Conventional Musical Instruments Research Articles

TONE DETECTION ON TERANIKA MUSICAL INSTRUMENT USING DISCRETE WAVELET TRANSFORM AND DECISION TREE CLASSIFICATION

Musical instruments are one of the cultures that must be preserved. Teranika is one of the traditional musical instruments from the Majalengka area, which is made of clay. Currently, the manufacture of conventional musical instruments is still done manually, so there are still differences in the tone produced. Meanwhile, the quality of a musical instrument is determined by the accuracy of the technique. Therefore, we need a system that can accurately detect the method's accuracy. The author designed a tone detection system for Teranika musical instruments to help artisans carry out quality control. This system will detect whether or not the musical instrument is successfully matched with the right tone and agent. The technique contained in this musical instrument is Do Re Mi Fa So La Si Do high. To overcome these problems, the author makes this tone detection system using the Discrete Wavelet Transform method and the Decision Tree classification. The working principle of this system is that the recorded sound of musical instruments will be transmitted to this system. Then the sound will be processed as input and matched with the essential voice in the database. The output of this system produces samples according to the sampling frequency used. The test results show the best results at decomposition level 6, a thresholding value of 0.05, and a Fine Tree classification type with an accuracy of 87.5%

Analysis of accuracy and improvement process of musical performance when playing electronic musical instruments: Comparison of conventional musical instrument and novel electronic musical instruments

Analysis of accuracy and improvement process of musical performance when playing electronic musical instruments: Comparison of conventional musical instrument and novel electronic musical instruments

Evaluation method of electronic musical instruments different from conventional musical instruments: Factor analysis of subjective evaluation

Evaluation method of electronic musical instruments different from conventional musical instruments: Factor analysis of subjective evaluation

3D printing technology in musical instrument research: reviewing the potential

PurposeThis paper aims to discuss additive manufacturing (AM) in the context of applications for musical instruments. It examines the main AM technologies used in musical instruments, goes through a history of musical applications of AM and raises the questions about the application of AM to create completely new wind instruments that would be impossible to produce with conventional manufacturing.Design/methodology/approachA literature research is presented which covers a historical application of AM to musical instruments and hypothesizes on some potential new applications.FindingsAM has found extensive application to create conventional musical instruments with unique aesthetics designs. It’s true potential to create entirely new sounds, however, remains largely untapped.Research limitations/implicationsMore research is needed to truly assess the potential of additive manufacturing to create entirely new sounds for musical instrument.Practical implicationsThe application of AM in music could herald an entirely new class of musical instruments with unique sounds.Originality/valueThis study highlights musical instruments as an unusual application of AM. It highlights the potential of AM to create entirely new sounds, which could create a whole new class of musical instruments.

Instrogram: Probabilistic Representation of Instrument Existence for Polyphonic Music

This paper presents a new technique for recognizing musical instruments in polyphonic music. Since conventional musical instrument recognition in polyphonic music is performed notewise, i.e., for each note, accurate estimation of the onset time and fundamental frequency (F0) of each note is required. However, these estimations are generally not easy in polyphonic music, and thus estimation errors severely deteriorated the recognition performance. Without these estimations, our technique calculates the temporal trajectory of instrument existence probabilities for every possible F0. The instrument existence probability is defined as the product of a nonspecific instrument existence probability calculated using the PreFEst and a conditional instrument existence probability calculated using hidden Markov models. The instrument existence probability is visualized as a spectrogram-like graphical representation called the instrogram and is applied to MPEG-7 annotation and instrumentation-similaritybased music information retrieval. Experimental results from both synthesized music and real performance recordings have shown that instrograms achieved MPEG-7 annotation (instrument identification) with a precision rate of 87.5% for synthesized music and 69.4% for real performances on average and that the instrumentation similarity measure reflected the actual instrumentation better than an MFCC-based measure.

Jammed in an Unknown Device

Jammed in an Unknown Device

PLAY!: Sound Toys for Non-Musicians

In his 1958 essay ‘‘Experimental Music,’’ included in the book Silence (Cage 1961), John Cage talks about the transcendent qualities of creating and enjoying music. As we grow up, we lose serious pursuit of play, the important activity through which children explore and understand the world around us. This is particularly true of music, the appreciation of which has tended to become more convenient but more passive through the increased availability of recorded music. Digital technologies offer a rich potential to fulfil the ideas that Cage envisaged for creating and manipulating sound and music in new and different ways. The present article describes work that attempts to exploit these possibilities through interfaces that are not intended to be musical instruments, but that allow the kind of ‘‘purposeful purposelessness’’ that Cage refers to in ‘‘Experimental Music’’—a type of playing with music and sound that is in turn explorative and engaging, intuitive and enjoyable. Some established notions of musical instruments have been ignored or challenged. Conventional musical instruments generally suggest traditions and a seriousness that quickly precludes non-musicians from using them. A number of new musical interfaces for musicians have been developed (Paradiso 1997 offers an historical review), but I wanted to work on projects designed for everybody, with a particular focus on those who do not perceive themselves as musicians. The effort to develop interfaces that are simple, playful, and enjoyable situates these projects in an arena similar to that of the Iamascope (Fels and Mase 1999) and Musikalscope (Fels, Nishimoto, and Mase 1998). Other related work includes the Jam-O-Drum (Blaine and Perkis 2000), which takes the idea of a drum circle as a starting point for developing a rich and intuitive interactive space for collaborative music play. The Squeezables (Weinberg and Gan 2001) work toward new means for musical interaction and collaboration with a series of objects that offer a simple gestural interface. The sound interactions have been designed to give novice users an intuitive and responsive instrument. Another collaborative environment, Augmented Groove (Poupyrev 2000), allows players to manipulate and mix pieces of musical content and precomposed sequences of notes to motivate the notion of ‘‘computer-supported improvisation.’’ Finally, for his ability to appropriate and re-map the everyday object (as well as traditional musical ones) to create a musical interface seemingly out of anything, Perry Cook remains an inspiration (e.g., Cook 2001). My work was conducted while studying the Computer Related Design Masters course at the Royal College of Art in London. I outline four projects, broadly considering some of the contributing elements of interaction design, sound design, and system development. By examining the development process, the article attempts to reveal some important issues and to reach some generally useful conclusions about creating new interactive sound and musical interfaces. This article will be largely descriptive. As Perry Cook has pointed out, in many cases ‘‘musical interface construction proceeds as more art than science, and possibly this is the only way that it can be done’’ (2001).

Electronic musical instrument with vibration feedback

A vibrator for vibrating an electronic musical instrument in accordance to the generated tone being produced. In this manner, a player of the electrical musical instrument will have the sensation of playing a conventional musical instrument due to the feedback of vibrational energy into the input device of the electronic musical instrument.

Further development of the Bradford musical instrument simulator

The paper describes the structure and operation of the present, production, version of the Bradford musical instrument simulator and looks at further enhancements that are being planned and tested. The description is preceded by a discussion of methods of audio waveform creation by electronic means. The Bradford musical instrument simulator is a digital, microprocessor-controlled, generator of waveforms for musical sound. It is capable of accurately simulating many conventional musical instruments and of synthesising new instruments and sounds. It can create audio waveforms by additive synthesis under the control of an interactive voicing system, and it can combine these waveforms with those obtained by sampling an original instrument sound.

Method and apparatus for note attack and decay in an electronic musical instrument

The present invention is a two-part apparatus for producing note attack and decay in a conventional electronic musical instrument. Either part of the invention may be used independently of the other; however, at present the combined use is preferred. In part one, there is provided an eight state counter clocked at a rate equal to the note generator cycle and a digital magnitude comparator. The inputs (A) from the eight state counter are compared to the attack and decay scale factor inputs (B) by the comparator. The A>B,A=B functions are generated by the comparator in combination with an OR gate. The OR gate output and the sample gating signal from the conventional musical instrument are applied to an AND gate which outputs a modulated sample gating signal. In part two, the modulated sample gating signal of part one is subpulsed individually by two subpulses. Through the use of gating techniques, the most significant bit of the attack and decay scale factor is used to combine the modulated sample gating signal with the first of the two subpulses. Upon reaching the maximum pulse frequency with the first subpulse, the most significant bit of the attack and decay scale factor forces the continued maximum frequency output of the first subpulse and begins a second combination using the second of the two subpulses. The second output is combined with the first through OR gating which results in a signal with both sample period and pulse width modulation.

Consonance and dissonance of pairs of inharmonic sounds

The hypothesis that pairs of appropriate inharmonic sounds can evoke perceptions similar to conventional consonance and dissonance is examined. The inharmonicity considered is not the relatively small displacement of frequency components seen in conventional musical instruments (e.g., piano), but rather large, deliberate shifting of frequencies by a number of semitones. The hypothesis states that if there is a match between upper-frequency components of two such inharmonic sounds, consonance should be perceived. If near misses occur between upper-frequency components of the two sounds, causing audible beats, then dissonance should be perceived. The individual inharmonic sounds should have reasonably wide component spacing to avoid a noiselike timbre. This hypothesis was confirmed by experiments in which subjects chose which of two different inharmonic sound pairs was the more consonant. The sound pairs with matching frequency components were chosen more often than those with near misses. The difference was significant for the experimental subjects as a whole and was pronounced for subjects with musical experience. This last fact is important since the sound pairs with matching components were arranged to have conventionally dissonant relationships between their fundamentals, and vice versa for the pairs with near misses. It is speculated that the structures in music which have their origins in the harmonic series (intervals, chords, scales) may be alterable by electronically relocating the harmonics to inharmonic positions.

Electronic demonstrations for the teaching of acoustics

Courses in elementary acoustics taught at many universities provide introductions to the following six topics: physical acoustics, environmental acoustics, the physiology of hearing, auditory psychophysics, musical acoustics, and the nature of human speech. Electronic demonstrations can be used to enhance instruction in each of the six areas. For example, the modules of an electronic music synthesizer together with an audio system and conventional electronic instrumentation form a versatile laboratory for experiments in sound. Among the demonstrations which can be done are the following. Wave interference can be demonstrated by extracting the separate signals from a stereo recording of signals A + B and A − B. Tone and noise bursts can be used to find the speed of sound, echo and reverberation times. Filter banks, set according to mean audiometric presbycusis data, can show the effects of aging on the frequency response of human hearing. Gently nonlinear electronic devices aid the recognition of combination tones normally generated by the inner ear. Analog delay lines can create repetition pitch from a source of white noise. Sine wave signals from many oscillators can be summed and varied to study the perception of pitch of an inharmonic tone complex like that of a chime. The phase variation of a single rectangular wave with pseudorandom pulse width modulation simulates chorus effect. Much of the effect of nonlinear mode mixing in conventional musical instruments can be simulated by patched of linear electronic components, transient generators and voltage controlled signal processing modules. Three resonant filters allow the synthesis of vowel sounds. Frequency shifted or ring modulated speech sounds can exhibit the importance of vowel formant transitions. Intelligibility experiments with chopped speech serve as an introduction to redundancy, autocorrelation and information theory. We note that one does not pursue this informal experimenting with signal processing equipment for long before one discovers effects which are hard to understand. Further pursuit can lead to new results. For example, our intelligibility experiments with chopped speech suggest that redundancy, measured in spoken English text agrees with that found by Shannon for written text.

The sixth annual fairey lecture: Waves in the eye and ear

Rather than acting like a typewriter, or a conventional musical instrument, the human senses of sight and sound seem to operate in a way more analogous to that of some peculiar kind of musical keyboard instrument, which produces a single note at the output when one depresses a certain combination of, say, the black keys. A recognition device operating on this kind of principle could produce the “missing fundamental” in hearing and similar “spatial frequency” effects in vision. Moreover, it would be suited to, and justified by, the everyday human task of recognizing a pattern being masked by noise, or by other patterns.

A versatile waveform envelope generator for the synthesis of musical attack and decay transients

An inexpensive waveform envelope profiling circuit is described which is suitable for demonstrating the importance and effect of various attack and decay times on the perceived quality of a musical tone. Emphasis is placed on producing an attack profile which is closer to that of most conventional musical instruments than the usual exponential or linear rise profiles found in many music synthesizers. The circuit can also be used to demonstrate qualitatively the Fourier transform relationship between time and frequency ( Delta f Delta t approximately l).

Derivative Synthesis of Musical Instrument Tones

Spectral variances, typical for musical instrument tones, occur with changes in loudness level. Nonlinear electronic circuit elements, having appropriately chosen transfer characteristics, can produce spectra, variant with the level of their input signals. Based on this, a system of musical tone synthesis has been developed and a synthesizer was built. Parameters that characterize musical sounds can be programmed into the synthesizer. Such parameters—the major ones being the attack and decay time constants, the nonlinear transfer characteristic, and the formant filter—to be determined through measurements or experimentation. Synthesized sounds of some conventional musical instruments will be demonstrated.