A survey of the development of pitch perception theories, their application to bell sounds and an investigation of perceived differences between ringing and chiming bells
- Authors: Botha, Alison
- Date: 1998
- Subjects: Music -- Acoustics and physics , Musical pitch , Change ringing , Chimes , Bells
- Language: English
- Type: Thesis , Masters , MSc
- Identifier: vital:2631 , http://hdl.handle.net/10962/d1002296 , Music -- Acoustics and physics , Musical pitch , Change ringing , Chimes , Bells
- Description: A brief overview of the workings of the human auditory system is followed by a review of literature concerning both the theories and experimental investigations of human pitch perception. The application of these theories to the inharmonic complex tones produced by bells is discussed, and further experiments using bell sounds are reviewed. A methodology for psychoacoustic experiments with specific reference to those investigating pitch perception of inharmonic complex tones is presented. This methodology is then implemented in an experimental investigation of pitch perception of ringing and chiming bell sounds. A pitch matching experiment using ringing and chiming sounds from four bells aimed to determine perceived pitch differences between ringing and chiming bells. This experiment was inconclusive because insufficient data was collected. Known experimental results, such as the inability of non-musicians to match the pitches of sounds with different timbres were confirmed. Spectral analyses of the stimuli were performed. The presentation of stimuli at a low level of sensation is questioned, as this might have prevented pseudo high frequency noise resulting from stronger upper partials in the ringing sound from being audible, and hence the pitch differences between ringing and chiming bells would not be observed.
- Full Text:
- Date Issued: 1998
- Authors: Botha, Alison
- Date: 1998
- Subjects: Music -- Acoustics and physics , Musical pitch , Change ringing , Chimes , Bells
- Language: English
- Type: Thesis , Masters , MSc
- Identifier: vital:2631 , http://hdl.handle.net/10962/d1002296 , Music -- Acoustics and physics , Musical pitch , Change ringing , Chimes , Bells
- Description: A brief overview of the workings of the human auditory system is followed by a review of literature concerning both the theories and experimental investigations of human pitch perception. The application of these theories to the inharmonic complex tones produced by bells is discussed, and further experiments using bell sounds are reviewed. A methodology for psychoacoustic experiments with specific reference to those investigating pitch perception of inharmonic complex tones is presented. This methodology is then implemented in an experimental investigation of pitch perception of ringing and chiming bell sounds. A pitch matching experiment using ringing and chiming sounds from four bells aimed to determine perceived pitch differences between ringing and chiming bells. This experiment was inconclusive because insufficient data was collected. Known experimental results, such as the inability of non-musicians to match the pitches of sounds with different timbres were confirmed. Spectral analyses of the stimuli were performed. The presentation of stimuli at a low level of sensation is questioned, as this might have prevented pseudo high frequency noise resulting from stronger upper partials in the ringing sound from being audible, and hence the pitch differences between ringing and chiming bells would not be observed.
- Full Text:
- Date Issued: 1998
Analysis of selected choral works by John Tavener with particular reference to the post-1977 works
- Authors: Imrie, Sally
- Date: 1998
- Subjects: Tavener, John Choral music
- Language: English
- Type: Thesis , Masters , MMus
- Identifier: vital:2642 , http://hdl.handle.net/10962/d1002307
- Description: This thesis deals with sacred choral music written by John Tavener, a British composer born in 1944. It touches briefly on the background of Tavener and his early works (i.e. from about 1960-1976) - two works from that period have been selected for analysis, Celtic Requiem and Nomine Jesu. The main body of the thesis is concerned with those works composed,.after 1977, which show the influence of the Orthodox Church and Byzantine hymnography on Tavener's stylistic development. The selected works from this period to be analysed are: Ode of St Andrew of Crete, Two Hymns to the Mother of God, Magnificat, Nunc Dimittis, The Uncreated Eros, Eonia and We Shall See Him As Heis.
- Full Text:
- Date Issued: 1998
- Authors: Imrie, Sally
- Date: 1998
- Subjects: Tavener, John Choral music
- Language: English
- Type: Thesis , Masters , MMus
- Identifier: vital:2642 , http://hdl.handle.net/10962/d1002307
- Description: This thesis deals with sacred choral music written by John Tavener, a British composer born in 1944. It touches briefly on the background of Tavener and his early works (i.e. from about 1960-1976) - two works from that period have been selected for analysis, Celtic Requiem and Nomine Jesu. The main body of the thesis is concerned with those works composed,.after 1977, which show the influence of the Orthodox Church and Byzantine hymnography on Tavener's stylistic development. The selected works from this period to be analysed are: Ode of St Andrew of Crete, Two Hymns to the Mother of God, Magnificat, Nunc Dimittis, The Uncreated Eros, Eonia and We Shall See Him As Heis.
- Full Text:
- Date Issued: 1998
The growth, development and impact of the Grahamstown Festival of the Arts with special reference to music
- Authors: Silva, Jane Susan
- Date: 1998
- Subjects: Standard Bank National Arts Festival -- Grahamstown , Standard Bank National Arts Festival -- Influence , Grahamstown (South Africa) -- Art and music , Music -- South Africa -- Eastern Cape -- Grahamstown
- Language: English
- Type: Thesis , Masters , MA
- Identifier: vital:2656 , http://hdl.handle.net/10962/d1002322 , Standard Bank National Arts Festival -- Grahamstown , Standard Bank National Arts Festival -- Influence , Grahamstown (South Africa) -- Art and music , Music -- South Africa -- Eastern Cape -- Grahamstown
- Description: The Grahamstown Festival has become a huge and complex annual celebration of the arts, transforming the small Eastern Cape city for ten days every year. However this event had very modest beginnings, as did music and festivals in the city of Grahamstown. From its early days Grahamstown showed strong signs of becoming an important cultural centre, presenting numerous musical concerts from 1812, the festival tradition in the city beginning in 1887. The modern arts festival, initiated in 1971, had a chequered history during the early and mid 1970's, weathering economic recession, petrol restrictions and a repressive and restrictive political atmosphere. However by 1979 the event had become established and popular enough to ensure continued success during the 1980's. The period 1980-89 was one of great growth and development for the festival regarding attendance, and the number and nature of productions presented. Music had always been an integral part of the festival, and for the first time its role in this artistic celebration is being examined. The impact of such an event is varied and far-reaching, and thus difficult to assess, but the thesis ends with an attempt to gauge the Festival's impact.
- Full Text:
- Date Issued: 1998
- Authors: Silva, Jane Susan
- Date: 1998
- Subjects: Standard Bank National Arts Festival -- Grahamstown , Standard Bank National Arts Festival -- Influence , Grahamstown (South Africa) -- Art and music , Music -- South Africa -- Eastern Cape -- Grahamstown
- Language: English
- Type: Thesis , Masters , MA
- Identifier: vital:2656 , http://hdl.handle.net/10962/d1002322 , Standard Bank National Arts Festival -- Grahamstown , Standard Bank National Arts Festival -- Influence , Grahamstown (South Africa) -- Art and music , Music -- South Africa -- Eastern Cape -- Grahamstown
- Description: The Grahamstown Festival has become a huge and complex annual celebration of the arts, transforming the small Eastern Cape city for ten days every year. However this event had very modest beginnings, as did music and festivals in the city of Grahamstown. From its early days Grahamstown showed strong signs of becoming an important cultural centre, presenting numerous musical concerts from 1812, the festival tradition in the city beginning in 1887. The modern arts festival, initiated in 1971, had a chequered history during the early and mid 1970's, weathering economic recession, petrol restrictions and a repressive and restrictive political atmosphere. However by 1979 the event had become established and popular enough to ensure continued success during the 1980's. The period 1980-89 was one of great growth and development for the festival regarding attendance, and the number and nature of productions presented. Music had always been an integral part of the festival, and for the first time its role in this artistic celebration is being examined. The impact of such an event is varied and far-reaching, and thus difficult to assess, but the thesis ends with an attempt to gauge the Festival's impact.
- Full Text:
- Date Issued: 1998
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