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Books on the topic 'Pitch dimensions'

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Author: Grafiati

Published: 4 June 2021

Last updated: 10 February 2022

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1

Goss, Ralph. Goss's roofing ready reckoner: Metric dimensions for timber roofs of any span and pitch. 4th ed. Oxford: Blackwell, 2007.

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2

Goss, Ralph. Roofing ready reckoner: Metric and imperial dimensions for timber roofs of any span and pitch. 3rd ed. Oxford: Blackwell Science, 2001.

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3

Miller, Rex. Audel automated machines and toolmaking. 5th ed. Indianapolis, IN: Wiley, 2004.

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4

Miller, Rex. Audel Automated Machines and Toolmaking. New York: John Wiley & Sons, Ltd., 2004.

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5

Emmert, Antonia c. Visual and proprioceptive inputs on spatial orientation in the pitch dimension. Monterey, Calif: Naval Postgraduate School, 1989.

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6

Tenney, James. The Several Dimensions of Pitch. Edited by Larry Polansky, Lauren Pratt, Robert Wannamaker, and Michael Winter. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252038723.003.0017.

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James Tenney explains the different mechanisms behind the simultaneous and consecutive relationships between pitches using ideas from evolution and neurocognition. He suggests that there are two different aspects of pitch perception and that one of those aspects can also be thought of as multidimensional. In considering such fundamental questions regarding the nature of auditory perception, Tenney refers to the evolution of hearing and considers two complementary if not contradictory things: distinguish between or among sounds issuing from different sound sources, and recognize when two or more sounds—though different—actually arise from a single sound source. The first mechanism is the basis for what Tenney calls the contour aspect of contour aspect of contour pitch perception. The other aspect of pitch perception has to do with the temporal ordering of the neural information. Tenney concludes by proposing a psychoacoustic explanation for contour formation based on the ear's temporal processing.

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7

Washburn, The Brothers. Pitch Green (Dimensions in Death Book 1). Jolly Fish Press, 2017.

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8

Mindham, C. N., and R. Goss. Roofing Ready Reckoner: Metric and Imperial Dimensions for Timber Roofs of Any Span and Pitch. Wiley & Sons, Incorporated, John, 2008.

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9

Malawey, Victoria. A Blaze of Light in Every Word. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190052201.001.0001.

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A Blaze of Light in Every Word presents a conceptual model for analyzing vocal delivery in popular song recordings focused on three overlapping areas of inquiry: pitch, prosody, and quality. The domain of pitch, which refers to listeners’ perceptions of frequency, considers range, tessitura, intonation, and registration. Prosody, the pacing and flow of delivery, comprises phrasing, metric placement, motility, embellishment, and consonantal articulation. Qualitative elements include timbre, phonation, onset, resonance, clarity, paralinguistic effects, and loudness. Intersecting all three domains is the area of technological mediation, which considers how external technologies, such as layering, overdubbing, pitch modification, recording transmission, compression, reverb, spatial placement, delay, and other electronic effects, impact voice in recorded music. Though the book focuses primarily on the sonic and material aspects of vocal delivery, it situates these aspects among broader cultural, philosophical, and anthropological approaches to voice with the goal to better understand the relationship between sonic content and its signification. Drawing upon transcription and spectrographic analysis as the primary means of representation, as well as modes of analysis, this book features in-depth analyses of a wide array of popular song recordings spanning genres from indie rock to hip-hop to death metal, develops analytical tools for understanding how individual dimensions make singing voices both complex and unique, and synthesizes how multiple aspects interact to better understand the multidimensionality of singing voices.

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10

Spence, Charles. Questioning the Continuity Claim. Edited by Ophelia Deroy. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780199688289.003.0011.

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Many researchers argue or accept that crossmodal matchings or mappings, such as those that exist between pitch and brightness, and canonical cases of conscious synaesthesia lie at the two ends of a continuum. This chapter raises problems for this continuity claim regarding (i) the distribution of conscious manifestations, and (ii) the dimensions along which this continuum should be organized. It reviews possible candidate dimensions, including the degree of vividness, frequency, specificity of the conscious manifestation, and control over its content, and shows that evidence of the expected distribution is absent for all of these continua. Although a crude distinction between conscious and non-conscious might not be sufficient to separate synaesthesia from crossmodal correspondences, the conscious manifestations that characterize synaesthesia cannot be reconciled with other occasional occurrences of mental imagery documented for crossmodal correspondences.

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11

Eitan, Zohar, Renee Timmers, and Mordechai Adler. Cross-modal correspondences and affect in a Schubert song. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780199351411.003.0006.

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Light, distance and motion are prominent features in Heine’s ‘Am fernen Horizonten’. A city is veiled in dusk, the sun rises from the earth and the boatman rows with sad strokes. Using empirical findings on cross-modal and affective associations with sounds, we examine Schubert’s interpretation and illustration of these metaphorical dimensions in ‘Die Stadt’. Focusing on local variations in tempo and dynamics, we analyse how the emotional and cross-modal connotations of the song are modified in three performances, provindinginsight into the interrelationship between cross-modal and affective connotations of musical sound. Such interrelationships may suggest complex and often equivocal musical meanings. For example, emotional ‘distance’ is associated with physical distance, as modulated by loudness; visual brightness, as modulated by pitch and timbre, can be painful when unveiling a ‘dark’ memory. Thus, our analysis indicates how musical structures and contours may suggest and interact with perceptual and metaphorical shape in multiple dimensions.

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12

McLachlan, Neil M. Timbre, Pitch, and Music. Oxford University Press, 2016. http://dx.doi.org/10.1093/oxfordhb/9780199935345.013.44.

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The perception of a sound’s timbre and pitch may be related to the more basic auditory function of sound recognition. Timbre may be related to the sensory experience (or memory) by which we recognize the source or meaning of a sound, while pitch may involve the recognition and mapping of timbres along a cognitive spatial dimension. Musical dissonance may then result from failure of sound recognition mechanisms, resulting in poor integration of pitch information and heightened arousal in musicians. Neurobiological models of auditory processing that include cortico-ponto-cerebellar and limbic pathways provide an account of the neural plasticity that underpins sound recognition and more complex human musical behaviors.

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13

Effects of yaw and pitch motion on model attitude measurements. Hampton, Va: National Aeronautics and Space Administration, Langley Research Center, 1995.

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14

S, Tripp John, Finley Tom D, and Langley Research Center, eds. Effects of yaw and pitch motion on model attitude measurements. Hampton, Va: National Aeronautics and Space Administration, Langley Research Center, 1995.

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15

The development and validation of a three-dimensional computer technique for analyzing human motion: Application to an overhand fastball pitch. 1987.

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16

The development and validation of a three-dimensional computer technique for analyzing human motion: Application to an overhand fastball pitch. 1985.

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17

The development and validation of a three-dimensional computer technique for analyzing human motion: Application to an overhand fastball pitch. 1987.

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18

Tenney, James. META Meta ⌿ Hodos. Edited by Larry Polansky, Lauren Pratt, Robert Wannamaker, and Michael Winter. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252038723.003.0007.

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James Tenney introduces a number of propositions, along with corresponding definitions and comments, concerning perceptual organization, musical parameters, formal perception and description, and entropy as a measure of variation. Among these propositions are: temporal gestalt-units (TGs) are formed at several different hierarchical levels during the process of musical perception; the perceptual formation of TGs at any hierarchical level is determined by a number of factors of cohesion and segregation, the most important of which are proximity and similarity; pitch, timbre, and (musical) time are not simply one-dimensional parameters, because each includes at least two relatively independent “subparameters”; the perception of form at any hierarchical level involves the apprehension of three distinct aspects of form at that and all lower levels—state, shape, and structure; the statistical entropy of an ergodic TG is zero.

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19

Duerden, Rachel. Choreo-Musical Relationships in Mark Morris’s (2003). Edited by Yael Kaduri. Oxford University Press, 2016. http://dx.doi.org/10.1093/oxfordhb/9780199841547.013.41.

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Choreographer Mark Morris is generally regarded as a supremely musical choreographer, and his respect for the musical score and his preference for working very closely with it are well known. A close reading of his works leads one to examine the nature of the relationship between what is seen and what is heard in the context of art, and in relation to one’s embodied existence. In this study ofAll Fours(2003), choreographed to Bartok’sFourth String Quartet, structural comparative analysis allows for an examination of the temporal dimension of the relationship and changes in and through time—meter, pulse, rhythm, pitch and harmony, dynamic shaping, and instrumentation. Through this, layers of complexity in the choreomusical relationships are revealed that stimulate questions concerning the interface of aural and kinetic in art, and which reveal how Morris’s work resonates with a deeply affirmative and holistic philosophy of life.

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20

Ockelford, Adam. Shape in music notation. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780199351411.003.0010.

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This chapter explores how perceptual domains function in the auditory and visual modalities, and sets out a model, using ‘zygonic’ theory, showing how different forms of mapping between the two may logically occur in cognition. Such mappings enable the perceived shapes of patterns in sound to be represented as two-dimensional visual shapes. Four types of inter-domain relationship are identified: ‘regular’, ‘irregular’ (the latter being ‘indirect’ or ‘arbitrary’) and ‘synaesthetic’. ‘Regular’, ‘indirect’ and ‘arbitrary’ representations are somewhat analogous to the threefold typology of signs defined in Peircean semiotics: icon, index and symbol. The new model is tested in the context of (1) young children’s ‘picture’ scores, (2) blind children’s tactile representations of pitch, (3) Western staff notation, (4) music in braille, (5) guitar chord symbols and (6) a synaesthete’s representation of patterns in sound. The implications for musicians and for musicological and music-psychological understanding and future research are discussed.

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21

Tenney, James. On “Crystal Growth” in Harmonic Space. Edited by Larry Polansky, Lauren Pratt, Robert Wannamaker, and Michael Winter. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252038723.003.0018.

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James Tenney talks about his “crystal growth” algorithm, an idea that suggests a new “harmonic syntax” for harmonic space. As a quantitative model, it is both suggestively rich for future composition and plausible as a description of the history of tonal expansion. In this algorithm, sets of points are chosen, one by one, in some n-dimensional harmonic space, under the condition that each new point must have the smallest possible sum of harmonic distances to all points already in the set. That is, at each successive stage in the growth of the harmonic lattice, the next ratio added to the set is one whose sum of harmonic distances to each ratio already in the set is minimal. In relation to this algorithm, Tenney considers the Pythagorean pentatonic scale, which may be conceived as a pitch set that arises when extension into the 3,5-plane is just slightly delayed beyond the point where the algorithm would have begun that extension.

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