scholarly journals A Normative Survey on Auditory Perception and Semantic Descriptors of Musical Timbres

2021 ◽  
Vol 9 (1) ◽  
pp. 121-132
Author(s):  
Anis Haron ◽  
Wong Chee Onn ◽  
Hew Soon Hin
Keyword(s):  
Auditory Perception ◽  
Survey Methodology ◽  
Computational Approach ◽  
Music Technology ◽  
Numerical Representation ◽  
Semantic Description ◽  
General Consensus

Timbre are commonly described using semantic descriptors such as ’dark’, ’bright’ and ’warm’. The use of such descriptors are useful and largely practiced by trained individuals in music related industries. Such descriptors are subjective as it could be interpreted differently by different individuals determined by factors such as training and exposure. Semantic descriptors also lacks granularity, in a sense that the descriptor does not indicate the amount or intensity of the description. A numerical representation for timbral description addressees these issues. Computational approach for numerical measure of timbre are at present under study by music technology researchers. Such studies requires a benchmarking process in order for viability tests. To provide a set of data that can be used for benchmarking, a survey on auditory perception and semantic descriptors of musical timbres were conducted. The conducted survey looks to find out if a general consensus can be observed for semantic description of musical timbres using a normative survey methodology. This article reviews the conducted survey, presenting the survey’s approach, results and findings

scholarly journals A Computational Approach on Acetaminophen Drug using Degree-Based Topological Indices and M-Polynomials

2021 ◽  
Vol 12 (6) ◽  
pp. 7249-7266
Keyword(s):  
Biological Activity ◽  
Physicochemical Properties ◽  
Chemical Structure ◽  
Topological Index ◽  
Chemical Reactivity ◽  
Chemical Compounds ◽  
Computational Approach ◽  
Topological Indices ◽  
Numerical Representation ◽  
Essential Drug

Topological index is a numerical representation of a chemical structure. Based on these indices, physicochemical properties, thermodynamic behavior, chemical reactivity, and biological activity of chemical compounds are calculated. Acetaminophen is an essential drug to prevent/treat various types of viral fever, including malaria, flu, dengue, SARS, and even COVID-19. This paper computes the sum and multiplicative version of various topological indices such as General Zagreb, General Randić, General OGA, AG, ISI, SDD, Forgotten indices M-polynomials of Acetaminophen. To the best of our knowledge, for the Acetaminophen drugs, these indices have not been computed previously.

scholarly journals Illusions of Liveness: Producer as Composer

2021 ◽  
Author(s):  
◽  
Sam Logan
Keyword(s):  
Production Technology ◽  
Music Technology ◽  
Virtual Instruments ◽  
General Consensus ◽  
Music Production ◽  
Current Discussion ◽  
Real Performance ◽  
Sonic Environment ◽  
Contemporary Technology

<p>The practise of creating music for the recorded medium has been a fluid and constantly changing enterprise since its inception. Emergences of new studio technologies over the last fifty years have spurred new cultures, philosophies and approaches to music production and composition, ultimately seeing a merging of the once disparate roles of producer and composer.  It is this contemporary, technology-informed new role of producer-composer that brings with it discussion - for much of which there is no general consensus - over issues pertaining to perceived liveness, the producer-composer’s control over the resulting sound, and most contentiously the use of music technology itself: its transparency and its legitimacy as substitutions for real instruments.  These are all fluid and complex issues and this paper does not attempt to provide answers for, nor take a definitive stance on them other than in the sharing of opinions formed from my own experiences in applying production as composition to the creative aspect of this project. In this paper I seek to share some of the current discussion regarding production-as-composition, in light of my own compositional experiment, which strives to create a simulation of real-performance via almost entirely artificial means within an idealised, hyper-musical sonic environment. By bringing together real musicians and virtual instruments within a recorded track and edited via music production technology, the experiment aimed to produce an illusion of liveness.</p>

scholarly journals COMPUTATIONAL CLASSIFICATION OF TIMBRE FOR RANKING OF TONE COLOR

2021 ◽  
Vol 56 (4) ◽  
pp. 758-763
Author(s):  
Anis Haron ◽  
Wong Chee Onn ◽  
Hew Soon Hin
Keyword(s):  
Computational Approach ◽  
Numerical Representation ◽  
Music Production ◽  
Tone Color ◽  
Novel Method ◽  
Production Practices ◽  
Viable Approach ◽  
Numerical Representations ◽  
Improved Accuracy

The article describes a new computational approach for timbre classification for ranking tone color based on weighted feature extraction enabling a meaningful quantitative granular timbral description. Using a quantitative approach for algorithm development paired with a normative survey and data-driven testing, the authors find the proposed method to be a highly viable approach for computational timbre classification. As an example, we illustrate the proposed method against results from a conducted perceptual experiment. Our approach allows for improved accuracy for timbral description using numerical representations. Our research results supplement and improve the existing practice of using semantic descriptors for timbral description and can be used as an assistive tool in digital music production practices. This study aims to introduce a computational approach for timbre classification, enabling granularity in the timbral description. Our study suggests the possibility of timbral classification by numerical representation as a novel method for a more accurate mode of description for timbre.

scholarly journals Illusions of Liveness: Producer as Composer

2021 ◽  
Author(s):  
◽  
Sam Logan
Keyword(s):  
Production Technology ◽  
Music Technology ◽  
Virtual Instruments ◽  
General Consensus ◽  
Music Production ◽  
Current Discussion ◽  
Real Performance ◽  
Sonic Environment ◽  
Contemporary Technology

<p>The practise of creating music for the recorded medium has been a fluid and constantly changing enterprise since its inception. Emergences of new studio technologies over the last fifty years have spurred new cultures, philosophies and approaches to music production and composition, ultimately seeing a merging of the once disparate roles of producer and composer.  It is this contemporary, technology-informed new role of producer-composer that brings with it discussion - for much of which there is no general consensus - over issues pertaining to perceived liveness, the producer-composer’s control over the resulting sound, and most contentiously the use of music technology itself: its transparency and its legitimacy as substitutions for real instruments.  These are all fluid and complex issues and this paper does not attempt to provide answers for, nor take a definitive stance on them other than in the sharing of opinions formed from my own experiences in applying production as composition to the creative aspect of this project. In this paper I seek to share some of the current discussion regarding production-as-composition, in light of my own compositional experiment, which strives to create a simulation of real-performance via almost entirely artificial means within an idealised, hyper-musical sonic environment. By bringing together real musicians and virtual instruments within a recorded track and edited via music production technology, the experiment aimed to produce an illusion of liveness.</p>

Application of Modified Bloch Waves to Image Analysis of Extended Linear Defects

1974 ◽  
Vol 32 ◽  
pp. 402-403
Author(s):  
S. Nakahara ◽  
D. M. Maher
Keyword(s):  
Image Analysis ◽  
Computational Approach ◽  
Dislocation Loops ◽  
Plane Wave Expansion ◽  
Dynamical Equations ◽  
Bloch Waves ◽  
Linear Defects ◽  
Imperfect Crystal ◽  
Localized Defects ◽  
Defective Crystals

Since Head first demonstrated the advantages of computer displayed theoretical intensities from defective crystals, computer display techniques have become important in image analysis. However the computational methods employed resort largely to numerical integration of the dynamical equations of electron diffraction. As a consequence, the interpretation of the results in terms of the defect displacement field and diffracting variables is difficult to follow in detail. In contrast to this type of computational approach which is based on a plane-wave expansion of the excited waves within the crystal (i.e. Darwin representation ), Wilkens assumed scattering of modified Bloch waves by an imperfect crystal. For localized defects, the wave amplitudes can be described analytically and this formulation has been used successfully to predict the black-white symmetry of images arising from small dislocation loops.

Auditory Perception of Rhyming in Kindergarten Children

1973 ◽  
Vol 16 (3) ◽  
pp. 482-487 ◽  
Author(s):  
June D. Knafle
Keyword(s):  
Sex Differences ◽  
Auditory Perception ◽  
Kindergarten Children ◽  
Different Types ◽  
Consonant Sounds

One hundred and eighty-nine kindergarten children were given a CVCC rhyming test which included four slightly different types of auditory differentiation. They obtained a greater number of correct scores on categories that provided maximum contrasts of final consonant sounds than they did on categories that provided less than maximum contrasts of final consonant sounds. For both sexes, significant differences were found between the categories; although the sex differences were not significant, girls made more correct rhyming responses than boys on the most difficult category.

Age-Related Decline in Emotional Prosody Discrimination

2014 ◽  
Vol 61 (3) ◽  
pp. 215-223 ◽  
Author(s):  
Rachel L. C. Mitchell ◽  
Rachel A. Kingston
Keyword(s):  
Older Adults ◽  
Auditory Perception ◽  
Duration Discrimination ◽  
Pitch Perception ◽  
Sensory Level ◽  
Emotional Prosody ◽  
Processing Stage ◽  
Acoustic Characteristics ◽  
Age Related ◽  
Level Of Processing

It is now accepted that older adults have difficulty recognizing prosodic emotion cues, but it is not clear at what processing stage this ability breaks down. We manipulated the acoustic characteristics of tones in pitch, amplitude, and duration discrimination tasks to assess whether impaired basic auditory perception coexisted with our previously demonstrated age-related prosodic emotion perception impairment. It was found that pitch perception was particularly impaired in older adults, and that it displayed the strongest correlation with prosodic emotion discrimination. We conclude that an important cause of age-related impairment in prosodic emotion comprehension exists at the fundamental sensory level of processing.

A New View of Auditory Perception

1991 ◽  
Vol 36 (10) ◽  
pp. 839-840
Author(s):  
William A. Yost
Keyword(s):  
Auditory Perception ◽  
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