Dissertations / Theses: 'Pitch'

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Ishii, Brian. "Using Pitch Tipping For Baseball Pitch Prediction." DigitalCommons@CalPoly, 2021. https://digitalcommons.calpoly.edu/theses/2311.

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Data Analytics and technology have changed baseball as we know it. From the increase in defensive shifts to teams using cameras in the outfield to steal signs, teams will try anything to win. One way to gain an edge in baseball is to figure out what pitches a pitcher will pitch. Pitch prediction is a popular task to try to accomplish with all the data that baseball provides. Most methods involve using situational data like the ball and strike count. In this paper, we try a different method of predicting pitch type by only looking at the pitcher's pose in the set position. We do this to find a pitcher's tell or "tip". In baseball, if a pitcher is tipping their pitches, they are doing something that gives away what they will pitch. This could be because the pitcher changes the grip on the ball only for some pitches or something as small as a different flex in their wrist. Professional baseball players will study pitchers before they pitch the ball to try to pick up on these tips. If a tip is found, the batters have a significant advantage over the pitcher. Our paper uses pose estimation and object detection to predict the pitch type based on the pitcher's set position before throwing the ball. Given a successful model, we can extract the important features or the potential tip from the data. Then, we can try to predict the pitches ourselves like a batter. We tested this method on three pitchers: Tyler Glasnow, Yu Darvish, and Stephen Strasburg. Our results demonstrate that when we predict pitch type at a 70\% accuracy, we can reasonably extract useful features. However, finding a useful tip from these features still requires manual observation.

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Rieck, Stacey M. "Implicit Pitch Memory in Non-Absolute Pitch Possessors." University of Dayton / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=dayton1320950771.

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Tsay, Suhchuan Jane, and Suhchuan Jane Tsay. "Phonological pitch." Diss., The University of Arizona, 1994. http://hdl.handle.net/10150/186900.

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The theory proposed in this thesis, Phonological Pitch, concerns the representation and behavior of the tone feature. It is a formally simple phonological theory constrained by a set of explicit extragrammatical principles. Phonological Pitch contains two major grammatical mechanisms. First, tone is represented with a single multivalued feature (Pitch) whose value can range from 1 to n, where n is a language-specific number with no universal upper limit. Second, the Contiguity Hypothesis states that tone groups in rules must always form contiguous sets, though these groups can vary from rule to rule. Phonological Pitch can be so simple because the power of the grammatical theory is constrained with independently necessary extragrammatical factors. Specifically, limits on the number of tone levels arise from learnability and perceptual constraints, which can be precisely formalized, that also play a role in nonlinguistic domains. Similarly, the Contiguity Hypothesis is derived from psychoacoustic constraints on discriminating between acoustically similar pitches. Other perceptual and physiological constraints explain patterns in the typology of contour tones and in the interactions of tone with other features. The empirical support for Phonological Pitch includes the following. First, languages are attested with as many as five distinct tone levels, and the number of languages with n tone levels gradually decreases as n increases, rather than dropping off abruptly at some point. An analysis using learnability and perceptual constraints can explain this gradual drop better than a universal grammatical upper limit. Second, tone rules can transpose sets of tones up or down by a fixed interval, a fact which is easier to formalize with a single multivalued feature than with a set of binary features. Third, tone groups do not form universal natural classes nor groups with noncontiguous tones, as other tone theories predict. Fourth, tone interacts not only with laryngeal features like voicing, but also with nonlaryngeal features like vowel height, and both the existence and relative rarity of tone-vowel height interactions imply that understanding tone interactions requires reference to extragrammatical physiological factors.

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Razera, Daniel Espanhol. "Determinadores de pitch." Universidade de São Paulo, 2004. http://www.teses.usp.br/teses/disponiveis/18/18133/tde-02022016-164138/.

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Os parâmetros acústicos da voz abordados em diversas pesquisas de análise digital da voz, apresentam-se válidos para o uso em processo diagnóstico e terapêutico. O grupo de parâmetros de perturbação da voz necessita do conhecimento de todos os períodos do trecho de sinal de voz analisado, para ter seu valor calculado. Esta tarefa é desempenhada pelos determinadores de pitch, e a sua precisão determina a confiabilidade que se pode ter nos parâmetros calculados. Este trabalho visa estudar diversos métodos propostos ao longo dos anos e estabelecer qual destes tem a melhor precisão e robustez, quando utilizados com vozes patológicas. Estuda-se também algoritmos estimadores de pitch como uma ferramenta de auxílio para a correção e ajuste dos determinadores. Os resultados obtidos demonstram a necessidade de modificações externas e internas aos algoritmos determinadores e estimadores, para alcançarem a robustez e precisão desejada. Dois algoritmos determinadores, determinador por autocorrelação e por extração de harmônicas, mostraram-se dentro das metas estabelecidas e confirmam-se como os mais promissores em aplicações para obtenção de parâmetros acústicos da voz.
Several researches of digital speech processing validate the use of acoustic parameters of the voice in diagnosis and therapeutic processes. Perturbation parameters need the knowledge of all the periods of the analyzed voice signal, to have their values calculated. This task is carried out by the pitch trackers and their precision determines the reliability off the evaluated parameters. The purpose of this work is to study several methods proposed along the years and to establish which algorithm has the best precision and robustness, when used with pathological voices. The pitch estimation is also studied as an aid tool for the correction and adjustment of the pitch trackers. The results demonstrate the need of external and internal modifications of the trackers and detector algorithms to reach the wanted robustness and precision. The algorithms for autocorrelation and for extraction of harmonics are confirmed as the most promising in applications for obtaining of acoustic parameters of the voice.

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Younan, Elizabeth Mary. "Coherence through Pitch." Thesis, The University of Sydney, 2018. http://hdl.handle.net/2123/18742.

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Recent musicological output has viewed neither the aesthetic concept of organicism nor the methodology of formalistic music analysis in a favourable light. Both organicism and formalistic music analysis in the current age have been plagued by criticisms concerning its validity, purpose, and function. Thus there has been a decrease in the perceived value and usefulness of both organicism as means of rendering contemporary post-tonal compositions as cohesive entities and music analysis as a means of elucidating such organic musical construction. My aims for my thesis are, at its simplest, two-fold. Drawing upon the aesthetics of organicism and cohesion as seen in Schoenberg’s writings, I aim primarily to espouse both the purpose and effectiveness of organicism as well as music analysis in rendering art music of the twentieth and twenty-first centuries comprehensible. I also argue that organicism must be accompanied by contrast in order to maintain musical variety and interest, and I explain how I, as a composer, satisfy these two imperatives in my own compositional output. A comprehensive motivic analysis of selected works from the twentieth century in conjunction with analyses of my own compositions created as part of this degree will not only demonstrate the presence of organicism but will also argue its value in achieving coherence in post-tonal music. Investigating the intervallic properties inherent in the primary musical material of each work will demonstrate the multifaceted ways in which the composer in question takes advantage of these properties to create a work that is simultaneously diverse yet unified in its structure. A consideration of the work’s construction on both the micro and macro scale (that is, the ways in which musical cells both interact and develop on local and global levels) will demonstrate how the composer has generated an organic structural trajectory through the manipulation of a small musical cell; it will also demonstrate how such an organic structure can create meaningful and coherent listenings of the work. I aim to convey the ways in which I and the selected composers develop material to achieve variety whilst maintaining unifying musical elements. I hope to convince the reader of the value of employing a motivic-based approach when composing post-tonal works due to its possibilities of ensuring musical coherence.

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Varnau, Mary Kate. "Pitch and Pull." OpenSIUC, 2016. https://opensiuc.lib.siu.edu/theses/1882.

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This is a multigenerational family story that takes place in the Midwest. It's about all the moments of high drama--the things that bring them closer together, that tear them apart--in the lives of two families.

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Hibbert, William A. "The quantification of strike pitch and pitch shifts in church bells." Thesis, Open University, 2008. http://oro.open.ac.uk/44498/.

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The primary objective of the work reported in this thesis was to quantify how the pitch or strike note of a bell is determined by the frequencies of its partials. Pitches of bells are generally virtual pitch or missing fundamental effects, generated in the ear rather than present as a frequency in the radiated sound. The exact pitch is shifted from that expected for the missing fundamental by changes in the frequency of various partials. This can cause bells whose partials are in theory tuned precisely, to sound out of tune by considerable fractions of a semitone. The pitch shifts were quantified at frequencies across the audible spectrum by a set of experiments carried out on 30 subjects. Subsidiary experiments established which partials create a bell’s pitch or pitches at different frequencies, and showed that partial amplitude does not significantly affect bell pitch. A simple model of pitch shift was devised from the test results which gave good agreement with the stretch tuning in a number of peals of bells. Stretch tuning has not previously been satisfactorily explained. The pitch shifts were also compared against Terhardt’s algorithm for virtual pitch, which did not predict the shifts seen in practice. To prepare for these experiments, a comprehensive investigation was done of the partial frequencies of over 2,000 bells with a wide range of dates, weights and founders. An unexpected and straightforward relationship was found between the frequencies of the upper partials which generate virtual pitches, which seems to apply to all bronze and steel bells of Western shape. The relative frequencies of these partials are in turn determined by the thickness of the bell’s wall near the rim. This relationship between the partials has not been previously reported, and explains previous failed attempts by bellfounders to tune these partials independently. The modified version of Chladni’s law proposed by Perrin and Rossing for these partial frequencies was found not to give as good a fit to their frequencies as the relationship discovered in this research. The work presented in this thesis is important for at least two reasons: • It provides new practical guidance for the design and tuning of bells • The shifts in virtual pitches observed as a result of upper partial changes support current research into pitch generation mechanisms in the human ear.

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Unger, Brandon Lloyd. "Pitch range and pitch declination in asperger syndrome reading a dramatic passage /." Cincinnati, Ohio : University of Cincinnati, 2006. http://www.ohiolink.edu/etd/view.cgi?acc%5Fnum=ucin1154539606.

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Thesis (M.A.)--University of Cincinnati, 2006.
Title from electronic thesis title page (viewed Nov. 30, 2006). Includes abstract. Keywords: Asperger Syndrome; Prosody; Pitch Range; Pitch Declination; Reading. Includes bibliographical references.

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UNGER, BRANDON LLOYD. "PITCH RANGE AND PITCH DECLINATION IN ASPERGER SYNDROME: READING A DRAMATIC PASSAGE." University of Cincinnati / OhioLINK, 2006. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1154539606.

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Bawaqneh, Hamdi. "Virtual Vehicle Pitch Sensor." Thesis, Linköpings universitet, Institutionen för systemteknik, 2011. http://urn.kb.se/resolve?urn=urn:nbn:se:liu:diva-69944.

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An indirect tire pressure monitoring system uses the wheel rolling radius as an indicator of low tire pressure. When extra load is put in the trunk of a car, the load distribution in the car will change. This will affect the rolling radius which in its turn will be confused with a change in the tire pressure. To avoid this phenomenon, the load distribution has to be estimated. In this thesis methods for estimating the pitch angle of a car and an offset in the pitch angle caused by changed load distribution are presented and when an estimate is derived, a load distribution can be derived. Alot of available signals are used but the most important are the longitudinal accelerometer signal and the acceleration at the wheels derived from the velocity of the car. A few ways to detect or compensate for a non-zero road grade are also presented. Based on the estimated offset, a difference between the front and rear axle heights in the vehicle can be estimated and compensating for the changed load distribution in an indirect tire pressure monitoring system will be possible.

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Dillon, Frank. "Pitch for carbon composites." Thesis, University of Newcastle Upon Tyne, 1990. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.315565.

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Kasuh, Takahiro. "Oxidation of mesophase pitch." Thesis, University of Newcastle Upon Tyne, 1989. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.346433.

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Meredith, David. "Computing pitch names in tonal music : a comparative analysis of pitch spelling algorithms." Thesis, University of Oxford, 2007. http://ora.ox.ac.uk/objects/uuid:fa543bd6-cbdc-4206-a6f6-518f54c8c49a.

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A pitch spelling algorithm predicts the pitch names (e.g., C♯4, B♭5 etc.) of the notes in a passage of tonal music, when given the onset-time, MIDI note number and possibly the duration and voice of each note. A new algorithm, called ps13, was compared with the algorithms of Longuet-Higgins, Cambouropoulos, Temperley and Chew and Chen by running various versions of these algorithms on a ‘clean’, score-derived test corpus, C, containing 195972 notes, equally divided between eight classical and baroque composers. The standard deviation of the accuracies achieved by each algorithm over the eight composers was used to measure style dependence (SD). The best versions of the algorithms were tested for robustness to temporal deviations by running them on a ‘noisy’ version of the test corpus, denoted by C'. A version of ps13 called PS13s1 was the most accurate of the algorithms tested, achieving note accuracies of 99.44% (SD = 0.45) on C and 99.41% (SD = 0.50) on C'. A real-time version of PS13s1 also out-performed the other real-time algorithms tested, achieving note accuracies of 99.19% (SD = 0.51) on C and 99.16% (SD = 0.53) on C'. PS13s1 was also as fast and easy to implement as any of the other algorithms. New, optimised versions of Chew and Chen’s algorithm were the least dependent on style over C. The most accurate of these achieved note accuracies of 99.15% (SD = 0.42) on C and 99.12% (SD = 0.47) on C'. It was proved that replacing the spiral array in Chew and Chen’s algorithm with the line of fifths never changes its output. A new, optimised version of Cambouropoulos’s algorithm made 8% fewer errors over C than the most accurate of the versions described by Cambouropoulos himself. This algorithm achieved note accuracies of 99.15% (SD = 0.47) on C and 99.07% (SD = 0.53) on C'. A new implementation of the most accurate of the versions described by Cambouropoulos achieved note accuracies of 99.07% (SD = 0.46) on C and 99.13% (SD = 0.39) on C', making it the least dependent on style over C'. However, Cambouropoulos’s algorithms were among the slowest of those tested. When Temperley and Sleator’s harmony and meter programs were used for pitch spelling, they were more affected by temporal deviations and tempo changes than any of the other algorithms tested. When enharmonic changes were ignored and the music was at a natural tempo, these programs achieved note accuracies of 99.27% (SD = 1.30) on C and 97.43% (SD = 1.69) on C'. A new implementation, called TPROne, of just the first preference rule in Temperley’s theory achieved note accuracies of 99.06% (SD = 0.63) on C and 99.16% (SD = 0.52) on C'. TPROne’s performance was independent of tempo and less dependent on style than that of the harmony and meter programs. Of the several versions of Longuet-Higgins’s algorithm tested, the best was the original one, implemented in his music.p program. This algorithm achieved note accuracies of 98.21% (SD = 1.79) on C and 98.25% (SD = 1.71) on C', but only when the data was processed a voice at a time. None of the attempts to take voice-leading into account in the algorithms considered in this study resulted in an increase in note accuracy and the most accurate algorithm, PS13s1, ignores voice-leading altogether. The line of fifths is used in most of the algorithms tested, including PS13s1. However, the superior accuracy achieved by PS13s1 suggests that pitch spelling accuracy can be optimised by modelling the local key as a pitch class frequency distribution instead of a point on the line of fifths, and by keeping pitch names close to the local tonic(s) on the line of fifths rather than close on the line of fifths to the pitch names of neighbouring notes.

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Kim, Jinho. "Automatic Pitch Detection and Shifting of Musical Tones in Real Time." Thesis, Boston College, 2013. http://hdl.handle.net/2345/3057.

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Thesis advisor: Sergio Alvarez
Musical notes are acoustic stimuli with specific properties that trigger a psychological perception of pitch. Pitch is directly associated with the fundamental frequency of a sound wave, which is typically the lowest frequency of a periodic waveform. Shifting the perceived pitch of a sound wave is most easily done by changing the playback speed, but this method warps some of the characteristics and changes the time scale. This thesis aims to accurately shift the pitch of musical notes while preserving its other characteristics, and it implements this in real time on an Android device. There are various methods of detecting and shifting pitch, but in the interests of simplicity, accuracy, and speed, a three step process is used. First, the fundamental pitch of a stable periodic section of the signal is found using the Yin pitch detection algorithm. Secondly, pitch marks that represent the local peak of energy are found, each spaced out by roughly one period (inverse of the fundamental frequency). Lastly, these marks are used in the Pitch Synchronous Overlap and Add (PSOLA) algorithm to generate a new signal with the desired fundamental frequency and similar acoustical characteristics to the original signal
Thesis (BS) — Boston College, 2013
Submitted to: Boston College. College of Arts and Sciences
Discipline: Computer Science Honors Program
Discipline: Computer Science

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Lam, Lai-man Suki. "Pitch level and pitch variability in Cantonese speakers with dysarthria associated with cerebral palsy." Click to view the E-thesis via HKUTO, 2000. http://sunzi.lib.hku.hk/hkuto/record/B36207548.

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Thesis (B.Sc)--University of Hong Kong, 2000.
"A dissertation submitted in partial fulfilment of the requirements for the Bachelor of Science (Speech and Hearing Sciences), The University of Hong Kong, May 10, 2000." Also available in print.

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Lanz, Linda A. "Japanese pitch-accent: cross-linguistic perceptions by speakers of stress- and pitch-accent languages." Thesis, University of Hawaii at Manoa, 2003. http://hdl.handle.net/10125/7107.

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This thesis investigates the perception of Japanese pitch accent by native speakers of pitch-accent languages and stress-accent languages. In particular, it seeks to determine whether or not pitch accent is a salient feature across language boundaries. An experiment was conducted to compare the correct perception of Japanese pitch accent by native speakers of three pitch-accent languages (Punjabi, Serbo-Croatian, and Swedish) and three stress-accent languages (English, Russian, and Samoan). For several reasons, this study employed the Kyoto dialect of Japanese, rather than the Tokyo dialect. The experiment - conducted either in person or via the Internet - was unable to refute the null hypothesis that neither pitch-accent speakers nor stress-accent speakers would be more successful at accurately perceiving Japanese pitch accent. However, a statistical analysis employing ANOVA revealed that there was a significant correlation between accent category of the Japanese test items and the subjects' performance, regardless of native language.
x, 89 leaves

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McIsaac, David William. "Aspects of pitch and pitch-class organization in Nikolai Roslavets's Trois compositions pour piano." Thesis, University of British Columbia, 1986. http://hdl.handle.net/2429/26563.

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Nikolai Andreevich Roslavets (1881-1944) is a unique figure in Russian avant-garde musical developments of this century. His system of tonal organization, .similar to Scriabin's reliance on a central chordal complex . . . was based on chords of six to eight or more tones, used . . . as substitutes for the functional relationships of classical tonality, which he did not reject but rather tried to expand. These "synthetic chords" of specific and invariable interval lie structure could be transposed not only to the seven pitches of the classical diatonic scale, but also to all twelve degrees of the chromatic scale. Through systematic application of such transpositions, Roslavets's compositions revealed elements similar to dodecaphonic serial thinking as early as 1914-15. . . . (Detlef Gojowy, "Half Time for Nikolai Roslavets," in Russian and Soviet Musics Essays for Boris Sctowarz , 212. ) Trois Compositions pour piano (1914) exhibit such characteristics. Gojowy ‘s Neue sov/jetische Musi A der 20er Jahret and George Perle's Serial Composition and Atonality both include limited references to Trois Compositions as well as general commentary about Roslavets's compositional techniques. However, detailed studies of pitch and pitch-class (PC) organization in music by this little-known composer are lacking. Proceeding from the analyses of Gojowy and Perle, the present thesis examines certain aspects of Roslavets's "synthetic chord" system (designated in the thesis as the interval-class complex or ICC system) in Trois Compositions, including: (1) PC contents of harmonies in the pieces--contents based on transposition-levels (T-levels) of ICCs associated with the pieces—and variances thereof, some of which are related to the forms of the pieces; (2) harmonic successions and associated T-levelss (3) rhythmic aspects of these T-levels and their successions, which indicate a basis of hierarchy of T-levelss (4) characteristics of T-level successions as to PC content, and PC invariance and pitch continuity involving adjacent T-levels, particularly T-levels related by interval-class (IC) 3s and (5) patterns of linear and vertical ordering of PCs as to their inclusion in particular T-levels. These are discussed in Chapter Two, following an introduction to Roslavets and his music in Chapter One. In consideration of Roslavets's position as a post-Romantic composer, other compositional techniques and tendencies evident in Trois Compositions are investigated in the thesis. Chapter Three involves an examination of tonality in the three pieces, while Chapter Four involves a study of octatonicism and serial-ism, some characteristics of which are to be found in Trois Compositions.
Arts, Faculty of
Music, School of
Graduate

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Sturt, Christian. "Pitch synchronous speech coding techniques." Thesis, University of Surrey, 2003. http://epubs.surrey.ac.uk/843327/.

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Efficient source coding techniques are necessary to make optimal use of the limited bandwidth available in mobile phone networks. Most current mobile telephone communication systems compress the speech waveform by using speech coders based on the Code Excited Linear Prediction (CELP) model. Such coders give high quality speech at bit rates of 8 kbps and above. Below 8 kbps, the quality of the coded speech degrades rapidly. At rates of 6 kbps and below, parametric speech coders offer better speech quality. These coders reduce the required bit rate by transmitting certain characteristics of the speech waveform to the decoder, rather than attempting to code the waveform itself. The disadvantage of parametric coders is that the maximum achievable quality is limited by assumptions made during the coding of the speech signal. The aim of the research presented is to investigate and eliminate the factors that limit the speech quality of parametric coders. A new pitch synchronous coding model is proposed that operates on individual pitch cycle waveforms of speech rather than longer, fixed length frames as used in classic techniques. In order to implement a pitch synchronous coder, new pitch cycle detection algorithms have been proposed. Pitch synchronous parameter analysis was investigated and several new techniques have been developed. A novel pitch synchronous split-band voicing estimator has been proposed that utilises only the phase of the speech harmonics rather than the periodicity used in traditional techniques. Fixed rate quantisation of pitch synchronous speech parameters has been investigated and a joint quantisation/interpolation scheme has been proposed. This scheme has been applied to the quantisation of the pitch synchronous parameters and has been shown to outperform traditional quantisation techniques. A comparison of a reference parametric coder with its pitch synchronous counterpart has shown that the pitch synchronous paradigm eliminates some of the main factors that limit the speech quality in parametric coders. It is expected that this will lead to the development of speech coders that can produce speech of higher quality than current parametric coders operating at the same bit rate. Key words: Speech Coding, Pitch Synchronous, Sinusoidal Coding, Split-Band LPC Coding.

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Shipton, Peter. "Optimisation of cricket pitch rolling." Thesis, Cranfield University, 2008. http://dspace.lib.cranfield.ac.uk/handle/1826/3369.

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In the game of cricket, where a ball is bounced on a natural clay soil pitch between the ‘bowler’ and ‘batsman’, the ball-surface interaction is critical and is one of the most important factors responsible for the quality of play. Rolling of the playing surface with a smooth-wheel roller is common practice and this is intended to encourage pace, but with a predictable ball bounce that will provide a fair and safe playing surface. Current rolling management is largely based on anecdotal evidence and little work has previously being carried out in the UK to quantify the effects of rolling on cricket soils or to determine optimum rolling practice. Initiatives by the England and Wales Cricket Board (the project sponsors) to advance the commercial viability of the game of cricket and to increase player participation provide commercial justification for this project. This thesis aims to improve the fundamental understanding of the scientific principles of pitch preparation and to develop practical guidelines on roller use to help cricket groundsmen produce playing surfaces with the desired playability characteristics. A diverse methodology was used to meet the project objectives. A survey of current practice was conducted to inform experimental design and inform the targeting of rolling guidelines. Dynamic and static triaxial experiments were combined with standard laboratory tests to establish soil mechanical parameters for cricket soils. Field experimental plots and a project designed rolling simulator were used to investigate the interaction between soil mechanical and roller physical properties and to establish rolling management protocols. A grass rooting experiment was also conducted to determine the effect of soil density on root growth and distribution within the compacted soil profile. The survey of current practice established a wide range in rolling practice, particularly in the time allocated to rolling in the spring and for summer pre-match rolling. The experimental results developed the relationship between moisture and soil mechanical properties of cricket soils indicating an increase in plastic and elastic strain with an increase in moisture in un-saturated soils. An increase in soil moisture from 16% to 25% gravimetric moisture content was also shown to increase horizontal movement under a towed roller; however the inclusion of grass roots into the soil profile considerably reduced soil displacement. Soil optimum moisture conditions were identified for a range of roller specifications; 24% gravimetric moisture for a 750 kg m -3 roller and 22% for a 920 kg m -3 roller. Roller speed (0.7 km h -1 ) and the amount of roller passes required (four passes of a two drum roller in the spring and a total of 10 passes for summer match preparation) were established for cricket pitch preparation. Results also indicated a significant potential to reduce annual rolling times when undertaken in optimum soil moisture conditions. This could result in a substantial reduction in cost to the cricket industry and a reduction in CO2 emissions.

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Khurshid, Azar. "Pitch estimation for noisy speech." Thesis, University of Plymouth, 2002. http://hdl.handle.net/10026.1/1692.

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In this dissertation a biologically plausible system of pitch estimation is proposed. The system is designed from the bottom up to be robust to challenging noise conditions. This robustness to the presence of noise in the signal is achieved by developing a new representation of the speech signal, based on the operation of damped harmonic oscillators, and temporal mode analysis of their output. This resulting representation is shown to possess qualities which are not degraded in presence of noise. A harmonic grouping based system is used to estimate the pitch frequency. A detailed statistical analysis is performed on the system, and performance compared with some of the most established and recent pitch estimation and tracking systems. The detailed analysis includes results of experiments with a variety of noises with a large range of signal to noise ratios, under different signal conditions. Situations where the interfering "noise" is speech from another speaker are also considered. The proposed system is able to estimate the pitch of both the main speaker, and the interfering speaker, thus emulating the phenomena of auditory streaming and "cocktail party effect" in terms of pitch perception. The results of the extensive statistical analysis show that the proposed system exhibits some very interesting properties in its ability of handling noise. The results also show that the proposed system’s overall performance is much better than any of the other systems tested, especially in presence of very large amounts of noise. The system is also shown to successfully simulate some very interesting psychoacoustical pitch perception phenomena. Through a detailed and comparative computational requirements analysis, it is also demonstrated that the proposed system is comparatively inexpensive in terms of processing and memory requirements.

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Robinson, Ken Lennox. "Studies in timbre and pitch." Thesis, University of Cambridge, 1993. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.282971.

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Hehrmann, Phillipp. "Pitch perception as probabilistic inference." Thesis, University College London (University of London), 2018. http://discovery.ucl.ac.uk/10062222/.

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Pitch is a fundamental and salient perceptual attribute of many behaviourally important sounds, including animal calls, human speech and music. Human listeners perceive pitch without conscious effort or attention. These and similar observations have prompted a search for mappings from acoustic stimulus to percept that can be easily computed from peripheral neural responses at early stages of the central auditory pathway. This tenet however is not supported by physiological evidence: how the percept of pitch is encoded in neural firing patterns across the brain, and where - if at all - such a representation may be localised remain as yet unsolved questions. Here, instead of seeking an explanation guided by putative mechanisms, we take a more abstract stance in developing a model by asking, what computational goal the auditory system is set up to achieve during pitch perception. Many natural pitch-evoking sounds are approximately periodic within short observation time windows. We posit that pitch reflects a near-optimal estimate of the underlying periodicity of sounds from noisy evoked responses in the auditory nerve, exploiting statistical knowledge about the regularities and irregularities occurring during sound generation and transduction. We compute (or approximate) the statistically optimal estimate using a Bayesian probabilistic framework. Model predictions match the pitch reported by human listeners for a wide range of welldocumented, pitch-evoking stimuli, both periodic and aperiodic. We then present new psychophysical data on octave biases and pitch-timbre interactions in human perception which further demonstrates the validity of our approach, while posing difficulties for alternative models based on autocorrelation analysis or simple spectral pattern matching. Our model embodies the concept of perception as unconscious inference, originally proposed by von Helmholtz as an interface bridging optics and vision. Our results support the view that even apparently primitive acoustic percepts may derive from subtle statistical inference, suggesting that such inferential processes operate at all levels across our sensory systems.

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Anderson, Mark David. "Pitch determination of speech signals." Thesis, Massachusetts Institute of Technology, 1986. http://hdl.handle.net/1721.1/14999.

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Thesis (M.S.)--Massachusetts Institute of Technology, Dept. of Electrical Engineering and Computer Science, 1986.
MICROFICHE COPY AVAILABLE IN ARCHIVES AND ENGINEERING
Bibliography: leaves 138-147.
by Mark David Anderson.
M.S.

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Löfstedt, Ingvar P. M. (Ingvar Pekka Magnus). "On the Swedish pitch accents." Thesis, Massachusetts Institute of Technology, 1995. http://hdl.handle.net/1721.1/11571.

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Mate-Cid, Saul. "Vibrotactile perception of musical pitch." Thesis, University of Liverpool, 2013. http://livrepository.liverpool.ac.uk/16013/.

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Previous vibrotactile research has provided little or no definitive results on the discrimination and identification of important pitch aspects for musical performance such as relative and absolute pitch. In this thesis, psychophysical experiments using participants with and without hearing impairments have been carried out to determine vibrotactile detection thresholds on the fingertip and foot, as well as assess the perception of relative and absolute vibrotactile musical pitch. These experiments have investigated the possibilities and limitations of the vibrotactile mode for musical performance. Over the range of notes between C1 (32.7Hz) and C6 (1046.5Hz), no significant difference was found between the mean vibrotactile detection thresholds in terms of displacement for the fingertip of participants with normal hearing and with severe/profound hearing impairments. These thresholds have been used to identify an optimum dynamic range in terms of frequency-weighted acceleration to safely present vibrotactile music. Assuming a practical level of stimulation ≈10dB above the mean threshold, the dynamic range was found to vary between 12 and 27dB over the three-octave range from C2 to C5. Results on the fingertip indicated that temporal cues such as the transient and continuous parts of notes are important when considering the perception of vibrotactile pitch at suprathreshold levels. No significant difference was found between participants with normal hearing and with severe/profound hearing impairments in the discrimination of vibrotactile relative pitch from C3 to C5 using the fingertip without training. For participants with normal hearing, the mean percentage of correct responses in the post-training test was greater than 70% for intervals between four and twelve semitones using the fingertip and three to twelve semitones using the forefoot. Training improved the correct responses for larger intervals on fingertips and smaller intervals on forefeet. However, relative pitch discrimination for a single semitone was difficult, particularly with the fingertip. After training, participants with normal hearing significantly improved in the discrimination of relative pitch with the fingertip and forefoot. However, identifying relative and absolute pitch was considerably more demanding and the training sessions that were used had no significant effect.

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Mathias, Samuel. "Individual differences in pitch perception." Thesis, University of York, 2010. http://etheses.whiterose.ac.uk/1481/.

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This thesis reports a number of experiments investigating individual differences in pitch perception. Experiment 1 identified otherwise normally hearing adult listeners who were relatively insensitive to the direction of small but detectable frequency changes between sequential pure tones. Following previous research, an important feature of the stimuli used in Experiment 1 was that the standard frequency was varied randomly—or ‘roved’—over a wide range (400–2000.1 Hz) over trials. Subsequent psychoacoustical experiments (Experiments 2–6) revealed that the insensitivity to pitch-change direction observed in some individuals appeared to depend critically on the use of a relatively wide frequency-roving range, and the possible origins of this effect were investigated in detail. A compelling hypothesis that emerged was that roving introduced random, irrelevant frequency changes to the stimulus ensemble that interfered with pitch-direction identification (but not pitch-change detection) in some listeners. The results of Experiments 1–6 were considered under the framework of signal detection theory, and were compared to the predictions of several phenomenological models of frequency discrimination. The pre-existing models from the literature were not able to account for many aspects of the present findings without modification. The listeners taking part in the psychoacoustical experiments completed questionnaires assessing their everyday hearing experiences and musical ability. Listeners’ thresholds were weakly or moderately correlated with some aspects of their self-reports, including sound segregation and musical experience/perception, and uncorrelated with other aspects, such as sound localisation and speech intelligibility. Experiment 7 used magnetoencephalography to test the hypothesis that insensitivity to pitch-change direction is associated with a greater-than-normal involvement of left-hemisphere cortical areas when listening to and identifying the direction of frequency changes. The results suggested that the extent to which the two hemispheres contributed to the recorded signals varied considerably across individuals, and contrary to the results of an earlier study, poor pitch-discrimination ability was associated with stronger right-hemisphere auditory-evoked fields.

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Watkins, Sharon C. (Sharon Carp). "Vocal Pitch-Matching: The Effect of Singing into the Right Ears of Fifth-Grade Students." Thesis, University of North Texas, 1992. https://digital.library.unt.edu/ark:/67531/metadc500713/.

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This study investigated whether fifth-grade students would sing more accurately when responding to pitch stimuli presented to the right ear as compared to left and both ears. Students were also classified as either strongly right-handed or other (left-handed or mixed) to see if ear treatment responses would differ with handedness. Sixty-six students were tested on their attempts to match 12 model pitches. Identical tests were given to each subject on 3 different days, with a different ear treatment each day. Vocal response scores were significantly better for both-ear presentation than for left-ear. No significant difference was found between right and both ears, right and left ears, or between handedness groups.

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Purwins, Hendrik. "Profiles of pitch classes - circularity of relative pitch and key experiments, models, music analysis, and perspectives /." [S.l.] : [s.n.], 2005. http://deposit.ddb.de/cgi-bin/dokserv?idn=976732440.

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Poole, Sean. "The development of a segmented variable pitch small horizontal axis wind turbine with active pitch control." Thesis, Nelson Mandela Metropolitan University, 2013. http://hdl.handle.net/10948/d1020583.

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Small scale wind turbines operating in an urban environment produce dismal amounts of power when compared to their expected output [1-4]. This is largely due to the gusty wind conditions found in an urban environment, coupled with the fact that the wind turbines are not designed for these conditions. A new concept of a Segmented Variable Pitch (SVP) wind turbine has been proposed, which has a strong possibility to perform well in gusty and variable wind conditions. This dissertation explains the concept of a SVP wind turbine in more detail and shows analytical and experimental results relating to this concept. Also, the potential benefits of the proposed concept are mentioned. The results from this dissertation show that this concept has potential with promising results on possible turbine blade aerofoil configurations. Scaled model tests were completed and although further design optimisation is required, the tests showed good potential for the SVP concept. Lastly a proof-of-concept full scale model was manufactured and tested to prove scalability to full size from concept models. Along with the proof-of-concept full scale model, a wireless control system (to control the blade segments) was developed and tested.

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Gustavsson, Sofie, and Anders Carlsson. "Electric Actuation of Controllable Pitch Propellers." Thesis, Karlstad University, Faculty of Technology and Science, 2008. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-3771.

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This bachelor’s degree project has been conducted at the Innovation and Design Engineering programme at Karlstad University and responds to 22.5 ETCS credits. The project has been carried out in co-operation with Rolls-Royce AB in Kristinehamn.

Based upon a virtual order concerning a super yacht the objective has been to develop a controllable pitch propeller that is adjusted using electro mechanics, to eliminate the use of hydraulic oils and thus the risk of leakage to the seawater.

The pre-study consisted of the two first phases of QFD-analysis (Quality Function Deployment). The first phase consists of gathering customer requirements. Representatives from different functions within Rolls-Royce AB were interviewed, as representatives for the customer. The demands they presented were used to find product features and functionalities.

The results were put together in two Houses of Quality. The first house shows the relations between requirements and features/functionalities and their respective relevance in correlation to each other. House of Quality two describes the relations between features/functionalities and design solutions in a similar way.

Based upon the QFD-analysis, a specification was generated to be used as guidance to generate ideas of how to solve the problem. A number of brainstorming methods were used and students from Karlstad University and Rolls-Royce AB participated in those sessions. Overall, some twenty ideas were gathered and five of those were considered feasible concepts.

For further development, two of those concepts were chosen, using relative and weighted decision matrixes. This development consisted of solid modelling, based on current propeller arrangement designs, and stress calculations of the new parts of the system.

Both concepts consist of an electrical engine, powering a trapezoid screw, which moves the crosshead. In Concept 1, the screw is mounted directly into the crosshead while in Concept 2; a push rod is used to transmit the motion. Both concepts appeared to meet up to the objectives, though Concept 1 fulfilled more demands and to a greater extent.

For further development of this product, customer inquiries with closer customer contacts need to be conducted. It will also be necessary to contact the concerned classing societies, since current classification rules not can be applied to electromechanically controlled propellers.

Detta examensarbete har utförts för examen på Innovations- och designingenjörsprogrammet vid Karlstads universitet och motsvarar 22,5 hp. Projektet har genomförts tillsammans med Rolls-Royce AB i Kristinehamn.

Baserad på en virtuell order på en superyacht har målet varit att utveckla en justerbar propeller som regleras helt med elektromekanik. Detta för att eliminera användandet av hydraulolja och därmed risken för läckage till havsvattnet.

Förstudien har bestått av de två första faserna av QFD-studie (Quality Function Deployment). Den första fasen består av insamlande av kundernas önskemål. Olika representanter inom företaget, som fått representera slutkunden, intervjuades och de önskemål som kom fram användes för att hitta produktegenskaper och funktioner.

Resultaten sammanställdes i två kvalitetshus (House of Quality). Det första visar förhållandet mellan önskemål och egenskaper/funktioner samt deras respektive relevans i förhållande till varandra. Hus två beskriver på samma sätt förhållandet mellan egenskaper/funktioner och konstruktionslösningar.

Utifrån QFD-studien sammanställdes en specifikation som användes som mall för att generera idéer kring lösningen av problemet. Ett antal olika kreativitetsmetoder användes och studenter från Karlstads universitet samt anställda från Rolls-Royce AB deltog i sessionerna. Totalt togs ett tjugotal idéer fram och fem av dessa bedömdes vara genomförbara koncept.

Två av koncepten valdes ut, med hjälp av en relativ viktad kriterievalsmatris, för att utvecklas vidare. Utvecklingen bestod i att göra solidmodeller, baserat på de befintliga delarna i propellerarrangemanget, samt hållfasthetsberäkningar av de nya delar som kom att ingå i systemet.

Båda koncepten bygger på att en trapetsgängad skruv, driven av en elmotor, förflyttar kolvstångshuvudet. I koncept 1 är skruven monterad direkt i detta och i koncept 2 överförs rörelsen via en tryckstång. Båda koncepten föreföll sig lösa det uppsatta problemet även om koncept 1 visade sig uppfylla fler önskemål och i högre utsträckning.

För att komma vidare med produkten bör kundundersökningar med närmare kontakter till kunden genomföras. Det är också nödvändigt att kontakta berörda klassningssällskap, då dagens klassningsregler ej kan appliceras på elektromekaniska propellrar.

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Patterson, D. J. "Linguistic approach to pitch range modelling." Thesis, University of Edinburgh, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.492996.

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Szeto, Lai Tat. "Benefits and Challenges of Absolute Pitch." Thesis, California State University, Long Beach, 2018. http://pqdtopen.proquest.com/#viewpdf?dispub=10638868.

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Absolute pitch (AP) is also referred to as Perfect Pitch. AP possessors are able to identify pitch in any kinds of sound without a reference point. However, Absolute Pitch may hinder possessors in music studies because it can confuse their brain. It is significant to understand that Absolute Pitch is not purely an advantage for possessors. While Absolute Pitch has great impact on possessors, it may bring negative phenomenon to them, which could decrease their learning ability.

This project’s purpose is to examine whether Absolute Pitch is a benefit or challenge in music studies. I will begin my project with archival research to provide background information and facts of Absolute Pitch. It will explain how Absolute Pitch is beneficial and challenging for musicians. Five hypotheses are suggested in the project: (1) Absolute Pitch possessors perform excellently in music dictation. (2) Absolute Pitch possessors value special tone quality. (3) Possession of Absolute Pitch is not always useful and accurate. (4) Absolute Pitch possessors have different perspectives in hearing intervals. (5) Absolute Pitch possessors have difficulty at transposing music.

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Pham, Hoa T. "Vietnamese tone, tone is not pitch." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2001. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp05/NQ63689.pdf.

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Payne, Tabitha W. "Working memory capacity and pitch discrimination." Diss., Georgia Institute of Technology, 2003. http://hdl.handle.net/1853/28831.

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Bermudez, Patrick. "The neural correlates of absolute pitch." Thesis, McGill University, 2008. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=21968.

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The unusual ability of absolute pitch (AP) affords us the opportunity to study a circumscribed behaviour which can be clearly operationalized and requires complex cognitive function in its execution. It serves as a model for a number of perceptual and mnemonic functions as well as developmental interactions between biological predispositions and specific training. This dissertation focuses mainly on the elucidation of its neural substrates. The work is divided into five chapters. Chapter 1 reviews and criticises what is known about the developmental, behavioural, anatomical and functional characteristics of AP. Chapter 2 describes the design and implementation of a computerized test of absolute pitch and resulting data for 51 musicians, 27 of whom self-reported as AP possessors. The test revealed differences in accuracy and timing for C Ionian diatonic versus non-diatonic notes and a range of performance, from perfect to random, including a substantial number of intermediate proficiencies. Chapter 3 details a series of anatomical explorations which seek to improve our understanding of the structural correlates of AP. Cortical thickness measures and voxel-based morphometry (VBM) were applied to the same magnetic resonance imaging data set of 71 musicians (27 with absolute pitch) and 64 non-musicians. Cortical thickness was greater in musicians with peaks in the superior temporal gyri and the dorsolateral frontal cortices. VBM of grey-matter classified voxels yielded a strongly right-lateralized focus of greater grey matter concentration in musicians, centered on the posterolateral aspect of Heschl's gyrus. Contrasts of absolute pitch possessors and non-possessors showed significantly thinner cortex among possessors in a number of areas, including the posterior dorsal frontal and ventral premotor cortices. Chapter 4 describes a functional study which tests a hypothesis generated from a previous experiment about the implication of posterior dorsolateral
La capacité peu commune de l'oreille absolue (OA) nous offre l'opportunité d'étudier un comportement circonscrit qui peut être opérationnalisé et exige un traitement cognitif complexe pour son exécution. L'OA sert de modèle pour un certain nombre de fonctions perceptuelles et mnémoniques ainsi que pour des interactions entre une prédisposition biologique et une formation spécifique. Cette thèse se concentre principalement sur l'élucidation de ses substrats neuronaux. Le travail est divisé en cinq chapitres. Le premier revoit et critique la littérature pertinente aux caractéristiques développementales, comportementales, anatomiques, et fonctionnelles de l'OA. Le deuxième chapitre décrit la conception et la mise en œuvre d'un test informatisé de l'OA aboutissant en données comportementales pour 51 musiciens, dont 27 prétendaient avoir l'OA. Le test a révélé une meilleure précision et vitesse d'identification de notes diatoniques en Do majeur versus notes non-diatoniques et une gamme de performance, entre parfaite et au hasard, y compris un nombre important d'aptitudes intermédiaires. Le troisième chapitre présente une série d'explorations anatomiques qui visent à améliorer notre compréhension des corrélats structurels de l'OA. Des analyses de mesures d'épaisseur corticale et de morphométrie à base de voxel (VBM) ont été appliquées aux mêmes données d'imagerie par résonance magnétique (IRM) de 71 musiciens (27 avec l'OA) et 64 non-musiciens. L'épaisseur corticale était plus forte parmi les musiciens avec des focus au gyrus temporal supérieur et au cortex frontal dorsolatéral. Une analyse VBM de matière grise a produit une différence entre musiciens et non-musiciens centrée sur l'aspect postérolatéral du gyrus de Heschl dans l'hémisphère droit. Un contraste de possesseurs et non-possesseurs de l'OA a révélé plusieurs aires de cortex plus minces chez les possesseurs, notamment les aires postérieure

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Cross, Ian. "The cognitive organisation of musical pitch." Thesis, City University London, 1989. http://openaccess.city.ac.uk/7663/.

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This thesis takes as its initial Premise the idea that the rationales for the forms of pitch organisation employed within tonal music which have been adopted by music theorists have strongly affected those theorists` conceptions of music, and that it is of critical importance to music theory to investigate the potential origination of such rationales within the human sciences. Recent studies of musical pitch perception and cognition are examined, and an attempt is made to assess their capacity to provide sustainable rationales for pitch organisation in tonal music. Theoretical and experimental studies that focus on sensory processes are critically reviewed, and it is suggested that these do not adequately characterise important aspects of musical pitch organisation. Studies that examine more central cognitive constraints are discussed, and a detailed critique is made of recent cognitive-structural approaches to the representation of musical pitch. It is proposed that a significant aspect of tonal pitch organisation, diatonic structure, is neither adequately investigated nor provided with any compelling rationale by these studies. Three series of experiments on the perception and representation of diatonic structure are presented: it is suggested that the sensitivity to properties of diatonic structure shown by listeners in these and in other experiments implies that a representation of diatonicinterval structure constitutes an important component of the cognitive organisation of musical pitch. A possible basis fort his sensitivity is further explored, and a group-theoretic rationale for the musical use of diatonicism is proposed. The nature of the cognitive representation of diatonic interval structure is discussed. and relationships between diatonic structure. other western scale forms. tonality and (briefly) atonality are outlined.

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Bianchi, Frederick W. "The cognition of atonal pitch structures." Virtual Press, 1985. http://liblink.bsu.edu/uhtbin/catkey/438705.

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The Cognition of Atonal Pitch Structures investigated the ability of a listener to internally organize atonal pitch sequences into hierarchical structures. Based on an information processing model proposed by Deutsch and Feroe (1981), the internal organization of well processed pitch sequences will result in the formation of hierarchical structures. The more efficiently information is processed by the listener, the more organized its internal hierarchical representation in memory. Characteristic of a well organized internal hierarchy As redundancy. Each ensuing level of the hierarchical structure represents a parsimoniuos recoding of the lower levels. In this respect, each higher hierarchical level contains the most salient structural features extracted from lower levels.Because efficient internal organization increases redundancy, more memory space must be allocated to retain a well processed pitch sequence. Based on this assumption, an experiment was conducted to determine the amount of information retained when listening to pre-organized atonal pitch structures and randomly organized pitch structures. Using time duration estimation techniques (Ornstein, 1969; Block, 1974), the relative size of memory allocated for a processing task was determined. Since the subjective experience of time is influenced by the amount of information processed and retained in memory (Ornstein, 1969; Block, 1974), longer time estimations corresponded to larger memory space allocations, and thus, more efficiently organized hierarchical structures.ConclusionThough not significant at the .05 level (p-.21), the results indicate a tendency to suggest that atonal pitch structures were more efficiently organized into internal hierarchical structures than were random pitch structures. The results of the experiment also suggest that a relationship exists between efficient internal hierarchical organization and increased attention and enjoyment. The present study also investigated the influence that other parameters may have on the cognition of pre-organized music. Of interest were the characteristics inherent in music which may facilitate internal organization.

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Cinkole, Bozena. "F0 patterns in Slovene pitch-accents." Thesis, University of Nottingham, 1993. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.334296.

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Besouw, Rachel Marijke van. "Representing the pitch of vibrato tones." Thesis, University of York, 2007. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.441069.

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Harwood, Michael J. "Scaling the pitch for junior cricketers." Thesis, Loughborough University, 2018. https://dspace.lboro.ac.uk/2134/35953.

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Although cricket is played around the world by all ages, very little attention has been focused on junior cricket. The research presented here evaluated the effects on junior cricket of reducing the pitch length, developed a method for scaling the pitch to suit the players and applied this method to the under-11 age group. In the first of four studies it was established that shortening the cricket pitch had positive effects for bowlers, batters and fielders at both club and county standards, consequently resulting in matches that were more engaging. The second study found that top under-10 and under-11 seam bowlers released the ball on average 3.4° further below horizontal on a 16 yard pitch compared with a 19 yard pitch. This was closer to elite adult pace bowlers release angles and should enable junior players to achieve greater success and develop more variety in their bowling. The third study calculated where a good length delivery should be pitched to under-10 and under-11 batters in order to provoke uncertainty, and also examined the influence of pitch length on batters decisions to play front or back foot shots according to the length of the delivery. A shorter pitch should strengthen the coupling between the perception of delivery length and appropriate shot selection, and the increased task demand should lead to improved anticipation; both are key features of skilled batting. In the final study a method of calculating the optimal pitch length for an age group was developed which used age-specific bowling and batting inputs. This was applied to scale the pitch for under-11s giving a pitch length of 16.22 yards (14.83 m), 19% shorter than previously recommended for the age group by the England and Wales Cricket Board. Scaled in this way across the junior age groups, pitch lengths would fit the players better as they develop, enabling more consistent ball release by bowlers and temporal demands for batters, as well as greater involvement for fielders.

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Landel, Kevin L. (Kevin Lee). "On the perception of pitch accents." Thesis, Massachusetts Institute of Technology, 1988. http://hdl.handle.net/1721.1/76005.

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Thesis (M.S.)--Massachusetts Institute of Technology, Dept. of Architecture, 1988.
Includes bibliographical references.
Work was supported by the Defense Advanced Research Projects Agency (DARPA). N00039-86-C-0406
by Kevin L. Landel.
M.S.

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Weaver, Aurora J. "The Influence of Musical Training and Maturation on Pitch Perception and Memory." Ohio University / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1420490879.

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Shi, Shichang. "Lithography : friendly routing via forbidden pitch avoidance /." View the Table of Contents & Abstract, 2004. http://sunzi.lib.hku.hk/hkuto/record/B30469636.

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von, Sicard Brunes. "Non-magnetic pitch and heavestabilizing T-foil." Thesis, KTH, Aeronautical and Vehicle Engineering, 2002. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-11029.

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Pitch and heave are limiting motions when driving at high speed on water. The installation ofa T-foil is an effective solution that reduces these motions. Commercial T-foils are available,but today none of them are non-magnetic. This thesis studies the possibility to design anon-magnetic T-foil that can carry the considerable loads that such a constructionexperiences. The T-foil is designed for vessels such as the Visby Class corvette.

Vortex lattice theory is used to calculate the pressure distribution acting on the construction atdifferent load cases. Required laminate thickness is determined by iteration using a linearfinite element model of the fin.

The conclusion is that it is possible to manufacture a non-magnetic T-foil of the required size.A critical area in the construction is the T-joint between the vertical strut and the horizontalfoil. Future investigations should include laboratory tests of the T-joint as well as moredetailed hydrodynamic analysis for more accurate input parameters of the T-foil.

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Gordon, Ronald S. "Cortical dynamics associated with absolute pitch processing." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/nq24309.pdf.

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Descombes, Valerie. "Discrimination of pitch direction, a developmental study." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2000. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape3/PQDD_0032/MQ64141.pdf.

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MacKenzie, Noah Aaron. "The kappa effect in pitch/time context." Columbus, Ohio : Ohio State University, 2007. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1173114654.

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Descombes, Valérie. "Discrimination of pitch direction : a developmental study." Thesis, McGill University, 1999. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=30159.

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The purpose of this study was to determine whether the ability to perceive pitch direction across a variety of melodic contours differs across grade levels. In addition, differences between responses to ascending versus descending patterns and between responses to two- versus three- versus four-note patterns were examined.
The main study involved two experiments; Experiment 1 examined children's ability to identify pitch direction using a visual aid; Experiment 2 examined children's spontaneous notations of the same melodic contours.
The results showed a subsequent increase in mean scores from grades 1 to 6 across both tests. The clearest increase in ability occurred within the first three grades with a plateau reached by grade four. Same-pitch patterns received the highest overall means. The ability to identify direction using a visual aid was easier for children than to write spontaneous notations. Melodic contours with larger intervals were more easily perceived.

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Woods, Nicola J. "Sociolinguistic patterns in English pitch and intonation." Thesis, University of Oxford, 1992. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.334882.

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Clark, Robert A. J. "Generating synthetic pitch contours using prosodic structure." Thesis, University of Edinburgh, 2003. http://hdl.handle.net/1842/1100.

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This thesis addresses the problem of generating a range of natural sounding pitch contours for speech synthesis to convey the specific meanings of different intonation patterns. Where other models can synthesise intonation adequately for short sentences, longer sentences often sound unnatural as phrasing is only really considered at the sentence level. We build models within a framework of prosodic structure derived from the linguistic analysis of a corpus of speech. We show that the use of appropriate prosodic structure allows us to produce better contours for longer sentences and allows us to capture the original style of the corpus. The resulting model is also sufficiently flexible to be adapted to suitable styles for use in other domains. To convey specific meanings we need to be able to generate different accent types. We find that the infrequency of some accent and boundary types makes them hard to model from the corpus alone. We address this issue by developing a model which allows us to isolate the parameters which control specific accent type shapes, so that we can reestimate these parameters based on other data.

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Dissertations / Theses on the topic 'Pitch'

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