78 research outputs found

    Harmonic duality : from interval ratios and pitch distance to spectra and sensory dissonance

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    Dissonance curves are the starting point for an investigation into a psychoacoustically informed harmony. Its main hypothesis is that harmony consists of two independent but intertwined aspects operating simultaneously, namely proportionality and linear pitch distance. The former aspect is related to intervallic characters, the latter to ‘high’, ‘low’, ‘bright’ and ‘dark’, therefore to timbre. This research derives from the development of tools for algorithmic composition which extract pitch materials from sound signals, analyzing them according to their timbral and harmonic properties, putting them into motion through diverse rhythmic and textural procedures. The tools and the reflections derived from their use offer fertile ideas for the generation of instrumental scores, electroacoustic soundscapes and interactive live-electronic systems.LEI Universiteit LeidenResearch in and through artistic practic

    Infrasonority: exploration of sound energy below 20Hz in music

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    A Thesis submitted to the Faculty of Humanities in fulfilment of the requirements for the degree of Master of Music (MMus in Composition), 2017This thesis investigates an underdeveloped and little explored area of music and the arts: the use of infrasound (frequencies below 20Hz) as musical material in creative composition. Discussions, research and experiments conducted toward the prospect of exposing infrasonic characteristics were fundamental to the composition and recital that informed the thesis. The infrasonic material from which the composition was created contained synthesized wave forms, recordings of elephant vocalisation and thunderstorms. The infrasonic reproduction for the concert required explicit attention and enquiry regarding physical properties of the sonic phenomenon, equipment infrastructure and limitations in human perception.XL201

    An introduction to Musical Interactions

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    The article presents a contextual survey of eight contributions in the special issue Musical Interactions (Volume I) in Multimodal Technologies and Interaction. The presentation includes (1) a critical examination of what it means to be musical, to devise the concept of music proper to MTI as well as multicultural proximity, and (2) a conceptual framework for instrumentation, design, and assessment of musical interaction research through five enabling dimensions: Affordance; Design Alignment; Adaptive Learning; Second-Order Feedback; Temporal Integration. Each dimension is discussed and applied in the survey. The results demonstrate how the framework provides an interdisciplinary scope required for musical interaction, and how this approach may offer a coherent way to describe and assess approaches to research and design as well as implementations of interactive musical systems. Musical interaction stipulates musical liveness for experiencing both music and technologies. While music may be considered ontologically incomplete without a listener, musical interaction is defined as ontological completion of a state of music and listening through a listener’s active engagement with musical resources in multimodal information flow

    Architecture: Music, City, and Culture

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    Many scholars have discussed the relationship between architecture and music. Design methodologies have been created to highlight this intersection, attempting to attain the sublime. While architecture theorists have used western music as a foundation, this thesis aims to investigate this relationship in a non-western setting. Music would be used as a cultural identifier, to unlock "hidden dimensions" shared in language, music, and architecture. The case study site is historic Cairo, between the Fatamid Walls. For the past two centuries, Cairo has abandoned its cultural heritage and embarked on a process of westernization. Those who seek to hold onto the city's identity are abusing traditional motifs in a manner that seems cliché and somewhat absurd. The thesis calls for a deeper understanding and evolution of Cairo's heritage, using concepts of the Arabic Melodic modes, Maqams, to create a place for listening, al Masmaa'

    ESCOM 2017 Book of Abstracts

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    The computer analysis of polyphonic music

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    Human beings are adept at distinguishing simultaneous sounds. A person can understand one of several people speaking at the same time (the so called cocktail party effect). An orchestral conductor can tell if one instrument out of a hundred is playing out of tune. How this discrimination is made from the acoustical signal is not well understood

    Terminal Station: The Creation And Study of A Canadian Rock Operetta (And Its Idiomatic Soup)

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    What does the action or discipline of composition mean in 2017? Different arts will flow into, and away from each other organically. Rigidly defined boundaries can restrict what art belongs where, and which preservation and qualitative techniques are used, and can be an impediment to evolving the creative process. Authenticity happens in a fleeting moment; it is a product of an evolving environment; some aspects natural, others arranged and ordered. It may be fortuitous to freeze creation in a moment, and it may not. Preserving compositions made using the digital Audio Workstation will require acceptance of methods that are not yet standard pedagogy, but are common and required in the business and professional lives of composers all over the world. The process used to create of the original Rock Operetta Terminal Station, initiates a discussion about method, content and technology, and supports a philosophical and cosmopolitan compositional environment in 2017

    Analysis and resynthesis of polyphonic music

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    This thesis examines applications of Digital Signal Processing to the analysis, transformation, and resynthesis of musical audio. First I give an overview of the human perception of music. I then examine in detail the requirements for a system that can analyse, transcribe, process, and resynthesise monaural polyphonic music. I then describe and compare the possible hardware and software platforms. After this I describe a prototype hybrid system that attempts to carry out these tasks using a method based on additive synthesis. Next I present results from its application to a variety of musical examples, and critically assess its performance and limitations. I then address these issues in the design of a second system based on Gabor wavelets. I conclude by summarising the research and outlining suggestions for future developments
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