Analysis of musical-instrument tones

Risset, Jean‐Claude; Mathews, M. V.

doi:10.1063/1.3035399

Cited by 93 publications

(41 citation statements)

References 15 publications

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“…In these techniques, a given sound is analyzed, the analysis data can be altered and a mutation of the original sound is then resynthesized from the altered data. Jean-Claude Risset was a pioneer in analysisresynthesis (Risset, 1966, Risset & Mathews, 1969, as Vaggione pointed out in the program notes of the piece:…”

Section: Préludes Suspendusmentioning

confidence: 98%

The art of articulation: The electroacoustic music of Horacio Vaggione

Roads¹

2005

Contemporary Music Review

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The composition of music has evolved into an interactive process of directly sculpting sound morphologies on multiple time scales. A prime example is the electroacoustic music of Horacio Vaggione. This music's complexity and subtlety challenges mere textual description, posing formidable problems of discourse. This article traces the aesthetic and technical path followed by the composer during his career, and in so doing begins the task of developing a new analytical vocabulary. Fortunately, Professor Vaggione has written a considerable amount about his aesthetic approach. For this article, I have relied on Vaggione's texts as well as his extensive comments on a draft of this article.The composition of music has evolved into an interactive process of directly sculpting sound morphologies on multiple time scales. A prime example is the electroacoustic music of Horacio Vaggione, whose music's complexity and subtlety challenges mere textual description, posing formidable problems of discourse. This study traces the aesthetic and technical path followed by the composer during his career. In so doing, it begins the task of developing a new analytical vocabulary. Fortunately, Professor Vaggione has written a considerable amount about his aesthetic approach (Vaggione, At an early stage of his career, Vaggione recognized the pertinence to composition of emerging digital technology. Computers capable of generating sound were very rare in the 1960s. It required unusual persistence to gain the necessary programming

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Section: Préludes Suspendusmentioning

confidence: 98%

The art of articulation: The electroacoustic music of Horacio Vaggione

Roads¹

2005

Contemporary Music Review

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“…• Synthèse additive : Cette technique est à la base des premières explorations et découvertes sur le timbre instrumental [Risset 1969, Risset 1982 Dans la littérature des instruments de musique à son entretenu (violon, flute, clarinette), on trouve souvent des modèles de synthèse sonores hybrides, combinant les qualités des deux approches physique et signal [Kronland-Martinet 2001]. Ce type de synthèse suppose de découpler au niveau de l'instrument la partie source de la partie émettrice du son.…”

Section: Approche Signal : L'analyse/synthèseunclassified

The influence of cellist's postural movements on their musical expressivity

Roze

Aramaki

Kronland‐Martinet

et al. 2017

The Journal of the Acoustical Society of America

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RemerciementsAvant de présenter ce travail de thèse, je souhaiterais remercier toutes les personnes ayant contribué de près ou de loin à la réalisation de ce projet. A commencer par mes parents pour leur soutien indéfectible, qui ont toujours su garder foi en moi malgré des choix de vie différents de leurs prévisions. Merci aussi à Pascal Gobin, professeur d'électroacoustique au conservatoire de Marseille, sans qui je n'aurais jamais eu connaissance des opportunités de recherche en acoustique instrumentale. Cela faisait longtemps en effet que je nourrissais l'envie de pouvoir mettre mes compétences scientifiques au service d'un instrument de musique devenu ma passion depuis huit ans maintenant : le violoncelle. L'opportunité m'en a été donnée grâce à l'équipe très chaleureuse de chercheurs qui m'ont accueilli et fait confiance pour entreprendre ce projet de thèse : ma directrice de thèse tout d'abord, Sølvi, dont la bonne humeur et patience à mon égard ont toujours été d'un grand soutien, surtout dans les périodes initiales et finales de la thèse... Richard ensuite, dont l'expérience et la justesse de raisonnement, m'ont bien souvent laissé admiratif. Et bien sûr Mitsuko dont les capacités d'écoute réactive et les point de vue avisés m'ont énormément apporté, notamment lors de la rédaction des articles scientifiques. Merci vraiment à cette équipe de trois encadrants aux grandes qualités humaines, pour être si investis, passionnés et ouverts sur les autres. A propos de qualité humaine, j'adresse un remerciement tout particulier à Pascal Campion de l'école doctorale ED353, pour son excellente écoute, ses précieux conseils et sa compréhension des fragilités individuelles.

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“…It can be ohserved that the altered time relationships created by backwards playing of a series of transient sounds (such as speech) affect th<' quality. Risset and Matthews (1969) noted that piano music played backwards has a different quality than when played forwards. They suggested that backward-played speech may likewise be more distant from the expected sound than would be generally assumed on the basis of simple spectral composition.…”

Section: Analysis Of Voice Qualitymentioning

confidence: 99%

A comparative study of the relative incidence of various vocal parameters among Black and white college females

Jacobs

2000

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The purpose of this study was to make a comparative investigation of the voice quality of black and white women. A review of the literature revealed considerable research has been conducted in the area of black-white language differences in the United States, but 2) Can ethnic group identity be ascertained according to perception of voice quality more often than expected by chance?Indexical information on the subjects was collected for the following variables: 1) age, 2) length of longest sustained phonation, 3) optimum pitch, 4) modal pitch, 5) relationship of modal pitch to optimum pitch, 6) lowest possible pitch, 7) highest possible pitch, and 8) pitch range in semitones. The data analysis revealed no statistically significant differences between black and white women regarding these variables.In the experiment involving the JHVP, fifty samples of women's voices {twenty-five Blacks and twenty-five Whites) were submitted to listener analyses of voice quality by ten women judges, two of whom were trained speech pathologists and eight were in training at the graduate level in speech pathology. The voice samples were heard by reverse audio tape playback to eliminate dialectical differences. The validity of the ratings of the J1IVP is questionable, based on the poor inter-judge reliability. Recognizing this qualification, the ratings were nevertheless submitted to data analysis with the following results: Statistically significant differences observed were that black women were more often rated as too low-pitched during speech, hyponasal, and more "severe," while white women were more often rated as too soft and too breathy. No difference in the incidence of perceived hoarseness was fom1d.In Uw second experiment, brief segments of each of the fifty women's voices were presented by reversed playback in a randomized order for a forced listener choice of ethnic identity: Black or White.The results indicated such identity could not be made at a greater than chance level.

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Analysis of musical-instrument tones

Abstract: POWERFUL NEW METHODS are now available for the study of tone quality of both existing and new instruments. The new methods involve both new tools (primarily computers) and new applications of experimental psychology (psychophysics and subjective judgments).

Cited by 93 publications

References 15 publications

The art of articulation: The electroacoustic music of Horacio Vaggione

The art of articulation: The electroacoustic music of Horacio Vaggione

The influence of cellist's postural movements on their musical expressivity

A comparative study of the relative incidence of various vocal parameters among Black and white college females

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