Scale Models of Acoustic Scattering Problems Including Barriers and Sound Absorption
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
10 - Pathways to Harmony, Chapter 1
Pathways to Harmony, Chapter 1. The Keyboard and Treble Clef Chapter 2. Bass Clef In this chapter you will: 1.Write bass clefs 2. Write some low notes 3. Match low notes on the keyboard with notes on the staff 4. Write eighth notes 5. Identify notes on ledger lines 6. Identify sharps and flats on the keyboard 7.Write sharps and flats on the staff 8. Write enharmonic equivalents date: 2.1 Write bass clefs • The symbol at the beginning of the above staff, , is an F or bass clef. • The F or bass clef says that the fourth line of the staff is the F below the piano’s middle C. This clef is used to write low notes. DRAW five bass clefs. After each clef, which itself includes two dots, put another dot on the F line. © Gilbert DeBenedetti - 10 - www.gmajormusictheory.org Pathways to Harmony, Chapter 1. The Keyboard and Treble Clef 2.2 Write some low notes •The notes on the spaces of a staff with bass clef starting from the bottom space are: A, C, E and G as in All Cows Eat Grass. •The notes on the lines of a staff with bass clef starting from the bottom line are: G, B, D, F and A as in Good Boys Do Fine Always. 1. IDENTIFY the notes in the song “This Old Man.” PLAY it. 2. WRITE the notes and bass clefs for the song, “Go Tell Aunt Rhodie” Q = quarter note H = half note W = whole note © Gilbert DeBenedetti - 11 - www.gmajormusictheory.org Pathways to Harmony, Chapter 1. -
Use of Scale Modeling for Architectural Acoustic Measurements
Gazi University Journal of Science Part B: Art, Humanities, Design And Planning GU J Sci Part:B 1(3):49-56 (2013) Use of Scale Modeling for Architectural Acoustic Measurements Ferhat ERÖZ 1,♠ 1 Atılım University, Department of Interior Architecture & Environmental Design Received: 09.07.2013 Accepted:01.10.2013 ABSTRACT In recent years, acoustic science and hearing has become important. Acoustic design tests used in acoustic devices is crucial. Sound propagation is a complex subject, especially inside enclosed spaces. From the 19th century on, the acoustic measurements and tests were carried out using modeling techniques that are based on room acoustic measurement parameters. In this study, the effects of architectural acoustic design of modeling techniques and acoustic parameters were investigated. In this context, the relationships and comparisons between physical, scale, and computer models were examined. Key words: Acoustic Modeling Techniques, Acoustics Project Design, Acoustic Parameters, Acoustic Measurement Techniques, Cavity Resonator. 1. INTRODUCTION (1877) “Theory of Sound”, acoustics was born as a science [1]. In the 20th century, especially in the second half, sound and noise concepts gained vast importance due to both A scientific context began to take shape with the technological and social advancements. As a result of theoretical sound studies of Prof. Wallace C. Sabine, these advancements, acoustic design, which falls in the who laid the foundations of architectural acoustics, science of acoustics, and the use of methods that are between 1898 and 1905. Modern acoustics started with related to the investigation of acoustic measurements, studies that were conducted by Sabine and auditory became important. Therefore, the science of acoustics quality was related to measurable and calculable gains more and more important every day. -
Key Relationships in Music
LearnMusicTheory.net 3.3 Types of Key Relationships The following five types of key relationships are in order from closest relation to weakest relation. 1. Enharmonic Keys Enharmonic keys are spelled differently but sound the same, just like enharmonic notes. = C# major Db major 2. Parallel Keys Parallel keys share a tonic, but have different key signatures. One will be minor and one major. D minor is the parallel minor of D major. D major D minor 3. Relative Keys Relative keys share a key signature, but have different tonics. One will be minor and one major. Remember: Relatives "look alike" at a family reunion, and relative keys "look alike" in their signatures! E minor is the relative minor of G major. G major E minor 4. Closely-related Keys Any key will have 5 closely-related keys. A closely-related key is a key that differs from a given key by at most one sharp or flat. There are two easy ways to find closely related keys, as shown below. Given key: D major, 2 #s One less sharp: One more sharp: METHOD 1: Same key sig: Add and subtract one sharp/flat, and take the relative keys (minor/major) G major E minor B minor A major F# minor (also relative OR to D major) METHOD 2: Take all the major and minor triads in the given key (only) D major E minor F minor G major A major B minor X as tonic chords # (C# diminished for other keys. is not a key!) 5. Foreign Keys (or Distantly-related Keys) A foreign key is any key that is not enharmonic, parallel, relative, or closely-related. -
Unicode Technical Note: Byzantine Musical Notation
1 Unicode Technical Note: Byzantine Musical Notation Version 1.0: January 2005 Nick Nicholas; [email protected] This note documents the practice of Byzantine Musical Notation in its various forms, as an aid for implementors using its Unicode encoding. The note contains a good deal of background information on Byzantine musical theory, some of which is not readily available in English; this helps to make sense of why the notation is the way it is.1 1. Preliminaries 1.1. Kinds of Notation. Byzantine music is a cover term for the liturgical music used in the Orthodox Church within the Byzantine Empire and the Churches regarded as continuing that tradition. This music is monophonic (with drone notes),2 exclusively vocal, and almost entirely sacred: very little secular music of this kind has been preserved, although we know that court ceremonial music in Byzantium was similar to the sacred. Byzantine music is accepted to have originated in the liturgical music of the Levant, and in particular Syriac and Jewish music. The extent of continuity between ancient Greek and Byzantine music is unclear, and an issue subject to emotive responses. The same holds for the extent of continuity between Byzantine music proper and the liturgical music in contemporary use—i.e. to what extent Ottoman influences have displaced the earlier Byzantine foundation of the music. There are two kinds of Byzantine musical notation. The earlier ecphonetic (recitative) style was used to notate the recitation of lessons (readings from the Bible). It probably was introduced in the late 4th century, is attested from the 8th, and was increasingly confused until the 15th century, when it passed out of use. -
Music Content Analysis : Key, Chord and Rhythm Tracking In
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by ScholarBank@NUS MUSIC CONTENT ANALYSIS : KEY, CHORD AND RHYTHM TRACKING IN ACOUSTIC SIGNALS ARUN SHENOY KOTA (B.Eng.(Computer Science), Mangalore University, India) A THESIS SUBMITTED FOR THE DEGREE OF MASTER OF SCIENCE DEPARTMENT OF COMPUTER SCIENCE NATIONAL UNIVERSITY OF SINGAPORE 2004 Acknowledgments I am grateful to Dr. Wang Ye for extending an opportunity to pursue audio research and work on various aspects of music analysis, which has led to this dissertation. Through his ideas, support and enthusiastic supervision, he is in many ways directly responsible for much of the direction this work took. He has been the best advisor and teacher I could have wished for and it has been a joy to work with him. I would like to acknowledge Dr. Terence Sim for his support, in the role of a mentor, during my first term of graduate study and for our numerous technical and music theoretic discussions thereafter. He has also served as my thesis examiner along with Dr Mohan Kankanhalli. I greatly appreciate the valuable comments and suggestions given by them. Special thanks to Roshni for her contribution to my work through our numerous discussions and constructive arguments. She has also been a great source of practical information, as well as being happy to be the first to hear my outrage or glee at the day’s current events. There are a few special people in the audio community that I must acknowledge due to their importance in my work. -
The Chromatic Scale
Getting to Know Your Guitar: The Chromatic Scale Your Guitar is designed as a chromatic instrument – that is, guitar frets represent chromatic “semi- tones” or “half-steps” up and down the guitar fretboard. This enables you to play scales and chords in any key, and handle pretty much any music that comes from the musical traditions of the Western world. In this sense, the chromatic scale is more foundational than it is useful as a soloing tool. Put another way, almost all of the music you will ever play will be made interesting not by the use of the chromatic scale, but by the absence of many of the notes of the chromatic scale! All keys, chords, scales, melodies and harmonies, could be seen simply the chromatic scale minus some notes. For all the examples that follow, play up and down (both ascending and descending) the fretboard. Here is what you need to know in order to understand The Chromatic Scale: 1) The musical alphabet contains 7 letters: A, B, C, D, E, F, G. The notes that are represented by those 7 letters we will call the “Natural” notes 2) There are other notes in-between the 7 natural notes that we’ll call “Accidental” notes. They are formed by taking one of the natural notes and either raising its pitch up, or lowering its pitch down. When we raise a note up, we call it “Sharp” and use the symbol “#” after the note name. So, if you see D#, say “D sharp”. When we lower the note, we call it “Flat” and use the symbol “b” after the note. -
Musical Narrative As a Tale of the Forest in Sibelius's Op
Musical Narrative as a Tale of the Forest in Sibelius’s Op. 114 Les Black The unification of multi-movement symphonic works was an important idea for Sibelius, a fact revealed in his famous conversation with Gustav Mahler in 1907: 'When our conversation touched on the essence of the symphony, I maintained that I admired its strictness and the profound logic that creates an inner connection between all the motifs.'1 One might not expect a similar network of profoundly logical connections to exist in sets of piano miniatures, pieces he often suggested were moneymaking potboilers. However, he did occasionally admit investing energy into these little works, as in the case of this diary entry from 25th July 1915: "All these days have gone up in smoke. I have searched my heart. Become worried about myself, when I have to churn out these small lyrics. But what other course do I have? Even so, one can do these things with skill."2 While this admission might encourage speculation concerning the quality of individual pieces, unity within groups of piano miniatures is influenced by the diverse approaches Sibelius employed in composing these works. Some sets were composed in short time-spans, and in several cases included either programmatic titles or musical links that relate the pieces. Others sets were composed over many years and appear to have been compiled simply to satisfied the demands of a publisher. Among the sets with programmatic links are Op. 75, ‘The Trees’, and Op. 85, ‘The Flowers’. Unifying a set through a purely musical device is less obvious, but one might consider his very first group of piano pieces, the Op. -
SMPC 2011 Attendees
Society for Music Perception and Cognition August 1114, 2011 Eastman School of Music of the University of Rochester Rochester, NY Welcome Dear SMPC 2011 attendees, It is my great pleasure to welcome you to the 2011 meeting of the Society for Music Perception and Cognition. It is a great honor for Eastman to host this important gathering of researchers and students, from all over North America and beyond. At Eastman, we take great pride in the importance that we accord to the research aspects of a musical education. We recognize that music perception/cognition is an increasingly important part of musical scholarship‐‐and it has become a priority for us, both at Eastman and at the University of Rochester as a whole. This is reflected, for example, in our stewardship of the ESM/UR/Cornell Music Cognition Symposium, in the development of several new courses devoted to aspects of music perception/cognition, in the allocation of space and resources for a music cognition lab, and in the research activities of numerous faculty and students. We are thrilled, also, that the new Eastman East Wing of the school was completed in time to serve as the SMPC 2011 conference site. We trust you will enjoy these exceptional facilities, and will take pleasure in the superb musical entertainment provided by Eastman students during your stay. Welcome to Rochester, welcome to Eastman, welcome to SMPC 2011‐‐we're delighted to have you here! Sincerely, Douglas Lowry Dean Eastman School of Music SMPC 2011 Program and abstracts, Page: 2 Acknowledgements Monetary -
The Consecutive-Semitone Constraint on Scalar Structure: a Link Between Impressionism and Jazz1
The Consecutive-Semitone Constraint on Scalar Structure: A Link Between Impressionism and Jazz1 Dmitri Tymoczko The diatonic scale, considered as a subset of the twelve chromatic pitch classes, possesses some remarkable mathematical properties. It is, for example, a "deep scale," containing each of the six diatonic intervals a unique number of times; it represents a "maximally even" division of the octave into seven nearly-equal parts; it is capable of participating in a "maximally smooth" cycle of transpositions that differ only by the shift of a single pitch by a single semitone; and it has "Myhill's property," in the sense that every distinct two-note diatonic interval (e.g., a third) comes in exactly two distinct chromatic varieties (e.g., major and minor). Many theorists have used these properties to describe and even explain the role of the diatonic scale in traditional tonal music.2 Tonal music, however, is not exclusively diatonic, and the two nondiatonic minor scales possess none of the properties mentioned above. Thus, to the extent that we emphasize the mathematical uniqueness of the diatonic scale, we must downplay the musical significance of the other scales, for example by treating the melodic and harmonic minor scales merely as modifications of the natural minor. The difficulty is compounded when we consider the music of the late-nineteenth and twentieth centuries, in which composers expanded their musical vocabularies to include new scales (for instance, the whole-tone and the octatonic) which again shared few of the diatonic scale's interesting characteristics. This suggests that many of the features *I would like to thank David Lewin, John Thow, and Robert Wason for their assistance in preparing this article. -
Towards a Generative Framework for Understanding Musical Modes
Table of Contents Introduction & Key Terms................................................................................1 Chapter I. Heptatonic Modes.............................................................................3 Section 1.1: The Church Mode Set..............................................................3 Section 1.2: The Melodic Minor Mode Set...................................................10 Section 1.3: The Neapolitan Mode Set........................................................16 Section 1.4: The Harmonic Major and Minor Mode Sets...................................21 Section 1.5: The Harmonic Lydian, Harmonic Phrygian, and Double Harmonic Mode Sets..................................................................26 Chapter II. Pentatonic Modes..........................................................................29 Section 2.1: The Pentatonic Church Mode Set...............................................29 Section 2.2: The Pentatonic Melodic Minor Mode Set......................................34 Chapter III. Rhythmic Modes..........................................................................40 Section 3.1: Rhythmic Modes in a Twelve-Beat Cycle.....................................40 Section 3.2: Rhythmic Modes in a Sixteen-Beat Cycle.....................................41 Applications of the Generative Modal Framework..................................................45 Bibliography.............................................................................................46 O1 O Introduction Western -
Study of Bartok's Compositions by Focusing on Theories of Lendvai, Karpati and Nettl
Science Arena Publications Specialty Journal of Humanities and Cultural Science ISSN: 2520-3274 Available online at www.sciarena.com 2018, Vol, 3 (4): 9-25 Study of Bartok's Compositions by Focusing on Theories of Lendvai, Karpati and Nettl Amir Alavi Lecturer, Tehran Art University, Tehran, Iran. Abstract: Bela Bartok is one of the most influential composers of the twentieth century whose works have been attended by many theorists. Among the most prominent musical theorists focusing on Bartok's works, Erno Lendvai, Jonas Karpati, Burno Nettl, and Milton Babbitt can be mentioned. These scholars have offered great theories by studying hidden, melodic and harmonic relations, and formal structures in the Bartok’s composition. The breadth of Bartok's works, diversity in using pitch organization, and lack of Bartok's personal views on analyzing his works, encouraged theorists to study his work more. The reason for focusing on Bartok in this research can be attributed to his prominent state as a composer in the twentieth century, as well as the way he employs folk melodies as the main component of composing structure. By focusing on tonal aspects, pitch organization, chord relations, and harmonic structures, this study deals with melodic lines and formal principles, and then dissects the theories and indicators in accordance with the mentioned theorists’ views. Keywords: Bartok, Axis System, Pole and Counter Pole, Overtone. INTRODUCTION Bartok's musical structure was initially influenced by the folk music of Eastern Europe. However, he has not provided any explanation with regard to his music. John Vinton's paper titled “Bartok in His Own Music” can be considered as the main source of reflection of Bartok's thoughts. -
Changd75304.Pdf
Copyright by Chia-Lun Chang 2006 The Treatise Committee for Chia-Lun Chang Certifies that this is the approved version of the following treatise: FIVE PRELUDES OPUS 74 BY ALEXANDER SCRIABIN: THE MYSTIC CHORD AS BASIS FOR NEW MEANS OF HARMONIC PROGRESSION Committee: Elliott Antokoletz, Co-Supervisor Lita Guerra, Co-Supervisor Gregory Allen A. David Renner Rebecca A. Baltzer Reshma Babra Naidoo FIVE PRELUDES OPUS 74 BY ALEXANDER SCRIABIN: THE MYSTIC CHORD AS BASIS FOR NEW MEANS OF HARMONIC PROGRESSION by Chia-Lun Chang, B.A., M.M. Treatise Presented to the Faculty of the Graduate School of The University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Doctor of Musical Arts The University of Texas at Austin December, 2006 Dedication To Mom and Dad Acknowledgements I wish to express my sincere gratitude to my academic supervisor, Professor Elliott Antokoletz, for his intelligence, unfailing energy and his inexhaustible patience. This project would not have been possible without his invaluable guidance and assistance. My deepest appreciation goes to my piano teacher, Professor Lita Guerra, whose unconditional support and encouragement gave me strength and faith to complete the treatise. Acknowledgment is gratefully made to the publisher for the use of the musical examples. Credit is given to Alexander Scriabin: Five Preludes, Op. 74 [public domain]. Piano score originally published by the Izdatel’stvo Muzyka [Music Publishing House], Moscow, 1967, reprinted 1973 by Dover Publications, Inc. Minneola, N.Y. v FIVE PRELUDES OPUS 74 BY ALEXANDER SCRIABIN: THE MYSTIC CHORD AS BASIS FOR NEW MEANS OF HARMONIC PROGRESSION Publication No._____________ Chia-Lun Chang, D.M.A.