Academic literature on the topic 'Sound resonance texture'

Prediction and reduction of tire noise are some of the main concerns of tire designers nowadays. Due to tire noise's sophisticated nature, low-noise tire design is like a maze path improbable to achieve without a scientific understanding of the underlying causes. This paper develops a knowledge-based hybrid model, incoherent summation of sounds generated and amplified by texture impact, tread impact, air-pumping, Helmholtz resonance, pipe resonance, horn effect, and air cavity resonance. The required data have been carried out by measuring C1 radial tires' noise levels in a semi-anechoic chamber. The developed model [with about a 1.7 dB(A) error on total noise prediction] presents mechanisms' contributions to the overall sound. The model is substituted with a fast-computing statistical model employing data generated based on Taguchi design. Machine learning methods are implemented for this aim, and the support vector machine provides the most accurate model. The proposed fast-computing hybrid model, developed based on a scientific description of underlying mechanisms, is applicable for noise reduction. The model's sensitivity to 21 tire parameters is analyzed, leading to valuable tips on lower tire noise. The results show the critical role of tread pattern characteristics, especially groove angle, in tire noise.

George Benjamin's rich harmonic imagination was apparent from his earliest published works. A distinctive chordal sensibility is already evident in the 1978 Piano Sonata, with its glittering streams of five- or six-pitch clusters; in the hollow bell-chords punctuating the 1979 orchestral score, Ringed by the Flat Horizon; and in the supreme stasis of the A-minor pedal chord (a six-three triad) unveiled by the icy glissandi lines opening A Mind of Winter (1981). All three pieces share a fascination with degrees of chordal resonance – the interplay of upper partials above a fundamental – and a sensitivity to chords as sound objects. True, Benjamin's style, beginning at least with Antara (1987), has shown signs of a more linear-contrapuntal orientation, and less reliance on what one critic terms ‘purely coloristic phenomena’. Yet one could equally claim some continuity between the refined harmonic world of the early scores and the surprising richness of chordal sonority to be heard in a far more recent arrival, the 1997 duo Viola, Viola.

In 1969, blues guitarist Earl Hooker released Two Bugs and a Roach, solidifying him as a pioneer of the wah-wah technique. Before the wah-wah pedal, however, there was Charles W. Chesnutt’s Conjure Stories, a collection of frame narratives that recollect plantation life “befo’ de wah”. In this essay, I insist the slide, slip, and compressions of Hooker’s wah-wah voicings find resonance in Chesnutt’s own linguistic play, through which the sonics of Julius’ sociolect texture the text towards speculative spellings, grammars, and meanings that query the logics of white, Enlightenment rationality and its hegemonic conceptions of space, time, value, and subjecthood. In listening to the tales’ resonances with the “wah”, I suggest Chesnutt articulates the “ill-legibility” of plantation existence and its echoes into and out from the present, as evidenced by Hooker’s own disproportionate susceptibility to and lifelong struggle with tuberculosis. In doing so, Julius’ storytelling makes legible modes of survival that attune to how Black bodies persist via the (un)sound logics of illness, slavery, and sonority. Overall, I argue Chesnutt amplifies modes of existence that emerge from the distinct spatio-temporality of the plantation, thus re-forming with and through the ills of slavery and persisting against rational legibility, capital production, and normativity.

AbstractTransverse rumble strips (TRS) are a common choice to reduce vehicle speed and increase driver alertness on roadways. However, there is a potential trade-off using them on rural roadway due to the noise problem created when vehicles go over the strips. The present study investigated the noise level, spectral analysis, and the possible noise generation mechanism when the TRS is hit by a vehicle. Tenraised- rumbler (RR) and three-layer-overlapped (TLO) TRS were selected in this study as they have received complaints from the public. Results showed that RR generated a relatively higher noise and impulse at a low speed, and increased sound level in each octave band. Based on these results, RR may irritate human ears even when the vehicle travels at a low speed. It was found that RR increased all noise generation mechanisms of tyre-pavement interaction whilst TLO increased structural resonance, sidewall and surface texture vibration.

Background: With the advances in neuroimaging in amyotrophic lateral sclerosis (ALS), it has been speculated that multiparametric magnetic resonance imaging (MRI) is capable to contribute to early diagnosis. Machine learning (ML) can be regarded as the missing piece that allows for the useful integration of multiparametric MRI data into a diagnostic classifier. The major challenges in developing ML classifiers for ALS are limited data quantity and a suboptimal sample to feature ratio which can be addressed by sound feature selection. Methods: We conducted a systematic review to collect MRI biomarkers that could be used as features by searching the online database PubMed for entries in the recent 4 years that contained cross-sectional neuroimaging data of subjects with ALS and an adequate control group. In addition to the qualitative synthesis, a semi-quantitative analysis was conducted for each MRI modality that indicated which brain regions were most commonly reported. Results: Our search resulted in 151 studies with a total of 221 datasets. In summary, our findings highly resembled generally accepted neuropathological patterns of ALS, with degeneration of the motor cortex and the corticospinal tract, but also in frontal, temporal, and subcortical structures, consistent with the neuropathological four-stage model of the propagation of pTDP-43 in ALS. Conclusions: These insights are discussed with respect to their potential for MRI feature selection for future ML-based neuroimaging classifiers in ALS. The integration of multiparametric MRI including DTI, volumetric, and texture data using ML may be the best approach to generate a diagnostic neuroimaging tool for ALS.

AbstractPolycrystalline materials can have complex anisotropic properties depending on their crystallographic texture and crystal structure. In this study, we use resonant ultrasound spectroscopy (RUS) to nondestructively quantify the elastic anisotropy in extruded aluminum alloy 1100-O, an inherently low-anisotropy material. Further, we show that RUS can be used to indirectly provide a description of the material’s texture, which in the present case is found to be transversely isotropic. By determining the entire elastic tensor, we can identify the level and orientation of the anisotropy originated during extrusion. The relative anisotropy of the compressive (c11/c33) and shear (c44/c66) elastic constants is 1.5% ± 0.5% and 5.7% ± 0.5%, respectively, where the elastic constants (five independent elastic constants for transversely isotropic) are those associated with the extrusion axis that defines the symmetry of the texture. These results indicate that the texture is expected to have transversely isotropic symmetry. This finding is confirmed by two additional approaches. First, we confirm elastic constants and the degree of elastic anisotropy by direct sound velocity measurements using ultrasonic pulse echo. Second, neutron diffraction (ND) data confirm the symmetry of the bulk texture consistent with extrusion-induced anisotropy, and polycrystal elasticity simulations using the elastic self-consistent model with input from ND textures and aluminum single-crystal elastic constants render similar levels of polycrystal elastic anisotropy to those measured by RUS. We demonstrate the ability of RUS to detect texture-induced anisotropy in inherently low-anisotropy materials. Therefore, as many other common materials have intrinsically higher elastic anisotropy, this technique should be applicable for similar levels of texture, providing an efficient general diagnostic and characterization tool.

AbstractThe return of expressionistic textures in Arnold Schoenberg's late chamber works creates a play of allusion that raises important questions about his creative process in the ‘American’ period. Passages in the Phantasy and the String Trio resemble the characteristic sound of the so-called Klangflächen (‘sound sheets’) that were located at key expressive moments in his music from the first two decades of the century. Their return in these two late instrumental works evokes associations with the mystical and spiritual, and gives rise to intertextual resonances that extend beyond the confines of closed form and the immanent referentiality of the musical material.This article seeks to reassess Schoenberg's concept of expression by means of a hermeneutic understanding of his belated expressionism. Rather than adopting a conventional analytical approach that emphasizes structure and pitch, it makes the musical surface of the works the primary focus of attention. By pursuing the mimetic and allusive properties of sensuous similarity in certain textures within these works, the discussion elucidates how a hermeneutic approach might cause us to redefine Schoenberg's belated expressionism as self-reflexive Late Style.

THIS ARTICLE PRESENTS A NOVEL METHODOLOGY TO analyze the dynamics of emotional responses to music. It consists of a computational investigation based on spatiotemporal neural networks, which "mimic" human affective responses to music and predict the responses to novel music sequences. The results provide evidence suggesting that spatiotemporal patterns of sound resonate with affective features underlying judgments of subjective feelings (arousal and valence). A significant part of the listener's affective response is predicted from a set of six psychoacoustic features of sound——loudness, tempo, texture, mean pitch, pitch variation, and sharpness. A detailed analysis of the network parameters and dynamics also allows us to identify the role of specific psychoacoustic variables (e.g., tempo and loudness) in music emotional appraisal. This work contributes new evidence and insights to the study of musical emotions, with particular relevance to the music perception and cognition research community.

AbstractIn this article, I explore the ways territorial authority or sovereignty emerges from within a particular mode of Indigenous creativity—the creation and performance of Hopi taatawi (traditional songs)—despite the appropriation of Hopi traditional lands by the American settler-state. Hopi territories within Öngtupqa (Grand Canyon) are just a sample of the many places where Indigenous authority, as expressed through sound-based performances, continues to resonate despite the imposition of settler-colonial structures that have either silenced Indigenous performances of authority or severed these places from Indigenous territories. Drawing on the work of Hopi composers and intellectuals, I explore how Hopi musical composition and performance are deeply intertwined with Hopi political philosophy and governance, resulting in a form of sovereignty that is inherently sonic rather than strictly literary or textual in nature. Recognizing that this interconnection between territorial authority and sound production is common across many Indigenous communities, I propose listening to contemporary Indigenous creativity not just as an aesthetic form but as a source of sonic sovereignty.

The relevance of the article is determined by the appeal to the debatable issues of stylistic differentiation of the works by Claude Debussy and Maurice Ravel as the French musical culture leading representatives of the late 19th and the first third of the 20th centuries. The research reflections about the connections betwen Debussy and Ravel on the principle “for / against” have not subsided for more than a hundred years. This testifies to the special urgency of this problem and the need to search for modern approaches to understanding the artistic identity of two brilliant contemporaries.Scientific novelty. For the first time, the multidirectionality of the composing strategies by Debussy and Ravel is indicated through the the concept of style in its interdisciplinary philosophicalcategorical status and the explanationof its functions of identification and communication in the general cultural understanding (O. Ustyugova). For the first time the difference between the cultural phenomena processes integration in the era of modernism into the new artistic wholes, with unique properties, which is appropriate to define as “Debussy’s style” and “Ravel’s style”, is revealed.The purpose of the article is to reveal the multidirectionality of the composing strategies of Debussy and Ravel through an appeal to the main stylistic functions of identification and communication in general cultural understanding (O. Ustyugova); to designate the non-coincidence of channels of integration of cultural phenomena in the era of modernism into new artistic wholes, which have unique properties such as “Debussy’s style” and “Ravel’s style”.The research methodology includes the use of historical, stylistic, comparative methods.Main results and conclusions. The existing musicological literature emphasizes the influence of romanticism, post-romanticism, impressionism, symbolism, neoclassicism, Art Nouveau, moderne style on the formation of the individual style of Debussy and Ravel. Each of these directions had a certain reflection in the work of composers. However, let us try to highlight in the conceptual space of the many-sided “isms” of the cultural context of the era of modernism the hidden sources of the deployment of the creative intentions of the both brilliant contemporaries. We will choose the fundamental work of E. Ustyugova “Style and Culture: Experience of Building a General Theory of Style” (2003) as a methodological basis for this. E. Ustyugova proposes to go beyond the understanding style as a “migratory structure” (term by J. Rebane) and a convenient “classification tool” (J. Burnham) in structural and typological studies of art and move on to a comprehensive study of the essence of this phenomenon. For this, according to the researcher, it is necessary to carry out two analytical procedures. The first is based on the awareness of the experience of the mismatch between the object and the subject. The second involves considering the style in the aspect of intersubjective communication.With this view on the problem of identifying the patterns of formation and development of cultural phenomena, it is not the nominative parameters and the “herbarization” of genrelinguistic units that come to the fore, but the comprehension of the multilevel subject-object relations that formed these phenomena; “live reproduction” of the matrix of the world perception as channels of communication between the “I” and everything that appears as “not-I”.The creative paths of Debussy and Ravel represent diferent creative strategies. The “pure meaning”, unspeakable by words and free from all earthly, to which Debussy aspired, creates parallels with the texts of symbolist poets and destroy the boundaries between “I” and “not-I”. In the fundamental monographs of French researchers dedicated to the composer an idea has long been entrenched: the composer’s creative laboratory was poetry, and Debussy’s address to the poetic word throughout all his creative decades constantly expanding the semantic horizons of his “artistic realities”.Debussy’s spiritual intentions merged into a single sound-glow in the indivisible space of being. The word in all its dimensions (from literal to metaphysical) indicated the stages of the process of dissolving the personal “I” and going beyond (au-délà) the established forms of artistic expression. Therefore, various kinds of the names (or “afterwords”, as in the Preludes), epigraphs, numerous super-detailed directions remained an integral part of an integral sound structure. His musical language, destroying the connections in time between the past and the future (rejection of the system of functional gravities that should be “stretched” in musical memory), created a certain correspondence (“here and now”) with the phenomenon of being.Hence the following characteristics of the composer’s musical works: 1) the impeccable construction of the whole, which is “thought out to the smallest detail” (E. Denisov), subtle multilevel “correspondences” and symmetries; 2) total thematization of texture (K. Zenkin); 3) selfsufficient semantic expressiveness of the “pure sound forms” (K. Zenkin), which became the embodiment of “an agonizing thirst for undeniably pure” (S. Velikovsky).These properties of Debussy’s style open up the possibility to get into the spiritual dimensions filled with pure beauty, which so attracted the followers of Baudelaire. Using the typology of teh subject-object relations proposed by E. Ustyugova, Debussy’s style can be attributed throughout the paradigm of hidden subjectivity. Debussy was well aware of his “non-romantic” position.The artistic aspirations of Maurice Ravel more clearly resonate with the creative attitudes of Art Nouveau artists, who were looking for new forms of plastic expressiveness mainly in spatial forms of art. It seems that it is with this direction that a special feeling of the plasticity of the musical material and the entire musical composition as a unique phenomenon is associated, which determines the composer’s creative credo.The concept of “plasticity” indicates such a connection between coordinated phenomena, which appears through the reincarnation (transformation) of a certain material substance, when we keep in memory its output characteristics. Ballet works and the reliance on dance genres (and more broadly, various types of plasticity of gesture and movement) reveal the hidden basis of the composer’s thinking. This approach allows one to re-evaluate Ravel’s connections with the ancient heritage (it is symptomatic that the composer called his first “adult” work, devoted to the press, “Antique Minuet”) and to understand the meanings of constant antique reminiscences with which he filled his life.Like a real dandy who lets the vibrations of the world pass through himself, Ravel is sensitive to them and “cuts off” random, “ugly”, “unnecessary” ones. Hence — the special beauty of the artistic structures created by the composer. They are built not in a “filtered” ideal-beautiful dimension, but in the space of shimmering opposites (the corporeal — free from the corporeal, the familiar — the unknown). Ravel’s inherent tendency towards the graphic relief of the melodic line creates parallels with the “famous lines of Art Nouveau” (Fahr-Becker Gabriele) and is especially distinct, characterizes the composer’s later works.The non-everyday register of semantic reverberations of what is happening in the process of metamorphosis in the composer’s music (his plastic questioning about the existential nature of the source material) demanded a special listener’s responsiveness. Mistifications, hiding behind a mask, playing with the listener are Ravel’s usual communication strategies. Therefore, according to the typology of the subject-object relations proposed by E. Ustyugova, we can speak here of the paradigm of “open subjectivity”, which is characterized by the direct orientation of the subject towards himself. Hence — the principle of auto-citation characteristic of Ravel. The quintessence of its use are the composer’s later works — the opera Child and Magic, as well as the Piano Concerto in G major — the Dandy summa summarum of the composer’s previous career.The game of “correspondences” (Baudelaire) was manifested by composers in various ways and conditioned various channels of communication. Debussy makes the semantics of sound education a semantic unit, appeals to the listener with the expressiveness of the structure itself. Therefore he always emphasizes, appeals to the elite listener. Ravel, on the other hand, hides behind masks and theatrical illusions. He needs a listener who has a culture of distance (who owns wide meaning contextual fields). The contextual layers associated with musical texts express that “degree of distance” from the object of attention, which the composer himself chooses and whose parameters are constantly changing. Therefore, Ravel never turns twice in the genre, style or stylistic model he has already used.So, if the works by Debussy can be perceived “from scratch” because of their structural completeness and semantic tightness, then the works by Ravel require the listener to know the musical context and readiness to lay it out “fold by fold” (J. Deleuze) in new semantic projections.At the turn of the 19th and 20th centuries, French culture was looking for a means of creating a “state of resonance” (G. Bachelard) as an extraordinary impression, “awakening”, without which a person cannot take place. Debussy and Ravel moved in this direction. Therefore, only through the identification of all the “correspondences” of the era of a total change of creative guidelines and a departure from unambiguous stylistic “avatars” can one feel its essential discoveries. The study of the lines of intersection of the Debussy music and the Ravel music with various artistic phenomena of the past and the present illuminates certain reflections of the “style of the era”. However understanding the deep patterns of the creative manner of the two contemporaries requires differentiating the definitions of “Debussy’s style” and “Ravel’s style” and their further studying.

This chapter provides an account of resonance as a key force bringing about musical meaningfulness. I argue that music-making in Palau is primarily a becoming, an incipience of renewal regarding musical structure, form and texture. As this incipience of renewal actualises across sense modalities, such as in music and dance, it becomes an overwhelming experience, one that accounts for the power of music and dancing experiences – and, in the case of Palau, for the meaningfulness of music and dancing.

This chapter discusses Elizabeth Maconchy’s Sun, Moon and Stars. This short but most alluring cycle of four contrasting songs is written with complete mastery and integration of style, and represents this distinguished composer in peak form. Tone colours and vocal placing are acutely heard and the text setting displays the voice's brightest resonances to the full. Skill and craftsmanship are also combined with spontaneity. The piano writing is clear-textured and sonorous, complementing the voice throughout. The soprano will need to float and hold some lengthy high notes, some in pianissimo, but a womanly warmth of tone is required, rather than a boyish sound.

One of the most pressing problems of textualism is the “noise aesthetics” of the increasingly complex acoustic ecologies of modern cinema. In order to develop a narrative theoretical framework capable of integrating “noise”—understood as “insignificant” sounds that define the ambience or acoustic ecology of the diegesis—this chapter employs the notion of the soundscape to enrich our understanding of narrative space beyond its textual confinement as the container of the characters and events. Spurred by the rich sound ecologies of contemporary cinema, this chapter provides a revaluation of narrative space as a dynamic agency that implies the recipients’ material, bodily, sensorimotor, and affective engagements. Essential thus becomes the immediacy of the mediated environment. To capture this paradox at the heart of the cinematic experience, it is argued that the notion of the soundscape should be given analytical precedence over the diegetic/nondiegetic binary that has long inhibited scholars from understanding cineacoustics as more than an accompaniment to the fictional world of the film. As part of the film’s overall affective assemblage, the notion of the soundscape can be employed to understand the narrative rhetoric of films that communicate through “insignificant” noises. As an example of this, this chapter examines the use of “sonic envelopes” and “noise aesthetics” in A Quiet Place (directed by Krasinski 2018) to conclude that cinematic signification cannot be reduced to its “literal” denotations but emerges on the basis of a resonance effect. Cinematic signification thus requires the embodied spectator to partake of the film’s orchestrated flows of movements.

This chapter studies Judith Weir’s The Voice of Desire (2003). Weir’s music is fresh, concise, and instantly recognizable, and it successfully assimilates, within a modern idiom, the elements of traditional music and storytelling which are integral to her artistic persona. The piece sets four poems concerning the ambivalent relationships between birds and humans. As may be expected, bird calls and sounds of nature are illustrated strikingly, especially in the piano part. The selected texts provide plenty of variety in mood and character: the first and third songs are the most substantial, and the last a sublimely simple strophic ‘jingle’ which has to be delivered with understated aplomb. The vocal tessitura stays in a rewarding medium range for the most part, taking advantage of natural resonances that can penetrate the texture with ease and adapt to timbral shadings according to context. Helpful pitch-cues, including unisons, are to be found frequently in the piano part. Although originally written for mezzo, it can also be performed effectively by a counter-tenor.

Shellac discs were quickly eclipsed by the new “Vinylite” LP records after the 1950s and, eventually, discontinued entirely. Yet the hyper-plastic medium lived on, generating a number of widespread and enduring resonances in twentieth-century affective and material cultures. This chapter is about these lives and afterlives of shellac, focusing especially on marginal and deregulated (but not necessarily demonetized) markets since 1950. This chapter argues that repurposing shellac records may ultimately be seen as an act of unlocking, transforming, and liquidating recorded sound. Shellac can thus be interpreted as an allegory of the passages between solid and liquid modernities, where modernity is understood in terms of ceaseless material renegotiations. The chapter explores two main perspectives on material reshapings of history, power, and cultural memory. To study waste and its infrastructures prompts us to examine process-based aspects of culture, considered as an intricate entwinement of natural, historical, geological times. In doing so we may also release “a vitality intrinsic to materiality.” Indeed, this chapter deploys infrastructural analysis “as a political, deconstructive gesture of investigation into the scars, textures, and structures of the contemporary as it dynamically incorporates the past (without ‘resolving’ it).”