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Preface

Systematic Musicology is a field that grew tremen- plucked, bowed, blown, etc. The Berlin phonogram dously over the last decades to such an extent and into archive, recording from around the world on wax so many topics, that for quite some time researchers cylinders, started with a recording of a Thai phi pha as well as students in the field have been demand- orchestra in the Berlin Tiergarten in 1900. Jaap Kunst ing a comprehensive overview of the different parts of was among the first to collect recordings in today’s the discipline. As the field of Systematic Musicology Indonesia in the 1920s and 1930s developing Ethno- is so wide, there is a need for introductions, reviews, musicology on his many fieldtrips. In the US, Charles teaching materials, and the display of recent trends for Seeger was co-founder of the Society of Comparative researchers in related fields who want to connect and Musicology and Frances Desmond was collecting the interact within this highly interdisciplinary area. There- music mainly of native Dakota Indians. fore, the International Working Group of Systematic was among the first to introduce mu- and Comparative Musicology decided to compile such sic in modern terms, by discussing how a volume, covering the major areas of research in Sys- a pitch sensation can appear from a multisensory in- tematic Musicology, and making them easily accessible put of many frequencies entering the ear. A distinct to the community. This volume tries to present the state- influence on these early findings came from Gestalt psy- of-the-art in the field while also giving an overview chologists, who indeed first used musical melodies to of basic and fundamental methodologies and termi- derive their Gestalt laws. Early experiments on musi- nologies. It also discusses recent trends and topics and cal timbre were performed again by Stumpf and others, therefore hopefully is also inspiring in terms of an in- especially focusing on music and speech as well as on terchange of ideas and subjects. musical transients and tone color. Systematic Musicology is a highly interdisciplinary Many problems of , like the prob- field, which it has been ever since its ancient origins lem of tonal fusion addressed by Stumpf, were based with philosophers like , Archytas of Tarrent, on the experimental evidence that sounds consists or Aristoxenos. Here the connection between music, of overtones, which was published by Hermann von mathematics, geometry, astronomy, well-being, poli- Helmholtz in 1863. The growing field of electronic mu- tics, and other fields were discussed. Much attention sic enhanced research in these fields in the Bell labs was given to , especially tonal systems or in the US or in the Heinrich-Hertz Institute for vi- rhythm theory. Ancient writings of music theory, like bration of Karl Willy Wagner in Berlin, where also the Indian Natyashastra on music and the arts, or the Barkhausen was working on tubes and on the light bow music theory embedded in the ancient Tamil epic Cilap- for building a loudspeaker and microphone in one de- patik¯aram of today’s Sri Lanka show complex tonal vice. Research on musical instruments was prominently system theories. The Chinese Yueji from 1st and 2nd performed by Felix around 1800, especially century BC is not only a music theory, but also dis- on violins, building a trapezoid-shaped violin body cusses aspects of nature and the social role of music. or an octobass ranging over two floors. Also around In all these traditions musicology, concerned with all this time Friedrich Chladni was discovering longitudi- aspects of music, continued to the present day in many nal waves and building musical instruments with this forms. invention, the clavicylinder and the euphonium,and In modern times the roots of Systematic Musi- wrote the first comprehensive work on vibrating mu- cology lie in Comparative Musicology, which tries to sical systems. determine laws and universals by comparing the mu- All these and many more early works building up sical traditions of the world. This was only possible the field of Systematic Musicology were followed by from around 1900 after the invention of the Edison a tremendous increase in the number of works after phonograph, which made it possible for the first time WWII. Today, the topics discussed in Systematic Mu- to record and playback music on wax cylinders. Fol- sicology range from Musical and Musical lowing the systematic approach, right from the start the Signal Processing, Music Psychology and Neuromusi- Hornbostel/Sachs classification of musical instruments cology, Music Ethnology and Comparative Musicology, used a taxonomy based on the acoustical and mechan- and to Musical Applica- ical driving mechanisms of musical instruments, i. e., tions in modern music production and distribution, VI Preface

alongside many related topics. The aim of the disci- automatic musical score extraction and adaptive mu- pline is still to understand music, its production and sic control. Modern synthesis methods are discussed perception, its cultural, historical and philosophical in terms of multichannel audio reproduction systems background in a systematic way. This cannot be done using wavefield synthesis, physical modeling using by discussing one aspect alone. So, for example, the de- Finite-Difference methods (FDM), as well as hardware velopment of musical instruments is shaped not only by implementation of FDM with highly parallel processing tradition, but by acoustical, physiological and psycho- Field-Programmable Gate Array (FPGA) hardware. logical constraints, the needs of different compositional Part , edited by Stefan Koelsch, turns to Music styles, to be technically state-of-the-art, or by political Psychology, addressing many aspects of music percep- and economic demands. Therefore, Systematic Musi- tion and associated musical parameters. It starts with cology needs to consider all aspects of music so as to a review of music time perception, which is a basic aim for a system of music, the Kunst (art) in the Re- issue of an art form developing in time. This leads naissance or Baroque sense of a system of rules, as J.S. to the topic of the dependency of sensual information Bach used the term in his Die Kunst der Fuge (The art stored in memory, both short- and long-term memory of the fugue). This late work by Bach concerned dis- processing and auditory working memory. Here many playing the rules and possibilities that lie within the findings from brain research using EEG, fMRI, MEG, polyphonic system of fugue composition. or related techniques are reported and discussed. On So Systematic Musicology believes that under- a higher level musical syntax needs to be understood, standing music can only truly be achieved by con- both in terms of music theory often based on syntax sidering all aspects of music. The Handbook tries to rules found in speech and its relations to music, as well reflect this interdisciplinary nature of Systematic Mu- as in terms of experimental findings again using brain sicology in seven sections. These sections follow the research techniques. Following on from brain research main topics in the field, Musical Acoustics, Music Psy- findings, rhythm and perception are discussed, as chology, and Music Ethnology while also taking recent well as the relation between and ac- research trends into consideration, such as Embodied tive music production. Finally, are Music Cognition and Media Applications. Other topics, discussed in terms of their relation to sensory data. like Music Theory or are also dis- Part , edited by Albrecht Schneider, is devoted cussed. Of course, they could also have been presented to , its fundamentals, history, methods, as sections in their own right, taking their salience into and findings. The philosophical background of sensa- account. These topics are incorporated within one of the tion as found in ancient as well as Renaissance and main sections under recent developments in the field. Baroque times is discussed and basic models of percep- This may, however, be subject to respective develop- tion and psychophysics are presented. Thereafter, pitch ments over the next decades. and pitch perception is addressed, with basic parame- Part A, edited by Rolf Bader, presents an overview ters like virtual or residue pitch, tonal fusion, scales, of the state-of-the-art of research in Musical Acoustics. or intonation. The auditory pathway is presented from After an introduction to basic models, mathematical the cochlea up to the auditory cortex. Then timbre and frameworks and formulas, the section discusses mate- sound color are discussed in terms of their notion as rials for musical instruments as well as modern mea- well as their use in musical instrument organology, surement techniques used in the field. Then, the main both of acoustic as well as electronic music, together instrument families are discussed, string and wind in- with the relatedness of pitch and timbre and its use for struments, organs and percussion instruments, in terms audio segregation. Finally, loudness is treated as a psy- of their basic properties as well as special features. chological sensation related to physical sound pressure A discussion on nonlinearities and synchronization in level, and different loudness models are presented and musical instruments tries to give a global framework for discussed in modern disco and club performance sce- instrument families. Finally, modern Room Acoustics is narios. discussed, both in terms of general findings as well as Part E, edited by Marc Leman, presents the emerg- modeling techniques. ingfieldofEmbodied Music Cognition. After an in- In Part , edited by Jonas Braasch, modern Musi- troduction presenting ontological and epistemological cal Signal Processing is discussed. Again the section foundations, the method is applied to musical param- starts with the fundamentals of modern music recording eters like timing, expressiveness, or expectation. The studio equipment and methods, digital audio process- role of musical gestures are discussed and new trends ing using delay lines and waveguides, and an intro- and questions are addressed. The ideas are then trans- duction to Fourier and convolution methods. It then ferred to compositional ideas using sonic objects as turns to sound source separation and state-of-the-art basic compositional units of timbre in terms of analysis Preface VII and synthesis. is also subject to embod- The final Part , edited by Rolf Bader, discusses iment applications, where the relation between rhythm problems in modern along with some perception and body coordination is shown to improve examples of musical styles from around the world. well-being and the health of patients. Finally, the in- It begins with two papers introducing the history of teraction of musicians and listeners using sensors and the discipline focusing on the relation between Sys- other techniques is treated, both in terms of basic frame- tematic Musicology and Ethnomusicology, as well as works as well as technical issues concerning sensors discussing modern Analytical Ethnomusicology, focus- and their applications. ing on musical features, instruments, and compositions Part , edited by Isabel Barbancho, concentrates on rather than extramusical features like social or eco- the application side within the Modern Media Applica- nomic issues. Displaying relations between a wide tion domain of music production and reproduction in range of musical styles, a systematic overview of the terms of Music Information Retrieval (MIR). One aim music of Africa is presented. As an example of the re- is to extract musical features from audio files and use lationship between musical diversity and relatedness, them for content analysis, song suggestions, or further the music of Southeast Asian minorities are addressed. analysis. Problems of data mining, automatic analy- Many musical features, like the origin of music or its sis, or visualizations are discussed on a technical level. historical development are often discussed in analogy Advanced aids are also a subject of music ap- with the music of the stone age, therefore an overview plications, especially as normal hearing aids only have of music archaeology is given. As improvisation is poor abilities to reproduce music. Modern tools and a common feature of many musical styles around the ideas help to enhance music perception through hearing world, a framework, as well as problems and discus- aids. Applications of MRI also improve music educa- sions on free improvisation are also present. Finally, tion and education as a whole, and this is discussed music and its relation to politics is presented with the in general as well as in a case study. Embedding mu- history of protest songs in the postwar US. sic in a media structure is another recent challenge, as We hope that the Handbook is not only of use to stu- users expect highly automatic guidance and help tools, dents in the discipline but also to advanced scholars and as well as many additional features besides the auditory people working outside the field that are interested in an stream. Changes in music production and perception overview of Systematic Musicology, its recent develop- due to modern media are a recent issue discussed along ments, findings, and problems. Of course not all issues, with their development over the last decades. Applica- problems, and topics of modern Systematic Musicology tions to music ethnology are treated in the domain of may be addressed in a single Handbook, especially not Computational Ethnomusicology, detecting high-level for a field that is in its own right so interdisciplinary. features of non-Western music styles through MIR. Still, it is our hope that researchers from other fields Also composition is due to automatization, especially may be inspired by the topics and problems found in voice but also for other instruments. Modern instru- this Handbook and may enlarge their views in a truly ment building uses sensors or additional components interdisciplinary way. to enhance musical instrument features, also addressing a world music approach. Hamburg, January 2018 Rolf Bader IX

About the Editor

Rolf Bader is Professor for Systematic Musicology at the Institute of Systematic Musi- cology, University of Hamburg, Germany. He studied Systematic Musicology, Physics, Ethnology, and Historic Musicology at the University of Hamburg where he obtained his PhD and Habilitation on topics of Musical Acoustics, Music Psychology, and Musi- cal Signal Processing. He was a visiting scholar at the Center for Computer Music and Research (CCRMA) at Stanford University (2005-2006). His major fields of research are musical acoustics and musical signal processing, musical hardware and software development, music psychology and neurocognition, music ethnology, and philosophy of music. He is co-editor of the Springer series Current Research in Systematic Musicology and published several books here as an author, like Nonlinearities and Synchroniza- tion in Musical Acoustics and Music Psychology or Computational Mechanics of the Classical , or as an editor like Sound – Perception – Performance or Concepts, Experiments, and Fieldwork: Studies in Systematic Musicology, alongside many con- tributing book chapters or peer-reviewed papers. He has conducted fieldwork as an Ethnomusicologist in Bali, Nepal, Thailand, Cambodia, Myanmar, Sri Lanka, China, and India since 1999. He has also worked as a professional musician, composer, artist, running recording studios, as a music journalist, leading exhibitions, and running a cinema. XI

List of Authors

Jakob Abeßer Stefan Bilbao Fraunhofer IDMT University of Edinburgh Ehrenbergstr. 31 Acoustics and Audio Group 98693 Ilmenau, Germany Mayfield Rd. [email protected] Edinburgh, EH9 3JZ, UK [email protected]

Judit Angster David Borgo Fraunhofer Institute of Building Physics (IBP) University of California San Diego Acoustics 9500 Gilman Dr. Nobelstr. 12 La Jolla, CA 92093-0099, USA 70569 Stuttgart, Germany [email protected] [email protected] Jonas Braasch Rensselaer Polytechnic Institute Simha Arom 110 8th St. 12 rue Ernest Psichari Troy, NY 12180, USA 75007 Paris, France [email protected] [email protected] Elvira Brattico Rolf Bader Aarhus University University of Hamburg Department of Clinical Medicine Institute of Systematic Musicology Nørrebrogade 44 Neue Rabenstr. 13 8000 C, Aarhus, Denmark 20354 Hamburg, Germany [email protected] [email protected] Estefanía Cano Fraunhofer IDMT Ana M. Barbancho Ehrenbergstr. 31 Universidad de Málaga 98693 Ilmenau, Germany ATIC Research Group, Dep. Ingeniería de [email protected] Comunicaciones, ETSI Telecomunicación Amin Chaachoo Campus de Teatinos s/n Tetouan-Asmir Center 29071 Malaga, Spain Place 9 Avril [email protected] Tetuán, Morocco [email protected] Isabel Barbancho Universidad de Málaga Marshall Chasin ATIC Research Group, Dep. Ingeniería de Musicians’ Clinics of Canada Comunicaciones, ETSI Telecomunicación 340 College St. Campus de Teatinos s/n Toronto, M5T 3A9, Canada 29071 Malaga, Spain [email protected] [email protected] Jesús Corral García Universidad de Málaga Juan Pablo Bello Departamento de Ingeniería de Comunicaciones, New York University ETSI Telecomunicación 35 W 4th St. Campus de Teatinos s/n New York, NY 10012, USA 29071 Malaga, Spain [email protected] [email protected] XII List of Authors

Lola L. Cuddy Benoit Fabre Queen’s University Sorbonne Universités, UPMC Univ Paris 06 Dept. of Psychology LAM – Institut d’Alembert Kingston, K7L3N6, Canada 4, place Jussieu [email protected] 75252Cedex05,Paris,France [email protected] Phillippe Depalle McGill University Ichiro Fujinaga Schulich School of Music McGill University 555 Sherbrooke St. West Schulich School of Music Montreal, QC H3A1E3, Canada 555 Sherbrooke St. West [email protected] Montreal, QC H3A1E3, Canada [email protected] José-Miguel Díaz-Báñez Escuela Superior de Ingenieros, Universidad de Aaron Gibbings Sevilla The University of Western Ontario, Natural Departamento de Matemática Aplicada II Sciences Centre Camino de los Descrubrimientos, s/n The Brain and Mind Institute, Department of 41092 Sevilla, Spain Psychology [email protected] London, N6A 5B7, Canada [email protected] Christian Dittmar International Audio Laboratories Erlangen Joël Gilbert Am Wolfsmantel 33 Université du Maine – CNRS 91058 Erlangen, Germany Laboratoire d’Acoustique [email protected] Avenue Olivier Messiaen 72085 Cedex 9, Le Mans, France [email protected] Peter Driessen University of Victoria Nicholas Giordano Dept. of Electrical and Computer Engineering Auburn University 3800 Finnerty Rd. Dept. of Physics Victoria, V8P 5C2, Canada Auburn, AL 36849, USA [email protected] [email protected]

Zhiyao Duan Rolf Inge Godøy University of Rochester University of Olso Dept. of Electrical and Computer Engineering Dept. of Musicology 308 Hopeman 0315 Oslo, Norway Rochester, NY 14627, USA [email protected] [email protected] Emilia Gómez Tuomas Eerola Universitat Pempeu Fabra Durham University Group Dept. of Music Roc Boronat 138 Palace Green 8018 Barcelona, Spain Durham, DH13RL, UK [email protected] [email protected] Francisco Gómez Ricardo Eichmann Technical University of Madrid Deutsches Archäologisches Institut Dept. of Applied Mathematics Orient-Abteilung Escuela Técnica Superior de Ingeniería de Podbielskiallee 69 – 71 Sistemas Informáticos Carret. Valencia Km 7 14195 Berlin, Germany 28031 Madrid, Spain [email protected] [email protected] List of Authors XIII

Jessica Grahn Neil S. Hockley The University of Western Ontario Bernafon AG The Brain and Mind Institute, Dept. of Psychology Morgenstr. 131 London, N6A 5B7, Canada 3018 Bern, Switzerland [email protected] Sascha Grollmisch Fraunhofer IDMT Alexander Refsum Jensenius Ehrenbergstr. 31 University of Oslo 98693 Ilmenau, Germany Dept. of Musicology [email protected] PB 1017 Blindern 0315 Oslo, Norway Simon Grondin [email protected] Université Laval École de psychologie Wilfried Kausel 2325 rue des Bibliothèques University of Music and Performing Arts, Vienna Québec, G1V0A6, Canada Dept. of Musical Acoustics [email protected] Anton-von-Webern-Platz 1 1030 Vienna, Austria Peter Grosche [email protected] Huawei Technologies Duesseldorf GmbH Riesstr. 25 Christian Kehling 80992 München, Germany Neways Technologies [email protected] Fichtenweg 8 99098 Erfurt, Germany Brian Hamilton [email protected] University of Edinburgh Peter E. Keller Acoustics and Audio Group Western Sydney University Mayfield Rd. MARCS Institute for Brain, Behaviour and Edinburgh, EH9 3JZ, UK Development [email protected] Locked Bad 1797 Penrith, NSW 2751, Australia Andrew Hankinson [email protected] University of Oxford Bodleian Libraries Stefan Koelsch Osney One Building, Osney Mead University of Bergen Oxford, OX2 0EW, UK Jonas Liesvei 91, BB-Bygget [email protected] 5009 Bergen, Norway [email protected] Reginald Harrison University of Edinburgh Nadine Kroher Acoustics and Audio Group Escuela Superior de Ingenieros, Universidad de Mayfield Rd. Sevilla Edinburgh, EH9 3JZ, UK Departamento de Matemática Aplicada II [email protected] Camino de los Descrubrimientos, s/n 41092 Sevilla, Spain Emi Hasuo [email protected] Tokyo Denki University School of Information Environment Panos Kudumakis 2-1200 Muzai-Gakuendai Queen Mary University of London 270-1382 Chiba, Japan School of Electronic Engineering and Computer Avraham Hirschberg Mile End Rd. Zwartenberg 1 London,E14NS,UK 5508 AK, Veldhoven, The Netherlands [email protected] XIV List of Authors

Tsuyoshi Kuroda András Miklós Shizuoka University Steinbeis Transfer Center Applied Acoustics Faculty of Informatics Weilstetter Weg 36 3-5-3 Johuku, Naka-ku 70567 Stuttgart, Germany 432-8011 Hamamatsu, Japan [email protected] [email protected] Emilio Molina Universidad de Málaga Marc Leman Departamento de Ingeniería de Comunicaciones, Ghent University ETSI Telecomunicación IPEM – Musicology, Department of Art, Music and Campus de Teatinos s/n Theatre Sciences 29071 Malaga, Spain Sint-Pietersnieuwstraat 41 [email protected] 9000 Ghent, Belgium [email protected] Thomas Moore Rollins College Alexander Lerch Dept. of Physics Georgia Institute of Technology 1000 Holt Ave. Center for Music Technology Winter Park, FL 32789, USA 840 McMillan St. [email protected] Atlanta, GA 30332-0456, USA [email protected] Joaquin Mora Escuela Superior de Ingenieros, Universidad de Sevilla Micheline Lesaffre Departamento de Matemática Aplicada II Ghent University Camino de los Descrubrimientos, s/n IPEM – Musicology, Department of Art, Music and 41092 Sevilla, Spain Theatre Sciences [email protected] Sint-Pietersnieuwstraat 41 9000 Ghent, Belgium Robert Mores [email protected] University of Applied Sciences Faculty of Design, Media & Information Finkenau 35 Jukka Louhivuori 22081 Hamburg, Germany University of Jyväskylä [email protected] Department of Music, Art and Culture Studies Seminaarinkatu 15 Andrew C. Morrison Jyväskylä, 40014, Finland Joliet Junior College [email protected] Dept. of Natural Sciences 1215 Houbolt Rd. Håkan Lundström Joliet, IL 60431, USA Lund University [email protected] Inter Arts Center Bergsgatan 29 Meinard Müller 21422 Lund, Sweden International Audio Laboratories Erlangen [email protected] Am Wolfsmantel 33 91058 Erlangen, Germany [email protected] Pieter-Jan Maes Ghent University Yoshitaka Nakajima IPEM – Musicology, Department of Art, Music and Kyushu University Theatre Sciences Dept. of Human Science Sint-Pietersnieuwstraat 41 4-9-1 Shiobaru, Minami-ku 9000 Ghent, Belgium 815-8540 Fukuoka, Japan [email protected] [email protected] List of Authors XV

Tram Nguyen Zafar Rafii The University of Western Ontario Gracenote The Brain and Mind Institute, Dept. of Psychology 2000 Powell St., Ste 1500 London, N6A 5B7, Canada Emeryville, 94608, USA [email protected] [email protected]

Luc Nijs Ghent University Martin Rohrmeier IPEM – Musicology, Department of Art, Music and TU Dresden Theatre Sciences Institute of Art and Music Sint-Pietersnieuwstraat 41 August-Bebel-Str. 20 9000 Ghent, Belgium 01219 Dresden, Germany [email protected] [email protected]

Giacomo Novembre University College London Carles Roig Gower St. Universidad de Málaga London, WC1E6BT, UK ATIC Research Group, Dep. Ingeniería de [email protected] Comunicaciones, ETSI Telecomunicación Campus de Teatinos s/n Chiara Olcese 29071 Malaga, Spain University of Ferrara [email protected] Dept. of Life Sciences and Biotechnology Via Riccardo Selvatico 10 Thomas D. Rossing 31100 Treviso, Italy Stanford University [email protected] Dept. of Music 541 Lasuen Mall, MC:3076 Bryan Pardo Stanford, CA 94305-3022, USA Northwestern University [email protected] Ford Engineering Design Center 2133 Sheridan Rd. Evanston, IL 60208, USA Mark Sandler [email protected] Queen Mary University of London School of Electronic Engineering and Computer Marcus Pearce Science Queen Mary University of London Mile End Rd. School of Electronic Engineering and Computer London,E14NS,UK Science [email protected] Mile End Rd. London, E1 4NS, UK [email protected] Gary Scavone McGill University Florian Pfeifle Music Research, Schulich School of Music University of Hamburg 555 Sherbrooke St. West Institute of Systematic Musicology Montreal, QC H3A1E3, Canada Neue Rabenstr. 13 [email protected] 20354 Hamburg, Germany [email protected] Albrecht Schneider Laurent Pugin University of Hamburg Swiss RISM Office Institute of Systematic Musicology Hallwylstr. 15 Neue Rabenstr. 13 3000 Bern, Switzerland 20354 Hamburg, Germany [email protected] [email protected] XVI List of Authors

Katrin Schulze Edith Van Dyck Heidelberg University Ghent University Dept. of Clinical Psychology and Psychotherapy, IPEM – Musicology, Department of Art, Music and Institute of Psychology Theatre Sciences Hauptstr. 47 – 51 Sint-Pietersnieuwstraat 44 69117 Heidelberg, Germany 9000 Ghent, Belgium [email protected] [email protected]

Anthony Seeger Doug Van Nort University of California Los Angeles (UCLA) York University Dept. of Ethnomusicology Computational Arts and Theatre & Performance 2 Kimber Ridge Ct. Studies Annapolis, MD 21403, USA 4700 Keele St. [email protected] Toronto, M3J1P3, Canada [email protected] Mohamed Sordo University of Miami Michael Vorländer Center for Computational Science RWTH Aachen University 1320 S. Dixie Highway Suite 600.15, Loc: 2965 Institute of Technical Acoustics Coral Gables, FL 33146, USA Kopernikusstr. 5 [email protected] 52074 Aachen, Germany [email protected] Lorenzo J. Tardón Universidad de Málaga Chris Waltham Departamento de Ingeniería de Comunicaciones, University of British Columbia ETSI Telecomunicación Dept. of Physics & Astronomy Campus de Teatinos s/n 6224 Agricultural Rd. 29071 Malaga, Spain Vancouver, BC V6T 1Z1, Canada [email protected] [email protected] Mari Tervaniemi Ron Weiss University of Helsinki Google Inc. Cicero Learning and Cognitive Brain Research Unit 111 8th Ave. Helsinki, 00170, Finland New York, NY 10011, USA [email protected] [email protected] Leslie Tilley Massachusetts Institute of Technology Victoria Williamson 77 Massachusetts Ave. University of Sheffield Cambridge, 02139, USA 34 Leavygreave St. [email protected] Sheffield, UK [email protected] Alberto Torin University of Edinburgh Shigeru Yoshikawa Acoustics and Audio Group 1-27-22 Aoyama Mayfield Rd. 818-0121 Dazaifu, Japan Edinburgh, EH9 3JZ, UK [email protected] [email protected] Tim Ziemer George Tzanetakis University of Hamburg University of Victoria Institute of Systematic Musicology Dept. of Computer Science Neue Rabenstr. 13 3801 Finnerty Rd. 20354 Hamburg, Germany Victoria, V8W 2Y2, Canada [email protected] [email protected] XVII

Contents

List of Abbreviations ...... XXIX

1 Systematic Musicology: A Historical Interdisciplinary Perspective Albrecht Schneider ...... 1 1.1 Systematic Musicology: Discipline and Field of Research ...... 1 1.2 Beginnings of Music Theory in Greek Antiquity ...... 2 1.3 From the Middle Ages to the Renaissance and Beyond: Developments in Music Theory and Growth of Empiricism ...... 3 1.4 Sauveur, Rameau and the Issue of Physicalism in Music Theory .... 5 1.5 Concepts of Systems and Systematic Research ...... 7 1.6 Systematic Approaches: Chladni, Helmholtz, Stumpf, and Riemann ...... 9 1.7 Gestalt Quality and Gestalt Psychology ...... 12 1.8 Music Psychology: Individual and Sociocultural Factors ...... 14 1.9 Some Modern Developments ...... 15 1.10 Systematic Musicology as a Musicological Discipline ...... 17 References ...... 19

Part A Musical Acoustics and Signal Processing

2 Vibrations and Waves Wilfried Kausel...... 29 2.1 Vibrations ...... 29 2.2 Waves...... 33 2.3 Wave Equations 1-D ...... 36 2.4 Solution for 1-D-Waves ...... 40 2.5 Stiffness ...... 46 References ...... 46

3 Waves in Two and Three Dimensions Wilfried Kausel...... 49 3.1 Waves on a Surface...... 49 3.2 Solution for Waves on a Surface...... 52 3.3 Sound Waves in Space ...... 56 References ...... 62

4 Construction of Wooden Musical Instruments Chris Waltham, Shigeru Yoshikawa ...... 63 4.1 Scope ...... 63 4.2 Physical Properties of Wood ...... 65 4.3 Tonewoods...... 68 4.4 Framewoods ...... 72 4.5 Construction ...... 74 4.6 Conclusion ...... 78 4.A Appendix...... 78 References ...... 78 XVIII Contents

5 Measurement Techniques Thomas Moore ...... 81 5.1 Measurement of Airborne Sound...... 81 5.2 Measurement of Deflection...... 87 5.3 Measurement of Impedance...... 99 5.4 Conclusions ...... 101 References ...... 101

6 Some Observations on the Physics of Stringed Instruments Nicholas Giordano...... 105 6.1 Three Classes of Stringed Instruments ...... 105 6.2 Common Components and Issues ...... 105 6.3 The Story of Three Instruments...... 108 6.4 Summary ...... 117 References ...... 118

7 Modeling of Wind Instruments Benoit Fabre, Joël Gilbert, Avraham Hirschberg ...... 121 7.1 A Classification of Wind Instruments ...... 121 7.2 The Clarinet ...... 123 7.3 The Oboe ...... 128 7.4 The Harmonica ...... 130 7.5 The Trombone ...... 131 7.6 The Flute ...... 133 References ...... 137

8 Properties of the Sound of Flue Organ Pipes Judit Angster, András Miklós ...... 141 8.1 Experimental Methodology...... 142 8.2 Steady-Sound Characteristics...... 142 8.3 Edge and Mouth Tones...... 149 8.4 Characteristics of the Attack Transients ...... 151 8.5 Discussion and Outlook ...... 153 References ...... 154

9 Percussion Musical Instruments Andrew C. Morrison, Thomas D. Rossing ...... 157 9.1 Drums ...... 157 9.2 Mallet Percussion Instruments ...... 160 9.3 Cymbals, Gongs, and Plates ...... 164 9.4 Methods for Studying the Acoustics of Percussion Instruments ..... 168 References ...... 170

10 Musical Instruments as Synchronized Systems Rolf Bader ...... 171 10.1 Added versus Intrinsic Synchronization ...... 171 10.2 Models of the Singing Voice ...... 173 10.3 Harmonic Synchronization in Wind Instruments ...... 178 10.4 Violin Bow–String Interaction ...... 182 10.5 Fractal Dimensions of Musical Instrument Sounds ...... 186 10.6 General Models of Musical Instruments ...... 191 10.7 Conclusions ...... 194 References ...... 195 Contents XIX

11 Room Acoustics – Fundamentals and Computer Simulation Michael Vorländer ...... 197 11.1 Fundamentals of Sound Fields in Rooms...... 198 11.2 Statistical Room Acoustics ...... 199 11.3 Reverberation...... 200 11.4 Stationary Excitation ...... 201 11.5 Room Impulse Responses...... 201 11.6 Computers in Room Acoustics ...... 206 11.7 Auralization ...... 211 11.8 Current Research Topics ...... 212 11.9 Final Remarks...... 213 References ...... 214

Part B Signal Processing

12 Music Studio Technology Robert Mores ...... 221 12.1 Microphones and Microphone Arrangements ...... 222 12.2 Signal Preconditioning and Effects ...... 227 12.3 Digitalization ...... 232 12.4 Mixing Consoles ...... 235 12.5 Synthesizer and Sequencer ...... 236 12.6 Historical and Contemporary Audio Formats and Restoration ...... 239 12.7 Signals, Connectors, Cables and Audio Networks ...... 245 12.8 Loudspeakers, Reference Listening and Reinforcement ...... 251 References ...... 257

13 Delay-Lines and Digital Waveguides Gary Scavone...... 259 13.1 Digital Delay Lines ...... 259 13.2 Simulating Sound Wave Propagation ...... 264 13.3 Digital Waveguides ...... 267 References ...... 271

14 Convolution, Fourier Analysis, Cross-Correlation and Their Interrelationship Jonas Braasch...... 273 14.1 Convolution ...... 273 14.2 Fourier Frequency Analysis and Transformation ...... 276 14.3 Cross-Correlation ...... 280 References ...... 284

15 Audio Source Separation in a Musical Context Bryan Pardo, Zafar Rafii, Zhiyao Duan ...... 285 15.1 REPET ...... 286 15.2 Pitch-Based Source Separation...... 291 15.3 Leveraging the Musical Score ...... 294 15.4 Conclusions ...... 296 References ...... 297 XX Contents

16 Automatic Score Extraction with Optical Music Recognition (OMR) Ichiro Fujinaga, Andrew Hankinson, Laurent Pugin ...... 299 16.1 History...... 299 16.2 Overview ...... 300 16.3 OMR Challenges...... 301 16.4 Technical Background ...... 302 16.5 Adaptive OMR ...... 305 16.6 Symbolic Music Encoding ...... 305 16.7 Tools ...... 307 16.8 Future ...... 308 References ...... 309

17 Adaptive Musical Control of Time-Frequency Representations Doug Van Nort, Phillippe Depalle ...... 313 17.1 State-Space Analysis/Synthesis...... 314 17.2 Recursive, Infinite-Length Windows...... 316 17.3 Kalman Filter-Based Phase Vocoder ...... 317 17.4 Additive Layer and Higher-Level Architecture...... 318 17.5 Sound Transformations ...... 319 17.6 Adaptive Control of Sound Transformations ...... 320 17.7 Chapter Summary ...... 325 17.A Appendix 1: Chandrasekhar Implementation...... 325 17.B Appendix 2: Example 2 EKF Derivation ...... 326 References ...... 327

18 Wave Field Synthesis Tim Ziemer ...... 329 18.1 Overview ...... 329 18.2 Wave Equation and Solutions ...... 330 18.3 Wave Front Synthesis...... 336 18.4 Current Research and Development ...... 343 References ...... 345

19 Finite-Difference Schemes in Musical Acoustics: A Tutorial Stefan Bilbao, Brian Hamilton, Reginald Harrison, Alberto Torin ...... 349 19.1 The 1-D Wave Equation...... 350 19.2 The Ideal Bar Equation...... 356 19.3 Acoustic Tubes ...... 360 19.4 The 2-D and 3-D Wave Equations ...... 364 19.5 Thin Linear Plate Vibration ...... 377 19.6 Extensions to Nonlinear Systems...... 381 References ...... 381

20 Real-Time Signal Processing on Field Programmable Gate Array Hardware Florian Pfeifle...... 385 20.1 Overview ...... 386 20.2 Digital Binary Logic...... 388 20.3 FPGA – A Structural Overview...... 390 Contents XXI

20.4 Hardware Description Language (HDL)...... 394 20.5 FPGA Hardware Overview ...... 397 20.6 FPGA Chips ...... 397 20.7 Interfacing With a FPGA...... 399 20.8 Real-Time DSP Applications ...... 402 20.9 Real-Time Filtering Applications ...... 402 20.10 Real-Time Physical Modeling of Large-Scale Geometries ...... 405 20.11 Summary and Outlook ...... 414 References ...... 415

Part C Music Psychology – Physiology

21 Auditory Time Perception Simon Grondin, Emi Hasuo, Tsuyoshi Kuroda, Yoshitaka Nakajima ...... 423 21.1 Methods for Studying Interval Processing ...... 424 21.2 Processing Time Intervals: Variability ...... 425 21.3 Processing Time Intervals: Perceived Duration ...... 429 21.4 Theoretical Perspectives ...... 434 21.5 Conclusion ...... 435 References ...... 435

22 Automatic Processing of Musical Sounds in the Human Brain Elvira Brattico, Chiara Olcese, Mari Tervaniemi...... 441 22.1 Perceiving the Music Around Us: An Attentive or Automatic Process? ...... 441 22.2 The MMN as a Measure of Automatic Sound Processing in the Auditory Cortex...... 442 22.3 Neural Generators of the MMN ...... 443 22.4 The MMN for Studying Automatic Processing of Simple Musical Rules...... 444 22.5 ERAN as an Index of Semiautomatic Processing of Musical Rules ... 445 22.6 Environmental Exposure Modulates the Automatic Neural Representations of Musical Sounds ...... 445 22.7 Disrupted Automatic Discrimination of Musical Sounds...... 446 22.8 Conclusions ...... 448 References ...... 448

23 Long-Term Memory for Music Lola L. Cuddy...... 453 23.1 Long-Term Memory and the Semantic System ...... 453 23.2 Semantic Memory for Music ...... 454 23.3 Evidence from Neuropsychology ...... 455 23.4 Concluding Comments ...... 457 References ...... 458

24 Auditory Working Memory Katrin Schulze, Stefan Koelsch, Victoria Williamson ...... 461 24.1 The Baddeley and Hitch WM Model: Theoretical Considerations and Empirical Support ...... 461 24.2 WM: Behavioral Data ...... 462 XXII Contents

24.3 Neural Correlates Underlying WM ...... 464 24.4 Sensorimotor Codes – Auditory WM and the Motor System...... 466 24.5 The Influence of LTM on Auditory WM Performance ...... 468 24.6 Summary and Conclusion...... 468 References ...... 469

25 Musical Syntax I: Theoretical Perspectives Martin Rohrmeier, Marcus Pearce ...... 473 25.1 Outline ...... 473 25.2 Theories of Musical Syntax...... 474 25.3 Models of Musical Syntax ...... 477 25.4 Syntactic Models of Different Complexity ...... 478 25.5 Discussion...... 482 25.A Appendix: The Chomsky Hierarchy ...... 483 References ...... 483

26 Musical Syntax II: Empirical Perspectives Marcus Pearce, Martin Rohrmeier ...... 487 26.1 Computational Research ...... 487 26.2 Psychological Research...... 494 26.3 Neuroscientific Research ...... 496 26.4 Implications and Issues...... 498 References ...... 499

27 Rhythm and Beat Perception Tram Nguyen, Aaron Gibbings, Jessica Grahn...... 507 27.1 Temporal Regularity and Beat Perception ...... 507 27.2 Behavioral Investigations ...... 508 27.3 Electrophysiological Investigations ...... 509 27.4 Hemodynamic (fMRI/PET) Investigations...... 514 27.5 Patient and Brain Stimulation Investigations ...... 515 27.6 Discussion...... 516 References ...... 517

28 Music and Action Giacomo Novembre, Peter E. Keller ...... 523 28.1 Coupling Action and Perception Through Musical Experience ...... 524 28.2 Responding to Music with Action and (Social) Interaction...... 528 28.3 Conclusion and Perspectives ...... 534 References ...... 534

29 Music and Emotions Tuomas Eerola ...... 539 29.1 The Rise of Music and Emotion Research ...... 539 29.2 Structure of Emotions ...... 540 29.3 Mechanisms and Modifiers of Emotions...... 543 29.4 Measures and Musical Materials ...... 547 29.5 Current Challenges ...... 549 References ...... 550 Contents XXIII

Part D Psychophysics/Psychoacoustics

30 Fundamentals Albrecht Schneider ...... 559 30.1 Theoretical and Methodological Background ...... 560 30.2 Types of Sound and Sound Features Relevant for Hearing and Music Perception ...... 587 30.3 Some Basics of Sound in a Sound Field ...... 596 References ...... 598

31 Pitch and Pitch Perception Albrecht Schneider ...... 605 31.1 Pitch as Elementary Sensation and as Perceptual Quality ...... 606 31.2 Sketch of the Auditory Pathway (AuP) ...... 615 31.3 Excitation of the Auditory System: From the Tympanum to the BM, the IHC and OHC ...... 617 31.4 Place Coding and Temporal Coding of Sound Features ...... 620 31.5 Auditory Models and Pitch Extraction ...... 627 31.6 Psychophysics...... 629 31.7 Categorical Pitch Perception, Relative and ...... 640 31.8 Scales, Tone Systems, Aspects of Intonation ...... 651 31.9 Geometric Pitch Models, ...... 663 References ...... 671

32 Perception of Timbre and Sound Color Albrecht Schneider ...... 687 32.1 Timbre and Sound Color: Basic Features...... 687 32.2 Sensation and Perception of Timbre and Sound Color ...... 695 References ...... 719

33 Sensation of Sound Intensity and Perception of Loudness Albrecht Schneider ...... 727 33.1 Physical and Physiological Basis of Sound Intensity Sensation...... 727 33.2 Models of Loudness Sensation ...... 730 33.3 From Lab to Disco: Measurements and Perceptual Variability of Loudness ...... 735 33.4 Summing up ...... 737 References ...... 739

Part E Music Embodiment

34 What Is ? Marc Leman, Pieter-Jan Maes, Luc Nijs, Edith Van Dyck ...... 747 34.1 Ontological and Epistemological Foundations ...... 748 34.2 The Architecture of Embodied Music Cognition ...... 750 34.3 Empirical Evidence for Embodied Music Cognition ...... 753 34.4 Embodiment and Dynamic Cognition...... 756 34.5 Contributions to a Paradigm Shift in Systematic Musicology ...... 757 34.6 Conclusion ...... 757 References ...... 758 XXIV Contents

35 Sonic Object Cognition Rolf Inge Godøy ...... 761 35.1 Object Focus ...... 761 35.2 Ontologies...... 763 35.3 Motor Theory...... 764 35.4 Timescales and Duration Thresholds...... 765 35.5 Chunking ...... 766 35.6 Sound Generation ...... 767 35.7 Constraints and Idioms ...... 768 35.8 Sound Synthesis ...... 769 35.9 Feature Taxonomy ...... 770 35.10 Shape Cognition ...... 771 35.11 Typology and Morphology of Sonic Objects ...... 772 35.12 Singular, Composed, Composite and Concatenated Objects ...... 773 35.13 Textures, Hierarchies, Roles and Translations ...... 774 35.14 Analysis-by-Synthesis ...... 775 35.15 Summary ...... 776 References ...... 776

36 Investigating Embodied Music Cognition for Health and Well-Being Micheline Lesaffre ...... 779 36.1 Transitions in Musicology and Society ...... 779 36.2 Models of Music, Health and Well-Being ...... 781 36.3 From Theory to Therapeutic Approaches ...... 783 36.4 Conclusion ...... 789 References ...... 789

37 A Conceptual Framework for Music-Based Interaction Systems Pieter-Jan Maes, Luc Nijs, Marc Leman ...... 793 37.1 A Conceptual Model of Music-Based Interaction Systems ...... 794 37.2 The Human Reward System...... 795 37.3 Social Interaction...... 797 37.4 Monitoring, Motivation, and Alteration ...... 797 37.5 The Evaluation of Music-Based Interactive Systems ...... 799 37.6 Some Case Studies of Applications and Supporting Research...... 799 37.7 Conclusion ...... 801 References ...... 802

38 Methods for Studying Music-Related Body Motion Alexander Refsum Jensenius ...... 805 38.1 Some Key Challenges...... 805 38.2 Qualitative Motion Analysis...... 806 38.3 Video-Based Analyses ...... 808 38.4 Sensor-Based Motion Capture...... 812 38.5 Synchronization and Storage ...... 815 38.6 Conclusion ...... 816 References ...... 816 Contents XXV

Part F Music and Media 39 Content-Based Methods for Knowledge Discovery in Music Juan Pablo Bello, Peter Grosche, Meinard Müller, Ron Weiss ...... 823 39.1 Music Structure Analysis ...... 824 39.2 Feature Representation ...... 826 39.3 Music Synchronization and Navigation ...... 827 39.4 Self-Similarity in Music Recordings ...... 829 39.5 Automated Extraction of Repetitive Structures...... 835 39.6 Conclusions ...... 838 References ...... 838

40 Hearing Aids and Music: Some Theoretical and Practical Issues Marshall Chasin, Neil S. Hockley ...... 841 40.1 Assessment of Musicians...... 842 40.2 Peripheral Sensory Hearing Loss ...... 842 40.3 Direct Assessment of Music with a Peripheral Hearing Loss...... 844 40.4 Acoustic Properties of Music versus Speech ...... 844 40.5 Some Strategies to Handle the More Intense Inputs of Music ...... 846 40.6 Some Hearing-Aid Technologies to Handle the More Intense Inputs of Music ...... 847 40.7 General Recommendations for an Optimal Hearing Aid for Music ...... 849 40.8 Conclusions and Recommendations for Further Research ...... 851 References ...... 851

41 Music Technology and Education Estefanía Cano, Christian Dittmar, Jakob Abeßer, Christian Kehling, Sascha Grollmisch ...... 855 41.1 Background ...... 856 41.2 Tools...... 857 41.3 Sound Source Separation for the Creation of Music Practice Material ...... 859 41.4 Drum Transcription for Real-Time Music Practice ...... 862 41.5 Guitar Transcription Beyond Score Notation ...... 865 41.6 Discussion and Future Challenges ...... 868 References ...... 869

42 Music Learning: Automatic Music Composition and Singing Voice Assessment Lorenzo J. Tardón, Isabel Barbancho, Carles Roig, Emilio Molina, AnaM.Barbancho...... 873 42.1 Related Work on Melody Composition ...... 874 42.2 Related Work on Voice Analysis for Assessment ...... 874 42.3 Music Composition for Singing Assessment ...... 875 42.4 Singing Assessment ...... 879 42.5 Summary ...... 881 References ...... 882 XXVI Contents

43 Computational Ethnomusicology: A Study of Flamenco and Arab-Andalusian Vocal Music Nadine Kroher, Emilia Gómez, Amin Chaachoo, Mohamed Sordo, José-Miguel Díaz-Báñez, Francisco Gómez, Joaquin Mora ...... 885 43.1 Motivation ...... 885 43.2 Background ...... 887 43.3 Case Study...... 889 43.4 Conclusion and Future Perspectives ...... 895 43.5 Complementary Material...... 896 References ...... 896

44 The Relation Between Music Technology and Music Industry Alexander Lerch...... 899 44.1 Recording and Performance ...... 901 44.2 Music Creation ...... 903 44.3 Music Distribution and Consumption ...... 906 44.4 Conclusion ...... 907 References ...... 908

45 Enabling Interactive and Interoperable Semantic Music Applications Jesús Corral García, Panos Kudumakis, Isabel Barbancho, Lorenzo J. Tardón, Mark Sandler ...... 911 45.1 IM AF Standard ...... 912 45.2 Implementation of the IM AF Encoder...... 913 45.3 IM AF in Sonic Visualiser ...... 917 45.4 Future Developments and Conclusions ...... 920 References ...... 920

46 Digital Sensing of Musical Instruments Peter Driessen, George Tzanetakis...... 923 46.1 Digital Music Instruments ...... 923 46.2 Elements of a Hyperinstrument ...... 924 46.3 Acoustic Instrument ...... 924 46.4 Hyperinstrument ...... 925 46.5 Direct Sensors...... 925 46.6 Indirect or Surrogate Sensors...... 927 46.7 Instrument Case Studies ...... 928 46.8 Application Case Studies ...... 930 46.9 Conclusions ...... 932 References ...... 932

Part G Music Ethnology

47 Interaction Between Systematic Musicology and Research on Traditional Music Jukka Louhivuori ...... 939 47.1 Background ...... 939 47.2 Folk/Traditional Music Research ...... 940 47.3 Comparative Musicology ...... 941 Contents XXVII

47.4 Cognitive Approaches – Cross-Cultural Music Cognition and Cognitive Ethnomusicology...... 941 47.5 Anthropology of Music – Ethnomusicology – Cultural Musicology .. 943 47.6 New Trends ...... 945 47.7 Function of Ethnomusicology in Systematic Musicology ...... 946 47.8 Summary ...... 948 References ...... 949

48 Analytical Ethnomusicology: How We Got Out of Analysis and How to Get Back In Leslie Tilley ...... 953 48.1 Ethnomusicology’s Analytical Roots ...... 953 48.2 The Mid-Century Pendulum Swing: The Rise of Anthropology-Based Studies ...... 959 48.3 Analysis in Modern Ethnomusicology...... 966 References ...... 974

49 Musical Systems of Sub-Saharan Africa Simha Arom ...... 979 References ...... 982

50 Music Among Ethnic Minorities in Southeast Asia Håkan Lundström ...... 987 50.1 Singing Manners...... 988 50.2 The Sounds of Bamboo and Metal ...... 992 50.3 Music and Village Life ...... 996 50.4 Village Music and Modern Society ...... 999 50.A Appendix: Recordings...... 1002 References ...... 1002

51 Music Archaeology Ricardo Eichmann ...... 1005 51.1 Methods...... 1006 51.2 Research Topics ...... 1007 51.3 Musical Practice ...... 1008 51.4 Music Theory ...... 1009 51.5 Ancient Sounds ...... 1010 51.6 Conclusion ...... 1011 References ...... 1012

52 The Complex Dynamics of Improvisation David Borgo...... 1017 52.1 The Study of Improvisation ...... 1017 52.2 The Field of Improvisation Studies...... 1018 52.3 Challenges in Defining Improvisation ...... 1018 52.4 Some Contemporary Research Directions ...... 1020 52.5 Referent-Based Improvisation ...... 1021 52.6 Referent-Free Improvisation ...... 1022 52.7 Final Thoughts ...... 1024 References ...... 1025 XXVIII Contents

53 Music of Struggle and Protest in the 20th Century Anthony Seeger ...... 1029 53.1 Historical Antecedents of Music of Protest and Struggle in the United States ...... 1030 53.2 The Poet Walt Whitman’s Influence on the Image of the Protest Singer-Songwriter...... 1031 53.3 Ballad Collectors, Songs of Struggle, and Versions of the American Identity...... 1032 53.4 The Vocal Style and Performance Practice of US Protest Music...... 1033 53.5 20th Century Politics and Protest Music ...... 1035 53.6 African-American Musical Traditions and Social Protest ...... 1036 53.7 The Conservative Reaction ...... 1037 53.8 The Folk Music Revival and The Commercialization of Folk Music... 1038 53.9 Conclusion ...... 1040 References ...... 1041

About the Authors...... 1043 Detailed Contents...... 1057 Subject Index ...... 1079 XXIX

List of Abbreviations

k-NN k-nearest-neighbor B 1-D one-dimensional 1C one’s complement BA44 Brodmann area 44 2-D two-dimensional BBS Baseler Befindlichkeits-Skala 2C two’s complement BC boundary condition 3-D three-dimensional BD book-dependent BEM boundary element method BER bit error rate A BF best frequency BHAD blind harmonic adaptive decomposition A/D analog-to-digital BI book-independent A1 primary auditory cortex BIAS brass instrument analysis system AAF anterior auditory field BLAS basic linear algebra subprograms AAF advanced authoring format BM basilar membrane ABR auditory brainstem response BMF best modulation frequency AC autocorrelation BOLD blood-oxygen-level-dependent ACC anterior cingulate cortex BPM beats per minute ACE acoustic conversion efficiency BRAM block RAM ACF autocorrelation function BRECVEMA brain stem reflex, rhythmic entrainment, AD Alzheimer disease evaluative conditioning, contagion, visual ADC analog-to-digital converter imagery, episodic memory, musical ADM adaptive delta modulation expectancy, and aesthetic judgment ADPCM adaptive differential pulse code BS beam splitter modulation BWF broadcast wave format ADSR attack, decay, sustain, release ADU analog-to-digital unit C AEP auditory evoked potential AF auditory filter CAD computer-aided design AI active intensity CAM common amplitude modulation AI artificial intelligence CAP central auditory processing AIFF audio interchange file format CB critical band aKE affected KE family CC corpus callosum (FOXP2 mutation) CCD charge-coupled device ALM adaptive logic module CCF cross-correlation function AM amplitude modulation CD compact disc AN auditory nerve CE computational ethnomusicology ANN artificial neural network CF characteristic frequency AoIP audio over IP CFL Courant–Friedrichs–Levy AoM area of motion CGM corpus geniculatum mediale/medial AP absolute pitch geniculate body APS artifact-related perceptual score CI cochlear implant AR autoregressive CLB configurable logic block ARMA autoregressive moving average CM comparative musicology ARQ automatic repeat request CMR comodulation masking release ASBF structured audio sample bank format CN cochlear nucleus ASCII American standard code for information CNS central nervous system interchange codec coder-decoder ASIC application-specific integrated circuit CoM centroid of motion ASSP application-specific standard part CP cochlear partition ASW apparent source width CPS closure positive shift ATN augmented transition network cps cycles per second AuP auditory pathway CPU central processing unit AVI audio video interleaved CR critical ratio AWB audio workbench CT corpus trapezoideum XXX List of Abbreviations

CT center time ERF event-related field CTF cochlear transfer function ERN error-related negativity CV computer vision EROSS easily removable, wireless optical sensor CWMN common Western music notation system ERP event-related potential EsAC Essen associative code D ESM experience sampling method DA distribution amplifier ESPI electronic speckle pattern interferometry DAC digital-to-analog converter ET DARMS digital alternative representation of music scores F DASH digital audio stationary head DAT digital audio tape FA factor analysis DAW digital audio workstation FD finite difference DBN dynamic Bayesian network FDDI fiber-distributed digital interface DCC digital compact casette FDM finite-difference method DCN nucleus cochlearis dorsalis FDTD finite-difference time domain DCT discrete cosine transformation FEC forward-error correction DDR double data rate FEM finite element method DE differential evolution FFR frequency-following response DES differential emotions scale FFT fast Fourier transform DESPI decorrelated electronic speckle pattern FFTW fastest Fourier transform in the West interferometry FHT fast Hadamard transformation DFT discrete Fourier transformation FIFO first in/first out DirAC directional audio coding FIR finite impulse response DIY do-it-yourself FLAC free lossless audio codec DL difference limen FM frequency modulation DM delta modulation FMC FPGA mezzanine card DMIF delivery multimedia integration fMRI functional magnetic resonance imaging framework FPGA field programmable gate array DML distributed-mode loudspeakers FRF frequency response function DOP data-oriented parsing FSM finite-state machine DPCM differential pulse code modulation FSR force-sensing resistor DPOAE distortion product otoacoustic emission FT Fourier transform DRM digital rights management FTC frequency-threshold curve DSP digital signal processing FTD frontotemporal degeneration DTS digital theatre system FTP file transfer protocol DTT distorted tunes test FTT Fourier time transformation DTW dynamic time warping FWHM full width at half maximum DVB digital video broadcast G E GDIF gesture description interchange file EAN early anterior negativity format ECG electrocardiogram GEMS Geneva emotional music scale EDT early decay time GKSO Gustafsson Kreiss Sundstrom Osher EEG electroencephalogram/ GME middle-ear pressure gain electroencephalography GMS gesture motion signal EEPROM electrically erasable programmable GOFAI good, old-fashioned artificial intelligence read-only memory GPGPU general purpose graphics processing unit EKF extended Kalman filter GPL general public license ELAN early left anterior negativity GSR galvanic skin response EMG electromyogram GTTM generative theory of tonal music EMI electromagnetic interference GUI graphical user interface EMI experiments in musical intelligence EPROM erasable programmable read-only H memory ERAN early right anterior negativity HCI human–computer interaction ERB equivalent rectangular bandwidth HDL hardware description language List of Abbreviations XXXI

HDMI high-definition multimedia interface KOPRA-M Entwicklung und empirische Validierung HLS high-level synthesis eines Modells musikpraktischer HMM hidden Markov model Kompetenzen HMN human mirror neuron HNR harmonic-to-noise ratio L HOA higher-order ambisonics HPC high-performance computing LA line array HRIR head-related impulse response LAN left anterior negativity HRTF head-related transfer function LDV laser Doppler vibrometry HRV heart rate variability LEV listener envelopment HT half tone LF lateral energy fraction HTML hyper-text markup language LFE low-frequency effect LHA latent harmonic allocation LMA Laban movement analysis I LP linear prediction LPC late positive component I/O input/output LTAS long-term average spectrum I2S inter-IC sound LTI linear time-invariant IC inferior colliculus LTM long-term memory IC information content LUT look-up table ICA independent component analysis ICC central nucleus of the inferior colliculus IF instantaneous frequency M IFF interchange file format IHC inner hair cell MAC medium access frames IID interaural intensity difference MAC multiply-and-accumulate IIR infinite impulse response MADI multichannel audio digital interface IL interface layer MAP multiactuator panel ILD interaural level difference MAP maximum a posteriori IM AF interactive music application format MCML motion capture markup language IMUTUS interactive music tuition system MDL minimum description length INA Ideale Nierenanordnung MDS multidimensional scaling IOI interonset interval MEG magnetoencephalography IP intellectual property MEMS micro-electric mechanical system IP internet protocol MEP motor evoked potential IPF impulse pattern formulation MF missing fundamental IPL inferior parietal lobule MFCC Mel-frequency cepstral coefficient IPS intraparietal sulcus mid-DLPFC mid-dorsolateral prefrontal cortex IPS interference-related perceptual score MIDI musical instrument digital interface ISA independent subspace analysis MIR music information retrieval ISI interstimulus interval MIS University of Iowa musical instrument ISIH interspike interval histogram samples ISO-BMFF ISO based media file format MKSA meter, kilogramm, second, ampere ISRC international standard recording code MLP multilayer perceptron ISS informed source separation MLS maximum length sequence ITD interaural time difference MMN mismatch negativity MMNm magnetic mismatch negativity MMSE mini-mental state examination J MMSE minimum mean square error MOP maximal outerplanar graph JI MoR model routing layer JND just-noticeable difference MPE multipitch estimation MPM music paint machine MPML multimodal presentation markup K language MPO maximum power output K–H Kirchhoff–Helmholtz MPT music perception test KdRV Critique of Pure Reason MRI magnetic resonance imaging KF Kalman filter MSD mass-spring-damper KL Kullback–Leiber divergence MTL medial temporal lobe XXXII List of Abbreviations

MusicXML music extensible markup language PET positron emission tomography MXF material exchange format pFMC posterior frontomedial cortex PLCA probabilistic latent component analysis N PLD programmable logic device PM phase modulated NAH near-field acoustic holography PMC premotor cortex NB naive Bayes PML performance markup language NCD normalized compression distance POF polymer optical fiber NFS network file system POMS profile of mood states NICA nonnegative independent component PP planum polare analysis PPM peak program meter NIFF notation interchange file format PROMS programmable read-only memory NIME new interfaces for musical expression PSA prior subspace analysis NLL N. Lemniscus lateralis PST poststimulus time NMF nonnegative matrix factorization PT planum temporale NN neural network PTC psychophysical tuning curve NONCE novel, optionally novel, nondeterministic process, constraint, existing element Q NTF nonnegative tensor factorization NTT number theoretic transform QEF quasi-error-free QoL quality of life O QoM quantity of motion QoS quality of service OAE otoacoustic emission OCB olivocochlear bundle R OCR optical character recognition OCT optimized cardioid triangle R referent ODD one document does it all RA radiatio acustica ODS operating deflection shape RAAM recursive auto-associative memory OHC outer hair cell RAM random access memory OHCI open host controller interface RANN recurrent artificial neural network OI optical imaging RBM restricted Boltzmann machine OMF open media framework interchange RCD radial convergence diagram OMR optical music recognition REPET repeating pattern extraction technique OPS overall perceptual score RESTFT recursive exponential short-time Fourier OPSI optimized phantom source imaging transform OSC open sound control RI reactive intensity OSI open standard interconnection RIFF resource interchange file format OSPL90 output sound pressure level with 90 dB RMS root mean square SPL input RP OW oval window RPCA robust principal component analysis RSSM rhythm self-similarity matrix P RSV reserved RTCP real-time transport control protocol PA public address RTL register transfer level PAF posterior auditory field RTP real-time protocol PANAS positive and negative affect scale PC personal computer S PCA principal component analysis PCAP peristimulus compound action potential SACD super audio CD PCIe peripheral component interconnect SAM self-assessment manikin express SAM speckle-averaging mechanism PCM pulse code modulation SAOL structured audio orchestra language PCP pitch class profile SATA serial advanced technology attachment PD Parkinson’s disease SBR spectral band replication PDE partial differential equation SCR skin conductance response PDF probability density function SD standard deviation PEASS perceptual evaluation methods for audio SD semantic dementia source separation SDI serial digital interface List of Abbreviations XXXIII

SDIF sound description interchange format TIE total intonation error SDM sigma-delta modulation TMACS tera multiply-and-accumulates per second SDS sample dump standard TMS transcranial magnetic stimulation SF spectral flux TOJ temporal order judgment SFS sound field synthesis TPS target-related perceptual score SHS subharmonic pitch summation TU transmission unit SI-PLCA shift-invariant probabilistic latent component analysis SM systematic musicology U SMA supplementary motor area ucf user constraint file SMG supramarginal gyrus UCL uncomfortable loudness level SMO sequential minimal optimization UDC uniform discrete cepstrum SMS sensorimotor synchronization UDP user data protocol SMS spectral modeling synthesis UHF ultra high frequency SMTP simple mail transfer protocol USB universal serial bus SOC superior olivary complex SOM self organizing map SPI serial peripheral interface V SPINET spatial pitch network SPL sound pressure level VAME verbal attribute magnitude estimation SPOAE spontaneous otoacoustic emission VCN nucleus cochlearis ventralis Spt Sylvian-parietal-temporal VCO voltage-controlled oscillator SR spontaneous rate VHDL very high speed integrated circuit SSEP steady-state-evoked potential hardware description language SSM self-similarity matrix VLPFC ventrolateral prefrontal cortex SSR state-space representation VoIP voice over IP SSSPV stochastic state-space phase vocoder VU volume unit meter STFT short-term Fourier transform/short-time Fourier transform W STG superior temporal gyrus STM short-term memory WAN wide-area network SV Sonic Visualiser WAV waveform audio file format SVM support vector machine WCLK word clock SVTF stapes footplate velocity WDF wave digital filter WDRC wide dynamic range compression T WFA wave field analysis WFS wave field synthesis TC tonal center WM working memory TCP transmission control protocol WMA Windows media audio TEN threshold equalizing noise TEN (HL) threshold equalizing noise test in dB HL X TEOAE transient evoked otoacoustic emission TFLOPS tera floating point operations per second XMF extensible music format THD total harmonic distortion XML extensible markup language