Ebook Analysis, Synthesis, and Perception of Musical Sounds: The Sound of Music (Modern Acoustics and Signal Processing)From Springer
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Analysis, Synthesis, and Perception of Musical Sounds: The Sound of Music (Modern Acoustics and Signal Processing)From Springer
Ebook Analysis, Synthesis, and Perception of Musical Sounds: The Sound of Music (Modern Acoustics and Signal Processing)From Springer
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This book contains a complete and accurate mathematical treatment of the sounds of music with an emphasis on musical timbre. The book spans the range from tutorial introduction to advanced research and application to speculative assessment of its various techniques. All the contributors use a generalized additive sine wave model for describing musical timbre which gives a conceptual unity, but is of sufficient utility to be adapted to many different tasks.
- Sales Rank: #2526160 in Books
- Published on: 2006-12-19
- Original language: English
- Number of items: 1
- Dimensions: 9.21" h x .81" w x 6.14" l, 1.32 pounds
- Binding: Hardcover
- 328 pages
From the Back Cover
Analysis, Synthesis, and Perception of Musical Sounds contains a detailed treatment of basic methods for analysis and synthesis of musical sounds, including the phase vocoder method, the McAulay-Quatieri frequency-tracking method, the constant-Q transform, and methods for pitch tracking with several examples shown. Various aspects of musical sound spectra such as spectral envelope, spectral centroid, spectral flux, and spectral irregularity are defined and discussed. One chapter is devoted to the control and synthesis of spectral envelopes. Two advanced methods of analysis/synthesis are given: "Sines Plus Transients Plus Noise" and "Spectrotemporal Reassignment" are covered. Methods for timbre morphing are given. The last two chapters discuss the perception of musical sounds based on discrimination and multidimensional scaling timbre models.
About the Author
James W. Beauchamp has been working in the area of analysis, synthesis, and perception of musical sounds for over 40 years. He is editor and co-author of Music by Computers (Wiley, 1969), a fellow of the Audio Engineering Society and of the Acoustical Society of America, former president and board member of the International Computer Music Association, and has published numerous papers in the Journal of the Audio Engineering Society, the Journal of the Acoustical Society of America, the Computer Music Journal, Proceedings of the International Computer Music Conference, Proceedings of the International Conference on Music Perception and Cognition, Proceedings of the International Society of Musical Acoustics, and Proceedings of the IEEE Workshop on Applicatiions of Signal Processing to Audio and Acoustics. For over thirty years at the University of Illinois at Urbana-Champaign he taught courses on musical acoustics, electronic music, and computer music (in the School of Music) and audio engineering, electronic music synthesis, and acoustics (in the Department of Electrical and Computer Engineering). During spring, 1988 he was a visiting scholar at the Center for Research in Music and Acoustics at Stanford University, and during 1994-95 he was a visiting researcher at the Institute for Research and Coordination in Acoustics and Music in Paris. His research interests have been in electronic and computer music synthesis systems, analysis, synthesis, and perception of musical instrument sounds, automatic pitch detection, and instrument separation.
Most helpful customer reviews
6 of 6 people found the following review helpful.
Excellent book on audio signal processing & musical timbre
By Charles Cooper
Covers both the "classic" techniques and some very recent advances in the analysis, modification and synthesis of musical sounds. The chapters on the psychoacoustics of musical timbre are excellent. I've got virtually every available book in the general area of audio signal processing and musical psychoacoustics, and this one is clearly the best so far. Chapters are contributed by several different authors. They provide both a clear review or summary of each topic and some cutting-edge "goodies" describing recent research and techniques in areas such re-synthesis of transients and noise, frequency tracking, and sound morphing.
2 of 2 people found the following review helpful.
Discovering the Beauty of Musical Sound: A Must-Have for Music Signal Processing Novice and Expert
By Michael (Gang) Ren
This book covers a major area of music signal processing, namely analysis, synthesis and perception (AS&P) of musical sound. The book is nicely written by leading experts in this field and coherently organized. In the analysis part, the authors provide important tools for investigating the internal structure of musical sound. These tools also serve as important feature extractors for content-based music information retrieval (such as multimedia search). The synthesis part is a nice extension for analysis. First, because analysis and synthesis are essentially always connected in concept and practice of Music DSP (such as "analysis by synthesis"), the synthesis part in this book is naturally part of the core arsenal of sound analysis. Second, musical sound synthesis has its own applications, the same as speech synthesis. The perception part is also nicely written and provides complete examples of cognition experiments with a summary of experimental results.
This book is important for graduate students, academic researchers, and industry developers working in the field of music signal processing. Besides covering the fundamentals of music SP, this book clearly outlines current research frontiers (and open problems). The algorithms are clearly illustrated and many have readily available implementations. I feel the majority of the available books on music SP are too close to speech SP (or they treat music SP as a "recent" extension from speech SP). This book is unique because it is specifically targeted to music (as the editor points out in the preface, music SP also has a very long research tradition). Another reason that I find this book appealing is that the most essential tools can be learned and implemented quickly. The book is edited in a consistent narrative style so it is easy to navigate. The depth in most chapters is masterfully arranged so the basics are covered first and then the advanced materials are included. I think this "structure" feature is important because it relieves the readers from having to perform extensive literature search themselves while maintaining easy readability.
2 of 3 people found the following review helpful.
Concise, Accurate, Comprehensive, Logical, Practical.
By Michael Tsiappoutas
I have been using this book on and off for the last 3 years, and intensely for the last year and a half, as part of my Ph.D. dissertation in Engineering and Applied Science---Physics. I have used directly only the first chapter, the only one written by the Editor, James W. Beauchamp. I've glanced through the rest of it, but my review is largely based on this first chapter.
Professor Beauchamp's organization and presentation of the material is amazingly clear and logical. This becomes more apparent when one considers (recent) literature on this very specialized field, acoustical digital signal processing (DSP). That been said, the material is not easy to grasp for the reader not familiar with DSP and acoustics fundamentals. The mathematical theory has a natural hierarchical structure and every single equation in the first chapter is justified. I could be hard-pressed to single out one equation or concept that does not add considerable value to this product.
I particularly enjoyed the deliberate emphasis on the interdisciplinarity of the subject. DSP, acoustics theory (both from a physics and an engineering perspective), and psychoacoustics all blend well, their parts carefully weighted to give the reader a working knowledge of each part's contribution. Intuitive as this may sound, it is not common practice in the general acoustics DSP literature. It takes a person with immense practical experience and theoretical background to achieve that. Professor Beauchamp's central role in this space is grounded on years of relevant teaching at the Univ. of Illinois (Urbana-Champaign) as well as his expertise on practical applications of this material.
Everything presented in the first chapter can be readily applied using Dr. Beauchamp's free software, SNDAN, on both Windows/DOS and Unix platforms, and can be found here . Once downloaded, the user can push his acoustic signals (saved as .wav files) by calling one of two functions, the Phase Vocoder analysis, or the McAuley-Quatieri analysis. Even though this is not a GUI application, the commands are sequential in the sense that once you upload the .wav file and chose which method you want to run, the DOS prompt asks you what you want to do next, like, for example, plot certain harmonics (only fundamental, or a weighted average of the first harmonics based on psychoacoustical experiments), spectral irregularity (corresponding to a feeling of "jaggedness"), normalized spectral centroid (corresponding to the percieved quality of sound brightness), amplitude or frequency over time, amplitude vs. frequency, amplitude vs. frequency over time (3-D plots), musical pitch vs. time (actual musical tones), and more. Another capability is raw calculation of fomulas presented in the first chapter of the book, like for example spectral centroid averages (so you can compare your signal to the perceived brightness of certain instruments), or the linear regression equation of a suggested analysis frequency for the Phase Vocoder method. Another notable feature is its ability to manipulate the signal by substituting certain spectral regions with root mean squares or weighted or straight averages of the same spectrum, apply filetring, smoothing, and being able to export the data as a raw ASCII file for further manipulation in other software like MATLAB, SAS, or R. Yet another cabability is its smart re-synthesizing of manipulated signals, something i have not had the chance to explore yet. As a matter of fact, SNDAN is so flexible, that it can be of as much use to the practicing sound engineer as it can be to the researching/teaching professor or graduate student. An ideal tool for sound lab demos and practice. If you download SNDAN and run your data through it, you will see so many interesting pictures of your signal, you will be tempted to buy the book so you can understand their meaning. And the first chapter of the book does justice to the peice of software. By the way, the rest of the chapters are not implementable in SNDAN.
The rest of the chapters feature well-established names, like Dr. Judith C. Brown (inventor of the Q-transform). I have not worked with timbre, but from what little i know, it seems like the treatment is as comprehensive as it is cutting-edge [three (3) out of a total of eight (8) chapters dedicated to it]. Fundamental frequency estimation, sound synthesis, spectral envelopes as additive models, and data reduction is some other topics covered.
The book is concise and can be read as a stand-alone source, the information is accurate and up-to-date, economical yet comprehensive, the material throughout is presented logically, and the theory is readily applied using the author's software, SNDAN. A wonderful and needed publication in the field of acoustical DSP, indeed.
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