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| research_topics [2019/01/10 21:52] – [Music Perception and Cognition] gary | research_topics [2023/09/19 19:57] (current) – external edit 127.0.0.1 |
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| **Dr. Gary P. Scavone** | **Dr. Gary P. Scavone** |
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| The shape and design of most acoustic music instruments, refined and advanced by craftsmen through empirical, "trial and error" methods, have changed little over the past century. The study of the acoustic phenomena underlying the operation of these instruments, however, is a relatively young science. My research is focused on, but not limited to, woodwind music instruments and includes: | The shape and design of most acoustic music instruments, refined and advanced by craftsmen through empirical, "trial and error" methods, have changed little over the past century. The study of the acoustic phenomena underlying the operation of these instruments, however, is a relatively young science. My research is focused on, but not limited to, woodwind and string music instruments and includes: |
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| * measurements and analyses to gain a theoretical understanding of the fundamental acoustic behavior of music instruments and other sounding objects; | * measurements and analyses to gain a theoretical understanding of the fundamental acoustic or vibrational behavior of music instruments and other sounding objects; |
| * the development of computer-based mathematical models that implement these acoustic principles as accurately as possible and which can subsequently be used to study variations in instrument design; | * the development of computer-based mathematical models that implement these acoustic or mechanical principles as accurately as possible and which can subsequently be used to study variations in instrument design; |
| * the creation of efficient, real-time synthesis algorithms capable of producing convincing instrument sounds; | * the creation of efficient, real-time synthesis algorithms capable of producing convincing instrument sounds; |
| * the design of appropriate human-computer interfaces for use in controlling and interacting with real-time synthesis models. | * the design of appropriate human-computer interfaces for use in controlling and interacting with real-time synthesis models. |
| Recent acoustic analyses have focused on [[http://www.music.mcgill.ca/~gary/vti/|vocal-tract influence in woodwind instrument performance]] and fluid-structure interactions in wind instrument systems. My acoustic modeling work is concerned with the characterization of the various interdependent components of a music instrument system, such as the mouthpiece, air column, and toneholes of a clarinet. This approach is commonly referred to as "physical modeling". A discrete-time technique called "digital waveguide synthesis" is often used to efficiently and accurately implement these acoustic models. Recent synthesis developments have been focused on aspects of woodwind instrument toneholes, conical air columns, vocal tract influences, and reed/mouthpiece interactions. Several human-computer interfaces have been developed in the course of this research for the purposes of experimenting and performing with the real-time synthesis models. | Recent acoustic analyses have focused on [[http://www.music.mcgill.ca/~gary/vti/|vocal-tract influence in woodwind instrument performance]] and fluid-structure interactions in wind instrument systems. My acoustic modeling work is concerned with the characterization of the various interdependent components of a music instrument system, such as the mouthpiece, air column, and toneholes of a clarinet. This approach is commonly referred to as "physical modeling". A discrete-time technique called "digital waveguide synthesis" is often used to efficiently and accurately implement these acoustic models. Recent synthesis developments have been focused on aspects of woodwind instrument toneholes, conical air columns, vocal tract influences, and reed/mouthpiece interactions. Several human-computer interfaces have been developed in the course of this research for the purposes of experimenting and performing with the real-time synthesis models. |
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| Acoustic and psychoacoustic experiments also play a role in this research. In many instances, acoustic theory must be validated by experimental measurements. Psychoacoustic studies can aid in the development of efficient and convincing synthesis models by helping identify acoustic features of a system which have less perceptual importance for human listeners. | Acoustic and perceptual experiments also play a role in this research. In many instances, acoustic theory must be validated by experimental measurements. Perceptual studies can aid in the development of efficient and convincing synthesis models by helping identify acoustic features of a system which have less perceptual importance for human listeners. |
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| To support the design and implementation of real-time synthesis models, a software synthesis environment called the [[http://ccrma.stanford.edu/software/stk/|Synthesis ToolKit in C++ (STK)]] has been developed in collaboration with Perry Cook at Princeton University. STK is a set of open source audio signal processing and algorithmic synthesis classes written in C++. The ToolKit was designed to facilitate rapid development of music synthesis and audio processing software, with an emphasis on cross-platform functionality, real-time control, ease of use, and educational example code. | To support the design and implementation of real-time synthesis models, a software synthesis environment called the [[http://ccrma.stanford.edu/software/stk/|Synthesis ToolKit in C++ (STK)]] has been developed in collaboration with Perry Cook at Princeton University. STK is a set of open source audio signal processing and algorithmic synthesis classes written in C++. The ToolKit was designed to facilitate rapid development of music synthesis and audio processing software, with an emphasis on cross-platform functionality, real-time control, ease of use, and educational example code. |
