scholarly journals Blending Between Bassoon and Horn Players

2017 ◽  
Vol 35 (2) ◽  
pp. 144-164 ◽  
Author(s):  
Sven-Amin Lembke ◽  
Scott Levine ◽  
Stephen McAdams
Keyword(s):  
Sound Level ◽  
Behavioral Ratings ◽  
Temporal Synchrony ◽  
Spectral Centroid ◽  
Acoustic Measures ◽  
Communication Impairment ◽  
The Common ◽  
Simultaneous Sounds ◽  
A Performance

Achieving a blended timbre between two instruments is a common aim of orchestration. It relates to the auditory fusion of simultaneous sounds and can be linked to several acoustic factors (e.g., temporal synchrony, harmonicity, spectral relationships). Previous research has left unanswered if and how musicians control these factors during performance to achieve blend. For instance, timbral adjustments could be oriented towards the leading performer. In order to study such adjustments, pairs of one bassoon and one horn player participated in a performance experiment, which involved several musical and acoustical factors. Performances were evaluated through acoustic measures and behavioral ratings, investigating differences across performer roles as leaders or followers, unison or non-unison intervals, and earlier or later segments of performances. In addition, the acoustical influence of performance room and communication impairment were also investigated. Role assignments affected spectral adjustments in that musicians acting as followers adjusted toward a “darker” timbre (i.e., realized by reducing the frequencies of the main formant or spectral centroid). Notably, these adjustments occurred together with slight reductions in sound level, although this was more apparent for horn than bassoon players. Furthermore, coordination seemed more critical in unison performances and also improved over the course of a performance. These findings compare to similar dependencies found concerning how performers coordinate their timing and suggest that performer roles also determine the nature of adjustments necessary to achieve the common aim of a blended timbre.

Acting Spaces and Carpenters' Tools: from the Fortune to the Theatre Royal, Bristol

2009 ◽  
Vol 25 (2) ◽  
pp. 148-158 ◽  
Author(s):  
Mark Howell-Meri
Keyword(s):  
Eighteenth Century ◽  
Doctoral Thesis ◽  
Making Sense ◽  
Ad Quadratum ◽  
The Common ◽  
Play Production ◽  
Long Eighteenth Century ◽  
Building Methods ◽  
A Performance

Against the received wisdom, Mark Howell-Meri argues here for a continuing tradition between Elizabethan and Restoration (or ‘long eighteenth-century’) playhouses. He bases his argument in part on measurements which suggest the common use of traditional building methods and relationships between measurements and spaces based on ad-quadratum geometry, as shared by theatre builders across the centuries; but also on his own experience as a performance-practitioner specializing in an historiographical approach to making sense of eighteenth-century plays for today's audiences in surviving (or reconstructed) eighteenth-century spaces. He was the first director to restore a three-sided stage front to the Georgian Theatre (now Theatre Royal) in Richmond, Yorkshire, in 1987 with his hit production of Garrick's Miss in her Teens (1747), and other research productions have included Robert Dodsley's The King and the Miller of Mansfield (1737), Colman the Younger's Inkle and Yarico (1787), Inchbald's The Midnight Hour (1787), again at the Georgian Theatre in Richmond, and Lillo's The London Merchant (1731). He is now completing his doctoral thesis, ‘Theatre and Liberty: Eighteenth-Century Play Production on the Three-Sided Stage’.

SENECAN ‘META-STOICALITY’: IN THE COGNITIVE GRASP OF ATREUS

2018 ◽  
Vol 68 (2) ◽  
pp. 573-590
Author(s):  
John Stevens
Keyword(s):  
Common Sense ◽  
The Common ◽  
A Performance

The first act of Thyestes is a challenge to the theory that the same Seneca wrote both the philosophica and the tragedies. We are compelled by the evil genius of Atreus and not by the common virtue of his Satelles. Atreus not only feels no compunction at his words, but seems to hone his evil from the prodding. It is the death of philosophy, the anti-mirror of the prince: the tyrant is not reformed, but becomes more himself—more perfectly tyrannical. It is a performance of Socrates’ monster in Republic 9—the soul composed of a hydra of desires with its ring of heads constantly changing, a lion of anger and a small man, who is to domesticate the hydra like a farmer and befriend the lion (588c–589b). The ineffectual Satelles portrays the hopeless plight of Plato's ‘little man reason’ before a lion with monstrous desires like Atreus. There is a place left for philosophy to win over the tyrant only if the Satelles does not represent all that reason can do, and stands instead only for gentlemanly virtue or common sense, which lacks the kind of logos needed to control the beast.

An Interlanguage Study of Musical Timbre Semantic Dimensions and Their Acoustic Correlates

2012 ◽  
Vol 31 (4) ◽  
pp. 339-358 ◽  
Author(s):  
Asterios Zacharakis ◽  
Konstantinos Pastiadis ◽  
Joshua D. Reiss
Keyword(s):  
Correlation Analysis ◽  
Musical Instrument ◽  
Experimental Protocol ◽  
Spectral Centroid ◽  
Linguistic Group ◽  
Acoustic Correlates ◽  
Reduction Techniques ◽  
English Speaking ◽  
The Common ◽  
Linguistic Groups

A study of musical timbre semantics was conducted with listeners from two different linguistic groups. In two separate experiments, native Greek and English speaking participants were asked to describe 23 musical instrument tones of variable pitch using a predefined vocabulary of 30 adjectives. The common experimental protocol facilitated the investigation of the influence of language on musical timbre semantics by allowing for direct comparisons between linguistic groups. Data reduction techniques applied to the data of each group revealed three salient semantic dimensions that shared common conceptual properties between linguistic groups namely: luminance, texture, and mass. The results supported universality of timbre semantics. A correlation analysis between physical characteristics and semantic dimensions associated: i) texture with the energy distribution of harmonic partials, ii) thickness (a term related to either mass or luminance) and brilliance with inharmonicity and spectral centroid variation, and iii) F0 with mass or luminance depending on the linguistic group.

A Simple Method to Obtain Basic Acoustic Measures From Video Recordings as Subtitles

2018 ◽  
Vol 61 (9) ◽  
pp. 2196-2204
Author(s):  
S. Pravin Kumar ◽  
Jan G. Švec
Keyword(s):  
Voice Quality ◽  
Video Recording ◽  
Sound Level ◽  
Microphone Signal ◽  
Simple Method ◽  
Acoustic Measures ◽  
Vocal Fold Vibration ◽  
Video Recordings ◽  
Video Frames ◽  
Level Meter

Purpose Sound pressure level (SPL) and fundamental frequency (f o ) are very basic and important measures in the acoustical assessment of voice quality, and their variation influences also the vocal fold vibration characteristics. Most sophisticated laryngeal videostroboscopic systems therefore also measure and display the SPL and f o values directly over the video frames by means of a rather expensive special hardware setup. An alternative simple software-based method is presented here to obtain these measures as video subtitles. Method The software extracts acoustic data from the video recording, calculates the SPL and f o parameters, and saves their values in a separate subtitle file. To ensure the correct SPL values, the microphone signal is calibrated beforehand with a sound level meter. Results The new approach was tested on videokymographic recordings obtained laryngoscopically. The results of SPL and f o values calculated from the videokymographic recording, subtitles creation, and their display are presented. Conclusions This method is useful in integrating the acoustic measures with any kind of video recordings containing audio data when inbuilt hardware means are not available. However, calibration and other technical aspects related to data acquisition and synchronization described in this article should be properly taken care of during the recording.

Catalogue reduction techniques

1978 ◽  
Vol 48 ◽  
pp. 389-390 ◽  
Author(s):  
Chr. de Vegt
Keyword(s):  
Adjustment Process ◽  
Proper Motions ◽  
Measuring Process ◽  
Aerial Photogrammetry ◽  
Reduction Techniques ◽  
Observational Technique ◽  
The Common ◽  
Astrometric Data

AbstractReduction techniques as applied to astrometric data material tend to split up traditionally into at least two different classes according to the observational technique used, namely transit circle observations and photographic observations. Although it is not realized fully in practice at present, the application of a blockadjustment technique for all kind of catalogue reductions is suggested. The term blockadjustment shall denote in this context the common adjustment of the principal unknowns which are the positions, proper motions and certain reduction parameters modelling the systematic properties of the observational process. Especially for old epoch catalogue data we frequently meet the situation that no independent detailed information on the telescope properties and other instrumental parameters, describing for example the measuring process, is available from special calibration observations or measurements; therefore the adjustment process should be highly self-calibrating, that means: all necessary information has to be extracted from the catalogue data themselves. Successful applications of this concept have been made already in the field of aerial photogrammetry.

Renilla Bioluminescence: A Morphologic Approach to the Location of Photocytes

1974 ◽  
Vol 32 ◽  
pp. 208-209
Author(s):  
Ben O. Spurlock ◽  
Milton J. Cormier
Keyword(s):  
Excited State ◽  
Ground State ◽  
Molecular Basis ◽  
Light Emission ◽  
Chemical Basis ◽  
Electronic Excited State ◽  
Colonial Form ◽  
The Common ◽  
Eighteenth And Nineteenth Centuries ◽  
Catalyzed Oxidation

The phenomenon of bioluminescence has fascinated layman and scientist alike for many centuries. During the eighteenth and nineteenth centuries a number of observations were reported on the physiology of bioluminescence in Renilla, the common sea pansy. More recently biochemists have directed their attention to the molecular basis of luminosity in this colonial form. These studies have centered primarily on defining the chemical basis for bioluminescence and its control. It is now established that bioluminescence in Renilla arises due to the luciferase-catalyzed oxidation of luciferin. This results in the creation of a product (oxyluciferin) in an electronic excited state. The transition of oxyluciferin from its excited state to the ground state leads to light emission.

Mammalian Bone Marrow Acetylcholinesterase

1982 ◽  
Vol 40 ◽  
pp. 44-45
Author(s):  
Ezzatollah Keyhani
Keyword(s):  
Central Nervous System ◽  
Bone Marrow ◽  
Nervous System ◽  
Common Property ◽  
Extracellular Medium ◽  
The Central Nervous System ◽  
The Common ◽  
Mammalian Bone

Acetylcholinesterase (EC 3.1.1.7) (ACHE) has been localized at cholinergic junctions both in the central nervous system and at the periphery and it functions in neurotransmission. ACHE was also found in other tissues without involvement in neurotransmission, but exhibiting the common property of transporting water and ions. This communication describes intracellular ACHE in mammalian bone marrow and its secretion into the extracellular medium.

Correlation analysis of radiation damage

1978 ◽  
Vol 36 (1) ◽  
pp. 214-215
Author(s):  
R. Hegerl ◽  
A. Feltynowski ◽  
B. Grill
Keyword(s):  
Electron Microscopy ◽  
Independent Random Variables ◽  
Optical Parameters ◽  
Bright Field Image ◽  
Bright Field ◽  
Expectation Value ◽  
All Optical ◽  
Image Element ◽  
Stochastic Series ◽  
The Common

Till now correlation functions have been used in electron microscopy for two purposes: a) to find the common origin of two micrographs representing the same object, b) to check the optical parameters e. g. the focus. There is a third possibility of application, if all optical parameters are constant during a series of exposures. In this case all differences between the micrographs can only be caused by different noise distributions and by modifications of the object induced by radiation.Because of the electron noise, a discrete bright field image can be considered as a stochastic series Pm,where i denotes the number of the image and m (m = 1,.., M) the image element. Assuming a stable object, the expectation value of Pm would be Ηm for all images. The electron noise can be introduced by addition of stationary, mutual independent random variables nm with zero expectation and the variance. It is possible to treat the modifications of the object as a noise, too.

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