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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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Dobrowohl, Felix A., Andrew J. Milne, and Roger T. Dean. "Controlling Perception Thresholds for Changing Timbres in Continuous Sounds." Organised Sound 24, no. 1 (2019): 71–84. http://dx.doi.org/10.1017/s1355771819000074.
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Perceptual dimensions underlying timbre and sound-source identification have received considerable scientific attention. While these scholarly insights help us in understanding the nature of sound within a multidimensional timbral space, they carry little meaning for the majority of musicians. To help address this, we conducted two experiments to establish listeners’ perceptual thresholds (PT) for changes in sound using a staircase-procedure. Unlike most timbre perception research, these changes were sonic manipulations that are common in synthesisers, audio processors and instruments familiar to musicians and producers, and occurred within continuous sounds (rather than between discrete pairs of sounds). In experiment 1, two sounds (variants of a sawtooth oscillation) both with the same fundamental frequency (F1: 80 Hz, 240 Hz or 600 Hz) were played with no intervening gap. In each trial, the two sounds’ partials differed in amplitudes or frequencies to produce a timbre change. The sonic manipulations were varied in size to detect thresholds for the perceived timbre change – listeners were instructed to indicate whether or not they perceived a change within the sound. In experiment 2, we modified stimulus presentation to introduce the factor of transition time (TT). Rather than occurring instantaneously (as in experiment 1), the timbre manipulations were introduced gradually over the course of a 100 ms or a 1000 ms TT. Results revealed that PTs were significantly affected by the manipulations in experiment 1, and additionally by TT in experiment 2. Importantly, the data revealed an interaction between the F1 and the timbre manipulations, such that there were differential effects of timbre changes on the perceptual system depending on pitch height. Musicians (n=11) showed significantly smaller PTs compared to non-musicians (n=10). However, PTs for musicians and non-musicians were highly correlated (r=.83) across different sonic manipulations, indicating similar perceptual patterns in both. We hope that by establishing PTs for commonly used timbre manipulations, we can provide musicians with a general perceptual unit, for each manipulation, that can guide music composition and assessment.
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Rahne, Torsten, Lars Böhme, and Gerrit Götze. "Influence of Implantable Hearing Aids and Neuroprosthesison Music Perception." Scientific World Journal 2012 (2012): 1–7. http://dx.doi.org/10.1100/2012/404590.
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The identification and discrimination of timbre are essential features of music perception. One dominating parameter within the multidimensional timbre space is the spectral shape of complex sounds. As hearing loss interferes with the perception and enjoyment of music, we approach the individual timbre discrimination skills in individuals with severe to profound hearing loss using a cochlear implant (CI) and normal hearing individuals using a bone-anchored hearing aid (Baha). With a recent developed behavioral test relying on synthetically sounds forming a spectral continuum, the timbre difference was changed adaptively to measure the individual just noticeable difference (JND) in a forced-choice paradigm. To explore the differences in timbre perception abilities caused by the hearing mode, the sound stimuli were varied in their fundamental frequency, thus generating different spectra which are not completely covered by a CI or Baha system. The resulting JNDs demonstrate differences in timbre perception between normal hearing individuals, Baha users, and CI users. Beside the physiological reasons, also technical limitations appear as the main contributing factors.
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Lega, Carlotta, Zaira Cattaneo, Noemi Ancona, Tomaso Vecchi, and Luca Rinaldi. "Instrumental expertise and musical timbre modulate the spatial representation of pitch." Quarterly Journal of Experimental Psychology 73, no. 8 (2020): 1162–72. http://dx.doi.org/10.1177/1747021819897779.
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Humans show a tendency to represent pitch in a spatial format. A classical finding supporting this spatial representation is the Spatial–Musical Association of Response Codes (SMARC) effect, reflecting faster responses to low tones when pressing a left/bottom-side key and to high tones when pressing a right/top-side key. Despite available evidence suggesting that the horizontal and vertical SMARC effect may be differently modulated by instrumental expertise and musical timbre, no study has so far directly explored this hypothesis in a unified framework. Here, we investigated this possibility by comparing the performance of professional pianists, professional clarinettists and non-musicians in an implicit timbre judgement task, in both horizontal and vertical response settings. Results showed that instrumental expertise significantly modulates the SMARC effect: whereas in the vertical plane a comparable SMARC effect was observed in all groups, in the horizontal plane the SMARC effect was significantly modulated by the specific instrumental expertise, with pianists showing a stronger pitch–space association compared to clarinettists and non-musicians. Moreover, the influence of pitch along the horizontal dimension was stronger in those pianists who started the instrumental training at a younger age. Results also showed an influence of musical timbre in driving the horizontal, but not the vertical, SMARC effect, with only piano notes inducing a pitch–space association. Taken together, these findings suggest that sensorimotor experience due to instrumental training and musical timbre affect the mental representation of pitch on the horizontal space, whereas the one on the vertical space would be mainly independent from musical practice.
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Toiviainen, Petri, Mauri Kaipainen, and Jukka Louhivuori. "Musical timbre: Similarity ratings correlate with computational feature space distances*." Journal of New Music Research 24, no. 3 (1995): 282–98. http://dx.doi.org/10.1080/09298219508570686.
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McAdams, Stephen, Anne Caclin, and Bennett K. Smith. "A confirmatory analysis of four acoustic correlates of timbre space." Journal of the Acoustical Society of America 112, no. 5 (2002): 2239. http://dx.doi.org/10.1121/1.4778883.
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Carpentier, Grégoire, Eric Daubresse, Marc Garcia Vitoria, Kenji Sakai, and Fernando Villanueva. "Automatic Orchestration in Practice." Computer Music Journal 36, no. 3 (2012): 24–42. http://dx.doi.org/10.1162/comj_a_00136.
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We report here on the recent use of the Orchidée software by three different young composers in various compositional and instrumental contexts. Orchidée is a computer-aided orchestration environment designed to aid musicians exploring the space of instrument timbre mixtures and finding timbre combinations that fit a set of user-specified perceptual requirements. The first beta version of the software was released by the Institut de Recherche et Coordination Acoustique/Musique's (IRCAM's) Music Representations Group in 2009, after four years of intensive research, and it can already handle a small range of real-life situations, typically timbre imitation or orchestral synthesis, under instrumental constraints. Detailed examples, including score and audio excerpts, are provided.
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McAdams, Stephen, and Bruno L. Giordano. "Generalizing timbre space data across stimulus contexts: The meta‐analytic approach." Journal of the Acoustical Society of America 119, no. 5 (2006): 3395. http://dx.doi.org/10.1121/1.4786681.
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Shen, Qiong. "Soundscape of Public Space and Design Method." Advanced Materials Research 852 (January 2014): 327–31. http://dx.doi.org/10.4028/www.scientific.net/amr.852.327.
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By researching and organizing the type and the development status of road, railway stations, shopping malls and other public spaces, combining with solving methods on sound sign from domestic and overseas, to explore the design method preliminarily on sound sign, which meet the normal and the visually impaired users. Then, as a conclusion, the design method of soundscape of a comfortable public space is to control the noise source, regulate the tone, volume, and timbre of sound sign in a reasonable way, to create the moral quality and social responsibility of the users in the soundscape, and also to protect the regionalism of soundscape.
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Lee, Chung, Andrew Horner, and James Beauchamp. "Impact of MP3-compression on timbre space of sustained musical instrument tones." Journal of the Acoustical Society of America 131, no. 4 (2012): 3433. http://dx.doi.org/10.1121/1.4708878.
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Caclin, Anne, Stephen McAdams, Bennett K. Smith, and Suzanne Winsberg. "Acoustic correlates of timbre space dimensions: A confirmatory study using synthetic tones." Journal of the Acoustical Society of America 118, no. 1 (2005): 471–82. http://dx.doi.org/10.1121/1.1929229.
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Savchenko, Hanna. "Orchestral writing into the I. Stravinsky’s opera «Mavra» in the aspect of general and singular." Музикознавча думка Дніпропетровщини, no. 18 (November 13, 2020): 104–14. http://dx.doi.org/10.33287/222021.
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The purpose of this article is to study I. Stravinsky’s opera «Mavra» in the aspect of embodiment of «universals» (by S. Savenko) of the composer’s orchestral logic and usage of specific devices of orchestration, spawned by original artistic idea and genre traits of the opera. The article applies such methods of this scientific research as genre, historical and system-functional. The scientific novelty of the investigative article is caused by the fact, that it is foremost research in domestic musicology of specifics of «Mavra’s» orchestral writing on intersection of general and singular. Conclusions. The analysis of orchestral writing in «Mavra» allowed us to draw the following conclusions a namely specifics of orchestral writing are caused by peculiarities of selected model’s genre as well as by orientation towards the theatre of representation; orchestral writing reveals multi-figure and combinative principles, which, if one is to use the terms of S. Savenko, might be described as «universals» of orchestral writing; specifics of orchestral writing is defined by the interaction of the two projection of I. Stravinsky’s orchestral logic: general and singular (special); composer tends to use multi-figure and combinative methods in a concealed way, with some transfigurations (rhythmic-intonation configuration of figures is being reduced as they become akin to formulae), that reflects universal artistic inclination towards game and variative thinking on multiple levels of artistically-aesthetic integrity; timbre and texture structure of the opera is marked by lack of full string group in the orchestra, relatively rare changes of timbres and timbre combinations compared to early ballets, smaller quantity of timbre combinations on the vertical axis, more pronounced continuity of time; omission of complicated combinative and multi-figure composition principles, that causes the orchestral space to be dimensional.
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Wang, Duangui. "“The Eight Songs” by Zhao Jiping as the embodiment of the vocal and instrumental poem." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 52, no. 52 (2019): 53–70. http://dx.doi.org/10.34064/khnum1-52.04.
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Formulation of the problem. An analysis of the genre-dramaturgical patterns in a poorly studied composition by the Chinese composer Zhao Jiping (2011) has been proposed. The relevance of the topic and the novelty of the received results of the genre-semantic analysis of the chosen vocal cycle are concluded in the search for the definition dictated by the artistic concept of its author – a cantata-type vocal poem (a small choir is introduced into the score). Among its criteria there are reliance on the orchestral accompaniment, the timbre variation of each song of the cycle, the poetry dictated by the presence of the image of the Poet, the symbolization of the poetic and intonation language, the cultural chronotope uniting the Time of History and its inclusion into the culture of the 21st century. The purpose of the article is to perform a genre-semantic analysis of “The Eight Songs” for Zhao Jiping’s voice and orchestra and to identify the main sound-image concepts of “the Chinese world view” that make up the drama of the vocal cycle. Analysis of the recent publications on the topic. In the second half of the 20th century, a new compositional approach to organizing vocal songs into a whole, poemness, appeared. In the articles by A. Belonenko (about “Petersburg” by G. Sviridov) and T. Zharkikh (about “Poemes pour Mi” by O. Messiaen), the research emphasis is placed on other problems of the organization of the vocal whole. For the first time, in the conditions of the poly-timbre vocal and orchestral synthesis and the national picture of the world poemness becomes the subject of a special interest of the singer-researcher. Research methods: the structural-functional analysis concerns the components of the composer’s text (the vocal melody and textural and timbre thematism of the orchestral part); the semantic one – reveals the symbolism of poetic texts; the genre analysis – aims to identify the individual interpretation of typical models of vocal music. The presentation of the main material. The poem principle became the embodiment of the author’s desire to unite several vocal miniatures into a single musical universe based on the common concept – the image of the Poet. The philosophical and religious feelings and thoughts contained in the texts chosen by the composer reflect not only his worldview, but also the national mentality and psychology of the world view of the “Chinese world view” (the chronotope of History). This rare quality of poetry – to unite the personality (I) and society (We) into a single “national image of the world” – is the essence of the symbolism of the ancient Chinese poetry of the Tang era. The desire to individualize the timbre composition in each of the parts of the cycle is a characteristic feature of many vocal and instrumental compositions of the 20th century. However, in Zhao Jiping’s work, the search for diversity acts simultaneously with the desire to preserve the timbre constants. As such, with this composer this role is represented by a string and bow group, as the carrier of the song beginning, which performs the function of the instrumental “nimbus” (more rarely, of the dialogue-counterpoint) in relation to the singer. In contrast to Western composers, Zhao Jiping does not seek to use “pure” timbres: vocals and xiao can be duplicated with the wind and plucked strings. The composer does not look for contrasting timbres in search of the associative community: on the contrary, he creates single-timbre groups (pipa + guzheng + harp, triangle + bells + cymbals) to vary the shades of the poetic text. Their “consonance” is close to assonance in poetry (from assono – “I sound in tune”), which in the musical context creates the timbre assonance. The symphonic instruments are combined in timbre groups (string, wind), and the ethnic often perform an individualized function (for example, guzheng with its irregular glissando in No. 2–4 gives a national flavour). The orchestral density, along with the gradual “academic turning” of timbres, increases from the second half of the sound of the cycle (No. 5) to the final. Xiao is replaced by the wind and brass (with No. 5), while the ethnic plucked is replaced by the harp. The gradual increase in the timbre multidimensionality of the texture also has the “opposite effect”, since it is combined with the enhancement of the timbre contrast in the final parts of the cycle and as a result of the “aggravation” of the chamberness. The most chamber part is number 6, where the brass is for the first time silenced, and only the pipa and guzheng are heard. The culmination of the “chamberness” is in the first stanza of the final: a duet of the voice and harp. Conclusion. The vocal-instrumental synthesis in the poem genre, identified in Zhao Jiping’s “The Eight Songs”, is characterized by the organic interaction of the national and European principles of musical thinking. The performers are faced with complex technical and psychological tasks that require a developed orchestral-timbre hearing, intellectualism and associative thinking. A vocal-instrumental poem is a way of modelling spiritual reality, in which the unity of time and space is manifested due to the poetic text, in which the integral sense-image of the Poet acts, personifying the sound-like concepts of the culture of its time and the history of an entire people (“national view of the world”), their “inclusion” into the musical chronotope of the 21st century.
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Zacharakis, Asterios, Michael J. Terrell, Andrew J. R. Simpson, Konstantinos Pastiadis, and Joshua D. Reiss. "Rearrangement of Timbre Space Due To Background Noise: Behavioural Evidence and Acoustic Correlates." Acta Acustica united with Acustica 103, no. 2 (2017): 288–98. http://dx.doi.org/10.3813/aaa.919057.
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Soraghan, Sean, Felix Faire, Alain Renaud, and Ben Supper. "A New Timbre Visualization Technique Based on Semantic Descriptors." Computer Music Journal 42, no. 1 (2018): 23–36. http://dx.doi.org/10.1162/comj_a_00449.
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This article introduces the concept of Sound Signature audio visualization, a new form of amplitude waveform that also visualizes perceptually salient spectral features and their evolution over time. A brief review of existing research into timbre description and visualization is given. This is followed by an in-depth description of the algorithm. Rationale is given for the various visual mappings with reference to existing literature. The results of an online subjective evaluation survey are reported and discussed. The survey examined user preferences for the visual mappings used in Sound Signature visualizations. Results show a preference for inverse mapping of spectral centroid to the first component of the hue, saturation, value (HSV) color space.
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Jauk, Werner. "The Visual and Auditory Representation of Space and the Net-Space." Musicological Annual 43, no. 2 (2007): 361–70. http://dx.doi.org/10.4312/mz.43.2.361-370.
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The use of the term space in net-space is based on a mechanistic point of view, an imagery of visual space out of bodily experience of the world. By technical turns the active interaction to explore space more and more becomes a passive one. This is where the auditory space comes in and serves as an imagery for net-space. An experiment proved an auditory imagery just evoked by different sharpness/pitch. Subjects were instructed to show the point in space where they imagined a sound with a specific timbre is located. The results show two groups of subjects: a visual type that imagines space by his own movement and an exploring auditory type which imagines space according to the internalized knowledge of the behavior of sound: dull sounds are far away, sharp sounds are near. Pitch revealed a significant effect on the synesthetic imagination on the Y-axis. The secondary interpretation of sound as space-localization indicates auditory-space to be a space of occurrences and supports McLuhans assumption of an analogy of “ear and electricity”, of auditory space and electric space, nowadays net-space. Despite the metaphoric use of space artistic experiments initiate auditory-space-imagery to use it as a psychological interface to the net-space, another space of occurrences defined by communication-processes.
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Ozawa, Kenji, Takashi Sueki, Yoiti Suzuki, and Toshio Sone. "Perceptual space for timbre of harmonic complex tones consisting of 20 to 40 components." Journal of the Acoustical Society of Japan (E) 14, no. 3 (1993): 209–12. http://dx.doi.org/10.1250/ast.14.209.
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Tsai, Chen‐Gia. "The timbre space of the Chinese membrane flute (dizi): Physical basis and psychoacoustical effects." Journal of the Acoustical Society of America 116, no. 4 (2004): 2620. http://dx.doi.org/10.1121/1.4785447.
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Corbett, Richard, Kees van den Doel, John E. Lloyd, and Wolfgang Heidrich. "TimbreFields: 3D Interactive Sound Models for Real-Time Audio." Presence: Teleoperators and Virtual Environments 16, no. 6 (2007): 643–54. http://dx.doi.org/10.1162/pres.16.6.643.
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We describe a methodology for virtual reality designers to capture and resynthesize the variations in sound made by objects when we interact with them through contact such as touch. The timbre of contact sounds can vary greatly, depending on both the listener’s location relative to the object, and the interaction point on the object itself. We believe that an accurate rendering of this variation greatly enhances the feeling of immersion in a simulation. To do this, we model the variation with an efficient algorithm based on modal synthesis. This model contains a vector field that is defined on the product space of contact locations and listening positions around the object. The modal data are sampled on this high dimensional space using an automated measuring platform. A parameter-fitting algorithm is presented that recovers the parameters from a large set of sound recordings around objects and creates a continuous timbre field by interpolation. The model is subsequently rendered in a real-time simulation with integrated haptic, graphic, and audio display. We describe our experience with an implementation of this system and an informal evaluation of the results.
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Kendall, Roger A., and Edward C. Carterette. "Perceptual Scaling of Simultaneous Wind Instrument Timbres." Music Perception 8, no. 4 (1991): 369–404. http://dx.doi.org/10.2307/40285519.
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Timbral similarities among wind instrument duos were studied. Flute, oboe, E♭ alto saxophone, B♭ clarinet, and B♭ trumpet instrumentalists performed in all possible duo pairings (dyads). Source material included B♭4 unisons, unison melody, major thirds, and harmonized melody. Nonunison combinations had each instrument of the pair as the soprano, creating a total of six contexts. Music major and nonmusic major subjects rated the similarity of all possible pairs of dyads in each of the six contexts. Classical multidimensional scaling (MDS) was performed; contexts were treated as " subjects" in an individual differences scaling (INDSCAL) analysis of composite data. The resulting spaces had two stable, interpretable dimensions. From verbal attribute rating experiments ( Kendall & Carterette, in preparation, a), these were identified as " nasal" vs. " not nasal," and " rich" vs. " brilliant." A third dimension was interpreted as "simple" vs. "complex."Extrema in the space were associated with three of the five instruments: Trumpet (brilliant), saxophone (rich), and oboe ( nasal). Data that were amalgamated over contexts and plotted in two dimensions yielded a circumplicial configuration. Implications for orchestration are discussed and a theoretical model of timbre combinations and groupings is presented.
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Di Scipio, Agostino. "Listening to Yourself through the Otherself: On Background Noise Study and other works." Organised Sound 16, no. 2 (2011): 97–108. http://dx.doi.org/10.1017/s1355771811000033.
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In this paper I describe a work of mine, Background Noise Study, as a starting point to raise questions of broader relevance for current artistic practices. Issues are presented in terms varying from technical and specific, to more philosophical and general (system-theory, biocybernetics, ecology). Excursions are made into the music-theoretical (understanding of key issues in the sound arts, such as ‘space’, ‘performance’, ‘form’ or ‘timbre’) and the political (politics of sound, biopolitics of performance and listening).
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Lembke, Sven-Amin, Kyra Parker, Eugene Narmour, and Stephen McAdams. "Acoustical correlates of perceptual blend in timbre dyads and triads." Musicae Scientiae 23, no. 2 (2017): 250–74. http://dx.doi.org/10.1177/1029864917731806.
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Achieving a blended timbre for particular combinations of instruments, pitches, and articulations is a common aim of orchestration. This involves a set of factors that this study jointly assesses by correlating the perceptual degree of blend with the underlying acoustical characteristics. Perceptual blend ratings from two experiments were considered, with the stimuli consisting of: 1) dyads of wind instruments at unison and minor-third intervals and at two pitch levels, and 2) triads of wind and string instruments, including bowed and plucked string excitation. The correlational analysis relied on partial least-squares regression, as this technique is not restricted by the number and collinearity of regressors. The regressors encompassed acoustical descriptors of timbre (spectral, temporal, and spectrotemporal), as well as acoustical descriptors accounting for pitch and articulation. From regressor loadings in principal-components space, the major regressors leading to substantial and orthogonal contributions were identified. The regression models explained around 90% of the variance in the datasets, which was achievable with less than a third of all regressors considered initially. Blend seemed to be influenced by differences across intervals, pitch, and articulation. Unison intervals yielded more blend than did non-unison intervals, and the presence of plucked strings resulted in clearly lower blend ratings than for sustained instrument combinations. Furthermore, prominent spectral features of instrument combinations influenced perceived blend.
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Gorbunova, Irina Borisovna. "integrative model for the semantic space of music and a contemporary musical educational process." LAPLAGE EM REVISTA 6 (September 4, 2020): 2–13. http://dx.doi.org/10.24115/s2446-622020206especial940p.2-13.
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The advent of computer technology has led to the creation and development of new forms of teaching musical art. The emergence of music computer technologies (MCT) was the basis for creating both new forms in the educational process and new subjects, the appearance of new disciplines and new educational trends in the system of a contemporary musical education. These new subjects, such as “Musical Informatics,” “Computer Music Creative Work,” “Computer Arrangement and Composition, Sound and Timbre Programming,” “Electronic Musical Instruments” and many others, fully reflect the essence of the changes that have occurred in approaches to the study of music art. This article analyzes the possibility of including an integrative model for the semantic space of music, developed with the participation of the prominent cybernetics, scientist Mikhail Borisovich Ignatyev, in a contemporary musical educational process.
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Savchenko, Нanna. "Multifigure Technique in Igor Stravinsky’s Orchestral Composing of the Neoclassical Period (on the example of the ballet “Apollon Musagète”)." Aspects of Historical Musicology 19, no. 19 (2020): 189–205. http://dx.doi.org/10.34064/khnum2-19.11.
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Background. The issue of time in Igor Stravinsky’s works attracts the attention of researchers constantly. The time is studied through revealing the meter and rhythm specifics of the works (the concept of irregular-accent rhythm (a term of V. Kholopova). In our opinion, in the study of the temporal and spatial parameter another reversal is possible – in the aspect of orchestration as a means of material and sound objectification of a composer’s conception in time and space. Taking into account the evolution of I. Stravinsky’s composer thinking, this approach allows us to demonstrate those changes that took place in the orchestration of the composer, and to reveal certain constants, universals (S. Savenko) of orchestral thinking and orchestration as a set of technological methods. Analysis of recent research and publications. The theme of time and its specificity in Igor Stravinsky’s works is studied discreetly in the monograph by S. Savenko (2001), which discusses it in connection with the study of meter and rhythm, motif technique, musical form. The notion of space is not a scientific problem in the monograph, but the author discusses it in relation to texture and orchestration. The separate sections of the monograph by M. Druskin (1982) are devoted to the issues of time (Motion) and space (Space). In the first one, the musicologist emphasizes the importance of the visual images and body movements for the composer. The author distinguishes two approaches of I. Stravinsky to the course of time: the first approach evenly regulates it, the second one constantly violates it, because it is full of emotions and psychic states (Druskin, 1982: 135). In the section Space, M. Druskin (1982: 140–141) emphasizes the composer’s intended attitude to the issue of space organization, in which he continues the discovery by Claude Debussy. The essence of innovation lies in the creation of a multicenter composition that involves the coexistence of many points of view (1982: 143–150). O. Sokol (1974) also discusses the above concept of time but in order to substantiate the principle of similarity in the creative method of the composer. A special study on the issue of rhythm and time in I. Stravinsky’s works is the doctoral dissertation by A. Makina (2010). The analysis of the rhythmic and temporal structures and the rhythmic technique of the Symphony of Wind Instruments allows the author to conclude that “Stravinsky’s innovation is to strengthen the structural rhythmic component of the composition as an alternative to tonal development...” (Makina, 2010: 12). Objectives of the researching. In the above works, the orchestration by I. Stravinsky as a system of technological methods of organizing material in time and space does not become a subject of special study. Therefore, the aim of this article is to study the specifics of the spatial and temporal organization of I. Stravinsky’s composition as exemplified by the work of his neoclassical period (the ballet Apollon Musagète) in the aspect of orchestral composing. Discussion and results. In the early works, I. Stravinsky develops the orchestral technique of composing based on the multi-figure principle. It allowed the composer to embody in his artistic system new ideas about time and space according to the worldview, which has changed dramatically in the modern culture. The figure in the orchestral texture means, as we define it, a formula that is delineated with intonational, rhythmic, texture, register, and timbre means, or with a set of means outlined in a plastic-characteristic, visual way. It can be repeated accurately (ostinato) or alternatively. The multifigure technique in horizontal projection is realized at microand macro-syntactic levels. In the organization of time, it generates increased eventfulness, semantic density. In vertical projection, the multifigure technique is manifested in the combination of different figures in a polysyllable texture organized on the principle of complementarity. This enriches the orchestral texture with spaciousness. The preservation of the multifigure technique as a constant of I. Stravinsky’s composer thinking comes from the peculiarities of his style system. The style of the composer, according to many researchers, is based on the dialectical interaction of universal (stable) and variant (mobile) aspects at different levels of stylistic integrity. The orchestration parameter contains new “neoclassical” qualities and stable orchestra composing techniques (the multifigure technique). Let us turn to the ballet Apollon Musagète (1928). The selected composition of the orchestra is expressly “classical”: the string orchestra forms a timbre-soldered organism, devoid of the bright color of woodwind and brass instruments. The result is a monochrome sound, essentially continuous, because it does not change its timbre throughout the ballet. In the works of the neoclassical period, the composer reproduces certain qualities of the model (Savenko, 1977). We assume that purposeful continuous time and homogeneous space are also subject to simulation. A powerful means of modeling continuous time is the “long” melody that the composer designs. Its unfolding in the context of timbre monochromaticism really creates an auditory illusion of a timeless expression that goes on in time. However, a visual analysis of the score testifies to the effect of the multifigure technique, which imparts a process of discreteness. The figures help break the melody line, register contrasts, timbre interception. Vertically, based on the figure composing, counterpoints and duplications (usually inaccurate) are built, which violates the homogeneity of the space and gives it a variable density. Conclusions. The analysis of the scores of the ballet Apollon Musagète has shown the effect of the constant principle of multifigure technique. The multifigure technique undergoes modifications, as it interacts with the techniques that matured in the neoclassical period (“long” melody, monochrome timbre), and it aimed at modeling the “classical” directed continuous time and homogeneous space. As a result, the multifigure technique breaks the continuity of time by giving it discreteness; creates an inhomogeneous space. The author sees the prospects of the study in the analysis of opera scores, in which the multifigure technique comes in the complex interaction with the words.
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Gorbunova, Irina B. "The integrative model for the semantic space of music and a contemporary musical educational process." Educação e desafios 6, Especial (2020): 2–13. http://dx.doi.org/10.24115/s2446-622020206especial529p.2-13.
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The advent of computer technology has led to the creation and development of new forms of teaching musical art. The emergence of music computer technologies (MCT) was the basis for creating both new forms in the educational process and new subjects, the appearance of new disciplines and new educational trends in the system of a contemporary musical education. These new subjects, such as “Musical Informatics,” “Computer Music Creative Work,” “Computer Arrangement and Composition, Sound and Timbre Programming,” “Electronic Musical Instruments” and many others, fully reflect the essence of the changes that have occurred in approaches to the study of music art. This article analyzes the possibility of including an integrative model for the semantic space of music, developed with the participation of the prominent cybernetics, scientist Mikhail Borisovich Ignatyev, in a contemporary musical educational process.
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Michelsen, Morten. "Michael Jackson's Sound Stages." SoundEffects - An Interdisciplinary Journal of Sound and Sound Experience 2, no. 1 (2012): 81–95. http://dx.doi.org/10.7146/se.v2i1.5163.
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In order to discuss analytically spatial aspects of recorded sound William Moylan’s concept of ‘sound stage’ is developed within a musicological framework as part of a sound paradigm which includes timbre, texture and sound stage. Two Michael Jackson songs (‘The Lady in My Life’ from 1982 and ‘Scream’ from 1995) are used to: a) demonstrate the value of such a conceptualisation, and b) demonstrate that the model has its limits, as record producers in the 1990s began ignoring the conventions of stereo recording’s illusion of three dimensions and reached for a severing of the intimate relations between sound and Euclidic space.
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Budagyan, Regina R., and Marina L. Zaytseva. "Digital Technologies in the Modern Music Space." Observatory of Culture 17, no. 4 (2020): 368–78. http://dx.doi.org/10.25281/2072-3156-2020-17-4-368-378.
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At the turn of the 20th—21st centuries, musical culture transformation processes have been actively actualized, which is manifested in the use of digital and visual technologies by musicians, direc tors, producers, visual designers. The stages of transformation of modern musical culture have become relevant precisely for the reason that at the turn of the 20th—21st centuries, mass communication media have begun a process of transition to new digital technologies of implementation and delivery of audiovisual information to modern listeners. Modern specialists, by their activity’s results and its great popularity, prove the relationship bet ween the artistic idea of the work they create and the technical and technological means of its implementation. Thus, in the musical culture of the turn of the 20th—21st centuries, virtual anime characters and Vocaloid performers, whose functioning is actively connected with the use of digital technologies, are particularly relevant and popular. In particular, the creative activities of British musician D. Gahan, Vocaloid anime performers — H. Miku, Kaito, K/DA group, are based on the use of such digitization elements as projection on a translucent screen, expansion of one, often two screens, creation of two- and three-dimensional projection, etc. Animation technologies used in the process of creating modern video clips contribute to the implementation of a wide range of creative and experimental opportunities for directors, in particular, such a technique for creating and broadcasting concert performances as virtual reality has been actualized. Digital technologies also provide opportunities to significantly expand the scope of the range and timbre arsenal of virtual performers, and satisfy a variety of aesthetic tastes of the public.
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Schroeder, Franziska. "Museum City: Improvisation and the narratives of space." Organised Sound 21, no. 3 (2016): 249–59. http://dx.doi.org/10.1017/s1355771816000224.
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This article provides four viewpoints on the narratives of space, allowing us to think about possible relations between sites and sounds and reflecting on how places might tell stories, or how practitioners embed themselves in a place in order to shape cultural, social and/or political narratives through the use of sound. I propose four viewpoints that investigate the relationship between sites and sounds, where narratives are shaped and made through the exploration of specific sonic activities. These are: sonic narrative of space, sonic activism, sonic preservation and sonic participatory action.I examine each of these ideas, initially focusing in more detail on the first viewpoint, which provides the context for discussing and analysing a recent site-specific music improvisation project entitled ‘Museum City’, a work that aligns most closely with my proposal for a ‘sonic narrative of space’, while also bearing aspects of each of the other proposed viewpoints.The work ‘Museum City’ by Pedro Rebelo, Franziska Schroeder, Ricardo Jacinto and André Cepeda specifically enables me to reflect on how derelict and/or transitional spaces might be re-examined through the use of sound, particularly by means of live music improvisation. The spaces examined as part of ‘Museum City’ constitute either deserted sites or sites about to undergo changes in their architectural layout, their use and sonic make-up. The practice in ‘Museum City’ was born out of a performative engagement with(in) those sites, but specifically out of an intimate listening relationship by three improvisers situated within those spaces.The theoretical grounding for this article is situated within a wider context of practising and cognising musical spatiality, as proposed by Georgina Born (2013), particularly her proposition for three distinct lineages that provide an understanding of space in/and music. Born’s third lineage, which links more closely with practices of sound art and challenges a Euclidean orientation of pitch and timbre space, makes way for a heightened consideration of listening and ‘the place’ of sound. This lineage is particularly crucial for my discussion, since it positions music in relation to social experiences and the everyday, which the work ‘Museum City’ endeavoured to embrace.
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Grachten, Maarten, Stefan Lattner, and Emmanuel Deruty. "BassNet: A Variational Gated Autoencoder for Conditional Generation of Bass Guitar Tracks with Learned Interactive Control." Applied Sciences 10, no. 18 (2020): 6627. http://dx.doi.org/10.3390/app10186627.
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Deep learning has given AI-based methods for music creation a boost by over the past years. An important challenge in this field is to balance user control and autonomy in music generation systems. In this work, we present BassNet, a deep learning model for generating bass guitar tracks based on musical source material. An innovative aspect of our work is that the model is trained to learn a temporally stable two-dimensional latent space variable that offers interactive user control. We empirically show that the model can disentangle bass patterns that require sensitivity to harmony, instrument timbre, and rhythm. An ablation study reveals that this capability is because of the temporal stability constraint on latent space trajectories during training. We also demonstrate that models that are trained on pop/rock music learn a latent space that offers control over the diatonic characteristics of the output, among other things. Lastly, we present and discuss generated bass tracks for three different music fragments. The work that is presented here is a step toward the integration of AI-based technology in the workflow of musical content creators.
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Navarro-Cáceres, María, Marcelo Caetano, Gilberto Bernardes, Mercedes Sánchez-Barba, and Javier Merchán Sánchez-Jara. "A Computational Model of Tonal Tension Profile of Chord Progressions in the Tonal Interval Space." Entropy 22, no. 11 (2020): 1291. http://dx.doi.org/10.3390/e22111291.
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In tonal music, musical tension is strongly associated with musical expression, particularly with expectations and emotions. Most listeners are able to perceive musical tension subjectively, yet musical tension is difficult to be measured objectively, as it is connected with musical parameters such as rhythm, dynamics, melody, harmony, and timbre. Musical tension specifically associated with melodic and harmonic motion is called tonal tension. In this article, we are interested in perceived changes of tonal tension over time for chord progressions, dubbed tonal tension profiles. We propose an objective measure capable of capturing tension profile according to different tonal music parameters, namely, tonal distance, dissonance, voice leading, and hierarchical tension. We performed two experiments to validate the proposed model of tonal tension profile and compared against Lerdahl’s model and MorpheuS across 12 chord progressions. Our results show that the considered four tonal parameters contribute differently to the perception of tonal tension. In our model, their relative importance adopts the following weights, summing to unity: dissonance (0.402), hierarchical tension (0.246), tonal distance (0.202), and voice leading (0.193). The assumption that listeners perceive global changes in tonal tension as prototypical profiles is strongly suggested in our results, which outperform the state-of-the-art models.
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Lepikhova, V. A., N. V. Lyashenko, N. N. Chibinev, and A. Yu Ryabous. "Acoustic Monitoring System in the Industrial and Environmental Technologies." Occupational Safety in Industry, no. 3 (March 2021): 36–40. http://dx.doi.org/10.24000/0409-2961-2021-3-36-40.
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The task is considered related to the creation of monitoring systems in the industrial and environmental technologies that allow to conduct continuous analysis of dust in the industrial premises and quality control of the products made of powders, charges, and other dispersed and composite materials. The proposed methodology is based on the acoustic spectral-timbre control. It allows to make an operational analysis of the physical and chemical properties of the dispersed systems. Using a spectrum analyzer, the acoustic signal is decomposed into a Fourier spectrum consisting of the fundamental and timbre harmonics. The higher harmonics of the spectrum provide for more complete information about the amplitude-frequency parameters of the dispersed system and allow to distinguish by classes of the dispersed composition. The graphical representation of the division of the information space into classes with optimal characteristics allows to interpolate and visually evaluate the belonging of the analyzed spectra to the family with the parameters corresponding to these dispersed systems. When dividing the information space into standard classes, the boundaries between them are approximated by Hermite polynomials with the preservation of the first terms. This makes it possible to divide the modes of dust flows into concentration classes, as well as formally separate them from each other by constructing separating boundaries. After calculating the coefficients of the separating functions, the separating boundaries are determined, which, by virtue of the accepted agreement on the basis functions, will be piecewise linear. The coefficients of the separating functions are calculated according to the developed program of differential diagnostics by the method of potential functions, which implements this method from the theory of pattern recognition. Patterns to be recognized and classified using an automatic recognition system must have a set of measuring statistical characteristics of the spectrum of acoustic emission signals of the dust flow. Pattern recognition systems allow to configure the measurement system to recognize the required concentration classes based on the collected information.
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Kieffer, Gilbert. "La voix du philosophe Laruelle." Labyrinth 19, no. 2 (2018): 121. http://dx.doi.org/10.25180/lj.v19i2.98.
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The Voice of Laruelle, the philosopher(Abstract)What is a voice in the context of the arts and philosophy? In the space of the philosopher's voice, in the complex grammar of his language is played his philosophical timbre, his own space, his particular voice, composed of concepts, articulated by the laws of coherence of the common philosophical language, with hypnotic specificities. These specificities are precisely the fruit of processes formerly called rhetoric, which I call non-hypnotics (of generalized hypnotic space), one of whose functions is just to speak in a double space: the common reference space of the reader or listener, and the conceptual virtual space peculiar to the philosopher. To the extent that the reader must pay increased and permanent attention to this double space, the philosophical trance effect, equivalent to the Ericksonian hypnotic trance, is facilitated. The difficulty of this double reading is the incessant passage from one code to another, which is also a hypnotic fascination. Heidegger prolongs and renews its structures and draws some effects from them, which provoke in the mind of the reader as an over-flow, a saturation effect, which itself favors the philosophical trance. Thus, each voice seeks to captivate the mind by confusing it with concepts, which seem at first sight familiar, but which reveal themselves with the use which is made, like formidable concepts to the power of unaccustomed fascination. One of the pleasures of reading Lareuelle's philosophy is due to this type of fascination with the philosophical voice and its language.
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Petrova, Natalia N. "Digital Musical Performance as the Refl ection of the Axiosphere of Culture and the Educational Space of the Digital Age." ICONI, no. 3 (2020): 87–97. http://dx.doi.org/10.33779/2658-4824.2020.3.087-097.
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The article examines performance on contemporary digital musical instruments, such as the keyboard synthesizer, the digital piano, the digital button and keyboard accordion and others, as a direction of artistic creativity in the contemporary sociocultural space on demand by numerous music lovers and professional performers. Evaluation is given to the possibilities of functioning for electronic musical creativity in the culturalcreative, communicative and educational angles. A phenomenological analysis of performance on electronic musical instruments is carried out and data is provided about the peculiarities of the sociocultural perception among various target auditoriums. The heuristic potential of electronic music-making for the young generation is highlighted in the refl ection of the demands of generation Z on poly-timbre and multi-genres in the artistic process. Examples are brought of successful attempts of realizing of individual and ensemble digital performance which has made it possible to manifest the fundamental functions of artistic culture, to create a system of moral and aesthetic values which would be relevant for society, and to form an aesthetically organized, highly technological sociocultural milieu.
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Chase, Stephen. "Huddersfield Contemporary Music Festival 2017." Tempo 72, no. 284 (2018): 76–79. http://dx.doi.org/10.1017/s0040298217001310.
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My hcmf 2017 started with Montreal's Quatuor Bozzini and pianist Philip Thomas performing three pieces by one of the festival's featured composers, Linda Catlin Smith. Smith's profile has been significantly raised in this country since the release of a portrait CD on Another Timbre, and she featured at Glasgow's Tectonics in May. Her compositional voice is distinct, one that avoids the grand statement in favour of half-familiar nooks and crannies, shading from folkish keening to an elusive chromatic space where Chopin meets Boulez and Feldman. Though each of the pieces, a Piano Quintet and two string quartets, Folkestone and Gondola, shared several aspects in their harmony and gesture, the larger picture as the music unfurled was quite different from piece to piece: the Piano Quintet explored quasi-independence between the bowed and keyed strings, while Folkestone proceeded in short fragments continually beginning again.
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Duarte-García, Mario Alberto, and Jorge Rodrigo Sigal-Sefchovich. "Working with Electroacoustic Music in Rural Communities: The use of an interactive music system in the creative process in primary and secondary school education." Organised Sound 24, no. 3 (2019): 228–39. http://dx.doi.org/10.1017/s135577181900030x.
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This article describes a project intended to promote access to electroacoustic music for children and teenagers aged 6 to 15 years in a socially and educationally disadvantaged rural community in Michoacán, Mexico. It explores an educational model of teaching, learning and creation of electroacoustic music through the use of music technology and pedagogy based on constructivism and Paulo Freire’s ideas on education as a practice of freedom. It provides a pedagogical reflection on the processes of learning and appreciation of this new music. The project includes the use of an interactive music system – implemented in MaxMSP using a mobile phone OSC app to control space and its interaction with timbre, pitch and duration – as an aid in the classroom and its implementation in an educational programme with a social impact. The research covered in this article could be taken into account to deliver new music education in rural communities with similar socioeconomic circumstances.
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Calderón-Garrido, Diego, Josep Gustems-Carnicer, and Carolina Martín-Piñol. "Multimodalidad, emoción y publicidad. Un estudio empírico sobre Youtube." Revista ICONO14 Revista científica de Comunicación y Tecnologías emergentes 15, no. 2 (2017): 25–48. http://dx.doi.org/10.7195/ri14.v15i2.1041.
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La publicidad es un instrumento de seducción en el que la música actúa como refuerzo en la atracción que el futuro usuario o consumidor siente por un producto, organización o servicio. En este trabajo se muestran los resultados de un estudio empírico realizado en la Universidad de Barcelona donde se han analizado las emociones provocadas por la música y las imágenes en una muestra formada por los 10 spots publicitarios más vistos en la plataforma Youtube en el año 2014. Para ello se ha contado con la participación de 31 estudiantes de Comunicación Audiovisual que los han visualizado en tres momentos distintos y randomizados, primero solo imagen, después, solo el audio y, en tercer lugar el audiovisual completo. Para analizar las emociones provocadas se ha utilizado un instrumento de medida inspirado en el 2DES (Two Dimensional Emotion Space) y el Emotion Space Lab. Los resultados señalan tipos distintos de respuesta emocional según el canal perceptivo empleado, y su aportación al contenido emocional de los spots. Se señalan las formas de intermodalidad preferidas por los participantes en la muestra analizada. Asimismo se constata la eficacia de los parámetros musicales y sonoros en el contenido emocional (tempo, intensidad, timbre, silencios, voces, estilos, etc.), corroborando así estudios previos en este sentido.
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Kendall, Roger A., and Edward C. Carterette. "Verbal Attributes of Simultaneous Wind Instrument Timbres: I. von Bismarck's Adjectives." Music Perception 10, no. 4 (1993): 445–67. http://dx.doi.org/10.2307/40285583.
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A study on the verbal attributes of timbre was conducted in an effort to interpret the dimensional configuration of the similarity spaces of simultaneously sounding wind instrument timbres. In the first experiment, subjects rated 10 wind instrument dyads on eight factorially pure semantic differentials from von Bismarck's (1974a) experiments. Results showed that the semantic differentials failed to differentiate among the 10 timbres. The semantic differential methodology was changed to verbal attribute magnitude estimation (VAME), in which a timbre is assigned an amount of a given attribute. This procedure resulted in better differentiation among the 10 timbres, the first factor including attributes such as heavy, hard, and loud, the second factor involving sharp and complex, a contrast with von Bismarck's results. Results of the VAME analysis separated alto saxophone dyads from all others, but mapped only moderately well onto the perceptual similarity spaces. It was suggested that many of the von Bismarck adjectives lacked ecological validity.
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Viaud-Delmon, Isabelle, Jane Mason, Karim Haddad, Markus Noisternig, Frédéric Bevilacqua, and Olivier Warusfel. "A Sounding Body in a Sounding Space: the Building of Space in Choreography – Focus on Auditory-motor Interactions." Dance Research 29, supplement (2011): 433–49. http://dx.doi.org/10.3366/drs.2011.0027.
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In the last 4 years, we have developed a partnership between dance and neuroscience to study the relationships between body space in dance and the surrounding space, and the link between movement and audition as experienced by the dancer. The opportunity to work with a dancer/choreographer, an expert in movement, gives neuroscientists better access to the significance of the auditory-motor loop and its role in perception of the surrounding space. Given that a dancer has a very strong sense of body ownership (probably through a very accurate dynamic body schema) ( Walsh et al. 2011 ), she is an ideal subject to investigate the feeling of controlling one's own body movements, and, through them, events in the external environment ( Moore et al. 2009 , Jola et al in press). We conducted several work sessions, which brought together a choreographer/dancer, a neuroscientist, a composer, and two researchers in acoustics and audio signal processing. These sessions were held at IRCAM (Institute for Research and Coordination Acoustic/Music, Paris) in a variable-acoustics concert hall equipped with a Wave Field Synthesis (WFS) sound reproduction system and infrared cameras for motion capture. During these work sessions, we concentrated on two specific questions: 1) is it possible to extend the body space of the dancer through auditory feedback ( Maravita and Iriki 2004 )? and 2) can we alter the dancer's perception of space by altering perceptions associated with movements? We used an interactive setup in which a collection of pre-composed sound events (individual sounds or musical sentences) could be transformed and rendered in real time according to the movements and the position of the dancer, that were sensed by markers on her body and detected by a motion tracking system. The transformations applied to the different sound components through the dancer's movement and position concerned not only musical parameters such as intensity, timbre, etc. but also the spatial parameters of the sounds. The technology we used allowed us to control their trajectory in space, apparent distance and the sound reverberation ambiance. We elaborated a catalogue of interaction modes with auditory settings that changed according to the dancer's movements. An interaction mode is defined by different mappings of position, posture or gesture of the dancer to musical and spatial parameters. For instance, a sound event may be triggered if the dancer is within a certain region or if she performs a predefined gesture. More elaborated modes involved the modulation of musical parameters by continuous movements of the dancer. The pertinence at a perceptive and cognitive level of the catalogue of interactions has been tested throughout the sessions. We observed that the detachable markers could be used to create a perception of extended body space, and that the performer perceived the stage space differently according to the auditory feedback of her action. The dancer reported that each experience with the technology shed light on her need for greater awareness and exploration of her relationships with space. Real-time interactivity with sound heightened her physical awareness – as though the stage itself took on a role and became another character.
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Rossetti, Danilo, and Jônatas Manzolli. "Analysis of Granular Acousmatic Music: Representation of sound flux and emergence." Organised Sound 24, no. 02 (2019): 205–16. http://dx.doi.org/10.1017/s1355771819000244.
Full textAbstract:
Analysing electroacoustic music is a challenging task that can be approached by different strategies. In the last few decades, newly emerging computer environments have enabled analysts to examine the sound spectrum content in greater detail. This has resulted in new graphical representation of features extracted from audio recordings. In this article, we propose the use of representations from complex dynamical systems such as phase space graphics in musical analysis to reveal emergent timbre features in granular technique-based acousmatic music. It is known that granular techniques applied to musical composition generate considerable sound flux, regardless of the adopted procedures and available technological equipment. We investigate points of convergence between different aesthetics of the so-called Granular Paradigm in electroacoustic music, and consider compositions employing different methods and techniques. We analyse three works: Concret PH (1958) by Iannis Xenakis, Riverrun (1986) by Barry Truax, and Schall (1996) by Horacio Vaggione. In our analytical methodology, we apply such concepts as volume and emergence, as well as their graphical representation to the pieces. In conclusion we compare our results and discuss how they relate to the three composers’ specific procedures creating sound flux as well as to their compositional epistemologies and ontologies.
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Dolp, Laura. "Viennese Moderne and Its Spatial Planes, Sounded." 19th-Century Music 33, no. 3 (2010): 247–69. http://dx.doi.org/10.1525/ncm.2010.33.3.247.
Full textAbstract:
Abstract The opening of Mahler's ““Der Abschied”” from Das Lied von der Erde demonstrates a special set of musical conditions that include spare textures, a wide disposition of instrumental forces, and the effect of temporal suspension. This transparency allows the process of individuation and exchange between musical elements to come to the fore, especially in relation to timbre. Through this passage Mahler highlights voices that work in synthesis with those that are juxtaposed. The first half of the study explores how this music is defined spatially through this process. It then proposes that this space is historically meaningful because Mahler's construction of musical space is analogous to the visual tensions in the landscape works of his artistic contemporaries Gustav Klimt and Egon Schiele. In both musical and visual context, these tensions reflect the diversity of the Viennese Moderne through their ephemeral and laconic qualities. Mahler's compositional tendency to ““suspend”” time and flatten the sonic plane gave his critics fodder for an ideological argument that involved ornamentation versus organic development, since his methods reflected ambiguously on the nineteenthcentury tradition of teleologically based symphonic forms. ““Abschied”” derived its relevancy from neither static surface nor motivic development but by its capacity to suggest unique spatial relationships. The movement initiates a timbrally and rhythmically nuanced recitative, in the form of subtle decays and articulated renewals. Like Klimt's superimposed visual planes, which create a synthetic relationship between figure and ground, Mahler's music suggests incremental distances between subjects. The economy of his music relates also to Schiele's laconic subjects. In Mahler's landscapes, both types of experiments coexist.
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Cabrera, Andrés, JoAnn Kuchera-Morin, and Curtis Roads. "The Evolution of Spatial Audio in the AlloSphere." Computer Music Journal 40, no. 4 (2016): 47–61. http://dx.doi.org/10.1162/comj_a_00382.
Full textAbstract:
Spatial audio has been at the core of the multimodal experience at the AlloSphere, a unique instrument for data discovery and exploration through interactive immersive display, since its conception. The AlloSphere multichannel spatial audio design has direct roots in the history of electroacoustic spatial audio and is the result of previous activities in spatial audio at the University of California at Santa Barbara. A concise technical description of the AlloSphere, its architectural and acoustic features, its unique 3-D visual projection system, and the current 54.1 Meyer Sound audio infrastructure is presented, with details of the audio software architecture and the immersive sound capabilities it supports. As part of the process of realizing scientific and artistic projects for the AlloSphere, spatial audio research has been conducted, including the use of decorrelation of audio signals to supplement spatialization and tackling the thorny problem of interactive up-mixing through the Sound Element Spatializer and the Zirkonium Chords project. The latter uses the metaphor of geometric spatial chords as a high-level means of spatial up-mixing in performance. Other developments relating to spatial audio are presented, such as Ryan McGee's Spatial Modulation Synthesis, which simultaneously explores the synthesis of space and timbre.