Use of baited remote underwater video (BRUV) and motion analysis for studying the impacts of underwater noise upon free ranging fish and implications for marine energy management

© 2016 Elsevier Ltd Free-ranging individual fish were observed using a baited remote underwater video (BRUV) system during sound playback experiments. This paper reports on test trials exploring BRUV design parameters, image analysis and practical experimental designs. Three marine species were exposed to playback noise, provided as examples of behavioural responses to impulsive sound at 163–171 dB re 1 μPa (peak-to-peak SPL) and continuous sound of 142.7 dB re 1 μPa (RMS, SPL), exhibiting directional changes and accelerations. The methods described here indicate the efficacy of BRUV to examine behaviour of free-ranging species to noise playback, rather than using confinement. Given the increasing concern about the effects of water-borne noise, for example its inclusion within the EU Marine Strategy Framework Directive, and the lack of empirical evidence in setting thresholds, this paper discusses the use of BRUV, and short term behavioural changes, in supporting population level marine noise management

The audio notebook : paper and pen interaction with structured speech

Thesis (Ph. D.)--Massachusetts Institute of Technology, Program in Media Arts & Sciences, 1997.This electronic version was submitted by the student author. The certified thesis is available in the Institute Archives and Special Collections.Includes bibliographical references (leaves 143-150).Lisa Joy Stifelman.Ph.D

Planar Refrains

My practice explores phenomenal poetic truths that exist in fissures between the sensual and physical qualities of material constructs. Magnifying this confounding interspace, my work activates specific instruments within mutable, relational systems of installation, movement, and documentation. The tools I fabricate function within variable orientations and are implemented as both physical barriers and thresholds into alternate, virtual domains. Intersecting fragments of sound and moving image build a nexus of superimposed spatialities, while material constructions are enveloped in ephemeral intensities. Within this compounded environment, both mind and body are charged as active sites through which durational, contemplative experiences can pass. Reverberation, the ghostly refrain of a sound calling back to our ears from a distant plane, can intensify our emotional experience of place. My project Planar Refrains utilizes four electro-mechanical reverb plates, analog audio filters designed to simulate expansive acoustic arenas. Historically these devices have provided emotive voicings to popular studio recordings, dislocating the performer from the commercial studio and into a simulated reverberant territory of mythic proportions. The material resonance of steel is used to filter a recorded signal, shaping the sound of a human performance into something more transformative, a sound embodying otherworldly dynamics. In subverting the designed utility of reverb plates, I am exploring their value as active surfaces extending across different spatial realities. The background of ephemeral sonic residue is collapsed into the foreground, a filter becomes sculpture, and this sculpture becomes an instrument in an evolving soundscape

FINDING THE “TECH” IN TECHNIQUE: A PEDAGOGICAL APPROACH TO ELECTROACOUSTIC CONCERT PERCUSSION PERFORMANCE PRACTICE

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

LibriWASN: A Data Set for Meeting Separation, Diarization, and Recognition with Asynchronous Recording Devices

We present LibriWASN, a data set whose design follows closely the LibriCSS meeting recognition data set, with the marked difference that the data is recorded with devices that are randomly positioned on a meeting table and whose sampling clocks are not synchronized. Nine different devices, five smartphones with a single recording channel and four microphone arrays, are used to record a total of 29 channels. Other than that, the data set follows closely the LibriCSS design: the same LibriSpeech sentences are played back from eight loudspeakers arranged around a meeting table and the data is organized in subsets with different percentages of speech overlap. LibriWASN is meant as a test set for clock synchronization algorithms, meeting separation, diarization and transcription systems on ad-hoc wireless acoustic sensor networks. Due to its similarity to LibriCSS, meeting transcription systems developed for the former can readily be tested on LibriWASN. The data set is recorded in two different rooms and is complemented with ground-truth diarization information of who speaks when.Comment: Accepted for presentation at the ITG conference on Speech Communication 202

Interaction Design for Digital Musical Instruments

The thesis aims to elucidate the process of designing interactive systems for musical performance that combine software and hardware in an intuitive and elegant fashion. The original contribution to knowledge consists of: (1) a critical assessment of recent trends in digital musical instrument design, (2) a descriptive model of interaction design for the digital musician and (3) a highly customisable multi-touch performance system that was designed in accordance with the model. Digital musical instruments are composed of a separate control interface and a sound generation system that exchange information. When designing the way in which a digital musical instrument responds to the actions of a performer, we are creating a layer of interactive behaviour that is abstracted from the physical controls. Often, the structure of this layer depends heavily upon: 1. The accepted design conventions of the hardware in use 2. Established musical systems, acoustic or digital 3. The physical configuration of the hardware devices and the grouping of controls that such configuration suggests This thesis proposes an alternate way to approach the design of digital musical instrument behaviour – examining the implicit characteristics of its composite devices. When we separate the conversational ability of a particular sensor type from its hardware body, we can look in a new way at the actual communication tools at the heart of the device. We can subsequently combine these separate pieces using a series of generic interaction strategies in order to create rich interactive experiences that are not immediately obvious or directly inspired by the physical properties of the hardware. This research ultimately aims to enhance and clarify the existing toolkit of interaction design for the digital musician