Musical organics: a heterarchical approach to digital organology

Gaining a comprehensive understanding of new musical technologies is fraught with difficulties. The digital materials from which they are formed are of such diverse origins and nature, that they do not match traditional organological classifications. This article traces the history of musical instrument classifications relevant to the understanding of new instruments, and proposes an alternative approach to the centuries-old tree-structure of downwards divisions. The proposed musical organics is a multi-dimensional, heterarchical, and organic approach to the analysis and classification of both traditional and new musical instruments that suits the rhizomatic nature of their material design and technical origins. Outlines of a hypothetical organological informatics retrieval system are also presented

A fossil biting midge (Diptera: Ceratopogonidae) from early Eocene Indian amber with a complex pheromone evaporator

The life-like fidelity of organisms captured in amber is unique among all kinds of fossilization and represents an invaluable source for different fields of palaeontological and biological research. One of the most challenging aspects in amber research is the study of traits related to behaviour. Here, indirect evidence for pheromone-mediated mating behaviour is recorded from a biting midge (Ceratopogonidae) in 54 million-year-old Indian amber. Camptopterohelea odora n. sp. exhibits a complex, pocket shaped structure on the wings, which resembles the wing folds of certain moth flies (Diptera: Psychodidae) and scent organs that are only known from butterflies and moths (Lepidoptera) so far. Our studies suggests that pheromone releasing structures on the wings have evolved independently in biting midges and might be much more widespread in fossil as well as modern insects than known so far

Effects of instructed timing and tempo on snare drum sound in drum kit performance

This paper reports on an experiment investigating the expressive means with which performers of groove-based musics signal the intended timing of a rhythmic event. Ten expert drummers were instructed to perform a rock pattern in three different tempi and three different timing styles: “laid-back,” “on-the-beat,” and “pushed.” The results show that there were systematic differences in the intensity and timbre (i.e., sound-pressure level, temporal centroid, and spectral centroid) of series of snare strokes played with these different timing styles at the individual level. A common pattern was found across subjects concerning the effect of instructed timing on sound-pressure level: a majority of the drummers played laid-back strokes louder than on-the-beat strokes. Furthermore, when the tempo increased, there was a general increase in sound-pressure level and a decrease in spectral centroid across subjects. The results show that both temporal and sound-related features are important in order to indicate that a rhythmic event has been played intentionally early, late, or on-the-beat, and provide insight into the ways in which musicians communicate at the microrhythmic level in groove-based musics. This research has been published in the Journal of the Acoustical Society of America. © Acoustical Society of America