SYRINX MUSITION SERIES

Contraction of one of the syringeal muscles, the m. This study presents the first direct observations of the biomechanical processes that occur in an intact syrinx. The role of syringeal muscles was determined by electrical stimulation, and phonation was induced by injecting gas into the subsyringeal air sacs. The in situ biomechanics of the vocal organ, the syrinx, was studied in anesthetized pigeons using fiberoptic instruments. Current trends and future directions in physical modelling of musical instruments are discussed. We tackle some nonlinear and time-varying models and include new results on the digital waveguide modelling of a nonlinear string. For instance, in the case of the digital waveguide modelling technique a vibrating string model is discussed, and in the case of the wave digital filter technique we present a classical piano hammer model. For some methods, a simple model example is chosen from the existing literature demonstrating a typical use of the method. We present the basic theory and a discussion on possible extensions for each modelling technique. The physics-based modelling methods can be classified as mass–spring, modal, wave digital, finite difference, digital waveguide and source–filter models. They discretize the system with respect to time, because the aim is to run the simulation using a computer. The methods are closely related to digital signal processing. This article describes physical modelling techniques that can be used for simulating musical instruments. The method is then applied to a field recording of a zebra finch. The maximum like- lihood approach is described and the likelihood function detailed. We begin by briefly outlining aspects of the avian syrinx model to give context to the discussion that follows. Finally, the trajectories are adjusted to account for the ability of the bird to generate and change pressure and tension. Those control parameter sets having large likelihood at each frame are then aligned to form trajectories over time. Recorded birdsong is segmented and the power spectra frames are compared to tabulated model power spectra using a likelihood function to indicate good- ness of fit. 3 to extract pressure and tension trajectories. We employ a maximum likelihood approach illustrated in Fig. In order to judge the model's ability to produce realistic birdsong, and also to improve playability of the model by limiting the parameter space, we have devised a method for ex- tracting the two primary control parameters of the model, pressure and tension, from recorded birdsong.

A physical model of the bird's vocal tract was developed using waveguide synthesis techniques for the bronchi and trachea tubes and finite difference methods for the nonlinear vibrating syringeal membranes (1, 2). In the event a range of trajectories matches the data well, the selected trajectory is that of least action.

Successive pressure-tension matrices are stacked and points exhibiting a good fit to the data align to form trajectories corresponding to changes in pressure and tension over time which can then be used to control the model. At each time frame, a generalized likelihood ratio fills a pressure- tension matrix indicating similarity between the birdsong power spectrum and the tabulated spectra. A look-up table pairs combinations of pressure and tension parameters with the model's corresponding output power spectra. It is also a joy to be reconnect with colleagues from all over the world I haven’t spoken to some years, united by this act of generosity.In this research, a method is presented for extracting the control parameters of an avian syrinx synthesis model from recorded bird- song. Whilst there are arguments that playing for no fee devalues our industry, we are doing this project to save our industry by helping those unable to earn money survive. As making music is what empowers them and this has been taken away, having the strength to campaign for and generate awareness of their situation is unthinkable. Australian freelance musicians are in a particularly grim situation as many of them fall between the cracks in what is currently being offered in government support. “It is a great honour to be involved with this unique initiative devised by my former colleague Stephanie Winker, a reclaiming of the performer-audience synthesis in this intimate way.

SYRINX MUSITION SERIES

Mutual gaze, unprecedented intensity, proximity from a distance in unconventional concert venues and all for a great cause.ĪNU School of Music's Classical Woodwind Lecturer, Sally Walker, has been approached to start the 1:1 Concert series in Australia and at 7:30pm tonight, you can watch Sally on German TV. 1 musician, 1 listener – at a 2 meter distance.Ī 10 minute, non-verbal, 1-to-1-encounter between a listener and a musician.

Syrinx musition