Bibliografías temáticas / Music Tuning

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Literatura académica sobre el tema "Music Tuning"

Autor: Grafiati

Publicado: 4 de junio de 2021

Última modificación: 6 de febrero de 2022

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Artículos de revistas sobre el tema "Music Tuning"

Wisuttipat, Nattapol. "Relative Nature of Thai Traditional Music through its Tuning System". International Journal of Creative and Arts Studies 2, n.º 1 (12 de febrero de 2017): 86. http://dx.doi.org/10.24821/ijcas.v2i1.1441.

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Thai traditional music exhibits number of relative characteristics, though many of them are not expressed explicitly but only demonstrated orally. Its tuning system, despite having been put through many scientific studies for decades, cannot be given the absolute pitch frequencies. It is therefore possible that the tuning system does not have any absolute pitch frequencies but possesses relative nature. This papers aims to present the historic background, characteristics, past, current practices of Thai traditional music’s tuning system and to put forward the theoretical idea of non-existence of absolute tuning frequency and that of relative nature of Thai traditional music’s tuning system. The data was collected from previous researches on Thai traditional music’s tuning system and from sample instruments. The latter was then compared to each other and analyzed with respect to the former. The preliminary results were that tuning system of Thai traditional music was in the form of seven-tone equal temperament without any sharps or flats. But practically, it was not exactly equal as musicians still prefer the traditionalbiased tunings which is believed to be more tuneful. Regarding the tuning practices, the tuning of Fine Arts Department are most dominating among several others. Even though, the tuning of Fine Arts Department measure from various sources are slightly different in terms of frequencies and intervals. It can be concluded that the tuning system of Thai traditional music does not rely on specific pitch frequency, but is relative to intervals and personal preferences and its absolute pitch frequency is yet to be established.

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Avery, Lanice R., L. Monique Ward, Lolita Moss y Dilara Üsküp. "Tuning Gender". Journal of Black Psychology 43, n.º 2 (25 de julio de 2016): 159–91. http://dx.doi.org/10.1177/0095798415627917.

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Although analyses indicate that mainstream media are a prominent force in the gender socialization of Black youth, little is known about the nature of gender messages in contemporary music, especially in music by Black artists. To explore this issue, we conducted a systematic content analysis of 527 top songs by Black artists released from 1990 to 2010, coding each song for the presence of 23 attributes reflecting hegemonic masculinity and femininity. Analyses also examined differences in gender messages based on time period and genre. Findings indicated that representations of hegemonic masculinity were most likely to reflect hypermasculinity, characterizing Black men as competitive, dangerous, sex-focused, and materialistic. Portrayals of women were more likely to reflect hyperfeminine attributes, emphasizing the importance of women’s physical attractiveness, utility as sexual objects, and emotional expressiveness. Representations of men as hypermasculine and of women as hyperfeminine sexual objects increased over time, and were more frequent for rap/hip-hop music than for other genres. Results are discussed in terms of the potential links between music exposure and the gender development of Black youth.

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Gurney, O. R. "Babylonian Music Again". Iraq 56 (1994): 101–6. http://dx.doi.org/10.1017/s0021088900002849.

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In Iraq 30 (1968) I published a fragmentary text from Ur, then numbered 7/80, containing part of a treatise on the tuning of the sammû instrument, and with the collaboration of the musicologist David Wulstan, who himself contributed a companion article, I added an interpretation, with a table showing that the text described seven different tunings, with instructions in two chapters for the conversion of each one to the next, first by lowering, then by raising the pitch of one string by a semitone. The copy of the text was subsequently published again as UET VII 74 and the number 7/80 was abandoned when the tablet was sent to Baghdad and renumbered in the Iraq Museum. This text, usually known as “the tuning text” — a better name would be “retuning text” — provided the decisive clue to the understanding of the Babylonian musical system and its terminology, which have since been expounded by several musicologists and compared with the Greek system of “octave species”. So well established did the theory become that it was applied without question by several scholars when a few years later a tablet apparently containing a musical notation using the same terminology was recognized among the tablets from Ras Shamra-Ugarit. Little notice was taken in 1982 when Raoul Vitale wrote an article calling in question the basic assumption of the theory that the tuning system and the scales were upward rather than downward. Only recently has M. L. West proposed in this article “The Babylonian Musical Notation and the Human Melodic Texts” (Music and Letters 75/4 [1993], 161–79) that Vitale's theory should be seriously considered.

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Selvendran, Subothini, Nikhil Aggarwal y Vassilios Vassiliou. "Tuning the heart with music". Journal of the Royal Society of Medicine 108, n.º 11 (2 de octubre de 2015): 462–64. http://dx.doi.org/10.1177/0141076815600906.

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Bhattacharjee, Sudip, Ram D. Gopal, James R. Marsden y Ramesh Sankaranarayanan. "Re-tuning the music industry". Communications of the ACM 52, n.º 6 (junio de 2009): 136–40. http://dx.doi.org/10.1145/1516046.1516081.

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Perani, Daniela, Mari Tervaniemi y Petri Toiviainen. "Tuning the brain for music". Cortex 47, n.º 9 (octubre de 2011): 1023–25. http://dx.doi.org/10.1016/j.cortex.2011.05.021.

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Pollens, Stewart, Jean Denis y Vincent J. Panetta. "Harpsichord Tuning". Musical Times 130, n.º 1754 (abril de 1989): 213. http://dx.doi.org/10.2307/966468.

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Jamnongsarn, Surasak. "TRANSKULTURASI MUSIK ANTARAGAMELAN JAWA, ANGKLUNG, DAN MUSIK TRADISI THAILAND". MELAYU ARTS AND PERFORMANCE JOURNAL 2, n.º 2 (20 de enero de 2020): 158. http://dx.doi.org/10.26887/mapj.v2i2.975.

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Javanese gamelan and angklung to Thailand music gives the impact on the development of Thailand traditional music. That musical transculturation exists in the musical instrument of angklung and the musical concept of Javanese gamelan that are then mixed with the system of Thailand traditional music involving gamut (tuning system), presentment method, and its function in society. This transculturation shows the understanding of cultural relation between Thailand traditional music that has the background of Buddhism philosophy and Gamelan that has the background of Kejawen syncretism. These two kinds of music have formed the new characteristic and identity of Thailand music. Angklung played with the concept of Javanese gamelan called as angklung Thailand that then becomes Thailand traditional music. The article aims at revealing the transculturation of Javanese gamelan and angklung into the traditional music and its impact on the development of Thailand traditional music. This research used qualitative method with the accentuation in field research that involved researcher with the material object to delve various musical experiences by participating as the player of those two musical instruments. The transculturation of Javanese gamelan and angklung with Thailand traditional music has given the new development in Thailand traditional music. Keywords: Transculturation, Javanese gamelan, angklung, and Thailand traditional music ABSTRAKTranskulturasi gamelan Jawa dan angklung ke Thailand memberikan dampak pada perkembangan musik tradisi Thailand. Transkulturasi musik itu berwujud pada alat musik angklung dan konsep musikal gamelan Jawa, kemudian bercampur dengan sistem musik tradisi Thailand, yang mencakup pada tangga nada (tuning system), carapenyajian, dan fungsinya dalam masyarakat. Transkulturasi inimemunculkan pemahaman relasi kebudayaan antara musik tradisi Thailand yang berlatar belakang filosofi Buddhisme dan gamelan yang berlatar belakang sinkretis kejawen. Kedua musik ini telahmembentuk ciri dan identitas baru musik Thailand.Angklung yang dimainkan dengan konsep gamelan Jawa yang disebut angklung Thailand selanjutnya menjadi musik tradisi Thailand. Artikel bertujuan mengungkap transkulturasi gamelan Jawa dan angklung ke musik tradisi serta dampaknya pada perkembangan musik tradisi Thailand. Penelitian ini menggunakan metode kualitatif dengan penekanan pada penelitian lapangan yang melibatkan peneliti dengan objek materialuntuk menggali berbagai pengalaman musikal dengan ikut serta bermain kedua musik itu. Transkulturasi gamelan Jawa dan angklung dengan music tradisi Thailand telah memberikan perkembangan baru pada musik tradisi Thailand. Kata kunci: transkulturasi, gamelan Jawa, angklung, dan musik tradisi Thailand

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Bozkurt, Barış. "A System for Tuning Instruments Using Recorded Music Instead of Theory-Based Frequency Presets". Computer Music Journal 36, n.º 3 (septiembre de 2012): 43–56. http://dx.doi.org/10.1162/comj_a_00128.

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Musical instrument tuners are devices that help musicians to adjust their instruments such that the played notes have the desired fundamental frequencies. In a conventional tuner, the reference tuning frequencies are preset, where the presets are obtained from tuning (musical scale) theory, such as twelve-tone equal temperament, or are user-specified temperaments. For many kinds of music in oral traditions, especially nonwestern music, widely accepted theoretical presets for tuning frequencies are not available because of the use of non-standard tunings. For such contexts, the “reference” is a master musician or a recording of a master musician. In this article, a tuning method and technology are presented that help the musician to tune the instrument according to a given (user-provided) recording. The method makes use of simultaneous audio and visual feedback during the tuning process, in which novel approaches are used for both modalities. For audio feedback, loopable stable frames, obtained automatically from the recording, are looped and played continuously. For visual feedback, a superimposed plot of the auto-difference functions is displayed instead of the conventional tuner's approach of detecting frequencies and displaying the amount of frequency difference between the input and the reference.

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Yarbrough, Cornelia, Brant Karrick y Steven J. Morrison. "Effect of Knowledge of Directional Mistunings on the Tuning Accuracy of Beginning and Intermediate Wind Players". Journal of Research in Music Education 43, n.º 3 (octubre de 1995): 232–41. http://dx.doi.org/10.2307/3345638.

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The purpose of this research was to study the effect of knowledge of directional mis-tunings on the tuning accuracy of beginning and intermediate wind players. Subjects (N = 197) were instrumental wind players who tuned to either an For a B-flat with both their own instrument—a performance task—and the tuning knob of a variable-pitch keyboard—a perception task. The subjects were randomly assigned to one of three treatment groups: Group 1 knew that their instruments and the tuning knob were mis-tuned in the sharp direction; Group 2 knew that their instruments and the tuning knob were mistuned in the flat direction; and Group 3 had no information regarding direction of mistunings. Data demonstrated that only years of instruction significantly affected subjects' tuning accuracy. There were no significant differences due to treatment, instrument type, or tuning pitch. There were only 6 in-tune performance responses and 12 in-tune perception responses. Approaching the target pitch from above resulted in more sharp responses; approaching it from below resulted in more flat responses; and having no knowledge of direction of mistuning resulted in an equal number of sharp and flat responses. There were a greater number of flat responses in the first year of instruction and a greater number of sharp responses in the fourth year. Finally, there was consistent improvement from the first to the fourth year in both perception and performance tuning tasks.

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Tesis sobre el tema "Music Tuning"

Palmblad, Simon. "A = 432: A superior tuning or just a different intonation? How tuning standards affects emotional response, timbre and sound quality in music". Thesis, Högskolan i Skövde, Institutionen för informationsteknologi, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:his:diva-15414.

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The purpose of this study was to explore the ways tuning to A = 432 Hz affects emotional response, timbre, sound quality, character and tone compared to the standard tuning of A = 440 Hz, and whether or not it is humanly possible to discern a difference between these two. This was all done in an effort to evaluate claims that A = 432 Hz is superior to standard tuning in regards the previously mentioned factors. For this to be done, the history and development of tuning standards as well as intonation systems, presented alongside theories on the basic physics of sound, the effect of spectral manipulation on timbre and sound, and finally memory structures for remembering musical pitches. As a musician and composer, exploring new ways of creating emotion and controlling the effects of a composition, and dispelling potential misinformation is always a worthwhile pursuit. The study was performed by way of surveys where respondents were asked to listen to a composition in two versions, one in A = 440 Hz and the other in A = 432 Hz and then rate the perceived similarity between these two. They were then asked to give their answer regarding preference and associations of character and emotional response to each version. Results show that the claims of the A = 432 Hz proponents might not be as simple as portrayed, but rather a more complex series of relationships. There is support for the idea that the two tunings are unique enough for the average human to discern a difference between the two, and that some type of unique character is contained in each tuning.

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Arvay, Brandon M. "A Comprehensive Method for Tuning and Pedaling Timpani". UKnowledge, 2015. http://uknowledge.uky.edu/music_etds/43.

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Method books are an integral part of the percussion pedagogy. Because of the vast number of instruments a modern percussionist is expected to play, they often look for progressive, concise, and effective resources that can make learning such a variety of instruments more efficient. Instructional books currently exist for many areas of percussion performance, including snare drum, mallet percussion, timpani, World music, accessories, and marching percussion. Included in these books are information and procedures on music reading, rhythm studies, listening skills, part preparation, and technical approach. Focusing on timpani methods specifically, many of these books include tuning and pedaling exercises and etudes. However, their pedagogies for the execution of such difficult procedures are superficial and focus primarily on technical prowess. Timpani are the only Western pitched instruments a percussionist is required to tune, which proves intimidating for many players. Moreover, the aural and technical demands of the contemporary timpanist are ever-increasing with the technical demands found in modern composition. This dissertation will address the skills and techniques for tuning and pedaling timpani ignored by current method books and provide the timpanist with a process through a systematic set of etudes with audio accompaniment tracks. The goals of this method are to target the specific set of skills needed by the timpanist for accurate and effective timpani tuning in a modern ensemble setting.

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Bae, Yoo Jin. "The distribution, construction, tuning, and performance technique of the African log xylophone". The Ohio State University, 2001. http://rave.ohiolink.edu/etdc/view?acc_num=osu1399554107.

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Toll, Abigail. "Matrices of Vision : Sonic Disruption of a Dataset". Thesis, Kungl. Musikhögskolan, Institutionen för komposition, dirigering och musikteori, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-4152.

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Matrices of Vision is a sonic deconstruction of a higher education dataset compiled by the influential Swedish higher education authority Universitetskanslersämbetet (UKÄ). The title Matrices of Vision and project theme is inspired by Indigenous cyberfeminist, scholar and artist Tiara Roxanne’s work into data colonialism. The method explores how practical applications of sound and theory can be used to meditate on political struggles and envision emancipatory modes of creation that hold space through a music-making practice. The artistic approach uses just intonation as a system, or grid of fixed points, which it refuses. The pitch strategy diverges from this approach by way of its political motivations: it disobeys just intonation’s rigid structure through practice and breaks with its order as a way to explore its experiential qualities. The approach seeks to engage beyond the structures designed to regulate behaviors and ways of perceiving and rather hold space for a multiplicity of viewpoints which are explored through cacophony, emotion and deep listening techniques.

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Kom, Brian S. R. "Tuning In to a Hit Parade Pedagogy". Thèse, Université d'Ottawa / University of Ottawa, 2014. http://hdl.handle.net/10393/30559.

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Contemporary popular music is a ubiquitous social, cultural, and pedagogical force. Enabled by ever-evolving and -expanding technology, its songs and lyrics are transmitted into our most public and private spaces. For this study, I present the Billboard music charts as a functioning pedagogy and curriculum. Riffing on Richter’s denkbilder, Aoki’s curricular worlds of plan and lived experience, Giroux’s public pedagogy, and Giroux & Simon’s theorizing on youth culture, I sound out messages and motives embedded within the hit parade pedagogy. DJing a methodology of qualitative inquiry, autoethnography, and free association, I listen closely to chart-topping songs by Lady Gaga, Katy Perry, and P!nk that feature themes of marginalization, and consider the paradox presented by the juxtaposition of their popularity and subject matter. I suggest that this playlist legitimizes and perpetuates its listeners’ marginalization, running counter to its supposed intent to galvanize and inspire. Before signing off, I consider the implications for school-based educators and pedagogy in regard to engaging marginalization, particularly the notion of implementing a curriculum with which students may participate and sing along.

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Annoni, Maria Therese. "Tuning, temperament and pedagogy for the vihuela in Juan Bermudo's Declaracion de instrumentos musicales (1555) /". The Ohio State University, 1989. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487599963592937.

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Cheon, Sera. "Scordatura Tuning in Performance and Transcription:A Guide Using Domenico Gabrielli’s Seven Ricercari for Violoncello Solo". University of Cincinnati / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1368026434.

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Swoger-Ruston, John Paul. "The fifteen-cent guitar re-tempering the standard six-string guitar /". Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2000. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp03/MQ59201.pdf.

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Coy, Benjamin R. "Pitch Performance: A Rational Approach to the Acquisition of Intonation Skills". The Ohio State University, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=osu1338080884.

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Ayers, William R. "Structural Properties and Compositional Processes in Microtonal Equal Temperaments". University of Cincinnati / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=ucin153570341690339.

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Libros sobre el tema "Music Tuning"

Johnson, Chad. Alternate tuning chord dictionary. Milwaukee, WI: Hal Leonard, 2002.

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Kronman, Ulf. Steel paning tuning: A handbook for steel pan making and tuning. Stockholm: Musikmuseet, 1992.

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Guitar Tunings. London: Taylor and Francis, 2006.

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Tuning, timbre, spectrum, scale. 2^a ed. London: Springer, 2005.

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Tuning, timbre, spectrum, scale. London: Springer, 1998.

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Guitar tunings: A comprehensive guide. New York: Routledge, 2006.

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Graves, Tomás. Tuning up at dawn: A memoir of music and Majorca. London: Harper Perennial, 2005.

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Graves, Tomás. Tuning up at dawn: A memoir of music and Majorca. London: Fourth Estate, 2004.

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Inc, Creative Publications, ed. Sounds all around us: Tuning in to sound and music. Mountain View, Calif: Creative Publications, 1997.

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Ruth, HaCohen, ed. Tuning the mind: Connecting aesthetics to cognitive science. New Brunswick, N.J: Transaction Publishers, 2003.

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Capítulos de libros sobre el tema "Music Tuning"

Mazzola, Guerino, Maria Mannone y Yan Pang. "Just Tuning". En Computational Music Science, 241–47. Cham: Springer International Publishing, 2016. http://dx.doi.org/10.1007/978-3-319-42937-3_28.

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Mazzola, Guerino. "Tuning, Intonation, and Dynamics". En Computational Music Science, 57–68. Berlin, Heidelberg: Springer Berlin Heidelberg, 2010. http://dx.doi.org/10.1007/978-3-642-11838-8_7.

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Eargle, John M. "Scales, Temperament, and Tuning". En Music, Sound, and Technology, 52–62. Dordrecht: Springer Netherlands, 1990. http://dx.doi.org/10.1007/978-94-011-7070-3_3.

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Eargle, John M. "Scales, Temperament, and Tuning". En Music, Sound, and Technology, 55–66. Boston, MA: Springer US, 1995. http://dx.doi.org/10.1007/978-1-4757-5936-5_3.

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Mazzola, Guerino. "Combining Tempo, Tuning, and Dynamics". En Computational Music Science, 69–75. Berlin, Heidelberg: Springer Berlin Heidelberg, 2010. http://dx.doi.org/10.1007/978-3-642-11838-8_8.

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Sethares, William A. "A “Music Theory” for 10-tet". En Tuning, Timbre, Spectrum, Scale, 259–70. London: Springer London, 1998. http://dx.doi.org/10.1007/978-1-4471-4177-8_12.

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Hanser, Suzanne B. "Tuning in: The Music Therapist’s Journey". En Integrative Health through Music Therapy, 73–93. London: Palgrave Macmillan UK, 2016. http://dx.doi.org/10.1057/978-1-137-38477-5_6.

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Mazzola, Guerino. "Just and Well-Tempered Tuning". En The Topos of Music IV: Roots, 1499. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-64495-0_13.

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Neuwirth, Erich. "The Mathematics of Tuning Musical Instruments — a Simple Toolkit for Experiments". En Mathematics and Music, 233–41. Berlin, Heidelberg: Springer Berlin Heidelberg, 2002. http://dx.doi.org/10.1007/978-3-662-04927-3_14.

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Pareyon, Gabriel. "Tuning Systems Nested Within the Arnold Tongues: Musicological and Structural Interpretations". En Computational Music Science, 221–30. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-47337-6_23.

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Actas de conferencias sobre el tema "Music Tuning"

Qin, Yi y Alexander Lerch. "Tuning Frequency Dependency in Music Classification". En ICASSP 2019 - 2019 IEEE International Conference on Acoustics, Speech and Signal Processing (ICASSP). IEEE, 2019. http://dx.doi.org/10.1109/icassp.2019.8683340.

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Brown, H. C. "Auto-tuning mother nature: Waves in music and water". En OCEANS 2012. IEEE, 2012. http://dx.doi.org/10.1109/oceans.2012.6404781.

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McNally, Kevin. "Tuning into the unfamiliar". En Learning Connections 2019: Spaces, People, Practice. University College Cork||National Forum for the Enhancement of Teaching and Learning in Higher Education, 2019. http://dx.doi.org/10.33178/lc2019.35.

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This research project sits at the intersection of Community Music, Ethnomusicology and Arts Practice Research. The overall aim to explore a more ecological way of being in the world in which sound rather than vision is the primary source of knowledge. This acoustic epistemology (coined ‘acoustemology’ by ethnomusicologist Steven Feld) differs from standard ocular-centric epistemology in several respects. Where vision distinguishes objects as fixed and separate from the perceiving subject, sound is intensely relational. For sociologist Jean-Paul Thibaud, attending to sound produces “a resonant body that gets in tune and in sync with his environment.” (Thibaud, 2018) Sound does not belong to any object, but is a production of the interaction of objects, or “the event of the thing, not the thing itself.” (Connor, 2004, p.157) This form of knowing is familiar to musicians who interact in ensemble situations, but I wish to broaden the application of the idea, following ethnomusicologist Jeff Todd Titon, who imagines a “sound community” which, in concord with the qualities of sound, is “just, participatory and egalitarian.” (Titon, 2015, p.25)

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