Between Speech and Music: Composing for Guitar with Dialectal Patterns
Bibliographic record
Abstract
Music and speech share many of the same fundamental properties, with music often being referred to as a "universal language".The 20 th century saw many composers using speech as a musical element, at times combining it with acoustic instruments and exploiting the sonic similarities.Given the wide variety of timbres and techniques available on both the classical and electric guitar, it has proven to be an effective vehicle to imitate and blend with the human voice in speech-inspired compositions.This project examines the methods with which composers applied these concepts to contemporary guitar music, as well as the potential they yield to invoke a sense of place, nostalgia, and meaning in the audience.The core applications of this research involved a collaborative research-creation project with composer, Jason Noble, in which we created three new speech-based works involving guitar and electronics.In 2015, we decided to tour our home province of Newfoundland to record interviews with residents, and then to use those recordings as source material for musical creation.The dialects of Newfoundland and Labrador are diverse yet diminishing; and so we sought to celebrate them in an artistic context through this project.This paper discusses the creative and technological processes behind Noble's works One Foot in the Past (2016), Take Me Back (2017), and We Never Told Nobody (2019), which collectively celebrate the dialects of Newfoundland and Labrador while simultaneously contributing to the fields of guitar technique, notation, and composition.Research Ethics Board II: Certificate of Ethical Acceptability of Research Involving Humans REB File #: 73-0715 Abrégé La musique et la parole partagent plusieurs caractéristiques fondamentales, il n'est donc pas surprenant que la musique soit souvent décrite comme une langue universelle.Le vingtième siècle a vu plusieurs compositeurs intégrer la parole comme un élément musical en la combinant parfois avec des instruments acoustiques pour exploiter les similarités sonores.Tant la guitare classique que la guitare électrique, considérant la grande variété de timbres et techniques disponibles, ont prouvé être un véhicule efficace pour imiter et s'harmoniser avec la voix humaine dans des compositions inspirées de la parole.Ce projet étudie les manières utilisées par les compositeurs pour appliquer ces concepts à la guitare contemporaine, ainsi que sa capacité à inspirer un sens du lieu, de la nostalgie et de signification pour l'audience.Les principales applications de cette recherche ont impliqué un projet collaboratif de recherche-creation avec le compositeur Jason Noble, dans lequel nous avons créé trois nouvelles pièces basées sur la parole pour la guitare et l'électronique.En 2015, nous avons pris la décision de faire la tournée de notre province d'origine, Terre-Neuve, pour enregistrer des entrevues avec des résidents, pour ensuite utiliser ces enregistrements comme matériel de base pour la création musicale.Les dialectes de Terre-Neuve et Labrador sont multiples, mais en déclin, et nous avons donc cherché à les célébrer à travers une démarche artistique dans le cadre de ce projet.Ce papier illustre le processus créatif et technologique derrière les créations de Noble One Foot in the Past (2016), Take Me Back (2017), et We Never Told Nobody (2019), qui célèbrent collectivement les dialectes de Terre-Neuve et Labrador tout en contribuant simultanément au domaine de la technique de guitare, de la notation et de la composition.I would first like to extend gratitude to my dear friend and collaborator, Jason Noble, for the commitment to work alongside me throughout this entire project and for helping it to surpass all expectations.I am
Fetched live from OpenAlex and de-inverted. Abstracts are not stored in this database: the inverted indexes are 8.6 GB of the frame’s 9.3 GB of text, and the host has 13 GB free.
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 | 0.001 | 0.003 |
| Meta-epidemiology (narrow) | 0.000 | 0.000 |
| Meta-epidemiology (broad) | 0.000 | 0.000 |
| Bibliometrics | 0.001 | 0.001 |
| Science and technology studies | 0.003 | 0.007 |
| Scholarly communication | 0.007 | 0.003 |
| Open science | 0.001 | 0.005 |
| Research integrity | 0.001 | 0.001 |
| Insufficient payload (model declined to judge) | 0.005 | 0.001 |
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".