Impulse Response Modeling of the Box Shaped Acoustic Guitar

Music is the pulse of human lives and is an amazing tool to relieve and re-live. And when it comes to the signal processing, impulse is the pulse of the researchers. The work presented here is focused on impulse response modeling of noted produced by box shaped acoustic guitar. The impulse response is very fundamental behavior of any system. The music note is the convolution of the impulse response and the excitation signal of that guitar. The frequency of the generated music note follows the octave rule. The octave rule can be checked for impulse responses as well. If the excitation signal and impulse response are separated, then an impulse response of a single fret can be used to generate the impulse responses of other frets. Here the music notes are analyzed and synthesized on the basis of the plucking style and plucking expression of the guitar-player. If the impulse response of the musical instrument is known, the output music note can be synthesized in an unusual manner. Researchers have been able to estimate the impulse response by breaking the string of the guitar. Estimating the impulse response from the recorded music notes is possible using the methodology of cepstral domain window. By means of the Adaptive Cepstral Domain Window (ACDW) the author estimated the impulse response of guitar notes. The work has been further extended towards the classification of synthesized notes for plucking style and plucking expression using Neural Network and Machine Learning algorithms.

Analisis Musik Iringan Lagu Aneuk Yatim Ciptaan Rafly Kande

Lagu Aneuk Yatim merupakan karya musik bergenre pop ciptaan Rafly pada tahun 1999 yang menceritakan tentang keadaan sosial kehidupan anak-anak di Aceh terkait peristiwa konflik dan tsunami di tahun 2004, dan mencapai puncak popularitasnya baik secara lokal maupun nasional. Lagu Aneuk Yatim memiliki penggunaan instrumen dan harmoni iringan yang khas dalam kalimat lagu dengan harmoni iringan dan tangganada konvensional (background harmony). Hal tersebut menjadi rangkaian pendukung melodi yang dimainkan untuk menciptakan kesan dan pesan pada lagu. Penelitian ini mencoba untuk menguraikan dan mengidentifikasi penggunaan instrumen musik dan harmoni iringan pada lagu Aneuk Yatim, yang nantinya bisa dijadikan rujukan bagi peneliti dalam menganalisis karya musik lagu. Penelitian ini menggunakan pendekatan kualitatif dengan metode analisis deskriptif. Selanjutnya, pendekatan yang dilakukan untuk mempermudah pencarian data dilakukan dengan etik dan emik agar tercapainya kelancaran dalam proses pencarian sampai dengan pengelolaan data untuk mengindentifikasi penggunaan instrumen musik dan harmoni iringan pada lagu Aneuk Yatim. Metodologi yang dilakukan dalam penelitian ini adalah pengumpulan data yang terkait subjek maupun objek dengan cara berinteraksi langsung melalui dokumentasi, observasi, dan wawancara dengan partisipan. Penggunaan instrumen dalam lagu Aneuk Yatim terdiri dari accoustic guitar, keyboard, electric bass, dan drum set. Instrumen acoustic guitar, keyboard, dan electric bass merupakan instrumen melodis dan instrumen harmonis yang digunakan sebagai instrumen dalam memainkan melodi pada interlude, serta instrumen harmonis yang memainkan akor sebagai iringan pada melodi pokok. Harmoni iringan dan tangganada pada lagu Aneuk Yatim ini, seperti tangganada minor asli maupun minor harmonis, serta harmoni yang dipakai seperti akor I-IV-V (G-C-D

EKSTRAKURIKULER GITAR AKUSTIK DI SMAN 1 KOTA SUNGAI PENUH

This study aims to describe the implementation of acoustic guitar extracurricular. This research belongsto a descriptive research using a qualitative approach. The data were collected through observation, interview, and documentation. The Data analysis started from data collection stage, reduction stage, data presentation stage, and the conclusion stage. Data validity testwasconducted by extending observations and increasing persistence.The results of this study indicate that: (1) extracurricular planning includes: a. the material taught is carried out in steps, b. The method used is the lecture method, demonstration method, question and answer method, and assignment method, (2) extracurricular implementation includes: initial activities, core activities, and final activities, (3) learning evaluation includes evaluation of the process seen from the discipline, activeness, and motivationof the students. Thelearning outcome evaluationis conductedby using indicators of technique, material, and appearanceon students’ demonstration. Based on the results of this study, it can be suggested that the school continues to maintain music extracurricularso that students can continue to develop in music. Through the extracurricular of music, especially in acoustic guitar extracurricular, it is hoped that it can accommodate students who want to develop talents in the music field.Keywords: extracurricular, material and learning outcomes

Kelas Gitar Akustik Berbasis Pembelajaran Kooperatif

This article examines learning acoustic guitar in formal schools employing cooperative learning design. The problem is focused on students’ perceptions of the difficulty of interpreting theory, teacher mastery of music theory, and the learning methods used. This study aims to describe the cooperative learning method implemented in acoustic guitar classes at schools (N = 30). Data were collected through observation, interviews, and documentation to be analyzed qualitatively using an interactive model (Miles et al., 2014). The guitar learning process is carried out in groups by breaking the home group and the expert group. Music material in group interaction is in the form of theory and practice. Based on observations of students’ musical abilities, there is an increase in knowledge of music theory and practice in guitar classes. Students receive the highest score on the aspects of sound accuracy, chord progression to the song, and the time expended learning the song. This study concludes that learning acoustic guitar applying cooperative learning methods is effective in enhancing students’ musical understanding through appreciation and creation. Appreciative attitude turns out as a manifestation of a positive response affective.

Augmented Reality to Facilitate Learning of the Acoustic Guitar

Many people wishing to learn a musical instrument opt to learn using alternative or informal methods instead of the traditional Master–Apprentice model that requires a greater cognitive load. This paper presents an augmented reality (AR)-based application designed to teach and train guitar chords, with the novelty that it is also used to teach short melodies consisting of four chord transitions so that users have to change hand and finger positions. The app uses high-quality 3D models of an acoustic guitar and animated hand to indicate correct finger positions and the movements required when changing from one chord to another. To follow the animated instructions, the learner overlaps the 3D model onto the neck of the physical guitar and his or her own hand. A system usability scale (SUS) questionnaire was used to measure the usability of the application. A score of 82.0 was obtained, which is higher than the average of 68 points that indicates the application is good from a user experience perspective, thus satisfying the purpose for which it was created. Having analysed the data for both groups—individuals with no prior experience of playing a musical instrument versus individuals with prior experience—it was concluded that the application provided a useful learning approach for all participants involved in the study, regardless of experience. That said, those possessing prior experience of playing an instrument learnt faster. It should be noted that the research revealed significant difference in learning by gender, with male participants learning faster than female participants. Similar results have been detected in other research performed in the field of music, as well as in other fields. As this study required spatial reasoning when viewing the 3D model, the differences identified this case may well have arisen as a consequence of differences in men and women’s spatial awareness, thereby leaving open an alternative line of research.

Interlude

In my life music has been a source of enjoyment, an expression of worship, an outlet for emotions, and a way to connect with others. I’ve always had a deep appreciation for music. When I was 7 or 8 years old, my dad bought me and my younger sister a guitar for Christmas. Playing short melodies on the half-size acoustic guitar I received for Christmas that year was my first experience playing an instrument. My father plays guitar, so my sisters and I grew up surrounded by music. As I continued to explore my interest in music, I realized that I had a passion for singing. I decided to take freshman choir in high school, and halfway through my freshman year, I started taking private voice and piano lessons....

Pitch Transcription of Solo Instrument Tones Using the Autocorrelation Method

Pitch transcription is basically identifying and copying pitch on an audio or music. In this case, the pitch of a solo instrument music is processed to find the composition of the music tones, the method used is autocorrelation. After processing, the system will produce pitch transcription results from the audio that has been processed. this research done digitalization of an old method of identifying pitches into an application that is able to transcribe pitches in an audio. This Pitch Transcription application was created using the Python programming language with Librosa library as a library for audio processing. The purpose of making this system is to facilitate the identification of pitch from a solo instrument music. This Application Feature itself besides being able to show the results of pitch transcription can also display the Onset Graph, Signal Graph play the results of the synthesis transcribed audio sounds. Testing in this study uses audio sourced from 4 single instruments, there are flute, piano, violin and acoustic guitar. The test results show that the implementation of the autocorrelation method in the solo instrument tone transcription application has an accuracy of 92.85%.

Performing on Acoustic Guitar in the Fingerstyle Technique: Historical and Methodical Aspects

The article analyzes the theory and practice of acoustic guitar performing in the fingerstyle – a special technique of playing simultaneously conducting several parts (solo, rhythm and bass). This style, turning the guitar into a kind of “orchestra in miniature”, significantly expands the range of expressive possibilities of the musician-guitarist, allowing him to fully reveal the content of the performed works. Along with a discussion of the prerequisites to the emergence of an acoustic guitar as a musical instrument and show its evolution in the development process, authors provide a brief historical background on the origins and causes of fingerstyle, characteristics of sound and sound production methods, activities of its developers and popularizers, the content of the tutorial for the fingerstyle guitarist. Special attention is paid to the characteristics of the original author’s methods of performing this style. Among them: a complex reception from a pinch and a slap and a “phantom pick” for the thumb (without using the “claw”). The necessity of their application is justified, the technique of performance and the achieved results of these methods of sound extraction are described in detail. The article describes the possibilities of using electric sound amplification in the performance of fingerstyle on an acoustic guitar, analyzes the advantages and disadvantages of using various types of sound amplification equipment in a concert performance. Authors emphasize that the connection of these devices when performing fingerstyle creates a number of additional opportunities for enriching the sound, allowing to increase the artistic level of interpretation. The conclusion is made about the prospects for the development of this style. Recommendations are given for solving specific technological problems for guitarists who use fingerstyle in concert practice, both with and without sound amplification equipment.