Dissertations / Theses on the topic 'Ablette'

Syftet med detta arbete är att fördjupa min kunskap om hur datorn kan användas som musikaliskt instrument. Datorer kan reproducera och simulera akustiska instrument men likväl kan den även skapa elektroakustiska ljud genom synthesizer och samplers. Inom det moderna musikskapandet är datorn ett ytterst viktigt instrument där den bland annat fungerar som dokumentationsmaskin, det vill säga vår tids bandspelare. Andra användningsområden av datorn i dagens musiklandskap är i ”live-framträdanden”. Med detta arbete vill jag praktisera och fördjupa mina kunskaper om hur datorn kan användas som instrument i mitt eget musicerande. Genom dokumentation i form av loggbok, video och ljudinspelningar kommer jag att analysera min process med avstamp inom det sociokulturella perspektivet.<br>The purpose of this work is to deepen my knowledge of how the computer can be used as a musical instrument. Computers can reproduce and simulate acoustic instruments but still they can also create electroacoustic sounds through synthesizers and samplers. In modern music creation, the computer is an extremely important instrument where, among other things, it serves as a tape-machine, the tape recorder of our time. Other uses of the computer in today's music landscape are in "live performances".   With this work I want to practice and deepen my knowledge of how the computer can be used as an instrument in my own music making. Through documentation in the form of logbook, video and audio recordings, I will analyze my process with an starting point in the socio-cultural perspective.

This study aims to explore the boundaries and creative possibilities of composing and improvising music with a base in sampled saxophone fragments inside of Ableton Live. The study have included things as: exploring different sound design techniques, manipulation of saxophone samples, composing and rearranging music as well as rehearsing with a band and trying different concepts and approaches to performing the music in a live situation. The work includes creating polytonal sample instruments built inside of Live and the creation of more texture based ones as well. This work also resulted in composing 6 different compositions and the rearranging of an earlier composition to match the aesthetic character of the other ones. I’ve also tried to stretch the linear boundaries of Ableton Live with a more rubato based approach to composing to see what possibilities the program had to handle that type of context.As a composer I’ve early on created an aesthetic vision of what I wanted this sample based music to sound like and tried to very precisely recreate what I’ve heard inside of my head in detailed sketches in Ableton Live using midi instruments together with the sampled textures and instruments. I then realised that a great deal of the final task of this study was to bring this vision to the ensemble and make them play the music in a way that resonated with what I’ve heard when I composed it.

This dissertation investigates the process of collaboration and the application of both notational and technological schemes to integrate elements of contemporary composition and tap dance as a consolidated art form. Overall, this document gives an overview of choreographer/composer collaborations in Western classical music; movement notation; and ultimately analyzes my original music—a live set for tap dancer, live musicians and electronics—entitled Digital Tap Dance. Altogether, this project represents the culmination of music and dance as a compelling intermedia collaboration. By (1) researching different practices of composer-choreographer collaborations, (2) notating rudiments for tap dance, (3) creating software for tap dancers, and (4) composing original music for tap dancers, this dissertation will create options for composers and choreographers alike in composition and improvisation.

Over the past three semesters, I have been working on refining my Honors Thesis to meet exactly what I wanted to study. This is why when looking at what I wanted to focus on it, it was obvious that I wanted to integrate musical performance with a visual performance—similar to what a Video Disc Jockey (VDJ) might incorporate into a live set. Currently, there are a quite a few percussion pieces that use Max patches that process the sounds, or use pre-made visuals that play along with the music. My goal with this Thesis was to find a way to use a patch with the music that reacts to the visuals in real time. What makes this different from other performances is that each performance will be slightly different than the one before it or after it. To me, this is something that I find very exciting about music and technology. Throughout this essay, I will explain how I approach composing a piece specifically for this as well as my learning process to integrate a Max patch with the Music.

Premise and Objectives In our increasingly technology driven society, the impact of technology touches nearly every aspect of our lives in some form or another. This has been acutely felt within the world of percussion, with electroacoustic works representing perhaps the most rapidly expanding area of concert percussion over the last twenty years. Electroacoustic music couples electronic technology with traditional acoustic instruments and/or performance practices. Broadly, this paper outlines a systematic approach to teaching electroacoustic performance practice, based on elements found in a cross-section of percussion literature. In using such an approach, not only does each student become more capable of dealing with this growing body of literature, but also the process of educating these students becomes more efficient for the teacher. As a result, delivery becomes more effectively standardized, and resources can be shared more efficiently among multiple students who may be studying different types of electroacoustic repertoire. Method To organize this exploration, three main genres of electroacoustic repertoire for percussion are compared: prerecorded soundscape, live processing, and electronic pieces. This comparison illuminates the tools and techniques that are relevant to each type of repertoire and reflects not only the narrower focus of electroacoustic percussion, but also the broader goals of applied percussion instruction in the context of a “total” percussion program. Each classification is explored by addressing its critical elements using prime examples from the relevant standard repertoire. For the first classification of works, tape pieces, the project includes discussion on signal flow, balancing electronic and acoustic sound sources, an introduction to digital audio workstations (DAWs), and monitoring techniques. Two primary examples of the repertoire are used to contribute to this discussion; Javier Alvarez’s Temazcal for maracas and tape, and Brian Blume’s Strands of Time. Live processing works present increased challenges with concepts, including sound reinforcement, recording production, how to edit and creatively manipulate sound both in post-production and live, and detailed concepts of signal flow, often including MIDI protocol. To explore the concepts specifically relevant to live processed works, Nigel Westlake’s classic work, Fabian Theory, for amplified marimba and three toms, is offered. Electronic works give students further opportunity to explore MIDI mapping, patch and parameter changes using both hardware and software, and sometimes sound design. In this context, there is a brief exploration of Steve Reich’s Violin Phase. Finally, an exploration of Hans Werner Henze’s, Prison Song demonstrates how all of this technology and technique can come together in combination works. The work requires live sound reinforcement, pre-recorded soundscapes, separate monitoring, live processing, and live MIDI controllers. The paper closes with a brief summary of extra pedagogical considerations, including resource management, pedagogical philosophy, and further implications. Conclusion By examining the logical steps of pedagogically developing through the different broad categories of electroacoustic music, with an emphasis on its reflection of broader liberal values and critical applied analysis, it is believed that this research could yield a model for a more thoughtful approach for applied percussion teachers.

Thesis (Ph. D.)--Florida State University, 2007.<br>Advisor: Donald D. Horward, Florida State University, College of Arts and Sciences, Dept. of History. Title and description from dissertation home page (viewed July 5, 2007). Document formatted into pages; contains xiv, 382 pages. Includes bibliographical references.

Numa perspectiva prática, o projeto centra-se na aprendizagem de um software de sequenciação musical em computador, assim como na gravação áudio, edição e composição através do mesmo. Os alunos aprendem três musicas de Natal, gravam-nas, editam-nas e compõem um Medley com as mesmas. O projeto tem o objetivo de potenciar a motivação e aprendizagens musicais dos alunos, em contexto de sala de aula. ! Collins (1996) sugere um quadro para a aplicação de novas tecnologias. Este serve de guia para a metodologia de aprendizagem do software. Após esta etapa os alunos começam a compor através dessa nova ferramenta, para tal baseio-me em Savage (2005), emprego os diversos significados musicais de Green (2000) para comprovar a motivação dos alunos e relaciono os mesmos com a Espiral de Desenvolvimento Musical de Swanwick e Tillman para analisar que aprendizagens musicais foram desenvolvidas, findando este com uma avaliação das músicas compostas pelos alunos. ! Posto isto, o projeto foi realizado na Escola Básica e de Pré Escolar da Serra de Água, os intervenientes foram treze alunos do quarto ano. Em termos de infraestruturas foram utilizadas duas salas: A primeira foi a sala de aula, onde estes aprenderam e gravaram as músicas de Natal. A segunda foi a sala de informática, onde aprenderam a manusear o software e compuseram com o mesmo. Assim sendo, cada sessão teve a duração de duas horas e meia, normalmente dividida entre ambas salas. O projeto começou a ser implementado a 16 de outubro e foi concluído a 13 de dezembro. ! Paralelamente foi feito um trabalho de investigação com o objectivo de analisar os níveis de aprendizagem e motivação. Para tal foi utilizado o referencial teórico de Swanwick e Tillman para a caracterização e avaliação das composições feitas pelos alunos. Os resultados desta investigação reforçam a importância desta ideia, quer na motivação ou na qualidade musical desenvolvida pelos alunos.<br>This project focuses on learning a piece of musical sequencing software as well as audio recording, editing and composition through it. Students learn three Christmas songs, record them, edit them and compose a Medley based on them. The project aims to enhance the motivation and music learning context of the classroom. ! Collins (1996) suggests a framework for the application of technologies, it serves as a guide for a software learning methodology. Afterwards, students begin to compose through this new tool, for that I have drawn from Savage (2005), I use Green’s (2000) musical meanings to assert the students’ motivation. After that, I used the Music Development Spiral by Swanwick and Tillman to analyze the individual development of each student’s music learning and also as a means of evaluating the songs composed by the students. ! This project was carried out at the Serra de Água Basic Education and Pre School facility, the subjects were thirteen fourth grade students. Two rooms were used, the classroom, where they learned and recorded Christmas songs, and the computer room, where they learned how to handle the software and composed through it. Each session lasted for two and half hours, most of them divided between the two rooms. This project began on the sixteenth of October and was brought to a close on December thirteen. ! Simultaneously, I carried out research work in order to analyze the levels of learning and motivation. In order to characterize and evaluate the compositions made by the students I also employed the theoretical framework by Swanwick and Tillman. The results of this study reinforce the importance of this idea, concerning both motivation boosting and music learning quality and efficacy.<br>Escola Superior de Educação, Instituto Politécnico de Setúbal

Dissertação de Mestrado Integrado em Engenharia Física apresentada à Faculdade de Ciências e Tecnologia<br>Este trabalho incide sobre sistemas eletrónicos extensíveis (\textit{Stretchable}) fabricados com compostos condutores constituídos por micropartículas/microflocos de prata dispersos numa matriz de Polidimetilsiloxano.Num primeiro passo, vários tipos de compostos baseados em prata serão testados e comparados. Isto inclui partículas com diferentes geometrias, nomeadamente micropartículas e microflocos de prata, bem como micropartículas de níquel e ferrite revestidas com prata. Do composto resultante, designado AgPDMS, espera-se que seja um bom condutor e, mais, que mantenha esta característica mesmo quando elongado. O limiar de percolação para cada um destes tipos de partículas será obtido experimentalmente, e a estabilidade das propriedades elétricas do tipo de partícula selecionado será avaliada. De seguida, três métodos de padronização serão avaliados, nomeadamente impressão por \textit{stencil}, serigrafia e moldagem. O objetivo seguinte será reduzir a área dos circuitos desenvolvidos, quer reduzindo a dimensão dos elementos do circuito quer fabricando circuitos com várias camadas. Para fabricar circuitos de várias camadas será usado um método baseado em ablação com laser para criar vias que ligam electricamente camadas adjacentes. Em seguida, métodos para integrar componentes rígidas em circuitos extensíveis serão testados. Será ainda realizada caracterização eletromecânica de amostras fabricadas usando os materias e métodos selecionados no decorrer deste trabalho.Para terminar, serão apresentados dois sistemas electrónicos extensíveis fabricados no ISR, como prova de conceito. O primeiro é um \textit{touchpad} capacitivo extensível, e o segundo um sensor ECG sem fios extensível.<br>This work focuses on stretchable electronics systems, composed of silver-based conductive composites as the conductive material and Polydimethylsiloxane (PDMS) as the stretchable substrate material.First, as a filler for PDMS-based conductive composites, various types of silver particles will be evaluated. This includes silver particles and silver flakes with different geometries, as well as silver-coated nickel/ferrite particles. The resulting composite, called AgPDMS, should be conductive and also tolerate strain without losing conductivity. The percolation threshold for each of these particle types is obtained experimentally, and the stability over time of conductivity for the selected particle type is evaluated. After this, three patterning methods are evaluated, namely stencil printing, screen printing and moulding.The second goal of this work is to reduce the circuit footprint by both reducing feature dimensions and fabricating multilayer AgPDMS stretchable circuits. To fabricate multilayer circuits, a method based on laser ablation is used for creating vias between layers.After this, methods for integrating flexible and rigid components into soft circuits will be assessed.Thorough electromechanical characterisation of samples fabricated using the selected materials and methods will be performed.To conclude, two stretchable electronics systems fabricated at ISR will be presented as proof-of-concept. This includes a multilayer capacitive stretchable touchpad and an ECG sensor.<br>FCT