Rozprawy doktorskie na temat „Recording and reproducing”
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Martin, Bryan. "Two projects in sound recording involving underground rock music". Thesis, McGill University, 1989. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=61248.
Pełny tekst źródłaLeonard, Theresa Ann. "Time delay compensation of distributed multiple microphones in recording : an experimental evaluation". Thesis, McGill University, 1991. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=61154.
Pełny tekst źródłaMultiple microphone set-ups are used to record both large orchestral works and smaller-scale classical compositions where auxiliary microphones may be needed to ensure an optimum balance in the final mix. Small time delays are derived from calculations involving the distances between microphones, the speed of sound, and humidity and temperature readings from the hall. Proper synchronization of these delays is desirable to preserve phase coherence and combat comb-filter effects. Precise delay units are used to compile musical exerpts for listening tests.
The results reveal any change in sound quality and provide a basis for investigating both the positive and negative effects through objective study of the value of time delay compensation in the live recording reproduction of classical music performances.
Cook, Peter. "Toward a microphone technique for Dolby Surround encoding". Thesis, McGill University, 1991. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=60463.
Pełny tekst źródłaThe purpose of the thesis is to investigate this potential, particularly as it applies to acoustic music recording. Dolby Surround encode and decode technology and its relevance to acoustic music reproduction is reviewed. The classic stereo microphone techniques are discussed with particular attention paid to each one's theoretical ability to "encode" information for the Dolby Surround decoder. Practical limitations and benefits of these well-known methods are considered.
Recently proposed microphone techniques are reviewed in theory and in practice and are found to provide many solutions. Methods for optimizing the decoder technology for music reproduction are suggested. The paper is relevant to any acoustic recording application for a number of surround systems as well as for conventional stereo and mono.
Findlay, David A. "Three multi-track recording projects : an analysis of aesthetic and technical engineering considerations". Thesis, McGill University, 1987. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=63956.
Pełny tekst źródłaRapley, Robert. "The transfer and restoration of old recordings /". Thesis, McGill University, 1993. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=69590.
Pełny tekst źródłaThis thesis is intended as a reference for those recording engineers who occasionally undertake remastering projects, but who are not thoroughly acquainted with the many different situations and problems which can be involved. Emphasis is given to those areas which are likely to be least familiar to most engineers.
In order to enable the engineer to properly assess a given source, the evolution and characteristics of each type of source--cylinder, disc and tape--is surveyed. This is followed in each case by an examination of the preparation, equipment and method used in transferring the source. Finally, the various types of processing which can be applied to the transferred material are presented, focusing on the techniques and forms of signal processing which are specific to audio restoration.
Wendt, Christopher Lee. "Culture mediation and sound preservation : methodologies in ethnomusicology". Virtual Press, 2004. http://liblink.bsu.edu/uhtbin/catkey/1285584.
Pełny tekst źródłaDepartment of Anthropology
Klepko, John. "5-channel microphone array with binaural-head for multichannel reproduction". Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape9/PQDD_0016/NQ55349.pdf.
Pełny tekst źródłaHans, Mathieu Claude. "Optimization of digital audio for Internet transmission". Diss., Georgia Institute of Technology, 1998. http://hdl.handle.net/1853/14894.
Pełny tekst źródłaCraig, Shelley. "Stereo audio for television : practical problems in audio post-production techniques". Thesis, McGill University, 1987. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=63957.
Pełny tekst źródłaRoux, Gerhard Wachtendonck. "Mikrofoontegnieke toegepas in populêre musiekopnames". Thesis, Stellenbosch : University of Stellenbosch, 2011. http://hdl.handle.net/10019.1/6734.
Pełny tekst źródłaENGLISH ABSTRACT: This thesis investigates the role of natural or realistic audio recordings in popular music in the context of the different nature of popular music where the goal is not necessarily the recreation of the original acoustic space. Traditional microphone techniques are investigated from the perspective of the identifiable characteristics of popular music to establish the role of microphone techniques to obtain a desired outcome.
AFRIKAANSE OPSOMMING: Hierdie tesis ondersoek die rol van natuurlike of realistiese klankopnames in populêre musiek in die lig daarvan dat die aard van populêre opnames verskil van reproduksie wat poog om die opnameruimte akoesties te herskep. Tradisionele mikrofoontegnieke word bestudeer vanuit die hoek van die identifiseerbare eienskappe van populêre musiek om te bepaal watter rol mikrofoontegniek kan speel om ’n verlangde uitkoms te bewerkstellig.
Pieters, Bronwyn Belinda. "Checklists in Audio Production". Thesis, Stellenbosch : Stellenbosch University, 2015. http://hdl.handle.net/10019.1/96762.
Pełny tekst źródłaENGLISH ABSTRACT: This thesis investigates the role and implementation of the checklist in audio production studios. The goal of this study is to limit frequent human error by compiling and testing a checklist to be used in these studios. Procedures and checklists implemented in the life-critical elds of medicine and aviation have been studied and used as a framework, in order to shape this checklist to be relevant to a wide variety of audio production studios.
AFRIKAANSE OPSOMMING: Hierdie tesis ondersoek die rol en toepassings van die kontrolelys in klankateljees. Die doel van hierdie studie is om te ondersoek of die gebruik van kontrolelyste aangewend kan word om menslike foute te beperk, deur middel van die samestelling en toetsing van `n kontrolelys vir gebruik in hierdie ateljees. Werkswyses en kontrolelyste wat tans in die lewenskritiese sektore van lugvaart en die mediese wetenskappe benut word, is bestudeer en as raamwerk benut om te verseker dat hierdie kontrolelys toepaslik sal wees vir `n wye verskeidenheid klankproduksie-ateljees.
Popović, Slobodan. "Reliability testing of R-DAT tapes subjected to mechanical and environmental stress". Thesis, McGill University, 1992. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=56757.
Pełny tekst źródłaCapretta, Roberto. "The complexity of sound design and operations for television production". Thesis, McGill University, 1994. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=22537.
Pełny tekst źródłaFerguson, Robert W. III. "Automatic segmentation in concert recordings". Thesis, McGill University, 2004. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=81489.
Pełny tekst źródłaFew definitions are adequate to describe music, but a "point of time" is a concept with which people are familiar. When musicians give concerts they try to create these points in a context, which allows the audience to observe each moment by itself. Concert practice has developed to define the edges of musical points, guided by cues such as clapping, pauses, and concert program notes.
This masters thesis investigates how to analyze concert recordings of Western music and their program notes to produce segments which best fit the boundaries of musical points. Modern segmentation techniques are reviewed and a new method specific to concert recordings is examined.
Genevro, Bradley James. "The Art of Recording the American Wind Band". Thesis, University of North Texas, 2006. https://digital.library.unt.edu/ark:/67531/metadc5276/.
Pełny tekst źródłaHatch, Wesley. "High-level audio morphing strategies". Thesis, McGill University, 2005. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=83108.
Pełny tekst źródła*This dissertation is a compound document (contains both a paper copy and a CD as part of the dissertation).
Markle, Blake L. "A comparative study of time-stretching algorithms for audio signals /". Thesis, McGill University, 2001. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=31119.
Pełny tekst źródłaKosek, Paul C. "Improved analysis of musical sounds using time-frequency distributions". Thesis, McGill University, 2005. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=83189.
Pełny tekst źródłaLapp-Szymanski, Jean-Paul. "Technology inna rub-a-dub style : technology and dub in the Jamaican sound system and recording studio". Thesis, McGill University, 2005. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=98547.
Pełny tekst źródłaWu, Tsan-Ming. "Statistical impulse reponse modeling and dereverberation for room acoustics". Diss., Georgia Institute of Technology, 2000. http://hdl.handle.net/1853/14932.
Pełny tekst źródłaFoss, Richard John. "A networking approach to sharing music studio resources". Thesis, Rhodes University, 1996. http://hdl.handle.net/10962/d1006660.
Pełny tekst źródłaBallora, Mark. "Data analysis through auditory display : applications in heart rate variability". Thesis, McGill University, 2000. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=35463.
Pełny tekst źródłaSinyor, Elliot. "Digital musical instruments : a design approach based on moving mechanical systems". Thesis, McGill University, 2006. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=99606.
Pełny tekst źródłaVan, der Westhuizen Ewald. "Nie-destruktiewe klankonttrekking, restourasie en spraakverheffing van Edison-fonograafsilinders". Thesis, Stellenbosch : Stellenbosch University, 2003. http://hdl.handle.net/10019.1/49772.
Pełny tekst źródłaENGLISH ABSTRACT: Two non-destructive methods of extracting audio from Edison phonographic cylinders were investigated. A recording device with high accuracy positioning was designed and manufactured. A microscopic image method was investigated first. Surface images of the cylinder were obtained using a webcamera. An audio signal was then extracted from the width modulation. Results were not pleasing as echoes caused by intergroove modulation were perceptable. The audio also lacked resolution. The true modulation of the audio is not embedded in the width, but in the depth of the groove. The second audio extraction method involved using a laser pick-up from a compact disc player to measure the depth of the groove. Three laser recording methods were investigated. The first was forward recording, that measured the depth modulation in the recording direction of the groove. The second method, backward recording, was identical to forward recording with the mechanical system moving in reverse. Four recordings from different positions in the groove were combined to create an audio signal. This combination of recordings showed a substantial improvement in the signal-to-noise ratio. A third recording method, transverse recording, that measured the whole depth profile of the groove was also investigated. The groove profile was then processed to an audio signal. A manual audio restoration program was written to replace visible sections of distorted data with better interpolations. Two speech enhancement methods were investigated, the first being the most commonly used speech enhancement method for digital audio restoration, Short-Time Spectral Attenuation (STSA). The second method is based on linear predictive coefficient (LPC) estimation of short-time frames. The two methods were evaluated by means of listening tests. The LPC enhancement method was preferred because it enhanced the intelligibility of the speech.
AFRIKAANSE OPSOMMING: Twee nie-destruktiewe metodes om klank van Edison-fonograafsilinders te onttrek, is ondersoek. 'n Opneemtoestel, wat die silinders met baie hoë akkuraatheid posisioneer, IS ontwerp en vervaardig. 'n Mikroskopiese beeldrnetode IS as eerste klankonttrekkingsmetode ondersoek. Mikroskopiese beelde is met 'n webkamera van die silinderoppervlak geneem. Klank is vanuit die wydtemodulasie sigbaar in die beelde onttrek. Resultate was nie bevredigend nie weens groefintermodulasie-eggo's en 'n tekort aan resolusie. Die ware modulasie van die klank is nie in die wydte van die groefie gegraveer nie, maar in die diepte. Die tweede klankonttrekkingsmetode gebruik 'n aangepaste lasersensor van 'n CD-speler om die dieptemodulasie van die groefie te meet. Drie laseropneemmetodes is ondersoek. Die eerste is voorwaartse opname, wat die dieptemodulasie in die opneemrigting van die groefie meet. 'n Tweede opneemmetode, truwaartse opname, is identies aan voorwaartse opname, behalwe dat die meganiese stelsel in trurat beweeg. Vier opnames vanuit verskillende posisies in die groefbreedte is gekombineer om 'n klanksein te vorm. Die kombinasie van vier opnames toon 'n beduidende verbetering op die sein-tot-ruis-verhouding. Dit het aanleiding gegee tot die derde opneemmetode, dwarsskandering, wat die hele profiel van die groef meet. Die groefprofiel word dan verwerk tot 'n klanksein. 'n Handoudiorestourasieprogram is geskryf om sigbare verwringing in die klanksein met beter interpolasies te vervang. Twee spraakverheffingsmetodes is ondersoek. Short- Time Spectral Attenuation (STSA) is die mees gebruikte metode vir oudiorestourasie. 'n Tweede spraakverheffingsmetode wat van 'n lineêre voorspellingskoëffisiëntafskatting (LPC-afskatting) van korttydraampies gebruik maak, is ook toegepas. Die twee metodes is deur luistertoetse teen mekaar opgeweeg. Die LPCmetode is verkies aangesien dit die verstaanbaarheid van die spraak beter behoue laat bly.
Du, Preez Liska. "Effects of selected modes of digital distribution on music consumerism, with reference to the album format". Thesis, Nelson Mandela Metropolitan University, 2011. http://hdl.handle.net/10948/1427.
Pełny tekst źródłaCurran, Terence William. "Recording classical music in Britain : the long 1950s". Thesis, University of Oxford, 2015. https://ora.ox.ac.uk/objects/uuid:2340cf56-c2be-4c0b-b5a6-2cfe06c22fe4.
Pełny tekst źródłaSeitz, Jeffrey L. "An interactive CD-ROM to teach harmonic and intermodulation distortion". Virtual Press, 1997. http://liblink.bsu.edu/uhtbin/catkey/1048367.
Pełny tekst źródłaSchool of Music
Klinkradt, Bradley Hugh. "An investigation into the application of the IEEE 1394 high performance serial bus to sound installation contro". Thesis, Rhodes University, 2003. http://hdl.handle.net/10962/d1004899.
Pełny tekst źródłaKMBT_363
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Tindale, Adam. "Classification of snare drum sounds using neural networks". Thesis, McGill University, 2004. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=81515.
Pełny tekst źródłaMeijer, Helmut. "Research into and design of a digital sound sample library for acoustic drums". Thesis, Stellenbosch : University of Stellenbosch, 2004. http://hdl.handle.net/10019.1/16388.
Pełny tekst źródłaENGLISH ABSTRACT: Sound sample libraries represent the format in which huge collections of sampled sounds are made available for use within digital samplers and/or other digital audio workstations (DAW’s). Although in use for many years, little or no academic research has been done on the methodology of compiling a commercial sound sample library. In this endeavour, the factors influencing the design, recording and publishing of a sound sample library are investigated through the actual design of a drum sample library. The rationale behind the sampling of a drum kit is carefully depicted in the light of various other factors influencing the instrument, as well as being influenced by the instrument itself. A professional drummer was engaged to play a state-of-the art Gretsch acoustic drum kit. Samples of the kit, consisting of various individual instrument parts, were recorded in three locations within the Konservatorium of Stellenbosch University, for reasons carefully explained in the text. These numerous drum hits were mixed and cut into individual drum samples. The samples were mapped into a digital software sampler, GigaStudio, creating five distinct collections of drum samples that faithfully represent the quality of the drum kit, the recording rooms as well as the equipment used in the process. The outcome of the study is a professional product in the form of a Gretsch drum sample collection, prepared for commercial release. Many of the drum samples have already been used successfully in commercial music releases over the past 12 months. Whilst the drum sample library is currently being published, the product and documentation clearly depict the viability of the study in terms of the artistic and academic expectations that have been met. The study anticipates future research on the subject.
AFRIKAANSE OPSOMMING: Klankbiblioteke heet die formaat waarin versamelings van klankmonsters beskikbaar gestel word vir gebruik in digitale samplers1 en/of ander digitale klankprogrammatuur. Nieteenstaande die feit dat klankbiblioteke reeds jare in gebruik is, is geen studie waarin die ontwerp en saamstel van so ‘n biblioteek beskryf word, bekend nie. In hierdie navorsingsprojek word die faktore wat die ontwerp, opneem en vrystelling van ‘n klankbiblioteek beïnvloed bestudeer deur die skep van so ‘n biblioteek. Die oorwegings vir die keuse van ‘n tromstel is noukeurig uiteengesit in die lig van die faktore wat betrekking het tot, en wederkerig beïnvloed is deur die instrument en opname-omgewing. ‘n Professionele tromspeler is vir die projekdoeleindes gekontrakteer om ‘n Gretsch akoestiese tromstel te speel. Klankmonsters van die tromstel se individuele komponente is in drie lokale binne die Konservatorium van die Universiteit van Stellenbosch opgeneem, met redes soos uiteengestip in die teks. Klankopnames van die talle tromslae is gemeng en opgesny in individuele klankmonsters. Laasgenoemde is in GigaStudio, ‘n digitale sagteware sampler, gekarteer sodat vyf duidelik-onderskeibare klankveramelings geskep is. Hierdie versamelings lig die kwaliteit van die tromstel asook die verskeie opnamelokale en toerusting wat gebruik is duidelik uit. Die resultaat van die studie is ‘n professionele produk in die vorm van ‘n Gretsch kommersiële klankbiblioteek, waarvan verskeie klankmonsters reeds oor die afgelope 12 maande in plaaslike musiekvrystellings gebruik is. Hoewel die klankbiblioteek huidiglik vrygestel word, toon die produk en dokumentasie duidelik die artistiese en tegniese waardigheid van die studie. Die studie antisipeer toekomstige navorsings-moontlikhede wat uit die onderwerp mag voortspruit.
Verster, Charl Pierre Franscois. "Investigation of a Sweep Technique for Microphone Placement". Thesis, Stellenbosch : Stellenbosch University, 2015. http://hdl.handle.net/10019.1/96703.
Pełny tekst źródłaLaubscher, Robert Alan. "An investigation into the use of IEEE 1394 for audio and control data distribution in music studio environments". Thesis, Rhodes University, 1999. http://hdl.handle.net/10962/d1006483.
Pełny tekst źródłaMicrosoft Word
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Okai-Tettey, Harold A. "High speed end-to-end connection management in a bridged IEEE 1394 network of professional audio devices". Thesis, Rhodes University, 2006. http://hdl.handle.net/10962/d1006638.
Pełny tekst źródłaHuman, J. F. "Effektiewe klankopnames vir enkelkamera-televisieverslaggewing". Thesis, Stellenbosch : Stellenbosch University, 2000. http://hdl.handle.net/10019.1/49676.
Pełny tekst źródłaENGLISH ABSTRACT: The most neglected element in television reporting is the sound track. The problem is illustrated by the fact that there are currently no specialised textbooks, or training courses, on sound recording for television reporting, anywhere in the world. Textbooks that deal with television reporting dedicate very little space to sound recordings. With the growing competition in television news, news teams are increasingly becoming smaller. It is common practice these days to have a news team consisting of only a cameraperson and a reporter. The cameraperson is also responsible for the sound. Two television stations, namely NYl in New York and Channel One Television in England, have already dispensed with the cameraperson and send out only a reporter. This dissertation addresses the above-mentioned problem by doing research on the sound equipment, recording techniques and production techniques that are useful for effective sound recordings during single camera television reporting. Chapter two explains the functions of the different departments in a television station, as well as the duties of the staff. Chapter three explains basic television principles, terminology and equipment that the sound person uses daily and needs to understand to perform his work optimally. Chapterfour gives the basic terms that are needed to follow a conversation on sound recording. Terms like decibel, stereo and digital sound are explained. The chapter also covers basic electricity and sound equipment. Chapter five covers microphones under three headings, namely: electrical characteristics, acoustic characteristics and microphone design. The chapter also covers associated equipment, explains the sound facilities on video cameras and gives a list of possible sound equipment that can be used during a production. Chapter six covers sound recordings, principles and techniques under the following headings: • Perspective and boom swinging, which deals with sound perspective and boom swinging. • Rigging of cables, which gives practical tips for laying cables inside and outside buildings. • Recording principles, which gives practical tips on sound recordings. • Interviews, which includes recording tips for television interviews and reporting. • Reporting, which covers reporting, media conferences and public events. • Commentary recordings, which deals with the preparation and recording of voice over. • Music recordings, which deals with instruments and bands, and suggests microphone positions. • Telephone lines, which covers the use of telephone lines for reporting. • Location reconnaissance, which gives practical tips on pre-production planning. • Guidelines for sound persons during productions, which concludes the chapter and the dissertation with practical tips on behaviour during local, foreign and/or dangerous productions.
AFRIKAANSE OPSOMMING: Die veranderlike wat die meeste afgeskeep word in televisieverslaggewing, is die klankbaan. Die probleem word onderstreep deur die feit dat daar wêreldwyd tans geen gespesialiseerde handboeke of opleidingskursusse bestaan wat oor klankopnames vir televisieverslaggewing handel nie. Handboeke wat handeloor televisieverslaggewing wy ook baie min ruimte aan klankopnames. Met die groeiende kompetisie in televisienuus raak nuusspanne toenemend kleiner. Dit is reeds algemene praktyk dat die nuusspan slegs uit 'n kamerapersoon en 'n verslaggewer bestaan. Die kamerapersoon moet dus ook die klankopnames doen. Twee televisiestasies, naamlik NYl in New York en Channel One Television in Engeland, het reeds die kamerapersoon uitgeskakel en stuur slegs 'n verslaggewer uit. Hierdie verhandeling spreek bogenoemde probleem aan deur navorsing te doen oor die klanktoerusting, opnametegnieke en produksietegnieke wat nuttig is vir effektiewe klankopnames tydens enkelkameratelevisieverslaggewing. Hoofstuk twee verduidelik die funksies van die verskillende departemente in 'n televisiestasie sowel as die pligte van die personeel. Hoofstuk drie verduidelik basiese televisiebeginsels, -terminologie en -toerusting wat die klankpersoon daagliks mee werk en dus moet verstaan om sy werk optimaal te verrig. Hoofstuk vier gee die basiese terme wat nodig is om 'n gesprek oor klankopnames te volg. Begrippe soos desibel, stereo en digitale klank word verduidelik. Die hoofstuk behandelook basiese elektriese beginsels en klanktoerusting. Hoofstuk vyf bespreek mikrofone onder drie indelings naamlik: elektriese eienskappe, akoestiese eienskappe en mikrofoonontwerp. Die hoofstuk dek ook aanverwante toerusting, verduidelik die klankfasiliteite op videokameras en gee 'n lys van klanktoerusting wat tydens produksies gebruik kan word. Hoofstuk ses is die belangrikste en bespreek klankopnames, beginsels en tegnieke onder die volgende opskrifte: • Perspektief en boomhantering, waaronder klankperspektief en boomhantering behandel word. • Lê van kabels, wat praktiese wenke gee vir die lê van kabels binne en buite geboue. • Opnamebeginsels, wat praktiese wenke gee in verband met klankopnames. • Onderhoude, wat opnamewenke gee in verband met televisieonderhoude en verslaggewing. • Verslaggewing, wat verslaggewing, nuuskonferensies en openbare geleenthede dek. • Kommentaaropnames, wat handeloor die voorbereiding vir, en opneem van kommentaar. • Musiekopnames, wat musiekinstrumente en orkeste bespreek en mikrofoonposisies voorstel. • Telefoonlyne, waaronder die gebruik van telefoonlyne vir verslaggewing bespreek word. • Terreinverkenning, wat praktiese riglyne gee vir voorproduksie-ondersoeke. • Riglyne vir klankpersone tydens produksies, wat die hoofstuk en die studie afsluit met praktiese wenke vir gedrag tydens plaaslike, buitelandse en/of gevaarlike produksies.
Sankarasubramaniam, Yogesh. "New Capacity-Approaching Codes for Run-Length-Limited Channels". Diss., Georgia Institute of Technology, 2006. http://hdl.handle.net/1853/10483.
Pełny tekst źródłaMorris, Jeffrey Martin. "Live Sampling in Improvised Musical Performance: Three Approaches and a Discussion of Aesthetics". Thesis, connect to online resource, 2007. http://digital.library.unt.edu/permalink/meta-dc-3936.
Pełny tekst źródłaThibault, François. "High-level control of singing voice timbre transformations". Thesis, McGill University, 2004. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=81514.
Pełny tekst źródłaThe transformation methods use a harmonic plus noise representation from which voice timbre descriptors are derived. This higher-level representation, closer to our perception of voice timbre, offers more intuitive controls over timbre transformations. The topics of parametric voice modeling and timbre descriptor computation are first introduced, followed by a study of the acoustical impacts of voice breathiness variations. A timbre transformation system operating specifically on the singing voice quality is then introduced with accompanying software implementations, including an example digital audio effect for the control and modification of the breathiness quality on normal voices.
Fuchs, Adriaan. "In search of the "true" sound of an artist : a study of recordings by Maria Callas". Thesis, Stellenbosch : University of Stellenbosch, 2006. http://hdl.handle.net/10019.1/17355.
Pełny tekst źródłaENGLISH ABSTRACT: Modern digital signal processing, allowing a much greater degree of flexibility in audio processing and therefore greater potential for noise removal, pitch correction, filtering and editing, has allowed transfer and audio restoration engineers a diversity of ways in which to “improve” or “reinterpret” (in some cases even drastically altering) the original sound of recordings. This has lead to contrasting views regarding the role of the remastering engineer, the nature and purpose of audio restoration and the ethical implications of the restoration process. The influence of audio restoration on the recorded legacy of a performing artist is clearly illustrated in the case of Maria Callas (1923 - 1977), widely regarded not only as one of the most influential and prolific of opera singers, but also one of the greatest classical musicians of all time. EMI, for whom Callas recorded almost exclusively from 1953 - 1969, has reissued her recordings repeatedly, continually adapting their sound “to the perceived preferences of the record-buying public” (Seletsky 2000: 240). Their attempts at improving the sound of Callas’s recordings to meet with the sonic quality expected of modern recordings, as reissued in the latest releases that form part of EMI’s Callas Edition, Great Recordings of the Century (GROTC) and Historical Series, have resulted in often staggeringly different reinterpretations of the same audio material that bear no resemblance to previous CD or LP incarnations or “evince no consolidated conviction about exactly how Callas’s voice should sound.” In essence, some commentators argue that the “Callas sound” we hear on recent CD releases is not necessarily exactly as the great diva might have sounded. The purpose of this study is to consider the influence of audio restoration and remastering techniques on the recorded legacy of Callas, by illustrating the sometimes startlingly different ways in which her voice has been made to sound, examining and comparing the way in which different remasterings of the same audio material can vary in quality, as well as demonstrating how vastly different sonic reinterpretations of a single recording can affect our perception of an artist’s “true” sound. To this end, various reissues of six different complete opera recordings, including four studio recordings: Tosca (1953), Lucia di Lammermoor (1953), Norma (1954), Madama Butterfly (1955), as well as two “live” performances of Macbeth (1953) and La Traviata (1958), have been evaluated and compared, using the “true” sound of Callas’s voice as reference in comparing the different remasterings. Pitch and frequency spectrum analysis was used to confirm or support any subjective claims and observations and further analysis performed with the aid of a specialised Matlab algorithm.
AFRIKAANSE OPSOMMING: Moderne digitale seinprossesering bied kragtige en veelsydige moontlikhede vir die verwerking van klankseine. Die groter potensiaal vir ruisverwydering, toonhoogte verstelling, filtrering en redigering van opnames bied klankingenieurs ‘n wye verskeidenheid van maniere om die oorspronklike klank van opnames te verbeter, te interpreteer en soms ingrypend te verander. Dit het aanleiding gegee tot teenstrydige en uiteenlopende menings oor die funksie van die klankrestourasie-ingenieur, die aard en doel van klankrestourasie en die etiese gevolge van die restourasieproses. Die invloed van klankrestourasie op die klanknalatenskap van ‘n uitvoerende kunstenaar kan duidelik bestudeer word in die geval van Maria Callas (1923 – 1977), algemeen aanvaar as een van die mees invloedryke en grootse klassieke musici van alle tye. Die platemaatskappy EMI, vir wie Callas feitlik uitsluitlik vanaf 1953 tot 1969 opgeneem het, het haar klankopnames reeds verskeie kere heruitgereik en die klank daarvan deurlopend aangepas om aanklank te vind by die “veronderstelde voorkeure van die publiek” (Seletsky 2000: 240). EMI se pogings om die klank van Callas se opnames te verbeter om aan die klankvereistes van moderne opnames te voldoen, het ontaard in dikwels aangrypend verskillende interpretasies van dieselfde audio materiaal wat geen ooreenkomste toon met vorige laserskyf of langspeelplaat uitgawes nie, asook “geen vasgestelde oortuigings openbaar oor hoe Callas se stem presies moet klink nie.” Sommige critici argumenteer dat die “Callas klank” wat ons op hedendaagse CD uitgawes hoor, nie noodwendig klink soos wat Callas werklik geklink het nie. Die doel van hierdie studie is om die invloed van klankrestourasie op die klanknalatenskap van Callas te bestudeer deur die verskillende wyses waarop die klank van haar stem aangepas is te illustreer, die verskille in klankkwaliteit tussen verskillende uitgawes van dieselfde materiaal te ondersoek en te vergelyk, asook te demonstreer hoe uiteenlopend verskillende interpretasies van ‘n enkele opname die persepsie van ‘n kunstenaar se “ware” klank kan affekteer. Vir hierdie doel is verkeie uitgawes van ses verskillende volledige opera opnames, insluitend vier studio opnames van onderskeidelik Tosca (1953), Lucia di Lammermoor (1953), Norma (1954) en Madama Butterfly (1955), asook twee “lewendige” opnames van Macbeth (1952) en La Traviata (1958) bestudeer deur Callas se “ware” klank as maatstaf te gebruik om die onderskeie opnames te vergelyk. Toonhoogte- en frekwensie spektrum analise, asook analise deur middel van ‘n gespesialiseerde Matlab algoritme, is deurlopend gebruik om enige subjektiewe gevolgtrekkings en waarnemings te staaf.
Nozaic, Claire. "An introduction to audio post-production for film". Thesis, Stellenbosch : Stellenbosch University, 2006. http://hdl.handle.net/10019.1/17405.
Pełny tekst źródłaENGLISH ABSTRACT: In South Africa there has been an increase over the last few years in audio engineering courses which include modules of study in audio post-production or even offer audio post-production as a major focus of study. From an academic standpoint however, and despite the growth in the local film industry, very little study of this field has been undertaken in South Africa until recently. In 2005, a MMus thesis was submitted at the University of KwaZulu-Natal entitled Acoustic Ambience in Cinematography: An Exploration of the Descriptive and Emotional Impact of the Aural Environment (Turner, 2005: online). The thesis briefly outlines the basic components of the soundtrack and focuses on describing and analysing the properties of ambience, a sub-section of sound effects. At Stellenbosch University, research has recently begun in the fields of film music and Foley (sound effects associated with human movement onscreen). The purpose of this thesis is to provide an overview of audio post-production and the contribution of sound to the film medium. It provides an outline of the processes involved in creating a soundtrack for film and includes a description of the components of the soundtrack and recommendations for practical application.
AFRIKAANSE OPSOMMING: Gedurende die afgelope paar jaar was daar ‘n toename in oudio-ingenieurskursusse, insluitend studiemodules in oudio post-produksie, en selfs ‘n aanbod vir modules in post-produksie as hoofstudierigting. Desnieteenstaande, en ten spyte van die groei in die plaaslike filmindustrie is tot onlangs min akademiese studies op dié terrein in Suid-Afrika onderneem. In 2005 is ‘n MMus-tesis aan die Universiteit van KwaZulu-Natal voorgelê, met die titel Acoustic Ambience in Cinematography: An Exploration of the Descriptive and Emotional Impact of the Aural Environment (Turner, 2005: aanlyn). Hierdie tesis gee ‘n basiese oorsig oor die basiese komponente van die klankbaan, en fokus op die beskrywing en analise van die eienskappe van ambience – ‘n onderafdeling van klankeffekte. By die Universiteit van Stellenbosch is onlangs ‘n begin gemaak met navorsing oor die terreine van filmmusiek en Foley, d.w.s. klankeffekte geassosieer met menslike bewegings op die skerm.. Hierdie tesis beoog om ‘n oorsig te gee van oudio post-produksie en die bydrae van klank tot die filmmedium. Dit verskaf ‘n oorsig oor die prosesse betrokke by die daarstelling van ‘n filmklankbaan en sluit ook in ‘n beskrywing van die komponente van die klankbaan en aanbevelings vir die praktiese toepassing daarvan.
Zarate, Orozco Ismael. "Software and Hardware-In-The-Loop Modeling of an Audio Watermarking Algorithm". Thesis, University of North Texas, 2010. https://digital.library.unt.edu/ark:/67531/metadc33221/.
Pełny tekst źródłaAbrahão, Ana Maria Paes Leme Carrijo. "A musica na escola : um privilegio dos especialistas? - concepções dos professores sobre o talento musical e a musica na escola e a representação grafica do som de crianças de 3 a 6 anos de idade". [s.n.], 2006. http://repositorio.unicamp.br/jspui/handle/REPOSIP/253294.
Pełny tekst źródłaDissertação (mestrado) - Universidade Estadual de Campinas, Faculdade de Educação
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Resumo: A presente pesquisa pretende discutir a importância das atividades musicais para o trabalho com crianças no cotidiano da escola. Apresenta uma avaliação qualitativa intitulada rede semântica natural proposta por Figueroa, González e Solís (1981) sobre a concepção dos professores de educação infantil e ensino fundamental 1º e 2º ciclos de talento musical e a importância da música no ambiente escolar. Os resultados confirmam o julgamento, muito freqüente, do privilégio de poucos ¿dotados¿ de talento nato para o fazer musical e revela um reconhecimento das contribuições da música para o desenvolvimento cognitivo, afetivo, social e motor das crianças, embora as concepções dos professores sobre a música na escola não apresentem categorias que envolvam a prática musical como o cantar, tocar ou fazer música. Esses resultados provocaram algumas necessidades. Para tanto, pretendeu-se conhecer o processo de construção das noções musicais em crianças de educação infantil e propor um caminho de reflexão sobre as possibilidades musicais comum a todos. Assim, o estudo apresenta o registro gráfico do som realizado por crianças de 3 a 6 anos de idade que visa analisar à luz da psicologia genética o processo de representação gráfica do som e sua relação com a natureza da inteligência. Foram propostas duas observações, uma do ambiente sonoro da escola e outra da percepção de quatro instrumentos musicais: o par de cocos, o metalofone, a queixada e a flauta doce. Os estudos permitiram observar uma evolução do registro do som que parte das garatujas, sem semelhanças com os sons emitidos, passando pelo registro da fonte sonora, inicialmente sem nenhum sinal acompanhando o corpo do objeto e posteriormente com sinais que indicam o som como um prolongamento do objeto sonoro. Algumas representações apresentaram a evocação de objetos ausentes, características nas crianças pré-operatórias. Os registros mais evoluídos apresentaram o som desligado da fonte sonora se mantendo estável pela generalização do significante para um mesmo significado, caracterizando a passagem de símbolo para signo. A partir dessas observações, pôde-se concluir que a compreensão dos signos musicais exige a construção de estruturas mentais, fruto das explorações e invenções organizadas e criadas pelas crianças em contato com os elementos sonoros e das possibilidades de transformação do invisível para visível por meio da escrita, relacionando os signos arbitrários e convencionais às suas experiências anteriores. À guisa de conclusão, são apresentadas algumas reflexões sobre as práticas musicais decorrentes da exploração sonora e de suas representações escritas, possíveis de serem realizadas por qualquer profissional da educação, independente de ser ou não um especialista em música
Abstract: The present research intends to argue the importance of the musical activities for the work with children in the daily one of the school. It presents a qualitative evaluation intitled net natural semantics proposal for Figueroa, González and Solís (1981) on the conception of the professors of infantile education and basic education 1º and 2º cycles on musical talent and the importance of music in the pertaining to school environment. The results confirm the judgment, very frequent, of the privilege of few "endowed" with born talent to make musical comedy and disclose a recognition to it of the contributions of music for cognizance, affective, social and motor the development of the children, even so the conceptions of the professors on music in the school do not present categories that involve the practical musical comedy as singing, touching or to make music. These results had provoked some necessities. For in such a way, it was intended to know the process of construction of the musical slight knowledge in children of infantile education and to consider a reflection way on the musical possibilities common to all. Thus, the study it presents the graphical register of the sound carried through for children of 3 the 6 years of age that it aims at to analyze to the light of genetic psychology the process of graphical representation of the sound and its relation with the nature of intelligence. Two comments environment the school the sonorous another one of the perception of four musical instruments had been proposals, one of and: the pair of coconuts, metalofone, the jaw and the flute candy. The studies had allowed to observe an evolution of the register of the sound that has left of garatujas, without similarities with the emitted sounds, passing for the register of the sonorous source, initially without no signal following the body of the object and later with signals that indicate the sound as a prolongation of the sonorous object. Some representations had presented the absent, characteristic object mandate in the children daily pay-operative. The evolved registers more had presented the off sound of steady the sonorous source if keeping for the generalization of the significant one for one exactly meant, characterizing the ticket of symbol for sign. To leave of these comments, it could be concluded that the understanding of the musical signs demands the construction of mental structures, fruit of the explorations and inventions organized and created for the children in contact with the sonorous elements and of the possibilities of transformation of the invisible one for visible by means of the writing, relating the arbitrary and conventional signs to its previous experiences. To it stews of conclusion, are presented some reflections on the practical decurrent musical comedies of the sonorous exploration and its written, possible representations to be carried through for any professional of the education, independent of being or not a specialist in music
Mestrado
Psicologia, Desenvolvimento Humano e Educação
Mestre em Educação
Parry, Robert Mitchell. "Separation and Analysis of Multichannel Signals". Diss., Georgia Institute of Technology, 2007. http://hdl.handle.net/1853/19743.
Pełny tekst źródłaMalhão, Rafael da Silva 1982. "Uma ecologia dos meios tecnológicos dos DJs de música eletrônica de pista : habilidades, percepção e corpo". [s.n.], 2014. http://repositorio.unicamp.br/jspui/handle/REPOSIP/279732.
Pełny tekst źródłaDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciências Humanas
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Resumo: A presente dissertação tem como objeto e objetivo central compreender o processo tecno-genético de formação dos DJs de Música Eletrônica de Pista (MEP) para uma atuação efetiva frente a uma pista de dança. Para dar conta da tarefa que me propus dediquei-me a analisar este processo a partir de três de abordagens distintas, a saber, tecnologia, técnica e habilidade, que assumem dinâmicas relacionais diferentes que dependem do objetivo e combinação estabelecida entre elas, e a partir destes diferentes cenários relacionais estas combinações orientam ritmos específicos de interação entre humanos e máquinas. Estas combinações e ritmos foram o núcleo para a análise mais profícuo identificado para explorar o DJ como conceito e prática no âmbito da MEP. Estas três abordagens visam desdobrar as questões relativas a cada tópico supracitado e a integração destas abordagens se dá por meio de uma experiência estética não contemplativa. A primeira abordagem tem como preocupação central as diferentes formas em que a tecnologia de reprodução sonora foi relevante para MEP e visa constituir uma base material da mudança tecnológica para as discussões abordadas subsequentemente. A segunda abordagem parte desta base tecnológica a fim de apresentar as possíveis formas de constituição das habilidades, das técnicas e do corpo por meio da atuação sinérgica para fins comuns entre DJs e tecnologias de reprodução sonora. A terceira abordagem se vale das duas anteriores para tentar compreender a relação que se estabelece entre estes modos tecnológicos e técnicos de formação das habilidades e percepção que contribuem na forma de interação entre DJs e pista de dança, atendo-se principalmente, nas potencialidades e especificidades de uma proposta tecno-estética que busca escapar da passividade contemplativa na relação entre público e executores de atos estéticos. Este percurso se fez necessário para a compreensão do papel das tecnologias na formação dos sentidos e das ações a eles correspondentes durante o processo de aprendizado das técnicas sendo elas de discotecagem ou modos de dança. Por fim, identifico, assim como alguns autores que perpassam o texto, que o modo de percepção, bem como o corpo que percebe ? e todas as implicações desta situação ? não são dados a priori, e sim, se constituem ao longo das diferentes interações com o ambiente e com a tecnologia. E que uma abordagem estética que privilegie a experiência estética mediada por objetos que não são necessariamente estéticos, mas objetos que possibilitam diferentes reticulações do espaço e do tempo por meio do seu modo de manipulação e inserção em contextos específicos foi a maneira mais interessante para descrever a relação entre DJs, tecnologias e pista de dança
Abstract: The aim of this study is to understand the techno-genetic process of the development of Electronic Dance Music (EDM) DJs in an effective performance in the dance floor. To be able to accomplish this task I analyse the process from three distinct approaches, namely technology, techniques, and skills that assume different relational dynamics depending on the goal and the combination stabilished among them, and from those different relational scenaries those combinations orient toward specific rhythms of interaction between mankind and machines.These combinations and rhythms were the most proficuous nucleous to the analysis, identified to explore the DJ as concept and practise in EDM. Those three approaches are to unfold the issues regarding each topic above mentioned and the integration of the approaches happens through a non-contemplative aesthetic experience. The first approach aims the different ways sound reproduction technology was relevant to EDM and intends to build a material base of technological change to the discussions subsequently dealt. The second approach derives from said technological base in order to present the possible ways of developing skills, techniques, and body by the synergic movement to common goals between DJs and sound reproduction technology. The third approach derives from the first two aiming to understand the relation stablished among the technological ways and the techniques to form the skills and perceptions that contribute the way of interaction between DJs and the dance floor. It focuses mainly in potencialities and specificity of the techno-aesthetic proposal that tries to scape from contemplative passivity in the relation between the audience and the performer of aesthetic acts. All this process was needed to understand the role the technologies play in the formation of senses and actions corresponding to them during the technique learning process of either DJing or dance moves. Consequently, I identified, as well as some autors who perpassed the text, the fact that the way of perception and the body that perceives and also all implications of this situation are not given a priori, and that way, are constituted during the different interactions with the environment and technology. Also an aesthetic approach that previleges the aesthetic experience mediated by objects not necessarily aesthetic, but objects with different reticulations of the space and the time through their form of manipulation and inserction in specific contexts was the most interesting way to describe the relation between DJs, technologies, and dance floor
Mestrado
Sociologia
Mestre em Sociologia
Chigwamba, Nyasha. "An investigation into the hardware abstraction layer of the plural node architecture for IEEE 1394 audio devices". Thesis, Rhodes University, 2009. http://hdl.handle.net/10962/d1004841.
Pełny tekst źródłaFoulkes, Philip James. "A grid based approach for the control and recall of the properties of IEEE 1394 audio devices". Thesis, Rhodes University, 2009. http://hdl.handle.net/10962/d1004836.
Pełny tekst źródłaDurey, Adriane Swalm. "Melody spotting using hidden Markov models". Diss., Available online, Georgia Institute of Technology, 2004:, 2003. http://etd.gatech.edu/theses/available/etd-04082004-180126/unrestricted/durey%5Fadriane%5Fs%5F200312%5Fphd.pdf.
Pełny tekst źródłaChigwamba, Nyasha. "An investigation of parameter relationships in a high-speed digital multimedia environment". Thesis, Rhodes University, 2014. http://hdl.handle.net/10962/d1021153.
Pełny tekst źródłaChen, Howard. "AZIP, audio compression system: Research on audio compression, comparison of psychoacoustic principles and genetic algorithms". CSUSB ScholarWorks, 2005. https://scholarworks.lib.csusb.edu/etd-project/2617.
Pełny tekst źródłaCeretta, Fernanda Manzo. "O design de som de monstros do cinema: uma cartografia dos processos de criação de identidades sonoras na construção de personagens". Pontifícia Universidade Católica de São Paulo, 2018. https://tede2.pucsp.br/handle/handle/21201.
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Conselho Nacional de Pesquisa e Desenvolvimento Científico e Tecnológico - CNPq
This research analyzes the sound design of movie monsters, especially their voices. Chewbacca (Star Wars, 1977), Godzilla (1954) and Predator (1987) constitute our corpus. These monsters have voices composed by designers who have experimented different creation processes, using sounds generated by nature, body and manipulated objects, in order to create the sound identity of these characters. We investigate the contexts of these creation processes and the resulting sounds in their particularities to make a proposition of a method for creating the sound of monsters. Our method covers the potential sources of base sounds and other sonic characteristics such as frequencies, timbre and intensity. The research was based in the observation of the selected audio-visual materials and in the documentation available regarding the making ofs (which is vast, given the popularity of the selected monsters). The thesis is based mainly on articulations with the works of Rick Altman, Michel Chion and William Whittington, on the cinematographic sound, and of Theo Van Leeuwen in his proposition of sonorous analysis
Este trabalho analisa o sound design de monstros do cinema, sobretudo suas vozes. Chewbacca (Star Wars, 1977), Godzilla (1954) e Predador (1987) constituem o corpus da presente pesquisa. Estes monstros possuem vozes compostas por designers que experimentaram diferentes processos de criação, utilizando sons na natureza, do corpo e de objetos manipulados para criar a identidade sonora destas personagens. investigamos os contextos destes processos de criação e os sons criados, em suas particularidades, para compor uma proposta de método de composição de som de monstros, o qual abarca as potenciais fontes dos sons de base e demais características sonoras, como frequências, timbres e intensidade. A pesquisa foi feita a partir da observação dos materiais audiovisuais selecionados e do resgate da documentação disponível sobre os bastidores da criação dos mesmos (bastante vasta dada a popularidade dos monstros selecionados). A tese se baseia sobretudo em articulações com obras de Rick Altman, Michel Chion, William Whittington acerca do som cinematográfico e em Theo Van Leeuwen em sua proposição de análise sonora
Stanley, Raymond M. "Toward adapting spatial audio displays for use with bone conduction the cancellation of bone-conducted and air-conducted sound waves /". Thesis, Available online, Georgia Institute of Technology, 2006, 2006. http://etd.gatech.edu/theses/available/etd-11022006-103809/.
Pełny tekst źródła