| 1. |
- Watanabe, A, et al.
(författare)
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Gunnar Fant 60 years
- 1979
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Ingår i: TMH-QPSR. ; 20:2, s. 1-45
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Tidskriftsartikel (refereegranskat)
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| 2. |
- Galembo, A., et al.
(författare)
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Effects of relative phases on pitch and timbre in the piano bass range
- 2001
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Ingår i: Journal of the Acoustical Society of America. - : Acoustical Society of America (ASA). - 0001-4966 .- 1520-8524. ; 110:3, s. 1649-1666
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Tidskriftsartikel (refereegranskat)abstract
- Piano bass tones raise questions related to the perception of multicomponent, inharmonic tones. In this study, the influence of the relative phases among partials on pitch and timbre was investigated for synthesized bass tones with piano-like inharmonicity. Three sets of bass tones (A0 = 27.5 Hz, 100 partials, flat spectral envelope) were generated; harmonic, low inharmonic, and high inharmonic. For each set, five starting phase relations among partials were applied; sine phases, alternate (sine/cosine) phases, random phases, Schroeder phases, and negative Schroeder phases. The pitch and timbre of the tones were influenced markedly by the starting phases. Listening tests showed that listeners are able to discriminate between tones having different starting phase relations, and also that the pitch could be changed by manipulating the relative phases (octave, fifth, major third). A piano-like inharmonicity gives a characteristic randomizing effect of the phase relations over time in tones starting with nonrandom phase relations. A measure of the regularity of the phase differences between adjacent partials is suggested for quantifying this randomization process. The observed phase effects might be of importance in synthesizing, recording, and reproducing piano music.
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| 3. |
- Galembo, A., et al.
(författare)
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Perceptual relevance of inharmonicity and spectral envelope in the piano bass range
- 2004
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Ingår i: Acta Acoustica united with Acustica. - 1610-1928 .- 1861-9959. ; 90:3, s. 528-536
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Tidskriftsartikel (refereegranskat)abstract
- Professionals consider the differences in the timbre of bass tones between large grand pianos and small uprights as significant. By tradition this difference has been attributed mainly to lower inharmonicity in grand pianos, due to longer bass strings. In this study, the importance of the spectral envelope, representing the dynamic balance between high-frequency and low-frequency energy in the spectrum, is contrasted against the importance of the level of inharmonicity. Results from two listening tests indicate that the inharmonicity is less important than the spectrum bandwidth in determining the timbre of piano bass tones.
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| 4. |
- Raptis, S., et al.
(författare)
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IMUTUS – An effective practicing environment for music tuition
- 2005
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Ingår i: Proc. of International Computer Music Conference (ICMC 2005). - : International Computer Music Association. ; , s. 383-386
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Konferensbidrag (refereegranskat)abstract
- This paper presents some major results from the IMUTUS project. IMUTUS was an RTD project that aimed at the development of an open platform for training students on the recorder. The paper focuses on one of the most important and innovative parts of the IMUTUS system, the practicing environment. This environment integrates technological tools for the automatic analysis and evaluation of student performances along with enhanced interaction schemes to provide an effective approach to music learning. Testing and validation activities that have been carried out indicate that the IMUTUS approach is appreciated by both students and teacher, and that it clearly has a strong potential.
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| 5. |
- Askenfelt, Anders, et al.
(författare)
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Study of the spectral inharmonicity of musical sound by the algorithms of pitch extraction
- 2000
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Ingår i: Acoustical Physics. - : Pleiades Publishing Ltd. - 1063-7710 .- 1562-6865. ; 46:2, s. 121-132
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Tidskriftsartikel (refereegranskat)abstract
- The algorithms of pitch extraction are widely used in the studies of signals and, specifically, speech signals for the determination of the fundamental frequency. From the previous studies performed by Galembo and the calculations and experiments described in this paper, it follows that these methods can be adapted for the analysis and evaluation of the factors which form the sound property called pitch strength, pitch salience, or intonation clarity. Although this property plays an important role in music, it is quite poorly investigated. One of the aforementioned factors is represented by the distributed spectral inharmonicity which is typical of sounds produced, e.g., by strings. This paper presents a method of visualization, evaluation, and measurement of the inharmonicity of the spectrum of a musical sound with the help of the well-known algorithms of pitch extraction, namely the cepstrum and the harmonic product spectrum.
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| 6. |
- Galembo, A. S., et al.
(författare)
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Overlapping of sounds in piano passages
- 2006
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Ingår i: Acoustical Physics. - : Pleiades Publishing Ltd. - 1063-7710 .- 1562-6865. ; 52:2, s. 144-150
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Tidskriftsartikel (refereegranskat)abstract
- It is well known that, in piano passages, specifically, in those played legato, sounds may overlap in time. Our experiments show that this overlapping is much greater than one would expect proceeding from the undistorted pitch perception in a given phrase. Moreover, the sounds produced by piano and perceived by a listener as clearly distinguished in pitch, when subjected to an objective analysis, may prove to be a mixture of equally intense components of the preceding and next sounds. This phenomenon is related to the problem of piano quality, including the still unclarified role of the damper system, as well as to the mysterious manifestation of pianist's personality that is called the art of touch.
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| 7. |
- Guettler, K., et al.
(författare)
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An in-depth analysis of the double bass to stage floor contact
- 2008
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Ingår i: Proc. of Auditorium Acoustics 2008, 3-5 October 2008, Oslo, Norway. - : Institute of Acoustics. - 9781605605395 ; , s. 37-44
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Konferensbidrag (övrigt vetenskapligt/konstnärligt)abstract
- While double bassists claim the importance of compliant floors for producing a warm and nuanced sound, the scarce research focusing on this topic has left few conclusions. In the mean time stage floors are constructed with great spread in design and conviction. In the present project floors of several halls were analysed, including the Oslo Concert Hall and Oslo's new Opera House. It was found that in the range where the double bass radiates poorly, i.e., below 100 Hz, and in particular below its Helmholtz resonance at ca 60 Hz, a favourable coupling can take place when the floor is compliant. In such cases the velocity transfer from the instrument's bridge to the floor (via the corpus and end pin) may often rise significantly above zero dB. The coupling, bass to floor, was also seen to affect the bridge mobility and thus the playing properties of the instrument. In the same frequency range the power transfer was observed to boost from about 3 to 40%. It remains to investigate how noticeable this effect is to the audience. Our measurements indicate, however, that a coupling to the stage floor can make an audible difference to the player.
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| 8. |
- Guettler, K., et al.
(författare)
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Double basses on the stage floor : Tuning fork–table top effect or not?
- 2012
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Ingår i: Journal of the Acoustical Society of America. - : Acoustical Society of America (ASA). - 0001-4966 .- 1520-8524. ; 131:1, s. 795-806
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Tidskriftsartikel (refereegranskat)abstract
- The question whether or not double basses can benefit from a compliant and radiating stage floor in the low end of their tonal register, similar to the well-known tuning fork–tabletop effect, was examined through field experiments in five concert halls. The topic comprises several aspects: (1) How well the mechanical impedances of double basses and the stage floor match, (2) amount of vibration velocity transmitted to the floor through the end pin of the bass, and (3) radiation efficiency of point-excited bending waves in the stage floor far below the coincidence frequency. Each aspect represents a prerequisite for the tuning fork–tabletop effect to take place. The input impedance at the end pin was measured for three representative double basses. The stage floors of five orchestra halls were measured with respect input impedance and damping, while sound radiation to the audience area was measured for two of them. In Lindeman Hall, Oslo, all conditions for the tuning fork–tabletop effect to take place were clearly met. The contribution from the stage-floor radiation to the sound pressure level in the audience area was found to be about 5 dB between 40 and 60 Hz, and even higher between 30 and 40 Hz.
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| 9. |
- Guettler, K., et al.
(författare)
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Double basses on the stage floor
- 2007
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Ingår i: Proc. of International Symposium on Musical Acoustics (ISMA 2007), September 9-21, 2007, Barcelona, Spain. ; , s. paper 3-P1
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Konferensbidrag (övrigt vetenskapligt/konstnärligt)
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| 10. |
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