Pub Date : 2020-11-04DOI: 10.1080/09298215.2020.1840596
R. Parncutt, D. Reisinger
In a representative historical database of musical scores, a sonority was defined at every onset in any voice. For eight trichords—major (047), minor (037), suspended (027), diminished (036), 015, 045, 025, 035—immediately preceding and following sonorities were analysed. Chroma prevalence profiles depended surprisingly little on century or temporal position—especially for major/minor trichords (cf. Krumhansl’s key profiles). Profiles for nine non-chord chromas per trichord were influenced more strongly by diatonic scales and 5th relationships than missing fundamentals (roots) or completion tones (tones that complete familiar tetrachords) according to predictions of simple models.
{"title":"Octave-generalized analysis of chord progressions: Diatonic/fifth relations, missing fundamentals, completion tones","authors":"R. Parncutt, D. Reisinger","doi":"10.1080/09298215.2020.1840596","DOIUrl":"https://doi.org/10.1080/09298215.2020.1840596","url":null,"abstract":"In a representative historical database of musical scores, a sonority was defined at every onset in any voice. For eight trichords—major (047), minor (037), suspended (027), diminished (036), 015, 045, 025, 035—immediately preceding and following sonorities were analysed. Chroma prevalence profiles depended surprisingly little on century or temporal position—especially for major/minor trichords (cf. Krumhansl’s key profiles). Profiles for nine non-chord chromas per trichord were influenced more strongly by diatonic scales and 5th relationships than missing fundamentals (roots) or completion tones (tones that complete familiar tetrachords) according to predictions of simple models.","PeriodicalId":16553,"journal":{"name":"Journal of New Music Research","volume":"50 1","pages":"52 - 73"},"PeriodicalIF":1.1,"publicationDate":"2020-11-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/09298215.2020.1840596","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45901458","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"计算机科学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-10-01DOI: 10.1080/09298215.2020.1826532
Shen Li, R. Timmers
Whether piano touch can influence piano timbre or not is a highly contested topic between acousticians and musicians. To gain insight into the ways in which pianists understand and use timbre, eight piano students were interviewed about their conceptualisation of timbre and ways of producing different timbres on the piano. Results indicate that pianists interpret timbre holistically as the overall sonic outcome and use embodied conceptualisations to produce timbre: expected/intended timbral effects are associated with corporeal experiences and the body and mind are strongly coupled in perception and production.
{"title":"Exploring pianists’ embodied concepts of piano timbre: An interview study","authors":"Shen Li, R. Timmers","doi":"10.1080/09298215.2020.1826532","DOIUrl":"https://doi.org/10.1080/09298215.2020.1826532","url":null,"abstract":"Whether piano touch can influence piano timbre or not is a highly contested topic between acousticians and musicians. To gain insight into the ways in which pianists understand and use timbre, eight piano students were interviewed about their conceptualisation of timbre and ways of producing different timbres on the piano. Results indicate that pianists interpret timbre holistically as the overall sonic outcome and use embodied conceptualisations to produce timbre: expected/intended timbral effects are associated with corporeal experiences and the body and mind are strongly coupled in perception and production.","PeriodicalId":16553,"journal":{"name":"Journal of New Music Research","volume":"49 1","pages":"477 - 492"},"PeriodicalIF":1.1,"publicationDate":"2020-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/09298215.2020.1826532","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41967626","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"计算机科学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-09-28DOI: 10.1080/09298215.2020.1824240
Anastasia Kolomiets, Y. Grobman, Vladimir V. Popov, Evgeny Strokin, G. Senchikhin, E. Tarazi
Titanium additive manufacturing (Ti-AM) is currently used for customized parts in medicine, aviation, and aerospace. The combination of superior mechanical and physical properties of titanium alloys, together with lightweight properties, seemed to be attractive also for other, large-scale consumer fields. However, the list of successful Ti-AM applications is still limited. Furthermore, in some areas where the potential of Ti-AM can be considered as especially valuable, no attempts had been found to use it. One such promising area is wind musical instruments. The current case study focused on the design and 3D-printing of titanium flute.
{"title":"The titanium 3D-printed flute: New prospects of additive manufacturing for musical wind instruments design","authors":"Anastasia Kolomiets, Y. Grobman, Vladimir V. Popov, Evgeny Strokin, G. Senchikhin, E. Tarazi","doi":"10.1080/09298215.2020.1824240","DOIUrl":"https://doi.org/10.1080/09298215.2020.1824240","url":null,"abstract":"Titanium additive manufacturing (Ti-AM) is currently used for customized parts in medicine, aviation, and aerospace. The combination of superior mechanical and physical properties of titanium alloys, together with lightweight properties, seemed to be attractive also for other, large-scale consumer fields. However, the list of successful Ti-AM applications is still limited. Furthermore, in some areas where the potential of Ti-AM can be considered as especially valuable, no attempts had been found to use it. One such promising area is wind musical instruments. The current case study focused on the design and 3D-printing of titanium flute.","PeriodicalId":16553,"journal":{"name":"Journal of New Music Research","volume":"50 1","pages":"1 - 17"},"PeriodicalIF":1.1,"publicationDate":"2020-09-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/09298215.2020.1824240","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43086976","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"计算机科学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-08-26DOI: 10.1080/09298215.2020.1810280
Victor Lazzarini
This paper introduces a method for computing the time-varying convolution in parallel. It discusses the motivations for this approach, detailing the limitations with the current serial implementation. A detailed review of the signal processing involved is presented, describing the time-varying filter as a modification of the time-invariant case. This is followed by description of the parallel method, which is then implemented in the Open Computing Language. An analysis of tests result is provided, detailing the improvements on the existing approach and noting the cases where it is not the most suitable option.
{"title":"Parallel computation of time-varying convolution","authors":"Victor Lazzarini","doi":"10.1080/09298215.2020.1810280","DOIUrl":"https://doi.org/10.1080/09298215.2020.1810280","url":null,"abstract":"This paper introduces a method for computing the time-varying convolution in parallel. It discusses the motivations for this approach, detailing the limitations with the current serial implementation. A detailed review of the signal processing involved is presented, describing the time-varying filter as a modification of the time-invariant case. This is followed by description of the parallel method, which is then implemented in the Open Computing Language. An analysis of tests result is provided, detailing the improvements on the existing approach and noting the cases where it is not the most suitable option.","PeriodicalId":16553,"journal":{"name":"Journal of New Music Research","volume":"49 1","pages":"403 - 415"},"PeriodicalIF":1.1,"publicationDate":"2020-08-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/09298215.2020.1810280","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49405774","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"计算机科学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-08-24DOI: 10.1080/09298215.2020.1806887
Daniel Gómez-Marín, S. Jordà, P. Herrera
This paper reports on the design and evaluation of drum rhythm spaces as interactive bi-dimensional maps used for the visualisation, retrieval and generation of drum patterns. We carry out two experiments exploring human processing of polyphonic drum patterns concluding with a list of descriptors that significantly influence similarity sensations. These features are used to build spaces based on drum pattern collections, where patterns are organised by similarity, modelled according to human perception. A drum-interpolation algorithm is introduced (and evaluated) to enhance rhythm space functionality by means of patterns that bound it, converting a discrete space to a continuous generative one.
{"title":"Drum rhythm spaces: From polyphonic similarity to generative maps","authors":"Daniel Gómez-Marín, S. Jordà, P. Herrera","doi":"10.1080/09298215.2020.1806887","DOIUrl":"https://doi.org/10.1080/09298215.2020.1806887","url":null,"abstract":"This paper reports on the design and evaluation of drum rhythm spaces as interactive bi-dimensional maps used for the visualisation, retrieval and generation of drum patterns. We carry out two experiments exploring human processing of polyphonic drum patterns concluding with a list of descriptors that significantly influence similarity sensations. These features are used to build spaces based on drum pattern collections, where patterns are organised by similarity, modelled according to human perception. A drum-interpolation algorithm is introduced (and evaluated) to enhance rhythm space functionality by means of patterns that bound it, converting a discrete space to a continuous generative one.","PeriodicalId":16553,"journal":{"name":"Journal of New Music Research","volume":"49 1","pages":"438 - 456"},"PeriodicalIF":1.1,"publicationDate":"2020-08-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/09298215.2020.1806887","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47931973","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"计算机科学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-08-04DOI: 10.1080/09298215.2020.1797109
Fabian C. Moss, Willian Fernandes Souza, M. Rohrmeier
This corpus study constitutes the first quantitative style analysis of Choro, a primarily instrumental music genre that emerged in Brazil at the end of the 19th century. We evaluate its description in a recent comprehensive textbook by transcribing the chord symbols and formal structure of the 295 representative pieces in the Choro Songbook. Our approach uncovers central stylistic traits of this musical idiom on empirical grounds. It thus advances data-driven musical style analysis by studying both harmony and form in a musical genre that lies outside the traditional canon.
{"title":"Harmony and form in Brazilian Choro: A corpus-driven approach to musical style analysis","authors":"Fabian C. Moss, Willian Fernandes Souza, M. Rohrmeier","doi":"10.1080/09298215.2020.1797109","DOIUrl":"https://doi.org/10.1080/09298215.2020.1797109","url":null,"abstract":"This corpus study constitutes the first quantitative style analysis of Choro, a primarily instrumental music genre that emerged in Brazil at the end of the 19th century. We evaluate its description in a recent comprehensive textbook by transcribing the chord symbols and formal structure of the 295 representative pieces in the Choro Songbook. Our approach uncovers central stylistic traits of this musical idiom on empirical grounds. It thus advances data-driven musical style analysis by studying both harmony and form in a musical genre that lies outside the traditional canon.","PeriodicalId":16553,"journal":{"name":"Journal of New Music Research","volume":"49 1","pages":"416 - 437"},"PeriodicalIF":1.1,"publicationDate":"2020-08-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/09298215.2020.1797109","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44184134","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"计算机科学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-07-07DOI: 10.1080/09298215.2020.1784957
A. Kruger, J. P. Jacobs
Music instrument playing technique classification based on raw audio is a relatively unexplored area of music information retrieval research. This study systematically investigates the use of traditional audio features augmented by features based on the Hartley transform, used as input to a multiclass support vector machine (SVM) classifier, to identify up to 11 different playing techniques performed on each of the violin, viola, cello, and contrabass. Furthermore, 36- and 44-class joint instrument and playing technique classifiers were developed that achieved macro-average F-measures exceeding 0.88. Our approach expands and improves on the state-of-the-art study, which implemented sparse-coded magnitude and phase-derived spectral features.
{"title":"Playing technique classification for bowed string instruments from raw audio","authors":"A. Kruger, J. P. Jacobs","doi":"10.1080/09298215.2020.1784957","DOIUrl":"https://doi.org/10.1080/09298215.2020.1784957","url":null,"abstract":"Music instrument playing technique classification based on raw audio is a relatively unexplored area of music information retrieval research. This study systematically investigates the use of traditional audio features augmented by features based on the Hartley transform, used as input to a multiclass support vector machine (SVM) classifier, to identify up to 11 different playing techniques performed on each of the violin, viola, cello, and contrabass. Furthermore, 36- and 44-class joint instrument and playing technique classifiers were developed that achieved macro-average F-measures exceeding 0.88. Our approach expands and improves on the state-of-the-art study, which implemented sparse-coded magnitude and phase-derived spectral features.","PeriodicalId":16553,"journal":{"name":"Journal of New Music Research","volume":"49 1","pages":"320 - 333"},"PeriodicalIF":1.1,"publicationDate":"2020-07-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/09298215.2020.1784957","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42447795","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"计算机科学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-07-02DOI: 10.1080/09298215.2020.1784955
Felix Christian Thiesen, R. Kopiez, Daniel Müllensiefen, Christoph Reuter, Isabella Czedik-Eysenberg
In an online study, N = 517 participants rated 48 very short musical stimuli comprised of well-known pop songs with regard to arrangement parameters and cross-modal variables. Identification rates for songs and artists ranged between 0-7%. We observed associations between increasing stimulus durations as well as structural sections (chorus or verse) and detection rates. Analyses of the cross-modal variables revealed a main factor, representing the perceived ‘orderliness' of a plink as a strong predictor for title recognition. When psychoacoustic low-level features were entered, Spectral Entropy became the main predictor. The presence of a singing voice additionally seemed to facilitate recognition processes.
{"title":"Duration, song section, entropy: Suggestions for a model of rapid music recognition processes","authors":"Felix Christian Thiesen, R. Kopiez, Daniel Müllensiefen, Christoph Reuter, Isabella Czedik-Eysenberg","doi":"10.1080/09298215.2020.1784955","DOIUrl":"https://doi.org/10.1080/09298215.2020.1784955","url":null,"abstract":"In an online study, N = 517 participants rated 48 very short musical stimuli comprised of well-known pop songs with regard to arrangement parameters and cross-modal variables. Identification rates for songs and artists ranged between 0-7%. We observed associations between increasing stimulus durations as well as structural sections (chorus or verse) and detection rates. Analyses of the cross-modal variables revealed a main factor, representing the perceived ‘orderliness' of a plink as a strong predictor for title recognition. When psychoacoustic low-level features were entered, Spectral Entropy became the main predictor. The presence of a singing voice additionally seemed to facilitate recognition processes.","PeriodicalId":16553,"journal":{"name":"Journal of New Music Research","volume":"49 1","pages":"334 - 348"},"PeriodicalIF":1.1,"publicationDate":"2020-07-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/09298215.2020.1784955","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46745704","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"计算机科学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-07-02DOI: 10.1080/09298215.2020.1784958
Teri Slade, G. Comeau, D. Russell
Body Mapping is becoming increasingly popular among musicians as an educational approach to improve bodily movement and thereby the audible quality of music performances. This study used MIDI data to quantitatively measure changes in scale and arpeggio piano performance one day before and one day after a Body Mapping workshop. While there were subtle changes in the MIDI data, these changes were generally neither statistically significant, nor a magnitude that would be audible. Based on these findings, we theorise that reports of immediate improvements to music performance originate in visual dominance: audience members observe changes in bodily movement and perceive this as improved sound quality.
{"title":"Measurable changes in piano performance of scales and arpeggios following a Body Mapping workshop","authors":"Teri Slade, G. Comeau, D. Russell","doi":"10.1080/09298215.2020.1784958","DOIUrl":"https://doi.org/10.1080/09298215.2020.1784958","url":null,"abstract":"Body Mapping is becoming increasingly popular among musicians as an educational approach to improve bodily movement and thereby the audible quality of music performances. This study used MIDI data to quantitatively measure changes in scale and arpeggio piano performance one day before and one day after a Body Mapping workshop. While there were subtle changes in the MIDI data, these changes were generally neither statistically significant, nor a magnitude that would be audible. Based on these findings, we theorise that reports of immediate improvements to music performance originate in visual dominance: audience members observe changes in bodily movement and perceive this as improved sound quality.","PeriodicalId":16553,"journal":{"name":"Journal of New Music Research","volume":"49 1","pages":"362 - 372"},"PeriodicalIF":1.1,"publicationDate":"2020-07-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/09298215.2020.1784958","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47845076","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"计算机科学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-07-01DOI: 10.1080/09298215.2020.1784959
Hee-Suk Pang, Jun-Seok Lim, Seokjin Lee
Vibrato is one of the most common musical techniques used for the enrichment of vocal and musical instrument sounds. We propose a method that can analyse the intonation, vibrato rate, and vibrato extent of a vibrato tone as a function of time, which is based on the discrete Fourier transform of its fundamental frequency trajectory. According to experimental results, the proposed method is robust to the irregularities in the fundamental frequency trajectory. In addition, the proposed method provides different results for intonation and vibrato extent from those of Prame’s method when the fundamental frequency trajectory is not perfectly sinusoidal.
{"title":"Discrete Fourier transform-based method for analysis of a vibrato tone","authors":"Hee-Suk Pang, Jun-Seok Lim, Seokjin Lee","doi":"10.1080/09298215.2020.1784959","DOIUrl":"https://doi.org/10.1080/09298215.2020.1784959","url":null,"abstract":"Vibrato is one of the most common musical techniques used for the enrichment of vocal and musical instrument sounds. We propose a method that can analyse the intonation, vibrato rate, and vibrato extent of a vibrato tone as a function of time, which is based on the discrete Fourier transform of its fundamental frequency trajectory. According to experimental results, the proposed method is robust to the irregularities in the fundamental frequency trajectory. In addition, the proposed method provides different results for intonation and vibrato extent from those of Prame’s method when the fundamental frequency trajectory is not perfectly sinusoidal.","PeriodicalId":16553,"journal":{"name":"Journal of New Music Research","volume":"49 1","pages":"307 - 319"},"PeriodicalIF":1.1,"publicationDate":"2020-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/09298215.2020.1784959","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45539528","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"计算机科学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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