Tuning, timbre, spectrum, scale: Second edition

Tuning, Timbre, Spectrum, Scale: Second Edition

Volumn , Issue , 2005, Pages 1-426

  Sethares, William A ^a  

^a University of Wisconsin Madison   (United States)

Author keywords

[No Author keywords available]

Indexed keywords

HARMONIC ANALYSIS; SPECTRUM ANALYSIS;

AUDIO DEVICES; ENVIRONMENTAL SOUNDS; HARVARD; MUSIC THEORY; MUSICAL ANALYSIS; MUSICAL SCALE; MUSICAL SYNTHESIZERS; REAL TIME;

AUDIO ACOUSTICS;

EID: 84887881038     PISSN: None     EISSN: None     Source Type: Book    
DOI: 10.1007/b138848     Document Type: Book

References (259)

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53. P. Erlich, "The forms of tonality", A.pdf version of this paper is available on the CD TTSS/PDF/erlich-forms.pdf. [Concepts of tone-lattices, scales, and notational systems for 5-limit and 7-limit music.]
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55. J. L. Flanagan and R. M. Golden, "Phase vocoder", Bell System Technical Journal, 1493-1509 (1966). [A more modern vocoder implementation.]
56. N. H. Fletcher and T. D. Rossing, The Physics of Musical Instruments, Springer-Verlag, NY (1991). [The whole story of musical physics. Not for the mathematically illiterate.]
57. G. Galilei, Discorsi e dimonstrazioni matematiche interno a due nuove scienze attenenti alla mecanica ed i movimenti locali, Elsevier, Lieden (1638).
58. Translation from Dialogues Concerning Two New Sciences by H. Crew and A. de Salvio, McGraw-Hill, NY (1963).
59. J. M. Geary, "Consonance and dissonance of pairs of inharmonic sounds", J. Acoust. Soc. Am. 67, No. 5, 1785-1789 May (1980). [Inharmonic sounds generated from sideband modulation show consonance and dissonance based on positioning of their partials.]
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62. D. M. Green, "Temporal acuity as a function of frequency", J. Acoust. Soc. Am. 54, No. 2, 373-379 (1973). [Below about 500 Hz, it is possible to hear the difference between two waveforms with identical magnitude spectra.]
63. J. M. Grey and J. W. Gordon, "Perceptual effects of spectral modifications on musical timbres", J. Acoust. Soc. Am. 65, No. 5, 1493-1500 (1978). [What do you get when you swap the spectral envelopes of a trumpet and a trombone? Uses multidimensional scaling to look for physical correlates of timbral perceptions.]
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68. D. E. Hall, "Quantitative evaluation of musical scale tunings", Am. J. Physics, 543-552, July (1974). [Uses a least-mean-square-error criterion to judge the fitness of various tunings for particular pieces of music.]
69. D. E. Hall, "The difference between difference tones and rapid beats", Am. J. Phys. 49, No. 7, July (1981). [Presents a series of experiments that distinguish the phenomonon of beats (fluctuations in loudness) from the phenomenon of difference tones (caused by nonlinearities).]
70. L. Harrison, Lou Harrison's Music Primer, Peters, NY (1971). [Quotable snippets on compositional techniques.]
71. H. Helmholtz, On the Sensations of Tones, (1877). Trans. A. J. Ellis, Dover Pubs., New York (1954). [Still readable after all these years.]
72. P. Hindemith, The Craft of Musical Composition, (1937). Trans. A Mendel, Associated Music Publishers, New York, NY (1945). [Extensive survey of compositional techniques by one of the centuries great composers.]
73. C. Huygens, The Celestial Worlds Discover'd, reprint London: F. Cass (1968).
74. W. Hutchinson and L. Knopoff, "The acoustic component of western consonance", Interface 7, 1-29 (1978). [Builds a consonance/dissonance measure on the work of Plomp and Levelt and applies it to harmonic sounds.]
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76. C. R. Johnson, Jr. and W. A. Sethares, Telecommunication Breakdown, Prentice-Hall, Englewood Cliffs, NJ (2003). [Chapter 7 contains a useful introduction to frequency analysis using the FFT (along with extensive Matlab code), and Appendix C discusses envelope detectors.]
77. A. M. Jones, "Towards an assessment of the Javanese pelog scale", J. Society Ethnomusicology 7, No. 1 (1963). [Looks for patterns in the pelog tuning data of [B: 90].]
78. O. H. Jorgensen, Tuning, Michigan State University Press, East Lansing, MI (1991). [Big red Bible of tunings, with excellent instructions for aural and electronic tunings of the various historical temperaments.]
79. A. Kameoka and M. Kuriyagawa, "Consonance theory part I: consonance of dyads" J. Acoust. Soc. Am. 45, No. 6, 1452-1459 (1969). [Reproduction and extension of Plomp and Levelt's tonal consonance ideas.]
80. A. Kameoka and M. Kuriyagawa, "Consonance theory part II: consonance of complex tones and its calculation method" J. Acoust. Soc. Am. 45, No. 6, 1460-1469 (1969). [Reproduction and extension of Plomp and Levelt's tonal consonance ideas.]
81. D. F. Keisler, "The relevance of beating partials for musical intonation", Proceedings of the ICMC, Montreal (1993). [Beating does not contribute to the percept of "out-of-tuneness" according to these experiments on the intonation of thirds and fifths.]
82. E. J. Kessler, C. Hansen, and R. N. Shepard, "Tonal schemata in the perception of music in Bali and in the West", Music Perception, Winter 1984, Vol. 2, No. 2, 131-165 (1984). [Comparison of Balinese and Western musical perception.]
83. Keyboard, Miller Freeman Inc., San Fransisco, CA. [Popular magazine with concrete discussions of music technology and product information.]
84. J. Kiefer and J. Wolfowitz, "Stochastic Estimation of a Regression Function", Ann. Math. Stat. 23, 462466 (1952). [A standard way to avoid calculating derivatives in gradient optimization is to approximate using evaluations of the cost.]
85. L. E. Kinsler, J. R. Fry, A. B. Coppens, and J. V. Sanders, Fundamentals of Acoustics, John Wiley and Sons, New York (1982). [Excellent coverage of modes of vibration of strings, bars, drumheads, etc. Requires calculus for full appreciation.]
86. R. Kirkpatrick, Domenico Scarlatti, Princeton University Press (1953). [The standard catalogue of Scarlatti's sonatas.]
87. S. Kirkpatrick, C. D. Gelatt, and M. P. Vecchi, "Optimization by simulated annealing", Science 220, No. 4598, May (1983). [A technique for solving complex optimization problems via a kind of structured random search. Technique inspired by cooling of metals.]
88. R. J. Krantz and J. Douthett, "A measure of reasonableness of equaltempered musical scales", J. Acoust. Soc. Am. 95, No. 6, 3642-3650, June (1994). [A "desirability" function is used to investigate the ability of various equal temperaments to approximate just intervals.]
89. F. Krueger, "Differenztone und konsonanz", Arch. Ges. Psych. 2, 1-80 (1904). [Proposes difference tones as an explanation for perceptions of consonance and dissonance.]
90. J. Kunst, Music in Java, Martinus Nijhoff, The Hague, Netherlands (1949). [The first major study of Javanese music.]
91. G. Kvistad, Woodstock Chimes, Woodstock Percussion, Inc., Hudson Valley, NY.
92. V. Lafrenièr, Notion d'acoustique musicale (Etude de la courbe de dissonance), Ecole Polytechnique de Montreal (2001). [Explores an alternative parameterization of the Plomp-Levelt curves.]
93. S. Lang, Algebra, Addison-Wesley Pub. Co. (1965). [Big red book of abstract algebra.]
94. A. Lehr, "The designing of swinging bells and carillon bells in the past and present", Athanasius Foundation, Asten, The Netherlands. (1987). [How bells are tuned.]
95. M. Leman, Music and Schema Theory: Cognitive Foundations of Systematic Musicology, Springer-Verlag, Berlin (1995). [Systematic musicology melds perceptual psychology with musicology.]
96. M. Leman, "Visualization and calculation of the roughness of acoustical musical signals using the synchronization index model", Proceedings of the COST G-6 Conference on Digital Audio Effects (DAFX-00), Verona, Italy, Dec. (2000). [Explores a generalization of the sensory dissonance model of Sect. 3.6 and Appendix G.]
97. T. Levin and M. Edgerton, "The throat singers of Tuva", Scientific American, Sept. (1999). [An acoutsical analysis of throat singing.]
98. F. Loosen, "The effect of musical experience on the conception of accurate tuning", Music Perception 12, No. 3, 291-306, Spring (1995). [Musicians tend to judge the temperaments with which they are most familiar as the most "in tune."]
99. V. Majernick and J. Kaluzny, "On the auditory uncertainly relations", Acustica 43, 132-146 (1979). [The auditory uncertainty product, defined as the JND for frequency multiplied by the signal duration, is examined theoretically and experimentally.]
100. M. V. Mathews and J. R. Pierce, "Harmony and inharmonic partials", J. Acoust. Soc. Am. 68, 1252-1257 (1980). [A series of experiments using sounds with stretched spectra that attempts to distinguish among functional consonance, sensory consonance, and cultural conditioning.]
101. M. V. Mathews, L. A. Roberts, and J. R. Pierce, "Four new scales built on integer ratio chords", J. Acoust. Soc. Am. 75, S10 (A) (1984). [Scales based on the 13th root of 3 rather than the 12th root of 2.]
102. M. V. Mathews, J. R. Pierce, A. Reeves, and L. A. Roberts, "Theoretical and experimental explorations of the Bohlen-Pierce scale", J. Acoust. Soc. Am. 84, 1214-1222 (1988). [A musical scale based on 13 equal divisions of the octave+fifth rather than 12 divisions of the octave.]
103. M. V. Mathews and J. R. Pierce, "The Bohlen-Pierce scale", in Current Directions in Computer Music Research, ed. M. V. Mathews and J. R. Pierce, MIT Press, Cambrige, MA (1991). [Much the same as previous article, but the accompanying CD has three short demonstration pieces in the Bohlen-Pierce scale.]
104. W. A. Mathieu, The Musical Life, Shambhala Publications, Inc., Boston MA (1994). [Personal narrative of a musical life. Charming and poetic.]
105. E. May, ed., Music of Many Cultures, University of California Press, Inc., Berkeley, CA (1980). [Survey of the varieties of music on planet Earth.]
106. McClure, "Studies in Keyboard Temperaments", GSJ, i, 2840 (1948).
107. B. McLaren, "The uses and characterisics of non-just non-equal-tempered Scales", Xenharmonikon 15 (1993). [Manifesto on the use of non-just non-equaltempered scales.]
108. B. McLaren, "General methods for generating musical scales", Xenharmonikon 13, Spring (1991). [Numerical methods of generating a wide variety of scales.]
109. B. McLaren and I. Darreg, "Biases in xenharmonic scales", Xenharmonikon 13, Spring (1991). [Equal temperaments viewed on a continuum from "biased towards melody" to "biased towards harmony."]
110. C. McPhee, Music in Bali, Yale University Press (1966). [The standard reference for Balinese music.]
111. R. Meddis, "Simulation of mechanical to neural transduction in the auditory receptor", J. Acoust. Soc. Am. 79, No. 3, 702-711, March (1986). [A computational model of the workings of the auditory system.]
112. A. P. Merriam, Anthropology of Music, Northwestern University Press (1964). [Classic work on ethnomusicology, by one of the founders of the field.]
113. G. R. Morrison, "88 cent equal temperament", Xenharmonikon 15 (1993). [Explores possibilities of the 88-cet non-octave scale.]
114. G. R. Morrison, "EPS xenharmonic scales disk musicians guide" (1993). [Disk provides alternate tunings for Ensoniq EPS/ASR samplers, and manual provides overview of alternate tuning practice.]
115. B. C. J. Moore, R. W. Peters, and B. R. Glasberg, "Thresholds for the detection of inharmonicity in complex tones", J. Acoust. Soc. Am. 77, 1861-1867 (1985).
116. B. C. J. Moore, B. R. Glasberg, and R. W. Peters, "Relative dominance of individual partials in determining the pitch of complex tones", J. Acoust. Soc. Am. 77, 1853-1860 (1985).
117. F. R. Moore, Elements of Computer Music, Prentice Hall, Englewood Cliffs, NJ (1990). [Analyzing, processing, and synthesizing musical structures and sounds using computers.]
118. E. Moreno, "Embedding equal pitch spaces and the question of expanded chromas: an experimental approach", CCRMA Report No. STAN-M-93, Dec. (1995). [Transpositions by the ratio K:1 in an Nth root of K system can preserve the chroma of the pitch.]
119. D. Morton, "The Music of Thailand", in [B: 105].
120. T. Murail, "Spectres et lutins", La Revue Musicale, 421-424.
121. Also "Spectra and pixies", in Contemporary Music Review, ed. T. Machover, Harwood Academic Publishers 1, No. 1, 157-170 (1984). [Seminal paper describing spectral composition, which attempts to use "sound itself as a model for musical structure."]
122. B. Nettl, The Study of Ethnomusicology, University of Illinois Press (1983). [Discussion of the central issues and problems in ethnomusicology.]
123. M. Niedzwiecki and W. A. Sethares, "Smoothing of discontinuous signals: the competitive approach", IEEE Trans. on Signal Processing 43, No. 1, 1-12, Jan. (1995). [An approach to the smoothing of discontinuous signals is justified by an extension of the Kalman filter to the nonlinear case.]
124. H. Olson, Music, Physics, and Engineering, Dover Pubs., New York (1967). [Technical details have not aged well.]
125. F. Orduna-Bustamante, "Nonuniform beams with harmonically related overtones for use in percussion instruments", J. Acoust. Soc. Am. 90, No. 6, 2935-2941 (1991). [How to manipulate the contour of a bar so as to increase the harmonicity of the partials.]
126. C. L. van Panthaleon van Eck, J. S. Bach's Critique of Pure Music, Buren, author, n. d. (1981).
127. R. Parncutt, Harmony: A Psychoacoustic Approach, Springer-Verlag, Berlin (1989). [Application of Terhadt's models of psychoacoustics to common practice music theory and composition with harmonic tones.]
128. R. Parncutt, "Applying psychoacoustics in composition: 'harmonic' progressions of 'inharmonic' sonorities", Perspectives of New Music, 1994. [Speculative application of Terhadt's models of psychoacoustics to music theory and composition for sounds with inharmonic spectra.]
129. H. Partch, Genesis of a Music, Da Capo Press, New York (1974). [Musical prophet cries in the wilderness. Read it.]
130. H. Partch, Bitter Music, Ed. Thomas McGeary, University of Illinois Press, Urbana (1991). [Partch's writings during the depression are a testament to human perseverance. They are musically fascinating and entertaining.]
131. R. D. Patterson and B. C. J. Moore, "Auditory filters and excitation patterns as representations of frequency resolution", in Frequency Selectivity in Hearing, ed. B. C. J. Moore, Academic Press, London (1986). [A computational model of the auditory system.]
132. M. Perlman, "American gamelan in the garden of eden: intonation in a cross cultural encounter", Musical Quarterly (1996). [Shows how just intonation cannot be applied to gamelan tunings. Intonational naturalism vs. intonational relativism.]
133. R. Perrin, T. Charnley, and J. de Pont, "Normal modes of the modern English church bell", J. Sound Vibration 102, 11-19 (1983). [Investigation of the modal structure of church bells.]
134. J. O. Pickles, An Introduction to the Physiology of Hearing, Academic Press, New York (1988). [Detailed yet readable introduction to the hardware of hearing.]
135. J. R. Pierce, "Attaining consonance in arbitrary scales", J. Acoust. Soc. Am. 40, 249 (1966). [Construction of a spectrum related to 8-tet.]
136. J. R. Pierce, The Science of Musical Sound, Scientific American Books, W. H. Freeman and Co., New York (1983). [One of the most clearly written, thoughtful, and beautifully illustrated books in musical science. The accompanying recording is well worth a listen.]
137. J. R. Pierce, "Periodicity and pitch perception", J. Acoust. Soc. Am. 90, No. 4, 1889-1893 (1991). [Tries to untangle the effects of the two pitch detection mechanisms, one operating on resolved partials and the other on periodicity.]
138. W. Piston, Harmony, 5th Edition, W. W. Norton & Co. Inc. (1987). [Standard reference on the common practice of composers in the 18th and 19th century.]
139. R. Plomp, "Detectability threshold for combination tones", J. Acoust. Soc. Am. 37, 1110-1123 (1965). [How loud are difference tones? Can they be heard in music?]
140. R. Plomp, "Timbre as a multidimensional attribute of complex tones", in Frequency Analysis and Periodicity Detection in Hearing, ed. R. Plomp and G. F. Smoorenburg, A. W. Sijthoff, Lieden (1970).
141. R. Plomp, Aspects of Tone Sensation, Academic Press, London (1976).
142. R. Plomp and W. J. M. Levelt, "Tonal consonance and critical bandwidth", J. Acoust. Soc. Am. 38, 548-560 (1965). [Relates tonal consonance/dissonance to the critical bandwidth. Extensive comments on Helmholtz and others consonance theories. If you want to see where many of the ideas in Tuning, Timbre, Spectrum, Scale come from, read this paper.]
143. L. Polansky, "Paratactical tuning: an agenda for the use of computers in experimental intonation", Computer Music Journal 11, No. 1, 61-68, Spring (1987). [Suggests need for a dynamic (adaptive) tuning.]
144. R. L. Pratt and P. E. Doak, "A subjective rating scale for timbre", Journal of Sound and Vibration 45, 317 (1976).
145. K. van Prooijen, "A Theory of Equal Tempered Scales", Interface 7, 45-56 (1978). [Uses continued fractions to measure deviations from harmonicity for arbitrary equal temperaments.]
146. J. P. Rameau, Treatise on Harmony, Dover Pubs., New York (1971), original edition (1722). [The first statement of "functional" consonance and dissonance.]
147. R. A. Rasch, "Perception of melodic and harmonic intonation of two-part musical fragments", Music Perception 2, No. 4, Summer (1985). [Compares effects of melodic mistuning and harmonic mistunings.]
148. J. W. S. Rayleigh, The Theory of Sound, Dover Pubs., New York (1945), original edition (1894). [Complete survey of the field of acoustics as of 1894 by one of the men who created it.]
149. W. H. Reynolds and G. Warfield, Common-Practice Harmony, Longman, New York (1985). [Standard music theory text.]
150. J. C. Risset, "The development of digital techniques: a turning point for electronic music?" Rapports IRCAM 9/78 (1978). [New directions in electronic music. Worth reading even though it's no longer new.]
151. J. C. Risset, "Additive synthesis", in The Psychology of Music, ed. Diana Deutsch, Academic Press, New York (1982). [How additive synthesis works.]
152. J. C. Risset and D. L. Wessel, "Exploration of timbre by analysis and synthesis", in The Psychology of Music, ed. Diana Deutsch, Academic Press, New York (1982). [How and why additive synthesis/resynthesis techniques have changed the way we look at musical sound.]
153. C. Roads, "A tutorial on nonlinear distortion or waveshaping synthesis", Computer Music Journal 3, No. 2, 29-34 (1979). [A technique for digital sound synthesis.]
154. C. Roads, "Interview with Max Mathews", Computer Music Journal 4, No. 4, Winter (1980). [Mathews says, "It's clear that inharmonic timbres are one of the richest sources of new sounds. At the same time they are a veritable jungle of possibilities so that some order has to be brought out of this rich chaos before it is to be musically useful."]
155. J. G. Roederer, The Physics and Psychophysics of Music, Springer-Verlag, New York (1994). [Emphasizes importance of perception. The title should not dissuade those without mathematical expertise.]
156. P. Rosberger, The Theory of Total Consonance, Associated University Presses Inc., Cranbury, NJ (1970). [Proposal for an adaptive tuning "ratio machine" that maintains simplest possible integer ratio intervals at all times.]
157. J. E. Rose, J. E. Hind, D. J. Anderson, and J. F. Brugge, "Some effects of stimulus intensity on response of auditory nerve fibers in the squirrel monkey", Journal of Neurophysiology 34, 685-699 (1971). [Among other things, includes solid physical evidence for the presence of nonlinearities in models that incorporate the hair cells of the basilar membrane.]
158. T. D. Rossing, Acoustics of Bells, Van Nostrand-reinhold, Stroudsberg, PA (1984). [Everything you always wanted to know about bells, and a bit more.]
159. T. D. Rossing, The Science of Sound, Addison Wesley Pub., Reading, MA (1990). [One of the best all around introductions to the Science of Sound. Comprehensive, readable, and filled with clear examples.]
160. T. D. Rossing and R. B. Shepherd, "Acoustics of gamelan instruments", Percussive Notes 19, No. 3, 73-83 (1982). [The only published investigation of the spectra of gamelan instruments.]
161. J. Sankey and W. A. Sethares, "A consonance-based approach to the harpsichord tuning of Domenico Scarlatti", J. Acoust. Soc. Am. 101, No. 4, 2332-2337, April (1997). [John's expertise in the Scarlatti-sphere was a boon, and the collaboration was great fun.]
162. P. Schaeffer, Traite des Objets Musicaux, Paris: Editions de Seuil (1968). [Attempts a complete classification of sound.]
163. R. M. Schafer, The Tuning of the World, Univ. of Pennsylvania Press, Philadelphia (1980). [Explores natural and artificial "soundscapes", both historical and modern.]
164. H. Schenker, Five Graphic Music Analyses, Dover Pubs., New York (1969). [A standard technique for the analysis of music.]
165. A. Schoenberg, Structural Functions of Harmony, Norton, New York (1954). [Standard technique for the analysis of music.]
166. W. A. Sethares, "Local consonance and the relationship between timbre and scale", J. Acoust. Soc. Am. 94, No. 3, 1218-1228, Sept. (1993). [Shows how to draw dissonance curves for arbitrary spectra, and how to construct spectra for arbitary scales.]
167. W. A. Sethares, "Relating tuning and timbre", Experimental Musical Instruments IX, No. 2 (1993). [A more popular version of the JASA article with similar name. No math.]
168. W. A. Sethares, "Adaptive tunings for musical scales", J. Acoust. Soc. Am. 96, No. 1, 10-19, July (1994). [How to use consonance/ dissonance ideas to design adaptive or dynamic tunings that respond to the spectrum of the sound being played.]
169. W. A. Sethares, "Tunings for inharmonic sounds", Synaesthetica ACAT, Canberra, Australia, Aug. (1994). [Used the Chaco rock to demonstrate scale and spectrum issues.]
170. W. A. Sethares, "Specifying spectra for musical scales", J. Acoust. Soc. Am. 102, No. 4, Oct. (1997). [Presents a method of specifying the spectrum of a sound so as to maximize a measure of consonance with a given desired scale.]
171. W. A. Sethares, "Consonance-based spectral mappings", Computer Music Journal 22, No. 1, 56-72, Spring (1998).
172. W. A. Sethares, "Real-time adaptive tunings using MAX", Journal of New Music Research 31, No. 4, Dec. (2002). [Implementation of adaptive tunings in the MAX language.]
173. W. A. Sethares, D. A. Lawrence, C. R. Johnson, Jr., and R. R. Bitmead, "Parameter drift in LMS adaptive filters", IEEE Trans. on Acoustics, Speech, and Signal Processing ASSP-34, No. 4, August (1986). [Some problems that arise with gradient algorithms.]
174. W. A. Sethares and B. McLaren, "Memory and context in the calculation of sensory dissonance", Proc. of the Research Society for the Foundations of Music, Ghent, Belgium, Oct. (1998). [Investigates use of a "context" or "memory" function in the calculation of sensory dissonance.]
175. W. A. Sethares and T. Staley, "Sounds of crystals", Experimental Musical Instruments VIII, No. 2, Sept. (1992). [Uses data from x-ray crystallography to generate interesting sounds.]
176. W. Slawson, Sound Color, University of California Press, Los Angeles, CA. (1985). [What are the "laws of tone color?" What is timbre, and how can it be held constant when other aspects of a sound change?]
177. F. H. Slaymaker, "Chords from tones having stretched partials", J. Acoust. Soc. Am. 47, No. 2, 1469-1571 (1970). [Asks how musical stretched tones can be.]
178. N. Sorrell, A Guide to the Gamelan, Faber and Faber Ltd., London (1990). [A solid introduction to the Gamelan "orchestra:" its instruments, music, and traditions.]
179. G. A. Sorge, Vorgemach der musicalischen composition Verlag des Autoris, Lobenstein (1747). [First presentation of idea that beating of partials causes dissonance.]
180. J. C. Spall, "Multivariate stochastic approximation using a simultaneous perturbation gradient approximation", IEEE Trans. Autom. Control 37, 332341 (1992). [Presents a way to avoid complex gradient calculations in optimization problems.]
181. J. C. Spall, "A one-measurement form of simultaneous perturbation stochastic approximation", Automatica 33, 109112 (1997). [Further development of [B: 179].]
182. S. S. Stevens, "Tonal density", J. Experimental Psychology 17 (1934). [Experiment requires observers to change a dial until two sounds have the same "tonal density."]
183. K. Steiglitz, A Digital Signal Processing Primer, Addison-Wesley Pub., Menlo Park, CA (1996). [Digital signal processing, with applications to computer music and digital audio. A more complete rendering of the "Speaking of Spectra" appendix.]
184. W. Stoney, "Theoretical possibilities for equal tempered systems" in The Computer and Music ed. H. B. Lincoln, Cornell University Press, Ithaca, NY (1970). [How well do the various equal temperaments approximate the harmonic series?]
185. A. Storr, Music and the Mind, Ballantine Books, New York (1992). [Why do people make music?]
186. G. Strang and T. Nguyen, Wavelets and Filter Banks, Wellesley College Press, Wellesley, MA (1996). [Solid introduction to theory and applications of wavelets and filter bank techniques.]
187. W. J. Strong and M. Clark, "Perturbations of synthetic orchestral wind instrument tones, J. Acoust. Soc. Am. 41, 277-285 (1967). [Take the spectrum of one instrument and graft it onto the envelope of another. What do you get?]
188. W. J. Strong and G. R. Plitnik, Music, Speech, Audio, Soundprint, Provo, UT (1992). [One of the best all around introductions to the Science of Sound. Comprehensive, readable, and filled with clear examples.]
189. K. Stumpf, "Konsonanz und dissonanz", Beitr. Akust. Musikwiss 1, 1-108 (1898). [Argues that consonance and dissonance are due directly to the degree of fusion of the sounds.]
190. J. Sundberg, The Science of Musical Sounds, Academic Press, New York (1991). [Excellent overview of the acoustics and psychoacoustics of musical sounds.]
191. W. Surjodiningrat, P. J. Sudarjana, and A. Susanto, Tone Measurements Of Outstanding Javanese Gamelan In Yogyakarta And Surakarta, Gadjah Mada University Press (1993). [Carefully documents the tuning of 70 different gamelans.]
192. C. Taylor, Sounds of Music, Charles Scribners Sons, New York (1976). [Read this book for its excellent series of simple experiments that demonstrate fundamental acoustical principles, not for its theoretical contributions.]
193. J. Tenney, A History of 'Consonance' and 'Dissonance', Excelsior Music Pub., New York (1988). [Traces historical uses of the words " consonance" and "dissonance" from Medieval times to the present.]
194. M. Tenzer, Balinese Music, Periplus Editions, Inc. (1991). [Colorful and informative introduction to Balinese gamelan instruments, history, and repertoire.]
195. E. Terhardt, "Pitch shifts of harmonics, an explanation of the octave enlargement phenomenon", Proc. 7th Int. Congress Acoustics, Budapest, Hungary (1971). [Shows how the preference for stretching of octaves may be caused by the same mechanism that is responsible for virtual pitch.]
196. E. Terhardt, "Pitch, consonance, and harmony", J. Acoust. Soc. Am. 55, No. 5, 1061-1069, May (1974). [Notions of virtual pitch are combined with a "learning matrix" (an early kind of neural network) that is used to explain several auditory phenomena.]
197. E. Terhardt, "The concept of musical consonance: a link between music and psychoacoustics", Music Perception 1, No. 2, 276-295, Spring (1984). [Attempts to link virtual pitch notions with "harmony." When combined with sensory consonance, this provides a "complete" theory of musical consonance and dissonance.]
198. E. Terhardt, G. Stoll, and M. Seewann "Algorithm for extraction of pitch and pitch salience from complex tone signals", J. Acoust. Soc. Am. 71, No. 3, 679-688, March (1982). [Gives an algorithm for finding the virtual pitch of a complex tone.]
199. C. D. Veroli, Unequal Temperaments, Artes Graphicas Farro, Argentina (1978). [Emphasizes historical uses, musical characteristics, and the practice of unequal temperaments. Shows how to tune and fret instruments for nonequal playing.]
200. N. Vicentino "L'antica musica ridotta alla moderna prattica", Antonio Barre, Rome (1555)
201. English translation: "Ancient music adapted to modern practice", eds. M. R. Maniates and C. V. Palisca, Yale University Press, New Haven, CT (1996). [A tuning consisting of two meantone chains that can function as an adaptive tuning.]
202. J. Vos, "The perception of pure and mistuned musical fifths and major thirds: thresholds for discrimination, beats, and identification", Perception and Psychophysics 32, 297-313 (1982).
203. J. Vos, "Subjective acceptability of various regular twelve-tone tuning systems in two-part musical fragments", J. Acoust. Soc. Am. 83, No. 6, 2383-2392 (1988).
204. H. Waage, "Liberation for the scale-bound consonance", 1/1 7, No. 3, March (1992). [This alternative to keyboards with a fixed tuning uses a "logic circuit" to determine how each note in a chord should be retuned.]
205. W. D. Ward, "Musical perception", in Foundations of Modern Auditory Theory, ed. J. V. Tobias, Academic Press, New York (1970). [Discusses (among other things) "subjective" pitch of musical intervals.]
206. E. G. Wever, "Beats and related phenomena resulting from the simultaneous sounding of two tones", Psychological Review 36, 402-418 (1929). [Gives an early history of beats.]
207. B. Widrow, J. M. McCool, M. G. Larimore, and C. R. Johnson, Jr., "Stationary and nonstationary learning characteristics of the LMS adaptive filter", Proceedings of the IEEE 64, No. 8, 1151-1162, Aug. (1976). [A standard reference for gradient descent algorithms.]
208. C. G. Wier, W. Jesteadt, and D. M. Green, "Frequency discrimination as a function of frequency and sensation level", J. Acoust. Soc. Am. 61, 178-184 (1977). [Finding the JND for frequency perception.]
209. S. R. Wilkinson, Tuning In, Hal Leonard Books (1988). [Popular book
210. R. Young, "Inharmonicity of plain piano wire", J. Acoust. Soc. Am. 24, 267-273 (1952). [The partials of piano wire are "stretched" by a factor of about 1.0013].
211. M. Yunik and G. W. Swift, "Tempered music scales for sound synthesis", Computer Music Journal, Winter (1980). [How well do the various equal temperaments approximate 50 different just intervals?]
212. D. Zicarelli, G. Taylor, et al., Max 4.0 Reference Manual, Cycling'74 (2001). [Manual for the Max programming language. See also [W: 22].]
213. E. Zwicker and H. Fastl, Psychoacoustics, Springer-Verlag, Berlin (1990). [Up to date account of many psychoacoustic measures and techniques, including an excellent overview of JND research.]
214. E. Zwicker, G. Flottorp, and S. S. Stevens, "Critical bandwidth in loudness summation", J. Acoust. Soc. Am. 29, 548 (1957). [Examines relationship between critical ban-dwith and JND.]
215. S. Alexjander, Sequencia, Science and the Arts, Berkeley, CA (1994). [Uses data from DNA sequences to generate interesting tunings.]
216. J. M. Barbour and F. A. Kuttner, Theory and Practice of Just Intonation, Musurgia Records, Jackson Heights, NY (1958). [This recording gives numerous examples of how bad Just Intonation can sound if played incorrectly. For instance, "Auld Lang Syne" is played in C in a Just C scale, and it is then played in F# without changing the tuning.]
217. J. M. Barbour and F. A. Kuttner, Meantone Temperament in Theory and Practice, Musurgia Records, Jackson Heights, NY (1958). [Meantone bad. Equal temperament good.]
218. E. Blackwood, 12 Microtonal Etudes for Electronic Music Media (1976). [A sort of "ill-tempered synthesizer" with pieces in all equal temperaments from 13 to 24].
219. W. Carlos, Beauty in the Beast, SYNCD 200, Jem Records, Inc. South Plainfield, NJ (1986). ["Puts aside the traditional equally tempered scale, and also the standard acoustic and electronic timbres" to create one of the greatest xenharmonic pieces so far.]
220. W. Carlos, Secrets of Synthesis, CBS Records MK 42333 (1987). [Carlos introduces and explains synthesizer technology. In "Alternative Tunings-The Future", Carlos says, ". not only can we have any possible timbre but these can be played in any possible tuning. that might tickle our ears."]
221. W. Carlos, Switched on Bach 2000, Telarc Int. Co. CD-80323, Cleveland, OH (1992). [The classic album revisited. With modern synthesizer technology, Carlos performs in "authentic Bach tunings."]
222. J. Chowning, Turenas, Stria, Phone, Sabelithe WER 2012-50 Wergo, Mainz, Germany (1988). [Use of inharmonic materials in a "western" style.]
223. Classical Instrumental Traditions: Thailand, JVC World Sounds, VICG-5262, Tokyo, Japan (1993). [Focuses on solo pieces for a variety of indigenous Thai instruments.]
224. I. Darreg, Detwelvulate, Ivor Darreg Memorial Fund (1995). [Encourages use of non-12-tet tunings. Each tuning has its own "feel."]
225. D. Doty, Uncommon Practice: Selected Compositions 1984-1995, Frog Peak Music [B: 57]. [Compositions in just intonation.]
226. Fong Naam, Sleeping Angel, Nimbus Records, NI 5319 (1991). [Thai classical music is played in a close approximation to 7-tet.]
227. Fong Naam, Nang Hong Suite, Nimbus Records, NI 5332 (1992). [Thai funeral music, in 7-tet, is livelier than you might think.]
228. E. Fisk, Baroque Guitar, MusicMasters 0612-67130-2, Ocean, NJ (1993). [Scarlatti performed on classical guitar.]
229. Gamelan Batel Wayang Ramayana, CMP Records, NY CMP CD 3003 (1990). [Gamelan music accompanying the Ramayana saga.]
230. Gamelan of Cirebon, King Records, KICC 5130, Tokyo, Japan (1991). [An iron gamelan from Cirebon, played in the slendro tuning.]
231. Gamelan Gong Gede of Batur Temple, King Records, KICC 5153, Tokyo, Japan (1992). [A Balinese gamelan.]
232. Gamelan Gong Kebyar of "Eka Cita", Abian Kapas Kaja, King Records, KICC 5154, Tokyo, Japan (1992). [Award-winning gamelan from Denpassar, Bali.]
233. Gender Wayang of Sukawati Village, King Records, KICC 5156, Tokyo, Japan (1992). [The gamelan that accompanies the shadow puppet.]
234. The Gyuto Monks, Freedom chants from the roof of the world, Rykodisc (1989). [Overtone singing is common in the Tibetan tradition.]
235. A. J. M. Houtsma, T. D. Rossing, and W. M. Wagenaars, Auditory Demonstrations (Phillips compact disc No. 1126-061 and text) Acoustical Society of America, Woodbury NY (1987). [A wealth of great sound examples: thorough and thought provoking.]
236. Huun-Huur-Tu, "60 horses in my herd", Shanachie 64050 (1993). [Throat singing is integral to these traditional Tuvan songs.]
237. On the Edge, Selections of the 1996 International Computer Music Society, Hong Kong (1996).
238. E. Katahn, Beethoven In The Temperaments, Gasparo Records, No. 332 (1998). [Performances of several Beethoven piano sonatas in authentic temperaments.]
239. Klênêngan Session of Solonese Gamelan, King Records, KICC 5185, Tokyo, Japan (1994). [Gamelan from the palace (kraton) in Solo, played by musicians from the National Broadcasting Company (RRI).]
240. E. Lyon, Red Velvet, Smart Noise Records (1996) [Music that "hypernavigates a compressed informational world." Thanks, Eric.]
241. Music from the Morning of the World, Elekctra/Asylum/Nonesuch Records, 9 79196-2, Rockefeller Plaza, NY (1988). [Balinese gamelan and the Ramayana monkey chant.]
242. T. Murail, Gondwana/D́esint́egrations/Time and Again, performed by Y. Prin and P. Plissier, Salabert, Scd8902. [Spectral compositions.]
243. Music for the Gods, Ryko RCD 10315 (1992). [Recorded in 1941 and recently reissued. Compare the early sound of the gamelan with what it has become today.]
244. A. Newman, Scarlatti Sonatas NCD 60080, Newport Classic, RI (1989). [Scarlatti played on the "Magnum Opus" harpsichord, "maybe the largest harpsichord ever built."]
245. H. Partch, The Bewitched, Performed by members of the University of Illinois Musical Ensemble, CRI CD7001, 179 W. 74th St. NY (1990). [Partch's dance-satire is performed with a variety of his instruments tuned to his 43-tone just scale.]
246. H. Partch, Music of Harry Partch, CRI CD7000, New York (1989). [A "best of" Partch: new scales, new instruments, a new listening experience.]
247. I. Pogorelich, Domenico Scarlatti Sonaten, Deutsche Grammophon 435-855-2 (1992). [Scarlatti adapted for piano.]
248. L. Polansky, Simple Harmonic Motion, Artifact Recordings, Berkeley, CA (1994). [Works for instruments in just intonation.]
249. S. Reich, Phase Patterns Robi Droli/Newtone, No. 5018, (2000). [Exploits rhythmic phasing.]
250. J. C. Risset, Sud, Dialogues, Inharmonique, Mutations, INA C 1003, INA. GRM Paris, France (1987). [Use of inharmonic materials in a "western" context.]
251. S. Ross, Scarlatti, Best Sonatas Erato, 2292-45423-2, Erato-Disques, Radio France (1988). [Scarlatti recorded at the Chapelle du Chateau d'Assas.]
252. I. W. Sadra, Karya, Lyrichord LYRCD 7421. [New music from an influential Indonesian composer.]
253. Thailand-Ceremonial and Court Music.
254. W. A. Sethares, Xentonality, Odyssey Records XEN2001 (1997). [A variety of equal and unequal temperaments played with related timbres. Adaptively tuned and found-sound pieces. Thoroughly xentonal. Available from Frog Peak Music, Box 1052, Lebabnon NH 03766 and from amazon.com.]
255. W. A. Sethares, Exomusicology, Odyssey Records EXO2002 (2002). [A variety of equal and unequal temperaments played with related timbres. Adaptively tuned and found-sound pieces. Thoroughly xentonal. Available from amazon.com.]
256. L. Sgrizzi, Vingt-quatre Sonates pour Clavecin, Accord, 1491014, France (1984). [Scarlatti played on the harpsichord at the Cathedrale San Lorenzo.]
257. J. Teller, My Inner Ear, The Tyte Institute, Hesselogado 4, 3 DC-2100, Copenhagen, Denmark. [Concert for three samplers in the spiral corridor of the Roundtower.]
258. F. Terenzi, Music from the Galaxies, Island Records, Inc., New York (1991). [Maps from interstellar radio telescope data into sound waves, creating interesting outer space sounds.]
259. Instrumental Music of Northeast Thailand, King Records, KICC 5124, Tokyo, Japan (1991). [Pong lang is a kind of wooden xylophone and a style of music.].