This work presents a multidisciplinary approach to vibrotactile perception, applying linguistic methods musical acoustics. We are interested more particularly in the sense of touch as part multisensory experience playing instrument. Six words and their inflections chosen from literature acoustics dealing with perception: “comfort”, “dynamics”, “response”, “feeling”, “touch” “vibration”. Their u...

This chapter reviews selected methods for pitch determination of speech and music signals. As both these signals are time variant we first define what is subsumed under the term pitch. Then we subdivide pitch determination algorithms (PDAs) into short-term analysis algorithms, which apply some spectral transform and derive pitch from a frequency or lag domain representation, and time-domain alg...

discussed, in particular its relation to the work of its cesses and proportions, and, in the case of his first orginator, Iannis Xenakis, to the science of acoustics and to large-scale works, the preparation of complete the development of an intuitive graphic imagery. A possible graphic scores that had to be laboriously transcribed pedagogical approach to musical creation using the into convent...

The analysis of historical or ethnical musical instruments can provide means to verify and broaden our knowledge on musical acoustics. The Turkish tanbur, a member of evidently the oldest group of lute instruments, is a good example. Some important features of the instrument include its body resonator (a wooden hemispherical shell covered with a shallow plate) without a sound hole, its violin-l...

This paper presents the timbre model, a signal model which has been built to better understand the relationship between the perception of timbre and the musical sounds most commonly associated with timbre. In addition, an extension to the timbre model incorporating expressions is introduced. The presented work therefore has relation to a large field of science, including auditory perception, si...

Collision modelling represents an active field of research in musical acoustics. Common examples collisions include the hammer-string interaction piano, strings with fretboards and fingers, membrane-wire snare drum, reed-beating effects wind instruments, others. At level, many current approaches make use conservative potentials form power-laws, discretisations proposed for such models rely all ...

Constraint Programming (CP) allows to model and solve combinatory problems by specifying some partial information on variables, unknowns of the problem. We have studied musical constraint problems, either stated by contemporary composers, or of musical analysis, or instrumentation, in collaboration with IRCAM (french Institute for Research and Coordination Acoustics / Music). Fourteen such prob...

Block-based physical modeling is a methodology for modeling physical systems with different subsystems. Each subsystem may be modeled according to a different paradigm. Connecting systems of diverse nature in the discrete-time domain requires a unified interconnection strategy. Such a strategy is provided by the well-known wave digital principle, which had been introduced initially for the desi...

Current physics-based synthesis techniques tend to synthesize the interaction between different functional elements of a sound generator by treating it as a single system. However, when dealing with the physical modeling of complex sound generators this choice raises questions about the resulting flexibility of the adopted synthesis strategy. One way to overcome this problem is to approach it b...