scholarly journals The Carabattola—Vibroacoustical Analysis and Intensity of Acoustic Radiation (IAR)

2020 ◽  
Vol 10 (2) ◽  
pp. 641 ◽  
Author(s):  
Lamberto Tronchin ◽  
Massimiliano Manfren ◽  
Vincenzo Vodola
Keyword(s):  
Twentieth Century ◽  
Modal Analysis ◽  
Acoustic Analysis ◽  
Acoustic Radiation ◽  
Vibrational Analysis ◽  
Musical Instruments ◽  
Experimental Part ◽  
Percussion Instruments ◽  
Acoustic Analyses ◽  
Romagna Area

Among the studies of musical instruments, one important, sometime underestimated discipline, is represented by ethnomusicology. The acoustic analyses on ethnic musical instruments (M.I.) are much more infrequent if compared to those on classical M.I. This article deals with the vibro-acoustic analysis on one of the most unknown ethnic, Italian M.I., i.e., the carabattola (also called battola), which used to be played in Italy until the late 1960s during the Holy Thursday before Easter. The study includes modal analysis and Intensity of Acoustic Radiation measured on an original carabattola, which was played in the Romagna area until the early twentieth century. After a brief overview about the theory of acoustic and vibrational analysis on musical instruments, the Intensity of acoustic radiation and its correlation with modal analysis are recalled, based on previous studies. In the experimental part of the article, the measurements conducted on the carabattola are described. Afterwards, the results obtained both from modal analysis and IAR measurements are analyzed and compared with other measurements previously conducted on musical (particularly percussion) instruments and commented.

scholarly journals Sound Characterization through Intensity of Acoustic Radiation Measurement: A Study of Persian Musical Instruments

2020 ◽  
Vol 10 (2) ◽  
pp. 633 ◽  
Author(s):  
Lamberto Tronchin ◽  
Massimiliano Manfren ◽  
Vincenzo Vodola
Keyword(s):  
Modal Analysis ◽  
Sound Propagation ◽  
Acoustic Radiation ◽  
Mechanical Vibration ◽  
Sound Radiation ◽  
The United States ◽  
Acoustic Parameter ◽  
Musical Instruments ◽  
Weak Correlation ◽  
Mechanical Vibrations

The physics of musical instruments often uses modal analysis as one of the most important methods for describing the behavior of sound chests and their acoustic radiation. However, some studies conducted in Europe (Wogram), Japan (Suzuki) and the United States (Giordano) underlined a very weak correlation between sound radiation and modal analysis. This mismatch required further research. The acoustic parameter intensity of acoustic radiation (IAR) is highly related to the mechanical vibration of the sound source. IAR was able to quantify the sound efficiency of musical instruments, and to relate sound radiation with modal analysis. This paper investigates IAR measured on three Persian stringed musical Instruments, namely the thar, si-thar and santoor. The analysis contributes to the knowledge of stringed musical instruments and sound propagation, since IAR is capable of linking the mechanical vibrations of soundboards with the sound generation of the musical instruments. The IAR results coming from the modal analysis carried out during the study of the instruments are reported herein.

Identifying stylizations in ethnically salient talk among disc jockeys

2013 ◽  
Vol 42 (3) ◽  
pp. 259-286 ◽  
Author(s):  
Heather B. Carroll
Keyword(s):  
Discourse Analysis ◽  
Acoustic Analysis ◽  
Reported Speech ◽  
Linguistic Style ◽  
Radio Program ◽  
Artistic Representation ◽  
Acoustic Analyses ◽  
Analytical Category ◽  
Interactional Discourse

AbstractBefore accepting claims of the function of linguistic stylization, it is imperative that we are certain of what we are examining. Mikhail Bakhtin's widely cited definition that stylization is an “artistic representation of another's linguistic style” (1986:362) leaves unclear what counts as “artistic,” making identifying stylizations simultaneously intuitively obvious and empirically illusive. Drawing from 270 hours of data from a radio program, the current study uses interactional discourse and acoustic analyses to compare one disc jockey's exaggerations of ethnically salient accents (stylizations) with his mundane use of reported speech. The analyses demonstrate that in both types of talk he uses a similar bundle of interactional and acoustic resources to design his talk as belonging to someone else. The link between reported and stylized speech places stylizations in an analytical category distinct from that of crossing and its issues of language ownership. The pertinent questions are those of speaker responsibility. (Crossing, stylization, reported speech, discourse analysis, acoustic analysis)*

Kalasha affricates: An acoustic analysis of place contrasts

2020 ◽  
Vol 6 (2) ◽  
pp. 245-280 ◽  
Author(s):  
Alexei Kochetov ◽  
Paul Arsenault
Keyword(s):  
South Asia ◽  
South Asian ◽  
Acoustic Analysis ◽  
Acoustic Analyses ◽  
Asian Context ◽  
Syllable Position

AbstractKalasha (Northwestern Indo-Aryan, spoken in Pakistan) exhibits a complex set of ten affricate phonemes, which is exceedingly rare among the world’s languages and not representative of the broader South Asian context. This paper presents results of an acoustic analysis of place contrasts (dental, retroflex, and alveolopalatal) in affricates of four laryngeal specifications (voiceless unaspirated, voiceless aspirated, non-breathy voiced, and breathy voiced). These consonants were produced by four male speakers of Kalasha in a variety of phonetic contexts, resulting in a sample of close to 700 affricate tokens. A series of acoustic analyses of the data revealed that place contrasts in Kalasha affricates are distinguished robustly by both burst/frication spectra and formant transitions, but not by duration, which correlates more with laryngeal features. Place distinctions are somewhat diminished for voiced affricates but are largely unaffected by aspiration and syllable position. Most of these results are consistent with what is known about comparable (yet laryngeally simpler) place contrasts in other languages outside of South Asia. However, some of them are unique and may reflect the typological uniqueness and complexity of Kalasha’s affricate system.

scholarly journals In situ acoustic analysis of two twentieth-century heritage carillons

2021 ◽  
Vol 9 (1) ◽  
Author(s):  
Scott Allan Orr
Keyword(s):  
Twentieth Century ◽  
Acoustic Analysis ◽  
Mechanical Action ◽  
Ex Situ ◽  
Physical Acoustics ◽  
Acoustic Characteristics ◽  
Dynamic Level ◽  
Significant Difference ◽  
And Function

AbstractCarillons are a diverse and global form of musical and civic heritage: musical instruments comprised of a series of 23 or more bells, typically hung in a tower-like structure, tuned chromatically and played from a touch-sensitive manual and pedal console using an elaborate mechanical action. Carillon bells have a distinct series of musical overtones which should be accurately tuned to one another and with other bells they sound alongside. Although these overtones have been previously studied ex situ, this study assesses the acoustic characteristics of two early-twentieth century carillons in Toronto, Canada as a combination of structure, bells, and mechanical action. Thus, the instrument and its context are considered holistically, more accurately reflecting the musical sensitivity of a carillonist. Spectral analysis of audio samples of each bell at different musical dynamic levels enabled the analysis of the acoustic qualities of the bells and the mechanical action of the instruments. The tuning of bells in the instruments varied; most importantly, there was a significant difference between the audial intensity of the bell tones produced by the instruments, demonstrating the importance of the mechanical action as part of the ‘carillon system’. This was represented with a resistive power-law model, that represents the sensitivity of intensity to carillonist musical dynamic level. A discussion of the implications for artistic and heritage practice follows. Understanding the in situ physical acoustics of the carillon as a holistic instrument in its context informs performers, arrangers, and composers of how they can best embrace the instrument’s unique qualities to improve artistic pursuits and support the appreciation of carillons as heritage instruments and function as civic voices.

Chinese toms in the making of the drum kit: Localization and exoticism

2021 ◽  
Vol 5 (2) ◽  
pp. 227-242 ◽  
Author(s):  
Henry Johnson
Keyword(s):  
Nineteenth Century ◽  
Twentieth Century ◽  
Music Education ◽  
Popular Music ◽  
Musical Instruments ◽  
New Music ◽  
Late Nineteenth Century ◽  
The Future ◽  
Late Nineteenth

The late nineteenth century and early decades of the twentieth century saw the drum kit emerge as an assemblage of musical instruments that was central to much new music of the time and especially to the rise of jazz. This article is a study of Chinese drums in the making of the drum kit. The notions of localization and exoticism are applied as conceptual tools for interpreting the place of Chinese drums in the early drum kit. Why were distinctly Chinese drums used in the early drum kit? How did the Chinese drums shape the future of the drum kit? The drum kit has been at the heart of most popular music throughout the twentieth century to the present day, and, as such, this article will be beneficial to educators, practitioners and scholars of popular music education.

scholarly journals 來自「東方」的聲音圖景：江文也作品的異國情調與民族追尋

2020 ◽  
Vol 36 (36) ◽  
pp. 081-106
Author(s):  
張琬琳 張琬琳
Keyword(s):  
Twentieth Century ◽  
Music Theory ◽  
Global Scale ◽  
Musical Instruments ◽  
International Standards ◽  
The Other ◽  
Western Music ◽  
Political Issue ◽  
The World ◽  
General Society

<p>二十世紀初，在國際間崛起的各國勢力，加速了各民族內部自我整頓與反省的動力，東方音樂家學習西方音樂，也試圖以西方音樂的樂制，來整建自我民族內部的音樂紋理。</p> <p>東方音樂家欲望著西方，希冀能登上國際音樂舞臺；西方樂壇也期待從東方音樂家那裡，聽見西方人能夠「聽得懂」的「東方聲音」。在東 / 西方彼此期待、渴望之間，音樂本身被賦予極大的感官寓意，對西方人而言，帶有異國情調的音樂，尤其能夠吸引他們的目光；對於東方音樂家而言，這些「東方」的元素，卻是取自於不同民族風土的獨特聲音。</p> <p>本文聚焦臺灣近代音樂家江文也，以近年來新出版的傳記、日記和音樂作品全集，以及本論文作者近年於歐洲搜集的史料為分析佐證，探討江文也「屬於自己 / 東方的聲音」創作，如何引發西方樂壇對於「東方聲音」的想像。</p> <p>&nbsp;</p><p>The early twentieth century was a century that had the two global-scale World Wars between world powers across continents and oceans. Rising nationalism and increasing national awareness became a major political issue in general society. Eastern musicians reflected on the issue and diligently learned Western music system to get a remarkable grasp of it. Because they knew well the so-called Oriental music sounds must be rooted in the Western music theory to be able to compete among nations by international standards. On one hand, Eastern musicians desired to be seen and rival upon the world stage; on the other hand, Western musicians looked forward to hearing pure Oriental music sounds from the East. However, for Taiwanese composer Jiang, Wen-Ye, the Oriental music sounds are not the ones of a traditional and exotic concept. Traditionally, the Oriental music sounds derive its flavor from the pentatonic scale and use traditional Chinese musical instruments to play. It is under such circumstances Jiang, Wen-Ye compose beautiful musical forms that embody his love and respectful duty to the Taiwanese motherland throughout frequent international music events and competitions.</p> <p>&nbsp;</p>

Is There a Need for a Fundamentally New Classification of Musical Instruments?

10.34690/156 ◽  
2021 ◽  
pp. 168-185
Author(s):  
Михаил Имханицкий
Keyword(s):  
Sound Source ◽  
Extraction Method ◽  
Symphony Orchestra ◽  
Large Family ◽  
Musical Instruments ◽  
New Classification ◽  
Pneumatic Valve ◽  
Snare Drum ◽  
Percussion Instruments

В статье предлагается новый принцип классификации музыкальных инструментов, основанный не на первичности источника звука при неизменной вторичности способа извлечения, а на полном равноправии этих компонентов. Для композитора и исполнителя всегда важнее способ извлечения звука, поскольку его источник - не более чем предпосылка тонообразования. Нелогичность общепринятой классификации становится очевидной уже при обращении к ударным инструментам: например, удар по мембране малого барабана делает его мембранофоном, а по обручу - идиофоном. Однако для музыкальной практики в первую очередь имеет значение способ извлечения звука на малом барабане и его принадлежность к ударным инструментам. В качестве примера также доказывается, что большое семейство гармоник надо определять не как «идиофоны с дутьем» и не как аэрофоны, согласно систематике выдающихся классиков инструментоведения Э. Хорнбостеля и К. Закса, а как пневматико-клапанные ламеллафоны. Автор статьи приходит к выводу, что музыкальные инструменты целесообразно классифицировать так, как это принято в академическом инструментарии: не на идиофоны, мембранофоны, хордофоны и аэрофоны, а, к примеру, на струнные смычковые, духовые и ударные - в симфоническом оркестре; целесообразно изменить принципы классификации и в других инструментальных составах. The article proposes a new principle of classification of musical instruments, based not on the primacy of the sound source with the constant secondary of the extraction method, but on the full equality of these components. For the composer and performer, the method of sound extraction is always more important, since its source is no more than a prerequisite for tone formation. The illogic of the generally accepted classification becomes obvious when referring to percussion instruments: for example, a blow on the membrane of a snare drum makes it a membranophone, and on a hoop-an idiophone. However, for musical practice, the method of extracting sound on a snare drum and its belonging to percussion instruments is primarily important. As an example, it is also proved that a large family of harmonics should be defined not as “idiophones with blowing” and not as aerophones, according to the systematics of the outstanding classics of instrumentation E. Hornbostel and C. Sachs, but as pneumatic-valve lamellaphones. The author of the article comes to the conclusion that it is advisable to classify musical instruments as it is customary in academic instruments: not into idiophones, membrano-phones, chordophones and aerophones, but, for example, into strings, brass and percussion-in a symphony orchestra; it is advisable to change the principles of classification in other instrumental sets also.

The Voice in the Drum

2014 ◽  
Author(s):  
Richard K. Wolf
Keyword(s):  
Twentieth Century ◽  
South Asia ◽  
South Asian ◽  
Religion And Politics ◽  
Musical Instruments ◽  
The Social ◽  
Late Twentieth ◽  
The Voice ◽  
Novelistic Form ◽  
Late Twentieth Century

Based on extensive research in India and Pakistan, this book examines the ways drumming and voices interconnect over vast areas of South Asia and considers what it means for musical instruments to be voice-like and carry textual messages in particular contexts. The book employs a hybrid, novelistic form of presentation in which the fictional protagonist Muharram Ali, a man obsessed with finding music he believes will dissolve religious and political barriers, interacts with the book's field consultants, to communicate ethnographic and historical realities that transcend the local details of any one person's life. The result is a daring narrative that follows Muharram Ali on a journey that explores how the themes of South Asian Muslims and their neighbors coming together, moving apart, and relating to God and spiritual intermediaries resonate across ritual and expressive forms such as drumming and dancing. The story charts the breakdown of this naiveté. A daring narrative of music, religion and politics in late twentieth century South Asia, the book delves into the social and religious principles around which Muslims, Hindus, and others bond, create distinctions, reflect upon one another, or decline to acknowledge differences.

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