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Some acoustical studies on the Chinese musical instrument.January 1984 (has links)
by Wong Wan-shing. / Bibliography: leaves 94-95 / Thesis (M.Ph.)--Chinese University of Hong Kong, 1984
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[A] New tonal world: The Bohlen-Pierce ScaleAdvocat, Amy January 2010 (has links)
This paper compares the Bohlen-Pierce scale to other octave and nonoctave-based tuning systems, drawing parallels between it and the widely used 12-equal temperament. These parallels lead to the hypothesis that there can be a set ofharmonic mIes applicable to the Bohlen-Pierce scale that are analogous to the CUITent musical practice. Those theorized mIes are then applied to some examples of the growing body of musical compositions wrtten in the BohlenPierce scale. Aiso included are supportive arguments for a preference of the use of odd-partial timbres in performance of this scale, which make the invention of the Bohlen-Pierce clarinet a major tuming point in the scale's development. Sorne of the musical works studied were written specifically for this author's performance on the Bohlen-Pierce clarinet. / Ce document compare la gamme Bohlen-Pierce d'autres systmes d'accord octave et non-octave-bass, tablissant des parallles entre soi et le systme la plus utilis, temprament de I2-gal. Ces parallles mnent la possibilit qu'il peut tre des rgles harmoniques applicables la gamme BohlenPierce qui sont analogues la pratique musicale courante. Ces rgles thorises sont alors appliques quelques exemples du corps croissant de compositions musicales crites la gamme Bohlen-Pierce. Il-y-a aussi inclus des arguments qui support la prfrence d'utilisation des timbres impair-partiels dans la performance de cette gamme, qui ferait l'invention de la clarinette Bohlen-Pierce un point tournant majeur dans la dveloppement de cette gamme. Certains compositions etudi a t ecris pour la prformance sur clarinet Bohlen-Pierce par cette auteure .
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Zur Problematik der künstlerischen Gestaltung bei der elektroakustischen Übertragung von MusikSchlemm, Wilhelm, January 1900 (has links)
Inaug.-Diss.--Berlin. / Vita. eContent provider-neutral record in process. Description based on print version record. Bibliography: p. 115-132.
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A practical approach to the study of sound for musiciansBeardsley, Robert Lyle 01 January 1946 (has links)
This account of the beginning of music might equally well be applied to man's discovery of sounds produced by the stretched string on his hunting-bow, or skins stretched across wooden frames. Pure fancy though it may be, the account serves to illustrate the dependence of music on the universal principles of science. Sound, the medium of expression, the vehicle, of music, is purely physical phenomenon. All aspects of its production, its transmission, and its ultimate reception are based invariable on physical laws. All musical instruments operate under these laws, as do the tones and combinations of tones which the instruments produce. Since that time when our prehistoric man made his discoveries, all musicians have had to depend upon scientific principles in producing the various sounds with which they work
In order to deal most effectively with these tones, it is necessary that the musician understand some of the principles governing their production and their various relationships. It is with this necessity in mind that this thesis is being written. In the thesis an attempt is made to present those physical aspects of sound which will be of the most practical use to the musician and which will give him a better understanding of the materials with which he works. As often as it is possible and practical, direct illustration of the applications to the musician's work of the principles discussed are given.
this thesis is not intended to be a study of sound. The subject is covered thoroughly in a number of text-books. lt is rather an attempt to show how the Science of Sound is related to the Art of Music, to demonstrate in what ways the latter is dependent upon the former, and to outline an approach to a study of the physical principles of sound for the musician.
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Interaction between loudspeakers and room acoustics influences loudspeaker preferences in multichannel audio reproductionOlive, Sean E. January 2007 (has links)
No description available.
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An Investigation of the Acoustical Properties of the Trumpet MouthpieceLanese, Robert M. (Robert Martin) 08 1900 (has links)
The purpose of this study was to present a comprehensive analysis of the acoustical properties of the trumpet mouthpiece. The first section will be concerned with the individual parts of the mouthpiece and their interrelationship. The second portion of the study will be the physical analysis of three commonly used trumpet mouthpieces. For this study, five examples of each size have been selected. The third section will present a tonal analysis of the selected mouthpieces. These investigative procedures will attempt to recognize any relationships between the individual mouthpieces and the resulting tones.
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Some studies on the acoustics of pi-pa.January 1980 (has links)
by Yue Kwok-bun. / Thesis (M.Phil.)--Chinese University of Hong Kong, 1980. / Includes bibliographical references (leaf 149).
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An integrated system for dynamic control of auditory perspective in a multichannel sound field /Corey, Jason Andrew January 2002 (has links)
An integrated system providing dynamic control of sound source azimuth, distance and proximity to a room boundary within a simulated acoustic space is proposed for use in multichannel music and film sound production. The system has been investigated, implemented, and psychoacoustically tested within the ITU-R BS.775 recommended five-channel (3/2) loudspeaker layout. The work brings together physical and perceptual models of room simulation to allow dynamic placement of virtual sound sources at any location of a simulated space within the horizontal plane. / The control system incorporates a number of modules including simulated room modes, "fuzzy" sources, and tracking early reflections, whose parameters are dynamically changed according to sound source location within the simulated space. The control functions of the basic elements, derived from theories of perception of a source in a real room, have been carefully tuned to provide efficient, effective, and intuitive control of a sound source's perceived location. / Seven formal listening tests were conducted to evaluate the effectiveness of the algorithm design choices. The tests evaluated: (1) loudness calibration of multichannel sound images; (2) the effectiveness of distance control; (3) the resolution of distance control provided by the system; (4) the effectiveness of the proposed system when compared to a commercially available multichannel room simulation system in terms of control of source distance and proximity to a room boundary; (5) the role of tracking early reflection patterns on the perception of sound source distance; (6) the role of tracking early reflection patterns on the perception of lateral phantom images. / The listening tests confirm the effectiveness of the system for control of perceived sound source distance, proximity to room boundaries, and azimuth, through fine, dynamic adjustment of parameters according to source location. All of the parameters are grouped and controlled together to create a perceptually strong impression of source location and movement within a simulated space.
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Within echoic chambers : for small orchestra and tapeBianchi, Frederick January 1982 (has links)
WITHIN ECHOIC CHAMBERS: for small orchestra and tape is based on the integration of 3 major concepts: 1) Structural 2) Psychological 3) Technical. These individual concepts represent areas in which the composer has concentrated the majority of his research over the last 2 years. It is the incorporation of these concepts which form the basis of the creative project.Through the application of arc acoustical design, the entire work is given thematic and structural unity. This acoustical design is based or the onset, steady state and decay characteristics of complex tones and is incorporated into the work as a compositional tool from which a number of musical dimensions are controlled. Since the onset, steady state and decay characteristics of complex tones determine the way we perceive sound, it acts both as a common link between the 3 concepts and the entire structural basis of the creative project. Used in this way the acoustical design became a catalyst from which musical sound structures crystallized as opposed to being a mere theoretical algorithm for autonomous music composition. / School of Music
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Musical vibrotactile feedbackBirnbaum, David M. January 2007 (has links)
This thesis discusses the prospect of integrating vibrotactile feedback into digital musical instruments. A holistic approach is taken, considering the role of new instruments in electronic music, as well as the concept of touch in culture and experience. Research about the human biological systems that enable vibrotactile perception is reviewed, with a special focus on its relevance to music. Out of this review, an approach to vibration synthesis is developed that integrates the current understanding of human vibrotactile perception. An account of musical vibrotactile interaction design is presented, which includes the implementation of a vibrotactile feedback synthesizer and the construction of two hardware prototypes that display musical vibration.
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