One of the ways that the site works, one of the things that I thought about in developing the curriculum is ways to challenge that sense of flow. ![]() ![]() It is argued that difficulties in binaural integration are due not to processing limitations, but to a mechanism that is invoked under certain conditions to prevent confusion in monitoring individual sound sources.- The fundamentals we cover here help us establish, maintain tone, maintain good rhythmically informed playing, and overall musicality. Onset-offset asynchronies between the drone and melody components resulted in performance levels between those where the drone and melody components were synchronous and those where the melody switched between ears without an accompanying drone. This improvement in performance cannot be attributed to processing the harmonic relationships between melody and drone, since when, instead, the drone was presented to the same ear as the melody component, performance was at chance. Yet when the component tones of the melody were distributed between the ears, performance was largely nullified when a drone (i.e., a lower constantfrequency tone) was presented to the ear opposite that receiving the melody component. When these sequences were presented binaurally, excellent performance was obtained. Listeners identified melodic configurations formed by rapid sequences of tones. ![]() ![]() read more read lessĪbstract: It has been argued that there is a limit to the rate at which we can switch attention between ears in monitoring auditory information. Abstract: Over the past two decades or so, interest in musical acoustics appears to have been increasing rapidly We now have available several collections of reprinted technical articles (Hutchins 1975, 1976, Kent 1977), together with a large number of textbooks, of which those most suitable for citation in this review are by Olson (1967), Backus (1969), Nederveen (1969), and Benade (1976) The mathematical foundations of the subject were laid primarily by Lord Rayleigh (1896) and are well treated in such standard texts as Morse (1948) and Morse & Ingard (1968) This review covers a much more restricted field than this preliminary bibliography might suggest Among all the varieties of musical instruments I concentrate on those capable of producing a steady sound that is maintained by a flow of air, and even within this family I am interested not so much in the design and behavior of the instrument as a whole but rather in the details of the air flow that are responsible for the actual tone production Although musical instruments function as closely integrated systems, it is convenient and indeed almost essential for their analysis to consider them in terms of at least two interacting subsystems, as shown in Figure 1 The first of these is the primary resonant system, which consists of a column of air, confined by rigid walls of more or less complex shape and having one or more openings Such a system is generally not far from linear in its behavior and it can be treated, at least in principle, by the classical methods of acoustics The second subsystem is the airdriven generator that excites the primary resonator This subsystem is generally.
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |