Relevant bibliographies by topics / Timbre space

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

Academic literature on the topic 'Timbre space'

Author: Grafiati
Published: 4 June 2021
Last updated: 11 February 2022

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Journal articles on the topic "Timbre space"

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Myakotin, Evgenii Vladimirovich. "Timbre as a semiotic system. On the problem of structural analysis of music timbre." PHILHARMONICA. International Music Journal, no. 6 (June 2020): 61–66. http://dx.doi.org/10.7256/2453-613x.2020.6.33331.

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The author attempts to explain the methodology of structural analysis of music timbre. The research subject is music timbre, and the object is its semiotic system. Based on the semiotic system developed by  Ferdinand de Saussure, the author outlines two algorithms within the structure of music timbre - randomness and linearity. Considering the first principle, the author explains the anthropologic nature of a timbre sign, forming the total variability of a timber sign, and some patterns of music timber perception. The second principle is considered through the prism of psycho-acoustics which helps to detect and define the structural principle of linearity as a primary mechanism of perception of music. The scientific novelty of the research consists in the first experience of studying music timbre in terms of its structural organization. For the first time timbre is considered as a semiotic system with structural principles. Since musicology still doesn’t have an appropriate conceptual framework for structural analysis of a timbre space, the model by Saussure becomes especially valuable, primarily because of the fact that it emerged as an attempt to build such a language system which would take into account the correlation and interrelation between language and speech. This is the content of the novelty and topicality of the research which is based on a certain algorithm of structural analysis of music timbre. 
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Normandeau, Robert. "Timbre Spatialisation: The medium is the space." Organised Sound 14, no. 3 (2009): 277–85. http://dx.doi.org/10.1017/s1355771809990094.

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In this text, the author argues that space should be considered as important a musical parameter in acousmatic music composition as more conventional musical parameters in instrumental music. There are aspects of sound spatialisation that can be considered exclusive to the acousmatic language: for example, immersive spatialisation places listeners in an environment where they are surrounded by speakers. The author traces a history of immersive spatialisation techniques, and describes the tools available today and the research needed to develop this parameter in the future. The author presents his own cycle of works within which he has developed a new way to compose for a spatial parameter. He calls this technique timbre spatialisation.
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Zacharakis, Asterios, Konstantinos Pastiadis, and Joshua D. Reiss. "An Interlanguage Unification of Musical Timbre." Music Perception 32, no. 4 (2015): 394–412. http://dx.doi.org/10.1525/mp.2015.32.4.394.

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The current study expands our previous work on interlanguage musical timbre semantics by examining the relationship between semantics and perception of timbre. Following Zacharakis, Pastiadis, and Reiss (2014), a pairwise dissimilarity listening test involving participants from two separate linguistic groups (Greek and English) was conducted. Subsequent multidimensional scaling analysis produced a 3D perceptual timbre space for each language. The comparison between perceptual spaces suggested that timbre perception is unaffected by native language. Additionally, comparisons between semantic and perceptual spaces revealed substantial similarities which suggest that verbal descriptions can convey a considerable amount of perceptual information. The previously determined semantic labels “auditory texture” and “luminance” featured the highest associations with perceptual dimensions for both languages. “Auditory mass” failed to show any strong correlations. Acoustic analysis identified energy distribution of harmonic partials, spectral detail, temporal/spectrotemporal characteristics and the fundamental frequency as the most salient acoustic correlates of perceptual dimensions.
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Jiang, Wei, Jingyu Liu, Xiaoyi Zhang, Shuang Wang, and Yujian Jiang. "Analysis and Modeling of Timbre Perception Features in Musical Sounds." Applied Sciences 10, no. 3 (2020): 789. http://dx.doi.org/10.3390/app10030789.

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A novel technique is proposed for the analysis and modeling of timbre perception features, including a new terminology system for evaluating timbre in musical instruments. This database consists of 16 expert and novice evaluation terms, including five pairs with opposite polarity. In addition, a material library containing 72 samples (including 37 Chinese orchestral instruments, 11 Chinese minority instruments, and 24 Western orchestral instruments) and a 54-sample objective acoustic parameter set were developed as part of the study. The method of successive categories was applied to each term for subjective assessment. A mathematical model of timbre perception features (i.e., bright or dark, raspy or mellow, sharp or vigorous, coarse or pure, and hoarse or consonant) was then developed for the first time using linear regression, support vector regression, a neural network, and random forest algorithms. Experimental results showed the proposed model accurately predicted these attributes. Finally, an improved technique for 3D timbre space construction is proposed. Auditory perception attributes for this 3D timbre space were determined by analyzing the correlation between each spatial dimension and the 16 timbre evaluation terms.
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Dean, Roger T. "Widening Unequal Tempered Microtonal Pitch Space for Metaphoric and Cognitive Purposes with New Prime Number Scales." Leonardo 42, no. 1 (2009): 94–95. http://dx.doi.org/10.1162/leon.2009.42.1.94.

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I define a new set of microtonal scales based on the prime number series, and containing 41 to 91 pitches spread over the whole audible range, rather than subdividing the octave. I designed these scales for metaphorical purposes, and applied one within my performance piece Ubasuteyama (2008), written with Hazel Smith, for speaker, computer sound and digital processing. Simple timbres using partials bearing prime number ratios to their fundamental were also used to embody the scale. The scales and timbres will be amongst the subjects of cognitive studies of pitch combinations, of large and unbroken pitch intervals in melodies, and of the relation between scale and timbre.
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Savchenko, Hanna. "Combinatorics as a constant principle of I. Stravinsky’s orchestral writing." Aspects of Historical Musicology 21, no. 21 (2020): 180–93. http://dx.doi.org/10.34064/khnum2-21.12.

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Background. I.Stravinsky’s orchestration is quite an original phenomenon; its essential characteristics are influenced not only by objective intra-musical factors (reconfiguration of musical language on the verge of XIX–XX centuries) or by subjective individual and stylistic determinants, but also by the changes, which occurred in the cultural context of the first half of XX century under influence of scientific and technical progress (Arkadev, 1992; Gerasimova-Persidskaya, 2012). The first two decades of XX century became the time, when the new generation of composers emerged, who reflected complexity of the world and different understanding of temporal and spatial relations in sound matter of their works. First, we mean C. Debussy, I. Stravinsky, the composers of the Second Viennese School and B. Bartók. Objectivation of the worldview largely influenced the orchestration as it is one of the means to organise musical matter in space-time. Literature review. Orchestration by I. Stravinsky is the object of research in the articles of V. Gurkov (1987) and A. Schnittke (1967; 1973). Valuable observation and commentary on composer’s orchestration are found in several monographs (Asafev, 1977; Baeva, 2009; Druskin, 2009; Savenko, 2001; Yarustovskiy, 1982). In the available works, orchestral writing by I. Stravinsky has not been examined, especially in the aspect of its constant principles. Results. Concept of “orchestral writing” needs to be clarified; it is widely used, although scarcely developed. We suggest our own definition of this concept. Orchestral writing is an individual system of technological devices and principles, determined by composer’s musical language and common, basic rules of orchestration, aimed at realisation of timbre and textural aspects of the work, conditioned by style, genre and artistic idea and incarnated in functional interaction of orchestral parts in horizontal and vertical axes. General principles of I. Stravinsky’s orchestral writing became discernible in his early works; we define them as multi-figure composition, combinatorics and plastique. Combinatorics can be understood as universal principle of I. Stravinsky’s compositional method and orchestral writing, which affects all the levels of compositional whole, the work itself. Combinatorics is widely used in visual arts, where it is interpreted as a method to find various combinations through rearrangements, moving, different configurations of given elements, their juxtaposition in a certain order. Used as a term to define orchestral writing, combinatorics supposes manipulation with small timbre and textural elements and structures; this is conditioned by type of the themes, used by the composer as well as by variability of intervals and motives. Frequent succession of thematic structures causes rushed tempo of changes of timbre and textural structures, which, in its turn, causes musical time to be densely filled with informational events, and musical space became heterogeneous, contrasting, motley. Combinatorics is embodied in such tools as timbre transmissions and switching, when thematic structures distributed between several timbre groups by the means of split, handoff or juxtaposition, combination of orchestral groups, while remaining in the same structural and compositional section; as a rule, this does not result in a change of orchestral texture. This engenders mosaic-like orchestration, intense contrasts of timbre. Combinatorics in I. Stravinsky’s scores is skillfully realized through increase and decrease in quantity of voices (timbres) in horizontal and vertical axes. In vertical axis it is achieved by usage of incomplete and inexact (fragmentary, variable) doubles, having role of timbre “highlighting”, creating timbre variants of the main line, filling orchestral texture with unremitting timbre move and spatiality. As fragmentary and variable doubles are used, density of the texture is regulated through pauses in doubling lines; thus, the composer avoids risk of overloading the texture. In horizontal axis combinatorics causes alternation of timbres and timbre mixtures within rather shorts periods of musical time with the same orchestral texture, which causes constant timbre development and indicates wise usage of orchestral resources. In the light of combinatorics it is possible to examine and a type of orchestral tutti, raising on the basis of multi-layered orchestral texture, composed from several timbre and textural strata. Conclusions. Continuous usage of combinatorics allows to interpret it not only as constant principle of I. Stravinsky’s orchestral writing, but also as “universal” (according to definition of S. Savenko, 2001) in composer’s orchestral thinking. The same can be applied to such principles as multi-figure and plastique. Their interaction spawns diverse combinations in the Stravinsky’s compositions of the “Russian”, “Neo-Classical” and late stages of his creativity, their influence might be either conspicuous or hidden. Abovementioned principles are used to different extent in each case, depending on the type of space-time that I. Stravinsky employs in the works of different periods: time filled with events and motley, heterogeneous space in the works of the “Russian” period; relatively continuous time, rich with information and events, and more homogenous space in the works of the “Neo-Classical” period; Eternity and simultaneous usage of different time models and strictly geometrical (pure in its abstractness) Space in the works of the late period.
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Gutova, S. Y. "Psychoacoustic Resonance of Russian Timbre Intonation: Sacred Space." Университетский научный журнал, no. 57 (2020): 165–70. http://dx.doi.org/10.25807/pbh.22225064.2020.57.165.170.

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Fasciani, Stefano, and Lonce Wyse. "Vocal Control of Sound Synthesis Personalized by Unsupervised Machine Listening and Learning." Computer Music Journal 42, no. 1 (2018): 37–59. http://dx.doi.org/10.1162/comj_a_00450.

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In this article we describe a user-driven adaptive method to control the sonic response of digital musical instruments using information extracted from the timbre of the human voice. The mapping between heterogeneous attributes of the input and output timbres is determined from data collected through machine-listening techniques and then processed by unsupervised machine-learning algorithms. This approach is based on a minimum-loss mapping that hides any synthesizer-specific parameters and that maps the vocal interaction directly to perceptual characteristics of the generated sound. The mapping adapts to the dynamics detected in the voice and maximizes the timbral space covered by the sound synthesizer. The strategies for mapping vocal control to perceptual timbral features and for automating the customization of vocal interfaces for different users and synthesizers, in general, are evaluated through a variety of qualitative and quantitative methods.
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Alluri, Vinoo, and Petri Toiviainen. "Effect of Enculturation on the Semantic and Acoustic Correlates of Polyphonic Timbre." Music Perception 29, no. 3 (2011): 297–310. http://dx.doi.org/10.1525/mp.2012.29.3.297.

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polyphonic timbre perception was investigated in a cross-cultural context wherein Indian and Western nonmusicians rated short Indian and Western popular music excerpts (1.5 s, n = 200) on eight bipolar scales. Intrinsic dimensionality estimation revealed a higher number of perceptual dimensions in the timbre space for music from one's own culture. Factor analyses of Indian and Western participants' ratings resulted in highly similar factor solutions. The acoustic features that predicted the perceptual dimensions were similar across the two participant groups. Furthermore, both the perceptual dimensions and their acoustic correlates matched closely with the results of a previous study performed using Western musicians as participants. Regression analyses revealed relatively well performing models for the perceptual dimensions. The models displayed relatively high cross-validation performance. The findings suggest the presence of universal patterns in polyphonic timbre perception while demonstrating the increase of dimensionality of timbre space as a result of enculturation.
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Haselböck, Lukas. "Beobachtungen zum Verhältnis von Klangfarbe, Raum und Zeit bei Ligeti." Studia Musicologica 57, no. 1-2 (2016): 61–72. http://dx.doi.org/10.1556/6.2016.57.1-2.5.

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The notion of sound (Klang) has been discussed intensely during the last 200 years. Similarly, in the writings of György Ligeti, timbre (Klangfarbe) is one of the crucial terms. The aim of this text is to reconsider the role of timbre and the relationship between timbre, space, and time in Ligeti’s music. With an analysis of Atmosphères and the first movement of the Piano Concerto, the discussion also includes two further important notions: process and threshold.
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Dissertations / Theses on the topic "Timbre space"

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Ratto, Diego. "Electroacoustic Orchestration : Timbre, Space and Sound Material Organisation." Thesis, Kungl. Musikhögskolan, Institutionen för komposition, dirigering och musikteori, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-3144.

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As a composer of electroacoustic music, I’m interested in understanding which characteristics of classical orchestration can be used in electroacoustic music after these years of its development. In specific, which aspects of orchestration can be used as powerful techniques in acousmatic music? The aim of this study is to create connections between the conventional acoustic orchestration practice and electroacoustic orchestration by using a transfer2 technique.
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Nicol, Craig Andrew. "Development and exploration of a timbre space representation of audio." Thesis, University of Glasgow, 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.426612.

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Roche, Fanny. "Music sound synthesis using machine learning : Towards a perceptually relevant control space." Thesis, Université Grenoble Alpes, 2020. http://www.theses.fr/2020GRALT034.

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Un des enjeux majeurs du marché des synthétiseurs et de la recherche en synthèse sonore aujourd'hui est de proposer une nouvelle forme de synthèse permettant de générer des sons inédits tout en offrant aux utilisateurs de nouveaux contrôles plus intuitifs afin de les aider dans leur recherche de sons. En effet, les synthétiseurs sont actuellement des outils très puissants qui offrent aux musiciens une large palette de possibilités pour la création de textures sonores, mais également souvent très complexes avec des paramètres de contrôle dont la manipulation nécessite généralement des connaissances expertes. Cette thèse s'intéresse ainsi au développement et à l'évaluation de nouvelles méthodes d'apprentissage machine pour la synthèse sonore permettant la génération de nouveaux sons de qualité tout en fournissant des paramètres de contrôle pertinents perceptivement.Le premier challenge que nous avons relevé a donc été de caractériser perceptivement le timbre musical synthétique en mettant en évidence un jeu de descripteurs verbaux utilisés fréquemment et de manière consensuelle par les musiciens. Deux études perceptives ont été menées : un test de verbalisation libre qui nous a permis de sélectionner huit termes communément utilisés pour décrire des sons de synthétiseurs, et une analyse à échelles sémantiques permettant d'évaluer quantitativement l'utilisation de ces termes pour caractériser un sous-ensemble de sons, ainsi que d'analyser leur "degré de consensualité".Dans un second temps, nous avons exploré l'utilisation d'algorithmes d'apprentissage machine pour l'extraction d'un espace de représentation haut-niveau avec des propriétés intéressantes d'interpolation et d'extrapolation à partir d'une base de données de sons, le but étant de mettre en relation cet espace avec les dimensions perceptives mises en évidence plus tôt. S'inspirant de précédentes études sur la synthèse sonore par apprentissage profond, nous nous sommes concentrés sur des modèles du type autoencodeur et avons réalisé une étude comparative approfondie de plusieurs types d'autoencodeurs sur deux jeux de données différents. Ces expériences, couplées avec une étude qualitative via un prototype non temps-réel développé durant la thèse, nous ont permis de valider les autoencodeurs, et en particulier l'autoencodeur variationnel (VAE), comme des outils bien adaptés à l'extraction d'un espace latent de haut-niveau dans lequel il est possible de se déplacer de manière continue et fluide en créant de tous nouveaux sons. Cependant, à ce niveau, aucun lien entre cet espace latent et les dimensions perceptives mises en évidence précédemment n'a pu être établi spontanément.Pour finir, nous avons donc apporté de la supervision au VAE en ajoutant une régularisation perceptive durant la phase d'apprentissage. En utilisant les échantillons sonores résultant du test perceptif avec échelles sémantiques labellisés suivant les huit dimensions perceptives, il a été possible de contraindre, dans une certaine mesure, certaines dimensions de l'espace latent extrait par le VAE afin qu'elles coïncident avec ces dimensions. Un test comparatif a été finalement réalisé afin d'évaluer l'efficacité de cette régularisation supplémentaire pour conditionner le modèle et permettre un contrôle perceptif (au moins partiel) de la synthèse sonore<br>One of the main challenges of the synthesizer market and the research in sound synthesis nowadays lies in proposing new forms of synthesis allowing the creation of brand new sonorities while offering musicians more intuitive and perceptually meaningful controls to help them reach the perfect sound more easily. Indeed, today's synthesizers are very powerful tools that provide musicians with a considerable amount of possibilities for creating sonic textures, but the control of parameters still lacks user-friendliness and may require some expert knowledge about the underlying generative processes. In this thesis, we are interested in developing and evaluating new data-driven machine learning methods for music sound synthesis allowing the generation of brand new high-quality sounds while providing high-level perceptually meaningful control parameters.The first challenge of this thesis was thus to characterize the musical synthetic timbre by evidencing a set of perceptual verbal descriptors that are both frequently and consensually used by musicians. Two perceptual studies were then conducted: a free verbalization test enabling us to select eight different commonly used terms for describing synthesizer sounds, and a semantic scale analysis enabling us to quantitatively evaluate the use of these terms to characterize a subset of synthetic sounds, as well as analyze how consensual they were.In a second phase, we investigated the use of machine learning algorithms to extract a high-level representation space with interesting interpolation and extrapolation properties from a dataset of sounds, the goal being to relate this space with the perceptual dimensions evidenced earlier. Following previous studies interested in using deep learning for music sound synthesis, we focused on autoencoder models and realized an extensive comparative study of several kinds of autoencoders on two different datasets. These experiments, together with a qualitative analysis made with a non real-time prototype developed during the thesis, allowed us to validate the use of such models, and in particular the use of the variational autoencoder (VAE), as relevant tools for extracting a high-level latent space in which we can navigate smoothly and create new sounds. However, so far, no link between this latent space and the perceptual dimensions evidenced by the perceptual tests emerged naturally.As a final step, we thus tried to enforce perceptual supervision of the VAE by adding a regularization during the training phase. Using the subset of synthetic sounds used in the second perceptual test and the corresponding perceptual grades along the eight perceptual dimensions provided by the semantic scale analysis, it was possible to constraint, to a certain extent, some dimensions of the VAE high-level latent space so as to match these perceptual dimensions. A final comparative test was then conducted in order to evaluate the efficiency of this additional regularization for conditioning the model and (partially) leading to a perceptual control of music sound synthesis
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Mupona, Gaylord Tonderai. "Development of space truss systems in timber." Thesis, University of Cape Town, 2004. http://hdl.handle.net/11427/6712.

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Space trusses are a valuable structural form for architects and structural engineers due mainly to their efficiency in providing large unobstructed areas, associated with faster erection speeds and low maintenance cost. Most space trusses are made of steel and aluminium whilst a few are of timber. Interest is now shifting from the traditional use of timber in plane trusses of relatively short span, to new structural forms for medium to long spans. In adopting such systems in timber for non-traditional roofing applications, the challenge lies in developing structurally sound, visually neat and economically reproducible connectors for 3-dimensional configurations of timber members. The research aimed at developing a new connector for double and triple-layer space grids in timber, intended for medium-span lightweight roofing applications. The origins of the connector date back to 1995, when it was first proposed by Zingoni as the 14FTC-U Timber Space-Truss Connector, and subsequently tested under laboratory conditions over the three years that followed. Unlike connectors for timber space grids proposed by earlier investigators, or the proprietary connector systems that are available for constructions in steel and aluminium, the 14FTC-U connector features a central core of wood in the form of a cuboctahedron or its variants, upon whose faces are attached U-shaped metal brackets that take the timber members. Thus the connector unit is predominantly wood, giving it considerable aesthetic advantages over its all-metal counterparts. While promising, the structural performance of the original connector was not adequate for practical application, hence a programme of further development was embarked upon. As reported in the thesis, the improvements of the connector have culminated in a structurally viable unit that has been successfully employed in a prototype double-layer timber grid.
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Werneck, Nicolau Leal. "Analise da distorção musical de guitarras eletricas." [s.n.], 2007. http://repositorio.unicamp.br/jspui/handle/REPOSIP/259107.

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Orientador: Furio Damiani<br>Dissertação (mestrado) - Universidade Estadual de Campinas, Faculdade de Engenharia Eletrica e de Computação<br>Made available in DSpace on 2018-08-11T03:06:29Z (GMT). No. of bitstreams: 1 Werneck_NicolauLeal_M.pdf: 1556046 bytes, checksum: 677310006250588d7e6a0fb0eedfc170 (MD5) Previous issue date: 2007<br>Resumo: Existem diversos problemas ligados à análise de sinais musicais que podem se beneficiar de um conhecimento mais detalhado da estrutura dos sinais gerados pelos diferentes instrumentos. Entre eles se destaca a compressão de sinais baseada em áudio estruturado, onde o codificador determina a partir de um sinal parâmetros para reproduzí-lo com um sintetizador inspirado em modelos físicos dos instrumentos. Para realizar este tipo de análise e síntese é necessário conhecermos as características físicas dos instrumentos e dos sinais produzidos. Este conhecimento é ainda útil para auxiliar no desenvolvimento de instrumentos e outros equipamentos utilizados por músicos para obter o timbre desejado. Esta dissertação apresenta experimentos realizados com uma guitarra elétrica para revelar a dinâmica não-linear de suas cordas e seu filtro linear associado, comparação de sinais gravados com resultados esperados por modelos matemáticos da forma de onda, e ainda uma proposta de uma potencial técnica para a medição de parâmetros para um modelo matemático de um circuito de distorção musical, além de uma maneira de se mapear um par destes parâmetros para um espaço de maior significado psicoacústico<br>Resumo: Existem diversos problemas ligados à análise de sinais musicais que podem se beneficiar de um conhecimento mais detalhado da estrutura dos sinais gerados pelos diferentes instrumentos. Entre eles se destaca a compressão de sinais baseada em áudio estruturado, onde o codificador determina a partir de um sinal parâmetros para reproduzí-lo com um sintetizador inspirado em modelos físicos dos instrumentos. Para realizar este tipo de análise e síntese é necessário conhecermos as características físicas dos instrumentos e dos sinais produzidos. Este conhecimento é ainda útil para auxiliar no desenvolvimento de instrumentos e outros equipamentos utilizados por músicos para obter o timbre desejado. Esta dissertação apresenta experimentos realizados com uma guitarra elétrica para revelar a dinâmica não-linear de suas cordas e seu filtro linear associado, comparação de sinais gravados com resultados esperados por modelos matemáticos da forma de onda, e ainda uma proposta de uma potencial técnica para a medição de parâmetros para um modelo matemático de um circuito de distorção musical, além de uma maneira de se mapear um par destes parâmetros para um espaço de maior significado psicoacústico<br>Mestrado<br>Eletrônica, Microeletrônica e Optoeletrônica<br>Mestre em Engenharia Elétrica
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Jumaat, M. Z. "The buckling behaviour of layered and spaced timber columns with interlayer slipping." Thesis, University of Southampton, 1985. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.356527.

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Lamahewa, Tharaka Anuradha, and tharaka lamahewa@anu edu au. "Space-Time Coding and Space-Time Channel Modelling for Wireless Communications." The Australian National University. Research School of Information Sciences and Engineering, 2007. http://thesis.anu.edu.au./public/adt-ANU20070816.152647.

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In this thesis we investigate the effects of the physical constraints such as antenna aperture size, antenna geometry and non-isotropic scattering distribution parameters (angle of arrival/departure and angular spread) on the performance of coherent and non-coherent space-time coded wireless communication systems. First, we derive analytical expressions for the exact pairwise error probability (PEP) and PEP upper-bound of coherent and non-coherent space-time coded systems operating over spatially correlated fading channels using a moment-generating function-based approach. These analytical expressions account for antenna spacing, antenna geometries and scattering distribution models. Using these new PEP expressions, the degree of the effect of antenna spacing, antenna geometry and angular spread is quantified on the diversity advantage (robustness) given by a space-time code. It is shown that the number of antennas that can be employed in a fixed antenna aperture without diminishing the diversity advantage of a space-time code is determined by the size of the antenna aperture, antenna geometry and the richness of the scattering environment. ¶ In realistic channel environments the performance of space-time coded multiple-input multiple output (MIMO) systems is significantly reduced due to non-ideal antenna placement and non-isotropic scattering. In this thesis, by exploiting the spatial dimension of a MIMO channel we introduce the novel use of linear spatial precoding (or power-loading) based on fixed and known parameters of MIMO channels to ameliorate the effects of non-ideal antenna placement on the performance of coherent and non-coherent space-time codes. The spatial precoder virtually arranges the antennas into an optimal configuration so that the spatial correlation between all antenna elements is minimum. With this design, the precoder is fixed for fixed antenna placement and the transmitter does not require any feedback of channel state information (partial or full) from the receiver. We also derive precoding schemes to exploit non-isotropic scattering distribution parameters of the scattering channel to improve the performance of space-time codes applied on MIMO systems in non-isotropic scattering environments. However, these schemes require the receiver to estimate the non-isotropic parameters and feed them back to the transmitter. ¶ The idea of precoding based on fixed parameters of MIMO channels is extended to maximize the capacity of spatially constrained dense antenna arrays. It is shown that the theoretical maximum capacity available from a fixed region of space can be achieved by power loading based on previously unutilized channel state information contained in the antenna locations. We analyzed the correlation between different modal orders generated at the transmitter region due to spatially constrained antenna arrays in non-isotropic scattering environments, and showed that adjacent modes contribute to higher correlation at the transmitter region. Based on this result, a power loading scheme is proposed which reduces the effects of correlation between adjacent modes at the transmitter region by nulling power onto adjacent transmit modes. ¶ Furthermore, in this thesis a general space-time channel model for down-link transmission in a mobile multiple antenna communication system is developed. The model incorporates deterministic quantities such as physical antenna positions and the motion of the mobile unit (velocity and the direction), and random quantities to capture random scattering environment modeled using a bi-angular power distribution and, in the simplest case, the covariance between transmit and receive angles which captures statistical interdependency. The Kronecker model is shown to be a special case when the power distribution is separable and is shown to overestimate MIMO system performance whenever there is more than one scattering cluster. Expressions for space-time cross correlations and space-frequency cross spectra are given for a number of scattering distributions using Gaussian and Morgenstern's family of multivariate distributions. These new expressions extend the classical Jake's and Clarke's correlation models to general non-isotropic scattering environments.
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Lamahewa, Tharaka Anuradha. "Space-time coding and space-time channel modelling for wireless communications /." View thesis entry in Australian Digital Theses Program, 2006. http://thesis.anu.edu.au/public/adt-ANU20070816.152647/index.html.

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Asbell, Jonathan Clark. "Thresholds in Space and Time." Thesis, Virginia Tech, 2020. http://hdl.handle.net/10919/100920.

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In architecture there is perhaps no better opportunity to capture movement and change than in the design of thresholds. They can be a simple strip of metal beneath a doorway, barely noticed as you pass over it, or a grand atrium that you stop and marvel at on your way into the office. They can manifest as a change of materials or finishes, or of some parameter such as ceiling height. They might even be immaterial altogether, like the boundary between light and shadow. Thresholds transcend the physical to effect a psychological experience. They can be spatial or temporal or some combination of the two, but whatever form they take, all thresholds can be said to be mediators of our movement from one spatial status to another. Inside to outside, public to private, here to there. Too often our buildings relegate these changes to doors or openings that have little connection to the buildings they are a part of, and so our awareness of passage from space to space is diminished. This thesis explores ways to enrich the architecture of the threshold so that it doesn't merely recede to the bounds of our perception.<br>Master of Architecture<br>The term "threshold" often brings to mind a strip of material at the base of a doorway, but architecture considers thresholds more broadly as moments of movement or change. This thesis examines such moments in an original building design, proposing several threshold types and exploring their impact on occupants.
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Preston, Robert. "It´s All Relative: Time and Space in Nabokov´s Lolita." Thesis, Högskolan i Halmstad, Sektionen för humaniora (HUM), 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:hh:diva-23349.

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This essay offers a deconstructive approach to Nabokov´s Lolita. Critics have tended to treat space and time as distinct concepts in the novel: choosing to analyse the role of either one or the other, and even when considering both, examining them in isolation. It´s narrator, Humbert Humbert, however, implies that "time" and "spatial" terms are interchangeable in a way reminiscent of Einstein´s Theory of Relativity in which space-time is a continuum that is experienced relative to the individual observer´s own position in the universe. This essay therefore explores the possibility that Nabokov may have used Einstein´s concept of space-time relativity as a metaphor in Lolita. The essay looks first at the various ways in which the idea of relativity surfaces throughout the novel not just in relation to space and time, but also in its moral, cultural and historic forms. The roles of the Hour Glass Lake, Lolita´s sunglasses and Humbert´s car, three of the novel´s chief symbols, are then discussed in relation to its key elements: the notion of time dilation, the place of the observer and Humbert´s space-time bubble. It next concentrates on how the characters in the novel exemplify the roles of both observer and observed in a modern, self-centred and morally relativistic world. The final section argues that Humbert’s "madness" represents the most extreme consequence of his living in his own solipsistic bubble of space-time, or "dream vacuum" as he calls it.
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Books on the topic "Timbre space"

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Gribbin, John R. Time & space. Dorling Kindersley, 1994.

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Gribbin, John R. Time & space. Dorling Kindersley, 2000.

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Gribbin, John R. Time & space. Dorling Kindersley, 2000.

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Mike, Goldsmith. Space. Ripley Pub., 2009.

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Mike, Goldsmith. Space. Ripley Pub., 2009.

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Time and space. McGill-Queen's University Press, 2001.

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Mike, Goldsmith. Space. Ripley Pub., 2009.

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ill, Mulkey Kim, ed. Space bingo. Bantam, 1996.

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Abbott, Tony. Space bingo. Bantam, 1996.

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Human space. Hyphen, 2011.

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Book chapters on the topic "Timbre space"

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Reuter, Christoph, and Saleh Siddiq. "The colourful life of timbre spaces." In Body, Sound and Space in Music and Beyond: Multimodal Explorations. Routledge, 2017. http://dx.doi.org/10.4324/9781315569628-9.

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Zbyszyński, Michael, Balandino Di Donato, Federico Ghelli Visi, and Atau Tanaka. "Gesture-Timbre Space: Multidimensional Feature Mapping Using Machine Learning and Concatenative Synthesis." In Lecture Notes in Computer Science. Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-70210-6_39.

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Allday, Jonathan. "Space-time." In Space-time. CRC Press, 2019. http://dx.doi.org/10.1201/9781315165141-5.

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Allday, Jonathan. "Space-time in the General Theory." In Space-time. CRC Press, 2019. http://dx.doi.org/10.1201/9781315165141-10.

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Allday, Jonathan. "Black Holes." In Space-time. CRC Press, 2019. http://dx.doi.org/10.1201/9781315165141-11.

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Allday, Jonathan. "Gravitational Waves." In Space-time. CRC Press, 2019. http://dx.doi.org/10.1201/9781315165141-12.

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Allday, Jonathan. "Cosmology." In Space-time. CRC Press, 2019. http://dx.doi.org/10.1201/9781315165141-13.

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Allday, Jonathan. "Quantum Considerations." In Space-time. CRC Press, 2019. http://dx.doi.org/10.1201/9781315165141-14.

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Allday, Jonathan. "Four Keystones." In Space-time. CRC Press, 2019. http://dx.doi.org/10.1201/9781315165141-2.

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Allday, Jonathan. "The Road to Relativity." In Space-time. CRC Press, 2019. http://dx.doi.org/10.1201/9781315165141-3.

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Conference papers on the topic "Timbre space"

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Charles, J. A., D. Fitzgerald, and E. Coyle. "Violin timbre space features." In IET Irish Signals and Systems Conference (ISSC 2006). IEE, 2006. http://dx.doi.org/10.1049/cp:20060481.

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Terasawa, Hiroko, Malcolm Slaney, and Jonathan Berger. "A timbre space for speech." In Interspeech 2005. ISCA, 2005. http://dx.doi.org/10.21437/interspeech.2005-285.

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"Front Matter: Volume 6725." In Nonlinear Space-Time Dynamics. SPIE, 2007. http://dx.doi.org/10.1117/12.753755.

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Choudhary, Nidhi, and Lokesh Tharani. "Preventing Black Hole Attack in AODV using timer-based detection mechanism." In 2015 International Conference on Signal Processing And Communication Engineering Systems (SPACES). IEEE, 2015. http://dx.doi.org/10.1109/spaces.2015.7058198.

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Prashanth, K. V., P. Saleem Akram, and T. Anji Reddy. "Real-time issues in embedded system design." In 2015 International Conference on Signal Processing And Communication Engineering Systems (SPACES). IEEE, 2015. http://dx.doi.org/10.1109/spaces.2015.7058239.

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Kumar, K. Satish, K. Annapurna, and B. SeethaRamanjaneyulu. "Supporting real-time traffic in cognitive radio networks." In 2015 International Conference on Signal Processing And Communication Engineering Systems (SPACES). IEEE, 2015. http://dx.doi.org/10.1109/spaces.2015.7058201.

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Gangale, Thomas, and Marilyn Dudley-Rowley. "The Social Construction of Time on Mars Results of Martian Time Survey v1.0 and v2.0-2.2 Compared." In Space 2006. American Institute of Aeronautics and Astronautics, 2006. http://dx.doi.org/10.2514/6.2006-7490.

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D, Ivo, and Michael Winter. "Moving Spaces." In 2008 15th International Symposium on Temporal Representation and Reasoning (TIME). IEEE, 2008. http://dx.doi.org/10.1109/time.2008.9.

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McCrone, Luke. "Transitional space: learning in the spaces in-between." In Learning Connections 2019: Spaces, People, Practice. University College Cork||National Forum for the Enhancement of Teaching and Learning in Higher Education, 2019. http://dx.doi.org/10.33178/lc2019.14.

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There is increasing evidence, particularly in STEMM education, that traditional didactic transmission lecturing is less effective than more active, student-centred learning (Freeman et al., 2014). This mounting evidence has resulted in institution-wide curriculum review, pedagogic transformation and ongoing space refurbishments at Imperial College London, a research-intensive institution that provides the context for this work. Although active learning is proven to improve cognitive outcomes by supporting ‘students to do meaningful learning activities and think about what they are doing’ (Prince, 2004, p.223), its examination remains largely linked to instructional contexts, with neglect for the self-directed, non-timetabled learning spaces that support a rich learning experience. This instructional emphasis is evident from the capital that Imperial College London, among other institutions, continue to invest into ongoing classroom refurbishments to support curriculum review and innovation. However, it could be argued that these changes to physical infrastructure do not accurately reflect and address the growing self-directed workload that students now contend with. Furthermore, as capital spending on maintaining and modernising university buildings in the UK approaches £3 billion annually (Temple, 2018), these refurbishments are increasingly time- and money-intensive, placing a financial strain on institutions. The assumption that students successfully transition between passive and active learning, between directed and self-directed learning and between formal, timetabled and informal, non-timetabled spaces has meant transitional space being overlooked. By seeking to better understand student engagement with these transitional spaces as physical, curricular and cognitive spatial phenomena, this study is generating evidence for the educational importance of transitional space and using this to better understand active learning. By redesigning underutilised ancillary spaces adjacent to formal lecture spaces at lower cost than lecture theatre refurbishments, students can better self-direct active learning at moments of transition into and out of formal, timetabled spaces.
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Bharti, Vipul K., and Vikas Patel. "Realization of real time adaptive CFAR processor for homing application in marine environment." In 2018 Conference on Signal Processing And Communication Engineering Systems (SPACES). IEEE, 2018. http://dx.doi.org/10.1109/spaces.2018.8316342.

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Reports on the topic "Timbre space"

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Mayas, Magda. Creating with timbre. Norges Musikkhøgskole, 2018. http://dx.doi.org/10.22501/nmh-ar.686088.

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Unfolding processes of timbre and memory in improvisational piano performance This exposition is an introduction to my research and practice as a pianist, in which I unfold processes of timbre and memory in improvised music from a performer’s perspective. Timbre is often understood as a purely sonic perceptual phenomenon. However, this is not in accordance with a site-specific improvisational practice with changing spatial circumstances impacting the listening experience, nor does it take into account the agency of the instrument and objects used or the performer’s movements and gestures. In my practice, I have found a concept as part of the creating process in improvised music which has compelling potential: Timbre orchestration. My research takes the many and complex aspects of a performance environment into account and offers an extended understanding of timbre, which embraces spatial, material and bodily aspects of sound in improvised music performance. The investigative projects described in this exposition offer a methodology to explore timbral improvisational processes integrated into my practice, which is further extended through collaborations with sound engineers, an instrument builder and a choreographer: -experiments in amplification and recording, resulting in Memory piece, a series of works for amplified piano and multichannel playback - Piano mapping, a performance approach, with a custom-built device for live spatialization as means to expand and deepen spatio-timbral relationships; - Accretion, a project with choreographer Toby Kassell for three grand pianos and a pianist, where gestural approaches are used to activate and compose timbre in space. Together, the projects explore memory as a structural, reflective and performative tool and the creation of performing and listening modes as integrated parts of timbre orchestration. Orchestration and choreography of timbre turn into an open and hybrid compositional approach, which can be applied to various contexts, engaging with dynamic relationships and re-configuring them.
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Boulware, D. G. Quantum field theory in spaces with closed time-like curves. [Gott space]. Office of Scientific and Technical Information (OSTI), 1992. http://dx.doi.org/10.2172/6872973.

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Souder, Jeffrey K. Space, Time and Force: Relationships in Cyber Space. Defense Technical Information Center, 2001. http://dx.doi.org/10.21236/ada389919.

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Talbot, Pierre J. Photonics Space Time Processing. Defense Technical Information Center, 1997. http://dx.doi.org/10.21236/ada325865.

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Rockwell, Donald. Space-Time Imaging Systems. Defense Technical Information Center, 2009. http://dx.doi.org/10.21236/ada584973.

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Anderson, Eric, Sergio Rebelo, and Arlene Wong. Markups Across Space and Time. National Bureau of Economic Research, 2018. http://dx.doi.org/10.3386/w24434.

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Sundgren, Bo. Communicating in time and space. Inter-university Consortium for Political and Social Research (ICPSR), 2011. http://dx.doi.org/10.3886/ddiothertopics03.

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Francis, Neville, Michael T. Owyang, and Daniel Soques. Business Cycles Across Space and Time. Federal Reserve Bank of St. Louis, 2019. http://dx.doi.org/10.20955/wp.2019.010.

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Alvaro, Peter, William R. Marczak, Neil Conway, Joseph M. Hellerstein, David Maier, and Russell C. Sears. Dedalus: Datalog in Time and Space. Defense Technical Information Center, 2009. http://dx.doi.org/10.21236/ada538767.

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Chew, G. F. Space and time from quantum mechanics. Office of Scientific and Technical Information (OSTI), 1992. http://dx.doi.org/10.2172/10163929.

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