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- All Subjects: Violin and piano music
Description
Digital sound synthesis allows the creation of a great variety of sounds. Focusing on interesting or ecologically valid sounds for music, simulation, aesthetics, or other purposes limits the otherwise vast digital audio palette. Tools for creating such sounds vary from arbitrary methods of altering recordings to precise simulations of vibrating objects. In this work, methods of sound synthesis by re-sonification are considered. Re-sonification, herein, refers to the general process of analyzing, possibly transforming, and resynthesizing or reusing recorded sounds in meaningful ways, to convey information. Applied to soundscapes, re-sonification is presented as a means of conveying activity within an environment. Applied to the sounds of objects, this work examines modeling the perception of objects as well as their physical properties and the ability to simulate interactive events with such objects. To create soundscapes to re-sonify geographic environments, a method of automated soundscape design is presented. Using recorded sounds that are classified based on acoustic, social, semantic, and geographic information, this method produces stochastically generated soundscapes to re-sonify selected geographic areas. Drawing on prior knowledge, local sounds and those deemed similar comprise a locale's soundscape. In the context of re-sonifying events, this work examines processes for modeling and estimating the excitations of sounding objects. These include plucking, striking, rubbing, and any interaction that imparts energy into a system, affecting the resultant sound. A method of estimating a linear system's input, constrained to a signal-subspace, is presented and applied toward improving the estimation of percussive excitations for re-sonification. To work toward robust recording-based modeling and re-sonification of objects, new implementations of banded waveguide (BWG) models are proposed for object modeling and sound synthesis. Previous implementations of BWGs use arbitrary model parameters and may produce a range of simulations that do not match digital waveguide or modal models of the same design. Subject to linear excitations, some models proposed here behave identically to other equivalently designed physical models. Under nonlinear interactions, such as bowing, many of the proposed implementations exhibit improvements in the attack characteristics of synthesized sounds.
ContributorsFink, Alex M (Author) / Spanias, Andreas S (Thesis advisor) / Cook, Perry R. (Committee member) / Turaga, Pavan (Committee member) / Tsakalis, Konstantinos (Committee member) / Arizona State University (Publisher)
Created2013
ContributorsChang, Ruihong (Performer) / ASU Library. Music Library (Publisher)
Created2018-03-29
Description
Four Souvenirs for Violin and Piano was composed by Paul Schoenfeld (b.1947) in 1990 as a showpiece, spotlighting the virtuosity of both the violin and piano in equal measure. Each movement is a modern interpretation of a folk or popular genre, re- envisioned over intricate jazz harmonies and rhythms. The work was commissioned by violinist Lev Polyakin, who specifically requested some short pieces that could be performed in a local jazz establishment named Night Town in Cleveland, Ohio. The result is a work that is approximately fifteen minutes in length. Schoenfeld is a respected composer in the contemporary classical music community, whose Café Music (1986) for piano trio has recently become a staple of the standard chamber music repertoire. Many of his other works, however, remain in relative obscurity. It is the focus of this document to shed light on at least one other notable composition; Four Souvenirs for Violin and Piano. Among the topics to be discussed regarding this piece are a brief history behind the genesis of this composition, a structural summary of the entire work and each of its movements, and an appended practice guide based on interview and coaching sessions with the composer himself. With this project, I hope to provide a better understanding and appreciation of this work.
ContributorsJanczyk, Kristie Annette (Author) / Ryan, Russell (Thesis advisor) / Campbell, Andrew (Committee member) / Norton, Kay (Committee member) / Arizona State University (Publisher)
Created2015
ContributorsWhite, Aaron (Performer) / Kim, Olga (Performer) / Hammond, Marinne (Performer) / Shaner, Hayden (Performer) / Yoo, Katie (Performer) / Shoemake, Crista (Performer) / Gebe, Vladimir, 1987- (Performer) / Wills, Grace (Performer) / McKinch, Riley (Performer) / Freshmen Four (Performer) / ASU Library. Music Library (Publisher)
Created2018-04-27
DescriptionAcoustic Ecology is an undervalued field of study of the relationship between the environment and sound. This project aims to educate people on this topic and show people the importance by immersing them in virtual reality scenes. The scenes were created using VR180 content as well as 360° spatial audio.
ContributorsNeel, Jordan Tanner (Author) / LiKamWa, Robert (Thesis director) / Feisst, Sabine (Committee member) / Arts, Media and Engineering Sch T (Contributor) / Department of Psychology (Contributor) / Barrett, The Honors College (Contributor)
Created2019-05
ContributorsRosenfeld, Albor (Performer) / Pagano, Caio, 1940- (Performer) / ASU Library. Music Library (Publisher)
Created2018-10-03
Description
Fifty years ago, we embarked on a journey for the first time in all of history \u2014 an exploration of the final frontier: outer space. Now, having been to the moon and back, we are still exploring the unknown. In the 21st century, we have pioneered genetic cloning and made other unprecedented biotechnological advances. Similarly, artists have ventured into their own frontier, branching out of their own narrowly defined areas and breaking down barriers \u2014 barriers between art and science, between the concert hall and the outdoors, between manmade instruments and the sounds of nature. At first glance, it seems that music and science have little in common. But upon closer inspection, one will discover that there are similarities and intersections between these two fields that deserve attention. Interest in the correlation between music and science can be traced back at least as far as Ancient Greece; since Pythagoras, mathematicians, physicists, acousticians and many others have addressed connections between the two fields in manifold ways. It is becoming increasingly obvious that art and science are not at the opposite ends of the spectrum, where conventional wisdom has traditionally located them, but at the opposite sides of the same coin. In my thesis, I seek to explore the connections between music and the sciences by examining the field of acoustic ecology. I will first provide an overview of music as an interdisciplinary field. Then I will undertake two case studies of musicians whose endeavors have been significant to the field of acoustic ecology, and consider the benefits that can be drawn from their work. These artists are David Dunn and Andrea Polli. I will draw on their philosophy, writings and art as well as on secondary literature. I will take a philosophical approach to the intersections between the two areas and identify heretofore little explored aspects of the interdisciplinary potential of these two fields.
ContributorsChou, Cecilia (Author) / Feisst, Sabine (Thesis director) / Hackbarth, Glenn (Committee member) / Barrett, The Honors College (Contributor) / School of Historical, Philosophical and Religious Studies (Contributor) / School of Human Evolution and Social Change (Contributor) / School of Music (Contributor)
Created2014-05
ContributorsCao, Yuchen (Performer) / Chen, Sicong (Performer) / Soberano, Chino (Performer) / Nam, Michelle (Performer) / Collins, Clarice (Performer) / Witt, Juliana (Performer) / Liu, Jingting (Performer) / Chen, Neilson (Performer) / Zhang, Aihua (Performer) / Jiang, Zhou (Performer) / ASU Library. Music Library (Publisher)
Created2018-04-25