ROCHESTER PHY 103 - Lecture Notes on Rhythm and Meter

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Rhythm&and& Meter&Note&Percep2on&of&groupings&&&Mike&Oldfield ,&Tubular&bells,&theme&song&for&the&Exorcist&Beat&• Beat&–&underlying&even&pulse&common&in&many&types&of&music&• Range&typical&of&that&given&on&a&metronome&&- frequency&&30&to&200&beats/minute&OR&0.5J4&Hz&&&- periods&between&250ms&and&&few&seconds.&- For&clicks&closer&together&than&100&ms,&they&run&together.&- Separated&lo nger&than&a&few&seconds&we&don’t&feel&that&they&are&associated&- same&range&as&sung&vibratro&or&tremolo,&or&heartbeat&- beats&we&feel&are&slower&than&frequencies&we&hear&• We&tend&to&move&spontaneously&to&the&beat.&&&• Newborn&babies&respond&to&the&beat&(e.g.&Winkler&et&al.&2009&–&recent&press&on &thi s,&as&seen&from&electric&signals&picked&up&near&the&brain).&Areas&of&the&brain&(as&seen&by&fMRI&(func2onal&magneto&resonance&imaging)&&respond&to&regular&beats&Grahn&&&Bre\&(2007),&Journal&Cogni2ve&Science&&19:5,&893&Expecta2ons&and&&Tapping&exp eriments&• First&listen.&• Then&everybody&tap&aber&the&sound&file&ends&• This&is&the&first&beat&pa\ern&in&the&next&figure&and&based&on&one&of&Dessain’s&experiments&Expectancy&of&next&beat&Peter&Dessain,&Music&Percep2on:&An&Interdisciplinary&Journal,&Vol.&9,&No.&4&(1992),&pp.&439J&454&tapping&experiments&Tapping&experiments&Dessain&92&&Time&shrinking&&• Dura2on &of&sh ort&2me&intervals&is&conspicuously&underes2mated&if&they&are&preceded&by&shorter&neighboring&2me&inter vals.&Figure&by&Petra&Wagner&and&Andreas&Windmann&Sound&clip&from&&&h\p://listverse.com/2008/02/29/topJ10JincredibleJsoundJillusions/&Subjec2ve&dura2on&Figure&from&Psychoacous2cs&by&Zwicker&and&Fastl&Note&decaying&envelopes&are&not&heard&as&they&are&equivalent&to&echoes&and&so&are&suppressed.&&&Because&of&this&we&would&have&expected&that&the&flat&top&would&be&half&th e&interval&for&the&percep2on&of&1/8th&note.&&But&this&is&not&the&case.&&&&Groupin gs&Images&and&three&sound&clips&from&W.&Sethares&book&on&Rhythm&and&Transform&with&different&2mbres&19/20&Necklace&Nota2on&Images&and&clips&from&Rhythm&and&Transform&by&W.&Sethares&With&different&2mbre&emphasis&the&perceived&star2ng&posi2on&varies&Necklace&Nota2on&Images&and&clips&from&Rhythm&and&Transform&by&W.&Sethares&Numerical&Nota2ons&Image&and&clip&from&Rhythm&and&Transform&by&W.&Sethares&MIDI&event&data&&MIDI&=&Musical4Instrument4Digital4Interface)&&MIDI4DATA4CHANNEL&TIME&NOTE&DURATION&VELOCITY&Measures&beat&2cks&beats+2cks&velocity/off&1&4:3:0&F2&1:100&100:64&A&certain&number&of&2cks&makes&up&each&beat&image&from&audacity&Tabla&Talas&Image&from&h\p://www.chandrakantha.com/tablasite/quick.htm&Science&of&Tabla&Image&and&clip&from&h\p://www.chandrakantha.com/tala_taal/jhoomra/jhumra.html&Figure&From&Rhythm&and&Transforms&by&W.&Sethares&Jhumra&Hierarchy&of&levels&David&Rosenthal ,&Computer&Music&Journal,&Vol.&16,&No.&1&(1992),&pp.&64J76&Measures/Beats/Tatums&• Measures:&groupi ngs&of &beats,&repea2ng&&Cyclic&pa\ern&of&rhythm&if&repe22ve&• Beats:&underlying&pulse&• Tatums&or&Ticks.&Small&unit&of&2me.&&Beats&and&note&onsets&are&described&in&units&of&tatums&from&the&beginning&of&measure&or&cycle&Above&is&an&example&of&a&hierarchy&• Classifica2on&of&a&series&of&onsets&into&a&type&of&rhythm&based&on&minimizing&the&complexity&of&the&required&hierarchy&or&minimizing&the&syncopa2on.&Micro2ming&measurements&&for&a&Samba&While&we&might&perceive&a&rhythm&in&terms&of&regular&intervals,&however&musicians&may&with&systema2c&small&devia2ons&from&calculated&intervals/dura2ons&&Fabien&Gouyon,&SBCM&2007&proceedings&&Micro2ming&Varia2ons&Fabien&Gouyon,&SBCM&2007&proceedings&&systema2c&shibs&in&2ming&of&order&20ms&associated&with&musicianship&and&musical&style/genre&Bar&Wrapping&Visualiza2on &of&Meter&Ma\hew&Wright&et&al.&08&ISMIR&2008&–&Session&5c&&Tempo&is&varying&Beat&iden2fica2on&don e&in&sobware&Micro2min g&varia2ons&then&shown&in&this&way&tempo&2me&Musicianship&in&2ming&Note&double&hits&&by&bass&Percy&Jones&Differences&in&2ming&of&bass&compared&to&drum&make&each&instrument&stand&out&yet&rhythm&is&s2ll&strong&Rubato &• Harpsichord& and&rubato,&• someday&a&good&clip&will&illustrate&this!&Onsets&Opposite&of&synthesis&&Groups&of&overtones&moving&together&appear&as&one&sound&Fast&clicks&appear&as&one&element&&&&Any$factors$that$can$create$auditory$boundaries$can$create$pa3erns$in$4me$that$can$be$perceived$as$rhy thmic$(following$Sethares’s$statement$in$4.3.8).$JJ&Boundaries&=&Quick&Varia2ons&in&2mbre,&pitch&or&loudness&Algorith ms&for&Finding&Onsets&Can&be&referred&to &as&Feature&vectors&• Reduce&sampling&rate&• Par22on&into&frequency&bands&• Search&for&varia2ons&in&total&energy&(volume)&spectral&mean&or&center,&spectral&dispersion&or&large&varia2ons&i n&energy&in&any&par2cular&band&• Sobware&developed&such&as&beatroot$outputs&a&MIDI&event&file&of&onsets&• With&beatroot&you&can&adjust&lo ca2on&of&individual&onsets&and&add&or&remove&them&Finding&meter&and&tempo&• For&tempo:&– Autocorrela2on&or&Fourier&methods&(J.&Brown)&– Periodicity&transforms&(Sethares)&• These&fail&if&the&tempo&is&varying&– Adap2ve&oscillators&work&if&tempo&varies&smoothly&– Percep2ve&idea&of&“internal4clock”4• Hierarchy&of&levels&to&iden2f y&meter&(Rosenthal)&• Minimiza2on&of&numb er&of&syncopa2ons&(LonguetJHi ggens&&&Lee&84)&• Sta2s2cal&models&• If&you&have&a&score&or&a&MIDI&file&then&synching&the&sound&file&may&be&more&straighsorward&• My&impression &is& that&this&is&an&ac2ve&area&of&research &Musicianship&in&rhythm&Not&captured&by&simple&descrip2ons&or&classifica2ons&of&rhythms:&&- meter&changes,&accent&changes&- accelerandos&and&ritardos &(tempo&varia2ons)&- micro2ming&varia2ons&&& &Delays&or&jumps&shibing&the&en2re&beat,&&4 4 4bending4@me4& &Displacements,&delays&or&jump&in&onsets&that&don’t&change&&the&beat&- 2mbre&varia2ons&JJJ&different&types&of&sounds&(like&different&drums)&subs2tuted&&- omissions,&doublings&of&strokes&- graces&notes&added&- rhythm&pa\ern&reset&(shibed?)&or&varied&Hacking&a&recording&&to&change&meter&• James&Bond&Theme&Song&&by&Monty&NormanJ&arranged&by&John&Barry&and&fro m&the&movie&Dr.&No&•


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ROCHESTER PHY 103 - Lecture Notes on Rhythm and Meter

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