Academic literature on the topic 'Shepard tone'
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Journal articles on the topic "Shepard tone"
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Giangrand, J., B. Tuller, and J. A. S. Kelso. "Perceptual Dynamics of Circular Pitch." Music Perception 20, no. 3 (2003): 241–62. http://dx.doi.org/10.1525/mp.2003.20.3.241.
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The convention of representing pitch and key relations within a geometric scheme has a long history. Such schemes often emphasize perceptual similarities or differences among tones or keys. In the present work, we focus on the dynamics of perception of pitch movement, within the framework of geometric models. In the first two experiments, perception of the pitch pattern of pairs of Shepard tones (R. N. Shepard, 1964) is examined in three different orderings: (1) random permutation of tone pairs, (2) sequential increases in the frequency components of the second tone of each pair, and (3) sequential decreases in the second tone's frequency components. Consistent with previous reports, when tone pairs are randomly permuted, the pitch pattern is equally likely to be judged as ascending or descending as the frequency difference between tones nears the half-octave. In the ordered conditions, the boundary between ascending and descending pitch is sensitive to the direction of frequency change such that hysteresis, or perceptual assimilation, is observed. In Experiment 3, we obtain pitch judgments of all two-tone permutations of Shepard tones of the chromatic scale, then map the judgments onto a toroidal stimulus space formed by the product of two pitch circles. Perceptual dynamics are explored by systematic excursions through the stimulus space. The results indicate that spatial models of pitch provide an incomplete description of the higher than/lower than pitch relationship in Shepard tones; also crucial is the path taken through the space defined by the stimuli.
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Krumhansl, Carol L., Gregory J. Sandell, and Desmond C. Sergeant. "The Perception of Tone Hierarchies and Mirror Forms in Twelve-Tone Serial Music." Music Perception 5, no. 1 (1987): 31–77. http://dx.doi.org/10.2307/40285385.
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Four experiments are reported in which the materials are derived from two 12-tone serial compositions (Schoenberg's Wind Quintet and String Quartet, No. 4). Two experiments use the probe tone method (Krumhansl & Shepard, 1979) to assess factors contributing to tone prominence in serial music. The contexts in Experiment 1 are musically neutral statements of the complete or incomplete tone rows; the contexts in Experiment 4 are excerpts from the two pieces. Two experiments use a classification task to evaluate whether the prime form of the row is perceived as similar to its mirror forms (inversion, retrograde, and retrograde inversion). The materials are neutral presentations of the forms (Experiment 2) or excerpts from the pieces (Experiment 3). Large individual differences are found. A subgroup of listeners, with more music training on average, show the following effects in the probe tone experiments: low ratings for tones sounded more recently in the contexts and high ratings for tones not yet sounded; low ratings for tones fitting with local tonal implications; similar patterns for the neutral contexts and the musical excerpts. The remaining listeners show the opposite effects. Classification accuracy of mirror forms is above chance and is higher for the neutral sequences than the musical excerpts; performance is correlated with music training. The experiments show that some, but not all, listeners can perceive invariant structures in serial music despite mirror transformations, octave transpositions of tones, and variations of rhythm and phrasing.
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Maekawa, Mitsuyoshi, Shinya Hashizume, Yasunori Touma, Yukiko Imai, Hiroaki Seki, and Yoshikatsu Hifumi. "Development of Portable Color Discrimination for the Visually Impaired and Color Blindness." Journal of Robotics and Mechatronics 16, no. 5 (October 20, 2004): 535–44. http://dx.doi.org/10.20965/jrm.2004.p0535.
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The inability to discriminate color is an ongoing problem for the visually impaired and those with color blindness. We propose a portable color discrimination unit that communicates color information to users in verbal messages and sound. The unit states what color the target is and, by scanning its surface, transmits a continuous musical tone corresponding to color variations in the scanned area. The targetive is to make color patterns and the target layout recognizable, requiring 1) colorimetric stability, 2) translation of colorimetric information into an appropriate color name, and 3) setting of a relationship between color and sound. We propose using automated calibration and developed a colorimetric unit with high environmental robustness. Colorimetric data consists of RGB data, which does not lend itself readily to color discrimination, so we developed a way to convert RGB data to 220 color names. To develop easy-to-remember color-sound correspondence, we propose using the Shepard Tone Method, in which Shepard tones are mapped onto color hues. These are combined so users scan a target and hear a continuous sound and, if necessary, a color name, to recognize the target’s overall color pattern, somewhat akin to how a visually impaired person recognizes a sculpture by touching its surface.
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Nam, Unjung. "Pitch Distributions in Korean Court Music: Evidence Consistent with Tonal Hierarchies." Music Perception 16, no. 2 (1998): 243–47. http://dx.doi.org/10.2307/40285789.
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Preliminary evidence from three recorded samples of music for p'iri suggests that a tonal hierarchy may exist in traditional Korean court music. After a simple transposition, two of the three works studied exhibited similar scale intervals, similar phrase-ending tones, and similar tone-duration distributions (or "key profiles"). A third sample work proved more equivocal. The results are consistent with earlier studies of Balinese music (Kessler, Hansen, & Shepard. 1984) and North Indian music (Castellano, Bharucha, & Krumhansl, 1984) concerning the existence of genre- related tonal hierarchies.
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Pelofi, C., V. de Gardelle, P. Egré, and D. Pressnitzer. "Interindividual variability in auditory scene analysis revealed by confidence judgements." Philosophical Transactions of the Royal Society B: Biological Sciences 372, no. 1714 (February 19, 2017): 20160107. http://dx.doi.org/10.1098/rstb.2016.0107.
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Because musicians are trained to discern sounds within complex acoustic scenes, such as an orchestra playing, it has been hypothesized that musicianship improves general auditory scene analysis abilities. Here, we compared musicians and non-musicians in a behavioural paradigm using ambiguous stimuli, combining performance, reaction times and confidence measures. We used ‘Shepard tones’, for which listeners may report either an upward or a downward pitch shift for the same ambiguous tone pair. Musicians and non-musicians performed similarly on the pitch-shift direction task. In particular, both groups were at chance for the ambiguous case. However, groups differed in their reaction times and judgements of confidence. Musicians responded to the ambiguous case with long reaction times and low confidence, whereas non-musicians responded with fast reaction times and maximal confidence. In a subsequent experiment, non-musicians displayed reduced confidence for the ambiguous case when pure-tone components of the Shepard complex were made easier to discern. The results suggest an effect of musical training on scene analysis: we speculate that musicians were more likely to discern components within complex auditory scenes, perhaps because of enhanced attentional resolution, and thus discovered the ambiguity. For untrained listeners, stimulus ambiguity was not available to perceptual awareness. This article is part of the themed issue ‘Auditory and visual scene analysis’.
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Nakajima, Yoshitaka, Hiroyuki Minami, Takashi Tsumura, Hiroshi Kunisaki, Shigeki Ohnishi, and Ryunen Teranishi. "Dynamic Pitch Perception for Complex Tones of Periodic Spectral Patterns." Music Perception 8, no. 3 (1991): 291–314. http://dx.doi.org/10.2307/40285504.
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Pitch circularity as found in Shepard tones was examined by using complex tones that had various degrees of exactness in their spectral periodicities on the logarithmic frequency dimension. This dimension was divided into periods of 1400 cents by tone components, and each period was subdivided into two parts of a fixed ratio of 700:700, 600:800, 550:850, 500:900, 450:950, 400:1000, or 0:1400. Subjects made paired comparison judgments for pitch. When the subdividing ratio was 0: 1400 or 400:1000, the subjects responded to the spectral periodicity of 1400 cents, and, when the ratio was 700:700 or 600:800, they responded to the periodicity of 700 cents. Some seemingly intermediate cases between these two extremes or some qualitatively different cases were obtained in the other conditions. As we have asserted before, the human ear appears to detect a global pitch movement when some tone components move in the same direction by similar degrees on the logarithmic frequency dimension.
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Frankland, B. W., and Annabel J. Cohen. "Using the Krumhansl and Schmuckler Key-Finding Algorithm to Quantify the Effects of Tonality in the Interpolated-Tone Pitch-Comparison Task." Music Perception 14, no. 1 (1996): 57–83. http://dx.doi.org/10.2307/40285709.
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We examined two models that quantified the effects of tonality on accuracy and reaction time in an intervening-tone pitch-comparison task. In each of 16 task conditions (standard tone-interpolated sequence-test tone, abbreviated as S-seq-T), the S and T tones, C₄ and/or C#₄, were separated by a three-tone sequence that was a random arrangement of one of the four triads, ${\rm{C}}_{{\rm{4Major}}} ,{\rm{C}}_{{\rm{4Minor}}} ,{\rm{C\# }}_{\rm{4}} _{{\rm{Major}}} $ or ${\rm{C\# }}_{{\rm{4Minor}}} $ . Both models were based on the tonal hierarchy (Krumhansl, 1990a; Krumhansl & Shepard, 1979) and the key-finding algorithm (Krumhansl & Schmuckler, cited in Krumhansl, 1990a); the key- finding algorithm was used to determine the best-fitting key for the first four notes of the condition (i.e., the S-seq combination). Model 1 (S-Tone Stability) determined the stability of the S tone given that key. Model 2 (T-Tone Expectancy) determined the expectancy for the T tone given that key. Over the 16 conditions, for three groups of 12 subjects, differing by level of training, mean proportion correct discrimination ranged from .53 to .95 and increased significantly across levels of musical experience. For the musically trained subjects, both models predicted performance well but neither model was dramatically more effective than the other; the combination of both models did produce an increase in predictability. For untrained subjects, tonality, as assessed by the key-finding algorithm in either model, was not significantly correlated with performance.
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Vuvan, Dominique T., Jon B. Prince, and Mark A. Schmuckler. "Probing the Minor Tonal Hierarchy." Music Perception 28, no. 5 (June 1, 2011): 461–72. http://dx.doi.org/10.1525/mp.2011.28.5.461.
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one facet of tonality perception that has been fairly understudied in the years since Krumhansl and colleagues' groundbreaking work on tonality (Krumhansl & Kessler, 1982; Krumhansl & Shepard, 1979) is the music theoretical notion that the minor scale can have one of three distinct forms: natural, harmonic, or melodic. The experiment reported here fills this gap by testing if listeners form distinct mental representations of the minor tonal hierarchy based on the three forms of the minor scale. Listeners heard a musical context (a scale or a sequence of chords) consisting of one of the three minor types (natural, harmonic, or melodic) and rated a probe tone according to how well it belonged with the preceding context. Listeners' probe tone ratings corresponded well to the minor type that had been heard in the preceding context, regardless of whether the context was scalar or chordal. These data expand psychological research on the perception of tonality, and provide a convenient reference point for researchers investigating the mental representation of Western musical structure.
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Brown, Jenine, Daphne Tan, and David John Baker. "The Perceptual Attraction of Pre-Dominant Chords." Music Perception 39, no. 1 (September 1, 2021): 21–40. http://dx.doi.org/10.1525/mp.2021.39.1.21.
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Among the three primary tonal functions described in modern theory textbooks, the pre-dominant has the highest number of representative chords. We posit that one unifying feature of the pre-dominant function is its attraction to V, and the experiment reported here investigates factors that may contribute to this perception. Participants were junior/senior music majors, freshman music majors, and people from the general population recruited on Prolific.co. In each trial, four Shepard-tone sounds in the key of C were presented: 1) the tonic note, 2) one of 31 different chords, 3) the dominant triad, and 4) the tonic note. Participants rated the strength of attraction between the second and third chords. Across all individuals, diatonic and chromatic pre-dominant chords were rated significantly higher than non-pre-dominant chords and bridge chords. Further, music theory training moderated this relationship, with individuals with more theory training rating pre-dominant chords as being more attracted to the dominant. A final data analysis modeled the role of empirical features of the chords preceding the V chord, finding that chords with roots moving to V down by fifth, chords with less acoustical roughness, and chords with more semitones adjacent to V were all significant predictors of attraction ratings.
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Hom-ma, Masashi, and Choule Sonu. "RHYTHMIC PATTERN OF LONGSHORE BARS RELATED TO SEDIMENT CHARACTERISTICS." Coastal Engineering Proceedings 1, no. 8 (January 29, 2011): 16. http://dx.doi.org/10.9753/icce.v8.16.
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Despite a number of valuable contributions by many predecessors, namely F. F. Shepard (Ref. 1) and Q. H. Keulegan (Ref. 2), our knowledge regarding the effect of a longshore bar on the sedimentary process of a coast has long remained a plausible, qualitative understanding that a longshore bar constitutes a zone of active migration of bottom deposit due to agitation of breakers and currents. This was probably due mainly to the difficulty of performing an accurate hydrographic survey near the breaker zone. On the other hand, the geometrical characteristics along a single bar profile, which was sounded off either from a stable pier (Ref. 1) or a suspended cable (Ref. 3) resulted in a hopeless scatter.
An aerial photograph, if taken under favorable conditions, may show an Interesting picture of submerged topographies In a distinct contrast made by the bright tone of a shallow bar crest or a shoal, against the dark background of a deep trough or a rock bottom. By comparing such photographic records with convenient soundings derived from some of the Japanese coasts, an Interesting topographical feature of a longshore bar has been disclosed. A longshore bar may attain a rhythmic pattern consisting of echelons of arcuate (or lunate) bar unit, which in entire appearance strongly resembles that of a honeycomb. It has also been discovered that a rhythmic bar pattern is correlated with other Important factors either dynamic or static, which participate in the general processes of a coast, namely the shoreline configuration, the shoreface slope and deposit, the topographies on the offshore bottom, transformation of Incident waves, the longshore currents and the littoral drifts. The authors have further attempted to develop a hypothetical concept on the origin of littoral rhythms as well as the behaviors of alongshore movement of sediment, and to consider their engineering lmplications on the basis of such findings. Although our success which has been achieved so far is yet incomplete due to lack of available data, it is believed that the approach and concept as proposed in the present paper may suggest an encouraging line of research toward formulating a unified macroscopic view on the mechanics of the littoral process.
Dissertations / Theses on the topic "Shepard tone"
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Stevanovic, Bettina. "The effect of learning on pitch and speech perception influencing perception of Shepard tones and McGurk syllables using classical and operant conditioning principles /." View thesis, 2007. http://handle.uws.edu.au:8081/1959.7/33694.
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Thesis (Ph.D.)--University of Western Sydney, 2007.A thesis submitted to the University of Western Sydney, College of Arts, School of Psychology in fulfilment of the requirements for the degree of Doctor of Philosophy. Includes bibliography.
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Williams, Ian Kennedy. "Re-igniting the Gothic: Contemporary Drama in the Classic Mode." Queensland University of Technology, 2005. http://eprints.qut.edu.au/16033/.
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While the gothic in its various interpretations is well established in contemporary culture, the traditional form, rooted in its late eighteenth century literary conventions, would seem to have little relevance for theatre audiences today. A reappraisal of the convention's foundations, however, offers the playwright opportunities to explore new narratives in which the tradition can be re-inflected in the present. An analysis of the writing of my play Burn, which presents as a contemporary family drama, will demonstrate how the narrative can be structured with deliberate reference to the established tropes of the classic gothic mode. It will be shown that a re-engagement with the tradition in concert with new interpretations of the gothic can reinvigorate the form as a mode of playwriting practice.
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Patrício, Pedro Luís de Morais. "Ilusões sonoras : um estudo sobre a aplicação da ilusão sonora da escala de Shepard em composição musical digital." Doctoral thesis, 2015. http://hdl.handle.net/10400.14/16738.
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As ilusões sonoras sempre exerceram um grande fascínio sobre os seres humanos.
Destas, a que mais nos fascinou e revelou ter maior potencial musical por explorar foi a
Ilusão Sonora da Escala de Shepard. Esta ilusão é uma escala musical dividida em 12
partes iguais, que ao ser escutada gera a sensação de perpetuidade sonora. Pelo facto, de
ser constituída por sons ambíguos (i.e., o Som de Shepard) em termos de percepção de
altura sonora (provavelmente conseguiremos identificar o nome da nota musical do som,
mas teremos muita dificuldade em determinar a oitava a que pertence) permite criar novas
possibilidades de geração de som e de escuta musical. Assim, esta dissertação propõe a
criação de uma fonte sonora baseada no Som de Shepard com o objectivo de ser utilizada
em projectos musicais. Consequentemente, criámos um método de gerar o Som de
Shepard através de uma envolvente espectral alternativa, tanto quanto sabemos, nunca
antes foi usada para reproduzir a respectiva ilusão, mesmo quando esta foi aplicada a uma
melodia constituída por uma sequência de saltos intervalares não regulares. A melodia foi
intitulada de Ilusão Sonora da Melodia Perpétua porque quando é escutada cria a sensação
de perpetuidade sonora como acontece na Ilusão Sonora da Escala de Shepard. Para além
disso, utilizámos a fonte sonora proposta como gerador de som na concepção de um
instrumento digital multimédia e em composição musical.The auditory illusions have always exerted a great fascination on human beings. Of these, the one that most fascinated us and revealed to have greater musical potential for exploring was the Shepard Scale Illusion. This illusion is a musical scale divided into 12 equal parts. When it is heard it creates the sensation of sonic perpetuity. Being constituted by ambiguous sounds (i.e., Shepard tone) in terms of pitch (it will probably be easy to identify the musical note of the sound, but it will be very difficult to determine the octave that belongs to), allows creating new possibilities of sound generation and musical listening. Thus, this dissertation proposes the creation of a sound source based on Shepard tone with the purpose to be used in musical projects. Consequently, we developed a method to generate the Shepard tone through an alternative spectral envelope, which as far as we know has never been used before to reproduce the Shepard Scale Illusion, even when it was applied to a melody constituted by a sequence of non-regular intervals leaps. The melody was titled Perpetual Melody Auditory Illusion because when it is heard it creates the sensation of sonic perpetuity, as is the case of the Shepard Scale Illusion. Furthermore, we used the proposal sound source as sound generator in the design of a multimedia digital instrument and musical composition.
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Stevanovic, Bettina, University of Western Sydney, College of Arts, and School of Psychology. "The effect of learning on pitch and speech perception : influencing perception of Shepard tones and McGurk syllables using classical and operant conditioning principles." 2007. http://handle.uws.edu.au:8081/1959.7/33694.
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This thesis is concerned with describing and experimentally investigating the nature of perceptual learning. Ecological psychology defines perceptual learning as a process of educating attention to structural properties of stimuli (i.e., invariants) that specify meaning (i.e., affordances) to the perceiver. Although such definition comprehensively describes the questions of what humans learn to perceive, it does not address the question of how learning occurs. It is proposed in this thesis that the principles of classical and operant conditioning can be used to strengthen and expand the ecological account of perceptual learning. The perceptual learning of affordances is described in terms of learning that a stimulus is associated with another stimulus (classical conditioning), and in terms of learning that interacting with a stimulus is associated with certain consequences (operant conditioning). Empirical work in this thesis investigated the effect of conditioning on pitch and speech perception. Experiments 1, 2, and 3 were designed to modify pitch perception in Shepard tones via tone-colour associative training. During training, Shepard tones were paired with coloured circles in a way that the colour of the circles could be predicted by either the F0 (pitch) or by an F0-irrelevant auditory invariant. Participants were required to identify the colour of the circles that was associated with the tones and they received corrective feedback. Hypotheses were based on the assumption that F0-relevant/F0- irrelevant conditioning would increase/decrease the accuracy of pitch perception in Shepard tones. Experiment 1 investigated the difference between F0-relevant and F0- irrelevant conditioning in a between-subjects design, and found that pitch perception in the two conditions did not differ. Experiments 2 and 3 investigated the effect of F0- relevant and F0-irrelevant conditioning (respectively) on pitch perception using a within subjects (pre-test vs. post-test) design. It was found that the accuracy of pitch perception increased after F0-relevant conditioning, and was unaffected by F0-irrelevant conditioning. The differential trends observed in Experiments 2 and 3 suggest that conditioning played some role in influencing pitch perception. However, the question whether the observed trends were due to the facilitatory effect of F0-relevant conditioning or the inhibitory effect of F0-irrelevant conditioning warrants future investigation. Experiments 4, 5, and 6 were designed to modify the perception of McGurk syllables (i.e., auditory /b/ paired with visual /g/) via consonant-pitch associative training. During training, participants were repeatedly presented with /b/, /d/, and /g/ consonants in falling, flat, and rising pitch contours, respectively. Pitch contour was paired with either the auditory signal (Experiments 4 and 5) or the visual signal (Experiment 6) of the consonant. Participants were required to identify the stop consonants and they received corrective feedback. The perception of McGurk stimuli was tested before and after training by asking participants to identify the stop consonant in each stimulus as /b/ or /d/ or /g/. It was hypothesized that conditioning would increase (1) /b/ responses more in the falling than in the flat/ rising contour conditions, (2) /d/ responses more in the flat than in the falling/ rising contour conditions, and (3) /g/ responses more in the rising than in the falling/flat contour conditions. Support for the hypotheses was obtained in Experiments 5 and 6, but only in one response category (i.e., /b/ and /g/ response categories, respectively). It is suggested that the subtlety of the observed conditioning effect could be enhanced by increasing the salience of pitch contour and by reducing the clarity of auditory/visual invariants that specify consonants.Doctor of Philosophy (PhD)
Books on the topic "Shepard tone"
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Vander Wel, Stephanie. The Singing Voice in Country Music. Edited by Travis D. Stimeling. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780190248178.013.25.
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This chapter offers new insights about the musical and cultural significance of singing styles in country music by contextualizing the details of predominant female vocal approaches within the rich and complex history of southern vernacular singing and by considering, the role of the performing body in relation to the singing voice. Specifically, it takes into account the vocal techniques of Loretta Lynn in relation to the musical conventions of honky tonk singing, the physiological and bodily components of vocal production, and the role of microphone and recording technology. With a chest-dominant vocal technique—amplified by the microphone—Lynn has projected a vocal identity of strength and conviction interpreted as the first working-class feminist voice in country music. This chapter demonstrates that singers such as Kitty Wells, Jean Shepard, and Rose Maddox helped to forge a distinct singing style that had a lasting influence on Lynn’s vocal performances.
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Sheppard, Judi. "Tight and Toned": Judi Sheppard Missett's Jazzercise (Better Body 15 Minute Workout Series). Metacom, 1988.
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Nolte, David D. Introduction to Modern Dynamics. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780198844624.001.0001.
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Introduction to Modern Dynamics: Chaos, Networks, Space and Time (2nd Edition) combines the topics of modern dynamics—chaos theory, dynamics on complex networks and the geometry of dynamical spaces—into a coherent framework. This text is divided into four parts: Geometric Mechanics, Nonlinear Dynamics, Complex Systems, and Relativity. These topics share a common and simple mathematical language that helps students gain a unified physical intuition. Geometric mechanics lays the foundation and sets the tone for the rest of the book by emphasizing dynamical spaces, like state space and phase space, whose geometric properties define the set of all trajectories through those spaces. The section on nonlinear dynamics has chapters on chaos theory, synchronization, and networks. Chaos theory provides the language and tools to understand nonlinear systems, introducing fixed points that are classified through stability analysis and nullclines that shepherd system trajectories. Synchronization and networks are central paradigms in this book because they demonstrate how collective behavior emerges from the interactions of many individual nonlinear elements. The section on complex systems contains chapters on neural dynamics, evolutionary dynamics, and economic dynamics. The final section contains chapters on metric spaces and the special and general theories of relativity. In the second edition, sections on conventional topics, like applications of Lagrangians, have been strengthened, as well as being updated to provide a modern perspective. Several of the introductory chapters have been rearranged for improved logical flow and there are expanded homework problems at the end of each chapter.
Book chapters on the topic "Shepard tone"
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Deutsch, Diana. "Strange Loops and Circular Tones." In Musical Illusions and Phantom Words, 61–70. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190206833.003.0005.
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Chapter 4 explores a class of musical illusions and paradoxes that involve the circular dimension of pitch. Pitch can be described in terms of two dimensions. The first is called pitch height, which can be experienced by sweeping one’s hand from left to right up a piano keyboard. The second is a circular dimension known as pitch class, which defines the position of a tone within the octave. Circularity effects in music are analogous to many of the visual works of M. C. Escher, and have been employed in music for hundreds of years. However, with the advent of computer music, striking pitch circularities became possible. The circular scales invented by Roger Shepard (based on Shepard tones) and circular glides invented by Jean-Claude Risset are explored. These remarkable illusions of ever-increasing (or ever-decreasing) pitch are presented as sound examples. They have powerful emotional effects, and their influence in musical compositions, such as the soundtracks and sound design of The Dark Knight and Dunkirk, is described. A new way of producing pitch circularity, which was invented by the author, is also discussed. This new algorithm can be used with natural instrument sounds, and so opens the door to new compositional opportunities.
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Vander Wel, Stephanie. "Domestic Respectability." In Hillbilly Maidens, Okies, and Cowgirls, 175–90. University of Illinois Press, 2020. http://dx.doi.org/10.5622/illinois/9780252043086.003.0008.
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Chapter 7 positions the commercial success of female country artists and the narratives of honky-tonk music against the marketing strategies of 1950s country music. As the country music industry strove for commercial acceptance in the popular music market, it promoted its male (including Hank Williams and Webb Pierce) and female performers (such as Kitty Wells, Jean Shepard, and Goldie Hill) as examples of middle-class propriety. This chapter argues that the contradictions between the lyrical themes of honky-tonk music and the 1950s tropes of domesticity used in marketing individual country artists spoke of and assuaged the anxieties and tensions of social class and geographical migration for an audience of displaced white southerners.
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Vander Wel, Stephanie. "Voices of Angels." In Hillbilly Maidens, Okies, and Cowgirls, 153–74. University of Illinois Press, 2020. http://dx.doi.org/10.5622/illinois/9780252043086.003.0007.
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Chapter 6 traces the musical and lyrical developments of honky-tonk in the late 1930s and 1940s with Al Dexter, Ernest Tubb, and Hank Williams and remained a predominant mode of country music after World War II, right when Kitty Wells, Goldie Hill, and Jean Shepard contributed to the musical discourse. These female artists, taking over male-defined and often parodic representations of women, developed narratives that articulated class-specific voices couched in the metaphors of sexual and material desire, heartache, and loss juxtaposed with 1950s ideals of domesticity. Examining the particulars of musical style and vocal expression, this chapter argues that female artists in their various enactments of the honky-tonk angel, the angry, jilted housewife, the single mother, and the forsaken lover disclosed the paradoxes of class and gender and helped to lift the cloak of invisibility shrouding working-class women.
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Vander Wel, Stephanie. "Rose Maddox." In Hillbilly Maidens, Okies, and Cowgirls, 121–50. University of Illinois Press, 2020. http://dx.doi.org/10.5622/illinois/9780252043086.003.0006.
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Chapter 5 continues to explore the themes of theatricality and vocal performance in California country music by focusing on Rose Maddox as a member of her family band and as a solo recording artist during the 1940s and 1950s. In her farcical and striking covers of country songs, Maddox drew on a range of vocal styles, including a belting vocality that incorporated southern idioms, appreciated by her audience of Okies. Her various vocal approaches re-created the carnivalesque revelry of the roadhouse and helped to shape narratives that underscored the shifts in marriage and autonomy for Okie women after World War II. Because of the expressive power of her voice and her dynamic, fluid stage persona, Maddox helped carve out performance spaces for female artists such as Jean Shepard in 1950s honky-tonk and rockabilly artists like Wanda Jackson.
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Gordon, Robert B. "Retreat from Progress." In A Landscape Transformed. Oxford University Press, 2000. http://dx.doi.org/10.1093/oso/9780195128185.003.0011.
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Salisbury ironmakers throve by selling wrought iron rather then cast iron through the first half of the nineteenth century. Their finery forges and puddling works converted nearly all of the pig produced by the district’s furnaces to bar iron or forged products. However, by the 1860s, when the district’s ironmasters were smelting up to 11,800 tons of pig iron per year, they converted little of it to wrought iron. The demise of the forges left just one principal product, cast iron used mainly for railroad car wheels. Milo Barnum and Leonard Richardson had started making railroad castings in 1840. When Milo Barnum retired in 1852, his son W. H. Barnum took his place in the partnership with Richardson. The partners expanded the business by acquiring the Beckley and Forbes furnaces in 1858 and 1862, respectively, from the Adam family in East Canaan. Upon Leonard Richardson’s death, Barnum and the Richardson heirs reconstituted the business as the Barnum-Richardson Company, the firm that gradually gained control of all mines and blast furnaces in the northwest, except for the Kent furnace. A new railway facilitated the Barnum-Richardson operations. Dedicated residents of the northwest, in the face of much skepticism, raised the capital needed to build the Connecticut Western Railroad from Hartford to State Line, where it joined with the Dutchess & Columbia line running to Beacon, New York. Salisbury residents eagerly awaited its 1871 completion: they wanted to be rid of the heavy ore wagons that kept their roads a rness passing from Ore Hill to the furnaces in East Canaan. The Connecticut Western passed through Winsted, traversed difficult terrain in Norfolk, and crossed the Housatonic Railroad at Canaan, where the two companies built a handsome union station . Railroad enthusiasm also led residents in the northwest to propose impractical schemes. The Shepaug Railroad had been completed in 1872 from Danbury to Litchfield. A correspondent writing to the Connecticut Western News that year proposed extension into the Salisbury district.
Conference papers on the topic "Shepard tone"
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Trancón y Widemann, Baltasar, and Markus Lepper. "The shepard tone and higher-order multi-rate synchronous data-flow programming in Sig." In ICFP'15: 20th ACM SIGPLAN International Conference on Functional Programming. New York, NY, USA: ACM, 2015. http://dx.doi.org/10.1145/2808083.2808086.
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2
Schwarz, Sebastian, and Tim Ziemer. "A Psychoacoustic Sound Design for Pulse Oximetry." In ICAD 2019: The 25th International Conference on Auditory Display. Newcastle upon Tyne, United Kingdom: Department of Computer and Information Sciences, Northumbria University, 2019. http://dx.doi.org/10.21785/icad2019.024.
Full textAbstract:
Oxygen saturation monitoring of neonates is a demanding task, as oxygen saturation (SpO2) has to be maintained in a particular range. However, auditory displays of conventional pulse oximeters are not suitable for informing a clinician about deviations from a target range. A psychoacoustic sonification for neonatal oxygen saturation monitoring is presented. It consists of a continuous Shepard tone at its core. In a laboratory study it was tested if participants (N = 6) could differentiate between seven ranges of oxygen saturation using the proposed sonification. On average participants could identify in 84% of all cases the correct SpO2 range. Moreover, detection rates differed significantly between the seven ranges and as a function of the magnitude of SpO2 change between two consecutive values. Possible explanations for these findings are discussed and implications for further improvements of the presented sonification are proposed.