A System for Tuning Instruments Using Recorded Music Instead of Theory-Based Frequency Presets

2012 ◽  
Vol 36 (3) ◽  
pp. 43-56 ◽  
Author(s):  
Barış Bozkurt
Keyword(s):  
Visual Feedback ◽  
Musical Instrument ◽  
Oral Traditions ◽  
Audio Feedback ◽  
Twelve Tone ◽  
Musical Scale ◽  
Scale Theory ◽  
Tuning Method ◽  
Fundamental Frequencies ◽  
Master Musician

Musical instrument tuners are devices that help musicians to adjust their instruments such that the played notes have the desired fundamental frequencies. In a conventional tuner, the reference tuning frequencies are preset, where the presets are obtained from tuning (musical scale) theory, such as twelve-tone equal temperament, or are user-specified temperaments. For many kinds of music in oral traditions, especially nonwestern music, widely accepted theoretical presets for tuning frequencies are not available because of the use of non-standard tunings. For such contexts, the “reference” is a master musician or a recording of a master musician. In this article, a tuning method and technology are presented that help the musician to tune the instrument according to a given (user-provided) recording. The method makes use of simultaneous audio and visual feedback during the tuning process, in which novel approaches are used for both modalities. For audio feedback, loopable stable frames, obtained automatically from the recording, are looped and played continuously. For visual feedback, a superimposed plot of the auto-difference functions is displayed instead of the conventional tuner's approach of detecting frequencies and displaying the amount of frequency difference between the input and the reference.

Literature, Music, and Science in Nineteenth Century Russian Culture: Prince Odoyevskiy’s Quest for a Natural Enharmonic Scale

2002 ◽  
Vol 15 (2) ◽  
pp. 183-207 ◽  
Author(s):  
Dimitri Bayuk
Keyword(s):  
Nineteenth Century ◽  
Short Stories ◽  
Musical Instrument ◽  
Experimental Science ◽  
Musical Culture ◽  
Musical Scale ◽  
Russian Music ◽  
Positive Science ◽  
Equal Temperament ◽  
And Mathematics

ArgumentAn attempt to understand and analyze a unique nineteenth-century musical instrument – the enharmonic piano from the collection of the Glinka Museum of Russian Musical Culture in Moscow – directs a historian towards Prince Vladimir Odoyevskiy’s efforts to construct a special musical scale corresponding to the indigenous tradition of Russian music. Known today mostly as an author of Romantic short stories, Odoyevskiy was also an amateur scientist and musician, a follower of Schelling’s Naturphilosophie, and a mystic. He tried to design his new musical scale and instruments on the basis of experimental science and mathematics. Odoyevskiy’s life-long search for a synthesis of literature, music, positive science, and spirituality demonstrates how the adaptation and appropriation of European arts preceded and paved the way towards the appropriation of European sciences among the educated élite in nineteenth-century Russia. The tensions inherent in the process led to Odoyevskiy’s nationalist rebellion against the European musical standard, the equal temperament. His call for a different musical scale remained largely ignored in the nineteenth century, until the topic was raised anew by twentieth-century composers and musicians.

Effects of Haptic and 3D Audio Feedback on Operator Performance and Workload for Quadrotor UAVs in Indoor Environments

2014 ◽  
Vol 26 (5) ◽  
pp. 580-591 ◽  
Author(s):  
Robert M. Philbrick ◽  
◽  
Mark B. Colton ◽  
Keyword(s):  
Visual Feedback ◽  
Haptic Feedback ◽  
Mental Workload ◽  
Indoor Environments ◽  
Pilot Performance ◽  
Audio Feedback ◽  
Additional Information ◽  
3D Audio ◽  
Potential Applications ◽  
Subject Experiment

<div class=""abs_img""><img src=""[disp_template_path]/JRM/abst-image/00260005/06.jpg"" width=""300"" />Haptic and audio 3D feedback</div> Unmanned aerial vehicles (UAVs) have many potential applications in indoor environments. However, limited visual feedback makes it difficult to pilot UAVs in cluttered and enclosed spaces. Haptic feedback combined with visual feedback has been shown to reduce the number of collisions of UAVs in indoor environments, but has generally resulted in an increase in the mental workload of the operator. This paper investigates the potential of combining novel haptic and 3D audio feedback to provide additional information to operators of UAVs to improve performance and reduce workload. Two haptic feedback and two 3D audio feedback algorithms are presented and tested in a simulation-based human subject experiment. Operator workload is quantified using standard measures and a novel application of behavioral entropy. Experimental results indicate that 3D haptic feedback improved UAV pilot performance. Pilot workload was also improved for one of the haptic algorithms in one of the control directions (lateral). The 3D audio feedback algorithms investigated in this study neither improved nor degraded pilot performance. </span>

scholarly journals ANGKLUNG: DARI ANGKLUNG TRADISIONAL KE ANGKLUNG MODERN

2012 ◽  
Vol 4 (1) ◽  
pp. 25
Author(s):  
Rosyadi Rosyadi
Keyword(s):  
Cultural Heritage ◽  
20Th Century ◽  
Musical Instrument ◽  
Modern World ◽  
Intangible Cultural Heritage ◽  
Musical Scale ◽  
Long Period ◽  
Intangible Heritage

AbstrakAngklung adalah alat musik tradisional Indonesia yang berasal dari tanah Sunda, terbuat dari bambu, yang dibunyikan dengan cara digoyangkan. Sebelum menjadi sebuah kesenian yang adiluhung seperti sekarang ini, kesenian Angklung telah mengalami perjalanan sejarah yang amat panjang. Berbagai perubahan telah dilaluinya mulai dari perubahan bentuk, fungsi, sampai pada perubahan nada. Demikian pula berbagai situasi telah dilaluinya, bahkan kesenian ini sempat mengalami keterpurukan pada awal abad ke-20. Angklung sebagai salah satu jenis kesenian yang berangkat dari kesenian tradisional, mengalami nasib yang tidak terlalu tragis dibandingkan dengan beberapa jenis kesenian tradisional lainnya. Kesenian ini hingga kini masih tetap bertahan,  bahkan berkembang, dan sudah “mendunia” kendatipun dengan jenis irama dan nada yang berbeda dari nada semula. Kalau semula nada dasar kesenian Angklung adalah tangga nada pentatonis, kini telah berubah menjadi tangga nada diatonis yang memiliki solmisasi. Boleh dibilang, kesenian Angklung merupakan salah satu jenis kesenian tradisional yang mampu menyesuaikan diri dengan perkembangan zaman, sehingga ia mampu bertahan di tengah terjangan arus modernisasi. Bahkan kesenian Angklung ini telah mendapat pengakuan dari UNESCO sebagai The Representative List of the Intangible Cultural Heritage of Humanity. Angklung sebagai warisan budaya dunia milik Indonesia yang dideklarasikan pada 16 Januari 2011.  Abstract Angklung is a Sundanese musical instrument made of bamboo. We have to shake it to get the tune. Angklung has been through long period of times in history before it become a masterpiece of one of Sundanese artistry. It has been through many changes, beginning from its form, functions and tune itself. Angklung experienced its downturn at the beginning of 20th century. But it survived. Angklung can suit itself to this changing modern world by adjusting its musical scale from pentatonic to diatonic. UNESCO has granted angklung the Representative List of Intangible Heritage of Humanity on January 16, 2011.

A Psychocultural Theory of Musical Interval

2018 ◽  
Vol 35 (4) ◽  
pp. 475-501 ◽  
Author(s):  
Richard Parncutt ◽  
Graham Hair
Keyword(s):  
Oral Traditions ◽  
Harmonic Series ◽  
Musical Structure ◽  
Twelve Tone ◽  
Musical Thought ◽  
Brain Mechanism ◽  
Large Numbers ◽  
Equal Temperament ◽  
Voiced Speech ◽  
Structure Perception

The Pythagoreans linked musical intervals with integer ratios, cosmic order, and the human soul. The empirical approach of Aristoxenus, based on real musicians making real music, was neglected. Today, many music scholars and researchers still conceptualize intervals as ratios. We argue that this idea is fundamentally incorrect and present convergent evidence against it. There is no internally consistent “Just” scale: a 6th scale degree that is 5:3 above the 1st is not a perfect 5th (3:2) above the 2nd (9:8). Pythagorean tuning solves this problem, but creates another: ratios of psychologically implausible large numbers. Performers do not switch between two ratios of one interval (e.g., 5:4 and 81:64 for the major third), modern studies of performance intonation show no consistent preferences for specific ratios, and no known brain mechanism is sensitive to ratios in musical contexts. Moreover, physical frequency and perceived pitch are not the same. Rameau and Helmholtz derived musical intervals from the harmonic series, which is audible in everyday sounds including voiced speech; but those intervals, like musical intervals, are perceived categorically. Musical intervals and scales, although they depend in part on acoustic factors, are primarily psychocultural entities—not mathematical or physical. Intervals are historically and culturally variable distances that are learned from oral traditions. There is no perfect tuning for any interval; even octaves are stretched relative to 2:1. Twelve-tone equal temperament is not intrinsically better or worse than Just or Pythagorean. Ratio theory is an important chapter in the history Western musical thought, but it is inconsistent with a modern evidence-based understanding of musical structure, perception and cognition.

scholarly journals Gamelan Soepra: Konsep dan Perilaku Musikal untuk Mencapai Tujuan Pendidikan

2018 ◽  
Vol 1 (1) ◽  
pp. 111
Author(s):  
Agustinus Sani Aryanto
Keyword(s):  
High School ◽  
Music Education ◽  
Junior High School ◽  
Musical Instrument ◽  
Senior High School ◽  
Special Method ◽  
Literature Study ◽  
Musical Scale ◽  
Eastern Culture ◽  
Advantages And Disadvantages

ABSTRAKGamelan Soepra adalah seperangkat gamelan yang diadaptasi dari gamelan Jawa dan memiliki nada diatonik seperti pada alat musik Barat. Dalam permainannya, gamelan Soepra dikolaborasikan dengan alat musik Barat seperti combo band dan string section. Gamelan Soepra diciptakan oleh seorang Jesuit asal Belanda bernama Henricus Constant van Deinse, SJ pada tahun 1957. Gamelan Soepra menjadi musik pendidikan di Sekolah Menengah Atas (SMA) Kolese Loyola Semarang, Jawa Tengah, sejak 2011. Penelitian ini bertujuan untuk mengetahui esensi dari gamelan Soepra sebagai sarana pembelajaran seni musik serta mendiskripsikan konsep, perilaku musikal, dan bunyi dalam musik gamelan Soepra di SMA Kolese Loyola Semarang. Metode penelitian yang digunakan adalah kualitatif dengan metode pengumpulan data observasi, wawancara, dan kajian literatur. Adapun pendekatan yang digunakan adalah musikologi untuk menganalisis instrumentasi pada gamelan Soepra. Data yang terkumpul dianalisis dengan menggunakan teori aktivitas musikal Alan P. Merriam untuk membedah perihal konsep, perilaku musikal, dan bunyi dalam gamelan Soepra dan teori dari Herbert Read untuk membedah fungsi pembelajaran gamelan Soepra sebagai sarana pendidikan seni musik di SMA Kolese Loyola. Hasil penelitian menunjukan bahwa SMA Kolese Loyola Semarang mempunyai metode tersendiri dalam mengenalkan gamelan melalui bentuk yang berbeda yaitu gamelan Soepra. Tangga nada diatonik dalam gamelan Soepra memiliki kekuatan dan kelemahan. Siswa menjadi lebih mudah dalam memainkan gamelan Soepra dengan berbagai genre lagu baik pentatonik maupun diatonik tetapi karakter tangganada pentatonik gamelan Jawa menjadi hilang. Melalui gamelan Soepra, siswa mampu mengenal kebudayaan Barat dan Timur baik dari alat musik maupun repertoar lagu yang dibawakan. Pengadaan konser rutin gamelan Soepra memberi pengalaman nyata bagi siswa baik dalam proses, persiapan, hingga pementasannya.Kata kunci: Gamelan Soepra, karawitan Jawa, diatonik, musik pendidikan. ABSTRACTSoepra Gamelan is a set of gamelan adapted from Javanese Gamelan and has diatonic note like westen musical instruments. Soepra Gamelan is played with combo band and string section. Soepra Gamelan was created by a Jesuit from Netherlands Henricus Constant Van Deinse SJ in 1957. Soepra Gamelan has become a music subject in Loyola Senior High School Semarang since 2011. This research is to know the essence of Soepra Gamelan as a music learning means and to describe concept, musical behaviour, and the sound of Soepra Gamelan in Loyola Junior High School Semarang. Method in this research is qualitative using observation, interview, and literature study. This research is based on musicology approach. The approach is used to analyze instrumentalitation in Soepra Gamelan. The data is analyzed by using Musical Activity Theory by Alan P Merriam regarding the concept, musical behaviour, and the sound of Soepra Gamelan while Herbert Read theory is used to analyze the function of learning as a musical educational means in Loyola Senior High School Semarang. The result of this research is that Loyola Senior High School Semarang has a special method in introducing gamelan. Musical scale in Soepra Gamelan has an advantages and disadvantages (positive and negative impacts). Students can play many genre of songs in pentatonic and diatonic musical scale easily but, however, the characters of Javanese musical scale are disappeared. Through Soepra Gamelan, the students can recognize western and eastern culture from musical instrument and repertoire songs. Routine concert in performing the gamelan gives a real experience to the students in terms of process, preparation, and performance.Keywords: Soepra Gamelan, Javanese karawitan, diatonic, music education.

scholarly journals Review of the Augmented Reality Systems for Shoulder Rehabilitation

Information ◽  
2019 ◽  
Vol 10 (5) ◽  
pp. 154 ◽  
Author(s):  
Rosanna Maria Viglialoro ◽  
Sara Condino ◽  
Giuseppe Turini ◽  
Marina Carbone ◽  
Vincenzo Ferrari ◽  
...  
Keyword(s):  
Clinical Trials ◽  
Augmented Reality ◽  
Visual Feedback ◽  
Haptic Feedback ◽  
Tactile Feedback ◽  
Audio Feedback ◽  
Wearable Technologies ◽  
Body Regions ◽  
Head Mounted Displays ◽  
Wearable Interface

Literature shows an increasing interest for the development of augmented reality (AR) applications in several fields, including rehabilitation. Current studies show the need for new rehabilitation tools for upper extremity, since traditional interventions are less effective than in other body regions. This review aims at: Studying to what extent AR applications are used in shoulder rehabilitation, examining wearable/non-wearable technologies employed, and investigating the evidence supporting AR effectiveness. Nine AR systems were identified and analyzed in terms of: Tracking methods, visualization technologies, integrated feedback, rehabilitation setting, and clinical evaluation. Our findings show that all these systems utilize vision-based registration, mainly with wearable marker-based tracking, and spatial displays. No system uses head-mounted displays, and only one system (11%) integrates a wearable interface (for tactile feedback). Three systems (33%) provide only visual feedback; 66% present visual-audio feedback, and only 33% of these provide visual-audio feedback, 22% visual-audio with biofeedback, and 11% visual-audio with haptic feedback. Moreover, several systems (44%) are designed primarily for home settings. Three systems (33%) have been successfully evaluated in clinical trials with more than 10 patients, showing advantages over traditional rehabilitation methods. Further clinical studies are needed to generalize the obtained findings, supporting the effectiveness of the AR applications.

Comparison of Sensory Modes of Biofeedback in Relaxation Training of Frontalis Muscle

1981 ◽  
Vol 53 (3) ◽  
pp. 875-880 ◽  
Author(s):  
William Chen
Keyword(s):  
Feedback Control ◽  
Visual Feedback ◽  
Relaxation Training ◽  
Muscle Tension ◽  
Emg Biofeedback ◽  
Control Group ◽  
Audio Feedback ◽  
Frontalis Muscle ◽  
Female Subjects

The purpose of this study was to compare the effectiveness of various sensory modes of EMG biofeedback in relaxation training of the frontalis muscle. 19 male and 29 female subjects were randomly selected from a pool of college volunteers. They were then randomly assigned 12 each to audio-feedback, visual feedback, audiovisual feedback, and no feedback groups. There were 11 20-min. sessions per subject. Subjects in the biofeedback groups were trained to reduce muscle tension voluntarily by utilizing Cyborg J33 EMG portable trainers. The subjects in the three feedback groups exhibited significantly lower muscle tension than did the subjects in the no-feedback control group. There were no significant differences in relaxation among the three feedback groups.

Augmented visual-feedback of airflow: Immediate effects on voice-source characteristics of students of singing

2021 ◽  
pp. 030573562110267
Author(s):  
Filipa Martins Batista Lã ◽  
Johan Sundberg ◽  
Svante Granqvist
Keyword(s):  
Visual Feedback ◽  
Audio Signal ◽  
Pulse Amplitude ◽  
Musical Instrument ◽  
Vocal Performance ◽  
Training Device ◽  
Mean Flow ◽  
Voice Source ◽  
Source Characteristics ◽  
The Voice

Glottal adduction is a crucial aspect in voice education and vocal performance: it has major effects on phonatory airflow and, consequently, on voice timbre. As the voice is a non-visible musical instrument, controlling it could be facilitated by providing real-time visual feedback of phonatory airflow. Here, we test the usefulness of a flow ball (FB) training device, visualizing, in terms of the height of a polystyrene ball placed in a plastic basket, phonatory airflow during phonation. Audio and electroglottographic recordings of five postgraduate, classically trained singer students were made under three subsequent conditions: before, during, and after phonating into the FB. The calibrated audio signal was inverse-filtered, using an electroglottograph signal to guide the manual tuning of the inverse filters. Mean phonatory airflow, peak-to-peak pulse amplitude, and normalized amplitude quotient were extracted from the resulting flow glottograms. After the FB condition, increases of mean flow and peak-to-peak pulse amplitude were observed in four singers. In addition, the singers’ mean normalized amplitude quotient increased significantly. The findings, although exploratory, suggest that reduction of glottal adduction can be observed immediately after FB phonation.

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