775 resultados para Modular music
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Pós-graduação em Engenharia de Produção - FEG
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Dissertação para obtenção do grau de Mestre em Engenharia Electrotécnica Ramo de Automação e Electrónica Industrial
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The investigation which employed the action research method (qualitative analysis)was divided into four fases. In phases 1-3 the participants were six double bass students at Nossa Senhora do Cabo Music School. Pilot exercises in creativity were followed by broader and more ambitious projects. In phase 4 the techniques were tested and amplified during a summer course for twelve double bass students at Santa Cecilia College.
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This paper presents a brief history of the western music: from its genesis to serialism and the Darmstadt school. Also some mathematical aspects of music are then presented and confronted with music as a form of art. The question is, are these two distinct aspects compatible? Can computers be of real help in automatic composition? The more appealing algorithmic approach is evolutionary computation as it offers creativity potential. Therefore, the Evolutionary Algorithms are then introduced and some results of GAs and GPs application to music generation are analysed.
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Da necessidade de criação de habitações que se adaptem ao constante dinamismo do ser humano, surgiu a ideia da concepção de um edifício evolutivo com base na construção modular. A construção modular poderá ser entendida como sendo a principal resposta ao combate da construção de estruturas físicas e imóveis, com características inalteráveis ao longo do tempo. Com este trabalho idealizou-se uma habitação evolutiva, baseado nos conceitos da Coordenação Modular, identificando-se as suas especificações, exigências de desempenho e características funcionais. Foi considerada como medida modular base 0,10m. Os módulos foram pensados com o intuito de que o seu desempenho prático seja satisfatório. A sua base estrutural foi executada a partir do rearranjo de contentores marítimos. Previu-se ainda, o uso de coberturas verdes por serem uma solução comprovada de minorar notoriamente o efeito pernicioso que a construção tem sobre o meio ambiente, ao mesmo tempo que apresentam vantagens térmicas e acústicas. A questão do incentivo do uso da pré-fabricação em Portugal a uma maior escala, não poderia ser descurada. A apresentação de eventuais desenvolvimentos futuros é também relevante, dada a importância que é inerente ao âmbito da industrialização da construção. Do estudo realizado ficaram ainda, bem patentes, os benefícios da racionalização e da industrialização, tanto em termos económicos como em termos ambientais. É possível executar um projecto com níveis de perdas mais baixos e com índices de qualidade superiores a um menor preço.
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A necessidade de construir que se manifesta em todos os sectores, desde o da habitação, em que o homem recupera da fadiga física e intelectual, consequência da sua actividade diária, até àquele em que exerce a sua actividade de produção ou onde realiza as suas ocupações sociais dos tempos livres, obriga a procurar soluções, para a limitação de espaços - cada vez mais económicos em tempo, dinheiro, materiais e mão de obra. Este objectivo levou ao desenvolvimento de técnicas de pré-fabricação,e bem assim a industrializar a construção, por elementos cada vez maiores - de acordo com os meios mecânicos de que se pode dispor na zona industrial, nos transportes e no estaleiro. Assim, conforme os elementos de construção a colocar em obra são manuseáveis ou, pelas suas dimensões e peso, careçam de meios mecânicos para poderem ser utilizados, a pré fabricação está diferenciada em: a) Pré fabricação ligeira b) Pré fabricação pesada Por outro lado, os diversos materiais que se utilizam na construção permitem a pré fabricação industrial de elementos de construção: metálicos, de madeira, de betão, de pedra, de argila cozida, de vidro, etc.
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It is well recognized that professional musicians are at risk of hearing damage due to the exposure to high sound pressure levels during music playing. However, it is important to recognize that the musicians’ exposure may start early in the course of their training as students in the classroom and at home. Studies regarding sound exposure of music students and their hearing disorders are scarce and do not take into account important influencing variables. Therefore, this study aimed to describe sound level exposures of music students at different music styles, classes, and according to the instrument played. Further, this investigation attempted to analyze the perceptions of students in relation to exposure to loud music and consequent health risks, as well as to characterize preventive behaviors. The results showed that music students are exposed to high sound levels in the course of their academic activity. This exposure is potentiated by practice outside the school and other external activities. Differences were found between music style, instruments, and classes. Tinnitus, hyperacusis, diplacusis, and sound distortion were reported by the students. However, students were not entirely aware of the health risks related to exposure to high sound pressure levels. These findings reflect the importance of starting intervention in relation to noise risk reduction at an early stage, when musicians are commencing their activity as students.
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This paper presents the TEC4SEA research infrastructure created in Portugal to support research, development, and validation of marine technologies. It is a multidisciplinary open platform, capable of supporting research, development, and test of marine robotics, telecommunications, and sensing technologies for monitoring and operating in the ocean environment. Due to the installed research facilities and its privileged geographic location, it allows fast access to deep sea, and can support multidisciplinary research, enabling full validation and evaluation of technological solutions designed for the ocean environment. It is a vertically integrated infrastructure, in the sense that it possesses a set of skills and resources which range from pure conceptual research to field deployment missions, with strong industrial and logistic capacities in the middle tier of prototype production. TEC4SEA is open to the entire scientific and enterprise community, with a free access policy for researchers affiliated with the research units that ensure its maintenance and sustainability. The paper describes the infrastructure in detail, and discusses associated research programs, providing a strategic vision for deep sea research initiatives, within the context of both the Portuguese National Ocean Strategy and European Strategy frameworks.
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This paper discusses the development of modular solutions for eco low-cost houses based on a pre-fabricated modular wall system environmentally sustainable, socioeconomically competitive and geared towards developing African nations with a housing deficit. The key point to the research of a modular wall solution is a structural layer complemented with local and materials made by non-specialized workforce. This wall also meets also hydrothermal acoustic and mechanical properties. Thus,the solution also offers good safety and interior comfort conditions to its users while maintaining the flexibility to expand the size of the house. Parameters as dimensions, materials and constructive processes of the existing housing stock were studied. Features such as the family size, typology, different uses, common materials, existing regulations, minimal living conditions, safety and comfort have also been considered to achieve the most efficient solution.
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This thesis focuses on the representation of Popular Music in museums by mapping, analyzing, and characterizing its practices in Portugal at the beginning of the 21st century. Now that museums' ability to shape public discourse is acknowledged, the examination of popular music's discourses in museums is of the utmost importance for Ethnomusicology and Popular Music Studies as well as for Museum Studies. The concept of 'heritage' is at the heart of this processes. The study was designed with the aim of moving the exhibiting of popular music in museums forward through a qualitative inquiry of case studies. Data collection involved surveying pop-rock music exhibitions as a qualitative sampling of popular music exhibitions in Portugal from 2007 to 2013. Two of these exhibitions were selected as case studies: No Tempo do Gira-Discos: Um Percurso pela Produção Fonográfica Portuguesa at the Museu da Música in Lisbon in 2007 (also Faculdade de Letras, 2009), and A Magia do Vinil, a Música que Mudou a Sociedade at the Oficina da Cultura in Almada in 2008 (and several other venues, from 2009 to 2013). Two specific domains were observed: popular music exhibitions as instances of museum practice and museum professionals. The first domain encompasses analyzing the types of objects selected for exhibition; the interactive museum practices fostered by the exhibitions; the concepts and narratives used to address popular music discursively, as well as the interpretative practices they allow. The second domain, focuses museum professionals and curators of popular music exhibitions as members of a group, namely their goals, motivations and perspectives. The theoretical frameworks adopted were drawn from the fields of ethnomusicology, popular music studies, and museum studies. The written materials of the exhibitions were subjected of methods of discourse analysis methods. Semi-structured interviews with curators and museum professional were also conducted and analysed. From the museum studies perspective, the study research suggests that the practice adopted by popular music museums largely matches that of conventional museums. From the ethnomusicological and popular music studies stand point, the two case studies reveal two distinct conceptual worlds: the first exhibition, curated by an academic and an independent researcher, points to a mental configuration where popular music is explained through a framework of genres supported by different musical practices. Moreover, it is industry actors such as decision makers and gatekeepers that govern popular music, which implies that the visitors' romantic conception of the musician is to some extent dismantled; the second exhibition, curated by a record collector and specialist, is based on a more conventional process of the everyday historical speech that encodes a mismatch between “good” and “bad music”. Data generated by a survey shows that only one curator, in fact that of my first case study, has an academic background. The backgrounds of all the others are in some way similar to the curator of the second case study. Therefore, I conclude that the second case study best conveys the current practice of exhibiting Popular Music in Portugal.
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The purpose of this thesis is to get a consumer perspective regarding event marketing in music festivals. Event marketing is a tool used by marketers that evolved out of philanthropy and commercial sponsorship. Brands are more and more using music or other entertainment moments to create a strong relationship with their clients, and the target group at these events, the millennial generation. Brands use sponsoring and therefore event marketing for several reasons as: increase brand awareness; create brand image; re-position the brand/product in the minds of consumers; increase profit over a short period; and, achieve larger market share. Nonetheless, we wonder how is this tool seen by consumers? To understand this, a preliminary research with nine interviews was conducted to obtain basic ideas about event marketing. Afterwards the main research was developed, also using interviews, to get deeper insights. With this thesis, it is possible to conclude that some brands are able to create brand awareness on attendees through brand sponsorship. Moreover, entertainment activities in festivals are well seen by consumers, they like it and are able to describe it well, even though it is more about the activity itself than the brand promoting it. Furthermore, it was possible to understand that experiential marketing in a festival might have a positive effect on consumers as it might create a link between the event and the brand. Finally, we recommend some actions, for brands to develop in future music festivals.