Electronic musical instrument of fixed formant synthesis type

1987 ◽  
Vol 81 (5) ◽  
pp. 1658-1659
Author(s):  
Mitsumi Katoh
Keyword(s):  
Musical Instrument ◽  
Formant Synthesis

Musical Experience Shapes Neural Processing

2020 ◽  
Vol 31 (2) ◽  
pp. 81-86
Author(s):  
Wido Nager ◽  
Tilla Franke ◽  
Tobias Wagner-Altendorf ◽  
Eckart Altenmüller ◽  
Thomas F. Münte
Keyword(s):  
Mismatch Negativity ◽  
Pure Tone ◽  
Musical Instrument ◽  
Active Listening ◽  
Musical Experience ◽  
Neural Processing ◽  
Neural Adaptations

Abstract. Playing a musical instrument professionally has been shown to lead to structural and functional neural adaptations, making musicians valuable subjects for neuroplasticity research. Here, we follow the hypothesis that specific musical demands further shape neural processing. To test this assumption, we subjected groups of professional drummers, professional woodwind players, and nonmusicians to pure tone sequences and drum sequences in which infrequent anticipations of tones or drum beats had been inserted. Passively listening to these sequences elicited a mismatch negativity to the temporally deviant stimuli which was greater in the musicians for tone series and particularly large for drummers for drum sequences. In active listening conditions drummers more accurately and more quickly detected temporally deviant stimuli.

Dažu vācu muzikālo tradīciju pārnese latviešu kultūrtelpā 18. gadsimta II pusē

Letonica ◽  
2020 ◽  
Author(s):  
Māra Grudule
Keyword(s):  
18Th Century ◽  
Musical Instrument ◽  
German Society ◽  
Original Form ◽  
Musical Life ◽  
Popular Songs ◽  
Death Of Jesus ◽  
Musical Traditions ◽  
Insight Into

The article gives insight into a specific component of the work of Baltic enlightener Gotthard Friedrich Stender (1714–1796) that has heretofore been almost unexplored — the transfer of German musical traditions to the Latvian cultural space. Even though there are no sources that claim that Stender was a composer himself, and none of his books contain musical notation, the texts that had been translated by Stender and published in the collections “Jaunas ziņģes” (New popular songs, 1774) and “Ziņģu lustes” (The Joy of singing, 1785, 1789) were meant for singing and, possibly, also for solo-singing with the accompaniment of some musical instrument. This is suggested, first, by how the form of the translation corresponds to the original’s form; second, by the directions, oftentimes attached to the text, that indicate the melody; and third, by the genres of the German originals cantata and song. Stender translated several compositions into Latvian including the text of the religious cantata “Der Tod Jesu” (The Death of Jesus, 1755) by composer Karl Heinrich Graun (1754–1759); songs by various composers that were widely known in German society; as well as a collection of songs by the composer Johann Gottlieb Naumann (1741–1801) that, in its original form, was published together with notation and was intended for solo-singing (female vocals) with the accompaniment of a piano. This article reveals the context of German musical life in the second half of the 18th century and explains the role of music as an instrument of education in Baltic-German and Latvian societies.

Robust Control of an Artificial Mouth for a Wind Musical Instrument

2018 ◽  
Author(s):  
Gaby Abou Haidar ◽  
Xavier Moreau ◽  
Roy Abi Zeid Daou
Keyword(s):  
Robust Control ◽  
Musical Instrument ◽  
Artificial Mouth

Surfing the Quantum World

2017 ◽  
Author(s):  
Frank S. Levin
Keyword(s):  
Quantum Mechanics ◽  
Quantum Theory ◽  
Musical Instrument ◽  
Popular Science ◽  
Quantum Spin ◽  
Exclusion Principle ◽  
Maximum Height ◽  
Core Concepts ◽  
The Many ◽  
The One

Surfing the Quantum World bridges the gap between in-depth textbooks and typical popular science books on quantum ideas and phenomena. Among its significant features is the description of a host of mind-bending phenomena, such as a quantum object being in two places at once or a certain minus sign being the most consequential in the universe. Much of its first part is historical, starting with the ancient Greeks and their concepts of light, and ending with the creation of quantum mechanics. The second part begins by applying quantum mechanics and its probability nature to a pedagogical system, the one-dimensional box, an analog of which is a musical-instrument string. This is followed by a gentle introduction to the fundamental principles of quantum theory, whose core concepts and symbolic representations are the foundation for most of the subsequent chapters. For instance, it is shown how quantum theory explains the properties of the hydrogen atom and, via quantum spin and Pauli’s Exclusion Principle, how it accounts for the structure of the periodic table. White dwarf and neutron stars are seen to be gigantic quantum objects, while the maximum height of mountains is shown to have a quantum basis. Among the many other topics considered are a variety of interference phenomena, those that display the wave properties of particles like electrons and photons, and even of large molecules. The book concludes with a wide-ranging discussion of interpretational and philosophic issues, introduced in Chapters 14 by entanglement and 15 by Schrödinger’s cat.

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