Thematische Bibliographien / Parameters of a musical recording

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Auswahl der wissenschaftlichen Literatur zum Thema „Parameters of a musical recording“

Autor: Grafiati

Veröffentlicht am 28. Juni 2021

Zuletzt aktualisiert am 5. Februar 2022

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Zeitschriftenartikel zum Thema "Parameters of a musical recording"

Janata, Petr, und Hellmuth Petsche. „Spectral Analysis of the EEG as a Tool for Evaluating Expectancy Violations of Musical Contexts“. Music Perception 10, Nr. 3 (1993): 281–304. http://dx.doi.org/10.2307/40285571.

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The generation and updating of expectancies is a crucial process for our understanding and appreciation of music. We present evidence that the dynamic process of musical expectancy can be studied by using several electroencephalographic (EEG) parameters such as amplitude or coherence in various frequency bands between 1.5 and 31.5 Hz. At specific electrodes (amplitude parameter) or electrode pairs (coherence parameter), values of these parameters depend on how an established musical context is completed, that is, if the expectancy generated by the context is violated, the pattern of the brain's electrical activity differs significantly from when the expectancy is fulfilled. The various parameters are also sensitive to the ease with which subjects classify a musical resolution. In our study, musically trained subjects heard repeated trials consisting of cadence primes in various major keys and inversions. Each cadence resolved either to the tonic, the relative minor, or a chord based on the tonic of the most distantly related major key. The three resolutions represented the "best," an "ambiguous," and "worst" possible fulfillments of the expectancy (resolution to the tonic) generated by the priming cadence. In a "response" condition, subjects expressed a yes/no judgment of how well the resolution matched their expectancy of the best possible resolution; in a "no response" condition, subjects were asked to make the same judgment but no overt response was required. Analyses of variance snowed that reaction times, response accuracies, and some EEG parameters differed between the various resolutions. In addition to confirming that a form of expectancy operates in musical contexts, the results point towards the brain structures responsible for the processing of complex musical stimuli. In particular, EEG parameters changed not only at recording sites located above the auditory cortices, but also at sites above right frontal and parietal regions.

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Julien, Olivier. „Introducing students to musical technology: the case for reel-to-reel analog tape machines“. British Journal of Music Education 17, Nr. 2 (Juli 2000): 197–208. http://dx.doi.org/10.1017/s0265051700000255.

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Since their beginnings, popular music studies have relied primarily on disciplines such as sociology, anthropology and semiotics. However, the nineties saw the emergence of a generation of scholars whose knowledge of the recording studio led them to show a common interest in technological parameters, and to develop new tools for musicological analysis. This article describes the perspectives that their work offers within the realm of education.

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Gjerdingen, Robert O. „Shape and Motion in the Microstructure of Song“. Music Perception 6, Nr. 1 (1988): 35–64. http://dx.doi.org/10.2307/40285415.

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The early hopes for the Seeger melograph, a device for recording the pitch and intensity of vocal performances, have not been realized because musicologists found the graphic traces of pitch and intensity too difficult to interpret. In this article, proposals are advanced for redesigning the melograph to provide researchers with more symbolically meaningful information. This involves abandoning the notion of fully separable parameters, relaxing the constraint that representations be culturally neutral, and developing ways to represent musical motion qua motion. The discussion is illustrated with redesigned melograms drawn from analyses of a particularly florid excerpt of South- Indian singing. Comparisons between the performances of a South-Indian singer and the performances of two of her students suggest ways in which cultural conditioning can affect vocal performance.

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Grujić, Gordana, und Mladen Janković. „Tension and relaxation (do not) exist in dodecaphonic music of Webern“. Rasprave Instituta za hrvatski jezik i jezikoslovlje 44, Nr. 2 (2018): 423–36. http://dx.doi.org/10.31724/rihjj.44.2.6.

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Observing tension in music is generally a very sensitive research field. Authors like Wallace Berry and Joseph Swain believe that this is a principle which is the most fundamental aspect of music experience through its history, no matter which music language or compositional system it is. Starting from such general assumptions that it is possible to determine the parameters which affect the feeling of tension and relaxation in dodecaphonic music as well, the possibility of recording the closures that are the basis for the structural delineation of the sections and the determination of phrases and sentences in the musical flow is imposed. The system surely exists, the only question is whether we are able to perceive it in a new, dodecaphonic music flow? Is it possible in a dodecaphonically organized work to find dissonant and consonant harmonies, and thus demonstrate the elements of tension and resolution, or do some other musical components have the primacy in organizing and establishing hierarchical levels in the definition of closures in dodecaphonic music? Relying on the writings of authors who have dealt with this or similar theme (Babbitt 1949, Forte 1973, Lerdahl 1989, Boss 1994, Rothgeb 1997, Farbood 2006, Granot and Eithan 2011, Zatkalik 2016), this work will illustrate the systematization and ranking of closures at the hierarchical level at which they operate in the examples of Webern’s dodecaphonic music (op. 20, op. 21, op. 22, op. 24, op. 27, op. 28 i op. 30). Also, this work deals at a certain extent with the terminology of the cadence-closure. The parameters that are most important for the construction of the closures in Webern’s dodecaphony works are determined, and terminology is proposed: perfect closure – closure – semiclosure. The application of these ideas was demonstrated in the third movement of Webern’s String Quartet op. 28.

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Katz, Jonah. „Style and Flow: A Commentary on Duinker & Martin“. Empirical Musicology Review 12, Nr. 1-2 (26.09.2017): 101. http://dx.doi.org/10.18061/emr.v12i1-2.5926.

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Duinker and Martin's excellent study presents a wealth of new data, findings, and analyses. It represents a welcome focus on the details of musical aspects of hip-hop, as well as an effort to combine those details with more global aspects of recordings in order to clarify what our notions of hip-hop 'style' or 'sound' are based on. The examination of instrumental backgrounds and production parameters is particularly novel. I would suggest, however, that the study could have benefitted from the use of details pertaining to flow, particularly in the examination of trends over time and stylistic sub-groupings. I show that several parameters pertaining to the complexity, rhythmic placement, and repetitiveness of rhymes help track changes in hip-hop style over time, distinguish between more and less similar songs, and capture effects of apparent time within the same actual time period.

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London, Justin. „Building a Representative Corpus of Classical Music“. Music Perception 31, Nr. 1 (01.09.2013): 68–90. http://dx.doi.org/10.1525/mp.2013.31.1.68.

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This paper presents an object lesson in the challenges and considerations involved in assembling a musical corpus for empirical research. It develops a model for the construction of a representative corpus of classical music of the “common practice period” (1700-1900), using both specific composers as well as broader historical styles and musical genres (e.g., symphony, chamber music, songs, operas) as its sampling parameters. Five sources were used in the construction of the model: (a) The Oxford History of Western Music by Richard Taruskin (2005), (b) amalgamated Orchestral Repertoire Reports for the years 2000-2007, from the League of American Orchestras, (c) a list of titles from the Naxos.com “Music in the Movies” web-based library, (d) Barlow and Morgenstern’s Dictionary of Musical Themes (1948), and (e) for the composers listed in sources (a)-(d), counts of the number of recordings each has available from Amazon.com. General considerations for these sources are discussed, and specific aspects of each source are then detailed. Intersource agreement is assessed, showing strong consensus among all sources, save for the Taruskin History. Using the Amazon.com data to determine weighting factors for each parameter, a preliminary sampling model is proposed. Including adequate genre representation leads to a corpus of ≈300 pieces, suggestive of the minimum size for an adequately representative corpus of classical music. The approaches detailed here may be applied to more specialized contexts, such as the music of a particular geographic region, historical era, or genre.

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Rychlicki-Kicior, K., und B. Stasiak. „Multipitch estimation using judge-based model“. Bulletin of the Polish Academy of Sciences Technical Sciences 62, Nr. 4 (01.12.2014): 751–57. http://dx.doi.org/10.2478/bpasts-2014-0081.

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Abstract Multipitch estimation, also known as multiple fundamental frequency (F0) estimation, is an important part of the Music Information Retrieval (MIR) field. Although there have been many different approaches proposed, none of them has ever exceeded the abilities of a trained musician. In this work, an iterative cancellation method is analysed, being applied to three different sound representations - salience spectrum obtained using Constant-Q Transform, cepstrum and enhanced autocorrelation result. Real-life recordings of different musical instruments are used as a database and the parameters of the solution are optimized using a simple yet effective metaheuristic approach - the Luus-Jaakola algorithm. The presented approach results in 85% efficiency on the test database.

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Weich-Shahak, Susana. „Musico-Poetic Genres in the Sephardic Oral Tradition. An Interdisciplinary Approach to the Romancero, Coplas and Cancionero“. European Journal of Jewish Studies 9, Nr. 1 (21.04.2015): 13–37. http://dx.doi.org/10.1163/1872471x-12341270.

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This article, based exclusively on examples that the author has recorded from the oral tradition of the Sephardic Jews, presents the three main genres of the Sephardic traditional repertoire, romancero, coplas and cancionero. These three poetic and musical genres show the vitality, the richness and the variety of the Judeo-Spanish repertoire and have received focused attention by literary scholars and musicologists, through intensive fieldwork, recordings, analysis and interviews. This article presents a system of classification of the repertoire according to interdisciplinary parameters. All the examples belong to those the author has collected in work at the Jewish Music Research Center of the Hebrew University of Jerusalem. The recordings from her own fieldwork (1974–2014), together with those of other scholars, resulted in the world’s richest collection of the Judeo-Spanish repertoire, and is stored and catalogued at the National Sound Archives of the Israel National Library, open to scholars, singers and lovers of the Judeo-Spanish tradition.

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Bakogiannis, Konstantinos, Spyros Polychronopoulos, Dimitra Marini und Georgios Kouroupetroglou. „Audio Enhancement of Physical Models of Musical Instruments Using Optimal Correction Factors: The Recorder Case“. Applied Sciences 11, Nr. 14 (12.07.2021): 6426. http://dx.doi.org/10.3390/app11146426.

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A simulation of a musical instrument is considered to be a successful one when there is a good resemblance between the model’s synthesized sound and the real instrument’s sound. In this work, we propose the integration of physical modeling (PM) methods with an optimization process to regulate a generated digital signal. Its goal is to find a new set of values of the PM’s parameters’ that would lead to a synthesized signal matching as much as possible to reference signals corresponding to the physical musical instrument. The reference signals can be: (a) described by their acoustic characteristics (e.g., fundamental frequencies, inharmonicity, etc.) and/or (b) the signals themselves (e.g., impedances, recordings, etc.). We put this method into practice for a commercial recorder, simulated using the digital waveguides’ PM technique. The reference signals, in our case, are the recorded signals of the physical instrument. The degree of similarity between the synthesized (PM) and the recorded signal (musical instrument) is calculated by the signals’ linear cross-correlation. Our results show that the adoption of the optimization process resulted in more realistic synthesized signals by (a) enhancing the degree of similarity between the synthesized and the recorded signal (the average absolute Pearson Correlation Coefficient increased from 0.13 to 0.67), (b) resolving mistuning issues (the average absolute deviation of the synthesized from the recorded signals’ pitches reduced from 40 cents to the non-noticeable level of 2 cents) and (c) similar sound color characteristics and matched overtones (the average absolute deviation of the synthesized from the recorded signals’ first five partials reduced from 41 cents to 2 cents).

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Zhang, Ling. „The genre of folk song arrangement at the present stage: cultural and historical aspect“. Aspects of Historical Musicology 19, Nr. 19 (07.02.2020): 298–312. http://dx.doi.org/10.34064/khnum2-19.17.

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Logical reason for research. Folk song arrangement used to occupy and still occupies a prominent place in musical practice, both in the composing one and the performing one. It combines the best, time-tested features of the folk music tradition and professional musical art. Being a genre, which is synthetic in nature, the arrangement of a folk song carries a complex set of characteristics of different types of musical creativity, which, activating different genre indicators in different historical and cultural conditions, allows this genre to occupy a special place in musical culture. The focus on a wide audience, realized at different levels of the genre, determines its external intonation-figurative, as well as performing simplicity and accessibility. At the same time, in the field of musical theory, the genre of folk song arrangement has not been given sufficient special attention either in the aspect of the peculiarities of this genre as such, or in terms of the peculiarities of its development in certain temporary socio-cultural conditions. According to the author of the present article, it is precisely the combination of these perspectives of research that is a fruitful approach to identify the specifics of the genre of folk song arrangement, in particular, in the historical and cultural aspect. Innovation. The present article is devoted to the genre of folk song arrangement in the aspect of historical development on the example of the musical culture of Ukraine and China. The genre of folk song arrangement as a result of the interaction of traditional and professional musical art has its own intonation-musical, figurativemeaningful and performing specificity. It manifests itself in stable genre indicators, providing the genre of folk song arrangement with vitality and recognition in various historical, temporal and cultural conditions. For the first time, we propose a comparative characteristic of the history of the development of the genre of folk song arrangement in Ukraine and China, on the basis of which it can be argued that differences in the ways of the development of this genre do not affect the genre nature, which has theoretical and practical (namely, the performing one) dimensions. Objectives. The purpose of the presented research is to reveal the specifics of the historical development of the folk song arrangement genre on the basis of comparing the conditions of interaction between the traditional and professional musical culture of Ukraine and China. In this regard, the following scientific tasks arise: a review of scientific sources devoted to the Ukrainian and Chinese folk song in the aspect of the study of the genre of arrangement; the identification of the ratio of the traditional and professional approach in the genre of folk song arrangement; a comparative characteristic of the main directions of the development of the genre of folk song arrangement in Ukraine and China from the early recorded data of the modern musical practice. Methods. The main methods of our research are the genre one and the historical one. The genre method is necessary to identify the main genre constants of folk song arrangement, which preserve the specificity of the present genre in various historical, temporal and cultural conditions. The historical method is associated with regulating information about the evolution of the folk song arrangement genre in the time perspective from the beginning of the interaction of traditional and professional music to the modern existence of the genre. Results of Discussion. A rather voluminous baggage of facts related to the arrangement of folk songs in the existing musicological sources often remains just a sum of facts. Quite a lot of research has been devoted to folk music and folk song as one of its main representatives, both in a historical and theoretical way. These are scientific works of different genres – from articles to dissertations. As a separate genre, the arrangement of folk songs has not received comprehensive coverage in individual scientific works, although the study of specific samples of arrangements of folk songs in the conditions of the composing or performing creativity is represented quite widely. As a rule, in studies devoted to the genre of folk song arrangement, the object is the arrangement of a folk song in the creative work of a particular composer or in the field of performance – for example, in relation to Ukrainian musical culture, one can talk about bandura performance, the activities of certain musical groups of varying degrees and directions of professionalism – from amateur to academic. As for Chinese musical culture, the representative of which the author of the present article is, Chinese musicologists pay more attention to the history of Chinese folk song, its collection, recording and influence on the professional creative work of Chinese composers – from chamber-vocal to instrumental creativity. Thus, the lack of a systematic study of folk song arrangement as a genre makes such a study very perspective. Considering that modern musicology involves genre, stylistic, figurative, national-cultural parameters in the field of scientific research, the study of the genre of folk song arrangement seems to be quite rich both in terms of problems and in terms of predicted results. The cultural and historical aspect of the study, associated with understanding the patterns of the development of any musical genre at different stages of history in different cultural and civilizational conditions, is one of the basic ones in science. In the present article, it is based on a comparative characteristic of the development of the genre of folk song arrangement in Ukrainian and Chinese musical culture. Conclusions. The result of the study is the conclusion that the genre of folk song arrangement, owing to its synthetic nature, has special genre qualities, which in various historical and cultural conditions allowed it to retain its specificity for several centuries up to the present day. The comparative characteristic of the history of the development of the folk song arrangement genre in Ukraine and China allows concluding that the differences in the ways of the development of this genre (the history of the development of professional musical art, the differences in the ways of interaction between traditional and professional musical culture and, accordingly, the peculiarities of the compositional arrangement of folklore primary sources) do not change its specificity, which has both theoretical and practical (in particular, the performing one) dimensions. The prospects for further research in this direction are associated with: the characteristic of the synthetic genre nature of folk song arrangement; with the peculiarities of the historical development of the folk song arrangement genre in different time and national-cultural conditions; with the identification of the role of the genre of folk song arrangement in musical practice (both the composing one and the performing one) at different historical stages of the development of musical art in different countries of the world.

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Dissertationen zum Thema "Parameters of a musical recording"

Staňková, Karolína. „Systémy pro určení rytmických struktur v hudebních nahrávkách“. Master's thesis, Vysoké učení technické v Brně. Fakulta elektrotechniky a komunikačních technologií, 2021. http://www.nusl.cz/ntk/nusl-442570.

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This master thesis deals with systems for detecting rhythmic structures of music recordings. The field of Music Information Retrieval (MIR) allows us to examine the harmonic and tonal properties of music, rhythm, tempo, etc., and has uses in academic and commercial sphere. Various algorithms are used in the detection of rhythmic structures. However, today, most new methods use neural networks. This work aims to summarize the current research results of systems for detecting beats and tempo, to describe methods of calculating and evaluating the parameters of music recordings, and to implement a program that allows comparison of available detection systems. The result of the work is a script in the Python language, which uses six different systems to detect the rhythmic structure of test recordings. It then checks the outputs of the algorithms according to the given reference and compares the given systems with each other using several evaluation values. It uses two datasets as a reference—one of them is publicly available and the other was created by the author of this thesis (including annotations, i.e., reference beat times, for the sample recordings). The program allows user to see the results in graphs and play any of the sample recordings with detected beat times.

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Llorens, Ana. „Creating musical structure through performance : a re-interpretation of Brahms's cello sonatas“. Thesis, University of Cambridge, 2018. https://www.repository.cam.ac.uk/handle/1810/278796.

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From the mid nineteenth century onwards, musical form has primarily been defined in terms of predetermined paradigms, which ostensibly provide a framework for hierarchically ordered materials. Despite its pervasive presence in theoretical literature, however, this Formenlehre tradition is not universal in musical thought. Since antiquity, theorists have resorted to images of dynamism, change, process, energy, intensity, and narration to denote a more elastic conception of (musical) form. However, most of them – such as, for instance, Kurth, Asaf’yev, or Maus – have not recognised that it is ultimately performers – not composers – who individually shape musical materials on the basis of the structural relations that they perceive within the music and then project in performance. This dissertation explores how such apparent incompatibility between theory and practice might be bridged. To that aim, the first part discusses how ‘dynamic’ notions of musical form might realise their full explanatory potential by accounting for the reality of performance. It also reviews previous investigations of performers’ strategies to project their structural understandings of musical works, with a special focus on their handling of timing, dynamics, articulation, intonation, and timbre. Using recorded interpretations of Brahms’s Cello Sonatas as sources for three case studies, the second part evaluates dynamic ideas of musical form from an analytical viewpoint. Through their personal approaches to these works, I show how select performers create a wide range of structural connections, which are never alike across their different recordings. Likewise, these performers neither resort to the same parameters nor ‘shape’ the select movements in the same manner or with the same intensity. I ultimately posit that musical structure is inferred, created, and experienced in a unique way on every occasion a given piece is performed – and also whenever it is composed, analysed, or listened to. This research does not dismiss music theory as having no explanatory potential in the investigation of abstract notions such as musical structure as we sense them in performance. Rather, it aims to contribute to the dialogue between theory and practice by showing how, and why, music theory should reconceptualise musical form as a set of possibilities affording multiple choices and interpretations, that is to say, as a ‘multiverse’ that emerges across time and in sound.

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Clark, Alan. „Brown study an original musical recording“. Honors in the Major Thesis, University of Central Florida, 2012. http://digital.library.ucf.edu/cdm/ref/collection/ETH/id/673.

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For a year and a spring semester, I have been in the works of a school music project. I set out to make a record of ten self-penned songs. Along the length of the project, I would discover musicians and recording artists. I notated my songs on a staff and recorded demos to assist players of drums, electric bass, French horn, and violin. I play guitar, percussion, synthesized instruments, and do all of the singing on Brown Study, the record's title. The technology used to create the songs include a Tascam 2488 (home digital recording device), computers, printers, cell phones and i-phones, amplifiers, microphones and headphones, and a drum machine. This is my first attempt at collaborating with other musicians. At the defense I will be presenting 4 songs: "Runaway," "Lonely Heart," "Topsy Turvy," and "Friendliest Advice." Each song has a particular history and story to tell containing influences and aesthetic philosophies. My gift is to be shared with whoever will listen upon completing and distributing the full-length album.
B.A.
Bachelors
Arts and Humanities
Music Education

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Sztein, Baremberg Gabriella Ana. „Musical time and recording technology: A perspective from music theory“. Thesis, University of Ottawa (Canada), 1994. http://hdl.handle.net/10393/9595.

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This thesis deals with two categories of musical time, concrete and subjective, and the effect of recording technology on musical time. Concrete musical time can be measured in an objective way, for example, through reference to standards of time external to the listener, such as clocks. Subjective musical time refers to the musical time that cannot be measured objectively: it depends entirely on the listener who experiences the musical work. It is my conclusion that recording technology affects the concrete aspect of musical time, but not the subjective one. Chapter one defines the relationship between time and different forms of art, as well as the relationship between time and music. Chapter two defines concrete and subjective musical time. Chapter three discusses recording technology and the changes it imposes on the musical aesthetic ritual. By musical aesthetic ritual, I mean the agreed-upon physical actions which are related to the activities involving music and the experience of music. Chapter four explains the influence of recording technology on certain musical aesthetic ideas such as the reproduction of music, the completeness of the musical work, and the temporality of the musical work. Chapter five presents my conclusions with regards to the influence of recording technology on concrete and subjective musical time.

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Struthers, S. J. R. „A study of social relations in the recording of popular music“. Thesis, Keele University, 1986. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.376299.

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Dennis, Harold Edward Brokaw. „How We Saved The World [sound recording]“. Diss., Temple University Libraries, 2013. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/254226.

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Music Composition
D.M.A.
A monograph on the musical composition How We Saved the World, a multimedia musical drama written by the author, describes in detail the history of the writing of the piece, its context within his development as a composer, its context within our times, the writing and structure of the libretto, the characters and character types within the piece, their relationships with one another, the music of the piece and its construction. The two hour long composition requires 44 performers to stage: 14 singers, 8 dancers, and a conducted 21 piece orchestra. In addition to traditional acoustic instruments (winds, brass, percussion, strings) the orchestra includes electric guitars, drum set, and audio and video laptop performers. How We Saved the World is situated in a future time and begins with the premise that the world has been saved. Human beings have found a way to live in peace and harmony with one another and with the ecology of our planet Earth. We, the participants in the performance are sharing among ourselves the story of how human culture changed from the destructive, unsustainable practices and consciousness of the past. The libretto is included as an appendix. The score and all of the audio files needed to perform the piece are included as supplementary material.
Temple University--Theses

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MacRitchie, Jennifer. „Elucidating musical structure through empirical measurement of performance parameters“. Thesis, University of Glasgow, 2011. http://theses.gla.ac.uk/2357/.

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The differences between a musical score and an instance of that music in a performance, communicates a performer’s view of the information contained in that score. The main hypothesis in this thesis is that by measuring quantiﬁable parameters such as tempo, dynamics and motion from live performance, the performer’s interpretation of musical structure can be detected. This will be tested for pieces for which the structure is explicit and obvious, and then used to discover musical structure from looking at patterns of aural and visual performance parameters in performances of more ambiguously structured pieces. This thesis is in two strands. The ﬁrst part covers the acquisition of multi-modal parameters in piano performance. This will explore current technologies in acquiring MIDI information such as accurate onset timings and key velocities as well as motion tracking systems for measuring general body movements. A new cheap, portable and accurate system for tracking the intricacies of pianists’ ﬁnger movement is described as well as methods and tools available for analysis and visualisation of musical data. The second strand of this thesis will explore uses of these capture systems in empirically measuring performance parameters to elucidate musical structure. Two experiments follow which test the hypothesis of detecting musical structure from parameters such as tempo, dynamics and movement, before using these patterns as a basis for discovering structure in performances of the ﬁnale of Chopin’s B ﬂat minor sonata. Body movement is discovered as an indicator of phrasing boundaries, which when combined with the measured aural parameters provides interpretations of the performed music. Phrasing boundaries are identiﬁed correctly for the control piece (Chopin’s Prelude in A major Op.28, No.7) and consequently for the ﬁrst test piece (Chopin’s Prelude in B minor Op.28 No.6). The proceeding experiment identiﬁes performers’ style of phrase endings through performances of the control piece and tests them against patterns found in the second test piece (Chopin’s B Flat minor Sonata Finale). Five out of the six performers conﬁrm the musicological hypothesis that bar 5 is not the entry of a new theme but the continuation of the the theme beginning in bar 1.

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Akin, Faith W., Owen D. Murnane, J. Tampas, C. Prieve und R. H. Wilson. „The Effects of Stimulus and Recording Parameters on Vestibular Evoked Myogenic Potentials“. Digital Commons @ East Tennessee State University, 2005. https://dc.etsu.edu/etsu-works/1902.

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Pounds, Michael S. „Using spatial analogy to determine musical parameters in algorithmic composition“. Virtual Press, 1995. http://liblink.bsu.edu/uhtbin/catkey/958778.

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This thesis presents a method of algorithmic composition in which the music is seen as motion through a multidimensional musical space. An analogy is drawn between physical space and musical space, each direction of the physical space corresponding to a musical parameter. A computer program was developed using the MAX programming environment to simulate the goaldirected motion of a mobile robot through an environment containing obstacles. The potential field method of mobile robot path planning was used. The program maps the location of the robot to musical parameters in the musical space. Based on the instantaneous values of the musical parameters, the program generates melodic material and transmits the resulting MIDI data to a synthesizer. For this research, the program was limited to three spatial dimensions and one obstacle. The program successfully created simple compositions consisting of large musical gestures. A model composition was created. Suggestions were made for further development and more elaborate applications of the method.
School of Music

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Swoboda, Marcin. „Encoding Emotion:how performers manipulate microstructural parameters to convey musical meaning“. Thesis, McGill University, 2013. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=119252.

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The following paper explores how performers manipulate musical parameters toconvey affect in musical performances. We focus on durational microstructure. Results ofproduction and perception experiments suggest that performers are succesful at conveying intended affect and that in certain zones of interest, performers modulate acoustic parameters more than in other parts of the score.
Le présent document examine comment les artistes manipulent les paramètresmusicales pour transmettre les émotions pendants les spectacles musicaux. Nous nousconcentrons sur la microstructure de durées. Les résultats des expériences de productionet de perception suggèrent que les artistes ont réussi à transmettre les affectes voulues etque, dans certaines zones d'intérêt, les interprètes modulent les paramètres acoustiquesplus que dans d'autres parties de la partition.

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Bücher zum Thema "Parameters of a musical recording"

Gibson, Bill. Instrument and vocal recording. 2. Aufl. Milwaukee, WI: Hal Land Corp., 2011.

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Nyre, Lars. Sound media: From live journalism to musical recording. New York, NY: Routledge, 2008.

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Walker, Dan. Roland D-20: Sequencing & recording handbook. Newbury Park, CA: P.L. Alexander Pub., 1989.

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Lewry, Peter. Fleetwood Mac: The complete recording sessions, 1967-1997. London: Blandford, 1998.

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Joseph, Cosgriff, Hrsg. World on a string: A musical memoir. Hoboken, New Jersey: John Wiley & Sons, Inc., 2012.

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Dictionary of musical technology. New York: Greenwood Press, 1992.

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Mixing a musical: Broadway theatrical sound mixing techniques. Boston: Focal Press, 2011.

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Keisha, Kalfin, Hrsg. Soul mining: A musical life. New York: Faber and Faber, 2010.

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Illustrated compendium of musical technology. London: Faber and Faber, 1992.

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A never-ending groove: Johnny Sandlin's musical odyssey. Macon, Ga: Mercer University Press, 2012.

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Buchteile zum Thema "Parameters of a musical recording"

Rumsey, Francis, und Tim McCormick. „MIDI and Musical Instrument Control“. In Sound and Recording, 381–432. 8. Aufl. New York: Routledge, 2021. http://dx.doi.org/10.4324/9781003092919-13.

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Sakmann, Bert, und Erwin Neher. „Geometric Parameters of Pipettes and Membrane Patches“. In Single-Channel Recording, 637–50. Boston, MA: Springer US, 1995. http://dx.doi.org/10.1007/978-1-4419-1229-9_21.

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Gupta, Ravi, S. R. Pandi Perumal und Ahmed S. BaHammam. „Minimal Recording Parameters and Extended Montage“. In Clinical Atlas of Polysomnography, 197–220. Toronto ; New Jersey : Apple Academic Press, 2018.: Apple Academic Press, 2018. http://dx.doi.org/10.1201/b22464-9.

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Ciorap, R., D. Andriţoi, C. Corciovă und V. David. „Recording of Biomedical Parameters during Magnetotherapy“. In International Conference on Advancements of Medicine and Health Care through Technology; 5th – 7th June 2014, Cluj-Napoca, Romania, 163–66. Cham: Springer International Publishing, 2014. http://dx.doi.org/10.1007/978-3-319-07653-9_33.

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Hassler, Marianne. „Immune Parameters, Musical Abilities, and Anomalous Dominance“. In Music and the Mind Machine, 139–49. Berlin, Heidelberg: Springer Berlin Heidelberg, 1995. http://dx.doi.org/10.1007/978-3-642-79327-1_14.

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Keilis-Borok, V. I. „Recording, Identification, and Measurement of Surface Wave Parameters“. In Seismic Surface Waves in a Laterally Inhomogeneous Earth, 131–82. Dordrecht: Springer Netherlands, 1989. http://dx.doi.org/10.1007/978-94-009-0883-3_5.

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Lewis, Rory A., und Alicja Wieczorkowska. „Categorization of Musical Instrument Sounds Based on Numerical Parameters“. In ICCS 2007, 87–93. London: Springer London, 2007. http://dx.doi.org/10.1007/978-1-84628-992-7_12.

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Strauß, Johannes, Nataša Stritih-Peljhan und Reinhard Lakes-Harlan. „Determining Vibroreceptor Sensitivity in Insects: The Influence of Experimental Parameters and Recording Techniques“. In Biotremology: Studying Vibrational Behavior, 209–33. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-22293-2_11.

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Alcántara-Garrote, Mario, Ana B. Gil-González, Ana de Luis Reboredo, María N. Moreno und Belén Pérez-Lancho. „Framework for the Detection of Physiological Parameters with Musical Stimuli Based on IoT“. In Advances in Intelligent Systems and Computing, 111–20. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-20055-8_11.

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Massager, Nicolas, J. L. Wayenberg, D. Vermeylen und J. Brotchi. „Anterior Fontanelle Pressure Recording with the Rotterdam Transducer: Variation of Normal Parameters with Age“. In Intracranial Pressure and Neuromonitoring in Brain Injury, 53–55. Vienna: Springer Vienna, 1998. http://dx.doi.org/10.1007/978-3-7091-6475-4_17.

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Konferenzberichte zum Thema "Parameters of a musical recording"

Kurka, Paulo R. G., Carlos Geraldo Quinholi, Eduardo Laurino und Guilherme V. P. Donato. „Development of a Low-Power, Low-Cost Remote Pipe Parameters Monitoring Device“. In 2002 4th International Pipeline Conference. ASMEDC, 2002. http://dx.doi.org/10.1115/ipc2002-27111.

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The work presents the features and performance of a dedicated system for monitoring stresses in the vicinity of retention valves in a long oil pipe. Monitoring stations that can be numerous and located in remote regions, where no electric power is available, must be operated by batteries which provide a somewhat limited supply of energy. The project of a low-cost low-power consumption device is therefore of great importance for keeping records of strains, or any other engineering parameter that develop remotely on the pipe. The system developed is a simultaneous 5-channel analog data conditioning and recording equipment, that can be programmed to sample data at regular time intervals. The recording device can be any voice/music standard monaural cassette tape recorder. The paper displays project details as well as qualitative results of circumferential and longitudinal stress monitoring in a remote measuring station, with 4 data channels per station, recorded during 7 consecutive days at 15 minutes sampling intervals.

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Chandna, Pritish, Antonio Ramires, Xavier Serra und Emilia Gomez. „Loopnet: Musical Loop Synthesis Conditioned on Intuitive Musical Parameters“. In ICASSP 2021 - 2021 IEEE International Conference on Acoustics, Speech and Signal Processing (ICASSP). IEEE, 2021. http://dx.doi.org/10.1109/icassp39728.2021.9415047.

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Zhang, Mingfeng, Mark Bocko und James Beauchamp. „Measurement and analysis of musical vibrato parameters“. In 169th Meeting of the Acoustical Society of America. Acoustical Society of America, 2015. http://dx.doi.org/10.1121/2.0000136.

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Berg, Jan, und Johnny Wingstedt. „Relations between selected musical parameters and expressed emotions“. In the 2005 ACM SIGCHI International Conference. New York, New York, USA: ACM Press, 2005. http://dx.doi.org/10.1145/1178477.1178499.

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Le Groux, Sylvain, und Paul FMJ Verschure. „Perceptsynth: mapping perceptual musical features to sound synthesis parameters“. In ICASSP 2008 - 2008 IEEE International Conference on Acoustics, Speech and Signal Processing. IEEE, 2008. http://dx.doi.org/10.1109/icassp.2008.4517562.

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Licev, Lacezar, Petr Zajic, Marek Babiuch und Radim Farana. „Parameters measurement of observed object from recording“. In 2012 13th International Carpathian Control Conference (ICCC). IEEE, 2012. http://dx.doi.org/10.1109/carpathiancc.2012.6228684.

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Perez, Mauricio, Rodolfo Coelho De Souza und Regis Rossi Alves Faria. „Digital Design of Audio Signal Processing Using Time Delay“. In Simpósio Brasileiro de Computação Musical. Sociedade Brasileira de Computação - SBC, 2019. http://dx.doi.org/10.5753/sbcm.2019.10449.

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This poster describes the design in PureData of some audio signals processes in real time like delay, echo, reverb, chorus, flanger e phaser. We analyze the technical characteristics of each process and the psychoacoustic effects produced by them in human perception and audio applications. A deeper comprehension of the consequences of sound processes based on delay lines helps the decision-making in professional audio applications such as the audio recording, mixing, besides music composition that employs sound effects in preprocessed or real-time.

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Potty, Gopu R., und Venkitanarayanan Parameswaran. „Investigation of acoustical parameters in the South Indian musical intervals“. In 167th Meeting of the Acoustical Society of America. Acoustical Society of America, 2014. http://dx.doi.org/10.1121/2.0000024.

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Meunier, J., F. Huguet und J. M. Michel. „Determining Acquisition Parameters for Time Lapse Seismic Recording“. In 59th EAGE Conference & Exhibition. European Association of Geoscientists & Engineers, 1997. http://dx.doi.org/10.3997/2214-4609-pdb.131.gen1997_b042.

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Bari, Dindar, und Haval Aldosky. „FEASIBILITY RECORDING SIMULTANEOUSLY ELECTRODERMAL ACTIVITY PARAMETERS: A REVIEW“. In International Conference of Natural Science 2017. College of Basic Education, Charmo University, Chamchamal, Sulaimani/Iraq, 2018. http://dx.doi.org/10.31530/17001.

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