Tone Color Research Articles

Music Tone Synthesis based Anti-Interference Dynamic Integral Neural Network optimized with Artificial Hummingbird Optimization Algorithm

Music Tone Synthesis is an applied science or method that implies to identify and study of specific orchestral tone currently part of a music. It is especially effective in the area of oral music training system classes, somewhere be able to support in the practice and growth of musicians. Music Tone Synthesis provides singer and writer to produce large number of noises as well as imitate several tools and impact it cannot be flexible otherwise realistic for create over standard classical instrument. In this manuscript, Music Tone Synthesis based Anti-Interference Dynamic Integral Neural Network enhanced with artificial hummingbird Optimization algorithm (MTS-AIDINN-AHOA) is proposed. The input data are obtained from the audio signal. Then the data are pre-processing using Stein Particle Filtering (SPF) to remove the noise. The pre-processed data is given into the Two-sided Offset Quaternion Linear Canonical transform (TSOQLCT) for extracting the musical features such as melody, harmony, tempo, and dynamics. After this the extracted feature is provided to the Anti-Interference Dynamic Integral Neural Network (AIDINN) is used for the music tone synthesis and it is classified as pitch, chronaxie, volume, tone color. In general, the Anti-Interference Dynamic Integral Neural Network (AIDINN) does no express adapting optimization strategies to determine ideal parameters to assure precise prediction. Thus, it is proposed to utilize the Artificial Hummingbird Optimization Algorithm enhancement AIDINN for Music Tone Synthesis. The proposed MTS-AIDINN-AHOA method is implemented on MATLAB. Then performance of proposed technique is evaluated to other existing techniques. The proposed technique attains 26.36%, 20.69% and 35.29% higher accuracy, 19.23%, 23.56%, and 33.96% higher precision, 26.28%, 31.26%, and 19.66%higher recall, 28.96%, 33.21% and 23.89%higher specificity comparing with the existing methods such as a research on Musical Tone Recognition Method Based on Improved RNN for Vocal Music Teaching Network Courses (MTS-RNN), Music Timbre Extracted from Audio Signal Features (MTS-BPNN)and Feature Extraction and Categorization of Music Content Based on Deep Learning(MTS-SMNN) respectively.

가정용 로봇청소기의 컬러 트렌드 분석

This study aims to analyze color trends focusing on household robot vacuum cleaners that have won Red Dot, iF, and IDEA design awards over the past four years. For this purpose, 89 products were selected from 2020 to 2023. The color analysis process involved collecting product photos and information posted on the Design Award website and extracting each product's primary, secondary, and accent colors. Munsell H V/C values were calculated by BabelColor CT&A based on sRGB data and distributed on the Hue & Tone color chart to conduct frequency analysis. At the same time, the frequency and characteristics by year were compared based on 18 color combination types. The results of the color trend synthesized were organized into color trends based on Hue and Tone charts, color trends for primary, secondary, and accent colors, and trends by color combination type.

Exploring the characteristics of folk music tunes based on data mining model

Abstract In this paper, during the design process, some sample data are first extracted, and the distance between data is calculated to obtain the symmetric distance matrix along the diagonal. The model mutual information quantity is introduced, and the homogenization factor is detected after weight calculation. Next, analyze the rule weights based on the normalized mutual information quantity and use information entropy to identify abnormal data. Finally, find the minimum set with frequent item set and mine the fuzzy association rules. To verify the feasibility of the model, the results of exploring the characteristics of ethnic music tunes show that the neutral tone color is thin and the ethnic music melody line is soft in tune when the long and short melody lines are 9% and 12%, respectively. The number of strong and weak beats in the beat is 2-7 times, mixed with 2/4 and 3/8 beats alternately, and the musical tune is regular. The third-order interaction of wave amplitude variance is significant, and the two media of CD and phonograph help listeners understand and remember the music. Based on this, the digital model can improve the reproduction effect of folk music and can objectively target the transmission of folk music with national cultural characteristics.

Liquid Crystal Cellulose Nanocrystal/ Polyvinylpyrrolidone Pigments Engineered from Agro‐Waste Sugarcane Bagasse

AbstractBio‐inspired iridescent materials can possibly replace organic dyes and pigments, however, fabricating materials that resemble the appearance of absorbing pigments is challenging. Extracting cellulose nanocrystals (CNCs) from waste biomass is a sustainable practice in light of socio‐economic and environmental concerns. In an attempt, CNCs from sugarcane bagasse are isolated through acid hyrdolysis. Stable anisotropic dispersions of CNCs are doped with polyvinylpyrrolidone (PVP). Iridescent composite films are cast from these suspensions through evaporation–induced self‐assembly approach (EISA). The physicochemical properties of the films are studied at different loadings of PVP. These iridescent CNC/PVP composite films are then ball‐milled to produce iridescent red and blue tone color pigments. The morphology and optical properties of pigments are studied through Field emission scanning electron microscopy (FE‐SEM) and Hot‐stage Polarized Optical Microscopy (POM). These pigments are then re‐dispersed in a transparent polar polymer matrix to visually observe the color induced by them using solvent casting approach.

Gestural Tendencies in Composing Pieces for Solo Clarinet in Sequenza IX for Clarinet, Garisan, and Klibat

Abstract: Gesture in a broader sense is more than a physical movement but, can also be modes of expression representing specific meanings. Movements with meaning embodies gesture and gesture exists in various artforms like music because of its capacity to express. Its capability to transform through time and space makes it akin to energy and it is parallel with the art of composing music. Musical gesture however, are being studied at different levels so as to classify and to relate different functions of gestures. This article intends to demonstrate the use of musical gestures into composing music for a solo wind instrument. Three solo pieces for clarinet were written by three different composers approaching musical composition through gestural writing. To realize the imagined sound and movements of the clarinet, the composers’ composing process concentrated more on the gestural movements and tone colours of the selected wind instrument. The musical gesture in these three solo pieces is actually capturing the movement and sense of movement through music, and its essence lies in the subconscious lines connected to create direction and motion in both pieces. This compositional approach also gives the composers more compositional freedom and enriches their compositional process.
 Keywords: music composition, musical gesture, solo pieces for clarinet, contemporary music.

Current Perspectives on Pressure Injuries in Persons with Dark Skin Tones from the National Pressure Injury Advisory Panel.

Pressure injury (PI) development is multifactorial. In patients with dark skin tones, identifying impending PIs by visual skin assessment can be especially challenging. The need for improved skin assessment techniques, especially for persons with dark skin tones, continues to increase. Similarly, greater awareness of the need for inclusivity with regard to representation of diverse skin colors/tones in education materials is apparent. To provide current perspectives from the literature surrounding skin assessment and PI development in patients with dark skin tones. The following elements will be discussed through the lens of skin tone: (1) historical perspectives of PI staging from the National Pressure Injury Advisory Panel, (2) epidemiology of PI, (3) anatomy and physiology of the skin, (3) skin tone assessment and measurement, (4) augmented visual assessment modalities, (5) PI prevention, (6) PI healing, (7) social determinants of health, and (8) gaps in clinician education. This article highlights the gap in our clinical knowledge regarding PIs in patients with dark skin tones. Racial disparities with regard to PI development and healing are especially clear among patients with dark skin tones. Skin tone color assessment must be standardized and quantifiable in clinical education, practice, and research. This work is urgently needed, and support from private and governmental agencies is essential.

Fascinacija muzičkim prostor-vremenom - klavirska dela Branke Popović (Solitude - Self reflections, Within a dense molecular cloud i Od Rejlija do Mija)

The piano works by Branka Popović (1977) appear as a unique and independent group in her oeuvre, as well as in the context of Serbian music of the current century. The question of the relation between the composer and musical space-time, which can be experienced directly, during the act of listening and indirectly, during the analysis of the piece of music, emerges as an essential point for understanding and interpreting Branka Popović's piano works. Under the assumption that this relationship is in the realm of unconsciousness and intuition, my goal in this article is to discover the hidden places that show how the musical space-time manifests, in this case, in the piano writing of Branka Popović. To achieve that, I will use an interpretative musical analysis, in which I will point out the specific compositional technique that Branka Popović employs and by which she 'regulates' different musical dimensions and, more precisely, musical components and their elements (specifically rhythm, timbre or tone color, harmony, motivic/thematic structuring, and dynamics) in the act of shaping the musical space-time.

Introduction

Introduction

Tone colour in music and bifurcation control

An intrinsic characteristic of musical sounds is the qualitative evolution of their timbre (tone colour). In this paper, we interpret each qualitative change by a bifurcation. We employ spectral and temporal envelopes as two of the most salient features of tone colour. Fourier analysis of a note generates its n-leading harmonic partials and an amplitude spectral n-vectorA for n≥2. We introduce harmonic manifolds associated with amplitude spectral vectors. This is to accommodate the n-leading harmonic partials of the note. Then, harmonic partials are modelled by solutions of a radial coupling of n-tuple parametric Hopf oscillators. We use one bifurcation parameter and interpolate the qualitative evolution of temporal envelope over a set of consecutive time-intervals via bifurcation analysis and control. Bifurcation scenarios involve harmonic asymptotic sets as time-asymptotic limits of harmonic partials. Each harmonic asymptotic set is homeomorphic to a k-tori, where k≤n is the number of contributing harmonic partials. Bifurcation classification of tone colour is then drawn up by encoding the spectral geometry of acoustic signals into harmonic manifolds and harmonic asymptotic sets. For instance, we treat audio C♯4 files obtained from piano and violin. Different bifurcation scenarios distinguish temporal amplitude bifurcations of these sounds. A complete hysteresis cycle is observed within the temporal amplitude bifurcations of C♯4 note played by violin.

Automatic facial skin feature detection for everyone

Automatic assessment and understanding of facial skin condition have several applications, including the early detection of underlying health problems, lifestyle and dietary treatment, skin-care product recommendation, etc. S Selfies in the wild serve as an excellent data resource to democratize skin quality assessment, but suffer from several data collection challenges. The key to guaranteeing an accurate assessment is accurate detection of different skin features. We present an automatic facial skin feature detection method that works across a variety of skin tones and age groups for selfies in the wild. To be specific, we annotate the locations of acne, pigmentation, and wrinkle for selfie images with different skin tone colors, severity levels, and lighting conditions. The annotation is conducted in a two-phase scheme with the help of a dermatologist to train volunteers for annotation. We employ Unet++ as the network architecture for feature detection. This work shows that the two-phase annotation scheme can robustly detect the accurate locations of acne, pigmentation, and wrinkle for selfie images with different ethnicities, skin tone colors, severity levels, age groups, and lighting conditions.

Confrontational Readings: Literary Neo-Avant-Gardes in Dutch and German ed. by Inge Arteel, Lars Bernaert, and Olivier Couder

Reviewed by: Confrontational Readings: Literary Neo-Avant-Gardes in Dutch and German ed. by Inge Arteel, Lars Bernaert, and Olivier Couder Pamela S. Saur Inge Arteel, Lars Bernaert, and Olivier Couder, eds., Confrontational Readings: Literary Neo-Avant-Gardes in Dutch and German. Legenda: Germanic Literatures 21. London: Modern Research Association, 2020. 234 pp. Confrontational Readings: Literary Neo-Avant-Gardes in Dutch and German is the twenty-first volume of a series of scholarly books, "Germanic Literatures." Chaired by Ritchie Robertson at the University of Oxford, the Editorial Committee of the series currently includes professors from Oxford, London, Dublin, Glasgow, and Toronto. The mission of the series reads as follows: "Germanic Literatures includes monographs and essay collections on literature originally written not only in German, but also in Dutch and the Scandinavian languages. Within the German-speaking area, it seeks also to publish studies of other national literatures such as those of Austria and Switzerland." This volume focuses largely on developments from 1950 to 1970 but discusses other years in tracing writers' entire careers. According to the authors of one of the chapters, Thomas Eder and Sven Vitse, the term "neo-avant-garde" distinguishes the era from the classical (Paris from 1860 onwards) and the historical (1900–1920) (130). In this comparative—or "confrontational"—book each chapter pairs a Dutch-language neo-avant-garde writer with a German-language representative of the genre. Segments for each author discussed are devoted to Background, Poetology, Reception, and Literary Practice, with a Conclusion on both. Chapters that pair a Dutch writer (named here first) with one from Germany discuss and compare Mark Insingel and Helmut Heißenbüttel; Armando (the pseudonym of Herman Dirk van Dodeweerd) and Alexander Kluge; and Patrick Conrad and Rolf Dieter Brinkmann. Austrian writers, whose chapters are given a closer look below, are Gerhard Rühm, paired with Paul de Vree; Friederike Mayröcker, whose Dutch counterpart is Lucienne Stassaert; and Oswald Wiener, paired with Jacq Firmin Vogelaar. The book contains several illustrations, some of which are concrete poems with visual elements such as words and letters arranged as meaningful designs. The introduction presents bibliographies, previews of each of the book's chapters, and insightful statements on aspects of the "neo-avant-garde" and its many aspects and forms. Defining characteristics mentioned include "scepticism toward language, political authority, bourgeois ideology, and toward the authority of traditional literary genres" (1) and exploitation of "the visual and material nature of poetry" (3). Neo-avant-garde and other experimental literature [End Page 134] of the 1960s also reflected emancipatory and anti-establishment social movements of the time. The chapter devoted to Belgian Paul de Vree and Gerhard Rühm demonstrates that neo-avant-garde literature is connected to and can fruitfully be merged with other artistic genres (de Vree was a painter, Rühm a musician and composer). Both of these multimedia writers created "concrete" or "visual" poetry, but neither "ever limited themselves to a mechanical application of those programmatic principles" (13). De Vree's experimental poetry incorporated quotations, words in regional dialects, references to technology and youth culture, and visual material such as photographs, newspaper clippings, and advertisements. Rühm made many associations between language and music, creating acoustic poetry (for listening), non-conceptual phonetic poetry, and "tone poems" with specified qualities such as pitch, volume, duration of sounds, speed, and tone color (harsh, soft, falsetto, etc.) (41). The chapter "Hybrid Hydra-Heads" contains the book's only discussions of female writers, Austrian Friederike Mayröcker and Dutch writer Lucienne Stassaert. Both created experimental work marked by ambiguity and volatility, although their viewpoints diverged. Mayröcker, who rejected trends and group membership, did not embrace Staessart's explicit left ist viewpoint or her bohemian and anti-establishment sentiments. Mayröcker created "hybrid prose poems," highly original theatrical sketches and operatic pieces that reveal the "unnatural, hierarchical and gendered conditions" (109) of opera training and production. She is also known for "didactic" pieces offering largely aesthetic commentary in formats of "text books, conversation lexicons, instructional manuals, etc." (111). According to the chapter's conclusion: "both authors deliberately wanted to break with conventions of narrative writing and promoted a poetics that could not be...

Guitar Sonoristics in Sette studi by Maurizio Pisati

The tone colour capabilities of the classical guitar have fascinated composers of earlier periods (F. Sor, Method for the Spanish Guitar, Cocks & Co, London 1832, p. 16) as well as those of the 20th and 21st centuries. The growing interest in timbre in the past century is also apparent in solo guitar music. An example of this is a collection of studies for guitar solo entitled Sette studi by Maurizio Pisati. This work illustrates how the sonoristic approach towards the instrument allows to achieve new expressive and artistic qualities. This article aims to define the concept of “sonor-istics”, indicate the role of the cycle among the composer’s works, and present the differences between the interpretation of the described studies and other works of the same type. Further-more, the author shall describe the technical and artistic challenges the performer is faced with at each stage of working on the piece: familiarizing oneself with a complex music score and abundant performance markings; understanding and performing the composer's intentions; sharpening the expression to help draw the listener into an original soundscape. The article will also pre-sent several examples of other works, the learning and interpretation of which can be facilitated by the experience gained while working on Sette studi.

Tiny, Tiny Copyright: An Examination of the Copyrightability of Sampler Instruments and Its Impact on Derivative Works

Tiny, Tiny Copyright: An Examination of the Copyrightability of Sampler Instruments and Its Impact on Derivative Works

Unveiling Musical Production: Strauss, Mahler and Commodity Fetishism in the Late Nineteenth Century

This article locates social relationships within late-nineteenth-century German orchestral music by examining orchestration practices and aesthetics. Wagner's innovations in tone colour, Liszt's use of programmes, and Hanslick's formalism all took attention away from orchestra performers and forged a more direct relationship between audience and composer. This article argues that commercial exchange of serious music displaced social relationships between composer, performer and audience into aesthetic dictums. In particular, the widely agreed upon subordination of orchestration and colour to compositional ‘content’ was a manifestation of the social subordination of performers to composers and resulted in the decreased visibility of performers to consumers.In ultimately breaking from both New German and formalist conventions, Strauss's Don Juan and Mahler's First Symphony brought unwanted attention to orchestration and a renewed focus on performance and performers. In contrast to Wagner's use of doublings, which created timbres without clear instrumental provenance, the orchestration choices of Strauss and Mahler emphasize distinctions between instruments and themes, further highlighting the virtuosic demands they place on performers. Strauss and Mahler made performers into co-producers of their music and raised orchestral colour to the status of content. By employing Marx's concept of commodity fetishism, which Adorno himself largely obscures, this article goes beyond Adorno's and Dahlhaus's analysis of the ‘emancipation of colour’ to show how concert consumption objectified social relations and hierarchies as issues of mere aesthetic form, while compositions themselves became imbued with life-like subjectivity.

Grains of Sound: Visual and Sonic Textures inSand or Peter and the Wolf

There is a tendency in animation studies to discuss sound in the language of images, stressing sound’s alignment with visual cues (as in mickey mousing and leitmotifs). But sounds do not only mimic images: they add textures and emotions that change what we see. This article explores grain (texture) and timbre (tone color produced by specific instruments and techniques) as qualities shared by visual and sonic material. To do so, the author closely reads Sand or Peter and the Wolf (1969), where Caroline Leaf’s haptic sand animation is matched by Michael Riesman’s electroacoustic score. Leaf painstakingly molds animals by scraping away individual sand grains, and Riesman sculpts sonic textures with tiny adjustments to knobs and touch-sensitive pads on the Buchla modular synthesizer. Their collective improvisation with sands and sounds reveals new ways to think about artists’ material practices and the friction and interplay between images and sounds. They encourage spectators to perceive the animals as not merely plasmatic, or Sergei Eisenstein’s notion of contour-bending character animation. Instead, Leaf and Riesman deploy what the author calls ‘granular modulation’, expressing sand and animals with sensuous materiality. In Leaf’s and Riesman’s improvisations, grainy textures are the seeds of understanding how sound and vision become symbiotic – and encounter friction – in animation.

Batik Patterns in the South of Thailand

“Batik” or “Pateh” is an important cloth in the south of Thailand. Its unique features such as pattern, colour, and production process make Batik different from other cloth in the other part of Thailand. Traditionally, Batik was originated in Indonesia and India where people used paraffin wax as a dye-resist paint. It was also reported that other Asian countries such as Japan and India made Batik fabric in their country. In Thailand, local people in the south made their clothes from Batik fabric and wore them in daily life or during special social events. They designed pattern and applied wax-resist dyeing by hand or blocks on the fabric to create colourful and creative designs. Batik is a cultural identity of the south of Thailand. The study found that the process of creating pattern and colour for Batik was used a long time ago. In the past, artisans primarily employed wooden molds or blocks and wax to create patterns. Through the accumulation of knowledge and experience over time, the development of metal blocks makes Batik’s patterns more delicate and vivid. In addition, the research aimed to study about Batik pattern in the southern provinces of Thailand.It can be said that Batik is a uniquely beautiful fabric that should be collected as a national heritage and for the future study of this fabric. The study of Batik pattern in the south revealed that former patterns simply used basic geometric shapes such as lines, squares, and circles. Then, these patterns have been developed by integrating rhythms and spaces to create more distinctive and delicate designs. Moreover, the patterns of Batik in the south were inspired by nature, religious beliefs, and ways of life. Warm tone colours such as red, brown, yellow and cool tone colours such as blue and green were employed. It was also found that the materials used in the past were primarily from plants and nature. Nowadays, artificial colors are also used because they allow vivid and durable effects.

Skin Color and Skin Tone Diversity in Human Sexuality Textbook Anatomical Diagrams

Little is known about skin tone and skin color representation within sexuality education materials. A content analysis was performed to assess skin tone and skin color diversity among anatomical images (n = 182) within eight contemporary, college-level human sexuality textbooks. Of these images, 1.1% represented dark skin tones while 83.5% represented light skin tones. Skin colors commonly associated with Black and Brown people were underrepresented in comparison to colors generally associated with white or white-presenting people such as conch, which comprised 42.3% (n = 77) of anatomical images. We encourage sex therapists to use racially conscious and inclusive imagery and educational materials when serving clients.

Spectral content of the attack portion of the tone produced by a soprano recorder

We have used Navier-Stokes-based modeling to calculate tones produced by a full-size soprano recorder. Of all the wind instruments, the player of a recorder has relatively little impact on the tone that is produced. However, one thing that the player does control is the way that the blowing pressure is increased from zero at the start of a tone to a final value that is maintained until the end of the tone. We show how the ramp-up time for the blowing pressure has a profound effect on the spectral content of the attack portion of the tone. Using a correlation analysis, we explore this spectral content and consider how it can, in certain blowing regimes, be an important and audible contributor to the tone color produced by a recorder. [Work supported by NSF grant PHY1513273.]

Batik Patterns in the South of Thailand

“Batik” or “Pateh” is an important cloth in the south of Thailand. Its unique features such as pattern, colour, and production process make Batik different from other cloth in the other part of Thailand. Traditionally, Batik was originated in Indonesia and India where people used paraffin wax as a dye-resist paint. It was also reported that other Asian countries such as Japan and India made Batik fabric in their country. In Thailand, local people in the south made their clothes from Batik fabric and wore them in daily life or during special social events. They designed pattern and applied wax-resist dyeing by hand or blocks on the fabric to create colourful and creative designs. Batik is a cultural identity of the south of Thailand. The study found that the process of creating pattern and colour for Batik was used a long time ago. In the past, artisans primarily employed wooden moulds for blocks and wax to create patterns. Through the accumulation of knowledge and experience over time,the development of metal blocks makes Batik’s patterns more delicate and vivid. In addition, the research aimed to study about Batik pattern in the southern provinces of Thailand. It can be said that Batik is a uniquely beautiful fabric that should be collected as a national heritage and for the future study of this fabric. The study of Batik patterns in the south revealed that former patterns simply used basic geometric shapes such as lines, squares, and circles. Then, these patterns have been developed by integrating rhythms and spaces to create more distinctive and delicate designs. Moreover, the patterns of Batik in the south were inspired by nature, religious beliefs, and ways of life. Warm tone colours such as red, brown, yellow and cool tone colours such as blue and green were employed. It was also found that the materials used in the past were primarily from plants and nature. Nowadays, artificial colours are also used because they allow vivid and durable effects.

COMPUTATIONAL CLASSIFICATION OF TIMBRE FOR RANKING OF TONE COLOR

The article describes a new computational approach for timbre classification for ranking tone color based on weighted feature extraction enabling a meaningful quantitative granular timbral description. Using a quantitative approach for algorithm development paired with a normative survey and data-driven testing, the authors find the proposed method to be a highly viable approach for computational timbre classification. As an example, we illustrate the proposed method against results from a conducted perceptual experiment. Our approach allows for improved accuracy for timbral description using numerical representations. Our research results supplement and improve the existing practice of using semantic descriptors for timbral description and can be used as an assistive tool in digital music production practices. This study aims to introduce a computational approach for timbre classification, enabling granularity in the timbral description. Our study suggests the possibility of timbral classification by numerical representation as a novel method for a more accurate mode of description for timbre.