scholarly journals Perceiving Sound Objects in the Musique Concrète

2021 ◽  
Vol 12 ◽  
Author(s):  
Rolf Inge Godøy
Keyword(s):  
Research Effort ◽  
Musical Instruments ◽  
Music Notation ◽  
Psychology Research ◽  
Abstract Concepts ◽  
Music Psychology ◽  
Recorded Sound ◽  
Sound Objects ◽  
Music Theorist ◽  
Musique Concrete

In the late 1940s and early 1950s, there emerged a radically new kind of music based on recorded environmental sounds instead of sounds of traditional Western musical instruments. Centered in Paris around the composer, music theorist, engineer, and writer Pierre Schaeffer, this became known as musique concrète because of its use of concrete recorded sound fragments, manifesting a departure from the abstract concepts and representations of Western music notation. Furthermore, the term sound object was used to denote our perceptual images of such fragments. Sound objects and their features became the focus of an extensive research effort on the perception and cognition of music in general, remarkably anticipating topics of more recent music psychology research. This sound object theory makes extensive use of metaphors, often related to motion shapes, something that can provide holistic representations of perceptually salient, but temporally distributed, features in different kinds of music.

scholarly journals SEMPRE Autumn 2020 Conference: The Role of Music Psychology Research in a Complex World

2020 ◽  
Vol 3 ◽  
pp. 205920432097712
Author(s):  
Melissa L. Kirby
Keyword(s):  
Music Education ◽  
Complex World ◽  
Psychology Research ◽  
Music Psychology ◽  
The University

Each year, the Society for Education, Music and Psychology Research (SEMPRE) hosts two conferences, covering a range of themes within music education and psychology research. The Autumn 2020 conference took place on September 9–11. The theme of the conference was ‘The role of music psychology research in a complex world: Implications, applications, and debates’; a particularly appropriate theme given the complex and challenging nature of 2020. Owing to the COVID-19 pandemic, this conference was hosted virtually by the University of Leeds. This report provides an overview of the conference, reflects on its key themes, and discusses the opportunities and challenges of online conferencing.

scholarly journals A Hardware-Oriented Algorithm for Real-Time Music Key Signature Recognition

2021 ◽  
Vol 11 (18) ◽  
pp. 8753
Author(s):  
Paulina Kania ◽  
Dariusz Kania ◽  
Tomasz Łukaszewicz
Keyword(s):  
Real Time ◽  
Subject Matter ◽  
Musical Instrument ◽  
Musical Instruments ◽  
Music Notation ◽  
The Real ◽  
Chromatic Scale ◽  
Preludes And Fugues ◽  
Signature Recognition ◽  
The Subject

The algorithm presented in this paper provides the means for the real-time recognition of the key signature associated with a given piece of music, based on the analysis of a very small number of initial notes. The algorithm can easily be implemented in electronic musical instruments, enabling real-time generation of musical notation. The essence of the solution proposed herein boils down to the analysis of a music signature, defined as a set of twelve vectors representing the particular pitch classes. These vectors are anchored in the center of the circle of fifths, pointing radially towards each of the twelve tones of the chromatic scale. Besides a thorough description of the algorithm, the authors also present a theoretical introduction to the subject matter. The results of the experiments performed on preludes and fugues by J.S. Bach, as well as the preludes, nocturnes, and etudes of F. Chopin, validating the usability of the method, are also presented and thoroughly discussed. Additionally, the paper includes a comparison of the efficacies obtained using the developed solution with the efficacies observed in the case of music notation generated by a musical instrument of a reputable brand, which clearly indicates the superiority of the proposed algorithm.

Metaphors in Conceptual Design

2007 ◽  
Author(s):  
Jonathan H. G. Hey ◽  
Alice M. Agogino
Keyword(s):  
Design Process ◽  
Research Effort ◽  
User Needs ◽  
Concept Generation ◽  
Abstract Concepts ◽  
Design Concepts ◽  
Overall Design ◽  
The Core ◽  
Computer Interfaces ◽  
The Impact

A metaphor allows us to understand one concept in terms of another, enriching our mental imagery and imbuing concepts with meaningful attributes. Metaphors are well studied in design, for example, in branding, communication and the design of computer interfaces. Less well appreciated is that our understanding of fundamental design concepts, including design itself, is metaphorical. When we treat design as a process of exploration or when we get together to “bounce ideas off each other” we understand the abstract concepts of design and ideas metaphorically; ideas don’t literally bounce, nor are we literally exploring when we design. Our research is a descriptive study of the metaphors employed in design. It is the first phase in a longer research effort to understand the impact of design metaphors on creativity. We investigated whether design authors employed different metaphors for the overall design process and consequently for core design concepts. To address this hypothesis we analyzed the language used in the concept generation chapters of nine widely used engineering design textbooks. We coded each metaphorical phrase, such as “finding another route to a solution”, and determined the core metaphors in use for common design concepts including, ideas, problems, solutions, concepts, design, the design process, user needs and others. We confirmed that authors with differing views of design do indeed emphasize different metaphors for core design concepts. We close by discussing the implications of some common metaphors, in particular that Ideas Are Physical Objects.

The mystical music of Jean Gerson

1981 ◽  
Vol 1 ◽  
pp. 187-201 ◽  
Author(s):  
Joyce L. Irwin
Keyword(s):  
Fifteenth Century ◽  
Musical Instruments ◽  
Literal Meaning ◽  
Vocal Cords ◽  
Late Medieval ◽  
Modern Reader ◽  
Music Theorist

With some justification musicologists have virtually ignored the group of writings by the Parisian chancellor Jean Gerson (1363–1429) entitled De canticis. The title notwithstanding, these three treatises, written between 1423 and 1426, provide much more commentary on the affects of the soul than on the effects of the vocal cords. Gerson, a reform-minded mystical theologian active at the Council of Constance, had no intention of becoming a music theorist; at times in these treatises he explicitly precludes any explanation of technical musical terms. Though many such terms are used, the reader is presumed to understand their literal meaning. It is the allegorical meaning that Gerson purports to explicate. Indeed the allegorical level is the most appropriate one for treating musical instruments, for the organ is virtually the only instrument from biblical times that was still used in late-medieval churches. Yet by the fifteenth century the treatment of instruments as symbols of states of the soul had long been commonplace, and Gerson fails to arouse new interest. Even less attractive to the modern reader is the spiritualisation of Guido's hexachord. By deleting one of the As (by changing fa to mi in mutation from soft to hard hexachords), the six syllables ut, re, mi, fa, sol, la can be reduced to the five vowels A, E, I, O, U, which in turn signify the five primary affections or emotions: joy, hope, compassion, fear, sorrow.

scholarly journals Making a Difference with Music Psychology Research: Strategy, Serendipity, and Surviving a Global Pandemic

2021 ◽  
Vol 4 ◽  
pp. 205920432110500
Author(s):  
Alexandra Lamont
Keyword(s):  
Research Strategy ◽  
Psychology Research ◽  
Music Psychology ◽  
The Arts ◽  
Global Pandemic ◽  
Grant Applications ◽  
Making A Difference ◽  
The Many ◽  
Recent Project ◽  
The Uk

The COVID-19 pandemic has forced researchers around the globe in every discipline imaginable into a position, where they have to provide justification for the relevance of their work. This represents a sharp acceleration in an underlying trend toward demonstrating greater impact for research, as evidenced in the UK by assessments such as Pathways to Impact statements in grant applications and Research Excellence Framework (REF) Impact Case Studies. Music psychology is ideally positioned at the nexus of a number of different larger fields to afford strategic relevance of some kind, and some work is more obviously placed to do so, such as the many intervention projects harnessing instrumental benefits of music which are explicitly designed to improve people’s lives. However, I argue that the fundamental power of music (in and of itself as well as in other areas) provides everyone in the field with inherent potential impact. Using the case study of a recent project, I am leading on people’s favorite music choices, which turned into something of value to many of its participants almost overnight, I illustrate how serendipity can be developed into strategy. Drawing on insights from analysis of people’s accounts of their favorite music, I show how the fundamental premise that music matters to people gives music psychology research a head start in its quest for relevance, placing this in wider debates about the relevance of music, the arts, and culture to post-COVID-19 life.

scholarly journals Filtering Sinyal Menggunakan Band Pass Filter

2019 ◽  
Vol 1 (1) ◽  
pp. 66-69
Author(s):  
Ayu Novira
Keyword(s):  
Sound Quality ◽  
Musical Instruments ◽  
Analog Filters ◽  
Band Pass Filter ◽  
Frequency Range ◽  
Pass Filter ◽  
Iir Filter ◽  
Recorded Sound ◽  
Solid Objects ◽  
Band Pass

Sound is a signal or wave that propagates with a certain frequency and amplitude through intermediary media that are delivered such as water, air and solid objects. Humans can communicate with other humans with sound. But the sound that is released by humans, musical instruments, or other objects does not always sound clear and good, some of the recorded sound has a lot of noise which makes the sound quality is disturbed and not good. The solution for making sound in an object better and cleaner is filtering. [2]. Filters can be interpreted as a circuit that passes a certain frequency band desired and dampens other frequency bands. Filters are divided into two types, namely analog filters and digital filters. According to the impulse response the digital filter is divided into two, namely the Infinite Impulse Filter (IIR) filter and the Finite Impulse Filter (FIR) filter. In this study a filtering process will be carried out on the sound of the guitar. The filter used is the Band Pass Filter, a filter that can be used to isolate or filter certain frequencies in a particular band or frequency range.

scholarly journals Recognition of Beam's Music Notation Patterns Using Artificial Neural Networks with The Backpropagation Method

2019 ◽  
Vol 3 (1) ◽  
pp. 41
Author(s):  
John Pierre Haumahu
Keyword(s):  
Neural Network ◽  
Neural Networks ◽  
Artificial Neural Network ◽  
System Development ◽  
Musical Instruments ◽  
Music Notation ◽  
Learning Method ◽  
Backpropagation Method ◽  
Artificial Neural ◽  
Numerical Notation

<p class="8AbstrakBahasaIndonesia"><span>The beam notations is officially used as the standard of international music notation, and is often found in scores for both musical instruments and vocals. In Indonesia, the use of numerical notation is more widely used and understood, because the learning process of notation beams is not easy, and takes time for the introduction of each symbol and its meaning. The pattern recognition technology makes it possible to recognize the pattern of the beam notations. The software used for system development is Matlab, utilizing artificial neural network using backpropagation method to recognize the pattern of beam notation. Backpropagation is a supervised learning method, where the system will be given the training first, and then the system can understand and identify patterns based on the knowledge gained. The final result shows that the system is able to recognize patterns from notations that have been previously studied with the highest percentage of 91.20%.</span></p>

Translating Transformations: Object-Based Sound Installations

2013 ◽  
Vol 23 ◽  
pp. 65-69 ◽  
Author(s):  
Ethan Rose
Keyword(s):  
Musical Instruments ◽  
Sound Art ◽  
Musical Performance ◽  
Recording Studio ◽  
Sound Installation ◽  
Sound Reproduction ◽  
Recorded Sound ◽  
Absolute Music ◽  
Object Based ◽  
Distinct Category

This paper defines the object-based sound installation as a distinct category of sound art that emerges from the intersection of live musical performance and the sonic possibilities of the recording studio. In order to contextualize this emergent category, connections are drawn among the rationalization of the senses, automated musical instruments, the lineage of recorded sound and the notion of absolute music. This interwoven history provides the necessary backdrop for the interpretation of three major works by Steven Reich, Alvin Lucier and Zimoun. These respective pieces are described in order to elucidate the ways in which object-based sound installations introduce embodied visibility into the transformative gestures of sound reproduction.

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