Space Vector Modulated Hybrid Series Active Filter for Harmonic Compensation

Total Page:16

File Type:pdf, Size:1020Kb

Space Vector Modulated Hybrid Series Active Filter for Harmonic Compensation space vector modulated Hybrid Series Active Filter for Harmonic Compensation Sushree Diptimayee Swain∗, Pravat Kumar Ray† and Kanungo Barada Mohanty‡ Department of Electrical Engineering National Institute of Technology, Rourkela, Rourkela-769 008, India ∗[email protected][email protected][email protected] Abstract—This paper deals with the implementation of Hy- nomenon between the PPFs and source impedance. But the brid Series Active Power Filter (HSAPF) for compensation of usage of only APFs is a very costly solution because it needs harmonic voltage and current using Space Vector Pulse Width comparatively very large power converter ratings. Considering Modulation (SVPWM) technique. The Hybrid control approach based Synchronous Reference Frame(SRF) method is used to the merits of PPFs and APFs, Hybrid Active Power Filters are generate the appropriate reference voltages for HSAPF to com- designed HAPFs [9], [10] are very much efficient for reactive pensate reactive power. This HSAPF uses PI control to the outer power and harmonic compensation. The design of HAPFs are DC-link voltage control loop and SVPWM to the inner voltage based on cutting-edge power electronics technology, which control loop. The switching pattern for the switching of the includes power conversion circuits, semiconductor devices, inverter of series active power filter in HSAPF is generated using SVPWM technique. The proposed HSAPF is verified through analog/digital signal processing, voltage/current sensors and MATLAB Simulink version R2010 for SRF control strategy and control theory. In active and hybrid power filters, a number of SVPWM technique. The simulated results verified that for both control strategies such as Hysteresis [11], [12], sliding mode SRF-SVPWM based HSAPF and Synchronous Reference Frame control techniques [13], [14] carrier based control [15] tech- with Carrier Based Pulse Width Modulation (SRF-CBPWM) niques are used to regulate the current and voltage generated based HSAPF shows that the Total Harmonic Distortion (THD) of source current for steady state as well as dynamic condition by the voltage source inverter. But in all the previous cases of non-linear load follows the IEEE Std.519-1992. frequency is variable. Hence, there may be difficulty in the Index Terms—Hybrid series active power filter, harmonic design as well as in the control of noise level. PWM control producing non-linear load, Carrier Based Pulse Width Modu- technique can eliminate these problems. Earlier numerous lation(CBPWM), Space Vector Pulse Width Modulation. Pulse Width Modulation (PWM) techniques have already been investigated, among them SVPWM [16], [17] is most dynamic I. INTRODUCTION and energetic because of its reliability, robustness, simplicity In recent years, huge usage of power electronic devices both in hardware and software and also its performance is such as thyristors, diodes, rectifiers, lighting equipments, un- awesome with small modulation ratio. But the SVPWM is interruptible power supplies (UPS), arc furnaces etc. creates very critical when the no. of levels of PWMVSI increases and large scale of harmonics in power systems. These harmonics also it is very complicated in some steps of switching pattern cause many unwanted effects on Power Quality (PQ) such generation. SVPWM depends on CBPWM (carrier based as undesirable computer network failures, premature motor PWM) for achieving better performance. The objective of burnouts, humming in telecommunication lines, excessive this paper is to investigate the detailed study of SVPWM, the heating in rotating machines, interference with communication difference between SRF-SVPWM and SRF-CBPWM.In order circuits, harmonics resonances in the utility and transformer to obtain a better control and better performance, a simple and overheating etc. are few examples of poor power quality in efficient control scheme is required. That’s why SRF-CBPWM power system. Traditionally Passive Power Filters (PPFs) [1], and SRF-SVPWM both used as control algorithm for reference [2], [3] are used to reduce harmonics, but PPFs are unable generation process. The α − β transformation is applied to to filter out the harmonics in transient condition. The major the control scheme design and aims to generate the reference drawbacks of PPFs are heavy in weight, large in size, bulky, voltage directly in α − β reference frame. fixed compensation and resonance phenomena. Recently, some The paper is organised as follows, the circuit topology Active Power Filters [4], [5], [6], [7], [8] are widely used for three phase HSAPF is described in section-II, section-III for the compensation of harmonics in power systems. The depicts the control algorithm for Series Active part of hybrid function of active power filter is, to inject harmonic current filter, section-IV disclose the controller design for HSAPF or voltage into the power system with magnitudes same as using SVPWM, section-V explains the simulation results for the harmonic current or voltage produced by a nonlinear harmonic compensation using HSAPF. Section-VI concludes load, but with 180deg phase shift. These APFs are require the paper. a controlled voltage source inverter for producing a reference 1 compensating voltage or current. Active Power Filters (APFs) [2] are capable of damping out the harmonic resonance phe- 1978-1-4673-6540-6/15/$31.00 2015 IEEE Vs Ls R By inverse transformation one can obtain the distorted or har- CLL monic components of the load voltages after the compensation Vs Ls RL of shunt passive power filter. V s L s LL ⎡ ⎤ ⎡ ⎤ V cosθ sin θ L ah V ⎣ V ⎦ = ⎣ cos(θ − 2Π ) sin(θ − 2Π ) ⎦ d (6) L bh 3 3 Lc 2Π 2Π Vq VL ch cos(θ + 3 ) sin(θ + 3 ) Lc Lf C Cc dc C L f c Therefore, the three phase source currents ,I sa ,I sb,I sc , are Cc transformed into rotating reference frame as: Cc ⎡ ⎤ I 2 2Π 2Π sa Fig. 1. Hybrid series active filter with 2 types of nonlinear loads I d cosθ cos(θ − 3 ) cos(θ + 3 ) ⎦ = 2Π 2Π ⎣ I sb I q 3 sin θ sin(θ − 3 ) sin(θ + 3 ) I sc (7) II. CIRCUIT TOPOLOGY FOR THREE PHASE HYBRID The obtained currents I d and I q have both DC and AC SERIES ACTIVE POWER FILTER (HSAPF) components. The circuit diagram includes a series active filter and I d = I d + I d (8) shunt connected passive power filter[1]. The active filter is connected in series with the source and non-linear load through I q = I q + I q (9) a matching transformer of turn ratio 1 : 1 and the passive If the dq-components of current are low pass filtered and again power filter is connected in parallel with the non-linear load. subtracted from the original components, one can obtains the The PPF includes a third order, fifth order tuned harmonic total harmonic content and the DC-components are eliminated. filters for the harmonic compensation of current on load side. Using inverse transformation, harmonic components of source One converter is connected in series in each phase through current can be obtained as : a matching transformer with a turn ratio equal to 1 : 1. ⎡ ⎤ ⎡ ⎤ I cosθ sin θ This transformer is required for isolation purposes. The DC sah I ⎣ I ⎦ ⎣ cos(θ − 2Π ) sin(θ − 2Π ) ⎦ d (10) side capacitor is common for all three converters. A PWM sbh = 3 3 I 2Π 2Π I q control block is designed so that the AC output voltage of sch cos(θ + 3 ) sin(θ + 3 ) the converters follows the references that are calculated by The generation of reference compensating signal using the the control block based on the hybrid control approach based combined load voltage and source current detection scheme is synchronous reference frame method. shown in Fig. 2. From fig.2, the error between the reference and the actual DC-link voltage of DC-link capacitor of three III. SYNCHRONOUS REFERENCE FRAME METHODFOR phase PWM inverter fed from the ac system is first passed ACTIVE FILTER DESIGN through a PI controller and then it is subtracted from the In this method three phase measured load voltages are trans- oscillatory component in d-axis. Since the extra fundamental formed from stationary reference frame to rotating reference components are added to harmonic components respectively. frame with fundamental frequency as: Thus the reference compensating voltages are also expressed ⎡ ⎤ as: ⎫ 2 cosθ cos(θ − 2Π ) cos(θ + 2Π ) VL a ∗ = K I − V + ∆ V Vd 3 3 ⎣ ⎦ Vca sah L ah caf ⎬ = 2Π 2Π VL b ∗ Vq 3 sin θ sin(θ − 3 ) sin(θ + 3 ) Vcb = K I sbh − VL bh + ∆ Vcbf (11) VL c ∗ ⎭ (1) Vcc = K I sch − VL bh + ∆ Vccf A Phase Locked Loop (PLL) tracks the phase angle of the IV. CONTROLLER DESIGN FOR HSAPF USING SVPWM source voltage, which is necessary for transformation. The TECHNIQUE obtained voltages can be divided into average and oscillating The Space Vector Pulse Width Modulation (SVPWM) is components. generally used as voltage controller to control the IGBT V = V + V (2) d d d switches of HSAPF. It consists of six IGBT switches (s1-s6). Vq = Vq + Vq (3) Depending upon different switching combination, PWMVSI produce different outputs. This SVPWM is different from Where , VL a ,VL b,VL c , are load voltages, which are distorted other PWM methods, because it produces a vector as a or asymmetrical in nature. If the dq-components are Low reference so SVPWM is better than other PWM methods. Pass Filtered (LPF) and this LPFs output is subtracted from Reference vector is nothing but the reference compensating original, the DC-components are eliminated and one can get voltage generated by SRF method in αβ-plane. The ON-OFF the total harmonic contents. position of switch is based on the presence of reference voltage vector on αβ-plane. The switches 1,3,5 are the upper switches Vd = Vd − Vd (4) and switches 2,4,6 are lower switches of PWMVSI.
Recommended publications
  • Musical Acoustics - Wikipedia, the Free Encyclopedia 11/07/13 17:28 Musical Acoustics from Wikipedia, the Free Encyclopedia
    Musical acoustics - Wikipedia, the free encyclopedia 11/07/13 17:28 Musical acoustics From Wikipedia, the free encyclopedia Musical acoustics or music acoustics is the branch of acoustics concerned with researching and describing the physics of music – how sounds employed as music work. Examples of areas of study are the function of musical instruments, the human voice (the physics of speech and singing), computer analysis of melody, and in the clinical use of music in music therapy. Contents 1 Methods and fields of study 2 Physical aspects 3 Subjective aspects 4 Pitch ranges of musical instruments 5 Harmonics, partials, and overtones 6 Harmonics and non-linearities 7 Harmony 8 Scales 9 See also 10 External links Methods and fields of study Frequency range of music Frequency analysis Computer analysis of musical structure Synthesis of musical sounds Music cognition, based on physics (also known as psychoacoustics) Physical aspects Whenever two different pitches are played at the same time, their sound waves interact with each other – the highs and lows in the air pressure reinforce each other to produce a different sound wave. As a result, any given sound wave which is more complicated than a sine wave can be modelled by many different sine waves of the appropriate frequencies and amplitudes (a frequency spectrum). In humans the hearing apparatus (composed of the ears and brain) can usually isolate these tones and hear them distinctly. When two or more tones are played at once, a variation of air pressure at the ear "contains" the pitches of each, and the ear and/or brain isolate and decode them into distinct tones.
    [Show full text]
  • Mto.95.1.4.Cuciurean
    Volume 1, Number 4, July 1995 Copyright © 1995 Society for Music Theory John D. Cuciurean KEYWORDS: scale, interval, equal temperament, mean-tone temperament, Pythagorean tuning, group theory, diatonic scale, music cognition ABSTRACT: In Mathematical Models of Musical Scales, Mark Lindley and Ronald Turner-Smith attempt to model scales by rejecting traditional Pythagorean ideas and applying modern algebraic techniques of group theory. In a recent MTO collaboration, the same authors summarize their work with less emphasis on the mathematical apparatus. This review complements that article, discussing sections of the book the article ignores and examining unique aspects of their models. [1] From the earliest known music-theoretical writings of the ancient Greeks, mathematics has played a crucial role in the development of our understanding of the mechanics of music. Mathematics not only proves useful as a tool for defining the physical characteristics of sound, but abstractly underlies many of the current methods of analysis. Following Pythagorean models, theorists from the middle ages to the present day who are concerned with intonation and tuning use proportions and ratios as the primary language in their music-theoretic discourse. However, few theorists in dealing with scales have incorporated abstract algebraic concepts in as systematic a manner as the recent collaboration between music scholar Mark Lindley and mathematician Ronald Turner-Smith.(1) In their new treatise, Mathematical Models of Musical Scales: A New Approach, the authors “reject the ancient Pythagorean idea that music somehow &lsquois’ number, and . show how to design mathematical models for musical scales and systems according to some more modern principles” (7).
    [Show full text]
  • The Ten Violin Concertos of Charles-Auguste De Beriot: a Pedagogical Study
    Louisiana State University LSU Digital Commons LSU Historical Dissertations and Theses Graduate School 1994 The eT n Violin Concertos of Charles-Auguste De Beriot: A Pedagogical Study. Nicole De carteret Hammill Louisiana State University and Agricultural & Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_disstheses Recommended Citation Hammill, Nicole De carteret, "The eT n Violin Concertos of Charles-Auguste De Beriot: A Pedagogical Study." (1994). LSU Historical Dissertations and Theses. 5694. https://digitalcommons.lsu.edu/gradschool_disstheses/5694 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Historical Dissertations and Theses by an authorized administrator of LSU Digital Commons. For more information, please contact [email protected]. INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand corner and continuing from left to right in equal sections with small overlaps.
    [Show full text]
  • Relative Pitch and L2 Lexical Tone Perception/Tone Language Comprehension by Adult Tone
    City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 9-2017 Is It All Relative? Relative Pitch and L2 Lexical Tone Perception/ Tone Language Comprehension by Adult Tone and Non-Tone Language Speakers Sloane C. von Wertz The Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/2247 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] IS IT ALL RELATIVE? RELATIVE PITCH AND L2 LEXICAL TONE PERCEPTION/TONE LANGUAGE COMPREHENSION BY ADULT TONE AND NON-TONE LANGUAGE SPEAKERS by SLOANE CELESTE VON WERTZ A dissertation submitted to the Graduate Faculty in Linguistics in partial fulfillment of the requirements for the degree of Doctor of Philosophy, The City University of New York 2017 © 2017 SLOANE CELESTE VON WERTZ All Rights Reserved ii Is It All Relative? Relative Pitch and L2 Lexical Tone Perception/Tone Language Comprehension by Adult Tone and Non-Tone Language Speakers by Sloane Celeste von Wertz This manuscript has been read and accepted for the Graduate Faculty in Linguistics in satisfaction of the dissertation requirement for the degree of Doctor of Philosophy. Date Gita Martohardjono Chair of Examining Committee Date Gita Martohardjono Executive Officer Supervisory Committee: Gita Martohardjono Andrew Rosenberg Joseph Straus THE CITY UNIVERSITY OF NEW YORK iii ABSTRACT Is It All Relative? Relative Pitch and L2 Lexical Tone Perception/Tone Language Comprehension by Adult Tone and Non-Tone Language Speakers by Sloane Celeste von Wertz Advisor: Professor Gita Martohardjono Languages generally use musical pitch variation of the voice as part of their sound systems (Maddieson, 2011)—pitch variations that can be somewhat reminiscent of music.
    [Show full text]
  • Microtonal Music with ABC (Microabc Tutorial)
    Microtonal music with ABC (microabc tutorial) Hudson Lacerda <[email protected]> August 29, 2010 Contents 1 Introduction 3 2 Software requirements 3 3 Understanding the basic concepts 3 3.1 ABC andmicrotones....................................... 4 3.2 Macros and preprocessors . ........... 5 3.3 microabc isageneratorofmacros................................ 6 3.4 microabc asapreprocessor .................................... 7 3.5 MIDI limitations.......................................... 7 4 The steps 8 5 Examples 8 5.1 Quickstart........................................ ...... 8 5.1.1 Bach’schoral .................................. ...... 9 5.1.2 Makechanges,learnmore. ........ 10 5.2 A scale of harmonics – microabc outputmodes......................... 10 5.2.1 The microabc inputfile .................................. 11 5.2.2 The ABC filewithmacros.................................. 11 5.2.3 Microtonal mode ...................................... 12 5.2.4 Chromatic mode, timidity++ and Scala ......................... 13 5.2.5 Diatonic mode........................................ 14 5.2.6 Literal mode......................................... 15 5.3 Anexamplein19-EDO............................... ........ 16 5.3.1 The microabc file...................................... 16 5.3.2 PostScript ......................................... 16 5.3.3 MIDI ............................................. 16 5.3.4 Thecode....................................... 16 5.3.5 Macrodefinitionsfiles . ....... 17 5.3.6 The ABC filewithmacros.................................
    [Show full text]
  • Jianpu Notacija
    LITHUANIAN ACADEMY OF MUSIC AND THEATRE FACULTY OF MUSIC DEPARTMENT OF WIND AND PERCUSSION INSTRUMENTS Ningrui Liu MASTER‘S THESIS DEVELOPMENT AND DIFFERENCE OF CHINA AND WESTERN MUSIC FOR FLUTE Study Program: Music Performance (Flute) Advisor: Assoc. Prof. Kazys Daugėla LIETUVOS MUZIKOS IR TEATRO AKADEMIJA BAIGIAMOJO DARBO SĄŽININGUMO DEKLARACIJA 2020 m. balandžio 27 d. Patvirtinu, kad mano tiriamasis rašto darbas (tema) “DEVELOPMENT AND DIFFERENCE OF CHINA AND WESTERN MUSIC FOR FLUTE” (“Kinijos ir Vakarų Europos muzikos fleitai raida ir skirtumai” yra parengtas savarankiškai. 1. Šiame darbe pateikta medžiaga nėra plagijuota, tyrimų duomenys yra autentiški ir nesuklas- toti. 2. Tiesiogiai ar netiesiogiai panaudotos kitų šaltinių ir/ar autorių citatos ir/ar kita medžiaga pažymėta literatūros nuorodose arba įvardinta kitais būdais. 3. Kitų asmenų indėlio į parengtą baigiamąjį darbą nėra. 4. Jokių įstatymų nenumatytų piniginių sumų už šį darbą niekam nesu mokėjęs (-usi). 5. Su pasekmėmis, nustačius plagijavimo ar duomenų klastojimo atvejus, esu susipažinęs(- usi) ir joms neprieštarauju. Parašas/Signature Ningrui Liu 2 ĮVADAS Mano gimtojoje šalyje iki šiol naudojama Jianpu notacija. Daugelį žymėjimų, muzikinių ženklų yra sudėtinga išversti į anglų kalbą. kad būtų lengviau suprantama Vakarų Europos žmonėms. O visą Kinijos muzikinę kultūrą ir šios šalies muzikinės kultūros specifiką galima pajausti tik ilgai gyvenant Kinijoje. Tačiau ir visoje Kinijoje yra tik keletas žmonių, kurie gali palyginti, bei aprašyti esamus skirtumus tarp muzikos kūrinių sukurtų kinų bambukinei fleitai ir Vakarų Europos muzikos skersinei fleitai. Tiriamajame darbe nagrinėjami skirtumai ne tik tarp Kinijos ir Vakarų Europos muzikos fleitai, bet ir pateikiama analizė apie specifinius grojimo stilius Pietų ir Šiaurės Kinijos bambukinėmis fleitomis ir jų skirtumus.
    [Show full text]
  • Music Theory Contents
    Music theory Contents 1 Music theory 1 1.1 History of music theory ........................................ 1 1.2 Fundamentals of music ........................................ 3 1.2.1 Pitch ............................................. 3 1.2.2 Scales and modes ....................................... 4 1.2.3 Consonance and dissonance .................................. 4 1.2.4 Rhythm ............................................ 5 1.2.5 Chord ............................................. 5 1.2.6 Melody ............................................ 5 1.2.7 Harmony ........................................... 6 1.2.8 Texture ............................................ 6 1.2.9 Timbre ............................................ 6 1.2.10 Expression .......................................... 7 1.2.11 Form or structure ....................................... 7 1.2.12 Performance and style ..................................... 8 1.2.13 Music perception and cognition ................................ 8 1.2.14 Serial composition and set theory ............................... 8 1.2.15 Musical semiotics ....................................... 8 1.3 Music subjects ............................................. 8 1.3.1 Notation ............................................ 8 1.3.2 Mathematics ......................................... 8 1.3.3 Analysis ............................................ 9 1.3.4 Ear training .......................................... 9 1.4 See also ................................................ 9 1.5 Notes ................................................
    [Show full text]
  • The Perfect Fifth: the Basis of All Harmony? | Hub Guitar
    FREE PERFECT FIFTHS PDF Megan McCafferty | 258 pages | 02 Mar 2010 | Three Rivers Press (CA) | 9780307346537 | English | New York, NY, United States The Perfect Fifth: The Basis of All Harmony? | Hub Guitar By using our site, you acknowledge that you have read and understand our Cookie PolicyPrivacy Policyand our Terms of Service. It only takes a minute to sign up. I Perfect Fifths gone through many documents, but don't understand what a perfect fifth is. Can somebody please explain with an example? An example is important! In music theory, a perfect fifth is the musical interval corresponding to a pair of pitches with a frequency ratio ofor very nearly so. In classical music from Western culture, a fifth is the interval from the first to the last of five consecutive notes in a diatonic scale. The perfect fifth often abbreviated P5 spans seven semitones, while the diminished fifth spans six and the augmented fifth spans eight semitones. Perfect Fifths example, the interval from C to G is a perfect fifth, as the note G lies seven semitones above C. An interval is just the distance between two notes. The name perfect 5th comes from the idea of a scale. For example the C major scale consists of the following notes:. The 5th note of the scale is G hence the 5th of the C major scale is G. The interval is perfect because if we flip the interval we would get a 4th which exist in the G major scale. Thus C to G is a perfect 5th. The ratio is the ratio of the distance between the notes in hertz.
    [Show full text]
  • Orchestration
    ORCHESTRATION BY CECIL FORSYTH M.ATEdin. MACMILLAN AND CO., LIMITED ST. MARTIN'S STREET, LONDON & STAINER AND BELL, LIMITED S8 BERNERS STREET, LONDON 1914 PREFACE. In this book an attempt is made first, to describe our modern orches- tral instruments, where they sprang from, how they developed, and what they are to-day; next, to trace the types of music which have been reflected in these constructional changes and, in especial, the types most familiar since Beethoven's time. Without some knowledge on these points the student is working in the dark. He is like a Lascar turned loose in a dynamo-house. It is true that one may show him the button, and, if he presses it, he will get a terrific blaze of light. But what is behind the button ? How were the wires laid ? Why is one type of engine better than another for its own purpose? How is the shop to be run in the most economical way 1 All these questions call for answers, and, on the musical side of the analogy, the answers are not difficult to find. For the facts that underlie instrumentation are few and simple: a skin or a metal plate to be beaten; a column of air in a brass or wooden tube with some sort of mouthpiece or embouchure; a string or two—four is a good number—to be bowed, plucked, or struck. These are the essentials and, if the student grasps them, he will soon be brought to see that change comes but slowly and rarely, and that, when it comes, it is more apparent than real.
    [Show full text]
  • Tarsos, a Modular Platform for Precise Pitch Analysis of Western and Non-Western Music
    Tarsos, a Modular Platform for precise Pitch Analysis of Western and non-Western music Joren Six1, Olmo Cornelis1, and Marc Leman2 1University College Ghent, School of Arts Hoogpoort 64, 9000 Ghent - Belgium [email protected] [email protected] 2Ghent University, IPEM - Department of Musicology Blandijnberg 2, 9000 Ghent - Belgium [email protected] August 22, 2013 Abstract the piece under analysis. The extracted scale can be used immediately to tune a midi keyboard that can be played in the discovered scale. These features This paper presents Tarsos, a modular software plat- make Tarsos an interesting tool that can be used for form used to extract and analyze pitch organization musicological analysis, teaching and even artistic pro- in music. With Tarsos pitch estimations are gener- ductions. ated from an audio signal and those estimations are processed in order to form musicologically meaningful representations. Tarsos aims to offer a flexible sys- Keywords: Pitch Detection, Computa- tem for pitch analysis through the combination of an tional Ethnomusicology, Pitch Class His- interactive user interface, several pitch estimation al- togram, Tone Scale Extraction gorithms, filtering options, immediate auditory feed- back and data output modalities for every step. To study the most frequently used pitches, a fine-grained 1 Introduction histogram that allows up to 1200 values per octave is constructed. This allows Tarsos to analyze devi- In the past decennium, several computational tools ations in Western music, or to analyze specific tone became available for extracting pitch from audio scales that differ from the 12 tone equal tempera- recordings (Clarisse et al., 2002; Cheveign´e& Hideki, ment, common in many non-Western musics.
    [Show full text]
  • Teaching Chinese Through Integrating Songs in Task-Based Learning
    Teaching Chinese through integrating songs in Task-based learning: A Teacher Action Research Project Zhongshi Xie Bachelor of Economics (International Economics and Trade) (Ningbo University, 2015) A thesis submitted in fulfilment of the requirements for the research higher degree of Master of Philosophy (Education Research) Centre for Educational Research, School of Education University of Western Sydney Supervisory Panel Associate Professor Anne Power (Principal Supervisor) Professor Michael Singh (Associate Supervisor) Doctor Jinghe Han (Associate Supervisor) 23 March, 2017 Declaration I declare that, except where due acknowledgement has been made, this research proposal is my own work and has not been submitted in any form for another degree at any university or other institute of tertiary education. Information derived from the published or unpublished work of others has been acknowledged in the text and a list of references is given. Zhongshi Xie 31 March, 2017 ACKNOWLEDGEMENTS I would like to give my sincere thanks to all the people including my supervisors, colleagues, the teachers in participant schools and educational departments of New South Wales and Ningbo, as well as my family, who contributed in some way to this thesis. First and foremost, I want to express my thanks to my principal supervisor Associate Professor Anne Power, for kindly accepting me as her student. During the process of my study, she offered a great deal of guidance for my teaching practice in the participant schools and my research concerning making Chinese learnable in the Australian context. In addition, she was kind and encouraging all the time, which supported me in completing this research.
    [Show full text]
  • January 1921) James Francis Cooke
    Gardner-Webb University Digital Commons @ Gardner-Webb University The tudeE Magazine: 1883-1957 John R. Dover Memorial Library 1-1-1921 Volume 39, Number 01 (January 1921) James Francis Cooke Follow this and additional works at: https://digitalcommons.gardner-webb.edu/etude Part of the Composition Commons, Ethnomusicology Commons, Fine Arts Commons, History Commons, Liturgy and Worship Commons, Music Education Commons, Musicology Commons, Music Pedagogy Commons, Music Performance Commons, Music Practice Commons, and the Music Theory Commons Recommended Citation Cooke, James Francis. "Volume 39, Number 01 (January 1921)." , (1921). https://digitalcommons.gardner-webb.edu/etude/675 This Book is brought to you for free and open access by the John R. Dover Memorial Library at Digital Commons @ Gardner-Webb University. It has been accepted for inclusion in The tudeE Magazine: 1883-1957 by an authorized administrator of Digital Commons @ Gardner-Webb University. For more information, please contact [email protected]. Sufcfl HE ETUDE States,! Presser’s Musical Magazine of Shari , and Com Single j rev] JANUARY 1921 $2.00 A YEAR The ! TEACHING WORKS FOR | ELEMENTARY INSTRUCTION Most » <1 »fr >F -F»t< >F * ❖❖ ♦ *t« * *? ■!< * "t< ‘t"fr * iH* 't» ♦ ♦ *F ‘F $ SONGS of the NORTH AMERICAN IND1 By Thurlow Lieurance Price, J TWENTY-FIVE MELODIES FOR EYE, Recent Mr. Lieurance’s transcriptions and arranger! EAR AND HAND TRAINING of native aboriginal themes have attained irnnl popularity and almost invariably will be fount] By Mathilde Bilbro Price, 75 cents the concert and recital programs of the foref These little pieces may be regarded as second Publications artists. Nine of his recent and most grade studies and are intended to aid in establish¬ ing the position of the hand upon the keyboard, at¬ In Book Form taining freedom, training the eye, especially in leger of the lines, in staff positions and cultivating a musical ear.
    [Show full text]