scholarly journals The Architectonics of Musical Sound

ICONI ◽  
2019 ◽  
pp. 112-128
Author(s):  
Irina B. Gorbunova ◽  
Keyword(s):  
Musical Instrument ◽  
Musical Instruments ◽  
Musical Composition ◽  
Basic Principles ◽  
Musical Sound ◽  
Music Making ◽  
Wide Range ◽  
Fast Development ◽  
Musical Sounds ◽  
Computer Generation

At the turn of the 20th and 21st centuries there appeared a new trend in musical composition and musical pedagogy conditioned by the fast development of electronic musical instruments: from the simplest synthesizers to powerful musical computers. In the wide range contemporary electronic musical instrument the accumulated informational technologies in music and the art of music making have manifested themselves in the fullest and most perfect manner. The current and the subsequent issues of the journal shall provide a consecutive presentation of four lectures, compiling the basis of the discipline “Informational Technologies in Music” and a set of programs of advanced training, which include “Informational Technologies in Music,” “Informational Technologies in Musical Education,” “Computer Musical Composition,” etc. The first lecture, “The Architectonics of Musical Sound” shall disclose themes connected with the study of the physical characteristics of musical sounds, the means of their recording and reproduction; explanation is given to the aural perception of sound by the human being, and the basic principles of computer generation of musical sound are examined. The material elucidated in the lection possesses a theoretical and practical directedness and contains information in which the technological aspects of contemporary perceptions of music, about the musical instrument range (including computer musical instruments); without knowledge of these aspects a competent interpretation of musical instruments is impossible.

scholarly journals MUSICALISATION OF J. BUNYAN’S AND H. SKOVORODA’S LITERARY DISCOURSE

2019 ◽  
pp. 372-384
Author(s):  
O. Shykyrynska
Keyword(s):  
Significant Influence ◽  
Musical Instrument ◽  
Musical Instruments ◽  
Common Features ◽  
Musical Space ◽  
The Bible ◽  
Musical Theme ◽  
The World ◽  
Musical Sounds ◽  
Artistic Heritage

The article deals with the musical space of the artistic heritage of J. Bunyan and H. Skovoroda that has many common features. The general place in the heritage of both writers is reference to solemn church or angelic singing, accompanying the scenes of triumph of the heroes. There are numerous quotations from the Bible psalms, that both writers mastered perfectly. Outplaying of the mythologemes “a man as a musical instrument” and “a world as a musical instrument” became common for both authors. Musical code is expressed in comparison with man’s features and musical sounds; assimilation of the world with a musical instrument, desire to hear “the music of spheres”. The comparison of a man’s emotional impulse with the sounds of musical instruments reveals willingness of the man of the Baroque age for the search of correspondence and for the synthesis of arts in a broad sense. Music as an art differs in the ability to reveal symbols by means of a sound, having a significant influence on the recipient. The analysis of musical component of H. Skovoroda and J. Bunyan’s work demonstrates its precise orientation on musicalisation of writers’ discourse. In the meantime musical theme is represented much wider in Skovoroda’s work than in the work of the English writer. The article introduces J. Bunyan and H. Skovoroda as bright representatives of national variants of baroque aesthetics.

scholarly journals Scales of sustain and decay: making music in deep time

Popular Music ◽  
2020 ◽  
Vol 39 (1) ◽  
pp. 108-120
Author(s):  
Philipp Kohl
Keyword(s):  
Musical Instrument ◽  
Musical Instruments ◽  
Radioactive Material ◽  
Industrial Processes ◽  
Small Scale ◽  
Nuclear Decay ◽  
Electric Guitar ◽  
Deep Time ◽  
Music Making ◽  
The Relationship

AbstractThis article explores the relationship between the human time of music making and the temporal layers that pervade the natural resources of musical instruments. It therefore offers case studies on two of popular music's most common instruments, the electric guitar and the synthesiser, and their symbolic and material temporalities: guitar players’ quest for ‘infinite sustain’ from Santana to today's effects manufacturers and the ‘psychogeophysical’ approach by artist and theorist Martin Howse, who developed a synthesiser module using radioactive material in order to determine musical events by nuclear decay. While language uses metaphors of sustain and decay as figurative ways to express both musical and planetary dimensions, practices of music offer alternative ecologies of relating the seemingly unrelatable scales of deep time and musical time. If in the Anthropocene humankind becomes aware of its role as a geophysical force, thinking about making music in the Anthropocene requires an awareness for the temporalities involved in the materials at hand. Besides an ecological perspective, the article looks at various media (magazines, ads, and manuals) and thus positions economical mechanisms of the musical instrument manufacturing market as a small-scale experimental setting for larger-scale industrial processes.

scholarly journals “The Ensemble of Performers” in the Textures of Clavier Compositions by J.S. Bach

ICONI ◽  
2020 ◽  
pp. 24-29
Author(s):  
Elena V. Gordeyeva ◽  
Keyword(s):  
Musical Instruments ◽  
Musical Composition ◽  
Basso Continuo ◽  
Human Voice ◽  
Music Making ◽  
Acoustic Images

The musical text of any of Johann Sebastian Bach’s works for clavier contains numerous artistic signs, semantic fi gures and expressive elements. Some of them bear within themselves signifi cations of diverse nuances of meaning and feelings through recreation of the scenes of music-making. Upon the defi nition of the semantic equivalent they align themselves into concrete plotline situations. The intonational formulas, the vertical and horizontal structures-dialogues, the acoustic images of musical instruments (including the human voice) imprinted in the musical texts of a composition — all of these semantic “characters” and “protagonists” designed to express the spirit of time, omnipresent, old and eternally new. The acoustic images in the structure of the musical texts may be extremely different: in the guises of duos, trios, baroque models with the participation of solo, basso continuo and tutti parts in their various alternations and combinations. The musical materials of suites and partitas are used in the article to trace the intertextual migration of typifi ed models of “migrating” images with the unfolding of the plotlines of “music within music.” Typifi ed dialogic structures are disclosed in the texture of the musical composition, and upon deciphering they become conducive towards a competent expressive articulation.

scholarly journals Trautonium: peculiarities of compositions for the electronic musical instrument

2020 ◽  
pp. 141-148
Author(s):  
Elena Nikolaevna Piryazeva
Keyword(s):  
Electronic Music ◽  
Musical Instrument ◽  
Musical Instruments ◽  
Musical Composition ◽  
Audio Recordings ◽  
The Subject ◽  
The Common ◽  
Video And Audio ◽  
Characteristic Features ◽  
New Generation

The subject of this research is the electronic musical instrument trautonium and characteristic features of compositions written for this instrument. The advancement of electronic music and its instruments is substantiated by innovative transformation, constant emergence of new devices, their improvement and phasing out or transitions into a new generation of devices. One of such electronic musical instruments is trautonium, invented in the first half of the XX century. It did not gain much popularity, but gather its own repertoire and library of video and audio recordings. In the course of this research, the author applied the following methods: historical and systemic approaches; methods of integral, structural, stylistic, and comparative analysis. The novelty is defined consists in the subject of research, range of compositions attracted for musicological analysis, and the angle of their view. The author determines the common to compositions for trautonium concert character of performance reflected in the set of aesthetic and technological principles on various levels of musical composition.

Voiceness in Musical Instruments

2019 ◽  
pp. 236-268
Author(s):  
Cornelia Fales
Keyword(s):  
Pilot Study ◽  
Musical Instruments ◽  
Primary Language ◽  
Acoustic Features ◽  
Musical Sound ◽  
The World ◽  
Per Se ◽  
The Difference ◽  
Musical Sounds ◽  
The Voice

This chapter presents the results of a pilot study of “voiceness” in instrumental musical sound across cultures. This study grew from the proposition that not only is the voice of primal importance in music, but “voiceness” in nonvocal musical sounds is a quality that seems to exert a particular fascination to music cultures around the world. The objective is to look at the use of voiceness in music across cultures in order to discover something about the constituents of voiceness. Since it is normally not the case that voice-like instruments, either alone or in combination, sound like voices per se, it must be the case that the quality they convey as voiceness consists of some distillation of acoustic features, presumably proper to “real” vocal sound. A primary question addressed in the chapter is whether the voiceness in music of specific cultures varies in a way consistent with that culture’s primary language, or whether there are features that convey voiceness across cultures independent of language. Unlike many other instruments, the voice is capable of immense timbral variation, and the magnitude of difference across individual voices can be as great as the difference between instrument classes. The author has taken the results of the study as a preliminary indication of an abstract auditory category of voiceness consisting of perceived commonalities across several levels of vocal variation. The chapter focuses on sounds from just three cultures that are particularly illuminating in regard to these issues.

scholarly journals Hybrid Feature Based Classifier Performance Evaluation of Monophonic and Polyphonic Indian Classical Instruments Recognition

2021 ◽  
Vol 23 (11) ◽  
pp. 879-890
Author(s):  
Abhijit V. Chitre ◽  
◽  
Ketan J. Raut ◽  
Tushar Jadhav ◽  
Minal S. Deshmukh ◽  
...  
Keyword(s):  
Critical Role ◽  
Musical Instrument ◽  
Research Area ◽  
Musical Instruments ◽  
Training Data ◽  
Hybrid Features ◽  
Spectral Parameters ◽  
Data Set ◽  
Important Research Area ◽  
Musical Sounds

Instrument recognition in computer music is an important research area that deals with sound modelling. Musical sounds comprises of five prominent constituents which are Pitch, timber, loudness, duration, and spatialization. The tonal sound is function of all these components playing critical role in deciding quality. The first four parameters can be modified, but timbre remains a challenge [6]. Then, inevitably, timbre became the focus of this piece. It is a sound quality that distinguishes one musical instrument from another, regardless of pitch or volume, and it is critical. Monophonic and polyphonic recordings of musical instruments can be identified using this method. To evaluate the proposed approach, three Indian instruments were experimented to generate training data set. Flutes, harmoniums, and sitars are among the instruments used. Indian musical instruments classify sounds using statistical and spectral parameters. The hybrid features from different domains extracting important characteristics from musical sounds are extracted. An Indian Musical Instrument SVM and GMM classifier demonstrate their ability to classify accurately. Using monophonic sounds, SVM and Polyphonic produce an average accuracy of 89.88% and 91.10%, respectively. According to the results of the experiments, GMM outperforms SVM in monophonic recordings by a factor of 96.33 and polyphonic recordings by a factor of 93.33.

scholarly journals Musical Sounds, Motor Resonance, and Detectable Agency

2015 ◽  
Vol 10 (1-2) ◽  
pp. 30 ◽  
Author(s):  
Jacques Launay
Keyword(s):  
Direct Relationship ◽  
Social Experience ◽  
Relative Importance ◽  
Motor Resonance ◽  
Apparent Paradox ◽  
Musical Sound ◽  
Human Agent ◽  
Music Making ◽  
Musical Engagement ◽  
Musical Sounds

This paper discusses the paradox that while human music making evolved and spread in an environment where it could only occur in groups, it is now often apparently an enjoyable asocial phenomenon. Here I argue that music is, by definition, sound that we believe has been in some way organized by a human agent, meaning that listening to any musical sounds can be a social experience. There are a number of distinct mechanisms by which we might associate musical sound with agency. While some of these mechanisms involve learning motor associations with that sound, it is also possible to have a more direct relationship from musical sound to agency, and the relative importance of these potentially independent mechanisms should be further explored. Overall, I conclude that the apparent paradox of solipsistic musical engagement is in fact unproblematic, because the way that we perceive and experience musical sounds is inherently social.

The Musical Interface Technology Design Space

2009 ◽  
Vol 14 (2) ◽  
pp. 217-226 ◽  
Author(s):  
Dan Overholt
Keyword(s):  
Design Patterns ◽  
Design Space ◽  
Musical Instrument ◽  
Primary Objective ◽  
Musical Instruments ◽  
Musical Composition ◽  
Synthesis Methods ◽  
Technology Design ◽  
Interface Synthesis ◽  
And Performance

This article presents a theoretical framework for the design of expressive musical instruments, the Musical Interface Technology Design Space: MITDS. The activities of imagining, designing and building new musical instruments, performing, composing, and improvising with them, and analysing the whole process in an effort to better understand the interface, our physical and cognitive associations with it, and the relationship between performer, instrument and audience can only be seen as an ongoing iterative work-in-progress. It is long-term evolutionary research, as each generation of a new musical instrument requires inventiveness and years of dedication towards the practice and mastery of its performance system (comprising the interface, synthesis and the mappings between them). Many revisions of the system may be required in order to develop musical interface technologies that enable us to achieve truly expressive performances. The MITDS provides a conceptual framework for describing, analysing, designing and extending the interfaces, mappings, synthesis algorithms and performance techniques for interactive musical instruments. It provides designers with a theoretical base to draw upon when creating technologically advanced performance systems, and can be seen as a set of guidelines for analysis, and a taxonomy of design patterns for interactivity in musical instruments. The MITDS focuses mainly on human-centred design approaches to realtime control of the multidimensional parameter spaces in musical composition and performance, where the primary objective is to close the gap between human gestures and complex synthesis methods.

scholarly journals Creativity and Innovation of Artist in Maintaining and Developing the Songah Tradition Art

2020 ◽  
Vol 20 (2) ◽  
pp. 213-222
Author(s):  
Ridwan Ridwan ◽  
Tati Narawati ◽  
Uus Karwati ◽  
Yudi Sukmayadi
Keyword(s):  
Creative Process ◽  
Positive Impact ◽  
Musical Instrument ◽  
Musical Instruments ◽  
Musical Composition ◽  
Traditional Art ◽  
The People ◽  
The Times ◽  
Traditional Arts ◽  
Creativity And Innovation

Songah is one of the traditional arts originating from Citengah Village, Sumedang Regency. This art was formed from the creativity and innovation of the people of Citengah Village, Sumedang Regency to maintain the existence of traditional arts. Based on concern and love for their culture, the community continues to make reforms so that the existence of the songah art is maintained and can keep up with the times. This study aims to describe and analyze the creativity and innovation of society in utilizing existing natural resources as an effort to maintain and develop the songah traditional art. Through a qualitative approach and descriptive methods, the researchers reveal the creative process carried out by the people of Citengah Village in maintaining and developing the songah art. This study’s data were collected through observation, interviews, and strengthened by a literature review, which was then analyzed using descriptive qualitative techniques. The results showed that the creativity of the people of Citengah Village in maintaining and developing the songah traditional art can be seen in the aspects of natural resource management in the area. The community changed songong, which is a means of blowing fire in a furnace (Sundanese: Hawu), into an art tool called songah (songsong Citengah/songong kabungah). As a musical instrument having no tone, people who are members of the community collaborate songsong with other musical instruments to produce a unique musical composition. The development of the s art cannot be separated from the innovation of the community that collaborates songah with other musical instruments. This has a positive impact on the songah art so that it can be side by side and not less competitive with other traditional arts, including arts originating from abroad. Based on the results of existing research, the development of community’s creativity and innovation in maintaining the existence of art needs to be done continuously to anticipate being alienated and the loss of traditional arts.

scholarly journals The Musical Synthesizer

ICONI ◽  
2019 ◽  
pp. 111-129
Author(s):  
Irina B. Gorbunova ◽  
Keyword(s):  
Detailed Examination ◽  
Musical Instruments ◽  
Stages Of Development ◽  
Musical Sound ◽  
Musical Practice ◽  
Computer Technologies ◽  
Musical Sounds

The various aspects of formation and development of the musical instrumentarium disclose the main regular occurrences of functioning of musical instruments as synthesizers of musical sound in all its diversity, from the sources of their formation to the contemporary stage of the present process. In the fi rst lecture, “The Architectonics of Musical Sound” there was detailed examination of the particularities of the structure, the diversity and the various interpretations of the concept of “musical sound,” as well as the connection with the contemporary technical possibilities of notation, preservation and elaboration of musical sounds. In the present lecture the author turns to the main stages of evolution of the concept of “musical sound,” which refl ects the changes of sound material itself during the course of development of musical practice. The emergence of new musical instruments or musical synthesizers, according to the authorial conception, is stipulated by two main reasons. The fi rst of them is musicians’ aspirations of enriching the palette of their musical artistry. The second reason is connected with the historical perfections of the musical instrumentarium, which in its construction aspires to rely on contemporary achievements of science and technique in the domain of creation of sound. The level of development of contemporary program and machinery means of musical computer technologies (MCT) makes it possible to model diverse stages of development of systems of musical sounds.

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