Music and evolutionary computation

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.

Unsupervised automatic music genre classification

Trabalho apresentado no âmbito do Mestrado em Engenharia Informática, como requisito parcial para obtenção do grau de Mestre em Engenharia Informática

Fly by data link: feasibility of a relative navigation solution for aviation relying on a future L-band data link

Trabalho final de Mestrado para obtenção do grau de Mestre em Engenharia de Electrónica e Telecomunicações

Velocity estimation of moving ships using C-band SLC SAR data

A new algorithm for the velocity vector estimation of moving ships using Single Look Complex (SLC) SAR data in strip map acquisition mode is proposed. The algorithm exploits both amplitude and phase information of the Doppler decompressed data spectrum, with the aim to estimate both the azimuth antenna pattern and the backscattering coefficient as function of the look angle. The antenna pattern estimation provides information about the target velocity; the backscattering coefficient can be used for vessel classification. The range velocity is retrieved in the slow time frequency domain by estimating the antenna pattern effects induced by the target motion, while the azimuth velocity is calculated by the estimated range velocity and the ship orientation. Finally, the algorithm is tested on simulated SAR SLC data.

Sound levels and risk perceptions of music students during classes

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.

Exploring the long-term associations between adolescents’ music training and academic achievement

There is a positive relationship between learning music and academic achievement, although doubts remain regarding the mechanisms underlying this association. This research analyses the academic performance of music and non-music students from seventh to ninth grade. The study controls for socioeconomic status, intelligence, motivation and prior academic achievement. Data were collected from 110 adolescents at two time points, once when the students were between 11 and 14 years old in the seventh grade, and again 3 years later. Our results show that music students perform better academically than non-music students in the seventh grade (Cohen’s d = 0.88) and in the ninth grade (Cohen’s d = 1.05). This difference is particularly evident in their scores in Portuguese language and natural science; the difference is somewhat weaker in history and geography scores, and is least pronounced in mathematics and English scores (η2 p from .09 to .21). A longitudinal analysis also revealed better academic performance by music students after controlling for prior academic achievement (η2 p = .07). Furthermore, controlling for intelligence, socioeconomic status and motivation did not eliminate the positive association between music learning from the seventh to the ninth grade and students’ academic achievement (η2 p = .06). During the period, music students maintained better and more consistent academic standing. We conclude that, after controlling for intelligence, socioeconomic status and motivation, music training is positively associated with academic achievement.

"I was a maoist intelectual". Uma leitura crítica em torno dos conceitos "industria cultural" e "popular music" segundo adorno

Reflectir sobre noções como liberdade individual, democracia, o papel dos meios de comunicação e dos produtos culturais, é uma das principais tarefas das ciências sociais e humanas, reflexão particularmente pertinente nestes primeiros anos do séc. XXI marcados pela popularização de dispositivos tecnológicos destinados à circulação de informação em rede e pela virtualização de mecanismos de distribuição de bens de consumo cultural. Adomo constitui hoje uma das fontes mais importantes surgidas nos últimos 50 anos para esta reflexão. Marcado pelo advento do Nacional Socialismo e a perseguição de todos os "degenerados da condição ariana" (judeus, comunistas e homossexuais), Adomo produziu ao longo de quatro décadas, uma reflexão que marcou indelevelmente muitos autores que, escrevendo sobre a contemporaneidade, a adoptaram ou a ela se opuseram. A pergunta que coloco, e que serve de ponto de partida para este artigo, é proposta por Jameson: é hoje possível ler Adomo e Horkheimer junto à piscina? (1990: 248), ou posto de outra forma, que lugar ocupa a obra de Adomo como ferramenta para perspectivar o mundo actual.

One Anastomosis Gastric Bypass versus Roux en Y Gastric Bypass as Salvage Technique after Failed Gastric Band: a Retrospective Analysis of 80 Cases

The classical “Roux en Y Gastric Bypass” (RYGBP) is still the standard technique between all the ones being used nowadays. The “One anastomosis gastric bypass” (OAGBP), is an evolution of the “Minigastic bypass” described by Robert Rutledge in 2001, is a well known and progressively frequent but still controversial technique. In our group, after an experience of 10 years using the RYGBP as a salvage surgery after failed gastric banding, in 132 cases, we decided to adopt the OAGBP as our preferential bariatric technique also in this situation. The theoretical main reasons for that shift are related to the increased safety, maximized weight loss, long term weight loss maintenance and reversibility of the operation. Method: Retrospectively we evaluated data of the surgical management of revisional cases for conversion, after failed or complicated gastric bands to gastric bypass. We selected the last 40 cases of each technique since May 2010. Results: All cases were performed by laparoscopy without any conversion. In both groups the conversion has been performed in one single step (17 cases, 42,5%). Data showed lower morbidity with OAGBP (2,5% against 7,5%) and better weight loss in theOAGBP cohort after a median follow up of 16months (67%against 55%) in patients revised after gastric band failure or complications. None had statistic significance (p>0,1) by the chi-square contingency table analysis.Conclusion: It seems to there is a difference in favour of OAGBP for conversion of complicated gastric bands. In this study we didn’t found statistic significance probably because of the short numbers. Prospective and more powerful studies are necessary to evaluate the benefit of the studied procedure.

Some Notes on the Reception of Josquin and of Northern Idioms in Portuguese Music and Culture

Although Josquin is by far the best-represented foreign composer in Gonçalo de Baena's Arte novamente inventada pera aprender a tanger (Lisbon, 1540), his music is undeniably under-represented both in the extant sixteenth-century Portuguese manuscripts containing Franco-Flemish polyphony and in volumes imported from the Netherlands such as Coimbra MM 2 and VienNB 1783. Josquin’s reputation made him, along with Ockeghem, a symbol in Portuguese humanistic culture, but up to at least the late 1530s his name seems to have been much better known than his music. Nevertheless, possible allusions to specific works by Josquin can be found in early- and mid-sixteenth-century Portuguese polyphony. By the 1520s, the general technical and stylistic characteristics of his and the following generation of northerners had begun to permeate locally produced polyphony. This eventually replaced the late-fifteenth- and early-sixteenth-century pan-consonant and homorythmic style associated with the Aragonese and the so-called Spanish court repertory.

Popular music exhibitions in Portugal: practices of representation from 2007 to 2013

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.

Multipacket reception in the presence of in-band full-duplex communication

In-Band Full-DupleX (IB-FDX) is defined as the ability for nodes to transmit and receive signals simultaneously on the same channel. Conventional digital wireless networks do not implement it, since a node’s own transmission signal causes interference to the signal it is trying to receive. However, recent studies attempt to overcome this obstacle, since it can potentially double the spectral efficiency of current wireless networks. Different mechanisms exist today that are able to reduce a significant part of the Self- Interference (SI), although specially tuned Medium Access Control (MAC) protocols are required to optimize its use. One of IB-FDX’s biggest problems is that the nodes’ interference range is extended, meaning the unusable space for other transmissions and receptions is broader. This dissertation proposes using MultiPacket Reception (MPR) to address this issue and adapts an already existing Single-Carrier with Frequency-Domain Equalization (SC-FDE) receiver to IB-FDX. The performance analysis suggests that MPR and IB-FDX have a strong synergy and are able to achieve higher data rates, when used together. Using analytical models, the optimal transmission patterns and transmission power were identified, which maximize the channel capacity with the minimal energy consumption. This was used to define a new MAC protocol, named Full-duplex Multipacket reception Medium Access Control (FM-MAC). FM-MAC was designed for a single-hop cellular infrastructure, where the Access Point (AP) and the terminals implement both IB-FDX and MPR. It divides the coverage range of the AP into a closer Full-DupleX (FDX) zone and a farther Half-DupleX (HDX) zone and adds a tunable fairness mechanism to avoid terminal starvation. Simulation results show that this protocol provides efficient support for both HDX and FDX terminals, maximizing its capacity when more FDX terminals are used.