Realization of pratuokng (bamboo tube zither) repertoire among the Bidayuh of Annah Rais through frequency modulation synthesis sound modeling

Gongs are heard during Gawai celebration on first and second of June every year as an indication of appreciation for the harvest obtained. Gongs are a symbol of prosperity for the Bidayuh (Horsbourgh, 1858). Gong players gather and perform and are frequently joined by the traditional Bidayuh dance at an open space, 'awah' of the longhouse known as 'Kupuo'. There are three levels of tone attribute derivative from the gongs, namely 'canang', 'satu' and 'tawak'. In the community of Annah Rais, Padawan, Sarawak, there are tube zithers known as pratuokng, which contain a similar tone structure as the Bidayuh gong set and offer comparative collections. Seen from the point of view of sound preservation, the Audiovisual Research Collection for Performing Arts (ARCPA) located at the Music Department of Faculty of Human Ecology, UPM is stepping forward in developing elusive learning for a scholarly group to get to far-reaching database collections. In this respect, an exploratory examination concerning pratuokng collection is directed by means of sound simulation via Frequency-Modulation Synthesis (FM Synthesis), draws nearer as a model. The 'Audio Modulation' method, especially by means of frequency modulation, empowers summing sine wave to be a structure at different amplitudes. Subsequently, creating a non-consonant partials of frequencies sidebands will build up a metallic timbre, empowering the acknowledgment of the pratuokng music back in the traditional Bidayuh gong ensemble

Time frequency analysis of peking gamelan

The tone of peking 1, 2, 3, 5, 6, 1’ was investigated using time-frequency analysis (TFA). The frequencies were measured using PicoScope oscilloscope, Melda analyzer in Cubase version 9 and Adobe version 3. Three different approaches for time-frequency analysis were used: Fourier spectra (using PicoScope), spectromorphology (using Melda analyzer) and spectrograms (using Adobe). Fourier spectra only identify intensity-frequency within entire signals, while spectromorphology identify the changes of intensity-frequency spectrum at fixed time and Adobe spectrograms identify the frequency with time. PicoScope reading produces the spectra of the fundamental and overtone frequencies in the entire sound. These overtones are non-harmonic since they are non-integral multiples of the fundamental. The fundamental frequencies of peking 1, 2, 3, 5, 6 were 1066Hz (C6), 1178Hz (D6), 1342Hz (E6), 1599Hz (G6) and 1793Hz (A6) respectively while peking 1’ was 2123Hz (C7) i.e. one octave higher than peking 1. Melda analyzer reading proved that all peking sustained the initial fundamental frequency and overtone at t=0 until 2s. TFA from Adobe reading provides a description of the sound in the time-frequency plane. From TFA, peking 1, 2 and 6 exhibited a much gentler attack and more rapid decay than peking 3, 5 and 1’

Timbre spectrum of gamelan instruments from four Malay gamelan ensembles

Gamelan in general is categorized as a group of gongs. This traditional Malay gamelan ensemble is in a slendro scale i.e. five notes per octave. The rhythms, pitch, duration and loudness classify the various groups of gongs such as bonang, kenong, gender, peking and gambang. The cast bronze peking, kenong and bonang were chosen from a range of Malay gamelan ensemble from Universiti Malaysia Sarawak (UNIMAS), Universiti Putra Malaysia (UPM), Universiti Kebangsaan Malaysia (UKM) and Universiti Teknologi Mara (UiTM). The sounds were recorded by PicoScope Oscilloscope. The PicoScope software displays waveform and spectrum in time and frequency domain respectively. The peking lowest and highest frequencies from UiTM were 293 Hz and 1867 Hz, from UPM were 644 Hz and 1369 Hz, from UKM were 1064 Hz and 2131 Hz and from UNIMAS were 1072 Hz and 2105 Hz respectively. The kenong lowest and highest frequencies from UiTM were 259 Hz and 463 Hz, from UPM were 294 Hz and 543 Hz, from UKM were 300 Hz and 540 Hz and from UNIMAS were 293 Hz and 519 Hz respectively. The fundamental frequencies of bonang from UPM were higher than that of UKM, UiTM and UNIMAS. The harmonics were not successive but interrupted by another frequency. The harmonics of each bonang was similar except for gamelan from UKM

Reviewing the recording quality of a local string instrument (sape) from the perspective of sound preservation

Although technologies have rapidly advanced in the modern world, musicians and music scholars rarely understand new technologies and hence cannot comprehend the impact of recording technologies on their careers. Recordings of ethnic instruments that are available in the marketplace today show various types of timbre determined by different sampling rates, choice of microphone placements and acoustic environment. In many cases, the timbre produced in recordings of one ethnic instrument called sape is highly diversified. Music recordings available for ethnic instruments such as the sape of the Orang Ulu, Kenyah and other ethnic groups were manipulated either through the sound of the instrument itself or through the original recording that was extracted from various recording mediums, or recorded in a “mock-up” context created by producers. The effects of all these manipulations have misled listeners into thinking that what they are hearing are the original sounds of instruments such as sape. This situation is similar to a live performance. Many audience members are unaware that the final acoustic outcome for the audience is not only the sound produced by the instrument but also through the main speaker monitors of a performance venue. Local folk music instruments such as sape are traditionally played in a rural and/or communal setting with its unique sound environment. This contextual sound environment however tends to be ignored in the sound reinforcement of live performances as well as in audio recordings. All of the above affects the quality of audio recordings. The intention of this article is to compare, analyse and review the quality of audio recordings of sape from various perspectives, including wave analysis and audio signal audibility. This article suggests for a more advanced sound preservation approach through a constructed scheme for recordings

Social scientists as users: searching for recorded sound in its environment

For social scientists, it is crucial to access complex information on sound production and the recoring environment. They need data derived from professional recordings that help to support conventional observations. Media distributors have long-held the role of environment sounds as disturbing nuisance that had to be eliminated or suppressed. In the best / worst case, side sounds were left unchanged to create a "lively" atmosphere for an anthropological sound recording or a sound recording for a special audience to which the place of the performance is of particular interest. The coughing in a live concert or the dog barking in the background of a village ensemble became then part of the marketed item. In an archive, sound reductions hopefully not take place. Nevertheless, environmental sound inclusions, in certain recordings, are considered to be side effects of the main recording project undertaken by collectors of different disciplines who did not purposely intended to record those noises. Ideally, they were searching for equipment that avoids it best. Unlike this approach, the project at our institution tries to purposely include all possible environment sounds produced during the primary sound production. These sounds come from various distances and or directions. The paper will focus on the scientific potential and the resonance of these recordings among users in order to achieve more reliable research outcomes. Though small in number, researchers of very different social sciences areas might become a strong and supportive group of future users

SAR-based approach to explore in silico ferrocene analogues as the potential inhibitors of major viral proteins of SARS-CoV-2 virus and human Ca2+-channel blocker

370-384Amid the pandemic COVID-19, there is a desperate and urgent need for a therapeutic solution for COVID-19. Our present studies have adapted the SAR-based approach to explore in silico several selected ferrocene-based complexes as the potential inhibitors of the major viral proteins (Spike, RdRp, Mpro, N protein) of the SARS-CoV-2 virus. The SAR-based molecular docking studies have revealed that compound 1 is the strongest inhibitor of the major viral proteins with a binding energy of >9.0 kcal/mol. Compound 1 is also able to inhibit the human Ca2+ channel and thereby potentially able to prevent the strong inflammatory signalling cascades causing severe respiratory distress to the COVID-19 patients. Overall, our computational studies explored ferrocene-based compounds as the emerging multi-targeting therapeutic solution for COVID-19 by inhibiting viral replication as well as modulating the inflammatory signalling cascades

Dynacortin facilitates polarization of chemotaxing cells

<p>Abstract</p> <p>Background</p> <p>Cell shape changes during cytokinesis and chemotaxis require regulation of the actin cytoskeletal network. Dynacortin, an actin cross-linking protein, localizes to the cell cortex and contributes to cortical resistance, thereby helping to define the cell shape changes of cytokinesis. Dynacortin also becomes highly enriched in cortical protrusions, which are sites of new actin assembly.</p> <p>Results</p> <p>We studied the effect of dynacortin on cell motility during chemotaxis and on actin dynamics <it>in vivo </it>and <it>in vitro</it>. Dynacortin enriches with the actin, particularly at the leading edge of chemotaxing cells. Cells devoid of dynacortin do not become as polarized as wild-type control cells but move with similar velocities as wild-type cells. In particular, they send out multiple pseudopods that radiate at a broader distribution of angles relative to the chemoattractant gradient. Wild-type cells typically only send out one pseudopod at a time that does not diverge much from 0° on average relative to the gradient. Though <it>dynacortin</it>-deficient cells show normal bulk (whole-cell) actin assembly upon chemoattractant stimulation, dynacortin can promote actin assembly <it>in vitro</it>. By fluorescence spectroscopy, co-sedimentation and transmission electron microscopy, dynacortin acts as an actin scaffolder in which it assembles actin monomers into polymers with a stoichiometry of 1 Dyn₂:1 actin under salt conditions that disfavor polymer assembly.</p> <p>Conclusion</p> <p>Dynacortin contributes to cell polarization during chemotaxis. By cross-linking and possibly stabilizing actin polymers, dynacortin also contributes to cortical viscoelasticity, which may be critical for establishing cell polarity. Though not essential for directional sensing or motility, dynacortin is required to establish cell polarity, the third core feature of chemotaxis.</p

Time Frequency Analysis of Peking Gamelan

The tone of peking 1, 2, 3, 5, 6, 1’ was investigated using time-frequency analysis (TFA). The frequencies were measured using PicoScope oscilloscope, Melda analyzer in Cubase version 9 and Adobe version 3. Three different approaches for time-frequency analysis were used: Fourier spectra (using PicoScope), spectromorphology (using Melda analyzer) and spectrograms (using Adobe). Fourier spectra only identify intensity-frequency within entire signals, while spectromorphology identify the changes of intensity-frequency spectrum at fixed time and Adobe spectrograms identify the frequency with time. PicoScope reading produces the spectra of the fundamental and overtone frequencies in the entire sound. These overtones are non-harmonic since they are non-integral multiples of the fundamental. The fundamental frequencies of peking 1, 2, 3, 5, 6 were 1066Hz (C6), 1178Hz (D6), 1342Hz (E6), 1599Hz (G6) and 1793Hz (A6) respectively while peking 1’was 2123Hz (C7) i.e. one octave higher than peking 1. Melda analyzer reading proved that all peking sustained the initial fundamental frequency and overtone at t=0 until 2s. TFA from Adobe reading provides a description of the sound in the time-frequency plane. From TFA, peking 1, 2 and 6 exhibited a much gentler attack and more rapid decay than peking 3, 5 and 1’

The Frequency Spectrum and Time Frequency Analysis of Different Violins Classification as Tools for Selecting a Good-Sounding Violin

This work evaluates four violins from three distinct manufacturers, notably Eurostring, Stentor, and Suzuki, using a scientific approach. Eurostring1 and Eurostring2 were the names given to the two Eurostring units. The purpose of this study is to identify elements in various violins that could be used as tools for selecting a pleasantsounding violin by having them classified by a professional violinist. The signal’s time varying frequency was evaluated using a frequency spectrum and a time frequency plane, and the combination of frequency spectrum and time frequency domain is utilised. PicoScope oscilloscopes and Adobe Audition version 3 were used to record the acoustic spectra in terms of time and frequency. The time frequency plane is identified, and time frequency analysis (TFA) is produced by Adobe Audition spectrograms. The sound was processed in order to generate Fast Fourier Transform analysis: Fourier spectra (using PicoScope) and spectrograms (using Adobe Audition). Fourier spectra identify the intensity of the fundamental frequency and the harmonic spectra of the overtone frequencies. The highest frequencies that can be read are up to and including the 9th overtone. All violins have a constant harmonic overtone pattern with an uneven acoustic spectrum pattern. Eurostring1 showed inconsistent signal in the string G with 6th and 7th overtone missing, whereas Eurostring2 lack of the 6th overtone. Among the string D, only Eurostring1 display an exponential decay for the overtone. All the string A except for Suzuki showed nice and significant peak of fundamental and overtone. Stentor displays up to the 5th overtone. Among the string E, Suzuki showed inconsistent harmonic peak intensity. TFA revealed that the fundamental frequency of string E for Eurostring1 was lower than the first overtone. Only Eurostring1 has an uneven decay for the overtone frequency, whereas Eurostring2 exhibits a large exponential decay for the overtone frequency

Some studies on the understanding the different tones quality in a bonang set

The acoustic spectra were carried out on a bonang set by investigating the vibration overtones. The spectra were measured from a set of just-tuned cast bronze bonang from Indonesia (low octave bonang barung and high octave bonang penerus). The bonang was beaten with padded mallets. The acoustic spectra were recorded by PicoScope oscilloscopes. Picoscope reading are in good agreement with those from Melda analyser in Cubase version 9. Only bonang barung 2 show a greater frequency increase in the first overtone frequency (only 10% deviant from the octave). Bonang penerus 1, 4 and 5 and bonang barung 3 showed an octave from the second overtone frequency (with only 5% deviant from the octave). Bonang penerus 3, 4 and 5 sustained 3 peaks (fundamental, first overtone and second overtone frequency) from the beginning until t=1.5s. Since the two types of bonang give different data on the harmonic and pitch, therefore, the aim of the study is to identify the similarities and differences of harmonic, pitch and size as well as the functions based on tuning of the Bonang Penerus and Bonang Barung in Malay and Javanese gamelan ensemble