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Articles 1 - 9 of 9
Full-Text Articles in Architecture
Trumpet Directivity From A Rotating Semicircular Array, Samuel D. Bellows, Joseph E. Avila, Timothy W. Leishman
Trumpet Directivity From A Rotating Semicircular Array, Samuel D. Bellows, Joseph E. Avila, Timothy W. Leishman
Directivity
The directivity function of a played musical instrument describes the angular dependence of its acoustic radiation and diffraction about the instrument, musician, and musician’s chair. Directivity influences sound in rehearsal, performance, and recording environments and signals in audio systems. Because high-resolution, spherically comprehensive measurements of played musical instruments have been unavailable in the past, the authors have undertaken research to produce and share such data for studies of musical instruments, simulations of acoustical environments, optimizations of microphone placements, and other applications. The authors acquired the data from repeated chromatic scales produced by a trumpet played at mezzo-forte in an anechoic …
Gamelan Gong Directivity Dataset, Samuel D. Bellows, Dallin T. Harwood, Kent L. Gee, Micah R. Shepherd
Gamelan Gong Directivity Dataset, Samuel D. Bellows, Dallin T. Harwood, Kent L. Gee, Micah R. Shepherd
Directivity
No abstract provided.
Broken Chair Chaconne, Anthony Elia
Broken Chair Chaconne, Anthony Elia
Bridwell Library Research
In March 2022, I was working at my computer when this increasingly rickety chair collapsed beneath me! It was time to get back to responsible eating and get a new chair. But amid the intensive planning and production of The Festival of Form: John Cage and the Infinite Human events, it occurred to me that I could play around with the ideas of music, sound, noise, and silence, and particularly the unconventional experiments of notation and scoring. Shortly after this chair broke, I took a sharpie pen to it and began to notate it like a score, along with some …
Kemar Hats Head Orientation Directivity, Samuel D. Bellows, Timothy W. Leishman
Kemar Hats Head Orientation Directivity, Samuel D. Bellows, Timothy W. Leishman
Directivity
This directivity data set for a KEMAR head head-and-torso simulator (HATS) includes head orientations in 14 directions in 5° steps starting from 0° to 40° and then in 10° steps from 40° to 90°. The full spherical measurements followed at an a = 0.97 m radius with the mouth aperture at the spherical center. The sampling density and distribution followed the AES 5° dual-equiangular sampling standard, omitting the south pole (θ = 180°). Thus, each spherical directivity assessment included 36 polar-angle θ samples and 72 azimuthal-angle ϕ samples. The presented data include 22 1/3-octave bands, ranging from 80 Hz …
Recording Studios Since 1970, Eliot Bates
Recording Studios Since 1970, Eliot Bates
Publications and Research
Like many other specialty, purpose-built spaces, we tend to think of recording studios in instrumental terms, meaning that the space is defined in relation to the nominal type of work that the space is instrumental towards. While audio recordings have been made in spaces since 1877, not all of these spaces tend to be regarded as recording studios, partly since so many recordings were made in environments designed for other types of work; indeed, much of the first seventy years of US and UK recorded music history transpired at radio stations, concert halls and lightly treated mixed-use commercial spaces (e.g. …
Quantification Of Time Varying Directivity Of Musical Instruments, Madeline A. Davidson
Quantification Of Time Varying Directivity Of Musical Instruments, Madeline A. Davidson
Durham School of Architectural Engineering and Construction: Dissertations, Thesis, and Student Research
Static directivity patterns of musical instruments have been mapped somewhat extensively, but little research has been done in analyzing the directivity patterns of musical instruments over time as they play. Directivity patterns can be affected by variables such as instrument, frequency, dynamics, and style. This thesis proposes a set of quantification methods of time varying directivity, all derived from the maximum Directivity Index analyzed at consecutive short-duration time windows comprising the musical excerpt. The instrumental recordings used in this paper are taken in an anechoic chamber using either a 5, 13, or 32 multichannel setup. From the values of maximum …
What Studios Do, Eliot Bates
What Studios Do, Eliot Bates
Publications and Research
This essay is focused around a seemingly simple question – what do recording studios do? First, a clarification. I am not primarily asking “what are studios” or “what do people do in studios,” two comparatively straightforward questions that are tangentially addressed in academic and trade writing. Rather, I wish to consider some of the ways in which the studio itself shapes the kinds of social and musical performances and interactions that transpire within. I contend that studios must be understood simultaneously as acoustic environments, as meeting places, as container technologies, as a system of constraints on vision, sound and mobility, …
Unlv Magazine, Cate Weeks, Tony Allen, Shane Bevell, Diane Russell, Brendan Buhler, Afsha Bawany, Erin O'Donnell
Unlv Magazine, Cate Weeks, Tony Allen, Shane Bevell, Diane Russell, Brendan Buhler, Afsha Bawany, Erin O'Donnell
UNLV Magazine
No abstract provided.
Inside Unlv, Diane Russell, Cate Weeks, David Ashley, Mamie Peers, Lori Bachand, Shane Bevell, Regina Vaccari, Jennifer Vaughan
Inside Unlv, Diane Russell, Cate Weeks, David Ashley, Mamie Peers, Lori Bachand, Shane Bevell, Regina Vaccari, Jennifer Vaughan
Inside UNLV
No abstract provided.