Relevant bibliographies by topics / Electrical music instrument

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Electrical music instrument'

Author: Grafiati
Published: 28 May 2022
Last updated: 31 July 2025

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Journal articles on the topic "Electrical music instrument"

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Schwabe, Markus, and Michael Heizmann. "Influence of input data representations for time-dependent instrument recognition." tm - Technisches Messen 88, no. 5 (2021): 274–81. http://dx.doi.org/10.1515/teme-2020-0100.

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Abstract An important preprocessing step for several music signal processing algorithms is the estimation of playing instruments in music recordings. To this aim, time-dependent instrument recognition is realized by a neural network with residual blocks in this approach. Since music signal processing tasks use diverse time-frequency representations as input matrices, the influence of different input representations for instrument recognition is analyzed in this work. Three-dimensional inputs of short-time Fourier transform (STFT) magnitudes and an additional time-frequency representation based
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Raharja, Budi. "Musik Iringan Drama Tari Pengembaraan Panji Inukertapati Bermisi Perdamaian dan Toleransi." Resital: Jurnal Seni Pertunjukan 20, no. 1 (2019): 13–23. http://dx.doi.org/10.24821/resital.v20i1.3459.

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Tujuan penulisan ini untuk mendeskripsikan musik iringan drama tari berjudul “Pengembaraan Panji Inukertapati Bermisi Perdamaian dan Toleransi.” Drama tari tersebut mengisahkan perjalanan Panji Inukertapati menjelajahi beberapa wilayah Nusantara mencari kekasihnya, Dewi Sekartaji. Pembahasan fokus terhadap dinamika pertunjukan, alasan pemilihan bunyi atau lagu, dan hubungan musik dengan gerak tari. Metode interview, observasi, studi literatur, dan studi dokumen digunakanuntuk pengumpulan datanya. Hasil kesimpulan diketahui bahwa musik iringan drama tari tersebut terdiri atas bunyi Dijerido, bu
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Schwabe, Markus, Omar Elaiashy, and Fernando Puente León. "Incorporation of phase information for improved time-dependent instrument recognition." tm - Technisches Messen 87, s1 (2020): s62—s67. http://dx.doi.org/10.1515/teme-2020-0031.

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AbstractTime-dependent estimation of playing instruments in music recordings is an important preprocessing for several music signal processing algorithms. In this approach, instrument recognition is realized by neural networks with a two-dimensional input of short-time Fourier transform (STFT) magnitudes and a time-frequency representation based on phase information. The modified group delay (MODGD) function and the product spectrum (PS), which is based on MODGD, are analysed as phase representations. Training and evaluation processes are executed based on the MusicNet dataset. By the incorpor
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Grindlay, Graham, and Daniel P. W. Ellis. "Transcribing Multi-Instrument Polyphonic Music With Hierarchical Eigeninstruments." IEEE Journal of Selected Topics in Signal Processing 5, no. 6 (2011): 1159–69. http://dx.doi.org/10.1109/jstsp.2011.2162395.

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Essid, S., G. Richard, and B. David. "Instrument recognition in polyphonic music based on automatic taxonomies." IEEE Transactions on Audio, Speech and Language Processing 14, no. 1 (2006): 68–80. http://dx.doi.org/10.1109/tsa.2005.860351.

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Leveau, Pierre, Emmanuel Vincent, GaËl Richard, and Laurent Daudet. "Instrument-Specific Harmonic Atoms for Mid-Level Music Representation." IEEE Transactions on Audio, Speech, and Language Processing 16, no. 1 (2008): 116–28. http://dx.doi.org/10.1109/tasl.2007.910786.

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Wilson, Daniel. "“Electric Music” on the Victorian Stage: The Forgotten Work of J.B. Schalkenbach." Leonardo Music Journal 23 (December 2013): 79–85. http://dx.doi.org/10.1162/lmj_a_00160.

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This paper provides an overview of electrical pre-loudspeaker sound art in Victorian music halls, focusing on key figures, including one of the first female performers of an electrical musical instrument. Control of “acoustic incidents” separate from the artiste and the employment of artful presentation to create an aesthetic edifice—prerequisites of sound art—are apparent in the entertainments examined here. It is shown that the issues of today's sound art (in reconciling science with art, the coveting of the “active principle,” etc.) were also a concern in these early sound art ventures.
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Casazza, Marco, Fabrizio Barone, Elvio Bonisoli, et al. "A procedure for the characterization of a music instrument vibro-acoustic fingerprint: the case of a contemporary violin." Acta IMEKO 12, no. 3 (2023): 1–6. http://dx.doi.org/10.21014/actaimeko.v12i3.1445.

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Violins are wooden musical instruments, whose quality is mainly evaluated on the basis of their aesthetics, as well as depending on the historical relevance of their makers. However, their acoustic quality remains a key evaluation parameter for performers and listeners. The instrument perceived quality, in turn, depends on one side, on the player, the environmental conditions and on the listeners’ psychoacoustic factors. On the other side, the quality of a violin depends on its materials, constructive and set-up parameters, that impact on the vibro-acoustical characteristics of the instrument.
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Kostek, B. "Musical Instrument Classification and Duet Analysis Employing Music Information Retrieval Techniques." Proceedings of the IEEE 92, no. 4 (2004): 712–29. http://dx.doi.org/10.1109/jproc.2004.825903.

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Wang, Zhuo, Zhenjiang Zhao, and Lujia Wei. "Correlation Analysis between Cultural Differences and Normal Music Perception Based on Embedded Voice Multisensor." Journal of Sensors 2022 (January 10, 2022): 1–9. http://dx.doi.org/10.1155/2022/9248820.

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In order to effectively improve the sense of difference brought by the extracorporeal machine to users and minimize the related derived problems, the implementation based on embedded multisensor has become a major breakthrough in the research of cochlear implant. To explore the impact of different cultural differences on timbre perception, effectively evaluate the correlation between cultural differences and music perception teaching based on embedded multisensor normal hearing, evaluate the discrimination ability of embedded multisensor normal hearing to music timbre, and analyse the correlat
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Dissertations / Theses on the topic "Electrical music instrument"

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Ядума, А., та М. Коломоец. "Терменвокс". Thesis, Сумский государственный университет, 2015. http://essuir.sumdu.edu.ua/handle/123456789/43680.

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Музыкальные инструменты существуют с незапамятных времён. Из чего только их не делали: из кожи, дерева, металла, даже казалось бы из совсем неподходящих материалов, например, из бычьих пузырей и бараньих кишок. Но с наступлением века электроники появились новые инструменты, которые извлекали звуки из «ничего», из электронной схемы.
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Menzies, Dylan. "New performance instruments for electroacoustic music." Thesis, University of York, 1999. https://eprints.soton.ac.uk/371730/.

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Van, der Linde Annien. "The rise and development of electric bowed instrument groups in South Africa." Thesis, Stellenbosch : Stellenbosch University, 2013. http://hdl.handle.net/10019.1/80216.

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Thesis (MMus)--Stellenbosch University, 2013.<br>ENGLISH ABSTRACT: This thesis explores the rise and development of electric bowed instrument groups in South Africa. The objective was to provide a history of the development of such groups in South Africa, as well as to compare the methods and musical products of these groups. Another aim was to explore the effects of the groups on the South African music industry and music education. An initial literature research on the history of electric bowed instruments and the phenomenon of classical crossover music as a genre provided the contextu
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Sosa, Ortega Jorge Raymundo Rudy Paul. "Refractions a collection of three pieces for solo instruments and fixed electronic media /." Diss., UMK access, 2008.

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Thesis (D.M.A.)--Conservatory of Music and Dance. University of Missouri--Kansas City, 2008.<br>First piece for amplified clarinet and fixed electronic media, the second piece for electric guitar and fixed electronic media, and the third piece for amplified high voice (soprano or tenor) and fixed electronic media. "A dissertation in music composition." Advisor: Paul Rudy. Typescript. Vita. Title from "catalog record" of the print edition Description based on contents viewed Apr. 14, 2009 Online version of the print edition.
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Nyman, Joel. "Övning och kreativ process genom Paradise League." Thesis, Kungl. Musikhögskolan, Institutionen för jazz, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-3988.

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In this essay I present my creative input and development as a musician since fall 2020 and the compositions that has come out of it. Furthermore, I reflect on preparing these songs for my exam concert with my band Paradise League, as well as adding a trumpet synth called EVI (Electric Valve Instrument) to the instrumentation. Having experienced embouchure fatigue and a lack of stamina to follow through with longer sets, I am also pursuing a more effective technique. Hence, I analyze my practice methods and discuss my trumpet teachers, their tools and the effects thereof. Through the combinati
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Sunesson, Henrik. "Skillnader och likheter mellan klassisk gitarr och elbas : En sökande studie där jag lär mig spela elbas och jämför detta med klassiskt gitarrspel." Thesis, Karlstads universitet, Institutionen för konstnärliga studier (from 2013), 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-74255.

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I denna uppgift kommer jag presentera resultatet av min självstudie där jag lär mig tekniken vandrande bas på elbas genom lärarledda elbaslektioner. Denna process är videoinspelad, semistrukturerad intervju har hållits och dokumentationen analyseras genom transkription. Jag kommer bearbeta begreppet kunskap och redovisa några teorier om vad kunskap är och hur man kan kategorisera detta begrepp genom antingen uppdelande av praktisk och teoretisk kunskap. Jag kommer också undersöka huruvida pragmatismens kunskapssyn är applicerbar på denna studie. Studien behandlar hur jag använt mig av mina kun
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Bittencourt, Alexis da Silveira. "A guitarra Trio inspirada em Johnny Alf e João Donato : uma abordagem do estilo de interpretação de Johnny Alf e João Donato ao piano, direcionada a performance da guitarra em contexto instrumental trio (guitarra, contra-baixo e bateria/percussão)." [s.n.], 2006. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284740.

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Orientador: Marcos Siqueira Cavalcante<br>Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes<br>Made available in DSpace on 2018-08-07T17:47:31Z (GMT). No. of bitstreams: 1 Bittencourt_AlexisdaSilveira_M.pdf: 1695226 bytes, checksum: 92231c6957e04d697fa545b4571049d8 (MD5) Previous issue date: 2006<br>Resumo: Este trabalho parte da tese de que o estilo interpretativo ao piano, em contexto instrumental Trio (piano, contra-baixo e seção rítmica), de Johnny Alf e João Donato, constitui uma espécie de elo norteador à interpretação da música popular brasileira a partir
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Höglund, Björn. "Individuell övning med fokus på elbas : Tre elbasisters syn på sin egen övning och utveckling." Thesis, Karlstads universitet, Institutionen för konstnärliga studier, 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-37013.

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Studiens syfte är att belysa några yrkesverksamma elbasisters syn på egen utveckling och dess samband med övning. Som metod har halvstrukturerade intervjuer använts. Informanterna utgörs av tre yrkesverksamma elbasister som berättar om sin syn på övning och utveckling samt vad de anser vara viktigt för att utvecklas som elbasist. Den teoretiska utgångspunkten för denna studie är ett hermeneutiskt perspektiv då målet är att göra en djupare analys och tolkning av de intervjuades livsvärld. Resultatet visar att informanterna tycker att viktiga byggstenar i utvecklingen är att spela tillsammans me
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Módolo, Thiago Grando. "A formação musical e pedagógica em quatro cursos superiores de guitarra elétrica no Brasil." Universidade do Estado de Santa Catarina, 2015. http://tede.udesc.br/handle/handle/1550.

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Made available in DSpace on 2016-12-08T17:06:46Z (GMT). No. of bitstreams: 1 122554.pdf: 5508877 bytes, checksum: f97f2bda66223295aa3d1b278d2f208a (MD5) Previous issue date: 2015-03-27<br>Coordenação de Aperfeiçoamento de Pessoal de Nível Superior<br>A pesquisa intitulada A Formação Musical e Pedagógica em Quatro Cursos Superiores de Guitarra Elétrica no Brasil teve como objetivo principal investigar a formação musical oferecida em quatro cursos superiores que incluem a guitarra elétrica no Brasil e de que maneira as questões pedagógicas fazem parte da formação oferecida. A pesquisa adotou u
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Werneck, Nicolau Leal. "Analise da distorção musical de guitarras eletricas." [s.n.], 2007. http://repositorio.unicamp.br/jspui/handle/REPOSIP/259107.

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Orientador: Furio Damiani<br>Dissertação (mestrado) - Universidade Estadual de Campinas, Faculdade de Engenharia Eletrica e de Computação<br>Made available in DSpace on 2018-08-11T03:06:29Z (GMT). No. of bitstreams: 1 Werneck_NicolauLeal_M.pdf: 1556046 bytes, checksum: 677310006250588d7e6a0fb0eedfc170 (MD5) Previous issue date: 2007<br>Resumo: Existem diversos problemas ligados à análise de sinais musicais que podem se beneficiar de um conhecimento mais detalhado da estrutura dos sinais gerados pelos diferentes instrumentos. Entre eles se destaca a compressão de sinais baseada em áudio estru
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Books on the topic "Electrical music instrument"

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National Radio Institute (Washington, D.C.), ed. Electronic music technology. McGraw-Hill Continuing Education Center, 1988.

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Waksman, Steve. Instruments of desire: The electric guitar and the shaping of musical experience. Havard University Press, 1999.

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Williams, Mark, and John O'Reilly. Electric Bass: CD+ inside, Accompaniments of all exercises plus the latest software. Alfred Publishing Co., Inc., 1998.

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Cherne, Steven. Blue book of electric guitars. Blue Book Publications, 1998.

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Branca, Glenn. Symphony no. 5: (Describing planes of an expanding hypersphere). Atavistic, 1996.

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Bacon, Tony. The Fender book. Miller Freeman Books, 1998.

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Bacon, Tony. The Fender book. Balafon, 1992.

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Erlewine, Dan. Guitar player repair guide: How to set up, maintain, and repair electrics and acoustics. 2nd ed. GPI Books, 1994.

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Ball, Edward. Gretsch 6120: The history of the legendary guitar. Schiffer Pub., 2010.

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Bob, Ward. MIDI for guitarists. Amsco, 1988.

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Book chapters on the topic "Electrical music instrument"

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Pizzol, Fausto Lessa F. "2. Experimentation as a Learning Method." In Teaching Music Performance in Higher Education. Open Book Publishers, 2024. http://dx.doi.org/10.11647/obp.0398.03.

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Organologically classified as a melodic instrument, the electric bass has tonal and ergonomic characteristics that enhance its use beyond this designation. In this perspective, an increasing number of bassists seek to use the electric bass as a harmonic instrument. However, the lack of research on this approach hinders its development beyond individual initiatives. Based on an alternative tonal concept to consolidated practice, called LCCTO (Russell, 2001) and guided by a research design structured according to the concept of Affordances (Gibson, 1979) and the Perceptual Learning theory (Gibso
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Dony Armstrong, D’Souza, Shastrimath V. Veena Devi, and V. N. Ganesh. "Pedal Effects Modeling for Stringed Instruments by Employing Schemes of DSP in Real Time for Vocals and Music." In Lecture Notes in Electrical Engineering. Springer Singapore, 2019. http://dx.doi.org/10.1007/978-981-15-0626-0_9.

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Svard, Lois. "Learn an Instrument—Change Your Brain." In The Musical Brain. Oxford University PressNew York, 2023. http://dx.doi.org/10.1093/oso/9780197584170.003.0004.

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Abstract Multiple brain areas are involved in the processing of music, including regions in both hemispheres, all four lobes, the brainstem, and the cerebellum. Each person’s brain changes in response to his learning and experience; these changes are called neuroplasticity. Because music is a multisensory as well as a motor experience, because musicians have usually begun studying early in life, and because nearly all the brain areas involved in making music show neuroplastic changes, musicians are of particular interest to researchers, and musicians’ brains have come to be considered models o
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Copeland, Jack, and Jason Long. "Computer music." In The Turing Guide. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780198747826.003.0032.

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One of Turing’s contributions to the digital age that has largely been overlooked is his groundbreaking work on transforming the computer into a musical instrument. It is an urban myth of the music world that the first computer-generated musical notes were heard in 1957, at the Bell Laboratories in the United States. In fact, computer-generated notes were heard in Turing’s Computing Machine Laboratory at Manchester University about nine years previously. This chapter establishes Turing’s pioneering role in the history of computer music. We also describe how Christopher Strachey, later Oxford U
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Tesser, Neil. "The Electric Guitar and Vibraphone in Jazz: Batteries Not Included." In The Oxford Companion To Jazz. Oxford University PressNew York, NY, 2000. http://dx.doi.org/10.1093/oso/9780195125108.003.0050.

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Abstract In 1950 the recordings of the George Shearing Quintet began to capture the attention of not only the demimonde of jazz hipsters but the larger sphere of American pop music as well. A British pianist raised on swing, Shearing now became a leading popularizer of bebop: his group hammered home bop’s angular intervals and tense chords, yet softened the blow with plush harmonization and cushiony textures. But the “Shearing sound” relied as much on his then-unique combination of electric guitar and vibraphone, which replaced the standard-issue bebop horns-and which makes his band a perfect
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Randles, Clint. "Instruments and Effects." In Music Teacher as Music Producer. Oxford University PressNew York, 2022. http://dx.doi.org/10.1093/oso/9780197519455.003.0004.

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Abstract The history of musical instruments is full of innovative musicians and composers working to stretch what is possible in their music. The pursuit of new sounds and the emerging technologies surrounding them tell a story of curiosity, exploration, and discovery. Human beings push their art as far as they can, stretch it to include sounds that were not typical, use scales that were once foreign, and employ techniques for sound enhancement that were once not employed. Instruments are all at some level a form of technology. This chapter considers instruments as tools for creative expressio
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Brice, Richard. "Roll Over Beethoven – Electric instruments." In Music Engineering. Elsevier, 2001. http://dx.doi.org/10.1016/b978-075065040-3/50025-7.

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Maris, Barbara English. "Understanding Your Keyboard Instrument." In Making Music at the Piano. Oxford University PressNew York, NY, 2000. http://dx.doi.org/10.1093/oso/9780195123265.003.0003.

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Abstract At your lessons and practice sessions, you may be playing an acoustic piano or an electric, digital keyboard. Acoustic pianos are those that are not plugged in (comparable to a traditional guitar, either classical or folk). Acoustie pianos do not depend on electricity to deliver or enhance the sound. Pianists—unlike singers, flutists, and harmonica players—usually do not take their own acoustic instrument with them when leaving home. Instead, they learn to adjust to the wide variety of instruments they encounter and do the best they can with whatever piano is available.
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"3. “The Alchemy of Tone”: Jörg Mager and Electric Music." In Instruments for New Music. University of California Press, 2019. http://dx.doi.org/10.1525/9780520963122-005.

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"3. “The Alchemy of Tone”: Jörg Mager and Electric Music." In Instruments for New Music. University of California Press, 2019. http://dx.doi.org/10.1515/9780520963122-005.

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Conference papers on the topic "Electrical music instrument"

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Ghosh, Alekhya, Arghadeep Pal, Dibakar Sil, and Sarbani Palit. "Music Instrument Identification Based on a 2-D Representation." In 2018 Third International Conference on Electrical, Electronics, Communication, Computer Technologies and Optimization Techniques (ICEECCOT). IEEE, 2018. http://dx.doi.org/10.1109/iceeccot43722.2018.9001486.

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Palantei, Elyas, Helson Hamid, and Dewiani. "A Modified-FFT Algorithm for Determining the Basic Frequency Tone of Latotou Traditional Music Instrument." In 2019 International Conference on Electrical Engineering and Informatics (ICEEI). IEEE, 2019. http://dx.doi.org/10.1109/iceei47359.2019.8988865.

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Roy, Uttam Kumar. "Instrumental Bengali music synthesis from transcription with Indian percussion instruments." In 2016 International Conference on Computer, Electrical & Communication Engineering (ICCECE). IEEE, 2016. http://dx.doi.org/10.1109/iccece.2016.8009551.

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Музалевская, Варвара Александровна, and Светлана Анатольевна Микаева. "THEREMIN. MUSIC FROM THE AIR." In Высокие технологии и инновации в науке: сборник избранных статей Международной научной конференции (Санкт-Петербург, Май 2022). Crossref, 2022. http://dx.doi.org/10.37539/vt197.2022.17.91.019.

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Авторами описаны история развития электромузыкального инструмента терменвокс и принцип его работы. Терменвокс использует принцип гетеродина для генерации звукового сигнала. The authors describe the history of the electric musical instrument theremin and the principle of its operation. The theremin uses the principle of a heterodyne to generate an audio signal.
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Pereira, Renato Santos, and Rodrigo Varejão Andreão. "Electric guitar distortion effects unit using a Raspberry Pi." In Simpósio Brasileiro de Computação Musical. Sociedade Brasileira de Computação - SBC, 2021. http://dx.doi.org/10.5753/sbcm.2021.19436.

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With the advance of electronics, techniques and algorithms for digital signal processing, digital equipment has been gaining more and more space in the music scene. Micro-processed tools now generate several effects such as modulation, echo, and distortion of sounds generated by musical instruments, previously obtained only by analog units. In this context, this study aimed to develop aprototype of distortion effects unit using a Raspberry Pi (a low-cost small single-board computer) and affordable electronic components. Therefore, five nonlinear functionswere used, four of which are present in
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