Is there such a thing as fractal music?

MANFREDR. SCHROEDER

doi:10.1038/325765c0

Individuals with congenital amusia respond to fractal music differently from normal listeners

The Journal of the Acoustical Society of America ◽

10.1121/1.4830571 ◽

2013 ◽

Vol 134 (5) ◽

pp. 3995-3995

Author(s):

Fang Liu ◽

Sherri L. Livengood ◽

Cunmei Jiang ◽

Alice H. Chan ◽

Patrick C. Wong

Keyword(s):

Congenital Amusia ◽

Fractal Music

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A New Way of Relieving Stress by Using Fractal Music Tones in Digital Hearing Aids

Audiology and Speech Research ◽

10.21848/audiol.2008.4.2.99 ◽

2008 ◽

Vol 4 (2) ◽

pp. 99-103

Author(s):

Sunghwa Lee

Keyword(s):

Hearing Aids ◽

Digital Hearing Aids ◽

Fractal Music

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‘Counselling and amplification with and without fractal music (Zen tones) for management of patients suffering from hearing loss and tinnitus’

Hearing Balance and Communication ◽

10.1080/21695717.2017.1421812 ◽

2018 ◽

Vol 16 (1) ◽

pp. 41-55 ◽

Cited By ~ 1

Author(s):

Mohamed Ibrahim Shabana ◽

Abeir Osman Dabbous ◽

Mohamed Ahmed Abdelmajeed ◽

Ayman Mohamed Mohamed Abdelkarim

Keyword(s):

Hearing Loss ◽

Fractal Music

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Recursive Audio Cutting

Leonardo Music Journal ◽

10.1162/096112104322750746 ◽

2003 ◽

Vol 13 ◽

pp. 23-29 ◽

Cited By ~ 2

Author(s):

Nick Collins

Keyword(s):

Real Time ◽

Practical Implementation ◽

Special Effects ◽

Audio Processing ◽

Time Map ◽

The Subject ◽

Fractal Music

Algorithmic procedures for the cutting and splicing of audio can be iterated to explore the technique of recursive audio cutting. The author investigates both implicit (intuitive) and explicit (analytic) methodologies applicable either to prerecorded signals or to continuous streams in real time, with an emphasis upon practical implementation. The techniques can be of immediate use as special effects for audio processing, as well as in deeper explorations of fractal music. This work has grown out of a broader search for new audio cutting procedures. Analysis is also provided of the trends exposed by such routines in relation to the order of recursion employed. An appendix connects this work to the subject of time-map representations, and a glossary is provided for the terminology of cuts employed.

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