AcMus: an open, integrated platform for room acoustics research

This article describes the design, implementation, and experiences with AcMus, an open and integrated software platform for room acoustics research, which comprises tools for measurement, analysis, and simulation of rooms for music listening and production. Through use of affordable hardware, such as laptops, consumer audio interfaces and microphones, the software allows evaluation of relevant acoustical parameters with stable and consistent results, thus providing valuable information in the diagnosis of acoustical problems, as well as the possibility of simulating modifications in the room through analytical models. The system is open-source and based on a flexible and extensible Java plug-in framework, allowing for cross-platform portability, accessibility and experimentation, thus fostering collaboration of users, developers and researchers in the field of room acoustics.

AcMus: an Open, Integrated Platform for Room Acoustics Research

This article describes the design, implementation, and experiences with AcMus, an open and integrated software platform for room acoustics research, which comprises tools for measurement, analysis, and simulation of rooms for music listening and production. Through use of affordable hardware, such as laptops, consumer audio interfaces and microphones, the software allows evaluation of relevant acoustical parameters with stable and consistent results, thus providing valuable information in the diagnosis of acoustical problems, as well as the possibility of simulating modifications in the room through analytical models. The system is open-source and based on a flexible and extensible Java plug-in framework, allowing for cross-platform portability, accessibility and experimentation, thus fostering collaboration of users, developers and researchers in the field of room acoustics.

Human-Computer interaction methodologies applied in the evaluation of haptic digital musical instruments

Recent developments in interactive technologies have seen major changes in the manner in which artists, performers, and creative individuals interact with digital music technology; this is due to the increasing variety of interactive technologies that are readily available today. Digital Musical Instruments (DMIs) present musicians with performance challenges that are unique to this form of computer music. One of the most significant deviations from conventional acoustic musical instruments is the level of physical feedback conveyed by the instrument to the user. Currently, new interfaces for musical expression are not designed to be as physically communicative as acoustic instruments. Specifically, DMIs are often void of haptic feedback and therefore lack the ability to impart important performance information to the user. Moreover, there currently is no standardised way to measure the effect of this lack of physical feedback. Best practice would expect that there should be a set of methods to effectively, repeatedly, and quantifiably evaluate the functionality, usability, and user experience of DMIs. Earlier theoretical and technological applications of haptics have tried to address device performance issues associated with the lack of feedback in DMI designs and it has been argued that the level of haptic feedback presented to a user can significantly affect the user’s overall emotive feeling towards a musical device. The outcome of the investigations contained within this thesis are intended to inform new haptic interface.

MULTIDIMENSIONAL SCALING OF MUSICAL TIME ESTIMATIONS

The aim of this study was to identify the psycho-musical factors that govern time evaluation in Western music from baroque, classic, romantic, and modern repertoires. The excerpts were previously found to represent variability in musical properties and to induce four main categories of emotions. 48 participants (musicians and nonmusicians) freely listened to 16 musical excerpts (lasting 20 sec. each) and grouped those that seemed to have the same duration. Then, participants associated each group of excerpts to one of a set of sine wave tones varying in duration from 16 to 24 sec. Multidimensional scaling analysis generated a two-dimensional solution for these time judgments. Musical excerpts with high arousal produced an overestimation of time, and affective valence had little influence on time perception. The duration was also overestimated when tempo and loudness were higher, and to a lesser extent, timbre density. In contrast, musical tension had little influence.

Leonel Duarte Ferreira (1894-1959) : vida e obra musical

Tese apresentada para o cumprimento dos requisitos necessários à obtenção do grau de Doutor no ramo de Ciências Musicais

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.

A interação entre Música e Dança na aula de Técnica de Dança Clássica : estratégias para o desenvolvimento da sensibilidade musical com alunas do 5º ano da Escola Vocacional de Dança da Sociedade Filarmónica Gualdim Pais

Relatório Final de Estágio apresentado à Escola Superior de Dança, com vista à obtenção do grau de Mestre em Ensino de Dança.

Abordagem ao ensino da educação musical segundo uma perspetiva abrangente

Relatório de Estágio apresentado à Escola Superior de Educação de Lisboa para obtenção de grau de mestre em Educação Musical no Ensino Básico

A director’s approach to art and religion : o quadro, um musical da Paixão segundo o sr. João (The masterpiece, a musical of The passion according to John): trabalho de projecto

Trabalho de Projecto submetido à Escola Superior de Teatro e Cinema para cumprimento dos requisitos necessários à obtenção do grau de Mestre em Teatro - especialização em Encenação.

Temperament in Bach’s Well-tempered clavier: a historical survey and a new evaluation according to dissonance theory

After a historical survey of temperament in Bach’s Well-Tempered Clavier by Johann Sebastian Bach, an analysis of the work has been made by applying a number of historical good temperaments as well as some recent proposals. The results obtained show that the global dissonance for all preludes and fugues in major keys can be minimized using the Kirnberger II temperament. The method of analysis used for this research is based on the mathematical theories of sensory dissonance, which have been developed by authors such as Hermann Ludwig Ferdinand von Helmholtz, Harry Partch, Reinier Plomp, Willem J. M. Levelt and William A. Sethares

Normalisation de l’évaluation du potentiel musical auprès d’enfants d’âge scolaire

Cette étude introduit un nouvel outil d’évaluation des troubles liés à la perception et la mémoire de la musique pour les enfants âgés entre six et huit ans. La batterie d’évaluation proposée est une adaptation de la batterie de Montréal de l'évaluation de l’amusie (MBEA) afin qu’elle puisse être utilisée chez les enfants, et ce, peu importe leur langue maternelle et leur culture. Dans l'expérience 1, la batterie, qui évalue les composantes musicales suivantes : la tonalité, le contour, l’intervalle, le rythme ainsi que la mémoire incidente, a été administrée auprès de 258 enfants à Montréal et 91 à Pékin. Dans l'expérience 2, une version abrégée de la batterie a été administrée à 86 enfants à Montréal. Les deux versions ont démontré une sensibilité aux différences individuelles et à la formation musicale. Il ne semble pas y avoir une influence de l'apprentissage de la lecture et de l’écriture sur les performances, mais plutôt un effet de la culture. Effectivement, les enfants qui ont comme langue maternelle le Mandarin (une langue tonale) ont obtenu de meilleurs résultats aux tâches de discrimination liées à la composante mélodique en comparaison à leurs homologues canadiens. Pour les deux groupes d’enfants, ceux qui ont été identifiés comme potentiellement amusiques ont principalement, mais pas exclusivement, des difficultés à percevoir de fines variations de hauteurs. Le caractère prédominant du déficit lié au traitement mélodique est moins distinctif avec la version abrégée. Par ailleurs, les résultats suggèrent différentes trajectoires de développement pour le traitement de la mélodie, du rythme et de la mémoire. De ce fait, la version de la MBEA adaptée à l’enfant, renommée la batterie de Montréal d'évaluation du potentiel musical (MBEMP), est un nouvel outil qui permet d’identifier les troubles liés au traitement musical chez les enfants tout en permettant d'examiner le développement typique et atypique des habiletés musicales et leur relation présumée à d'autres fonctions cognitives.

Notas de testemunho e recalque: uma experiência musical dos traumas sociais brasileiros em Chico Buarque e Paulinho da Viola (de meados da década de 1960 a meados da década de 1970)

Fundação de Amparo à Pesquisa do Estado de São Paulo (FAPESP)

A pesquisa brasileira em educação musical infantil: tendências teórico-metodológicas e perspectivas

Pós-graduação em Música - IA

Biomechanical evaluation of the singing voice

Teaching the adequate use of the singing voice conveys a lot of knowledge in musical performance as well as in objective estimation techniques involving the use of air, muscles, room and body acoustics, and the tuning of a fine instrument as the human voice. Although subjective evaluation and training is a very delicate task to be carried out only by expert singers, biomedical engineering may help contributing with well-funded methodologies developed for the study of voice pathology. The present work is a preliminary study of exploratory character describing the performance of a student singer in a regular classroom under the point of view of vocal fold biomechanics. Estimates of biomechanical parameters obtained from singing voice are given and their potential use is discussed.

Evolución de los sistemas técnicos de reproducción musical

Con el fin de analizar la caracterización del proceso de evolución de los sistemas técnicos de reproducción musical se han planteado dos vías principales de análisis: en primer lugar, el estudio de las características técnicas de cuatro sistemas de reproducción que se han considerado representativos de dicho avance (sistemas basados en disco de vinilo, casete compacto, disco compacto y formato de codificación perceptual) y, en segundo lugar, el funcionamiento de dichos sistemas dentro del concepto que se ha denominado como cadena de transmisión de información de tipo musical. A través de la evaluación del grado de evolución de cada sistema y de su posterior comparación se procederá a realizar dicha caracterización. Para ello se tendrán en cuenta factores objetivos como, por ejemplo, la calidad de la señal de audio pero también cualitativos como, por ejemplo, la portabilidad que pueda proporcionar un tipo de sistema u otro. Por otra parte, se plantea un segundo objetivo que es actualizar la definición de reproductor, si así se desprende de los análisis, con la aparición de reproductores basados en codificación perceptual. ABSTRACT. In order to analyze the characterization of the process of evolution of technical systems of music playback considered two main ways of analysis: first, the study of the technical characteristics of four playback systems that have been considered representative of the advance (based on vinyl, compact cassette, compact disc and perceptual formats coding systems) and, second, the operation of these systems within the concept that has been called chain of information transmission of music. Through the evaluation of the degree of development of each system and its subsequent comparison will proceed to make such characterization. For this objective kept in mind factors such as the quality of the audio signal but also qualitative, for example, portability that can provide a particular device type will be considered. Moreover, a second objective is to update the definition of the player, if it is apparent from the analysis, with the appearance of players based on perceptual coding arises.