Acoustical resources for music analysis and scale formation
Bibliographic record
Abstract
Acoustical concepts have served a central function in music theory since at least the 18 th century.Generally speaking, the kinds of acoustical concepts music theorists have made use of have been those associated with what Robert Lindsay calls the production of sound.In this thesis, I explore how concepts related to a second strand of acoustical thought-the propagation of sound-may be applied in the analysis of contemporary musical works as well as in the composition of novel musical scales.I begin by analyzing Eliane Radigue's 2005 composition Naldjorlak for cello and two basset horns.My analysis shows not only how acoustical phenomena take center stage in Radigue's piece but also how similar phenomena may be used in the analysis of the work itself.Central to my analysis is Wayne Slawson's theory of sound color and, specifically, his analytical application of vowel formant patterns.Following this, I will demonstrate how room resonances can be used to create scales and, in the process, survey three methods for identifying them.The efficacy of these scales, constructed with both a resonant and consonant function in mind, will be demonstrated by presenting a musical passage of my own composing.To conclude, I examine how Frances Dyson uses acoustical language in her book The Tone of Our Times: Sound, Sense, Economy, and Ecology and contrast this with the way Radigue employs similar concepts in Naldjorlak.By examining the relationship of music and acoustical concepts related to the propagation of sound, this thesis reveals how acoustical concepts are powerful tools capable of shaping philosophical, analytical, and compositional thought.I would like to begin by thanking my supervisor, Prof. Jonathan
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How this classification was reachedexpand
Full frame machine prediction
Teacher imitationNot calibrated prevalence, not ground truth. Human validation pending. The Gemma side is a direct model label for every work in the frame, read from the title-only record. The Codex side is a classifier learned from the 10,348 direct Codex labels and calibrated to design-weighted sample rates; fields without enough sample support carry no Codex call. Candidate is the union of the two sides; consensus is their intersection. These outputs are machine_predicted_unvalidated and are not human labels.
Distilled classifier scores by category (both heads)
| Category | Codex | Gemma |
|---|---|---|
| Metaresearch | 0.002 | 0.008 |
| Meta-epidemiology (narrow) | 0.001 | 0.000 |
| Meta-epidemiology (broad) | 0.001 | 0.001 |
| Bibliometrics | 0.005 | 0.004 |
| Science and technology studies | 0.003 | 0.008 |
| Scholarly communication | 0.009 | 0.008 |
| Open science | 0.001 | 0.004 |
| Research integrity | 0.001 | 0.002 |
| Insufficient payload (model declined to judge) | 0.035 | 0.005 |
Machine scores (provisional)
The two teacher heads of the student model, read on this work. A score orders the frame for review; it never asserts a category, and the validation status ships verbatim with every row.
Baseline scores from an immature model (maturity gate not passed, 7 training rounds). Scores rank; they never assert a category.
score_only:v0-immature-baseline · verbatim from the scoring run: score_only means the number may rank works, and no category label ships from itClassification
machine, unvalidatedMachine predicted; a candidate call from one source (direct Gemma or distilled Codex), not a consensus.
How this classification was reached, model by model and score by score, is at the end of the page under "How this classification was reached".