Relevant bibliographies by topics / Tonnetz

Contents

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

Academic literature on the topic 'Tonnetz'

Author: Grafiati
Published: 4 June 2021
Last updated: 12 June 2025

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Journal articles on the topic "Tonnetz"

1

Tymoczko, D. "The Generalized Tonnetz." Journal of Music Theory 56, no. 1 (2012): 1–52. http://dx.doi.org/10.1215/00222909-1546958.

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Mannone, Maria, Eri Kitamura, Jiawei Huang, Ryo Sugawara, and Yoshifumi Kitamura. "Musical combinatorics, tonnetz, and the CubeHarmonic." Zbornik Akademije umetnosti, no. 6 (2018): 104–16. http://dx.doi.org/10.5937/zbakum1801104m.

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Hook, Julian. "Generic Sequences and the Generic Tonnetz." Journal of Music Theory 64, no. 1 (2020): 63–103. http://dx.doi.org/10.1215/00222909-8033433.

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This article employs concepts from diatonic set theory, transformation theory, and neo-Riemannian theory in an investigation of sequences in generic (mod-7) pitch space. Sequences may be described using generic transposition operators, mod-7 analogs of the more familiar mod-12 chromatic transposition operators, and may be mapped in a generic Tonnetz analogous to the Tonnetz diagrams of neo-Riemannian theory. A complete classification of generic sequences with two-chord transposition blocks is derived from the paths described by the sequences in the Tonnetz. While it is tempting to regard generic space as “diatonic,” the examples demonstrate that generic structure governs many sequences that are not actually diatonic at all. The examples also show that the sequences found in the literature include many more types than are widely recognized and that generic sequence structure may apply in numerous other contexts besides patterns of chord roots.
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Park, Joon. "Reflections on (and in) Strunk's Tonnetz." Journal of Jazz Studies 11, no. 1 (2016): 40. http://dx.doi.org/10.14713/jjs.v11i1.108.

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<p>Joon Park takes a closer look at Steven Strunk's innovative application of the neo-Riemannian Tonnetz to jazz. Strunk reinterprets neo-Riemannian transformations as geometric reflections—as opposed to more conventional group theory operations—showing his understanding of jazz performance practice. Park clarifies the difference between conventional methods and Strunk's. In addition to illustrating Steve’s close accord with jazz performance practice, Park extends his work by representing Z-related sets on the Tonnetz.</p>
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Cohn, Richard. "Neo-Riemannian Operations, Parsimonious Trichords, and Their "Tonnetz" Representations." Journal of Music Theory 41, no. 1 (1997): 1. http://dx.doi.org/10.2307/843761.

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Dubau, Thierry. "Vers un Tonnetz polyvalent : prospections autour d’un nouveau modèle graphique." Musurgia Volume XXVII, no. 3 (2021): 27–52. http://dx.doi.org/10.3917/musur.203.0027.

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Milne, Andrew J., and Simon Holland. "Empirically testing Tonnetz, voice-leading, and spectral models of perceived triadic distance." Journal of Mathematics and Music 10, no. 1 (2016): 59–85. http://dx.doi.org/10.1080/17459737.2016.1152517.

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Tanoko, Yoga, and Amalia Zahra. "Multi-feature stacking order impact on speech emotion recognition performance." Bulletin of Electrical Engineering and Informatics 11, no. 6 (2022): 3272–78. http://dx.doi.org/10.11591/eei.v11i6.4287.

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One of the biggest challenges in implementing SER is to produce a model that performs well and is lightweight. One of the ways is using one-dimensional convolutional neural network (1D CNN) and combining some handcrafted features. 1D CNN is mostly used for time series data. In time series data, the order of information plays an important role. In this case, the order of stacked features also plays an important role. In this work, the impact of changing the order is analyzed. This work proposes to brute force all possible combinations of feature orders from five features: Mel-frequency cepstral coefficient (MFCC), Mel-spectrogram, chromagram, spectral contrast, and tonnetz, then uses 1D CNN as the model architecture and benchmarking the model's performance on the Ryerson audio-visual database of emotional speech and song (RAVDESS) dataset. The results show that changing the order of features can impact overall classification accuracy, specific emotion accuracy, and model size. The best model has an accuracy of 79.17% for classifying 8 emotion classes with the following order: spectral contrast, tonnetz, chromagram, Mel-spectrogram, and MFCC. Finding a suitable order can increase the accuracy up to 16.05% and reduce the model size up to 96%.
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Bigo, Louis, Daniele Ghisi, Antoine Spicher, and Moreno Andreatta. "Representation of Musical Structures and Processes in Simplicial Chord Spaces." Computer Music Journal 39, no. 3 (2015): 9–24. http://dx.doi.org/10.1162/comj_a_00312.

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In this article, we present a set of musical transformations based on the representations of chord spaces derived from the Tonnetz. These chord spaces are formalized as simplicial complexes. A musical composition is represented in such a space by a trajectory. Spatial transformations are applied on these trajectories and induce a transformation of the original composition. These concepts are implemented in two applications, the software HexaChord and the Max object bach.tonnetz, dedicated to music analysis and composition, respectively.
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Mannone, Maria, Irene Iaccarino, and Rosanna Iembo. "Dense Geometry of Music and Visual Arts: Vanishing Points, Continuous Tonnetz, and Theremin Performance." STEAM 3, no. 2 (2018): 1–13. http://dx.doi.org/10.5642/steam.20180302.15.

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Dissertations / Theses on the topic "Tonnetz"

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De, Maria Giovanna. "Matematica e musica grafi, tonnetz e teorie neo-riemanniane." Bachelor's thesis, Alma Mater Studiorum - Università di Bologna, 2016. http://amslaurea.unibo.it/12043/.

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Il primo capitolo verte su argomenti di musica e, dopo una breve premessa generale, ed alcuni cenni biografici di J. S. Bach, si passa ad una analisi strutturale di tipo aritmetico e geometrico su alcune sue famose composizioni, sottolineando in particolare la passione del grande compositore per la numerologia, esaminando l’importanza che il fattore numerologico sempre assume nelle sue opere. Il secondo capitolo verte su argomenti di matematica e tratta alcuni importanti aspetti della teoria dei grafi, del toro e dell’immersione di grafi in superfici. Il terzo capitolo, nel quale si fa riferimento agli argomenti dei primi due capitoli, è diviso in tre parti: la prima esamina alcuni principali fondamenti matematico-musicali, la seconda propone un excursus storico dalla scala pitagorica al temperamento equabile, la terza approfondisce il ciclo delle quinte, il Tonnetz e le teorie neo-riemanniane.
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Bergomi, Mattia Giuseppe. "Dynamical and topological tools for (modern) music analysis." Thesis, Paris 6, 2015. http://www.theses.fr/2015PA066465/document.

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Cette thèse propose une collection des nouveaux outils pour la représentation musicale. Ces modèles ont deux caractéristiques principales. D'un côté, ils sont inspirés par la géométrie et la topologie. De l'autre côté, ils ont une basse dimensionnalité, afin de garantir une visualisation intuitive des caractéristiques musicales qu'ils représentent. On s'est attaqué au problème de l'analyse musicale à partir de trois points de vue. On a représenté le contrepoint en utilisant des séries temporelles multivariées de matrices de permutations partielles. On a visualisé la conduite des voix en utilisant une classe particulière des tresses partielles et singulières. On donne ensuite une interpretation du Tonnetz comme complex simplicial et on utilise l'homologie persistante, afin de classifier des formes obtenues en déformant les sommets du Tonnetz. Ces déformations sont induites soit par des fonctions qui prennent en compte la nature symbolique de la musique, soit l'interaction symbol/signal. Les modèles basés sur la persistence topologique ont été testés sur une collection hétérogène de bases de données. Ces deux approches sont finalement combinées pour donner un troisième point de vue, qui a donné deux applications. Premièrement, on utilise l'alignement multiple des sequences, pour comparer plusieurs structures harmoniques et sémantiques déduites du signal audio, afin de visualiser et quantifier la propagation d’idée musicales entre artistes, genres et différentes époques. Ensuite on développe la théorie nécessaire pour comparer deux systèmes qui varient dans le temps, en représentant leurs caractéristiques géométriques comme des séries temporelles de diagrammes de persistence
In this work, we suggest a collection of novel models for the representation of music. These models are endowed with two main features. First, they originate from a topological and geometrical inspiration; second, their low dimensionality allows to build simple and informative visualisations. We tackle the problem of music representation following three non-orthogonal directions. First, we propose an interpretation of counterpoint as a multivariate time series of partial permutation matrices, whose observations are characterised by a degree of complexity. After providing both a static and a dynamic representation of counterpoint, voice leadings are reinterpreted as a special class of partial singular braids, and their main features are visualised. Thereafter, we give a topological interpretation of the Tonnetz (a graph commonly used in computational musicology), whose vertices are deformed by both a harmonic and a consonance-oriented function. The shapes derived from these deformations are classified using the formalism of persistent homology. Thus, this novel representation of music is evaluated on a collection of heterogenous musical datasets. Finally, a combination of the two approaches is proposed. A model at the crossroad between the signal and symbolic analysis of music uses multiple sequences alignment to provide an encompassing, novel viewpoint on the musical inspiration transfer among compositions belonging to different artists, genres and time. Then, music is represented as a time series of topological fingerprints, allowing the comparison of pairs of time-varying shapes in both topological and musical terms
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Cannas, Sonia. "Geometric representation and algebraic formalization of musical structures." Thesis, Strasbourg, 2018. http://www.theses.fr/2018STRAD047/document.

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Cette thèse présente des généralisations u groupe néo-riemannien PLR, que agit sur l'ensemble des 24 triades majeures et mineures. Le travail commence par une reconstruction de l'histoire de Tonnetz, un graphe associé aux trois transformations qui génèrent le groupe PLR. La thèse présente deux généralisations du groupe PLR pour les accords de septième. Le premier agit sur le tournage des septièmes de dominantes, mineure, semi-diminuée, majeure et diminuée, le second comprend également la septième mineure majeur, majeure augmenté, l'augmentée et la septième dedominante bémol. Nous avons également classé les transformations les plus parcimonieuses parmi les 4 triades (majeure, mineure, augmentée et diminuée) et avons étudié le groupe généré par celles-ci. Enfin, nous avons introduit une approche générale permettant de définir des opérations parcimonieuses entre les accords de septième et de triade, mais aussi les opérations déjà connues entre triades et celles entre septièmes
This thesis presents a generalizations of the neo-Riemannian PLR-group, that acts on the set of 24 major and minor triads. The work begins with a reconstruction on the history of the Tonnetz, a graph associated with the three transformations that generate the PLR-group. The thesis presents two generalizations of the PLR-group for seventh chords. The first one acts on the set of dominant, minor, semi-diminished, major and diminished sevenths, the second one also includes minor major, augmented major, augmented, dominant seventh flat five. We considered the most parsimonious operations exchanging two types of sevenths, moving a single note by a semitone or a whole tone. We also classified the most parsimonious transformations among the 4 types of triads (major, minor,augmented and diminished) and studied the group generated by them. Finally, we have introduced a general approach to define parsimonious operations between sevenths and triads, but also the operations already known between triads and those between sevenths
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Bigo, Louis. "Représentations symboliques musicales et calcul spatial." Thesis, Paris Est, 2013. http://www.theses.fr/2013PEST1074/document.

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Représentations symboliques musicales et calcul spatial. La notion d'espace symbolique est fréquemment utilisée en théorie, analyse et composition musicale. La représentation de séquences dans des espaces de hauteurs, comme le Tonnetz, permet de capturer des propriétés mélodiques et harmoniques qui échappent aux systèmes de représentation traditionnels. Nous généralisons cette approche en reformulant d'un point de vue spatial différents problèmes musicaux (reconnaissance de style, transformations mélodiques et harmoniques, classification des séries tous-intervalles, etc.). Les espaces sont formalisés à l'aide de collections topologiques, une notion correspondant à la décoration d'un complexe cellulaire en topologie algébrique. Un complexe cellulaire per- met la représentation discrète d'un espace à travers un ensemble de cellules topologiques liées les unes aux autres par des relations de voisinage spécifiques. Nous représentons des objets musicaux élémentaires (par exemple des hauteurs ou des accords) par des cellules et construisons un complexe en les organisant suivant une relation de voisinage définie par une propriété musicale. Une séquence musicale est représentée dans un complexe par une trajectoire. L'aspect de la trajectoire révèle des informations sur le style de la pièce et les stratégies de composition employées. L'application d'opérations géométriques sur les trajectoires entraîne des transformations sur la pièce musicale initiale. Les espaces et les trajectoires sont construits à l'aide du langage MGS, un langage de programmation expérimental dédié au calcul spatial, qui vise à introduire la notion d'espace dans le calcul. Un outil, HexaChord, a été développé afin de faciliter l'utilisation de ces notions pour un ensemble prédéfinis d'espaces musicaux
Musical symbolic representations and spatial computing. The notion of symbolic space is frequently used in music theory, analysis and composition. Representing sequences in pitch (or chord) spaces, like the Tonnetz, enables to catch some harmonic and melodic properties that elude traditional representation systems. We generalize this approach by rephrasing in spatial terms different musical purposes (style recognition, melodic and harmonic transformations, all-interval series classification, etc.). Spaces are formalized as topological collections, a notion corresponding with the label- ling of a cellular complex in algebraic topology. A cellular complex enables the discrete representation of a space through a set of topological cells linked by specific neighborhood relationships. We represent simple musical objects (for example pitches or chords) by cells and build a complex by organizing them following a particular neighborhood relationship defined by a musical property. A musical sequence is represented in a complex by a trajectory. The look of the trajectory reveals some informations concerning the style of the piece, and musical strategies used by the composer. Spaces and trajectories are computed with MGS, an experimental programming language dedicated to spatial computing, that aims at introducing the notion of space in computation. A tool, HexaChord, has been developped in order to facilitate the use of these notions for a predefined set of musical spaces
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Park, Joon. "Music, Motion, and Space: A Genealogy." Thesis, University of Oregon, 2015. http://hdl.handle.net/1794/19354.

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How have we come to hear melody as going “up” or “down”? Why does the Western world predominantly adopt spatial terms such as “high” and “low” to distinguish musical notes while other non-Western cultures use non-spatial terms such as “large” and “small” (Bali), or “clear” and “dull” (South Korea)? Have the changing concepts of motion and space in people’s everyday lives over history also changed our understanding of musical space? My dissertation investigates the Western concept of music space as it has been shaped by social change into the way we think about music today. In our understanding of music, the concept of the underlying space is so elemental that it is impossible for us to have any fruitful discourse about music without using inherently spatial terms. For example a term interval in music denotes the distance between two combined notes; but, in fact, two sonic objects are neither near nor far from each other. This shows that our experience of hearing interval as a combination of different notes is not inherent in the sound itself but constructed through cultural and social means. In Western culture, musical sound is often conceptualized through various metaphors whose source domains reflect the society that incubated these metaphorical understandings. My research investigates the historical formation of the conceptual metaphor of music. In particular, I focus on historical formation of the three underlying assumptions we bring to our hearing of music: (1) “high” and “low” notes and motion between them, (2) functionality of musical chords, and (3) reliance on music notation. In each chapter, I contextualize various music theoretical writings within the larger framework of philosophy and social theory to show that our current understanding of musical sound is embedded with the history of Western culture.
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Jacobus, Enoch S. A. "A NEW GEOMETRIC MODEL AND METHODOLOGY FOR UNDERSTANDING PARSIMONIOUS SEVENTH-SONORITY PITCH-CLASS SPACE." UKnowledge, 2012. http://uknowledge.uky.edu/music_etds/10.

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Parsimonious voice leading is a term, first used by Richard Cohn, to describe non-diatonic motion among triads that will preserve as many common tones as possible, while limiting the distance traveled by the voice that does move to a tone or, better yet, a semitone. Some scholars have applied these principles to seventh chords, laying the groundwork for this study, which strives toward a reasonably comprehensive, usable model for musical analysis. Rather than emphasizing mathematical proofs, as a number of approaches have done, this study relies on two- and three-dimensional geometric visualizations and spatial analogies to describe pitch-class and harmonic relationships. These geometric realizations are based on the organization of the neo-Riemannian Tonnetz, but they expand and apply the organizational principles of the Tonnetz to seventh sonorities. It allows for the descriptive “mapping” or prescriptive “navigation” of harmonic paths through a defined space. The viability of the theoretical model is examined in analyses of passages from the repertoire of Frédéric Chopin. These passages exhibit a harmonic syntax that is often difficult to analyze as anything other than “tonally unstable” or “transitional.” This study seeks to analyze these passages in terms of what they are, rather than what they are not.
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Bergomi, Mattia Giuseppe. "Dynamical and topological tools for (modern) music analysis." Electronic Thesis or Diss., Paris 6, 2015. http://www.theses.fr/2015PA066465.

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Cette thèse propose une collection des nouveaux outils pour la représentation musicale. Ces modèles ont deux caractéristiques principales. D'un côté, ils sont inspirés par la géométrie et la topologie. De l'autre côté, ils ont une basse dimensionnalité, afin de garantir une visualisation intuitive des caractéristiques musicales qu'ils représentent. On s'est attaqué au problème de l'analyse musicale à partir de trois points de vue. On a représenté le contrepoint en utilisant des séries temporelles multivariées de matrices de permutations partielles. On a visualisé la conduite des voix en utilisant une classe particulière des tresses partielles et singulières. On donne ensuite une interpretation du Tonnetz comme complex simplicial et on utilise l'homologie persistante, afin de classifier des formes obtenues en déformant les sommets du Tonnetz. Ces déformations sont induites soit par des fonctions qui prennent en compte la nature symbolique de la musique, soit l'interaction symbol/signal. Les modèles basés sur la persistence topologique ont été testés sur une collection hétérogène de bases de données. Ces deux approches sont finalement combinées pour donner un troisième point de vue, qui a donné deux applications. Premièrement, on utilise l'alignement multiple des sequences, pour comparer plusieurs structures harmoniques et sémantiques déduites du signal audio, afin de visualiser et quantifier la propagation d’idée musicales entre artistes, genres et différentes époques. Ensuite on développe la théorie nécessaire pour comparer deux systèmes qui varient dans le temps, en représentant leurs caractéristiques géométriques comme des séries temporelles de diagrammes de persistence
In this work, we suggest a collection of novel models for the representation of music. These models are endowed with two main features. First, they originate from a topological and geometrical inspiration; second, their low dimensionality allows to build simple and informative visualisations. We tackle the problem of music representation following three non-orthogonal directions. First, we propose an interpretation of counterpoint as a multivariate time series of partial permutation matrices, whose observations are characterised by a degree of complexity. After providing both a static and a dynamic representation of counterpoint, voice leadings are reinterpreted as a special class of partial singular braids, and their main features are visualised. Thereafter, we give a topological interpretation of the Tonnetz (a graph commonly used in computational musicology), whose vertices are deformed by both a harmonic and a consonance-oriented function. The shapes derived from these deformations are classified using the formalism of persistent homology. Thus, this novel representation of music is evaluated on a collection of heterogenous musical datasets. Finally, a combination of the two approaches is proposed. A model at the crossroad between the signal and symbolic analysis of music uses multiple sequences alignment to provide an encompassing, novel viewpoint on the musical inspiration transfer among compositions belonging to different artists, genres and time. Then, music is represented as a time series of topological fingerprints, allowing the comparison of pairs of time-varying shapes in both topological and musical terms
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Berry, Jane M. "Reinterpreting Schumann: A Study of Large-Scale Structural and Atmospheric Associations in Schumann's 'Frauenliebe und -leben' and 'Dichterliebe' Song Cycles." Thèse, Université d'Ottawa / University of Ottawa, 2011. http://hdl.handle.net/10393/20102.

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The study of song cycles poses difficulties for both analysts and performers. These challenges stem largely from two qualities intrinsic to the genre: (1) the inclusion of two semiotic systems, language and music, and (2) the use of multi-movement structures. Several scholars have addressed these issues; however, a model built on a balanced consideration of both text-based/dramatic events and purely musical elements, has yet to be offered. This study proposes such a model with separate applications for both performers and analysts. Focusing on the identification of features connecting song cycles in their entirety, deep voice-leading associations and movements in key paths are examined in the application for analysts, whereas the performers’ application concentrates on recognizing underlying “atmospheres” and forms of acceleration. Each application is applied to Schumann’s Frauenliebe und –leben and Dichterliebe song cycles, demonstrating the benefits of employing this model in the development of both performative and analytical interpretations.
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Bergomi, M. G. "Dynamical and topological tools for (modern) music analysis." Doctoral thesis, Università degli Studi di Milano, 2015. http://hdl.handle.net/2434/339068.

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Is it possible to represent the horizontal motions of the melodic strands of a contrapuntal composition, or the main ideas of a jazz standard as mathematical entities? In this work, we suggest a collection of novel models for the representation of music that are endowed with two main features. First, they originate from a topological and geometrical inspiration; second, their low dimensionality allows to build simple and informative visualisations. Here, we tackle the problem of music representation following three non-orthogonal directions. We suggest a formalisation of the concept of voice leading (the assignment of an instrument to each voice in a sequence of chords) suggesting a horizontal viewpoint on music, constituted by the simultaneous motions of superposed melodies. This formalisation naturally leads to the interpretation of counterpoint as a multivariate time series of partial permutation matrices, whose observations are characterised by a degree of complexity. After providing both a static and a dynamic representation of counterpoint, voice leadings are reinterpreted as a special class of partial singular braids (paths in the Euclidean space), and their main features are visualised as geometric configurations of collections of 3-dimensional strands. Thereafter, we neglect this time-related information, in order to reduce the problem to the study of vertical musical entities. The model we propose is derived from a topological interpretation of the Tonnetz (a graph commonly used in computational musicology) and the deformation of its vertices induced by a harmonic and a consonance-oriented function, respectively. The 3-dimensional shapes derived from these deformations are classified using the formalism of persistent homology. This powerful topological technique allows to compute a fingerprint of a shape, that reflects its persistent geometrical and topological properties. Furthermore, it is possible to compute a distance between these fingerprints and hence study their hierarchical organisation. This particular feature allows us to tackle the problem of automatic classification of music in an innovative way. Thus, this novel representation of music is evaluated on a collection of heterogenous musical datasets. Finally, a combination of the two aforementioned approaches is proposed. A model at the crossroad between the signal and symbolic analysis of music uses multiple sequences alignment to provide an encompassing, novel viewpoint on the musical inspiration transfer among compositions belonging to different artists, genres and time. To conclude, we shall represent music as a time series of topological fingerprints, whose metric nature allows to compare pairs of time-varying shapes in both topological and in musical terms. In particular the dissimilarity scores computed by aligning such sequences shall be applied both to the analysis and classification of music.
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du, Plessis Janine. "Transformation Groups and Duality in the Analysis of Musical Structure." Digital Archive @ GSU, 2008. http://digitalarchive.gsu.edu/math_theses/66.

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One goal of music theory is to describe the resources of a pitch system. Traditionally, the study of pitch intervals was done using frequency ratios of the powers of small integers. Modern mathematical music theory offers an independent way of understanding the pitch system by considering intervals as transformations. This thesis takes advantage of the historical emergence of algebraic structures in musicology and, in the spirit of transformational theory, treats operations that form mathematical groups. Aspects of Neo-Riemannian theory are explored and developed, in particular the T/I and PLR groups as dual. Pitch class spaces, such as 12, can also be defined as torsors. In addition to surveying the group theoretical tools for music analysis, this thesis provides detailed proofs of many claims that are proposed but seldom supported.
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Books on the topic "Tonnetz"

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Yume tonneru. Shōgakkan Kurieitibu, 2013.

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Abdullaev, Chingiz. Tonnelʹ prizrakov. ĖKSMO-Press, 2000.

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Shubenkov, Alekseĭ. Tonnelʹ snov: Stikhi. Izdatelʹskai͡a︡ firma "A.V. Turov", 1995.

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Tokyo (Japan). Daini Kensetsu Jimusho. Kassōro no shita no tonneru: Haneda Kūkō tonneru no sekkei shikō. Tōkyō-to, 1994.

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Abdullaev, Chingiz. Rassudok manʹi͡a︡ka: Tonnelʹ prizrakov. AST, 2002.

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Tatsuo, Yōichi. Ta-kkun no kūchū tonneru. Iwasaki Shoten, 1987.

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Jimusho, Nihon Tetsudō Kensetsu Kōdan Sapporo Kōji. Tsugaru Kaikyōsen kōjishi: Seikan Tonneru. Nihon Tetsudō Kensetsu Kōdan Seikan Kensetsukyoku, 1990.

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Buson e no taimu tonneru. Asahi Shinbun Shuppan, 2010.

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University of Wolverhampton. School of Art and Design., ed. 300 tonnes of clay. School of Art of Design, University of Wolverhampton, 1996.

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Timm, Werner. Winfried Tonner: Bilder 1966-1986. Garamond, 1986.

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Book chapters on the topic "Tonnetz"

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Coury-Hall, M. A. "I-Shaped Tiles in the Tonnetz." In Mathematics and Computation in Music. Springer Nature Switzerland, 2024. http://dx.doi.org/10.1007/978-3-031-60638-0_18.

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Albini, Giovanni, and Samuele Antonini. "Hamiltonian Cycles in the Topological Dual of the Tonnetz." In Communications in Computer and Information Science. Springer Berlin Heidelberg, 2009. http://dx.doi.org/10.1007/978-3-642-02394-1_1.

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Aminian, Manuchehr, Eric Kehoe, Xiaofeng Ma, Amy Peterson, and Michael Kirby. "Exploring Musical Structure Using Tonnetz Lattice Geometry and LSTMs." In Lecture Notes in Computer Science. Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-50417-5_31.

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Žabka, Marek. "Generalized Tonnetz and Well-Formed GTS: A Scale Theory Inspired by the Neo-Riemannians." In Communications in Computer and Information Science. Springer Berlin Heidelberg, 2009. http://dx.doi.org/10.1007/978-3-642-02394-1_26.

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Baroin, Gilles, and Hugues Seress. "The Spinnen-Tonnetz: New Musical Dimensions in the 2D Network for Tonal Music Analysis." In Mathematics and Computation in Music. Springer International Publishing, 2015. http://dx.doi.org/10.1007/978-3-319-20603-5_32.

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Hason Rudd, David, Huan Huo, and Guandong Xu. "An Extended Variational Mode Decomposition Algorithm Developed Speech Emotion Recognition Performance." In Advances in Knowledge Discovery and Data Mining. Springer Nature Switzerland, 2023. http://dx.doi.org/10.1007/978-3-031-33380-4_17.

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AbstractEmotion recognition (ER) from speech signals is a robust approach since it cannot be imitated like facial expression or text based sentiment analysis. Valuable information underlying the emotions are significant for human-computer interactions enabling intelligent machines to interact with sensitivity in the real world. Previous ER studies through speech signal processing have focused exclusively on associations between different signal mode decomposition methods and hidden informative features. However, improper decomposition parameter selections lead to informative signal component losses due to mode duplicating and mixing. In contrast, the current study proposes VGG-optiVMD, an empowered variational mode decomposition algorithm, to distinguish meaningful speech features and automatically select the number of decomposed modes and optimum balancing parameter for the data fidelity constraint by assessing their effects on the VGG16 flattening output layer. Various feature vectors were employed to train the VGG16 network on different databases and assess VGG-optiVMD reproducibility and reliability. One, two, and three-dimensional feature vectors were constructed by concatenating Mel-frequency cepstral coefficients, Chromagram, Mel spectrograms, Tonnetz diagrams, and spectral centroids. Results confirmed a synergistic relationship between the fine-tuning of the signal sample rate and decomposition parameters with classification accuracy, achieving state-of-the-art 96.09% accuracy in predicting seven emotions on the Berlin EMO-DB database.
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Kirsten, Marlene. "»Papierbedarf: 0,3 Tonnen«." In Lettre. transcript Verlag, 2023. http://dx.doi.org/10.14361/9783839461723-015.

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Marlene Kirsten widmet sich in diesem Beitrag einem bislang unbeachteten Aspekt der DDR-Literatur. Anlass für Überlegungen zum nachhaltigen Handeln der Verlagsindustrie bilden zwei aufwändig gestaltete Lyrikanthologien, »Bekanntschaft mit uns selbst« (1961) und »Sonnenpferde und Astronauten« (1964). Auf Basis von Archivmaterial wird untersucht, welche Überlegungen das Handeln des Mitteldeutschen Verlags leiteten. Der Blick auf die Verlagspraxis der DDR ermöglicht es, Nachhaltigkeit abseits ihrer gemeinhin üblichen ökologischen Bedeutung zu betrachten und in theoretischer Hinsicht um materialökonomische und kulturpolitische Aspekte zu erweitern.
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Kühn, Christian. "Elf Tonnen heisse Luft." In Ringstraße ist überall. Springer Vienna, 2008. http://dx.doi.org/10.1007/978-3-211-75786-4_18.

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Politycki, Matthias, and Andreas Urs Sommer. "Rein in die Tonne ? Raus aus der Tonne ?" In Haltung finden. J.B. Metzler, 2019. http://dx.doi.org/10.1007/978-3-476-04994-0_28.

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Tam, V. W. Y., K. N. Le, I. M. C. S. Illankoon, C. N. N. Tran, D. Rahme, and L. Liu. "Economic Impacts of Environmentally Friendly Blocks: The Case of Nu-Rock Blocks." In Lecture Notes in Civil Engineering. Springer Nature Singapore, 2023. http://dx.doi.org/10.1007/978-981-99-3330-3_49.

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AbstractThere are numerous industry byproducts that have negative environmental impacts. Pond ash accumulated from coal power plants is one such byproduct that creates major environmental and social issues, especially with regard to decommissioning a coal power plant. Using pond ash in the block manufacturing process is a promising solution proposed by Nu-Rock. This research study evaluated the economic impact throughout the life cycle of Nu-Rock blocks. Nu-Rock block production use a technology called “Nu-creeting” in ash dams to prevent dust generation followed by the block manufacturing process using pond ash as a raw material. Nu-Rock technology can process approximately 250,000 tonnes of ash per annum and manufacture the equivalent of up to 330,000 tonnes volume of traditional building materials. This manufacturing process already generates jobs and pays tax and royalty fees to local governments, which is an added advantage. The total operating cost for 1 tonne of Nu-Rock blocks amounts to approximately AUD48, and the cost of a Nu-Rock block is AUD1.50–2.40, which is within the range of common bricks. Although there is a considerable initial cost to this process, it derives significant economic benefits in terms of manufacturing blocks using industrial byproducts, job creation and even tax revenue. Apart from these economic benefits, the Nu-Rock block manufacturing process generates environmental benefits through the reuse of pond ash from decommissioned coal power plants.
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Conference papers on the topic "Tonnetz"

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Humphrey, Eric J., Taemin Cho, and Juan P. Bello. "Learning a robust Tonnetz-space transform for automatic chord recognition." In ICASSP 2012 - 2012 IEEE International Conference on Acoustics, Speech and Signal Processing. IEEE, 2012. http://dx.doi.org/10.1109/icassp.2012.6287914.

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Guichaoua, Corentin, José Besada, Erica Bisesi, and Moreno Andreatta. "The Tonnetz Environment: A Web Platform for Computer-aided “Mathemusical” Learning and Research." In 2nd International Special Session on Computer Supported Music Education. SCITEPRESS - Science and Technology Publications, 2021. http://dx.doi.org/10.5220/0010532606800689.

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Gordon, David M., Scott A. Ryan, and Steve K. Twartz. "Gas Re-Injection in the Laminaria and Corallina Fields, Timor Sea: Established Techniques, New Environmental and Commercial Benefits." In ASME 2002 Engineering Technology Conference on Energy. ASMEDC, 2002. http://dx.doi.org/10.1115/etce2002/ee-29141.

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This paper describes a gas re-injection project designed with the dual objectives of emissions reduction and enhanced oil recovery in an Australian offshore oil field. While gas injection for enhancing oil recovery is common oilfield practice, there are fewer projects that look exclusively at greenhouse gas (GHG) control (either by sequestration or emission reduction), although there is increasing environmental awareness in the industry on the benefits of doing so. The predominant contribution to total GHG CO2-e emissions is from flaring. Significant reductions in flaring have been achieved since completion of commissioning of injection. Flare CO2 emissions at the beginning of 2000 (February-March) reduced from approximately 163,000 tonnes per month to an average of approximately 26,000 tonnes per month over the remainder of 2000, and to 9,800 tonnes per month, over the first half of 2001. GHG efficiency, evident in the ratio of GHGs emitted per tonne of hydrocarbon produced, reduced from approximately 0.4 tonnes CO2-e per tonne of total hydrocarbon produced before injection to 0.08 after injection over the remainder of 2000, and to 0.06 over the first half of 2001. Miscible displacement is expected to add around 6 million barrels to ultimate recovery from the Corallina reservoir. The use of stored gas as a fuel is expected to achieve significant reductions in operational expenditure later in field life.
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Hatton, Janice, and Peter Bulionis. "A Case Study of the Selective Catalytic Reduction (SCR) System at the Algonquin Power Energy-From-Waste Facility." In 16th Annual North American Waste-to-Energy Conference. ASMEDC, 2008. http://dx.doi.org/10.1115/nawtec16-1903.

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The Algonquin Power Energy-From-Waste (APEFW) facility is located in the suburban Toronto, Ontario city of Brampton. It receives approximately 140,000 metric tonnes (154,000 tons) of MSW per year from the Region of Peel (Region) and approximately 10,000 metric tonnes (11,000 tons) per year of international airport waste from the area’s two international airports. The APEFW facility commenced initial operations in 1992 and included four, 91 tonne (100 ton) per day Consumat two stage incinerators with heat recovery boilers and a dual-train air pollution control (APC) system consisting of evaporative cooling towers, venturi reactors and fabric filter baghouses. The APEFW facility expanded its capacity in 2001 with the addition of a fifth 91 tonne (100 ton) per day modular incinerator and heat recovery boiler. One of the stipulations in the permitting process was that the entire expanded facility meet more stringent emission standards that included a significantly lower nitrogen oxides (NOx) emission rate. After a review of several available NOx control technologies, the APEFW facility chose to install a Selective Catalytic Reduction (SCR) system. While SCR systems are fairly common on EFW facilities in Europe, the APEFW facility is the only EFW facility in North America that currently operates with an SCR system and as such has gained valuable insight into the application and performance of this technology that is very relevant to the North American EFW industry. This paper discusses the operation and maintenance of the SCR system, compares pre- and post-SCR NOx emissions and presents capital and operating costs for the SCR including the cost per tonne of waste processed and the cost per tonne of NOx removed.
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Halladay, A., V. Oropeza Bacci, S. O'Brien, J. Duer, L. Rock, and S. Kassam. "Quest CCS at Two Million Tonnes." In Fourth Sustainable Earth Sciences Conference. EAGE Publications BV, 2017. http://dx.doi.org/10.3997/2214-4609.201702141.

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Hydes, Kevin, Kevin Courneya, and Rosamund Hyde. "Meeting the 1000 Tonne Challenge." In 2006 IEEE EIC Climate Change Conference. IEEE, 2006. http://dx.doi.org/10.1109/eicccc.2006.277243.

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Al Hatmi, Khalid Hamdan, Asa’d Nasser Al Mashrafi, and Mohammed Salim Shaikh. "An Innovative and Well-Demonstrated Approach Toward Achieving Zero-Flaring." In ADIPEC. SPE, 2022. http://dx.doi.org/10.2118/210913-ms.

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Abstract A zero Routine Flaring by 2030 Initiative is one of the major challenges to the conventional oil and gas industry. It is prudent that untraditional solutions should be applied to run the business with a good profitable margin. In this paper, a well-demonstrated gas flaring reduction and recovery approach was developed and proven in one of the major ageing assets operated by Petroleum Development Oman LLC (PDO). A wide range of concepts were evaluated to substitute, reduce, or recover flare gas for the selected facility which tends to report significant amount of continuous gas flaring and subsequently higher CO2 equivalent emissions and energy intensity. In the substitute option, alternative sources for hydrocarbon fuel gas were analyzed such as the use of Nitrogen for blanketing, purging and compressor seals, and the use of zero gas seals for compressors. In the reduce approach, solutions such as the use of smart process control system in compressor and high-energy intensive units and modified process flow that maximize the recovery of heat are discussed. While the recovery approach explores the AP flare gas recovery and recycling, re-injection, micro turbine, power production and installation gas-to liquid facilities with different products such as NGL, LNG, DME, MeOH. Various parameters were evaluated with respect to the design do-ability, HSE, plant capacity constraints, pollutants control, economic feasibility, and ease of operation. The selected concept has been further detailed in Front End Engineering and Design (FEED) stage. Combination of flare gas recovery and smart process control techniques approach was used. The total continuous AP gas flaring has been reduced by 98%. In addition, the CO2 equivalent emitted per tonne of HC produced have been reduced from 1.93 to 0.12 tonnes CO2 equivalent per tonnes of Hydrocarbon (120 tonnes per 1000 tonnes HC produced) and greenhouse gas emissions dropped by more than 150%. The originality of this paper comes from its integrated techno-economic flare reduction screening approach and the demonstration using live plant data through the entire project cycle starting from concept study all the way till detailed engineering design phase. The articulated solutions on this paper could be projected for all similar systems in the oil and gas industry.
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Bain, Graham. "CCS Potential in Louisiana." In SPE Energy Transition Symposium. SPE, 2023. http://dx.doi.org/10.2118/215742-ms.

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Abstract The rapid evolution of the carbon sequestration landscape, driven by factors such as the Inflation Reduction Act and increased demand for carbon offsetting, necessitates an efficient method for identifying economically viable opportunities. Considering CO2 capture and storage, this study presents a workflow for assessing CCUS project viability. Focusing on southern Louisiana, we identified low-cost emitters through cost calculations and paired them with nearby storage sites. A geological model of tertiary sands was developed to determine reservoir storage volumes, injectivity, storage costs, and plume migration areas using the FE/NETL CO2 Saline Storage Cost Model. We generated a risk map considering factors such as wellbore penetrations, faults, earthquakes, caprock, freshwater aquifers, and salt domes to identify areas with higher chances of costly remediation or freshwater contamination. Our findings reveal a significant cluster of emissions in southern Louisiana with a sub $50/tonne capture breakeven, accounting for over 80 million tonnes of CO2/year. Existing and potential pipelines can connect these emitters to storage sites with capacities ranging from 17.2 to 36.8 Mt CO2/section and storage beakevens between $8.50 and $14.50/tonne. Risk assessment indicates increased risk in the northern region due to the presence of freshwater aquifers and legacy wellbore penetrations. Comprehensive understanding of CO2 storage potential along the entire value chain is essential for project success, and our proposed workflow enables holistic screening of areas for new projects, helping secure pore space before competitors and facilitating deeper modeling in low-risk areas.
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Binti, Q., J. Rudge, F. Jin, and R. Maddalena. "Waste Foundry Sand (WFS) as Aggregate Replacement for Green Concrete." In Cardiff University Engineering Research Conference 2023. Cardiff University Press, 2024. http://dx.doi.org/10.18573/conf1.m.

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Globally, 113 million tonnes (Mt)/year of cast metal are produced, generating 10-20 Mt/year of waste foundry sand (WFS). In the UK alone, 200,000 tonnes of WFS are disposed via landfilling, challenging current efforts in tackling climate change and sustainable development (CO2 emissions due to transportation, extraction of natural resources, increase in landfill inputs). Concrete uses up to 90% of natural aggregate per tonne of concrete produced, including sand. The latter is the most extracted material in the world today. Approximately 40-50 billion tons of sands are mined around the globe for construction each year (UNEP2016). This work examines the use of waste foundry sand (WFS) as a replacement for fine aggregate (sand) in concrete. Two types of WFS supplied by Weir UK were used: quartz and chromite sand. After initial chemical and physical characterization, both types of sand were deemed suitable for use in construction. We compared the physical and chemical properties of both WFS types to river sand used for concrete production. Quartz and chromite WFS were finer and contained less silicon than conventional sand but richer in metallic ions. Leaching tests showed that WFS released metals, but their chloride, fluoride and sulphate content was less than river sand. WFS was then used in concrete at different fine aggregate replacement levels (30%, 50% and 100%). We investigated the mechanical performance at 28 days of curing, water transport and durability properties. Whilst the overall compressive strength decreased with increasing the WFS content, samples subjected to freeze/thaw cycles exhibited outstanding durability performance with respect to their water absorption capability. Preliminary results suggest that WFS is an environmentally sustainable solution both for the cast metal industry and the construction sector, as it repurposes a material otherwise disposed of into a raw material for durable concrete production.
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Selvi, Marco. "XENON1T results from 1 tonne×year WIMP search." In Neutrino Oscillation Workshop. Sissa Medialab, 2019. http://dx.doi.org/10.22323/1.337.0094.

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Reports on the topic "Tonnetz"

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Skone, Timothy J. Coal Stockpile Stacker, 450 Tonnes, Construction. Office of Scientific and Technical Information (OSTI), 2010. http://dx.doi.org/10.2172/1509013.

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Erckmann, Emile, and Alexandre Chatrian. Le Chant de la Tonne. Edicions de la Universitat de Lleida, 2023. http://dx.doi.org/10.21001/luc.25.26.11.

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Reid, Douglas J., John L. Orrell, James E. Fast, and Estanislao Aguayo Navarrete. Majorana One-Tonne Cryostat Cooling Conceptual Feasibility Study. Office of Scientific and Technical Information (OSTI), 2011. http://dx.doi.org/10.2172/1013302.

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Reid, Douglas J., James E. Fast, John L. Orrell, and Estanislao Aguayo Navarrete. Majorana One-Tonne Cryostat Cooling Conceptual Feasibility Study Rev 1. Office of Scientific and Technical Information (OSTI), 2011. http://dx.doi.org/10.2172/1021286.

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Cloutier, Jacinthe, Karima Afif, and Marie-Claude Roy. Réduction des pertes et gaspillages alimentaires au Québec : barrières et facteurs de succès. CIRANO, 2024. http://dx.doi.org/10.54932/hazd6827.

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« L’humanité gaspille plus d’un milliard de repas par jour. » C’est ce qu’affirmait le Programme des Nations Unies pour l’environnement (PNUE) le 27 mars 2024 à l’occasion de la publication du plus récent rapport sur l'indice de gaspillage alimentaire. Chaque habitant de la planète gaspillerait en moyenne 79 kg de nourriture, ce qui représente environ 1 milliard de tonnes de déchets alimentaires. Au Québec, la quantité totale de résidus alimentaires produite annuellement s’élève à plus de 3 millions de tonnes selon RECYC-QUÉBEC, ce qui équivaut à 1 kg par habitant par jour. Comment y remédier ? Cette étude propose des pistes de réflexion quant aux facteurs clés de succès pour la mise en œuvre d’initiatives visant la réduction des pertes et gaspillages alimentaires.
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Cloutier, Jacinthe, Karima Afif, and Marie-Claude Roy. Réduire le gaspillage et les pertes alimentaires : Quels sont les facteurs de succès ? CIRANO, 2024. http://dx.doi.org/10.54932/psqb4320.

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« L’humanité gaspille plus d’un milliard de repas par jour. » C’est ce qu’affirmait le Programme des Nations Unies pour l’environnement (PNUE) le 27 mars 2024 à l’occasion de la publication du plus récent rapport sur l'indice de gaspillage alimentaire. Chaque habitant de la planète gaspillerait en moyenne 79 kg de nourriture, ce qui représente environ 1 milliard de tonnes de déchets alimentaires. Au Québec, la quantité totale de résidus alimentaires produite annuellement s’élève à plus de 3 millions de tonnes selon RECYC-QUÉBEC, ce qui équivaut à 1 kg par habitant par jour. Comment y remédier ? Une étude CIRANO (Cloutier et al., 2024) propose des pistes de réflexion quant aux facteurs clés de succès pour la mise en œuvre d’initiatives visant la réduction des pertes et gaspillages alimentaires.
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Winslow, Lindley. R&D Toward CUPID, a Tonne-Scale Bolometric 0vBB Experiment (Final Report). Office of Scientific and Technical Information (OSTI), 2021. http://dx.doi.org/10.2172/1773094.

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Alshehri, Thamir, Jan Frederik Braun, Anwar Gasim, and Mari Luomi. What Drove Saudi Arabia’s 2020 Fall in CO2 Emissions? King Abdullah Petroleum Studies and Research Center, 2021. http://dx.doi.org/10.30573/ks--2021-ii10.

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In June 2021, the energy data provider Enerdata released its initial estimates for Saudi Arabia’s 2020 carbon dioxide (CO2) emissions. The data indicate that the Kingdom’s CO2 emissions from fuel combustion decreased by 3.3%, from 508.3 million tonnes of CO2 (MtCO2) in 2019 to 491.8 megatonnes of CO2 (MtCO2) in 2020.
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Karali, Nihan, Nikit Abhyankar, Ben Sharpe, and Anup Bandivadekar. Improving fuel efficiency for heavy-duty vehicles of 3.5–12 tonnes in India: Benefits, costs, and environmental impacts. Office of Scientific and Technical Information (OSTI), 2019. http://dx.doi.org/10.2172/1498692.

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Leece, A., and C. Jiang. A preliminary techno-economic assessment of lithium extraction from flowback and produced water from unconventional shale and tight hydrocarbon operations in Western Canada. Natural Resources Canada/CMSS/Information Management, 2023. http://dx.doi.org/10.4095/331879.

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In the path towards decarbonization, rechargeable lithium-ion batteries are critical for the widespread adoption of electric vehicles and renewable energy storage systems. To meet the growing demand for this mineral, various sources of lithium are being explored. This study evaluated the technical and economic feasibility of direct lithium extraction (DLE) from flowback and produced waters (FPW) of the Duvernay shale reservoir development near Fox Creek, Alberta and the Montney tight reservoir development in Northeast British Columbia using ion-exchange sorbents. Results indicate that lithium extraction from FPW using DLE technology is a viable option, with fluid pH, temperature, total suspended solids, and organic carbon affecting extraction efficiencies. In the assessment of Duvernay-based FPW fluids processed at a selected centralized facility, approximately 93 tonnes of lithium carbonate, or 105 tonnes of lithium hydroxide monohydrate could be produced annually, based on an average lithium content of 45.1 mg/L and a capacity of approximately 475,000 m3 per year. A discounted cash flow analysis determined the after-tax and royalty internal rate of return of 22% in the production of lithium carbonate (Li2CO3), and 38% in the production of lithium hydroxide monohydrate (LiOH·H2O) from the Duvernay development area. Comparatively, in the assessment of Montney brine fluids processed at a modelled centralized facility, approximately 117 tonnes of lithium carbonate or 134 tonnes of lithium hydroxide monohydrate could be produced annually, based on an average lithium content of 57.7 mg/L and a capacity of approximately 475,000 m3 per year. A discounted cash flow analysis determined the after-tax and royalty internal rate of return of 29% in the production of lithium carbonate and 48% in the production of lithium hydroxide monohydrate from the Dawson Creek Montney development area. These findings demonstrate the economic feasibility of extracting and refining lithium into battery-grade products from a novel source based on forecasted commodity prices and the development of a domestic battery supply chain system. Further investigation of DLE technology, a strategic resource sampling and analysis program, and investigation into the minimum scale of lithium extraction development are recommended.
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