Wyniki wyszukiwania - Biblioteka Nauki

1

A Real-Time Key-Finding Algorithm Based on the Signature of Fifths

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Kania P. , Kania D. , Łukaszewicz Т.

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tom Vol. 49, nr 4

491--505

EN

The signature of fifths is a special kind of music representation technique enabling acquisition of musical knowledge. The technique is based on geometrical relationships existing between twelve polar vectors inscribed in the circle of fifths, which represent individual pitch-classes detected in a given composition. In this paper we introduce a real-time key-detection algorithm which utilizes the concept of the signature of fifths. We explain how to create the signature of fifths and how to derive its descriptors required by the algorithm, i.e., the main directed axis of the signature of fifths, the major/minor mode axis, the characteristic vector of the signature of fifths, the characteristic angle of the signature of fifths, and the angle of the major/minor mode. We performed a series of experiments to test the algorithm’s effectiveness. The results were compared with those obtained using key-detection approaches based on key-profiles. All experiments were conducted using works composed by J.S. Bach, F. Chopin, and D. Shostakovich. The distinctive features of the presented algorithm, with respect to the considered key-detection approaches, are computational simplicity and stability of the decision-making process.

2

Tonality of low-frequency synthesized piano tones

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Cuddy L. L. , Russo F. A. , Galembo A.

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tom Vol. 32, No. 3

541--550

EN

The influences of inharmonicity and bandwidth on sensitivity to tonality in the lowfrequency range (A0 to G#1) were tested in a listening experiment. Participants were presented a key-defining context (do-mi-do-so) and were asked to rate the goodness of fit of probe tones to the context. Probe tones were the 12 tones of the chromatic scale beginning on do. The set of 12 ratings, called the probe-tone profile, was compared to an established standardized profile for the Western tonal hierarchy. Prior research employing this method with real (sampled) piano tones has suggested that sensitivity to tonality is influenced by inharmonicity, particularly in the lowest octaves of the piano where inharmonicity levels are substantially above the detection threshold. In the present experiment, sensitivity to tonality was tested using synthesized piano-like tones that were either harmonic or inharmonic. Participants were tested in either a broadband (no filtering) or low-pass (low-pass filtered at 1 KHz) condition. Sensitivity to tonality was highest in the broadband harmonic condition followed by the broadband inharmonic condition. No sensitivity to tonality was found for the low-pass conditions; rather, for both harmonic and inharmonic tones, participants rated probe tones as increasingly good fit as pitch distance from do decreased.

3

The neo-Pythagorean view of musical structure in the light of music psychology

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Podlipniak P.

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nr 2

121-134

EN

The aim of this paper is to show why the neo-Pythagorean claims concerning musical structure are out-of-date and require the incorporation of contemporary psychological knowledge. The neo-Pythagorean view of musical structure has been analyzed and confronted with the contemporary neuropsychological view of music perception. It has been also suggested that musical intervals exist solely in human brains as a kind of interpretation of acoustic sounds. These sounds can be interpreted differently depending on many factors, which the popular speech-to-song illusion clearly illustrates. Another example of neo-Pythagorean ideas about musical structure that need psychological knowledge is tonal hierarchy, which also exists solely in human brains. Therefore, the popular musicological description of musical intervals in terms of mathematical proportions is misleading. It has been proposed that current musicological theories should always be confronted and consistent with contemporary psychological knowledge. This implies closer cooperation between musicology and the psychology of music.

4

Classes of tonality of signals in the aspect of active elimination of tonal components

75%

Łuczyński M.

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tom Vol. 30, nr 1

art. no. 2019126

EN

The aim of this paper is to analyse various types of signals defined as tonal where energy is concentrated in a narrow band of the spectrum. Not all tonal noises could be reduced using narrowband active noise control systems with cancelling signal generated based on source parameters. The author proposes the following classes of tonality: periodical (e.g. sinusoidal) signals, sinusoidal signals modulated by random function, sinusoidal signals with increased/decreasing amplitude and/or frequency, a combination of the two previous ones, and narrowband noises. For each type of the analysed signals active elimination of the tonal component using synthesized cancelling signal was carried out. Depending on the type of the signals different results were obtained which indicates the need to clarify the definition of a tonal signal, or use not one concept of a tonal signal, but several classes discussed above.

5

Tonality of Folk Funeral Chants in the Rzeszów Region

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Lesiczka S.

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nr 17

229-275

EN

Folk religiouschants have already been the object of scientific study for several decades. The matter of morphological features of the religious repertoire in the living tradition includes several basic factors, such as poetic text structure (versification, strophic structure), stylistic and formal properties, metre and rhythm, melodics, and tonal considerations (cf. B. Bartkowski, Niektóre cechy muzycznej metrorytmiki polskich pieśni religijnych żyjących w tradycji ustnej, “Summarium. Sprawozdania Towarzystwa Naukowego KUL” 1978, no. 3 (23), p. 250). The purpose of this article is to present and analyse the tonal phenomena occurring in folk religious chants performed throughout the funeral rite in the region of Rzeszów (Rzeszów region – a region in South-Eastern Poland inhabited by the ethnic groups of Lasowiacy and Rzeszowiacy, which covers the approximate area of the current ten districts (Tarnobrzeg, Stalowa Wola, Nisko, Kolbuszowa, Leżajsk, Mielec, Ropczyce-Sędziszów, Rzeszów, Przeworsk, and Łańcut). -cf. Kolędowanie na Rzeszowszczyźnie, ed. K. Smyk, J. Dragan, Kolbuszowa – Kraków 2019, p. 8, and range maps, pp. 382–383), especially during the prayer for the deceased at home, the procession to the church, the procession to the cemetery, and the inhumation at the cemetery). The musical scales upon which the melodies of the individual chants are based have particular significance in terms of their musical shape. In fact, the tonality, which constitutes a note system, influences the interval structure, the relationships between individual notes, the melody and, indirectly, the regional conditions for the performance of the chants (cf. B. Bartkowski, Niektóre cechy…, p. 250). The material will be presented based on the scale range criterion while individual tonal phenomena will be presented using selected examples.

PL

Ludowe śpiewy religijne już co najmniej od kilku dziesięcioleci stanowią przedmiot naukowych analiz. Problematyka cech morfologicznych repertuaru religijnego funkcjonującego w żywej tradycji obejmuje kilka podstawowych współczynników, takich jak: struktura tekstu poetyckiego (wersyfikacja, strofika), właściwości stylistyczno-formalne, metrorytmika muzyczna, melodyka oraz uwarunkowania tonalne (por. B. Bartkowski, Niektóre cechy muzycznej metrorytmiki polskich pieśni religijnych żyjących w tradycji ustnej, „Summarium. Sprawozdania Towarzystwa Naukowego KUL” 1978, nr 3 (23), s. 250). Niniejszy artykuł ma na celu przedstawienie i analizę zjawisk tonalnych zachodzących w repertuarze ludowych śpiewów religijnych wykonywanych w różnych momentach obrzędu pogrzebowego na Rzeszowszczyźnie (Rzeszowszczyzna – region południowo-wschodniej Polski zamieszkiwany przez grupy etnograficzne Rzeszowiaków i Lasowiaków, „obejmujący administracyjnie w przybliżeniu obszar dziesięciu obecnych powiatów (tarnobrzeskiego, stalowowolskiego, niżańskiego, kolbuszowskiego, leżajskiego, mieleckiego, ropczycko-sędziszowskiego, rzeszowskiego, przeworskiego i łańcuckiego)” – zob. Kolędowanie na Rzeszowszczyźnie, red. K. Smyk, J. Dragan, Kolbuszowa – Kraków 2019, s. 8, oraz mapy zasięgów, s. 382–383.) – zwłaszcza podczas domowej modlitwy za zmarłego, procesji do kościoła, procesji na cmentarz oraz przy inhumacji zwłok na cmentarzu. Skale muzyczne, na których opierają się melodie poszczególnych śpiewów, mają szczególne znaczenie dla ich muzycznego kształtu. Tonalność, będąca rodzajem systemu dźwiękowego, wpływa bowiem na ustrukturowanie interwałów, wzajemne relacje poszczególnych dźwięków i melodykę, a także, pośrednio, na regionalne uwarunkowania wykonawcze śpiewów (Por. B. Bartkowski, Niektóre cechy…, s. 250). Kryterium prezentacji omawianego materiału będzie zakres skali, a poszczególne zjawiska tonalne zostaną przedstawione na wybranych, reprezentatywnych przykładach.