Tesis sobre el tema "Meaning of sound immersion"

Immerse yourself in a world of sound and approximations. This practice-­led research is concerned with critically examining the roots and contemporary significance of immersion within sonic art and everyday life. This body of work has resulted from research into key issues repositioning the term immersion outside the normal parameters of art investigating the intertwining relationship between immersion, listening and anthrophony. The research has been informed by the working methods of selected contemporary artists using field recordings within various interior environments. Rigorous listening to works has also influenced and driven this research forward to search for definitions of immersion. The author analyses the sonic works produced by reflecting on his own practice, with the thesis focused on the works produced rather than any alternative historical notion of sonic arts. The thesis critically examines a collection of works perceived as immersive in nature and secondly explores the interaction with personal sonorous environments. This thesis presents a series of informative and illuminating original interviews that have reinforced expanded elements of immersion presented in the examination of the practice-­led aspects of the work. These primary source interviews give a wide spectrum of opinions and experiences enabling the term and practices of immersion to be viewed outside the commonly viewed perceptions and practices that immersion evokes with artists’, audiences and individuals. Thirteen interviews with international artists’, curators and contemporary writers reflect on their personal experiences of immersion in art and critical methodological influences and practices. The interviews also discuss the contested adjectives that the term immersion evokes and the wider reaching impacts of the term beyond popular usages of the term. These essential interviewees include: Alan Dunn (multidisciplinary artist), BJ Nilsen (field recordist and sound artist), Budhaditya Chattopadhyay (researcher and sound artist), Chris Watson (field recordist and artist), Christine Sun Kim (sound artist), Daniela Cascella (curator, researcher and contemporary writer), David Hendy (researcher and contemporary writer), Francisco Lopez (sound artist), Hildegard Westerkamp (composer and sound ecologist), Markus Soukup (film and sound artist) Matthew Herbert (electronic musician), Ross Dalziel (Local Curator) and Sebastiane Hegarty (visual and sound artist). This primary research brings together, for the first time, a broad spectrum of experiences, opinions and views on immersion in sonic art and everyday life and re-­considers the challenges presented when examining this theme. An accompanying collection of artistic recordings using three distinct methods is also presented as an integrated part of the thesis. First, using mobile phones to record the author’s everyday travels, conversations and movements. Secondly, it utilises the habituated environments and the in/significance of each reverberation by presenting recordings using delicate contact microphones. The third method utilises the phenomenological and abstract memories from the author’s autobiographical past, reconstructing the distant but real recollections. These methods illuminate the author’s immersive resonating capsule of isolated existence including and portraying the fragmented and often distorted everyday sonorous experience. Sound Received: Immersion, Listening and Anthrophony generates alternative and renewed thinking on immersion, re-­definitions illuminating historical moments that have shaped much of the research. The unique collection of interviews and sonic recordings contributes to the expanding area of sonic discourse and offers a unique contribution to the field.

Under the framework of dual-route theory of speech comprehension, two neurological routes are simultaneously active during speech decoding, the dorsal stream and the ventral stream. The dorsal stream is argued to be a sound processor whereas the ventral stream is a meaning processor, hence in cognitive terms, they are called the sound component and the meaning component respectively. Hypotheses concerning the processing speed and response accuracy of these two cognitive components were tested on compound words in Modern Mandarin Chinese. Four experiments were run contrasting, the sound-based task and the meaning-based task, corresponding to each of the two cognitive components. In Experiment 1 and 2, the Task effect was tested on one set of words in which the word-level and word-initial-syllable frequencies were controlled. In Experiment 3 and 4, the Task effect was tested on a different set of words in which semantic transparency was controlled. Multiple regression analyses integrating the data collected in Experiment 1-4 were conducted to test which language theory was preferred, the probability-based theory, the rule-based theory or the integrative theory. The probability-based theory suggests that speech comprehension of compound words relies only on the probability distribution of linguistic units. The rule-based theory suggests that speech comprehension of compound words relies only on phrase-structural rules. The integrative theory suggests that speech comprehension of compound words relies on both the probabilities of linguistic units and phrase-structural rules. It was suggested that the integrative theory explains the data best, but further data testing is needed to confirm this hypothesis. The results of the present study provide evidence for functional trade-off of the sound and meaning components, garden path effects during parsing opaque words and the possibility of the role of a mirror system in human speech comprehension.

Muslims believe that the Qur’ān is the Speech of God with all its sound and sense. The association of the sound with Divine speech triggers the anticipation that the sound and meaning in the Qur’ān have to be intertwined. This expectation is heightened since according to a vast majority of Muslim scholars, the most powerful facet of the miraculousness and inimitability of the Qur’ān (iʻjāz) is the aesthetic excellence of its eloquence (balāḡah) and articulacy (fasāḥah). And intriguingly, in parallel to the intricate relationship of sound and meaning, the attempts of Muslim rhetoricians to identify the source and enchantment of Qur’ānic eloquence have been developed around, and challenged by the distinction of meaning (maʻnā) and expression (lafẓ), which has long continued to be a most elusive problem. In this connection, there are several signi2icant contemporary studies such as of Michael Sells and Kristina Nelson, which develop the traditional analysis further by charting the aural structures of Qur’ānic passages on the basis of the parallelisms and divergencies of syntactic, phonological, and rhythmic features, which are interpreted through the musical tonal dynamics. And the ways in which the aural structures become distinct of each other are read in parallel with the generation of Qur’ānic meanings. These studies construct a fertile formal framework for sound-meaning interaction, without, however, focusing upon how they are instantaneously correlated. In this regard, we encounter a unique work of Sayyid Quṭb, Artistic Imagery in the Qur’ān, in which Quṭb propounds that the fundamental principle and the most valuable stylistic quality of Qur’ānic language is artistic imagery (taswīr), through which the meanings are depicted and portrayed in a vividly evocative way kindling the feeling that the Qur’ānic expression is “alive”. As a crucial dimension of taswīr, Quṭb suggests that the tonal and articulatory features of the letters depict the meanings of the words, and the ways in which they are sequenced generate unique styles of inner musicality that portray the moods and atmospheres of the passages. However, in his cursory discussion, Quṭb does not explain what these tonal qualities are, and how they work. This dissertation develops the concept of taswīr around the concept of tonality and investigates the sound-meaning relationship by meticulously dissecting the articulatory dynamics of the letters and their expressive and evocative qualities.

This research is a practice-based inquiry into the contribution of art to processes in which communities explore, design and proceed on sustainable ways forward. In rejecting an overly technocratic approach, this thesis follows a learning-based conception of sustainable development. Rather than transmitting predetermined solutions, social learning is about establishing a prolific framework of conditions in which people can explore for themselves what is ‘right’, sustainable and desired. Such learning shows important overlaps with art, in that it does not set out to transmit a predetermined message; instead the meaning of something is collectively made throughout the process. Where the shift from instrumental, technocratic approaches to participatory, intersubjective and open-ended approaches to sustainable development is relatively new in the social sciences, artists arguably have a longer legacy working in non-instrumental and ‘goal-searching’ ways. Subsequently, this thesis proposes a range of artful approaches that would allow educators to create spaces in which meaning is mutually created. These are the result of three research activities: the researcher interviewed artists, she participated in practices of artists, and reflected upon her own making process in which she conceived social learning as a contextual arts practice. Where this thesis takes social learning into new areas of knowledge is in the way that it conceives the meaning of sustainable development as continuously coming out of the present. Despite a professed action-oriented and experiential rendition of sustainable development, academics in the field of learning for sustainability present the concept as theoretical and abstract: it exists separated from the lived world of practice that it draws meaning from. This thesis argues that the key potential of art lies in counteracting such excessive objectification of socio-environmental issues. Through locative meaning-making, for example, meanings are derived from the here and now rather than from abstracted terms. Consequently, social learning should not strive for sustainable development as an objective, general goal in itself. Instead the learning should be conceived as an emergent process that is driven by an active vehicle, score or invitation that generates an interaction-rich environment in which meaning-making can happen. Sustainable development then threads through the fabric of whatever is happening, rather than being a focus on its own.

Reggae is a popular musical form that originated in Jamaica in the late 1960's and soon came to be closely associated with the oppositional, Afrocentric Rastafarian movement. During the 1970's it achieved global popularity and is now produced in many locations around the world. In Montreal, reggae is produced by and for a cosmopolitan community; however, certain conceptions of the distinctiveness of this music as an effective intervention in social processes, derived from Rastafarian philosophy, are maintained by its performers. This thesis examines reggae song lyrics and elements of discourse about reggae music in relation to Rastafarian cultural practices, showing how the aesthetic conventions of the form involve a certain ritualization of musical activity that allows for the interpretation of aesthetic experience in terms of solidarity, resistance and historical progress.

This thesis explores how musical recordings circulate within various sites of metacultural analysis, such as print music publications, music blogs, community-based campus radio music programmes and music podcasts. Drawing on theories about cultural production, the circulation of cultural objects, and metaculture (circulation of ideas about cultural objects, rather than the objects themselves), the author traces how an independent record label discursively positions musical recordings for movement towards and within these meaning-making spheres. Print music publications and music blogs facilitate recognition and consecration of recordings in different capacities, particularly in relation to music publicity. Community-based campus (c/c) radio and music podcasts situate recordings within new cultural objects--radio texts--that engage with listeners in different ways. In this manner, all sites are stakeholders in shaping the meaning of a musical recording and propel its actual and metacultural circulation along various trajectories.
Cette thèse explore comment les enregistrements musicaux circulent à travers différents lieuxd'analyse métaculturelle, comme les publications imprimées traitant de musique, les bloguesmusicaux, les émissions de musique des radios communautaires et universitaires ainsi que lesbaladodiffusions musicales. Basé sur les théories de la création de la culture, de latransmission des objets culturels et métaculturel (la circulation d'idées à propos d'objetsculturels plutôt qu'à propos des objets eux-mêmes), l'auteur démontre les méthodesdiscursivement employées par une étiquette indépendante afin d'encourager le mouvement deses enregistrements musicaux au sein de ces sphères créatrices de sens. Les publicationsimprimées et les blogues musicaux facilitent la reconnaissance et la consécration desenregistrements musicaux, notamment à travers la promotion de la musique. Les radioscommunautaires et universitaires ainsi que les baladodiffusions musicales placent cesenregistrements à l'intérieur d'un nouvel objet culturel- le contenu radiophonique -lesquelsattirent l'attention de l'auditoire de différentes façons. Ainsi, tous ces environnementscontribuent à donner un sens à l'enregistrement musical et à le propulser, au sens propre et ausens métaculturel, vers ses trajectoires variées.

The purpose of this thesis is to assess theories of emotion, meaning, and expression in music from the perspective of the performer. While a significant body of research is devoted to theories about such matters—to which I will refer collectively as “theories of communicative content”—there is a general lack of attention paid to how such theories apply in actual music performance. In other words, these theories tend to avoid explicating not only how music conveys such content in acts of performance, but also how performers, through such acts, imbue music with communicative content. I seek to address this oversight because the process of applying communicative content in performance, indeed, the very process of performing itself, may offer insight into the mechanisms involved for making music meaningful and expressive. To that end, I will investigate evidence from actual musical practice and from actual music practitioners. The thesis will consider current research on expression, meaning, and emotion in music, propose a new model that derives from performance itself, and assess old and new models alike through case-study interviews with professional-level performers. By bringing the performer’s voice into the discussion, this thesis aims to formulate a model that not only gives an accurate account of how music becomes meaningful in performance, but also provides musicians with clearly defined methods for how to make music in ways that are emotionally charged and meaningfully expressive.

This qualitative study analyzed interactions between clinicians and a male child, aged 5 years 9 months old, with significant phonological as well as language deficits within a meaning-based phonological intervention implemented over a nine-month period. Play-based intervention strategies were presented in activities that varied in communicative complexity. The clinician, along with graduate-student assistants, frequently modeled and elicited target word productions as they interacted with the child in routines and scripted play contexts. Transcriptions of interactions were analyzed using a conversational analysis that explored engagement and participation, turn taking, and linguistic complexity of utterances produced in adjacent turns. The analyses illustrated ways in which the clinicians structuring of the activities influenced the child's participation. The turn taking exchanges were topically related when dealing with shared, immediate context. The reciprocal nature of the turn taking exchanges, and the child's grammatical productions were analyzed. The study suggests that contextualized intervention can make speech sound production relevant for children with phonological production as well as language deficits.

This thesis investigates the relationship between social meaning and linguistic change. An important observation regarding spoken languages is that they are constantly changing: the way we speak differs from generation to generation. A second important observation is that spoken utterances convey social as well as denotational meaning: the way we speak communicates something about who we are. How, if at all, are these two characteristics of spoken languages related? Many sociolinguistic studies have argued that the social meaning of linguistic features is central to explaining the spread of linguistic innovations. A novel form might be heard as more prestigious than the older form, or it may become associated with specific social stereotypes relevant to the community in which the change occurs. It is argued that this association between a linguistic variant and social meaning leads speakers to adopt or reject the innovation, inhibiting or facilitating the spread of the change. In contrast, a number of scholars have argued that social meaning is epiphenomenal to many linguistic changes, which are instead driven by an automatic process of convergence in face-to-face interaction. The issue that such arguments raise is that many studies proposing a role of social meaning in the spread of linguistic innovations rely on production data as their primary source of evidence. Observing the variable adoption of innovations across different groups of speakers (e.g. by gender, ethnicity, or socioeconomic status), a researcher might draw on their knowledge of the social history of the community under study to infer the role of social meaning in that change. In many cases, the observed patterns of could equally be explained by the social structure of the community under study, which constrains who speaks to whom. Are linguistic changes facilitated and inhibited by social meaning? Or is it rather the case that social meaning arises as a consequence of linguistic change, without necessarily influencing the change itself? This thesis explores these questions through a study of vocalic change in York, Northern England, focusing on the fronting and diphthongization of the tense back vowels /u/ and /o/. It presents a systematic comparison of the social meanings listeners assign to innovations (captured using perceptual methods), their social attitudes with regard to those meanings (captured through sociolinguistic interviews), and their use of those forms in production (captured through acoustic analysis). It is argued that evidence of a consistent relationship between these factors would support the proposal that social meaning plays a role in linguistic change. The results of this combined analysis of sociolinguistic perception, social attitudes and speech production provide clear evidence of diachronic /u/ and /o/ fronting in this community, and show that variation in these two vowels is associated with a range of social meanings in perception. These meanings are underpinned by the notion of 'Broad Yorkshire' speech, a socially-recognized speech register linked to notions of authentic local identity and social class. Monophthongal /o/, diphthongal /u/, and back variants of both vowels are shown to be associated with this register, implying that a speaker who adopts an innovative form will likely be heard as less 'Broad'. However, there is no clear evidence that speakers' attitudes toward regional identity or social class have any influence on their adoption of innovations, nor that that their ability to recognise the social meaning of fronting in perception is related to their production behaviour. The fronting of /u/ is spreading in a socially-uniform manner in production, unaffected by any social factor tested except for age. The fronting of /o/ is conditioned by social network structure - speakers with more diverse social networks are more likely to adopt the innovative form, while speakers with closer social ties to York are more likely to retain a back variant. These findings demonstrate that York speakers hear back forms of /u/ and /o/ as more 'local' and 'working class' than fronter realizations, and express strong attitudes toward the values and practices associated with regional identity and social class. However, these factors do not appear to influence their adoption of linguistic innovations in any straightforward manner, contrasting the predictions of an account of linguistic change where social meaning plays a central role in facilitating or inhibiting the propagation of linguistic innovations. Based on these results, the thesis argues that many linguistic changes may spread through the production patterns of a speech community without the direct influence of social meaning, and advocates for the combined analysis of sociolinguistic perception, social attitudes and speech production in future work.

Philosophiae Doctor - PhD
The study of sound symbolism, phonetics and semantics has been of major concern for linguists since the Greeks and the Romans in the fifth century before AD. The idea of sound symbolism - the existence of correspondence between the sound of letters (or linguists, such as Ibn Jinni (942-1002 AD), and modern Arabic linguists, including al- Badráwi (1999), and Na'aim Alwia (1984), have attempted to elucidate this phenomenon, providing detailed description and some examples from Arabic and the Holy Qur'an. Modern Western linguists such as Magnus (1999) have discussed the correspondence between the sounds of letters and the sense in Western languages. Jespersen (1962) and Badráwi (1999) have recommended that this phenomenon needs further detailed study and have indicated the need of more examples to be used as reference theory. Using Ibn Jinni's model, this study is an attempt to build on the theory of the correspondence between sound and meaning using the Holy Qur'an as an example. While Jinni's focus was on the correspondence of sound and meaning at the word level, this study will focus on the individual sound segments within the word, and the effect of the word within the Surat. The argument is that it is the individual distinctive features of each phoneme in a word that give the word its distinctive sound quality, and also has have an impact on the meaning of the word. Any correspondence between sound and meaning in a word should therefore be assigned to a particular significant distinctive feature. Given that the focus on the presumed direct relationship between sound and meaning, recourse will be made to the principal of onomatopoeia. Therefore, the objective of this study is to investigate the relationship between the distinctive features of the sounds that form Arabic words and the meaning of such words as used in the Holy Qur'an. In particular, the study will analyze the distinctive features, such as a sound being a consonant or a vowel, voicing, manner and place of articulation, airstream mechanism, among others (singly or combined) of the sounds in Arabic words, and relate this to the meaning of the words. This phenomenon will be investigated using descriptive methods and the Holy Qur' an as the object of study.

Music extends beyond audibility. We perceive a performance – the work-on-stage – not only sonically but also visually and physically. Bridging science, phenomenology, eastern philosophy and music, A General Theory of Composition explores cross-modal perception and new synergies between musical and non-musical modes of creative expression through the media of sound, composition as a whole, and interdisciplinary research by posing the key-questions: What is SOUND? Where does SOUND begin, and where does it end? A General Theory of Composition, as a phenomenological investigation, reconfirms that the nature of both artistic practice and our sensory perception is holistic and reciprocally cross-modal. ‘Multi-sensory fluidity’ (Coessens), ‘sonic sensibility’ (Voegelin), ‘sensory substitution’ (McGann), naturally embedded in our modes of perception, suggest that our perception is always ‘embodied’ (Johnson) within its complex interdisciplinary Gestalt – composition as a whole. From this perspective the multisensory human body can be seen to engage meaningfully with the world via cross-modal listening, that promotes multi-sensory, psychosomatic reciprocal exchange between audible-visual-physical modes of perception. From the observation of my own artistic praxis, the holistic perspective of my theory brings forward the view on musical and/or any practice as a ‘lived experience’ (Stein) through theories of The Empathy Theory (Stein), Spheres of Human Essence (Walther), and The Speech Act Theory (Austin). It shares insights that: 1) sound/music, as language, is a phenomenon rooted in the philosophical domain; 2) there is no pure medium – all media are multi-modal, inter-subjective and reciprocally interconnected; 3) through the mode of ‘active listening’, as a means of communication, sound naturally crosses into other domains; 4) our perceptual modes intertwine, synthesise, and co-exist in a synergetic relationship within the complex chamber of our multi-sensory, psychosomatic, physical bodies. The exegesis is accompanied by two creative works, LIBERATO and SKETCHES, presented in three contextual subdivisions that collectively illustrate the workings of my theory and creative practice: the work-on-stage; cross-modal perception; expanded musical notation.

Denna studie undersöker hur avsaknaden av ljud i digitala spel påverkar spelarens upplevelser av spelet, påverkan på spelförmåga och allmänna skillnader mellan att spela ett spel med och utan ljud. Undersökningen utfördes i form av två spelsessioner med och utan spelets ljud, följt av semistrukturerade intervjuer. Åtta respondenter fick uppleva spelet Mario Kart 8 och dela med sig av sina tankar kring avsaknaden av ljud samt hur ljudet påverkat deras spelupplevelse. Studien kom fram till att avsaknaden av ljud i Mario Kart 8 påverkade spelaren på ett flertal sätt, såsom att spelet upplevdes som mindre underhållande och svårare att interagera med.

This thesis examines Frost’s conception of poetry as the labor of human value. It investigates how Frost consciously shaped his notions of “sound of sense” and metaphor, which he deemed fundamental elements of poetic labor, in contradistinction to the Modernist poetics of Eliot and Pound. The author closely examines a representative sample of Frost’s poetry and prose as critiques of Modernist poetic theory and its implications for what Frost deemed the essential human function of poetry. The thesis will interest scholars studying strains of English poetic thought that developed concurrently with and against Modernist poetic thought. More broadly, it will interest those who seek a serious and thoughtful challenge to Modernist literary trends that prevail even today.

The purpose of this study was to examine the effects of manipulating target-word frequency rate and target-word phrase position on sound-meaning-connection in five to fifteen month old Swedish infants. Three different test conditions, each one of them a film showing objects and corresponding phrases made of randomly generated artificial words, were designed. The structure of the first, high variability test condition included context-dependent information and the structures of the second and the third, low variability test conditions were characterised by frequent nonsense target-word rate, target-words occurring in phrase final position. The aim of the artificial input language was to ensure the novelty of test material, and to simulate the type of learning situation - when the semantic content of words is arbitrary - facing young infants in the beginning of language learning. Analysis of informants looking behaviour, prior to, and after exposure to the objects and the corresponding audio input, were performed. Results showed that the structure of high variability test condition and the structure of low variability test conditions were associated with significant between-group differences. This finding indicates that the nonsense phrases in low variability test conditions managed to 'explain' the objects just like semantically meaningful phrases do. When compared with past research, these findings seem to suggest that experience-dependent mechanisms may support, besides word segmentation, even more complicated aspects of language learning, such as acquisition of syntax.

Eeva Klintfors är född Koponen.

As video games have evolved, the focus on impressive graphics and surround-sound has become increasingly prominent. Stepping away from their roots, video games have toned down the interaction and put the cinematic parts of the experience on the forefront. However, some games stand outside the norm, taking down the sound-level to a minimum, even going as far as removing text entirely. In my essay, I explore the functions of silence, specifically in two works: the computer game Machinarium, and 2001: A Space Odyssey, the film, along with the novel. By analyzing these works, I highlight how silence can have widely different effects on how the users experience the work. Employing different techniques, the authors manipulate the experience, using visuals as well as audio to increase the sense of immersion and connectedness to the characters on screen. In my essay, the close ties between video games and film is central, and it discusses how the former has been influenced by the latter. Comparing the use of silence to techniques found in literature, I discover surprisingly many similarities to the narrative techniques used there. My research shows that video games employing silence can, even while being influenced by more cinematic media, still retain its core essentials and provide an experience that encourages exploration and imagination of the individual user.

We live in a time when technology is digitalizing the world. Technology is a medium that brings people closer to each other and enables more experiences to take place; at home. The increase of music concert attendance boomed the music industry in 2016 and set record sales already halfway into the year. However, there are still people that cannot attend music concerts or performances due to other factors. It was not only the music industry that boomed in 2016; artists started producing music concerts in Virtual Reality (VR) enabling them to reach out to a wider audience. This study shows how music fans in the age between 20-30 perceive music concerts and performances in virtual worlds. The study conducted qualitative experiments and focus group discussions with a total of nine participants. The conclusion is that music fans perceive virtual reality as a media technology that needs more product development and focus on the possibilities of becoming a more social experience. Virtual reality is a technology that isolates the user; the music fans demanded an experience that enables co-presence. That is, achieving immersion and experiencing being present in a virtual world with another person.

I nuvarande forskning så existerar det ett research gap inom ljudproduktion och ljuddesign för Virtual Reality-applikationer. Det finns en mängd teknisk forskning om uppspelning av spatialiserat ljud för virtual reality med tekniker som binauralt ljud, HRTF (head-related transfer functions) och ambisonics. Allt detta är av högsta grad relevant för denna undersökning och kommer att diskuteras kring samt redogöras för i senare del av artikeln, men kommer inte att ta en central del av undersökningen. Snarare är det avsaknaden av metoder och processer för det kreativa skapandet och implementeringen av ljud för Virtual Reality som intresserar den här undersökningen. Denna artikel tar ett initiativ för att framhäva vikten av en genomtänkt och väl utförd ljuddesign för Virtual Reality- applikationer samt redogöra för tankesätt och metoder som kan appliceras i en audiell designprocess. Detta genom analys utav fenomenen immersion och närvaro. Med denna analys som grund översätts dessa sedan till metoder och nyckelord som främjar att stödja skapandet av applikationers audiella innehåll. Undersökningen har mynnat ut i ett designobjekt som existerar som ett exempel för denna process och redogörs med en grundlig dokumentation. Artikeln avslutas med en jämförande studie där detta designobjekt placeras tillsammans med andra designexempel från marknaden i ett antecknande portfolio. Detta för att undersöka likheter mellan dessa exempel utifrån de nyckelord som kommer att framföras samt redogöras för i artikeln. Förhoppningen är att denna process kan tydliggöra för ljudets roll i att skapa en immersiv upplevelse samt inspirera andra ljuddesigners att applicera dessa metoder i dennes egna designprocess.
In present research there exists a research gap within the field of sound production and sound design for virtual reality-applications. There is a ton of technical research to be found such as the deliverance of spatial audio for virtual reality through techniques like binaural audio, HRTF (head-related transfer functions) and ambisonics. All of these are highly relevant for this research and will be discussed in a later part of the article however they won't take a central part of the research process. It is rather the lack of methods and processes for the creative design and implementation of sound for virtual reality that this research finds interesting. This article takes an initiative to shed light on the importance of a well thought- through and properly executed sound design for Virtual Reality applications and gives an account for the thought process as well as methods that can be applied to an audio design process. This is done through an analysis of the phenomena known as immersion and presence. With the analysis as groundwork, the explanations of these phenomena then get translated to methods and keywords that support the creation of audio content for the given application. This research has formed the basis for a design object that exists as an example for this process and has been thoroughly documented along the way. The article ends with a comparative research study where this design object is placed together with other design examples from the general market in an annotated portfolio. The reason for this is to point out similarities through the lens of keywords that will be presented and explained in this article. This process sets out to clarify the role sound has in the creation of an immersive experience as well as to inspire other sound designers to apply these methods in their own design processes.

Denna studie bygger på en fallstudie där filmen Pool, regisserad av Anders Lennberg mixas i bioljudsformatet Dolby Atmos. Syftet är att få fördjupad kunskap om de processer och den potential för immersion och filmberättande som ingår i filmmixning i det objektbaserade ljudformatet Dolby Atmos. Studien har utgått från tre stycken forskningsfrågor: 1) Vilka kreativa och tekniska mixningsstrategier används i filmen Pool för att förhöja den potentiella graden av immersion? 2) Hur kan olika mixningsstrategier, specifika för det objektbaserade ljudformatet Dolby Atmos, utformas för att bidra till filmljudets berättande funktioner? Och 3) Hur ser produktionsprocesserna ut vid filmmixning i Dolby Atmos? I studien har metodansatsen forskning genom design, tillsammans med autoetnografi använts. Undersökningen har alltså varit att mixa filmen i två iterationer, studera mixningsprocesserna och valen som görs. Extern värdering har sedan gjorts av regissören samt en fokusgruppintervju med personer från ljud- och musikproduktionsprogrammet vid Högskolan Dalarna. Resultatet har blivit ett antal mixningsstrategier som applicerats för att förhöja immersion i filmen och bidra till ljudets berättande funktioner. Med panoreringsmöjligheterna och möjligheten att placera ljud i höjdled i Dolby Atmos har studien lyckats visa ett större kreativt utrymme för filmmixaren att skapa immersion och bidra till ljudets berättande funktioner.

Based on previous research on spatial attributes in foley and the concept that auditory immersion in first-person perspective computer games is enhanced by believable sound effects, this study explores if there is a connection between stereo foley and the believability of the first-person perspective, and regardless, if there is a preference to either mono or stereo foley. An interactive listening test was created in unreal engine 4, where 20 subjects, all considered gamers, played three levels that differed visually and in auditory content. In these levels, subjects auditioned two versions of avatar-related foley sounds. One version was mono, the other stereo. The test prompted the subjects to complete two tasks for each level, whereupon the foley version changed upon completion of the first task. The subjects then answered questions in between each level, regarding the foley version. They were asked to rate believability and choose a preference, as well as provide motivations for their choices. The quantitative data showed next no evidence that either mono or stereo was generally perceived as more believable or preferred. However, the qualitative data indicates that the majority of players tend to prefer and rate stereo foley as more believable in certain game environments. Furthermore, the data indicates that some subjects prefer a sensory replication of reality in foley. It is also shown that preference for stereo width vary between subjects and therefore argued that there cannot be a perfect standardized setting for stereo foley.

I detta arbete har det undersökts huruvida ett narrativ som berättas endast genom dieges ger samma resultat som om berättelsen skulle förmedlas med hjälp av icke-dieges. Detta arbete fokuserade på den verbala berättartekninken och genom en undersökning där sex vana spelare av narrativa spel intervjuades. Undersökningen genomfördes genom semistrukturerade intervjuer där informanterna fick spela två artefakter, en diegetisk och en icke-diegetisk. Artefakterna var utformade att leverera narrativet genom tal och språk och skapades efter Walter Murch teori om kodat och inbäddat ljud. Utvärderingen visade att alla sex deltagare kunde skapa sig en viss uppfattning om narrativet men att det med icke-dieges blev tydligare vad den exakta berättelsen var.

In this practice-led research project I work to show how a re-reading and a particular form of listening to the sound-riddled nature of Gertrude Stein's work, Two: Gertrude Stein and her Brother, presents us with a contemporary theory of sound in language. This theory, though in its infancy, is a particular enjambment of sounded language that presents itself as an event, engaged with meaning, with its own inherent voice. It displays a propensity through engagement with the 'other' to erupt into love. In this thesis these qualities are reverberated further through the work of Seth Kim-Cohen's notion of the non-cochlear, Simon Jarvis's notion of musical thinking, Jean-Jacques Lecercle's notion of délire or nonsense, Luce Irigaray's notion of jouissant love and the Bracha Ettinger's notion of the generative matrixial border space. This reading then is simultaneously paired with my own work of scoring and creating a digital opera from Stein's work, thereby testing and performing Stein's theory. In this I show how a re-reading and relistening to Stein's work can be significant to feminist ethical language frames, contemporary philosophy, sonic art theory and digital language frames. Further significance of this study is that when the reverberation of Stein's engagements with language through sound can be listened to, a pattern emerges, one that encouragingly problematizes subjectivity and interweaves genres/methods and means, creating a new frame for sound in language, one with its own voice that I call soundage.

Comme toute expérience humaine, la relation au sonore appelle le langage, qui contribue à l‟inscrire dans la vie des individus et des communautés. Récurrente cependant chez les locuteurs, l‟expression d‟une difficulté particulière à parler des phénomènes acoustiques doit-elle être attribuée à l‟irréductibilité essentielle du perçu au dire, à d‟éventuelles lacunes de la langue dans la saisie de l‟expérience auditive, ou encore à la spécificité d‟une situation dans laquelle le discours, attaché au sonore par le double lien du signans et du signatum, réactive à sa source le procès sémiotique ? Mettant en évidence le fait que parler des sons est toujours parler de notre relation aux phénomènes acoustiques, l‟étude, basée sur une analyse de corpus, s‟intéresse à la façon dont le discours témoigne - et participe - de l‟inscription de l‟expérience sonore au coeur de l‟être au monde. Utilisant les ressources de l‟approche cognitive de l‟analogie (Hofstadter, Sander, 2013), elle s‟attache aux relations unissant, du sonore au musical, les processus de catégorisation auditive aux diverses modalités de saisie discursive du perçu. Si, comme en témoigne l‟analyse, ce sont bien les mêmes analogies qui participent de la relation aux phénomènes auditifs et de l‟usage signifiant du sonore en langue, le discours sur le son permet-il de mieux comprendre les enjeux du lien originaire unissant, dans et par l‟expérience acoustique, l‟exploration du sensible à l‟engagement de l‟aventure du sens?
Like any human experience, the relationship to sound calls for language, which contributes to engaging it in the lives of individuals and communities. Speakers, though, often claim to encounter special difficulties when talking about acoustic phenomena. Should this situation be attributed to the essential irreductibility of percept to speech, to possible deficiencies of language in the field of auditory experience or to the specificity of a situation in which speech, bound both by signans and signatum to sound, has to reactivate the semiotic process at its source? Highlighting the fact that talking about soundsalways means talking about our relation to acoustic phenomena, this study is based on a corpus analysis and focuses on the way speech bears witness to and takes part in the central contribution of acoustic experience to “being in the world“. Based on the cognitive approach of analogy (Hofstadter, Sander, 2013), it focuses - from acoustic to musical points of view - on the links between auditory categorization processes and the different modalities of “speech on sound“. If, as the analysis suggests, analogies which play a part in auditory perception are the same as those which contribute to the significant useof sound in language, can speech on sound enable us to better understand what is at stake in the original link binding, in and by acoustic experience, the exploration of the sensitive universe to the adventure of meaning ?

Après une introduction présentant un historique des rapports entre la poésie et la chanson, cette thèse tente de déterminer d’abord ce qui peut faire poésie, en s’arrêtant sur la mise en musique des poèmes, étudiant notamment comment un poème peut devenir une chanson ; ensuite, il sera question de la chanson, de la façon dont on peut la définir comme de son pouvoir évocateur, ce que le chanteur Eric Guilleton appelle « la bande originale de nos vies », qui n’est pas sans conséquences dans la culture et la mémoire populaires. La troisième partie s’arrête sur la musique des mots, et donc sur l’utilisation du son, dans la poésie comme dans la chanson. La quatrième partie présente le rapport des chanteurs à la poésie, ainsi que celui des poètes à la chanson. Les témoignages de poètes et de chanteurs permettent de déterminer si tel art est, ou non, étranger à ceux qui pratiquent l’autre. Enfin, il est question du débat ouvert par Jacques Roubaud au sujet de la poésie aujourd’hui, auquel cette thèse prend part, suivi d’un bref panorama qui amène à déterminer la nature et la place du slam
After an introduction explores the historical bond between poetry and song, the first part of this thesis tries to define what poetry is and how music is used to transform a poem into a song. The second part then discusses the definition of singing and in particular, its evocative power and its consequences on culture and popular memory : what Eric Guilleton calls “the soundtrack of our lives”. The third part focuses on the musicality of words themselves, and how it is used in both poetry and singing. The fourth part emphasizes the relationship that singers have with poetry and songs, by trying to determine whether artists practicing the poetry can understand and practice the music, and vice-versa. This is emphasized through testimonials of poets and singers. The thesis concludes with the debate initiated by Jacques Roubaud about what poetry is today, as well as the nature and place of this new form of performance called “slam”

Les innombrables articulations possibles entre les expressions de la voix et du corps ont traversé toute l’histoire du théâtre et constituent l’un des traits définissant les différentes esthétiques du jeu de l’acteur au fil du temps et des cultures. Or, à partir de la deuxième moitié du XXe siècle, cette problématique est ébranlée par les revendications de plus en plus effectives de l’hybridation des arts, de la valorisation du corps sur scène et d’un détachement du texte dramatique dans le théâtre occidental. Ce dernier aspect démultiplie aussi les possibilités d’agencement du son et du sens sur scène. Ainsi, le jeu de l’acteur, et plus précisément son travail vocal, se réinvente en cherchant de nouvelles manières d’articuler voix et corps, son et sens. Cette quête conduit à une idée d’indissociabilité, sous-entendue dans des termes formulés par des artistes, des formateurs et des chercheurs tels que « voixcorps », « corps vocal » et « vocalité ». Une telle revendication indique paradoxalement que voix et corps étaient perçus comme séparés. En même temps, la notion de « disembodied voice » (la voix désincarnée) devient de plus en plus centrale dans les arts de la scène, dévoilant une fascination pour la voix détachée de sa source charnelle, potentialisée par les nouvelles technologies. L’image d’une dichotomie comme séparation entre voix et corps recouvre ainsi plusieurs métaphores. Il en va de même pour l’idée de décomposer l’unité du son et du sens. Quelles sont les conséquences de ces métaphores dans la formation des acteurs ? Cette thèse porte sur la formation vocale de l’acteur à la lumière des tentatives de jonction et de mise en tension entre voix et corps, son et sens de 1970 à 2010. Il s’agit d’analyser les stratégies pédagogiques qui tentèrent de conjuguer voix et corps, son et sens, en s’appuyant sur un grand nombre de démarches de formation vocale de l’acteur, telles celles de Cicely Berry, Kristin Linklater, Zygmunt Molik, Francesca della Monica ainsi que sur le travail de direction d’acteurs de certains metteurs en scène pédagogues comme Maria Thaís, Anatoli Vassiliev et Antoine Vitez. Ainsi, « dichotomie » est ici comprise à la fois comme la division en deux que l’on sépare nettement et qu’on oppose mais aussi comme les ramifications d’un tronc commun qui bifurque donnant deux directions à une même racine (son sens botanique). Située dans l’entre-deux du corps et du langage, de la biologie et de la culture, du bruit et de l’articulation sensée, la voix a le pouvoir de relier ces catégories, pouvoir qui explique en partie la forte imbrication des dichotomies voix/corps et son/sens. Insister sur la corporéité de la voix dans le souci de relier l’acte de parler au corps peut avoir des impacts sur le rapport entre le son et le sens dans le travail vocal de l’acteur. Dans la même dynamique, les démarches d’interaction entre son et sens peuvent avoir une incidence sur la connexion entre voix et corps. Le rapport direct entre ces deux couples de dichotomies d’un point de vue pédagogique est le fond même de l’analyse que cette thèse souhaite mettre en lumière
Countless articulations between voice and body have traversed the history of the theatre, constituting one defining trait of the esthetics of acting across different eras and cultures. Yet beginning in the second half of the Twentieth Century, this topic is upset by new and effective demands for the hybridization of the arts, for the enhancement of bodies on stage, as well as a disinterest in traditional dramatic text in Occidental theater. This latter aspect multiplies the possibilities of shaping sound and meaning on stage. The result is that acting styles, precisely relating to vocal work, are reinvented: one searches for new ways of articulating voice and body, sound and meaning. From such research an idea of indivisibility emerges, which is expressed through concepts of “voicebody”, “vocal body”, “vocality” by actors, teachers and researchers. Such a paradoxical turn indicates that the voice and body are perceived as separated. At the same time, the notion of the disembodied voice becomes more and more central in the scenic arts, revealing a fascination for the detached voice (augmented by the new creative possibilities of new technologies) from the fleshy body. The image of a dichotomy in the separation of voice and body thus covers multiple metaphors. A same effect occurs in the breaking of unity between sound and meaning. What are the consequences of these metaphors in the training of actors? This dissertation examines the vocal training of the actor in the midst of such attempts at connecting or putting into tension the voice and body, sound and meaning from 1970 to 2010. Notably, this research analyses the didactic strategies that attempt to combine voice and body and sounds and meaning, working through a large corpus of vocal teaching methods of pedagogues such as Cicely Berry, Kristin Linklater, Zygmunt Molik, Francesca della Monica, as well as the approaches of theater directors, such as Maria Thais, Anatoli Vassiliev et Antoine Vitez. The concept “dichotomy” here comprises both “the division in two that denotes a clear separation and opposition”, as well as the ramifications of the bifurcation of a common branch that gives two directions to stem from one root (from botany).Situated in the space between body and language, biology and culture, noise and reasoned articulation, the voice has the power to reunite these categories: to explain, at least partly, the strong interconnection of the voice/body and sound/meaning dichotomies. To insist upon the corporality of the voice as a means of linking acts of speech and body does impact the vocal work of the actor, particularly in rapports between sound and meaning. Further, exploring the interactions between sound and meaning is revelatory of connections between voice and body. Analysing the direct relation between these two dichotomous couples from a pedagogical perspective is at the very heart of this research
As articulações possíveis entre as expressões da voz e do corpo se mostraram problemáticas ao longo de toda a História do Teatro. Elas são inúmeras e constituem a especificidade de diferentes estéticas de interpretação em diferentes épocas e culturas. Contudo, a partir da segunda metade do século XX, essa questão se transforma profundamente com as frequentes e efetivas reivindicações de hibridação das artes, de valorização do corpo em cena e do desapego ao texto. Este aspecto multiplica as possibilidades de articulação entre som e sentido. Desse modo, a interpretação – e mais precisamente o trabalho vocal – se reinventa em busca de novas formas de agenciar voz e corpo, som e sentido. Esta conduz à uma ideia de indissociabilidade, subentendida em neologismos, cunhados por artistas, pedagogos et pesquisadores, como “vozcorpo”, “corpo vocal” e “vocalidade”. Tais termos indicam, paradoxalmente, que voz e corpo eram percebidos como entidades autônomas. Ao mesmo tempo, a noção de “disembodied voice” (“voz desencarnada”) se torna cada vez mais central nas artes cênicas, revelando um fascínio pela voz desconectada de sua fonte carnal, potencializada por tecnologias a partir do final do século XIX que possibilitaram a gravação, reprodução e amplificação do som. A dicotomia pode ser compreendida aqui como a separação franca entre voz e corpo, conforme diversas metáforas sobre o tema. A mesma imagem se aplica à ideia de desmembramento entre som e sentido. Quais as consequências dessas metáforas na formação dos atores?Esta tese investiga a formação do ator à luz das tentativas de junção e tensionamento entre voz e corpo, som e sentido, de 1970 a 2010. Trata-se da análise de estratégias pedagógicas de formadores vocais como Cicely Berry, Kristin Linklater, Zygmunt Molik, Francesca della Monica, e encenadores pedagogos como Maria Thais, Anatoli Vassiliev et Antoine Vitez. Nesse sentido, a dicotomia pode ser compreendida em sua outra acepção, botânica, de ramificação de um tronco comum que bifurca dando duas direções à uma mesma raiz.Situada no limiar entre corpo e linguagem; biologia e cultura; sonoridade, ruído e semântica, a voz tem o poder de unir essas categorias, poder que explica em parte a forte imbricação das dicotomias voz/corpo e som/sentido. Insistir na corporeidade da voz com a preocupação de conectar o ato de falar ao corpo pode impactar a relação entre som e sentido no trabalho vocal do ator. Na mesma dinâmica, os procedimentos de interação entre som e sentido podem ter uma incidência na conexão entre voz e corpo. A relação direta entre esses dois pares de dicotomias, de um ponto de vista pedagógico, é a essência de nossa análise

Il y a plusieurs années, le département SATIS de l'Université d'Aix-Marseille ainsi que le laboratoire ASTRAM ont entamé le développement d’une sonothèque en ligne intitulée « Sons du Sud ». Cette base de données sonores est destinée aux professionnels du son dans les secteurs du cinéma et de l'audiovisuel et, plus particulièrement encore, aux monteurs son. L’objectif à présent est de développer pour Sons du Sud une nouvelle méthode d’indexation en rupture avec les logiques d’indexation causales les plus largement répandues. En effet, dans la perspective d’une exploitation filmique, il apparaît qu’un son n’est que rarement choisi sur la base de critères exclusivement en lien avec son origine ou ses propriétés acoustiques, mais aussi en vertu des significations potentielles que celui-ci est à même de revêtir au contact des autres matières de l’expression filmique, des fonctions qu’il est susceptible de remplir, des liens qu’il entretient avec ce que le film exprime, etc. On peut alors se demander si ce n’est pas plutôt ce « potentiel d’informations » que les descripteurs sémantiques utilisés par les sonothèques actuelles devraient essayer d’expliciter. C’est pourquoi la présente thèse se positionne comme une étape de travail préliminaire à l’élaboration d’une nouvelle méthode d’indexation : afin de répondre aux exigences de la sonothèque Sons du Sud, il semble indispensable d’entièrement nous consacrer à une meilleure appréhension des facteurs contribuant à modifier le « système de pertinences » de son principal usager, en examinant plus avant ce qui guide sa démarche, polarise son écoute et influence ses actions au cours de la recherche et de la sélection des sons
Several years ago, the SATIS department of the University of Aix-Marseille and the ASTRAM laboratory initiated the development of an online sound library entitled "Sons du Sud". This sound database is intended for sound professionals and more specifically, sound editors, in the film and audiovisual sectors. The current objective is to develop a new indexing method of sound for Sons du Sud breaking with the logic of causal indexation most widely used. Indeed, it appears that, from the perspective of a filmic exploitation, a sound is rarely selected based on criteria exclusively related to its acoustic origin but also related to the potential meanings it is able to take on with the other materials of filmic expression, the functions it is likely to fulfill, the links it maintains with what the film expresses, and so on. We can then ask ourselves if it is not rather this "information potential" which the semantic descriptors used by the current sound libraries should try to make explicit. Therefore, this thesis is a preliminary step in the development of a new indexing method: in order to meet the requirements of Sons du Sud sound library, it seems essential to devote ourselves entirely to a better understanding of the contributing factors that change the "system of relevance" of its main users, to examine further what guides their approach, polarizes their listening and influences their searches and selections

Cette recherche traite de l’évolution du métier de berger de moutons transhumant en Provence entre le début des années 2000 et 2020, une profession confrontée à une normification et une bureaucratisation croissantes de leur travail du fait notamment des réformes successives de la Politique Agricole Commune. À partir du début des années 2000, l’accent politique mis sur la « multifonctionnalité » de l’agriculture, d’une part, et le« découplage » des aides de la production, d’autre part, accroissent le montant « des primes » dans le revenu des bergers, et imposent davantage de contraintes dans le fait de devoir respecter diverses normes et les principes de l’« éco-conditionnalités » qui modifient le travail. Ces « normes publiques » multiples concernent différents secteurs d’activités (transport, sanitaire, environnement…) à différents niveaux de gouvernance (local, national, européen…) qui souvent se contredisent et se superposent. Le berger ne les gère pas seulement comme un individu seul dans son travail, mais aussi en tenant compte d’un « groupe professionnel localisé » (GPL) (Darré 1985), auquel il appartient, et qui intègre différents statuts de bergers (éleveurs/salariés), une Pastrille, qui s’étend sur un vaste espace de transhumance et d’interconnaissance (la région Provence-Alpes-Côte d’Azur et ses franges). Ce groupe composé de bergers aux profils et aux trajectoires diversifiés définit aussi par des normes professionnelles ce qu’il est possible de faire dans le travail et ce qu’il est possible d’être en tant que berger. Cette recherche analyse la confrontation de ces normes diverses (publiques et professionnelles) que vivent ces bergers, partagés entre leur volonté de suivre un éthos professionnel particulier qui, au début des années 2000, encourage le maintien de la tradition, et le respect de ces nouvelles normes, qui le remet en cause. Dans le cadre de cette recherche réalisée en immersion en étant bergère pendant 15 ans, j’analyse l’évolution de l’ethos de ce groupe professionnel localisé. Cette thèse identifie trois moments de cette confrontation normative. À une première période d’incompréhension, et de rejet face à des mesures jugées absurdes, succèdent une phase de confrontation brutale lorsque les contrôles et les sanctions se durcissent, puis une phase d’apaisement relatif, lorsque les nouvelles normes sont davantage intériorisées par choix ou par résignation. J’analyse dans cette recherche les différentes stratégies (actives ou passives) mises en place par ces pastres pour gérer cette confrontation de normes, et la façon dont, au cours de ces quinze années, les représentations et les pratiques du métier ont été recomposées. Comment un groupe qui priorisait le maintien de la communauté à l’affirmation individuelle se transforme avec le temps pour laisser plus de latitude individuelle notamment dans la gestion des normes publiques imposées ? Comment la part croissante des primes dans le revenu des bergers conduit, par résignation ou par choix, à en faire un élément central dans le choix des pratiques, au détriment parfois de l’ancienne éthique du métier ? Comment les nouvelles générations de bergers s’accommodent différemment de ces changements ? Comment un métier-passion pratiqué par des bergers proches du troupeau devient progressivement un métier-professionnel pratiqué par des éleveurs plus distancés des bêtes ? Comment cette perception d’intervention de développement autrefois perçu comme extérieur au groupe devient plus familière et intérieure à celui-ci à mesure que ce groupe change de forme d’organisation, de frontières identitaires et qu’une intériorisation des normes a lieu ? À travers le cas des bergers de la région PACA, cette thèse est une contribution aux débats sur la bureaucratisation des sociétés contemporaines, l’inflation normative et ses impacts sur les groupes professionnels et le sens au travail
This dissertation examines how transhumance shepherding in Provence was transformed from the early 2000s to 2020 by a series of reforms to the Common Agricultural Policy (CAP) that increasingly normalized and bureaucratized the profession. Early in the 2000s, the policy focus placed on the “multifunctional” character of agriculture combined with the “decoupling” of agricultural aid increased shepherds’ economic dependance on “premiums” that were linked to stricter rules and norms. This shift changed shepherds’ work by requiring cross-compliance with environmental standards. These “public norms”cut across multiple sectors (transportation, health, environment) at different levels of governance (local, national, European), which often overlapped and contradicted one another. Shepherds responded to these norms not only as individuals working alone but also as part of a “localized professional group” (LPG) (Darré 1985) that includes shepherds with differing professional statuses (farmers, salaried workers). This Pastrille covers a vast area of transhumance and knowledge-sharing that spans the Provence-Alpes-Côte d’Azur region and its borderlands. The group includes shepherds of diverse social backgrounds and career paths who collectively define who shepherds can be and determine what work shepherds can do by establishing professional norms. This research focuses on how the confrontation between the “public norms” and the professional norms affected shepherds torn between the double bind of their desire for a specific work ethos that promoted the preservation of tradition and the demand to comply with new norms that undermined it.This research was conducted in immersion as a shepherd over a period of 15 years. I analyzed change in the ethos of this “localized professional group” and identified three phases of normative confrontation. An initial phase of incomprehension and rejection of measures deemed absurd was followed by a phase of violent confrontation when inspections and sanctions tightened. The final phase of relative appeasement came when shepherds chose to internalize new norms or resigned themselves to doing so. I considered the active and passive strategies implemented by shepherds to deal with the confrontation of norms and look at how representations and professional practices were reconfigured.How did a group that placed preservation of the community above self-affirmation change with time, leaving greater individual latitude in managing imposed “public norms”? How did greater economic dependence on premiums influence shepherds’ practices, by acceptance or by choice, to the detriment of the prior professional ethics? Furthermore, how did younger generations of shepherds adapt to them differently than their elders? How did a career pursued passionately by shepherds close to their herds progressively become a more professionalized occupation taken up by breeders who distance themselves from their livestock? How did development-driven changes, formerly perceived as external to the group, become more familiar and internal as the group’s structure and the contours of its identitychanged and “public norms” were internalized? By examining shepherds in the PACA region, this dissertation contributes to debates on bureaucratization of contemporary societies and considers the impact of rapidly cumulating norms and standards on professional groups and the meaning of work

Through creative and theoretical research, this practice-led PhD project investigates the conditions that facilitate embodied sensory awareness within digital inter-media installation. Central to this exploration are questions concerning ‘immersion.’ The research uses this term to describe a transformation in perception that allows us to shake off representational and symbolic meaning in favour of embodied, sensory and intuitive awareness within an installation space. Drawing from embodied memories of immersion in natural and spiritual environments, I consider the elements that contributed to these experiences and ask whether it is possible to create this sense of immersion in art. I then consider the elements that produce immersive, inter-media environments including space, sound, light, and projected moving images. Drawing on theoretical and artistic precedents, I propose a set of principles for producing a sense of embodied sensory immersion. The practical outcomes of the research - three digital inter-media installations included in the exhibition, in an other light - incorporate different combinations and treatments of these material elements to investigate and test the proposed principles.

Through creative and theoretical research, this practice-led PhD project investigates the conditions that facilitate embodied sensory awareness within digital inter-media installation. Central to this exploration are questions concerning ‘immersion.’ The research uses this term to describe a transformation in perception that allows us to shake off representational and symbolic meaning in favour of embodied, sensory and intuitive awareness within an installation space. Drawing from embodied memories of immersion in natural and spiritual environments, I consider the elements that contributed to these experiences and ask whether it is possible to create this sense of immersion in art. I then consider the elements that produce immersive, inter-media environments including space, sound, light, and projected moving images. Drawing on theoretical and artistic precedents, I propose a set of principles for producing a sense of embodied sensory immersion. The practical outcomes of the research - three digital inter-media installations included in the exhibition, in an other light - incorporate different combinations and treatments of these material elements to investigate and test the proposed principles.

La filosofia del diritto occidentale, mentre si è ampiamente preoccupata di indagare i fondamenti giustificativi dei diritti di proprietà intellettuale, raramente si è occupata di quelli del loro antagonista concettuale, ovvero del pubblico dominio. Lo scarso interesse manifestato dalla letteratura scientifica trova plausibile spiegazione nella concezione largamente diffusa che identifica il pubblico dominio nel concetto opposto e contrario di “proprietà”, finendo per cadere nell’equazione che considera una risorsa valorizzabile e meritevole di attenzione e tutela solo ciò che è appropriabile e tratta ciò che non lo è come scarto privo di intrinseco interesse. Oggi, a questa visione se ne è sostituita un’altra, che vede il pubblico dominio non più come res nullius, ma come res publici iuris, ovvero proprietà collettiva, comune, di tutti. Riconoscere che sul pubblico dominio insiste un interesse proprietario comune, equivale a dire che ciascun membro della collettività vanta un interesse a rivendicarne la comune proprietà, ovvero ad opporsi a tentativi di loro privata appropriazione. In relazione al diritto dei marchi tale interesse si contrappone al fenomeno di appropriazione indebita dei segni distintivi che devono considerarsi patrimonio comune, sottratto a qualsiasi diritto di privativa e liberamente disponibile per la collettività. Il capitolo introduttivo affronta i problemi definitori del pubblico dominio con riferimento alle principali privative industrialistiche, per poi concentrarsi, in particolare, sul rapporto con il diritto dei marchi. Esso dà conto delle principali iniziative mosse a livello internazionale per studiare le interazioni tra diritto dei marchi e pubblico dominio e si conclude con l’individuazione degli interessi collegati alla salvaguardia di un pubblico dominio ricco ed accessibile e delle minacce a tale interesse, ravvisabili nella tendenza all’espansione e al cumulo delle tutele. La durata tendenzialmente illimitata del diritto e la revocabilità dello status di pubblico dominio di un segno, caratterizzano il diritto di marchio rispetto alle altre privative industrialistiche per non avere una struttura di per sé favorevole e predisposta alla salvaguardia del dominio pubblico. Tale limite strutturale è però temperato dal legislatore mediante la previsione di limiti alla possibilità di acquisizione del diritto, nonché alla sua portata una volta acquisito. I capitoli II e V si occupano dei meccanismi che il diritto dei marchi prevede al fine di garantire spazi di pubblico dominio cui gli operatori del mercato possono liberamente attingere senza perciò interferire con l’area dei diritti di esclusiva dei titolari di marchio. Il capitolo II, in particolare, si occupa dei meccanismi di salvaguardia del pubblico dominio costituito dai segni esclusi dalla registrazione. I singoli impedimenti alla registrazione sono presi in esame evidenziandone la scarsa capacità escludente anche alla luce della tendenza all’estensione dell’oggetto della tutela di marchio, evidenziata attraverso una rassegna dei principali marchi-non convenzionali cui negli anni è stata concessa tutela. Tra tali meccanismi di salvaguardia del pubblico dominio spazio centrale è dedicato al principio dell’imperativo di disponibilità dei segni distintivi. Tale dottrina è stata elaborata dal formante giurisprudenziale tedesco sotto il nome di “Freihaltebedürfnis” (letteralmente “necessità di mantenere libero”) e fatta propria dalla dottrina anglosassone come “right to keep free” e sostiene, almeno nel suo impianto originale, la necessità di subordinare la registrazione di un marchio ad una previa valutazione di opportunità che il segno per cui si domanda tutela debba rimanere in pubblico dominio, ovvero liberamente appropriabile dalla collettività. Oggi è più che mai in dubbio quale sia il ruolo di questo principio all’interno del diritto comunitario dei marchi. Il capitolo III illustra l’iter della giurisprudenza comunitaria con riferimento alla questione del riconoscimento e della rilevanza dell’imperativo di disponibilità nel giudizio di registrazione. L’analisi evidenzierà come la Corte sia giunta a conclusioni differenti a seconda del diverso impedimento alla registrazione oggetto di interpretazione, con risultati considerati irragionevoli da larga parte della dottrina e non banali difficoltà e incertezze applicative per gli Uffici di registrazione. Nonostante ciò si evidenzierà l’emergere di una linea interpretativa comune alla maggior parte delle decisioni analizzate, tesa a riconoscere un ruolo effettivo all’imperativo di disponibilità nel giudizio di registrazione, seppur solo di carattere strumentale alla valutazione di distintività di un segno. Il capitolo IV illustra come il recente progetto di riforma di Direttiva e Regolamento comunitari non abbia colto l’opportunità di positivizzare tale principio, restando insensibile alla proposta originaria formulata dallo Studio del Max Planck Institut diMonaco di Baviera di inserire un riconoscimento espresso del suo operare all’interno del giudizio di registrazione. Conclusa la prima parte del lavoro dedicata alle interazioni tra il principio di disponibilità dei segni distintivi e la registrazione di marchio, nel capitolo V si entrerà nel terreno meno battuto dei riflessi che lo stesso principio dispiega nei confronti del giudizio di contraffazione. Dopo aver analizzato i diversi meccanismi previsti dal legislatore al fine di salvaguardare il pubblico dominio costituito dalle libere utilizzazioni di un segno registrato, si darà conto della loro scarsa capacità escludente e delle conseguenti minacce che la tutela assoluta prevista per i casi di contraffazione per doppia identità e quella aggravata del marchio che gode di rinomanza pongono alla salvaguardia dello spazio di pubblico dominio, specialmente con riguardo ai numerosi casi in cui il marchio altrui è utilizzato per scopi “atipici”, ovvero non chiaramente distintivi dell’attività imprenditoriale e dei beni o servizi dell’avente diritto. Con riferimento ad essi, l’interprete ha l’arduo compito di capire, di volta in volta, se sia maggiormente meritevole di tutela il titolare di marchio nel suo interesse di escludere i terzi dall’utilizzo del proprio segno, o i terzi stessi nell’interesse antagonista di fare uso del segno per finalità descrittive, espressive, decorative ecc. La giurisprudenza non ha offerto alcuna interpretazione univoca di questo bilanciamento, stentando a tracciare lo spartiacque tra usi leciti ed illeciti del marchio altrui. Molti di questi casi sono allora stati risolti dalla giurisprudenza ricorrendo, per sancirne la liceità, ad un principio di “necessità dell’uso” che porta nel giudizio di contraffazione gli stessi interessi di libera disponibilità presenti in sede di registrazione. Anche all’interno del giudizio di contraffazione, tuttavia, tale interesse resta sostanzialmente un oggetto misterioso per la Corte di Giustizia, che resta ancorata alla contraddizione che vede tale interesse confinato ad operare come principio interpretativo generale della normativa, privo però di qualsiasi implicazione concreta ed effettiva nel giudizio di registrazione e di contraffazione. In conclusione si suggerisce la necessità di sciogliere questo paradosso e si individua nella proposta del Max Planck un’occasione inspiegabilmente mancata per farlo.
Among the 45 Recommendations adopted under the WIPO Development Agenda, two indicate the preservation of public domain as a key task for firms, individuals and Member States. This study explores the notion of “public domain” in relation to trademark law, with particular reference to the challenging issue of how safeguarding it, avoiding misappropriation of signs which should remain usable by the public. Some studies have shown that legal instruments provided by trademark law to keep signs and certain forms of use free, risk not being appropriate counterbalances to prevent the misappropriation of public domain. A general exclusion from registration does not exist for many signs which are part of a communal heritage and even if a refusal for registration may be grounded on the lack of distinctiveness, this requirement may still be overcome, showing that the sign has acquired a “secondary meaning”. Furthermore, a look into the registers reveals that trademark right is often used as a vehicle to extend prior patent, design or copyrights, with great public domain’s concerns. At last, the space of public domain is endangered by the expanded protection of new types of marks and by the anti-dilution enhanced protection, which gave the registered trademark’s owner more general control over his sign, making it unavailable for socially and culturally valuable use, such as news reporting, criticism, review and parody. German case law was the first to address the issue of the safeguard of this room for free signs and uses, suggesting that trademark registration should be subject to a prior assessment of the opportunity that a sign remain public available (Freihaltebedürfnis). This interest raises from the observation of the negative impact that granting rights to certain types of trademark may have on market competition and led most countries to refrain from recognising trademark rights to descriptive and generic signs and functional shapes. Otherwise, by choosing these signs, right holders may acquire strategic competitive advantages on competitors whose marketing strategies and communication, deprived of the opportunity to use them, would result much less effective than that allowed to the trademark’s holder. This advantage has nothing to do with the essential function to guarantee the trade mark as an indication of origin and is therefore not justified in the light of the objectives underlying trade mark law. The ECJ, requested to preliminary ruling on whether this “need to keep free” should play any role in the European trademark law, answered contradictorily. Notwithstanding, courts still rely on public policy concerns in order to preclude or limit the trademark protection, such as the “color depletion” and the “functionality” doctrine used by U.S. Courts for granting protection to color or shape marks. This work suggests that public interest should still play a role as a key-factor in order to assess the distinctive character relevant both in registration and infringement proceedings and shares the view that wording should be added in the Trademark Directive and Regulation, that the assessment of distinctive character should take into account the “right to keep free”. This proposal becomes particularly actual in the light of the works in progress for reforming the European trademark legislation, which appear to have ignored the problem of striking the proper balance between trademark right and public domain.

Bachelor Honours - Bachelor of Information Technology (Honours)
Sound is considered an important concept in modern video games, where it facilitates an immersive experience for players. Immersion, as a concept, has many varying definitions, and the role of sound in creating this experience is still a point of debate. However, the importance of sound in games generally, is well accepted. Efforts to further understanding of the precise contributing factors of sound to the player experience are of importance and value to the broader game design community. In this thesis we approach the problem of defining the impact of sound on a player’s videogame experience through the use of both survey instruments and physiological measurement. Specifically, we do this by measuring a player’s self-reported level of immersion through surveys, and their affective response via facial electromyography. Participants in the research played Parsec Studio’s Slender: The Eight Pages, a freely available video game within the horror genre. Experiments were conducted both with and without audio accompaniement, and results were studied. We hypothesised that those participants who identified as being more easily immersed would demonstrate a larger gap in affective response between scenarios. The analysis of data failed to find statistically significant differences in the sound on/sound of experiment conditions and the self reported level of immersion in the game. Despite this, the EMG startle responses were higher during experiments with the game sound on, and these results anecdotally indicate that sound does increase the emotional experience of players. However, a statistically significant higher proportion of participants exhibited valid EMG startle responses while actually playing the game compared to viewing a play-through of the game, suggesting that the fear state of the game is enhanced through player interaction and increased attention. Sound appears to play a lesser role in this process.

Miles Davis, never one for self-effacing humility, took his boasting to new heights when he proclaimed in a Rolling Stone interview from December 1969, "I could put together the greatest rock and roll band you ever heard." Most critics agree that A Tribute to Jack Johnson, recorded between February and April of 1970, was his attempt to do just that. The album featured an ensemble that was closer to a rock power trio than a jazz quintet, musicians who were as schooled in rock and R&B as in jazz, and a prominent use of emerging instrument and studio technologies previously unheard in Davis's music. In highlighting these stylistic markers, A Tribute to Jack Johnson made definitive the musical transition that Davis's immediately preceding works had set in motion.

Though few fans of the era would have been surprised by Davis's invocation of the value-laden vocabulary of "greatness" in describing his music, many were taken aback by his desire to associate with rock and roll. For a musician trained in the jazz tradition and revered as a master of the genre, the intentional incorporation of influences from popular music was viewed by many jazz listeners as nothing short of heretical. What did it mean, then, for Davis to make such a claim - and such an album - at the particular time that he did?

To address these two questions, I investigate in my dissertation the production, circulation, and reception of both the stand-alone album A Tribute to Jack Johnson and the documentary film for which parts of the album were initially the soundtrack. Combining my training in music with scholarly perspectives on identity politics, technology studies, film studies, and African American social and political history, I demonstrate how this recording comprises both a signal incursion into accepted jazz practice, and a unique window onto vital debates around jazz, popular culture, and identity constructions in the U.S. in the early 1970s. This dissertation thereby offers one approach for continuing the critical re-evaluation of fusion jazz that has prominently been in progress since the late 1990s.

Dissertation

Contém 1 ficheiro audio para ser consultado na Biblioteca
Este projeto procura refletir as experiências que levam à aprendizagem num ambiente sonoro onde o sujeito constitui apreensões do espaço por ação da experiência auditiva. É de grande importância o estudo dos trabalhos de Jean-Marie Schaeffer e Merleau-Ponty de modo a que estes ambientes sejam preparados sobre uma conduta estética de apreciação das qualidades percetivas da audição humana e do som como uma ferramenta funcional. Através da análise das propriedades acústicas do som e das propriedades auditivas, este projeto tenta desenvolver uma problemática que entende os processos pelos quais o ser-humano se relaciona com o espaço acústico e adquire informação sobre este procurando formas de interativas de aprendizagem
This project searches to reflect on experiences that lead to learning in a sound environment where the subject makes sense of space by the product of auditive experience. It's of big relevance the study of Marleau-Ponty and Jean-Marie Schaeffer works so that these environments can be made under an aesthethic conduct on appreciation of perceptual sound qualities and how human perceive them as a functional tool. Through the analysis of acoustic properties of sound and human audition, this project tries to understand the processes by which the human being relates with the acoustic space and how he acquires information about it by means interactive learning.

Since the success of James Cameron’s Avatar (2009),1 the feature film industry has embraced 3-D feature film technology. With 3-D films now setting a new benchmark for contemporary cinemagoers, the primary focus is directed towards these new stunning visuals. Sound is often neglected until the final filmmaking process as the visuals are taking up much of the film budget. 3-D has changed the relationship between the imagery and the accompanying soundtrack, losing aspects of the cohesive union compared with 2-D film. Having designed sound effects on Australia’s first digital animated 3-D film, Legend of the Guardians: The Owls of Ga’Hoole (2010),2 and several internationally released 3-D films since, it became apparent to me that the visuals are evolving technologically and artistically at a rate far greater than the soundtrack. This is creating a dislocation between the image and the soundtrack. Although cinema sound technology companies are trialing and releasing new ‘immersive’ technologies, they are not necessarily addressing the spatial relationship between the images and soundtracks of 3-D digital films. Through first hand experience, I question many of the working methodologies currently employed within the production and creation of the soundtrack for 3-D films. There is limited documentation on sound design within the 3-D feature film context, and as such, there are no rules or standards associated with this new practice. Sound designers and film sound mixers are continuing to use previous 2-D work practices in cinema sound, with limited and cautious experimentation of spatial sound design for 3-D. Although emerging technologies are capable of providing a superior and ‘more immersive’ soundtrack than previous formats, this does not necessarily mean that they provide an ideal solution for 3-D film. Indeed the film industry and cinema managers are showing some resistance in adopting these technologies, despite the push from technology vendors. Through practice-led research, I propose to research and question the following:Does the contemporary soundtrack suit 3-D films? ; Has sound technology used in 2-D film changed with the introduction of 3-D film? If it has, is this technology an ideal solution, or are further technical developments needed to allow greater creativity and cohesiveness of 3-D film sound design? ; How might industry practices need to develop in order to accommodate the increased dimension and image depth of 3-D visuals? ; Does a language exist to describe spatial sound design in 3-D cinema? ; What is the audience awareness of emerging film technologies? And what does this mean for filmmakers and the cinema? ; Looking beyond contemporary cinema practices, is there an alternative approach to creating a soundtrack that better represents the accompanying 3-D imagery?

My interest is in the beauty and power of language. I have sought to understand language on a systemic level. I have broken language down to alter signified meaning, exalted extinct words, mourned the loss of formal language, and explored the confines of common vernacular. My artwork addresses meaning within the context of Semiotics and Linguistics. I have investigated the Semiotic theories and philosophies of Roland Barthes, Jacques Ranci&"232;re, Pierre Guiraud, and Erving Goffman. As outlined by Roland Barthes, our language is a semiotic system used to communicate meaning. My work is also informed by the rules of Linguistics and the research of Linguists John McWhorter and Guy Deutcher. In my work I have consistently altered the signifiers within our language (words and letters) to affect meaning. I have also broken linguistic rules of syntax, word order, and word morphology (the arrangement of grammatical units), to obscure meaning. In my thesis work I have narrowed the focus of my artwork to exploring the loss of precision in language in popular culture today. I have witnessed changes in language in our culture: changes in language itself and changes in attitudes toward language. Avenues such as the Internet, social media and texting have altered the language people use and have developed a more superficial type of communication. With a desire for ease of delivery and quickness, people have created and used acronyms and catch phrases to carry content. Thus they have created representations for themselves as well as developed a habit of using minimal content. As a result, people have divorced themselves from responsibility for full absorption and communication of information not only in their personal life, but also in their educational and professional life. My work addresses this lack of understanding and reveals the detriment of growing apathy toward clarity in understanding and conviction. My progression to using sound as a medium was a result of my history and experience with music. Through examining the work of contributing artists in sound art, I found artists Laurie Anderson, Susan Philipsz, and Janet Cardiff among the most relevant to my practice. Musicians such as Philip Glass, John Cage and Trevor Wishart, inspired my creative approach as well as how I think about my work. My exploration of sound is not only relevant to the way I work; it is relevant to the direction of the art world. The medium is growing as more museums, galleries and curators are including sound and new media within their spaces. As I continue to develop my artwork and practice, I look forward to what this medium has to offer.
M.F.A.
Masters
Visual Arts and Design
Arts and Humanities
Emerging Media; Studio Art and the Computer Track

碩士
國立臺北教育大學
語文與創作學系語文教學碩士班
105
The Application of "Three combition modes of meaning and sound symbol of character" in the Teaching of Writing Abstract The reason of this article is based on the author's reflection on students' misplaced words and expectations of improvement. Hoping to use the font of the ancient text can open the myth of the words study. This study takes the two elements of " Threecombition modes of meaning and sound symbol of character " to illustrate the composition of Chinese characters and its application. Among them, the second chapter focus on the meaning of the composition of character and symbol, the third chapter on the composition of the characters and the phonetic, the fourth chapter on the use ofideogram or phonetic characters to be "Sound symbol" andbeing applied to the under guise text. In addition, discussing theoriginal meaning of the text is based on the structure of theglyphs,and through the process of glyphs to identify the meaning of the character. In the application of teaching, ideographic and phonetic words are necessary to emphasize the radical teaching, in addition to its expressive character of high graphics text is very helpful to the understanding of the text, by the radical role of the word, we can identify the effect, and asthebasisfor multi - literacy teaching. Chapter 5 mainly deals with personal observations of the ways in which the meaning is derived from the original meaning, and expected that these methods will complement the phenomenon ofpolysemous words in the dictionary. This study covers the range 1-200 of the words of "Commonly used word frequency table".The purpose is to hope that the primary school teachers can have aeasyand free access to use. Keywords: "Three combition modes of meaning and sound symbol of character", the application of text teaching, "Commonly used requency table".

碩士
樹德科技大學
應用設計研究所
94
Chinese words are very interesting record signals. They originated from Chinese ancestors’ visual observation of physical images, and more words derived from the influence of life styles, social values, and use of sound. After several changes in forms, they evolve Kaiti (楷體) /standard form today. In the evolution process of Chinese forms of characters, the folks created some simplified forms for convenience of handwriting, which is so-called popular form of characters. Modern Chinese characters develop traditional and simplified forms. Parts of simplified forms adopt the structure of popular form of characters or calligraphy. Traditional and simplified forms appear different, but through theoretical inference by analogy, both of them with the same sound and meaning pattern have commonality or similarity. As visual designers obtain materials from Chinese character, they often use both traditional and simplified forms. Especially in the Typography, they usually replace traditional forms with simplified ones, or deliberately decrease strokes. On the other hand, miscegenation is also a kind of design method, containing foreign elements, which do not belong to Chinese character originally. These are all originality for the purpose of visual effects. In the sample words, they draw inferences from several groups of traditional and simplified forms. In the design, there are signals developed based on principles of similarity and simplification, and there are poster designs with intuitive images of simplified forms added to the word meaning. In addition, there are delight of common structure and transformed Chinese character made by Smileys. In the whole process of research, they analyzed thousands of Chinese words and spent lots of time. Meanwhile, they also found some very interesting words, which added some fun to the whole painstaking process.

碩士
國立中央大學
網路學習科技研究所
107
This study aims to explore the influences of the integration of the AR Word System（EnglishInAR）with Cooperative Learning Strategy on the learning effects of English word sounds and meanings among junior high school students. We adopt the nonequivalent pretest- posttest designs of the quasi-experimental method, including the process of pretests, experiments, and posttests. In the experimental group, we applied the method of Cooperative Learning Strategy integrated with the AR Word System（EnglishInAR）. In the control group, students accepted the traditional method of lecturing. Each class lasted for 45 minutes and took place once a week. The experiment lasted for five weeks. The target words, which all come from the must-learn 1200 words by the Ministry of Education, were chosen from the third volume of the Han-Lin version English textbook for junior high school students. 　The subjects in this experiment are seventh graders in a junior high school in Bade District, Taoyuan City. Each of the experimental group and the control group has 30 students distinctively, leading to a total of 60 subjects. The methods of Descriptive Statistics, Analysis of Variance（ANOVA）, and Paired Sample t test are adapted. The conclusions are drawn as the following. 1. Integrating the AR Word System（EnglishInAR）with Cooperative Learning Strategy slightly enhances the learning of English word sounds among students. 2. Integrating the AR Word System（EnglishInAR）with Cooperative Learning Strategy slightly enhances the learning of English word meanings among students. 3. Integrating the AR Word System（EnglishInAR）with Cooperative Learning Strategy slightly enhances the overall learning of English vocabulary among students. 4. According to the pretest and posttest analyses of word recognition tests, the learning effects in both the experimental and control groups show significant differences, while the experimental group shows a greater improvement.

La version intégrale de ce mémoire est disponible uniquement pour consultation individuelle à la Bibliothèque de musique de l ’Université de Montréal (www.bib.umontreal.ca/MU).
Les cinquante dernières années ont vues beaucoup de progrès dans la compréhension du comment nous comprenons et écoutons la musique. Malheureusement, la terminologie musicale ainsi que la philosophie de la composition n’ont pas évoluées en tenant compte de ces progrès. C’est en raison de ces obstacles, que la Theory of Patterns a été conçue et développée. La Theory of Patterns met l'accent sur la nature de la perception musicale ainsi que sur la façon d'assimiler les différents formes d’une œuvre. Cette philosophie propose une méthode de composition ou le sujet principal est la relation entre les différents motifs, avec comme objectif, une création musicale pure, vivante et sans ego. Cette philosophie a été développée et utilisée dans la création d'un nouvel opéra en un acte: The Beast in the Jungle. En analysant les différentes formes et motifs de l’œuvre, on retrouve les différents éléments pratiques de cette théorie.
The last fifty years has seen much progress made in the understanding of how we comprehend and hear music. Unfortunately, the terminology of music and philosophy of composition have not developed to reflect this progress. As a result of this obstacle the Theory of Patterns was conceived and developed. The Theory of Patterns focuses on the nature of musical perception, and the assimilation of patterns. This philosophy is meant to provide a method of composition in which the primary focus is the relationship of patterns with the objective of creating music that by fulfilling the pattern’s nature and tendencies, is full of life. This Philosophy was developed through, and used in the creation of, a new one act opera: The Beast in the Jungle. In analyzing the different forms and patterns found in the opera, the practical elements of the Theory of Patterns are judged and discussed.