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.

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 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 A survey to investigate advanced musicians’ flow disposition in individual music practice

2018 ◽  
Vol 37 (1) ◽  
pp. 107-117 ◽  
Author(s):  
Marcos V. Araújo ◽  
Christopher F. Hein
Keyword(s):  
Teaching And Learning ◽  
Task Complexity ◽  
Daily Practice ◽  
Musical Instrument ◽  
Musical Instruments ◽  
Musical Practice ◽  
Music Practice ◽  
Loss Of Self ◽  
Practice Experience ◽  
Practice Time

This study explored advanced musicians’ dispositions to flow in musical practice. A total of 168 classically trained musicians answered a questionnaire assessing their proneness for flow experience during musical practice and associations between flow and demographic factors, practice routines and musical instruments. Dispositions to flow in musical practice did not vary across musical instrument groups, age or gender. Positive associations were found between daily practice time and flow, suggesting that flow may contribute to engagement with daily practice. Negative associations between music practice experience and loss of self-consciousness and challenge–skill balance were found, suggesting that even among experts the level of task complexity during practice may affect perceptions of competence. While six individual flow indicators were frequently experienced, three indicators were much less experienced, pointing to the existence of another similar relevant experience in the practice of expert performers, named as optimal practice experience. The article finishes with implications regarding the benefits of flow for teaching and learning practices.

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.

Human and Musical Sounds and Their Hearing Elsewhere as a Literary Device in the Biblical Narratives

2010 ◽  
Vol 60 (4) ◽  
pp. 565-570 ◽  
Author(s):  
Isaac Kalimi
Keyword(s):  
Hebrew Bible ◽  
Musical Instruments ◽  
Biblical Narratives ◽  
Literary Device ◽  
Musical Sounds ◽  
Succession Narrative ◽  
Ark Narrative

AbstractThe biblical narrators utilize sounds of musical instruments and/or human voices being raised emotionally and their being heard someplace else as a literary tool and transitioning the reader from one place or group of people to another. The article discusses this literary tool as it appears in a number of narratives in the Hebrew Bible (namely, the Joseph Story, Ark Narrative, Throne Succession Narrative, Deuteronomistic and Chronistic histories, as well as the book of Ezra), and its effects.

Mimetic Instrumental Resynthesis

2015 ◽  
Vol 20 (2) ◽  
pp. 231-240 ◽  
Author(s):  
James O’Callaghan
Keyword(s):  
Electroacoustic Music ◽  
Computer Assisted ◽  
Musical Practice ◽  
Field Recordings ◽  
Acoustic Instruments ◽  
The Common ◽  
Musical Sounds

This article provides a brief survey of composition in which field recordings or other referential sounds are transcribed for acoustic instruments. Through a discussion of how electroacoustic music and scholarship have conceptualised the notion of mimesis, and how various forms of contemporary acoustic music have adopted electroacoustic techniques, it identifies a recent musical practice in which these concerns are brought together. The article proposes the term mimetic instrumental resynthesis as a way of describing the common threads behind works that employ electronic-assisted or computer-assisted techniques towards instrumental imitations of environmental and extra-musical sounds. The article also highlights some of the conceptual and aesthetic questions emerging from such a practice, including the idea of transformation, issues of referentiality, listening, the influence of different technologies and their aesthetic implications, and the tension between abstract and concrete conceptions of the works discussed. Finally, the article raises concerns surrounding the language of discussing what is necessarily an interdisciplinary venture.

FRACTAL ANALYSIS OF DIFFERENT EASTERN AND WESTERN MUSICAL INSTRUMENTS

Fractals ◽  
2006 ◽  
Vol 14 (03) ◽  
pp. 165-170 ◽  
Author(s):  
ATIN DAS ◽  
PRITHA DAS
Keyword(s):  
Time Series ◽  
Spectral Analysis ◽  
Fractal Dimension ◽  
Time Series Data ◽  
Musical Instruments ◽  
Series Data ◽  
Data Sets ◽  
Different Types ◽  
Frequency Regime ◽  
Musical Sounds

In this paper, we attempt musical analysis by measuring fractal dimension (D) of musical pieces played by several musical instruments. We collected solo performances of popular instruments of Western and Eastern origin as samples. We attempted usual spectral analysis of the selected clips to observe peaks of fundamental and harmonics in frequency regime. After appropriate processing, we converted them into time series data sets and computed their fractal dimension. Based on our results, we conclude that instrumental musical sounds may have higher Ds than those computed from vocal performances of different types of Indian songs.

scholarly journals The role of musical instruments in the globalization of music

Comunicar ◽  
2010 ◽  
Vol 17 (34) ◽  
pp. 83-89
Author(s):  
Kazadi wa-Mukuma
Keyword(s):  
Cultural Values ◽  
Computer Games ◽  
Musical Instruments ◽  
Cultural Interaction ◽  
Global Community ◽  
Language And Culture ◽  
The World ◽  
The Creation ◽  
Musical Sounds ◽  
Different Cultures

In recent years, the term «globalization» has become a catchword in many languages. It is an open-ended process that implies different levels of unification. In music, attempts have been made by individual and collectively by artists from different cultures in the world. In each case, the process has been focused on the unification of musical sounds that can be identified within the global community. Technology is successful with the duplication of sounds of musical instruments for computer games, but the creation of zones of cultural interaction as defined by actual musical instruments is presenting challenges with the unification of cultural values into one global community. In music, globalization implies «world music» that is articulated as a hybrid product. The process of globalization is readily realized electronically, with sounds of musical instruments, but the creation of zones of cultural interaction, with the same musical instruments, will require a mixture of configuration of factors ranging from ecology to language and cultural manifestation. The objective of zones of cultural interaction is not to unify style of music, but through globalization is the sharing of actual musical instruments. To accomplish this objective, geographic spaces will have to surmount the globalization of the world ecology, language, and culture. En los últimos años, el término «globalización» se ha convertido en una palabra clave para muchas lenguas. Con él se hace referencia a un proceso abierto que implica diferentes niveles de unificación. En el campo de la música, han participado en él, tanto de forma individual como colectiva, artistas de diferentes culturas del mundo. En todos los casos, el proceso se ha centrado en la unificación de sonidos musicales que puedan identificarse por una comunidad global. En este sentido, la tecnología ha conseguido con éxito duplicar los sonidos de los instrumentos musicales para los videojuegos, pero la creación de zonas de interacción cultural, como las definidas por los instrumentos musicales actuales, se enfrenta a una serie de retos derivados de la unificación de los valores culturales en una comunidad global. El proceso de globalización se puede desarrollar fácilmente de manera electrónica con sonidos de instrumentos musicales, la creación de las zonas de interacción cultural con los mismos instrumentos musicales necesitará que se den además una serie de factores, que van desde lo ecológico hasta lo lingüístico y cultural. El principal objetivo de las zonas de interacción cultural no es el de unificar el estilo de música, sino el de compartir los instrumentos musicales actuales a través de la globalización. Para cumplir este objetivo, los territorios en los que se produzca esa interacción tendrán que completar este proceso globalizador atendiendo a criterios ecológicos, lingüísticos y culturales.

scholarly journals Against Nature? or, Confessions of a Darwinian Modernist

2014 ◽  
Vol 75 ◽  
pp. 151-182
Author(s):  
Murray Smith
Keyword(s):  
Final Section ◽  
Aesthetic Experience ◽  
Classical Music ◽  
The Other ◽  
Musical Form ◽  
Musical Expression ◽  
Musical Sound ◽  
Musical Sounds ◽  
Western Classical Music ◽  
The Way

A few years ago I gave a paper on the aesthetics of ‘noise,’ that is, on the ways in which non-musical sounds can be given aesthetic shape and structure, and thereby form the basis of significant aesthetic experience. Along the way I made reference to Arnold Schoenberg's musical theory, in particular his notion ofKlangfarbenmelodie, literally ‘sound colour melody,’ or musical form based on timbre or tonal colour rather than on melody, harmony or rhythm. Schoenberg articulated his ideas aboutKlangfarbenmelodiein the final section of hisHarmonielehre(1911). ‘Pitch is nothing else but tone colour measured in one direction,’ wrote Schoenberg. ‘Now, if it is possible to create patterns out of tone colours that are differentiated according to pitch, patterns we call ‘melodies’…then it must also be possible to make such progressions out of the tone colours of the other dimension, out of that which we simply call “tone colour.”’ In other words, traditional melodies work by abstracting and structuring the dominant pitch characterizing a musical sound, while ‘sound colour melodies’ work, Schoenberg argues, by structuring the combined set of pitches contained in a given musical sound (the overtones as well as the dominant pitch). Schoenberg is emphatic that, although a neglected and underdeveloped possibility within Western classical music, ‘sound colour melody’ is a perfectly legitimate and viable form of musical expression; indeed for Schoenberg it is a musical form with enormous potential.

scholarly journals MUSICAL CREATION OF "HUMAN" AS A SENSE-MAKING SENSUOUS WAY OF FORMING A CULTURAL SPACE

2019 ◽  
pp. 53-57
Author(s):  
I. V. Zhyvohliadova
Keyword(s):  
Practical Experience ◽  
Sense Making ◽  
Human Being ◽  
Musical Sound ◽  
Musical Practice ◽  
Living Space ◽  
European Culture ◽  
Christian Culture ◽  
The World ◽  
Intersubjective Experience

The article analyzes the specificity of revealing anthropo-creative principles of European culture as a musical practice of humanity. If we under- stand culture as a source, space, and the result of the spiritually-practical experience of mankind, then music appears as a specific, holistic system of specification and representation of this experience, a phenomenon that reflected the uniqueness and depth of the humanity world, a specifically sensual way of joining an intersubjective experience of rhythmization and harmonization of the human being. The expressive possibilities of lan- guage means of music art are considered in the context of the overall process of making a musical sound of human living space, the development of artistic practices of worldview and the world perception of medieval Christian culture in particular.

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