Timbre Of Instruments Research Articles

Ivan Nebesnyi’s Music for Plays: Syntactic Aspect

The article defines the role of Ivan Nebesnyi’s music and its interaction with other performance components. The emphasis is placed on the thematic content of the music. It is determined that music reveals the characters of the main characters. The composer uses violin and trembita leitmotifs to characterise Gypsies and Hutsuls; flutes – for Hoisek. The purpose of the research is to determine the role of the musical content of the performance in the context of its development and interaction with other stage expressive means. The research methodology is theoretical, interpretive, comparative, complex, and generalization methods, which allow the purpose of the article to be revealed. The scientific novelty of the study. For the first time, Ivan Nebesnyi’s music for performances from the repertoire of the Vinnytsia Academic Ukrainian Music and Drama Theatre named after M. Sadovskyi is analyzed. Music is the semantic and intonational code of the performance, its sound model. The musical introduction and conclusion perform a pre- and post-communicative function. Conclusions. Music is an integral part of plays. It contains one or more themes that undergo timbre, texture, and genre changes throughout the play. This paper analyzes the role of Ivan Nebesnyi’s music in the plays and its interaction with other stage means of expressiveness. The author emphasizes attention to the themes. The music reveals the characters of the main heroes. The composer uses the leit timbres of the violin and trembita to characterize the Gypsies and Hutsuls, sopilka – Khoizek. It contains one or more themes that undergo timbral, textural, or genre changes throughout the play. The theme is the semantic and intonational code of the play, its sound model, and business card. The characteristic feature of I. The presence of leitmotifs represents Nebesnyi’s compositional thinking. The instrumental timbre reflects the feelings of the play’s characters, conveys the peculiarities of human nature, and reproduces the drama of the main character’s development. In the music to the plays, I. Nebesnyi expressively conveys the national colouring. The composer chooses Hutsul and Gypsy scales to denote ethnic communities (“On Sunday morning she gathered herbs”). The author’s theme, stylized as Jewish folklore (“The Wise Men of Chelem”), immerses the audience in the semantic field of Jewish humor. The presence of a musical prelude and postlude, built on the central theme, adds integrity to the performance and performs a pre- and post-communicative function.

Effects of two-dimensional reed oscillation on airflow and sound generation in a single-reed instrument

While two-dimensional (2D) reed oscillation modes of single-reed woodwind instruments have been reported in previous studies, little is known about their effects on airflow and sound generation. In this study, we conducted aeroacoustic simulations of a clarinet mouthpiece and resonator coupled with one-dimensional (1D) and 2D reed deformation models and investigated the changes in flow and sound generation due to the 2D reed vibration. The 1D and 2D reeds were modeled using 1D beam and thin plate theories, respectively, whereas the three-dimensional airflow was simulated by solving the compressible Navier–Stokes equations. The self-sustained oscillations of the 2D reed model mainly exhibited a flexural mode at the fundamental frequency, which is consistent with previous observations. Complex torsional modes were observed only at higher harmonic frequencies. A comparison between the 1D and 2D reed models demonstrated that the 2D reed opened later at the side face of the mouthpiece than the 1D reed owing to the torsional mode, which changed the time variation of the flow rate into the mouthpiece and the far-field sound in the high-frequency range. These results suggest the importance of the torsional deformation characteristics of reeds on the timbre of single-reed instruments.

How Did 19th-Century Alphorns Sound? A Reconstruction Based on Written Accounts of Its Musical Timbre

This paper reconstructs the sound of 19th-century alphorns based on contemporary written descriptions, which allows for a better understanding of literature and compositions that quoted and imitated the alphorn throughout the 19th century. In the absence of sound recordings, historical documents and literary sources provide valuable insights into the timbre of these traditional Alpine instruments. The research examines descriptions from 19th-century texts, comparing them with modern understandings of musical timbre. By analyzing the language used to describe the alphorn’s sound, the study identifies recurring descriptors and contextualizes them within the broader acoustic environment, including the influence of natural sounds like waterfalls and echoes. Historical sources reveal a complex perception of the alphorn’s timbre, described in terms of its resemblance to muted trumpets and a blend of brass and woodwind qualities. Authors such as Hermann Alexander von Berlepsch and François-Joseph Fétis provided detailed accounts, noting contrasting characteristics like “rough”, “soft”, “sharp”, and “melodious”, which varied with the listener’s distance from the instrument. These descriptions highlight the alphorn’s unique sound profile, distinct from modern perceptions that emphasize a warmer, fuller timbre. The findings underscore the importance of considering ecological and psychoacoustic contexts in the study of historical musical instruments.

Generating Sonic Phantoms with Quadratic Difference Tone Spectrum Synthesis

Abstract Quadratic difference tones belong to a family of perceptual phenomena that arise from the neuromechanics of the auditory system in response to particular physical properties of sound. Long deployed as “ghost” or “phantom” tones by sound artists, improvisers, and computer musicians, in this article we address an entirely new topic: How to create a quadratic difference tone spectrum (QDTS) in which a target fundamental and harmonic overtone series are specified and in which the complex tone necessary to evoke it is synthesized. We propose a numerical algorithm that solves the problem of how to synthesize a QDTS for a target distribution of amplitudes. The algorithm aims to find a solution that matches the desired spectrum as closely as possible for an arbitrary number of target harmonics. Results from experiments using different parameter settings and target distributions show that the algorithm is effective in the majority of cases, with at least 99% of the cases being solvable in real time. An external object for the visual programming language Max is described. We discuss musical and perceptual considerations for using the external, and we describe a range of audio examples that demonstrate the synthesis of QDTSs across different cases. As we show, the method makes possible the matching of QDTSs to particular instrumental timbres with surprising efficiency. Also included is a discussion of a musical work by composer Marcin Pietruszewski that makes use of QDTS synthesis.

Analyzing musical tones with fourier transformation

This essay delves into the mathematical exploration of musical tones through the application of Fourier Transformation, a pivotal tool in the field of digital signal processing and acoustics. By converting complex musical tones from the time domain to the frequency domain, Fourier Transformation enables the deconstruction of sounds into their constituent frequencies, revealing the unique harmonic structures that contribute to the characteristic timbre of different musical instruments. The focus of this analysis is particularly on the trumpet, chosen for its rich harmonic content and distinctive sound. Through the examination of audio recordings, this study uncovers the fundamental frequency and harmonics of the trumpet, demonstrating how these elements combine to form its unique acoustic fingerprint. The process involves recording, analyzing, and comparing musical tones using software tools like MATLAB and Python, providing an accessible yet profound insight into the intersection of mathematics and music. This essay not only highlights the technical methodology of Fourier Transformation in analyzing musical tones but also explores its practical applications in music theory, digital audio processing, and the broader field of acoustics. The findings underscore the transformative power of mathematical analysis in understanding and appreciating the complex beauty of musical sounds, opening avenues for further research and application in both the scientific and artistic domains.

Synthesis and Restoration of Traditional Ethnic Musical Instrument Timbres Based on Time-Frequency Analysis

Synthesis and Restoration of Traditional Ethnic Musical Instrument Timbres Based on Time-Frequency Analysis

The Refl ection of the Timbre Characteristics of Chinese Folk Instruments in Piano Works by the Chinese Composer Chu Wanhua

The article discusses Chinese piano music and the refl ection of the timbre features of Chinese folk instruments in it. The author of the article focuses on the work of the outstanding Chinese composer Chu Wanhua as very revealing regarding the refl ection of the timbres of Chinese folk instruments in the piano sound. In his research, the author focuses on the composer’s three piano works. As a result of the work, the researcher comes to the conclusion that the refl ection of the timbre features of Chinese folk instruments in the piano works of Chinese composers is a way to preserve and enrich the piano music of the Celestial Empire. Chu Wanhua managed to create such works for piano (fi rst of all, “My Homeland” piano concerto), in which adherence to traditions is organically combined with modern composing techniques. The composer masterfully “weaves” the achievements of Western European pianistic art into the national musical tradition, demonstrating brilliant imitation of the timbres of Chinese folk instruments and outlining the ways of development of Chinese piano art.

Piano Arrangements as a Universal Principle of Adaptation of European Artistic Values to the Peculiarities of Chinese Musical Culture

The article examines the role of arrangements for piano in the development of the Chinese piano school. The dynamic development of the latter is shown in the context of the influence of Western art and the ability of Chinese music to refract this influence through its own cultural lenses. The authors trace the development of piano arrangements in connection with the evolution of compositional thinking and adaptation to European standards and emphasise the role of the Russian musical culture in the process of interaction between the representatives of the binary opposition of “East vs. West.” The article examines methods of manifestation of Chinese national coloration by means of textural, registral, and technical capabilities intrinsic to the piano instrumentation for revealing the parallels with the principles of working with original sources in the context of Western European musical art. Particular attention is paid to the significance of the timbres (timbral forms) of Chinese traditional folk instruments, allusions to which have often appeared in the works of contemporary Chinese composers. In this connection, the authors draw analogies to the arrangements of folk melodies in the works of Western European (Joseph Haydn, Ludwig van Beethoven) and Russian (Mily Balakirev, Anatoly Lyadov) composers. The main vectors of national traditions and their refraction in the mainstream of 20th century composition techniques are outlined in the article, and parallels are revealed connecting the aesthetics of musical impressionism with the conditions under which it acquires a unique sound on the basis of Chinese culture.

The stylistic originality of Yurii Shevchenko’s instrumental works on the example of “ThreeUkrainian Songs” for string orchestra

Statement of the problem. The musical language of Ukrainian composers of the XX–XXI centuries is a complex and rather poorly studied field in modern musicology. This phenomenon raises many questions due to the diversity of styles, forms, and individual expressive systems of composers. Music for chamber ensemble vividly reflects the significant transformations in the artistic perception owned to our era. This musical context includes the work of the Ukrainian composer Yuriі Valentynovych Shevchenko (1953–2022), an outstanding figure in the national musical culture. The composer’s work is considered mainly in the journalistic discourse (Sushchenko, 2006; Cherdintseva, 2003, etc.). In recent scientific publications devoted to Shevchenko’s work, the authors (Aksiutina, 2022; Sadovenko, 2023; Tarasenko, 2008) focus on the analysis of the composer’s ballet music. The study by V. Stepurko (2023) helps to come closer to understanding the composer’s creative narratives: “... the author in his work aims to find the hidden philosophical depths of fairy-tale “worlds” as a sign and sound space. His works use various musical means of expression, but structured according to classical models, they are strikingly full of modern philosophical ideas, the search for humanistic postulates to solve the problems of humanity” (Stepurko, 2023: 132). However, a comprehensive musicological consideration of chamber and instrumental works remains outside the attention of researchers that determines the relevance of this publication. Objectives, methods, and novelty of the research. The purpose of this article is to reveal expressive means and stylistic features of Yu. Shevchenko’s chamber and instrumental music using the example of “Three Ukrainian Songs” for string orchestra. The named works have not yet been the subject of a special musicological analysis. The following methods were used in the study: historical, system-analytical, comparative, and hermeneutic, as well as a complex of specific musicological methods: structural-functional, semantic, musical-dramaturgical, timbre and textural analysis (for considering the musical form in its dynamics, the artistic expressiveness of harmonic, polyphonic, melodic and rhythmic means; when studying the orchestral score for revealing the specifics of the use of timbre colours of instruments). Research results and conclusion. In the process of implementing the symbolic program of the “Three Ukrainian Songs” for string orchestra, the principle of sound painting and the thematic meaning of rhythm get an important role. Audio-visual effects are achieved through the combination of timbres of various instruments and the use of special ways. The creation of sound perspective and the effect of spatiality are facilitated by polyphonic techniques of development and the combination of distant registers (also, in the first song, the temple bell effect arises due to synchronization of the propagation of sound vibrations). The game component, which is present in the third song, is realized through the “terrace” dynamics (f–p) and the “instant” register juxtaposition in parts of the I–II violins. To reproduce folklore intonations, to imitate the sound of folk instruments, the composer uses a variety of timbres of a string orchestra, in particular, orchestral pedals; characteristic rhythmic and melodic turns, sudden tonal shifts, original tonal plans, as well as various polyphonic techniques and the polyphonic-variation method of development. Using folklore material, Yu. Shevchenko complements each of the selected melodies with a harmonic texture, masterfully works with the vertical, and writes out each voice in a jewelled manner. In his interpretation of folk songs, genre features are emphasized: “Many Years” is a glorifying chant, “The Boat is Sailing” is a barcarolle, “Jenchichok-brenchichok”(“Reaper-Chirper”) is a scherzo. Meter and rhythm, register, and timbre solutions contribute to the highlighting of the characteristic genre features. The architectonics of the cycle carries a semantic load and contributes to the demonstration of the idea of the fluidity of life time: “Blessings of Life” (the idea of Part I) – “Immersion in the Process of Life” (Part II) – “Joy of Life” (Part III). So, the interpretive component of the cycle has a positive vector aimed at raising the emotional state of performers and listeners, as evidenced by the bright, “fiery” character of the treatment of the humorous folk song in the third, final, part of the cycle. The trends of form-making, the techniques of using harmony and polyphony laid down by the composer , as well as the conceptual solution of the cycle open wide prospects for the further development of Ukrainian chamber-instrumental music.

Guitar duets by Jaime Zenamon: the sound-image resources of the instrument

The relevance of the article is to consider guitar music of Bolivian guitarist and composer Jaime Zenamon in the context of the development of the modern academic repertoire of classical guitar. The connections of his music with South American folklore traditions, the poetics of the Andean sound, and its timbre specificity were revealed in comparison with the works of famous Bolivian composers and performers Alfredo Domínguez, Fernando Arduz, and Jilberto Rojas.
 Main objective of the study is to reveal the specific sound-image resources of the guitar in the duets of Jaime Zenamon in the context of searching tendencies of sound production and genrestyle appeals to a different ethno-cultural musical environment. The scientific novelty of the article lies in the introduction of materials about Bolivian musical culture and guitar work in particular into the domestic musicological circulation.
 The methodology includes methods of historical, comparative, phenomenological, structural and functional analysis to study: historical facts of the composer's creative activity, his contribution to the modern Bolivian and Brazilian guitar repertoire; specifics of the content of selected musical phenomena in the interaction of genre-stylistic elements and sound-image resources of the instrument.
 Results and conclusions. The classification of the guitar special techniques of sound production according to the technical parameters of the game, zones and means of sound extraction (percussion, plucking, glissanding, prepared) is represented: by phonic and sound-imaging parameters (imitation of timbres of other instruments, voices of nature and noises of various origins); by genre-communicative features, sources and environment of origin and living. In the analyzed Jaime Zenamon's duets "Casablanca", "Andean Sonata", the technical means of the game to reflect the sounds of the surrounding world are highlighted; processes of mixing its ethnocultural origins and genre traditions: Bolivian, Brazilian, Argentine, Middle Eastern, Moroccan, African American. Genre features of the Maghreb noobs of the Arabic oral tradition, the American foxtrot, the Brazilian samba, the Argentinean chacarera and malambo were revealed. A similar experience of using the latest playing techniques in the works of South American and European composers is given. On the basis of the systematization of specific methods of guitar sound production the new means of musical expressiveness in the field of timbre effects under the influence of the achievements of the composer's contemporaries and compatriots, as well as representatives of the European generation of artists were studied. The use of sound imaging innovations to reproduce the authentic sonosphere of culture, imitating the voices of nature, imitating the timbres of Bolivian aerophones, chordophones, Middle Eastern string-plucked instruments, as well as African percussion instruments were fixed. The correlation of associative-figurative series with timbral connotations, genres and intonationscale models were revealed.

Abel Carlevaro’s guitar works in the context of Uruguayan musical culture

The relevance of the article is to consider Uruguayan guitar music as an important component of the modern South American repertoire. On the example of the works of famous composer and performer Abel Carlevaro connections with the folklore traditions of the country, Afro-Uruguayan genres and styles have been revealed. Main objective of the study is to reveal the influence of Abel Carlevaro's guitar work on the development of national performing traditions and the repertoire of Uruguayan music. The novelty of the article lies in the introduction of materials about Uruguayan musical culture and guitar work in particular into the domestic musicological circulation. The methodology includes the methods of historical, comparative, phenomenological, structural and functional analysis for the study of factual information; highlighting the elements of folk music of Creole and Afro-Uruguayan origin; genealogy of rhythmic structures of genre sources, fixation of phenomena of guitar imitation of timbres of percussion instruments; a comparison of modern music with the decorative visual roots of an ancient ritual or with a purely European (Spanish, Italian, German) attribution of ancient genres and stylistic trends. Results and conclusions. Abel Carlevaro's work is presented as a part of the Uruguayan cultural heritage. Analogies of the processes of ethnocultural communication and the synthesis of national motifs in architectural structures and musical phenomena of the country are traced. Linguistic and genre characteristics of guitar works were investigated taking into account the positions of modern experts of local folklore, as well as the anthropological experience of Uruguayan scientists studying their musical and ritual tradition. In the process of analyzing «American Preludes» as examples of the most performed musical works by A. Carlevaro, the genre features of tango, milonga, Creole songs, genre-style allusions of baroque giga, passacaglia were determined; the signs of reproducing the timbre resources of the candombe — the titular genre of Afro-Uruguayan origin for the national culture — were revealed. The conformity of its rhythmic core to the genre canons of African music-making embodied in the tradition of Uruguayan carnivals is emphasized. Timbral imitations of percussion sounds are considered in connection with the use of specific methods of sound production on the guitar. The general stylistic and genre priorities of the Carlevaro’s guitar work are correlated with his performing and pedagogical experience, summarized in didactic, methodical, autobiographical publications and presentations in many countries of the world.

The preservation of Isan folk music with digital sound technology

The preservation of Isan Folk Music is of the utmost significance for preserving the rich cultural heritage of the region and nurturing artistic innovation. Digital sound technology has emerged as a potent instrument for this endeavor, allowing for the construction of an exhaustive and diverse digital sound library. In this study, traditional Isan Folk Music instruments were meticulously recorded using the cutting-edge Logic Pro X software, capturing their nuances in volume and dynamics. The authenticity of each instrument's timbre and unique characteristics were preserved through the use of sound adjustment and editing techniques. The appropriate organization and note nomenclature within the Kontakt software contributed to the library's well-structured and user-friendly design. The process of importing the sounds of musical instruments into Kontakt was seamless, involving selection, customization, and modification, resulting in a vast repository of sounds that are available for exploration. A user-friendly interface was thoughtfully designed to enhance the user's experience exploring the captivating sounds of traditional Isan Folk Music instruments. This digital sound library stands as a testament to the preservation and celebration of Isan Folk Music, providing artists and enthusiasts alike with a resourceful outlet for artistic expression and promoting global appreciation for this distinctive musical tradition, demonstrating the important role of music in cultural preservation and human evolution.

Influencing brand personality with sonic logos: The role of musical timbre

This study examines the relationship between instrumental timbre and brand personality and its underlying mechanisms. Our findings demonstrate that the connotative meanings of instrumental timbre act as a cognitive mechanism behind the timbre-brand association based on gender stereotypes. Specifically, sogos created using feminine instruments that connote positive valence are matched with sincerity dimension. Similarly, sogos created using masculine instruments that connote potency are matched with ruggedness, and this relationship is mediated by the perception of low pitch. Further, creating sogos with instruments that match a brand’s personality evokes congruence of brand attributes, which in turn positively impacts brand attitude and purchase intention. These findings contribute to the literature on branding and sensory marketing by linking instrumental timbre with the well-known brand personality scale and the EPA (Evaluation, Potency, and Activity) framework. Insights learnt can help brands create sogos that are congruent with their brand’s personality.

ORCHESTRATION AS A TEXTUAL INTERPRETATION OF A WORK (BASED ON V. PANCHENKO’S ARRANGEMENT OF THE CLAVIER OF E.-T.-A. HOFFMAN’S OPERA “UNDINE” FOR SOLOISTS, CHORUS AND SYMPHONY ORCHESTRA)

The continuing development of the composing technique is associated with the interpretation of timbre and other expressive possibilities of instruments and voices. At the same time, the displacement of concert performances of symphony orchestras and the tradition of creating “classical” orchestration by the practice of chamber-ensemble musicmaking and electronic musical creativity become topical problems. The question arises: has the attitude to the orchestration of music of the 18th-19th centuries changed today? What compromises are permissible, and what goes beyond the designated type of creative work? Do the ethical requirements to the composer’s text interpretation decrease when referring to the works of little-known authors? And if correctness and responsibility to the creator of the composition and the audience are great, then the role of research and analytical analysis multiplied by the mastery of the orchestration technology and talent compensate for the need to adapt the score to the proposed conditions of the work’s performance.

“The Power of Harmony” by Eusebius Mandyczewski as an example of the composer’s early cantata work

Statement of the problem. The artistic work of the Bukovynian composer and musicologist of the second half of the 19th – the first quarter of the 20th century Eusebius Mandyczewski plays an important role in the formation and development of the composer school of Bukovyna. The study of the cantata “The Power of Harmony” – one of Mandyczewski’s early works – is important, because it allows us to reveal the fundamentals, which contributed to his future artistic growth. Objectives, methods, and novelty of the research. The purpose of the study is a musicological analysis of the cantata “The Power of Harmony” by E. Mandyczewski and identification the characteristic features of the composer’s creative thinking. Such detailed analysis of the work revealing the characteristic features of the artistic style of the Bukovynian composer is the innovative component of the research. A set of methods that are important for identifying the features of a composer’s musical work was used: biographical, historical and cultural, method of musicological analysis, method of theoretical generalization. Results and conclusion. The artistic heritage of E. Mandyczewski is quite large, it covers various genres of musical work, but the most important one is the cantata genre. The study of the cantata “The Power of Harmony” revealed a number of features of the work and the stylistic foundations of the composer’s future mature work. The author demonstrated the skill of creating monumental genres and the ability to perform complex artistic tasks in a short period of time. We observe clear dramaturgy of the cantata, which is aimed at embodying the main idea of the work – an allegorical comparison of the harmony of the world, which grew out of chaos, with the formation of the musical culture of the Bukovynian region. This work reveals the composer’s romantic worldview, knowledge of the musical heritage of Western Europe, the style of foreign composers, and mastery of traditional writing techniques. E. Mandyczewski demonstrated the ability to operate a large group of performers, skillfully using the timbre of vocal voices and musical instruments. The expressiveness of the vocal melody is combined with the improvisation and virtuosity of individual instruments, in particular the violin, which is characteristic of the local performance tradition. High level of professionalism of the composer his mastery of the polyphonic writing technique attests: the use of polyphonic methods and forms, in particular the choral fugue, the use of timbre polyphony, etc. In the cantata “The Power of Harmony”, E. Mandyczewski, despite his young age, showed talent and professional mastery of instrumentation, harmony and counterpoint, as well as knowledge of the nature of the human voice. This early composer’s cantata was a great success during the first performance that gave the composer an impetus for future achievements.

Talker adaptation or "talker" adaptation? Musical instrument variability impedes pitch perception.

Listeners show perceptual benefits (faster and/or more accurate responses) when perceiving speech spoken by a single talker versus multiple talkers, known as talker adaptation.While near-exclusively studied in speech and with talkers, some aspects of talker adaptation might reflect domain-general processes. Music, like speech, is a sound class replete with acoustic variation, such as a multitude of pitch and instrument possibilities. Thus, it was hypothesized that perceptual benefits from structure in the acoustic signal (i.e., hearing the same sound source on every trial) are not specific to speech but rather a general auditory response. Forty nonmusician participants completed a simple musical task that mirrored talker adaptation paradigms. Low- or high-pitched notes were presented in single- and mixed-instrument blocks. Reflecting both music research on pitch and timbre interdependence and mirroring traditional "talker" adaptation paradigms, listeners were faster to make their pitch judgments when presented with a single instrument timbre relative to when the timbre was selected from one of four instruments from trial to trial. A second experiment ruled out the possibility that participants were responding faster to the specific instrument chosen as the single-instrument timbre. Consistent with general theoretical approaches to perception, perceptual benefits from signal structure are not limited to speech.

Scientific mechanism of bamboo acoustic vibration performance from structure-chemical perspective

The special melodious timbre of bamboo musical instruments is closely related to the multi-level, multi-scale, delicate structure of bamboo. In this study, the influence of different excitation surfaces, bamboo height, and bamboo age on acoustic vibration performance was investigated. The mechanism of the influence of the bamboo tissue structure on its acoustic properties was further investigated. The results show that the acoustic conversion efficiency (ACE) of the bamboo-green side is 1307.42 m4/kg·s, which is higher than that of the bamboo-yellow side (1218.60 m4/kg·s). The E'/G' ratio from the bamboo-green side is 8.21, lower than that of the bamboo-yellow side (8.45). The comprehensive acoustic performance near the root (0–1.6 m) of the plant is optimal and has the maximum ACE value; ACE value decreases gradually from root to tip. The comprehensive acoustic properties of 8-year-old bamboo are the best compared to other ages. The ACE values of 2-year-old, 5-year-old, and 8-year-old bamboo are 997.37 m4/kg·s, 1284.19 m4/kg·s, and 1355.82 m4/kg·s with E'/G' of 8.34, 8.64, and 9.49, respectively. A highly oriented vascular fiber is conductive to the vibrational efficiency of bamboo, while loose and porous parenchyma cells play a resonant and tonal role. Highly oriented microfibrils and a large number of pores with diameter > 50 nm create a sound transmission channel and resonance cavity, which is the structural basis of the clear timbre of bamboo. However, a damping dissipation effect is produced affecting the vibration capacity and vibration energy transfer of the cellulose microfibril when abundant pores < 50 nm in size are located in lignin and between hemicellulose and cellulose skeletons. The content of the matrix composed of hemicellulose and lignin in the cell wall creates a chemical material basis that affects the acoustic performance of bamboo. The structural characteristics of bamboo, including directional gradient structure, fiber-parenchyma two-phase composite structure, and muli-scale pore structure, as well as key chemical “rebar-cement-sand” components of the rigid cellulose macromolecular chain, viscoelastic hemicellulose, and lignin have synergistic effects on bamboo acoustic vibration performance.

Raging with the Machine in the Uncanny Valley: Human–AI Cocreativity in the Eurovision-Themed AI Song Contest

Abstract We report here the processes involved in creating our entry in the 2020 AI Song Contest, “Beautiful the World”; the technical innovations from the project; and the decision-making that divided tasks between human and machine in a way that ensured that the final creation was AI-inspired but human-created, starting from generated melodies, lyrics, and timbres. Key innovations include the use of lyric stress patterns as queries to a stress-based melody index to a database of generated melodies, and the creation of a novel instrument timbre with differential digital signal processing, trained on Australian animal calls. We reflect on how human–AI cocreativity occurred during the process and how it may develop in the future.

Generalizing across tonal context, timbre, and octave in rapid absolute pitch training.

Absolute pitch (AP) is the rare ability to name any musical note without the use of a reference note. Given that genuine AP representations are based on the identification of isolated notes by their tone chroma, they are considered to be invariant to (1) surrounding tonal context, (2) changes in instrumental timbre, and (3) changes in octave register. However, there is considerable variability in the literature in terms of how AP is trained and tested along these dimensions, making recent claims about AP learning difficult to assess. Here, we examined the effect of tonal context on participant success with a single-note identification training paradigm, including how learning generalized to an untested instrument and octave. We found that participants were able to rapidly learn to distinguish C from other notes, with and without feedback and regardless of the tonal context in which C was presented. Participants were also able to partly generalize this skill to an untrained instrument. However, participants displayed the weakest generalization in recognizing C in a higher octave. The results indicate that participants were likely attending to pitch height in addition to pitch chroma - a conjecture that was supported by analyzing the pattern of response errors. These findings highlight the complex nature of note representation in AP, which requires note identification across contexts, going beyond the simple storage of a note fundamental. The importance of standardizing testing that spans both timbre and octave in assessing AP and further implications on past literature and future work are discussed.

The Use of Virtual Musical Instruments in Timbre Recognition Training

The article describes research conducted on children and teenagers in Youth Palace in Olsztyn, Poland. The research was conducted for one school year in two groups: experimental and control. It relates to the practical use of virtual instruments in timbre ear training, which was applied during additional keyboard classes. The time reserved for weekly tests and teaching several timbres of musical instruments recognizing was quite short, so that each attempt took around 7 minutes. The experiment time was strictly limited due to curriculum of Keyboard classes, which required to be fully realized. In that case, experiments had to be conducted in a way, which would not affect the classes. Purposeful use of virtual instruments in teachers’ work in the context of timbre recognition, increases the effectiveness of the educational process, so that children obtain very good results in recognizing different instruments’ timbres in contrast to the control group. It should be assumed, that the certain time spent on musical instruments timbre recognizing would cause way greater skill growth of research group. Data obtained clearly indicates the importance of education conducted in this way, due to its affection on timbre consciousness shaping.