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Aurally Equipped

May 29th, 2008 | No Comments | Posted in Uncategorized

Something absolutely amazing is how our cute little ears separate out distinguishable sounds from all of the noise hitting them. I don’t mean this in a poetic way. On the street with all the noises of the cars and birds and wind and kids, you can hear all of those things individually. This is absolutely amazing.

It’s amazing because the only thing which actually hits your eardrum is a single wave. Each sound producing thing on the street sends a wave of sound outward, and they are all trying to enter your eardrum at the same time. This is a messy process. They don’t all take it in turns, or go in in different regions, instead they all pile up on top of each other into one big wave which is a combination of all of these individual sources.

It’s like if you have two people each holding and end of a really long piece of rope, long enough that they can’t see each other. They only way they can communicate is by sending waves down the rope by flicking it up and down. If at one end someone starts moving the rope up at down at a regular rate, so that nice clean waves get sent down the rope, the person at the end can easily see these waves and look up in their special wave-to-English dictionary what their friend is trying to communicate.

This is exactly the same situation as listening to a pure tone (say middle C) except that the rope is the air in between the speaker and your eardrum (which of course are the two people).

Real sounds are rarely pure tones. Instead of one of the friends with the rope wiggling it up and down at a regular rate, it’s like he moves it frantically all over the place, with little or no regularity. This is the wiggly, crazy looking waveform you tend to see on your screen if you record something on a computer.

When you have multiple sounds at once it’s even more complicated: it’s like having multiple people competing to move the rope up and down at the same time. Of course, at each point in time they will all disagree about where the rope should be, so they’ll end up taking an average of where they each want it. If two people think it needs to be up high, and one of them thinks it needs to be low, than it’ll end up somewhere in between (but somewhere toward the high end, as there are two who want it there).

In the same way, when you are on the street, or at a concert or in any situation in which there are lots of separate sounds, all of these waves are fighting to move your eardrum around. What ends up going into your ear at each instant is an average of all of these waves. Amazingly your brain is then able to separate all of these sounds apart from each other, even if you have never heard that type of sound before! You can isolate the people talking from the birds, or the piano form the orchestra. If you are at some funky concert with a bizarre instrument made from, I dunno, linen and pork-chops, chances are you can isolate that even though your brain doesn’t know a priori what waveforms from that instrument “look like”.

There are exceptions though. If sounds are similar enough it is hard to distinguish them without practice: for example, sometimes it’s almost impossible to hear which is the cello and which the violin in a string quartet, if they are playing the same notes. Your brain is naturally good at telling stuff apart, but you can train it to be even better with practice. I guess this is true for other senses too: foodies and wine-snobs (Winies? What’s the proper term for one of them? Oh yeah… oenophiles) practice to be able to distinguish finer graduations of taste than the built-in functionality affords.

One of the things I had trouble with when I started listening to classical music was that it all sounded the same. I found it really hard to distinguish the instruments in the orchestra, which may have been why I was so into piano concertos. Everyone can hear the piano. At some point I must have practiced enough that my brain could start to distinguish things, and suddenly it sounded a lot more like music.

One of the wonderful things about music is that we can switch between listening via concentrated focusing, and letting it all pour into our ears in one gloriously messy, arguing, intricate river of sound.

Spiral Tonality

May 27th, 2008 | 1 Comment | Posted in classical music, visualization

Evening all.

One nice feature of having a decent collection of blog posts up and active is that every now and then someone leaves you a nice comment on a piece you had pretty much forgotten about. Today this was a comment from chaika, who commented on this post back from the depths of last year in which I really, really wanted a piece of software which would automatically display the tonality of a piece of music as it progresses.

Miss/Mister commenter provided me an excellent lead on the subject: Elaine Chew at USC has published a bunch of papers which attempt to do exactly that. Not only are her papers relevant, but via her references I can now work out all the other important writings on the subject. Awesome.

So far it seems that her method for determining tonality is based on a spiral:

In which each point on the spiral is a major fifth higher than the last (and so each point vertically above ends up being a third higher, which is why those chords look like triangles, because it’s a point connected to a spiral-neighbor and a vertical-neighbor) That spiral looks kinda complicated, I know, and I’m feeling the pain a bit because I only know the most basic music theory. However, I’m fairly determined to get to grips with the ideas in this paper, and it’s actually a rather interesting (and effective) way to learn the theory for me: backward from the math.

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Separation

May 25th, 2008 | No Comments | Posted in Uncategorized, music, non-classical, youtube

There’s been less than lots of updates here this week, due in significant part to g’s shortly pending department to NYC. This weekend is the move away from the apartment here, and next weekend is the move into Manhattan. Unsurprisingly this means that things are a little lively at the moment. Additionally I’ve been in a bit of classical downturn at the moment, these things go in phases.

Instead, the music colonizing my player has been Mr Scruff, an old favorite:

He was one of the guys I listened primarily to before switching over to almost exclusively classical music. It’s nice to have a bit of a resurgence. The boundaries between musical styles are completely artificial anyway, and there is something constraining and unpleasant about claiming I feel like listening to classical music or non-classical music. It’s all highly-stylized waves of compressed air, in the end.

I’ll leave you with another summery piece of Mr. Scruff, with an actual video this time:

Mmm. Pie.

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Losing Ones Temper(ament)

May 20th, 2008 | 2 Comments | Posted in classical music, theory

There’s a fascinating article over at Ask A Luthier on why guitarists with a good ear are constantly retuning their feisty little beast of an instrument. It’s all down to temperament, if you didn’t guess from the rather stunning pun of the title.

The problem is because of the fixed frets on a guitar. What I had not previously appreciated was that when (good) non-fretted musicians play their non-fretted violins or violas or cellos, they are constantly readjusting their “tuning” because they can deftly plonk down their fingers anywhere they like. That is to say, on an unfretted instrument you can press down a string to make it any length you desire, so that you can play any note — as long as it is within the physical limits of the string. On a guitar, when you push down a string it is shortened to the length of the next fret because the fret is higher than the board you are pushing against. Therefore you can only play the set of notes determined by the positions of the frets.

It turns out that guitar frets are arranged so that the guitar is in equal temperament. Equal temperament means that most notes are slightly adjusted from their mathematically “perfect” frequencies so that every musical key sounds pretty good when played on the instrument (if you try and make one key mathematically perfect — which is called just intonation — you find that the other keys don’t work). This means that it is impossible to tune a guitar to “just intonation”, and a guitarist with a good ear who tries to correct the tuning into just intonation will be prevented by the spacings of the frets.

However, there is a way around this. You can use a just intonation fingerboard. This means that instead of having frets which go straight across the neck, they are all over the place, like in the picture below (taken from Microtonal Guitar):

My favorite comment on the reddit thread where I originally found this article is this recollection:

Ha, reminds me of this guy in my music class last year. I’d say, ‘Julian, go get us an E’. He’d run next door, play an E on the piano, and hum the note as he walked back into the practice room. We’d tune to his voice.

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Redesignated

May 19th, 2008 | 2 Comments | Posted in non-classical, wordpress

Well looky here… I’ve caved to the all of the peer pressure and fallen in with the cool kids in the website redesign crowd. Hopefully everything is basically working as it should be and it isn’t all about to fall apart, unlike my very classy 1995 Civic. It’s fuel efficient though.

The car. Not the website. Wait, actually that is too.

It’s nice that these modern times it’s about infinity times easier to do a website overhaul than it was in the early pioneer days, when all a man had to get by were his wits and a battered copy of MS Notepad.

Wordpress, we salute you.

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