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Journal articles on the topic 'Sound-based music'
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1
Miranda, Eduardo Reck. "From symbols to sound: AI-based investigation of sound synthesis." Contemporary Music Review 10, no. 2 (January 1994): 211–32. http://dx.doi.org/10.1080/07494469400640441.
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Rehding, Alexander. "Music Theory's Other Nature: Reflections on Gaia, Humans, and Music in the Anthropocene." 19th-Century Music 45, no. 1 (2021): 7–22. http://dx.doi.org/10.1525/ncm.2021.45.1.7.
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The new historical paradigm ushered in by the Anthropocene offers a timely and urgent opportunity to rethink the relationship of humans and nature. Bruno Latour's take on the Gaia hypothesis, which rejects the traditional subject/object divide, shows how the human can be inscribed into the work of music theory. This turn toward Latour's Actor-Network Theory, which erases the categorical difference between human and nonhuman agents, now dressed up in cosmic garb under the banner of the Gaia hypothesis, appears to be distant from traditional music-theoretical concerns, but the connection is in fact less far-fetched than it seems. J. G. Kastner's music theory, taking its cue from the sound of the Aeolian harp, serves as a test case here: the Aeolian harp, played by wind directly, had long served as a Romantic image of the superhuman forces of nature, but Kastner argues that the Aeolian network only becomes complete in human ears. By unraveling the various instances and agencies of Kastner's theory, this article charts a novel approach to music and sound that sidesteps the conceptual problems in which the nineteenth-century mainstream habitually gets entangled. Kastner's work is based on a fundamental crisis in the conception of sound, after the invention of the mechanical siren (1819) tore down any certainties about the categorical distinction between noise and musical sound. Seeking to rebuild the understanding of sound from the ground up, Kastner leaves no stone unturned, from the obsolete Pythagorean tradition of musica mundana to travelers’ reports about curious sonic environmental phenomena from distant parts of the world. Where the old mechanistic paradigm was built on a “physical music” (and a static “sound of nature” based on the harmonic series), Kastner proposes a new “chemical music” that is based on the dynamic, ever-changing sonority of the Aeolian harp. This chemical music does not (yet) exist, but Kastner gives us some clues about its features, especially in his transcription/simulation of the sound of the Aeolian harp scored for double symphony orchestra. Kastner's “chemical music” finally closes the music-theoretical network that he builds around his new conception of the supernatural sound of the Aeolian harp and its human and nonhuman agents.
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Djalilian, Hamid R., Kasra Ziai, and John McGuire. "Customized Web-Based Sound/Music Therapy for Tinnitus." Otolaryngology–Head and Neck Surgery 145, no. 2_suppl (August 2011): P91. http://dx.doi.org/10.1177/0194599811416318a158.
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Titon, Jeff Todd. "Exhibiting Music in a Sound Community." Ethnologies 37, no. 1 (May 3, 2017): 23–41. http://dx.doi.org/10.7202/1039654ar.
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Exhibiting music in a sound community announces the presence and potential of an ecological rationality. Two or more beings co-present to each other in sound resonate at the same frequency with one another and comprise a sound community. Co-presence in sound is intersubjective and relational, a subject-to-subject resonant and reciprocal way of knowing, rather than a subject-to-object, asymmetrical and manipulative knowledge. In a sound community music is communicative, as natural as breathing, participatory and exchanged freely, strengthening and sustaining individuals and communities. A sound community exhibits a sound economy, just, participatory and egalitarian. Wealth and power are widely distributed and shared, and maintained through the visible hand of democratic management. A sound economy is based in a sound ecology where exchanges are based in honest signals that invite reciprocity and trust. In a sound ecology, sound being and sound knowing lead to sound action, which is cooperative, mutually beneficial, and just.
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Thumlert, Kurt, Daniel Harley, and Jason Nolan. "Sound Beginnings: Learning, Communicating, and Making Sense with Sound." Music Educators Journal 107, no. 2 (December 2020): 66–69. http://dx.doi.org/10.1177/0027432120952081.
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The ongoing work by educators responding to calls for equity, diversity, and inclusion in music education shows the breadth of difficult work that has been accomplished as well as the challenging work that lies ahead. Our work explores efforts to rethink music education—for all—from the ground up, which requires disrupting many of the norms through which music education has been conventionally understood. In this article, we bring together lessons learned to offer five recommendations for music pedagogy and sound-based inquiry that support a more inclusive understanding of music—one that situates aural/sound/music learning experiences as actively critical and collaborative practices. We suggest that by developing a contextualized, community-based, learner-oriented model, we might be better equipped to create opportunities for all learners.
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Papagiannopoulou, Eleni A. "Auditory Processing in ASD & Sound-Based Interventions." Music Perception 32, no. 5 (June 1, 2015): 515–29. http://dx.doi.org/10.1525/mp.2015.32.5.515.
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The increasing prevalence of autism spectrum disorders (ASD) and limitations in existing treatment options have led parents to seek out treatments such as sound-based training programs. Recent studies have sought to integrate neuroimaging techniques with sound-based interventions in ASD. Given the increasing popularity of these interventions and the paucity of existing research into sound-based therapies, there is significant interest in elucidating the mechanisms by which these therapies impact atypical auditory processing, as well as in the design and refinement of intervention techniques. This paper aims to review the extant literature addressing atypical auditory processing within the ASD population andcurrent sound-based interventions in the context of behavioral, neuroimaging, and neurophysiological domains. The evidence for its effectiveness as an early intervention tool in the treatment of ASD is discussed and suggestions for future directions are offered.
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Kim, Donglim, Bin Lim, and Younghwan Lim. "Music Emotion Control Algorithm based on Sound Emotion Tree." Journal of the Korea Contents Association 15, no. 3 (March 28, 2015): 21–31. http://dx.doi.org/10.5392/jkca.2015.15.03.021.
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Humphrey, Thomas. "Sound through music: Exhibit‐based teaching at the Exploratorium." Journal of the Acoustical Society of America 80, S1 (December 1986): S71. http://dx.doi.org/10.1121/1.2023934.
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Aczél, Kristóf, and István Vajk. "Note-Based Sound Source Separation in Monoaural Polyphonic Music." Acta Acustica united with Acustica 96, no. 5 (September 1, 2010): 947–58. http://dx.doi.org/10.3813/aaa.918353.
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Liang, Ping, Hongyu Guan, Yuezhen Wang, Han Chen, Pengfei Song, Haonan Ma, and Songtao Hu. "The Effect of Music Tempo and Volume on Acoustic Perceptions under the Noise Environment." Sustainability 13, no. 7 (April 6, 2021): 4055. http://dx.doi.org/10.3390/su13074055.
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This study aimed to investigate the distracting or masking effects of music tempo and volume, based on subjective evaluation under noise conditions. Two experiments were conducted with 32 participants. In the first one, the experimental conditions were set as follow: (1) the sound pressure levels of music are 45 dB, 60 dB, and 75 dB; (2) music tempos are 70 beats per minute (BPM), 110 BPM, and 150 BPM; (3) sound pressure levels of noise are 45 dB, 60 dB, and 75 dB; and (4) the noise types are talkers’ babble, traffic noise, and construction noise. All conditions on human acoustic perception were analyzed by orthogonal experiment. Based on part one, the second experiment was conducted. Sound pressure levels (50 dB, 60 dB, and 70 dB) of noise and sound pressure levels (50 dB, 60 dB, and 70 dB) of music and music tempo (70 BPM, 110 BPM, and 150 BPM) were assessed by subjective evaluation. The results showed although different types of noise had different effects on human perceptions, noise types had a small effect on acoustic comfort considering the superimposed music. Music can improve the acoustic environment. The sound pressure levels had significant effects on acoustic sensation. The tempo of the music affected the acoustic sensation insignificantly. Sound pressure levels of noise, music tempo, and sound pressure levels of music significantly affect acoustic comfort. The best acoustic environment in this study utilized superimposed 70 BPM, 60 dB music in a 50 dB noise environment. These results suggest that music can enable new strategies to improve indoor environmental satisfaction. Based on the findings, the effect of music on acoustic perceptions under the noise environment should be taken into account when aiming to enhance comfort in noisy environments.
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Rose, Ethan. "Translating Transformations: Object-Based Sound Installations." Leonardo Music Journal 23 (December 2013): 65–69. http://dx.doi.org/10.1162/lmj_a_00157.
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This paper defines the object-based sound installation as a distinct category of sound art that emerges from the intersection of live musical performance and the sonic possibilities of the recording studio. In order to contextualize this emergent category, connections are drawn among the rationalization of the senses, automated musical instruments, the lineage of recorded sound and the notion of absolute music. This interwoven history provides the necessary backdrop for the interpretation of three major works by Steven Reich, Alvin Lucier and Zimoun. These respective pieces are described in order to elucidate the ways in which object-based sound installations introduce embodied visibility into the transformative gestures of sound reproduction.
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MYATT, TONY. "Sound in space." Organised Sound 3, no. 2 (August 1998): 91–92. http://dx.doi.org/10.1017/s1355771898002015.
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There has been an extraordinary amount of interest in sound spatialisation in recent years. The volume of work in this area has pushed many international organisations to feature sound spatialisation as a theme for conferences and publications, and Organised Sound is probably overdue in having a thematic issue based upon aspects of sound in space. This issue of Organised Sound contains many different views of space. We have included articles about spatialisation techniques, our understanding of sound spatialisation, composition, performance and spaces inside music as well as the spaces and environments where music can exist, including virtual spaces.
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Lund, Helle Nystrup, Lars Rye Bertelsen, and Lars Ole Bonde. "Sound and music interventions in psychiatry at Aalborg University Hospital." SoundEffects - An Interdisciplinary Journal of Sound and Sound Experience 6, no. 1 (November 30, 2016): 48–68. http://dx.doi.org/10.7146/se.v6i1.24912.
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This article reports on the ongoing project development and research study ‘A New Sound and Music Milieu at Aalborg University Hospital’. Based on a number of pilot studies in AUH-Psychiatry on how special playlists and sound equipment (sound pillows and portable players) can be used by hospital patients and administered by hospital staff supervised by music therapists, the new project aims to prepare the ground for a systematic application of sound and music in the hospital environment. A number of playlists have been developed, based on theoretical and empirical research in music medicine and music therapy. A special software and hardware design – ‘The Music Star’– has been developed, and installed in combination with a directional line array speaker in patient rooms in two ICUs at the AUH–Psychiatry. The aim of the project is to empower patients to choose music suited to their needs here and now. In the study we focus on how self-selected music may lead to a decrease in anxiety and pain or improved relaxation/sleep. The article describes and discusses the theory-driven development of the sound/music milieu, relevant empirical studies, the novel method of data collection, preliminary results of the project and implications for the future implementation of the model.
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Zareei, Mo H., Dugal Mckinnon, Dale A. Carnegie, and Ajay Kapur. "Sound-based Brutalism: An emergent aesthetic." Organised Sound 21, no. 1 (March 3, 2016): 51–60. http://dx.doi.org/10.1017/s1355771815000370.
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Cold, stripped-down, monochrome, pixelated, iterative, quantised, grid, pulse, glitch, noise: taken together, these words imply a growing aesthetic connection within a body of experimental and independent (or non-academic) sound-based artworks produced in the past few decades. Although realised in different mediums and belonging to different artistic categories, such works are connected through a certain aesthetic sensibility. Nevertheless, since the majority of these works have thus far received little scholarly attention, a framing discussion of the aesthetic principles and features that link them is overdue. This article examines this emergent phenomenon, accounting for the particular aesthetic features that connect such sound-based artworks, arguing for a more specific terminology to adequately account for this aesthetic across the various practices in which it is observed. Rejecting ‘minimalist’ as a descriptor, this article calls for an aesthetic frame of reference derived through Brutalism, understood as a crystallisation of key features of modernism and its various movements. The first author’s work is presented as a conscious effort to create sound art redolent of Brutalism, locating this work in the context of the revival of Brutalism in recent years, which, as will be argued, can be expanded to works from a wide range of contemporary artists and musicians.
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Clauhs, Matthew, Brian Franco, and Radio Cremata. "Mixing It Up: Sound Recording and Music Production in School Music Programs." Music Educators Journal 106, no. 1 (September 2019): 55–63. http://dx.doi.org/10.1177/0027432119856085.
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Recent advances in music technology include practical tools for sound recording and production in school music classrooms. Secondary school music production classes allow students to make meaningful connections between school music and the music in their own lives. We offer several projects for teaching music production and sound recording; provide examples of authentic, performance-based assessments; and identify opportunities for collaboration through digital means. These projects are particularly well aligned with the United States’ Core Arts Standards related to creating music and may widen the door for students who are less interested—or less able to participate—in traditional bands, orchestras, and choirs or music appreciation electives.
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Miranda, Eduardo R., and John Matthias. "Music Neurotechnology for Sound Synthesis: Sound Synthesis with Spiking Neuronal Networks." Leonardo 42, no. 5 (October 2009): 439–42. http://dx.doi.org/10.1162/leon.2009.42.5.439.
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Music neurotechnology is a new research area emerging at the crossroads of neurobiology, engineering sciences and music. Examples of ongoing research into this new area include the development of brain-computer interfaces to control music systems and systems for automatic classification of sounds informed by the neurobiology of the human auditory apparatus. The authors introduce neurogranular sampling, a new sound synthesis technique based on spiking neuronal networks (SNN). They have implemented a neurogranular sampler using the SNN model developed by Izhikevich, which reproduces the spiking and bursting behavior of known types of cortical neurons. The neurogranular sampler works by taking short segments (or sound grains) from sound files and triggering them when any of the neurons fire.
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Matsuda, Naoyori, and Kenji Suyama. "Acceleration of Two Sound Source Tracking Using MUSIC-Based Particle Filters." Journal of Signal Processing 19, no. 1 (2015): 15–25. http://dx.doi.org/10.2299/jsp.19.15.
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Nimjee, Ameera. "Exhibiting Music." Ethnologies 37, no. 1 (May 3, 2017): 153–73. http://dx.doi.org/10.7202/1039660ar.
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Museums have long been thought of as “quiet” spaces, in which visitors walk slowly through galleries to look at material cultures in glass cases. Music and sound have begun to pervade the quiet spaces of museums in the forms of aural installations and performance-based programs. They are no longer galleries for solely visual engagement, but loud spaces in which visitors and audiences listen to recordings, experience live performances, and participate by themselves singing and playing in workshops, classes, installations, and impromptu demonstrations. This article explores three case studies in exhibiting music. The first is the exhibition Ragamala: Garland of Melodies, which was on display at the Royal Ontario Museum and sought to demonstrate the fluidity between the South Asian arts. The second is an investigation of some of the formal and informal performance-based programming at the Aga Khan Museum. The last case study focuses on a future project, in which collectors of Indian audio cultures will submit contributions to help construct a history of sound in India. Each case study is motivated by a series of central questions: what constitutes “exhibiting music”? What are the broader implications of and consequences for exhibiting music in each case? How does exhibiting music in a museum impact a visitor’s experience? What kinds of new stories are told in exhibiting music and sound? The three case studies respond to these questions and provoke issues and possibilities for further critical inquiry. They show that museums are dynamic spaces with incredible potential to inspire multi-experiential engagement.
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Zhang, Jingwen. "Music Feature Extraction and Classification Algorithm Based on Deep Learning." Scientific Programming 2021 (May 25, 2021): 1–9. http://dx.doi.org/10.1155/2021/1651560.
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With the rapid development of information technology and communication, digital music has grown and exploded. Regarding how to quickly and accurately retrieve the music that users want from huge bulk of music repository, music feature extraction and classification are considered as an important part of music information retrieval and have become a research hotspot in recent years. Traditional music classification approaches use a large number of artificially designed acoustic features. The design of features requires knowledge and in-depth understanding in the domain of music. The features of different classification tasks are often not universal and comprehensive. The existing approach has two shortcomings as follows: ensuring the validity and accuracy of features by manually extracting features and the traditional machine learning classification approaches not performing well on multiclassification problems and not having the ability to be trained on large-scale data. Therefore, this paper converts the audio signal of music into a sound spectrum as a unified representation, avoiding the problem of manual feature selection. According to the characteristics of the sound spectrum, the research has combined 1D convolution, gating mechanism, residual connection, and attention mechanism and proposed a music feature extraction and classification model based on convolutional neural network, which can extract more relevant sound spectrum characteristics of the music category. Finally, this paper designs comparison and ablation experiments. The experimental results show that this approach is better than traditional manual models and machine learning-based approaches.
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Holland, David, and Duncan Chapman. "Introducing New Audiences to Sound-Based Music through Creative Engagement." Organised Sound 24, no. 3 (November 29, 2019): 240–51. http://dx.doi.org/10.1017/s1355771819000311.
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This article will outline the experience of researchers at De Montfort University (DMU) (Leicester, UK) in devising and delivering workshops on sound-based creativity (sbc). These workshops supported and guided participants through the process of listening training, recording and composing their own sound-based pieces. As well as engaging participants in sound-based composition, the aim of these workshops was to introduce them to examples from the repertoire of sbm. The final workshops involved the collection of Intention/Reception (I/R) data from participants in response to a piece of sbm. Nearly 180 participants from a diverse range of ages and backgrounds took part in the workshops and the data indicate that engagement with sbm was high. This article will provide the context for the project, describe the methodology and analyse and evaluate the data that were collected. Finally, the implications for future work will be discussed.
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Holland, David. "A constructivist approach for opening minds to sound-based music." Journal of Music, Technology and Education 8, no. 1 (May 1, 2015): 23–39. http://dx.doi.org/10.1386/jmte.8.1.23_1.
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Takeda, Ryu, and Kazunori Komatani. "Noise-Robust MUSIC-Based Sound Source Localization Using Steering Vector Transformation for Small Humanoids." Journal of Robotics and Mechatronics 29, no. 1 (February 20, 2017): 26–36. http://dx.doi.org/10.20965/jrm.2017.p0026.
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[abstFig src='/00290001/03.jpg' width='300' text='Sound source localization and problem' ] We focus on the problem of localizing soft/weak voices recorded by small humanoid robots, such as NAO. Sound source localization (SSL) for such robots requires fast processing and noise robustness owing to the restricted resources and the internal noise close to the microphones. Multiple signal classification using generalized eigenvalue decomposition (GEVD-MUSIC) is a promising method for SSL. It achieves noise robustness by whitening robot internal noise using prior noise information. However, whitening increases the computational cost and creates a direction-dependent bias in the localization score, which degrades the localization accuracy. We have thus developed a new implementation of GEVD-MUSIC based on steering vector transformation (TSV-MUSIC). The application of a transformation equivalent to whitening to steering vectors in advance reduces the real-time computational cost of TSV-MUSIC. Moreover, normalization of the transformed vectors cancels the direction-dependent bias and improves the localization accuracy. Experiments using simulated data showed that TSV-MUSIC had the highest accuracy of the methods tested. An experiment using real recoded data showed that TSV-MUSIC outperformed GEVD-MUSIC and other MUSIC methods in terms of localization by about 4 points under low signal-to-noise-ratio conditions.
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Lee, Byungjoo, Jaehyuck Bae, and Hyunwoo Bang. "Appropriate Sound Effector for Electronic Music Prototyping." Leonardo 47, no. 1 (February 2014): 88–89. http://dx.doi.org/10.1162/leon_a_00679.
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The Appropriate Sound Effector (ASE) is a small, portable module to be attached to an existing acoustic instrument to modify its original sound, giving it an electronic timbre. It is composed of all of the basic components necessary for the generation of electronic sound and uses an open-source-based microcontroller in the module to maximize its expandability and for ease of future development. This project eventually showed a different possibility for appropriate technology when ASE is applied to musical applications.
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Moon, Soyoun, Sunghwan Park, Donggun Park, Myunghwan Yun, Kyongjin Chang, and Dongchul Park. "Active Sound Design Development Based on the Harmonics of Main Order from Engine Sound." Journal of the Audio Engineering Society 68, no. 7/8 (September 4, 2020): 532–44. http://dx.doi.org/10.17743/jaes.2020.0044.
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Srećković, Biljana. "Architecture and music/sound: Points of meeting, networking, interactions." SAJ - Serbian Architectural Journal 6, no. 1 (2014): 75–88. http://dx.doi.org/10.5937/saj1401075s.
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This paper is devoted to perceiving the relationship between music and architecture, namely, the discourses which interpret, research, value these two practices in the context of their mutual networking. In that respect it is possible to set aside several problem strongholds which will make the focus of this paper, and which concern: the history of forming and evolution of discourse on the inter-relationship of these two practices; modernist, avant-garde and postmodernist problematization of music and architecture; theories of the artists as a field of music and architecture networking; the interaction of music and architecture on the technical and formal level; spatiality of sound, i.e., sound/music propagation in space and the emergence of the new art concepts based on this principle (sound architecture, aural architecture, sound art).
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Sekino, Hideo, Akihide Miyazaki, and Hiroshi Toda. "An analysis of music sound by a 12 even-tempered discrete wavelet." International Journal of Wavelets, Multiresolution and Information Processing 12, no. 04 (July 2014): 1460009. http://dx.doi.org/10.1142/s0219691314600091.
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Music sounds are analyzed using a 12 even-tempered wavelet based upon the variable-density perfect translation invariance complex discrete wavelet transform (VD-PTI-CDWT) which divides an octave frequency band into 12 filter banks of equivalent width. Music chords generated from different sound sources thus analyzed are represented as scalogram and in 3 dimension (3D) graph over time-frequency domain. The scalogram representation provides information corresponding to the western music notation and accords with human's cognition for pitch of the music sound whereas 3D graph representation is capable of providing more detail sound information. We further apply the method to Specmurt analysis in order to estimate the fundamental frequency distribution of polyphonic music sound. The polyphonic sound of C 4, G 4, D 5, A 5 in scientific notation generated with saw-tooth wave tone is successfully filtered out its overtones to provide the fundamental frequency distribution.
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Suzuki, Takuya, Hiroaki Otsuka, Wataru Akahori, Yoshiaki Bando, and Hiroshi G. Okuno. "Influence of Different Impulse Response Measurement Signals on MUSIC-Based Sound Source Localization." Journal of Robotics and Mechatronics 29, no. 1 (February 20, 2017): 72–82. http://dx.doi.org/10.20965/jrm.2017.p0072.
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[abstFig src='/00290001/07.jpg' width='300' text='Six impulse response measurement signals' ] Two major functions, sound source localization and sound source separation, provided by robot audition open source software HARK exploit the acoustic transfer functions of a microphone array to improve the performance. The acoustic transfer functions are calculated from the measured acoustic impulse response. In the measurement, special signals such as Time Stretched Pulse (TSP) are used to improve the signal-to-noise ratio of the measurement signals. Recent studies have identified the importance of selecting a measurement signal according to the applications. In this paper, we investigate how six measurement signals – up-TSP, down-TSP, M-Series, Log-SS, NW-SS, and MN-SS – influence the performance of the MUSIC-based sound source localization provided by HARK. Experiments with simulated sounds, up to three simultaneous sound sources, demonstrate no significant difference among the six measurement signals in the MUSIC-based sound source localization.
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Cunha, Rosemyriam, and Cecília Carvalho Dias Maynardes. "Music therapy interventions based on sound properties enhancing communication with infants and toddlers." International Journal of Music in Early Childhood 15, no. 2 (December 1, 2020): 217–34. http://dx.doi.org/10.1386/ijmec_00022_1.
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Infants are curious about sounds and can perceive them as a means of communication with others. This article describes the ways sound properties were used in music therapy encounters to facilitate communication with a group of infants and toddlers. The music therapy interactions were based on Brazilian traditional songs, musical instruments and body movements. We explored loudness, timbre and pitch used to enhance non-verbal communication. Participative performance and community music therapy principles were deemed appropriate to our interactions as we observed improvement in the quality of the infants’ and toddlers’ social and affective expressions throughout the process.
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Ellis, Phil. "Incidental Music: a case study in the development of sound therapy." British Journal of Music Education 12, no. 1 (March 1995): 59–70. http://dx.doi.org/10.1017/s0265051700002400.
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Incidental Music describes the early stages of the development of a new approach – sound therapy – for children who have severe learning difficulties (SLD) and profound and multiple learning difficulties (PMLD). Sound itself, including what we call ‘music’, in combination with aspects of new music technology, provide the basis for this approach. Sound therapy acknowledges the expressive potential of all sound with the aim of enabling and developing additional ways of communicating and expressing. A research methodology has been developed to enable a detailed, rigorous analysis and evaluation of observed phenomena. This is briefly described and a case study, based on the use of Soundbeam, reveals some aspects of sound therapy. I am grateful to the staff and pupils of the Lambert School for their help, encouragement, co-operation and warmth in enabling this project.
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Zhao, Huimin, Xianglin Huang, Wei Liu, and Lifang Yang. "Environmental sound classification based on feature fusion." MATEC Web of Conferences 173 (2018): 03059. http://dx.doi.org/10.1051/matecconf/201817303059.
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With deep great breakthroughs of deep learning in the field of computer vision, the field of audio recognition has gradually introduced deep learning methods and achieved excellent results. These results are mainly for speech and music recognition research, and there is very little research on environmental sound classification. In recent years, people have begun to expand the research object of deep learning to the environmental sound, and achieved certain results. In this paper, we use ESC-50 as our test set, based on the SoundNet network and EnvNet network to propose a feature fusion method[1]. After the features extracted by SoundNet and EnvNet were merged, they were classified using fusion features. Experimental results show that this method has better classification accuracy for the recognition of environmental sounds than using either of the two networks separately for classification.
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Lin, Hao-Chiang Koong, Cong Jie Sun, Bei Ni Su, and Zu An Lin. "An Automatic Mechanism to Recognize and Generate Emotional MIDI Sound Arts Based on Affective Computing Techniques." International Journal of Online Pedagogy and Course Design 3, no. 3 (July 2013): 62–75. http://dx.doi.org/10.4018/ijopcd.2013070104.
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All kinds of arts have the chance to be represented in digital forms, and one of them is the sound art, including ballads by word of mouth, classical music, religious music, popular music and emerging computer music. Recently, affective computing has drowned a lot of attention in the academic field, and it has two parts: physiology and psychology. Through a variety of sensing devices, the authors can get behaviors which are represented by feelings and emotions. Therefore, the authors may not only identify but also understand human emotions. This work focuses on exploring and producing the MAX/MSP computer program which can generate the emotional music automatically. It can also recognize the emotion identified when users play MIDI instruments and create visual effects. The authors hope to achieve two major goals: (1) Producing the performance of art combined with dynamic vision and auditory tune. (2) Making computers understand human emotions and interact with music by affective computing. The results of this study are as follows:(1) The authors design a corresponding mechanism of music tone and human emotion recognition. (2) The authors develop a combination of affective computing and the auto music generator. (3) The authors design a music system which can be used with MIDI instrument and also be incorporated with other music effects to add the Musicality. (4) The authors Assess and complete the emotion discrimination mechanism of how mood music can feedback accurately. The authors make computers simulate (even have) human emotion, and obtain relevant basis for more accurate sound feedback. The authors use System Usability Scale to analyze and discuss about the usability of the system. Also, the average score of each item is obviously higher than the simple score (four points) for the overall response and the performance of music when we use “auto mood music generator”. There are average performance which is more than five points in each part of Interaction and Satisfaction Scale. Subjects are willing to accept this interactive work, so it proves that the work has the usability and the potential which the authors can keep developing on.
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Simpson, Paul. "Sonic affects and the production of space: ‘Music by handle’ and the politics of street music in Victorian London." cultural geographies 24, no. 1 (July 8, 2016): 89–109. http://dx.doi.org/10.1177/1474474016649400.
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This article examines the affective capacities of sound and its role in the on-going production of social spaces. More specifically, the article seeks to understand the situated nature of sound’s affectivity within particular social-political-material contexts or circumstances. This is developed through a discussion of an empirical case study related to the history of street music: the ‘street music debates’ of Victorian London. The interrelation here of the sounds street musicians made, the broader urban soundscape of the time, who played street music and who it was that found themselves listening to this music demonstrate clearly the situated affective capacities of street music. From this, the article advocates an understanding of the role of sound in the on-going production of social spaces based upon a reciprocal mediation between ‘macropolitical’ matters related to identity and other social formations and the ‘micropolitics’ of the affects that such sound and music bring to bear for those exposed to it.
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MacGregor, Rob. "Music Notational Software based on Children's Own Symbolic Representations of Sound." Research Studies in Music Education 3, no. 1 (December 1994): 15–24. http://dx.doi.org/10.1177/1321103x9400300103.
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Holbrook, Ulf A. S. "Sound Objects and Spatial Morphologies." Organised Sound 24, no. 1 (April 2019): 20–29. http://dx.doi.org/10.1017/s1355771819000037.
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One of Pierre Schaeffer’s achievements in his musical research was his proposal of the sound object as a basic unit of musical experience and his insistence on listening as a main focus of research. Out of this research grew a radical new music theory of sound-based composition. This article will draw on this extensive research to explore the spaces where this music is heard and present the claim that the space in which music is experienced is as much a part of the music as the timbral material itself. The key question here is the changes made to timbral material through acousmatic spatial listening and the subjective analysis affordance of the listeners’ placement and perspective. These consequences are studied from a phenomenological and psychoacoustic perspective and it is suggested that Schaeffer’s research on timbral and musical concepts can be extended to include spatial features.
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Santarcangelo, Vincenzo, and Riccardo Wanke. "The Early Stage of Perception of Contemporary Art Music: A matter of time." Organised Sound 25, no. 2 (August 2020): 130–41. http://dx.doi.org/10.1017/s1355771820000047.
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By way of a multidisciplinary approach, this article advances the idea that our listening to certain practices of contemporary art music (electroacoustic, classical contemporary, and electronic music) relies on precise connections to the early stage of perception. These styles of music are characterised by essential sound configurations that evolve in time, thus eliciting a sensorial impact which transcends features regarding sound sources and affective responses. Listeners grasp what Scruton calls ‘pure events’ in a ‘world of sound’, being able to distinguish, separate and sort acoustic stimuli. The article establishes a key parallel among seminal works of Bregman, McAdams, Kubovy, Bayle and other authors, highlighting a fundamental agreement of perceptual studies in psychology, neurophysiology and musicology for the understanding of the early stage of sound perception. Music practices typical of this perspective develop certain sound configurations, such as figure/ground arrangements, recurrent elements and morphological distinction, that closely mirror our innate mechanisms of prediction in perception. A parallel is made between studies in the philosophy of perception and the neurophysiology which allows us to postulate the idea that these styles of music are essentially based on pure temporal proto-objects.
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De Beer, Josef. "The Sound of Music & Its Effect on Biological Systems: Project-Based Learning Tapping into Adolescents' Interests." American Biology Teacher 81, no. 7 (September 1, 2019): 507–12. http://dx.doi.org/10.1525/abt.2019.81.7.507.
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Science education often fails to address the actual range of adolescents' interests. One such interest is music. Research shows that young people devote large amounts of time and money to music. By tapping into students' interest in music, affective outcomes can be achieved in the biology classroom. This article describes a project-based learning activity that studies the influence of music on seed germination. Part of the student project is to conduct a literature search on the influence of music on plants, and possibly also on people (its biological, psychological, and social effects). The project is contextualized in the indigenous practice of making music while planting crops. There is a growing body of literature suggesting that music can improve crop yields. Students are required to follow the key features of project-based learning to plan and execute an inquiry to determine the influence of music on seed germination. Students undertaking a literature study will find research showing that music affects the viscosity of the plasmalemma and the availability of intercellular Ca2+, which, in turn, influences the activity of membrane-based enzymes. This can lead to larger amounts of water, nutrients, and growth regulators entering the plant cell. The article also reflects on data obtained from high school biology students as they engage in the learning activity.
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Ratti, Federico Schumacher, and Claudio Fuentes Bravo. "Space–Emotion in Acousmatic Music." Organised Sound 22, no. 3 (November 24, 2017): 394–405. http://dx.doi.org/10.1017/s1355771817000449.
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This article presents a multimodal exploratory study aimed at searching for evidence that can guide us in the adoption and/or improvement of appropriate theoretical–methodological approaches for studying the role of the spatiality/spatialisation of sound and the cognitive/affective empathic processes involved in the acousmatic experience. For this purpose, controlled listening sessions were conducted in which fragments of different loudspeaker music were presented. The subjects reported their emotional experience and the degree of familiarity they assigned to each sound fragment. Specific questions for the acousmatic fragments inquire into the potential relationships between the sound stimulus and the emotion declared by the subjects. From these experiences, qualitative reports were obtained through a semi-structured interview, and electrodermal activity (EDA) logs were recorded in parallel for an intended group. Based on these results, it is argued that spatiality might be linked to a complex cognitive–affective response from the listeners and emerges as a distinctive element of the meaning that the listeners ascribe to their acousmatic musical experience.
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Handayani, Aan, and Gustaman Saragih. "CHARACTER AND MORAL VALUE “IN THE SOUND OF MUSIC” BY ROBERT WISE." INFERENCE: Journal of English Language Teaching 3, no. 3 (November 1, 2020): 178. http://dx.doi.org/10.30998/inference.v3i3.5762.
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<p>The research aims to analyze the characters and moral values contained in the film "The<br />Sound of Music" by Robert Wise. Based on the theories of character and moral values, there are four primary points to analyze: 1) There are three kinds of characters that appear in the characters in "The Sound of Music" by Robert Wise based on Russel, those are the Protagonist, the main protagonist played by Maria and the Von Trapp Family and the sisters in the monastery, the Antagonist, played by The Baroness and Herr Zeller, and Foil character played by Rolfe and Franz, 2) There are seven types of moral values that appear in "The Sound of Music" by Robert Wise based on Borba, they are respect, kindness, conscience, self-control, justice, empathy and tolerance.<br />Keywords: content analysis; moral values; movie</p>
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Kashino, Kunio, and Hiroshi Murase. "A sound source identification system for ensemble music based on template adaptation and music stream extraction." Speech Communication 27, no. 3-4 (April 1999): 337–49. http://dx.doi.org/10.1016/s0167-6393(98)00078-8.
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Wanke, Riccardo. "The Emergence of an Ecstatic-materialist Perspective as a Cross-genre Tendency in Experimental Music." Organised Sound 22, no. 3 (November 24, 2017): 428–36. http://dx.doi.org/10.1017/s1355771817000437.
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This article proposes a perspective on certain practices within experimental music based on a particular understanding of sonic materialism. By tracing correlations and marking divergences between post-spectralism, minimalism, electroacoustic music, glitch and IDM’s offshoots, this article reflects on sound-in-itself, the conception of space and time in music, poietics, perceptual and cultural factors, and suggests that there is a particular understanding of sonic materialism – which I term ecstatic-materialism – that is rooted in a synthesis of perception, theory and embodied actions.This perspective explores a new expressivity of sound in which the sound itself is the point of convergence for creative impulses and perceptual motives, sound being the common territory between composer and listener. By developing the idea of an ecstatic-sonic-materialism, various works across different genres can be brought together according to this mutual convergence on sound that embodies acoustic properties, intimate traces, external and corporeal experiences.
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Moroni, Artemis, Jônatas Manzolli, Fernando Von Zuben, and Ricardo Gudwin. "Vox Populi: An Interactive Evolutionary System for Algorithmic Music Composition." Leonardo Music Journal 10 (December 2000): 49–54. http://dx.doi.org/10.1162/096112100570602.
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While recent techniques of digital sound synthesis have put numerous new sounds on the musician's desktop, several artificial-intelligence (AI) techniques have also been applied to algorithmic composition. This article introduces Vox Populi, a system based on evolutionary computation techniques for composing music in real time. In Vox Populi, a population of chords codified according to MIDI protocol evolves through the application of genetic algorithms to maximize a fitness criterion based on physical factors relevant to music. Graphical controls allow the user to manipulate fitness and sound attributes.
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Valle, Andrea. "Making Acoustic Computer Music: The Rumentarium project." Organised Sound 18, no. 3 (November 12, 2013): 242–54. http://dx.doi.org/10.1017/s1355771813000216.
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The article describes the design, production and usage of the ‘Rumentarium’, a computer-based sound generating system involving physical objects as sound sources. The Rumentarium is a set of handmade resonators, acoustically excited by DC motors, interfaced to the computer by means of various microcontrollers. Following an ecological/anthropological approach, in the Rumentarium discarded materials are used as sound sources. Every instrument is ‘produced while designed’ in an improvisation-like manner, starting from available materials. In this way, hardware is ‘softened’: that is, it can be continuously modified as in software development. Analogously, the onsite setup is very light, so that components can be added or removed on the fly, even while the Rumentarium is at work. Differently from typical computer music, the Rumentarium, while entirely computationally controlled, is an acoustic sound generator. On one hand, the Rumentarium can be played like an instrument in conjunction with a MIDI controller, for use in live musical performance. On the other side, it can be driven by algorithmic strategies. In this way, the Rumentarium can be configured also as a sound installation, in a standalone mode. Some artistic works are discussed while introducing the various control modalities that have been specifically developed for the Rumentarium.
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Desai, Dattatreya Muthalik, H. S. Sanjay, S. Ankitha, B. S. Prithvi, and P. A. Dinesh. "Psychoacoustical Differentiation with Regard to the Perception of Pitch—A Comparison Between Musicians and Non-Musicians." Journal of Computational and Theoretical Nanoscience 17, no. 9 (July 1, 2020): 4454–57. http://dx.doi.org/10.1166/jctn.2020.9096.
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Psychoacoustics is considered to be a category of psychophysics and is termed as the assessment of auditory or sound perception and deals with perception of sound among different human beings. Psychoacoustics is a very qualitative phenomenon and is often the reason for an individual to perceive the sound in different manner, as compared to another. This effect is more prominent in music wherein a given music bit may seem good to one, whereas, another may perceive it as bad. For this to happen, various attributes of sound play an important part, in the categorization based on psychoacoustical perception. The present work considered pitch as the varying attribute and provided a comparative assessment of sound, based on the variation of pitch in terms of Pitch Detection Threshold (PDTh) between trained musicians and non-musicians. 44 subjects of both conditioned and controlled set were considered for this study and were made to undergo the Pitch Detection Test (PDT) to assess their PDTh. Two trials were conducted, once in the morning and the other in the evening. The results provided substantial cue to conclude that the musicians had a better PDTh (6.83 dB) than the control set (31.31 dB). Also, the PDTh was better in the morning trials, as compared to their evening counterparts. This could be attributed to the professional training in music, due to which the conditioned set outperformed the control set of subjects. Such an analysis could aid in the assessment of auditory perceptive abilities and their improvement with music and hence indicate the plausible improvement in the auditory perception with music based raaga therapy. Further, more attributes such as intensity and frequency could be encompassed to provide stronger relationship between perception and learning, in this case being music training sessions, which could also work as therapy for certain auditory perceptive disorders.
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Kraus, Nina, and Travis White-Schwoch. "Neurobiology of Everyday Communication: What Have We Learned From Music?" Neuroscientist 23, no. 3 (June 9, 2016): 287–98. http://dx.doi.org/10.1177/1073858416653593.
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Sound is an invisible but powerful force that is central to everyday life. Studies in the neurobiology of everyday communication seek to elucidate the neural mechanisms underlying sound processing, their stability, their plasticity, and their links to language abilities and disabilities. This sound processing lies at the nexus of cognitive, sensorimotor, and reward networks. Music provides a powerful experimental model to understand these biological foundations of communication, especially with regard to auditory learning. We review studies of music training that employ a biological approach to reveal the integrity of sound processing in the brain, the bearing these mechanisms have on everyday communication, and how these processes are shaped by experience. Together, these experiments illustrate that music works in synergistic partnerships with language skills and the ability to make sense of speech in complex, everyday listening environments. The active, repeated engagement with sound demanded by music making augments the neural processing of speech, eventually cascading to listening and language. This generalization from music to everyday communications illustrates both that these auditory brain mechanisms have a profound potential for plasticity and that sound processing is biologically intertwined with listening and language skills. A new wave of studies has pushed neuroscience beyond the traditional laboratory by revealing the effects of community music training in underserved populations. These community-based studies reinforce laboratory work highlight how the auditory system achieves a remarkable balance between stability and flexibility in processing speech. Moreover, these community studies have the potential to inform health care, education, and social policy by lending a neurobiological perspective to their efficacy.
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Burnett, Jeffrey, Frederick Britten, and Laci Dearden. "Sound Intensity Levels of a University Wellness Center." Recreational Sports Journal 32, no. 1 (March 2008): 11–15. http://dx.doi.org/10.1123/rsj.32.1.11.
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The purpose of this study was to investigate the sound intensity levels of a university-based wellness center. This research was initiated in response to the explosion of wellness centers being renovated and constructed across the nation at the university level and the need to entertain participants during fitness activities with some type of auditory sound. Measurements were taken in the wellness center under three conditions: quiet, music on, and music on/active. The intensity levels varied depending on the condition. Although the sound intensity was at an acceptable level during the quiet and music on condition, intensity levels reached an unacceptable level during the music on/active condition when not controlled by an administrator. This study provides a heightened awareness of the risks of possible hearing loss and promotes a role for professionals in health and human performance to collaborate with professionals in communication disorders in setting a safe intensity level of all audio systems.
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Stefanakis, Nikolaos, Markus Abel, and André Bergner. "Sound Synthesis Based on Ordinary Differential Equations." Computer Music Journal 39, no. 3 (September 2015): 46–58. http://dx.doi.org/10.1162/comj_a_00314.
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Ordinary differential equations (ODEs) have been studied for centuries as a means to model complex dynamical processes from the real world. Nevertheless, their application to sound synthesis has not yet been fully exploited. In this article we present a systematic approach to sound synthesis based on first-order complex and real ODEs. Using simple time-dependent and nonlinear terms, we illustrate the mapping between ODE coefficients and physically meaningful control parameters such as pitch, pitch bend, decay rate, and attack time. We reveal the connection between nonlinear coupling terms and frequency modulation, and we discuss the implications of this scheme in connection with nonlinear synthesis. The ability to excite a first-order complex ODE with an external input signal is also examined; stochastic or impulsive signals that are physically or synthetically produced can be presented as input to the system, offering additional synthesis possibilities, such as those found in excitation/filter synthesis and filter-based modal synthesis.
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Albuquerque, Marcelo de O., Sean Wolfgand M. Siqueira, and Maria Helena Lima Baptista Braz. "A Conceptualization of Music Sound Recordings and Its Representation in an Ontology." International Journal of Knowledge Society Research 4, no. 1 (January 2013): 73–89. http://dx.doi.org/10.4018/jksr.2013010106.
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Music is a domain with several dimensions and some specific characteristics. When different types of music are considered, modeling this domain becomes even more challenging. This paper presents some of the characteristics that makes music such an interesting domain to model and summarizes a conceptualization process based on the Dahlberg conceptual triangle for guiding the construction of an ontology proposal for representing music sound recordings. This ontology can provide a global representation that might be used to support music information systems’ interoperability as well as data integration, contributing to worldwide music dissemination in nowadays knowledge society. Some possible mappings to other representational schemes for music sound recordings are identified to enable interoperability and integration with other similar systems. An interview with domain specialists indicates the right coverage of the necessary concepts, and evidences the importance of the proposal.
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Norman, Katharine. "Listening Together, Making Place." Organised Sound 17, no. 3 (August 15, 2012): 257–65. http://dx.doi.org/10.1017/s1355771812000143.
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In this paper I examine metaphors of place and place making, with reference to the phenomenological tradition and in particular Edward S. Casey, in relation both to sound-based music and art concerned with environment, and to listening and environmental sound. I do so in order to consider how aspects of place-making activity might be incorporated in aurally perceived works, and elicited in listeners, so that we might perhaps achieve a greater sense of ‘connectedness’ to sound-based music and art that is itself about – in some way – our connectedness to the environment. Three works, by Feld, Monacchi and López, form the basis for investigation.
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Li, Feng, and Hao Chang. "Music Signal Separation Using Supervised Robust Non-Negative Matrix Factorization with β-divergence." International Journal of Circuits, Systems and Signal Processing 15 (February 22, 2021): 149–54. http://dx.doi.org/10.46300/9106.2021.15.16.
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We propose a supervised method based on robust non-negative matrix factorization (RNMF) for music signal separation with β-divergence called supervised robust non-negative matrix factorization (SRNMF). Although RNMF method is an effective method for separating music signals, its separation performance degrades due to has no prior knowledge. To address this problem, in this paper, we develop SRNMF that unifying the robustness of RNMF and the prior knowledge to improve such separation performance on instrumental sound signals (e.g., piano, oboe and trombone). Application to the observed instrumental sound signals is an effective strategy by extracting the spectral bases of training sequences by using RNMF. In addition, β-divergence based on SRNMF be extended. The results obtained from our experiments on instrumental sound signals are promising for music signal separation. The proposed method achieves better separation performance than the conventional methods.
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Putecheva, Olga A. "The Phenomenon and the Semantics of Sound in Modern Music as the Subject of Development in Music Education (Based on Works by Alexander Bakshi)." Musical Art and Education 7, no. 1 (2019): 107–19. http://dx.doi.org/10.31862/2309-1428-2019-7-1-107-119.
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The nature of the sound is unique and inimitable in the works of modern composers, crystallizing in the complex search for musical expression. The article attempts to trace the formation of a new phenomenon in Russian music – “Theater of sound”, which is possible for comprehending in terms of value of a separate sound in the organization of compositions by the Moscow composer A. Bakshi where each of them realized by an initial element of creation of the work coloristic is calculated. The weight of the acoustic point at the intersection of sense-forming factors of different plan, allows us to consider each sound in a musical work semantically significant unit, because it instantly reflects the change in content, sensitive to the situation, is endowed with great energy impact. The article reveals some features of the sound organization and its fundamental role in vanguard compositions, which creates conditions for the search and development of new meanings. The method of analysis of instrumental works is based on the movement from particular manifestations to generalizations concerning the whole work and its stage life. The creative process of writing this author is unique in that it begins with the search and formation of a single sound, giving a special energy stress with its timbre, character. The composer extracts the maximum of possibilities from it, using rhythmic variability, timbre, tessitura, various methods of sound production. Individualization not only enhances the expressive properties, but also increases the semantic and functional load of more significant constructions. As a result, there are new ways of organizing the musical fabric, based on associations, the game of meanings, ambivalence. Coloristic work, sound transformations complicate the code of meaning generation, which characterizes the change in the type of communication. In connection with the “visual turn”, new types of codes are developed that contribute to the volumetric perception of the work in the polysemantic whole. The understanding of the essence of the considered processes in the musical-theoretical aspect is a necessary condition for the inclusion of creativity of modern composers in the content of musical education.