The clarinet tonehole model developed by Keefe [1981] is parametrized as the cascade of a series reactance, a shunt complex impedance, and another series reactance. The transmission matrix description of this two-port tonehole model is given by the product of the transmission matrices for each of the three impedances. For implementation in a digital waveguide model, these ”lumped” parameters of...

Most digital waveguide models of woodwind instruments to date have provided only basic control parameters such as frequency, breath pressure, and vibrato. It is clear that if these models are to gain popularity as real-time performance synthesizers or as composition tools, more flexibility is necessary. This paper discusses the implementation of expressive controls for flutter tonguing, growlin...

Articulating notes on the clarinet requires control of many factors, one which is behavior tongue. It hypothesized that mechanisms to produce in altissimo (highest) register involves lowering tongue dorsum. The study sought answer question whether different tonguing techniques interfered with required dorsum this register, making adequate note production difficult. Four professional players per...

This article presents quantitative results from movement analysis of several clarinet performers with respect to non-obvious or ancillary gestures produced while playing a piece. The comparison of various performances of a piece by the same clarinetist shows a striking consistency of movement patterns, as well as performances of the same piece with different expressive characteristics. Differen...

When generating musical sound on a digital computer, it is important to have a good model whose parameters provide a rich source of meaningful sound transformations. Three basic model types are in prevalent use today for musical sound generation: instrument models, spectrum models, and abstract models. Instrument models attempt to parametrize a sound at its source, such as a violin, clarinet, o...

The Musical Emotional Bursts (MEB) consist of 80 brief musical executions expressing basic emotional states (happiness, sadness and fear) and neutrality. These musical bursts were designed to be the musical analog of the Montreal Affective Voices (MAV)-a set of brief non-verbal affective vocalizations portraying different basic emotions. The MEB consist of short (mean duration: 1.6 s) improvisa...

In building a machine to detect and segregate individual components in sound mixtures, the best example to copy is the human auditory system. Several models of auditory organization implement various rules of psychoacoustic grouping [Breg90]; we propose in addition to model auditory inference as exhibited in the well-known ‘phonemic restoration illusion’ of [Warr70]. A hierarchy of abstracted f...