<p> This interdisciplinary study examines episodic memory and instrumental timbre as structural analogs, and explores the potential of their relationships within a compositional framework. The paper begins by framing contemporary models of memory and timbre within the notion of topology&mdash;the ways in which patterns of components are interrelated within an abstract space, and how those patterns remain consistent or degrade over time. I proceed to probe the ways in which both memorial and timbral processes are constructed upon spectra of stability and coherence, and examine the role of &ldquo;place&rdquo; in the establishment of these spectra. My analysis occurs at one possible intersection of neurology, psychoacoustics, spectral composition, and the poetics of memoir. The second half of the paper is concerned with how these theories are applied in practice within my composition fragments in autumn for cello trio and electronics. A personal history, structural analysis, and close reading of the piece demonstrates the possibilities of memory as a compositional/timbral process, as well as the difficulties and instabilities that are inherent in such an endeavor. Through both creative and scholarly modes of inquiry, I pose to myself and the reader: How can music function as an act of translation in regard to something as opaque and personal as memory? How can the resonant properties of an instrument be treated with the same complexities and nuances of a remembering mind? How might these processes of memory move away from modes of &ldquo;story-telling&rdquo; and toward a more abstract exploration of topological contours? How do these models of timbre and memory function as prescriptive frameworks for composing, and where do they break down?</p>

by Wong Wan-shing. / Bibliography: leaves 94-95 / Thesis (M.Ph.)--Chinese University of Hong Kong, 1984

Yes. While the results presented in this thesis declare that listeners prefer the recording of an acoustic instrument, there is still a positive response about virtual violins, especially when compared to an unfiltered electric instrument. In this context a virtual violin is the result of convolving the raw signal from an electric instrument with the impulse from a real violin. A key part of this process is the characterisation of this impulse response, of which there are several methods. This thesis explores the use of virtual violins in acoustics research and music performance. The opening chapters provide an overview of the literature about violin acoustics and previous uses of virtual violins. A significant portion of the thesis details the development of a system that is used to produce digital characterisations of violins. The method used involved the measurement of sound radiation from the violin body after it had been excited by an impulse. This impulse is provided by an instrumented hammer, which strikes the violin on the bridge. One of the pitfalls of this method is the imperfect frequency response of the strike, which is corrected using a deconvolution algorithm. Deconvolution is an important part of the process and is discussed at length in the thesis. The described characterisation system utilised a bespoke frame that could hold the violin by the neck and rotate it to a specific angle on a single plane. This enabled the characterisation of a violin at incremental angles. Not only can these characterisations be used for the development of virtual violins, but they can also be used to analyse the spectral properties of the instrument. These characterisations at different angles allowed an examination of the violin's directivity, which explored how the sound energy is distributed from the instrument. Analysis determined that in the mid-range (C4-B5) the sound distribution is fairly isotropic. Outside of these ranges the sound distribution is significantly anisotropic. Finally, the thesis details three psychoacoustic experiments where participants listened to different audio samples and rated them according to their personal preference. The first of these had five virtual violins, of various manufacturers and ages, along with an unfiltered electric instrument. Listeners of mixed musical ability were asked to listen to recorded samples of these instruments and to provide preference scores for each. The experiment found that listeners preferred the sound of virtual violins to the unfiltered electric. The next experiment presented musically trained participants with samples of a virtual violin with varying impulse response lengths. This revealed that there was a sigmoid shaped relationship between the number of coefficients of the violin's impulse response and the listener's preference score. The final experiment was designed to examine the preference scores towards a recording of a real violin and its emulated equivalent. Participants of two groups, one with musical training and one without, took part in the study. The results showed that the real violin was preferred to the emulated violin and that musical training did not have any effect on the preference scores. The statistical analysis also determined that there was no interaction between violin treatment and musical training. An additional question was also posed to the participants post-experiment: Which of the presented samples is the real instrument? The results showed that those with musical training were significantly better at identifying the real instrument compared to those without such training. Speculation is drawn as to why this might be, though it is speculated that the spatial effects, such as those described by Weinreich, had no effect.

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 .

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.

No description available.

by Yue Kwok-bun. / Thesis (M.Phil.)--Chinese University of Hong Kong, 1980. / Includes bibliographical references (leaf 149).

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.

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

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.