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Live-Electronic Music
live-Electronic Music GORDON MUMMA This b()oll br.gills (lnd (')uis with (1/1 flnO/wt o/Ihe s/u:CIIlflli01I$, It:clmulogira{ i,m(I1M/;OIn, find oC('(uimwf bold ;lIslJiraliml Iltll/ mm"k Ihe his lory 0/ ciec/muir 111111';(", 8u/ the oIJt:ninf!, mui dosing dlll/J/er.f IIr/! in {art t/l' l)I dilfcl'CIIt ltiJ'ton'es. 0110 Luerd ng looks UfI("/,- 1,'ulIl Ihr vll l/laga poillt of a mnn who J/(u pel'smlfl.lly tui(I/I'sscd lite 1)Inl'ch 0/ t:lcrh'Ollic tccJlIlulogy {mm II lmilll lIellr i/s beg-ilmings; he is (I fl'ndj/l(lnnlly .~{'hooletJ cOml)fJj~l' whQ Iws g/"lulll/llly (lb!Jfll'ued demenls of tlli ~ iedmoiQI!J' ;11(0 1111 a/rc(uiy-/orllleti sCI al COlli· plJSifion(l/ allillldes IInti .rki{l$. Pm' GarrlOll M umma, (m fllr. other IWfI((, dec lroll;c lerllll%gy has fllw/lys hetl! pre.telll, f'/ c objeci of 01/ fl/)sm'uillg rlln'osily (mrl inUre.fI. lu n MmSI; M 1I11111W'S Idslur)l resltllle! ",here [ . IIt:1lillg'S /(.;lIve,( nff, 1',,( lIm;lI i11g Ihe dCTleiojJlm!lIls ill dec/m1/ ;,. IIII/sir br/MI' 19j(), 1101 ~'/J IIIlIrli liS exlell siom Of $/ili em'fier lec1m%gicni p,"uedcnh b111, mOw,-, as (upcclS of lite eCQllol/lic lind soci(ll Irislm)' of the /.!I1riotl, F rom litis vh:wJ}f)il1/ Ite ('on,~i d ".r.f lHU'iQII.f kint/s of [i"t! fu! r/urmrl1lcI' wilh e/cclnmic medifl; sl/)""m;ys L'oilabomlive 1>t:rformrl1lce groU/JS (Illd speril/f "heme,f" of cIIgilli:C'-;lIg: IUltl ex/,/orcs in dt:lllil fill: in/tulmet: 14 Ihe new If'dllllJiolO' 011 pop, 10/1(, rock, nllrl jllu /Ill/SIC llJi inJlnwu:lI/s m'c modified //till Ille recording studio maltel' -
Separation of Vocal and Non-Vocal Components from Audio Clip Using Correlated Repeated Mask (CRM)
University of New Orleans ScholarWorks@UNO University of New Orleans Theses and Dissertations Dissertations and Theses Summer 8-9-2017 Separation of Vocal and Non-Vocal Components from Audio Clip Using Correlated Repeated Mask (CRM) Mohan Kumar Kanuri [email protected] Follow this and additional works at: https://scholarworks.uno.edu/td Part of the Signal Processing Commons Recommended Citation Kanuri, Mohan Kumar, "Separation of Vocal and Non-Vocal Components from Audio Clip Using Correlated Repeated Mask (CRM)" (2017). University of New Orleans Theses and Dissertations. 2381. https://scholarworks.uno.edu/td/2381 This Thesis is protected by copyright and/or related rights. It has been brought to you by ScholarWorks@UNO with permission from the rights-holder(s). You are free to use this Thesis in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights- holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/or on the work itself. This Thesis has been accepted for inclusion in University of New Orleans Theses and Dissertations by an authorized administrator of ScholarWorks@UNO. For more information, please contact [email protected]. Separation of Vocal and Non-Vocal Components from Audio Clip Using Correlated Repeated Mask (CRM) A Thesis Submitted to the Graduate Faculty of the University of New Orleans in partial fulfillment of the requirements for the degree of Master of Science in Engineering – Electrical By Mohan Kumar Kanuri B.Tech., Jawaharlal Nehru Technological University, 2014 August 2017 This thesis is dedicated to my parents, Mr. -
AMRC Journal Volume 21
American Music Research Center Jo urnal Volume 21 • 2012 Thomas L. Riis, Editor-in-Chief American Music Research Center College of Music University of Colorado Boulder The American Music Research Center Thomas L. Riis, Director Laurie J. Sampsel, Curator Eric J. Harbeson, Archivist Sister Dominic Ray, O. P. (1913 –1994), Founder Karl Kroeger, Archivist Emeritus William Kearns, Senior Fellow Daniel Sher, Dean, College of Music Eric Hansen, Editorial Assistant Editorial Board C. F. Alan Cass Portia Maultsby Susan Cook Tom C. Owens Robert Fink Katherine Preston William Kearns Laurie Sampsel Karl Kroeger Ann Sears Paul Laird Jessica Sternfeld Victoria Lindsay Levine Joanne Swenson-Eldridge Kip Lornell Graham Wood The American Music Research Center Journal is published annually. Subscription rate is $25 per issue ($28 outside the U.S. and Canada) Please address all inquiries to Eric Hansen, AMRC, 288 UCB, University of Colorado, Boulder, CO 80309-0288. Email: [email protected] The American Music Research Center website address is www.amrccolorado.org ISBN 1058-3572 © 2012 by Board of Regents of the University of Colorado Information for Authors The American Music Research Center Journal is dedicated to publishing arti - cles of general interest about American music, particularly in subject areas relevant to its collections. We welcome submission of articles and proposals from the scholarly community, ranging from 3,000 to 10,000 words (exclud - ing notes). All articles should be addressed to Thomas L. Riis, College of Music, Uni ver - sity of Colorado Boulder, 301 UCB, Boulder, CO 80309-0301. Each separate article should be submitted in two double-spaced, single-sided hard copies. -
Spectralism in the Saxophone Repertoire: an Overview and Performance Guide
NORTHWESTERN UNIVERSITY Spectralism in the Saxophone Repertoire: An Overview and Performance Guide A PROJECT DOCUMENT SUBMITTED TO THE BIENEN SCHOOL OF MUSIC IN PARTIAL FULFILLMENT OF THE REQUIREMENTS for the degree DOCTOR OF MUSICAL ARTS Program of Saxophone Performance By Thomas Michael Snydacker EVANSTON, ILLINOIS JUNE 2019 2 ABSTRACT Spectralism in the Saxophone Repertoire: An Overview and Performance Guide Thomas Snydacker The saxophone has long been an instrument at the forefront of new music. Since its invention, supporters of the saxophone have tirelessly pushed to create a repertoire, which has resulted today in an impressive body of work for the yet relatively new instrument. The saxophone has found itself on the cutting edge of new concert music for practically its entire existence, with composers attracted both to its vast array of tonal colors and technical capabilities, as well as the surplus of performers eager to adopt new repertoire. Since the 1970s, one of the most eminent and consequential styles of contemporary music composition has been spectralism. The saxophone, predictably, has benefited tremendously, with repertoire from Gérard Grisey and other founders of the spectral movement, as well as their students and successors. Spectral music has continued to evolve and to influence many compositions into the early stages of the twenty-first century, and the saxophone, ever riding the crest of the wave of new music, has continued to expand its body of repertoire thanks in part to the influence of the spectralists. The current study is a guide for modern saxophonists and pedagogues interested in acquainting themselves with the saxophone music of the spectralists. -
Cologne Reloaded Johannes Schöllhorn Als Leiter Des Neuen Instituts Für Neue Musik an Der Kölner Hochschule Für Musik Und Tanz Von Rainer Nonnenmann
Cologne reloaded Johannes Schöllhorn als Leiter des neuen Instituts für Neue Musik an der Kölner Hochschule für Musik und Tanz von Rainer Nonnenmann Nach wie vor ist die Hochschule für Musik und Tanz Köln eine der größten Musikausbildungsstätten Europas. Bei künstlerischer Arbeit zählt indes nicht nur schiere Masse, sondern Intensität, Breite, Profil und Qualität. Einst Magnet für Studierende aus aller Welt, die bei Bernd Alois Zimmermann, Karlheinz Stockhausen, Hans Werner Henze oder Maurizio Kagel studieren wollten und die große Kölner Freie Musikszene aufbauen halfen, ist die Kompositionsausbildung an der Kölner Hochschule während der letzten Jahre nahezu völlig zum Erliegen gekommen. Mit der Emeritierung von Johannes Fritsch, York Höller, Hans-Ulrich Humpert und Krzysztof Meyer, die hier zwei, gar drei Jahrzehnte lang unterrichteten, wurden mit einen Schlag sämtliche vier Professuren vakant. Schon vorher hatte indes ein Schwund eingesetzt. Immer weniger Studenten kamen nach Köln, und wer hier das ohnmächtig versickernde Komponistenhäuflein erlebte, wechselte schnell woanders hin. So war bereits vor der Auflösung manche Kompositionsklasse auf nur noch zwei Studierende geschrumpft. Im gewachsenen Wettbewerb mit anderen Ausbildungsstätten konnte die Kölner Hochschule offenbar immer weniger mithalten. Allein in Deutschland erwiesen sich die Hochschulen in Berlin, Bremen, Düsseldorf, Freiburg, München und Stuttgart als attraktiver für Studierende, weil dort großteils schon seit Längerem spezielle Institute für neue Musik existierten, mit oft umtriebigeren oder namhafteren Lehrerpersönlichkeiten sowie besseren Proben- und Aufführungsmöglichkeiten. Abgesehen von der verschärften nationalen und internationalen Konkurrenz war der Niedergang der neuen Musik an der Kölner Hochschule jedoch selbst verschuldet. Während zweier Amtszeiten betrieb Rektor Josef Protschka bis Anfang 2009 eine gegenüber der neuen Musik regelrecht feindliche Ausschreibungs- und Berufungspolitik. -
Psychological Measurement for Sound Description and Evaluation 11
11 Psychological measurement for sound description and evaluation Patrick Susini,1 Guillaume Lemaitre,1 and Stephen McAdams2 1Institut de Recherche et de Coordination Acoustique/Musique Paris, France 2CIRMMT, Schulich School of Music, McGill University Montréal, Québec, Canada 11.1 Introduction Several domains of application require one to measure quantities that are representa- tive of what a human listener perceives. Sound quality evaluation, for instance, stud- ies how users perceive the quality of the sounds of industrial objects (cars, electrical appliances, electronic devices, etc.), and establishes specifications for the design of these sounds. It refers to the fact that the sounds produced by an object or product are not only evaluated in terms of annoyance or pleasantness, but are also important in people’s interactions with the object. Practitioners of sound quality evaluation therefore need methods to assess experimentally, or automatic tools to predict, what users perceive and how they evaluate the sounds. There are other applications requir- ing such measurement: evaluation of the quality of audio algorithms, management (organization, retrieval) of sound databases, and so on. For example, sound-database retrieval systems often require measurements of relevant perceptual qualities; the searching process is performed automatically using similarity metrics based on rel- evant descriptors stored as metadata with the sounds in the database. The “perceptual” qualities of the sounds are called the auditory attributes, which are defined as percepts that can be ordered on a magnitude scale. Historically, the notion of auditory attribute is grounded in the framework of psychoacoustics. Psychoacoustical research aims to establish quantitative relationships between the physical properties of a sound (i.e., the properties measured by the methods and instruments of the natural sciences) and the perceived properties of the sounds, the auditory attributes. -
Darmstadt As Other: British and American Responses to Musical Modernism. Twentieth-Century Music, 1 (2)
Heile, B. (2004) Darmstadt as other: British and American responses to musical modernism. Twentieth-Century Music, 1 (2). pp. 161-178. ISSN 1478-5722 Copyright © 2004 Cambridge University Press A copy can be downloaded for personal non-commercial research or study, without prior permission or charge The content must not be changed in any way or reproduced in any format or medium without the formal permission of the copyright holder(s) When referring to this work, full bibliographic details must be given http://eprints.gla.ac.uk/52652/ Deposited on: 03 April 2013 Enlighten – Research publications by members of the University of Glasgow http://eprints.gla.ac.uk twentieth century music http://journals.cambridge.org/TCM Additional services for twentieth century music: Email alerts: Click here Subscriptions: Click here Commercial reprints: Click here Terms of use : Click here Darmstadt as Other: British and American Responses to Musical Modernism BJÖRN HEILE twentieth century music / Volume 1 / Issue 02 / September 2004, pp 161 178 DOI: 10.1017/S1478572205000162, Published online: 22 April 2005 Link to this article: http://journals.cambridge.org/abstract_S1478572205000162 How to cite this article: BJÖRN HEILE (2004). Darmstadt as Other: British and American Responses to Musical Modernism. twentieth century music, 1, pp 161178 doi:10.1017/S1478572205000162 Request Permissions : Click here Downloaded from http://journals.cambridge.org/TCM, IP address: 130.209.6.42 on 03 Apr 2013 twentieth-century music 1/2, 161–178 © 2004 Cambridge University Press doi:10.1017/S1478572205000162 Printed in the United Kingdom Darmstadt as Other: British and American Responses to Musical Modernism BJO}RN HEILE Abstract There is currently a backlash against modernism in English-language music studies. -
Chapter 1: from Autonomy to Heteronomy: a Change of Paradigm in South African Art Music, 1980-2006
Chapter 1: From autonomy to heteronomy: A change of paradigm in South African art music, 1980-2006 Introduction Composition in South Africa has been an increasingly contested artistic and ideological space since the early 1980s. In this dissertation I argue that the demise of apartheid and the rise of democracy resulted in an institutional and aesthetic crisis for the field of composition, embodied in musical terms by a shift away from a Eurocentric paradigm to a cross-cultural one that embraced various ‘African elements’ within a framework of modernism and discourse of accessibility. In this chapter I consider the factors – both internal to the field of art music and those resulting from larger societal changes – that contributed to this artistic and ideological shift. Partly I am concerned with the politics of the field itself: the struggle for power within a highly contested cultural space. More broadly I am interested in the position of the field relative to changes in society at the macro level, in terms of race, class, and economic imperatives. A central question is, to what extent did the restructuring of the field in response to these changed imperatives affect the aesthetic choices of composers? The autonomy of art music during apartheid was challenged by the politicization of the field during the 1980s. The extent and rapidity of social and institutional change, and the new self-consciousness that it evoked in composers previously only concerned with “production for producers” (Bourdieu 1993:15), resulted in a crisis that foreshadowed an aesthetic revolution, or change of paradigm. In this chapter I present the theoretical basis for this claim and explain some of the historical reasons for its emergence. -
Design of a Protocol for the Measurement of Physiological and Emotional Responses to Sound Stimuli
DESIGN OF A PROTOCOL FOR THE MEASUREMENT OF PHYSIOLOGICAL AND EMOTIONAL RESPONSES TO SOUND STIMULI ANDRÉS FELIPE MACÍA ARANGO UNIVERSIDAD DE SAN BUENAVENTURA MEDELLÍN FACULTAD DE INGENIERÍAS INGENIERÍA DE SONIDO MEDELLÍN 2017 DESIGN OF A PROTOCOL FOR THE MEASUREMENT OF PHYSIOLOGICAL AND EMOTIONAL RESPONSES TO SOUND STIMULI ANDRÉS FELIPE MACÍA ARANGO A thesis submitted in partial fulfillment for the degree of Sound Engineer Adviser: Jonathan Ochoa Villegas, Sound Engineer Universidad de San Buenaventura Medellín Facultad de Ingenierías Ingeniería de Sonido Medellín 2017 TABLE OF CONTENTS ABSTRACT ................................................................................................................................................................ 7 INTRODUCTION ..................................................................................................................................................... 8 1. GOALS .................................................................................................................................................................... 9 2. STATE OF THE ART ........................................................................................................................................ 10 3. REFERENCE FRAMEWORK ......................................................................................................................... 15 3.1. Noise ........................................................................................................................................................... -
Comparison of Frequency-Warped Filter Banks in Relation to Robust Features for Speaker Identification
Recent Advances in Electrical Engineering Comparison of Frequency-Warped Filter Banks in relation to Robust Features for Speaker Identification SHARADA V CHOUGULE MAHESH S CHAVAN Electronics and Telecomm. Engg.Dept. Electronics Engg. Department, Finolex Academy of Management and KIT’s College of Engineering, Technology, Ratnagiri, Maharashtra, India Kolhapur,Maharashtra,India [email protected] [email protected] Abstract: - Use of psycho-acoustically motivated warping such as mel-scale warping in common in speaker recognition task, which was first applied for speech recognition. The mel-warped cepstral coefficients (MFCCs) have been used in state-of-art speaker recognition system as a standard acoustic feature set. Alternate frequency warping techniques such as Bark and ERB rate scale can have comparable performance to mel-scale warping. In this paper the performance acoustic features generated using filter banks with Bark and ERB rate warping is investigated in relation to robust features for speaker identification. For this purpose, a sensor mismatched database is used for closed set text-dependent and text-independent cases. As MFCCs are much sensitive to mismatched conditions (any type of mismatch of data used for training evaluation purpose) , in order to reduce the additive noise, spectral subtraction is performed on mismatched speech data. Also normalization of feature vectors is carried out over each frame, to compensate for channel mismatch. Experimental analysis shows that, percentage identification rate for text-dependent case using mel, bark and ERB warped filter banks is comparably same in mismatched conditions. However, in case of text-independent speaker identification, ERB rate warped filter bank features shows improved performance than mel and bark warped features for the same sensor mismatched condition. -
1996-1996 Achim Heidenreich
Neue Namen, alte Unbekannte Die EDITION ZEITGENÖSSISCHE MUSIK stärkte von Anfang an Individualität – nicht Lehrmeinungen (1986-1996) von Achim Heidenreich Seit 1986 gibt es die EDITION ZEITGENÖSSISCHE MUSIK (EDITION) des Deutschen Musikrats. Sie besteht aus musikalischen Porträts, in der Regel CDs, mit denen sich Komponistinnen und Komponisten, die das 40. Lebensjahr noch nicht erreicht haben sollten, häufig erstmals einer größeren Öffentlichkeit präsentieren können, sei es mit einem repräsentativen Querschnitt durch ihr Schaffen oder auch mit einem selbstgewählten Schwerpunkt. Ein größerer Bekanntheitsgrad und nicht selten weitere Aufträge sind die Folge. Auf diese Weise werden nicht nur die jungen Komponistinnen und Komponisten gefördert, auch wird das jeweils aktuelle Musikleben schwerpunktmäßig dokumentiert. Komponistinnen stellen insgesamt eher die Minderheit in den Veröffentlichungen dar. In der ersten Dekade bis 1996 waren es nur zwei: ADRIANA HÖLSZKY (*1953 / CD 1992) und BABETTE KOBLENZ (*1956 / CD 1990), inzwischen hat der Anteil deutlich zugenommen. Weitere Bewerbungsbedingungen um eine solche CD sind die deutsche Staatsbürgerschaft oder ein über eine längere Dauer in Deutschland liegender Lebensmittelpunkt. Wer also nur eine der beiden Vorgaben erfüllt, ist antragsberechtigt, die deutsche Staatsbürgerschaft ist nicht eine grundsätzliche Notwendigkeit. Wie die Geschichte der EDITION zeigt, wurden diese Antragsbedingungen sehr weise formuliert. Mit seiner hohen Orchester- und Opernhausdichte sowie seinen weitgehend studiengebührenfreien Studiengängen und der erstklassigen musikalischen Ausbildung an den Musikhochschulen gilt Deutschland weltweit nach wie vor als eine Art gelobtes Land, zumindest der klassischen und damit auch der zeitgenössischen und Neuen Musik. Entsprechend gestalten und entwickeln internationale Künstler das deutsche Musikleben entscheidend mit, was die CD-Reihe eindrucksvoll widerspiegelt. Die EDITION ist jedoch nicht nur eine reine Porträt-Reihe für Komponierende. -
Fundamentals of Psychoacoustics Psychophysical Experimentation
Chapter 6: Fundamentals of Psychoacoustics • Psychoacoustics = auditory psychophysics • Sound events vs. auditory events – Sound stimuli types, psychophysical experiments – Psychophysical functions • Basic phenomena and concepts – Masking effect • Spectral masking, temporal masking – Pitch perception and pitch scales • Different pitch phenomena and scales – Loudness formation • Static and dynamic loudness – Timbre • as a multidimensional perceptual attribute – Subjective duration of sound 1 M. Karjalainen Psychophysical experimentation • Sound events (si) = pysical (objective) events • Auditory events (hi) = subject’s internal events – Need to be studied indirectly from reactions (bi) • Psychophysical function h=f(s) • Reaction function b=f(h) 2 M. Karjalainen 1 Sound events: Stimulus signals • Elementary sounds – Sinusoidal tones – Amplitude- and frequency-modulated tones – Sinusoidal bursts – Sine-wave sweeps, chirps, and warble tones – Single impulses and pulses, pulse trains – Noise (white, pink, uniform masking noise) – Modulated noise, noise bursts – Tone combinations (consisting of partials) • Complex sounds – Combination tones, noise, and pulses – Speech sounds (natural, synthetic) – Musical sounds (natural, synthetic) – Reverberant sounds – Environmental sounds (nature, man-made noise) 3 M. Karjalainen Sound generation and experiment environment • Reproduction techniques – Natural acoustic sounds (repeatability problems) – Loudspeaker reproduction – Headphone reproduction • Reproduction environment – Not critical in headphone