Harmonies Research Articles

Exploring the relation between fundamental frequency and spectral envelope in the perception of musical instrument sounds

Pitch and timbre perception centrally depend on fundamental frequency (F0) and spectral envelopes (SE), respectively. However, timbre perception as a function of F0 is less explored in the literature. An analysis-synthesis approach was used to compare sounds with congruent and incongruent F0 and SE parameters via sound pleasantness, brightness, and plausibility ratings. Analyzing 1900 musical instruments and voice sounds, a two-dimensional synthesis space was derived. The space was sampled in its inner and outer regions, reflecting high and low similarity to existing acoustical instrument sounds. Sounds with congruent and incongruent F0-SE relations were synthesized, defining congruency as the co-occurrence of F0 and SE in the analyzed set of sounds. In Experiment 1, inner regions of the space were rated as more pleasant compared to outer regions. Further, sounds with incongruent F0-SE relation were rated as less pleasant only for F0 discrepancies above two octaves. Finally, the first dimension of the space strongly reflected differences in brightness when F0 was controlled for. In Experiment 2, a spectrally more fine-grained resynthesis approach revealed effects of congruency on pleasantness and plausibility for smaller F0 separations. These results provide evidence for a co-dependence of F0 and SE properties in the perception of harmonic sounds.

빌 에반스(Bill Evans)의 즉흥연주에서 나타난 인상주의 음악적 특징

Jazz, which originated in the United States in the late 19th and early 20th centuries, has developed by absorbing musical features of various cultures and genres from its birth. This study seeks to identify impressionistic features in the improvisations of jazz pianist Bill Evans and compare them with the music of the Impressionism composer Debussy. The scope of this research includes the scores in the Bill Evans Omnibus and the works of Debussy in the Preludes Book 1 and 2. The characteristics of Impressionism music include the use of whole-tone scales, chromatic scales, pentatonic scales, harmonic structures using notes other than chord components, and progressions that are taboo in classical music, and we found them in Bill Evans' improvisations. In the end, although jazz music has distinct characteristics from classical music, they are related, and many jazz musicians have been influenced by classical music throughout history.

Improvisation in the educational space of contemporary bayan and accordion art

Improvisation in the educational space of contemporary bayan and accordion art

WHAT DOES THE WHO OWE TO CLASSICAL MUSIC?

The interplay between classical and popular music has been a well-documented phenomenon. The British rock band The Who initially embarked on their musical journey in the 1960s as part of the "British Invasion" without many distinctive elements that set them apart. However, a transformation began as the decade drew to a close, and they achieved commercial acclaim.This paper delves into The Who's second and third stages of their career (1970s and 1980s), marked by the creation of pioneering rock operas like "Tommy" and "Quadrophenia." While the term "opera" in the context of popular music may not align with classical opera conventions, it becomes evident that classical music elements found their way into The Who's repertoire.Examining their harmonic structure reveals a fusion of classical influences, albeit in an altered form, enriching their sound. Additionally, The Who's compositions exhibit a nuanced understanding of musical form, further blurring the lines between classical and popular music.Furthermore, this exploration extends beyond classical music to encompass modern and postmodern elements in The Who's oeuvre, notably the subtle hints of minimalism. This paper aims to shed light on the intricate relationship between classical and popular music, using The Who's evolution as a prime example of how a rock band can draw from classical traditions while incorporating elements of contemporary music, ultimately redefining the boundaries of musical genres.

Grain-level mechanism of plastic deformation in harmonic structure materials revealed by high resolution X-ray diffraction

Materials with heterogeneous microstructures have been reported to have an attractive combination of strength and ductility. This is attributed to synergistic strengthening effects from the difference in strength of fine- and coarse-grained regions. Understanding the interaction of the regions is crucial for further optimization of the microstructures. In this work, we fabricated nickel of harmonic structure (HS) and a reference with homogenous coarse grains. The HS constitutes of an interconnected fine-grained network that surrounds regions of coarse grains. The interplay of the regions was studied by monitoring Bragg reflections from individual grains in situ during tensile deformation until approximately 2 % strain through synchrotron X-ray diffraction. The technique allows grain-level assessment of the degree of plastic deformation. Two grains were followed in the reference and two small grains (fine-grained region) and two large grains (coarse-grained region) in the HS. Three deformation regimes were identified: elastic deformation, onset of plastic deformation and significant plastic deformation. Our results reveal that the large grains in the harmonic structure onset plastic deformation during the macroscopic elastic stage. With increasing applied stress, the small grains yield plastically also and once a large fraction of the fine-grained network deforms plastically the large grains undergo significant plastic deformation. Notably, the onset of significant plastic deformation of large grains in the HS occurs at approximately 100 MPa higher applied stress than in the grains in the reference. This shows that fine grains constrain the large grains from deforming plastically in the HS.

Research on the Innovation of Piano Music Teaching in Colleges and Universities Based on the Characteristics of Music Culture

Abstract Starting from the communication characteristics of piano music culture in colleges and universities, this paper proposes a piano music signal detection technology that includes two parts: note onset and fundamental frequency detection. Based on the characteristics of the harmonic structure of the music signal, the degree of harmonic matching between the signal to be recognized and the standard note signal is calculated, and the task of multi-fundamental frequency estimation is accomplished by using the timbre characteristics and harmonic structure. The detection technology of piano music signals is applied to the recognition of teaching short notes, playing music and playing evaluation to get a new model of piano music teaching in colleges and universities. The results show that the algorithm in this paper can recognize piano music correctly by more than 91%, and the method has no obvious decrease in recognition rate in the process of gradually increasing noise, which is conducive to improving the effect of piano music teaching in colleges and universities.

Teaching Integration of Piano and Traditional Music Elements in Colleges and Universities Based on Network Flow Optimization

Abstract In this paper, from the basis of piano music theory, pitch and twelve equal temperaments are studied, and due to the characteristics of the piano’s construction, there are different timbres and harmonic structures. In order to realize the digitization of music signals for piano teaching, the collected analog signals are converted into digital signals by Fourier transform, the samples are inputted into the neural network model to get the output results, and the loss function based on Markov’s music language model in piano teaching is used to find the partial derivatives of the parameters to realize the maximization of the efficiency of the piano pitch and note recognition. According to the multi-task learning in neural networks and the envelope curve of notes, we construct the automatic music transcription model in piano teaching based on CNN-HMM and use the simulation experiment analysis to empirically analyze the piano teaching based on CNNHMM. The results show that the dual-channel audio results are improved by 2.68% in F1 value, 3.18% in accuracy and 2.61% in recall than the mono audio results. That is, dual-channel audio has richer information than mono audio, which enables the CNN-HNN network to learn richer features and thus improve the pitch and note recognition results. In this paper, the reliability of the teaching quality evaluation results of the CNN-HMM-based quantitative assessment model for facilitating the combination of electronic organ and piano teaching concepts ranges from 78.1% to 85.4%. This study provides guiding value for the development of digital piano teaching, which is of great significance for the innovative reform of piano teaching in colleges and universities.

A Unique Hall-Petch Relation of Harmonic Structure Designed Pure Ni

Harmonic structure has a heterogeneous microstructure consisting of bimodal grain size together with a controlled and specific topological 3D distribution of fine and coarse grains. These microstructural features of the harmonic structure materials lead to unique mechanical properties. In this study, harmonic structure was designed using the severe plastic deformation powder metallurgy process at room and cryogenic temperatures on pure nickel. There is no difference in appearance between mechanically milled (MM) powder at room and cryogenic temperatures. The compacts of the MM powder show the harmonic structure with a network fine grained area and the dispersed coarse grain area. The MM at cryogenic temperature affects the compact of the MM powder milled for 86.4 ks and its effects include an increase in shell fraction and a decrease in core grain size. Moreover, the harmonic structure materials show a synergy extra hardening in Hall-Petch relation. It is noteworthy that the harmonic structure materials exhibit a higher Hall-Petch coefficient than the homogeneous compacts despite of the same material.

High Temperature Deformation of Harmonic Structure Designed CrMnFeCoNi High Entropy Alloy

The Harmonic Structure (HS) is a recently introduced concept that paves the way for engineering metallic materials to achieve superior mechanical performance. They consist of soft, coarse-grained regions surrounded in three dimensions by an interconnected network of hard, ultra-fine grained regions. In addition, from a structural materials point of view, high entropy alloys have attracted attention due to their unique mechanical properties. In the present study, the HS design was applied to a high entropy CrMnFeCoNi alloy (also called "Cantor alloy"). The HS-designed Cantor alloy was successfully fabricated by mechanical milling, which is one of the surface severe plastic deformation processes, and the subsequent sintering process. The mechanical properties of these HS and homogeneous (Homo) Cantor alloy compacts were investigated by high-temperature compression tests in the temperature range of room temperature (RT) and 1173K, under initial strain rates of 0.01 s-1, 0.001 s-1, and 0.0001 s-1. The stress-strain curves of the HS compacts showed a large initial increase in stress and then a rapid decrease with strain, while that of the Homo compact showed a gentle increase and a gradual decrease. EBSD observation of the deformed compacts revealed that the HS compacts were probably deformed not only by dynamic recrystallization, but also by grain boundary sliding during deformation. The strain rate sensitivity value m of the HS compacts was 0.541 (true strain: 0.2) at 1173 K. In other words, the HS compacts exhibited pseudo-superplastic deformation at these temperatures.

Microstructure Evolution and Unique Deformation Behavior of a CrMnFeCoNi Harmonic Structure High Entropy Alloy at Elevated Temperatures

Microstructure Evolution and Unique Deformation Behavior of a CrMnFeCoNi Harmonic Structure High Entropy Alloy at Elevated Temperatures

High Temperature Deformation Behavior and Microstructure Evolution of Harmonic Structure Composites with WC-Co and High Speed Steel

The high-temperature deformation behavior and microstructural changes of harmonic structure composites with WC-Co alloys and high-speed steel (HSS) were investigated in detail. A harmonic structure composite was fabricated by consolidating the mechanically milled powder having WC-Co and HSS powder. The harmonic structure composite demonstrates the microstructure composed of network area (WC-Co) and dispersed area (HSS). The harmonic structure composite shows a sufficient compressive strength in the compression tests at 773 K, but the compression strength decreases at temperatures of above 873 K. The 0.2% proof stress at high temperature almost unchanged even if the network area fraction changed. Furthermore, the network area plays an important role in the high temperature deformation of harmonic structure composites. These results suggest that the formation of voids for WC-Co boundary sliding and poor sintering is an important factor in stress reduction in the high-temperature compression of harmonic structure composites.

Case reopened: A temporal basis for harmonic pitch templates in the early auditory system?a).

A fundamental assumption of rate-place models of pitch is the existence of harmonic templates in the central nervous system (CNS). Shamma and Klein [(2000). J. Acoust. Soc. Am. 107, 2631-2644] hypothesized that these templates have a temporal basis. Coincidences in the temporal fine-structure of neural spike trains, even in response to nonharmonic, stochastic stimuli, would be sufficient for the development of harmonic templates. The physiological plausibility of this hypothesis is tested. Responses to pure tones, low-pass noise, and broadband noise from auditory nerve fibers and brainstem "high-sync" neurons are studied. Responses to tones simulate the output of fibers with infinitely sharp filters: for these responses, harmonic structure in a coincidence matrix comparing pairs of spike trains is indeed found. However, harmonic template structure is not observed in coincidences across responses to broadband noise, which are obtained from nerve fibers or neurons with enhanced synchronization. Using a computer model based on that of Shamma and Klein, it is shown that harmonic templates only emerge when consecutive processing steps (cochlear filtering, lateral inhibition, and temporal enhancement) are implemented in extreme, physiologically implausible form. It is concluded that current physiological knowledge does not support the hypothesis of Shamma and Klein (2000).

Simulating Chromatic Harmony in Romantic Era Music using Diophantine Approximation

The Romantic period of music is known for its intricate and emotionally expressive harmonic style. Nevertheless, recreating authentic melodies of the Romantic period in contemporary compositions poses a considerable challenge for composers and musicians. In this paper, we present a method for simulating chromatic harmony in Romantic Era music through the use of Diophantine Approximation. Inspired by the works of renowned composers of that period, such as Richard Wagner, Franz, Liszt, and Frederic Chopin, my transitional model was constructed to preserve the essence of the preceding melody as the harmonic progression unfolds. The model helps with the creation of harmonic progressions that contain the nuances of the preceding harmonic structure and musical style, providing composers with a novel way to explore a wide range of musical possibilities. Experimental validation involving human hearing shows that the model is successful in imitating authentic Romantic-era harmonic structures. This finding suggests that the model is a promising tool that could inspire contemporary composers to create almost authentic chromatic harmonic progressions.

In-situ measurement method of speech privacy focusing on statistics of acoustic features of speech and background noise

The evaluation of speech privacy in architectural spaces is done with a kind of transfer function of the space, such as the slope of the distance decay of the sound pressure level (SPL) and the level difference between the two rooms. From these functions, it is possible to estimate the speech-to-noise ratio at evaluation points, and then we can evaluate the degree of information leakage and work disturbance. However, the above indices are obtained from acoustic measurements or numerical simulations by experts, and can not be measured in the target space under operation. In this study, methods for estimating the speech-to-noise ratio from only the intruding speech recorded at the measurement point were investigated. We focused on steep changes in the SPL and the strength of the harmonic structure as acoustic features of speech that are considered to remain even at low speech-to-noise ratios. These features were quantified for each short time window, and the percentage that exceeded a threshold predetermined from statistics of a steady-state noise was obtained as an index for the estimation. The proposed index corresponded with the speech-to-noise ratio in both simulations and measurements.

Enhancement of optical, electrical, mechanical and thermal properties with Hirshfeld surface analysis of organic piperazine para-nitrophenol crystals: An effective material for NLO device fabrication

Exploring the diversity of materials and improving their usage in real-time applications is very important. Here, the organic piperazine para-nitrophenol (PPNP) single crystals were successfully grown using methanol and mixed solvent (methanol 50%-water 50%) by slow evaporation technique at room temperature. Single and poly-crystal XRD, UV–visible, and FT-IR/Raman studies revealed that the PPNP compound is monoclinic centro-symmetric (CS) with low cutoff wavelength and various functional groups. Fluorescence spectroscopy confirmed that the intense peak was observed in the red region. Hirshfeld surface analysis, fingerprint plot and framework explore the strength of the synthesized compounds' intermolecular interactions. The melting point of grown crystals was about 114 °C by thermo-gravimetric and differential thermal (TG-DTA) analyses. A chemical etching study was carried out on the grown crystal. Nd: YAG laser beam was used to evaluate the laser damage value of the crystal. The dielectric constant (ε՛) and dielectric loss (ε՛՛) of crystals have been studied as a function of frequency and temperatures. The PPNP has a third harmonic generation active crystal structure and exhibits featured absorption and fluorescent properties. A Z-scan technique characterized the improved third-order optical nonlinear properties of the crystal. It is a promising aspirant in optoelectronic devices as it enhancement the linear and nonlinear, encouraging results of organic PPNP.

Sensitivity to direction and velocity of fast frequency chirps in the inferior colliculus of awake rabbit

Neurons in the mammalian inferior colliculus (IC) are sensitive to the velocity (speed and direction) of fast frequency chirps contained in Schroeder-phase harmonic complexes (SCHR). However, IC neurons are also sensitive to stimulus periodicity, a prominent feature of SCHR stimuli. Here, to disentangle velocity sensitivity from periodicity tuning, we introduced a novel stimulus consisting of aperiodic random chirps. Extracellular, single-unit recordings were made in the IC of Dutch-belted rabbits in response to both SCHR and aperiodic chirps. Rate-velocity functions were constructed from aperiodic-chirp responses and compared to SCHR rate profiles, revealing interactions between stimulus periodicity and neural velocity sensitivity. A generalized linear model analysis demonstrated that periodicity tuning influences SCHR response rates more strongly than velocity sensitivity. Principal component analysis of rate-velocity functions revealed that neurons were more often sensitive to the direction of lower-velocity chirps and were less often sensitive to the direction of higher-velocity chirps. Overall, these results demonstrate that sensitivity to chirp velocity is common in the IC. Harmonic sounds with complex phase spectra, such as speech and music, contain chirps, and velocity sensitivity would shape IC responses to these sounds.

EASTERN MOTIFS IN VIOLIN LITERATURE

Violin repertoires one of the brightestpages of music history. New playing techniques have been developed throughout the history of violin art, in addition to this, virtuoso violin works, which requirenew playing techniques, have emerged. These are violin sonatas, variations, concertos. These works are also dedicated to different motifs and themes. Among theexamples are A. Vivaldi’s Four Violin Concertos the four seasons, Paganini’s Prayer Variations from G. Rossini’s “Moses”, or the Violin Caprices about Hunting or War (No. 9, 14, 17) . In the violin literature, there are many works of world composers devoted to Eastern motifs. Since the Baroque period, composers began to apply these motifs. This tendency continued all the time and led to the formation of a wider repertoire. Great interest in Oriental music is growing from both European and Russian composers. Passion for the Orient W. A. Mozart’s “Die Entführung aus dem Serail”, C. Saint-Saens’ “Samson et Dalilah”, J. Bizet’s “Jamele”, N. A. Rimsky-Korsakov’s “Scheherazade”, Reinhold Glière’s “Shakh-Senem” and has been seen many other works. These motives considered asnot only in large genres, but also in works of small genres. In this context, romance, suite and other works for violin attract attention.
 In this study, it is aimed to examine the period and composer styles in popular works of the violin repertoire composed on Eastern motifs such as “Romanza Andaluza” by P. Sarasate, “Orientale” by C. Cui, “Baal Shem” by E. Bloch and “Tzigane” by M. Ravel. These works were examined in terms of harmonic structure.

Rustem Yakhin. Music for children: on the question of the embodiment of the national

The article reviews the children’s music of the outstanding Tatar composer Rustem Yakhin. Three piano cycles (“Three Pieces”, “Pictures of Nature”, “Summer Evenings”), individual children’s pieces and arrangements of folk songs are analysed. A characteristic feature of Yakhin’s work is the synthesis of European traditions with elements of Tatar musical folklore. The characteristics of the implementation of the national style in children’s music are considered. The originality of the melodic, rhythmic and harmonic structures chosen by the composer is emphasized.

Design a Wilkinson power divider with improved passband and rejection band

ABSTRACT In this paper, a Wilkinson power divider based on a new harmonic suppressor structure is proposed with suppressed harmonics and improved operating band parameters. The proposed suppressor structure consists of three resonators. The first resonator is an elliptic rectangular shaped resonator with a short base line and two slots. These slots decrease the resonant frequency location, without changing the dimensions of the resonator. This mode has been fully analysed by investigating the effect of surface current density. The second resonator is an elliptic resonator with a long base length to suppress the second harmonic. The third resonator is a rectangular suppressor to suppress higher order harmonics. The proposed power divider is fabricated and measured. The operating frequency of this power divider is 1.26 GHz, the return loss is 31.5 dB and the insertion loss is 3.1 dB. The operating bandwidth is from 0.99 to 1.4 GHz with a return loss better than 15 dB which shows the fractional bandwidth of FBW = 34%. The second to sixth harmonics have suppression level better than 50 dB, and for higher harmonics up to the 14th harmonic, they have suppression level better than 25 dB.

Multipitch estimation based on the iterative detection and separation of note events from single-channel polyphonic recordings.

Multiple fundamental frequency estimation has been extensively used in applications such as melody extraction, music transcription, instrument identification, and source separation. This paper presents an approach based on the iterative detection and extraction of note events, which are considered to be harmonic sounds characterised by a continuous pitch trajectory. Note events are assumed to be associated with musical notes being played by a single instrument, and their pitch trajectories are iteratively estimated. In every iteration, the pitch contour of the predominant note event is selected from a set of pitch estimates and used to separate its spectral energy from the input mixture in order to obtain a residual signal, which is then used as input in the next iteration. This iterative process stops when the energy of the residual is below a significance threshold. The pitch trajectories of all detected note events are then revised and reassembled to form the final set of pitch estimates for the original audio input. Evaluation of performance is conducted in different scenarios to show the potential of the proposed system, both in terms of its accuracy, and also as an initial stage in other complex tasks, such as note tracking and multipitch streaming.