Computational Phonogram Archiving

354 Pages·2019·17.43 MB·English

by  Rolf Bader

Current Research in Systematic Musicology
Rolf Bader Editor
Computational
Phonogram
Archiving
Current Research in Systematic Musicology
Volume 5
Series editors
RolfBader,InstituteofSystematicMusicology,UniversityofHamburg,Hamburg,
Germany
Marc Leman, University of Ghent, Ghent, Belgium
Rolf-Inge Godoy, Blindern, University of Oslo, Oslo, Norway
Theseriescoversrecentresearch,hottopics,andtrendsinSystematicMusicology.
Following the highly interdisciplinary nature of the field, the publications connect
different views upon musical topics and problems with the field’s multiple
methodology, theoretical background, and models. It fuses experimental findings,
computational models, psychological and neurocognitive research, and ethnic and
urban fieldworkinto anunderstanding ofmusic and itsfeatures. It alsosupportsa
pro-active view on the field, suggesting hard- and software solutions, new musical
instruments and instrument controls, content systems, or patents in the field of
music.Itsaimistoproceedintheover100yearsinternationalandinterdisciplinary
tradition of Systematic Musicology by presenting current research and new ideas
next to review papers and conceptual outlooks. It is open for thematic volumes,
monographs, and conference proceedings. The series therefore covers the core of
Systematic Musicology,—Musical Acoustics, which covers the whole range of
instrument building and improvement, Musical Signal Processing and Music
InformationRetrieval,modelsofacousticalsystems,SoundandStudioProduction,
RoomAcoustics,SoundscapesandSoundDesign,MusicProductionsoftware,and
all aspects of music tone production. It also covers applications like the design of
synthesizers,tone,rhythm,ortimbremodelsbasedonsound,gaming,orstreaming
and distribution of music via global networks.
– Music Psychology, both in its psychoacoustic and neurocognitive as well as in
itsperformanceandactionsense, whichalsoincludes musicalgestureresearch,
models and findings in music therapy, forensic music psychology as used in
legal cases, neurocognitive modeling and experimental investigations of the
auditory pathway, or synaesthetic and multimodal perception. It also covers
ideasandbasicconceptsofperceptionandmusicpsychologyandglobalmodels
of music and action.
– Music Ethnology in terms of Comparative Musicology, as the search for uni-
versalsinmusicbycomparingthemusicofethnicgroupsandsocialstructures,
including endemic music all over the world, popular music as distributed via
global media, art music of ethnic groups, or ethnographic findings in modern
urban spaces. Furthermore, the series covers all neighbouring topics of
Systematic Musicology.
More information about this series at http://www.springer.com/series/11684
Rolf Bader
Editor
Computational Phonogram
Archiving
123
Editor
Rolf Bader
Institute of Systematic Musicology
University of Hamburg
Hamburg,Germany
ISSN 2196-6966 ISSN 2196-6974 (electronic)
CurrentResearch in Systematic Musicology
ISBN978-3-030-02694-3 ISBN978-3-030-02695-0 (eBook)
https://doi.org/10.1007/978-3-030-02695-0
LibraryofCongressControlNumber:2018958359
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Contents
Part I Overview
Computational Music Archiving as Physical Culture Theory. . . . . . . . . 3
Rolf Bader
Part II Fieldworks and Archives
“The Lanang Is the Bus Driver”: Intersections of Ethnography
and Music Analysis in a Study of Balinese Arja Drumming. . . . . . . . . . 37
Leslie Tilley
Temperament in Tuning Systems of Southeast Asia
and Ancient India. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 75
Rolf Bader
John Blacking Revisited—Comparative Analysis of Venda
Tshikone Dance (1958 and 2009) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 109
Jukka Louhivuori
Smithsonian Folkways and the Associated Ralph Rinzler Folklife
Archives and Collections . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 121
Jeff Place
Analysis and Perception of Javanese Gamelan Tunings . . . . . . . . . . . . . 129
Gerrit Wendt and Rolf Bader
Part III Computation, Networking and Platforms
Content-Based Music Retrieval and Visualization System
for Ethnomusicological Music Archives . . . . . . . . . . . . . . . . . . . . . . . . . 145
Michael Blaß and Rolf Bader
Spatial Manipulation of Musical Sound: Informed Source
Separation and Respatialization . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 175
Sylvain Marchand
v
vi Contents
Finding Music in Music Data: A Summary of the DaCaRyH
Project . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 191
Oded Ben-Tal, Bob L. Sturm, Elio Quinton, Josephine Simonnot
and Aurelie Helmlinger
Experimental Investigations and Future Possibilities
in Network-Mediated Folk Music Performance . . . . . . . . . . . . . . . . . . . 207
Chrisoula Alexandraki
Requirements and Use Cases for Digital Sound Archives
in Ethnomusicology . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 229
Jonas Franke
Part IV Physical Modeling and Measurements
Laser-Based Interferometric Techniques for the Study
of Musical Instruments. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 251
Efthimios Bakarezos, Yannis Orphanos, Evaggelos Kaselouris,
Vasilios Dimitriou, Michael Tatarakis and Nektarios A. Papadogiannis
Shock Wave Characteristics in the Initial Transient
of an Organ Pipe . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 269
Jost Leonhardt Fischer
Computed Tomography as a Tool for Archiving Ethnomusicological
Objects. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 305
Sebastian Kirsch
3D Imaging of Musical Instruments: Methods and Applications . . . . . . 321
Niko Plath
How to Interprete Early Recordings? Artefacts and Resonances
in Recording and Reproduction of Singing Voices . . . . . . . . . . . . . . . . . 335
Malte Kob and Tobias A. Weege
Introduction
Big data analysis (BDA) as well as artificial intelligence (AI) are about to enter
Phonogram Archives only just like with Telemata or COMSAR. The advances in
music information retrieval (MIR) make it possible to analyze musical pieces
automatically in terms of rhythm, melody, timbre, or form with a high degree of
precision.IntelligentsearchenginesbasedonAIanddeeplearningareabletocope
with the huge amount of musical pieces recorded and stored in Phonogram
Archivesovermorethanabout100years,taskswhichcannolongerbeperformed
by researchers ‘by hand’. Additionally, such search engines meet the requirements
of giving overviews of music from around the world and point to styles, ethnic
groups, or traditions which might not be in the focus of researchers and people
interested in music at first. Musicians can much easier access music from the past,
as well as contemporary developments, by similarity searches rather than by
chance.
Universalities in music, as aimed for with such a system, is therefore taken as
self-organization. The rules governing music from all around the world appear as
emerging properties of the complex interplay of all musical parameters. A rhythm
orgroovecruciallydependsonthetimbreoftheinstrumentsused,atonalsystemon
the vibrato and pitch glides present, and a timbre on the speed a piece is played.
Therefore, the single findings are combined not by simple add-on rules but as
interactions of all parameters.
Yet another advantage is the lack of bias though the researcher, like Western
approachestomusicanalysisorthepreferenceofsingleethnicgroupsmotivatedby
nationalistic or political interests. Musical features might be found to be similar in
musicalstylesfromethnicgroupswhicharefarapartgeographically,linguistically,
or religiously. On the other hand, specific features only found in single musical
styleswouldalsoappearwithinthesameframeworkmakingitpossibletodecideon
such ground about how special or common these styles are.
The AI approach has also the advantage to work on multiple levels. By com-
paring at best all possible musical styles from around the world, a global map can
be composed and musical pieces can be compared on such a global level. Still in
some cases, it might be interesting to go into more detail on a lower level,
vii
viii Introduction
comparing the music of single continents, music traditions, or on performance
styles, like singing, instrumental, ritual, electronic, or art music. On micro-levels,
the styles of single instrumentalists or composers can be compared.
AsmetadataaremostoftenincludedinPhonogramArchives—andtraditionally
thisistheonlydataavailablenexttothemusic—sociologicaloremotionalcontent
orsymbolicvalue ofthemusiccanbeincluded insuchanalysistooandcompared
to the results from the MIR analysis. Here, the expertise offieldworkers needs to
come in to analyze and interpret the results of the algorithms.
Today’ssearchenginesofanykindlackofsuchaself-organizingnatureandare
thereforesubjecttoethicandpoliticalissues.Enginesbasedonpositiveevaluations
of users on search items (likes, ratings, verbal comments, etc.) easily produce
so-called echo-chambers, where only those items are found which are the most
popular. Then these chambers exclude items which might be of high quality to
manypeople.Alsowhensuggestingsingleitems,usersmightbedrivenbypolitical
oreconomicinterestsratherthanbyascientificallydrivenevaluationprocesswhich
arenotbasedonratings,likes,orsuggestionsbyothers.Whendisplayingallfound
items in global maps, as suggested by algorithms discussed in this volume, users
have the overview of what is there at all.
This fieldof Computational PhonogramArchiving ishighlyinterdisciplinary as
it covers ethnomusicology with classical field working and analysis ‘by hand,’
computer science with focus on algorithms and programming, Internet-based
platform programming with all issues of accessibility, networking, responsiveness
and data-management, music psychology deciding about the use and content of
algorithms and validating their success rate or musical acoustics and physical
modeling of musical instruments as contemporary representation of organology.
The present volume tries to cover all aspects with grounding ideas and concepts,
examples of working systems aswellas formulation of problems and future work.
AllpaperswerepresentedatthefirstInternationalSymposiumonComputational
Ethnomusicological Archiving (ISCEA) at the Institute of Systematic Musicology,
University of Hamburg, December 7–10, 2017.1 Everything new has a magic in
itself,andhavingallthesepeopleworkingondifferentaspectstogetheronthisissue
for the first time really felt like this! So this issue is also a thank you to all
participating.Stillitsmainfocusistopresenttheframeworkofafuturetechnology
implementing the core idea of Systematic Musicology, namely the search for
generalrulesanduniversalsinmusic,torealizewhatweallhaveincommonrather
than what splits us apart.
In Chapter “Computational Music Archiving as Physical Culture Theory,” Rolf
Bader gives a general overview of Computational Phonogram Archiving,
describing the methods of MIR and AI algorithms. After comparing basic system
concepts like taxonomies, self-organization or bottom-up/top-down ideas, the
chapter describes the approach in a broader sense of a Physical Culture Theory.
A Phonogram Archive Standard is proposed which is implemented in the
COMSAR system. Adding additional techniques like physical modeling and
1TheworkshopwasfundedbytheVolkswagenStiftung.
Introduction ix
microphone arrays,the standardiswidenedincluding state-of-the-art measurement
and auralization techniques.
LeslieTilley starts the section on ethnomusicological fieldwork and archivesin
Chapter““TheLanangIstheBusDriver”:IntersectionsofEthnographyandMusic
Analysis in a Study of Balinese Arja Drumming” with a detailed analysis of
Balinese Arja Drumming. In extensive fieldwork recording and interviewing the
most respected kendang arja musicians of Bali, the highly complex interlocking
patterns appearing when two drummers perform simultaneously are analyzed in
great detail. As these patterns are improvised, strategies and rules for a successful
performancearediscussed.TheapproachisbasedonAnalyticalEthnomusicology,
which is based on fieldworkers’ analysis of traditional music.
AnothersuchapproachistakeninChapter“TemperamentinTuningSystemsof
Southeast Asia and Ancient India”, where Rolf Bader analyzes several tonal sys-
tems collected during fieldworks in Myanmar, Cambodia, Sri Lanka, and Bali.
Thereisalong-goingdiscussioninethnomusicologyaboutwhythesetonalsystems
are so different from Western tunings and differ so much between styles and even
within styles. He suggests that the tunings are temperaments in the sense of com-
promises, just like Western scales, e.g., the equal or the Werkmeister tuning, are
compromisesbetweenanidealandconstraintsmakingthemseemarbitrary atfirst.
Jukka Louhivuori in Chapter “John Blacking Revisited—Comparative
Analysis of Venda Tshikone Dance (1958 and 2009)” discusses the fieldwork
andfindingsofJohnBlacking,whowasmuchinfluentialinethnomusicologyinthe
twentieth century mainly by his book ‘How musical is man’. There he studied
South African Venda music and discussed the stability and variability of songs
changing over the years. He also addresses issues of music psychology and cog-
nitive psychology and suggests them to be a crucial part of the analysis of music.
The chapter also discusses the relation between music and dance.
One of the largest and most influential Phonogram Archives is the Smithsonian
collectionandtheirreleasesonFolkwayrecordsinthetwentiethcentury.JeffPlace
in Chapter “Smithsonian Folkways and the Associated Ralph Rinzler Folklife
Archives and Collections” gives a historical overview of the foundation of the
archive and major figures like Moses Ash, who saw Phonogram Archives as
education and therefore as stabilizing democracy. Important recordings of Woody
Guthry or Lead Belly, recording and storing devices changing over the decades as
wellasthestateofthearchivetodaygiveaninsightinwhyandhowarchivescome
into place, which challenges they face and how they are perceived by the public.
The section is closed by a study on tuning systems of gamelan orchestras and
their perception by Gerrit Wendt and Rolf Bader. Recording single instruments.
pitch-shiftingthem,andbuildingagamelanpiecebyasequencersoftware,several
versions of this piece were constructed in different tunings, like slendro, just
intonation, or Arabian scales. In a listening test asking players of gamelan from
aroundtheworld,itappearedthattheconstructedpieceswereperceivedasmoreor
lessroughoroutoftunewhichcorrelateshighlywitharoughnessalgorithm,except
for the original tuning which is different. This suggests a gamelan-specific per-
ception, which causes are not known yet.