10/27/2022 0 Comments Circle of fifths mixed in keyStudies on sensory dissonance and roughness should define these notions more specifically and differentiate them. Nevertheless, some associations with the tension-relaxation patterns characteristic of Western tonal music are apparent. The tonal hierarchies in Sutartinės diverge substantially from Krumhansl's tonal hierarchy profiles, anchoring on a central nucleus and dissipating towards more peripheral pitches. Comparing these results with the findings of acoustical measurements of Sutartinė performances suggests that the ideal vocal " clash " in Sutartinės involves maximum roughness, but not maximum sensory dissonance. It seems that, at least for a substantial frequency range, maximum roughness is associated with larger interval sizes than maximum sensory dissonance. The experimental findings on the intervals corresponding to the maximum values of roughness / sensory dissonance were collated and significant disparities were found. The psychoacoustic studies were overviewed and discrepancies between the concepts of roughness and sensory dissonance were noted. A supplementary purpose is to discuss the phenomena of tonality perception in Sutartinės. We aim to differentiate between roughness and sensory dissonance (as defined in psychoacoustic studies) and consider the case of Sutartinės in this context. Schwebungsdiaphonie singers adjust interval sizes to maximize sensory dissonance (Brandl, 1989 referring to the diaphony in the Balkans and elsewhere Ambrazevičius, 2008a, referring to Lithuanian Sutartinės). It is caused by fast beating (amplitude modulations). Roughness is considered either synonymous with sensory dissonance or its main component. Sutartinės are a Lithuanian type of Schwebungsdiaphonie (Račiūnaitė-Vyčinienė, 2002 Ambrazevičius & Wiśniewska, 2009). These musical cultures, although not abundant, are found in different locations all over the world (Cazden, 1945 Brandl, 1989 Messner, 1989 etc.). In contrast to Western tonal music, the dissonant sonorities in Schwebungsdiaphonie lie at the core of their tonal structures. The term Schwebungsdiaphonie ('beat diaphony') refers to two-part musical (usually vocal) styles with a lot of dissonant (beating) intervals such as seconds. Results demonstrate that sensory roughness computed from a small number of partials in each of the musical audio signals constitutes a reliable indicator to yield maximum perceptual consonance and pleasantness ratings by musically-trained listeners.īackground in ethnomusicology. To evaluate our method, we conducted a listening test where short musical excerpts were mixed together under different pitch shifts and rated according to consonance and pleasantness. For this, we measure the consonance between all combinations of dyads within each frame according to psychoacoustic models of roughness and pitch commonality. By scaling the partials of one track over ☖ semitones (in 1/8th semitone steps), we determine the pitch-shift that maximizes the consonance of the resulting mix. Given two tracks, we first extract a set of partials using a sinusoidal model and average this information over sixteenth note temporal frames. Unlike existing commercial DJ-mixing software, which determines compatible matches between songs via key estimation and harmonic relationships in the circle of fifths, our approach is built around the measurement of musical consonance. In this paper, we present a new harmonic mixing method based on psychoacoustic principles. The practice of harmonic mixing is a technique used by DJs for the beat-synchronous and harmonic alignment of two or more pieces of music.
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