Combination Tones and Other Related Auditory Phenomena
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AP Music Theory Course Description Audio Files ”
MusIc Theory Course Description e ffective Fall 2 0 1 2 AP Course Descriptions are updated regularly. Please visit AP Central® (apcentral.collegeboard.org) to determine whether a more recent Course Description PDF is available. The College Board The College Board is a mission-driven not-for-profit organization that connects students to college success and opportunity. Founded in 1900, the College Board was created to expand access to higher education. Today, the membership association is made up of more than 5,900 of the world’s leading educational institutions and is dedicated to promoting excellence and equity in education. Each year, the College Board helps more than seven million students prepare for a successful transition to college through programs and services in college readiness and college success — including the SAT® and the Advanced Placement Program®. The organization also serves the education community through research and advocacy on behalf of students, educators, and schools. For further information, visit www.collegeboard.org. AP Equity and Access Policy The College Board strongly encourages educators to make equitable access a guiding principle for their AP programs by giving all willing and academically prepared students the opportunity to participate in AP. We encourage the elimination of barriers that restrict access to AP for students from ethnic, racial, and socioeconomic groups that have been traditionally underserved. Schools should make every effort to ensure their AP classes reflect the diversity of their student population. The College Board also believes that all students should have access to academically challenging course work before they enroll in AP classes, which can prepare them for AP success. -
Comparison of Procedures for Determination of Acoustic Nonlinearity of Some Inhomogeneous Materials
Downloaded from orbit.dtu.dk on: Dec 17, 2017 Comparison of procedures for determination of acoustic nonlinearity of some inhomogeneous materials Jensen, Leif Bjørnø Published in: Acoustical Society of America. Journal Link to article, DOI: 10.1121/1.2020879 Publication date: 1983 Document Version Publisher's PDF, also known as Version of record Link back to DTU Orbit Citation (APA): Jensen, L. B. (1983). Comparison of procedures for determination of acoustic nonlinearity of some inhomogeneous materials. Acoustical Society of America. Journal, 74(S1), S27-S27. DOI: 10.1121/1.2020879 General rights Copyright and moral rights for the publications made accessible in the public portal are retained by the authors and/or other copyright owners and it is a condition of accessing publications that users recognise and abide by the legal requirements associated with these rights. • Users may download and print one copy of any publication from the public portal for the purpose of private study or research. • You may not further distribute the material or use it for any profit-making activity or commercial gain • You may freely distribute the URL identifying the publication in the public portal If you believe that this document breaches copyright please contact us providing details, and we will remove access to the work immediately and investigate your claim. PROGRAM OF The 106thMeeting of the AcousticalSociety of America Town and CountryHotel © San Diego, California © 7-11 November1983 TUESDAY MORNING, 8 NOVEMBER 1983 SENATE/COMMITTEEROOMS, 8:30 A.M. TO 12:10P.M. Session A. Underwater Acoustics: Arctic Acoustics I William Mosely,Chairman Naval ResearchLaboratory, Washington, DC 20375 Chairman's Introductions8:30 Invited Papers 8:35 A1. -
Tutorial #5 Solutions
Name: Other group members: Tutorial #5 Solutions PHYS 1240: Sound and Music Friday, July 19, 2019 Instructions: Work in groups of 3 or 4 to answer the following questions. Write your solu- tions on this copy of the tutorial|each person should have their own copy, but make sure you agree on everything as a group. When you're finished, keep this copy of your tutorial for reference|no need to turn it in (grades are based on participation, not accuracy). 1. When telephones were first being developed by Bell Labs, they realized it would not be feasible to have them detect all frequencies over the human audible range (20 Hz - 20 kHz). Instead, they defined a frequency response so that the highest-pitched sounds telephones could receive is 3400 Hz and lowest-pitched sounds they could detect are at 340 Hz, which saved on costs considerably. a) Assume the temperature in air is 15◦C. How large are the biggest and smallest wavelengths of sound in air that telephones are able to receive? We can find the wavelength from the formula v = λf, but first we'll need the speed: v = 331 + (0:6 × 15◦C) = 340 m/s Now, we find the wavelengths for the two ends of the frequency range given: v 340 m/s λ = = = 0.1 m smallest f 3400 Hz v 340 m/s λ = = = 1 m largest f 340 Hz Therefore, perhaps surprisingly, telephones can pick up sound waves up to a meter long, but they won't detect waves as small as the ear receiver itself. -
L Atdment OFFICF QO9ENT ROOM 36
*;JiQYL~dW~llbk~ieira - - ~-- -, - ., · LAtDMENT OFFICF QO9ENT ROOM 36 ?ESEARC L0ORATORY OF RL C.f:'__ . /j16baV"BLI:1!S INSTITUTE 0i'7Cn' / PERCEPTION OF MUSICAL INTERVALS: EVIDENCE FOR THE CENTRAL ORIGIN OF THE PITCH OF COMPLEX TONES ADRIANUS J. M. HOUTSMA JULIUS L. GOLDSTEIN LO N OPY TECHNICAL REPORT 484 OCTOBER I, 1971 MASSACHUSETTS INSTITUTE OF TECHNOLOGY RESEARCH LABORATORY OF ELECTRONICS CAMBRIDGE, MASSACHUSETTS 02139 The Research Laboratory of Electronics is an interdepartmental laboratory in which faculty members and graduate students from numerous academic departments conduct research. The research reported in this document was made possible in part by support extended the Massachusetts Institute of Tech- nology, Research Laboratory of Electronics, by the JOINT SER- VICES ELECTRONICS PROGRAMS (U. S. Army, U. S. Navy, and U.S. Air Force) under Contract No. DAAB07-71-C-0300, and by the National Institutes of Health (Grant 5 PO1 GM14940-05). Requestors having DOD contracts or grants should apply for copies of technical reports to the Defense Documentation Center, Cameron Station, Alexandria, Virginia 22314; all others should apply to the Clearinghouse for Federal Scientific and Technical Information, Sills Building, 5285 Port Royal Road, Springfield, Virginia 22151. THIS DOCUMENT HAS BEEN APPROVED FOR PUBLIC RELEASE AND SALE; ITS DISTRIBUTION IS UNLIMITED. MASSACHUSETTS INSTITUTE OF TECHNOLOGY RESEARCH LABORATORY OF ELECTRONICS Technical Report 484 October 1, 1971 PERCEPTION OF MUSICAL INTERVALS: EVIDENCE FOR THE CENTRAL ORIGIN OF COMPLEX TONES Adrianus J. M. Houtsma and Julius L. Goldstein This report is based on a thesis by A. J. M. Houtsma submitted to the Department of Electrical Engineering at the Massachusetts Institute of Technology, June 1971, in partial fulfillment of the requirements for the degree of Doctor of Philosophy. -
Proquest Dissertations
A comparison of embellishments in performances of bebop with those in the music of Chopin Item Type text; Thesis-Reproduction (electronic) Authors Mitchell, David William, 1960- Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 03/10/2021 23:23:11 Link to Item http://hdl.handle.net/10150/278257 INFORMATION TO USERS This manuscript has been reproduced from the miaofillm master. UMI films the text directly fi^om the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be fi-om any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand corner and contLDuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book. -
Large Scale Sound Installation Design: Psychoacoustic Stimulation
LARGE SCALE SOUND INSTALLATION DESIGN: PSYCHOACOUSTIC STIMULATION An Interactive Qualifying Project Report submitted to the Faculty of the WORCESTER POLYTECHNIC INSTITUTE in partial fulfillment of the requirements for the Degree of Bachelor of Science by Taylor H. Andrews, CS 2012 Mark E. Hayden, ECE 2012 Date: 16 December 2010 Professor Frederick W. Bianchi, Advisor Abstract The brain performs a vast amount of processing to translate the raw frequency content of incoming acoustic stimuli into the perceptual equivalent. Psychoacoustic processing can result in pitches and beats being “heard” that do not physically exist in the medium. These psychoac- oustic effects were researched and then applied in a large scale sound design. The constructed installations and acoustic stimuli were designed specifically to combat sensory atrophy by exer- cising and reinforcing the listeners’ perceptual skills. i Table of Contents Abstract ............................................................................................................................................ i Table of Contents ............................................................................................................................ ii Table of Figures ............................................................................................................................. iii Table of Tables .............................................................................................................................. iv Chapter 1: Introduction ................................................................................................................. -
Listening to String Sound: a Pedagogical Approach To
LISTENING TO STRING SOUND: A PEDAGOGICAL APPROACH TO EXPLORING THE COMPLEXITIES OF VIOLA TONE PRODUCTION by MARIA KINDT (Under the Direction of Maggie Snyder) ABSTRACT String tone acoustics is a topic that has been largely overlooked in pedagogical settings. This document aims to illuminate the benefits of a general knowledge of practical acoustic science to inform teaching and performance practice. With an emphasis on viola tone production, the document introduces aspects of current physical science and psychoacoustics, combined with established pedagogy to help students and teachers gain a richer and more comprehensive view into aspects of tone production. The document serves as a guide to demonstrate areas where knowledge of the practical science can improve on playing technique and listening skills. The document is divided into three main sections and is framed in a way that is useful for beginning, intermediate, and advanced string students. The first section introduces basic principles of sound, further delving into complex string tone and the mechanism of the violin and viola. The second section focuses on psychoacoustics and how it relates to the interpretation of string sound. The third section covers some of the pedagogical applications of the practical science in performance practice. A sampling of spectral analysis throughout the document demonstrates visually some of the relevant topics. Exercises for informing intonation practices utilizing combination tones are also included. INDEX WORDS: string tone acoustics, psychoacoustics, -
24.0101 Semester: Departmental Syllabus Course Title
SYLLABUS DATE OF LAST REVIEW: 12/2019 CIP CODE: 24.0101 SEMESTER: DEPARTMENTAL SYLLABUS COURSE TITLE: Music Theory II COURSE NUMBER: MUSC0112 CREDIT HOURS: 4 INSTRUCTOR: DEPARTMENTAL SYLLABUS OFFICE LOCATION: DEPARTMENTAL SYLLABUS OFFICE HOURS: DEPARTMENTAL SYLLABUS TELEPHONE: DEPARTMENTAL SYLLABUS EMAIL: DEPARTMENTAL SYLLABUS KCKCC issued email accounts are the official means for electronically communicating with our students. PREREQUISITES: MUSC0111 Music Theory I KRSN: MUS1030 The learning outcomes and competencies detailed in this course outline or syllabus meet or exceed the learning outcomes and competencies specified by the Kansas Core Outcomes Groups project for this course as approved by the Kansas Board of Regents. REQUIRED TEXT AND MATERIALS: Please check with the KCKCC bookstore, http://www.kckccbookstore.com/, for the required texts for your particular class. COURSE DESCRIPTION: The purpose of this course is to continue the studies begun in Music Theory I. This course will complete the study of diatonic harmony. Topics covered will include inversions and seventh chords, non-harmonic tones, and diatonic modulation, and elements of musicianship including sightsinging, dictation, rhythm, and keyboard skills. METHOD OF INSTRUCTION: A variety of instructional methods may be used depending on content area. These include but are not limited to: lecture, multimedia, cooperative/collaborative learning, labs and demonstrations, projects and presentations, speeches, debates, and panels, conferencing, performances, and learning experiences outside the classroom. Methodology will be selected to best meet student needs. COURSE OUTLINE: I. First inversion chords A. Close structure in first inversion triads B. Open structure in first inversion triads C. Neutral structure in first inversion triads D. Successive first inversion triads II. -
COMBINATION TONES in VIOLINS Angela Lohri, Sandra Carral And
Proceedings of the Second Vienna Talk, Sept. 19−21, 2010, University of Music and Performing Arts Vienna, Austria COMBINATION TONES IN VIOLINS Angela Lohri, Sandra Carral and Vasileios Chatziioannou Institute of Musical Acoustics and International Centre of Harmonics University of Music and Performing Arts Vienna, Austria [email protected] ABSTRACT two different instruments, generated a third tone, in Tartini’s In this study we investigate the appearance of combination words “terzo suono”. He observed that, lying lower than the tones in violins. Most modern textbooks emphasise that played interval, the third tone acted like a bass giving the combination tones occur inside the ear exclusively (intra- interval a third dimension, a subtle harmonic context.[1], pp. 13- aural). In this study this assumption will be subjected to 17. Tartini, not only a genius musician but also a genius thinker, scrutiny based on evidence found in an empirical study, in wrote down the detected correlations between mathematics and which combination tones were measured outside the ear the third tones in his book Trattato di musica secondo la vera (extra-aural). scienza dell’armonia (“Treatise on Music according to the True Science of Harmony”). His insights about the principles of the An experiment was performed in which a violinist played third tone had a significant influence on the development of two tones of a particular musical interval simultaneously. music theory. Tartini’s discovery opened up entirely new This was recorded and subsequently analysed using a possibilities of how sound quality can be understood and Fourier Transformation. In addition to the partial tones of realized by practising musicians. -
Danville Area School District Course Overview Course: Music Theory II Teacher: Mr. Egger Course Introduction: Music Theo
Danville Area School District Course Overview Course: Music Theory II Teacher: Mr. Egger Course Introduction: Course Text or Student Materials: Music Theory II will provide an upper-level exploration of music The Understanding and Application of Harmony - A Workbook Approach theory, including composition styles and periods. The course will culminate in a creative opportunity for an original composition. Units of Study: Student Objectives: Standards/Anchors: Unit Six – Triad Inversion and Figured Bass Students will be able to construct a four-part 9.1. Production, Performance and Exhibition of A. Figured Bass Interpretation (SATB) progression in a major and/or minor Dance, Music, Theatre and Visual Arts B. First Inversion Triads key utilizing the theoretical harmony of the C. Assignment Sixteen – Progressions with common practice period (c.1600 to 1900). 9.1.12A Know and use the elements and First Inversion Triads principles of each art form to create works in D. Second Inversion Triads the arts and humanities. Elements – Music: E. Cadential 6/4 duration, intensity, pitch and timbre. F. Passing 6/4 Principles – Music: composition, form, genre, G. Arpeggio 6/4 harmony, rhythm and texture. H. Pedal 6/4 I. Auxiliary 6/4 9.1.12B Recognize, know, use and J. Appoggiatura 6/4 demonstrate a variety of appropriate arts K. Assignment Seventeen – Progressions elements and principles to produce, review and with First and Second Inversion Triads revise original works in the arts. Music: sing, play an instrument, read and notate music, Unit Seven – Progression and Cadence compose and arrange, improvise. A. Primary Framework – I IV V I B. -
Automatic Determination of Chord Roots
University of Innsbruck Institute of Computer Science Intelligent and Interactive Systems Automatic Determination of Chord Roots Samuel Rupprechter arXiv:1601.02546v1 [cs.SD] 11 Jan 2016 B.Sc. Thesis Supervisor: Univ.-Prof. Dr. Justus Piater 12th January 2016 Abstract Even though chord roots constitute a fundamental concept in music theory, existing models do not explain and determine them to full satisfaction. We present a new method which takes sequential context into account to resolve ambiguities and detect nonharmonic tones. We extract features from chord pairs and use a decision tree to determine chord roots. This leads to a quantitative improvement in correctness of the predicted roots in comparison to other models. All this raises the question how much harmonic and nonharmonic tones actually contribute to the perception of chord roots. i ii Contents Abstract i Contents iii List of Figures v List of Tables vii Declaration ix 1 Introduction 1 1.1 Motivation . .1 1.2 Goals . .1 1.3 Overview . .2 2 Music Theory 3 2.1 Basic Music Theory . .3 2.1.1 Musical Notation . .3 2.1.2 Notes and Pitches . .4 2.1.3 Rhythm . .4 2.1.4 Intervals . .5 2.2 Chords . .5 2.2.1 Nonharmonic Tones . .6 2.3 Chord Roots . .6 3 Determination of Chord Roots 9 3.1 Constructing Chords . .9 3.2 Existing Models . .9 3.2.1 Stacking Thirds . .9 3.2.2 Ernst Terhardt . 10 3.2.3 Richard Parncutt . 10 3.3 A New Model . 11 3.3.1 Assumptions and Representation . 11 3.3.2 Definition . -
A. Acoustic Theory and Modeling of the Vocal Tract
A. Acoustic Theory and Modeling of the Vocal Tract by H.W. Strube, Drittes Physikalisches Institut, Universität Göttingen A.l Introduction This appendix is intended for those readers who want to inform themselves about the mathematical treatment of the vocal-tract acoustics and about its modeling in the time and frequency domains. Apart from providing a funda mental understanding, this is required for all applications and investigations concerned with the relationship between geometric and acoustic properties of the vocal tract, such as articulatory synthesis, determination of the tract shape from acoustic quantities, inverse filtering, etc. Historically, the formants of speech were conjectured to be resonances of cavities in the vocal tract. In the case of a narrow constriction at or near the lips, such as for the vowel [uJ, the volume of the tract can be considered a Helmholtz resonator (the glottis is assumed almost closed). However, this can only explain the first formant. Also, the constriction - if any - is usu ally situated farther back. Then the tract may be roughly approximated as a cascade of two resonators, accounting for two formants. But all these approx imations by discrete cavities proved unrealistic. Thus researchers have have now adopted a more reasonable description of the vocal tract as a nonuni form acoustical transmission line. This can explain an infinite number of res onances, of which, however, only the first 2 to 4 are of phonetic importance. Depending on the kind of sound, the tube system has different topology: • for vowel-like sounds, pharynx and mouth form one tube; • for nasalized vowels, the tube is branched, with transmission from pharynx through mouth and nose; • for nasal consonants, transmission is through pharynx and nose, with the closed mouth tract as a "shunt" line.