scholarly journals Temporal Modulations Reveal Distinct Rhythmic Properties of Speech and Music

2016 ◽  
Author(s):  
Nai Ding ◽  
Aniruddh D. Patel ◽  
Lin Chen ◽  
Henry Butler ◽  
Cheng Luo ◽  
...  
Keyword(s):  
Rock Music ◽  
Classical Music ◽  
Modulation Frequency ◽  
Sound Intensity ◽  
Frequency Range ◽  
Perceptual Analysis ◽  
Modulation Spectrum ◽  
Statistical Regularities ◽  
Musical Rhythms ◽  
Western Classical Music

AbstractSpeech and music have structured rhythms, but these rhythms are rarely compared empirically. This study, based on large corpora, quantitatively characterizes and compares a major acoustic correlate of spoken and musical rhythms, the slow (0.25-32 Hz) temporal modulations in sound intensity. We show that the speech modulation spectrum is highly consistent cross 9 languages (including languages with typologically different rhythmic characteristics, such as English, French, and Mandarin Chinese). A different, but similarly consistent modulation spectrum is observed for Western classical music played by 6 different instruments. Western music, including classical music played by single instruments, symphonic, jazz, and rock music, contains more energy than speech in the low modulation frequency range below 4 Hz. The temporal modulations of speech and music show broad but well-separated peaks around 5 and 2 Hz, respectively. These differences in temporal modulations alone, without any spectral details, can discriminate speech and music with high accuracy. Speech and music therefore show distinct and reliable statistical regularities in their temporal modulations that likely facilitate their perceptual analysis and its neural foundations.

scholarly journals Biological responses of Sri Lankan rice (Oryza sativa L.) varieties to rhythmic sound patterns (music and religious chants)

2020 ◽  
Vol 12 (2) ◽  
Author(s):  
Sachithri Munasinghe ◽  
Shyama Weerakoon ◽  
Senaviratnege Somaratne
Keyword(s):  
Rock Music ◽  
Classical Music ◽  
Oryza Sativa L ◽  
Block Design ◽  
Growth And Yield ◽  
Sri Lankan ◽  
Rice Varieties ◽  
Biological Responses ◽  
Sound Patterns ◽  
Western Classical Music

Abstract. Munasinghe DSP, Weerakoon SR, Somaratne S. 2020. Biological responses of Sri Lankan rice (Oryza sativa L.) varieties to rhythmic sound patterns (music and religious chants). Nusantara Bioscience 12: 154-161. Influences of music cause either promoting or restricting the growth of plants. The effects of Pirith chanting and rhythmic sound patterns (Western classical music, Eastern classical music, Rock music) were focused in the present study. Seeds of Two (02) rice varieties (Bg 300 and Kuruluthuda) in f0 and f1 generations were subjected to dormancy break treatment, kept in a soundproof confined chamber, and arranged in Randomized Complete Block Design (RCBD) with two (02) replicates and 10 seeds per replicate. Seeds were germinated under the three sound rhythms, Pirith chanting, and silence. Plants kept under silence served as the control. Sound rhythms and Pirith were played separately for an hour, at 30 cm distance away from the seeds with an intensity of 55-60 dB for seven (07) days continuously, maintaining equal environmental conditions. Following seven (07) days, the percentile germination rate was recorded. Germinated seeds were planted in plastic pots filled with paddy soil, up to ¾ of the total depth, and pots were arranged in Randomized Complete Block Design (RCBD) with five (05) replicates and three (03) plants per replicate. Following one week, plants were subjected to sound rhythm treatments and silence for three (03) months continuously. Measurement of growth and yield performance were recorded every fortnight. Significantly different (p < 0.05) growth and yield performances in both generations were observed under Pirith, Eastern Classical and Western Classical music. Higher rates of growth were observed for rice varieties exposed to Pirith, Eastern and Western classical music. Similarly, yield was also higher compared to rice varieties exposed to rock music. The findings suggest that soft rhythmic sounds are the most appropriate type of music which improved growth and yield performance of rice varieties, Bg 300, and Kuruluthuda. However, further studies are needed to confirm present results and to elucidate the mechanism of responses to Pirith chanting and other rhythmic sound patterns using phytochemical and biochemical analyses.

Being True to Works of Music

2020 ◽  
Author(s):  
Julian Dodd
Keyword(s):  
Work Performance ◽  
Classical Music ◽  
Christine Korsgaard ◽  
Historical Authenticity ◽  
Constitutive Norm ◽  
Western Classical Music

This book argues that the so-called ‘authenticity debate’ about the performance of works of Western classical music has tended to focus on a side issue. While much has been written about the desirability (or otherwise) of historical authenticity—roughly, performing works as they would have been performed, under ideal conditions, in the era in which they were composed—the most fundamental norm governing our practice of work performance is, in fact, another kind of kind of authenticity altogether. This is interpretive authenticity: being faithful to the performed work by virtue of evincing a profound, far-reaching, or sophisticated understanding of it. While, in contrast to other performance values, both score compliance authenticity (being true to the work by obeying its score) and interpretive authenticity are valued for their own sake in performance, only the latter is a constitutive norm of the practice in the sense introduced by Christine Korsgaard. This has implications for cases in which the demands of these two kinds of authenticity conflict with each other. In cases of genuine such conflict, performers should sacrifice a little score compliance for the sake of making their performance more interpretively authentic.

scholarly journals Associations Between Music Training and the Dynamics of Writing Music by Hand

2020 ◽  
pp. 102986492097214
Author(s):  
Aurélien Bertiaux ◽  
François Gabrielli ◽  
Mathieu Giraud ◽  
Florence Levé
Keyword(s):  
Classical Music ◽  
Music Notation ◽  
Musical Score ◽  
Music Training ◽  
Video Recordings ◽  
Musical Structures ◽  
Music Recognition ◽  
High Level ◽  
Bottom To Top ◽  
Western Classical Music

Learning to write music in the staff notation used in Western classical music is part of a musician’s training. However, writing music by hand is rarely taught formally, and many musicians are not aware of the characteristics of their musical handwriting. As with any symbolic expression, musical handwriting is related to the underlying cognition of the musical structures being depicted. Trained musicians read, think, and play music with high-level structures in mind. It seems natural that they would also write music by hand with these structures in mind. Moreover, improving our understanding of handwriting may help to improve both optical music recognition and music notation and composition interfaces. We investigated associations between music training and experience, and the way people write music by hand. We made video recordings of participants’ hands while they were copying or freely writing music, and analysed the sequence in which they wrote the elements contained in the musical score. The results confirmed experienced musicians wrote faster than beginners, were more likely to write chords from bottom to top, and they tended to write the note heads first, in a flowing fashion, and only afterwards use stems and beams to emphasize grouping, and add expressive markings.

scholarly journals Linking musical metaphors and emotions evoked by the sound of classical music

2021 ◽  
pp. 030573562199123
Author(s):  
Simon Schaerlaeken ◽  
Donald Glowinski ◽  
Didier Grandjean
Keyword(s):  
Music Education ◽  
Classical Music ◽  
Empirical Method ◽  
Mixed Effects Models ◽  
Musical Meaning ◽  
Linear Mixed Effects ◽  
Generalized Linear Mixed Effects ◽  
Perceptual Characteristics ◽  
Valence And Arousal ◽  
Western Classical Music

Musical meaning is often described in terms of emotions and metaphors. While many theories encapsulate one or the other, very little empirical data is available to test a possible link between the two. In this article, we examined the metaphorical and emotional contents of Western classical music using the answers of 162 participants. We calculated generalized linear mixed-effects models, correlations, and multidimensional scaling to connect emotions and metaphors. It resulted in each metaphor being associated with different specific emotions, subjective levels of entrainment, and acoustic and perceptual characteristics. How these constructs relate to one another could be based on the embodied knowledge and the perception of movement in space. For instance, metaphors that rely on movement are related to emotions associated with movement. In addition, measures in this study could also be represented by underlying dimensions such as valence and arousal. Musical writing and music education could benefit greatly from these results. Finally, we suggest that music researchers consider musical metaphors in their work as we provide an empirical method for it.

The missing fundamentals of harmonic theory: Chord roots and their ambiguity in arrangements of jazz standards

2021 ◽  
pp. 102986492110629
Author(s):  
Richard Parncutt ◽  
Lazar Radovanovic
Keyword(s):  
Classical Music ◽  
Musical Instrument ◽  
Digital Interface ◽  
Psychological Reality ◽  
Jazz Pedagogy ◽  
Virtual Pitch ◽  
Musical Chords ◽  
Original Songs ◽  
Western Classical Music ◽  
Psychological Experiments

Since Lippius and Rameau, chords have roots that are often voiced in the bass, doubled, and used as labels. Psychological experiments and analyses of databases of Western classical music have not produced clear evidence for the psychological reality of chord roots. We analyzed a symbolic database of 100 arrangements of jazz standards (musical instrument digital interface [MIDI] files from midkar.com and thejazzpage.de ). Selection criteria were representativeness and quality.The original songs had been composed in the 1930s and 1950s, and each file had a beat track. Files were converted to chord progressions by identifying tone onsets near beat locations (±10% of beat duration). Chords were classified as triads (major, minor, diminished, suspended) or seventh chords (major–minor, minor, major, half-diminished, diminished, and suspended) plus extra tones. Roots that were theoretically less ambiguous were more often in the bass or (to a lesser extent) doubled. The root of the minor triad was ambiguous, as predicted (conventional root or third). Of the sevenths, the major–minor had the clearest root. The diminished triad was often part of a major–minor seventh chord; the half-diminished seventh, of a dominant ninth. Added notes (“tensions”) tended to minimize dissonance (roughness or inharmonicity). In arrangements of songs from the 1950s, diminished triads and sevenths were less common, and suspended triads more common, relative to the 1930s. Results confirm the psychological reality of chord roots and their specific ambiguities. Results are consistent with Terhardt’s virtual pitch theory and the idea that musical chords emerge gradually from cultural and historic processes. The approach can enrich music theory (including pitch-class set analysis) and jazz pedagogy.

The Study of Method for Calculating Geometric Average Sound Intensity in Scattering Field

2010 ◽  
Vol 458 ◽  
pp. 185-191
Author(s):  
Feng Li Luo ◽  
Guang Yu Li
Keyword(s):  
High Frequency ◽  
Sound Pressure ◽  
Computing Time ◽  
Sound Intensity ◽  
Frequency Range ◽  
Average Value ◽  
Geometric Average ◽  
Scattering Field ◽  
Measurement Efficiency ◽  
Frequency Area

When calculating sound intensity by indirectly measuring way, the sound pressures obtained from two microphones should be mathematically averaged as the sound pressure of measured point. The research showed that the method exists lower of allowable value in the high frequency area. Using the geometric average value of two measured points to replace the sound pressure of measured point, studying the measurement of sound intensity in scattering field, the errors from which were compared. The result showed that the error of geometric average sound intensity was more flat than that of mathematic average. So the sound intensity obtained from geometric average sound pressure is more suitable for the measurement of a wider frequency range. And the computing time is short, which can raise the measurement efficiency and the real-time of measurement.

scholarly journals SOM E FÉ: DA PRÁTICA COMUNITÁRIA RELIGIOSA PARA A COMPLEXIDADE DO PENSAMENTO MUSICAL ERUDITO DO ÚLTIMO QUARTEL DO SÉC. XX

2020 ◽  
Vol 13 (1) ◽  
pp. 23
Author(s):  
José Luís Postiga
Keyword(s):  
Twentieth Century ◽  
Classical Music ◽  
Religious Practices ◽  
The West ◽  
Communicative Practice ◽  
Musical Concepts ◽  
Musical Works ◽  
The Aesthetic ◽  
Different Cultures ◽  
Western Classical Music

When faced with the artistic-musical concepts developed in the second half of the twentieth century, it is common to observe them from the perspective of the scientific advances they have promoted or resulted from, the abstract organizations in which they are based, the aesthetic principles they create or and almost always fall within the individuality of the interpretation present in the creative act and its representativeness, regardless of the support in which it presents itself. Paradoxically, some of the main classical musical works written in the last quarter of the twentieth century resulted from the musicological study and/or musical representation of concepts, rites, religious practices representative of different cultures of the West and especially the East. In this sense, throughout the present article will be addressed works by composers of Western classical music, such as the case of Jonathan Harvey and Tristan Murail, characteristics of the musical currents that fit, from serialism to spectralism, as well as acoustic and electronic casts, which result. reinterpretations of religious practices of Hinduism and Buddhism, as well as sound behaviors of the communicative practice of peoples, such as the songs and instruments of Tibet and Mongolia.

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