Rhythm and transforms
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| Format: | Medienkombination Buch |
| Sprache: | English |
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Springer
2007
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| Ausgabe: | 1. ed. |
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| LEADER | 00000nom a2200000 c 4500 | ||
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| 016 | 7 | |a 981183638 |2 DE-101 | |
| 020 | |a 9781846286391 |c : ca. EUR 64.15 (freier Pr.) |9 978-1-84628-639-1 | ||
| 024 | 3 | |a 9781846286391 | |
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| 084 | |a PHY 827f |2 stub | ||
| 084 | |a ELT 782f |2 stub | ||
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| 100 | 1 | |a Sethares, William A. |d 1955- |e Verfasser |0 (DE-588)115370781 |4 aut | |
| 245 | 1 | 0 | |a Rhythm and transforms |c William A. Sethares |
| 250 | |a 1. ed. | ||
| 264 | 1 | |a London |b Springer |c 2007 | |
| 300 | |a XIII, 336 S. |b Ill., graph. Darst. |c 235 mm x 155 mm |e CD-ROM (12 cm) | ||
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Datensatz im Suchindex
| DE-BY-TUM_call_number | 0202/PHY 827f 2009 A 426 |
|---|---|
| DE-BY-TUM_katkey | 1658068 |
| DE-BY-TUM_media_number | 040020778816 |
| _version_ | 1816712870513082368 |
| adam_text | Contents
1
What is Rhythm?
......................................... 1
1.1
Rhythm, Periodicity, Regularity, Recurrence
................ 3
1.2
Perception and Time Scale
............................... 6
1.3
Illusions of Sound Perception
............................. 9
1.3.1
Illusions of Pitch
.................................. 11
1.3.2
Why Illusions Happen
............................. 12
1.3.3
Why Illusions Matter
.............................. 14
1.4
Beat Tracking
........................................... 14
1.5
Why Study Rhythm?
.................................... 16
1.6
Overview of Rhythm and Transforms
....................... 19
1.7
Sound Examples: Teasers
................................. 21
2
Visualizing and Conceptualizing Rhythm
.................. 23
2.1
Symbolic Notations
...................................... 24
2.1.1
Lyrical Notation
.................................. 24
2.1.2
Musical Notation
.................................. 26
2.1.3
Necklace Notation
................................. 28
2.1.4
Numerical Notations
............................... 29
2.1.5
Functional Notation
............................... 31
2.1.6
Drum/Percussion
Tablature
........................ 31
2.1.7
Schillinger s Notation
.............................. 32
2.1.8
MIDI Notation
.................................... 33
2.1.9
Harmonic Rhythm
................................. 36
2.1.10
Dance Notation
................................... 38
2.1.11
Juggling Notation
................................. 39
2.2
Literal Notations
........................................ 41
2.2.1
Waveforms
....................................... 42
2.2.2
Spectrograms
..................................... 43
2.2.3
Granular Representations
.......................... 46
2.3
Visual and Physical Metaphors for Rhythm
................. 49
Contents
Varieties of Rhythmic Experience
.......................... 53
3.1
Fluid, Unmeasured, and
Beatless
.......................... 54
3.2
Meter
.................................................. 54
3.3
Additive vs. Divisive
..................................... 57
3.4
Timelines
............................................... 58
3.5
The Clave
.............................................. 62
3.6
Samba
................................................. 63
3.7
Vodou
Drumming
....................................... 63
3.8
Tala
................................................... 65
3.9
Polyrhythms
............................................ 67
3.10
Inner Melody and the
Gamelan
........................... 69
3.11
Punk
................................................... 71
3.12
Hip-Hop
................................................ 72
3.13
Simultaneous Tempos
.................................... 74
3.14
Synthesis
............................................... 74
Auditory Perception
....................................... 77
4.1
How the Ear Works
...................................... 78
4.1.1
Perception of Loudness
............................. 80
4.1.2
Critical Band and JND
............................ 81
4.1.3
Models of the Auditory System
..................... 82
4.2
Auditory Boundaries
..................................... 84
4.3
Regular Successions
...................................... 86
4.3.1
Perceptions of Rate
................................ 87
4.3.2
Regular Successions as a Single Perception
............ 89
4.3.3
Perceptual Cues for Clustering of Notes
.............. 91
4.3.4
Perceptual Cues for Clustering of Rhythms
........... 92
4.3.5
Filled vs. Empty Durations
......................... 93
4.3.6
Framework for Rhythm Perception
.................. 94
4.3.7
A Rhythmic Theory of Perception
................... 96
4.3.8
Rhythm Without Notes
............................ 97
4.3.9
Changes to Regular Successions
..................... 99
4.3.10
Multiple Regular Successions
.......................102
4.3.11
One-hundred Metronomes
..........................102
4.4
Feature Vectors: Perceptually Motivated Preprocessing
.......103
4.4.1
Critical Band Feature Vectors
.......................103
4.4.2
Listening to Feature Vectors 1
.......................104
4.4.3
Extracting Auditory Boundaries from a Signal
........105
4.4.4
Listening to Feature Vectors II
......................108
4.5
Perception vs. Reality
....................................108
Contents xi
5
Transforms
................................................
Ill
5.1
Inner Product: The Angle Between Two Signals
.............112
5.2
Correlation and Autocorrelation
...........................113
5.3
The Fourier Transform
...................................115
5.3.1
Frequency via the DFT/FFT
.......................117
5.3.2
Three Mistakes
...................................119
5.3.3
Short-time Fourier Transform
.......................122
5.3.4
The Phase Vocoder
................................124
5.4
Wavelet Transforms
......................................128
5.5
Periodicity Transforms
...................................131
5.5.1
Periodic Subspaces
................................131
5.5.2
Projection onto Periodic Subspaces
..................134
5.5.3
Algorithms for Periodic Decomposition
...............136
5.5.4
Signal Separation
..................................140
5.5.5
Choice of Effective Sampling Rate
...................143
5.5.6
Discussion of PT
..................................144
5.6
Summary
...............................................145
6
Adaptive Oscillators
.......................................147
6.1
Entrainment and Synchronization
.........................148
6.2
Systems Notation
........................................150
6.3
Oscillators
..............................................152
6.4
Adaptive Oscillators
.....................................157
6.4.1
The Phase Locked Loop
............................158
6.4.2
Adaptive Wavetable Oscillators
.....................161
6.4.3
Adaptive Phase-reset Oscillators
....................165
6.4.4
Adaptive Clocking
.................................166
6.5
Behavior of Adaptive Oscillators
..........................168
6.5.1
Regular Pulse Trains
...............................169
6.5.2
Irregular Pulse Trains
..............................171
7
Statistical Models
.........................................175
7.1
Probability and Inference
.................................176
7.2
Statistical Models of Periodic Phenomenon
.................177
7.3
Regularities in Binary Sequences
..........................179
7.4
A Model for Symbolic Pulse Detection
.....................182
7.5
A Model for Symbolic Pulse Tracking
......................184
7.6
A Model for Audio Feature Vectors
........................188
8
Automated Rhythm Analysis
..............................193
8.1
Analysis From a Musical Score: La Marseillaise
.............194
8.1.1
Rule-based Approaches
.............................195
8.1.2
Transform Techniques
..............................196
8.1.3
Statistical Methods
................................198
8.1.4
Adaptive Oscillators
...............................199
xii Contents
8.2 MIDI
Beat Tracking
.....................................201
8.2.1
Adaptive Oscillators
...............................203
8.2.2
Statistical Methods
................................206
8.3
Audio Beat Tracking
.....................................209
8.3.1
Transform Techniques
..............................209
8.3.2
Statistical Beat Tracking
...........................215
8.3.3
Beat Tracking Using Adaptive Oscillators
............219
8.4
Summary
...............................................221
9
Beat-based Signal Processing
..............................223
9.1
Manipulating the Beat
...................................224
9.2
Beat-synchronous Filters
.................................227
9.3
Beat-based Time Reversal 1
...............................229
9.4
Beat-based Averaging
....................................229
9.5
Separating Signal from Noise
..............................230
9.6
Spectral Mappings
.......................................233
9.6.1
Mapping to a Harmonic Template
...................234
9.6.2
Mapping to a
η
-tet
Template
.......................236
9.6.3
The Make Believe Rag
.............................239
9.7
Nonlinear Beat-based Processing
..........................240
9.7.1
Spectral Band Filter
...............................240
9.7.2
Spectral Freeze
....................................240
9.7.3
The Harmonic Sieve
...............................241
9.7.4
Instantaneous Harmonic Templates
..................243
9.8
The Phase Vocoder vs. the Beat-synchronous FFT
...........244
9.8.1
Implementations
..................................244
9.8.2
Perceptual Comparison
............................248
10
Musical Composition and
Recomposition
..................251
10.1
Friend of the Devil of the Friend
..........................253
10.2
New Pieces from Old
...................................253
10.3
The Maple Leaf Waltz, Julie s March, and Take Four
........254
10.4
Beat-based Time Reversal II
..............................256
10.5
Beat Randomization
.....................................257
10.6
Beat-synchronous Sound Collages
..........................259
10.7
Beat-synchronous Cross-performance
.......................260
11
Musical Analysis via Feature Scores
.......................263
11.1
Accuracy of Performance
.................................264
11.2
Beat Regularization
......................................268
11.3
Beat-synchronous Feature Scores
..........................269
11.4
Julie s Waltz: An Analysis
................................273
Contents xiii
12
Speculations, Interpretations, Conclusions
.................277
12.1
Which Comes First, the Notes or the Beat?
.................277
12.2
Name That Tune
........................................279
12.3
Variations on a Theme
...................................281
12.4
What is a Song?
.........................................282
12.5
Time and Perceived Time
................................285
12.6
The Technologies for Finding Patterns
.....................287
Beat Tracked Musical Performances
...........................289
Glossary
.......................................................291
Sound Examples on the CD-ROM
.............................295
Bibliography
...................................................309
Discography
...................................................321
World Wide Web and Internet References
.....................323
Index
..........................................................325
|
| adam_txt |
Contents
1
What is Rhythm?
. 1
1.1
Rhythm, Periodicity, Regularity, Recurrence
. 3
1.2
Perception and Time Scale
. 6
1.3
Illusions of Sound Perception
. 9
1.3.1
Illusions of Pitch
. 11
1.3.2
Why Illusions Happen
. 12
1.3.3
Why Illusions Matter
. 14
1.4
Beat Tracking
. 14
1.5
Why Study Rhythm?
. 16
1.6
Overview of Rhythm and Transforms
. 19
1.7
Sound Examples: Teasers
. 21
2
Visualizing and Conceptualizing Rhythm
. 23
2.1
Symbolic Notations
. 24
2.1.1
Lyrical Notation
. 24
2.1.2
Musical Notation
. 26
2.1.3
Necklace Notation
. 28
2.1.4
Numerical Notations
. 29
2.1.5
Functional Notation
. 31
2.1.6
Drum/Percussion
Tablature
. 31
2.1.7
Schillinger's Notation
. 32
2.1.8
MIDI Notation
. 33
2.1.9
Harmonic Rhythm
. 36
2.1.10
Dance Notation
. 38
2.1.11
Juggling Notation
. 39
2.2
Literal Notations
. 41
2.2.1
Waveforms
. 42
2.2.2
Spectrograms
. 43
2.2.3
Granular Representations
. 46
2.3
Visual and Physical Metaphors for Rhythm
. 49
Contents
Varieties of Rhythmic Experience
. 53
3.1
Fluid, Unmeasured, and
Beatless
. 54
3.2
Meter
. 54
3.3
Additive vs. Divisive
. 57
3.4
Timelines
. 58
3.5
The Clave
. 62
3.6
Samba
. 63
3.7
Vodou
Drumming
. 63
3.8
Tala
. 65
3.9
Polyrhythms
. 67
3.10
Inner Melody and the
Gamelan
. 69
3.11
Punk
. 71
3.12
Hip-Hop
. 72
3.13
Simultaneous Tempos
. 74
3.14
Synthesis
. 74
Auditory Perception
. 77
4.1
How the Ear Works
. 78
4.1.1
Perception of Loudness
. 80
4.1.2
Critical Band and JND
. 81
4.1.3
Models of the Auditory System
. 82
4.2
Auditory Boundaries
. 84
4.3
Regular Successions
. 86
4.3.1
Perceptions of Rate
. 87
4.3.2
Regular Successions as a Single Perception
. 89
4.3.3
Perceptual Cues for Clustering of Notes
. 91
4.3.4
Perceptual Cues for Clustering of Rhythms
. 92
4.3.5
Filled vs. Empty Durations
. 93
4.3.6
Framework for Rhythm Perception
. 94
4.3.7
A Rhythmic Theory of Perception
. 96
4.3.8
Rhythm Without Notes
. 97
4.3.9
Changes to Regular Successions
. 99
4.3.10
Multiple Regular Successions
.102
4.3.11
One-hundred Metronomes
.102
4.4
Feature Vectors: Perceptually Motivated Preprocessing
.103
4.4.1
Critical Band Feature Vectors
.103
4.4.2
Listening to Feature Vectors 1
.104
4.4.3
Extracting Auditory Boundaries from a Signal
.105
4.4.4
Listening to Feature Vectors II
.108
4.5
Perception vs. Reality
.108
Contents xi
5
Transforms
.
Ill
5.1
Inner Product: The Angle Between Two Signals
.112
5.2
Correlation and Autocorrelation
.113
5.3
The Fourier Transform
.115
5.3.1
Frequency via the DFT/FFT
.117
5.3.2
Three Mistakes
.119
5.3.3
Short-time Fourier Transform
.122
5.3.4
The Phase Vocoder
.124
5.4
Wavelet Transforms
.128
5.5
Periodicity Transforms
.131
5.5.1
Periodic Subspaces
.131
5.5.2
Projection onto Periodic Subspaces
.134
5.5.3
Algorithms for Periodic Decomposition
.136
5.5.4
Signal Separation
.140
5.5.5
Choice of Effective Sampling Rate
.143
5.5.6
Discussion of PT
.144
5.6
Summary
.145
6
Adaptive Oscillators
.147
6.1
Entrainment and Synchronization
.148
6.2
Systems Notation
.150
6.3
Oscillators
.152
6.4
Adaptive Oscillators
.157
6.4.1
The Phase Locked Loop
.158
6.4.2
Adaptive Wavetable Oscillators
.161
6.4.3
Adaptive Phase-reset Oscillators
.165
6.4.4
Adaptive Clocking
.166
6.5
Behavior of Adaptive Oscillators
.168
6.5.1
Regular Pulse Trains
.169
6.5.2
Irregular Pulse Trains
.171
7
Statistical Models
.175
7.1
Probability and Inference
.176
7.2
Statistical Models of Periodic Phenomenon
.177
7.3
Regularities in Binary Sequences
.179
7.4
A Model for Symbolic Pulse Detection
.182
7.5
A Model for Symbolic Pulse Tracking
.184
7.6
A Model for Audio Feature Vectors
.188
8
Automated Rhythm Analysis
.193
8.1
Analysis From a Musical Score: La Marseillaise
.194
8.1.1
Rule-based Approaches
.195
8.1.2
Transform Techniques
.196
8.1.3
Statistical Methods
.198
8.1.4
Adaptive Oscillators
.199
xii Contents
8.2 MIDI
Beat Tracking
.201
8.2.1
Adaptive Oscillators
.203
8.2.2
Statistical Methods
.206
8.3
Audio Beat Tracking
.209
8.3.1
Transform Techniques
.209
8.3.2
Statistical Beat Tracking
.215
8.3.3
Beat Tracking Using Adaptive Oscillators
.219
8.4
Summary
.221
9
Beat-based Signal Processing
.223
9.1
Manipulating the Beat
.224
9.2
Beat-synchronous Filters
.227
9.3
Beat-based Time Reversal 1
.229
9.4
Beat-based Averaging
.229
9.5
Separating Signal from Noise
.230
9.6
Spectral Mappings
.233
9.6.1
Mapping to a Harmonic Template
.234
9.6.2
Mapping to a
η
-tet
Template
.236
9.6.3
The Make Believe Rag
.239
9.7
Nonlinear Beat-based Processing
.240
9.7.1
Spectral Band Filter
.240
9.7.2
Spectral Freeze
.240
9.7.3
The Harmonic Sieve
.241
9.7.4
Instantaneous Harmonic Templates
.243
9.8
The Phase Vocoder vs. the Beat-synchronous FFT
.244
9.8.1
Implementations
.244
9.8.2
Perceptual Comparison
.248
10
Musical Composition and
Recomposition
.251
10.1
Friend of the Devil of the Friend
.253
10.2
"New" Pieces from Old
.253
10.3
The Maple Leaf Waltz, Julie's March, and Take Four
.254
10.4
Beat-based Time Reversal II
.256
10.5
Beat Randomization
.257
10.6
Beat-synchronous Sound Collages
.259
10.7
Beat-synchronous Cross-performance
.260
11
Musical Analysis via Feature Scores
.263
11.1
Accuracy of Performance
.264
11.2
Beat Regularization
.268
11.3
Beat-synchronous Feature Scores
.269
11.4
Julie's Waltz: An Analysis
.273
Contents xiii
12
Speculations, Interpretations, Conclusions
.277
12.1
Which Comes First, the Notes or the Beat?
.277
12.2
Name That Tune
.279
12.3
Variations on a Theme
.281
12.4
What is a Song?
.282
12.5
Time and Perceived Time
.285
12.6
The Technologies for Finding Patterns
.287
Beat Tracked Musical Performances
.289
Glossary
.291
Sound Examples on the CD-ROM
.295
Bibliography
.309
Discography
.321
World Wide Web and Internet References
.323
Index
.325 |
| any_adam_object | 1 |
| any_adam_object_boolean | 1 |
| author | Sethares, William A. 1955- |
| author_GND | (DE-588)115370781 |
| author_facet | Sethares, William A. 1955- |
| author_role | aut |
| author_sort | Sethares, William A. 1955- |
| author_variant | w a s wa was |
| building | Verbundindex |
| bvnumber | BV023040325 |
| classification_rvk | LT 57790 |
| classification_tum | PHY 827f ELT 782f |
| ctrlnum | (OCoLC)643101149 (DE-599)BVBBV023040325 |
| discipline | Physik Biologie Elektrotechnik Musikwissenschaft |
| discipline_str_mv | Physik Biologie Elektrotechnik Musikwissenschaft |
| edition | 1. ed. |
| format | Kit Book |
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| genre | (DE-588)4139307-7 CD-ROM gnd-carrier |
| genre_facet | CD-ROM |
| id | DE-604.BV023040325 |
| illustrated | Illustrated |
| index_date | 2024-07-02T19:20:24Z |
| indexdate | 2024-11-25T17:26:05Z |
| institution | BVB |
| isbn | 9781846286391 |
| language | English |
| oai_aleph_id | oai:aleph.bib-bvb.de:BVB01-016243884 |
| oclc_num | 643101149 |
| open_access_boolean | |
| owner | DE-12 DE-91G DE-BY-TUM DE-11 |
| owner_facet | DE-12 DE-91G DE-BY-TUM DE-11 |
| physical | XIII, 336 S. Ill., graph. Darst. 235 mm x 155 mm CD-ROM (12 cm) |
| publishDate | 2007 |
| publishDateSearch | 2007 |
| publishDateSort | 2007 |
| publisher | Springer |
| record_format | marc |
| spellingShingle | Sethares, William A. 1955- Rhythm and transforms Rhythmus (DE-588)4132330-0 gnd Digitaltechnik (DE-588)4012303-0 gnd Datenverarbeitung (DE-588)4011152-0 gnd Metrik Musik (DE-588)4169744-3 gnd Akustik (DE-588)4000988-9 gnd Musik (DE-588)4040802-4 gnd |
| subject_GND | (DE-588)4132330-0 (DE-588)4012303-0 (DE-588)4011152-0 (DE-588)4169744-3 (DE-588)4000988-9 (DE-588)4040802-4 (DE-588)4139307-7 |
| title | Rhythm and transforms |
| title_auth | Rhythm and transforms |
| title_exact_search | Rhythm and transforms |
| title_exact_search_txtP | Rhythm and transforms |
| title_full | Rhythm and transforms William A. Sethares |
| title_fullStr | Rhythm and transforms William A. Sethares |
| title_full_unstemmed | Rhythm and transforms William A. Sethares |
| title_short | Rhythm and transforms |
| title_sort | rhythm and transforms |
| topic | Rhythmus (DE-588)4132330-0 gnd Digitaltechnik (DE-588)4012303-0 gnd Datenverarbeitung (DE-588)4011152-0 gnd Metrik Musik (DE-588)4169744-3 gnd Akustik (DE-588)4000988-9 gnd Musik (DE-588)4040802-4 gnd |
| topic_facet | Rhythmus Digitaltechnik Datenverarbeitung Metrik Musik Akustik Musik CD-ROM |
| url | http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=016243884&sequence=000002&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA |
| work_keys_str_mv | AT sethareswilliama rhythmandtransforms |