Tuning Systems Research Articles

Exploring The Many Tunings of Balinese Gamelan

Abstract The study of gamelan tunings has a long history, both within Indonesia and among the many foreign researchers who have sought to reconcile those tuning systems with ideas and practices of Western music. Challenges arise because Indonesian gamelan and Western tuning systems are based on fundamentally different concepts and principles. This article introduces and describes the Gamelan Tuning Explorer (GTE), a Max patch intended to help facilitate, through visualization and adjustable parameters, greater understanding of certain core aspects of Balinese gamelan tuning—specifically, the nonstandardized tunings used for gamelan gong kebyar, a large orchestra of bronze-keyed metallophones, tuned gongs, and other instruments. The Gamelan Tuning Explorer incorporates measured tuning data from 47 complete gamelan gong kebyar; each encompasses about 150 keys and tuned gong chimes. Forty-two of these tuning data sets were collected in the mid-1970s by American ethnomusicologist Andrew Toth, who spent decades in Bali engrossed in research on this topic; five were remeasured by the authors in 2019 to document how they had changed over the ensuing decades. In addition to collecting this treasure trove of data, Toth identified several key conceptual ideas of Balinese gamelan tunings. These include the consistent use of ombak (the prominent beating of two paired notes played in “unison”); the relationship of paired-tuning ombak to octave treatment; the stretching and compression of octaves, both by register and by note; the Begbeg versus Tirus models of intervallic formation; and more. Toth's data and each of these tuning concepts have been analyzed in two previous articles (Vitale and Sethares 2021; Sethares and Vitale 2022). We seek to make these concepts more immediate and accessible with GTE by using a graphical, interactive interface. Each of these parameters can be explored by the simple manipulation of a slider or other interface element. The corresponding changes in the sound can be readily heard, and visualized with interactive Toth plots—graphic representations of gamelan tuning profiles developed by Toth and named in his honor. This article describes a series of observations enabled by GTE.

Db2une: Tuning Under Pressure via Deep Learning

Modern database systems including IBM Db2 have numerous parameters, "knobs," that require precise configuration to achieve optimal workload performance. Even for experts, manually "tuning" these knobs is a challenging process. We present Db2une, an automatic query-aware tuning system that leverages deep learning to maximize performance while minimizing resource usage. Via a specialized transformer-based query-embedding pipeline we name QBERT, Db2une generates context-aware representations of query workloads to feed as input to a stability-oriented, on-policy deep reinforcement learning model. In Db2une, we introduce a multi-phased, database meta-data driven training approach---which incorporates cost estimates, interpolation of these costs, and database statistics---to efficiently discover optimal tuning configurations without the need to execute queries. Thus, our model can scale to very large workloads, for which executing queries would be prohibitively expensive. Through experimental evaluation, we demonstrate Db2une's efficiency and effectiveness over a variety of workloads. We compare it against the state-of-the-art query-aware tuning systems and show that the system provides recommendations that surpass those of IBM experts.

Renormalization-group approach to ordered phases in music.

The organization of disordered sounds into the ordered structures of music can be understood through an analogy to the emergent ordering of physical systems undergoing phase transitions. This work builds off a prior mean-field model for pitch in music [J. Berezovsky, Sci. Adv. 5, eaav8490 (2019)2375-254810.1126/sciadv.aav8490] by using renormalization-group techniques to study the effects of dimensionality and local correlations. We corroborate the results of the mean-field model by showing convergence of the phase diagram as lattice dimension is increased, while also uncovering new phases which the mean-field model does not reveal. We also compute the nearest-neighbor correlations and provide comparisons to the mean-field model, as well as historical tuning systems used by different groups of musicians. The new phases and resulting correlations revealed in this work suggest a number of possible avenues for further exploration, including generating new music using the pitch distributions suggested by the model.

Preliminary Exploration of the Similarities and Differences between the Yatga and Guzheng Cultures

This study summarizes the origin of the yagta and compares the structural intricacies, tuning systems, and playing techniques of the yagta and the guzheng against diverse cultural backdrops. It illuminates the pivotal role and distinctive significance of the yatga in shaping Mongolian musical traditions. By contextualizing the yatga’s evolution within the historical and cultural milieu of nomadic life and Mongolian ethos, this study enriches our understanding of contemporary guzheng performances and theories. It contributes meaningfully to the vibrant tapestry of zither culture, fostering its broader collision and development.

Deskriptif Proses Pembuatan Alat Musik Rabab Pasisia di Painan Timur Kabupaten Pesisir Selatan

The process of making traditional musical instruments Rabab Pasisia in South Pesisir Regency. This study aims to describe the process of making Rabab Pasisia musical instruments. The approach used is a qualitative approach with a descriptive type of research. This research was conducted with data collection techniques used are observation, interview and documentation techniques. Data analysis techniques are carried out by reducing, presenting data and verifying this data aims to find out the structure, process, manufacturing techniques, playing techniques, from Rabab Pasisia. This musical instrument is made of jariang wood and has different tones, and uses several types of wood. The results of this study show that the parts and stages of the process of making traditional Rabab Pasisia musical instruments include: wooden mangkapatiah for Rabab bodies, sketching rabab patterns, making rabab tongues, installing rabab friction nylon, making rabab kudo-kudo, and how to produce sounds, tuning systems on traditional Rabab Pasisia musical instruments. The instruments used in the process of making traditional musical instruments Gandang Tambua include: Lantiak Knife (containing rabab tongue), Kapatiah (forming rabab body), Cutting Saw, Hammer (Stick), Measuring instrument (meter), Pencil, Sandpaper, Scissors. The ingredients are; Jariang Wood (45Cm Long, 30Cm Wide, and 4Cm Thick), Montiah Wood (Meranti), Sicerek Wood, Shell, Rope, Nails and, Wood glue. The process of making Rabab Pasisia musical instruments includes several stages, namely: 1) The process of making the body (jariang wood), until the finishing of fine and rough sanding, 2) The process of installing nylon on the rabab frictioner, 3) The process of installing squirrels, kudo-kudo, talingo and rabab strings for tuning the tone.

A Comprehensive Analysis of Mardala, Mridangam, and Pakhawaj in Traditional Indian Music

This comprehensive study delves into the intricate world of three classical percussion instruments - Mardala, Mridangam, and Pakhawaj - highlighting their historical significance, structural complexities, tuning systems, and playing techniques. By conducting a thorough comparative analysis, this study aims to provide a deeper understanding of these instruments' cultural heritage and musical contributions within the realm of Indian classical music.

The Hybrid Musical Landscape of Ligeti's Late Concertos

AbstractDiscussing his Horn Trio, György Ligeti imaginatively describes the second movement as a dance that was “inspired by different folk musics of nonexistent people, as if Hungary, Romania, and all of the Balkans were located somewhere between Africa and the Caribbean.” And in more general remarks about his works, he goes on to suggest that, rather than overtly referencing their stylistic features, he abstracted technical principles from various traditions and combined them into an idiosyncratically amalgamated musical language. This essay shows an expansive approach to hybridity in Ligeti's Violin Concerto and Hamburg Concerto, going well beyond previous remarks about African rhythmic influences. Ligeti's practice encompasses not only rhythm, but also texture, pitch, and tuning systems; it spans a wider breadth of traditions as well, including newly identified sources such as flute and panpipe ensembles from New Guinea and yodeling traditions from across the globe. An analysis of passages from these late concertos – undertaken alongside evidence from his ethnomusicological sources, recordings, and sketches housed at the Paul Sacher Stiftung – demonstrates the intricacies and patterns of Ligeti's late style and the compelling statement it makes about the role of hybridity and globalization in contemporary life.

Tuning systems and european colonialism in Africa.

Tuning systems and european colonialism in Africa.

The microtonal guitar: Türkiye’s Segovia moment

The use of microtones in guitar music is not an innovative phenomenon as it is thought. It has been used for different tuning systems and by composers working on non-12edo music throughout history. Although this concept is not as widespread as conventional guitar music, many experimental studies have been conducted to tune microtones more accurately. This article aims to present practical tools for the reader on methods to produce microtones on the guitar, especially Tolgahan Çoğulu’s adjustable microtonal guitar project, and the developments in microtonal guitar music in Türkiye since the project began in 2008 to 2021. The findings on this topic are shared from a guitar music specialist’s perspective. It aims to be helpful, especially for guitarists who are unfamiliar with microtonal music approaches in guitar music. The study consists of two parts. In the first part, the microtonal strategies in guitar music were compiled. Practical ways to achieve microtones on conventional guitars, non-12edo fixed fret layouts, fretlets concept, and movable fret guitars are examined individually, and their advantages and disadvantages are listed in terms of their usability. In the second part, the attainments of the Adjustable Microtonal Guitar Project were examined. By using the principles determined by Andres Segovia in the formation of modern guitar music in the 1920s as a model, the composers who composed for this instrument, the performers who used the instrument, the success in the presentation of the project in social media, the awards it won in international competitions, microtonal guitar competitions and festivals, academic and pedagogical studies were researched. The findings show that the adjustable microtonal guitar gives precise results in tuning compared to the other strategies mentioned. Even though it causes difficulties in changing the frets between different pieces in terms of time, it is the most suitable result for using microtones on the guitar, as it makes it possible to perform all kinds of work. In the project’s short history, the Adjustable Microtonal Guitar project crossed national borders and created its ecosystem with the innovative efforts of the inventor.

Fully enclosed microbeads structured TENG arrays for omnidirectional wind energy harvesting with a portable galloping oscillator

To facilitate the transition of triboelectric nanogenerators (TENG) from early stages to large-scale real-world applications, urgent mass production is imperative, necessitating standardized manufacturing processes. In this study, a novel “pause-and-insert” and “print-in-place” 3D printing approach has been devised, employing widely available fused deposition modeling (FDM) printers along with conductive (as electrodes) and nonconductive (for casing and support) filaments to make encapsulate microbeads triboelectric nanogenerator (MB-TENG). This innovation results in a fully enclosed freestanding-mode TENG pack, seamlessly integrated with a lightweight wind-induced oscillator featuring tuning systems, thus enabling efficient, safe, and noiseless omnidirectional wind energy harvesting. Through adept design and manufacturing techniques, systematic inner-structure optimization has been achieved, yielding superior output and industrialization levels compared to similar efforts. MB-TENG’s surface charge density is as high as 19.9 µC/m2. The average power density is 13.8 W/m3. Moreover, the elimination of postprocessing significantly streamlines standard manufacturing, enhancing the prospects for device commercialization. Beyond its wind energy application, the versatile energy packs can serve as both ocean wave and human motion harvesters within network configurations, capable of powering a massive real-time monitoring sensor array.

An Efficient Transfer Learning Based Configuration Adviser for Database Tuning

In recent years, a wide spectrum of database tuning systems have emerged to automatically optimize database performance. However, these systems require a significant number of workload runs to deliver a satisfactory level of database performance, which is time-consuming and resource-intensive. While many attempts have been made to address this issue by using advanced search optimizers, empirical studies have shown that no single optimizer can dominate the rest across tuning tasks with different characteristics. Choosing an inferior optimizer may significantly increase the tuning cost. Unfortunately, current practices typically adopt a single optimizer or follow simple heuristics without considering the task characteristics. Consequently, they fail to choose the most suitable optimizer for a specific task. Furthermore, constructing a compact search space can significantly improve the tuning efficiency. However, current practices neglect the setting of the value range for each knob and rely on a large number of workload runs to select important knobs, resulting in a considerable amount of unnecessary exploration in ineffective regions. To pursue efficient database tuning, in this paper, we argue that it is imperative to have an approach that can judiciously determine a precise space and search optimizer for an arbitrary tuning task. To this end, we propose OpAdviser, which exploits the information learned from historical tuning tasks to guide the search space construction and search optimizer selection. Our design can greatly accelerate the tuning process and further reduce the required workload runs. Given a tuning task, OpAdviser learns the geometries of search space, including important knobs and their effective regions, from relevant previous tasks. It then constructs the target search space from the geometries according to the on-the-fly task similarity, which allows for adaptive adjustment of the target space. OpAdviser also employs a pairwise ranking model to capture the relationship from task characteristics to optimizer rankings. This ranking model is invoked during tuning and predicts the best optimizer to be used for the current iteration. We conduct extensive evaluations across a diverse set of workloads, where OpAdviser achieves 9.2% higher throughput and significantly reduces the number of workload runs with an average speedup of ~3.4x compared to state-of-the-art tuning systems.

The ripples of consonant intervals and chords arising in different tuning systems

Pure consonances are combinations of exact multiples of a fundamental frequency, particularly with the factors 2, 3, and 5. They give rise to the consonant intervals (octave, perfect fifth, and major and minor thirds) and consonant chords (major and minor). However, these kinds of consonances are only achieved in just intonation, which does not produce beats or ripples, that is, their envelopes are constant. On the contrary, other tuning systems, such as Pythagorean, meantone, or N-tone equal temperaments, which slightly differ from just intonation, actually produce beats or ripples, that is, the corresponding envelopes oscillate and, acoustically, resemble a vibrato in amplitude. In this paper, the envelopes of consonant intervals and chords are modelled mathematically by approximate formulas. They contain one variable for the intervals and two variables for the chords. The formulas include deviations of one full trigonometric period, thus being valid for any tuning system. In the case of intervals, the corresponding ripples are obtained by following a line (1D) at a specific velocity and, in the case of chords, by following a line on a graph (2D) at specific velocity and direction. The corresponding audio files considering pure tones are also obtained.

Algebraic tunings

We propose an approach to tuning systems in which octave doubling ratio is replaced by a suitable algebraic unit τ, and note frequencies are proportional to a subset of the ring . Then it is possible for many difference tones between notes in the tuning to also appear in the tuning. After outlining more general principles, we consider in detail some natural examples based on the golden ratio , limited by norm or by the number of digits in the greedy β-expansion. We discuss additive and multiplicative properties, implementation and composition using these tunings. The Online Supplement contains MIDI and websynths files to implement the tuning (based on β-expansions to ) on websynths.com and a composition Three Places.

Holographic Composition Technique

In the field of photography, the term hologram is defined as: "a three-dimensional image reproduced from an interference pattern produced by a split coherent beam of rays." Relating the above statement to the genre of music, the closest we can come to explaining the hologram is to consider the phenomenon of combination tones. Combination tones are the ghost sounds created in the inner ear when two different tones are played simultaneously. Holographic Composition Technique is a term I coined specifically for my practice of the compositional path. It is a technique based on two main themes in music that interest me most: psychoacoustics, and the world of microtonality, with the biggest influence being the world of Just Intonation and non-Western tuning systems. As someone fascinated by physics and mathematics, both psychoacoustics and microtonality are very attractive sources of inspiration. My interest in microtonality encompasses all kinds of approaches: different temperament systems, Just Intonation techniques, non-octave subdivisions or the so-called "traditional non-Western" practices. Nevertheless, I will focus on Iranian microtonality, especially the tuning systems written by Persian polymaths between the 9th and 15th centuries, with a focus on the works of Fārābi (10th century), Ibn Sinā (10th century) and Safiaddin Ormavi (13th century). This research intends to connect the world of psychoacoustics, the medieval Iranian tuning systems, and the Radif of classical Iranian music, in an attempt to combine them as material for compositional practice. I categorise various tunings of the medieval thinkers and polymaths who were active in the vast territories of the Middle East, and show ways in which this material can be used in contemporary music to create a personal fusion of the manifestations of the Orient and Occident in music.

SigOpt Mulch: An intelligent system for AutoML of gradient boosted trees

Gradient boosted trees (GBTs) are ubiquitous models used by researchers, machine learning (ML) practitioners, and data scientists because of their robust performance, interpretable behavior, and ease-of-use. One critical challenge in training GBTs is the tuning of their hyperparameters. In practice, selecting these hyperparameters is often done manually. Recently, the ML community has advocated for tuning hyperparameters through black-box optimization and developed state-of-the-art systems to do so. However, applying such systems to tune GBTs suffers from two drawbacks. First, these systems are not model-aware, rather they are designed to apply to a generic model; this leaves significant optimization performance on the table. Second, using these systems requires domain knowledge such as the choice of hyperparameter search space, which is an antithesis to the automatic experimentation that black-box optimization aims to provide. In this paper, we present SigOpt Mulch, a model-aware hyperparameter tuning system specifically designed for automated tuning of GBTs that provides two improvements over existing systems. First, Mulch leverages powerful techniques in metalearning and multifidelity optimization to perform model-aware hyperparameter optimization. Second, it automates the process of learning performant hyperparameters by making intelligent decisions about the optimization search space, thus reducing the need for user domain knowledge. These innovations allow Mulch to identify good GBT hyperparameters far more efficiently—and in a more seamless and user-friendly way—than existing black-box hyperparameter tuning systems.

On the Development of New Tuning and Inter-Coupling Techniques Using Ferroelectric Materials in the Detection of Dark Matter Axions

Tuning is an essential requirement for the search of dark matter axions employing haloscopes since its mass is not known yet to the scientific community. At the present day, most haloscope tuning systems are based on mechanical devices which can lead to failures due to the complexity of the environment in which they are used. However, the electronic tuning making use of ferroelectric materials can provide a path that is less vulnerable to mechanical failures and thus complements and expands current tuning systems. In this work, we present and design a novel technique for using the ferroelectric Potassium Tantalate (KTaO3 or KTO) material as a tuning element in haloscopes based on coupled microwave cavities. In this line, the structures used in the Relic Axion Detector Exploratory Setup (RADES) group are based on several cavities that are connected by metallic irises, which act as interresonator coupling elements. In this article, we also show how to use these KTaO3 films as interresonator couplings between cavities, instead of inductive or capacitive metallic windows used in the past. These two techniques represent a crucial upgrade over the current systems employed in the dark matter axions community, achieving a tuning range of 2.23% which represents a major improvement as compared to previous works (< 0.1%) for the same class of tuning systems. The theoretical and simulated results shown in this work demonstrate the interest of the novel techniques proposed for the incorporation of this kind of ferroelectric media in multicavity resonant haloscopes in the search for dark matter axions.

Tuning Systems of Traditional Georgian Singing Determined from a New Corpus of Field Recordings

In this study we examine the tonal organization of the 2016 GVM dataset, a newly-created corpus of high-quality multimedia field recordings of traditional Georgian singing with a focus on Svaneti. For this purpose, we developed a new processing pipeline for the computational analysis of non-western polyphonic music which was subsequently applied to the complete 2016 GVM dataset. To evaluate under what conditions a single tuning system is representative of current Svan performance practice, we examined the stability of the obtained tuning systems from an ensemble-, a song-, and a corpus-related perspective. Furthermore, we compared the resulting Svan tuning systems with the tuning systems obtained for the Erkomaishvili dataset (Rosenzweig et al., 2020) in the study by Scherbaum et al. (2020). In comparison to a 12-TET (12-tone-equal- temperament) system, the Erkomaishvili and the Svan tuning systems are surprisingly similar. Both systems show a strong presence of pure fourths (500 cents) and fifths (700 cents), and ‘neutral’ thirds (peaking around 350 cents) as well as ‘neutral’ sixths. In addition, the sizes of the melodic and the harmonic seconds in both tuning systems differ systematically from each other, with the size of the harmonic second being systematically larger than the melodic one.

A “Well-tempered Flute” by T. Boehm – The Final Stage of its Evolution and the Standardization of its Tuning System

"The article is dedicated to the development of the flute acoustic and tuning systems during the 18th-19th centuries. Based on the analysis of J. J. Quantz's treatise »Versuch einer Anweisung, die Flöte traversiere zu spielen« and the flute of its construction with two enharmonically unequal keys Es and Di s, the intonation and technological features of using pure tuning system in playing an instrument are revealed. Following Quantz’s ideas was another German musician, the Leipzig master instrument maker J. G. Tromlitz. He strongly recommended maintaining the dominant position of the pure tuning system while performing on the flute. The defining stage in the development of the flute design and the establishment of the well-tempered tuning system as the basis of its acoustic features was the reform of T. Boehm. The models of the inverse conical bore flute with open ring keys (1832) and the cylindrical flute with flap keys (1847) created step-by-step give evidence of the evolution of T. Boehm's views on expanding the sound dynamics and improving the intonation capabilities of the instrument. Keywords: Boehm’s flute, pure tuning system, equal temperament, conical flute, cylindrical instrument, acoustic system, key mechanics. "

Gendhing Sekaten. (2010) 2020Gendhing Pahargyan. (2012) 2020Gendhing Kurmat Dalem. 2020Gendhing Gati. (2015) 2020Gendhing Gati Volume 2. 2020Gendhing Soran Volume 1. 2021

Gendhing Sekaten. (2010) 2020Gendhing Pahargyan. (2012) 2020Gendhing Kurmat Dalem. 2020Gendhing Gati. (2015) 2020Gendhing Gati Volume 2. 2020Gendhing Soran Volume 1. 2021

New Additions to the Guitar Family: Lego and Automatic Microtonal Guitars

One of the modern classical guitar’s biggest strengths is also one of its biggest weaknesses. The instrument depends on an equal temperament fretboard system that has lent itself to brilliant repertoire and ease of production, yet this same fretboard system does not lend itself to perfectly tuned notes and tuning systems not found in Eurocentric classical music. Many guitarists and luthiers have sought a fretboard system that marries the benefits of equal temperament with the rich possibilities of just intonation and other tuning systems. This paper presents two new fretboard designs and discuss their role in the history of guitar fretboard construction. Our first design is a fully functional fretboard made from the popular toy ‘Legos’ and solves many of the problems that previous designs had, including ease of use and production, affordability, and versatility. Our second design is a one-string prototype for an automatic (automated) fretboard that would allow performers to switch tuning systems instantly at the press of a button.