A Practical Approach to Using Motion Capture in Performance Dance

Markerless systems are becoming more ubiquitous due to their increased use in video games consoles. Cheap cameras and software suites are making motion capture technologies more freely available to the digitally inclined choreographer. In this workshop we will demonstrate the opportunities and limitations provided by easily accessible and relatively inexpensive markerless motion capture systems. In particular we will explore the capacity of these systems to provide useful data in a live performance scenario where the latency, size and format of the captured data is crucial in allowing real-time processing and visualisation of the captured scene

Graffiti composition: screenplay

Ongoing collaboration with Christian Marclay. ‘Graffiti Composition’ and ‘Screenplay’ are two related works consisting of live musical improvisation and performance. They are part of an ongoing collaboration with the artist Christian Marclay. 'Graffiti Composition' involved Beresford directing an invited orchestra of improvising musicians. The work focuses on making music from the random compositional acts of strangers. Prior to realization, Marclay fly-posted several hundred sheets of blank manuscript paper, collecting the sheets some days later, after passers-by had written on them – using either traditional music notation or more transgressive interference modes (colour-blocks, torn holes in or abstract graphic symbols on the paper) – and sending photographs of them to Beresford. Beresford’s directorial decisions helped these random graffiti become music via simple formal processes – restricting each musician to a handout of two MS each, or stipulating a mini-concerto for each player. Beresford’s contribution explores the paradox of improvisation stipulated by strangers and controlled, however loosely, by the structuring agency of a musical director. ‘Screenplay’ extended this collaborative process between Marclay and Beresford. Beresford and other musicians responding to a visual track comprising found and public domain moving images manipulated by Marclay – gunfight scenes from a TV Western; running water; racing cars morphing into crying children, and so on, in black-and-white, with single-colour blocks appearing and developing as lines, spots, and other suggestive ‘notation’. The elliptical, surprising, humorous nature of the images at times is hyperexplicated by the improvised music, and at others challenged, ignored or contradicted by the musicians’ interaction. ‘Graffiti Composition’ was performed by the LSO at St. Luke’s, London, March 22, 2005. ‘Screenplay’ premiered in Dundee in 2006, and toured Europe during 2007. Reviewed in the Herald (21 Feb 06) and Times (24 March 07). Beresford’s work as improviser, composer and performer was profiled in The Wire (April 2002, May 2005).

Julius Caesar, August 8, 1939

Concert program for Julius Caesar, August 8, 1939

Annual Christmas Concert, December 14, 1933

Concert Program for Annual Christmas Concert, December 14, 1933

SecGOD - Google Docs: Now I Feel Safer!

This paper presents SecGOD. A tool that protects the privacy of documents created with online office suites. SecGOD is implemented as a Greasemonkey java-script making it deployable on all popular greesemonkey compatible browsers and utilizes symmetric key encryption. All operations run on the client side, with SecGOD operating invisibly as concerned by the cloud, with no changes needed to the code that is provided to the cloud server provider. Finally, the effectiveness of SecGOD is demonstrated by conducting extensive experiments measuring the processing time for the three versions of AES (128, 192, 256 bits).

Relações públicas e comunicação a internacionalização da banda Cambatango

O presente trabalho de projeto tem como tema Comunicação e Relações Públicas na internacionalização da banda Cambatango. Os Cambatango são uma orquestra típica de tango argentino que deseja consolidar a sua presença no mercado musical europeu. Assim, a pergunta de partida desta investigação é: como é que uma banda musical de origem argentina consegue promover o seu trabalho em território ibérico? O objetivo principal da investigação é associar as atividades de Relações Públicas à indústria da música. Para este fim, foi escolhido um objeto de estudo real, a orquestra Cambatango e proposto um Plano de Relações Públicas que ajude a: fortalecer a gestão e a imagem do grupo; fomentar a visibilidade da banda na indústria musical internacional; conquistar novos públicos e dinamizar a relação com os stakeholders de forma a impulsionar a presença do grupo em território ibérico. Esta investigação tem uma abordagem predominantemente qualitativa, nesse sentido, os métodos de pesquisa utilizados foram: análise SWOT; análise PEST; mapeamento de stakeholders; entrevistas (e respetiva análise categorial temática); pesquisa documental; auditoria em comunicação e pesquisa informal. As principais conclusões foram: existe uma vertente de Relações Públicas para a música, mas que ainda não é muito explorada pelos artistas independentes; um plano de Relações Públicas elaborado com base nas necessidades e objetivos dos artistas pode ajudar a projetar a sua carreira internacional; a indústria da música tem vindo a mudar face às novas tecnologias e os artistas precisam de acompanhar estas tendências; a comunicação é fundamental para estabelecer o diálogo com os diferentes públicos e ganhar maior projeção e visibilidade internacional.

Relatório de estágio: mestrado em ensino da música

Resumo I - O projecto “Piano e outros Instrumentos/orquestra” consiste na implementação do formato Piano e Orquestra em complemento às aulas individuais e aos ensaios de conjunto. O trabalho foi dirigido a um grupo de três alunos com idades de 9, 12 e 16 anos, do curso de Iniciação, Básico e Secundário da EMNSC (Escola de Música de Nossa Senhora do Cabo). Foram criados momentos distintos em cada fase. Estimulou-se o desenvolvimento de competências musicais e de estratégias metacognitivas visando a evolução dos alunos e a eficácia na realização do estudo individual. O Projecto foi criado com o objectivo de desenvolver as competências musicais, a motivação para realização do estudo individual e de grupo, o espírito e a audição crítica, o controlo dos factores psicológicos, a ansiedade, o aumento da autoconfiança, a aprendizagem, a melhoria da atitude positiva no momento da execução pública e o incremento do interesse pelas actividades relacionadas com a prática musical. A realização deste projecto visou analisar o grau de motivação, o desenvolvimento e a aquisição de competências musicais dos alunos de piano que frequentaram semanalmente aulas individuais, aulas extra de preparação, ensaios com Orquestra “Da Capo”, ensaios com a Orquestra Maior, duos com violoncelo e com canto. Um dos objectivos era comparar o grau de motivação e desenvolvimento dos alunos quando estudam obras nas aulas individuais que constituem o programa curricular e, por outro lado, quando o fazem em peças seleccionadas especificamente para este Projecto. Esta experiência visou proporcionar um conhecimento nos diversos domínios da música, uma visão diferente da funcionalidade do piano em conjunto com os outros instrumentos, a descoberta das sonoridades do piano contrastante e ao mesmo tempo, integrante com outros instrumentos, as formas de funcionamento dos instrumentos de corda, de sopro, dos assuntos relacionados com a afinação e pretendendo-se assim apurar o sentido de fazer parte integrante de um todo.

Análise da problemática da exposição dos músicos ao ruído: perceção ao ruído e determinação dos níveis de pressão sonora na prática musical em contexto escolar

A atenção face dada à problemática da perda auditiva induzida pelo ruído nos profissionais da música tem sido enfatizada estudos nos últimos anos. No entanto, no que respeita aos alunos de música, são ainda poucos os estudos que analisam esta problemática de modo a permitir compreender se estes poderão estar expostos a elevados níveis de ruído no decorrer da sua formação e desenvolver problemas auditivos. O presente estudo pretende caraterizar os níveis de pressão sonora a que alunos de música estão expostos no decorrer das aulas e analisar a perceção do risco dos mesmos e potenciais efeitos sobre o sistema auditivo. Foram analisadas duas Orquestras de Jazz e uma Orquestra Sinfónica de uma Escola Superior de Música (ESM) e de um Conservatório de Música (CM). No total foram selecionados 24 alunos de acordo com o seu instrumento, e medidos os níveis de pressão sonora em diversas aulas, ao longo de duas semanas com recurso a 8 dosímetros. Foi aplicado um questionário para a análise da perceção dos alunos ao ruído e realizados exames audiométricos para a avaliação auditiva dos alunos. Em geral, os resultados demostraram que os alunos estão expostos a níveis elevados de ruído no decurso das aulas de instrumento e ensaios. Foram obtidos elevados níveis de Lp,A,eqT na bateria, vibrafone, saxofone, trombone, clarinete e trompa. Nas três escolas, verificou-se valores mais baixos de exposição no contrabaixo, nomeadamente nas Aulas Individuais. Os valores de Lp,Cpico ultrapassaram o valor de ação inferior de 135 dB(C) na percussão e saxofone. Nas aulas teóricas os valores obtidos ultrapassaram recomendação de 35 dB(A). No que respeita à perceção dos alunos verificou-se que em geral consideram que a exposição a elevados níveis de pressão sonora não tem efeitos significativos na saúde. Apesar de se ter verificado que todos os alunos avaliados apresentam uma audição normal, tinnitus, hiperacusia, distorção e diplacusia foram identificados por um número significativo de alunos. Os resultados obtidos neste estudo refletem a necessidade de implementação de medidas de prevenção e controlo dos níveis de exposição dos alunos de música com vista a um aumento da sua consciencialização do risco.

Remistura de vídeo: um estudo exploratório de diferentes estilos

Dissertação apresentada à Escola Superior de Comunicação Social como parte dos requisitos para obtenção de grau de mestre em Audiovisual e Multimédia.

A diferença evolutiva de alunos do projeto Orquestra Geração e das escolas vocacionais de música: a importância dos agentes de motivação

Resumo I (Prática Pedagógica) - Nesta secção do relatório de estágio pretende-se expor e caracterizar todos os elementos referentes à prática pedagógica, integrada no estágio, que ocorreu em parceria com a Escola de Música do Conservatório Nacional (EMCN) e o Projecto Orquestra Geração realizado no ano letivo de 2014/2015. Este tem por objetivo, a abordagem dos aspetos pedagógicos, as metodologias de ensino, a eficácia do trabalho, a motivação e os agentes motivacionais. Para a elaboração deste relatório, foram observados e devidamente analisados três alunos de forma peculiar. Porém, é de realçar que um dos intervenientes pertencia à EMCN e as aulas apenas eram observadas. Ao longo do ano letivo foram elaborados individualmente para cada aluno, vinte e dois planos de aula e ainda realizadas três gravações de aulas que foram vistas pelo professor orientador. À posteriori serão caraterizadas as duas entidades que fizeram parceria, contribuindo para a possível realização do relatório de estágio. Será abordada a sua contextualização histórica, os parâmetros de ensino, o contexto sociocultural. De seguida, será apresentada a caraterização dos três alunos, abordando nomeadamente, o seu meio envolvente, os métodos de estudo e a evolução motora, expressiva e auditiva. Serão analisadas e descritas algumas das práticas de ensino, desenvolvidas quer ao longo das aulas individuais, quer da observação das gravações e da análise constante dos planos de aulas e das planificações. Para finalizar o relatório de estágio, será elaborada uma reflexão crítica, acerca do desempenho como docente e respetiva prática pedagógica trabalhada com os alunos.

Evolution of an Archean greenstone belt in the Stormy Lake - Kawashegamuk Lake area (stratigraphy, structure and geochemistry) - Western Wabigoon Subprovince, Northwest Ontario /

330 km 2 of the easter-n part of the Archean Manitou Lakes - Stormy Lake metavolcanic - metasedimentary belt have been mapped and sampled. A large number of rocks ~.vere analyzed for the major and trace constituents including the rare-earth elements (REE). The Stormy Lake - Kawashegamuk Lake area may be subdivided into four major lithological groups of supracrustal rocks 1) A north-facing mafic assemblage, consisting of pillowed tholeiitic basalts and gabbro sills characterized by flat REE profiles, is exposed in the south part of the map area and belongs to a 8000 m thick homoclinal assemblage outside the map area. Felsic pyroclastic rocks believed to have been issued from a large central vent conformably overlie the tholeiites. 2) A dominantly epiclastic group facing to the north consists of terrestrial deposits interpreted to be an alluvial fan deposit ; a submarine facies is represented by turbiditic sediments. 3) The northeastern part of the study area consists of volcanic rocks belonging to two mafic - felsic cycles facing to the southuest ; andesitic flows with fractionated REE patterns make up a large part of the upper cycle, whereas the lower cycle has a stronger chemical polarity being represented by tholeiitic flows, with flat REE, which a r e succeeded by dacitic and rhyolitic pyroclasti cs. iii 4) A thick monotonous succession of tholeiitic pillmled basalt f lows and gabbro sills with flat REE represent the youngest supracrustal rocks. TIle entire belt underwent folding, faulting and granitic plutonism during a tectono-thermal event around 2700 Ma ago. Rocks exposed in the map area were subjected to regional greenschist facies metamorphism, but higher metamorphic grades are present near late granitic intrusions. Geochemical studies have been useful in 1) distinguishing the various rock units ; 2) relating volcanic and intrusive rocks 3) studying the significance of chemical changes due to post magmatic processes 4) determining the petrogenesis of the major volcanic rock types. In doing so, two major volcanic suites have been recognized : a) a tholeiitic suite, mostly represented by mafic rocks, was derived from partial melting of upper mantle material depleted in Ti, K and the light REE ; b) a calc-alkalic suite which evolved from partial melting of amphibolite in the lower crust. The more differentiated magma types have been produced by a multistage process involving partial melting and fractional crystallization to yield a continuum of compos i t i ons ranging from basaltic andesite to rhyolite. A model for the development of the eastern part of the Manitou Lakes - Stormy Lake belt has been proposed.

Structural, stratigraphic and geochemical studies of the Horwood Peninsula - Gander Bay Area, Northeast Newfoundland /

The Horwood Peninsula - Gander Bay area is located at NE Newfoundland in the Botwood Zone (Williams et a1., 1974) or in the Dunnage Zone (Williams, 1979) of the Central Mobile Belt of the Newfoundland Appalachians. The area is underlain by Middle Ordovician to possible Lower Silurian rocks of the Davidsville and Indian Islands Groups, respectively. Three conformable formations named informally : the Mafic Volcanic Formation, the Greywacke and Siltstone Formation and the Black Slate Formation, have been recognized in the Davidsville Group. The Greywacke and the Black Slate Formations pass locally into a Melange Formation. From consideration of regional structure and abundant locally-derived mafic volcanic olisto- 1iths in the melange, it is considered to have originated by gravity sliding rather than thrusting. Four formations have been recognized in the Indian Islands Group. They mainly contain silty slate and phyllite, grey cherty siltstone, green to red micaceous siltstone and limestone horizons. Repetition of lithological units by F1 folding are well-demonstrated in one of formations in this Group. The major structure in this Group on the Horwood Peninsula is interpreted to be a synclinal complex. The lithology of this Group is different from the Botwood Group to the west and is probably Late Ordovician and/or Early Silurian in age. The effects of soft-sediment deformation can be seen from the lower part of the Davidsville Group to the middle part of the Indian Islands Group indicating continuous and/or episodic slumping and sliding activities throughout the whole area. However, no siginificant depOSitional and tectonic break that could be assigned to the Taconian Orogeny has been recognized in this study. Three periods of tectonic deformation were produced by the Acadian Orogeny. Double boudinage in thin dikes indicates a southeast-northwest sub-horizontal compression and main northeast-southwest sub-horizontal extension during the D1 deformation. A penetrative, axial planar slaty cleavage (Sl) and tight to isocJ.ina1 F1 folds are products of this deformation. The D2 and D3 deformations formed S2 and S3 fabrics associated with crenulations and kink bands which are well-shown in the slates and phyllites of the Indian Islands Group. The D2 and D3 deformations are the products of vertical and northeast-southwest horizontal shortening respectively. The inferred fault between the Ordovician slates (Davidsville Group) and the siltstones (Indian Islands Group) suggested by Williams (1963, 1964b, 1972, 1978) is absent. Formations can be followed without displacement across this inferred fault. Chemically, the pillow lavas, mafic agglomerates, tuff beds and diabase dikes are subdivided into three rock suites : (a) basaltic komatiite (Beaver Cove Assemblage), (b) tholeiitic basalt (diabase dikes), (c) alkaline basalt (Shoal Bay Assemblage). The high Ti02 , MgO, Ni contents and bimodal characteristic of the basaltic komatiite in the area are comparable to the Svartenhuk Peninsula at Baffin Bay and are interpreted to be the result of an abortive volcano-tectonic rift-zone in a rear-arc basin. Modal and chemical analyses of greywackes and siltstones show the trend of maturity of these rocks increasing from poorly sorted Ordovician greywackes to fairly well-sorted Silurian siltstones. Rock fragments in greywackes indicate source areas consisting of plagiogranite, low grade metamorphic rocks and ultramafic rocks. Rare sedimentary structures in both Groups indicate a southeasterly provenance. Trace element analyses of greywackes also reveal a possible island-arc affinity.

Petrography, geochemistry and structure of the Timmins area, Ontario

Regional structural analysis of the Timmins area indicates four major periods of tectonic deformation. The DI deformation is characterized by a series of isoclinal FI folds which are outlined in the study area by bedding, pillow tops and variolitic flows. The D2 deformation developed the Porcupine Syncline and refolded the Fl folds about a NE. axis. A pervasive S2 foliation developed during low grade (greenschist) regional metamorphism associated with the D2 deformation. The S2 foliation developed south of the Destor-Porcupine Break. The third phase of tectonic D3 deformation is recognized by the development of a S3 sub-horizontal crenulation cleavage which developed on the plane of the S2 foliation. No meso scopic folds are associated with this deformation. The 8 3 crenulation cleavage is observed south of the Destor-Porcupine Break. The D4 tectonic deformation is recorded as a subvertical S4 crenulation cleavage which developed on the plane of the S2 foliation and also offsets the S3 crenulation cleavage. Macroscopic F4 folds have refolded the F2 axial plane. No metamorphic recrystallization is associated with this deformation. The S4 crenulation cleavage is observed south of the Destor-Porcupine Break. Petrographic evidence indicates that the Timmins area has been subjected to pervasive regional low grade (greenschist) metamorphism which has recrystallized the original mineralogy. South of the study are~ the Donut Lake ultramafic lavas have been subjected to contact medium grade (amphibolite facies) metamorphism associated with the intrusion of the Peterlong Lake Complex. The Archean volcanic rocks of the Timmins area have been subdivided into komatiitic, tholeiitic and calcalkaline suites based on Zr, Ti0 2 and Ni. The three elements were used because of their r e lative immobility during subsequent metamorphic events. Geochemical observations in the Timmins area indicates that the composition of the Goose Lake and Donut Lake Formations are a series of peridotitic, pyroxenitic and basaltic komatiites. The Lower Schumacher Formation is a sequence of basaltic komatiites while the upper part of the Lower Schumacher Formation is an intercalated sequence of basaltic komatiites and low Ti0 2 tholeiites. The variolitic flows are felsic tholeiites in composition and geochemical evidenc e sugg ests that they developed as a n immiscible splitting of a tholeiitic magma. The Upper Schumacher Formation is a sequence of tholeiitic rocks dis p laying a mild iron enrichment. The Krist and Boomerang Formations are the felsic calc-alkaline rocks of the study area which are characteristically pyroclastic. The Redstone Fo rmation is dominantly a calc-alkali ne sequence of volcani c rocks whose minor mafic end me mbers exposed in 1t.he study hav e basaltic komatiitic compositions. Geochemical evidence sugges ts that the Keewatin-type se dimentary rocks have a composition similar to a quartz diorite or a granodiorite. Fi e l d obs ervations and petrographic evidence suggests that they were derived fr om a distal source and now repr esent i n part a turbidite sequence. The Timiskaming-type sedimentary rocks approach the c omp osi t ion of the felsic calc-alkaline rocks of the study area . The basal conglomerate in the study are a sugge s ts that th e uni t was derived fr om a proximal source. Petrographic and ge ochemical evidence suggests that the peridotitic and pyroxenitic komatiites originated as a 35-55% partial melt within the mantle, in excess of 100 Km. depth. The melt ros e as a diapir with the subsequent effusion of the ultramafic lavas, The basaltic komatiites and tholeiitic rocks originated in the mantle from lesser degrees of partial melting and fractionated in low pressure chambers. Geochemical evidence suggests a "genetic link" between the basaltic komatiites and tholeiites, The calc-alkaline rocks developed as a result of the increa.se In PO in the magma chamber. The felsic calcalkaline rocks are a late stage effusion possibly the last major volcanic eruptions in the area.

A Multi-Objective Genetic Algorithm with Side Effect Machines for Motif Discovery

Understanding the machinery of gene regulation to control gene expression has been one of the main focuses of bioinformaticians for years. We use a multi-objective genetic algorithm to evolve a specialized version of side effect machines for degenerate motif discovery. We compare some suggested objectives for the motifs they find, test different multi-objective scoring schemes and probabilistic models for the background sequence models and report our results on a synthetic dataset and some biological benchmarking suites. We conclude with a comparison of our algorithm with some widely used motif discovery algorithms in the literature and suggest future directions for research in this area.

Carl M. Wolff fonds

The bulk of the materials consist of administrative records, minutes programs and publicity material for The Niagara Symphony Association, St. Catharines Community Concerts, The Brock University Fine Arts Committee and Brock University convocations.