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Relevant bibliographies by topics / Parameters of a musical recording

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Academic literature on the topic 'Parameters of a musical recording'

Author: Grafiati

Published: 28 June 2021

Last updated: 5 February 2022

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Journal articles on the topic "Parameters of a musical recording"

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Janata, Petr, and Hellmuth Petsche. "Spectral Analysis of the EEG as a Tool for Evaluating Expectancy Violations of Musical Contexts." Music Perception 10, no. 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'

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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, no. 2 (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, no. 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 wi

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Grujić, Gordana, and Mladen Janković. "Tension and relaxation (do not) exist in dodecaphonic music of Webern." Rasprave Instituta za hrvatski jezik i jezikoslovlje 44, no. 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

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Katz, Jonah. "Style and Flow: A Commentary on Duinker & Martin." Empirical Musicology Review 12, no. 1-2 (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

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London, Justin. "Building a Representative Corpus of Classical Music." Music Perception 31, no. 1 (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 Report

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Rychlicki-Kicior, K., and B. Stasiak. "Multipitch estimation using judge-based model." Bulletin of the Polish Academy of Sciences Technical Sciences 62, no. 4 (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 param

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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, no. 1 (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

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Bakogiannis, Konstantinos, Spyros Polychronopoulos, Dimitra Marini, and Georgios Kouroupetroglou. "Audio Enhancement of Physical Models of Musical Instruments Using Optimal Correction Factors: The Recorder Case." Applied Sciences 11, no. 14 (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 characterist

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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, no. 19 (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 focu

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Dissertations / Theses on the topic "Parameters of a musical recording"

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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

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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 ul

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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, ampli

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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 relationsh

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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<br>D.M.A.<br>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

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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 st

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Akin, Faith W., Owen D. Murnane, J. Tampas, C. Prieve, and 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. Bas

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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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Note:<br>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.<br>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.

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Books on the topic "Parameters of a musical recording"

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Gibson, Bill. Instrument and vocal recording. 2nd ed. Hal Land Corp., 2011.

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

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

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

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Joseph, Cosgriff, ed. World on a string: A musical memoir. John Wiley & Sons, Inc., 2012.

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Dictionary of musical technology. Greenwood Press, 1992.

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

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Keisha, Kalfin, ed. Soul mining: A musical life. Faber and Faber, 2010.

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

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

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Book chapters on the topic "Parameters of a musical recording"

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Rumsey, Francis, and Tim McCormick. "MIDI and Musical Instrument Control." In Sound and Recording, 8th ed. Routledge, 2021. http://dx.doi.org/10.4324/9781003092919-13.

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Sakmann, Bert, and Erwin Neher. "Geometric Parameters of Pipettes and Membrane Patches." In Single-Channel Recording. 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, and Ahmed S. BaHammam. "Minimal Recording Parameters and Extended Montage." In Clinical Atlas of Polysomnography. Apple Academic Press, 2018. http://dx.doi.org/10.1201/b22464-9.

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Ciorap, R., D. Andriţoi, C. Corciovă, and 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. 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. 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. Springer Netherlands, 1989. http://dx.doi.org/10.1007/978-94-009-0883-3_5.

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

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Strauß, Johannes, Nataša Stritih-Peljhan, and Reinhard Lakes-Harlan. "Determining Vibroreceptor Sensitivity in Insects: The Influence of Experimental Parameters and Recording Techniques." In Biotremology: Studying Vibrational Behavior. 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, and Belén Pérez-Lancho. "Framework for the Detection of Physiological Parameters with Musical Stimuli Based on IoT." In Advances in Intelligent Systems and Computing. 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, and J. Brotchi. "Anterior Fontanelle Pressure Recording with the Rotterdam Transducer: Variation of Normal Parameters with Age." In Intracranial Pressure and Neuromonitoring in Brain Injury. Springer Vienna, 1998. http://dx.doi.org/10.1007/978-3-7091-6475-4_17.

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Conference papers on the topic "Parameters of a musical recording"

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Kurka, Paulo R. G., Carlos Geraldo Quinholi, Eduardo Laurino, and 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 condition

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Chandna, Pritish, Antonio Ramires, Xavier Serra, and 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, and 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, and Johnny Wingstedt. "Relations between selected musical parameters and expressed emotions." In the 2005 ACM SIGCHI International Conference. ACM Press, 2005. http://dx.doi.org/10.1145/1178477.1178499.

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Le Groux, Sylvain, and 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, and 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, and 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., and 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, and 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, and 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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