that the inter mediationbetween artists and audience occurred in an environment in which these greaterfinancial power companies controlled the productions and artists exhibition to thegeneral public; and, secondly, the meticulous use of sensory displacements duringmoments of audience, which made it possible to generalize the crisis effects, convincingthat the end of the business model represented the end of musical production in Braziland that the main affected by piracy were, in general, the Brazilian artists and, therefore,that the PEC approval was unavoidable
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Prado, Gustavo dos Santos. "A verdadeira Legião Urbana são vocês (1985-1997)." Pontifícia Universidade Católica de São Paulo, 2012. https://tede2.pucsp.br/handle/handle/12753.
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The present dissertation attempts to investigate the thematic deployments within Legião Urbana‟s work, as well as the process of reception of this work, by the public of this Brasilia‟s band. With such aims, the research creates an academic discussion, gathering information also from the existing literature investigating the Brazilian rock and roll of the 80‟s, which, in fact, attributes the repercussion of this style to producers and recording companies. Such analysis, of a merchandised, aesthetical and journalistic nature, interpret the rock and roll movement in a static way, with no malleability or stresses, as if the above referred agents would have maintained the bands fully submitted to their intentions. Under such point-of-view, rock and roll groups would have offered no resistance to the impositions of those agents. In the studies performed under such perspective, a secondary role is attributed to the public who identified itself with the style, in the process of electronic music diffusion. However, the present dissertation, guided by the previously mentioned aims, and also by the theoretical assumptions of the cultural studies, goes after other interpretations. For this, it will discuss the participation of some youth movements in rock and roll issues, throughout the second half of the 20th Century - this being a necessary dialogue, face to the association of this musical style and the youth, an inherent factor to Renato Russo‟s trajectory, in Brasília, where his contacts with the punk culture, his social circle and the creation of garage bands have led to the arising of Legião Urbana. Subsequently, the research analyzes the experience of the Group within the phonographic market and the media, observing the stresses that the band was forced to cope, in order to keep active within the cultural assets market. After this initial path, the dissertation tries an interpretation, among different possible ones, regarding to the continuities and changes occurred in the studio discography of the group. This interpretation, by exposing fragments of Renato Russo‟s vision of the world, strongly addressed to the youth of his time, enables to discuss the consumption and reception of his songs by a parcel of his public, in middle of a bunch of possibilities in place, in the daily existence of the band. The sources used by the research are Renato Russo‟s interviews, songs, and images contained in all the studio albums, plus verbal testimonies of people who were young in the 80‟s and 90‟s, and who have followed the career of these young men from Brasília. The work with such diversity of sources, besides to question the stiffness imposed by part of the literature about the Brazilian rock and roll, opens new ways to some interpretative paths, whether for an analysis of Legião Urbana‟s work, or to analyze the reception and consumption processes, by their public
Esta dissertação procura investigar os desdobramentos temáticos existentes na obra da Legião Urbana, assim como o processo de recepção pelo público da banda brasiliense. Com esses objetivos, a pesquisa realiza um debate acadêmico, recorrendo inclusive a uma parcela da literatura que investiga o rock nacional dos anos 80 e que credita a repercussão do estilo, somente, a produtores e gravadoras. Essas análises de cunho mercadológico, estético e jornalístico interpretam o movimento roqueiro de forma estática, sem maleabilidade e tensões, sendo que os agentes supracitados, supostamente, teriam mantido as bandas totalmente submissas às suas pretensões. Sob esse ponto de vista, os grupos de rock não teriam oferecido nenhuma resistência às imposições advindas daqueles agentes. Nos estudos realizados sob essa perspectiva, ao público que se identificou com o estilo é atribuído papel secundário no processo de difusão da música elétrica. Todavia, a presente dissertação, possuindo em seu horizonte os objetivos citados, bem como os pressupostos teóricos dos estudos culturais, vai em busca de outras interpretações. Para tanto, discute-se a participação de alguns movimentos juvenis em torno do rock, ao longo da segunda metade do século XX, sendo que tal diálogo é considerado necessário haja vista a associação do estilo musical com a juventude, que foi inerente à trajetória de Renato Russo, em Brasília, onde seus contatos com a cultura punk, seu círculo social e a formação de bandas de garagem culminaram no surgimento da Legião Urbana. Posteriormente, a pesquisa analisa a experiência do grupo dentro do mercado fonográfico e da mídia, observando as tensões que a banda foi obrigada a enfrentar para manter-se ativa no mercado de bens culturais. Após esse percurso inicial, a dissertação busca uma interpretação, entre várias possíveis, no que tange às continuidades e mutações que existiram na discografia do grupo produzida em estúdio. Essa, ao exclamar fragmentos da visão de mundo de Renato Russo, com forte direcionamento à juventude de seu tempo, permite à pesquisa discutir o consumo e a recepção de suas canções, por uma parcela de seu público, em meio a um conjunto de possibilidades oferecidas no cotidiano. As fontes utilizadas são entrevistas de Renato Russo, músicas e imagens contidas em todos os álbuns gravados em estúdio e depoimentos orais dos sujeitos que eram jovens durante os anos 80 e 90 e que acompanharam a carreira dos jovens de Brasília. O lavor com essa diversidade de fontes, além de problematizar a rigidez imposta por parte da literatura do rock nacional, abre caminho para algumas vias interpretativas, seja para a análise da obra da Legião Urbana, seja para exame dos processos de recepção e consumo realizados pelo seu público
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Pisano, Giusy. "Interférences entre son et image : un siècle de recherches avant le cinéma parlant." Paris 3, 1999. http://www.theses.fr/1999PA030144.
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Pendant un siecle de recherches scientifiques, une poignee d'experimentateurs travaillent a la captation du mouvement sonore et visuel. Le croisement des travaux effectues dans le domaine de l'acoustique, l'optique, la physiologie et la physique permettront d'aboutir a la realisation de deux appareils : le phonographe et le cinematographe.
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Lorenz, Hans Christopher. "Zeit-Kritik als Form der Templation durch Medien des 21. Jahrhunderts." Doctoral thesis, Humboldt-Universität zu Berlin, Kultur-, Sozial- und Bildungswissenschaftliche Fakultät, 2015. http://dx.doi.org/10.18452/17149.
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Wie können Theodor W. Adornos medienkritische Thesen – als wohl prominentester Beitrag gilt das in Zusammenarbeit mit Max Horkheimer entstandene Kapitel „Kulturindustrie. Aufklärung als Massenbetrug (1944)“ – in ihrer Gesamtheit mit heute auf Basis algorithmischer Transformationen prozessierenden zeitkritischen Medien in Bezug gesetzt werden? Wo lässt sich der Begriff der „Manipulation“ erweitern, oder neu verorten, wenn Mediensysteme als „nicht-menschliche Akteure“ (Bruno Latour) im mikrotemporalen Bereich prozessieren, entscheiden und im technikepistemologisch orientierten medienwissenschaftlichen Diskurs eine Akzentverschiebung und gar Aktualisierung des Begriffs „Medien-Kritik“ beziehungsweise „Zeit-Kritik“ anregen? Und mit welchen Abhandlungen hat womöglich Adorno selbst bereits ein Denken eröffnet hinzu der Erörterung von Funktions- und Zeitwe(i)sen von Medien als Basis von Manipulation menschlicher Wahrnehmung auf subliminaler Ebene?How can the aggregate of Theodor W. Adornos media-critical hypotheses be relativised to todays time-critical media which effect processes on the basis of algorithmic transformations – the most prominent contribution arguably being constituted by the chapter “The Culture Industry. Enlightenment as Mass Deception” (1944), formulated in collaboration with Max Horkheimer? Within which sphere can the concept of “manipulation” be expanded, or re-contextualised, if media systems – essentially “non-human actors” (Bruno Latour) – effect processes and decisions in the micro-temporal sphere and, thus, trigger a shift in emphasis and a re-definition of the concept of “critique of media” or “critique of time” even within technologically and epistemologically orientated scholarly media discourse? And which are the treatises by means of which Adorno may have himself already opened up a school of thought, supplementing the debate on the methods (and systems) of media functioning and media-specific temporal considerations as the basis for the manipulation of human perception at a subliminal level?
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Lundström, Lars. "Reading Difficulties and the Twofold Character of Language : How to Understand Dyslexia." Doctoral thesis, Uppsala University, Department of Psychology, 2004. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-4679.
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The present longitudinal study, which comprised 125 children from Grade 2 (typal age: 8) to Grade 6 (typal age: 13), examines and interprets the results of several decoding and reading comprehension tests. A point of departure is the proposition that there may be a lack of concepts about central questions that help interpret the results of an expanding test practice in the educational system. To construct the central questions the typologies and hypothetical causes of reading problems ought to be constrained in relation to explanatory constructs combining reading acquisition and reading difficulties.
First, the field of research on reading acquisition and reading difficulties was surveyed as a background to the presentation of the model, which is heavily indebted to and basically molded on the balance model but which also takes advantage of the proposition of combining the double-route and connectionist approaches.
Second, the following themes were investigated empirically:
– The predictive power of the tests: Generally, there seem to be almost as accurate predictions from Grade 2 as from Grade 3. A combined decoding-comprehension prediction was not shown to be more powerful as a product than as a linear combination.
– The possibility of an image/symbol transition in early reading acquisition: A weak image/letter decoding correlation distinguished boys weak in reading comprehension from all others in Grade 3; a weak letter/word decoding correlation distinguished those weak from those strong in reading comprehension regardless of gender in Grades 2 and 3; and a weak image/word decoding correlation distinguished boys from girls in Grade 2.
– Indications of stages in the development of reading: The conclusion is that orthographic decoding is more strongly related to reading comprehension than is phonologic decoding but there appears to be a parallel development of phonologic and orthographic decoding between Grades 3 and 6. This pattern seems to be the same for boys and girls and for those with low and high reading comprehension.
– Comparing subtypes: The surface/phonologic dyslexia distinctions were tentatively related to the linguistic/perceptual dyslexia distinctions and the letter/word-decoding screening instrument. The compensatory concept is questioned.
– Dimensions in reading acquisition and reading difficulties: A conclusive proposition of the study is that the hypothetical twofold metaphor/metonym character of language may be instrumental in analysing the complex interaction between the characteristic traits of the learning brain and the construction of meaning through script.
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Sonoda, Andre Vieira. "Processos fonográficos e música de tradição oral em Pernambuco." Universidade Federal da Paraíba, 2008. http://tede.biblioteca.ufpb.br:8080/handle/tede/6624.
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Throughout the twentieth century audio technology has contributed greatly to the development of ethnomusicology. Initially with the creation of the phonograph and techniques of sound recording, enabling the development of phonographic archives and later with creation of technologies that provide better sound quality, lower cost and more appropriate concepts to new paradigms of the discipline, even knowing that until the middle of the twentieth century ethnomusicology not had this name, scientific approach or methodological orientation. Despite the important contribution of audio technology for ethnomusicology, seem that phonographic processes can influence the results of acoustic musical traditions recorded. This study attempts to understand how different concepts and procedures of production music can influence the acoustic outcome of the sound recordings and, consequently, the musical-aesthetic structure of events transmitted by oral tradition in the state of Pernambuco. Thus, it is composed of bibliographic research on the main scientific productions of audio technology in ethnomusicology, field research with techniques of interviews, questionnaires and direct observation of contexts and important people in music production and oral tradition music in the State. Another important aspect for research was the experience gained over many years of work in ethnomusicology and audio technology, in addition to daily work in the Centro de Difusão e Realizações Musicais SESC - Casa Amarela (PE - Brasil) aimed mainly to Brazilian classical music and Brazilian oral tradition music. This study showed that the phonographic production process can influence the acoustic outcome of oral tradition music, providing differences between the sound of performance context and the sound recorded on media. Inappropriate concepts for the production of this type of music seems to contribute, indirectly, to the occurrence of changes in social structures of these events. Thus, the phonographic processes constitute an important topic of study for ethnomusicology calling attention to issues of changes in music after a production process beyond show gaps in the discipline about issues of power and relevance related to music production. Finally, it was possible to conclude that physical or conceptual factors in the production process of the oral tradition music influence it, sometimes in irreversible form in both artistic and cultural as socio-political and philosophical point of view.
Durante todo o século XX a tecnologia de áudio contribuiu muito para o desenvolvimento da etnomusicologia. Inicialmente com a criação do fonógrafo e de técnicas de registro sonoro, possibilitando o desenvolvimento dos arquivos fonográficos e, posteriormente, com a crição de tecnologias que apresentassem melhor qualidade sonora, menor custo e conceitos mais adequados aos novos paradigmas da disciplina, mesmo sabendo que até meados do século XX a etnomusicologia não apresentava esta denominação, orientação metodológica ou abordagem científica. Apesar da importante contribuição da tecnologia de áudio para a etnomusicologia, observa-se que os processos fonográficos podem influenciar os resultados acústicos de tradições musicais gravadas. Este trabalho busca compreender como diferentes conceitos e procedimentos de produção fonográfica podem influenciar o resultado acústico dos fonogramas e, conseqüentemente, a estrutura estético-musical de manifestações transmitidas por tradição oral no Estado de Pernambuco. Para tanto, é composto de pesquisa bibliográfica sobre as principais produções científicas em tecnologia de áudio na etnomusicologia, pesquisa de campo com técnicas de entrevistas, questionários e observação direta de contextos e pessoas importantes da produção musical e da música de tradição oral no Estado. Outro aspecto importante para a realização da pesquisa foi a experiência adquirida ao longo de alguns anos de trabalho em etnomusicologia e tecnologia de áudio, além do trabalho diário no Estúdio do Centro de Difusão e Realizações Musicais do SESC - Casa Amarela (PE - Brasil), voltado, principalmente, para música erudita brasileira e música brasileira de tradição oral. Este trabalho demonstrou que o processo de produção fonográfica pode influenciar os resultados acústicos de manifestações de tradição oral, propocionando diferenças entre a sonoridade do contexto de performance e a sonoridade da mídia. Assim, conceitos impróprios para a produção deste tipo de música parecem contribuir, indiretamente, para a ocorrência de mudanças nas estruturas sociais destas manifestações. Dessa forma, os processos fonográficos representam um importante tópico de estudos para a etnomusicologia alertando para questões de mudanças na música após um processo de produção, além de evidenciar lacunas na disciplina sobre questões de poder e pertinência relacionadas à produção musical. Finalmente, foi possível concluir que fatores físicos ou conceituais do processo de produção da música de tradição oral a influenciam, por vezes, de forma irreversível tanto do ponto de vista artístico-cultural quanto sócio-político e filosófico.