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Artículos de revistas sobre el tema "Music Tuning"

Autor: Grafiati

Publicado: 4 de junio de 2021

Última modificación: 6 de febrero de 2022

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1

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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2

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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3

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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4

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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5

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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6

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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7

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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8

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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9

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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10

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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11

Otterstedt, Annette. "Fretting about tuning". Early Music 45, n.º 4 (noviembre de 2017): 676–79. http://dx.doi.org/10.1093/em/cax101.

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12

Owens, Alfred Shabda y Scott R. Wilkinson. "Tuning In: Microtonality in Electronic Music". Computer Music Journal 13, n.º 3 (1989): 92. http://dx.doi.org/10.2307/3680018.

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13

Aucouturier, Jean-Julien. "The Hypothesis of Self-Organization for Musical Tuning Systems". Leonardo Music Journal 18 (diciembre de 2008): 63–69. http://dx.doi.org/10.1162/lmj.2008.18.63.

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Musical tuning systems are found in intriguing diversity in human cultures around the world and over the history of human music-making. Traditional justifications for the adoption of such musical systems consider tuning an algorithmic optimization of consonance. However, it is unclear how this can be implemented in a realistic evolutionary process, with no central entity in charge of optimization. Inspired by the methodology of artificial language evolution, the author proposes that tuning systems can emerge as the result of local musical interactions in a population. His computer simulations show that such interactional mechanisms are capable of generating coherent artificial tunings that resemble natural systems, sometimes with a diversity and complexity unaccounted for by previous theoretical justifications.

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14

Fiore, Giacomo. "HETEROPHONIC TUNINGS IN THE MUSIC OF LARRY POLANSKY". Tempo 68, n.º 267 (enero de 2014): 29–41. http://dx.doi.org/10.1017/s0040298213001319.

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AbstractThis paper explores the use of heterophonic tunings, the gradual substitution of pitches from one harmonic series to another resulting in the simultaneous sounding of different and sometimes contrasting intonations, in the music of the American composer Larry Polansky. The discussion is contextualised by an exploration of the innovations in tuning practice in the work of an earlier generation of American composers. The ramifications of Polansky's compositional ideas in terms of notation and performability are examined with reference to several key works, notably for jim, ben and lou; freeHorn; and ii-v-i.

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15

Lindley, M. y I. Ortgies. "Bach-style keyboard tuning". Early Music 34, n.º 4 (1 de noviembre de 2006): 613–24. http://dx.doi.org/10.1093/em/cal065.

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16

Sukljan, Nejc. "Zarlino’s Harpsichord: A Contribution to the (Pre)History of Equal Temperament". Musicological Annual 54, n.º 1 (29 de junio de 2018): 5–22. http://dx.doi.org/10.4312/mz.54.1.5-22.

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This paper deals with the tuning question as it is discussed in Gioseffo Zarlino’s principal musical-theoretical treatise, Istitutioni harmoniche (1558). First, Zarlino’s tuning system in vocal music (the syntonic diatonic) is presented; then, its shortcomings are discussed; and finally, its adjustment (temperament) for the use in instrumental music is explained.

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17

van der Linden, Bob. "Non-Western national music and empire in global history: interactions, uniformities, and comparisons". Journal of Global History 10, n.º 3 (5 de octubre de 2015): 431–56. http://dx.doi.org/10.1017/s1740022815000212.

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AbstractInspired by C. A. Bayly’s notion of global uniformities, this article investigates the different ways in which elitist non-Western music reformers, often with state support, canonized and institutionalized modern national music traditions during the age of liberalism and empire. As these non-Western music reformers reinterpreted liberal and earlier Enlightenment ideas, they envisaged their own musics hierarchically in comparison with Western music. In the context of comparative musicological thinking, they became particularly preoccupied with the systematization of scales, equal temperament tuning, and the origins of their own music. In the process, they often incorporated claims about authenticity and spirituality in music to give strength to burgeoning national, if not anti-imperial, identities. However, beneath the appearance of formal similarity and mutual translatability of non-Western national musics, significant sonic and cultural differences remained. As a contribution to global history scholarship, the article principally attempts to establish these global parallels and comparisons.

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18

Trueman, Dan, Aatish Bhatia, Michael Mulshine y Theo Trevisan. "Tuning Playfully: Composed and Adaptive Tunings in bitKlavier". Computer Music Journal 43, n.º 2-3 (junio de 2020): 67–88. http://dx.doi.org/10.1162/comj_a_00519.

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Combining a new software system with the familiar interface of the MIDI keyboard, bitKlavier is a versatile instrument for exploring the nature of tuning and temperament. We describe a number of approaches it facilitates, including composed tunings, moving fundamental systems, and a novel system for adaptive tuning. All of these are characterized by the overarching design priority for bitKlavier to be a context for musical play and exploration, as opposed to finding singular, “correct” solutions to particular tuning “problems,” as has often been the case historically.

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19

Silvey, Brian A., Jessica Nápoles y D. Gregory Springer. "Effects of Pre-Tuning Vocalization Behaviors on the Tuning Accuracy of College Instrumentalists". Journal of Research in Music Education 66, n.º 4 (19 de octubre de 2018): 392–407. http://dx.doi.org/10.1177/0022429418806304.

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The purpose of this study was to examine the effects of two pre-tuning vocalization behaviors (humming and singing) on the tuning accuracy of woodwind and brass instrumentalists. Undergraduate collegiate musicians ( N = 72) performed a sustained stimulus pitch (concert B-flat) while engaging in one of the two conditions or the control condition (silence). We also explored the relationships between participants’ tuning accuracy and their tuning confidence, examined the reasons instrumentalists provided for their pre-tuning vocalization preferences, and compared their most accurate performance condition with the condition they perceived to result in their most accurate tuning. Although participants performed with better tuning accuracy in the singing condition than the humming and silence conditions, these differences were not significant. Correlation analyses examining relationships between participants’ tuning accuracy and their tuning confidence in each condition yielded mostly weak and nonsignificant results. Participants reported internalization of pitch, physical response, and focus of attention issues most frequently when asked why they preferred a particular tuning condition.

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20

Hopkins, Michael T. "Teachers’ Practices and Beliefs Regarding Teaching Tuning in Elementary and Middle School Group String Classes". Journal of Research in Music Education 61, n.º 1 (28 de febrero de 2013): 97–114. http://dx.doi.org/10.1177/0022429412473607.

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The purpose of this study was to examine teachers’ practices and beliefs related to the teaching of stringed instrument tuning in elementary and middle school group classes. The aspects examined included the following: (a) teachers’ beliefs about teaching tuning in their string classes, (b) activities teachers used when teaching tuning in string classes, (c) methods for assessing students’ tuning skills, (d) the grade level that tuning instruction begins, (e) the amount of instructional time used for teaching tuning, (f) teachers’ goals for students’ tuning independence, and (g) teacher, program, or school characteristics that affect how and when tuning is taught. Participants ( N = 139) reported that the average time required to develop tuning independence is 4.5 years. The amount of instructional time available and the level of students’ aural skills were the greatest perceived obstacles to developing tuning independence. Significant differences were found in tuning activities, beliefs about students’ tuning abilities, and assessment procedures and were based on participants’ age, teaching experience, and grade levels taught. The findings indicate a need for further development of tuning pedagogy and greater use of formal assessment to determine if students have developed the prerequisite skills for tuning.

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21

Hopkins, Michael T. "Eighth-Grade Violinists’ Instrument Tuning Ability". Journal of Research in Music Education 63, n.º 3 (1 de septiembre de 2015): 349–68. http://dx.doi.org/10.1177/0022429415597884.

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The purpose of this study was to explore the relationship between eighth-grade violinists’ pitch perception and instrument tuning skill. The perceptual task was a researcher-developed computer-based Violin Tuning Perception Test. The instrument tuning task involved tuning two violins, one mistuned flat and the other mistuned sharp. Participants ( N = 46) were enrolled at three middle schools in the midwestern United States. A moderate relationship was found between participants’ perceptual accuracy and instrument tuning accuracy, with pitch perception scores significantly more accurate than instrument tuning scores. Participants tuned the flat instrument more accurately than the sharp instrument. An overall tendency toward flat tuning was evident on both the perception and instrument tuning tests, with responses to items representing the G string, the least accurate on both the perception and the instrument tuning tests. No relationships were found between participants’ rating of their tuning ability and their perceptual or instrument tuning accuracy; however, those who rated themselves as “excellent or good” required significantly less time to complete the instrument tuning test than those who rated themselves as “fair or poor.”

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22

Hatipoglu, Vasfi. "TUNING THE VIOLIN TO PLAY TURKISH MUSIC". Idil Journal of Art and Language 6, n.º 29 (31 de enero de 2017): 289–309. http://dx.doi.org/10.7816/idil-06-29-04.

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23

Muraru, Aurel. "Choral Intonation and Tuning in Plurivocal Music". Studia Universitatis Babeş-Bolyai Musica 63, n.º 1 (20 de junio de 2018): 161–67. http://dx.doi.org/10.24193/subbmusica.2018.1.11.

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24

Morgan, Jules. "Music lives on: fine tuning the memory". Lancet Neurology 17, n.º 3 (marzo de 2018): 211–12. http://dx.doi.org/10.1016/s1474-4422(17)30399-x.

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25

McGee, W. F. "Tuning logarithmic spectrum analyzers for music analysis". Journal of the Acoustical Society of America 87, S1 (mayo de 1990): S4. http://dx.doi.org/10.1121/1.2028250.

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26

Østergaard, Edvin. "Tuning in on the Becoming of Music". Open Philosophy 4, n.º 1 (1 de enero de 2021): 198–210. http://dx.doi.org/10.1515/opphil-2020-0168.

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Abstract In this article, I explore the music-in-becoming as a dialogue. The thesis of my inquiry is that during musical composition, the composer’s listening is marked by both activeness and receptiveness; actively structuring the sounding work, and receptively letting the work express itself as it takes its form. Composer and work merge in sudden moments of attunement, the sensation of coherence between the so-fare completed and the anticipation of the as-of-yet unformed work. Composition is all about balancing writing as a handicraft with those rare, unexpected moments of attunement. I discuss the emerging work’s invitational character and the fact that during composition, the piece seems to request the composer’s attention. The audibility of the work’s voice depends on the composer’s ability to listen. Finally, the methodological considerations concerning sonic-artistic research show that researching sonic experiences requires competencies of being attentive, responsive, and reflective. Attentiveness is related to thorough listening experiences of the emerging music, responsiveness appears as a vital skill in a composer’s dialoguing with the music-in-becoming, and reflectiveness is associated with empirically documenting the processes. At the heart of this sonic research project, I place my lived experience of composing and the intimate relation between sound and listening.

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27

Rasch, Rudolf A. y Vincent Heetvelt. "String Inharmonicity and Piano Tuning". Music Perception 3, n.º 2 (1985): 171–89. http://dx.doi.org/10.2307/40285331.

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Inharmonicity is a well-known property of stiff strings such as those used in the modern piano. Effects on piano tuning (e.g., the stretched octave) have been suggested but have never been fully investigated. We have measured the inharmonicities of the strings of a medium-sized grand piano. The measured inharmonicities are in excellent correspondence with the predictions by formula from the physical properties of the strings. Strings with higher frequencies usually have higher inharmonicity than strings with lower frequencies; this cancels out part of the effect of inharmonicity on beat frequency.

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28

Osbon, David. "Tuning up for the future". Contemporary Music Review 15, n.º 3-4 (diciembre de 1996): 21–26. http://dx.doi.org/10.1080/07494469600640471.

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29

Stange, Karolin, Christoph Wick y Haye Hinrichsen. "Playing Music in Just Intonation: A Dynamically Adaptive Tuning Scheme". Computer Music Journal 42, n.º 3 (octubre de 2018): 47–62. http://dx.doi.org/10.1162/comj_a_00478.

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We investigate a dynamically adaptive tuning scheme for microtonal tuning of musical instruments, allowing the performer to play music in just intonation in any key. Unlike other methods, which are based on a procedural analysis of the chordal structure, our tuning scheme continually solves a system of linear equations, rather than relying on sequences of conditional if-then clauses. In complex situations, where not all intervals of a chord can be tuned according to the frequency ratios of just intonation, the method automatically yields a tempered compromise. We outline the implementation of the algorithm in an open-source software project that we have provided to demonstrate the feasibility of the tuning method.

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30

Byo, James L., Amanda L. Schlegel y N. Alan Clark. "Effects of Stimulus Octave and Timbre on the Tuning Accuracy of Secondary School Instrumentalists". Journal of Research in Music Education 58, n.º 4 (2 de noviembre de 2010): 316–28. http://dx.doi.org/10.1177/0022429410386230.

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To test the effects of octave and timbre on tuning accuracy, four stimuli—B-flat 4 sounded by flute, oboe, and clarinet and B-flat 2 sounded by tuba—functioned as reference pitches for high school wind players ( N = 72). The two stimulus octaves combined with participants’ assigned tuning notes created soprano, tenor, and bass tuning groups. All participants tuned to each instrument. Results indicated no effect due to tuning group. There was a significant difference due to stimulus. Participants’ responses were more out of tune to the tuba stimulus than to the oboe, clarinet, and flute stimuli, which were not different from each other. There was no difference in the distribution of in-tune, sharp, and flat responses across tuning stimuli, a result that differs from the “preference for sharpness” effect in previous research. Verbal and performance responses to the tuba, oboe, and flute stimuli revealed misconceptions between participants’ perceptions of tuning difficulty and actual performance difficulty and favored the use of oboe and flute as tuning references. Most of the participants (82%) reported tuning to the tuba as the prevalent approach to mass tuning in their school bands.

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31

Hodžić-Mulabegović, Nerma. "Acoustics in Solfeggio - Effect and Outcomes in Educational Practice". English version, n.º 10 (22 de octubre de 2018): 71–79. http://dx.doi.org/10.51515/issn.2744-1261.2018.10.71.

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In the tradition of Western European music, the musical process of tuning tones has undergone various stages. Although fixed and confirmed as such, the pitch oscillates due to natural inertia. The Herz – determined tuning of the reference tone is the most applied in both instrumental and vocal-instrumental music. In these cases we witness the strong relationship between acoustics and solfeggio in auditory and performing domain.

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32

Demirbatır, Rasim Erol, Hatice Çeliktaş y Doruk Engür. "The Effect of the Tuning System and Instrument Variables on Modal Dictation Performance". Journal of Education and Training Studies 6, n.º 1 (28 de diciembre de 2017): 124. http://dx.doi.org/10.11114/jets.v6i1.2726.

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Ear training and musical literacy (ETML) education is one of the main dimensions of the bachelor degree program of music teacher education departments, which provides professional music education. In ETML education, hearing, sight-reading and dictation studies for Turkish music makams have an important place. In this study, it was aimed to investigate the effects of different instrument sources and tuning systems; namely, equal tempered or traditionally tempered, on the modal dictation performances of students in dictation exercises in the scope of ETML education. This research was conducted with 56 bachelor degree music education students who were taking ETML course. While equal tempered and traditional instruments (piano and kanun) were used as the sound source in the research, examples of equal difficulty level in Huseyni makam scale, which is one of the main makams of Turkish music, were used as dictation material. Both instruments were tuned in accordance with both the equal temperament and the traditional makam system so that four different dictation types were created. As a result of the research, it has been determined that the students are more successful when piano is used in dictation than kanun-dictated trials and in terms of tuning system, the students are found to be more successful with equal tempered system when compared with traditional tuning system. The instrument and tuning interaction was not statistically significant.

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33

Nicolas, Arsenio. "TRADITIONAL MUSIC AND CONTEMPORARY TRENDS: MUSIC IN ASEAN COMMUNITIES". Sorai: Jurnal Pengkajian dan Penciptaan Musik 12, n.º 1 (27 de agosto de 2019): 54–56. http://dx.doi.org/10.33153/sorai.v12i1.2623.

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The traditional music and performing arts in the ASEAN have found new powerful conduits of transmission with the advent of the digital age. Although claims of cultural ownership over music and dance occasionally appear on social networks and media platforms, the ubiquity of the Internet has in fact benefitted the general public, allowing them access to images and sounds hitherto unknown. Modernisation has taken its toll on the region’s musical heritage. Ancient elements of indigenous music have faded away. The influx of popular and Western music has increasingly eroded the space and demand for traditional music. Many orchestras in the region feature diverse musical instruments tuned to a common Western tuning system, thus relinquishing their Asian musical roots. The fusion of Asian musical ensembles with Western musical instruments has forced the tuning of gongs, xylophones, metallophones, and singing to the Western diatonic scale, losing their indigenous resonances, sonorities, and timbres. Urbanisation and the migration of the young into urban areas disrupted the discontinuity in generational transmission of music. Village rituals and ceremonies play an important role in preserving ancient religious systems where music, dance, and theatre were essential as part of agricultural life, trance and curing rites, and communal well-being. The onslaught of mass media and the Internet has also accentuated the de-sacralisation of ritual spaces, leaving many musical traditions behind as memories of the past.Keywords: traditional music, urbanisation, de-sacralisation, memories, ASEAN.

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34

Jones, Kevin. "The cosmic keyboard: Tuning the calendar". Contemporary Music Review 14, n.º 1-2 (enero de 1996): 39–58. http://dx.doi.org/10.1080/07494469600640151.

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35

Kamsma, Douwe, Ramon Creyghton, Gerrit Sitters, Gijs J. L. Wuite y Erwin J. G. Peterman. "Tuning the Music: Acoustic Force Spectroscopy (AFS) 2.0". Methods 105 (agosto de 2016): 26–33. http://dx.doi.org/10.1016/j.ymeth.2016.05.002.

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36

Kamsma, Douwe, Ramon Creyghton, Gerrit Sitters, Erwin J. G. Peterman y Gijs J. L. Wuite. "Tuning the Music: Acoustic Force Spectroscopy (AFS) 2.0". Biophysical Journal 110, n.º 3 (febrero de 2016): 501a. http://dx.doi.org/10.1016/j.bpj.2015.11.2679.

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37

Nápoles, Jessica, D. Gregory Springer, Brian A. Silvey y Kari Adams. "Effects of Pitch Source on Pitch-Matching and Intonation Accuracy of Collegiate Singers". Journal of Research in Music Education 67, n.º 3 (5 de agosto de 2019): 270–85. http://dx.doi.org/10.1177/0022429419863034.

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In this study, we examined the effects of multiple reference pitch sources on collegiate singers’ accuracy in pitch-matching and intonation tasks. We also investigated which reference pitch source participants preferred and for what reasons. Participants ( N = 99) sang a two-measure excerpt of Joseph Dearest, Joseph Mine after listening to the starting pitch of A on a pitch pipe, the piano, a vocal hum, or a tuning fork in two conditions. For one tuning fork condition, participants’ starting pitch was an A, the same pitch as the tuning fork. For the other tuning fork condition, their starting pitch was a G, a different pitch than the tuning fork. We selected two pitches for analysis, each corresponding to the first syllable of the word Joseph. We then analyzed pitch deviation of the two target notes from the reference pitch in each condition. Participants were most accurate in response to the piano and least accurate in response to the tuning fork when their starting pitch was a G. Participants expressed preference for the piano (37.12%) as their pitch source, followed closely by the pitch pipe (33.33%).

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38

Friedman, Ronald S., Douglas A. Kowalewski, Dominique T. Vuvan y W. Trammell Neill. "Consonance Preferences Within an Unconventional Tuning System". Music Perception 38, n.º 3 (1 de febrero de 2021): 313–30. http://dx.doi.org/10.1525/mp.2021.38.3.313.

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Recently, Bowling, Purves, and Gill (2018a), found that individuals perceive chords with spectra resembling a harmonic series as more consonant. This is consistent with their vocal similarity hypothesis (VSH), the notion that the experience of consonance is based on an evolved preference for sounds that resemble human vocalizations. To rule out confounding between harmonicity and familiarity, we extended Bowling et al.’s (2018a) procedure to chords from the unconventional Bohlen-Pierce chromatic just (BPCJ) scale. We also assessed whether the association between harmonicity and consonance was moderated by timbre by presenting chords generated from either piano or clarinet samples. Results failed to straightforwardly replicate this association; however, evidence of a positive correlation between harmonicity and consonance did emerge across timbres following post hoc exclusion of chords containing intervals that were particularly similar to conventional equal-tempered dyads. Supplementary regression analyses using a more comprehensive measure of harmonicity confirmed its positive association with consonance ratings of BPCJ chords, yet also showed that spectral interference independently contributed to these ratings. In sum, our results are consistent with the VSH; however, they also suggest that a composite model, incorporating both harmonicity as well as spectral interference as predictors, would best account for variance in consonance judgments.

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39

Watson, Allan y Dominiqua Drakeford-Allen. "‘Tuning Out' or ‘Tuning in'? Mobile Music Listening and Intensified Encounters with the City". International Journal of Urban and Regional Research 40, n.º 5 (septiembre de 2016): 1036–43. http://dx.doi.org/10.1111/1468-2427.12443.

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40

Morrison, Steven J. "Effect of Melodic Context, Tuning Behaviors, and Experience on the Intonation Accuracy of Wind Players". Journal of Research in Music Education 48, n.º 1 (abril de 2000): 39–51. http://dx.doi.org/10.2307/3345455.

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In the first of two experiments, subjects ( N = 137) were band students with 1, 2, 3, or 4 years of formal instrumental performance experience. Subjects tuned to a single prerecorded tuning pitch and subsequently played along with a prerecorded four-measure melody. Direction and magnitude of pitch deviation were analyzed for the single tuning pitch and four selected target pitches within the melody. Responses to the tuning pitch were more accurate than for the melodic pitches. There was a high positive correlation among the four melodic pitches, but a low positive correlation between the melodic pitches and tuning pitch. In a second experiment, high school musicians ( N = 167) played along with the same prerecorded melody after either (a) tuning their instrument to a single pitch, (b) receiving verbal instructions to perform “in tune,” or (c) receiving no information. No differences were observed among the three conditions. Students who first tuned to a single pitch were more accurate at this task than at melodic performance. A high correlation was observed among melodic pitches but not between melodic and tuning pitches. Across both experiments, subjects erred most often in the sharp direction; a stronger tendency toward sharp errors was noted among more experienced students. Performance accuracy was observed to improve with experience.

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41

Jamnongsarn, Surasak. "Music deculturation: A traditional thai Music tool for Indonesian Music Adoption". International Journal of Creative and Arts Studies 5, n.º 1 (29 de octubre de 2018): 31–40. http://dx.doi.org/10.24821/ijcas.v5i1.2213.

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There has been foreign music influence on traditional Thai music since Ayutthaya period. Pi Jawa ( Java flute), Klong Jawa ( Java drum) and some traditional Thai song with foreign title have been legally and literally evident in Ayutthaya era. Some said that Thai people are open-minded in music, harmonious mixing overseas music culture with their own. Ethnomusicologists have seen this social phenomenon via music context and explained the revolution of traditional Thai music differently from the acceptance of music in general. This article reviewed the acceptance of Indonesian music, including Javanese music from Central Java and Sundanese music from West Java, into the Javanese Idiomatic Melody in traditional Thai music and Angklung Thai style. Indonesian music was seriously and forcefully deculturated. Playing technique has been adjusted to suit Thai music playing. Tuning system of Javanese Gamelan in Thailand has been fine tuned to conform to that of Thai music. Physical appearance of Sundanese Angklung has been replaced with Angklung Thai style. Javanese song have undergone music elaboration and rewritten to satisfy Thai musicians, with approval from elite Thai musicians and previous Thai music institutes together with Thai people in the society.

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42

Mirelman, Sam y Theo J. H. Krispijn. "The Old Babylonian tuning text UET VI/3 899". Iraq 71 (2009): 43–52. http://dx.doi.org/10.1017/s0021088900000735.

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AbstractThe text discussed here is one of only two identified fragments of Mesopotamian instructions for tuning a stringed instrument. Apart from its rarity, this text is important in several other respects. It confirms the reconstruction of the tuning cycle suggested by the other tuning fragment (UET VII 74), it appears to belong to a duplicate manuscript of the tuning cycle, it supports the argument for the presence of the verb nê'um (as opposed to enûm) in Akkadian terminology for tuning, and it offers a revised reading of the music-theoretical term nīš GABA.RI as nīš tuḫri(m).

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43

Politis, Dionysios, George Piskas, Miltiadis Tsaligopoulos y George Kyriafinis. "variPiano™: Visualizing Musical Diversity with a Differential Tuning Mobile Interface". International Journal of Interactive Mobile Technologies (iJIM) 9, n.º 3 (31 de julio de 2015): 58. http://dx.doi.org/10.3991/ijim.v9i3.4472.

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In this paper the framework of Computer Music interfaces is convolved within the context of Human Computer Interaction (HCI) to produce metaphors and paradigms that engulf differential tunings within adaptable mobile device screens. A presentation of the basic concepts involved in the Computer Music world prevails the discussion on the evaluation criteria for Computer Music virtual instruments and interfaces. New criteria are introduced, like knowledge representation of musical data and alternate musical interfaces materialization. A survey of various systems, based on the previously mentioned criteria is committed.

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44

Byo, James L. y Amanda L. Schlegel. "Effects of Stimulus Octave and Timbre on the Tuning Accuracy of Advanced College Instrumentalists". Journal of Research in Music Education 64, n.º 3 (20 de agosto de 2016): 344–59. http://dx.doi.org/10.1177/0022429416662451.

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The purpose of this study was to test the effects of octave and timbre on advanced college musicians’ ( N = 63) ability to tune their instruments. We asked: “Are there differences in tuning accuracy due to octave (B-flat 2, B-flat 4) and stimulus timbre (oboe, clarinet, electronic tuner, tuba)?” and “To what extent do participants’ posttuning perceptions of pitch accuracy align with actual pitch accuracy?” Participants were organized according to octave played in the tuning process, thus forming bass, tenor, and soprano groups. Results showed no significant effect due to group and no significant differences due to stimulus. There was no difference in the distribution of in-tune, sharp, and flat responses. Comparisons of participants’ performance accuracy and posttuning perceptions of task difficulty were favorable to the electronic tuner’s viability as a tuning stimulus and less so to the tuba stimulus. Participants’ responses to “describe how you know you are out of tune” and “describe the strategies you use to get in tune” brought to the foreground two observations of conceptual importance: tuning as four different and sometimes overlapping “experiences” and a self-imposed comparative strategy. Considered alongside previous research, results address developmental aspects of musicians’ tuning performance.

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45

Herskind Sejr, Jonas, Thorbjørn Christiansen, Nicolai Dvinge, Dan Hougesen, Peter Schneider-Kamp y Arthur Zimek. "Outlier Detection with Explanations on Music Streaming Data: A Case Study with Danmark Music Group Ltd." Applied Sciences 11, n.º 5 (4 de marzo de 2021): 2270. http://dx.doi.org/10.3390/app11052270.

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In the digital marketplaces, businesses can micro-monitor sales worldwide and in real-time. Due to the vast amounts of data, there is a pressing need for tools that automatically highlight changing trends and anomalous (outlier) behavior that is potentially interesting to users. In collaboration with Danmark Music Group Ltd. we developed an unsupervised system for this problem based on a predictive neural network. To make the method transparent to developers and users (musicians, music managers, etc.), the system delivers two levels of outlier explanations: the deviation from the model prediction, and the explanation of the model prediction. We demonstrate both types of outlier explanations to provide value to data scientists and developers during development, tuning, and evaluation. The quantitative and qualitative evaluation shows that the users find the identified trends and anomalies interesting and worth further investigation. Consequently, the system was integrated into the production system. We discuss the challenges in unsupervised parameter tuning and show that the system could be further improved with personalization and integration of additional information, unrelated to the raw outlier score.

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46

Young, Gayle. "Pitch probe. Musical instruments for unusual tuning systems". Contemporary Music Review 7, n.º 1 (enero de 1992): 51–64. http://dx.doi.org/10.1080/07494469200640231.

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47

Ashton-Bell, Robert Linton Tavis. "On the Geometric Realisation of Equal Tempered Music". Mapana Journal of Sciences 18, n.º 3 (1 de julio de 2019): 53–75. http://dx.doi.org/10.12723/mjs.50.5.

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Since the time of Pythagoras (c.550BC), mathematicians interested in music have asked, “What governs the whole number ratios that emerge from derivations of the harmonic series?” Simon Stevin (1548-1620) devised a mathematical underlay (where a semitone equals 21/12) that gave rise to the equal temperament tuning system we still use today. Beyond this, the structure of formalised musical orderings have eluded many of us. Music theorists use the tools and techniques of their trade to peer into the higher-order musical structures that underpin musical harmony. These methods of investigating music theory and harmony are difficult to learn (and teach), as complex abstract thought is required to imagine the components of a phenomenon that cannot be seen. This paper outlines a method to understanding the mathematical underpinnings of the equal tempered tuning system. Using this method, musical structure can be quantitatively modelled as a series of harmonic elements at each pulse of musical time.

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48

Schlegel, Amanda L. y D. Gregory Springer. "Effects of accurate and inaccurate visual feedback on the tuning accuracy of high school and college trombonists". International Journal of Music Education 36, n.º 3 (23 de abril de 2018): 394–406. http://dx.doi.org/10.1177/0255761418763914.

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We examined how visual feedback from electronic tuners affected trombonists’ pitch performance and tuning confidence. High school ( n = 29) and college trombonists ( n = 30) were tasked to play in tune with a stimulus tone (G3) recorded by a professional trombonist presented through headphones. Following each of three attempts, participants rated their confidence level that their performance was in tune. A different tuner was provided during each tuning attempt and set to one of three conditions: in-tune (A = 440Hz); flat (A = 437Hz); and sharp (A = 443Hz). These tuner conditions displayed either accurate (A = 440Hz) or inaccurate (A = 437Hz; A = 443Hz) visual feedback. Results indicated significant main effects due to tuner condition and experience level. Participants’ tuning accuracy with the sharp tuner was significantly less precise in comparison to flat and in-tune tuners. Collegiate participants performed with greater precision than high school participants in all tuner conditions. Weak relationships were observed between participants’ tuning performance and confidence ratings.

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49

Copeland, Lyndsey. "Pitch and tuning in Beninese brass bands". Ethnomusicology Forum 27, n.º 2 (4 de mayo de 2018): 213–40. http://dx.doi.org/10.1080/17411912.2018.1518151.

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50

Loosen, Franz. "The Effect of Musical Experience on the Conception of Accurate Tuning". Music Perception 12, n.º 3 (1995): 291–306. http://dx.doi.org/10.2307/40286185.

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The present study investigates the relationship between musical experience and subjects' conception of accurate tuning. In a paired comparisons experiment, 7 violinists, 7 pianists, and 10 nonmusicians evaluated the tuning of computer-generated, ascending and descending eight-tone diatonic scales of C major. Subjects were required to indicate which member of the pair was "most accurately tuned." The subjects were unaware that all scales were perfectly tuned in the Pythagorean, just, or equal-tempered intonation, respectively. Results showed that (1) violinists, as a group, preferred Pythagorean to equal-tempered scales more frequently than vice versa (p< .01), (2) pianists preferred equaltempered to Pythagorean scales more frequently than vice versa (p < .01), (3) violinists and pianists judged just intoned scales to be less accurately tuned than either Pythagorean or equal-tempered scales (p < .01), and (4) nonmusicians did not show any preference for any of the three intonation models. These findings confirm the claim that subjects' conception of accurate tuning is determined by musical experience rather than by characteristics of the auditory system. Relevance of the results to assessment of tonal perception is discussed.

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