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  • 1.
    Askenfelt, Anders
    KTH, School of Computer Science and Communication (CSC), Speech, Music and Hearing, TMH, Music Acoustics.
    Between the frog and the tip: Bowing gestures and bow-string interaction in violin playing (invited)2008In: Program abstracts for Acoustics‘08 Paris, Acoustical Society of America (ASA), 2008, p. 3656-Conference paper (Other academic)
    Abstract [en]

    The motion of the bow gives a natural visualization of a string performance. Watching the player's bowing may augment the communicative power of the music, but all relevant bow control parameters are not easy to capture by a spectator. The string player controls volume of sound and tone quality continuously by coordination of three basic bowing parameters (bow velocity, bow‐bridge distance, and bow force), which set the main conditions for the bow‐string interaction. At a more detailed level of description, the tilting of the bow, which among other things controls the effective width of the bow hair, enters into the model. On a longer time scale, pre‐planned coordination schemes ('bowing gestures'), including the basic bowing parameters and the angles between the path of the bow and the strings, builds the performance. Systems for recording bowing parameters will be reviewed and results from old and current studies on bowing gestures presented. The player's choice and coordination of bowing parameters are constrained both in attacks and 'steady‐state' according to bow‐string interaction models. Recent verifications of these control spaces will be examined. Strategies for starting notes and examples of how players do in practice will be presented and compared with listeners' preferences.

  • 2.
    Askenfelt, Anders
    KTH, School of Computer Science and Communication (CSC), Speech, Music and Hearing, TMH, Music Acoustics.
    Double Bass2010In: The Science of String Instruments / [ed] Rossing, T., Springer-Verlag New York, 2010, p. 259-277Chapter in book (Refereed)
    Abstract [en]

    The study of the acoustics of bowed instruments has for several reasons focused on the violin. A substantial amount of knowledge has been accumulated over the last century (see Hutchins 1975, 1976; Hutchins and Benade 1997). The violin is discussed in Chap. 13, while the cello is discussed in Chap. 14. The bow is discussed in Chap. 16.

  • 3.
    Askenfelt, Anders
    KTH, Superseded Departments, Speech, Music and Hearing.
    Special issue: Selected papers from the Stockholm Music Acoustics Conference - Introduction2004In: Journal of New Music Research, ISSN 0929-8215, E-ISSN 1744-5027, Vol. 33, no 3, p. 185-187Article in journal (Other academic)
  • 4.
    Askenfelt, Anders
    KTH, Superseded Departments, Speech Transmission and Music Acoustics.
    Vital statistics (Rating the quality of bows for string instruments)2002In: Strad, ISSN 0039-2049, Vol. 113, no 1348, p. 822-+Article in journal (Refereed)
  • 5.
    Askenfelt, Anders
    et al.
    KTH, Superseded Departments, Speech Transmission and Music Acoustics.
    Galembo, A. S.
    Study of the spectral inharmonicity of musical sound by the algorithms of pitch extraction2000In: Acoustical Physics, ISSN 1063-7710, E-ISSN 1562-6865, Vol. 46, no 2, p. 121-132Article in journal (Refereed)
    Abstract [en]

    The algorithms of pitch extraction are widely used in the studies of signals and, specifically, speech signals for the determination of the fundamental frequency. From the previous studies performed by Galembo and the calculations and experiments described in this paper, it follows that these methods can be adapted for the analysis and evaluation of the factors which form the sound property called pitch strength, pitch salience, or intonation clarity. Although this property plays an important role in music, it is quite poorly investigated. One of the aforementioned factors is represented by the distributed spectral inharmonicity which is typical of sounds produced, e.g., by strings. This paper presents a method of visualization, evaluation, and measurement of the inharmonicity of the spectrum of a musical sound with the help of the well-known algorithms of pitch extraction, namely the cepstrum and the harmonic product spectrum.

  • 6.
    Askenfelt, Anders
    et al.
    KTH, School of Computer Science and Communication (CSC), Speech, Music and Hearing, TMH.
    Guettler, K.
    Stage floor vibrations and bass sound in concert halls2013In: Proceedings of Meetings on Acoustics: Volume 19, Issue 1, June 2013, Acoustical Society of America (ASA), 2013, p. 015028-Conference paper (Refereed)
    Abstract [en]

    The double bass and cello sections in the orchestra transmit vibrations to the stage floor through the end pins. Whether or not these vibrations may contribute to the perceived sound in the hall has been investigated since the 1930s. In this study the conditions for an efficient transfer of instrument vibrations to the floor, as well as the radiation from the floor to the audience area, are investigated. The study includes measurements of the impedance matching between bass and stage floor, the vibration velocity transfer to the floor via the endpin, and radiation from point-driven bending waves in the stage floor well below the coincidence frequency. The impedance conditions and radiation properties of the stage floors of five concert halls were investigated. In the two most promising halls, full-scale experiments were run with an artificially excited double bass supported via the end pin on the stage floor and on a concrete support below, respectively. The contribution from the stage floor radiation to the sound level in the audience area was 5 dB or more between 30 and 60 Hz. This range covers the fundamental frequencies over one octave starting from the lowest note (B0) of a five-string bass.

  • 7.
    Askenfelt, Anders
    et al.
    KTH, School of Computer Science and Communication (CSC), Speech, Music and Hearing, TMH, Music Acoustics.
    Hansen, Kjetil Falkenberg
    KTH, School of Computer Science and Communication (CSC), Media Technology and Interaction Design, MID. KTH, School of Computer Science and Communication (CSC), Speech, Music and Hearing, TMH, Music Acoustics.
    Granqvist, Svante
    KTH, School of Computer Science and Communication (CSC), Speech, Music and Hearing, TMH, Music Acoustics.
    Hellmer, Kahl
    KTH, School of Computer Science and Communication (CSC), Speech, Music and Hearing, TMH, Speech Communication and Technology.
    Orlarey, Y.
    Fober, D.
    Perifanos, K.
    Tambouratzis, G.
    Makropoulo, E.
    Chryssafidou, E.
    Arnaikos, L.
    Rattasepp, K.
    Dima, G.
    VEMUS, Virtual European Music School or A young person's interactive guide to making music2008In: Proceedings of the 28th ISME World Conference, 2008, p. 218-Conference paper (Refereed)
  • 8.
    Bresin, Roberto
    et al.
    KTH, School of Computer Science and Communication (CSC), Speech, Music and Hearing, TMH, Music Acoustics.
    Askenfelt, Anders
    KTH, School of Computer Science and Communication (CSC), Speech, Music and Hearing, TMH, Music Acoustics.
    Friberg, Anders
    KTH, School of Computer Science and Communication (CSC), Speech, Music and Hearing, TMH, Music Acoustics.
    Hansen, Kjetil
    KTH, School of Computer Science and Communication (CSC), Speech, Music and Hearing, TMH, Music Acoustics.
    Ternström, Sten
    KTH, School of Computer Science and Communication (CSC), Speech, Music and Hearing, TMH, Music Acoustics.
    Sound and Music Computing at KTH2012In: Trita-TMH, ISSN 1104-5787, Vol. 52, no 1, p. 33-35Article in journal (Other academic)
    Abstract [en]

    The SMC Sound and Music Computing group at KTH (formerly the Music Acoustics group) is part of the Department of Speech Music and Hearing, School of Computer Science and Communication. In this short report we present the current status of the group mainly focusing on its research.

  • 9.
    Demoucron, Matthias
    et al.
    KTH, School of Computer Science and Communication (CSC), Speech, Music and Hearing, TMH.
    Askenfelt, Anders
    KTH, School of Computer Science and Communication (CSC), Speech, Music and Hearing, TMH.
    Caussé, Rene
    IRCAM CNRS STMS.
    Measuring Bow Force in Bowed String Performance: Theory and Implementation of a Bow Force Sensor2009In: Acta Acoustica united with Acustica, ISSN 1610-1928, E-ISSN 1861-9959, Vol. 95, no 4, p. 718-732Article in journal (Refereed)
    Abstract [en]

    A sensor has been developed which allows measurement of the force exerted by the bow on the string ( bow force) during violin performance. The bow force is deduced from measurement of the transversal force at the termination of the bow hair at the frog. The principle is illustrated with an experiment that demonstrates how the bending of the stick and variations in bow hair tension influence the measurements. The design of the sensor is described and performance characteristics are discussed. A thorough calibration procedure is described and tested. Finally, the use of the sensor is demonstrated through measurements in real playing situations.

  • 10.
    Enlund, Nils
    et al.
    KTH, School of Computer Science and Communication (CSC), Media Technology and Graphic Arts, Media (closed 20111231).
    Askenfelt, Anders
    KTH, School of Computer Science and Communication (CSC), Speech, Music and Hearing, TMH, Music Acoustics.
    Mediated masterclass teaching2007In: Proc. of Developing Innovative Video Resources for Students Everywhere, Lillehammer: Høgskolen i Lillehammer , 2007Conference paper (Other academic)
  • 11. Fober, D.
    et al.
    Letz, S.
    Orlarey, Y.
    Askenfelt, Anders
    KTH, Superseded Departments, Speech, Music and Hearing.
    Hansen, Kjetil Falkenberg
    KTH, School of Computer Science and Communication (CSC), Media Technology and Interaction Design, MID. KTH, School of Computer Science and Communication (CSC), Speech, Music and Hearing, TMH, Music Acoustics.
    Schoonderwaldt, Erwin
    KTH, Superseded Departments, Speech, Music and Hearing.
    IMUTUS: an interactive music tuition system2004In: Proc. of the Sound and Music Computing Conference (SMC 04), October 20-22, 2004, IRCAM, Paris, France, 2004, p. 97-103Conference paper (Other academic)
  • 12. Galembo, A.
    et al.
    Askenfelt, Anders
    KTH, Superseded Departments, Speech Transmission and Music Acoustics.
    Cuddy, L. L.
    Russo, F. A.
    Effects of relative phases on pitch and timbre in the piano bass range2001In: Journal of the Acoustical Society of America, ISSN 0001-4966, E-ISSN 1520-8524, Vol. 110, no 3, p. 1649-1666Article in journal (Refereed)
    Abstract [en]

    Piano bass tones raise questions related to the perception of multicomponent, inharmonic tones. In this study, the influence of the relative phases among partials on pitch and timbre was investigated for synthesized bass tones with piano-like inharmonicity. Three sets of bass tones (A0 = 27.5 Hz, 100 partials, flat spectral envelope) were generated; harmonic, low inharmonic, and high inharmonic. For each set, five starting phase relations among partials were applied; sine phases, alternate (sine/cosine) phases, random phases, Schroeder phases, and negative Schroeder phases. The pitch and timbre of the tones were influenced markedly by the starting phases. Listening tests showed that listeners are able to discriminate between tones having different starting phase relations, and also that the pitch could be changed by manipulating the relative phases (octave, fifth, major third). A piano-like inharmonicity gives a characteristic randomizing effect of the phase relations over time in tones starting with nonrandom phase relations. A measure of the regularity of the phase differences between adjacent partials is suggested for quantifying this randomization process. The observed phase effects might be of importance in synthesizing, recording, and reproducing piano music.

  • 13. Galembo, A.
    et al.
    Askenfelt, Anders
    KTH, Superseded Departments, Speech Transmission and Music Acoustics.
    Cuddy, L. L.
    Russo, F. A.
    Perceptual relevance of inharmonicity and spectral envelope in the piano bass range2004In: Acta Acoustica united with Acustica, ISSN 1610-1928, E-ISSN 1861-9959, Vol. 90, no 3, p. 528-536Article in journal (Refereed)
    Abstract [en]

    Professionals consider the differences in the timbre of bass tones between large grand pianos and small uprights as significant. By tradition this difference has been attributed mainly to lower inharmonicity in grand pianos, due to longer bass strings. In this study, the importance of the spectral envelope, representing the dynamic balance between high-frequency and low-frequency energy in the spectrum, is contrasted against the importance of the level of inharmonicity. Results from two listening tests indicate that the inharmonicity is less important than the spectrum bandwidth in determining the timbre of piano bass tones.

  • 14. Galembo, A. S.
    et al.
    Askenfelt, Anders
    KTH, School of Computer Science and Communication (CSC), Speech, Music and Hearing, TMH, Music Acoustics.
    Overlapping of sounds in piano passages2006In: Acoustical Physics, ISSN 1063-7710, E-ISSN 1562-6865, Vol. 52, no 2, p. 144-150Article in journal (Refereed)
    Abstract [en]

    It is well known that, in piano passages, specifically, in those played legato, sounds may overlap in time. Our experiments show that this overlapping is much greater than one would expect proceeding from the undistorted pitch perception in a given phrase. Moreover, the sounds produced by piano and perceived by a listener as clearly distinguished in pitch, when subjected to an objective analysis, may prove to be a mixture of equally intense components of the preceding and next sounds. This phenomenon is related to the problem of piano quality, including the still unclarified role of the damper system, as well as to the mysterious manifestation of pianist's personality that is called the art of touch.

  • 15. Guettler, K.
    et al.
    Askenfelt, Anders
    KTH, School of Computer Science and Communication (CSC), Speech, Music and Hearing, TMH, Music Acoustics.
    Buen, A.
    Double basses on the stage floor2007In: Proc. of International Symposium on Musical Acoustics (ISMA 2007), September 9-21, 2007, Barcelona, Spain, 2007, p. paper 3-P1Conference paper (Other academic)
  • 16. Guettler, K.
    et al.
    Askenfelt, Anders
    KTH, School of Computer Science and Communication (CSC), Speech, Music and Hearing, TMH, Music Acoustics.
    Buen, A.
    Double basses on the stage floor: Tuning fork–table top effect or not?2012In: Journal of the Acoustical Society of America, ISSN 0001-4966, E-ISSN 1520-8524, Vol. 131, no 1, p. 795-806Article in journal (Refereed)
    Abstract [en]

    The question whether or not double basses can benefit from a compliant and radiating stage floor in the low end of their tonal register, similar to the well-known tuning fork–tabletop effect, was examined through field experiments in five concert halls. The topic comprises several aspects: (1) How well the mechanical impedances of double basses and the stage floor match, (2) amount of vibration velocity transmitted to the floor through the end pin of the bass, and (3) radiation efficiency of point-excited bending waves in the stage floor far below the coincidence frequency. Each aspect represents a prerequisite for the tuning fork–tabletop effect to take place. The input impedance at the end pin was measured for three representative double basses. The stage floors of five orchestra halls were measured with respect input impedance and damping, while sound radiation to the audience area was measured for two of them. In Lindeman Hall, Oslo, all conditions for the tuning fork–tabletop effect to take place were clearly met. The contribution from the stage-floor radiation to the sound pressure level in the audience area was found to be about 5 dB between 40 and 60 Hz, and even higher between 30 and 40 Hz.

  • 17. Guettler, K.
    et al.
    Askenfelt, Anders
    KTH, School of Computer Science and Communication (CSC), Speech, Music and Hearing, TMH, Music Acoustics.
    Buen, A.
    On the interaction between double basses and the stage floor2008In: Acoustics '08, June 29-July 4, 2008, Paris, France, 2008, p. 3198-Conference paper (Other academic)
  • 18. Guettler, K.
    et al.
    Buen, A.
    Askenfelt, Anders
    KTH, School of Computer Science and Communication (CSC), Speech, Music and Hearing, TMH, Music Acoustics.
    An in-depth analysis of the double bass to stage floor contact2008In: Proc. of Auditorium Acoustics 2008, 3-5 October 2008, Oslo, Norway: Volume 30, Issue PART 3, Institute of Acoustics , 2008, p. 37-44Conference paper (Other academic)
    Abstract [en]

    While double bassists claim the importance of compliant floors for producing a warm and nuanced sound, the scarce research focusing on this topic has left few conclusions. In the mean time stage floors are constructed with great spread in design and conviction. In the present project floors of several halls were analysed, including the Oslo Concert Hall and Oslo's new Opera House. It was found that in the range where the double bass radiates poorly, i.e., below 100 Hz, and in particular below its Helmholtz resonance at ca 60 Hz, a favourable coupling can take place when the floor is compliant. In such cases the velocity transfer from the instrument's bridge to the floor (via the corpus and end pin) may often rise significantly above zero dB. The coupling, bass to floor, was also seen to affect the bridge mobility and thus the playing properties of the instrument. In the same frequency range the power transfer was observed to boost from about 3 to 40%. It remains to investigate how noticeable this effect is to the audience. Our measurements indicate, however, that a coupling to the stage floor can make an audible difference to the player.

  • 19. Guettler, K.
    et al.
    Buen, A.
    Askenfelt, Anders
    KTH, School of Computer Science and Communication (CSC), Speech, Music and Hearing, TMH, Music Acoustics.
    The Lindeman Hall of Oslo - Evidence of low-frequency radiation from the stage floor2010In: 20th International Congress on Acoustics 2010, ICA 2010 - Incorporating Proceedings of the 2010 Annual Conference of the Australian Acoustical Society, 2010, p. 2329-2334Conference paper (Refereed)
    Abstract [en]

    It is well known that plate radiation below the critical frequency is very poor, and therefore many stage floors dissipate low-frequency energy transmitted from double-bass and cello end pins rather than providing a tuning-fork/tabletop effect. However, if the stage floor is well damped, so that the transverse amplitudes fade out quickly around the point of excitation, a significant net radiation can be experienced also for low frequencies, due to the piston/baffle effect. Measurements performed in the Lindeman Hall of the Norwegian Academy of Music, in Oslo, Norway, showed that vibrational amplitudes in the stage floor faded out at a nearly equal pace in all directions around the excitation points, leaving nearly circular, quasi isotropic patterns for most frequencies of interest. In the audience area no tendency of spectral roll off was seen in the low-frequency end down to 30 Hz, which may represent the lowest fundamental of modern double basses. Transfer functions from stage floor to audience (intensity vs. power, and sound pressure vs. transverse velocity) were calculated for a number of seats in the hall.

  • 20. Lehtonen, Heidi-Maria
    et al.
    Askenfelt, Anders
    KTH, School of Computer Science and Communication (CSC), Speech, Music and Hearing, TMH, Music Acoustics.
    Valimaki, Vesa
    Analysis of the part-pedaling effect in the piano2009In: Journal of the Acoustical Society of America, ISSN 0001-4966, E-ISSN 1520-8524, Vol. 126, no 2, p. EL49-EL54Article in journal (Refereed)
    Abstract [en]

    This letter reports basic acoustic phenomena related to part-pedaling in the piano. With part-pedaling, the piano tone can be divided into three distinct time intervals: initial free vibration, damper-string interaction, and final free vibration. Varying the distance of the damper from the string, the acoustic signal and the damper acceleration were measured for several piano tones. During the damper-string interaction, the piano tone decay is rapid and the timbre of the tone is affected by the nonlinear amplitude limitation of the string motion. During the final free decay, the string continues to vibrate freely with a lower decay rate.

  • 21. Raptis, S.
    et al.
    Askenfelt, Anders
    KTH, School of Computer Science and Communication (CSC), Speech, Music and Hearing, TMH, Music Acoustics.
    Fober, D.
    Chalamandaris, A.
    Schoonderwaldt, Erwin
    KTH, School of Computer Science and Communication (CSC), Speech, Music and Hearing, TMH, Music Acoustics.
    Letz, S.
    Baxevanis, A.
    Hansen, Kjetil Falkenberg
    KTH, School of Computer Science and Communication (CSC), Media Technology and Interaction Design, MID. KTH, School of Computer Science and Communication (CSC), Speech, Music and Hearing, TMH, Music Acoustics.
    Orlarey, Y.
    IMUTUS – An effective practicing environment for music tuition2005In: Proc. of International Computer Music Conference (ICMC 2005), International Computer Music Association, 2005, p. 383-386Conference paper (Refereed)
    Abstract [en]

    This paper presents some major results from the IMUTUS project. IMUTUS was an RTD project that aimed at the development of an open platform for training students on the recorder. The paper focuses on one of the most important and innovative parts of the IMUTUS system, the practicing environment. This environment integrates technological tools for the automatic analysis and evaluation of student performances along with enhanced interaction schemes to provide an effective approach to music learning. Testing and validation activities that have been carried out indicate that the IMUTUS approach is appreciated by both students and teacher, and that it clearly has a strong potential.

  • 22.
    Schoonderwaldt, Erwin
    et al.
    KTH, School of Computer Science and Communication (CSC), Speech, Music and Hearing, TMH, Music Acoustics.
    Askenfelt, Anders
    KTH, School of Computer Science and Communication (CSC), Speech, Music and Hearing, TMH, Music Acoustics.
    Hansen, Kjetil Falkenberg
    KTH, School of Computer Science and Communication (CSC), Media Technology and Interaction Design, MID. KTH, School of Computer Science and Communication (CSC), Speech, Music and Hearing, TMH, Music Acoustics.
    Design and implementation of automatic evaluation of recorder performance in IMUTUS2005In: Proc. of International Computer Music Conference (ICMC 2005), International Computer Music Association, 2005, p. 431-434Conference paper (Refereed)
    Abstract [en]

    This paper describes a novel approach towards automatic evaluation of recorder performance. The processes from finding errors to the formulation of feedback are based on analyses of student performances and experience of recorder teachers. The developed algorithms were implemented in IMUTUS, a prototype practising environment for the recorder.

  • 23.
    Schoonderwaldt, Erwin
    et al.
    KTH, School of Computer Science and Communication (CSC), Speech, Music and Hearing, TMH, Music Acoustics.
    Guettler, K.
    Askenfelt, Anders
    KTH, School of Computer Science and Communication (CSC), Speech, Music and Hearing, TMH, Music Acoustics.
    Schelleng in retrospect - A systematic study of bow-force limits for bowed violin strings2007In: Proc. of International Symposium on Musical Acoustics (ISMA 2007), 2007, p. paper 3-S1Conference paper (Other academic)
  • 24.
    Schoonderwaldt, Erwin
    et al.
    KTH, School of Computer Science and Communication (CSC), Speech, Music and Hearing, TMH, Music Acoustics.
    Guettler, Knut
    Askenfelt, Anders
    KTH, School of Computer Science and Communication (CSC), Speech, Music and Hearing, TMH.
    An empirical investigation of bow-force limits in the Schelleng diagram2008In: Acta Acoustica united with Acustica, ISSN 1610-1928, E-ISSN 1861-9959, Vol. 94, no 4, p. 604-622Article in journal (Refereed)
    Abstract [en]

    An experimental study of the upper and lower bow-force limits for bowed violin strings is reported. A bowing machine was used to perform bow strokes with a real violin bow on steel D and E strings mounted on a rigid monochord and on a violin. Measurements were systematically performed for 11 values of relative bow-bridge distance and 24 values of bow force at four bow velocities (5, 10, 15 and 20 cm/s). The measured string velocity signals were used to compile Schelleng diagrams, showing the distribution of different classes of string motion (multiple slipping, Helmholtz motion, raucous motion). It was found that the maximum bow-force limit for Helmholtz motion corresponded well to Schelleng's equation in modified form, taking the shape of the (hyperbolic) friction curve into account. The minimum bow force was found to be independent of bow velocity, which is in clear contradiction to Schelleng's prediction. Observations and simulations suggested that the breakdown of Helmholtz motion at low bow forces involves a mechanism related to ripple and corner rounding which was not taken into account in Schelleng's derivation of minimum bow force. The influence of damping showed only qualitative agreement with Schelleng's predictions.

  • 25.
    Schoonderwaldt, Erwin
    et al.
    KTH, Superseded Departments, Speech, Music and Hearing.
    Hansen, Kjetil Falkenberg
    KTH, School of Computer Science and Communication (CSC), Media Technology and Interaction Design, MID. KTH, School of Computer Science and Communication (CSC), Speech, Music and Hearing, TMH, Music Acoustics.
    Askenfelt, Anders
    KTH, Superseded Departments, Speech, Music and Hearing.
    IMUTUS: an interactive system for learning to play a musical instrument2004In: Proc. of International Conference of Interactive Computer Aided Learning (ICL), September 29 - October 1, 2004, Carinthia Tech Institute, Villach, Austria / [ed] Auer, M.; Auer, U., Kassel University Press GmbH, 2004Conference paper (Other academic)
    Abstract [en]

    IMUTUS (Interactive Music Tuition System) is a EU project that aims to develop a practising environment for the recorder, combining new technologies and new approaches for music learning. Automatic analysis and evaluation of student performances play a central role in the student-system interaction. The performance evaluation module identifies typical performance errors, and provides feedback that relates to performance skills, helping the student to improve. The performance evaluation process is based on the knowledge and experience of recorder teachers, obtained via questionnaires, interviews and structured evaluations of recorded student performances. Another important feature of the performance evaluation is that it can be guided by teachers writing the content for IMUTUS by means of annotations.

  • 26. Tambouratzis, G.
    et al.
    Perifanos, K.
    Voulgari, I.
    Askenfelt, Anders
    KTH, School of Computer Science and Communication (CSC), Speech, Music and Hearing, TMH, Music Acoustics.
    Granqvist, Svante
    KTH, School of Computer Science and Communication (CSC), Speech, Music and Hearing, TMH, Music Acoustics.
    Hansen, Kjetil Falkenberg
    KTH, School of Computer Science and Communication (CSC), Speech, Music and Hearing, TMH, Music Acoustics.
    Orlarey, Y.
    Fober, D.
    Letz, S.
    VEMUS: An integrated platform to support music tuition tasks2008In: 8TH IEEE INTERNATIONAL CONFERENCE ON ADVANCED LEARNING TECHNOLOGIES, PROCEEDINGS / [ed] Diaz, P; Ignacio, A; Mora, E, IEEE Computer Society, 2008, p. 972-976Conference paper (Refereed)
    Abstract [en]

    In this paper, the VEMUS platform is presented, as a novel approach for music tuition that focuses on beginner and intermediate students, typically aged from 9 to 15 years. This platform is characterized by an open, highly interactive and networked multilingual music tuition framework that covers a selection of popular wind instruments. The VEMUS environment integrates innovative, pedagogically-motivated e- learning components to augment traditional music teaching in three distinct learning settings, namely self-practicing, classroom and distance learning. In the present article, the current stage of development of VEMUS is presented, and the areas where it might be of most use towards supporting the educational activities associated with music tuition are identified.

  • 27.
    Thippur, Akshaya
    et al.
    KTH, School of Computer Science and Communication (CSC), Robotics, perception and learning, RPL.
    Askenfelt, Anders
    KTH, School of Computer Science and Communication (CSC), Speech, Music and Hearing, TMH, Music Acoustics.
    Kjellström, H.
    Probabilistic modeling of bowing gestures for gesture-based violin sound synthesis2013In: Proceedings of the Stockholm Music Acoustics Conference 2013, SMAC 13 / [ed] Roberto Bresin and Anders Askenfeldt, KTH Royal Institute of Technology, 2013, p. 133-139Conference paper (Refereed)
  • 28.
    Öberg, Fredrik
    et al.
    KTH, School of Computer Science and Communication (CSC), Speech, Music and Hearing, TMH, Music Acoustics.
    Askenfelt, Anders
    KTH, School of Computer Science and Communication (CSC), Speech, Music and Hearing, TMH, Music Acoustics.
    Acoustical and perceptual influence of duplex stringing in grand pianos2012In: Journal of the Acoustical Society of America, ISSN 0001-4966, E-ISSN 1520-8524, Vol. 131, no 1, p. 856-871Article in journal (Refereed)
    Abstract [en]

    This study investigates the acoustical and perceptual influence of the string parts outside the speaking length in grand pianos (front and rear duplex strings). Acoustical measurements on a grand piano in concert condition were conducted, measuring the fundamental frequencies of all main and duplex strings in the four octaves D4-C8. Considerable deviations from the nominal harmonic relations between the rear duplex and main string frequencies, as described by the manufacturer in a patent, were observed. Generally the rear duplex strings were tuned higher than the nominal harmonic relations with average and median deviations approaching _50 cent. Single keys reached +190 and -100 cent. The spread in deviation from harmonic relations within trichords was also substantial with average and median values around 25 cent, occasionally reaching 60 cent. Contributions from both front and rear duplex strings were observed in the bridge motion and sound. The audibility of the duplex strings was studied in an ABX listening test. Complete dampening of the front duplex was clearly perceptible both for an experiment group consisting of musicians and a control group with naive subjects. The contribution from the rear duplex could also be perceived, but less pronounced.

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