Relevant bibliographies by topics / Music – Acoustics and physics

Academic literature on the topic 'Music – Acoustics and physics'

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Published: 4 June 2021
Last updated: 30 July 2024

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Journal articles on the topic "Music – Acoustics and physics"

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Braasch, Jonas, Andrew A. Piacsek, and Gary Scavone. "Overview of the technical area in musical acoustics." Journal of the Acoustical Society of America 155, no. 3_Supplement (March 1, 2024): A29. http://dx.doi.org/10.1121/10.0026676.

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Musical acoustics was launched as one of the first Technical Committees of the Acoustical Society of America. The Technical Committee in Musical Acoustics (TCMU) is concerned with applying science and technology to the field of music. The four main areas are (1) physics of musical sound production in musical instruments and the voice, (2) music perception and cognition, (3) analysis and synthesis of musical sounds and compositions, and (4) recording and reproduction technology. The scopes of areas have changed over time; for example, current interests in using groundbreaking methods in artificial intelligence and computational acoustics to solve problems. There is substantial interdisciplinary overlap with other technical committees, such as Architectural Acoustics and Physiological and Psychological Acoustics. Musical acoustic studies sometimes only require relatively moderate equipment. Thus, they lend themselves well as a research entry point for undergraduate and even high school students—especially since there is often a natural interest in music from early on. However, research in the field can also become very complex and often requires cultural understanding and listening skills to interpret technical results and direct research meaningfully. On the practical side, the TCMU sometimes organizes concerts to augment the technical sessions.
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Markham, Benjamin E. "An expanding pipeline: 20 + years of Acentech internships." Journal of the Acoustical Society of America 154, no. 4_supplement (October 1, 2023): A18. http://dx.doi.org/10.1121/10.0022643.

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Acoustics interns at Acentech, a multidisciplinary acoustics, technology, and noise & vibration control consultancy based in Cambridge, Massachusetts, USA, have included undergraduate and graduate students as well as graduates in many fields of engineering, physics, and architecture. Acentech interns work on a deliberate mix of both project work and internal research and development, often inspired by research presented by academics in our field. For a time, interns were typically from one of approximately a dozen US-based graduate programs in acoustic, and more rarely, from one or two undergraduate programs with acoustics concentrations. In recent years, successful interns have hailed from an increasingly wide array of university programs, and the results have exceeded expectations: an increasingly diverse pipeline of skilled, intellectually curious individuals with a passion for music, buildings, and acoustical design.
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Rossing, Thomas D. "Musical acoustics: A bridge between physics and music." Journal of the Acoustical Society of America 101, no. 5 (May 1997): 3098. http://dx.doi.org/10.1121/1.419337.

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Orzolek, Douglas C., and Shelley A. Blilie. "Teaching Room Acoustics." Physics Teacher 60, no. 7 (October 2022): 554–56. http://dx.doi.org/10.1119/5.0038523.

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Like many other universities, Musical Acoustics is offered at our school as a lab-based course fulfilling general science requirements for non-majors. The course has been team-taught by a physics professor and music professor since its earliest inception and, by far, the most popular unit explores room acoustics through a variety of activities and experiences. The purpose of this article is to share the ways we engage students in the process of learning the conceptual elements related to room acoustics.
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نعمة, صبا جبار, and تحرير تقي علي. "التشكيل الهندسي للقاعات الموسيقية عبر العصور." Journal of Engineering 13, no. 01 (March 1, 2007): 118–37. http://dx.doi.org/10.31026/j.eng.2007.01.18.

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The main title of the study is “THE GEOMETRICAL FORM IN MUSICAL HALL THROUGH THE CLASSICAL AND MODERN AGES” We live in a world full of sounds performed by human and different creatures which surround us from every direction, it’s not strange to know that acoustics has gone a long way through human experience because its related to many sides as mathematics and physics with accordance to architecture side, This side is related to the nature of space and its speech or music variation, each use has certain determiners that affect the efficiency of acoustic performance. Musical halls have a main characteristic on the design and performing level through different periods. The architectural and acoustical literature's have dealt with this type of hearing space in deter minding the geometrical role in music halls design have never been studied with connection with music properties and in comprehensive way, and for this reason it was specified as research problem (The role of the shape, dimension, rates size and relation) So there are many acoustic features in musical sound affected by acoustic space geometry (shape, dimension, rates, size, and relation) Thus the researches aim the following: Finding the geometrical evolution and induct geometric efficient through: Comparative analysis for musical spaces and halls through the classical and modern ages to discover the nature of their geometric form in a descriptive, mathematical and graphical ways and show its role in the efficiency of acoustic performance.
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Novkovic, Dragan, Marko Peljevic, and Mateja Malinovic. "Synthesis and analysis of sounds developed from the Bose-Einstein condensate: Theory and experimental results." Muzikologija, no. 24 (2018): 95–109. http://dx.doi.org/10.2298/muz1824095n.

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Two seemingly incompatible worlds of quantum physics and acoustics have their meeting point in experiments with the Bose-Einstein Condensate. From the very beginning, the Quantum Music project was based on the idea of converting the acoustic phenomena of quantum physics that appear in experiments into the sound domain accessible to the human ear. The first part of this paper describes the experimental conditions in which these acoustic phenomena occur. The second part of the paper describes the process of sound synthesis which was used to generate final sounds. Sound synthesis was based on the use of two types of basic data: theoretical formulas and the results of experiments with the Bose-Einstein condensate. The process of sound synthesis based on theoretical equations was conducted following the principles of additive synthesis, realized using the Java Script and Max MSP software. The synthesis of sounds based on the results of experiments was done using the MatLab software. The third part or the article deals with the acoustic analysis of the generated sounds, indicating some of the acoustic phenomena that have emerged. Also, we discuss the possible ways of using such sounds in the process of composing and performing contemporary music.
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Finan, Donald, and Deanna Meinke. "A Novel Interdisciplinary Course: Musical Acoustics and Health Issues." Perspectives of the ASHA Special Interest Groups 1, no. 19 (March 31, 2016): 15–25. http://dx.doi.org/10.1044/persp1.sig19.15.

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In response to a college call for new interdisciplinary coursework in the Natural and Health Sciences, an undergraduate level course was created with focus on the physics and biophysics of sound. The physics of sound production in musical instruments is used as a model for understanding vocal production and sound reception, with emphasis on relevant issues of vocal and hearing health promotion. This project-based course, titled “Musical Acoustics and Health Issues,” was designed in collaboration with faculty from Audiology, Speech Science, Public Health, Music, Physics, Music Technology, and Science Education. Student performance is assessed through a series of eight hands-on projects designed to maximize active learning strategies. Course projects center on the concept of “sound as energy” and include the construction of string-based (cigar box guitar) and tube-based (PVC pipe didgeridoo) instruments. Course design, project details, and course outcomes are presented.
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Calilhanna, Andrea. "Introducing acoustics as music in the interdisciplinary and inclusive classroom through ski-hill graph pedagogy to teach the meter fundamentals as sound (psychoacoustics)." Journal of the Acoustical Society of America 152, no. 4 (October 2022): A54. http://dx.doi.org/10.1121/10.0015517.

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Although music is sound (acoustics) and listeners experience the physics of acoustics as music, the meter of most music textbooks is the notated meter signature and group of beats notated in ‘measures’ on the page with vertical bar lines. Notation-based representation of the meter is antiquated music theory because new research in acoustics, cognitive neuroscience, and critically music theory (Cohn, 2020) informs otherwise. Cohn’s modern meter theory, a distillation of contemporary meter theory from North America, is the first comprehensive meter theory that acknowledges the meter's psychoacoustic experience and augments notation-based understandings of the meter through the meter the fundamental mathematics of the Ski-hill graph. This paper is a music teacher’s response to the availability of modern meter theory’s Ski-hill graph to represent the meter's psychoacoustic (mind and body) experience. The paper illustrates how listeners articulate their quantification of low meter frequencies such as the duple meter in sets of pulses in ratio 2:1 initiated by 1.2 hz and 2.4 hz experienced concurrently. Also, the triple meter sets of pulses in ratios 3:1 0.8 hz and 2.4 hz (Nozaradan et al., 2011).
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Dostal, Jack. "My favorite resources for teaching musical acoustics." Journal of the Acoustical Society of America 154, no. 4_supplement (October 1, 2023): A59. http://dx.doi.org/10.1121/10.0022792.

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I teach a Physics of Music class at Wake Forest University. Students from a broad range of majors and backgrounds take the class to fulfill a science divisional requirement for graduation. In this talk I will describe how I incorporate some of my favorite online resources into my instruction. Some of these include the Sound and Waves section of the Physclips web platform created by Joe Wolfe at the University of New South Wales. I also frequently draw from Dan Russell’s Acoustics and Vibration Animations at Penn State University. In addition, I find that tools and resources such as online spectrograms and live-streamed music fit well within my course.
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Taylor, Charles. "Music and the acoustics of buildings." Physics Education 25, no. 1 (January 1, 1990): 15–18. http://dx.doi.org/10.1088/0031-9120/25/1/002.

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Dissertations / Theses on the topic "Music – Acoustics and physics"

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Baumbusch, Brian. "The lightbulb project| New music for new percussion instruments." Thesis, Mills College, 2014. http://pqdtopen.proquest.com/#viewpdf?dispub=1549992.

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This thesis is about the process behind building, tuning, and composing music for a new set of metallophones called the "Lightbulb" instruments. This project began in 2011 and has continued to expand over the past two years: the first piece to be written for the instruments is titled Prana, and this thesis describes how the process of building and tuning the instruments informed the compositional process behind Prana. The premiere of Prana led to the formation of the Lightbulb Ensemble, which performs on these new instruments. The instruments and the group continue to develop.

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Wolfe, Brian Thomas. "An analysis of texture, timbre, and rhythm in relation to form in Magnus Lindberg's "Gran Duo"." Thesis, The University of Oklahoma, 2013. http://pqdtopen.proquest.com/#viewpdf?dispub=3592105.

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Gran Duo (1999-2000) by Magnus Lindberg (b. 1958) is the result of a commission by Sir Simon Rattle, former conductor of the City of Birmingham (England) Symphony Orchestra, and the Royal Festival Hall to commemorate the third millennium. Composed for twenty-four woodwinds and brass, Lindberg divides the woodwind and brass families into eight characters that serve as participants in an attentive twenty-minute conversation.

The document includes biographical information about the composition to further understand Lindberg’s writing style. The composer’s use of computer-assisted composition techniques inspires an alternative structural analysis of Gran Duo. Spectral graphs provide a supplementary tool for score study assisting with the verification of formal structural elements. A tempo chart allows the conductor to easily identify form and tempo relationships between each of the nineteen sections throughout the five-movement composition.

In order to reveal character areas and their relation to the structure of the work, the analysis of texture, timbre, and rhythm reveal the formal structure of the composition, which reflects a conversation between the brass and woodwinds in this setting for wind instruments.

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Parris, Stephen. "Towards a harmonic approach to composing for central Javanese gamelan." Thesis, Mills College, 2015. http://pqdtopen.proquest.com/#viewpdf?dispub=1589493.

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The purpose of this thesis is to share the process behind the development of an approach to composing for central Javanese gamelans that utilizes vertical harmony. This paper will include my history with Javanese gamelan, work on the development of a piano tuning that would work with a gamelan, compositional works that led to the development of the system, a study of existing Javanese gamelan tunings, and a presentation of intervallic relationships and cadences that can be utilized with any gamelan. All of this is done with hope that others who may take interest in writing for central Javanese gamelan will have a new tool at their disposal, and to pique the interest of others in the rich world of possibilities that exist within the instruments.

There is also an explanation of the process of developing a piano tuning to be used with a traditional gamelan to perform the Concerto for PIano And Javanese Gamelan by Lou Harrison.

There is some brief discussion on the cognition of interval, and how the brain simplifies complex intervals, and begins to hear them as more simple intervals.

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Tocheff, Robert Dale. "Acoustical placement of voices in choral formations /." Connect to resource, 1990. http://rave.ohiolink.edu/etdc/view.cgi?acc%5Fnum=osu1248976452.

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Advocat, Amy. "[A] New tonal world: The Bohlen-Pierce Scale." Thesis, McGill University, 2010. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=96150.

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This paper compares the Bohlen-Pierce scale to other octave and nonoctave-based tuning systems, drawing parallels between it and the widely used 12-equal temperament. These parallels lead to the hypothesis that there can be a set ofharmonic mIes applicable to the Bohlen-Pierce scale that are analogous to the CUITent musical practice. Those theorized mIes are then applied to some examples of the growing body of musical compositions wrtten in the BohlenPierce scale. Aiso included are supportive arguments for a preference of the use of odd-partial timbres in performance of this scale, which make the invention of the Bohlen-Pierce clarinet a major tuming point in the scale's development. Sorne of the musical works studied were written specifically for this author's performance on the Bohlen-Pierce clarinet.
Ce document compare la gamme Bohlen-Pierce d'autres systmes d'accord octave et non-octave-bass, tablissant des parallles entre soi et le systme la plus utilis, temprament de I2-gal. Ces parallles mnent la possibilit qu'il peut tre des rgles harmoniques applicables la gamme BohlenPierce qui sont analogues la pratique musicale courante. Ces rgles thorises sont alors appliques quelques exemples du corps croissant de compositions musicales crites la gamme Bohlen-Pierce. Il-y-a aussi inclus des arguments qui support la prfrence d'utilisation des timbres impair-partiels dans la performance de cette gamme, qui ferait l'invention de la clarinette Bohlen-Pierce un point tournant majeur dans la dveloppement de cette gamme. Certains compositions etudi a t ecris pour la prformance sur clarinet Bohlen-Pierce par cette auteure .
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Birnbaum, David M. "Musical vibrotactile feedback." Thesis, McGill University, 2007. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=101876.

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This thesis discusses the prospect of integrating vibrotactile feedback into digital musical instruments. A holistic approach is taken, considering the role of new instruments in electronic music, as well as the concept of touch in culture and experience. Research about the human biological systems that enable vibrotactile perception is reviewed, with a special focus on its relevance to music. Out of this review, an approach to vibration synthesis is developed that integrates the current understanding of human vibrotactile perception. An account of musical vibrotactile interaction design is presented, which includes the implementation of a vibrotactile feedback synthesizer and the construction of two hardware prototypes that display musical vibration.
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Jeon, Woojay. "Pitch detection of polyphonic music using constrained optimization." Thesis, Georgia Institute of Technology, 2002. http://hdl.handle.net/1853/15802.

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Warneke, Andrew Travis. "An evaluation of the efficacy of digital real-time noise control techniques in evoking the musical effect." Thesis, Nelson Mandela Metropolitan University, 2012. http://hdl.handle.net/10948/d1020158.

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This study sought to determine whether or not it may be possible to evoke ‘the musical effect' – the emotional response perceived by music listeners – using white noise as a sound-source and real-time digital signal processing techniques. This information was considered to be valuable as in a world driven by technological progress the potential use of new or different technologies in creating music could lead to the development of new methods of – and tools for – composition and performance. More specifically this research asked the question 'what is music?' and investigated how humans – both trained musicians and untrained people – perceive it. The elements of music were investigated for their affective strengths and new fields of research explored for insights into emotion identification in music. Thereafter the focus shifted into the realm of Digital Signal Processing. Common operations and techniques for signal manipulation were investigated and an understanding of the field as a whole was sought. The culmination of these two separate, yet related, investigations was the design and implementation of a listening experiment conducted on adult subjects. They were asked to listen to various manipulated noise-signals and answer a questionnaire with regard to their perceptions of the audio material. The data from the listening experiment suggest that certain DSP techniques can evoke ‘the musical effect’. Various musical elements were represented via digital techniques and in many cases respondents reported perceptions which suggest that some effect was felt. The techniques implemented and musical elements represented were discussed, and possible applications for these techniques, both musical and non-musical, were explored. Areas for further research were discussed and include the implementation of even more DSP techniques, and also into garnering a more specific idea of the emotion perceived by respondents in response to the experiment material.
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Corey, Jason Andrew. "An integrated system for dynamic control of auditory perspective in a multichannel sound field /." Thesis, McGill University, 2002. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=38474.

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An integrated system providing dynamic control of sound source azimuth, distance and proximity to a room boundary within a simulated acoustic space is proposed for use in multichannel music and film sound production. The system has been investigated, implemented, and psychoacoustically tested within the ITU-R BS.775 recommended five-channel (3/2) loudspeaker layout. The work brings together physical and perceptual models of room simulation to allow dynamic placement of virtual sound sources at any location of a simulated space within the horizontal plane.
The control system incorporates a number of modules including simulated room modes, "fuzzy" sources, and tracking early reflections, whose parameters are dynamically changed according to sound source location within the simulated space. The control functions of the basic elements, derived from theories of perception of a source in a real room, have been carefully tuned to provide efficient, effective, and intuitive control of a sound source's perceived location.
Seven formal listening tests were conducted to evaluate the effectiveness of the algorithm design choices. The tests evaluated: (1) loudness calibration of multichannel sound images; (2) the effectiveness of distance control; (3) the resolution of distance control provided by the system; (4) the effectiveness of the proposed system when compared to a commercially available multichannel room simulation system in terms of control of source distance and proximity to a room boundary; (5) the role of tracking early reflection patterns on the perception of sound source distance; (6) the role of tracking early reflection patterns on the perception of lateral phantom images.
The listening tests confirm the effectiveness of the system for control of perceived sound source distance, proximity to room boundaries, and azimuth, through fine, dynamic adjustment of parameters according to source location. All of the parameters are grouped and controlled together to create a perceptually strong impression of source location and movement within a simulated space.
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Usher, John S. "Subjective evaluation and electroacoustic theoretical validation of a new approach to audio upmixing." Thesis, McGill University, 2006. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=102741.

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Audio signal processing systems for converting two-channel (stereo) recordings to four or five channels are increasingly relevant. These audio upmixers can be used with conventional stereo sound recordings and reproduced with multichannel home theatre or automotive loudspeaker audio systems to create a more engaging and natural-sounding listening experience. This dissertation discusses existing approaches to audio upmixing for recordings of musical performances and presents specific design criteria for a system to enhance spatial sound quality. A new upmixing system is proposed and evaluated according to these criteria and a theoretical model for its behavior is validated using empirical measurements.
The new system removes short-term correlated components from two electronic audio signals using a pair of adaptive filters, updated according to a frequency domain implementation of the normalized-least-means-square algorithm. The major difference of the new system with all extant audio upmixers is that unsupervised time-alignment of the input signals (typically, by up to +/-10 ms) as a function of frequency (typically, using a 1024-band equalizer) is accomplished due to the non-minimum phase adaptive filter. Two new signals are created from the weighted difference of the inputs, and are then radiated with two loudspeakers behind the listener. According to the consensus in the literature on the effect of interaural correlation on auditory image formation, the self-orthogonalizing properties of the algorithm ensure minimal distortion of the frontal source imagery and natural-sounding, enveloping reverberance (ambiance) imagery.
Performance evaluation of the new upmix system was accomplished in two ways: Firstly, using empirical electroacoustic measurements which validate a theoretical model of the system; and secondly, with formal listening tests which investigated auditory spatial imagery with a graphical mapping tool and a preference experiment. Both electroacoustic and subjective methods investigated system performance with a variety of test stimuli for solo musical performances reproduced using a loudspeaker in an orchestral concert-hall and recorded using different microphone techniques.
The objective and subjective evaluations combined with a comparative study with two commercial systems demonstrate that the proposed system provides a new, computationally practical, high sound quality solution to upmixing.
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Books on the topic "Music – Acoustics and physics"

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Eargle, John. Music, sound, and technology. 2nd ed. New York: Van Nostrand Reinhold, 1995.

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Eargle, John. Music, sound, and technology. New York: Van Nostrand Reinhold, 1990.

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Jeans, James Hopwood. Science and music. New York: Cambridge University Press, 2009.

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Hopwood, Jeans James. Science and music. New York: Cambridge University Press, 2009.

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Hopwood, Jeans James. Science and music. New York: Cambridge University Press, 2009.

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Fletcher, Neville H. The physics of musical instruments. 2nd ed. New York: Springer, 1998.

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Fletcher, Neville H. The physics of musical instruments. New York: Springer-Verlag, 1993.

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Fletcher, Neville H. The physics of musical instruments. New York: Springer-Verlag, 1991.

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Rigden, John S. Physics and the sound of music. 2nd ed. New York: Wiley, 1985.

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1926-, Schroeder M. R., ed. Concert hall acoustics. Berlin: Springer-Verlag, 1985.

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Book chapters on the topic "Music – Acoustics and physics"

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Eargle, John M. "Fundamental Mathematical and Physical Concepts in Acoustics." In Music, Sound, and Technology, 1–35. Boston, MA: Springer US, 1995. http://dx.doi.org/10.1007/978-1-4757-5936-5_1.

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Eargle, John M. "Fundamental Mathematical and Physical Concepts in Acoustics." In Music, Sound, and Technology, 1–34. Dordrecht: Springer Netherlands, 1990. http://dx.doi.org/10.1007/978-94-011-7070-3_1.

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Roederer, Juan G. "Sound Waves, Acoustic Energy, and the Perception of Loudness." In The Physics and Psychophysics of Music, 76–112. New York, NY: Springer US, 2008. http://dx.doi.org/10.1007/978-0-387-09474-8_3.

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Roederer, Juan G. "Sound Waves, Acoustical Energy, and the Perception of Loudness." In The Physics and Psychophysics of Music, 67–105. New York, NY: Springer New York, 1995. http://dx.doi.org/10.1007/978-1-4612-2494-5_3.

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de Alencar, Marcelo Sampaio. "Acoustics and Congnition." In Music Science, 115–27. New York: River Publishers, 2022. http://dx.doi.org/10.1201/9781003338895-9.

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Weekhout, Hans. "Speakers and Acoustics." In Music Production, 21–30. Third edition. | New York, NY : Routledge, 2019.: Routledge, 2019. http://dx.doi.org/10.4324/9780429459504-5.

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Heimann, Dietrich, Arthur Schady, and Joseph Feng. "Atmospheric Acoustics." In Atmospheric Physics, 203–17. Berlin, Heidelberg: Springer Berlin Heidelberg, 2012. http://dx.doi.org/10.1007/978-3-642-30183-4_13.

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Pinterić, Marko. "Building acoustics." In Building Physics, 191–213. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-57484-4_7.

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Pinterić, Marko. "Building Acoustics." In Building Physics, 217–41. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-67372-7_7.

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Beyer, Robert T. "Acoustics." In AIP Physics Desk Reference, 60–92. New York, NY: Springer New York, 2003. http://dx.doi.org/10.1007/978-1-4757-3805-6_3.

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Conference papers on the topic "Music – Acoustics and physics"

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Puranik, Ninad Vijay, and Gary P. Scavone. "Physical modelling synthesis of a harmonium." In Fourth Vienna Talk on Music Acoustics. ASA, 2022. http://dx.doi.org/10.1121/2.0001679.

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Milicevic, D., D. Markusev, Lj Nesic, and G. Djordjevic. "The Complementary Teaching of Physics and Music Acoustics — The Science of Sound." In SIXTH INTERNATIONAL CONFERENCE OF THE BALKAN PHYSICAL UNION. AIP, 2007. http://dx.doi.org/10.1063/1.2733580.

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Worland, Randy. "Measuring brass instruments: A 'Physics of Music'." In 167th Meeting of the Acoustical Society of America. Acoustical Society of America, 2014. http://dx.doi.org/10.1121/1.4898416.

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Worland, Randy. "Flute measurements in a Physics of Music lab." In 166th Meeting of the Acoustical Society of America. Acoustical Society of America, 2014. http://dx.doi.org/10.1121/1.4895818.

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Ramsey, Gordon. "The Physics of Music course as an introduction to Science." In 166th Meeting of the Acoustical Society of America. Acoustical Society of America, 2014. http://dx.doi.org/10.1121/1.4895817.

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Sterling, Mark, Xiaoxiao Dong, and Mark Bocko. "Representation of solo clarinet music by physical modeling synthesis." In ICASSP 2008 - 2008 IEEE International Conference on Acoustics, Speech and Signal Processing. IEEE, 2008. http://dx.doi.org/10.1109/icassp.2008.4517563.

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Boren, Braxton, and Andrea Genovese. "Acoustics of Virtually Coupled Performance Spaces." In The 24th International Conference on Auditory Display. Arlington, Virginia: The International Community for Auditory Display, 2018. http://dx.doi.org/10.21785/icad2018.017.

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Many different musical applications, including remote sonification, sound installation, augmented reality, and distributed/telematic music performance, make use of high speed Internet connections between different performance spaces. Most of the technical literature on this subject focuses on system latency, but there are also significant contributions from the acoustics of all rooms connected: specifically, smaller auxiliary rooms will tend to introduce spectral coloration, and the “main” larger volume will send more reverberation to the off-site performers. Measurements taken in two linked networked sites used in telematic performance show that both of these issues are present. Some improvements are suggested, including physical room alterations and equalization methods using signal processing.
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Sudarsono, Anugrah S., I. G. N. Merthayasa, and Suprijanto. "Comparison between psycho-acoustics and physio-acoustic measurement to determine optimum reverberation time of pentatonic angklung music concert hall." In THE 5TH INTERNATIONAL CONFERENCE ON MATHEMATICS AND NATURAL SCIENCES. AIP Publishing LLC, 2015. http://dx.doi.org/10.1063/1.4930753.

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Loureiro, Maurício, Tairone Magalhaes, Davi Mota, Thiago Campolina, and Aluizio Oliveira. "A retrospective of the research on musical expression conducted at CEGeME." In Simpósio Brasileiro de Computação Musical. Sociedade Brasileira de Computação - SBC, 2019. http://dx.doi.org/10.5753/sbcm.2019.10440.

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CEGeME - Center for Research on Musical Gesture and Expression is affiliated to the Graduate Program in Music of the Universidade Federal de Minas Gerais (UFMG), hosted by the School of Music, Belo Horizonte, Brazil, since 2008. Focused on the empirical investigation of music performance, research at CEGeME departs from musical content information extracted from audio signals and three-dimensional spatial position of musicians, recorded during a music performance. Our laboratories are properly equipped for the acquisition of such data. Aiming at establishing a musicological approach to different aspects of musical expressiveness, we investigate causal relations between the expressive intention of musicians and the way they manipulate the acoustic material and how they move while playing a piece of music. The methodology seeks support on knowledge such as computational modeling, statistical analysis, and digital signal processing, which adds to traditional musicology skills. The group has attracted study postulants from different specialties, such as Computer Science, Engineering, Physics, Phonoaudiology and Music Therapy, as well as collaborations from professional musicians instigated by specific inquiries on the performance on their instruments. This paper presents a brief retrospective of the different research projects conducted at CEGeME.
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Kostek, Bozena. "Listening to Live Music: Life Beyond Music Recommendation Systems." In 2018 Joint Conference - Acoustics. IEEE, 2018. http://dx.doi.org/10.1109/acoustics.2018.8502385.

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Reports on the topic "Music – Acoustics and physics"

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Pantea, Cristian. Postdoctoral positions in Experimental Physics - Acoustics at Los Alamos National Laboratory. Office of Scientific and Technical Information (OSTI), May 2018. http://dx.doi.org/10.2172/1438155.

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Browning, David G., and Paul D. Scully-Power. Spreading Loss and Attenuation in Classical Physics: Lessons from Underwater Acoustics. Fort Belvoir, VA: Defense Technical Information Center, June 1987. http://dx.doi.org/10.21236/ada183052.

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Kiv, Arnold E., Vladyslav V. Bilous, Dmytro M. Bodnenko, Dmytro V. Horbatovskyi, Oksana S. Lytvyn, and Volodymyr V. Proshkin. The development and use of mobile app AR Physics in physics teaching at the university. [б. в.], July 2021. http://dx.doi.org/10.31812/123456789/4629.

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This paper outlines the importance of using Augmented Reality (AR) in physics education at the university as a valuable tool for visualization and increasing the attention and motivation of students to study, solving educational problems related to future professional activities, improving the interaction of teachers and students. Provided an analysis of the types of AR technology and software for developing AR apps. The sequences of actions for developing the mobile application AR Physics in the study of topics: “Direct electronic current”, “Fundamentals of the theory of electronic circuits”. The software tools for mobile application development (Android Studio, SDK, NDK, Google Sceneform, 3Ds MAX, Core Animation, Asset Media Recorder, Ashampoo Music Studio, Google Translate Plugin) are described. The bank of 3D models of elements of electrical circuits (sources of current, consumers, measuring devices, conductors) is created. Because of the students’ and teachers’ surveys, the advantages and disadvantages of using AR in the teaching process are discussed. Mann-Whitney U-test proved the effectiveness of the use of AR for laboratory works in physics by students majoring in “Mathematics”, “Computer Science”, and “Cybersecurity”.
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