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1
Xinnong, Zhang. "Recent Advance in Instrumentation Recording Technology in China." International Foundation for Telemetering, 1987. http://hdl.handle.net/10150/615270.
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International Telemetering Conference Proceedings / October 26-29, 1987 / Town and Country Hotel, San Diego, CaliforniaIn this paper the YJ2-4 portable tape recorder, which was recently developed by Beijing Research Institute of Telemetry, is described, and some of its major design features are discussed. YJ2-4 is a high performance, wideband, and microcomputerbased recorder/reproducer system, and compatible with existing international standards in the field of instrumentation tape recording (ISO 6068-1985 and IRIG 106-86).
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Sun, Hyojung. "Digital disruption in the recording industry." Thesis, University of Edinburgh, 2017. http://hdl.handle.net/1842/23631.
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With the rise of peer-to-peer software like Napster, many predicted that the digitalisation, sharing and dematerialisation of music would bring a radical transformation within the recording industry. This opened up a period of controversy and uncertainty in which competing visions were articulated of technology-induced change, markedly polarised between utopian and dystopian accounts with no clear view of ways forwards. A series of moves followed as various players sought to valorise music on the digital music networks, culminating in an emergence of successful streaming services. This thesis examines why there was a mismatch between initial predictions and what has actually happened in the market. It offers a detailed examination of the innovation processes through which digital technology was implemented and domesticated in the recording industry. This reveals a complex, contradictory and constantly evolving landscape in which the development of digital music distribution was far removed from the smooth development trajectories envisaged by those who saw these developments as following a simple trajectory shaped by technical or economic determinants. The research is based upon qualitative data analysis of fifty five interviews with a wide range of entrepreneurs and innovators, focusing on two successful innovation cases with different points of insertion within the digital recording industry; (1) Spotify: currently the world’s most popular digital music streaming service; and (2) INgrooves: an independent digital music distribution service provider whose system is also used by Universal Music Group. The thesis applies perspectives from the Social Shaping of Technology (“SST”) and its extension into Social Learning in Technological Innovation. It explores the widely dispersed processes of innovation through which the complex set of interactions amongst heterogeneous players who have conflicting interests and differing commitments involved in the digital music networks guided diverging choices in relation to particular market conditions and user requirements. The thesis makes three major contributions to understanding digital disruption in the recording industry. (1) In contrast to prevailing approaches which take P2P distribution as the single point of focus, the study investigates the multiplicity of actors and sites of innovation in the digital recording industry. It demonstrates that the dematerialisation of music did not lead to a simple, e.g. technologically-driven transformation of the industry. Instead a diverse array of realignments had to take place across the music sector to develop digital music valorisation networks. (2) By examining the detailed processes involved in the evolution of digital music services, it highlights the ways in which business models are shaped through a learning process of matching and finding constantly changing digital music users’ needs. Based on the observation that business models must be discovered in the course of making technologies work in the market, a new framework of ‘social shaping of business models’ is proposed in order to conceptualise business models as an emergent process in which firms refine their strategies in the light of emerging circumstances. (3) Drawing upon the concepts of musical networks (Leyshon 2001) and mediation (Hennion 1989), the thesis investigates the interaction of the diverse actors across the circuit of the recording business – production, distribution, valorisation, and consumption. The comprehensive analysis of the intricate interplay between innovation actors and their interactions in the economic, cultural, legal and institutional context highlights the need to develop a more sophisticated and nuanced understanding of the recording industry.
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Li, Guijun, and 李桂君. "Development of recording technology with FePt recording media and magnetic tunnel junction sensors with conetic alloy." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2013. http://hub.hku.hk/bib/B50899776.
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With highly demanding requirement in current emerging cloud storage and personal computers, hard disk drive recording with high stability and high volume has attached much attention in industry and academy. Recording media and recording head feasible for future high-density recording are both crucial to utilize magnetic recording with 1T bit/in2 recording density.
Recoding media with FePt for high density and high stability was investigated in this thesis using FePt polymers with imprinting methods and FePt thin films with ion-beam bombardment technologies. The FePt polymers can be patterned using imprint at micro-and nano-scales. The micro-and nano-patterns could be retained on substrates after sintering at high temperatures. The high magnetic coercivity was proved with line and dot patterns at different scales.
Recording heads with Al2O3based magnetic tunneling junction sensors were also studied in thesis. The magnetic tunneling junction sensors were proved to work stable at different temperatures varying from -30oC to 100oC. The long time running test up to 100 hours also proved the stability of the magnetic tunneling junction sensors working in extreme temperatures.
Withstate-of-art patterning and depositing technologies, new ideas about using FePt polymer to work as magnetic recording media and using ion beam bombardments to tune the FePt magnetic properties were verified. The feasibility of using Al2O3 based magnetic tunneling junction sensors as recording head was also discussed.published_or_final_version
Electrical and Electronic Engineering
Doctoral
Doctor of Philosophy
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Cookson, Richard David. "Transverse susceptibility studies of recording media." Thesis, University of Central Lancashire, 2002. http://clok.uclan.ac.uk/7714/.
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A highly sensitive transverse susceptometer has been developed for the investigation of magnetic recording media. The susceptometer was based on the design of Pareti and Turilli[4] with modifications to the solenoid and sensing coils. The modifications have resulted in an improvement in the signal to baseline ratio of a factor of 525, and a reduction in random noise. The increase in the sensitivity of the susceptometer allowed the investigation of Advanced Metal Particle (AMP) tapes and the measurement of the imaginary component of the transverse susceptibility (TS) proposed by Papusoi[5]. Also, a modification was developed which allowed the investigation of the non-linear TS, proposed by Chantrell et al[7]. The work reported for the latter two techniques was the first experimental demonstration of these measurements on magnetic recording media. Samples of Co-y-Fe203, Cr02, mixed y-Fe203 / Cr02 and AMP tapes were investigated, as were y- Fe201, Cr0 2 and AMP powders. The investigations suggested that the incoherent reversal mode was dominant in the systems containing Cr02, with coherent reversal dominant in the remaining systems. The anisotropy peaks measured using the non-linear IS were found to be less dependent on sample texture than those of the traditional linear measurement. In particular the anisotropy peaks of the non-linear TS for incoherently reversing systems appeared to be independent of texture and it was proposed that these were a direct measure of the anisotropy field distribution, although independent verification was not performed. The determination of magnetic coating thickness after Sollis and Bissell[6] was extended to allow the measurement of AMP tapes. A computer model was developed to investigate the error in the technique due to the particulate nature of the coating. The results of the model indicated that the error increased as coating thickness and volume packing fraction decreased. Correction factors were determined for MP3 and MP4 particle based systems. The detection of the imaginary component of TS and its close agreement with the theoretical predictions of Papusoi suggested that the dassification of TS as a 'stiffness' method of anisotropy field determination might be in error.
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Miller, Eric R. "The Influence of Recording Technology on Music Performance and Production." Ohio University Honors Tutorial College / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=ouhonors1367581047.
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Thei, Federico <1976>. "A hybrid technology for parallel recording of single ion channels." Doctoral thesis, Alma Mater Studiorum - Università di Bologna, 2011. http://amsdottorato.unibo.it/3594/.
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Hybrid technologies, thanks to the convergence of integrated microelectronic devices and new class of microfluidic structures could open new perspectives to the way how nanoscale events are discovered, monitored and controlled. The key point of this thesis is to evaluate the impact of such an approach into applications of ion-channel High Throughput Screening (HTS)platforms. This approach offers promising opportunities for the development of new classes of sensitive, reliable and cheap sensors. There are numerous advantages of embedding microelectronic readout structures strictly coupled to sensing elements. On the one hand the
signal-to-noise-ratio is increased as a result of scaling. On the other, the readout miniaturization allows organization of sensors into arrays, increasing the capability of the platform in terms of number of acquired data, as required in the HTS approach, to improve sensing accuracy and reliabiity. However, accurate interface design is required to establish efficient communication between ionic-based and electronic-based signals. The work made in this thesis will show a first example of a complete parallel readout system with single ion channel resolution, using a compact and scalable hybrid architecture suitable to be interfaced to large array of sensors, ensuring simultaneous signal recording and smart control of the signal-to-noise ratio and bandwidth trade off. More specifically, an array of microfluidic polymer structures, hosting artificial lipid bilayers blocks where single ion channel pores are embededed, is coupled with an array of ultra-low noise current amplifiers for signal amplification and data processing. As demonstrating working example, the platform was used to acquire ultra small currents derived by single non-covalent molecular binding between alpha-hemolysin pores and beta-cyclodextrin molecules in artificial lipid membranes.
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McGinn, Emily. "The Science of Sound: Recording Technology and the Literary Vanguard." Thesis, University of Oregon, 2014. http://hdl.handle.net/1794/18389.
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This project is a comparative study of Irish and Latin American modernisms and the literary responses to the advent of recorded sound. It focuses particularly on George Bernard Shaw's Pygmalion, Flann O'Brien's The Third Policeman, Leopoldo Lugones's short stories "La fuerza omega" and "Yzur," and Jaime Torres Bodet's novel Proserpina rescatada. It examines how each author grapples with the dislocation of the human voice from the body made possible through new recording technology. This selection of texts displays a range of engagements with this new technology, from a critique of rising positivism and machines in the early twentieth century, to experiments with aural metaphors in the wake of sounded film, and finally to the 1930s, when sound recording becomes an arm of government surveillance against its citizens. In each instance, the circulation of sound technology causes a shift in modes of representation that require new definitions of what it means to be human in an increasingly mechanized world.
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Sztein, Baremberg Gabriella Ana. "Musical time and recording technology: A perspective from music theory." Thesis, University of Ottawa (Canada), 1994. http://hdl.handle.net/10393/9595.
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This thesis deals with two categories of musical time, concrete and subjective, and the effect of recording technology on musical time. Concrete musical time can be measured in an objective way, for example, through reference to standards of time external to the listener, such as clocks. Subjective musical time refers to the musical time that cannot be measured objectively: it depends entirely on the listener who experiences the musical work. It is my conclusion that recording technology affects the concrete aspect of musical time, but not the subjective one. Chapter one defines the relationship between time and different forms of art, as well as the relationship between time and music. Chapter two defines concrete and subjective musical time. Chapter three discusses recording technology and the changes it imposes on the musical aesthetic ritual. By musical aesthetic ritual, I mean the agreed-upon physical actions which are related to the activities involving music and the experience of music. Chapter four explains the influence of recording technology on certain musical aesthetic ideas such as the reproduction of music, the completeness of the musical work, and the temporality of the musical work. Chapter five presents my conclusions with regards to the influence of recording technology on concrete and subjective musical time.
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Jensen, Peter, and Christopher Thacker. "A NEW GENERATION OF RECORDING TECHNOLOGY THE SOLID STATE RECORDER." International Foundation for Telemetering, 1998. http://hdl.handle.net/10150/607372.
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International Telemetering Conference Proceedings / October 26-29, 1998 / Town & Country Resort Hotel and Convention Center, San Diego, CaliforniaThe Test & Evaluation community is starting to migrate toward solid state recording. This paper outlines some of the important areas that are new to solid state recording as well as examining some of the issues involved in moving to a direct recording methodology. Some of the parameters used to choose a solid state memory architecture are included. A matrix to compare various methods of data recording, such as solid state and magnetic tape recording, will be discussed. These various methods will be evaluated using the following parameters: Ruggedness (Shock, Vibration, Temperature), Capacity, and Reliability (Error Correction). A short discussion of data formats with an emphasis on efficiency and usability is included.
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Champion, Eric J. "Digital magnetic recording systems utilizing magnetoresistive (MR) playback technology : theoretical studies /." Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 1997. http://wwwlib.umi.com/cr/ucsd/fullcit?p9732699.
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Lingard, William. "Sounds perfect : the evolution of recording technology and music's social future." Thesis, University of Southampton, 2013. https://eprints.soton.ac.uk/367009/.
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The effect of technology on music has been indisputably profound. As a cultural descendant of the traditions first established by notation and printing, recorded music technology has transformed our understanding and use of music in all sorts of ways. Whether or not different technologies have had a positive or negative effect, however, is a subject of much debate. Traditional histories of recorded music technology demonstrate a tendency either to treat each new platform as truly revolutionary, or to elide the differences between them to such an extent that significant socio-cultural and socio-economic transformations become occluded. Revisiting this history with an open mind—and a degree of cultural and temporal distance—permits a perspective of progression, from which the ramifications of recorded music technologies become more accurately discernible. This thesis highlights six characteristics of recorded music, all of which have been affected at various times and in various ways by the evolution of recording technology. Without exception, every new platform for recorded music has improved upon at least one of these six characteristics, although not necessarily without detriment to one of the others. It is in the scope of these improvements that digital music files, as a platform, are fundamentally different to any of their predecessors. Far from simply continuing or exaggerating the trend that forms the customary narrative of the traditional histories of recorded music, digital music files have completely reengineered our relationship with and understanding of the production, distribution, and consumption of music in a very profound way. The thesis explores these changes, and offers some frank yet ultimately encouraging insights as to what the social future of music may hold.
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Howlett, Michael John Gilmour. "The record producer as nexus : creative inspiration, technology and the recording industry." Thesis, University of South Wales, 2009. https://pure.southwales.ac.uk/en/studentthesis/the-record-producer-as-nexus(b829aaf3-8ca1-4e8c-ab6e-f4f731644a47).html.
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What is a record producer? There is a degree of mystery and uncertainty about just what goes on behind the studio door. Some producers are seen as Svengali-like figures manipulating artists into mass consumer product. Producers are sometimes seen as mere technicians whose job is simply to set up a few microphones and press the record button. Close examination of the recording process will show how far this is from a complete picture. Artists are special—they come with an inspiration, and a talent, but also with a variety of complications, and in many ways a recording studio can seem the least likely place for creative expression and for an affective performance to happen. The task of the record producer is to engage with these artists and their songs and turn these potentials into form through the technology of the recording studio. The purpose of the exercise is to disseminate this fixed form to an imagined audience—generally in the hope that this audience will prove to be real. Finding an audience is the role of the record company. A record producer must also engage with the commercial expectations of the interests that underwrite a recording. This dissertation considers three fields of interest in the recording process: the performer and the song; the technology of the recording context; and the commercial ambitions of the record company—and positions the record producer as a nexus at the interface of all three. The author reports his structured recollection of five recordings, with three different artists, that all achieved substantial commercial success. The processes are considered from the author‘s perspective as the record producer, and from inception of the project to completion of the recorded work. What were the processes of engagement? Do the actions reported conform to the template of nexus? This dissertation proposes that in all recordings the function of producer/nexus is present and necessary—it exists in the interaction of the artistry and the technology. The art of record production is to engage with these artists and the songs they bring and turn these potentials into form.
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Howard, John M. "THE APPLICATION OF DISK RECORDING TECHNOLOGY TO PLATFORM DATA CAPTURE & ANALYSIS." International Foundation for Telemetering, 2003. http://hdl.handle.net/10150/605819.
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International Telemetering Conference Proceedings / October 20-23, 2003 / Riviera Hotel and Convention Center, Las Vegas, NevadaDisk Recorders now represent a high performance, low cost and reliable alternative to traditional tape recorders for a wide range of platform data recording applications. This paper discusses the latest advances in disk-based recording technology in the context of multi-channel Telemetry applications, showing the degree of flexibility that is now possible in terms of both channel count and the ability to record synchronous and asynchronous digital data streams alongside multiple wideband analog channels. The techniques described are equally applicable to Acoustic, SIGINT and Telecommunications data capture and analysis applications aboard static, airborne and maritime platforms. Topics covered include how new disk-based data capture technologies have been able to extend bandwidth, storage capacity, signal fidelity and the overall capability of mission recorders. Advanced operational issues, including true ‘read-after-write’, data security, portability and archiving, enhanced data management and analysis strategies are also covered. The Paper includes detailed test results from COTS Disk Recorders already in service as well as an informative Road Map for this exciting new technology.
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Lapp-Szymanski, Jean-Paul. "Technology inna rub-a-dub style : technology and dub in the Jamaican sound system and recording studio." Thesis, McGill University, 2005. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=98547.
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This thesis attempts to chart the development of a Jamaican musical form known as dub. This development is considered primarily in terms of the island's encounter with a series of new playback, amplification, recording, and sound treatment technologies. Section I focuses on the formation of the Jamaican sound system (a network of powerful mobile discos) and its pivotal role in the birth of a fertile domestic record industry. Section II extends the investigation to the Jamaican recording studio and record industry. What distinguishes this work from others on Jamaican dub is its emphasis on technology, and theories of technology, within a geo-political framework. In Section I, this emphasis is most notably informed by the work of Harold Innis, Karl Marx and Lewis Mumford, with Marshall McLuhan and Walter Benjamin becoming more prominent in Section II. Key technologies in this analysis include mechanization (mechanical reproducibility), the Williamson amplification circuit, the House of Joy speaker, the dub plate (acetate phonograph) and vinyl record, twin-turntables and the microphone, the magnetic tape recorder, and perhaps most importantly, the multi-track recorder and interface (the multi-track mixing-board).
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Mason, Terry, Fred Jr Thames, and John Howard. "‘NEW TECHNOLOGY’ DATA RECORDERS A TECHNOLOGY OVERVIEW." International Foundation for Telemetering, 2001. http://hdl.handle.net/10150/606457.
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International Telemetering Conference Proceedings / October 22-25, 2001 / Riviera Hotel and Convention Center, Las Vegas, NevadaThere are clear signs that data recorders using solid-state and disk-based technologies now represent a serious alternative to conventional linear and rotary tape recorders for a broad spectrum of data capture applications. As the number of RFQs specifying these so-called ‘new technology’ solutions increases, virtually every major manufacturer has responded with announcements of new off-the-shelf products. A NATO technical support team has even been tasked with drafting standards for certain aspects of solid-state and disk recorders. But what has caused this sudden explosion of interest? Strange to say, in almost every case it has been the perceived shortcomings of the new technologies which have forced the issue. For all their advantages, solid-state and disk recorders are essentially only temporary storage devices. To overcome this problem manufacturers have found it necessary to address the total data capture/storage/distribution/archiving scenario – with some interesting results. It is in the ‘data handling’ area therefore that some of the most significant advances are to be found. This Paper offers an overview of some of the new technology solutions now available - RAID (Redundant Arrays of Independent Disks), JBOD (Just a Bunch Of Disks) and FLASH memory recorders. New paradigms for airborne, mobile and laboratory data collection, handling, analysis and archiving are discussed, demonstrating that (for once) the migration path has been carefully thought through, with industry-standard data interfaces, true computer connectivity (Windows and UNIX) and familiar control techniques. It concludes that many users with a keen interest in replacing legacy products for whatever reason can now do so with confidence and minimal disruption to their day-to-day operation while nevertheless gaining access to the important benefits which ‘new technology’ solutions can offer.
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Russ, Roger, and Mark Graham. "Development of a New IRIG Standard Flight Recorder." International Foundation for Telemetering, 1997. http://hdl.handle.net/10150/609733.
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International Telemetering Conference Proceedings / October 27-30, 1997 / Riviera Hotel and Convention Center, Las Vegas, NevadaAn IRIG standard flight recorder has been developed that is based on half-inch helical scan technology. The recorder was developed by combining the data channel of existing ground-based recording systems with transport technology used in both flight test and operational fighter aircraft environments. The design goal was to achieve cross play compatibility with the defined IRIG 106.6 tape format. Significant margins were provided in the design to maintain compatibility with tapes recorded in fighter aircraft environments. Operation at up to 50,000 feet, a temperature range of -40EC to +55EC, and vibration sources to Mil Spec 5400T are requirements in this environment. How these technical problems were overcome during the development of this recorder is addressed in this paper.
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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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Meynell, Anthony. "How recording studios used technology to invoke the psychedelic experience : the difference in staging techniques in British and American recordings in the late 1960s." Thesis, University of West London, 2017. https://repository.uwl.ac.uk/id/eprint/3837/.
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This thesis focuses on a time in the mid-1960s where practice in the studio changed from a formal arena where previously rehearsed songs were recorded, to a playground where sonic possibilities were explored and sound manipulation became normal practice. This abuse of technology and manipulation of reality became part of the creative process in the studio, providing soundscapes that resonated with the counter-cultural ethos of upsetting the established order, and were adopted by the mainstream during the 1967 ‘Summer of Love”. Following a discussion of current literature, practice as research is applied to demonstrate how interaction with historical technology reveals the performative nature of the tacit knowledge that created many of the aural effects under consideration. The research then focuses through the prism of two case studies, “Eight Miles High” recorded by The Byrds in Los Angeles in January 1966, and “Rain”, recorded by The Beatles in London in April 1966. Through re-enactment of these historical recording sessions, I recreate the closed envirnment of the 1960’s recording studio. By interacting with historical technology and following a similar structure to the original sessions, I investigate how the methodology was influenced by collaborative actions, situational awareness and the demarcation of roles. Post session video analysis reveals the flow of decision making as the sessions unfold, and how interaction with the technological constraints recreates ‘forgotten’ techniques that were deemed everyday practice at the time and were vital to the outcome of the soundscapes. The thesis combines theory and practice to develop an understanding of how the engineers interacted with technology (Polanyi, 1966), often abusing the equipment to create manipulated soundscapes (Akrich and Latour, 1992), and how the sessions responded to musicians demanding innovation and experimentation, circumventing the constraints of established networks of practice (Law and Callon, 1986) during the flow of the recording session (Ingold, 2013).
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Lubin, Tom. "An historical survey of technology used in the production & presentation of music in the 20th century /." View thesis, 1997. http://library.uws.edu.au/adt-NUWS/public/adt-NUWS20030903.112151/index.html.
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McGown, Alistair. "The communication and recording of conceptual design information by the inclusion of visual data." Thesis, University of Glasgow, 1999. http://theses.gla.ac.uk/4042/.
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This thesis reports the results of a three year, full-time research project investigating the generation and communication of product descriptions within the conceptual phase of the engineering design process. The research pays particular attention to the role played by the designer's sketch in communicating new product ideas. The investigation commences with a literature review of existing design process models (Chapter 2), which helps to define the area under investigation while presenting modern views of the process in relation to classic examples from established design research. Chapter 3 presents a literature review of the methods currently used to support communication of product descriptions. These methods of Specification are assessed and particular attention is given to new computer-based recording methods such as DOORS and Cradle. Suggestions for improving the efficiency of such models are put forward and the text-only bias of such systems is identified. This comparison of the existing systems thus identifies the research questions. Having identified the possible improvement to be gained by the incorporation of visual material in addition to the universal text description, Chapter 4 presents a literature review assessing the roles of the conceptual sketch in engineering design. As well as presenting views of drawing from philosophical, psychological and scientific standpoints, this section compares attempts made to support the engineer's sketching activity by computer means. This chapter concludes that efforts made to provide effective computer support of sketching by freehand methods are preferred to attempts made to replicate the process with current computer tools. The resulting research experiment, the methodology of which is described in Chapter 5, uses students from the final year of the Product Design Engineering course at Glasgow School of Art and the University of Glasgow. The main aim of the experiment is to identify means of including sketching within the kind of text-based support methods discussed in Chapter 3. It also observes the volume and pattern of information produced by sketch activity throughout the conceptual stages of the design process and aims to find methods which would enable sketches to indicate the general progress of a design. The findings are detailed in Chapter 6.
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Yee, Silvia. "The absent ear, a phenomenological investigation into the confluence of recording technology and musical listening." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/mq22561.pdf.
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Williams, Jennifer M. "An Application of Digital Video Recording and Off-grid Technology to Burrowing Owl Conservation Research." Thesis, University of North Texas, 2014. https://digital.library.unt.edu/ark:/67531/metadc699953/.
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Through this research, engineering students and conservation biologists constructed an off-grid video system for observing western burrowing owls in El Paso, Texas. The burrowing owl has a declining population and their range decreasing, driving scientists' interest to see inside the den for observing critical nesting behavior. Texas Parks and Wildlife Department (TPWD) biologists wanted videos from inside the dark, isolated hillside owl burrows. This research yielded a replicable multi-camera prototype, empowering others to explore applications of engineering and wildlife monitoring. The remote station used an off-the-shelf video recording system, solar panels, charge controller, and lead acid batteries. Four local K-12 science educators participated in system testing at Lake Ray Roberts State Park through the Research Experiences for Teachers (RET, NSF #1132585) program, as well as four undergraduate engineering students as senior design research.
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Cui, Cheryl H. (Cheryl Hao). "Decipher in situ signaling and complex genetics with cellular recording and combinatorial perturbations." Thesis, Massachusetts Institute of Technology, 2017. http://hdl.handle.net/1721.1/108971.
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Thesis: Ph. D. in Medical Engineering and Medical Physics, Harvard-MIT Program in Health Sciences and Technology, 2017.Cataloged from PDF version of thesis.
Includes bibliographical references (pages 124-135).
The complex, dynamic, and responsive behavior of cells arises from integrated signaling pathways and regulatory networks. With advancement in our ability to engineer mammalian cells, we harness a novel set of molecular tools to develop synthetic biology-enabled applications that help facilitate our understanding of complex biological networks and cellular behaviors. The recent discovery of the Clustered Regularly Interspaced Short Palindromic Repeats (CRISPR)-associated (Cas) system from prokaryotic adaptive immune system demonstrated unprecedented genome editing efficiency and programmability in sequence specific genome editing of mammalian cells. In this thesis, I utilized the CRISPR-Cas system to construct a combinatorial genetic perturbation platform that enables massively parallel high throughput screening of multiple gene elements. This technology platform allows systematically interrogation of higher-order interactions of genetic regulators. The later part of the work described the establishment of a genomically encoded cellular recorder with the ability to longitudinally track and record molecular events in live animals. This cellular recorder encodes cellular memory through the quantitative accumulation of targeted genomic mutations, that allows mapping of a dynamical set of gene regulatory events without the need for continuous cell imaging or destructive sampling. Together, we envision these sets of technology and tools will offer new insights into cellular process in disease and in health.
by Cheryl H. Cui.
Ph. D. in Medical Engineering and Medical Physics
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Michaud, Alyssa R. ""Copies without Originals": Manipulation, Mediation, and Mediatization in Performance and Recording Practices." Thèse, Université d'Ottawa / University of Ottawa, 2012. http://hdl.handle.net/10393/23605.
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This thesis examines case studies and historical accounts taken from different periods of the history of recording technology, and addresses questions concerning the impact of mediatization, manipulation, and mediation on listeners' and performers' approaches to music. The project considers the development of the idea of "copies without originals," and of the ideological frameworks that have been used to describe and classify recorded sound. The first case study covers the early days of the phonograph and its development in Victorian society, then contrasts the values and motivations of those early years with modern-day rock performance and its own value systems. Moving into the mid-twentieth century, a chapter of this thesis is devoted to the work of Glenn Gould, and the possibilities for tape manipulation that the Canadian pianist explored during the period of his career that was focused on the recording studio. Lastly, this project examines the innovative, user-driven methods of music-making that are gaining momentum today, including Bjork's "Biophilia" app album, and the emergence of a new genre of popular music in Asia that uses vocal synthesizers in place of live performers. By exploring these case studies alongside the works of scholars in musicology, media studies, sound theory, film and television, and popular music studies, this thesis demonstrates how cultural need, individual innovation, and social involvement interact to direct the development and application of emerging media technologies.
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Van, Dyne Steven R. "Case Studies in Classical Location Recording Using Improvised Techniques." Ohio University Honors Tutorial College / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=ouhonors1429807114.
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Tornberg, Aron, and Sofia Wennström. "Development and Research in Previsualization for Advanced Live-Action on CGI Film Recording." Thesis, Linköpings universitet, Medie- och Informationsteknik, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:liu:diva-137670.
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A major disadvantage of shooting on green screen with CGI is that the director cannot see or interact with the virtual elements in the scene and thus get a realistic view of how the end result will look like, and also not being able to make changes as necessary by moving objects and actors around during the shooting session. This disadvantage can be mitigated by the use of previsualization where the director is given a rough take of what the final cut will look like by combining the filmed material with the virtual environment in real-time. This masters thesis work aims to come up with solutions for improving the film studio Stiller Studioss previsualization system. This involves a review and integration of game engines for previsualization in a motion control green screen studio, a camera calibration process with blur detection and automatic selection of images as well as research into camera tracking and depth compositing.
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Chan, Andrew. "The use of low cost virtual reality and digital technology to aid forensic scene interpretation and recording." Thesis, Cranfield University, 2011. http://dspace.lib.cranfield.ac.uk/handle/1826/4722.
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Crime scenes are often short lived and the opportunities must not be lost in acquiring sufficient information before the scene is disturbed. With the growth in information technology (IT) in many other scientific fields, there are also substantial opportunities for IT in the area of forensic science. The thesis sought to explore means by which IT can assist and benefit the ways that forensic information can be illustrated and elucidated in a logical manner. The central research hypothesis considers that through the utilisation of low cost IT, the visual presentation of information will be of significant benefit to forensic science in particular for the recoding of crime scenes and its presentation in court. The research hypothesis was addressed by first exploring the current crime scene documentation techniques; their strengths and weaknesses, giving indication to the possible niche that technology could occupy within forensic science. The underlying principles of panoramic technology were examined, highlighting its ability to express spatial information efficiently. Through literature review and case studies, the current status of the technology within the forensic community and courtrooms was also explored to gauge its possible acceptance as a forensic tool. This led to the construction of a low cost semi-automated imaging system capable of capturing the necessary images for the formation of a panorama. This provides the ability to pan around; effectively placing the viewer at the crime scene. Evaluation and analysis involving forensic personnel was performed to assess the capabilities and effectiveness of the imaging system as a forensic tool. The imaging system was found to enhance the repertoire of techniques available for crime scene documentation; possessing sufficient capabilities and benefits to warrant its use within the area of forensics, thereby supporting the central hypothesis.
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Chan, A. "The use of low cost virtual reality and digital technology to aid forensic scene interpretation and recording." Thesis, Department of Materials and Applied Science, 2011. http://dspace.lib.cranfield.ac.uk/handle/1826/4722.
Full textAbstract:
Crime scenes are often short lived and the opportunities must not be lost in acquiring
sufficient information before the scene is disturbed. With the growth in information
technology (IT) in many other scientific fields, there are also substantial opportunities
for IT in the area of forensic science. The thesis sought to explore means by which IT
can assist and benefit the ways that forensic information can be illustrated and
elucidated in a logical manner. The central research hypothesis considers that through
the utilisation of low cost IT, the visual presentation of information will be of
significant benefit to forensic science in particular for the recoding of crime scenes and
its presentation in court.
The research hypothesis was addressed by first exploring the current crime scene
documentation techniques; their strengths and weaknesses, giving indication to the
possible niche that technology could occupy within forensic science. The underlying
principles of panoramic technology were examined, highlighting its ability to express
spatial information efficiently. Through literature review and case studies, the current
status of the technology within the forensic community and courtrooms was also
explored to gauge its possible acceptance as a forensic tool.
This led to the construction of a low cost semi-automated imaging system capable of
capturing the necessary images for the formation of a panorama. This provides the
ability to pan around; effectively placing the viewer at the crime scene. Evaluation and
analysis involving forensic personnel was performed to assess the capabilities and
effectiveness of the imaging system as a forensic tool. The imaging system was found
to enhance the repertoire of techniques available for crime scene documentation;
possessing sufficient capabilities and benefits to warrant its use within the area of forensics, thereby supporting the central hypothesis.© Cranfield University 2005. All rights reserved. No part of this publication may be reproduced without the written permission of the copyright owner.
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Thames, Fred. "A NEW GENERATION OF DATA RECORDERS BASED ON DLT TECHNOLOGY." International Foundation for Telemetering, 1998. http://hdl.handle.net/10150/607371.
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International Telemetering Conference Proceedings / October 26-29, 1998 / Town & Country Resort Hotel and Convention Center, San Diego, CaliforniaAs the performance of inexpensive commercial off-the-shelf (COTS) data storage devices continues to increase, the temptation to use them as the basis for data capture products for military and industrial applications becomes ever more compelling. For example, the Digital Linear Tape (DLT) format now offers a 270 Gigabits per cassette capacity at a sustained transfer rate of 40 Mbits/s – performance which would have cost tens or even hundreds of thousands of dollars per system just a few years ago. But to transplant such a device from its benign office habitat into a data capture product which will function reliably and consistently in a wide range of field and platform environments is an engineering task fully as difficult and complex as designing an environmentally robust recorder from scratch. This paper discusses the problems which typically have to be overcome; environmental protection, reliability, data integrity, power supplies, software issues, control and data interfacing, etc., citing practical examples of analog and digital DLT-based data recorders which are now entering service for telemetry, intelligence gathering, anti-submarine warfare and related applications
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LaValley, Mark. "Imaging the Gospel creating an intentionally Christian video editing ministry at the Westside Church of Christ /." Online full text .pdf document, available to Fuller patrons only, 2002. http://www.tren.com.
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Lewis, Zachary Ludon. "Evaluation of thermal variations on concrete pavement using three dimensional line laser imaging technology." Thesis, Georgia Institute of Technology, 2013. http://hdl.handle.net/1853/50406.
Full textAbstract:
Jointed Plain Concrete Pavements (JPCP) are some the most popular forms of concrete pavement that are used in the state of Georgia. Each year the Georgia Department of Transportation (GDOT) inspects and surveys their highways to determine what condition the pavement is in and if any rehabilitation is required to maintain the integrity of the highway. These annual surveys include the JPCP and the key concrete pavement characteristics that are used to determine the condition of the JPCP are the faulting at the joints and the roughness of the section. Since it is well known that concrete will exhibit slight movement when subjected to thermal variations it is possible that the these minor movements could have an impact on the measured slab properties used to rate the JPCP section. The focus of this research is to develop a methodology to use three dimensional technologies to capture JPCP surface data under a variety of thermal conditions, to develop a procedure to collect and analyze concrete temperature data, to develop a method to analyze the surface data and how to correlate all of the data that was collected. Three test sites were chosen that covered a total of 6 test sections that were composed of 25 slabs and 26 joints each. This provided a total of 150 slabs and 156 joints that were used for analysis.
A single slab was selected as a test specimen to install thermal logging devices into so that the temperature distributions through the slab could be investigated. Three positions were monitored to determine if the position that the temperature gradient was measured was critical. It was found that the temperature followed a similar trend for all of the positions with the profiles being slightly shifted from each other. It was also concluded that the temperature in the bottom of the slab was approximately the same as the temperature in the base. It was discovered that the maximum positive temperature gradient occurred simultaneously with the maximum ambient air temperature and the maximum surface temperature. The results showed that the surface temperature followed a trend similar to the ambient air temperature. However the surface temperature was greater throughout the day.
The faulting analysis results indicated that out of the 156 joints inspected only 15 showed a variation in the average faulting that was greater than the 0.5 mm (0.02 in) accuracy of the sensors used to collect the JPCP surface data. Further investigation revealed that there was no clear trend between the temperature change and the average faulting variation. It was concluded that if there was a change in the average faulting due to temperature it is smaller than what can be depicted by the sensing vehicle and it is less than the 1 mm (0.04 in) measurement accuracy that is specified in the American Association of State Highway and Transportation Officials (AASHTO) R36-04 specification which governs the accuracy requirements for automated faulting measurement methods.
The International Roughness Index (IRI) was the method used to measure the roughness on each test site for each data collection run. This resulted in 336 IRI values that were inspected to determine whether there was an impact from the temperature variations. The IRI results showed that the roughness of the test sections did vary through the day. After it was found that the IRI did vary through the day the IRI distributions were compared to the temperature distribution and 7 out of the 12 distributions studied showed a weak correlation between the temperature and the IRI. The amount of variation in the IRI was not quantified because the exact accuracy of the IRI values attained from the sensing vehicle was unknown. However it was attempted to validate the system and determine the accuracy but one of the validation test sections showed disappointing results while the other two showed promising results. Further research is required to fully evaluate the sensing vehicles ability and accuracy when measuring the IRI.
A procedure was also developed to extract the longitudinal and transverse curvature of the concrete pavement slabs. Three test slabs were selected at one of the test sites and curvature results were generated using the developed procedure. The curvature results were visually and quantitatively assessed. The visual analysis indicated that the curvature profiles measured by the 3D line lasers did change throughout the data collection, but the patterns did not follow what was expected and a correlation could not be created with the temperature. The quantitative results for the longitudinal curvature revealed that one of the slabs did show a pattern that followed the temperature changes during the data collection, but it did show as much as 4.65 mm (0.183 in) of change between consecutive data collection runs. The longitudinal curvature results for the other two slabs did not show a trend and exhibited unlikely changes in the curvature measured between consecutive data collection runs, which in some instances the deviation was as much as 12.09 mm (0.480 in). For the transverse curvature one of the slabs indicated that the curvature did not change during the data collection, while the other two showed sudden changes as high as 2.16 mm (0.085 in) between consecutive data collection runs. The developed procedure is only preliminary and needs to be further evaluated and refined for it to be able to adequately measure the curvature of as slab. The results also need to be verified using actual measured ground truth curvatures to determine the validity of using the developed procedure and the 3D line laser data to measure the curvature of concrete slabs. Once the procedure is proven to produce reliable results it should be compared to other curvature computation methods, such as those that utilize road profilers or LIDARs, to determine which method is the best.
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Farrar, Ruth. "Creating soundscapes : a creative, technological and theoretical investigation of binaural technology usage." Thesis, University of Exeter, 2014. http://hdl.handle.net/10871/17557.
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Through its portfolio of practical case studies and its engagement with critical thinking from a range of disciplines, the PhD investigates the following key question: what are the technical, aesthetic and conceptual impacts of using binaural technology to create a soundscape? ‘Using binaural technology’ implies users and users are essentially at the heart of this impact because users mediate the technical and aesthetic aspects of binaural technology and also inherently shape the theoretical ideology of this technology. By analysing users’ interactions with binaural technology from a social constructivist perspective, this thesis gains rich insights into the impact of using binaural technology when creating soundscapes. Chapter One explores sound artists’ and field recordists’ work that use binaural technology for the shared purpose of documenting urban soundwalks. The first case study “Audio Postcards” is also informed by questions drawn from acoustic ecology, socio-political theories on the practices of everyday life and the challenges that arise in finding, recording and preserving ‘soundmarks’. Chapter Two outlines practitioners’ applications of binaural technology to create an intimate connection to an art piece such as theatre director David Rosenberg’s productions. Peter Salvatore Petralia’s concept of headspace is applied to the chapter’s case study: “From Austria To America” to further understand binaural technology’s psychoacoustic effects. Chapter Three studies the impact of social groups who use binaural technology to record classical music performances. Traditional stereo and binaural classical music recording conventions are shaped in a new direction in two case studies: “Point of Audition” and “From Page to Stage”. Questions of ‘fidelity’ also arise from this creative practice. The outcomes of this reflective binaural practice unearth deep layers of understanding. This thesis discovers the impact of binaural technology moves beyond the effect it has on a listener to realise this recording practice also impacts a recordist’s decisions in the field and a sound artist’s creative choices when crafting soundscapes. The beneficial impact of binaural technology including its inconspicuous nature, the ability to imprint an artist’s subjective signature on recordings and its lifelike immersive qualities in playback are revealed through practice and reflection. Representing the real, the role of artist and point of audition are also themes explored throughout each chapter. Ultimately, insights gained are woven together as a means of constructing an original theoretical framework for an under-theorised subject: understanding how social user groups shape the impact of using binaural technology when creating soundscapes.
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Eriksson, Stefan. "Föreläsningar på nätet." Thesis, Linnéuniversitetet, Institutionen för datavetenskap, fysik och matematik, DFM, 2011. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-13858.
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I denna uppsats undersöks användandet av inspelade föreläsningar och hur studenters och lärares inställning är och hur de påverkas av att använda tekniken. Undersökningen som gjordes är begränsad till Linnéuniversitet i Växjö. Undersökningen som gjordes ger dessutom information hur man kan förbättra en inspelad föreläsning och vad som behövs göras före, under och efter en föreläsning.This essay examines the use of recorded lectures and how students and teachers thought about it and how they are affected by the use of the technology. The survey was limited to Linnaeus University of Växjö. The survey conducted also provides information about how to improve a recorded lecture and what to do before, during and after a lecture.
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Thorley, Mark. "The unexplored impact of emergent technologies on music industry stakeholders : aspirants, producers and consumers." Thesis, Coventry University, 2016. http://curve.coventry.ac.uk/open/items/42e3ee1b-3756-494c-9f5d-adec1b485be2/1.
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This critical overview draws upon a portfolio consisting of two book chapters, three journal articles and one conference paper all published in international publications between 2011 and the present. The papers have been underpinned, supported and disseminated through 18 conference presentations and a variety of interventions with the commercial environment, all undertaken during the same period. The outputs are crossdisciplinary encompassing technology, acoustics, psychoacoustics, business, music, psychology, physiology, cultural studies etc. The work is tied into two sets of funding from the Higher Education Academy (HEA) focussing on the use of emergent technology to develop music producers’ expertise. The work therefore represents a cohesive but diverse set of outputs, and is reflective of the technologically-driven nature of the creative industries, and the multidisciplinary experience of the author.
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Börjesson, Veronica, and Karolin Jonsson. "Evaluating the user experience in mobile games using session recording tools." Thesis, Linköpings universitet, Medie- och Informationsteknik, 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:liu:diva-119989.
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This thesis work examines how the user experience of mobile games can be evaluated with the use of session recording tools. The thesis project was carried out at the mobile games development company MAG Interactive, and the aim was to produce a workflow for the company with guidelines for how to conduct user testing with session recording tools for mobile devices. In order to evaluate the tools and services, and to develop the workflow, several user tests have been conducted. When using mobile session recording tools, it is possible to record the screen of the device, the microphone input and in some tools also the front camera input while the user is playing the game. Recording the test session makes it easier to understand and evaluate the player experience of the game and also to identify usability issues. The thesis also covers other parts necessary when conducting user testing besides the actual session recording tool. These are test set up (instructions, tasks etc.), integration, distribution of the test and the application and also analysis of the recorded test session.
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Mok, Lucille Yehan. "Glenn Gould, Oscar Peterson, and New World Virtuosities." Thesis, Harvard University, 2014. http://nrs.harvard.edu/urn-3:HUL.InstRepos:13064972.
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This dissertation centers on virtuosity as a source of creative genesis, boundary-pushing, and musical debate. Focusing on the careers and works of pianists Oscar Peterson (1925-2007) and Glenn Gould (1932-1982), I examine the role of the virtuoso in twentieth-century music-making, and his encounter with Canadian national identity. Gould and Peterson were contemporaries, and despite their differences - Gould was a white classical musician from Toronto, and Peterson, an African Canadian jazz artist from Montréal - their career paths share points of connection. Using archival material from the Glenn Gould fonds and the Oscar Peterson fonds at Library and Archives Canada, I analyze the work of both figures as sources of musical creativity through musical performance and composition.
The first part of this dissertation demonstrates how Gould's and Peterson's respective performances sparked furor through their contestation of musical boundaries. In the first chapter, my analysis of outtakes from Gould's 1955 recording session of the Goldberg Variations illuminates how his radical musical philosophies emerged from his early recording practices. In chapter two, I examine critiques of Peterson's performance aesthetic from an extensive collection of reviews, and argue that his style of virtuosic jazz allowed him to push back against musical expectations. In the third chapter, I examine the work of Canadian filmmaker Norman McLaren whose experimental animation provided opportunities for partnerships with both musicians; with Peterson in 1949 and with Gould in 1969.
The second part of my dissertation takes the reader outside the realm of performance and demonstrates how Gould and Peterson engaged with landscape through sound composition. The fourth chapter investigates the spatial and sonic interpretation of Canadian locales in Gould's Solitude Trilogy, a series of three experimental radio documentaries. In the final chapter, I unravel the biographical and musical influences in Peterson's multi-movement suite for jazz trio, Canadiana Suite. By studying these iconic virtuosos side-by-side, my dissertation illuminates the significance of the performer in Canada's cultural life in the second half of the twentieth-century and yields a new understanding of how Gould and Peterson exploded expectations in their respective musical communities.Music
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Robertson, Ryan S. "Effects on the Use of Technology-Based Self-Monitoring for Students with Autism Spectrum Disorder: A Meta-Analysis." Thesis, University of North Texas, 2019. https://digital.library.unt.edu/ark:/67531/metadc1505170/.
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Self-monitoring involves teaching students to be aware of their own behavior, and be able to record whether the behavior happened or not. The present study uses meta-analysis of single case design (SCD) studies to evaluate the effectiveness of self-monitoring interventions that use electronic devices during implementation for individuals with autism spectrum disorder (ASD). Eligible studies were accessed to determine design quality, and examine the use of self-monitoring for individuals diagnosed with ASD. Studies were evaluated against inclusion-exclusion criteria. The studies that met inclusion criteria (n = 15) were assessed with the What Works Clearinghouse (WWC) standards for methodological rigor. The WWC standards were applied to baseline and intervention phases. There were a total of 12 studies with 32 students diagnosed with ASD that met SCD standards without, and with reservations. The 12 studies were evaluated using the Tau-U effect size metric to quantify the percentage of change that was attributed to the self-monitoring intervention. Overall, omnibus Tau-U was 0.96 (95% confidence interval [CI] = [0.89, 1.0]). Limitations and directions for future research are discussed.
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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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Li, Feng. "A methodology for characterizing pavement rutting condition using emerging 3D line laser imaging technology." Diss., Georgia Institute of Technology, 2012. http://hdl.handle.net/1853/50114.
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Pavement rutting is one of the major asphalt pavement surface distresses affecting pavement structure integrity and driving safety and is also a required performance measure specified in the Highway Performance Monitoring System (HPMS). Manual rutting measurement is still conducted by many state Departments of Transportation (DOTs), like Georgia DOT; however, it is time-consuming, labor-intensive, and dangerous. Although point-based rut bar systems have been developed and utilized by state DOTs to measure rutting conditions, they often underestimate rut depth measurements. There is an urgent need to develop an automated method to accurately and reliably measure rutting conditions. With the advance of sensing technology, emerging 3D line laser imaging technology is capable of collecting high-resolution 3D range data at highway speed (e.g., 100 km/h) and, therefore, holds a great potential for accurately and repeatedly measuring pavement rutting condition. The main contribution of this research includes a methodology, along with a series of methods and procedures, for the first time, developed utilizing emerging 3D line laser imaging technology to improve existing 1D rut depth measurement accuracy and repeatability and to measure additional 2D and 3D rutting characteristics. These methods and procedures include: (1) a threshold-based outlier removal method employing the multivariate adaptive regression splines (MARS) technique to remove outliers caused by non-rutting features, such as wide transverse cracks and potholes; (2) a modified topological-ordering-based segment clustering (MTOSC) method to optimally partition the continuous roadway network into segments with uniform rutting condition; (3) an overlapping-reducing heuristic method to solve large-scale segmentation problems; (4) a network-level rutting condition assessment procedure for analyzing 3D range data to statistically interpret the pavement rutting condition in support of network-level pavement management decisions; (5) an isolated rut detection method to determine the termini, maximum depth, and volume of isolated ruts in support of project-level maintenance operations. Comprehensive experimental tests were conducted in the laboratory and the field to validate the accuracy and repeatability of 1D rut depth obtained using the 3D range data. Experimental tests were also conducted in the laboratory to validate the accuracy of 3D rut volume. Case studies were conducted on one interstate highway (I-95), two state routes (SR 275 and SR 67), and one local road (Benton Blvd.) to demonstrate the capability of the developed methods and procedures. The results of experimental tests and case studies show that the proposed methodology is promising for improving the rutting measurement accuracy and reliability. This research is one of the initial effort in studying the applicability of this emerging sensing technology in pavement management. And the outcomes of this research will play a key role in advancing state DOTs’ existing pavement rutting condition assessment practices.
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Watson, Allan. "Sound practice : a relational economic geography of music production in and beyond the recording studio." Thesis, Loughborough University, 2012. https://dspace.lboro.ac.uk/2134/10432.
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This thesis develops a relational geography perspective on creative work and practice, with a specific focus on the recording studio sector. Drawing on an extensive social network analysis, a questionnaire survey, and nineteen semi-structured interviews with recording studio engineers and producers in London (UK), the thesis reveals how recording studios are constituted by a number of types of relations. Firstly, studios are spaces that involve a material and technological relationality between studio workers and varied means of production. Studios are material and technological spaces that influence and shape human actions and social inter-actions. Secondly, studios are sites of relationality between social actors, including engineers, musicians and artists. The thesis reveals how the ability to construct and maintain social relations, and perform emotional labour , is of particular importance to the management of the creative process of producing and recording music, and to building the individual social capital of studio workers. Finally, the thesis argues that studios are sites of changing employment relations between studio workers and studio as employer. In the recording studio sector, a complex and changing set of employment practices have re-defined the relationship between employee and employer and resulted in a set of employment relations characterised by constant employment uncertainty for freelance studio workers. It is argued that the three types of relations revealed in this thesis, manifest at a multiplicity of geographical scales, construct recording studios as distinctive social and economic creative spaces. In conclusion, it is argued that a relational perspective is central to progressing geographical accounts of creative work and of project-based industries in general.
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Davis, James A. "Technology supported learning within art and design : the acquisition of practical skills, with specific reference to undergraduate introductory sound recording and interview techniques." Thesis, University of Wolverhampton, 2008. http://hdl.handle.net/2436/39873.
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While many Higher Education subject areas have embraced technology-supportedlearning (TSL), its uptake has been noticeably slower in the practicum of the art and design subject area. As such our understanding of the use of TSL in this practicum is under-developed. This multi- and inter-disciplinary practice-based research project is a case study, within this under-developed area, based around the question: “Can TSL aid the acquisition and development of practical skills associated with sound recording a location-based interview, introduced (as part of studio-based practice) during a three-hour class to level 1 undergraduate art and design students?” In addressing this research question I argue that the design and evaluation of TSL requires a holistic approach, grounded in an understanding of the audience, subject matter and learning context / environment, requiring a comprehensive consideration of user experience design (UXD), where theory informs rather than leads pedagogy/practice. Taking a grounded approach, an analysis of existing needs was first undertaken within the learning environment; practitioners, and other UK providers of SRIT skills were consulted; a number of pre-existing technology-based practical skillsfocused artefacts were reviewed and theories, models and principles were drawn upon across a number of associated cognate fields. Adopting a post-theoretical perspective and action research principles, an artefact called “RecordingCoach” was designed, realised, utilised and evaluated. RecordingCoach enables its users to observe sound recording equipment being setup; set up a virtual sound kit themselves as well as undertake both assisted and independent interviews with two virtual interviewees. RecordingCoach records the independent virtual interviews in real time and saves them to the host computer hard drive, capturing microphone handling, responses to situational/ environmental sound and verbal audio exchanges. The evaluation of RecordingCoach took place over a one-year period with the participation of 108 students. Attitudes towards the artefact, patterns of learning activity, behaviour and assignment performance were scrutinised and nonassessed performance indicators were referred to. The resulting findings are very positive suggesting that TSL can be effective within the practicum of the art and design subject area.
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Fuchs, Adriaan. "In search of the "true" sound of an artist : a study of recordings by Maria Callas." Thesis, Stellenbosch : University of Stellenbosch, 2006. http://hdl.handle.net/10019.1/17355.
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Thesis (M. Phil. (Music Technology)) -- University of Stellenbosch, 2006.ENGLISH ABSTRACT: Modern digital signal processing, allowing a much greater degree of flexibility in audio processing and therefore greater potential for noise removal, pitch correction, filtering and editing, has allowed transfer and audio restoration engineers a diversity of ways in which to “improve” or “reinterpret” (in some cases even drastically altering) the original sound of recordings. This has lead to contrasting views regarding the role of the remastering engineer, the nature and purpose of audio restoration and the ethical implications of the restoration process. The influence of audio restoration on the recorded legacy of a performing artist is clearly illustrated in the case of Maria Callas (1923 - 1977), widely regarded not only as one of the most influential and prolific of opera singers, but also one of the greatest classical musicians of all time. EMI, for whom Callas recorded almost exclusively from 1953 - 1969, has reissued her recordings repeatedly, continually adapting their sound “to the perceived preferences of the record-buying public” (Seletsky 2000: 240). Their attempts at improving the sound of Callas’s recordings to meet with the sonic quality expected of modern recordings, as reissued in the latest releases that form part of EMI’s Callas Edition, Great Recordings of the Century (GROTC) and Historical Series, have resulted in often staggeringly different reinterpretations of the same audio material that bear no resemblance to previous CD or LP incarnations or “evince no consolidated conviction about exactly how Callas’s voice should sound.” In essence, some commentators argue that the “Callas sound” we hear on recent CD releases is not necessarily exactly as the great diva might have sounded. The purpose of this study is to consider the influence of audio restoration and remastering techniques on the recorded legacy of Callas, by illustrating the sometimes startlingly different ways in which her voice has been made to sound, examining and comparing the way in which different remasterings of the same audio material can vary in quality, as well as demonstrating how vastly different sonic reinterpretations of a single recording can affect our perception of an artist’s “true” sound. To this end, various reissues of six different complete opera recordings, including four studio recordings: Tosca (1953), Lucia di Lammermoor (1953), Norma (1954), Madama Butterfly (1955), as well as two “live” performances of Macbeth (1953) and La Traviata (1958), have been evaluated and compared, using the “true” sound of Callas’s voice as reference in comparing the different remasterings. Pitch and frequency spectrum analysis was used to confirm or support any subjective claims and observations and further analysis performed with the aid of a specialised Matlab algorithm.
AFRIKAANSE OPSOMMING: Moderne digitale seinprossesering bied kragtige en veelsydige moontlikhede vir die verwerking van klankseine. Die groter potensiaal vir ruisverwydering, toonhoogte verstelling, filtrering en redigering van opnames bied klankingenieurs ‘n wye verskeidenheid van maniere om die oorspronklike klank van opnames te verbeter, te interpreteer en soms ingrypend te verander. Dit het aanleiding gegee tot teenstrydige en uiteenlopende menings oor die funksie van die klankrestourasie-ingenieur, die aard en doel van klankrestourasie en die etiese gevolge van die restourasieproses. Die invloed van klankrestourasie op die klanknalatenskap van ‘n uitvoerende kunstenaar kan duidelik bestudeer word in die geval van Maria Callas (1923 – 1977), algemeen aanvaar as een van die mees invloedryke en grootse klassieke musici van alle tye. Die platemaatskappy EMI, vir wie Callas feitlik uitsluitlik vanaf 1953 tot 1969 opgeneem het, het haar klankopnames reeds verskeie kere heruitgereik en die klank daarvan deurlopend aangepas om aanklank te vind by die “veronderstelde voorkeure van die publiek” (Seletsky 2000: 240). EMI se pogings om die klank van Callas se opnames te verbeter om aan die klankvereistes van moderne opnames te voldoen, het ontaard in dikwels aangrypend verskillende interpretasies van dieselfde audio materiaal wat geen ooreenkomste toon met vorige laserskyf of langspeelplaat uitgawes nie, asook “geen vasgestelde oortuigings openbaar oor hoe Callas se stem presies moet klink nie.” Sommige critici argumenteer dat die “Callas klank” wat ons op hedendaagse CD uitgawes hoor, nie noodwendig klink soos wat Callas werklik geklink het nie. Die doel van hierdie studie is om die invloed van klankrestourasie op die klanknalatenskap van Callas te bestudeer deur die verskillende wyses waarop die klank van haar stem aangepas is te illustreer, die verskille in klankkwaliteit tussen verskillende uitgawes van dieselfde materiaal te ondersoek en te vergelyk, asook te demonstreer hoe uiteenlopend verskillende interpretasies van ‘n enkele opname die persepsie van ‘n kunstenaar se “ware” klank kan affekteer. Vir hierdie doel is verkeie uitgawes van ses verskillende volledige opera opnames, insluitend vier studio opnames van onderskeidelik Tosca (1953), Lucia di Lammermoor (1953), Norma (1954) en Madama Butterfly (1955), asook twee “lewendige” opnames van Macbeth (1952) en La Traviata (1958) bestudeer deur Callas se “ware” klank as maatstaf te gebruik om die onderskeie opnames te vergelyk. Toonhoogte- en frekwensie spektrum analise, asook analise deur middel van ‘n gespesialiseerde Matlab algoritme, is deurlopend gebruik om enige subjektiewe gevolgtrekkings en waarnemings te staaf.
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Castagnola, Valentina. "Implantable microelectrodes on soft substrate with nanostructured active surface for stimulation and recording of brain activities." Toulouse 3, 2014. http://thesesups.ups-tlse.fr/2646/.
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Les prothèses neuronales implantables offrent de nos jours une réelle opportunité pour restaurer des fonctions perdues par des patients atteints de lésions cérébrales ou de la moelle épinière, en associant un canal non-musculaire au cerveau ce qui permet la connexion de machines au système nerveux. La fiabilité sur le long terme de ces dispositifs, se présentant sous la forme d'électrodes implantables, est un facteur crucial pour envisager des applications dans le domaine des interfaces cerveau-machine. Cependant, les électrodes actuelles pour l'enregistrement et la stimulation se détériorent en quelques mois voire quelques semaines. Ce défaut de fiabilité sur le long terme, principalement lié à une réaction chronique contre un corps étranger, est induit au départ par le traumatisme consécutif à l'insertion du dispositif et s'aggrave ensuite, durant les mouvements du cerveau, à cause des propriétés mécaniques inadaptées de l'électrode par rapport à celles du tissu. Au cours du temps, l'ensemble de ces facteurs inflammatoires conduit à l'encapsulation de l'électrode par une couche isolante de cellules réactives détériorant ainsi la qualité de l'interface entre le dispositif implanté et le tissu cérébral. Pour s'affranchir de ce phénomène, la biocompatibilité des matériaux et des procédés, ainsi que les propriétés mécaniques de l'électrode doivent être pris en considération. Durant cette thèse, nous avons abordé la question en développant un procédé de fabrication simple pour réaliser des dispositifs implantables souples en parylène. Les électrodes flexibles ainsi obtenues sont totalement biocompatibles et leur compliance est adaptée à celle du tissu cérébral ce qui limite fortement la réaction inflammatoire occasionnée par les mouvements du cerveau. Après avoir optimisé le procédé de fabrication, nous avons focalisé notre étude sur les performances du dispositif et sa stabilité. L'utilisation d'une grande densité d'électrodes micrométriques, avec un diamètre de 10 à 50 µm, permet de localiser les zones d'enregistrement en rendant possible, par exemple, la conversion d'un ensemble de signaux électrophysiologiques en une commande de mouvement. En contrepartie, la réduction de la taille des électrodes conduit à une augmentation de l'impédance ce qui dégrade la qualité d'enregistrement des signaux. Ici, un polymère conducteur organique, le poly(3,4-ethylenedioxythiophene), PEDOT, a été utilisé pour améliorer les caractéristiques électriques d'enregistrement d'électrodes de petites dimensions. Le PEDOT a été déposé sur la surface des électrodes par électrochimie avec une grande reproductibilité. Des dépôts homogènes avec des conductivités électriques très élevées ont été obtenus en utilisant différents procédés électrochimiques. Grâce à l'augmentation du rapport surface/volume induit par la présence de la couche de PEDOT, une diminution significative de l'impédance de l'électrode (jusqu'à 3 ordres de grandeur) a été obtenue sur une large plage de fréquences. De tests de vieillissement thermique accéléré ont également été effectués sans influence notable sur les propriétés électriques démontrant ainsi la stabilité de la couche de PEDOT durant plusieurs mois. Les dispositifs ainsi obtenus, fabriqués en parylène avec un dépôt de PEDOT sur la surface active des électrodes, ont été testés in vitro et in vivo sur des cerveaux de souris. Un meilleur rapport signal sur bruit a été mesuré durant des enregistrements neuronaux en comparaison avec des résultats obtenus avec des électrodes commerciales. En conclusion, la technologie décrite ici, associant stabilité sur le long terme et faible impédance, a permis d'obtenir des électrodes implantables parfaitement adaptées pour le développement d'interfaces neuronales chroniquesImplantable neural prosthetics devices offer, nowadays, a promising opportunity for the restoration of lost functions in patients affected by brain or spinal cord injury, by providing the brain with a non-muscular channel able to link machines to the nervous system. The long term reliability of these devices constituted by implantable electrodes has emerged as a crucial factor in view of the application in the "brain-machine interface" domain. However, current electrodes for recording or stimulation still fail within months or even weeks. This lack of long-term reliability, mainly related to the chronic foreign body reaction, is induced, at the beginning, by insertion trauma, and then exacerbated as a result of mechanical mismatch between the electrode and the tissue during brain motion. All these inflammatory factors lead, over the time, to the encapsulation of the electrode by an insulating layer of reactive cells thus impacting the quality of the interface between the implanted device and the brain tissue. To overcome this phenomenon, both the biocompatibility of materials and processes, and the mechanical properties of the electrodes have to be considered. During this PhD, we have addressed both issues by developing a simple process to fabricate soft implantable devices fully made of parylene. The resulting flexible electrodes are fully biocompatible and more compliant with the brain tissue thus limiting the inflammatory reaction during brain motions. Once the fabrication process has been completed, our study has been focused on the device performances and stability. The use of high density micrometer electrodes with a diameter ranging from 10 to 50 µm, on one hand, provides more localized recordings and allows converting a series of electrophysiological signals into, for instance, a movement command. On the other hand, as the electrode dimensions decrease, the impedance increases affecting the quality of signal recordings. Here, an organic conductive polymer, the poly(3,4-ethylenedioxythiophene), PEDOT, has been used to improve the recording characteristics of small electrodes. PEDOT was deposited on electrode surfaces by electrochemical deposition with a high reproducibility. Homogeneous coatings with a high electrical conductivity were obtained using various electrochemical routes. Thanks to the increase of the surface to volume ratio provided by the PEDOT coating, a significant lowering of the electrode impedance (up to 3 orders of magnitude) has been obtained over a wide range of frequencies. Thermal accelerated ageing tests were also performed without any significant impact on the electrical properties demonstrating the stability of the PEDOT coatings over several months. The resulting devices, made of parylene with a PEDOT coating on the active surface of electrodes, have been tested in vitro and in vivo in mice brain. An improved signal to noise ratio during neural recording has been measured in comparison to results obtained with commercially available electrodes. In conclusion, the technology described here, combining long-term stability and low impedance, make these implantable electrodes suitable candidates for the development of chronic neural interfaces
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Latson, Christopher Craig. "Contemporary Pirates: An Examination of the Perceptions and Attitudes Toward the Technology, Progression, and Battles that Surround Modern Day Music Piracy in Colleges and Universities." Thesis, University of North Texas, 2004. https://digital.library.unt.edu/ark:/67531/metadc4595/.
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The pilot study used in this thesis examined the attitudes and perceptions of a small group of students at the University of North Texas. The participants in this pilot study (n=22) were administered an online music file sharing survey, a Defining Issues Test (DIT), and participated in a small focus group. This thesis also outlined the history and progression of online music piracy in the United States, and addressed four research questions which aimed to determine why individuals choose to engage in the file sharing of copyrighted music online.
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Hill, Christopher. "The anarchist's jukebox? a historical account of the file sharing conflict : a thesis submitted in partial fulfilment of the requirements for the degree of Master of Arts (Communication Studies), Auckland University of Technology, 2005." Full thesis. Abstract, 2005.
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Thesis (MA--Communication Studies) -- Auckland University of Technology, 2005.Chapter 5 not included in e-thesis. Also held in print (viii, 177 leaves, 30 cm.) in Wellesley Theses Collection. (T 338.4778149 HIL)
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Guo, Liang. "High-density stretchable microelectrode arrays: an integrated technology platform for neural and muscular surface interfacing." Diss., Georgia Institute of Technology, 2011. http://hdl.handle.net/1853/39513.
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Numerous applications in neuroscience research and neural prosthetics, such as retinal prostheses, spinal-cord surface stimulation for prosthetics, electrocorticogram (ECoG) recording for epilepsy detection, etc., involve electrical interaction with soft excitable tissues using a surface stimulation and/or recording approach. These applications require an interface that is able to set up electrical communications with a high throughput between electronics and the excitable tissue and that can dynamically conform to the shape of the soft tissue. Being a compliant and biocompatible material with mechanical impedance close to that of soft tissues, polydimethylsiloxane (PDMS) offers excellent potential as the substrate material for such neural interfaces. However, fabrication of electrical functionalities on PDMS has long been very challenging.
This thesis work has successfully overcome many challenges associated with PDMS-based microfabrication and achieved an integrated technology platform for PDMS-based stretchable microelectrode arrays (sMEAs). This platform features a set of technological advances: (1) we have fabricated uniform current density profile microelectrodes as small as 10 microns in diameter; (2) we have patterned high-resolution (feature as small as 10 microns), high-density (pitch as small as 20 microns) thin-film gold interconnects on PDMS substrate; (3) we have developed a multilayer wiring interconnect technology within the PDMS substrate to further boost the achievable integration density of such sMEA; and (4) we have invented a bonding technology---via-bonding---to facilitate high-resolution, high-density integration of the sMEA with integrated circuits (ICs) to form a compact implant. Taken together, this platform provides a high-resolution, high-density integrated system solution for neural and muscular surface interfacing.
sMEAs of example designs are evaluated through in vitro and in vivo experimentations on their biocompatibility, surface conformability, and surface recording/stimulation capabilities, with a focus on epimysial (i.e. on the surface of muscle) applications. Finally, as an example medical application, we investigate a prosthesis for unilateral vocal cord paralysis (UVCP) based on simultaneous multichannel epimysial recording and stimulation.
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Strauss, Christopher Eric. "Computer Support Interactions: Verifying a Process Model of Problem Trajectory in an Information Technology Support Environment." Thesis, University of North Texas, 2006. https://digital.library.unt.edu/ark:/67531/metadc5490/.
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Observations in the information technology (IT) support environment and generalizations from the literature regarding problem resolution behavior indicate that computer support staff seldom store reusable solution information effectively for IT problems. A comprehensive model of the processes encompassing problem arrival and assessment, expertise selection, problem resolution, and solution recording has not been available to facilitate research in this domain. This investigation employed the findings from a qualitative pilot study of IT support staff information behaviors to develop and explicate a detailed model of problem trajectory. Based on a model from clinical studies, this model encompassed a trajectory scheme that included the communication media, characteristics of the problem, decision points in the problem resolution process, and knowledge creation in the form of solution storage. The research design included the administration of an extensive scenario-based online survey to a purposive sample of IT support staff at a medium-sized state-supported university, with additional respondents from online communities of IT support managers and call-tracking software developers. The investigator analyzed 109 completed surveys and conducted email interviews of a stratified nonrandom sample of survey respondents to evaluate the suitability of the model. The investigation employed mixed methods including descriptive statistics, effects size analysis, and content analysis to interpret the results and verify the sufficiency of the problem trajectory model. The study found that expertise selection relied on the factors of credibility, responsibility, and responsiveness. Respondents referred severe new problems for resolution and recorded formal solutions more often than other types of problems, whereas they retained moderate recurring problems for resolution and seldom recorded those solutions. Work experience above and below the 5-year mark affected decisions to retain, refer, or defer problems, as well as solution storage and broadcasting behaviors. The veracity of the problem trajectory model was verified and it was found to be an appropriate tool and explanatory device for research in the IT domain.
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Nozaic, Claire. "An introduction to audio post-production for film." Thesis, Stellenbosch : Stellenbosch University, 2006. http://hdl.handle.net/10019.1/17405.
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Thesis (M.Mus.)--University of Stellenbosch, 2006.ENGLISH ABSTRACT: In South Africa there has been an increase over the last few years in audio engineering courses which include modules of study in audio post-production or even offer audio post-production as a major focus of study. From an academic standpoint however, and despite the growth in the local film industry, very little study of this field has been undertaken in South Africa until recently. In 2005, a MMus thesis was submitted at the University of KwaZulu-Natal entitled Acoustic Ambience in Cinematography: An Exploration of the Descriptive and Emotional Impact of the Aural Environment (Turner, 2005: online). The thesis briefly outlines the basic components of the soundtrack and focuses on describing and analysing the properties of ambience, a sub-section of sound effects. At Stellenbosch University, research has recently begun in the fields of film music and Foley (sound effects associated with human movement onscreen). The purpose of this thesis is to provide an overview of audio post-production and the contribution of sound to the film medium. It provides an outline of the processes involved in creating a soundtrack for film and includes a description of the components of the soundtrack and recommendations for practical application.
AFRIKAANSE OPSOMMING: Gedurende die afgelope paar jaar was daar ‘n toename in oudio-ingenieurskursusse, insluitend studiemodules in oudio post-produksie, en selfs ‘n aanbod vir modules in post-produksie as hoofstudierigting. Desnieteenstaande, en ten spyte van die groei in die plaaslike filmindustrie is tot onlangs min akademiese studies op dié terrein in Suid-Afrika onderneem. In 2005 is ‘n MMus-tesis aan die Universiteit van KwaZulu-Natal voorgelê, met die titel Acoustic Ambience in Cinematography: An Exploration of the Descriptive and Emotional Impact of the Aural Environment (Turner, 2005: aanlyn). Hierdie tesis gee ‘n basiese oorsig oor die basiese komponente van die klankbaan, en fokus op die beskrywing en analise van die eienskappe van ambience – ‘n onderafdeling van klankeffekte. By die Universiteit van Stellenbosch is onlangs ‘n begin gemaak met navorsing oor die terreine van filmmusiek en Foley, d.w.s. klankeffekte geassosieer met menslike bewegings op die skerm.. Hierdie tesis beoog om ‘n oorsig te gee van oudio post-produksie en die bydrae van klank tot die filmmedium. Dit verskaf ‘n oorsig oor die prosesse betrokke by die daarstelling van ‘n filmklankbaan en sluit ook in ‘n beskrywing van die komponente van die klankbaan en aanbevelings vir die praktiese toepassing daarvan.
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Burchfield, Rebekah Lynn. "Pressed between the Pages of My Mind: Tangibility, Performance, and Technology in Archival Popular Music Research." Bowling Green State University / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1277073992.
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Lorenzi, Graciano. "Compor e gravar músicas com adolescentes : uma pesquisa-ação na escola pública." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2007. http://hdl.handle.net/10183/10549.
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Este estudo investiga processos de composição musical vinculados ao registro sonoro e à produção de um CD: Como o uso de registros sonoros se coaduna aos processos composicionais coletivos? Quais as implicações de compor e gravar músicas com adolescentes? Como os adolescentes desencadeiam processos composicionais quando os objetivos estão voltados para a produção de um CD? A pesquisa foi realizada com um grupo de 10 adolescentes, no âmbito de uma Oficina oferecida como atividade extracurricular numa escola da rede pública municipal em Gravataí-RS. O referencial teórico apoiou-se em dois eixos: composição musical na educação musical (SANTOS, 1994; SWANWICK, 1979; McDONALD e MIELL, 2000; FAUTLEY, 2004) e música e tecnologias (IAZZETTA, 1996, 1997, 2001; RODRIGUES, 2002 e CARVALHO, 1999). A metodologia adotada foi a pesquisaação na concepção de Pesquisa-Ação Integral (PAI) de André Morin. Entre as principais conclusões está a de que os processos composicionais constituíram-se para além de estruturações musicais, sendo constantemente permeados pelo conjunto de inter-relações sócio-afetivas do grupo. O registro das composições favoreceu o feedback auditivo para os adolescentes, podendo dessa forma, estabelecer novas referências estéticas de percepção musical sobre as próprias composições. Além disso, a produção do CD se configurou como um resultado tangível do fazer musical do grupo, no qual a identidade coletiva e a individual se fundiram.This study investigates the processes of musical composition linked to the sound record and the production of a CD: how do the use of sound records join to collective compositional processes? What are the implications of composing and recording musics with adolescents? How do they develop compositional processes when the objectives are focused on the production of a CD? The research was carried out on a group of 10 adolescents, in a workshop offered as an extra class activity in a public school in the municipality of Gravataí, RS. The theoretical framework was supported in two axes: musical composition in the musical education (SANTOS, 1994; SWANWICK, 1979; McDONALD e MIELL, 2000; FAUTLEY, 2004) and music and technologies (IAZZETTA, 1996, 1997, 2001; RODRIGUES, 2002 e CARVALHO, 1999). The method of investigation was the action research in the view of André Morin’s Integral Action Research. Among the principal conclusions, it is that the compositional processes resulted beyond the musical structures, being constantly surrounded by a social-affective inter-relations set of the group. The recording of the compositions supported the auditory feedback to the adolescents, becoming possible to them, this way, to set up new aesthetic references of musical understanding about their own compositions. Moreover, the CD production became a tangible result of music making of the group, in which the collective and individual identity fused together.