DOCSLIB.ORG

Music Technology Grade 6

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Music Technology Grade 6 MUSIC TECHNOLOGY GRADE 6 THE EWING PUBLIC SCHOOLS 2099 Pennington Road Ewing, NJ 08618 Revision Date: February 25, 2019__ Michael Nitti Written by: Music Teachers Superintendent In accordance with The Ewing Public Schools’ Policy 2230, Course Guides, this curriculum has been reviewed and found to be in compliance with all policies and all affirmative action criteria. Table of Contents Page Preface 3 21st Century Life and Careers 4 Scope of Essential Learning: Unit 1: Introduction to Music Technology (9 Class Sessions) 5 Unit 2: Acoustics: The Science of Sound (5 Class Sessions) 9 Unit 3: Sound Engineering (12 Class Sessions) 13 Unit 4: The Technology of Music (9 Class Sessions) 16 Unit 5: Final Project Creation (10 Class Sessions) 20 Sample 21st Century, Career, & Technology Integration 23 Preface The purpose of all music courses in The Ewing Public Schools is to develop comprehensive musicianship with a focus on musical literacy. As music educators, we believe all students are musical by nature and have a tremendous potential to learn and enjoy music. While research shows that music helps students to develop higher-order skills and increases desire to learn, our driving goal is to help students become more enlightened and truly alive through a balanced, comprehensive and sequential program of study. The Middle School General Music program allows students to transfer prior knowledge and skills and to explore and develop their musicianship through various units of study. The Music Technology class is a semester-long course offered to 6th graders, every other day for 41 minutes. 3 21st Century Life and Careers In today's global economy, students need to be lifelong learners who have the knowledge and skills to adapt to an evolving workplace and world. To address these demands, Standard 9, 21st Century Life and Careers, which includes the 12 Career Ready Practices, establishes clear guidelines for what students need to know and be able to do in order to be successful in their future careers and to achieve financial independence. The 12 Career Ready Practices These practices outline the skills that all individuals need to have to truly be adaptable, reflective, and proactive in life and careers. These are researched practices that are essential to career readiness. 9.1 Personal Financial Literacy This standard outlines the important fiscal knowledge, habits, and skills that must be mastered in order for students to make informed decisions about personal finance. Financial literacy is an integral component of a student's college and career readiness, enabling students to achieve fulfilling, financially-secure, and successful careers. 9.2 Career Awareness, Exploration, and Preparation This standard outlines the importance of being knowledgeable about one's interests and talents, and being well informed about postsecondary and career options, career planning, and career requirements. 9.3 Career and Technical Education Technology Integration 8.1 Educational Technology All students will use digital tools to access, manage, evaluate, and synthesize information in order to solve problems individually and collaborate and create and communicate knowledge. 8.2 Technology Education, Engineering, Design and Computational Thinking - Programming All students will develop an understanding of the nature and impact of technology, engineering, technological design, computational thinking and the designed world as they relate to the individual, global society, and the environment. ELA Integration The Research Simulation Task requires students to analyze an informational topic through several articles or multimedia stimuli. Students read and respond to a series of questions and synthesize information from multiple sources in order to write an analytic essay. Companion Standards - History, Social Studies, Science and Technical Subjects (6-8) 4 Unit 1: Introduction to Music Technology (9 Class Sessions) Why Is This Unit Important? The technological terms and the skills that are obtained in this unit are essential to the successful completion of this course. It should be noted that some elements of this unit will focus on basic computer skills, which align with the Middle School Computer Technology curriculum and can be incorporated universally in any curricular subject. Enduring Understandings: Students will learn and follow the rules of using the computers (use of technology agreement) in the computer lab. Students will understand and be able to operate a computer monitor, computer, computer mouse and computer keyboard. Students will learn how to log-in successfully on the computer using their student ID number and password. Students will learn about the acceptable use of the internet for purposes of Music Technology class. Students will learn how to create an account on www.edmodo.com and Google Classroom. Students will learn how to retrieve assignments, respond to class discussion questions, and submit class assignments using www.edmodo.com and Google Classroom. Students will learn the concept of a soundscape. Students will be able to identify differences and similarities between varying soundscapes. Students will be able to identify and define terms relating to digital audio editing. Students will learn the concept of loops and multi-track recording/mixing. Essential Questions: How are students expected to behave when using school technology? What are the classroom rules associated with those expectations? What is a computer, monitor, mouse and keyboard? How are they to be used in class? How does a student log-in to a computer? How does a student create an account on edmodo.com (and how does one sign up for the Music Technology class on Edmodo or Google Classroom)? How does a student retrieve assignments on Edmodo or Google Classroom ? How does a student respond to a class discussion on Edmodo or Google Classroom? How does a student submit a class assignment using Edmodo or Google Classroom ? 5 What is a soundscape? What makes up the soundscape in the room? Does it ever change or does it stay the same? What is gain? What is compression? What is panning? What is clipping? What is pitch? What is a synthesizer? What is a microphone? What are headphones? What is audacity? What is a loop? What is a waveform? What is multi-tracking? Acquired Knowledge: Much of the acquired knowledge in Unit 1 will be demonstrated in class. This includes the use of all technology, all rules associated with said devices, and how to use edmodo.com in the classroom. A soundscape is a collection of the sounds heard in a particular location, considered as a whole. Gain is a measure of how much a signal is amplified. Compression is a process that tends to even out the overall volume level. Panning is the spread of a sound signal in speakers or headphones. Clipping is a distortion of sound, usually due to the audio being too loud. Pitch is the frequency of a note. A synthesizer is an electric instrument capable of producing a wide range of sounds. A microphone is a device that converts sound into an electrical signal. Headphones are a pair of small loudspeakers designed to be held in place close to the user’s ears. Audacity is a computer program for audio editing. A loop is a short sample of a sound. A waveform is a visual representation of an audio signal. Multi-tracking is the use of several audio tracks in an audio editor. Acquired Skills: Students will acquire the basic skills required to operate the various electronic devices we will be using in class. Students will acquire the skills required to be able to retrieve and submit assignments using www.edmodo.com. 6 Assessments: Formative assessment: ● Informal observation during discussion ● Writing tasks ● Partner pair share Summative assessment: Quiz – Intro to Music Technology Benchmark assessment: ● Research Simulation Task – Careers in Music Tech Alternative assessment: Modified Quiz NJSLS Standards: 1.1.2.B.1-4 1.1.8.B.2 1.3.P.B.2-3 1.3.8.B.3 1.4.2.A.1 1.4.5.A.1 8.1.2.A.1-3 8.1.2.C.1 8.1.2.E.1 8.1.4.A.1,5 8.1.4.E.1 8.1.8.A.5 8.1.12.A.3 8.2.2.A.1 8.2.2.B.2 8.1.4.C.1 8.1.4.D.2-3 8.1.4.F.1 8.1.12.C.1 8.1.12.D.2 8.1.12.E.1-2 8.2.4.A.1-2 8.2.4.B.2-4 8.1.8.D.2 8.2.8.A.1 8.2.8.B.1 8.2.12.A.1 Instructional Resources: Core: Access to a computer lab Headphones for each student (with a microphone attached) Music Technology Syllabus/Classroom Rules Access to www.edmodo.com Access to Google Classroom List of student usernames/passwords for edmodo.com 7 Supplemental: Unit 1: Assignment 1 (Summer Vacation Soundscape Charades) U1A1 Access to ‘Audacity’ computer application Unit 1: Assignment 2 (Audio Recording Vocabulary Quiz ) U1A2 Access to http://bobbymcferrin.com/just-enough-song/ Access to http://bobbymcferrin.com/dont-worry-be-happy-song/ Access to http://www.schooltube.com/video/bc69c3f3cb614046b440/Beatboxing%2 0Champs Access to http://www.schooltube.com/video/3b38498e579940b5950d/Beatboxing% 20-%20Bobby%20McFarrin Access to http://www.schooltube.com/video/b60436fe7dbc4397405b/Beatboxing% 20flute%20inspector%20gadget%20remix Unit 1: Assignment 3A (Beatboxing Champions) U1A3A Unit 1: Assignment 3B (Bobby McFerrin) U1A3B Unit 1: Assignment 3C (Beatboxing Flute) U1A3C Access to www.incredibox.com Unit 1: Assignment 4 (Incredibox) U1A4 Instructional Strategies: Discuss the rules associated with the use of school technology and the internet. Have students collaborate with others for Assignment U1A1. Discuss the various Audio Recording vocabulary terms. Encourage students to create and share their incredibox creations with the class. Suggested Learning Experiences and Instructional Activities: Anticipatory Sets: Discussion, demonstration, viewing of videos, digital music creation, direct instruction: U1A1 ‘Soundscape Charades’ U1A2 ‘Audio Recording Vocabulary Quiz’ U1A3(A) ‘Beatboxing Champions’ U1A3(B) ‘Bobby McFerrin’ U1A3(C) ‘Beatboxing Flute’ U1A4 ‘Incredibox’ 8 Unit 2: Acoustics: The Science of Sound (5 Class Sessions) Why Is This Unit Important? The scientific concepts that are obtained in this unit relating to sound waves are essential to the successful completion of this course.
Load more

Recommended publications
  • Spotlight Classical Instrumental Rules
    SPOTLIGHT CLASSICAL INSTRUMENTAL RULES WHAT’S REQUIRED OF ME FOR MY CLASSICAL INSTRUMENTAL PRELIMINARY 1 VIDEO AUDITION All students begin with a Preliminary 1 video audition. You will present one piece of music. Those scoring highest will advance to Preliminary 2 live auditions in December 2021. If you advance to Preliminary 2, you will be required to play two solo pieces. Those scoring highest after Preliminary 2 will advance to the Semifinals • For the Preliminary 1 video round, your solo piece must be from the Baroque/ Classical period (1650- 1820 Example: Bach, Mozart, Vivaldi, Beethoven, Haydn, etc.). OR from the Romantic, Impressionistic, or Contemporary period (1820-present Example: Chopin, Tchaikovsky, Debussy, Stravinsky, Bartók, Hindemith, etc.). • For the Preliminary 1 video round, your one piece can be any length. Should you advance to the Preliminary 2, (live audition round), your two pieces must fit within 10-minutes. • Prior performance or competition video is acceptable if filmed within the last 8 months • If you choose a contemporary piece, please email the name of the composer for approval at [email protected]. • Original compositions are not allowed. • You may only apply to this category with one instrument. • Piano: Concertos are not allowed; only solo piano pieces. • All other instruments: Pieces written with accompaniment must be performed with live or pre-recorded accompaniment. • A capella performances of works requiring accompaniment are not allowed. • If you advance to Preliminary 2, you may change your piece for the next round and will be required to perform one piece from the Baroque/Classical period and one from the Romantic, Impressionistic or Contemporary period.
    [Show full text]
  • Young Americans to Emotional Rescue: Selected Meetings
    YOUNG AMERICANS TO EMOTIONAL RESCUE: SELECTING MEETINGS BETWEEN DISCO AND ROCK, 1975-1980 Daniel Kavka A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTER OF MUSIC August 2010 Committee: Jeremy Wallach, Advisor Katherine Meizel © 2010 Daniel Kavka All Rights Reserved iii ABSTRACT Jeremy Wallach, Advisor Disco-rock, composed of disco-influenced recordings by rock artists, was a sub-genre of both disco and rock in the 1970s. Seminal recordings included: David Bowie’s Young Americans; The Rolling Stones’ “Hot Stuff,” “Miss You,” “Dance Pt.1,” and “Emotional Rescue”; KISS’s “Strutter ’78,” and “I Was Made For Lovin’ You”; Rod Stewart’s “Do Ya Think I’m Sexy“; and Elton John’s Thom Bell Sessions and Victim of Love. Though disco-rock was a great commercial success during the disco era, it has received limited acknowledgement in post-disco scholarship. This thesis addresses the lack of existing scholarship pertaining to disco-rock. It examines both disco and disco-rock as products of cultural shifts during the 1970s. Disco was linked to the emergence of underground dance clubs in New York City, while disco-rock resulted from the increased mainstream visibility of disco culture during the mid seventies, as well as rock musicians’ exposure to disco music. My thesis argues for the study of a genre (disco-rock) that has been dismissed as inauthentic and commercial, a trend common to popular music discourse, and one that is linked to previous debates regarding the social value of pop music.
    [Show full text]
  • Pitch Shifting with the Commercially Available Eventide Eclipse: Intended and Unintended Changes to the Speech Signal
    JSLHR Research Note Pitch Shifting With the Commercially Available Eventide Eclipse: Intended and Unintended Changes to the Speech Signal Elizabeth S. Heller Murray,a Ashling A. Lupiani,a Katharine R. Kolin,a Roxanne K. Segina,a and Cara E. Steppa,b,c Purpose: This study details the intended and unintended 5.9% and 21.7% less than expected, based on the portion consequences of pitch shifting with the commercially of shift selected for measurement. The delay between input available Eventide Eclipse. and output signals was an average of 11.1 ms. Trials Method: Ten vocally healthy participants (M = 22.0 years; shifted +100 cents had a longer delay than trials shifted 6 cisgender females, 4 cisgender males) produced a sustained −100 or 0 cents. The first 2 formants (F1, F2) shifted in the /ɑ/, creating an input signal. This input signal was processed direction of the pitch shift, with F1 shifting 6.5% and F2 in near real time by the Eventide Eclipse to create an output shifting 6.0%. signal that was either not shifted (0 cents), shifted +100 cents, Conclusions: The Eventide Eclipse is an accurate pitch- or shifted −100 cents. Shifts occurred either throughout the shifting hardware that can be used to explore voice and entire vocalization or for a 200-ms period after vocal onset. vocal motor control. The pitch-shifting algorithm shifts all Results: Input signals were compared to output signals to frequencies, resulting in a subsequent change in F1 and F2 examine potential changes. Average pitch-shift magnitudes during pitch-shifted trials. Researchers using this device were within 1 cent of the intended pitch shift.
    [Show full text]
  • 3-D Audio Using Loudspeakers
    3-D Audio Using Loudspeakers William G. Gardner B. S., Computer Science and Engineering, Massachusetts Institute of Technology, 1982 M. S., Media Arts and Sciences, Massachusetts Institute of Technology, 1992 Submitted to the Program in Media Arts and Sciences, School of Architecture and Planning in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy at the Massachusetts Institute of Technology September, 1997 © Massachusetts Institute of Technology, 1997. All Rights Reserved. Author Program in Media Arts and Sciences August 8, 1997 Certified by Barry L. Vercoe Professor of Media Arts and Sciences Massachusetts Institute of Technology Accepted by Stephen A. Benton Chair, Departmental Committee on Graduate Students Program in Media Arts and Sciences Massachusetts Institute of Technology 3-D Audio Using Loudspeakers William G. Gardner Submitted to the Program in Media Arts and Sciences, School of Architecture and Planning on August 8, 1997, in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy. Abstract 3-D audio systems, which can surround a listener with sounds at arbitrary locations, are an important part of immersive interfaces. A new approach is presented for implementing 3-D audio using a pair of conventional loudspeakers. The new idea is to use the tracked position of the listener’s head to optimize the acoustical presentation, and thus produce a much more realistic illusion over a larger listening area than existing loudspeaker 3-D audio systems. By using a remote head tracker, for instance based on computer vision, an immersive audio environment can be created without donning headphones or other equipment.
    [Show full text]
  • Introduction to Music Theory
    Introduction to Music Theory This pdf is a good starting point for those who are unfamiliar with some of the key ​ concepts of music theory. Reading musical notation Musical notation (also called a score) is a visual representation of the pitched notes ​ ​ heard in a piece of music represented by dots over a set of horizontal staves. In the top ​ ​ example the symbol to the left of the notes is called a treble clef and in the bottom ​ ​ example is called a bass clef. ​ ​ People often like to use a mnemonic to help remember the order of notes on each clef, ​ ​ here is an example. ​ Intervals An interval is the difference in pitch between two notes as defined by the distance ​ ​ ​ between the two notes. The easiest way to visualise this distance is by thinking of the notes on a piano keyboard. For example, on a C major scale, the interval from C to E is ​ ​ a 3rd and the interval from C to G is a 5th. Click here for some more interval examples. ​ ​ It is also common for an increase by one interval to be called a half­step, or ​ ​ ​ ​ semi­tone, and an increase by two intervals to be called a whole step, or tone. ​ ​ ​ ​ ​ ​ ​ Joe Rees­Jones, University of York, Department of Electronics 19/08/2016 Major and minor scales A scale is a set of notes from which melodies and harmonies are constructed. There are two main subgroups of scales: Major and minor. The type of scale is dependant on the ​ ​ ​ ​ intervals between the notes: Major scale ­ Tone, Tone, Semi­tone, Tone, Tone, Tone, Semi­tone ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ Minor scale ­ Tone, Semi­tone, Tone, Tone, Semi­tone, Tone, Tone ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ For example (by visualising a keyboard) the notes in C Major are: CDEFGAB, and C Minor are: CDE♭FGA♭B♭.
    [Show full text]
  • Secondary Instrumental Summer Resources Week
    SECONDARY INSTRUMENTAL SUMMER RESOURCES WEEK ONE: Get to know real orchestra musicians in our area: check out the New Haven Symphony’s YouTube channel! https://www.youtube.com/user/NewHavenSymphony/videos Make sure to check to see if one of them plays your ​ instrument! WEEK TWO: Watch this orchestra performance and click around to change which families of instruments you see: https://play.lso.co.uk/performances/Berlioz-Symphonie-Fantastique See if you can find your instrument and follow ​ along with their part in the music! WEEK THREE: Have you ever been conducted by someone great? (Besides Barkon, Socha, Gunn, Rothbard?) Here is a short video where you can watch some of today’s greatest conductors rehearsing their groups. See, it’s not just your teachers that work their instrumentalists hard! https://www.youtube.com/watch?v=0otfQGoU13U ​ WEEK FOUR: Are orchestral instruments still relevant today? Check out BLACK VIOLINS - an amazing duo who will help you to see that once you learn an instrument, there are no limits! https://www.youtube.com/watch?v=9I-_jWchUeA ​ WEEK FIVE: This week, check out all the videos some examples of “found sound” in this playlist: https://www.youtube.com/playlist?list=PL3Nl9lAEaSN7baBC4yeSQLKPMgvxpr9Pi. ​ Let the videos give you ideas for using things around your house to create sounds. Play along with your favorite songs, or make up your own music, using objects and things you have around your home. WEEK SIX: Line Riders ride to classical music. We have lots of videos posted combining a popular game with some great music. This is a great way to “see” the music in a different way! Take a look here: https://www.youtube.com/playlist?list=PL3Nl9lAEaSN4_Xd-0DE_ZeViotAwcu4Mi WEEK SEVEN: Watch some amazing instrumentalists solo on their instruments.
    [Show full text]
  • 1 "Disco Madness: Walter Gibbons and the Legacy of Turntablism and Remixology" Tim Lawrence Journal of Popular Music S
    "Disco Madness: Walter Gibbons and the Legacy of Turntablism and Remixology" Tim Lawrence Journal of Popular Music Studies, 20, 3, 2008, 276-329 This story begins with a skinny white DJ mixing between the breaks of obscure Motown records with the ambidextrous intensity of an octopus on speed. It closes with the same man, debilitated and virtually blind, fumbling for gospel records as he spins up eternal hope in a fading dusk. In between Walter Gibbons worked as a cutting-edge discotheque DJ and remixer who, thanks to his pioneering reel-to-reel edits and contribution to the development of the twelve-inch single, revealed the immanent synergy that ran between the dance floor, the DJ booth and the recording studio. Gibbons started to mix between the breaks of disco and funk records around the same time DJ Kool Herc began to test the technique in the Bronx, and the disco spinner was as technically precise as Grandmaster Flash, even if the spinners directed their deft handiwork to differing ends. It would make sense, then, for Gibbons to be considered alongside these and other towering figures in the pantheon of turntablism, but he died in virtual anonymity in 1994, and his groundbreaking contribution to the intersecting arts of DJing and remixology has yet to register beyond disco aficionados.1 There is nothing mysterious about Gibbons's low profile. First, he operated in a culture that has been ridiculed and reviled since the "disco sucks" backlash peaked with the symbolic detonation of 40,000 disco records in the summer of 1979.
    [Show full text]
  • Designing Empowering Vocal and Tangible Interaction
    Designing Empowering Vocal and Tangible Interaction Anders-Petter Andersson Birgitta Cappelen Institute of Design Institute of Design AHO, Oslo AHO, Oslo Norway Norway [email protected] [email protected] ABSTRACT on observations in the research project RHYME for the last 2 Our voice and body are important parts of our self-experience, years and on work with families with children and adults with and our communication and relational possibilities. They severe disabilities prior to that. gradually become more important for Interaction Design due to Our approach is multidisciplinary and based on earlier studies increased development of tangible interaction and mobile of voice in resource-oriented Music and Health research and communication. In this paper we present and discuss our work the work on voice by music therapists. Further, more studies with voice and tangible interaction in our ongoing research and design methods in the fields of Tangible Interaction in project RHYME. The goal is to improve health for families, Interaction Design [10], voice recognition and generative sound adults and children with disabilities through use of synthesis in Computer Music [22, 31], and Interactive Music collaborative, musical, tangible media. We build on the use of [1] for interacting persons with layman expertise in everyday voice in Music Therapy and on a humanistic health approach. situations. Our challenge is to design vocal and tangible interactive media Our results point toward empowered participants, who that through use reduce isolation and passivity and increase interact with the vocal and tangible interactive designs [5]. empowerment for the users. We use sound recognition, Observations and interviews show increased communication generative sound synthesis, vibrations and cross-media abilities, social interaction and improved health [29].
    [Show full text]
  • Awards & Nominations 2
    Sultans of String – Awards • 2015 JUNO Award Nominees for "Instrumental Album of the Year" – Symphony! • 2014 SIRIUSXM Independent Music Awards Winner- World Group of the Year • 2014 IMA Independent Music Award Winner – Instrumental Song - "Josie" • 2014 IMA Independent Music Vox Pop Award - Music Producer - Symphony! -Chris McKhool • 2013 ISC International Songwriting Competition- Instrumental category - "Monti's Revenge" • 2013 Folk Music Ontario- Songs of the Heart Winner - Instrumental category - "Monti's Revenge" • 2013 Festivals & Events- Performer of The Year • 2013 Queen’s Diamond Jubilee Medal for bandleader Chris McKhool • 2013 SiriusXM Canadian Indie Awards Nominee for World Group of the Year • 2012 Canadian Folk Music Awards winners– World Music Group of the Year • 2012 Canadian Folk Music Awards nominees – Instrumental Group & Pushing the Boundaries • 2012 Canadian Folk Music Award nominee- Producer of the Year for Chris McKhool • 2012 OCFF Songs of the Heart Winner • 2012 Festivals & Events- Entertainer of The Year • 2011 Ontario Contact - Artist of the Year • 2011 International Acoustic Music Awards Finalist – Instrumental • 2011 Independent Music Award 2x Finalist – Instrumental Album & World Beat Album - Yalla Yalla! • 2011 ISC International Songwriting Competition 2x Finalist- Instrumental & World Music categories • 2010 JUNO Award Nominees for "Instrumental Album of the Year" - Yalla Yalla! • 2010 Canadian Independent Music Awards nominees- Favourite World Artist/Group • 2009 International Songwriting Competition (ISC)
    [Show full text]
  • How to Effectively Listen and Enjoy a Classical Music Concert
    HOW TO EFFECTIVELY LISTEN AND ENJOY A CLASSICAL MUSIC CONCERT 1. INTRODUCTION Hearing live music is one of the most pleasurable experiences available to human beings. The music sounds great, it feels great, and you get to watch the musicians as they create it. No matter what kind of music you love, try listening to it live. This guide focuses on classical music, a tradition that originated before recordings, radio, and the Internet, back when all music was live music. In those days live human beings performed for other live human beings, with everybody together in the same room. When heard in this way, classical music can have a special excitement. Hearing classical music in a concert can leave you feeling refreshed and energized. It can be fun. It can be romantic. It can be spiritual. It can also scare you to death. Classical music concerts can seem like snobby affairs full of foreign terminology and peculiar behavior. It can be hard to understand what’s going on. It can be hard to know how to act. Not to worry. Concerts are no weirder than any other pastime, and the rules of behavior are much simpler and easier to understand than, say, the stock market, football, or system software upgrades. If you haven’t been to a live concert before, or if you’ve been baffled by concerts, this guide will explain the rigmarole so you can relax and enjoy the music. 2. THE LISTENER'S JOB DESCRIPTION Classical music concerts can seem intimidating. It seems like you have to know a lot.
    [Show full text]
  • Pitch-Shifting Algorithm Design and Applications in Music
    DEGREE PROJECT IN ELECTRICAL ENGINEERING, SECOND CYCLE, 30 CREDITS STOCKHOLM, SWEDEN 2019 Pitch-shifting algorithm design and applications in music THÉO ROYER KTH ROYAL INSTITUTE OF TECHNOLOGY SCHOOL OF ELECTRICAL ENGINEERING AND COMPUTER SCIENCE ii Abstract Pitch-shifting lowers or increases the pitch of an audio recording. This technique has been used in recording studios since the 1960s, many Beatles tracks being produced using analog pitch-shifting effects. With the advent of the first digital pitch-shifting hardware in the 1970s, this technique became essential in music production. Nowa- days, it is massively used in popular music for pitch correction or other creative pur- poses. With the improvement of mixing and mastering processes, the recent focus in the audio industry has been placed on the high quality of pitch-shifting tools. As a consequence, current state-of-the-art literature algorithms are often outperformed by the best commercial algorithms. Unfortunately, these commercial algorithms are ”black boxes” which are very complicated to reverse engineer. In this master thesis, state-of-the-art pitch-shifting techniques found in the liter- ature are evaluated, attaching great importance to audio quality on musical signals. Time domain and frequency domain methods are studied and tested on a wide range of audio signals. Two offline implementations of the most promising algorithms are proposed with novel features. Pitch Synchronous Overlap and Add (PSOLA), a sim- ple time domain algorithm, is used to create pitch-shifting, formant-shifting, pitch correction and chorus effects on voice and monophonic signals. Phase vocoder, a more complex frequency domain algorithm, is combined with high quality spec- tral envelope estimation and harmonic-percussive separation to design a polyvalent pitch-shifting and formant-shifting algorithm.
    [Show full text]
  • Effects List
    Effects List Multi-Effects Parameters (MFX1–3, MFX) The multi-effects feature 78 different kinds of effects. Some of the effects consist of two or more different effects connected in series. 67 p. 8 FILTER (10 types) OD->Flg (OVERDRIVE"FLANGER) 68 OD->Dly (OVERDRIVE DELAY) p. 8 01 Equalizer (EQUALIZER) p. 1 " 69 Dist->Cho (DISTORTION CHORUS) p. 8 02 Spectrum (SPECTRUM) p. 2 " 70 Dist->Flg (DISTORTION FLANGER) p. 8 03 Isolator (ISOLATOR) p. 2 " 71 p. 8 04 Low Boost (LOW BOOST) p. 2 Dist->Dly (DISTORTION"DELAY) 05 Super Flt (SUPER FILTER) p. 2 72 Eh->Cho (ENHANCER"CHORUS) p. 8 06 Step Flt (STEP FILTER) p. 2 73 Eh->Flg (ENHANCER"FLANGER) p. 8 07 Enhancer (ENHANCER) p. 2 74 Eh->Dly (ENHANCER"DELAY) p. 8 08 AutoWah (AUTO WAH) p. 2 75 Cho->Dly (CHORUS"DELAY) p. 9 09 Humanizer (HUMANIZER) p. 2 76 Flg->Dly (FLANGER"DELAY) p. 9 10 Sp Sim (SPEAKER SIMULATOR) p. 2 77 Cho->Flg (CHORUS"FLANGER) p. 9 MODULATION (12 types) PIANO (1 type) 11 Phaser (PHASER) p. 3 78 SymReso (SYMPATHETIC RESONANCE) p. 9 12 Step Ph (STEP PHASER) p. 3 13 MltPhaser (MULTI STAGE PHASER) p. 3 14 InfPhaser (INFINITE PHASER) p. 3 15 Ring Mod (RING MODULATOR) p. 3 About Note 16 Step Ring (STEP RING MODULATOR) p. 3 17 Tremolo (TREMOLO) p. 3 Some effect settings (such as Rate or Delay Time) can be specified in 18 Auto Pan (AUTO PAN) p. 3 terms of a note value. The note value for the current setting is 19 Step Pan (STEP PAN) p.
    [Show full text]