Dissertations / Theses on the topic 'Processeurs vocaux'

Cette thèse explore le développement et la caractérisation du processeur HARV et de sa version HARV-SoC, spécifiquement conçus pour fonctionner dans des environnements hostiles. Elle commence par mettre en évidence les défis posés par les environnements hostiles, en particulier l'impact des radiations sur les dispositifs et systèmes électroniques. La thèse classe les environnements hostiles en environnements spatiaux, atmosphériques et artificiels, chacun ayant ses caractéristiques uniques.Dans les environnements de radiations artificielles, différentes installations expérimentales sont décrites, fournissant différents spectres de particules, notamment des neutrons, des protons et des champs mixtes. La thèse se penche sur les effets des radiations sur les dispositifs électroniques, couvrant les effets cumulatifs tels que la dose ionisante totale (TID) et les dommages par déplacement (DD), ainsi que les événements uniques entraînant des erreurs et des défaillances système.La recherche introduit l'architecture d'ensemble d'instructions (ISA) RISC-V en tant qu'architecture de processeur largement adoptée, connue pour son format d'instruction régulier, son décodage d'instructions économique et sa flexibilité modulaire. La thèse souligne l'importance de la fiabilité dans l'utilisation des processeurs dans des environnements hostiles et discute des techniques de détection et de correction d'erreurs, notamment la redondance spatiale, temporelle et informationnelle.Reconnaissant l'utilisation croissante des processeurs RISC-V dans des applications critiques, la thèse propose un résumé des travaux connexes, positionnant HARV-SoC dans le contexte des derniers développements. Elle se penche ensuite sur la mise en œuvre de HARV, la version initiale du processeur, mettant en avant la tolérance aux fautes au niveau de la microarchitecture. La protection des registres à l'aide de codes correcteurs d'erreurs et de la redondance modulaire triple est mise en évidence.Les travaux se poursuivent avec le développement d'un SoC à architecture multi-cycles, permettant des applications plus complexes tout en conservant des périphériques essentiels. Des simulations d'injection de fautes sont réalisées pour analyser de manière exhaustive les modèles de fautes. Pour préparer HARV-SoC aux expériences dans les accélérateurs de particules, des mécanismes d'observabilité sont introduits, permettant une analyse détaillée des erreurs au sein du processeur, en particulier avec les radiations neutroniques.Reconnaissant les limites des compteurs d'erreurs, un gestionnaire d'erreurs est mis en œuvre pour stocker temporairement des informations sur les erreurs détectées. Ces informations sont signalées aux applications via des exceptions, facilitant l'analyse détaillée des erreurs et les réponses. La conception est soigneusement caractérisée et évaluée dans le cadre d'expériences impliquant différents environnements de radiations.L'analyse s'étend aux tests des systèmes d'exploitation et à l'utilisation de techniques de récupération logicielle. En conclusion, la thèse offre une exploration complète des processeurs tolérants aux radiations pour les environnements hostiles, fournissant des informations précieuses et des techniques pour améliorer la fiabilité et les performances du système dans des situations exigeantes
This thesis explores the development and characterization of the HARV processor and its HARV-SoC version, specifically designed for operation in harsh environments. It begins by highlighting the challenges posed by harsh environments, particularly the impact of radiation on electronic devices and systems. The thesis categorizes harsh environments into space, atmospheric, and artificial radiation environments, each with its unique characteristics.In the artificial radiation environments, various experimental facilities are described, which provide different particle spectra, including neutrons, protons, and mixed fields. The thesis delves into the radiation effects on electronic devices, covering cumulative effects like total ionizing dose (TID) and displacement damage (DD), as well as single events leading to errors and system failures.The research introduces the RISC-V Instruction Set Architecture (ISA) as a widely adopted processor architecture known for its regular instruction formatting, cost-effective instruction decoding, and modular flexibility. The thesis emphasizes the importance of reliability in using processors in harsh environments and discusses techniques for error detection and correction, including spatial, temporal, and information redundancy.Acknowledging the increasing use of RISC-V processors in critical applications, the thesis summarizes related work, positioning HARV-SoC in the context of the latest developments. It then delves into the implementation of HARV, the initial version of the processor, emphasizing microarchitecture-level fault tolerance. Register protection using error-correcting codes and triple modular redundancy is highlighted.The work extends to developing an SoC with a multi-cycle architecture, allowing for more complex applications while maintaining essential peripherals. Fault injection simulations are conducted to analyze fault models comprehensively. Observability mechanisms are introduced to prepare HARV-SoC for experiments in particle accelerators, enabling a detailed analysis of errors within the processor, particularly with neutron radiation.Recognizing the limitations of error counters, an error handler is implemented to temporarily store information about detected errors. This information is reported to applications through exceptions, facilitating detailed error analysis and responses. The design is thoroughly characterized and evaluated in experiments involving various radiation environments.The analysis expands to testing operating systems and using software recovery techniques. In conclusion, the thesis comprehensively explores radiation-tolerant processors for harsh environments, providing valuable insights and techniques to enhance system reliability and performance in challenging scenarios

Thèse (M. Ing.)--École de technologie supérieure, Montréal, 2004.
"Mémoire présenté à l'École de technologie supérieure comme exigence partielle à l'obtention de la maîtrise en génie électrique". Bibliogr.: f. [164]-167. Également disponible en version électronique.

Un algorithme de détection d'activité vocale (VAD) est un algorithme capable de discriminer entre les régions où la parole est absente dans le signal vocal analysé. Le VAD est un module important utilisé dans une large gamme d'applications dans le domaine du traitement de la parole comme la reconnaissance, la transmission ou le rehaussement de la parole. La nature non-stationnaire ainsi que la grande variété de signaux vocaux et de bruits de fond dans les conditions où on n'a pas d'informations a priori sur la nature ou le niveau du bruit rendent ce problème difficile spécialement dans le cas d'un faible rapport signal bruit RSB. Bien que le problème de détection d'activité vocale ait été étudié depuis plusieurs décennies, une solution optimale ne s'est pas encore imposée. De nombreux algorithmes qui utilisent une large gamme de paramètres, certains d'entre-eux présentés dans cet ouvrage, ont été proposés pour répondre aux problèmes pratiques rencontrés. Dans cet ouvrage on a implémenté sur le processeur numérique de signal TMS320C7611 un nouvel algorithme robuste de VAD qui utilise le concept d'analyse court-terme. La décision pour chaque trame de signal est fournie en temps-réel. Les distorsions spectrales, par rapport au spectre du bruit de fond, sont assimilées à des régions de parole et sont évaluées à l'aide de deux paramètres: le coefficient de corrélation spectrale et la moyenne de RSB de sous-bandes. Le filtrage médian et une approche statistique originale sont utilisés pour la détection robuste des régions de parole. Pour évaluer les performances de l'algorithme proposé, on a utilisé un signal vocal de test complexe qui présente plusieurs régions de parole et de silence, corrompu avec plusieurs types de bruits réels dans le cas de trois RSB différentes. Les résultats de tests montrent le comportement robuste de l'algorithme proposé.

Synthetic, self-oscillating vocal fold (VF) models are physical models whose life-like vibration is induced and perpetuated by fluid flow. Self-oscillating VF models, which are often fabricated life-size from soft silicone elastomers, are used to study various aspects of voice biomechanics. Despite their many advantages, the development and use of self-oscillating VF models is limited by the casting process used to fabricate the models. Consequently, this thesis focuses on the development of 3D printing processes for fabricating silicone VF models. A literature review is first presented which describes three types of material extrusion 3D printing processes for silicone elastomers, namely direct ink writing (DIW), embedded 3D printing, and removable-embedded 3D printing. The review describes each process and provides recent examples from literature that show how each has been implemented to create silicone prints. An embedded 3D printing process is presented wherein a set of multi-layer VF models are fabricated by extruding silicone ink within a VF-shaped reservoir filled with a curable silicone support matrix. The printed models successfully vibrated during testing, but lacked several desirable characteristics which were present in equivalent cast models. The advantages and disadvantages of using this fabrication process are explored. A removable-embedded 3D printing process is presented wherein shapes were fabricated by extruding silicone ink within a locally-curable support matrix then curing the silicone ink and proximate matrix. The printing process was used to fabricate several geometries from a variety of silicone inks. Tensile test results show that printed models exhibit relatively high failure strains and a nearly isotropic elastic modulus in directions perpendicular and parallel to the printed layers. A set of single-material VF models were printed and subjected to vibration testing. The printed models exhibited favorable vibration characteristics, suggesting the continued use of this printing process for VF model fabrication. A micro-slicing process is presented which is capable of creating gcode for 3D printing multiple materials in discrete and mixed ratios by utilizing a previously-sliced single-material shape and a material definition. An important advantage of micro-slicing is its ability to create gcode with a mixed-material gradient. Initial test results and observations are included. This micro-slicing process could be used in material extrusion 3D printing

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The creation processes of interpretation performed by singers-performers within the Western classical music constitute the subject of this work. We investigated the hypothesis that their work has the dimension of creation as transcreation being constituted by it in instances of relational communication as well, we address the problem of its theoretical and methodological description and interpretation. We aimed to highlight aspects of those significant theoretical and critical processes, their connections to create relational networks. The process of creating the vocal interpretation are incommunicable, restricted to only those who develops, associated to the idea of musical performance that does not include the aspect of creation. This thesis aims to contribute in reversing this situation increasing the methodological bias that in musicology, has privileged hearing recordings and also increase knowledge about these processes, configuring the vocal Interpretation in their processuality creative networks. The methodology and theoretical framework taken as support in the Critical Process Networks and Creation in the work of Cecilia Salles, were called to the dialogue with aspects of Peirce's theory of perception, the concept of the biosemiotics Umwelt developed by J. Von Uexküll and Vincent Colapietro on semiotic self. Urged still on reciprocity as relational instance, were still connected the concepts of miscegenation or mestizaje in the work of Amalio Pinheiro, Laplantine & Nouss and aspects of the theory of ecological perception of James Gibson. Creation and transcreation yet been discussed in connection to the work of Haroldo de Campos. The material obtained in interviews with the sopranos Adelia Issa, Rosana Lamosa, Ruth Staerke, the tenor Fernando Portari and the bass-baritone Licio Bruno, performers-singers active in Brazil and international musical circle, were developed to describe and analyze theoretical and critical job creation procedural performers-singers, systematizing instances of their creative processes. The perceptual dimension of sensation was evident recurrently correlated to the instance chamber music referenced in vocal and scenic subtleties
Os processos de criação da interpretação, realizados pelos intérpretes-cantores no âmbito da música erudita ocidental, constituem-se no tema desta pesquisa. Investiga-se a hipótese de que seu trabalho possui a dimensão da criação como transcriação sendo por ela constituído em instâncias de comunicação relacionais, bem como, abordamos o problema de sua descrição e interpretação teórico-metodológica. Objetiva-se evidenciar aspectos teórico-críticos significativos daqueles processos, suas conexões em redes de criação relacionais. Os processos de criação da interpretação vocal se encontram em situação de incomunicabilidade, restritos apenas a quem os desenvolve, associados à ideia de execução musical que não contempla o aspecto da criação. Esta tese busca contribuir na reversão de tal situação, ampliando o viés metodológico que, na musicologia, tem privilegiado audição de gravações e ainda, ampliar o conhecimento acerca desses processos, configurando a Interpretação vocal em sua processualidade em redes criativas. À metodologia e referencial teórico tomados como sustentação na Crítica de Processos e Redes da Criação na obra de Cecilia Salles, foram chamados ao diálogo aspectos da teoria da percepção peirceana, o conceito de Umwelt da biosemiótica desenvolvido por J. Von Uexküll e self semiótico em Vincent Colapietro. Instados ainda na reciprocidade como instância relacional, foram conectados os conceitos de mestiçagem na obra de Amálio Pinheiro, Laplantine & Nouss e aspectos da teoria da percepção ecológica de James Gibson. Criação e transcriação foram discutidos ainda, em conexão com a obra de Haroldo de Campos. Do material obtido nas entrevistas realizadas com as sopranos Adelia Issa, Rosana Lamosa, Ruth Staerke, o tenor Fernando Portari e o baixo-barítono Licio Bruno, intérpretes-cantores atuantes no meio musical brasileiro e internacional, foram desenvolvidos tópicos de descrição e análise teórico-crítica do trabalho processual de criação dos intérpretescantores, sistematizando instâncias de seus processos criativos. A dimensão perceptiva da sensação se evidenciou de modo recorrente, correlacionada à instância da música de câmara referenciada em sutilezas vocais e cênicas

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Esse trabalho investiga o processo de educar a voz de bailarinos contemporâneos por meio da educação corporal e vocal. Problematiza a questão vocal e busca entender o ensino da dança e da música que, historicamente desmembrou o corpo de quem aprende. Relaciona a essa problematização à formação na dança contemporânea com todos os desafios relacionados à manutenção da dominação masculina. Reconstrói a trajetória histórica da dança, entrelaçando-a com questões de gênero que trazem alguns conceitos como: a educação do corpo como processo do movimento e as questões da sexualidade interpretadas na dança como sentimentos eróticos. Além desse estudo teórico, a dissertação compõe dois ensaios: o primeiro inaugura um entre-ato por meio de uma análise sobre o V capítulo da obra de Rousseau (1712- 1778), "Emílio ou Da Educação, propondo uma possível dança entre Emílio e Sofia. E o segundo ensaio diz respeito a gravação com bailarinas e cantores exercitando o uso do corpo e da voz simultaneamente a fim de perceber os processos implicados nessa articulação. A dissertação aponta para uma nova linguagem e uma pedagogia da união entre a dança e a voz: artes essencialmente do corpo. É possível uma união entre as duas artes, destacando a questão da voz, bem como as questões do corpo como um todo.
This work investigates the process of educating the voice of contemporary dancers through vocal and body movement education. It seeks to understand how teaching dance and music historically disassociate itself from the body of the learner. Related to this question of contemporary dance training methods is also the question of gender roles and in particular that of male dominance. This thesis examines the historical trajectory of dance, weaving in issues of gender in relation to concepts such as education of the body, and the process of movement, as well as the topic of sexuality and how dance is often interpreted in terns of erotic feelings. This theoretical study looks at two essays in depth: the first is an analysis of Rousseau’s Chapter V (1712 - 1778), "From Emile, or Education, proposing a possible dance between Emilio and Sofia. The second essay is concerned with recording dancers and singers who train to use their body and voice simultaneously and aim to understand the processes involved that connect these two forms. This paper points to a new language and pedagogy that highlights the relationship and union between dance and voice, and the body as an art.

Magdalena Lébeis registrou sistematicamente em seis cadernos de aulas, durante um período compreendido entre 1937 e 1955, as 1006 aulas de canto que fez com Vera Janacópulos. Este trabalho traz a transcrição completa dos manuscritos do vol. 1 dos Cadernos de Aulas de Canto de Magdalena Lébeis. Propõe análises iniciais a propósito da abordagem, tanto de Lébeis, quanto de Janacópulos, de elementos técnicos e interpretativos no estudo do canto, contidos no relato sistemático, de próprio punho, de Lébeis, utilizando diferentes fontes da bibliografia sobre pedagogia vocal e especialmente os conceitos expressos por Richard Miller. Procurou-se também contextualizar o desenvolvimento da carreira de Lébeis nas questões sócio-musicais que orbitavam no cenário musical paulistano, durante os anos contemplados pelo depoimento manuscrito de Magdalena Lébeis. Optou-se pela não sistematização das análises, por se entender que seriam necessárias ferramentas de análise adequadas, cujo desenvolvimento pertenceria a outro projeto de estudo.
Magdalena Lébeis systematically recorded in six notebooks the content of 1006 singing lessons that she took with Vera Janacópulos between 1937 and 1955. This paper presents the first volume of the manuscripts Cadernos de Aulas de Canto de Magdalena Lébeis. It proposes an initial analysis of how Lébeis as well as Janacópulos approached the technical and interpretive elements in the study of singing which is thoroughly described in Lébeis\'s account. Besides her manuscripts we have also made use of a considerable literature on vocal pedagogy and especially the concepts expressed by Richard Miller. We also sought to contextualize Lébeis career development within the social and musical scene that was revolving in São Paulo back then. It has been opted for a non-systematic analysis because we understand that a different one would require appropriate and diverse arguments and that would belong to another project.

This dissertation explores the complex and intuitive elements of the author’s musical compositions. It investigates the concept of a composer’s ‘compositional voice’ by looking at the aesthetic and compositional techniques that are used to express it. In particular, it looks at the author’s expression of astronomy through his music, along with its realisation through both advanced and elementary performers. The aesthetic is examined by looking at astronomy and its relation to music. It observes the intricate ways that concepts to do with astronomy can be expressed through music, as well as the instinctive act of self-expression that arises from emotionally engaging with these astronomical concepts. The techniques used by the author to express these aesthetical ideas are generally found to be either complex or intuitive, and in turn can result in music that is difficult or simple. The complex techniques are found to be mostly process-based, using canons and subtractive and additive repetition in a similar manner to Olivier Messiaen, Steve Reich and György Ligeti. The intuitive techniques are made of instinctive creative decisions and use elements of performer improvisation and aleatory. The performer is the physical manifestation of the compositional voice; this relationship is developed through the application of both advanced and elementary performer techniques are used to reflect the author’s engagement with complexity and intuition. Due to their advanced technique, the advanced performer is found to be especially fit to realise the multilayered processes. These processes are used by composer Brian Ferneyhough, who appears to use the notion of ‘difficulty’, especially in terms of notation, as being an aesthetic technique itself. Other composers, including Johann Sebastian Bach, Béla Bartók and Benjamin Britten have written music for elementary performers. Furthermore, Britten and Peter Maxwell Davies have also written pieces for ensembles that include both advanced and elementary performers. All of these pieces that involve elementary performers have generally been found to be written either with the intention of being a didactic tool or with the intention of contributing to the composer’s immediate community. The aim in my aesthetic, however, is to combine the complex and intuitive aesthetic with both advanced and elementary performers towards a compositional voice that can embrace the elementary within complex processes. In short, the music aims towards being not only a service to the community but also an elementary-complex compositional voice capable of being relevant to the composer’s astronomy-related aesthetic. An analysis of the author’s compositions reveals evidence of the collaboration between complexity and intuition in the astronomy-related aesthetic, which is complexly realised in Messier 7 and intuitively realised in Stellar Meditations and Celestial Dances. It can also be found in the complex techniques in Celestial Shadows and the intuitive techniques used in the first two movements of Pale Blue Dot, and the interaction between the elementary and advanced performers that occurs in the IONS suite.

Thesis (Ph.D.) -- University of Western Sydney, 2008.
A thesis submitted in partial fulfilment of the requirements for the degree of Doctor of Philosophy awarded by the School of Communication Arts, College of Arts, University of Western Sydney. Includes bibliography.

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This study had as its aim to regard, describe and understand the educational processes developed among the integrators of the vocal group "Entre Amigos" ("Among Friends"), existing at the town of Leme, in the state of S. Paulo inward. In order to accomplish this purpose, it was necessary to catch those participators' opinions, as well as hear and understand their life experiences. Such apprehension became possible through their performances in the group actions, that include interchanges of knowledges and musical activities in their various actuation spaces. The data collecting was obtained by means of photos, videos and through the searcher s participant observation, being the camp diary the principal instrument for the research. Some semi- organized interviews were also done, with open regulation, based on education and musical education authors. The registers were later valued and understood in the light of these two realms authors. Thus, the following concepts were studied and developed: social practices, educative processes, experience knowledge, conscientization, humanization and dialogical education. The results indicate six dimensions, catched in the intersubjectivity, that compose different aspects of the educative processes developed in the group context, that are: intimacy (familiarity) among friends, planning through dialogue, rehearsal routine, contextual construction of musical knowledges, repertoires choice and arrangements elaboration. Those processes are ruled essentially in two directions: the one of the human formation, and the one of the musical formation. Those ways are imbricated in the familiarity, presuppose a dialogical attitude of the participants before the knowledges, values and beliefs, and are built by means of exploitations and by actions regarded as vehicle to systematized and nonsistematized knowledges.
Este estudo teve por objetivo olhar, descrever e compreender os processos educativosdesenvolvidos entre os integrantes do grupo vocal "Entre Amigos", existente na cidade deLeme, no interior paulista. Para atingir este propósito, foi preciso captar as opiniõesdesses/dessas participantes, além de ouvir e compreender as experiências vividas poreles/elas. Essa apreensão se tornou possível através do desempenho deles/delas nas atividadesdo grupo, que envolvem trocas de conhecimentos e atividades musicais em seus diversosespaços de atuação. A coleta de dados foi realizada por meio de fotografias, vídeos e porobservação participante, sendo o diário de campo o principal instrumento para a pesquisa.Também foram realizadas algumas entrevistas semiestruturadas, com roteiro abertoconstruído com base em autores da educação e da educação musical. Os registros foramposteriormente avaliados e compreendidos à luz de autores desses dois campos. Para issoforam estudados e desenvolvidos os seguintes conceitos: práticas sociais, processoseducativos, saber da experiência, conscientização, humanização e educação dialógica. Osresultados indicam seis dimensões, captadas na intersubjetividade, que compõem diferentesaspectos dos processos educativos desenvolvidos no contexto do grupo, a saber: convivênciaentre amigos, planejamento em diálogo, rotina dos ensaios, construção contextual de saberesmusicais, escolha de repertório e elaboração de arranjos. Esses processos se pautamessencialmente em duas direções: o da formação humana e o da formação musical. Essas viasestão imbricadas na convivência, pressupõem uma atitude dialógica dos participantes diantedos conhecimentos, valores e crenças, e são construídos por meio de explorações e daveiculação de saberes sistematizados e não sistematizados.

This dissertation explores the complex and intuitive elements of the author’s musical compositions. It investigates the concept of a composer’s ‘compositional voice’ by looking at the aesthetic and compositional techniques that are used to express it. In particular, it looks at the author’s expression of astronomy through his music, along with its realisation through both advanced and elementary performers. The aesthetic is examined by looking at astronomy and its relation to music. It observes the intricate ways that concepts to do with astronomy can be expressed through music, as well as the instinctive act of self-expression that arises from emotionally engaging with these astronomical concepts. The techniques used by the author to express these aesthetical ideas are generally found to be either complex or intuitive, and in turn can result in music that is difficult or simple. The complex techniques are found to be mostly process-based, using canons and subtractive and additive repetition in a similar manner to Olivier Messiaen, Steve Reich and György Ligeti. The intuitive techniques are made of instinctive creative decisions and use elements of performer improvisation and aleatory. The performer is the physical manifestation of the compositional voice; this relationship is developed through the application of both advanced and elementary performer techniques are used to reflect the author’s engagement with complexity and intuition. Due to their advanced technique, the advanced performer is found to be especially fit to realise the multilayered processes. These processes are used by composer Brian Ferneyhough, who appears to use the notion of ‘difficulty’, especially in terms of notation, as being an aesthetic technique itself. Other composers, including Johann Sebastian Bach, Béla Bartók and Benjamin Britten have written music for elementary performers. Furthermore, Britten and Peter Maxwell Davies have also written pieces for ensembles that include both advanced and elementary performers. All of these pieces that involve elementary performers have generally been found to be written either with the intention of being a didactic tool or with the intention of contributing to the composer’s immediate community. The aim in my aesthetic, however, is to combine the complex and intuitive aesthetic with both advanced and elementary performers towards a compositional voice that can embrace the elementary within complex processes. In short, the music aims towards being not only a service to the community but also an elementary-complex compositional voice capable of being relevant to the composer’s astronomy-related aesthetic. An analysis of the author’s compositions reveals evidence of the collaboration between complexity and intuition in the astronomy-related aesthetic, which is complexly realised in Messier 7 and intuitively realised in Stellar Meditations and Celestial Dances. It can also be found in the complex techniques in Celestial Shadows and the intuitive techniques used in the first two movements of Pale Blue Dot, and the interaction between the elementary and advanced performers that occurs in the IONS suite.
Doctor of Philosophy (PhD)

This submission consists of three parts, found in two volumes. Volume 1 consists of a folio of eight original compositions, composed during the tenure of my PhD candidature at the University of Adelaide. These works cover a range of media, including symphony orchestra with soloist, large chamber ensemble, string quartet with soprano solo, guitar quintet, mixed choir and vocal trio. Volume 2 presents an exegesis that contains commentary on the genesis and analysis of the submitted works, together with an explanation of certain modal processes that have been explored and applied. Volume 2 also contains three minor compositions that were composed during my candidature, presented as an Appendix. These are analysed and referenced within the exegesis discussion. Two CDs of live recordings of some of the submitted works are included as part of Volume 2. The Exegesis, Appendix and Sound Recordings found in Volume 2 act as secondary material to support the primary material presented in Volume 1. Of the eight compositions presented in Volume 1, Skin, Metal, Wood – Concerto for Percussion and Orchestra is the major orchestral work of over 30 minutes, in fulfilment of submission requirements. The musical works contained within this submission offer a personal exploration of certain modal processes. In particular, the tonal principles of modulation and key relationships have been transferred into a modal system that features church, folk and synthetic modes. The exploration of modal processes has been carried out through the works themselves, and the accompanying exegesis acts as a commentary on the genesis of the works.
Thesis (Ph.D.) - University of Adelaide, Elder Conservatorium of Music, 2008

This submission consists of three parts, found in two volumes. Volume 1 consists of a folio of eight original compositions, composed during the tenure of my PhD candidature at the University of Adelaide. These works cover a range of media, including symphony orchestra with soloist, large chamber ensemble, string quartet with soprano solo, guitar quintet, mixed choir and vocal trio. Volume 2 presents an exegesis that contains commentary on the genesis and analysis of the submitted works, together with an explanation of certain modal processes that have been explored and applied. Volume 2 also contains three minor compositions that were composed during my candidature, presented as an Appendix. These are analysed and referenced within the exegesis discussion. Two CDs of live recordings of some of the submitted works are included as part of Volume 2. The Exegesis, Appendix and Sound Recordings found in Volume 2 act as secondary material to support the primary material presented in Volume 1. Of the eight compositions presented in Volume 1, Skin, Metal, Wood – Concerto for Percussion and Orchestra is the major orchestral work of over 30 minutes, in fulfilment of submission requirements. The musical works contained within this submission offer a personal exploration of certain modal processes. In particular, the tonal principles of modulation and key relationships have been transferred into a modal system that features church, folk and synthetic modes. The exploration of modal processes has been carried out through the works themselves, and the accompanying exegesis acts as a commentary on the genesis of the works.
Thesis (Ph.D.) - University of Adelaide, Elder Conservatorium of Music, 2008

O projeto redigido neste relatório envolve a realização de um Concerto Coral onde foram interpretadas músicas infantis de filmes da Walt Disney e contou com a interação entre crianças e músicos profissionais. A concretização deste projeto teve como objetivo compreender o potencial educativo proporcionado pela interação entre crianças, repertório e músicos profissionais, do ponto de vista das aprendizagens musicais e socias, bem como as perceções advindas pela envolvência neste formato de projeto. A conceção valorativa e inclusiva de música Pop na sala de aula integrase nas perspetivas de Green (2000) que a consigna como uma componente benéfica no que concerne às aprendizagens musicais, sociais e como um forte elemento motivador. E de Swanwick (2003) pela importância de considerar o discurso musical dos estudantes, assim como a relevância do domínio de compreensão musical que cada criança traz de base. As práticas de aprendizagem musical informal enquadram-se nas perspetivas de Green (2000) e Krüger (2006), pelo recurso a outros métodos de transmissão, aquisição e consolidação de conhecimentos musicais (Internet e a Web). A promoção de parcerias com intérpretes e a realização de concertos harmoniza-se com as perspetivas de Vasconcelos (2006) e Bamford (2006), que referem o potencial educativo no desenvolvimento e na aquisição de novas competências. O Projeto Educativo desenvolveu-se na EB1/JI da Azeda em Setúbal e envolveu uma turma de 4º Ano do 1º Ciclo do Ensino Básico, teve a duração de nove semanas, durante as quais foi possível desenvolver diversas proficiências, e culminou com a realização de um Concerto Coral que contou com a participação dos músicos profissionais (Vânia Fernandes e Bruna Guerreiro). Concomitantemente ao projeto educativo foi orientada uma investigação qualitativa que pretendeu indagar as aprendizagens e perceções desenvolvidas pelas crianças. Os resultados obtidos possibilitam asseverar que a realização de espetáculos desta natureza apresenta-se como um extraordinário elemento motivacional, agente dinamizador e proactivo do desenvolvimento musical, educacional e social. Os resultados alcançados permitem ainda atender à importância da reflexão na prática profissional do professor.
The project drafted in this report involves the holding of a Choral Concert where children's songs from Walt Disney films were interpret and counts on the interaction between children and professional musicians. The realization of this project was aimed at understanding the educational potential provided by the interaction between children, repertoire and professional musicians, from the point of view of musical and social learning, as well as the perceptions resulting from the involvement in this project format. The conception inclusive and valued Pop music in the classroom integrates the perspective of Green (2000) that the sets out as a beneficial component in what concerns to the musical, social learnings and as a strong motivating element. And from Swanwick (2003) for the importance of considering students musical discourse, as well as the relevance of the domain of musical understanding that each child brings from the base. Informal musical learning practices fit into the perspectives of Green (2000) and Krüger (2006), for using other methods of transmission, acquisition and consolidation of musical knowledge (Internet and the Web). The promotion of partnerships with professional musicians and the realization of concerts is in line with the perspectives of Vasconcelos (2006) and Bamford (2006), which point out the educational potential in the development and acquisition of new skills. The Educational Project was developed at the EB1 / JI da Azeda in Setubal and involved a fourth-year class from the 1st Cycle of Basic Education, lasted nine weeks, during which it was possible to develop several proficiencies, and culminated in the realization of A Choral Concert with the participation of professional musicians (Vânia Fernandes and Bruna Guerreiro). Concomitantly with the educational project, a qualitative investigation was conducted that sought to investigate the learning and perceptions developed by the children. The results obtained make it possible to assert that the performance of shows of this nature presents itself as an extraordinary motivational element, a dynamic and proactive agent of musical, educational and social development. The results achieved allow us to take into account the importance of reflection in the professional practice of the teacher.