Commande d'un anti-bruit harmonique généré par un écoulement pulsé

Le contrôle de bruit est un domaine de recherche très fertile. Que ce soit pour du contrôle actif ou passif, de nombreuses recherches sont menées pour améliorer les méthodes existantes ou pour trouver de nouveaux procédés. Ainsi, dans le domaine du contrôle actif, de nouveaux moyens de production d’anti-bruit sont développés en vue de les substituer aux duos amplificateur/haut-parleur fragiles, gourmands en énergie et encombrants. Le sujet abordé ici est la conception et la réalisation d’un prototype capable de générer de forts niveaux de bruit à partir d’une source d’écoulement d’air à fort débit. Le prototype servira ensuite de source pour le contrôle actif du bruit d’un ventilateur. Pour atteindre ces performances, un design simple a été développé : l’obstruction périodique de l’écoulement d’air comprimé génère une source acoustique harmonique à la fréquence d’obstruction de l’écoulement. Le contrôle de la vitesse de l’obstruction gère la fréquence et la phase de l’anti-bruit émis. Le dispositif conçu dans ce projet permet de générer un bruit tonal réglé en phase et en fréquence sur une référence, pour une pression acoustique de 110 dB à 1 m.

Modern Horn Playing in Beethoven: An Exploration of Period Appropriate Techniques for the Orchestral Music of Beethoven for the Modern Horn Player

Thesis (D.M.A.)--University of Washington, 2016-06

The Search for the Operatic: Bridging the Gap Between the Spectatorial and Performer Positions Through Sketch-making and Embodiment Techniques

The exhibition was of sketches and a photograph from my PhD practice research. The practice-research was comprised of observing opera singers in rehearsal and sketching them as they moved. As well as records of body position, and to some degree dynamic flow, the exhibited sketches were regarded as kinaesthetic responses in and of themselves – responses to the environment of the rehearsal, in particular responding to the sounds of the orchestra. These sketches were, in part, generated through an embodiment of the music, which was occurring in the same moment as the singer was engaged in embodying the music. These sketches were then used as tools that therefore contained kinaesthetic information which could be unlocked through a process of Butoh derived embodiment techniques alongside reference to the sketched image. This ultimately allowed me to move from a spectatorial position to a performance maker position, bringing a sense of the operatic into the non-singing body, whether that was my own or the bodies of other performers. In this way, and combined with rigorous observation of the corporeal restrictions of singing operatically, choreographies were created that employed operatic ways of moving in non-singing bodies and the operatic was extracted from opera and employed in movement based practice. The aspect of the practice-research exhibited is the correspondence between sketched documentation of the singers in rehearsal and photographic documentation of the dancer (researcher) in performance.

An examination of the role of sound in defining the city in the context of Edinburgh

The surfeit of generic and place-specific sounds that exist in the urban environment contribute to what has been referred to as the soundscape. Within the built environment sound has the potential to create thresholds and acoustic territories that define and colour the experience and social functioning of inhabited spaces. In this research, a robust critical examination of the literature by prominent sound artists and theorists is used to illustrate how sound contributes to the urban experience. This is reinforced by primary research undertaken in the city of Edinburgh where the analysis and synthesis of these secondary sources is tested using bespoke soundworks to determine the ways in which sound contributes to our perception, reading and understanding of our physical environment. This research concludes by illustrating the potential for the future, technological development of the soundscape.

Características clínicas y epidemiológicas del neumotórax en personas de 18 años y más: Hospital Vicente Corral Moscoso y Teófilo Dávila de Machala, 2007-2011

Se realizó un estudio descriptivo- retrospectivo desde enero de 2007 a diciembre del 2011. El universo estuvo constituido por los pacientes de 18 años y más con diagnóstico de Neumotórax, internados en los departamentos de cirugía del Hospital Regional Vicente Corral Moscoso y Hospital Teófilo Dávila. Para el levantamiento de la información se utilizó un formulario previamente diseñado. Los datos se transcribieron de las historias clínicas a los formularios respectivos. Resultados: Se incluyeron 73 pacientes del HTD y 52 del HVCM, el neumotórax de mayor prevalencia fue el traumático con el 85.6% de los casos, izquierdo en el 54.4%; las características clínicas de mayor relevancia fueron: dolor moderado 40.8%; taquicardia 15.2%; desviación de la tráquea hacia la derecha 32.8%; distención de las venas del cuello 38.4%; hipersonoridad 76.8%; murmullo vesicular disminuido 80%; disnea 99.2%; cianosis 22.4%; los método diagnósticos presentaron la siguiente prevalencia: radiografía de tórax 100%; tomografía 27.2% y resonancia en el 0.8% de los casos; el tratamiento fue en el 16% toracocentesis con aspiración de aguja y en el 100% tubo de tórax. La media de días de hospitalización fue de 5 días y la mortalidad fue del 10.4%.- Conclusiones: Se registraron diferencias estadísticamente significativas entre ambas instituciones en las características clínicas en cuanto a la procedencia, intensidad del dolor, frecuencia cardiaca, murmullo vesicular disminuido y presentación de cianosis. Además se evidencia una alta mortalidad.au

Desenvolver a consciência fonológica na educação pré-escolar : potencialidades da exploração da diversidade linguística

O presente trabalho centra-se no desenvolvimento de um projeto de sensibilização à diversidade linguística e cultural, intitulado “Por ritmos nunca dantes navegados”, numa sala de um jardim de infância português, tendo como finalidade avaliar e compreender o desenvolvimento da consciência fonológica de um grupo de doze crianças entre os 3 e os 4 anos de idade. Para o efeito, recorremos a uma metodologia mista, que se traduziu em procedimentos de tipo quantitativo e qualitativo de recolha e análise de dados: no primeiro caso, recorremos a testes de consciência fonológica e de discriminação auditiva, aplicados a um grupo experimental e a um grupo de controlo de seis crianças antes e após as sessões de sensibilização; no segundo caso, recorremos à observação direta e à vídeo gravação das quatro sessões do projeto. A análise dos dados recolhidos, realizada através de análise estatística e de conteúdo, permitiu alcançar resultados relevantes, tendo-se registado um desenvolvimento significativo das capacidades de discriminação auditiva e de consciência fonológica (silábica e da palavra) do grupo experimental que esteve presente nas sessões de sensibilização. Os resultados da análise estatística parecem sugerir que o contacto com línguas diferentes, através de atividades de sensibilização, contribui para a descoberta de unidades segmentais das línguas, essenciais para realizar tarefas de discriminação auditiva e de consciência fonológica. A análise de conteúdo ajudou a corroborar os resultados obtidos nos testes de discriminação auditiva e de consciência fonológica, tendo as crianças do grupo experimental revelado, nas suas interações, ser capazes de discriminar sons, bem como segmentar e manipular palavras e sílabas. Estes resultados sustentam a importância das abordagens plurais na educação pré-escolar, pois o contacto com sonoridades, línguas e palavras diferentes faz com que a criança atente no objeto-língua, realizando sobre ele múltiplas e ricas atividades para o desenvolvimento de competências metalinguísticas e também sociais.

Double Fourier analysis for Emotion Identification in Voiced Speech

We propose a novel analysis alternative, based on two Fourier Transforms for emotion recognition from speech -- Fourier analysis allows for display and synthesizes different signals, in terms of power spectral density distributions -- A spectrogram of the voice signal is obtained performing a short time Fourier Transform with Gaussian windows, this spectrogram portraits frequency related features, such as vocal tract resonances and quasi-periodic excitations during voiced sounds -- Emotions induce such characteristics in speech, which become apparent in spectrogram time-frequency distributions -- Later, the signal time-frequency representation from spectrogram is considered an image, and processed through a 2-dimensional Fourier Transform in order to perform the spatial Fourier analysis from it -- Finally features related with emotions in voiced speech are extracted and presented

Sonifying the solar system.

Sound is potentially an effective way of analysing data and it is possible to simultaneously interpret layers of sounds and identify changes. Multiple attempts to use sound with scientific data have been made, with varying levels of success. On many occasions this was done without including the end user during the development. In this study a sonified model of the 8 planets of our solar system was built and tested using an end user approach. The sonification was created for the Esplora Planetarium, which is currently being constructed in Malta. The data requirements were gathered from a member of the planetarium staff, and 12 end users, as well as the planetarium representative tested the sonification. The results suggest that listeners were able to discern various planetary characteristics without requiring any additional information. Three out of eight sound design parameters did not represent characteristics successfully. These issues have been identified and further development will be conducted in order to improve the model.

Petr Eben's oratorio Apologia Sokratus (1967) and ballet Curses and Blessings (1983): An interpretative analysis of the symbolism behind the text settings and musical style

The Czech composer Petr Eben (1927-2007) has written music in all genres except symphony, but he is highly recognized for his organ and choral compositions, which are his preferred genres. His vocal works include choral songs and vocal-instrumental works at a wide range of difficulty levels, from simple pedagogical songs to very advanced and technically challenging compositions. This study examines two of Eben‘s vocal-instrumental compositions. The oratorio Apologia Sokratus (1967) is a three-movement work; its libretto is based on Plato‘s Apology of Socrates. The ballet Curses and Blessings (1983) has a libretto compiled from numerous texts from the thirteenth to the twentieth centuries. The formal design of the ballet is unusual—a three-movement composition where the first is choral, the second is orchestral, and the third combines the previous two played simultaneously. Eben assembled the libretti for both compositions and they both address the contrasting sides of the human soul, evil and good, and the everlasting fight between them. This unity and contrast is the philosophical foundation for both compositions. The dissertation discusses the multileveled meanings behind the text settings and musical style of the oratorio and ballet in analyses focusing on the text, melodic and harmonic construction, and symbolism. Additional brief analyses of other vocal and vocal-instrumental compositions by Eben establish the ground for the examination of the oratorio and ballet and for understanding features of the composer‘s musical style. While the oratorio Apologia Sokratus was discussed in short articles in the 1970s, the ballet Curses and Blessings has never previously been addressed within Eben scholarship. The dissertation examines the significant features of Eben‘s music. His melodic style incorporates influences as diverse as Gregorian chant and folk tunes on the one hand, and modern vocal techniques such as Sprechgesang and vocal aleatoricism on the other. His harmonic language includes bitonality and polytonality, used to augment the tonal legacy of earlier times, together with elements of pitch collections and limited serial procedures as well as various secundal and quartal harmonic sonorities derived from them. His music features the vibrant rhythms of folk music, and incorporates other folk devices like ostinato, repetitive patterns, and improvisation.

The pre-reproductive period in a tropical bird: parental care, dispersal, survival, and avian life histories

The period between offspring birth and recruitment into the breeding population is considered one of the least understood components of animal life histories. Yet, examining this period is essential for studies of parental care, dispersal, demography, and life histories. Studies of the pre-reproductive period are particularly few in tropical regions, where the organization of life histories are predicted to differ compared to northern hemisphere species. For my dissertation I used radio-telemetry, mark-resighting, and field observations to study the pre-reproductive period in a Neotropical bird, the western slaty-antshrike (Thamnophilus atrinucha), in Panama. First, I found that parental care after offspring left the nest (the post-fledging period) was greater than care during the nestling period. Prolonged care resulted in a clear trade-off for parents as they did not nest again until fledglings from the first brood were independent. Parents fed offspring for a prolonged duration during the post-fledging period and higher post-fledging survival was observed compared to many northern hemisphere species. Second, I observed that offspring that remained with parents for longer periods on the natal territory had higher survival both while on the natal territory and after dispersal compared to those dispersing earlier. Parental aggression towards offspring increased with offspring age and offspring dispersed earlier when parents renested. Contrary to other family living species, only a small proportion of antshrike offspring remained on the natal territory until the following year and all dispersed to float. Floating is when juveniles wander within other breeding pairs’ territories. These results suggest that the benefits of delayed dispersal declined with offspring age and with renesting by parents. Third, I observed that survival during the dependent period and first year was greater in slaty antshrikes compared to that of northern hemisphere species. Pre-reproductive survival relative to adult survival was equal or greater than that observed in northern hemisphere species. The date offspring left the nest, mass, and age at dispersal influenced offspring survival, whereas offspring sex and year did not. Relatively high survival during the pre-reproductive period coupled with comparatively low annual productivity clarifies how many tropical species achieve replacement. High juvenile survival appears to obtain from extended post-fledging parental care, delayed dispersal, low costs of dispersal, and a less seasonal environment. Lastly, I experimentally manipulated begging at the nest to examine changes in parental behavior. Under elevated begging, parents increased provisioning rates and reduced the time between arrival to the nest and feeding of nestlings, potentially to reduce begging sounds. Furthermore, parents switched to preferentially feed the closest offspring during the begging treatment. This suggests parents either allowed sibling competition to influence feeding decisions, or feeding the closer nestling increased the efficiency of provisioning. In summary, I found that slaty antshrikes have delayed age at reproduction, higher post-fledging and first year survival, extended post-fledging parental care, equal or greater pre-reproductive survival relative to adult survival, and delayed dispersal compared to many northern hemisphere passerines. These results suggest that this tropical species has a strategy of high investment into few offspring. Furthermore, reproductive effort is equal or greater at least in slaty antshrikes compared to northern hemisphere species, suggesting that the latitudinal gradient in clutch size is not explained by a gradient in reproductive effort.

Investigating voice

So, when it came to deciding upon an area of research, how I used my own voice became the main focus in a broader investigation of voice within sonic environments. I wanted to explore, for my own practice, what effect the inclusion of the human voice may have within a composition. For the purposes of my research, sonic environment does not refer to specific types of environment (i.e., rural, urban etc.); rather, it refers to the use of field recordings of sounds from my own everyday life, for example house keys, the rain, a squeaky door.

The principle of least effort within the hierarchy of linguistic preferences: external evidence from English

The thesis is an investigation of the principle of least effort (Zipf 1949 [1972]). The principle is simple (all effort should be least) and universal (it governs the totality of human behavior). Since the principle is also functional, the thesis adopts a functional theory of language as its theoretical framework, i.e. Natural Linguistics. The explanatory system of Natural Linguistics posits that higher principles govern preferences, which, in turn, manifest themselves as concrete, specific processes in a given language. Therefore, the thesis’ aim is to investigate the principle of least effort on the basis of external evidence from English. The investigation falls into the three following strands: the investigation of the principle itself, the investigation of its application in articulatory effort and the investigation of its application in phonological processes. The structure of the thesis reflects the division of its broad aims. The first part of the thesis presents its theoretical background (Chapter One and Chapter Two), the second part of the thesis deals with application of least effort in articulatory effort (Chapter Three and Chapter Four), whereas the third part discusses the principle of least effort in phonological processes (Chapter Five and Chapter Six). Chapter One serves as an introduction, examining various aspects of the principle of least effort such as its history, literature, operation and motivation. It overviews various names which denote least effort, explains the origins of the principle and reviews the literature devoted to the principle of least effort in a chronological order. The chapter also discusses the nature and operation of the principle, providing numerous examples of the principle at work. It emphasizes the universal character of the principle from the linguistic field (low-level phonetic processes and language universals) and the non-linguistic ones (physics, biology, psychology and cognitive sciences), proving that the principle governs human behavior and choices. Chapter Two provides the theoretical background of the thesis in terms of its theoretical framework and discusses the terms used in the thesis’ title, i.e. hierarchy and preference. It justifies the selection of Natural Linguistics as the thesis’ theoretical framework by outlining its major assumptions and demonstrating its explanatory power. As far as the concepts of hierarchy and preference are concerned, the chapter provides their definitions and reviews their various understandings via decision theories and linguistic preference-based theories. Since the thesis investigates the principle of least effort in language and speech, Chapter Three considers the articulatory aspect of effort. It reviews the notion of easy and difficult sounds and discusses the concept of articulatory effort, overviewing its literature as well as various understandings in a chronological fashion. The chapter also presents the concept of articulatory gestures within the framework of Articulatory Phonology. The thesis’ aim is to investigate the principle of least effort on the basis of external evidence, therefore Chapters Four and Six provide evidence in terms of three experiments, text message studies (Chapter Four) and phonological processes in English (Chapter Six). Chapter Four contains evidence for the principle of least effort in articulation on the basis of experiments. It describes the experiments in terms of their predictions and methodology. In particular, it discusses the adopted measure of effort established by means of the effort parameters as well as their status. The statistical methods of the experiments are also clarified. The chapter reports on the results of the experiments, presenting them in a graphical way and discusses their relation to the tested predictions. Chapter Four establishes a hierarchy of speakers’ preferences with reference to articulatory effort (Figures 30, 31). The thesis investigates the principle of least effort in phonological processes, thus Chapter Five is devoted to the discussion of phonological processes in Natural Phonology. The chapter explains the general nature and motivation of processes as well as the development of processes in child language. It also discusses the organization of processes in terms of their typology as well as the order in which processes apply. The chapter characterizes the semantic properties of processes and overviews Luschützky’s (1997) contribution to NP with respect to processes in terms of their typology and incorporation of articulatory gestures in the concept of a process. Chapter Six investigates phonological processes. In particular, it identifies the issues of lenition/fortition definition and process typology by presenting the current approaches to process definitions and their typology. Since the chapter concludes that no coherent definition of lenition/fortition exists, it develops alternative lenition/fortition definitions. The chapter also revises the typology of phonological processes under effort management, which is an extended version of the principle of least effort. Chapter Seven concludes the thesis with a list of the concepts discussed in the thesis, enumerates the proposals made by the thesis in discussing the concepts and presents some questions for future research which have emerged in the course of investigation. The chapter also specifies the extent to which the investigation of the principle of least effort is a meaningful contribution to phonology.

Muzyka i muzyczność prozy japońskiej okresu Heian (794-1192)

Wydział Neofilologii: Katedra Orientalistyki

Antonio Salieri's La calamita de' cuori (1774): Sources, Form, Context

Antonio Salieri’s La calamita de’ cuori (1774) warrants musicological attention for what it can tell us about Salieri’s compositional craft and what it reveals about the development of form in Viennese Italian-language comic opera of the mid- and late-eighteenth century. In Part I of this dissertation, I explore the performance history of La calamita, present the first plot synopsis and English translation of the libretto, and describe the variants between Carlo Goldoni’s 1752 libretto and the revised version created for Salieri’s opera. I have collated Salieri’s holograph score, Österreichische Nationalbibliothek, Vienna, Mus. Hs. 16.508, with four copies having different relationships to it, and I propose a stemma that represents the relationships between these five sources. The analyses in Part II contribute to our understanding of formal practices in eighteenth-century drammi giocosi. My study of Salieri’s La calamita reveals his reliance on a clearly defined binary structure, referred to in this dissertation as “operatic binary form,” in almost half of the arias, ensembles, and instrumental movements of this opera. Salieri’s consistent use of operatic binary form led me to explore its use in drammi giocosi by other prominent composers of this time, including Baldassare Galuppi’s La calamita de’ cuori (1752), Wolfgang Amadeus Mozart’s Il dissoluto punito, ossia Il Don Giovanni (1787), and selected arias by Pasquale Anfossi, Florian Leopold Gassmann, Giuseppe Gazzaniga, Franz Joseph Haydn, Giovanni Paisiello, and Niccolò Piccinni dating from 1760 to 1774. This study showed that Salieri and his peers adhered to a recognizable tonal plan and set of design elements in their operatic binary forms, and that their arias fall into three distinct categories defined by the tonality at the beginning of the second half of the binary structure. The analysis presented here adds to our present understanding of operatic form in mid- and late-century drammi giocosi and shows that in La calamita de’ cuori, Salieri was following the normative formal procedures of his time.

Processing of hierarchical syntactic strusture in music

Hierarchical structure with nested nonlocal dependencies is a key feature of human language and can be identified theoretically in most pieces of tonal music. However, previous studies have argued against the perception of such structures in music. Here, we show processing of nonlocal dependencies in music. We presented chorales by J. S. Bach and modified versions inwhich the hierarchical structure was rendered irregular whereas the local structure was kept intact. Brain electric responses differed between regular and irregular hierarchical structures, in both musicians and nonmusicians. This finding indicates that, when listening to music, humans apply cognitive processes that are capable of dealing with longdistance dependencies resulting from hierarchically organized syntactic structures. Our results reveal that a brain mechanism fundamental for syntactic processing is engaged during the perception of music, indicating that processing of hierarchical structure with nested nonlocal dependencies is not just a key component of human language, but a multidomain capacity of human cognition.