X_System

The X_System makes the playing, writing, and learning of music – even when using unconventional tunings – more intuitive, more logical, more expressive, and better sounding. The X_System allows for: • different temperaments to be chosen at the flick of a switch; • tunings to be dynamically altered at the push of a lever; • the use of a special hexagonal button-field that allows for any given interval or chord always to have the same shape on that button-field; • consonant chords to have their consonance maximised, whatever the tuning actually chosen; • radical changes to be made to the timbral character of tones using a minimal number of controls; • a choice of keyboard mappings, which enable for the balance between number of intervals and octaves to be altered

Double bass intonation: a systematic approach to solo and ensemble playing

This study uses an interdisciplinary approach to analyze double bass intonation as it occurs in a solo (i.e., without playing with any additional instruments) and ensemble contexts, develops a systematic approach to double bass intonation (subsequently referred to as “the system”), and applies that system to double bass literature to theoretically test its applicability. While the examples used come mostly from the orchestral literature, the material presents passages often heard in an orchestral audition context in which the bass is played by itself. Intonation generally is examined according to acoustics, psychoacoustics, cognition, historical and modern performance practice, and pedagogy. The salient principle extracted is that acceptable intonation is generated from the satisfaction of several factors, including clear categorical assignment of an interval’s size in a tonal context, highly rated timbral characteristics of the sound produced, and tone placement conforming to emotional schematic expectations, and a general model of acceptable intonation is thereby proposed. With this background, the particular intonation difficulties of the double bass are analyzed, including acoustic roughness, psychoacoustic roughness, and part-specific intonation expectations. The resonance system of double bass intonation proposed is intended to minimize acoustic and psychoacoustic roughness while staying within the categorical bounds of intonation and maximizing conformity to schematic expectations. The system’s efficacy is theoretically tested against examples from the double bass literature from various time periods, keys, and modes. It is found to conform in most cases to intonation expectations, and where not, alternative readings and tone placements are suggested. A possible course of study to implement the system is then suggested, as are extensions and ideas for further related research

The spectral atom : cohesion of spectral particles in the music of Alvin Lucier.

Listeners often associate the music of Alvin Lucier with the practice of experimental music due to his unorthodox means of composition. By viewing his work in this way, whether consciously or subconsciously, his music is often treated as aleatoric. This classification ignores the compositional stimulus that fuels the creation of his music. Lucier’s compositions are driven by the exploitation of one facet (or phenomenon) of sound. These sound phenomena take the form of spectral particles: vibrating media, acoustics, and psychoacoustics. The spectral particles uncovered in his pieces combine to form a spectral atom. By analyzing four of Alvin Lucier’s works, Twonings,Silver Streetcar for the Orchestra,I am Sitting in a Room, andStill and Moving Lines of Silence in Families of Hyperbolas, I intend to extrapolate their spectral particles. A combination of these spectral particles will inform the spectral atom of the work in question

To Conceive of Consonance in Chaos: The Influence of the Harmonic Series on the Perception of a New Musical System

Senior Project submitted to The Division of Languages and Literature of Bard College. Senior Project submitted to The Division of Social Studies of Bard College

HARMONIC INTONATION AND IMPLICATION (ANALYSES AND COMPOSITIONS): Harmonic perception and intonation in the reception and performance of alternative tuning systems in contemporary composition

Most composers and theorists will acknowledge that some compromise is necessary when dealing with the limitations of human performance, perception, and the realities of acoustic theory. Identifying the thresholds for pitch discrimination and execution is an important point of departure for defining workable tuning schemes, and for training musicians to realise compositions in just intonation and other alternative tuning systems. The submitted paper 'HARMONIC INTONATION AND IMPLICATION (ANALYSES AND COMPOSITIONS): Harmonic perception and intonation in the reception and performance of alternative tuning systems in contemporary composition' is a phenomenological study of harmonic perception and intonation through the analysis of recordings, scores, theoretical papers, and discussion with practicing musicians. The examined repertoire covers western 'art' music of the late nineteenth to early twenty-first centuries. I approach my research from the composer's point of view though filtered through the ears and eyes of the performer, who is here considered 'expert listener'. lt is considered that intonation is a dynamic experience subject to influences beyond just intonation or equal temperament (the two poles for intonational reference)-the performance is assumed 'correct', rather than the idealised version of the composer. My goal is to relate the performance to the intentions of the composer and raise questions regarding the choice of notation, resolution of the tuning systems, the complexity of the harmonic concept, etc. and perhaps to suggest how to extend a general theory of harmony that embraces both musical practice and psychoacoustics. lt is with the understanding that harmonic implication affects intonation, but that intonation is subject to several other forces making intonation a complex system (and therefore not fully predictable)

Consonance and Dissonance of Simultaneous Trichords in Western Music: A Listening Experiment to Test Models of Harmonicity and Roughness

Previous empirical studies have suggested that the perceived consonance/dissonance (C/D) of a musical chord depends on its psychoacoustic smoothness (lack of roughness), spectral harmonicity (perceptual fusion), and/or musical familiarity. We tested the dependence of C/D on smoothness and harmonicity in a hearing experiment that included all 19 possible trichords in musical pitch-class set theory. In each trial, a listener heard a chord (duration: 300 or 500 ms) and rated its C/D on an 11-point scale. Each trichord was presented 10 times: 4 times constructed from octave-complex tones (OCTs, sounding like an electronic organ) and 6 times from natural piano tones. Each OCT chord was presented in 4 different transpositions. The piano chords were in close or open position, and root position or 1st/2nd inversion (2 levels of spacing x 3 levels of inversion = 6 levels of voicing). We found no main effect of timbre (OCT versus piano) and no interaction between trichord and timbre. Results correlated closely with predictions of simple models of roughness and harmonicity. The roughness model performed better, and the predictions correlated with each other. A combined model was not superior to roughness alone. The results were consistent with a multifactorial model of the C/D of a musical chord, the main factors being roughness, harmonicity, and familiarity

Singing information processing: techniques and applications

Por otro lado, se presenta un método para el cambio realista de intensidad de voz cantada. Esta transformación se basa en un modelo paramétrico de la envolvente espectral, y mejora sustancialmente la percepción de realismo al compararlo con software comerciales como Melodyne o Vocaloid. El inconveniente del enfoque propuesto es que requiere intervención manual, pero los resultados conseguidos arrojan importantes conclusiones hacia la modificación automática de intensidad con resultados realistas. Por último, se propone un método para la corrección de disonancias en acordes aislados. Se basa en un análisis de múltiples F0, y un desplazamiento de la frecuencia de su componente sinusoidal. La evaluación la ha realizado un grupo de músicos entrenados, y muestra un claro incremento de la consonancia percibida después de la transformación propuesta.La voz cantada es una componente esencial de la música en todas las culturas del mundo, ya que se trata de una forma increíblemente natural de expresión musical. En consecuencia, el procesado automático de voz cantada tiene un gran impacto desde la perspectiva de la industria, la cultura y la ciencia. En este contexto, esta Tesis contribuye con un conjunto variado de técnicas y aplicaciones relacionadas con el procesado de voz cantada, así como con un repaso del estado del arte asociado en cada caso. En primer lugar, se han comparado varios de los mejores estimadores de tono conocidos para el caso de uso de recuperación por tarareo. Los resultados demuestran que \cite{Boersma1993} (con un ajuste no obvio de parámetros) y \cite{Mauch2014}, tienen un muy buen comportamiento en dicho caso de uso dada la suavidad de los contornos de tono extraídos. Además, se propone un novedoso sistema de transcripción de voz cantada basada en un proceso de histéresis definido en tiempo y frecuencia, así como una herramienta para evaluación de voz cantada en Matlab. El interés del método propuesto es que consigue tasas de error cercanas al estado del arte con un método muy sencillo. La herramienta de evaluación propuesta, por otro lado, es un recurso útil para definir mejor el problema, y para evaluar mejor las soluciones propuestas por futuros investigadores. En esta Tesis también se presenta un método para evaluación automática de la interpretación vocal. Usa alineamiento temporal dinámico para alinear la interpretación del usuario con una referencia, proporcionando de esta forma una puntuación de precisión de afinación y de ritmo. La evaluación del sistema muestra una alta correlación entre las puntuaciones dadas por el sistema, y las puntuaciones anotadas por un grupo de músicos expertos