Timbre Research Articles

Measuring, simulating and optimizing current LED phosphor systems to enhance the visual quality of lighting

Lighting engineering aspects of light emitting diodes (LEDs) with down converting phosphors (phosphor converted LEDs or PC-LEDs) were investigated by building sample PC-LEDs, measuring their spectral emission physically and simulating them with a software. This article describes the influence of the phosphors’ chemical, physical and technological properties on some well-established and widely used measures of visual lighting quality including luminous efficacy and the color rendering index. The dependence of these measures on YAG and LuAG phosphor particle size and activator concentration in the PC-LEDs is dealt with. Light sources of superior lighting quality can be obtained by mixing several phosphors. Hence, the mixture of a green and red phosphor system was also studied for a set of real PC-LED light sources and their simulations. Two green and two red phosphors are considered in this study. To predict and optimize the lighting quality of PC-LEDs with a reasonable accuracy, a usable input shall be provided for the simulation software assuming the understanding of the emission mechanisms. To validate our simulation results, the PC-LEDs’ measured spectral emission characteristics were compared with their simulated counterparts. The measurement and simulation of spectral power distributions contribute to the understanding of new phosphor mixtures. The present simulation method turned out to be usable to optimize the target parameters of the PC-LED (luminous efficacy, white tone quality and color quality of the illuminated colored objects).

More Than Two Koreas: Cultural Intersection and Chinese Korean Musicians in Contemporary South Korean Music Scenes

On 23 June 2011, the Seongnam Municipal Troupe of Korean Traditional Performing Arts (hereafter, Seongnam Municipal Troupe) presented its twenty-eighth concert, entitled Hana toenŭn kyŭre ŭi ŭmak (Unifying Korean national music). The South Korean government has designated June as a month of commemoration for the nation's patriots and veterans. As many government troupes in South Korea would do in June, the Seongnam Municipal Troupe dedicated its regular concert series to the remembrance of national heroes, cherishing their patriotism and sacrifice. As stated in the concert programme, “this performance is put together to bless the people who died protecting their nation and to express compassion for the 10 million families separated between the two Koreas … wishing for the nation's reunion and unification in the near future” (Han 2011:2). In order to memorialize war victims and the tragedy of partition, the Seongnam Municipal Troupe was to showcase musical works selected from both North and South Korea. In the programme, Ch'oe Sang-hwa, guest director of the Troupe, remarked:Today's concert intends to draw a comparison between different musical constructions of North and South Korea … For the last sixty years, each Korea has developed its own version of chont'ong iimak [traditional or national music]. While South Korea has endeavoured to preserve the performance practices of traditional Korea under the growing influx of western music … instead of transmitting the old tradition as is, North Korea has newly created its own national music by inventing new instruments and developing a new vocal style with bright and clear sound colour … (Ch'oe 2011:3)

Adaptasi Pola Ritme Dangdut pada Ansambel Perkusi

Dangdut Rhythmic Pattern Adaptation on Percussion Ensamble. This article discuss the adaptation processof “Dangdut” rhythmic pattern and its tone qualities that were implemented in to the percussion ensemble. Earlierstudies showed that bath elements can pessibly be tone. It means that the differences between characteristic musicbasically can be used as a new musical idea to produce a new genre of music. This procedure began with theimplementation of new special symbol to be fi tted in to the western notation; it follows by the selection of “Dangdut”rhythmic pattern and to be implemented in to the percussion ensemble instruments such as timpani, bongo, hi-hat,roto-toms and tambourine. The result was a new color of musical genre that gives a new propective and possibilityin the world of music composition.

Trumpet mouthpiece manufacturing and tone quality

This article investigates the relationship between the shape of the mouthpiece and its acoustical properties in brass instruments. The hypothesis is that not only different volumes but also particular cup shapes affect the embouchure and the tone quality in both a physical and perceivable way. Three professional trumpet players were involved, and two different internal cup contours characterized by a "U" and a "V" shape with two types of throat junction (round and sharp) were chosen, based on a Vincent Bach 1 [1/2] C medium mouthpiece. A third intermediate contour was designed as a combination of these. Over 600 sound samples were produced under controlled conditions, the study involving four different stages: (1) Simulation of air-flow, (2) analysis of the sound spectra, (3) study of the players' subjective responses, and (4) perceptual analysis of their timbral differences. Results confirm the U shape is characterized by a stronger air recirculation and produces stronger spectral components above 8 kHz, compared to the V shape. A round throat junction may also be preferable to a sharp one in terms of playability. There is moderate agreement on the aural perception of these differences although the verbal attributes used to qualify these are not shared.

The orchestral revolution: Haydn and the technologies of timbre

The Orchestral Revolution explores the changing listening culture of the eighteenth and early nineteenth centuries. Delving into Enlightenment philosophy, the nature of instruments, compositional practices and reception history, this book describes the birth of a new form of attention to sonority and uncovers the intimate relationship between the development of modern musical aesthetics and the emergence of orchestration. By focusing upon Joseph Haydn's innovative strategies of orchestration and tracing their reception and influence, Emily Dolan shows that the consolidation of the modern orchestra radically altered how people listened to and thought about the expressive capacity of instruments. The orchestra transformed from a mere gathering of instruments into an ideal community full of diverse, nuanced and expressive characters. In addressing this key moment in the history of music, Dolan demonstrates the importance of the materiality of sound in the formation of the modern musical artwork.

Violins are Green, Pianos are Blue: Cross-modal Sound-to-Sight Associations with Timbre in Synesthetes & Non-Synesthetes

Violins are Green, Pianos are Blue: Cross-modal Sound-to-Sight Associations with Timbre in Synesthetes & Non-Synesthetes

Secondary School Choral Conductors’ Self-Reported Beliefs and Behaviors Related to Fundamental Choral Elements and Rehearsal Approaches

Secondary school choral conductors from the United States were invited to complete a 10-minute electronic survey about their choral rehearsal priorities and approaches. Respondents ( N = 239) reported (a) rehearsal priorities on fundamental choral elements (balance/blend, diction, dynamics, intonation, interpretation/musicianship, rhythm, technique, and tone quality), (b) rehearsal approaches (micro–macro/macro–micro), and (c) primary professional development influences. Choral elements most frequently cited as rehearsal priorities were intonation and tone quality. Differences were discovered in rehearsal approaches as a function of teaching experience with those who taught for 10 or more years reporting a macro–micro approach. Observing other conductors/ensembles at conferences and continuing education were primary influences cited. Though there were no statistically significant differences ( p > .05) between high school and middle school choral directors’ choices of rehearsal priorities or approaches, notable discrepancies were found. Implications for the preparation of choral educators are discussed, and recommendations for future research are presented.

Predicting blend between orchestral timbres using generalized spectral-envelope descriptions

Predicting blend between orchestral timbres using generalized spectral-envelope descriptions

Nonlinear effects contributing to hand-stopping tones in a horn

Hand stopping is a technique for playing the French horn while closing the bell relatively tightly using the right hand. The resulting timbre is called "penetrating" and "metallic." The effect of hand stopping on the horn input impedance has been studied, but the tone quality has hardly ever been considered. In the present paper, the dominant physical cause of the stopped-tone quality is discussed in detail. Numerical calculations of the transmission function of the stopped-horn model and the measurements of both sound pressure and wall vibration in hand stopping are carried out. They strongly suggest that the metallicness of the stopped tone is characterized by the generation of higher harmonics extending over 10 kHz due to the rapidly corrugating waveform and that the associated wall vibration on the bell may be responsible for this higher harmonic generation. However, excitation experiments and immobilization experiments performed to elucidate the relationship between sound radiation and wall vibration deny their correlation. Instead, the measurement result of the mouthpiece pressure in hand stopping suggests that minute wave corrugations peculiar to the metallic stopped tones are probably formed by nonlinear sound propagation along the bore.

Singer and Listener Perception of Vocal Warm-Up

This study investigated changes perceived by singers and listeners after the singers had vocally warmed up. The study used a repeated measures within-subject design to assess changes in vibrato quality from pre (nonwarmed-up voice) to post (warmed-up voice) test. Intraclass correlation coefficients were calculated to assess singers' self-ratings pre- and posttest and intra- and interlistener rater reliability. Twelve classically trained female singers recorded and self-rated their performance of an eight bar solo before and after 25 minutes of vocal warm-up exercises. Six experienced listeners assessed the vocal samples for pre- to posttest differences in tone quality and for each singer's warm-up condition. Perceptual judgements were also compared with pre- to posttest changes in vibrato. All singers perceived significant changes in tone quality, psychophysiological factors, proprioceptive feedback and technical command. Significant pre- to posttest differences in tone quality and correct appraisal of the singer's warm-up condition from most of the listeners were only observed for singers who moderated extremely fast or extremely slow vibrato after warming up. The findings reveal the divide between listeners' and singers' perceptions of the warmed-up voice and highlight the importance of enhanced vibrato quality to listener perception of an improvement in vocal quality.

"Wer wagt hier Theorie zu fordern": aspects théoriques du timbre chez Arnold Schönberg

Schonberg’s Harmonielehre finishes on the evocation of the melody of timbre ( Klangfarbenmelodie ). The aim of this article is to analyse the function of timbre in relation to musical theory by establishing a parallel between the positions expressed by Schonberg and preceding classical positions, namely Jean-Jaques Rousseau’s definition of timbre and Leibniz’s concept of “clear and confused” ideas. Operating in this context, what will be shown is that timbre, according to Leibniz’s description, is a distinguishing, yet undistinguished, quality and that, precisely for this reason, timbre has a limited function in composition.

Uses of spectrographic analyses to improve tone quality of middle school trumpet students

This study investigated whether the use of spectrogram improved tone quality among middle school trumpet students. The study was quasi-experimental using non-equivalent control and experimental groups with a pre-test and post-test design over the course of four weeks. Trumpet students involved ranged in age from 11 to 14 in Grades 6–8. The sixth graders were beginners, the seventh graders second-year players and eighth graders third-year players. The study was completed at an urban middle school in the upper Midwest of the United States. At weekly group lessons, each student played a pre-test, was taught a lesson in tone quality and then performed a post-test. The musical excerpt was the same for each test as was the instruction. The experimental groups were allowed to look at their spectrograms in real time while playing, while the control groups were not able to look at their spectrograms. A comparison of the pre-test and post-test means of the eighth grade groups indicated an increase in the scores of the experimental group over the control group from Week 1 to Week 4. The seventh grade experimental group improved only slightly over the control group. No change in the means of the scores was evident among the sixth graders. Using the software ‘Spectrogram’ (which produced the spectrograms in real time) appeared to have an effect in improving the tone quality among the seventh and eighth grade experimental groups.

An Artificial Larynx Built in TE Shunt Valve That Produces Substitute Voice by Only Patient's Own Expiration (Preliminary Study for Suitable Tone Pitch and Its Controllability)

A large portion of patients of larynx cancer tekes total laryngectomy and loses their original voice consequently. Some ways to obtain substitute voice for total laryngectomees have been presented, however, each of them cannot conquer inconveniences, tone quality, extremely low tone, monotonousness etc. We invented very simple, small enough to be built in TE (tracheaesophageal) shunt valve but functional substitute voice that is driven by patient's own expiration and its tone pitch can be controlled by expiratory pressure simultaneously. The new device has an outward-striking membrane as an oscillating valve and a set of piston-cylinder mechanism, which controls oscillator's tension and alters pitch of sound. As results of performance experiments applied to the prototype model made as twice scale as an actual dimension, the device produces the lowest sound frequency of 205 Hz and pitch range of 374 cent being approximately proportional to driving air pressure between 0.8 and 2.2 kPa. It is said that normal pitch of female voice is around 210 Hz, thus we consider the possibility of the device as a new substitute voice was shown that contributes to improvement of total laryngectomees' QOL particularly to female patients.

Experiments on Tone Color in Music and Acoustics: Helmholtz, Schoenberg, and Klangfarbenmelodie

In the mid-nineteenth century, Hermann von Helmholtz developed a new, mathematically formalized representation of the quality of tones, which he termed musikalische Klangfarbe. He did so at the price of excluding change from this representation and from the sounds he experimented with. Later researchers and composers discovered the cognitive and aesthetic side effects of this new concept. Experimental psychologist Carl Stumpf found that stable tones veil their source; their recognition strongly depends on their characteristic beginnings and endings. Arnold Schoenberg in turn used this effect to merge the sounds of musical instruments into new orchestral colors. On the basis of a three-part case study, I argue that nineteenth-century research in perception has deeply affected twentieth-century concepts of music, bringing to the fore the aesthetic quality of experimental situations.

The Music Experiences and Attitudes Of A First Cohort of Prelingually-Deaf Adolescents and Young Adults CI Recipients.

The purpose of this study was to examine the musical engagement (participation and attitude) of pediatric CI recipients who were implanted during early childhood and who have reached age 15 or older. A questionnaire was administered to a group of 31 prelingually deaf CI users who receive annual follow up services and assessment in a clinical research center. The questionnaire was used to examine involvement in and attitudes toward music in school, the community, and in the home; social affiliation (hearing, Deaf, both) and mode of communication (oral, manual, both) were also examined. Despite the technical limitations of cochlear implants in transmitting pitch, melody, and tone quality, over two thirds of this sample described music as being important or very important in their lives. A high level of past and present familial involvement in music was associated with higher levels of current involvement and importance of music in the lives of adolescent and young adult CI users. Comparisons were noted with data from prior studies of persons with hearing loss who were non-CI users.

Monkey See, Monkey Do? The Effect of Nonverbal Conductor Lip Rounding on Visual and Acoustic Measures of Singers’ Lip Postures

If singers, without prior prompting, mimicked a conductor’s nonverbal behavior and if this mimicry changed their vocal sound in less than a second, then such a phenomenon could interest vocal music teachers as a time-efficient pedagogical strategy. We tested this claim (“What they see, you will get”), which appears in choral methods literature, by measuring visual and acoustic responses to one nonverbal conductor behavior in a particular singing context. Specifically, we sought to determine whether singers ( N = 114) performing the first phrase of Mozart’s motet, “Ave Verum Corpus,” would mimic a conductor’s rounded lip posture on two /u/ vowels. We also wondered whether conductor lip rounding affected these singers’ tone quality. Visual measures (within-subjects photo comparisons and photo grid analyses) indicated that more than 90% of participants displayed more lip rounding on both /u/ vowels in the experimental condition as compared with baseline. Formant frequency profiles indicated that more than 90% of singers lowered all four examined formant frequencies each time the conductor rounded his lips. We discussed these converging visual and acoustic data in terms of the study’s limitations, potential pedagogical implications of mimicry by vocal performers, and directions for future research.

Weakness, Ambience and Irrelevance: Failure as a Method for Acoustic Variety

The author, a percussionist, finds timbral interest in the failure to consistently execute a common technique.

Classed Femininity, Performativity, and Camp in British Structured Reality Programming

This article explores the representations and tonal qualities of British “structured reality” programming. Focusing on The Only Way Is Essex and Made in Chelsea, it investigates their glocalizing of the model established by MTV’s Laguna Beach and The Hills. It argues that while they blur boundaries between docusoap, drama, and soap opera, the British programs also recognize and foreground issues of construction for their reality TV-literate youth audience. It suggests the programs play a key role in their respective channel identities and the ideologies of British youth television, connecting to larger issues of class, gender, and taste. This is articulated through their regional and classed femininities, with the article exploring how the programs draw on classed ideologies surrounding “natural” and “excessive” femininities and of the role of this in their engagement with construction and camp play. This play contributes to the tonal shift offered by the British programs, mixing the melodrama of the MTV programs with a knowing, at times comic edge that can tip into mockery. In doing so, the programs offer their audience a combination of performative self-awareness and emotional realism that situates them clearly within British youth television.

The influence of pipe organ reed curvature on tone quality

Although organ flue pipes have been widely studied, the same claim cannot be made for pipe organ reed stops. Given certain design constraints, such as the type of reed stop being voiced and the desired tone quality, the reed voicer must use consummate skill to curve the reed tongue so as to produce the best and most stable tone as well as to guarantee that each pipe blends with its neighbors. The amount and type of curve given to a reed tongue influences not only the harmonic structure of the steady-state sound but also the attack. There are two fundamentally different types of curvature that can be given to a reed tongue, the trompette (chorus reed) curve (which gives a bright sound) and the smooth-toned curve employed for clarinet pipes. This study investigated the effect of reed curvature on the vibration and tone (as assessed by professionals) on reed tongues of both types. Two F2 (8'F, 87.3 Hz) pipes (a trompette and a clarinet) were constructed and voiced with differently curved tongues to produce a variety of tones. The vibration of the reed tongue was measured under typical conditions by laser vibrometer; the pressure waves in the boot and in the shallot were measured by means of one-quarter inch microphones, and the pipe's sound was recorded at the egress. By performing various measurements simultaneously, phase differences were also determined, the extreme sensitivity of tone to reed curvature was demonstrated, and a recently proposed theory of reed vibration was shown to be more accurate than the standard model.

Ecology, Memory, and Speed in John McGahern's Memoir

The speed with which homes and other human edifices ‘return’ to a state of wilderness is a concern of McGahern's, expressed towards the end of Memoir, and this alignment of the passage of time and ecology will be the focus of this essay. Memoir is a work of memory and navigates the lieux de memoires of McGahern's formative years, as well as much of his adult life. The act of autobiographical remembrance is facilitated by a slowing down of time and slowness enables the percolation of memory through our consciousness, and therefore is, firstly, part of the mechanics of autobiographical authorship. In another way slowness is a tonal quality of McGahern's writing as he takes a Proustian meander through the physical and memorial lanes of his origins. Furthermore, the ecological animation of McGahern's narrative bespeaks a writer who is keenly sensitive to the virtues of ecological dwelling, as McGahern is alert to the interdependencies of human and non-human; he treats of the non-human as more than an inert backdrop to his narration; and his works not only lament the passing of a way of life, but they assert the currency of this decelerated lifestyle in the contemporary moment.