LQR Tuning Using AIS for Frequency Oscillation Damping

Commonly, primary control, i.e. governor, in the generation unit had been employed to stabilize the change of frequency due to the change of electrical load during system operation. But, the drawback of the primary control was it could not return the frequency to its nominal value when the disturbance was occurred. Thus, the aim of the primary control was only stabilizing the frequency to reach its new value after there were load changes. Therefore, the LQR control is employed as a supplementary control called Load Frequency Control (LFC) to restore and keep the frequency on its nominal value after load changes occurred on the power system grid. However, since the LQR control parameters were commonly adjusted based on classical or Trial-Error Method (TEM), it was incapable of obtaining good dynamic performance for a wide range of operating conditions and various load change scenarios. To overcome this problem, this paper proposed an Artificial Immune System (AIS) via clonal selection to automatically adjust the weighting matrices, Q and R, of LQR related to various system operating conditions changes. The efficacy of the proposed control scheme was tested on a two-area power system network. The obtained simulation results have shown that the proposed method could reduce the settling time and the overshoot of frequency oscillation, which is better than conventional LQR optimal control and without LQR optimal control

Contribution to the problem of computer-aided orchestration with the support of audio descriptors

Orientadores: Jônatas Manzolli, Stéphan Oliver SchaubTese (doutorado) - Universidade Estadual de Campinas, Instituto de ArtesResumo: Dentro da linha de pesquisa em Suportes instrumentais e materiais para composição e, em especial, à orquestração assistida por computador, a Tese descreve um estudo sobre o processo de combinação instrumental utilizando-se um ambiente computacional projetado com descritores de áudio, o qual denominamos como "Sound Shizuku Composition" ou SSC. Para tanto, implementamos o SSC em Pure Data (PD), utilizando a biblioteca de funções "PDescriptors" para analisar as características sonoras de um banco de dados de arquivos de áudio com diversos instrumentos musicais e técnicas expandidas. A pesquisa apoia-se, principalmente, em três aspectos fundamentais: a) o estudo de descritores de áudio como ferramenta de análise sonora à orquestração musical assistida por computador; b) a análise de obras e procedimentos desenvolvidos por compositores que servirão de referência para o desenvolvimento de modelos de escritura e; c) a criação de estudos composicionais, nos quais serão testadas as hipóteses de orquestração. A partir do estudo sobre os descritores de áudio como ferramenta de análise, item "a", a etapa centrou-se na geração de um universo de combinações instrumentais descrito a partir de suas características sonoras. Tal procedimento auxilia a tomada de decisão relacionada à orquestração e técnicas expandidas. Com relação ao item "b", utilizamos os descritores de áudio para analisar as características sonoras das seguintes obras: o Primeiro Movimento das "Quattro Pezzi per Orchestra", de Giacinto Scelsi; as três peças solo "Guero", "Pression" e "Dal Niente - Interieur III", de Helmut Lachenmann e; "Reflexões", de Jônatas Manzolli. No que refere-se ao item "c", apresentamos um portfólio de composições musicais, cujo planejamento orquestral baseou-se no diálogo entre os resultados obtidos a partir dos estudos dos descritores de áudio com as análises das obras dos compositores de referência. Espera-se que todo o processo de pesquisa aqui reportado contribua com o desenvolvimento na área de orquestração musical assistida por computador, estabelecendo uma mescla mais refinada da diversidade sonora enquanto um método de combinação de instrumentos musicais e técnicas expandidasAbstract: This Thesis describes an investigation into the instrumental combination process using a computing environment designed with audio descriptors, which we refer to as Sound Shizuku Composition or SSC. To this end, we implemented the SSC in PureData programming language (PD) using the library of functions "PDescriptors" to analyze the sound characteristics of a sound database with a myriad of musical instruments and extended techniques. The research relies mainly on three fundamental aspects: a) the study of audio descriptors such as sound analysis tool for computer-assisted musical orchestration; b) the analysis of works by composers and procedures developed to serve as a reference for the development of compositional models; c) the creation of compositional studies, in which the orchestrations will be tested. From the study on the audio descriptors as an analytical tool, item "a" focused on the generation of a universe of instrumental combinations described from their sonic characteristics. This procedure helps the decision making related to the orchestration and extended techniques. Regarding to item "b", we use the audio descriptors to analyze the sound characteristics of the following works: the First Movement of "Quattro Pezzi per Orchestra" by Giacinto Scelsi; the three solo pieces "Guero", "Pression" and "Dal Niente - Interieur III" by Helmut Lachenmann and "Reflexões" by Jônatas Manzolli. As refers to the item "c", we present a portfolio of original musical works, whose orchestral planning was based on the dialogue between the results obtained from studies of audio descriptors with the analysis of the works of reference composers. It is expected that the whole process of research reported here will increase the field of computer-assisted musical orchestration research area, establishing a more refined blend of sound diversity as a method of combination of musical instruments and extended techniquesDoutoradoProcessos CriativosDoutor em Música2011/23972-2FAPES

UTB/TSC Legacy Degree Programs and Courses 2013 – 2014

https://scholarworks.utrgv.edu/brownsvillelegacycatalogs/1029/thumbnail.jp

The development of corpus-based computer assisted composition program and its application for instrumental music composition

In the last 20 years, we have seen the nourishing environment for the development of music software using a corpus of audio data expanding significantly, namely that synthesis techniques producing electronic sounds, and supportive tools for creative activities are the driving forces to the growth. Some software produces a sequence of sounds by means of synthesizing a chunk of source audio data retrieved from an audio database according to a rule. Since the matching of sources is processed according to their descriptive features extracted by FFT analysis, the quality of the result is significantly influenced by the outcomes of the Audio Analysis, Segmentation, and Decomposition. Also, the synthesis process often requires a considerable amount of sample data and this can become an obstacle to establish easy, inexpensive, and user-friendly applications on various kinds of devices. Therefore, it is crucial to consider how to treat the data and construct an efficient database for the synthesis. We aim to apply corpusbased synthesis techniques to develop a Computer Assisted Composition program, and to investigate the actual application of the program on ensemble pieces. The goal of this research is to apply the program to the instrumental music composition, refine its function, and search new avenues for innovative compositional method

UTB/TSC Legacy Degree Programs and Courses 2014 – 2015

https://scholarworks.utrgv.edu/brownsvillelegacycatalogs/1030/thumbnail.jp

UTB/TSC Legacy Degree Programs and Courses 2010 – 2011

https://scholarworks.utrgv.edu/brownsvillelegacycatalogs/1026/thumbnail.jp

Cyber-Narrative in Opera: Three Case Studies

This dissertation looks at three newly composed operas that feature what I call cyber-narratives: a work in which the story itself is inextricably linked with digital technologies, such that the characters utilize, interact with, or are affected by digital technologies to such a pervasive extent that the impact of said technologies is thematized within the work. Through an analysis of chat rooms and real-time text communication in Nico Muhly’s Two Boys (2011), artificial intelligence in Søren Nils Eichberg’s Glare (2014), and mind uploading and digital immortality in Tod Machover’s Death and the Powers (2010), a nexus of ideologies surrounding voice, the body, gender, digital anthropology, and cyber-culture are revealed. I consider the interpretive possibilities that emerge when analyzing voice and musical elements in conjunction with cultural references within the libretti, visual design choices in the productions, and directorial decisions in the evolution of each work. I theorize the expressive power of the operatic medium in dramatizing and personifying new forms of technology, while simultaneously exposing how these technologically oriented narratives reinforce and rely upon operatic tropes of the past. Recurring themes of misogyny and objectification of women across all three works are addressed, as is the framing of digital technology as a mechanism of dehumanization. This analysis also focuses on the unique sung and embodied aspect of opera, and how the human voice shapes concepts of identity, agency, and individuality in the digital age. All three case studies demonstrate how opera gives the cyber-narrative every possible mode of expression to explore the complexities and anxieties of human-machine relationships in the digital era, as all three operas question how the thematized technologies may come to re-define our perception and experience of humanity itself