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

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Author: Grafiati

Published: 4 June 2021

Last updated: 30 July 2024

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1

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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2

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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3

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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4

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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5

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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6

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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7

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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8

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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9

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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10

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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11

Stanciu, Mariana Domnica, Mircea Mihalcica, and Voichita Bucur. "Special Issue on Mechanics, Dynamics and Acoustics of Musical Instruments." Applied Sciences 13, no. 20 (October 18, 2023): 11428. http://dx.doi.org/10.3390/app132011428.

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The mechanics, dynamics and acoustics of musical instruments concern scientists from different fields, such as physics, mechanics, acoustics, psychology, and music, as well as musical instrument manufacturers, who use these factors to not only understand and explain the phenomena that take place inside and outside of musical instruments as a result of the propagation of sounds, but also those related to the perception of the sounds produced by them [...]

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12

Xiang, Ning, and Jonas Braasch. "Graduate education and research in architectural acoustics at Rensselaer Polytechnic Institute." Journal of the Acoustical Society of America 152, no. 4 (October 2022): A123. http://dx.doi.org/10.1121/10.0015754.

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The Graduate Program in Architectural Acoustics has been constantly advanced from its inception in 1998 with an ambitious mission of educating future experts and leaders in architectural acoustics, due to the rapid pace of change in the fields of architectural-, physical-, and psycho-acoustics, and noise-control engineering. Since years the program’s pedagogy using “STEM” (science, technology, engineering, and mathematics) methods has been proven to be effective and productive, including intensive, integrative hands-on experimental components that integrate architectural acoustics theory and practice. The graduate program has recruited graduate students from a variety of disciplines including individuals with B.S., B.Arch., or B.A. degrees in Mathematics, Physics, Engineering, Architecture, Electronic Media, Sound Recording, Music and related fields. Graduate students under this pedagogy and research environment have been succeed in the rapidly changing field. RPI’s Graduate Program in Architectural Acoustics has since graduated more than 120 graduates with both M.S. and Ph.D. degrees. Under the guidance of the faculty members they have also actively contributed to the program’s research in architectural acoustics, communication acoustics, psycho-acoustics, signal processing in acoustics as well as our scientific exploration at the intersection of cutting edge research and traditional architecture/music culture. This paper illuminates the evolution and growth of the Graduate Program.

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13

Linz, Jill A. "Investigating the connection between physics and music in an introductory acoustics course." Journal of the Acoustical Society of America 146, no. 4 (October 2019): 3039. http://dx.doi.org/10.1121/1.5137532.

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14

Gouk, Penelope. "Music and the emergence of experimental science in early modern Europe." SoundEffects - An Interdisciplinary Journal of Sound and Sound Experience 2, no. 1 (April 2, 2012): 5–21. http://dx.doi.org/10.7146/se.v2i1.5183.

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The seventeenth century witnessed major advances in physics and experimental science. This paper argues that while the role of new visual technologies (e.g. the microscope) has been well studied, less attention has been paid to acoustic technologies in early modern natural philosophy. In particular, I attend to the relationship between making music, a specific form of organised sound mediated through instruments, and the production of new scientific knowledge. On the one hand, this relationship developed in the context of acoustics, a new discipline first mapped out by Francis Bacon. On the other hand, music’s relationship to natural philosophy was also more fundamental, since harmony was understood as an organising principle of the universe, the laws of musical strings providing a model for other forms of vibrative motion. I also show the importance of musical training for Galileo’s experiments and the significance of harmony for Isaac Newton and Robert Hooke.

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15

BENSA, ELISA, and GIANNI ZANARINI. "LA FISICA DELLA MUSICA." Nuncius 14, no. 1 (1999): 69–111. http://dx.doi.org/10.1163/182539199x00760.

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Abstracttitle SUMMARY /title The scientific revolution of XVII century concerned also the domain of music theory, deeply investigating the nature of musical sounds and the physics of their production. Also the classical explanations of musical consonance were questioned, looking for its hidden causes through physics experiments and mathematical models. The passionating history of musical acoustics from Galileo to the end of XVIII century is revisited, with a particular emphasis on consonance theories.

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16

Dostal, Jack A. "Experimenting with technologies in introductory musical acoustics classes." Journal of the Acoustical Society of America 151, no. 4 (April 2022): A82. http://dx.doi.org/10.1121/10.0010726.

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I have relied on a variety of programs and platforms to teach my introductory Physics of Music course online. Now that my students are back in person, some of the online/hybrid course modifications still work well for in-person delivery. I will describe the changes that managed to “stick” as well as some that did not. These include ways I have used conferencing platforms, free/open source programs, course learning management systems (LMS), and streaming services in my class.

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17

Worland, Randy. "Flute measurements in a physics of music lab." Journal of the Acoustical Society of America 134, no. 5 (November 2013): 4019. http://dx.doi.org/10.1121/1.4830671.

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18

Kalashnyk, Mariya, Uriy Loshkov, Oleksandr Yakovlev, Anton Genkin, and Hanna Savchenko. "Musically-acoustic thesaurus as spatial dimension of cognitive process." Scientific Herald of Uzhhorod University Series Physics 2024, no. 55 (January 21, 2024): 1421–27. http://dx.doi.org/10.54919/physics/55.2024.142af1.

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Relevance. This article explores the intricate relationship between the musically-acoustic thesaurus � encompassing both musical and extra-musical elements � and cognitive processes, emphasizing the spatial dimension of cognition within auditory experiences.Purpose. The primary aim is to dissect the structure and function of the musically-acoustic thesaurus in individual and collective cognitive domains, highlighting its role in encoding and navigating the acoustic environment and its impact on musical and emotional experiences.Methodology. Through a comprehensive analysis of the auditory activity, the study examines how sonic phenomena, both musical and non-musical, are categorized, internalized, and utilized within human cognition. It considers the sonic environment's organization and how it influences the perception and emotional engagement with music and sound.Results. The findings indicate that the musically-acoustic thesaurus serves as a crucial framework for understanding and interacting with the acoustic world. It delineates how sounds are integrated into a complex network of cognitive processes, facilitating orientation in space-time, enabling emotional experiences, and fostering an aesthetic appreciation of the acoustic environment.Conclusions. The musically-acoustic thesaurus emerges as a pivotal element in the cognitive processing of sound, underscoring its dual role in practical orientation and emotional-aesthetic experiences. The study reveals that this thesaurus not only aids in navigating the sonic landscape but also enriches the individual's interaction with music and sound, thereby significantly contributing to the broader understanding of cognitive processes in auditory perception.

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19

Ortega‐Rodríguez, Manuel. "On a new course: The physics of music and language." Journal of the Acoustical Society of America 128, no. 4 (October 2010): 2343. http://dx.doi.org/10.1121/1.3508295.

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20

Dostal, Jack A. "Solving real-world problems in a physics of music class." Journal of the Acoustical Society of America 148, no. 4 (October 2020): 2564. http://dx.doi.org/10.1121/1.5147117.

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21

Worland, Randy. "Combination tones and multiphonics in a physics of music lab." Journal of the Acoustical Society of America 152, no. 4 (October 2022): A54. http://dx.doi.org/10.1121/10.0015516.

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Laboratory exercises related to multiphonic tones in wind instruments have been developed for use in an undergraduate Physics of Music class. Although the concepts of nonlinear mixing and production of combination tones can be challenging to present at a non-technical level, a hand’s-on (mouth’s-on!) approach allows students to can gain a visceral and aural appreciation of this type of mixing and its musical use by wind players. The exercises make use of inexpensive free-reed pitch pipes. A pair of pipes can be played independently, producing a linear combination of the two sources, and as a pair of coupled nonlinear oscillators, resulting in combination tones. The differences between the two types of mixing are heard and viewed on a spectrogram in real time. Unlike multiphonics produced by advanced woodwind and brass players, every student can produce these combination tones with pitch pipes. Most can also sing a fixed pitch while playing a pipe to achieve another multiphonic effect. The exercises are readily extended to harmonicas, as available, where difference tones are often heard quite clearly, and the nonlinear mixing forms an essential part of the instrument’s timbre. Additional multiphonic examples are also illustrated.

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22

Linz, Jill A. "Designing an introductory musical acoustics course using physics education research techniques and the impact COVID-19 pandemic had on the course structure." Journal of the Acoustical Society of America 151, no. 4 (April 2022): 2672–87. http://dx.doi.org/10.1121/10.0010163.

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Sound & Music is an introductory musical acoustics course designed from the ground up using Physics Education Research techniques. The onset of the COVID-19 pandemic forced changes in the curriculum that essentially were reactionary in scope. This was a universal problem that opened up discussions with other educators. Although it had existed previously, the idea of “flipping” a class became a popular concept during the pandemic. Pedagogies applied to an introductory acoustics course are examined as to what they meant in the context of the pandemic. This paper will look at the structure and format of the course pre-pandemic as well as discuss excerpts from three different hands-on activities that were each designed using Physics Education Research techniques. It will then look at how these were altered to be used during the pandemic era as well as other challenges that were overcome during this time, summarizing what changes worked and what did not.

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23

Rossing, Thomas D., D. Scott Hampton, and Uwe J. Hansen. "Music from Oil Drums: The Acoustics of the Steel Pan." Physics Today 49, no. 3 (March 1996): 24–29. http://dx.doi.org/10.1063/1.881489.

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24

Dostal, Jack. "Comparing three textbook choices for an introductory physics of music class." Journal of the Acoustical Society of America 146, no. 4 (October 2019): 3039. http://dx.doi.org/10.1121/1.5137531.

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25

Dostal, Jack. "A carillon bell laboratory in an introductory physics of music class." Journal of the Acoustical Society of America 134, no. 5 (November 2013): 4019. http://dx.doi.org/10.1121/1.4830673.

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26

Hall, Helen. "Both Sides of the Mirror: Integrating Physics and Acoustics with Personal Experience." Leonardo Music Journal 3 (1993): 17. http://dx.doi.org/10.2307/1513264.

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27

Worland, Randy. "Laboratory measurements of conical reed woodwinds in a Physics of Music class." Journal of the Acoustical Society of America 148, no. 4 (October 2020): 2564. http://dx.doi.org/10.1121/1.5147115.

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28

Rigden, John S., and S. A. Elder. "Physics and the Sound of Music, 2nd ed. by John S. Rigden." Journal of the Acoustical Society of America 79, no. 3 (March 1986): 881. http://dx.doi.org/10.1121/1.393444.

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29

Driscoll, Erin, Mark Bocko, and Sarah R. Smith. "Room impulse response inference from the coherence properties of speech and music signals." Journal of the Acoustical Society of America 150, no. 4 (October 2021): A348—A349. http://dx.doi.org/10.1121/10.0008544.

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Analysis of the coherence properties of the harmonic partials of speech and music signals recorded in an acoustic space provides information about the impulse response of the space. When an acoustic signal is filtered by a space, the autocorrelation of individual partials and the cross-correlation between pairs of partials provides information about the frequency-dependent reverberation time of the space. The relationship between the coherence time of the original, dry, signal and the reverberation time of the acoustic space determines the information that is retrievable in this “blind” approach. Recovering information about the acoustic space can be done within bounds, given only minimal assumptions or knowledge of the signal. Specifically, the original signal is assumed to contain a set of harmonically related partials, with mutually correlated amplitude and phase modulations and that the coherence time of the signal is known. These modulations are modelled as a narrow band pseudo random process. This is a reasonable assumption based on the physics of sound generation in classes of realistic sources, such as wind musical instruments or the human vocal tract.

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Konarczak–Stachowiak, Agnieszka. "Wybrane metody rehabilitacji dziecka z zaburzeniami słuchu i mowy." Kultura-Społeczeństwo-Edukacja 10, no. 2 (December 15, 2016): 305–14. http://dx.doi.org/10.14746/kse.2016.10.23.

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Music therapy and choreotherapy are two extensive term. They do not apply only music, movement and therapy, but they include a lot of modern science, for example: psychology, music psychology, psychotherapy, psychiatry, medicine, pedagogy, special pedagogy, music education, physic education, audiology, acoustics, psychoacoustic, speech therapy, sociology, music philosophy, musicology and diffrent kind of therapy by art and movement. Therefore sound therapy and movement therapy is trans–disciplinary. It is unique thing like music and natural thing like movement. Basic kind of movement with music in therapy and rehabilitation: dance, recreation with music and movement, gymnastic with music and physical improvisation. The effectiveness of methods that use sound and movement in hearing and speech therapy is due to fact that: music and speech include rhythm, melody, tempo, volume, articulation, timbre, phrasing, accents etc.; speech development can coincide with motor development. The movement is main form child’s development. Disorders in the motor development of the child have a direct or indirect impact on the development of the child’s speech. When we teach our child motor development, also we support the development of speech, becouse the brain has one point that connect these two features. Music and movement activities with elements of music therapy, choreotherapy and rhythm therapy trains sense of rhythm, hearing and music memory and it is very important for harmonious and quiet growing up child’s – on a intellectual, physical, emotional and social plane, because of it all of processes that work in adult organism are improved. Main objective of the activities is develop different skills, attitudes and habits.

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Dostal, Jack A. "Longitudinal standing waves, mechanical waves, and diagnostics." Journal of the Acoustical Society of America 153, no. 3_supplement (March 1, 2023): A147. http://dx.doi.org/10.1121/10.0018458.

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The Standing Wave Diagnostic Test is a 22-item multiple choice survey designed to assess student understanding of longitudinal standing waves in air. I created it to measure my students’ difficulties with the subject. I also created the Longitudinal Standing Wave Tutorial to address these difficulties. The tutorial uses marked springs, tuning forks, pipes, and plenty of discussion to develop students’ understanding. Both the diagnostic and tutorial are based in physics education research and developed using survey and interview data from college physics classes. I often use the tutorial as a laboratory exercise in my Physics of Music class, which generates some interesting differences from the college physics classes. Some are a result of students’ prior knowledge about sound, while others are influenced by the course material covered prior to the tutorial. I will discuss some of my own results with these materials and put them in context with other physics education research based mechanical wave surveys.

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32

Kulowski, A. "Acoustics of Concert Hall at Academy of Music in Gdańsk, Project and Realization." Acta Physica Polonica A 118, no. 1 (July 2010): 106–9. http://dx.doi.org/10.12693/aphyspola.118.106.

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33

Chan, Paul Yaozhu, Minghui Dong, and Haizhou Li. "The Science of Harmony: A Psychophysical Basis for Perceptual Tensions and Resolutions in Music." Research 2019 (September 29, 2019): 1–22. http://dx.doi.org/10.34133/2019/2369041.

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This paper attempts to establish a psychophysical basis for both stationary (tension in chord sonorities) and transitional (resolution in chord progressions) harmony. Harmony studies the phenomenon of combining notes in music to produce a pleasing effect greater than the sum of its parts. Being both aesthetic and mathematical in nature, it has baffled some of the brightest minds in physics and mathematics for centuries. With stationary harmony acoustics, traditional theories explaining consonances and dissonances that have been widely accepted are centred around two schools: rational relationships (commonly credited to Pythagoras) and Helmholtz’s beating frequencies. The first is more of an attribution than a psychoacoustic explanation while electrophysiological (amongst other) discrepancies with the second still remain disputed. Transitional harmony, on the other hand, is a more complex problem that has remained largely elusive to acoustic science even today. In order to address both stationary and transitional harmony, we first propose the notion of interharmonic and subharmonic modulations to address the summation of adjacent and distant sinusoids in a chord. Based on this, earlier parts of this paper then bridges the two schools and shows how they stem from a single equation. Later parts of the paper focuses on subharmonic modulations to explain aspects of harmony that interharmonic modulations cannot. Introducing the concept of stationary and transitional subharmonic tensions, we show how it can explain perceptual concepts such as tension in stationary harmony and resolution in transitional harmony, by which we also address the five fundamental questions of psychoacoustic harmony such as why the pleasing effect of harmony is greater than that of the sum of its parts. Finally, strong correlations with traditional music theory and perception statistics affirm our theory with stationary and transitional harmony.

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34

Ryherd, Erica. "Acoustic design of music rehearsal rooms." Physics Today 61, no. 8 (August 2008): 68–69. http://dx.doi.org/10.1063/1.2970221.

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35

Reid, John Stuart. "THE THERAPEUTIC POWER OF VOCAL SOUND: HOW VOCAL SOUND POSITIVELY AFFECTS EVERY CELL IN YOUR BODY AND THE CELLS OF EVERYONE IN YOUR CLOSE PROXIMITY." Medicine and Art 2, no. 2 (July 15, 2024): 43–68. http://dx.doi.org/10.60042/2949-2165-2024-2-2-43-68.

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The therapeutic power of the human voice is well known, but the mechanisms by which vocal sound can promote healing have received little attention in the scientific and medical communities. In this article, UK acoustic-physics scientist, John Stuart Reid, begins by describing the sound bubble model of sound, as distinct from sound wave model, and discusses the significance of the little known physics fact that "sound gives birth to light”. Due to the inelastic atomic collisions that are a fundamental aspect of sound production, this phenomenon leads to the intriguing hypothesis that our songs will, in the fullness of time, reach the stars in the form of modulated infrared energy. The article proceeds to distill, in accessible language, deep insights into the biological therapeutic mechanisms that underpin vocalizations, including vocal sound's ability to mediate chronic inflammation by vagus nerve stimulation. The article ends with a reference to the work of Professor Sergey Petoukhov, and the thought that we are actually singing form of genetic music, music that brings healing to all life.

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Parikesit, Gea O., and Indraswari Kusumaningtyas. "Why bundengan musicians always drench their instruments prior to playing." Journal of the Acoustical Society of America 154, no. 4_supplement (October 1, 2023): A185—A186. http://dx.doi.org/10.1121/10.0023213.

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Bundengan is an indigenous musical instrument from Indonesia. It evolved from a bamboo-woven dome originally used by duck herders as a portable shelter during rain and sun. By embedding strings and bars into the dome, the herders turned this shelter into a unique instrument, under which they sit and play music. Bundengan musicians have learned from experience that the instrument sounds better when played under the rain. Nowadays, they use various ways to drench their instruments prior to playing, such as soaking it in fish ponds or putting it under the shower. We explore the physics of why wetter bundengan sounds better. First, we analyze the construction steps of the bamboo dome: the weaving of the bamboo splits, the bending of the woven splits, the layering of bamboo culm sheaths on the woven splits, and the deformation of the sheaths during wetting. Second, we analyze the coupling between the mechanical vibrations in the dome and the acoustical waves from the instrument. Certain conditions of the coupling may lead to an evanescent acoustical field dominating over the radiating acoustical field, which may explain why the best bundengan sound is confined only to under the dome, where the musicians sit.

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37

Graebner, E. H. "Current directions in computer music research." Journal of Sound and Vibration 141, no. 3 (September 1990): 528–32. http://dx.doi.org/10.1016/0022-460x(90)90646-h.

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Ologe, Foluwasayo E., Emmanuel O. Okoro, and Tanimola M. Akande. "Hazard of Noise Induced Hearing Loss (NIHL) among Operators of Music Recording/Retail Centres in Nigeria." Noise & Vibration Worldwide 36, no. 2 (February 2005): 17–20. http://dx.doi.org/10.1260/0957456053499077.

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We studied the level of music loudness to which operators of music recording/retail centre were exposed in order to determine their risk of work-related hearing loss. A survey of consenting operators of music recording centres on six main streets selected by simple random sampling at different locations of the town was carried out using a structured questionnaire. The sound level of the music from the music player speakers in each centre was measured using a sound level meter (Testo 815) duly calibrated with a sound level meter calibrator (Testo 0554.0009). Results were analyzed by simple descriptive statistics. The study involved 79 mainly male young adults aged 27.7 ± 6.8 years (SD). The measured sound levels in the centres ranged from 86-104dBA; with a mean of 96 ± 2.5dBA(SD). Exposure to this music loudness was for an average of 9 hours daily for an employment period averaging about 5 years. Thirty percent of the study population reduced music loudness by turning down the volume; 6.3% sat at six or more metres from the speakers; 10% used ear plugs occasionally and 7.6% had hearing assessment at some stage prior to the present study. The level of noise exposure of this population of young males is in excess of the threshold associated with irreversible hearing loss, and protection measures were less than optimal.

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Kang, Sang-Ick, and Sangmin Lee. "Improvement of Speech/Music Classification for 3GPP EVS Based on LSTM." Symmetry 10, no. 11 (November 7, 2018): 605. http://dx.doi.org/10.3390/sym10110605.

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The competition of speech recognition technology related to smartphones is now getting into full swing with the widespread internet of thing (IoT) devices. For robust speech recognition, it is necessary to detect speech signals in various acoustic environments. Speech/music classification that facilitates optimized signal processing from classification results has been extensively adapted as an essential part of various electronics applications, such as multi-rate audio codecs, automatic speech recognition, and multimedia document indexing. In this paper, we propose a new technique to improve robustness of a speech/music classifier for an enhanced voice service (EVS) codec adopted as a voice-over-LTE (VoLTE) speech codec using long short-term memory (LSTM). For effective speech/music classification, feature vectors implemented with the LSTM are chosen from the features of the EVS. To overcome the diversity of music data, a large scale of data is used for learning. Experiments show that LSTM-based speech/music classification provides better results than the conventional EVS speech/music classification algorithm in various conditions and types of speech/music data, especially at lower signal-to-noise ratio (SNR) than conventional EVS algorithm.

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Pangestu, I. B. A., D. N. Fauzi, and W. A. Asmoro. "Improvement acoustic quality room live music P-Two cafe Surabaya." Journal of Physics: Conference Series 1075 (August 2018): 012082. http://dx.doi.org/10.1088/1742-6596/1075/1/012082.

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De Coensel, Bert, and Dick Botteldooren. "The Rhythm of the Urban Soundscape." Noise & Vibration Worldwide 38, no. 9 (October 2007): 11–17. http://dx.doi.org/10.1260/095745607782689827.

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The influence of noise on the quality of the urban living environment has traditionally been studied focusing on negative effects on man, such as noise annoyance and sleep disturbance. Recently a more holistic approach, including positive and negative aspects as well as non-residential functions of the urban environment, has gained renewed interest. The label “urban soundscape” is often used to refer to this approach. Research towards selection and quantification of the acoustic descriptors of the urban soundscape is, however, still in an early stage. This paper draws on the analogy with music and self-organization to propose an indicator for studying the temporal structure of the urban soundscape. Applicability is illustrated by drawing a map of music-likeness of the soundscape in an urban area.

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Wright, M. C. M. "Measured Tones: The Interplay of Physics and Music by Ian Johnston, Institute of Physics Publishing, Bristol and Philadelphia, 2002, xiv+406pp, price £24.99, ISBN 0-7503-0762-5." Journal of Sound and Vibration 264, no. 5 (July 2003): 1209–10. http://dx.doi.org/10.1016/s0022-460x(03)00391-2.

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43

Álvarez-Meza, Andrés Marino, Héctor Fabio Torres-Cardona, Mauricio Orozco-Alzate, Hernán Darío Pérez-Nastar, and German Castellanos-Dominguez. "Affective Neural Responses Sonified through Labeled Correlation Alignment." Sensors 23, no. 12 (June 14, 2023): 5574. http://dx.doi.org/10.3390/s23125574.

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Sound synthesis refers to the creation of original acoustic signals with broad applications in artistic innovation, such as music creation for games and videos. Nonetheless, machine learning architectures face numerous challenges when learning musical structures from arbitrary corpora. This issue involves adapting patterns borrowed from other contexts to a concrete composition objective. Using Labeled Correlation Alignment (LCA), we propose an approach to sonify neural responses to affective music-listening data, identifying the brain features that are most congruent with the simultaneously extracted auditory features. For dealing with inter/intra-subject variability, a combination of Phase Locking Value and Gaussian Functional Connectivity is employed. The proposed two-step LCA approach embraces a separate coupling stage of input features to a set of emotion label sets using Centered Kernel Alignment. This step is followed by canonical correlation analysis to select multimodal representations with higher relationships. LCA enables physiological explanation by adding a backward transformation to estimate the matching contribution of each extracted brain neural feature set. Correlation estimates and partition quality represent performance measures. The evaluation uses a Vector Quantized Variational AutoEncoder to create an acoustic envelope from the tested Affective Music-Listening database. Validation results demonstrate the ability of the developed LCA approach to generate low-level music based on neural activity elicited by emotions while maintaining the ability to distinguish between the acoustic outputs.

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Pandeya, Yagya Raj, Bhuwan Bhattarai, and Joonwhoan Lee. "Deep-Learning-Based Multimodal Emotion Classification for Music Videos." Sensors 21, no. 14 (July 20, 2021): 4927. http://dx.doi.org/10.3390/s21144927.

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Music videos contain a great deal of visual and acoustic information. Each information source within a music video influences the emotions conveyed through the audio and video, suggesting that only a multimodal approach is capable of achieving efficient affective computing. This paper presents an affective computing system that relies on music, video, and facial expression cues, making it useful for emotional analysis. We applied the audio–video information exchange and boosting methods to regularize the training process and reduced the computational costs by using a separable convolution strategy. In sum, our empirical findings are as follows: (1) Multimodal representations efficiently capture all acoustic and visual emotional clues included in each music video, (2) the computational cost of each neural network is significantly reduced by factorizing the standard 2D/3D convolution into separate channels and spatiotemporal interactions, and (3) information-sharing methods incorporated into multimodal representations are helpful in guiding individual information flow and boosting overall performance. We tested our findings across several unimodal and multimodal networks against various evaluation metrics and visual analyzers. Our best classifier attained 74% accuracy, an f1-score of 0.73, and an area under the curve score of 0.926.

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Zieliński, P. "Real-Time Spectroscopy of Acoustic Waves or Music as Physical Phenomenon." Acta Physica Polonica A 89, no. 2 (February 1996): 265–71. http://dx.doi.org/10.12693/aphyspola.89.265.

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Kähäri, Kim, Gunilla Zachau, Mats Eklöf, and Claes Möller. "The influence of music and stress on musicians’ hearing." Journal of Sound and Vibration 277, no. 3 (October 2004): 627–31. http://dx.doi.org/10.1016/j.jsv.2004.03.025.

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Fearn, R. W., and D. R. Hanson. "Hearing level of young subjects exposed to amplified music." Journal of Sound and Vibration 128, no. 3 (February 1989): 509–12. http://dx.doi.org/10.1016/0022-460x(89)90790-6.

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48

Jaroszewski, Antoni. "The Extent of Hearing Damage from Exposures to Music." Noise & Vibration Worldwide 31, no. 2 (February 2000): 14–25. http://dx.doi.org/10.1260/0957456001497319.

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Sound pressure levels in discotheques and during training sessions of music students we re measured and analysed. Effects of exposure in the form of permanent and temporary threshold shifts we re determined in the samples of young discotheque attenders and in music students and musicians. The consequences of the threshold shifts in the perception of pitch, loudness, and time are discussed.

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Myna, A. N., K. Deepthi, and Samvrudhi V. Shankar. "Hybrid Recommender System for Music Information Retrieval." Journal of Computational and Theoretical Nanoscience 17, no. 9 (July 1, 2020): 4145–49. http://dx.doi.org/10.1166/jctn.2020.9035.

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Music plays an integral role in our lives as the most popular type of recreation. With the advent of new technologies such as Internet and portable media players, large amount of music data is available online which can be distributed and easily made available to people. Enormous amount of music data is released every year by several artists with songs varying in features, genre and so on. Because of this, a need for reliable and easy access of songs based on user preferences is necessary. The recommender system focuses on generating playlists based on the physical, perceptual and acoustical properties of the song (content based filtering approach), or on commonalities between users on a particular basis like ratings or user data history (collaborative filtering). The system thus developed is a hybrid music recommender tool which creates a user centric suggestion system accompanied by feature extraction which in turn enhances the accuracy of music recommendations.

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50

Hou, Jianjun, Shuxun Li, and Lingxia Yang. "Multi-Leakage Source Localization of Safety Valve Based on Uniform Circular AE Array and Improved MUSIC Algorithm." Sensors 23, no. 9 (May 6, 2023): 4515. http://dx.doi.org/10.3390/s23094515.

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The safety valve is the core component of the pressure-relief protection device for pressure-bearing special equipment. When the safety valve leaks, the medium of the pressure vessel will be lost and wasted, which may cause safety accidents. With the aim to solve the problem of accurately locating the multiple leakage sources of safety valves, a localization method combining a uniform circular array acoustic emission detection and an improved multiple signal classification (MUSIC) algorithm is proposed. First, an improved wavelet threshold function denoising method is introduced to extract acoustic emission signals with high SNR, thereby reducing the rank of the covariance matrix, weakening the noise dispersion caused by eigenvalue reconstruction, avoiding signal and noise cross-confusion, and improving positioning accuracy. By introducing a windowed fast Fourier transform (FFT) frequency division processing link to obtain narrowband signal, the premise of using MUSIC positioning algorithm is established. In addition, a forward/backward spatial smoothing algorithm is introduced in the decoherence link to reduce co-channel interference, reduce the rank loss of the signal covariance matrix, and improve the positioning accuracy of the algorithm. The results show that when the working pressure is 0.70 MPa, 0.75 MPa, and 0.80 MPa, the deviation between the azimuth angle and elevation angle positioning results of each leakage source obtained by the improved MUSIC algorithm and the actual angle does not exceed 2°, and the relative error does not exceed 3.5%. Therefore, the improved MUSIC algorithm can accurately locate multiple leakage sources of the safety valve, and as the working pressure of the safety valve increases, the positioning accuracy of the improved MUSIC algorithm also increases accordingly.

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