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Finished experimental music essay. FINISHED UNI

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Experimental_Music_Assignment_2/essay/U1265119-Experimental_Music-Assignment2-Essay.tex
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\date{}
\begin{abstract}
The use of electronic feedback as tools for musical composition has
The use of electronic feedback as a tool for musical composition has
featured in many compositions, popular for it's complex, volatile and
indeterminate nature. Intrinsic to the use of feedback is the use of
amplification, capable of artificially altering an input's energy, as a
@@ -76,7 +76,7 @@
feedback created by aiming a microphone to it's amplifier, or the digital
feedback present in an IIR filter, in all cases a loop is created from an
output point of a system, back to it's input.\\
The two types of electronic feedback are:
The two types of feedback to be discussed are:
\begin{itemize}
\item{Acoustic Feedback}
\item{Electronic Feedback}
@@ -88,29 +88,24 @@
Acoustic feedback occurs when a closed loop is created between an audio
transducer (such as a microphone or guitar pick-up) and amplifier,
causing previously amplified audio to be re-amplified continuously at an
exponential rate as illustrated in Figure~\ref{acoustic_feedback}.\\
exponential rate, as illustrated in Figure~\ref{acoustic_feedback}.
\begin{figure}[H]
\makebox[\textwidth]{\includegraphics[width=\textwidth]{acoustic_feedback_diagram}}
\makebox[\textwidth]{\includegraphics[width=0.75\textwidth]{acoustic_feedback_diagram}}
\caption[Caption for LOF]{Acoustic Feedback Diagram\protect\footnotemark}
\label{acoustic_feedback}
\end{figure}
\footnotetext{Diagram taken from:~\parencite[p.185]{holmes2012eaem}}
This is a common problem in the context of live audio, as the exponential
nature of the feedback causes a distinct ``howling'' sound that builds
rapidly and is commonly considered unpleasant. As a result, a great deal of
research has been carried out into methods for attenuating and controlling
this effect.~\parencite[p.1]{waterschoot2010fyafc} However, the volatile
and unpredictable nature of acoustic feedback has been used to great effect
in both popular and avant-garde music.~\parencite[p.186]{holmes2012eaem}
Pioneering guitarists such as Jimi Hendrix have used the loop created
through placing an electric guitar pickup close to it's amplifier to
compliment virtuosic guitar solos in pieces such as Foxey
Lady~\citeyearpar{hendrix1967fl}. This is taken one step further in
avant-garde works such as Steve Reich's Pendulum Music, where feedback
becomes the focus of the piece entirely. This is discussed further in
section~\ref{pendulum}
The volatile and unpredictable nature of acoustic feedback has been used to
great effect in both popular and avant-garde
music.~\parencite[p.186]{holmes2012eaem} Pioneering guitarists such as Jimi
Hendrix have used the loop created through placing an electric guitar
pickup close to it's amplifier to compliment virtuosic guitar solos in
pieces such as Foxey Lady~\citeyearpar{hendrix1967fl}. This is taken one
step further in avant-garde works such as Steve Reich's Pendulum Music,
where feedback becomes the focus of the piece entirely. This is discussed
further in section~\ref{pendulum}
\subsection{Electronic Feedback}
Electronic feedback takes the principal of recursively feeding an output
@@ -121,9 +116,9 @@
The result of this process is then produced in the listening space via
amplification~\parencite[p.187]{holmes2012eaem}. Composers such as David
Tudor and Gordon Mumma explore these techniques through their creation and
use of custom electronic circuits designed to exploit the characteristics
use of custom electronics designed to exploit the characteristics
of this effect.~\parencite[p.186, 390]{holmes2012eaem} A detailed analysis
of these techniques are presented in section~\ref{ElecFeed}\\
of these techniques are presented in section~\ref{ElecFeed}
\subsection{Amplification}
Amplification is the process of scaling a signal by a chosen factor.~\parencite[p.3-4]{kadis2012sosr}.
@@ -234,13 +229,16 @@
their output. This is demonstrated in Steve Reich's ``Pendulum Music'' as
discussed in section~\ref{pendulum}. Parallels can be drawn between John
Cage's use of indeterminacy to dictate organizational aspects of ``Music of
Changes'' with Steve Reich's use of feedback to dictate sonic events in
``Pendulum Music''.
Changes''~\citeyearpar{cage1951mfc} with Steve Reich's use of feedback to dictate sonic events in
``Pendulum Music''.\\
Feedback builds on methods such as Cage's use of the I Ching as far greater
quantity of unpredictable events can be generated quickly, compared to the
manual ``brute-force'' approach of generating each event as is the case
with the I Ching.
\subsection{Process and Control}
The term ``process'' refers to the situation outlined by a composer,
designed for the creation of sound. Where popular music focuses on creating
pre-defined musical content and structure, experimental musicians focus on
pre-defined musical content and structure, experimental musicians typically focus on
the creation of a process through which sound may be generated. This may
involve the creation of rules or instructions that outline the conditions
that are needed in order to create an outcome, the content of which may
@@ -258,8 +256,8 @@
processes involved in the piece's realisation. This is true of Gordon
Mumma's Hornpipe~\citeyearpar{mumma2002lem} (as detailed in
section~\ref{hornpipe}) where electronic circuitry is designed specifically
to explore the effects of custom electronic circuitry used to produce
controlled feedback~\parencite[p.8, 390]{nyman1999em}\\
to explore the effects of using custom electronic circuitry to produce
controlled feedback~\parencite[p.8, 390]{nyman1999em}
\subsubsection{Feedback Control}
As stated previously, feedback can be difficult to control due to it's
@@ -369,16 +367,16 @@
Pendulum Music focuses directly on the sonic phenomena generated purely by
the feedback system and the acoustics of the space~\parencite[p.50-51]{weisert2010ioi}.
Aesthetically the piece begins with clear rhythms created by the distinct
Aesthetically, the piece begins with clear rhythms created by the distinct
motion of the microphones as they pass over the speakers. This slowly
degrades as the microphones lose momentum, resulting in the pure feedback
tones created as the microphones hang motionless over the speaker at the
end. Interesting phase relationships can be observed between the
microphones as the piece progresses, which is in keeping with Reichs works
microphones as the piece progresses, which is in keeping with Reich's works
such as Come Out~\citeyearpar{reich1966comeout}
This piece has a clear focus on process and was described as ``the ultimate
process piece'' by Reich. Designed as an ``audible sculpture'', the piece is
process piece'' by Reich. Realised as an ``audible sculpture'', the piece is
designed to limit human interaction in order to focus on the natural
interaction of acoustic feedback. Control of aesthetics is determined by
the semi-indeterministic method of releasing the suspended microphones,
@@ -389,7 +387,10 @@
tone etc\ldots are largely left to chance. This created a stark contrast
between the compositional process and chaos process presented through the
uncontrolled feedback~\parencite[p.186]{holmes2012eaem}.
This piece fits in with reich's other work through it's exploration of theme
such as audio phaseing and rhythm, similar to that of his works such as Come
Out~\citeyearpar{reich1966comeout} and Clapping Music~\citeyearpar{reich1966clap}
\subsubsection{Robert Ashley's The Wolfman~\citeyearpar{ashley2003w}}\label{wolfman}
@@ -427,6 +428,9 @@
circuit live, the performer is given control over the rhythmic aspects of
the output. This results in the controlled use of the complex rhythms
possible with feedback.
Pulsers focused primarily on the aesthetic potential of manipulating analog
circuitry, particularly on the rhythmic impact of altering analog
components.
\paragraph{Untitled}\mbox{}\\
Untitled was created as an exploration of the use of ``no-input'' live
@@ -444,6 +448,10 @@
manageable in terms of live performance. This is a good example of the
indeterminate, complex nature of
feedback.~\parencite[p.83-85]{weisert2010ioi}
This piece served as an attempt to explore the musical possibilities
created purely from the sound of the electronics themselves. This differed
from the conventional use of electronics to alter an external sound created
by an oscillator or external audio source.~\parencite{tudor1984twle}
\subsubsection{Gordon Mumma's Hornpipe~\citeyearpar{mumma2002lem}}\label{hornpipe}
Hornpipe is a composition that combines the input from a French horn with
RMTP/Assignment_3/essay/U1265119-RMTP-Assignment3-Research_Report.tex
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\date{}
\begin{abstract}
This report presents research into the effects of artificial electronic
processing on musical quality. Examining data collected through the use
of a survey, comparisons are made to observe any links between the
increased use of artificial processing and public opinion on musical
quality. Results presented indicate a possible link between these
factors and suggestions are made as to possible reasons for these
results. Limitations of the research are also acknowledged with
suggestions for possible alterations and improvements to be considered
in any further research.
\end{abstract}
\maketitle
@@ -84,7 +93,7 @@
specific purpose of hiding these imperfections. Room acoustics can now be
transformed, drum rhythms tightened and dynamics altered to improve almost
any aspect of the original recording. This potentially allows for greater
degrees of of error from the origonal musician, allowing a technician to
degrees of of error from the original musician, allowing a technician to
compensate.~\parencite{bbc2014crm}\\
These techniques are used to varying degrees in different styles of music
and are not purely used as a means for musical correction. Many musical
@@ -104,22 +113,22 @@
Review of the literature related to this project reveals extensive research
into subject areas closely related to this project. Research into musical
preference has been conducted in a number of instances and demonstrates
that there are a large number of social and phsycoacoustic aspects that
that there are a large number of social and psychoacoustic aspects that
influence musical preference. There is a significant amount of
information regarding musical talent and what defines high quality music.
The final aspect that relates closely to this research is that of sound
quality, which has been researched at length in order to determine not only
the best ways of recording sound, but highly technical methods for the
analysis and catagorisations of sounds based on human
analysis and categorisations of sounds based on human
perception~\parencite{hal}.
\subsection{Musical Preference Research}
There are a number of resources available that attempt to analyse some of
the phsycological effects of music. research such as that carried out by
the physiological effects of music. Research such as that carried out by
Ladinig and Schellenberg attempts to analyse participant emotional
reactions to different types of music, measuring for emotional reactions
such as perceived intensity, happiness, and sadness~\parencite{lum}. This
research suggests that charachter traits such as extroversion and
research suggests that character traits such as extroversion and
agreeableness influence a persons preference on music. This is one of many
studies that focus on these types of
influence~\parencite{kessler2004semmp,eamim}
@@ -127,12 +136,12 @@
has also been undertaken in recognising relationships between styles of
music and social phenomena. This can be found in Popular Music and
Society~\parencite{longhurst2007pmas} that provides a substantial insight
into the effects of sociy on music and vice-versa. Issues such as
into the effects of society on music and vice-versa. Issues such as
technology, sexuality and ethnicity all effect perception.
\subsection{Musical Talent Research}
An equaly broad range of literature can be found regarding opinions on what
makes a high qulity composition or performance. Literature on musical
An equally broad range of literature can be found regarding opinions on what
makes a high quality composition or performance. Literature on musical
talent outlines perceptions of what is regarded as high quality music and
what is seen to be favourable traits in terms of composition and
performance. This is predominantly focused on the development of musical
@@ -151,13 +160,13 @@
combined use of questionnaires, the amalgamation of information gathered
from previous research and analysis of collected data, it is hoped that
this report will provide an indication as to whether artificial music
processing has any effect on opinions accross a variety of popular music
processing has any effect on opinions across a variety of popular music
genres.
\section{Methodology}
Research will be carried out through the use of a questionnaire to gather
opinions on artificial processing in relation to a wide range of genres.
A questionnaire has been created to collect quantitive data from annonymous
A questionnaire has been created to collect quantitative data from anonymous
participants. This data will then be analysed to reveal any correlations
between views on musical quality and perceptions of artificial processing.
These results will then be compared to previous research presented in
@@ -167,32 +176,32 @@
\subsection{Procedure}
The majority of original research has been carried out through the design and
collection of data from a questionnaire. The questionnaire was designed for
the quantitive analysis of annonymous oppinions on the perceived
the quantitative analysis of anonymous opinions on the perceived
artificialness and musical quality of a range of musical samples.
Comparisson of results with previous research is preseneted and
Comparison of results with previous research is presented and
observations are made on possible reasons for results.
\subsubsection{Questionnaire Design}
The questionnaire was designed with two main sections. The first gave an
indication of the participant's musical knowlege and preference, the second
indication of the participant's musical knowledge and preference, the second
collected the main data based on the participant's use of a likeart scales
to rate aspects of the excepts.\\
It was expected that a number of factors would influence a participant's
rating of both musical talent and synthetic characteristics. The most
prominent factor was thought to be the participant's background in terms of
music and music technology training. A participant with an in depth
understaning of composition and performance would most likely have a
understanding of composition and performance would most likely have a
heightened sensitivity to the musical aspects of the examples that an
untrained participant may not pick up on. To account for this, participants
were simply asked to state if they have any musical/music technological
training. This could then be taken into account in the analysis of results.
Another factor that would most likely affect a participants decision was
their preference with regaurds to musical style. as stated in
section~\ref{LR}, many factors influence a person's muical preference in
their preference with regards to musical style. As stated in
section~\ref{LR}, many factors influence a person's musical preference in
terms of genre, and so accounting for bias towards certain musical styles
was required in an attempt to create more a more objective analysis.\\
To begin selection of suitable matireal for the questionnaire, 5 genres were selected:
To begin selection of suitable material for the questionnaire, 5 genres were selected:
\begin{itemize}
\item Classical
\item Rock
@@ -201,9 +210,9 @@
\item Pop
\end{itemize}
A selection of 40 thirty second audio samples were then used for ratings,
sourced from a wide variety of artists accross these 5 genres.
sourced from a wide variety of artists across these 5 genres.
Participants were asked to rate these samples for their musical
accomplishment, articificialness and how much they liked the audio clip.
accomplishment, artificialness and how much they liked the audio clip.
Musicality and artificialness would give a clear and simple representation
of the value placed for these parameters, which could then be compared on a
genre by genre basis to determine any outstanding patterns. The musical
@@ -212,25 +221,25 @@
musicality of pieces in genres they like more highly than genres they
dislike. The results of these hypothesis are determined in section~\ref{analysis}\\
A section for participant comments was created at the botom of the test to
A section for participant comments was created at the bottom of the test to
allow participants to share thoughts on the survey. This would allow
participants to provide further insites that might provide information that
participants to provide further insights that might provide information that
would not have otherwise been considered.
\subsection{Results}
Results were predominantly quantitive, and so did not require the same
Results were predominantly quantitative, and so did not require the same
degree of subjective analysis that would have been the case with
qualitative results. A total of 20 participants took the survey, resulting
in a dataset containing 800 data points accross the range of genres. This
in a dataset containing 800 data points across the range of genres. This
provided enough data for a reasonable analysis of comparable opinions
accross the range of participants. The amount of data collected may not be
across the range of participants. The amount of data collected may not be
sufficient for conclusive evidence as to the effects of electronic
processing on opinions of musicality, however it should provide an
indication as to possible correlations between the two factors.
There are also a number of factors, beyond control in the context of this
research, that will have affected the results.\\
The varying levels of musical training accross participants has most likely
The varying levels of musical training across participants has most likely
had a significant effect on results. It was expected that participant's
opinions on the synthetic nature of pieces would be affected by this
factor. Students that had studied music technology would most likely have a
@@ -240,9 +249,9 @@
should be taken into account when review results.\\
Another key factor is the participant's subjective definitions of musical
quality and accombplishment. This factor was made clear by the comments of
a participant who regaurded the lyrical content of the examples to be the
determining factor. This contrasted the composition arangement
quality and accomplishment. This factor was made clear by the comments of
a participant who regarded the lyrical content of the examples to be the
determining factor. This contrasted the composition arrangement
characteristics that were the primary focus of many musically trained
participants.\\
@@ -273,7 +282,7 @@
\label{agmvs}
\end{figure}
The same analysis was then performed on a genre by genre basis. This was to
gain a more detailed understanding of the relationship accross each genre.
gain a more detailed understanding of the relationship across each genre.
It was expected that the relationship would vary as some genres are
typically more closely associated with electronic processing than other.
For example, musical quality would not be negatively affected by a use of
@@ -301,29 +310,29 @@
When comparing variable in this manner, the coefficient of determination
has been used to measure the confidence of the correlation. This value is
low accross all analyses and suggests a weak corellation, however this is
low across all analyses and suggests a weak correlation, however this is
expected due to the large number of other variables and the subjective
nature of the test that affects results. However it can be observed that
there is a much higher $R^2$ value for classical, which could be attributed
to the natural nature of classical music.
Graphs for all genres can be found in Appendix B.\\
Further analysese were created, regarding the relationship between the
Further analyses were created, regarding the relationship between the
participant's preference in terms of genre and their perception of musical
quality. It was thought that participants (particularly those that had not
had significant musical training) would most likely link musical
accomplishment with their musical preference and thus rate examples more
highly if they were in their prefered genre, regardless of quality. By
analysing the frequency of high ratings in prefered genres, an indication
highly if they were in their preferred genre, regardless of quality. By
analysing the frequency of high ratings in preferred genres, an indication
of the level of bias towards favoured genres was estimated. Results of this
analysis show that for genres such as Classical, participants who favoured
that genre rated examples highly. This is not true of all genres as a
more even distribution of ratings is obseverved in the electronic genre.
Another key factor is the actualy quality of examples. If all samples were
percieved to be of high quality by all participants then a similar problem
more even distribution of ratings is observed in the electronic genre.
Another key factor is the actually quality of examples. If all samples were
perceived to be of high quality by all participants then a similar problem
would be shown. Overall this analysis was not nearly as accurate or useful
as the initial analysis, however it does show that there are many elements
to be considerd with this type of research and the simplicity of this
to be considered with this type of research and the simplicity of this
approach could be improved through further consideration of the elements.
Graphs of these results can be found in Appendix B.
@@ -331,33 +340,33 @@
This research takes a relatively simplistic approach to a significantly
broad area of research. There are many factors that have not been accounted
for that have significant impact on the outcome. On reflection, the
following improvments may allow for more robust analysis and more
following improvements may allow for more robust analysis and more
convincing results than those presented in this report:
\paragraph{Increasing the number of possible values for rating}\mbox{}\\
A number of comments were made, suggesting that the survey could be
increasing the range of the scale used for ratings. Participants felt that
five possible choices was not sufficient for accuratley rating all fourty
five possible choices was not sufficient for accurately rating all forty
samples. Having an increased number of points would allow for more fine
grained choice for each of the parameters and would also offer smaller
distinctions between ratings in the analysis stage.
\paragraph{A wider variety of genres/varying quality of examples}\mbox{}\\
Effort was made to design a questionnaire that would portray a wide variety
of examples in order to gain insigight into perceptions of electronic
processing on many genres. However, it was neccesary to limit the number of
of examples in order to gain insight into perceptions of electronic
processing on many genres. However, it was necessary to limit the number of
genres in order to gain a detailed analysis of each genre included in the
survey. This resulted in many types of music being disregarded. An increase
in the types of music would have potentially produced a clearer overall
picture of perceptions.\\
The quality of the examples was also an issue as in some genres, as a lack
of significantly processed examples resulted in consistantly low artificial
of significantly processed examples resulted in consistently low artificial
rating. This provided little data for comparison and thus reduced the
quality of analyses created.
\paragraph{Familiarity of examples}\mbox{}\\
It was noted that ome participants rated samples based on their knowlege of
the entire song, rather than just the excerpt, due to prior knowlege of
It was noted that some participants rated samples based on their knowledge of
the entire song, rather than just the excerpt, due to prior knowledge of
that particular recording. This may have affected outcomes and could be
addressed through the use of corpus databases designed for music research,
rather than popular music that may have been experienced before.
@@ -370,7 +379,7 @@
number of limitations due to the nature of undergraduate research prevent
any conclusive findings. However, this could potentially form the basis for
more in depth exploration of the effects of electronic processing on music,
paticularly as this appears to be an under-explored area.
particularly as this appears to be an under-explored area.
This research provides preliminary evidence to suggest that artificial
processing does have some form of impact on the acceptability of music and
suggests that this does vary to a degree based on the style of music.