Journal articles: 'Percussive Sound'

1

Suzuki, Shigeo. "Sound bar type percussive musical instrument." Journal of the Acoustical Society of America 82, no. 3 (September 1987): 1107. http://dx.doi.org/10.1121/1.395320.

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Roper, Daleth F. "Sound bar for percussive musical instrument." Journal of the Acoustical Society of America 94, no. 3 (September 1993): 1753. http://dx.doi.org/10.1121/1.408092.

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Marcel, Frederic E., and Francois J. M. Maume. "Sound‐proofing casing for a pneumatic percussive drill." Journal of the Acoustical Society of America 82, no. 1 (July 1987): 407. http://dx.doi.org/10.1121/1.395479.

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Rao, Adam, Jorge Ruiz, Chen Bao, and Shuvo Roy. "Tabla: A Proof-of-Concept Auscultatory Percussion Device for Low-Cost Pneumonia Detection." Sensors 18, no. 8 (August 16, 2018): 2689. http://dx.doi.org/10.3390/s18082689.

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Pneumonia causes the deaths of over a million people worldwide each year, with most occurring in countries with limited access to expensive but effective diagnostic methods, e.g., chest X-rays. Physical examination, the other major established method of diagnosis, suffers from several drawbacks, most notably low accuracy and high interobserver error. We sought to address this diagnostic gap by developing a proof-of-concept non-invasive device to identify the accumulation of fluid in the lungs (consolidation) characteristic of pneumonia. This device, named Tabla after the percussive instrument of the same name, utilizes the technique of auscultatory percussion; a percussive input sound is sent through the chest and recorded with a digital stethoscope for analysis. Tabla analyzes differences in sound transmission through the chest at audible frequencies as a marker for lung consolidation. This paper presents preliminary data from five pneumonia patients and eight healthy subjects. We demonstrate 92.3% accuracy in distinguishing between healthy subjects and patients with pneumonia after data analysis with a K-nearest neighbors algorithm. This prototype device is low cost and simple to implement and may offer a rapid and inexpensive method for pneumonia diagnosis appropriate for general use and in areas with limited medical infrastructure.

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Foley, Liam, Joseph Schlesinger, and Michael Schutz. "More detectable, less annoying: Temporal variation in amplitude envelope and spectral content improves auditory interface efficacy." Journal of the Acoustical Society of America 151, no. 5 (May 2022): 3189–96. http://dx.doi.org/10.1121/10.0010447.

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Auditory interfaces, such as auditory alarms, are useful tools for human computer interaction. Unfortunately, poor detectability and annoyance inhibit the efficacy of many interface sounds. Here, it is shown in two ways how moving beyond the traditional simplistic temporal structures of normative interface sounds can significantly improve auditory interface efficacy. First, participants rated tones with percussive amplitude envelopes as significantly less annoying than tones with flat amplitude envelopes. Crucially, this annoyance reduction did not come with a detection cost as percussive tones were detected more often than flat tones—particularly, at relatively low listening levels. Second, it was found that reductions in the duration of a tone's harmonics significantly lowered its annoyance without a commensurate reduction in detection. Together, these findings help inform our theoretical understanding of detection and annoyance of sound. In addition, they offer promising original design considerations for auditory interfaces.

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Sawada, Shuichi, and Yoshihiko Murase. "Method for producing sound bar for percussive musical instruments." Journal of the Acoustical Society of America 84, no. 2 (August 1988): 801. http://dx.doi.org/10.1121/1.396715.

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Nirmaladevi J, Aarthi K V, Vasundhara B, Diwaan Chandar C S, and Abinaya G. "REAL TIME SPEECH EMOTION RECOGNITION USING MACHINE LEARNING." international journal of engineering technology and management sciences 6, no. 6 (November 28, 2022): 84–87. http://dx.doi.org/10.46647/ijetms.2022.v06i06.012.

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A speech recognition system, which can detect emotions contained in the dataset such as sad, happy, neural, angry, disgust, surprised, fearful and calm expressions. In real time we can use this application in various decisions. Although we are in a pandemic situation all processes are taking place only through online like job interviews, doctor appointments etc. In these cases this application is very useful whether in what state they are and to detect their emotions through speech. Here we are using a library called Librosa. Librosa is a python package for music and audio analysis. It provides the building blocks necessary to concoct music information retrieval systems. It was developed by Brian McFee, assistant professor of music technology and data science at NYU, and creator of Librosa, a python package for music and audio analysis. Librosa upholds a few elements connected with sound records handling and extraction like burden sound from a circle, register of different spectrogram portrayals, symphonious percussive source detachment, conventional spectrogram decay, stacks and translates the sound, Timespace sound handling, successive demonstrating, coordinating consonant percussive partition, beatsimultaneous and some more.

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Vizcaino Arevalo, Diego Fabian, and Olga Lucia Castiblanco Abril. "Reproduction of the acoustic effect of the Kukulkan pyramid by delay effect in DAW." Physics Education 57, no. 6 (August 8, 2022): 065001. http://dx.doi.org/10.1088/1361-6552/ac8519.

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Abstract The Mayan city of Chichen Itza is full of legends and mysticism. There, in the temple of Kukulkan, in front of a great pyramid with 91 central staircases, an interesting physical-acoustic phenomenon occurs that has fed mythical stories attributed to the Mayas. When clapping your hands in front of the steps, the echo sounds very different from the sound emitted: The echo presents a ‘tonality’ that resembles a kind of bird chirping (chirp) which is said to be the response of the Quetzal, sacred bird of the Mayas. Earlier work has discussed the convolution method to find a simulation of the spectrum of the echo sound captured at Kukulkan. In this article we are going to present an analysis of the reflected sound using the wave superposition method, and thus obtain a sound with musical ‘Pitch’ as a result of the superposition of multiple reflections of a percussive sound, using the AUDACITY audio software, as demonstrated in the supplementary material.

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Armus, Harvard L., and Karen Anita Isham. "Effect of Thirst on the Acoustic Startle Reflex." Psychological Reports 56, no. 1 (February 1985): 88–90. http://dx.doi.org/10.2466/pr0.1985.56.1.88.

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Eight rats were tested for acoustic startle, using a within-subjects design, while they were under either 0 or 21 hr. water deprivation. The startle stimulus was a percussive, non-tonal sound. No significant effect of thirst on startle was found.

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Steenbock, Daniel A. "Apparatus for modifying the percussive sound emanating from a drum." Journal of the Acoustical Society of America 98, no. 4 (October 1995): 1837. http://dx.doi.org/10.1121/1.413365.

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Tachibana, Hideyuki, Nobutaka Ono, Hirokazu Kameoka, and Shigeki Sagayama. "Harmonic/Percussive Sound Separation Based on Anisotropic Smoothness of Spectrograms." IEEE/ACM Transactions on Audio, Speech, and Language Processing 22, no. 12 (December 2014): 2059–73. http://dx.doi.org/10.1109/taslp.2014.2351131.

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Aramaki, Mitsuko, Richard Kronland-Martinet, Thierry Voinier, and Sølvi Ystad. "A Percussive Sound Synthesizer Based on Physical and Perceptual Attributes." Computer Music Journal 30, no. 2 (June 2006): 32–41. http://dx.doi.org/10.1162/comj.2006.30.2.32.

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Said, Arini Nur, and Helena Evelin Limbong. "Teknik Permainan Beatbox Flute Dalam Box Karya Christopher Kuhns." Resital: Jurnal Seni Pertunjukan 22, no. 2 (December 22, 2021): 89–99. http://dx.doi.org/10.24821/resital.v22i2.5137.

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The composition of solo flute created by Christopher Kuhns entitled ‘BOX’ is interesting because it uses beatbox tecnique in playing the flute. beatbox technique in flute is not a new technique for flute, Greg Pattillo is one of the flutist has introduced this technique in 2009. This research aims to describe the beatbox flute technique used in Box coposition and how to produce beatbox technique through articulation and tonguing in flute. The method used by researcher is a qualitative descriptive research methode with a analysis approach. The data obtained though literature studies, music score of Box, collecting audio-visual documentation in the form of performing Box composition through the internet and interview with Christopher Kuhns, Greg Pattillo, and Willem Carolus Cristopherson Tamnge. The result of this research show that the flute not only can produce melodic sounds, but also can produce percussive sounds with many sound colors. Beatbox technique was imitating percussion sound such as; bass drum, hi-hat, and snare. In Box Composition, there are seven beatbox articulation techniques, such as classic kick, closed k hi-hat, closed t hi-hat, meshed snare, open t hi-hat, shaker, and classic inward snare. The flute articulation techniques are accent, legato, staccato, and slur, also tonguing techniques used in Box composition are single tonguing and double tonguing. The application of articulation and tonguing influence each other in beatbox flute palying to produce clear melody and rhythm.

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Kattelman, Beth. "The sound of evil: How the sound design of Hereditary manifests the unseen and triggers fear." Horror Studies 13, no. 1 (April 1, 2022): 133–48. http://dx.doi.org/10.1386/host_00050_1.

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This article examines the soundtrack and score for Ari Aster’s 2018 film Hereditary, illustrating how the sound design heightens the film’s emotional and psychological impact by delivering unseen elements of the narrative auditorily and through its inclusion of sonic elements that can directly affect audience members physiologically. Hereditary’s narrative is strongly supported by musician Colin Stetson’s evocative score, which relies heavily upon his ability to coax unusual sounds from reed instruments by using uncommon fingerings, accompanying vocalizations, percussive key striking and circular breathing. After a brief synopsis and examination of the film’s themes, the article delves into particular elements that make Hereditary’s soundscape so effective, including the Shepard tone, infrasound, subliminal and corporeal sounds, and the use of silence, exploring in-depth how the sound design supports and enriches the film by building tension, enhancing dread, triggering fear and delivering unseen narrative information in a shorthand way. The article also has a wider application in that it discusses how the critical-yet under-theorized element of sound design is crucial to horror entertainments’ ability to create affect in a variety of ways and shows how the sonic components used in Hereditary have a demonstrated efficacy as shown by their use in a wide variety of horror films and thrillers.

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15

SENN, DAN. "Pendulum-based instruments, percussive video, sound art, and the permanence of ephemeral public art." Organised Sound 2, no. 3 (December 1997): 151–63. http://dx.doi.org/10.1017/s1355771898009017.

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In this article, and within the context of sound art as a basis for artistic freedom in experimental music and art, the development of pendulum-based sculptural instruments and an improvisational form of video called ‘percussive video’ are described. Methods used to produce time-based public art events are also outlined, and their effectiveness in directing social change at the local level is discussed.

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STREITOVA, Monika. "Selected flute percussive techniques and their impact on Sound Emission and Articulation." Bulletin of the Transilvania University of Braşov. Series VIII:Performing Arts 14(63), no. 2 (January 20, 2022): 125–34. http://dx.doi.org/10.31926/but.pa.2021.14.63.2.13.

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17

Sawada, Shuichi, and Yoshihiko Murase. "Sound bar for percussive musical instruments and a method for producing same." Journal of the Acoustical Society of America 82, no. 3 (September 1987): 1107. http://dx.doi.org/10.1121/1.395321.

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18

Kivade, Sangshetty B., Chivukula Surya Naryana Murthy, and Harsha Vardhan. "ANN Models for Prediction of Sound and Penetration Rate in Percussive Drilling." Journal of The Institution of Engineers (India): Series D 96, no. 2 (March 20, 2015): 93–103. http://dx.doi.org/10.1007/s40033-015-0067-7.

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19

Reinhardt-Rutland, Anthony H., and Walter H. Ehrenstein. "The Growing-Louder Effect in Short Diotic Stimuli." Perceptual and Motor Skills 83, no. 1 (August 1996): 63–66. http://dx.doi.org/10.2466/pms.1996.83.1.63.

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Previous evidence from short monotic stimuli shows that a steady stimulus is perceived as growing louder; to be perceived as steady, the intensity of the stimulus must decrease. In the present study, 10 subjects heard a sequence of diotic tonal stimuli. Each stimulus lasted 1.5 sec. and increased, decreased, or remained steady in intensity; initial intensity was 40 dB SPL and carrier frequency was 1 kHz. Subjects made forced binary responses of “growing louder” or “growing softer” to each stimulus. Confirming the evidence from monotic stimuli, the mean value of changing intensity eliciting equal numbers of both responses was negative. Possible explanations for this growing-louder effect reside in (a) the percussive nature of many natural sounds and (b) selective responding to approaching sound-sources.

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20

Suzuki, Shigeo. "Adjustable bottom closure for a resonator on sound bar type percussive musical instruments." Journal of the Acoustical Society of America 81, no. 1 (January 1987): 209. http://dx.doi.org/10.1121/1.394961.

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FitzGerald, Derry, Matt Cranitch, and Eugene Coyle. "Extended Nonnegative Tensor Factorisation Models for Musical Sound Source Separation." Computational Intelligence and Neuroscience 2008 (2008): 1–15. http://dx.doi.org/10.1155/2008/872425.

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Recently, shift-invariant tensor factorisation algorithms have been proposed for the purposes of sound source separation of pitched musical instruments. However, in practice, existing algorithms require the use of log-frequency spectrograms to allow shift invariance in frequency which causes problems when attempting to resynthesise the separated sources. Further, it is difficult to impose harmonicity constraints on the recovered basis functions. This paper proposes a new additive synthesis-based approach which allows the use of linear-frequency spectrograms as well as imposing strict harmonic constraints, resulting in an improved model. Further, these additional constraints allow the addition of a source filter model to the factorisation framework, and an extended model which is capable of separating mixtures of pitched and percussive instruments simultaneously.

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22

Collins, Nick. "Experiments with a new customisable interactive evolution framework." Organised Sound 7, no. 3 (December 2002): 267–73. http://dx.doi.org/10.1017/s1355771802003060.

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This article collates results from a number of applications of interactive evolution as a sound designer's tool for exploring the parameter spaces of synthesis algorithms. Experiments consider reverberation algorithms, wavetable synthesis, synthesis of percussive sounds and an analytical solution of the stiff string. These projects share the property of being difficult to probe by trial and error sampling of the parameter space. Interactive evolution formed the guidance principle for what quickly proved a more effective search through the multitude of parameter settings.The research was supported by building an interactive genetic algorithm library in the audio programming language SuperCollider. This library provided reusable code for the user interfaces and the underlying genetic algorithm itself, whilst preserving enough generality to support the framework of each individual investigation.Whilst there is nothing new in the use of genetic algorithms in sound synthesis tasks, the experiments conducted here investigate new applications such as reverb design and an analytical stiff string model not previously encountered in the literature. Further, the focus of this work is now shifting more into algorithmic composition research, where the generative algorithms are less clear-cut than those of these experiments. Lessons learned from the deployment of interactive evolution in sound design problems are very useful as a reference for the extension of the problem set.

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Freed, Daniel J. "Auditory correlates of perceived mallet hardness for a set of recorded percussive sound events." Journal of the Acoustical Society of America 87, no. 1 (January 1990): 311–22. http://dx.doi.org/10.1121/1.399298.

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Park, Jeongsoo, Jaeyoung Shin, and Kyogu Lee. "Exploiting Continuity/Discontinuity of Basis Vectors in Spectrogram Decomposition for Harmonic-Percussive Sound Separation." IEEE/ACM Transactions on Audio, Speech, and Language Processing 25, no. 5 (May 2017): 1061–74. http://dx.doi.org/10.1109/taslp.2017.2681742.

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Carlson, Thomas J. "Metric for biological assessment of injury by percussive and decompressive exposure to impulsive sound." Journal of the Acoustical Society of America 127, no. 3 (March 2010): 1754. http://dx.doi.org/10.1121/1.3383692.

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Pearce, Andy, Tim Brookes, and Russell Mason. "Modelling Timbral Hardness." Applied Sciences 9, no. 3 (January 30, 2019): 466. http://dx.doi.org/10.3390/app9030466.

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Hardness is the most commonly searched timbral attribute within freesound.org, a commonly used online sound effect repository. A perceptual model of hardness was developed to enable the automatic generation of metadata to facilitate hardness-based filtering or sorting of search results. A training dataset was collected of 202 stimuli with 32 sound source types, and perceived hardness was assessed by a panel of listeners. A multilinear regression model was developed on six features: maximum bandwidth, attack centroid, midband level, percussive-to-harmonic ratio, onset strength, and log attack time. This model predicted the hardness of the training data with R 2 = 0.76. It predicted hardness within a new dataset with R 2 = 0.57, and predicted the rank order of individual sources perfectly, after accounting for the subjective variance of the ratings. Its performance exceeded that of human listeners.

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Osamura, Kozo, Fumiyasu Kuratani, Toshio Koide, Wataru Ogawa, Hiroyasu Taniguchi, Yoshiyuki Monju, Taiji Mizuta, and Takahisa Shobu. "The Correlation Between the Percussive Sound and the Residual Stress/Strain Distributions in a Cymbal." Journal of Materials Engineering and Performance 25, no. 12 (October 24, 2016): 5323–29. http://dx.doi.org/10.1007/s11665-016-2408-6.

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Prawirasasra, Muhammad Saladin, Mirko Mustonen, and Aleksander Klauson. "The Underwater Soundscape at Gulf of Riga Marine-Protected Areas." Journal of Marine Science and Engineering 9, no. 8 (August 23, 2021): 915. http://dx.doi.org/10.3390/jmse9080915.

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Passive acoustic monitoring (PAM) is widely used as an initial step towards an assessment of environmental status. In the present study, underwater ambient sound recordings from two monitoring locations in marine-protected areas (MPAs) of the Gulf of Riga were analysed. Both locations belong to the natural habitat of pinnipeds whose vocalisations were detected and analysed. An increase of vocal activity during the mating period in the late winter was revealed, including percussive signallings of grey seals. The ambient sound spectra showed that in the current shallow sea conditions ship traffic noise contributed more in the higher frequency bands. Thus, a 500 Hz one-third octave band was chosen as an indicator frequency band for anthropogenic noise in the monitoring area. It was shown that changes in the soundscape occurring during the freezing period create favourable conditions for ship noise propagation at larger distances. Based on the monitoring data, the environmental risks related to the anthropogenic sound around the monitoring sites were considered as low. However, further analysis showed that for a small percentage of time the ship traffic can cause auditory masking for the ringed seals.

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Yuliantari, Ans Prawati. "Molas Baju Wara: Hybridity in Manggarai Rap Music." Celt: A Journal of Culture, English Language Teaching & Literature 16, no. 2 (June 21, 2017): 201. http://dx.doi.org/10.24167/celt.v16i2.769.

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Rap music which has been popular since 2007 in Manggarai region, East Nusa Tenggara, Indonesia, gave rise to rap hybrid phenomenon. The mixture between American rap music formats and local elements of Manggarai attracted the attention of young people in the region. One of the local songs that feature hybridity in rap Manggarai is "Molas Baju Wara" created by Lipooz, one of the pioneers of rap in Ruteng, the capital city of Manggarai district. To discuss this phenomenon, the concept of hybridity in cultural territory proposed by James Lull is adopted. This concept is used particularly to analyze the forms of hybridity reflected in " Molas Baju Wara" and the ways they are used in showing the social and cultural conditions of Manggarai. "Molas Baju Wara" was selected as the object of study because the song is clearly showing the characteristics of hybridity in music. The study shows that hybridity could be perceived in Manggarai rap music specifically in the use of local musical instruments like drums, cajon, and tambourine as a substitute for percussive sounds of drums, boombox, or turn-table which are commonly used by rap musicians in their home country, the U.S.A. In addition, there are elements of local sound such as the sound of rain that represents Ruteng as the rain city. Hybridity characteristics can also be found in the use of Manggarai vernacular in the whole lyrics as well as the narration of local themes and certain sites that represent Ruteng.

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Aroso, Nuno. "Role of Movement and Gesture in Communicating Music Expressiveness to an Audienc." Convergences - Journal of Research and Arts Education 13, no. 25 (August 9, 2021): 83–94. http://dx.doi.org/10.53681/c1514225187514391s.25.5.

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Musical performative gestures are recognised by the majority of theoreticians as a critical factor of a musical performance. Gestures can be considered as operating features of a person’s perception-action system. It presupposes significance of a meaning that involves more than just a physical movement. Movements can be subdivided into specific patterns and conceptualised. Dynamics are one of the most relevant expressive element in music and they are strongly related to the physical musical action - sound producing gestures. Used effectively, dynamics allow sustain narrative pertinence in a musical performance, communicating for example a particular emotional state or feeling. For this research, solo percussion contemporary music performance was in focus and an audience divided in between “visual and non visual” listeners was studied. From this perspective, observation over percussionists’ playing manner and it ́s audience provides the researcher an opportunity to understand dynamics perception through musicians’ gestures in this particular repertoire. The quantitative research design divided in the experiment was chosen for the purpose of this study, which can be referred to as the description of the objective reality by using numbers in order to construct meaningful models reflecting various relationships between objects or phenomena. These numerical entities are not the reality itself, but a way of representing it. How does the percussive gesture influences the perception of musical dynamics by an audience?

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Kusumaningtyas, Indraswari, Ayrton Fithiadi Sedjati, Asadulloh Julda Hifzhuddin, and Gea Oswah Fatah Parikesit. "The effect of bamboo clip dimension and position towards the frequency spectrum of a vibrating inhomogeneous bundengan string." INTER-NOISE and NOISE-CON Congress and Conference Proceedings 263, no. 1 (August 1, 2021): 4975–85. http://dx.doi.org/10.3397/in-2021-2909.

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Bundengan is a traditional musical instrument from Indonesia. One of its unique features is the ability to produce sound imitating the gamelan, a percussive metallophone. This is generated by plucking on the bundengan strings, which have small bamboo clips attached to them. In this work, the effect of the clip dimension and position on the frequency spectrum of the vibrating string is analysed by means of computer simulation and experiment. The string was modelled using Scilab, taking into account the transversal and rotational vibration of the string and bamboo clip, including air drag force. The height to diameter ratio of the clip can be varied in the model. Furthermore, we set up a bundengan string on a sonometer with no resonator, attached specially made bamboo clips on it, and measured the sound frequency spectrum of the vibrating string. The results showed that increasing the height to diameter ratio of the clip decreased the overtone frequencies of the string. It was also found that the fundamental frequency of the string decreased, but its overtones increased, when the clip is shifted towards the middle of the string. The frequency spectrum from the simulation corresponds well to that from the experiment.

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Stanciu, Mariana Domnica, Mihaela Cosnita, Constantin Nicolae Cretu, Horatiu Draghicescu Teodorescu, and Mihai Trandafir. "Mechanical and Acoustic Properties of Alloys Used for Musical Instruments." Materials 15, no. 15 (July 26, 2022): 5192. http://dx.doi.org/10.3390/ma15155192.

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Music should be integrated into our daily activities due to its great effects on human holistic health, through its characteristics of melody, rhythm and harmony. Music orchestras use different instruments, with strings, bow, percussion, wind, keyboards, etc. Musical triangles, although not so well known by the general public, are appreciated for their crystalline and percussive sound. Even if it is a seemingly simple instrument being made of a bent metal bar, the problem of the dynamics of the musical triangle is complex. The novelty of the paper consists in the ways of investigating the elastic and dynamic properties of the two types of materials used for musical triangles. Thus, to determine the mechanical properties, samples of material from the two types of triangles were obtained and tested by the tensile test. The validation of the results was carried out by means of another method, based on the modal analysis of a ternary system; by applying the intrinsic transfer matrix, the difference between the obtained values was less than 5%. As the two materials behaved differently at rupture, one having a ductile character and the other brittle, the morphology of the fracture surface and the elementary chemical composition were investigated by scanning electron microscopy (SEM) and analysis by X-ray spectroscopy with dispersion energy (EDX). The results were further transferred to the finite element modal analysis in order to obtain the frequency spectrum and vibration modes of the musical triangles. The modal analysis indicated that the first eigenfrequency differs by about 5.17% from one material to another. The first mode of vibration takes place in the plane of the triangle (transverse mode), at a frequency of 156 Hz and the second mode at 162 Hz, which occurs due to vibrations of the free sides of the triangle outside the plane, called the torsion mode. The highest dominant frequency of 1876 Hz and the sound speed of 5089 m/s were recorded for the aluminum sample with the ductile fracture in comparison with the dominant frequency of 1637 Hz and the sound speed of 4889 m/s in the case of the stainless steel sample, characterized by brittle fracture.

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Yack, J. E., L. D. Otero, J. W. Dawson, A. Surlykke, and J. H. Fullard. "Sound production and hearing in the blue cracker butterfly Hamadryas feronia (Lepidoptera, nymphalidae) from Venezuela." Journal of Experimental Biology 203, no. 24 (December 15, 2000): 3689–702. http://dx.doi.org/10.1242/jeb.203.24.3689.

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Certain species of Hamadryas butterflies are known to use sounds during interactions with conspecifics. We have observed the behaviour associated with sound production and report on the acoustic characteristics of these sounds and on the anatomy and physiology of the hearing organ in one species, Hamadryas feronia, from Venezuela. Our observations confirm previous reports that males of this species will take flight from their tree perch when they detect a passing conspecific (male or female) and, during the chase, produce clicking sounds. Our analyses of both hand-held males and those flying in the field show that the sounds are short (approximately 0.5 s) trains of intense (approximately 80–100 dB SPL at 10 cm) and brief (2–3 ms) double-component clicks, exhibiting a broad frequency spectrum with a peak energy around 13–15 kHz. Our preliminary results on the mechanism of sound production showed that males can produce clicks using only one wing, thus contradicting a previous hypothesis that it is a percussive mechanism. The organ of hearing is believed to be Vogel's organ, which is located at the base of the forewing subcostal and cubital veins. Vogel's organ consists of a thinned region of exoskeleton (the tympanum) bordered by a rigid chitinous ring; associated with its inner surface are three chordotonal sensory organs and enlarged tracheae. The largest chordotonal organ attaches to a sclerite positioned near the center of the eardrum and possesses more than 110 scolopidial units. The two smaller organs attach to the perimeter of the membrane. Extracellular recordings from the nerve branch innervating the largest chordotonal organ confirm auditory sensitivity with a threshold of 68 dB SPL at the best frequency of 1.75 kHz. Hence, the clicks with peak energy around 14 kHz are acoustically mismatched to the best frequencies of the ear. However, the clicks are broad-banded and even at 1–2 kHz, far from the peak frequency, the energy is sufficient such that the butterflies can easily hear each other at the close distances at which they interact (less than 30 cm). In H. feronia, Vogel's organ meets the anatomical and functional criteria for being recognized as a typical insect tympanal ear.

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Scott, Alan C., Linda Myers, Janet M. Barlow, and Billie Louise Bentzen. "Accessible Pedestrian Signals." Transportation Research Record: Journal of the Transportation Research Board 1939, no. 1 (January 2005): 69–76. http://dx.doi.org/10.1177/0361198105193900109.

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Push-button–integrated accessible pedestrian signals (APSs) provide audible information from the push-button housing on both the location of the push button and the onset of walk intervals. APS systems must provide clear, unambiguous information on which crosswalk has the walk interval. Push buttons in the United States, including push-button– integrated APSs, are inconsistently located, and APSs do not use consistent sounds to convey the “Walk” indication. The present research (NCHRP Project 3-62) investigated the effects of push-button placement and the type of audible “Walk” indication on visually or cognitively impaired participants’ ability to determine which of two streets had the “Walk” signal. Participants performed this task most quickly and most accurately when each push-button–integrated APS was mounted on its own pole, the poles were placed along the outer line (farthest from the center of the intersection) of the associated crosswalk, each pole was located within a few feet of the curb, and the audible “Walk” indication from each APS was a fast tick (percussive sound) at 10 repetitions per second. The results further indicate that where two push buttons are installed on a single pole, verbal “Walk” messages (e.g., “Seventh; walk sign is on to cross Seventh”) result in greater accuracy than two different sounds (fast tick and cuckoo) to signal the two crossings.

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Tachibana, Hideyuki, Nobutaka Ono, and Shigeki Sagayama. "Singing Voice Enhancement in Monaural Music Signals Based on Two-stage Harmonic/Percussive Sound Separation on Multiple Resolution Spectrograms." IEEE/ACM Transactions on Audio, Speech, and Language Processing 22, no. 1 (January 2014): 228–37. http://dx.doi.org/10.1109/taslp.2013.2287052.

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Kartomi, Margaret. "On Metaphor and Analogy in the Concepts and Classification of Musical Instruments in Aceh." Yearbook for Traditional Music 37 (2005): 25–57. http://dx.doi.org/10.1017/s0740155800011218.

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Artists, scholars and audiences in Aceh, the northernmost province of Sumatra, conceive of their percussive, wind and string instruments as symbolising Aceh's “glorious past” and attach a variety of metaphorical and analogous meanings to them. Implicit in the culture, and formulated explicitly by Acehnese scholars, is a classification that divides the instruments at the most general level into three main categories, or metaphorical socio-historical streams: those associated primarily with (i) the pre-Islamic ancestral and nature venerating (animist-Hindu) stream, practices, or presumed origins (ii) the Sunni and/or Syiah Islamic stream (including borderline cases of instruments that straddle both Islamic and animist practices), and (iii) the European or Western socio-historical stream. Organological sub-categories at the second level of categorical thinking are based on an instrument's manner of exciting sound, while the third level comprises the instrumental types with their local names. The instruments are also attributed with broader, changing sociocultural meanings, including gender and class divisions.

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Zagorski-Thomas, Simon. "The stadium in your bedroom: functional staging, authenticity and the audience-led aesthetic in record production." Popular Music 29, no. 2 (May 2010): 251–66. http://dx.doi.org/10.1017/s0261143010000061.

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AbstractThis article will discuss how two major contributing factors, functional staging and perceived authenticity, have had and continue to have a powerful influence on the sound of record production across geographical boundaries and throughout history. Functional staging is a concept building on the idea of phonographic staging developed by William Moylan and Serge Lacasse and related to Allan Moore's ‘sound-box’. The staging of sounds in the record production process is considered to be functional if the reason for their particular placement or treatment is related to the practicalities of audience reception rather than to aesthetics. It is not a question of whether the music has a function or not but whether that function has influenced the staging of the recorded music. Thus the divergence of staging techniques used in dance music and rock music that began in the 1970s can be seen as resulting from the different functions the music was put to by the different audiences. Music that is played back through large speakers in a club for the purpose of dancing needs to maintain the clarity of the rhythmic elements and so the ‘drier’ techniques of drum and percussive instrument mixing that characterise dance music developed. Rock, however, was more frequently played back in the smaller, less ambient, home environment and so reverberation was added to simulate the atmosphere of the large-scale venue. At the same time, a variety of culturally constructed notions of authenticity have developed within different musical audiences. Why is it that Queen felt the need to inscribe ‘no synthesisers were used in the making of this album’ on their early records and yet Brian May felt entirely comfortable constructing multiple layered performance ‘patchworks’ of guitar tracks? Why might the use of one type of technological mediation be considered more or less authentic than another? Using examples taken from recordings from all around the world and from ‘art’ and ‘popular’ forms of music, this article will explore how audience-led cultural trends in recording and production practice have resulted in the particular ‘sounds’ of different recorded music genres.

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Yi, Jun, Dong Cao, HE Xiao, and Xin Long Zhang. "Study of Novel Percussion Medical Signal Measurement Mode." Applied Mechanics and Materials 475-476 (December 2013): 99–102. http://dx.doi.org/10.4028/www.scientific.net/amm.475-476.99.

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This paper presents one percussion sound signal collection system model. The percussion sound signal collection device was designed. The sound collector was introduced in detail. Through analyzing four kinds of different percussion sound, the accuracy of this model is verified. The results showed that this collection model and percussion sounds signal processing method can be accurate and effective. The experimental results are consistent with the theoretical value. This research provides one modern applications for the percussion in a new way.

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Bessell, David. "Dynamic Convolution Modeling, a Hybrid Synthesis Strategy." Computer Music Journal 37, no. 1 (March 2013): 44–51. http://dx.doi.org/10.1162/comj_a_00159.

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This article outlines a hybrid approach to the synthesis of percussion sounds. The synthesis method described here combines techniques and concepts from physical modeling and convolution to produce audio synthesis of percussive instruments. This synthesis method not only achieves a high degree of realism in comparison with audio samples but also retains some of the flexibility associated with waveguide physical models. When the results are analyzed, the method exhibits some interesting detailed spectral features that have some aspects in common with the behavior of acoustic percussion instruments. In addition to outlining the synthesis process, the article discusses some of the more creative possibilities inherent in this approach, e.g., the use and free combination of excitation and resonance sources from beyond the realms of the purely percussive examples given.

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Kołodziej, Magdalena, and Maciej Kochman. "What’s new in airway secretions clearance for adults? A systematic review." European Journal of Clinical and Experimental Medicine 19, no. 2 (2021): 162–69. http://dx.doi.org/10.15584/ejcem.2021.2.7.

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Introduction. Airway clearance techniques are an essential part of routine respiratory physiotherapy, enabling bronchial secretion clearance—the mucus overproduction and retaining results in lung function deterioration and disrupts effective pulmonary rehabilitation. Several mucus clearance methods are included in the physiotherapy daily routine of patients with chronic lung conditions; nevertheless, new techniques and approaches are continuously developed. Aim. Thus, this systematic review summarizes novel airway clearance techniques applied in patients with chronic pulmonary conditions. Material and methods. The PubMed, Cochrane Library, and PEDro databases were searched from 2010 to 2021, and studies were selected based on eligibility criteria. Analysis of the literature. 101 patients from five studies describing four different techniques were included. Novel techniques were non-invasive ventilation, intrapulmonary percussive ventilation, trachea vibration, and PEP-sound wave combination. Significant improvements were noted for ventilation homogeneity (NIV), saturation (NIV), respiratory rate (IPV), and diffusion capacity (VL), whereas cardiovascular function and exercise endurance did not change significantly. Conclusion. The presented methods are considered to have similar effectiveness as well-known airway clearance techniques. However, the systematic use of presented methods in routine pulmonary rehabilitation must be preceded by in-depth investigation to provide no-bias results.

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Fan, Minglei. "Application of Music Industry Based on the Deep Neural Network." Scientific Programming 2022 (January 19, 2022): 1–6. http://dx.doi.org/10.1155/2022/4068207.

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After entering the digital era, digital music technology has prompted the rise of Internet companies. In the process, it seems that Internet music has made some breakthroughs in business models; yet essentially, it has not changed the way music content reaches users. In the past, different traditional and shallow machine learning techniques are used to extract features from musical signals and classify them. Such techniques were cost-effective and time-consuming. In this study, we use a novel deep convolutional neural network (CNN) to extract multiple features from music signals and classify them. First, the harmonic/percussive sound separation (HPSS) algorithm is used to separate the original music signal spectrogram into temporal and frequency components, and the original spectrogram is used as the input of the CNN. Finally, the network structure of the CNN is designed, and the effect of different parameters on the recognition rate is investigated. It will fundamentally change the way music content reaches music users and is a disruptive technology application for the industry. Experimental results show that the proposed recognition rate of the GTZAN dataset is about 73% with no data expansion.

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Fan, Qiaozhen. "The Application of Minority Music Style Recognition Based on Deep Convolution Loop Neural Network." Wireless Communications and Mobile Computing 2022 (March 29, 2022): 1–8. http://dx.doi.org/10.1155/2022/4556135.

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In recent years, with the development of Internet and digital audio technology, music information retrieval has gradually become a research hotspot. Due to the rise of deep learning and machine learning in recent years, as well as the rapid improvement of computer software and hardware performance, it has laid a good foundation for identifying different genres of music. Among them, the application of minority music style recognition is also an important research direction. At present, the application performance of minority music style recognition based on deep convolution loop neural network is poor. Because convolution loop neural networks (CNNs) have strong ability to capture information features, this paper uses CNN to extract various features from music signals and classify them. Firstly, the original music signal spectrum is separated into time characteristic harmonic component and frequency characteristic impact component by using the harmonic/percussive sound separation (HPSS) algorithm. Combined with the original spectra as the input of CNN, the network structure of CNN is designed, and the influence of different parameters in the network structure on the recognition rate is studied. Experiments on minority music data sets, compared with other scholars’ music recognition methods, it shows that this method can effectively improve the recognition of minority music styles using a single feature.

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Boykin-Settles, Jessica. "Two Heads Are Better Than One." Resonance 1, no. 2 (2020): 163–90. http://dx.doi.org/10.1525/res.2020.1.2.163.

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Washington, DC–born vocalist and pianist Shirley Horn was one of the most singular and respected musicians on the jazz scene during a career that spanned more than five decades. Despite minimal accolades, Horn’s contributions to the art form are rarely rivaled. She was a virtuoso pianist and a genius song stylist. In a 1992 article in the Washington Post, prolific composer and arranger Johnny Mandel explained that “Horn’s playing wasn't just self-accompaniment. It was percussive counterpart and harmonic commentary that worked with the singing to create a whole, a work of art that was more than the sum of its parts. ‘It's almost as if when Shirley plays, she has two brains. I don't know how she can play what she plays and sing what she sings.…Playing piano like that is a very complex undertaking, and singing with that amount of sensitivity and concentration—she sounds like Siamese twins.’”1 Through recorded performances that best exhibit vocal phrasing, chord voicings, and comping patterns in the jazz tradition, Horn’s piano and vocal performance will be analyzed in order to demonstrate why her genius should occupy the top echelons of revered American musicians this country has ever produced. Jazz and classical musicians whom Horn cited as her biggest influences will be discussed to demonstrate how she absorbed and expertly integrated chosen elements of those individual styles into her own performance to create a distinctive sound and a unique approach to interpreting standard jazz repertoire. Through biographical information, Horn’s career will be examined through a lens of intersectionality to discover how social categorizations such as race, class, and gender might have played a part in informing her musical and professional choices.

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Vande Veire, Len, Cedric De Boom, and Tijl De Bie. "Sigmoidal NMFD: Convolutional NMF with Saturating Activations for Drum Mixture Decomposition." Electronics 10, no. 3 (January 25, 2021): 284. http://dx.doi.org/10.3390/electronics10030284.

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In many types of music, percussion plays an essential role to establish the rhythm and the groove of the music. Algorithms that can decompose the percussive signal into its constituent components would therefore be very useful, as they would enable many analytical and creative applications. This paper describes a method for the unsupervised decomposition of percussive recordings, building on the non-negative matrix factor deconvolution (NMFD) algorithm. Given a percussive music recording, NMFD discovers a dictionary of time-varying spectral templates and corresponding activation functions, representing its constituent sounds and their positions in the mix. We observe, however, that the activation functions discovered using NMFD do not show the expected impulse-like behavior for percussive instruments. We therefore enforce this behavior by specifying that the activations should take on binary values: either an instrument is hit, or it is not. To this end, we rewrite the activations as the output of a sigmoidal function, multiplied with a per-component amplitude factor. We furthermore define a regularization term that biases the decomposition to solutions with saturated activations, leading to the desired binary behavior. We evaluate several optimization strategies and techniques that are designed to avoid poor local minima. We show that incentivizing the activations to be binary indeed leads to the desired impulse-like behavior, and that the resulting components are better separated, leading to more interpretable decompositions.

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Kumar, E. Ashwini, Bharat Vyas Marla, C. Jairaj Kumar, Garvit Chitkara, Nilesh Mishra, and Arunachalam Kumar. "SPECTRAL ANALYSIS OF RESONANT SOUNDS OF CHEST PERCUSSION." Journal of Health and Allied Sciences NU 04, no. 03 (September 2014): 097–98. http://dx.doi.org/10.1055/s-0040-1703810.

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AbstractGeneral clinical examination, in the consulting room or in the out-patient department determines not only a provisional diagnosis but also provides the clinician information whether the patient needs hospitalisation and further investigation. Inspection, auscultation, palpation and percussion forms the basis of clinical examination.Whilst much has been described and discussed on the first three procedures, inspection, auscultation and palpation, far less attention has been focused on the correct method and diagnostic significance of percussion.In this brief communication we discuss the results obtained through a computerized spectral analysis of percussion sounds. It is suggested that, noting the high accuracy and reliability of spectral percussion sound read-out analysis, medical equipment designers manufacturers could well bring out a simple hand-held device which could analyse the percussion sounds to yield the most prominent of amplitude and frequency; such ready and reliable information that could be of much diagnostic and prognostic significance.

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Snyder, Joel, and Carol L. Krumhansl. "Tapping to Ragtime: Cues to Pulse Finding." Music Perception 18, no. 4 (2001): 455–89. http://dx.doi.org/10.1525/mp.2001.18.4.455.

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Two experiments investigated cues to pulse finding using a relatively unconstrained, naturalistic paradigm. Participants tapped what they felt was a comfortable pulse on a keyboard playing a percussive sound. The stimulus materials were based on ragtime excerpts, played metronomically (i.e., without expressive timing or tempo variation). The first experiment, with 8 musically experienced and 8 musically inexperienced subjects, played each excerpt in two versions: a pitch-varied version (the original excerpt) and a monotonic version (with all tones changed to middle C) that was designed to remove all melodic and harmonic cues to pulse. Neither the absence of pitch information nor musical experience significantly affected performance. The second experiment tested 12 musically experienced subjects on shorter excerpts from the same ragtime pieces. Full (right-hand and left-hand parts together) and right-hand-only versions of the excerpts were each played in pitch-varied and monotonic versions. Removing the left-hand part significantly affected tapping performance on a number of measures, causing a lower percentage of tapping on the downbeat, more off-beat taps, more aperiodic taps, more switches between tapping modes, a higher variability of the intertap interval, and larger deviations from the beat. As a whole, these indicate a negative effect of removing the left-hand part. Again, differences between pitch-varied and monotonic versions were generally small. Analysis of the music revealed the following cues to pulse finding: a predictable alternating bass pattern in the left-hand part and a majority of notes on metrically strong positions in both the right-hand and left-hand parts. These results suggest that, for piano ragtime music, temporal cues are prominently available for finding and following the pulse and that pulse finding is largely independent of pitch information. Implications of the experimental measures and music-analytic techniques for models of pulse perception are considered.

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Aoyama, Eiichi, Toshiki Hirogaki, Hirohumi Kiuchi, and Yoshihisa Sugiura. "Control of Percussion Motion by Sound Feedback with a Humanoid Robot." Key Engineering Materials 523-524 (November 2012): 699–704. http://dx.doi.org/10.4028/www.scientific.net/kem.523-524.699.

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Nowadays, there are the demands for application of a humanoid robot in factory automation field. There have been some reports dealing with assembling the mechanical parts. Among these, we focus on the control of percussion motion with a humanoid robot. In the present report, we propose a flexible rubber stick to control the high accurate percussion motion. To control multimodal behavior, we look at a feedback method using a sound at the percussion motion. An attempt with a humanoid robot is performed to hit the small glockenspiel with recording the sounds. We investigate the experimental results by observing the motion with a high-speed camera and a gyro sensor. As a result, it can be seen that the proposed method is effective to control the high accurate percussion motion under industrial noisy conditions.

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Bohadana, A. B., and S. S. Kraman. "Transmission of sound generated by sternal percussion." Journal of Applied Physiology 66, no. 1 (January 1, 1989): 273–77. http://dx.doi.org/10.1152/jappl.1989.66.1.273.

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We indirectly determined the transmission path of sound generated by sternal percussion in five healthy subjects. We percussed the sternum of each subject while recording the output audio signal at the posterior left and right upper and lower lung zones. Sound measurements were done during apnea at functional residual capacity, total lung capacity, and residual volume both with the lungs filled with air and with an 80% He-20% O2 (heliox) gas mixture. Three acoustic indexes were calculated from the output sound pulse: the peak-to-peak amplitude, the peak frequency, and the mid-power frequency. We found that the average values of all indexes tended to be greater in the upper than in the ipsilateral lower lung zones. In the upper zones, peak-to-peak amplitude was greater at total lung capacity and residual volume than at functional residual capacity. Replacing air with heliox did not change these results. These experiments, together with others performed during Mueller and Valsalva maneuvers, suggest that resonance of the chest cage is the predominant factor determining the transmission of sternal percussion sounds to the posterior chest wall. The transmission seems to be only minimally affected by the acoustic characteristics of the lung parenchyma.

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Bielova, Yelyzaveta. "Sound images of percussion instruments: modernity and retrospections." Aspects of Historical Musicology 19, no. 19 (February 7, 2020): 120–39. http://dx.doi.org/10.34064/khnum2-19.07.

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Introduction. The widespread use of percussion instruments is a worldwide trend in artistic practice of the 20th – early 21st centuries, whose existence is due to the constant development of composer creativity and the performing art of percussion instruments playing. The named vectors of musical activity are linked inextricably, since one direction contributes to the development of another. Nevertheless, there are not still fundamental scientific works would investigate the evolution of wind instruments from the beginnings to the present in the designated context of the interaction between composer and performing arts. The questions remain open: why, over time, composers were more and more attracted to the sound images of percussion instruments? How did the formation of sound images of percussions take place and what tendencies can be distinguished in this process in connection with the development of various musical styles and genres, as well as with individual, unique composer ideas? What works contributed to the evolution of percussion instruments? The aim of the proposed research is an attempt to examine, in the context of evolutionary processes, the practice of the modern use of percussion instruments in composing and performing art. In addition to questions of their direct use in the works of composers, the sound image of percussions is considered, which can be reproduced with the help of articulation and other techniques on various instruments (piano, strings, harp, guitar etc.). Literature review and methodology of the research. This research in a factual aspect based on the works of G. Blagodatov (1969) and A. Kars (1989). However, percussion instruments are not the subject of special consideration in the works of these authors. In addition, we note that the methodological approach of the named researchers is opposite to the proposed analytical model. G. Blagodatov and A. Kars examine evolutionary processes in the history of a symphony orchestra and orchestration. However, they highlight the typical, not the special and unique, while is this interest that determines the specifics of our research. The historical and cultural approach that takes into account the historical experience of both musical and other types of art helps to “decode” the unique composer ideas. The historical and genetic research method is used when considering evolutionary processes and searching for features of historical continuity in the interpretation of sound images of percussion instruments. Findings. Modern interest in percussion instruments in the practice of playing music is associated with a new interpretation of the means of musical expression in compositions of the 20th – early 21st centuries. The reason for this interest should be sought in the correspondence of the sound image of the percussions to certain characteristics of the “picture of the world”, which develops in the work of artists throughout the XX–XXI centuries, a time of rapid total changes, when the “shock” and rigid “rhythm” become the symbols of the time, requiring, in turn, psychological relaxation and detachment. Accordingly, two main trends in the embodiment of percussion sound images formed. The first is associated with the emancipation of the rhythmic principle up to its complete liberation from the melodic one (the appearance in musical works of independent themerhythms, of expanded rhythmic structures, semantically significant rhythmic ostinatі, solo percussion instruments, in particular, in the works of the concert genre). The second is sonorous-coloristiс, revealing the wide timbre possibilities of percussion instruments, involving, among other things, exotic, archaic, atypical author’s methods of sound production, untempered sounds. In the 20 century, composers tried to free music from the power of even tempered tuning (for example, when using microtonal music in creative experiments carried out by A. Hába, Ch. Ives, I. Wyschnegradsky) and percussion instruments, by their nature, fit this tendency. Going beyond the limits of even tempered tuning concerns both pitch organization and concentration on timbre colors, sonorism. The second of the tendencies, in our opinion, responds to the hedonistic preferences of the listeners, and also corresponds to the widespread aesthetic concept of the naturalness of artistic creativity, where percussion appears as the most suitable instrument for reproducing natural biorhythms of the Universe and a Human in musical rhythms. The semantic content of percussion sound images demonstrates multidimensionality and poly-variety, up to opposite expressive meanings. Features of the use of percussion in musical works of the XX–XXI centuries are often determined by a unique composer intention, which performers and researchers should decode based on the cultural and historical experience of musical art. For example, the sound image of bells, which clearly reveals the sonor-color qualities of the percussiveness, acquires different semantic meanings depending on the author’s concept. It is possible to use sound images of percussion instruments from the standpoint of symbolism. Historical, in particular, national origins can also affect the interpretation of sound images of percussion instruments. Continuity and evolutionary changes are demonstrated by examples from the practice of using timpani, which for centuries were part of a symphony orchestra, and in the XX–XXI centuries became participants in a joint game and even soloists in different performing groups. The main section of the manuscript gives examples of all directions in the interpretation of sound images of percussion instruments. Conclusion. So, the proposed complex analytical model, taking into account the historical, national, evolutionary factors in the interpretation of sound images of percussion, which differs in different eras, seems promising, making it possible to trace the continuity in the new and the features of the cultural dialogue arising one way or another in the “big time” (M. Bakhtin) of art.

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Wang, Bor-Tsuen, Chun-Lang Tsai, and Ying-Hui Wu. "Vibration modes and sound characteristic analysis for different sizes of singing bowls." MATEC Web of Conferences 185 (2018): 00017. http://dx.doi.org/10.1051/matecconf/201818500017.

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The singing bowl is used not only for the instrument of Buddhism but also for musical therapy. This work aims to investigate the correlation of vibration modes and percussion sound for singing bowls. A typical singing bowl is first selected to perform finite element analysis (FEA) for theoretical modal analysis (TMA) as well as experimental modal analysis (EMA). Modal parameters of singing bowl, including natural frequencies and mode shapes, can be obtained from analysis and experiment, respectively. Singing bowl FE model can then be updated and verified by adjusting material properties and used to predict structural vibration modes. The percussion sound of singing bowl is also measured to obtain its sound spectrum. The peak frequency response of singing bowl sound can be interpreted and contributed from circular vibration modes of the bowl. With the knowledge of sound generation mechanism for the singing bowl, this work also studies the percussion sound characteristics of seven different sizes of singing bowls. Results show the fundamental frequency and overtone frequencies of singing bowl percussion sound are higher for the smaller size. Interestingly, that the peak resonant frequencies have near the integer ratio relationship makes the singing bowl revealing harmony sound effects. The radiated sound spectrum can be well calibrated and predicted for different sizes of singing bowls. This work shows the analytical and experimental approaches in studying the singing bowl percussion sound that strongly correlated to structural vibration modes and can be adopted for future development of singing bowls.

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Journal articles on the topic 'Percussive Sound'

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