From afa0cc184dcb3af6f5774bdce66563afa0369264 Mon Sep 17 00:00:00 2001 From: Pezz89 Date: Fri, 6 May 2016 18:12:14 +0100 Subject: [PATCH] Finished experimental music essay. FINISHED UNI --- ...9-Experimental_Music-Assignment2-Essay.tex | 68 +++++++------ ...65119-RMTP-Assignment3-Research_Report.tex | 99 ++++++++++--------- 2 files changed, 92 insertions(+), 75 deletions(-) diff --git a/Experimental_Music_Assignment_2/essay/U1265119-Experimental_Music-Assignment2-Essay.tex b/Experimental_Music_Assignment_2/essay/U1265119-Experimental_Music-Assignment2-Essay.tex index 8d4210d..a7cf93c 100644 --- a/Experimental_Music_Assignment_2/essay/U1265119-Experimental_Music-Assignment2-Essay.tex +++ b/Experimental_Music_Assignment_2/essay/U1265119-Experimental_Music-Assignment2-Essay.tex @@ -53,7 +53,7 @@ \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 diff --git a/RMTP/Assignment_3/essay/U1265119-RMTP-Assignment3-Research_Report.tex b/RMTP/Assignment_3/essay/U1265119-RMTP-Assignment3-Research_Report.tex index d53c04d..d7eb845 100644 --- a/RMTP/Assignment_3/essay/U1265119-RMTP-Assignment3-Research_Report.tex +++ b/RMTP/Assignment_3/essay/U1265119-RMTP-Assignment3-Research_Report.tex @@ -65,6 +65,15 @@ \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.