Sound Contours Research Articles

Dmitri Shostakovich’s Early Works: An Insight into the Creative Process through the Prism of Variants of Musical Works

The quantity of draft autographs pertaining to Dmitri Shostakovich’s early works is relatively small. But for acquiring a perception of the creative process of the young composer, other documents of this period may be used — variants of compositions that have been preserved in large quantities. And although some of them present simple complimentary authorial copies meant to be gifts for friends and acquaintances, differing to a minimal amount from the initial musical texts, there exists a number of variants where the composer’s creative will is distinctly manifested — an improvement of the perception of form and the sound of the musical composition. The article makes use of the method of comparative analysis of autograph scores, and all the variants were classified in to 1) compositional and 2) those connected with orchestration. The existent mixed variants, for the most part characteristic for later and more large-scale compositions (the opera Lady Macbeth of the Mtsensk District and the Eighth Symphony) have remained beyond the sphere of this research. The compositional transformations are examined on the example of two short pieces written during the year of the composer’s enrollment in the Petrograd Conservatory (1919). They demonstrate various diametrically opposed to each other techniques of work with the material: those include the omission of measure units and groups of measures and the additional composition of new musical text, at times, of great capacity. The variants connected with orchestration are examined on the example of Prelude No. 4 from the Eight Preludes opus 2. The piece has been orchestrated twice. It can be seen in the manuscripts how the composer gradually elucidates for himself the sound contours of the composition and correlates the orchestral profile with the form. The keen understanding of the regularities of orchestrating a composition for wind orchestra is reflected in the variants of the March from the incidental music for the performance of Vladimir Mayakovsky’s The Bedbug. As the result, it becomes possible to conclude that in the early period of his music, Shostakovich’s talent developed itself dynamically. The composer not only evaluates his own works critically, but also aspires to transform some of them. These transformations touch upon both the compositional and the timbral aspects of the compositions, however, at the same time, they do not bring in any radical changes, do not affect the figurative qualities or the musical language and preserve the general structure of the pieces. At the same time, the application of discrepant principles of transcription in various cases demonstrates the composer’s attention to the material.

Sound contour map of absorber panels from industrial spinning and weaving wastes

Recycled fibers obtained from pre-textile waste present advantages and challenges in acoustic absorber design. This study examines the potential of incorporating textile waste into acoustic absorption systems, with a focus on pre-used waste, to increase the percentage of recycled fibers in the textile industry using the quantitative method Used to evaluate the efficiency of panels manufactured in different sound frequencies, from up to 2000 Hz, and, in some cases, up to 3000 Hz Observations indicate that surface cleaning products, pneumafil waste a twist, comb bat residue and waste grinders exhibit the highest sound absorption coefficients in and using waste samples In addition, a procedure has been developed to evaluate the sound absorption reduction coefficient, which exposes high correlations with values obtained by other methods Sound contour mapping further confirms the homogeneity of the sample and reveals the effectiveness of specific sound absorption systems, such as air condition station filters, spinning pneumafil waste, and weaving waste (samples 18, 20, 21, and 23). Nevertheless, the study of integration emphasizes the ability to reuse waste fibers for sound insulation that can absorb adequate sound, reduce reflected sound, and offer a promising solution for dealing with noise pollution. A thorough examination of sound contour maps across absorber surfaces is undertaken to account for the material structure of the absorber, ensuring an accurate representation of how sound is absorbed and distributed within the designated area.

THE SOUND PARADIGM OF VASYL STEFANYK’S NOVELLA «A STONE CROSS»

The aim. The article suggests a new view on the organization and structure of Vasyl Stefanyk’s novella “A Stone Cross” that determines the elucidation of an intermedial issue in the analysis of the writer’s famous work: the unity of a word and sound palette in the fictional text of the novella author’s prose. Therefore, the aim of the article is to study through the prism of one novella a general tendency of Vasyl Stefanyk’s creative work: the synthesis of literature and art, the study of methodological approaches to interpreting the phenomena of intermediacy in the novellas of the classic of our national literature. 
 The research methods. For the analysis the synthesis of principles and methods of scientific researchis implemented, first of all, of intertextual, comparative-typological, intermedial, poetological and biographical ones. 
 The research results. The interpretation of Vasyl Stefanyk’s novella “A Stone Cross” through the prism of verbal and music-sound aspects promotes understanding of the writer’s rich in senses well-known work. That is why the selected poetic analysis of each part of “A Stone Cross” is the most acceptable for researching the textual longevity of sounds and music in the novella’s general structure. In the research process of the sound paradigm of Vasyl Stefanyk’s work, its groundbreaking essence, the peculiarity of its style, modern poetics are proved that undoubtedly affected the precision and powerful energy of its word form. 
 The scientific novelty. In the research there is achieved a new reading of the text of Vasyl Stefanyk’s novella “A Stone Cross”, for the first time there is performed the analysis of its sound contour by means of which the subtexts and hidden senses of the work are decoded. Such a cutting-edge approach proposes a fresh view on the Ukrainian author’s modernistic searches: the sound, music, song, dance identify the main hero Ivan Didukh, generally psychologise the text of the work. 
 The practical significance. The obtained research results may be used in further research of Vasyl Stefanyk’s creative work from positions of contemporary literary studies, particularly the proposed interpretational approach is one of the segments of a poly-aspectual interpretation of the deep in its contents work that has already become classical both in the sphere education and in scientific studies of today’s researchers of Vasyl Stefanyk’s creative work.

An automated piecewise synthesis method for cetacean tonal sounds based on time-frequency spectrogram.

Bionic signal waveform design plays an important role in biological research, as well as bionic underwater acoustic detection and communication. Most conventional methods cannot construct high-similarity bionic waveforms to match complex cetacean sounds or easily modify the time-frequency structure of the synthesized bionic signals. In our previous work, we proposed a synthesis and modification method for cetacean tonal sounds, but it requires a lot of manpower to construct each bionic signal segment to match the tonal sound contour. To solve these problems, an automated piecewise synthesis method is proposed. First, based on the time-frequency spectrogram of each tonal sound, the fundamental contour and each harmonic contour of the tonal sound is automatically recognized and extracted. Then, based on the extracted contours, four sub power frequency modulation bionic signal models are combined to match cetacean sound contours. Finally, combining the envelopes of the fundamental frequency and each harmonic, the synthesized bionic signal is obtained. Experimental results show that the Pearson correlation coefficient (PCC) between all true cetacean sounds and their corresponding bionic signals are higher than 0.95, demonstrating that the proposed method can automatically imitate all kinds of simple and complex cetacean tonal sounds with high similarity.

Area Noise Assessment at Surface Stone, Sand, and Gravel Mines: Application for Reducing Worker Noise Exposure.

Repeated noise exposure and occupational hearing loss are common health problems across industries and especially within the mining industry. Large mechanized processes, blasting, grinding, drilling, and work that is often in close quarters put many miners at an increased risk of noise overexposure. In stone, sand, and gravel mining, noise is generated from a variety of sources, depending on the type of ore being mined as well as the final consumer product provided by that mine. Depending on the source of noise generation, different strategies to reduce and avoid that noise should be implemented. The National Institute for Occupational Safety and Health (NIOSH) has evaluated the noise profile at three operational surface stone, sand, and gravel mines. A-weighted sound level meter data as well as phase array beamforming data were collected throughout the mines in areas with high noise exposure or high personnel foot or vehicle traffic. Sound level meter data collected on a grid pattern was used to develop sound profiles of the working areas. These sound contour maps as well as phase array beamforming plots were provided to the mines as well as guidance to modify work areas or personnel traffic to reduce noise exposure.

Музыкальная интонация: эстетические и историко-культурологические аспекты

The two previous lectures from the cycle “Musical Intonation” were devoted to the concept of musical intonation, its sound contours, semantics, genre-related and stylistic traits. The third and final lecture suggests concentrating our attention on the two sides of intonation – its aesthetic particularities and dramaturgical features, as well as its existence in the historical-culturological context. The aesthetical side of intonation is disclosed by means of applying the apparatus of aesthetical categories (the dichotomy of beautiful vs. ugly, etc., the Aristotelian triad). The study of intonational dramaturgy finds the teaching about rhetorical disposition (the logical phases of unfolding the process) and the typology of the intonational-dramaturgic models to be productive. The theory of “intonational vocabulary” and “intonational crises” put forward by Boris Asafiev is conducive towards examination of the evolution of intonation in the mirror reflection of music history. The multiangle analysis of musical intonation as an intrinsically valuable microcosm combined with a large-scale scope of its historical-culturological existence presents a complex, yet perspective path of its knowledge.

Syntaxes and metro-rhythmic categories in Viorel Munteanu’s Concerto for flute and string orchestra

Abstract the piece by composer Viorel Munteanu reveals the symbiosis between past musical ages and modernity, between established compositional techniques (of the string orchestra) and contemporary sound emission processes (the solo flute). The syntaxes of past trends in music, polyphony and homophony, as well as modern treatments of rhythm, such as polyrhythm, coexist felicitously and result in a type of musical thought that, although anchored in the past, looks forward to the future. Rhythm can be considered from various metric perspectives, especially in the faster parts of the concerto. Rhythmic layers are present both vertically (polyrhythms) and horizontally (polyphons of rhythms); the cross of the two variants is of particular interest. The aksak rhythm, characteristic of the Balkan area, may come as a surprise as it briefly occurs in Part III; this unexpected element brings an inspired change of horizon, followed by a return to the previous giusto expression. The form of the last part, Rondo, can also be discussed from a modern perspective, rooted in the past; it could actually be placed within in the Rondo-Sonata pattern; however, its sound contour does not belong to the tonal sphere, but rather to a form of extended modalism. The soloist instrument merges with the string orchestra and emerges from it, in a discourse that clearly bears the mark of the composer’s creative personality. The most successful element of the work is its expressiveness, the way in which the compositional and technical means are subordinated to the aesthetic message that Viorel Munteanu intends to transmit to the public.

Музыкальная интонация: жанровые и стилевые свойства

In the previous lecture from the cycle “Musical Intonation” (see the journal ICONI, 2021, No. 3, pp. 68–83) the topic was the conception of musical intonation, its sound contours and semantics. In the present publication there appears the possibility to characterize the other features of intonation which enable it to move towards the achievement of its main goal — conveyance of the artistic meaning. During the course of the conversation about the genre-related particularities of intonation four large-scale genre-related spheres have been indicated (and, correspondingly, four genre types): melodiousness, declamatory features, motoric features and instrumental features. The view of musical intonation in the stylistic perspective is correlated with the nuanced concept of style as the contingence of artistic content with the means of its manifestation. In correspondence with the different “sections” of the existent massif of music, the styles of composers, composers’ schools, social groups, national cultures, continental cultures, eras and artistic directions (trends) develop themselves. They all fixate themselves more or less self-evidently in musical intonation. In musical intonation the features of different genre-related spheres interact with each other by various means (forming poly-genre) and the features of various styles combine together (creating poly-stylistics). The conclusive lecture will be devoted to a discussion of the aesthetical and dramaturgical features of musical intonation, and also about how intonation exists in the historical-culturological context.

Zero-Fluoroscopy Ablation at the Texas Heart Institute.

Zero-Fluoroscopy Ablation at the Texas Heart Institute.

A case of visuo-auditory sensory substitution in rats

Sensory substitution refers to a process whereby an agent, by means of a removable specialized instrumentation, becomes capable of exploiting an available sensory modality in order to perceive properties of the environment which are normally accessible by means of a different modality. We describe a situation of visual-auditory sensory substitution in the rat. Rats were placed in complete darkness, and trained to follow a virtual path whose position was signalled by a sound activated by a video-tracking device. Our hypothesis was that the rats would be able to succeed in this task of spatial navigation, following the sound contour by means of sensory-motor coupling based on seeking the sound (all-or-none) and mastering the relation between their own actions and the expected sensory feedback. Our results confirm this hypothesis and show the progressive structuring of meaningful exploratory activity, leading from the appearance of stopping behaviour when the sound is lost or acceleration when the sound is discovered, up to a veritable sensory-motor strategy which maximizes the possibilities for discovering and following the sound path. Thus, the animals seem to have developed a new form of perception which translates in particular into motor behaviour adapted to the search for sound.

The Apache Longbow–Hellfire Missile Test at Yuma Proving Ground: Ecological Risk Assessment for Missile Firing

ABSTRACT A multiple stressor risk assessment was conducted at Yuma Proving Ground, Arizona, as a demonstration of the Military Ecological Risk Assessment Framework. The focus was a testing program at Cibola Range, which involved an Apache Longbow helicopter firing Hellfire missiles at moving targets, that is, M60-A1 tanks. This article describes the ecological risk assessment for the missile launch and detonation. The primary stressor associated with this activity was sound. Other minor stressors included the detonation impact, shrapnel, and fire. Exposure to desert mule deer (Odocoileus hemionus crooki) was quantified using the Army sound contour program BNOISE2, as well as distances from the explosion to deer. Few effects data were available from related studies. Exposure-response models for the characterization of effects consisted of human “disturbance” and hearing damage thresholds in units of C-weighted decibels (sound exposure level) and a distance-based No-Observed-Adverse-Effects Level for moose and cannonfire. The risk characterization used a weight-of-evidence approach and concluded that risk to mule deer behavior from the missile firing was likely for a negligible number of deer, but that no risk to mule deer abundance and reproduction is expected.

The Apache Longbow–Hellfire Missile Test at Yuma Proving Ground: Ecological Risk Assessment for Helicopter Overflight

ABSTRACT A multi-stressor risk assessment was conducted at Yuma Proving Ground, Arizona, as a demonstration of the Military Ecological Risk Assessment Framework. The focus of the assessment was a testing program at Cibola Range, which involved an Apache Longbow helicopter firing Hellfire missiles at moving targets, that is, M60-A1 tanks. This article focuses on the wildlife risk assessment for the helicopter overflight. The primary stressors were sound and the view of the aircraft. Exposure to desert mule deer (Odocoileus hemionus crooki) was quantified using Air Force sound contour programs NOISEMAP and MR_NMAP, which gave very different results. Slant distance from helicopters to deer was also used as a measure of exposure that integrated risk from sound and view of the aircraft. Exposure-response models for the characterization of effects consisted of behavioral thresholds in sound exposure level or maximum sound level units or slant distance. Available sound thresholds were limited for desert mule deer, but a distribution of slant-distance thresholds was available for ungulates. The risk characterization used a weight-of-evidence approach and concluded that risk to mule deer behavior from the Apache overflight is uncertain, but that no risk to mule deer abundance and reproduction is expected.

Improving Road Safety and Residential Quality of Life

The automated wayside horn system is designed to replace the train horn as a means of alerting motorists to danger and thus enhancing safety at highway-rail grade crossings. Furthermore, the wayside horn directionality is such that the warning sound is broadcast over a smaller sector than the train horn, thereby reducing residential noise. This article examines the results of an evaluation comparing train horns with wayside horns in the village of Mundelein, Illinois, USA. The study derived from previous work in Gering, Nebraska, and Ames, Iowa.During the 3 months covering the 'before' (train horn) period and through to 'after' (wayside horn), more than 19 500 crossing gate closures were recorded on videotape at three crossings. Analysis showed motorist violation of level-crossing laws decreased 68%, from an average rate of 3.53 per 100 gate closings when train horns were in use to 1.12 per 100 with the wayside horn. The decrease was statistically significant. Of equal importance was the decrease in residential noise. Sound measurements taken in a sample of residential yards showed a decrease in sound levels by more than 10 decibels (dB) at most locations. When plotted as sound contours, decreases in the area of coverage ranged from 85% at the 90dB level to 65% at the 70dB level.However, there are two issues with the use of wayside horns that need to be resolved. First, and most important, is that the wayside horn starts sounding when the warning lights begin to flash. This startles motorists, and some stop on the rail tracks. A second issue is the frequent unwarranted activation of the system, which encourages people to ignore the gate.

Between sound and perception: reviewing the search for a neural code

This review investigates the roles of representation, transformation and coding as part of a hierarchical process between sound and perception. This is followed by a survey of how speech sounds and elements thereof are represented in the activity patterns along the auditory pathway. Then the evidence for a place representation of texture features of sound, comprising frequency, periodicity pitch, harmonicity in vowels, and direction and speed of frequency modulation, and for a temporal and synchrony representation of sound contours, comprising onsets, offsets, voice onset time, and low rate amplitude modulation, in auditory cortex is reviewed. Contours mark changes and transitions in sound and auditory cortex appears particularly sensitive to these dynamic aspects of sound. Texture determines which neurons, both cortical and subcortical, are activated by the sound whereas the contours modulate the activity of those neurons. Because contours are temporally represented in the majority of neurons activated by the texture aspects of sound, each of these neurons is part of an ensemble formed by the combination of contour and texture sensitivity. A multiplexed coding of complex sound is proposed whereby the contours set up widespread synchrony across those neurons in all auditory cortical areas that are activated by the texture of sound.

The study on sound environment in Kyoto based on characteristics of frequency and sound contour maps

The study on sound environment in Kyoto based on characteristics of frequency and sound contour maps

Lead Time and Cost Reduction: A CNC Programming System for Motor Vehicle Prototypes

Switching to the MasterCam CNC programming system has allowed Ford Motor Company research staff to produce a wide variety of prototype parts with complex contours on CNC machine tools rather than building patterns by hand and casting the parts. The advantages have been impressive. (1) The need to build patterns by hand has been eliminated, thus reducing the cost of the average prototype part by 75 per cent. (2) Lead time has been reduced from an average of three weeks for pattern making, mould making and casting to a typical 48 hours for programming and CNC machining; and (3) prototype quality has been greatly improved because the machined parts possess mathematically sound contours rather than hand filed approximations.