Tone Color Research Articles

Mobile snapshot hyperspectral imaging device for skin evaluation using diffractive optical elements.

ObjectiveA mobile handheld snapshot hyperspectral imaging device was developed and tested for in vivo skin evaluation using a new spectral imaging technology.MethodsThe device is equipped with four different LED light sources (VIS, 810 nm, 850 nm, and 940 nm) for illumination. Based on a diffractive optical element (DOE) combined with a CMOS sensor chip, a snapshot hyperspectral imager is achieved for the application on human skin. The diffractive optical element (DOE) consists of a two‐dimensional array of identically repeated diffractive microstructures. One hyperspectral image for all wavelength regions is taken within a few seconds. Complex recalculation of the VIS spectral distribution and image information from the received DOE image requires several minutes, depending on computing performance. A risk assessment on the irradiation sources shows no risk of harm due to the LED radiation.ResultsSkin tone color patches experiments reproducibly deliver images and spectra of different skin tones. First in vivo use of the device identified pigmentation changes within the field of view.ConclusionWe present a working mobile snapshot hyperspectral imaging tool based on diffractive optical elements. This device or future developments thereof can be used for broad skin evaluation in vivo.

Temperature-dependent damping of the tonewood spruce

The material wood is sustainable, resource- and energy-efficient and recyclable. Its low density which ranges between 0.5 and 0.8g/cm3 makes from it an important material in the transport sector, in which weight reduction is a key factor against the background of energy savings and the associated reduction in CO2 emissions. Wood can be regarded as a low-damping material, due to its molecular structure and its relatively high modulus of elasticity. This characteristic is well known to musical instrument makers. For musical instruments with a resonance body (e.g. piano, harpsichord, viola, cello, double bass, cymbal, harp, zither and certain organ pipes) spruce is the first choice of wood. Since the parameters time, temperature and moisture content influence the mechanical properties of wood, it is considered to be viscoelastic. Especially, the moisture content of the wood can significantly alter its sound quality and, thus, its damping behaviour. In order to study that moisture influence, the individual drying behaviour of nearly 130 years old spruce and new spruce wood was investigated by damping measurements as a function of the temperature. The material damping of new spruce wood was found to be generally higher than that of old spruce wood. Furthermore, former results showed that the damping of new wood is less sensitive to moisture content changes, which corresponds to a stable tone colour. Activation energies for damping mechanisms were calculated based on data from the Arrhenius plot of both woods. These results suggest that further or stronger damping mechanisms are active in new spruce wood.

Audio Features for Music Emotion Recognition: A Survey

The design of meaningful audio features is a key need to advance the state-of-the-art in music emotion recognition (MER). This article presents a survey on the existing emotionally-relevant computational audio features, supported by the music psychology literature on the relations between eight musical dimensions (melody, harmony, rhythm, dynamics, tone color, expressivity, texture and form) and specific emotions. Based on this review, current gaps and needs are identified and strategies for future research on feature engineering for MER are proposed, namely ideas for computational audio features that capture elements of musical form, texture and expressivity that should be further researched. Previous MER surveys offered broad reviews, covering topics such as emotion paradigms, approaches for the collection of ground-truth data, types of MER problems and overviewing different MER systems. On the contrary, our approach is to offer a deep and specific review on one key MER problem: the design of emotionally-relevant audio features.

IMPLEMENTASI TEKNIK DASAR ISTRUMENT TROMPET PADA MAHASISWA PRODI MUSIK, FSP, ISI YOGYAKARTA

The trumpet instrument is one of the instruments that was studied in depth at the Music Study Program, Faculty of Performing Arts, Yogyakarta Indonesian Art Institute. The trumpet instrument course is divided into six classes, namely intermediate instruments I, II, III and advanced instruments I, II, III. Each of these practical lecture meetings has maximum stages and targets to be able to play the trumpet instrument correctly. Several stages begin with understanding the basic techniques correctly and must be mastered by students taking trumpet instrument classes. The formulation of the problem that will be discussed is what problems are experienced by students if they do not apply basic techniques correctly and what the results are if the implementation of the basic techniques of the trumpet instrument is carried out correctly by music study program students. The methodology used is a qualitative method with a case study approach, a case study is a research strategy in which researchers carefully investigate a program, event, activity, process or group of individuals with data collection techniques in the form of observation, literature study, interviews, documentation, then analyzed. the result. In the classroom process of trumpet practice lectures, mastering the correct basic techniques is the first key to maximizing trumpet play. From a technical point of view, it will produce a good tone color, so that when you continue to the next stages, such as long tones, scales, arpegio, etude or song material that is suitable for each class level, you can blow casually more easily and can participate in practical class materials to the fullest. So in this study describes the process of implementing the correct basic techniques in preparing the quality of a professional trumpet player with maximum sound of trumpet instruments.

Usability of Individualized Head-Related Transfer Functions in Virtual Reality: Empirical Study With Perceptual Attributes in Sagittal Plane Sound Localization.

BackgroundIn order to present virtual sound sources via headphones spatially, head-related transfer functions (HRTFs) can be applied to audio signals. In this so-called binaural virtual acoustics, the spatial perception may be degraded if the HRTFs deviate from the true HRTFs of the listener.ObjectiveIn this study, participants wearing virtual reality (VR) headsets performed a listening test on the 3D audio perception of virtual audiovisual scenes, thus enabling us to investigate the necessity and influence of the individualization of HRTFs. Two hypotheses were investigated: first, general HRTFs lead to limitations of 3D audio perception in VR and second, the localization model for stationary localization errors is transferable to nonindividualized HRTFs in more complex environments such as VR.MethodsFor the evaluation, 39 subjects rated individualized and nonindividualized HRTFs in an audiovisual virtual scene on the basis of 5 perceptual qualities: localizability, front-back position, externalization, tone color, and realism. The VR listening experiment consisted of 2 tests: in the first test, subjects evaluated their own and the general HRTF from the Massachusetts Institute of Technology Knowles Electronics Manikin for Acoustic Research database and in the second test, their own and 2 other nonindividualized HRTFs from the Acoustics Research Institute HRTF database. For the experiment, 2 subject-specific, nonindividualized HRTFs with a minimal and maximal localization error deviation were selected according to the localization model in sagittal planes.ResultsWith the Wilcoxon signed-rank test for the first test, analysis of variance for the second test, and a sample size of 78, the results were significant in all perceptual qualities, except for the front-back position between own and minimal deviant nonindividualized HRTF (P=.06).ConclusionsBoth hypotheses have been accepted. Sounds filtered by individualized HRTFs are considered easier to localize, easier to externalize, more natural in timbre, and thus more realistic compared to sounds filtered by nonindividualized HRTFs.

Controller of Register Combinations and Tone Keys for Pipe Organ

A pipe organ is a musical instrument that produces sound by driving pressurized air through the organ pipes selected from a keyboard called a manual. It is constructed from settled groups of pipes. Each group is composed of similar pipes with the same tone colour and loudness but different pitch. Such a group is called a rank. We have developed two electronic devices for upgrading the organ. The first device named Controller of Register Combinations is intended for storing rank combinations and pipe organ controlling. The second device named Controller of Tone Keys for pipe organ allows users to play the organ simultaneously on two separate keyboards. In this paper, we represent the purpose, scheme, and our realization of both devices. The correct functioning of the devices was proved by integrating them into a church organ. We have already equipped several church organs with our electronics, and they all work flawlessly. Feedback from the organists is excellent, as both Controller of Register Combination and Controller of Tone Keys make it easier for them to play. The success so far and the positive responses of the organists have encouraged us already to plan further improvements and upgrades of the organ electronics.

Editorial: Crayons and People are not for Consumption: A Social Work Discourse on Crayola’s New Box

In May 2020, the Crayola Crayon Company released a new version of their crayon box that specifically focuses on skin tone. This was met with mass media attention in part due to marketing and business partnerships which touted the concept of skin tone crayons as new, although their last release of a skin tone box was in 1994. Not only was this crayon box made to promote creativity for children, it was specifically designed to foster inclusivity. The crayons designed to promote acceptance were made for a large audience of children at school and home, although anti-racism education is infrequently taught in the classroom. Crayola called the crayon box “Colors of the World”, and it was printed in 3 languages. The skin hues that were created displayed new names like almond and rose. From an anti-oppressive lens set in America, both the name on the box and on the crayons caused questions for concern. While the idea of having many skin tone colors to choose from was a wonderful concept, the messaging called for scrutiny. Before giving the entire “Colors of the World” box to children or sharing about its release on social media, it is important to look more extensively into the subtle and maybe not so understated indications of White Nationalism, Colorism, and Colonization.

ANALYSIS OF MUSIC FORM AND CELLO PLAYING TECHNIQUES SONATINE FOR CELLO & PIANO BY BUDHI NGURAH

This resesarch aims to describe the musical form, and cello techniques that include fingering and bowing techniques in the work of Budhi Ngurah. The research process is using descriptive analytic methods. Data in this research were obtained by observation, interviews, and documentation. And analyzed by reduction, presentation and inference. The results indicate that the Sonatine For Cello and Piano by Budhi Ngurah consists of 3 movements. Movement I has a sonata forms with moderate tempo consisting of exposition, development, and recapitulation. Movement II has a three parts music form, ABA. Movement III has a rondo music form. The cello playing technique in this repertoar is important for performance which includes tone color, phrase of the music, and interpretation.

Renesaissance wind instruments with a double reed, part 2

The present article is the second part of the cycle aimed at collecting and arranging information about the Renaissance wind instruments with a double reed. The author discusses their history, structure, use, ranges, styles and secrets of their playing technique. An addition to the text are the illustrations presenting construction details and circumstances in which these instruments were used. In the previous issue of “Notes Muzyczny” Agnieszka Szwajgier presented instruments with an “open reed”, such as the shawm, rackett, dulcian or bassanello. In this part she presents instruments whose reed is protected with a so-called “cap”: crumhorn, cornamuse, kortholt or Rauschpfeife. The air is blown through a small hole in the arch of the instrument and a wooden capsule protecting the reed against damage allows it to freely vibrate. These instruments had a small tone range (within a ninth or a tenth), and the lack of contact with the reed made it impossible for performers to shape tone colour or influence the dynamics. That is why with time the instruments were no longer used and became replaced by instruments with a wider range and much greater capacities, such as baroque oboe or chalumeau. The author also touches on the issue of the compromise between the preserved proportions and size of instru- ments and the fact that modern-time performers count on comfort and convenience in playing, which entails a number of facilitations in the instruments’ construction, using plastic reeds, playing in equal temperament or having extra levers which extend the range of an instrument by a second or a third.

Development of criteria for determining the color saturation of gemstones

The urgency of the problem is conditioned by spectral methods development providing objectivity and accuracy of gemstones color grading. The purpose of the work: working-out the criteria which allows to determine gemstones saturation based on physicsmathematics patterns and spectral data. Methodology of the research: studying of colored gemstones transmittance spectra, discovery of the regularities and development of physics-mathematics methods for the color saturation grading. Results. The absolute and relative criteria for gemstone saturation grading was suggested as ratio of difference between light transmittance to squared difference between wavelengths at the area of basic chromophore element. Experimental data and allochromatic gemstones saturation calculation examples were presented considering spectral sensitivity of human eye. Summary. Gemstones absorption and transmittance spectra research allows to define tone and saturation gemstone color features. To improve tone and saturation definition accuracy, it is necessary to select standard hue of gemstones for wavelengths scale graduating along with spectral sensitivity of human eye.

Renesaissance wind instruments with a double reed, part 1

The present article is aimed at collecting and arranging information about the Renaissance wind instruments with a double reed, which never before or after that period in the history of music presented as many tone colours. The author pays attention to the great importance of the sound of a wind ensemble as without these instruments – as Lorenz Walker claimed – neither a prince nor any wealthy city would have been able to fully show their significance. The first part of the article in this issue of the magazine presents the shawm, rackett, dulcian and bassanello – the instruments in which the reed was fully outside or partially enclosed by a pirouette – a small wooden part on which a musician could rest their lips and prevent fatigue. The author discusses the history and construction of these instruments, their use, scales, varieties and ways of playing. An addition to the text are the illustrations presenting construction details and circumstances in which these instruments were used. New concepts and ideas of instrument makers from the turn of the 16th century, such as the extended range of the bassanello, the piruet, or the “twist” of the bore of the over 2-metre-long bass shawm and thus creating a shorter instrument yet still remaining in the same register – the dulcian, are still admired by modern restorers of historical instruments. The article is meant both for people playing early music and modern performers interested in the topics connected with historical performance using old wind instruments.

“Carrying the organ” – the thing on the portative, Part 1

The present article is aimed at outlining the history and form of instruments known as portatives. Its continuation will be a paper devoted to discussing technical issues connected with designing and constructing Opus 1 Portative built by the author. The portative is an instrument belonging to the family of keyboard aerophones. It is the smallest representative of the pipe organ family – both in terms of its sound range and size. As there are not many historical instruments preserved to this day, we draw information on their form and use from how they are depicted in art. It is a testament of the evolution of portatives and their popularity – from the first mentions about them from the beginning of the 12th century to the16th century when their significance lessened. This drop in popularity of these instruments was probably connected with their technical limitations noticed at that time, the fact that they were unable to meet the requirements of the evolving music and they became ousted by other portable instruments. The construction of the portative is similar to the construction of the full-size pipe organ. We can notice the occurrence of similar components, only in a simplified and smaller form. An important discrepancy is a different treatment of air system – the portative usually has only one wedge bellow operated by the player, which allows to very precisely control the air pressure, and that is connected with the dynamics and tone colour of sound produced by the pipes. This results in playing music characteristic of portatives, i.e., similar to vocal music having greater phrasing capacities as compared to playing the full-size pipe organ. Despite the decline of interest in portatives, which could be noticed in the 16th century, nowadays portatives have been regaining popularity with musicians and organ builders. They all want to build instruments with a high level of historical accuracy as well as create portatives with modern features. Examples of the first trend can be found in Marcus Stahl’s workshop, whereas the instrument built by me follows the second trend. A great model of a portative combining both ideas is one constructed by Bartosz Żłóbiński.

Berio violin duets - an introduction

The 34 Duetti of Luciano Berio were inspired by the 44 Duos of Bartók. Just as Bartók intended to introduce young musicians to his style, so did Berio attempt the same. Berio's focus however, was on finding a more modern set of techniques and colors that the violin could create, and he used these pieces for children to illustrate his own ideas of theater and dramaturgy in music. Because his ideas of theater consist of putting two completely different ideas together to make a third reality, the 1st and 2nd violin parts in his duets often sound as if they are in totally different worlds – with different dynamics, tone colors, and sometimes even tempi. This results in a novel approach to chamber music in which each partner is equal, but also very independent of the other. A beginning student can therefore contribute just as much musical value to a piece (indeed, sometimes much more) than a seasoned professional. Since Berio doesn't specify the level or age that the student needs to be in order to play these pieces, this allows for a lot of freedom in the choice of performers. The same piece can sound totally different if performed by two professionals, two young students, or one young student and one professional. Additionally, each duet is dedicated to a friend, musician, or person that Berio admired, and can be likened to a musical portrait. Berio said that the pieces were inspired by the “fragile thread of daily occasions” and therefore the pieces are not true portraits, but sometimes illustrations of an event which happened, a shared history between Berio and the dedicatee, or as in the case of Stravinsky, Bartók, or Boulez, an homage to a piece composed by that composer. Finally, the Duetti serve not only to introduce young musicians to Berio's style, but the full performance of the 34 duets is also a great introduction of 20th century musical concepts to audiences. Since each duet is very short, there is much variety in a performance of the works, and since each duet focuses on one or two 20th century techniques while still staying in a very familiar tonal world, audiences can be challenged while still maintaining a handhold on familiar territory.

Health Informatics Study of Smart Human-Computer Interaction Devices for Elderly Patients

Purpose: To analyze the elderly patients' demand in the field of language emotional attributes which is different from the particularity of the general population, and then used it to design the Smart Voice Assistant for elderly patients. Methods: The types of character are called the experts, assistants, family members and pets according to two evaluation scales which are 'friendly–unfriendly' and 'dominant–submissive.' Professional Mandarin Chinese broadcasters were invited to record their voice of a neutral sentence respectively. With differences in pitch, volume, tone color and sound quality, varied types of characters were simulated and eight pieces of voice record were generated. Twenty old people were selected to participate in the measurement test to grade these eight pieces of voice based on their acceptability of these voices. Results: Experiment shows that the male test group's preference value to the male voice is 4.4250, a little higher than their preference value to the female voice which is 3.9000. But the Independent Samples T Test shows that the significance of F Test is 0.345 > 0.05, while that of corresponding T test is 0.051, a little higher than 0.05. Hence it can be assumed that the male test group has almost no difference in the preference for voice gender. And the average of the female test group's preference value is 3.9500 for the male voice and 4.9750 for the female voice. Therefore, the female test group prefer female voice. In Independent Samples T Test, the significance of F Test is 0.909 > 0.05, while that of T Test is 0.000 < 0.05. Hence the female test group's voice gender preference has statistically significance difference. In terms of the individualization of voice type with different voice characters, the average grades from male test group to expert, assistant, family and pet type is 4.75, 4.85, 3.9, 3.15, while male test group is 3.65, 4.40, 5.40, 4.41. Conclusion: Based on the experimental results and verification, voice interaction among the elderly patients in the home environment, family-female type is the best choice.

Realization of the principles of sonor modality in “The Perilous Night” by J. Cage

Realization of the principles of sonor modality in “The Perilous Night” by J. Cage

Speech recognition in English cultural promotion via recurrent neural network

With the rapid development of artificial intelligence, English is the most widely used language in the world, and English speech recognition has become one of the hot spots in the field of artificial intelligence. In order to promote English culture accurately, this paper uses recurrent neural network and convolutional neural network to recognize the tone and tone color of English comprehensively and studies the optimal number of layers and neuron nodes when the recognition accuracy is highest. When the number of layers is 7 and the number of nodes is 256, the recognition accuracy is the highest, reaching 98%. It provides convenience for English teaching and further promotes the spread of English culture.

An Empiric Model of Face Detection based on RGB Skin Tone Color

Modern smartphone has been society’s lifestyle where every smartphone has a high quality digital camera with all the digital image processing feature. One of those features are face detection. Face detection is the most basic process of any face processing operations. Most digital images are stored in the form of RGB (Red, Green, Blue) data. In this research, detection of human face features is done by using different RGB values in digital images. After applying skin tone color segmentation on digital images, detection area will be optimized using human head properties by eliminating non-human face skin tone area. The experiment shows that the detection is mostly accurate for images but there is issue on low light face skin color captured by digital cameras. From the experiment of our model using 10 sample face images, face can be detected on 9 of them, while in 1 image, the face cannot be detected at all because of low light condition.

Development of musical solid‐state Tesla coil based on pulse repetition frequency method

AbstractA Tesla coil is a resonant transformer circuit that generates very high voltages that are made to arc through the air. Recently, a solid‐state Tesla coil was produced using semiconductor switching devices. In addition, the solid‐state Tesla coil makes sound by air discharge, and the sound is used in musical devices. In the past, pulse width modulation (PWM) method was used to produce musical solid‐state Tesla coils. However, it is difficult to use the high‐pitch sound and the tone color. This paper investigates the musical solid‐state Tesla coil by using pulse repetition frequency (PRF) method. The proposed musical solid‐state Tesla coil using PRF method provides good sound.

A round robin on room acoustical simulation and auralization.

A round robin was conducted to evaluate the state of the art of room acoustic modeling software both in the physical and perceptual realms. The test was based on six acoustic scenes highlighting specific acoustic phenomena and for three complex, "real-world" spatial environments. The results demonstrate that most present simulation algorithms generate obvious model errors once the assumptions of geometrical acoustics are no longer met. As a consequence, they are neither able to provide a reliable pattern of early reflections nor do they provide a reliable prediction of room acoustic parameters outside a medium frequency range. In the perceptual domain, the algorithms under test could generate mostly plausible but not authentic auralizations, i.e., the difference between simulated and measured impulse responses of the same scene was always clearly audible. Most relevant for this perceptual difference are deviations in tone color and source position between measurement and simulation, which to a large extent can be traced back to the simplified use of random incidence absorption and scattering coefficients and shortcomings in the simulation of early reflections due to the missing or insufficient modeling of diffraction.

Effects of PSE meat and salt concentration on the technological and sensory characteristics of restructured cooked hams

The effects of the use of normal and pale, soft, and exudative (PSE) meat on the technological and sensorial quality of restructured cooked hams elaborated with different salt contents (0.8, 1.2, 1.6, 2.0, and 2.4%) were investigated. A low salt content implied (P < .05) high cooking loss (6.27 vs 3.25%), expressive moisture and C* values and low hardness. Products elaborated with PSE meat had (P < .05) lower cohesiveness, energy to fracture and hue tone colour and higher springiness than did samples elaborated with normal meat. Salty taste perception was slightly higher for the PSE meat-based products, which were also preferred by the assessors when salt contents lower than 1.6% were used. It was concluded that when PSE meat was used, the addition of 1.2% salt was sufficient to maintain the technological and sensory characteristics of the restructured cooked hams.