Дисертації з теми "Color tone"

Thesis (Ph. D.)--University of California, San Diego, 2010.
Title from 1st page of PDF file (viewed July 8, 2010). Available via ProQuest Digital Dissertations. Vita. Includes bibliographical references: Leaves 147-154.

Thesis (M.A.)--University of California, San Diego, 2008.
Title from first page of PDF file (viewed Jan. 12, 2009). Available via ProQuest Digital Dissertations. Includes bibliographical references: P. 42-44.

The purpose of this study was to investigate the ability of trained musicians and musically untrained college students to discriminate music instrument timbre as a function of duration. Specific factors investigated were the thresholds for timbre discrimination as a function of duration, musical ensemble participation as training, and the relative discrimination abilities of vocalists and instrumentalists. Under the conditions of this study, it can be concluded that the threshold for timbre discrimination as a function of duration is at or below 20 ms. Even though trained musicians tended to discriminate timbre better than musically untrained college students, musicians cannot discriminate timbre significantly better then those subjects who have not participated in musical ensembles. Additionally, instrumentalists tended to discriminate timbre better than vocalists, but the discrimination is not significantly different. Recommendations for further research include suggestions for a timbre discrimination measurement tool that takes into consideration the multidimensionality of timbre and the relationship of timbre discrimination to timbre source, duration, pitch, and loudness.

This study examined the effect of colors and typography on attraction towards a product, tones evoked by the product, and likelihood that a participant would buy a product. Prior research has addressed how color and type influence visual design and those who come in contact with it in a multifaceted way. To measure this, participants on Amazon Mechanical Turk were asked to take part in an online survey on Surveymonkey.com. Assigned to one of four conditions of color and font combinations, Black or Purple paired with Modern or Script, participants answered questions about a sample product, a soda can. The study examined the combined and individual effects of the colors Black and Purple and the font types Modern and Script on the participants’ likelihood to purchase the product, their attraction toward it, and the perceived tone the product gives off. A 2x2 ANOVA was run to measure likelihood of purchase and attraction and a Pearson’s Chi-Squared test was used to measure both tonal questions. It was found that attraction to product was 1.19 times more likely with the product displaying Script font regardless of color and likelihood of purchase was 1.15 times higher with Script font regardless of color. Purple and Modern were most highly associated with the tonal word “Modern” for tonal question number one and for Black, the overall largest tonal association term was “Traditional,” for tonal question number. The finding for the color Purple approached significance and the other two of these findings were consistent with the hypothesis.

Thesis (D.M.A.)--University of North Texas, 2008.
System requirements: Adobe Acrobat Reader. Accompanied by 3 recitals, recorded Apr. 22, 2007, Nov. 11, 2007, and Apr. 6, 2008. Includes bibliographical references (p. 48-50).

The purpose of this study was to determine the physical elements which experienced trombonists associate with selected descriptors in characterizing the tone quality of that instrument. Stimuli sampled from live trombone tones and synthesized into musical phrases represented 17 variations in (1) presence/absence of attack transient, (2) rise time, (3) duration, (4) number of harmonics, (5) upper limit of harmonicity (6) spectral envelope shape, and (7) frequency.

Resonant singing creates possibilities with dynamic shading, subtlety of phrasing, and rich vibrant tone that astonishes listeners. Choral singing that employs resonance as a fundamental ensemble virtue yields impressive results that lend themselves well to the varying demands of any choral score. Fortunately, choruses of every level can benefit from an increased understanding of the basic principles of resonance in the singing voice. Research on issues of upper partial energy and the presence of the singer's formant in a choral ensemble has been limited in approach. Many published studies regarding upper partial energy in the choral ensemble are based on what the ensemble is already doing, which is linked to the teaching of that specific director and that specific choir. Research must include a wider range of aesthetic choices with regard to choral unification. Through examining spectrograms that represent the sound of some of the most renowned choirs, it is possible to see that many of these ensembles are producing tone that contains a high level of upper formant energy. Interviews with established conductors reveal approaches and teaching methodologies that reinforce this type of singing. It is possible to teach the individuals in a choir to increase the level of resonance in their voices, creating a collective sound containing a vibrancy that is easier to tune and unify. This paper explores resonance in choral singing by first explaining the basic principles of sound production, then defining a resonant tone as one containing the strong presence in the upper partials generally associated with classically trained singers, and finally discussing how this type of resonance is developed in choirs.

Thesis (D.M.A.)--University of Oregon, 2007.
Typescript. Includes vita and abstract. Includes bibliographical references (leaves 155-160). Also available for download via the World Wide Web; free to University of Oregon users.

Since 1950, wind band repertoire has experienced accelerated change and growth. There has been a shift from orchestral transcriptions, in which wind instruments frequently have been used formulaically, to original compositions for wind band that explore new timbre possibilities. This study analyzes selected band pieces composed since 1950, paying particular attention to the use of timbre. Specific developments that are discussed, in addition to the change in band instrumentation, are the new emphasis on percussion, and the exploration of new instrument combinations and their resulting timbres. This study primarily focuses on Symphony in B-flat for Band (1951) by Paul Hindemith, Music for Prague 1968 by Karel Husa, and " ... and the mountains rising nowhere" (1977) by Joseph Schwantner. These pieces represent the efforts of renowned composers whose music is considered significant in band repertoire. Hindemith's Symphony in B-flat conforms to the standard instrumentation of the period, as dictated by the American Bandmasters Association in 1945. Husa's Music for Prague 1968 reflects considerable expansion of instrumentation, and expands the role of the percussion section. Schwantner's " ... and the mountains rising nowhere" marks a deliberate nullification of the standard instrumentation for which Hindemith and Husa composed. Even though these composers have continued to make traditional use of form and harmony, their experiments have made the band's instrumentation more flexible than that of the pre-1950 era. These composers have exploited expanded percussion writing and new combinations of instruments. The transition from a pre-determined instrumentation dictated by external influences (Hindemith), through an expansion of that standard (Husa), to a music that is freed from any instrumentation limitations (Schwantner) reflects increasing composer interest in timbre as a primary compositional element. Composers continue to experiment with the instrumentation of the band, excluding traditional instruments and adding others. They have created great flexibility in the size and make-up of wind band instrumentation and generated music that places timbre in a position of high priority.

Klangfarbenmelodien is a term first mentioned by Schoenberg in his Harmonielehre (1911) in a discussion suggesting the idea of tone colors as a structural element equal to other musical components such as harmony, rhythm, pitch, and dynamics. The intent of this study is to investigate significant influences that led to Webern's adoption and application of Klangrfarben techniques in the Symphony, op. 21, first movement. Webern's expression of Klangfarbenmelodien was his method of dispersing melodic lines and the manipulation of a wide gamut of varying tone colors. A brief biography is included in the paper and Webern's professional career as a conductor is viewed and considered as to its affect on the creation of the Symphony with emphasis on his relationship with Schoenberg and the Society for Private Musical Performance. The genesis of the Symphony and its early performance history is examined, as well as the structure of op. 21 with specific examples of Klangrfarbenmelodien. These techniques include the presentation of melodic lines in terms of octave register, timbre, dynamics, articulation, durations, rhythm, and instrumentation.

One of the main responsibilities of a sound engineer is to control the quality of the sound during the recording process. An important qualitative aspect of a recording, besides the musicality of the performance, is its timbral content. Proper level and spectral balance between the mixed elements of the recording and the absence of extraneous noises and distortion are key elements. Therefore, timbre perception acuity is an essential skill for sound engineers.
This thesis proposes a computer-assisted system as a training tool for developing and maintaining aural skills related to timbre perception. A set of criteria for the design of such a system based on current knowledge in timbre perception is presented and an exploratory implementation is described. Limits of the current system are discussed and areas that need further investigation are identified.

Thesis (Ph. D.)--University of California, San Diego, 2008.
Title from first page of PDF file (viewed Jun. 17, 2008). Available via ProQuest Digital Dissertations. Vita. Includes bibliographical references: P. 92-98.

Micro-Images for Solo Flute, Genera for Flute/Alto Flute/Bass Flute and Clarinet/Bass Clarinet, and Poème exotique for Flute and Piano by American composer Daniel Kessner (b. 1946) utilize a hybrid compositional approach in which microtones are incorporated with more traditional chromatic writing. Through representative musical examples from each piece, this document highlights the timbral, dynamic and pacing complexities associated with the microtonal fingerings and prompts flutists to forgo idiosyncratic tendencies in favor of contextually based choices. In order to help guide musicians toward effective performances of these three pieces and similar works, a new tone color spectrum and description of relative dynamics are provided along with a discussion of the relationships between tone colors, relative dynamics and temporal pacing. Appendices include transcripts of email interviews with composer Daniel Kessner and Carla Rees, British contemporary flutist, as well as an updated list of Kessner’s flute works.

Les technologies de capture et d'affichage d'images ont fait un grand pas durant la dernière décennie en termes de capacités de reproduction de la couleur, de gamme de dynamique et de détails des scènes réelles. Les caméras et les écrans à large gamme de dynamique (HDR: high dynamic range) sont d'ores et déjà disponibles, offrant ainsi plus de flexibilité pour les créateurs de contenus afin de produire des scènes plus réalistes.Dans le même temps, à cause des limitations des appareils conventionnels, il existe un gap important en terme de reproduction de contenu et d'apparence colorée entre les deux technologies. Cela a accentué le besoin pour des algorithmes prenant en compte ces considérations et assurant aux créateurs de contenus une reproduction cross-média fidèle.Dans cette thèse, nous focalisons sur l'adaptation et la reproduction des contenus à gamme de dynamique standard sur des dispositifs HDR. Tout d'abord, les modèles d'apparence colorée ainsi que les opérateurs de mappage tonal inverse ont été étudiés subjectivement quant à leur fidélité couleur lors de l'expansion de contenus antérieurs. Par la suite, les attributs perceptuels de clarté, chroma et saturation ont été analysés pour des stimuli émissifs ayant des niveaux de luminance de plus hautes gammes et ce en menant une étude psychophysique basée sur la méthode de mise à l'échelle de partitions. Les résultats expérimentaux ont permis de mener à la définition d'un nouvel espace couleur HDR efficace et précis, optimisé pour les applications d'adaptation de la gamme de dynamique. Enfin, dans l'optique de récupérer les détails perdus lors de captures d'images standard et d'améliorer la qualité perçue du contenu antérieur avant d'être visualisé sur un dispositif HDR, deux approches de correction des zones surexposées ou ayant subi un écrêtage couleur ont été proposées. Les modèles et algorithmes proposés ont été évalués en comparaison avec une vérité terrain HDR, menant à la conclusion que les résultats obtenus sont plus proches des scènes réelles que les autres approches de la littérature
Camera and display technologies have greatly advanced in their capacities of reproducing color, dynamic range and details of real scenes in recent years. New and powerful high dynamic range (HDR) camera and display technologies are currently available in the market and, recently, these new HDR technologies offer higher flexibility to content creators, allowing them to produce a more precise representation of real world scenes.At the same time, limitations of conventional camera and display technologies mean that there is a significant gap in terms of content and color appearance reproduction between new and existing technologies. These mismatches lead to an increased demand for appearance studies and algorithms which take such under consideration and help content creators to perform accurate cross-media reproductions.In this thesis we mainly considered the adaptation and reproduction of standard dynamic range content towards HDR displays. First, existing color appearance models and reverse tone mapping operators were subjectively studied for their color fidelity during dynamic range expansion of legacy contents. Then perceptual lightness, chroma and saturation attributes were analyzed for emissive stimuli with higher range of luminance levels using adapted psycho-visual experimental setups based on the partition scaling method. The experimental results lead to a new, more efficient and accurate HDR color space, specifically optimized for dynamic range adaptation applications. Finally, to recover lost details and enhance the visual quality of legacy content before visualizing on an HDR display, two methods for color-clipping and over-exposure correction were introduced. The models and algorithms presented, were evaluated relative to HDR ground truth content, showing that our results are closer to the real scene than can be achieved with previous methods

Timbre is a multidimensional attribute of sound and depends to a large extent on its spectral content. The evaluation and control of timbre is a task commonly performed by sound engineers, loudspeaker designers, and subjects participating in listening tests on the quality of transmitted and reproduced sound. Such listening tasks require specific listening abilities.
This dissertation presents a training method that aims at developing memory for timbre, sensitivity to timbre changes, and listening strategies involving disciplined auditory attention and efficiency. The physical timbre space is divided into categories defined by the center frequency of standard octave and third-octave resonances. This simplification of the physical timbre space allows the memorization of a limited set of perceptual timbre categories or references that can be used to evaluate other timbres.
The proposed method combines the use of computer software for the presentation and evaluation of exercises and individual tutoring sessions with an instructor. The software monitors the actions of listeners during equalization adjustment tasks and allows data to be collected on the sequence of problem solving operators that are used. Performance indicators can thus be compiled and used for the assessment of skill level achieved by the listeners. A global performance index is proposed.
A listening test involving the adjustment of multiple peaks and dips in a sound's spectrum is presented, in which the performance of a group of experienced professionals involved in sound recording and audio post-production was compared with a group of student subjects with comparatively little listening experience but who were trained with the method described in the present work for a period of 6 months. Results indicate that overall the experimental student group outperformed the control group of professionals. Suggestions for further improvement of the training method and performance level assessment are proposed.

In this thesis, we discuss three image processing topics: High Dynamic Range (HDR) image creation in scenes with motion, Tone Mapping (TM), and Demosaicking. The first part of this thesis focuses on the creation of HDR images using gradient fusion techniques, and proposes a method that deals with motion and avoids bleeding and ghost artifacts. In the second part, we tackle the TM problem, whose goal is to produce a low dynamic range picture from an HDR image that reproduces the sensation of an observer in the scene. We review the perceptual principles that we find important for TM purposes and present a new method that compares well to the state of the art. Finally, we propose a new method to reconstruct the three color channels of a picture taken with a Bayer filter. This problem is called Demosaicking and will be presented in the third part of this thesis.
En esta tesis tratamos tres temas de procesamiento de imagen: creación de imágenes de alto rango dinámico o HDR, Tone Mapping (TM) y Demosaicking. En la primera parte proponemos un método para la creación de imágenes HDR con movimiento que permite generar resultados sin artefactos de tipo bleeding y ghosting. En la segunda parte de la tesis tratamos el problema de TM cuyo objetivo es comprimir el rango dinámico de una imagen HDR para ser mostrada en una pantalla o impresa, simulando lo mejor posible la percepción de un sujeto en la escena. Presentaremos los principios sicofísicos que consideramos relevantes para TM y propondremos un método nuevo que mejora los resultados del estado del arte. Finalmente, en la tercera parte presentamos un método de Demosaicking o reconstrucción de los tres canales de color de una imagen tomada con un filtro de Bayer.

Face detection refers to a number of techniques that identify faces in images and videos. As part of the senior project exercise at Pomona College, I explore the process of face detection using a JavaScript library called CLMtrackr. CLMtrackr works in any browser and detects faces within the video stream captured by a webcam. The focus of this paper is to explore the shortcomings in the inclusivity of the CLMtrackr library and consequently that of face detection. In my research, I have used two datasets that contain human faces with diverse backgrounds, in order to assess the accuracy of CLMtrackr. The two datasets are the MUCT and PPB. In addition, I investigate whether skin color is a key factor in determining face detection's success, to ascertain where and why a face might not be recognized within an image. While my research and work produced some inconclusive results due to a small sample size and a couple outliers in my outputs, it is clear that there is a trends toward the CLMtrackr algorithm recognizing faces with lighter skin tones more often than darker ones.

The present study explored whether musicians could (1) differentiate among the timbres of bass tubas of a single design, but constructed of different materials, (2) determine differences within certain ranges and articulations, and (3) possess different perceptual abilities depending on previous experience in low brass performance. Findings indicated that (1) tubas made to the same specifications and constructed of the same material differed as much as those of made to the same specifications, constructed of different materials; 2) significant differences in perceptibility which occurred among tubas were inconsistent across ranges and articulations, and differed due to phrase type and the specific tuba on which the phrase was played; 3) low brass players did not differ from other auditors in their perception of timbral differences.

Thesis (Ed.D.)--Teachers College, Columbia University, 1996.
Issued also on microfilm. Includes tables. Sponsor: Lenore M. Pogonowski. Dissertation Committee: Harold F. Abeles. Includes bibliographical references (leaves 123-125).

The purpose of this study was to investigate the effects of three different levels of skill training in musical timbre discrimination on alphabet sound discrimination in pre-kindergarten and kindergarten children. The findings of prior investigations indicated similarities between aural music and language perception. Psychoacoustic and neurological findings have reported the discrimination of alphabet quality and musical timbre to be similar perceptual functions and have provided, through imaging technology, physical evidence of music learning simultaneously stimulating non-musical areas of the brain. This investigator hypothesized that timbre discrimination, the process of differentiating the characteristic quality of one complex sound from another of identical pitch and loudness, may have been a common factor between music and alphabet sound discrimination. Existing studies had not explored this relationship or the effects of directly teaching for transfer on learning generalization between skills used for the discrimination of musical timbre and alphabet sounds. Variables identified as similar from the literature were the discrimination of same- different musical and alphabet sounds, visual recognition of musical and alphabet pictures as sound sources, and association of alphabet and musical sounds with matching symbols. A randomized pre-post test design with intermittent measures was used to implement the study. There were 5 instructional groups. Groups 1, 2,and 3 received one, two and three levels of skill instruction respectively. Groups 4 received three levels of skill training with instruction for transfer; Group 5 traditional timbre instruction. Students were measured at the 5th (Level 1), 10th (Level 2), 14th (Level 3), and 18th (delayed re-test), weeks of instruction. Results revealed timbre discrimination instruction had a significant impact on alphabet sound-symbol discrimination achievement in pre-kindergarten and kindergarten children. Different levels of timbre instruction had different degrees of effectiveness on alphabet sound discrimination. Students who received three levels of timbre discrimination instruction and were taught to transfer skill similarities from music timbre discrimination to alphabet sound discrimination, were significantly more proficient in alphabet sound symbol discrimination than those who had not received instruction Posttest comparisons indicated skill relationships were strengthened by instruction for transfer. Transfer strategies had a significant impact on the retention of newly learned skills over time.

O trabalho consiste na análise do processo de construção do sentido, a significação, na linguagem musical do compositor Hermeto Paschoal, por meio da Teoria Semiótica de linha francesa fundada por A. J. Greimas. Estudar a música instrumental, através da abordagem semiótica greimasiana, coloca-nos diante de uma série de questões teóricas, relativas à possibilidade de um sentido definido no plano de expressão, bem como à própria definição de sentido que procuramos desenvolver. Segundo a orientação que tomamos, procuramos verificar as possibilidades e os limites da teoria semiótica quando aplicada às linguagens abstratas, no nosso caso, a linguagem musical. Além dos problemas teóricos, encontramo-nos diante do desafio de investigar a intrigante música de Hermeto Paschoal que, se por um lado é realmente complexa, por outro, a capacidade do compositor transformar em música qualquer dado sonoro e criar incessantemente sobre todos os parâmetros do som, como altura, duração, intensidade e timbre, faz de sua obra um objeto muito rico para o trabalho que pretendemos desenvolver. Mais que isso, Hermeto vale ser estudado pela sua importância na cultura brasileira e no cenário da música internacional, tanto quanto pelo grande valor estético de sua arte. Embora nossa proposta seja a de investigar os problemas relativos ao plano da expressão e estudar a Teoria Semiótica aplicada linguagem musical, orientamo-nos, mais simplesmente, pela curiosidade de compreender o que ?diz? a música de Hermeto Paschoal, e pela convicção de que as sonoridades da música instrumental fazem sentido
This study analyzed the construction process of meaning of the musical language of Hermeto Paschoal\'s instrumental music using the A.J. Greimas\' semiotics theory. The evaluation of instrumental music using Greima\'s semiotic approach raises many theorical questions regarding the possibility of a defined meaning on the plan of expression, as well as the definition of meaning by itself, which we tried to develop. According to direction that we followed, we tried to verify the possibilities and limits when the Semiotic Theory is applied to abstract languages, such as the musical language. Besides the theoric issues, we faced the challenge of investigating the intriguing Hermeto Paschoal\'s music, which may be considerably complex, but on the other hand is an extremely rich object to be evaluated considering the composer\'s ability to convert to music any sound, and to incessantly create music varying all parameters such as volume duration, intensity and timbre. Furthermore, the study of Hermeto Paschoal\'s music is valuable not only because of the esthetic quality, but also due to its remarkable importance for the Brazilian culture and the International musical scenario. Although our aim is to investigate the issues related to the expression field and to study the Semiotic Theory applied to the musical language, we more simply attempted to focus and comprehend the meaning of Hermeto Paschoal\'s music and confirm the evidence that the sounds created on the instrumental music have a meaning

The purpose of the study was to determine whether students' timbre preferences in the sixth grade remain stable through the tenth grade. The investigation also examined whether gender, band instruction, or musical home environment makes any difference in influencing the stability of students' timbre preferences from grade six through ten. Students' timbre preferences at the beginning of the study were compared to their preferences four years later. The students' timbre preferences were obtained by employing Gordon's Instrument Timbre Preference Test (ITPT). A questionnaire was also utilized at the conclusion of the study to determine which students had musical home environments and which did not. All sixth grade students enrolled in a single school district took the ITPT. Each student's scores were tallied and ranked in order to determine their timbre preferences; four years later they were retested and their scores were ranked again.

Research on colorism continues to gain momentum across several disciplines. However, while varied studies have explored the social phenomenon among adult populations, especially those of African ancestry, few have systematically investigated the extent to which African American youth are exposed to or endorse hierarchical perceptions of skin color. The current study addresses this void in colorism literature. Employing a grounded theory approach, the present investigation examines African American female adolescents’ perceptions of skin color, aiming specifically to understand the sociocultural factors that underpin and contribute to colorist socializations as well as sources of skin color messages. Five focus groups and nine interviews were conducted with 30 African American girls ranging in age from 12-16. Participants were recruited from local Boys and Girls clubs, neighborhood centers, and nonprofit organizations. Participants were asked such a priori based questions as: 1) What do people think about light skin Black girls? 2) What do people think about dark skin Black girls? 3) What messages about skin color do you hear from Rap music? and 4) Do Black men and boys prefer girls of certain skin colors. Constant comparison data analysis and coding revealed African Americans girls are, in fact, exposed to and endorse hierarchical perceptions of skin color, the central phenomenon Three core categories related to the central phenomenon emerged: 1) sources of skin color messages, e.g. family and rap music 2) skin color messages, e.g. skin color governs social standing, physical attributes, and personality/behavioral traits and 3) effects of skin color messages, e.g. mate preferences, desires to change one’s appearance, and within-race division. From these three core categories emerged seven subcategories and themes that offer additional information and insight into the central phenomenon. Findings from this study indicate African American young females are significantly influenced by skin color preferences, and thus may stand to gain from the development of curricula or programs designed to counter colorist stereotypes, reduce the effects of skin color biases, and promote a greater sense of self-satisfaction and wellbeing.

The sustained increase in computing performance over the last decades has brought enough computing power to perform significant audio processing in affordable personal computers. Following this revolution, we have witnessed a series of improvements in sound transformation techniques and the introduction of numerous digital audio effects to modify effectively the time, pitch, and loudness dimensions of audio signals. Due to the complex and multi-dimensional nature of timbre however, it is significantly more difficult to achieve meaningful and convincing qualitative transformations. The tools currently available for timbre modifications (e.g. equalizers) do not operate along perceptually meaningful axes of singing voice timbre (e.g. breathiness, roughness, etc.) resulting in a transformation control problem. One of the goals of this work is to examine more intuitive procedures to achieve high-fidelity qualitative transformations explicitly controlling certain dimensions of singing voice timbre. Quantitative measurements (i.e. voice timbre descriptors) are introduced and used as high-level controls in an adaptive processing system dependent on the characteristics observed in the input signal.
The 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.

The purpose of this study is to investigate the theoretical causes of the stylistic results of both compositions and spontaneous improvisations of jazz pianist and composer Thelonious Monk. The specific topics chosen for analysis include Klangfarben (sound colors), rhythmic displacement (the relocation or complete removal of expected rhythmic events), and economy of means (the judicious use of silence, simplicity, and economy). All of the above topics are addressed with regard to the composer's original works, his selected renditions of works by other composers, and his improvisations. The musical examples appear in transcription form, as some of them are unpublished. The topics are introduced in the first chapter, and individually addressed in subsequent chapters.

I föreliggande studie är syftet att studera några högskolelärares upptattningar angående-, innebörden av och arbete med en sopranklang på en högskolenivå. Tidigare litteratur och forskning visar på olika svar om hur begreppet kan användas, innebörden av begreppet samt nyanseringen av begreppen klang, timbre och klangfärg. Arbetet är kvalitativt och utgår från det teoretiska perspektivet designteori och socialsemiotik. Metoden som används är stimulated recall-intervjuer som i föreliggande fall innebär en videoobservation av en sånglektion och ett intervjutillfälle där läraren i en semistrukturerad intervju berättar om uppfattningar och arbete med en vacker klang, med videon som underlag för intervjun. Resultatet delas in teman om uppfattningar om och arbetet med klang. Gällande uppfattningar angående klang framkommer att klang ses som en medfödd, utvecklingsbar och kommunikativ förmåga samt som ett ej användbart begrepp. Resultatet visar att Arbetet med klangen utgår ifrån verbala, sångliga, fysiska och känslomässiga representationer. I diskussionen diskuteras aspekten om en vacker klang kan tyckas vara medfödd eller utvecklingsbar. Även vikten av multimodalitet i arbetet med klang diskuteras. I diskussionen lyfts även aspekter av arbetet med klang som direkt eller indirekt eller som ett fysiskt fenomen kontra ett abstrakt fenomen.
This study is about the soprano timbre, how university teachers defines the term and how the work with it in teaching. Previous research presented different answers about the meaning of the term timbre. It’s a qualitative study and based on the theoretical perspective design theory and social semiotic. The method used is stimulated recall interviews, which in the present case is both a video observation of a singing lesson and an interview occasion where the teachers are interviewed one by one. The interview is semi-structured and the teachers got to tell about their opinion about a beautiful sound, and the work with timbre. The video is used as a basis for the interview. The result is divided into the categories "The opinion of" and "the work with" timbre.The opinion of timbre is also divided into the headings: sound as innate, developable and communicative ability and also the term timbre being not useful. The work with the timbre is based on verbal, singable, physical and emotional representations. In the discussion, the aspect is further discussed if a beautiful sound can seem to be innate or developable, as well as the multimodality and its resources. The discussion also discusses aspects of the work with the sound as direct or indirect or as a physical phenomenon versus an abstract phenomenon. In addition, the beautiful timbre of the multimodality is discussed.

Timbre and orchestration are neglected parameters in analytical writing, partly because analysis traditionally privileges pitch organisation as the primary structural parameter in music, but also because timbre appears more resistant than pitch to theoretical abstraction and systematisation. Yet, in the music of early twentieth-century Viennese composers such as Schreker, Zemlinsky and Schoenberg, timbre often assumes a pre-eminent place in musical design and formal architecture. In such works, timbre often moves from what Robert Hopkins (1990) describes as a 'secondary parameter' to the forefront of a listener's consciousness. Conventional analytical approaches - including Schenkerian, Neo-Riemannian or pitch-class set theories - arguably have little to offer at such moments. This thesis begins by examining the 'crisis of response' to timbre in fin-de-siècle Austro-Germanic circles and, in particular, to the increasingly complex timbral constructions of many Viennese composers, such as Franz Schreker and Arnold Schoenberg. The crisis of response appeared to stem from an inherited nineteenth-century view of orchestration as ornamental in function, as well as the lack of an appropriate analytical framework and meta-language with which to critique the growing importance of timbre as a musical parameter. This thesis contributes to the discussion as to the how the area of timbral analysis might develop: firstly, by treating timbre as an 'emergent' property rather than an absolute analytical category (i.e., that timbre often results from a complex interaction of multiple musical parameters); secondly, by considering the effect of timbre's spatial properties within the auditory scene on subject-position through examination of contemporary and more recent theories on the convergence of the visual and auditory arts; and thirdly, through timbre's ability to function as an agent of immanent musical critique through disjunctive juxtapositions, or by historically-contextualized responses to codified orchestral tropes as found in Alexander Zemlinsky's 'Der Zwerg'. Timbre certainly was not always the secondary parameter some fin-de-siècle critics suggested it was, or wanted it to be. The joint purpose of this thesis is to offer historically-engaged analytical readings of neglected works from twentieth-century Vienna (alongside a few better-known works whose timbral construction had been left unanalyzed), and to reflect on the benefits of applying recent research to contemporary theories of timbre. These two aims are set in productive counterpoint rather than a straightforward synthesis, with the adoption of recent cognitive research and theories of subject-position feeding into analyses of historical work in order to try to mediate the gap between theory, text, and musical practice.

Thesis (D.M.A.)--University of California, San Diego, 2008.
Title from first page of PDF file (viewed July 7, 2008). Available via ProQuest Digital Dissertations. Vita. Includes bibliographical references: P. 104-105.

Дисертація на здобуття наукового ступеня доктора технічних наук за спеціальністю 05.17.11 – технологія тугоплавких неметалічних матеріалів, Державний вищий навчальний заклад "Український державний хіміко-технологічний університет", Національний технічний університет "Харківський політехнічний інститут", Харків, 2020. Дисертацію присвячено розвитку наукових основ технології екологічно безпечних захисно-декоративних склоемалевих покриттів широкої колірної гами по сталі і кольоровим металам, а також принципів регулювання та прогнозування їх колірних характеристик. Внаслідок проведення дослідження за темою дисертаційної роботи одержані такі наукові результати: - науково обгрунтовано та експериментально доведено, що отримання на кольорових металах емалевих покриттів, які не вміщують Плюмбум, можливе на основі стекол системи Na₂O–BaO–B₂O₃–SiO₂; за комплексом визначених властивостей та здатності утворювати найбільш якісні покриття на мідній основі виділена область базової системи, мол.%: Na₂O – 24,2–40,5; ВаО – 5,0–10,0; B₂O₃ – 15,2–30,5; SiO₂ – 24,0–53,5, яка у зрівнянні з межами цих компонентів в відомих складах безплюмбатних емалей характеризується збільшеним в 2 рази вмістом B₂O₃ і відносно невеликим вмістом SiO₂; - встановлені основні тенденції зміни колірного тону стекол системи Na₂O–BaO–B₂O₃–SiO₂, які суттєво відрізняються за хімічним складом та забарвлені іонними барвниками, з огляду на розташування максимумів ІЧ-спектрів стекол та їх кислотно-основні властивості; останні оцінювались двома розрахунковими структурними параметрами: fSi – ступінь зв’язності кремнекисневого каркасу і Ψв – орієнтовний показник координаційного стану Бору в структурі скла. Доведено, що між колірним тоном λ та Ψв існує значний кореляційний зв'язок для стекол, забарвлених CuO r*=−0,83 і CoO r*=−0,87 та слабкий – для стекол, забарвлених K₂Cr₂O₇ – r*=0,5; - виявлені закономірності забарвлення одної скломатриці і емалевого покриття на її основі в системі R₂O–ВаО–ZnO–Al₂O₃–В₂О₃–TiO₂–SiO₂ рядом іонними барвників. Незалежно від вмісту барвників, вони надають однаковий колірний тон як стеклам, так і покриттям на основі цих стекол, а саме: CuO (1,0–3,0 мас.%) λ=489–494 нм (синьо-зелений), Fe₂O₃ (0,5–2 мас.%) λ=575–585 нм (жовтий), K₂Cr₂O₇ (0,5–2,0 мас.%) λ=570–576 нм (жовто-зелений), CoO (0,5–1,0 мас.%) λ=441–463 нм (синьо-фіолетовий), NiO (0,5–1,0 мас.%) λскла=559′–571′ нм, λпокриттів=598–629 нм (коричневий). Доказано, що за ступенем інтенсивності забарвлення стекол та покриттів на їх основі барвники розташовуються в наступній послідовності: CoO > NiO > CuO > K₂Cr₂O₇ > Fe₂O₃; - вперше встановлений механізм глушіння прозорого матричного емалевого скла в системі R₂O–ВаО–ZnO–TiO₂–Al₂O₃–В₂О₃–TiO₂–SiO₂ при введені МоО3, в результаті якого виникає явище опалесценції, а саме: за рахунок дифракції при розповсюдженні хвиль в мікронеоднорідному середовищі, в якому розмір часток молібден(VI) оксиду (0,05–0,15 мкм) менше довжини хвиль білого світла; - вперше встановлена залежність коефіцієнта дифузного відбиття емалевих покриттів від хімічного складу емалевих фрит, яка отримана обробкою експериментальної вибірки 471 складу покривних емалевих фрит методом множинного кореляційного аналізу і представлена у вигляді математичної моделі, що дозволяє розрахувати хімічний склад покривних емалей із заданим КДВ; коефіцієнт кореляції між експериментальними і розрахунковими значеннями – 0,98; - використовуючи ідею про введенні в будь-який матеріал (скло, пігмент, ситал, метал) певних компонентів в незначній кількості для модифікації його властивостей, вперше виявлено наступне: «малий додаток» Fe₂O₃ у кількості 0,25 мас.% в складі безплюмбатних емалевих стекол на основі базової системи Na₂O–BaO–B₂O₃–SiO₂ і 1 мас.% в складі безфлуористих склоемалей на основі базової системи Na₂O–B₂O₃–SiO₂ активізує процеси лікваційного розшарування скла, що дозволяє збільшити в 1,5–2,5 рази інтенсивність глушіння покриттів, а також покращити оптико-колірні характеристики пігментнозабарвлених склопокриттів, зокрема, червоного кольору. «Малий додаток» ZrO₂ у кількості до 1 мас.% в складі малофлуористої титанової емалі сприяє активному виділенню анатазу в покритті під час випалу та покращенню його оптичних характеристик; - за допомогою розробленої спеціальної комп’ютерної програми COLOUR GLASS, яка автоматично розраховує координати кольорності x y, колірний тон λ, чистоту кольору Р та наносить колірні характеристики матеріалів на графік МКО, вперше доказано, що за картиною розташування точок кольору, по-перше, можна робити прогнози відносно рівноваги, яка утворюється між іонними забарвлюючими комплексами під час варки скла, по-друге, про колористичні можливості суміши пігментів - вперше в області технологій, які потребують підвищених температур, встановлені залежності координат кольору емалевих покриттів від складу суміші пігментів у вигляді поліноміальних математичних моделей, що дозволило вирішити складну матеріалознавчу колористичну проблему знаходження співвідношення пігментів для відтворення кольору зразка із заданими колірними характеристиками. Практичне значення отриманих результатів: - розроблено склади емалевих стекол для кольорових металів, які не містять Плюмбуму – одного із самих шкідливих для навколишнього середовища елемента, запропоновано основи технології одержання виробів з їх використанням. Нові емалі широкої палітри кольорів, різного ступеню прозорості створено на основі матричної прозорої емалі. Вони характеризуються однаковим інтервалом випалу 780–820 °С, у зв’язку з чим спрощується технологія отримання художніх і ювелірних виробів. Емалі пройшли випробування та рекомендовані до впровадження у виробництво з виготовлення художніх виробів в майстерні, що знаходиться в структурі Музею українського живопису (м. Дніпро), а також на підприємстві з виготовлення ювелірних виробів, компанія "Diadema", м. Вінниця. Палітра емалевих покриттів та вироби з них представлені під час доповіді на 24 Міжнародному Конгресі емальєрів в м. Чикаго у 2018 р. Згідно міжнародного договору між ДВНЗ УДХТУ та компанією "Richemont International SA Varinor SA" м. Делемонт, Щвейцарія, виготовлено і передано замовнику емалеві стекла у вигляді порошку і емальовані мідні зразки; - створено каталог зразків кольорів, в якому представлено склооснови, кількість барвників, глушників, відновників та оптико-колірні характеристики емалевих покриттів, що не містять Плюмбум. Назву кольорів встановлювали у відповідності із назвою кольорів системи RAL. Палітра розроблених емалей ювелірного та художнього призначення включає 54 кольори: жовто-червоні, синьо-зелені, оливково-гірчичні, пастельні та коричнево-чорні; - розроблено склади малофлуористих білих і світлозабарвлених титанових емалей, безфлуористої склооснови для отримання яскравозабарвлених емалевих покриттів пігментним способом, які випробувані в виробничих умовах ТОВ «Новомосковський посуд» і рекомендовані до серійного впровадження на заводах з випуску емальованих виробів господарчо-побутового призначення. Технологічні особливості виробництва запропонованих емалей дозволяють здійснювати високотемпературні операції варки емалей на 100 °С, а випалу покриттів – на 30–50 °С нижче відомих, що в епоху тотальної економії топливно-енергетичних ресурсів дуже актуально. Малофлуористі світлозабарвлені кремова і сіро-блакитна емалі впроваджені на ТОВ "Новомосковський посуд"; - вперше для технології емалевих покриттів на сталі розроблено метод колірного моделювання, завдяки якому побудовано колірний трикутник-номограму для виробничої склооснови і пігментів жовтого, червоного, синього, за допомогою якого задається необхідний колір і розраховується необхідне співвідношення пігментів. Метод колірного моделювання є універсальним і може бути застосованим до широкого асортименту силікатних матеріалів: глазуровані покриття на керамічній основі, кольорові будівельні матеріали та інші. У вступі обґрунтовано актуальність теми дисертації, сформульовано головну мету та завдання роботи, представлено наукову новизну та практичну цінність одержаних результатів. В першому розділі наведено аналіз патентної та науково-технічної літератури, що стосується отримання екологічно безпечних емалей широкої колірної гами, сучасного стану виробництва кольорових емалей та контролю їх колірних показників, механізмів забарвлення скла та емалей і факторів, що впливають на формування кольору. У другому розділі надано основні поняття та визначення, які використовуються в роботі, а також методики дослідження фізико-хімічних властивостей і структури стекол, покриттів та їх колірні характеристики. В третьому розділі представлено дослідження з розробки екологічно безпечних емалей для міді та прогнозування їх колірних характеристик. В четвертому розділі представлено результати досліджень з розробки легкоплавкої титанової емалі, яка відповідала б вимогам діючих стандартів та випалювалась в ресурсо- та енергозберігаючих умовах виробництва та була максимально екологічно безпечною для навколишнього середовища. П'ятий розділ присвячений дослідженням з розробки складів емалевих фрит, що не вміщують Флуор, які використовуються для отримання яскравозабарвлених емалевих покриттів для виробів господарчо-побутового призначення. В шостому розділі представлені результати розробки методу колірного моделювання. Відтворити, а тим більше спрогнозувати колір із заданими колірними характеристиками – надзвичайно складна багатопланова матеріалознавча проблема, навіть якщо відома рецептура скла і покриття, режими їх варки та випалу. В сьомому розділі надано результати промислової апробації, реалізації та впровадження отриманих матеріалів.
Thesis for a Doctor of Science Degree in Specialty 05.17.11 – Refractory Non-Metallic Materials Technology, State Higher Educational Institution "Ukrainian State University of Chemical Technology", National Technical University "Kharkiv Polytechnic Institute", Kharkiv, 2019. The dissertation is devoted to creation of physicochemical bases of technology of ecologically safe protective and decorative glass-enamel coatings of wide color scale on steel and non-ferrous metals, development of principles of regulation and prediction of their color. As a result of the research on the topic of dissertation the following scientific results were obtained: - scientifically substantiated and experimentally proved that the production of lead-free enamel coatings on non-ferrous metals is possible on the basis of the Na₂O – BaO – B₂O₃ – SiO₂ glasses, by the complex of defined properties and the ability to form the highest quality coatings on a copper basis the selected region of the base system, mol %: Na₂O – 24,2–40,5; BaO – 5.0–10.0; B₂O₃ – 15.2–30.5; SiO₂ – 24,0–53,5, which in comparison with the limits of these components in known compositions of lead-free enamels, is characterized by a 2-fold increase in the content of B2O3 and a relatively small content of SiO₂; - the basic tendencies of color change of glasses of Na₂O–BaO–B₂O₃–SiO₂ system has been established, which differ significantly in chemical composition and has colored by ionic dyes, taking into account the structural features of glasses and their acid-basic properties. They has been evaluated by two calculated structural parameters: fSi is the degree of connectivity of the silica framework and Ψв is an indicative index of the coordination state of Boron in the structure of the glass. It had proved that there is a significant correlation between the colors λ and Ψv had proved for glasses colored CuO r * = - 0,83 and CoO r * = - 0,87 and weak – for glasses colored K₂Cr₂O₇, -r * = 0,5; - the patterns of coloring of one glass matrix and enamel coatings on its basis in the system R₂O–BaO–ZnO–Al₂O₃–B₂O₃–TiO₂–SiO₂ by a series of ionic dyes has been founded. Regardless of the content of the dyes, they give the same color tone to the glass and coatings based on these glasses, namely: CuO (1.0–3.0 wt%) λ = 489–494 nm (blue-green), Fe₂O₃ (0.5–2 wt%) λ = 575–585 nm (yellow), K₂Cr₂O₇ (0,5–2.0 wt%) λ = 570–576 nm (yellow-green), CoO (0.5–1.0 wt%) λ = 441–463 nm (blue-violet), NiO (0, 5-1.0 wt.%) λ glass = 559′ – 571 nm, λ coatings = 598–629 nm (brown). It has been proved that in the degree of color intensity of glasses and coatings based on them, the dyes has been arranged in the following sequence: CoO> NiO> CuO> K₂Cr₂O₇ > Fe₂O₃; - for the first time, the mechanism of silencing of transparent matrix enamel glass in R₂O–BaO–ZnO–TiO₂–Al₂O₃–B₂O₃–TiO₂–SiO₂ system with the introduction of MoO₃ has been established, which results in the phenomenon of opalescence, namely: due to diffraction at propagation of waves in micro inhomogeneous medium in which the particle size of molybdenum (VI) oxide is 0.05-0.15 μm less than the wavelength of white light; - for the first time, the dependence of the diffuse reflection coefficient (CDR) of enamel coatings on the chemical composition of enamel frits, obtained by processing the experimental sample 471 of the enamel frit composition by multiple correlation analysis, which is presented in the form of a mathematical model that allows you to calculate the chemical composition of the enamel coatings with a given CDR; the correlation coefficient between experimental and calculated values is 0.98; - using the idea of introducing into any material (glass, pigment, sitall, metal) certain components in a small amount to modify its properties, the following has been first discovered: "small addition" of Fe₂O₃ in the amount of 0.25 wt.% in the composition of lead-free enamel glasses based on the base system Na₂O–BaO–B₂O₃–SiO₂ and 1 wt.% in the composition of fluorless glass enamels based on the basic system Na₂O–B₂O₃–SiO₂ activates the processes of differentiation of the segregation-dropping structure of glass, which allows to increase the intensity of opaque coatings by 1.5–2.5 times, as well as to improve the optical-color characteristics of pigment-colored glass coatings, in particular, red. "Small addition" of ZrO₂ in the amount up to 1 wt.% in the composition of low-fluoride titanium enamel promotes the active release of anatase in the coating during firing and improving its optical characteristics; -with the help of a dedicated COLOR GLASS computer program that automatically calculates color coordinates x y, color tone λ, color purity P, and maps the color characteristics of materials to the СIE graph, it has been first demonstrated that the picture of the location of the color points, first, you can make predictions about the equilibrium that is formed between the ionic coloring complexes during the melting of glass, and secondly, about the color potential of the pigment mixture. - for the first time in the field of technologies requiring high temperatures, the dependences of the color coordinates of the enamel coatings on the composition of the pigment mixture in the form of polynomial mathematical models has been established, which made it possible to solve the complex material-coloristic problem of finding the ratio of pigments to reproduce the color of the sample with the specified color characteristics. The practical significance of the obtained results: - the compositions of enamel glasses for non-ferrous metals, which do not contain Plumbum - one of the most harmful for the environment element, had been developed; the basics of technology of obtaining products with their use had offered. New enamels of a wide range of colors with varying degrees of transparency had been created on the basis of matrix transparent enamel and they had characterized by the same firing interval of 780-820 °C, which makes the technology of obtaining artistic and jewelry easier. Enamels had been tested and recommended for implementation in the production of artistic products in the workshop, which locates in the structure of the Museum of Ukrainian Painting (Dnipro), as well as at the jewelry company, Diadema, Vinnytsia. The enamel coatings palette and their products had presented during a report at the 24th International Congress of Enamels in Chicago in 2018. According to an international agreement between the Ukrainian State University of Chemical Technology (Dnipro) and Richemont International SA Varinor SA, Delmont, Switzerland, enamel glass powder and enameled copper samples had been made and handed over to the customer; - a catalog of color samples, which presents the glass base, the number of dyes, opacifiers, reducing agents and the optic-color characteristics of enamel coatings which do not contain Plumbum, has been created. The color name was set in accordance with the color name of the RAL system. The palette of designed enamels of jewelry and artistic purpose includes transparent matrix enamel and 53 colors: yellow-red, blue-green, olive-mustard, pastel and brown-black; - a series of compositions of white and light-colored titanium enamels containing reduced amount of Fluorine, has been developed, also the composition of fluorless frites to obtain brightly colored enamel coatings pigmented way of color, which were fused and passed extensive testing in production conditions factories for the production of enameled household products, has been synthesized. Technological features of production of the enamels offered permits to carry out high-temperature operations of melting at 100oC below the known ones, and firing of coatings – by 30-50 °C, which is very relevant in the era of total saving of fuel and energy resources. Low-fluoride light-colored cream and gray-blue enamels has been introduced at "Novomoskovsk dishes"; - for the first time for the technology of enamel coatings on steel, a method of color modeling has been developed, through which a color triangle-nomogram has been constructed for the production glass base and pigments of yellow, red, blue, by which the required color is specified and the necessary ratio of pigments is calculated. The color modeling method is versatile and can be applied to a wide range of silicate materials: glazed ceramic coatings, colored building materials, and more. The introduction substantiates the relevance of the dissertation topic, formulates the main purpose and objectives of the work, presents the scientific novelty and practical value of the obtained results. The first section provides an analysis of the patent and scientific and technical literature concerning the production of environmentally safe enamels of a wide color range, the current state of production of colored enamels and the control of their color indices, the mechanisms of color of glass and enamels and factors affecting color formation. The second section provides the basic concepts and definitions used in the work, as well as methods for investigating the physicochemical properties and structure of glasses and coatings and their color characteristics. The third section presents studies on the development of environmentally safe enamels for copper and the prediction of their color characteristics. The fourth section presents the results of research on the development of fusible titanium enamel which would meet the requirements of current standards and be burned in resource- and energy-efficient production conditions and be the most environmentally safe for the environment. The fifth section is devoted to the research on the development of enamel frits that do not contain Fluorine and used to produce brightly colored enamel coatings for household products. The sixth section presents the results of the development the color modeling method. Reproduce, and even more so predict, color with predetermined color characteristics is an extremely complex multifaceted material science problem, even if glass and coating formulations, modes of melting and firing are known. In the seventh section the results of industrial testing, realization and implementation of the received materials has been presented.

Дисертація на здобуття наукового ступеня доктора технічних наук за спеціальністю 05.17.11 – технологія тугоплавких неметалічних матеріалів, Державний вищий навчальний заклад "Український державний хіміко-технологічний університет", Національний технічний університет "Харківський політехнічний інститут". Дисертацію присвячено науковим основам технології екологічно безпечних склоемалевих покриттів широкої колірної гами для сталі і кольорових металів, розробці принципів регулювання та прогнозування їх кольору. Розроблена спеціальна комп’ютерна програма COLOUR GLASS, яка за визначеними координатами кольору XYZ автоматично розташовує точки кольору на графіку МКО. Отримані емалі ювелірного та художнього призначення на основі стекол системи Na₂O–BaO–B₂O₃–SiO₂. Розроблені малофлуористі білі і світлозабарвлені титанові емалі, безфлуориста основа для пігментного способу забарвлення. Створено метод колірного моделювання, за допомогою якого можна розрахувати співвідношення пігментів для відтворення кольору зразка за заданими колірними характеристиками.
Thesis for a Doctor of Science Degree in Specialty 05.17.11 Refractory Non-Metallic Materials Technology, State Higher Educational Institution "Ukrainian State University of Chemical Technology", National Technical University "Kharkiv Polytechnic Institute". The dissertation is devoted to development of scientific bases of technology of ecologically safe protective and decorative glass-enamel coatings of wide color scale on steel and non-ferrous metals, making of principles of regulation and prediction of their color. The introduction substantiates the relevance of the dissertation topic, formulates the main purpose and objectives of the work. The first section provides an analysis of the patent and scientific and technical literature. The second section provides the basic concepts and definitions used in the work, methods for investigating the physicochemical properties and structure of glasses and coatings and their color characteristics. The third section presents studies on the development of environmentally safe enamels for copper and the prediction of their color characteristics. The fourth section presents the results of studies on the development of small fluoride titanium enamel with a firing temperature of 830 °C. The fifth section had devoted to scientific bases of technology of fluorless enamel frits for pigment method of coloring. The sixth section has devoted to the development of the color modeling method for reproducing the color of a sample with specified color characteristics. In the seventh section the results of industrial testing, implementation and implementation of the received materials has presented. As a result of the research on the topic of dissertation the following scientific results has obtained: - scientifically substantiated and experimentally proved that the production of lead-free enamel coatings on non-ferrous metals is possible on the basis of the Na₂O–BaO–B₂O₃–SiO₂ glasses, the regions of glass formation has been determined, and the regularities of changes in the properties of glasses depending on their chemical composition has been established; - the main tendencies of change of glasses color tone has established in the Na₂O–BaO–B₂O₃–SiO₂ system, which has colored by ionic dyes given the structural features of the glasses and their acid-base properties; - it has been proved that the degree of color intensity of glasses in the system R₂O –BaO – ZnO – Al₂O₃ – B₂O₃ – TiO₂ – SiO₂ and coatings based on them has been arranged in the following sequence: CoO> NiO> CuO> K₂Cr₂O₇> Fe₂O₃; - for the first time the mechanism of opacifying of transparent matrix enamel glass in the R₂O – BaO – ZnO – TiO₂ – Al₂O₃ – B₂O₃ – TiO₂ – SiO₂ system was introduced when MoO₃ has been established, namely: due to diffraction, which results in the phenomenon of opalescence; - for the first time the dependence of the diffuse reflection coefficient of enamel coatings on the chemical composition of enamel frits has been established, which is presented in the form of a mathematical model; the correlation coefficient between experimental and calculated values is 0.98; - for the first time the mechanism of opacifying of transparent matrix enamel glass in the R₂O – BaO – ZnO – TiO₂ – Al₂O₃ – B₂O₃ – TiO₂ – SiO₂ system was introduced when MoO3 has been established, namely: due to diffraction, which results in the phenomenon of opalescence; - for the first time it has been discovered that Fe₂O₃ "small additive" in the amount of 0.25 wt.% in the composition of lead-free enamel glasses on the basis of the Na₂O – BaO – B₂O₃ – SiO₂ base system and 1 wt. Fe₂O₃ in the composition of fluor-free enamel glasses on the basis of the Na₂O – B₂O₃ – SiO₂ base system activates the processes of glass removal stratification, which allows to increase 1.5-2.5 times the intensity of coating damping; - with the help of a special computer program COLOR GLASS, which automatically calculates the coordinates of the color x, y, the color tone λ, the purity of the color P and applies the color characteristics of the materials to the CIE graph, it has been proved for the first time that the chart of the location of color points can make forecasts about the equilibrium, which formed between ionic coloring complexes during glass melting; - for the first time in the field of technologies requiring high temperatures, the dependences of the color coordinates of enamel coatings on the composition of the pigment mixture in the form of polynomial mathematical models has been established, which allowed to solve the complex material-coloristic problem of finding the ratio of pigments to reproduce the color of the sample with the specified color characteristics. The practical significance of the obtained results: - the compositions of enamel art and jewelry glasses for non-ferrous metals, which do not contain Plumbum, has been developed. They are characterized by the same firing interval of 780-820 °C. A catalog of color samples has created. The palette includes fondon and 53 colors: yellow-red, blue-green, olive-mustard, pastel and brown-black; - a series of compositions of white and light-colored titanium enamels containing reduced amount of Fluorine (up to 2.5 wt.%), has been developed, also the composition of fluorless frites to obtain brightly colored enamel coatings pigmented way of color. Temperature operations of the enamel melting is 100 °C and firing of coatings is 30-50oC below the known ones.

Thesis (Ph.D.)--University of Wollongong, 2007.
Typescript. Includes 2 sound discs and 1 DVD-ROM in back pocket. CD 1: The animation of lists; CD 2: And the archytan transpositions. DVD-ROM contains Part Three - Appendix. Includes bibliographical references: leaf 291-301.

With the rapidly growing computational power of modern computers, physically based rendering has found its way into real world applications. Real-time simulations and renderings of fire and smoke had become one major research interest in modern video game industry, and will continue being one important research direction in computer graphics. To visually recreate realistic dynamic fire and smoke is a complicated problem. Furthermore, to solve the problem requires knowledge from various areas, ranged from computer graphics and image processing to computational physics and chemistry. Even though most of the areas are well-studied separately, when combined, new challenges will emerge. This thesis focuses on three aspects of the problem, dynamic, real-time and realism, to propose a solution in form of a GPGPU pipeline, along with its implementation. Three main areas with application in the problem are discussed in detail: fluid simulation, volumetric radiance estimation and volumetric rendering. The weights are laid upon the first two areas. The results are evaluated around the three aspects, with graphical demonstrations and performance measurements. Uniform grids are used with Finite Difference (FD) discretization scheme to simplify the computation. FD schemes are easy to implement in parallel, especially with ComputeShader, which is well supported in Unity engine. The whole implementation can easily be integrated into any real-world applications in Unity or other game engines that support DirectX 11 or higher.

Treize Etudes Pour L?Orchestre is a thirteen-movement symphonic work for full contemporary orchestra. The purpose of this work has been to develop a sonic exploration of textural possibilities through the orchestral medium. The motivic materials of the whole piece were first utilized in pieces for one piano, piano and cello and two pianos combinations These smaller pieces ahs been included in the appendix section of this work. The orchestral work does not represent an orchestration of the smaller pieces, but an expansion of the material into different textural studies. Preparation for this work includes the study of twelve different bird sounds, first recorded and later musically transcribed to create thematic materials and secondary materials for this work; the study of production of fabric of sounds representing color spectrums and intensity through sound tapestries, and the sonic representation of water, a starry dark night and the jungle. The Treize Etudes Pour L?Orchestre is formally a through-composed work. The different musical materials created as motive unity of the whole work have been developed throughout it by means of using a variety of compositional devices and techniques including Schoenberg?s Klangfarbenmelodie, Messiaen?s ?Language Musicale?, Ives? quadraphonic effect, and Samuel Adler?s sound curtain technique, and, the use of folk-like materials; all within the parameters of acoustic instrumentation.

This thesis investigates the development of the recorder's microtonal repertoire from 1961 through to 2013. The artistic impulses for the use of microtones are discussed and selected pieces studied and performed. An investigation is also undertaken into the relationship between pitch, dynamic, and tone colour. This leads to the development of a method for objectively identifying the changes in tone colour that result from using various microtonal fingerings. Very little substantial research has been undertaken into the recorder's contemporary repertoire, and even less so with regard to its engagement with microtones. The skills for producing the expressive effects of dynamic and tone colour, and thus microtones, were known in the early 16th century, lost, and then revived during the period of musical experimentation in post-war Europe. The application of this knowledge, however, has remained limited. This thesis addresses these shortcomings. Following consideration of intonation and interpretation in Chapter 2 a survey of writings analyzing changes in tone colour and dynamic, and the relationship between them, is undertaken in Chapter 3. These include a number of foreign language texts, whilst others appear in American journals, or conference papers not generally available to the British reader. They highlight the tendency for writers to discuss tone colour and dynamic in vague and subjective terms, and in relation to the performance of early music but rarely in the context of contemporary music. This strand of my inquiry is brought to fruition in Chapter 5, where research leading to the development of a method for identifying and quantifying changes in tone colour, through the application of different fingerings, is applied for the first time. The results of an investigation into the evolution of microtonal repertoire composed since the 1960s are recorded in Chapter 4. Different compositional approaches to both instrument and microtonality are reflected in my choice of seven pieces, plus my own composition, that are the subject of detailed study in Chapter 6. The analyses of the pieces discussed in this thesis, and the contexts in which they were composed, represent a significant step forward in the understanding of the instrument and the use of microtones in compositions of the period. My thesis concludes with a live performance in which a selection of microtonal pieces is presented. This serves as a demonstration and confirmation of the principles discussed in this thesis, drawing together the threads of my research, and applying the insights gained in the course of this study.

This study examines Toni Morrison’s use of symbolism in Sula and The Bluest Eye, especially archetypal and color symbolism, in an effort to recover the culture that has been lost to Diasporic Africans. Moreover, the color symbolism and symbolic archetypes that Morrison employs in both novels, but to a greater extent Sula, are a direct reflection of her awareness of the African ancestral heritage and spirituality associated with those colors and archetypes. A vast majority of the literary critiques of Sula have focused on either Sula as a scapegoat for the community, Morrison’s use of race, gender, and sexual themes, or the characterizations throughout the novel. The literary criticism of The Bluest Eye has mainly focused on issues of race, class, and gender and the effects that these issues have upon black and white societies in America. Although these themes warrant the attention that has been given them, little or no focus has been given to the prevalence of color symbolism that Morrison employs in both novels. Therefore, this paper will attempt to provide a focus on color symbolism that has not been explored in other literary reviews.

Advances in printing technologies in the late 19th century led to the development of half-toning techniques enabling the economical reproduction of photographic images in print. Whilst undoubtedly successful in low cost high volume image reproduction, half-toning representations are less faithful in detail when compared to continuous tone photomechanical methods in use at that time. This thesis asks the question: can the creative application of 21st century digital fabrication technologies enable the qualities of continuous tone imaging to be regained? In the 21st-century, printmaking may be seen as the interchange of ideas, experimental practice and interdisciplinary thinking. Printmaking has always been a means of combining modern technology and methods with existing traditional and commercial imaging processes. Technological advancement in print however does not always provide a finer quality of print. Qualities often attributed to pre-digital continuous tone printing can be lost in the transition to a digital half tone print workflow. This research project examines a near obsolete 19th century print process, the continuous tone Woodburytype, developed to address the issue of permanence in photography. Through a methodological approach analyses of the Woodburytype an empirical reconstruction of the process provides a comprehensive critique of its method. The Woodburytype’s surface qualities are not found in other photomechanical printing methods capable of rendering finely detailed photographic images. Its method of image translation results in the printed tonal range being directly proportional to the deposition thickness of the printing ink, however it never successfully developed into a colour process. By examining and evaluating digital imaging technology this study identifies, current computer aided design and manufacturing techniques and extends upon known models of Woodburytype printing through the development of this deposition height quality enabling a new digital polychromatic colour printing process.