scholarly journals Music analysis/synthesis using the analysis‐by‐synthesis/overlap‐add sinusoidal model

1994 ◽  
Vol 95 (5) ◽  
pp. 2959-2959
Author(s):  
E. Bryan George ◽  
Mark J. T. Smith
Keyword(s):  
Music Analysis ◽  
Sinusoidal Model ◽  
Analysis By Synthesis

Analysis-by-Synthesis Sinusoidal Model without an Overlapping Scheme

2008 ◽  
Vol E91-B (6) ◽  
pp. 2094-2096
Author(s):  
J.-H. KIM ◽  
G.-H. JEONG ◽  
I.-S. LEE
Keyword(s):  
Sinusoidal Model ◽  
Analysis By Synthesis

An analysis-by-synthesis study of Mandarin speech prosody

2016 ◽  
Author(s):  
Na Zhi ◽  
Daniel Hirst ◽  
Pier Marco Bertinetto ◽  
Aijun Li ◽  
Yuan Jia
Keyword(s):  
Speech Prosody ◽  
Analysis By Synthesis

Music Analysis and Kinds of Hearing-As

2017 ◽  
Vol 4 (2) ◽  
pp. 233-242
Author(s):  
Joseph Dubiel
Keyword(s):  
Music Analysis

Flow

2019 ◽  
Author(s):  
Mitchell Ohriner
Keyword(s):  
Hip Hop ◽  
Rap Music ◽  
Music Analysis ◽  
The United States ◽  
Close Reading ◽  
South Bronx ◽  
The World ◽  
Key Concepts ◽  
Voice Flow ◽  
Computational Music Analysis

Originating in dance parties in the South Bronx in the late 1970s, hip hop and rap music have become a dominant style of popular music in the United States and a force for activism all over the world. So, too, has scholarship on this music grown, yet much of this scholarship, employing methods drawn from sociology and literature, leaves unaddressed the expressive musical choices made by hip-hop artists. This book addresses flow, the rhythm of the rapping voice. Flow presents theoretical and analytical challenges not encountered elsewhere. It is rhythmic as other music is rhythmic. But it is also rhythmic as speech and poetry are rhythmic. Key concepts related to rhythm, such as meter, periodicity, patterning, and accent, are treated independently in scholarship of music, poetry, and speech. This book reconciles those approaches, theorizing flow by integrating the methods of computational music analysis and humanistic close reading. Through the analysis of large collections of verses, it addresses questions in the theories of rhythm, meter, and groove in the unique ecology of rap music. Specifically, the work of Eminem clarifies how flow relates to text, the work of Black Thought clarifies how flow relates to other instrumental streams, and the work of Talib Kweli clarifies how flow relates to rap’s persistent meter. Although the focus throughout is rap music, the methods introduced are appropriate for other genres mix voices and more rigid metric frameworks and further extends the valuable work on hip hop from other perspectives in recent years.

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