Preface	6
	About the Editor	9
	List of Authors	10
	Contents	16
	List of Abbreviations	28
	1 Systematic Musicology: A Historical Interdisciplinary Perspective	33
	1.1 Systematic Musicology: Discipline and Field of Research	33
	1.2 Beginnings of Music Theory in Greek Antiquity	34
	1.3 From the Middle Ages to the Renaissance and Beyond: Developments in Music Theory and Growth of Empiricism	35
	1.4 Sauveur, Rameau and the Issue of Physicalism in Music Theory	37
	1.5 Concepts of Systems and Systematic Research	39
	1.6 Systematic Approaches: Chladni, Helmholtz, Stumpf, and Riemann	41
	1.7 Gestalt Quality and Gestalt Psychology	44
	1.8 Music Psychology: Individual and Sociocultural Factors	46
	1.9 Some Modern Developments	47
	1.10 Systematic Musicology as a Musicological Discipline	49
	References	51
	Part A Musical Acoustics and Signal Processing	57
	2 Vibrations and Waves	61
	2.1 Vibrations	61
	2.2 Waves	65
	2.3 Wave Equations 1-D	68
	2.4 Solution for 1-D-Waves	72
	2.5 Stiffness	78
	References	78
	3 Waves in Two and Three Dimensions	80
	3.1 Waves on a Surface	80
	3.2 Solution for Waves on a Surface	83
	3.3 Sound Waves in Space	87
	References	93
	4 Construction of Wooden Musical Instruments	94
	4.1 Scope	94
	4.2 Physical Properties of Wood	96
	4.3 Tonewoods	99
	4.4 Framewoods	103
	4.5 Construction	105
	4.6 Conclusion	109
	4.A Appendix	109
	References	109
	5 Measurement Techniques	111
	5.1 Measurement of Airborne Sound	111
	5.2 Measurement of Deflection	117
	5.3 Measurement of Impedance	129
	5.4 Conclusions	131
	References	131
	6 Some Observations on the Physics of Stringed Instruments	134
	6.1 Three Classes of Stringed Instruments	134
	6.2 Common Components and Issues	134
	6.3 The Story of Three Instruments	137
	6.4 Summary	146
	References	147
	7 Modeling of Wind Instruments	149
	7.1 A Classification of Wind Instruments	149
	7.2 The Clarinet	151
	7.3 The Oboe	156
	7.4 The Harmonica	158
	7.5 The Trombone	159
	7.6 The Flute	161
	References	165
	8 Properties of the Sound of Flue Organ Pipes	168
	8.1 Experimental Methodology	169
	8.2 Steady-Sound Characteristics	169
	8.3 Edge and Mouth Tones	176
	8.4 Characteristics of the Attack Transients	178
	8.5 Discussion and Outlook	180
	References	181
	9 Percussion Musical Instruments	183
	9.1 Drums	183
	9.2 Mallet Percussion Instruments	186
	9.3 Cymbals, Gongs, and Plates	190
	9.4 Methods for Studying the Acoustics of Percussion Instruments	194
	References	196
	10 Musical Instruments as Synchronized Systems	197
	10.1 Added versus Intrinsic Synchronization	197
	10.2 Models of the Singing Voice	199
	10.3 Harmonic Synchronization in Wind Instruments	204
	10.4 Violin Bow–String Interaction	208
	10.5 Fractal Dimensions of Musical Instrument Sounds	212
	10.6 General Models of Musical Instruments	217
	10.7 Conclusions	220
	References	221
	11 Room Acoustics – Fundamentals and Computer Simulation	223
	11.1 Fundamentals of Sound Fields in Rooms	224
	11.2 Statistical Room Acoustics	225
	11.3 Reverberation	226
	11.4 Stationary Excitation	227
	11.5 Room Impulse Responses	227
	11.6 Computers in Room Acoustics	232
	11.7 Auralization	237
	11.8 Current Research Topics	238
	11.9 Final Remarks	239
	References	240
	Part B Signal Processing	242
	12 Music Studio Technology	245
	12.1 Microphones and Microphone Arrangements	246
	12.2 Signal Preconditioning and Effects	251
	12.3 Digitalization	256
	12.4 Mixing Consoles	259
	12.5 Synthesizer and Sequencer	260
	12.6 Historical and Contemporary Audio Formats and Restoration	263
	12.7 Signals, Connectors, Cables and Audio Networks	269
	12.8 Loudspeakers, Reference Listening and Reinforcement	275
	References	281
	13 Delay-Lines and Digital Waveguides	283
	13.1 Digital Delay Lines	283
	13.2 Simulating Sound Wave Propagation	288
	13.3 Digital Waveguides	291
	References	295
	14 Convolution, Fourier Analysis, Cross-Correlation and Their Interrelationship	297
	14.1 Convolution	297
	14.2 Fourier Frequency Analysis and Transformation	300
	14.3 Cross-Correlation	304
	References	308
	15 Audio Source Separation in a Musical Context	309
	15.1 REPET	310
	15.2 Pitch-Based Source Separation	315
	15.3 Leveraging the Musical Score	318
	15.4 Conclusions	320
	References	321
	16 Automatic Score Extraction with Optical Music Recognition (OMR)	323
	16.1 History	323
	16.2 Overview	324
	16.3 OMR Challenges	325
	16.4 Technical Background	326
	16.5 Adaptive OMR	329
	16.6 Symbolic Music Encoding	329
	16.7 Tools	331
	16.8 Future	332
	References	333
	17 Adaptive Musical Control of Time-Frequency Representations	336
	17.1 State-Space Analysis/Synthesis	337
	17.2 Recursive, Infinite-Length Windows	339
	17.3 Kalman Filter-Based Phase Vocoder	340
	17.4 Additive Layer and Higher-Level Architecture	341
	17.5 Sound Transformations	342
	17.6 Adaptive Control of Sound Transformations	343
	17.7 Chapter Summary	348
	17.A Appendix 1: Chandrasekhar Implementation	337
	17.B Appendix 2: Example 2 EKF Derivation	339
	References	350
	18 Wave Field Synthesis	352
	18.1 Overview	352
	18.2 Wave Equation and Solutions	353
	18.3 Wave Front Synthesis	359
	18.4 Current Research and Development	366
	References	368
	19 Finite-Difference Schemes in Musical Acoustics: A Tutorial	371
	19.1 The 1-D Wave Equation	372
	19.2 The Ideal Bar Equation	378
	19.3 Acoustic Tubes	382
	19.4 The 2-D and 3-D Wave Equations	386
	19.5 Thin Linear Plate Vibration	399
	19.6 Extensions to Nonlinear Systems	403
	References	403
	20 Real-Time Signal Processing on Field Programmable Gate Array Hardware	407
	20.1 Overview	408
	20.2 Digital Binary Logic	410
	20.3 FPGA – A Structural Overview	412
	20.4 Hardware Description Language (HDL)	416
	20.5 FPGA Hardware Overview	419
	20.6 FPGA Chips	419
	20.7 Interfacing With a FPGA	421
	20.8 Real-Time DSP Applications	424
	20.9 Real-Time Filtering Applications	424
	20.10 Real-Time Physical Modeling of Large-Scale Geometries	427
	20.11 Summary and Outlook	436
	References	437
	Part C Music Psychology – Physiology	440
	21 Auditory Time Perception	443
	21.1 Methods for Studying Interval Processing	444
	21.2 Processing Time Intervals: Variability	445
	21.3 Processing Time Intervals: Perceived Duration	449
	21.4 Theoretical Perspectives	454
	21.5 Conclusion	455
	References	455
	22 Automatic Processing of Musical Sounds in the Human Brain	461
	22.1 Perceiving the Music Around Us: An Attentive or Automatic Process?	461
	22.2 The MMN as a Measure of Automatic Sound Processing in the Auditory Cortex	462
	22.3 Neural Generators of the MMN	463
	22.4 The MMN for Studying Automatic Processing of Simple Musical Rules	464
	22.5 ERAN as an Index of Semiautomatic Processing of Musical Rules	465
	22.6 Environmental Exposure Modulates the Automatic Neural Representations of Musical Sounds	465
	22.7 Disrupted Automatic Discrimination of Musical Sounds	466
	22.8 Conclusions	468
	References	468
	23 Long-Term Memory for Music	473
	23.1 Long-Term Memory and the Semantic System	473
	23.2 Semantic Memory for Music	474
	23.3 Evidence from Neuropsychology	475
	23.4 Concluding Comments	477
	References	478
	24 Auditory Working Memory	480
	24.1 The Baddeley and Hitch WM Model: Theoretical Considerations and Empirical Support	480
	24.2 WM: Behavioral Data	481
	24.3 Neural Correlates Underlying WM	483
	24.4 Sensorimotor Codes – Auditory WM and the Motor System	485
	24.5 The Influence of LTM on Auditory WM Performance	487
	24.6 Summary and Conclusion	487
	References	488
	25 Musical Syntax I: Theoretical Perspectives	492
	25.1 Outline	492
	25.2 Theories of Musical Syntax	493
	25.3 Models of Musical Syntax	496
	25.4 Syntactic Models of Different Complexity	497
	25.5 Discussion	501
	25.A Appendix: The Chomsky Hierarchy	492
	References	502
	26 Musical Syntax II: Empirical Perspectives	506
	26.1 Computational Research	506
	26.2 Psychological Research	513
	26.3 Neuroscientific Research	515
	26.4 Implications and Issues	517
	References	518
	27 Rhythm and Beat Perception	525
	27.1 Temporal Regularity and Beat Perception	525
	27.2 Behavioral Investigations	526
	27.3 Electrophysiological Investigations	527
	27.4 Hemodynamic (fMRI/PET) Investigations	532
	27.5 Patient and Brain Stimulation Investigations	533
	27.6 Discussion	534
	References	535
	28 Music and Action	540
	28.1 Coupling Action and Perception Through Musical Experience	541
	28.2 Responding to Music with Action and (Social) Interaction	545
	28.3 Conclusion and Perspectives	551
	References	551
	29 Music and Emotions	555
	29.1 The Rise of Music and Emotion Research	555
	29.2 Structure of Emotions	556
	29.3 Mechanisms and Modifiers of Emotions	559
	29.4 Measures and Musical Materials	563
	29.5 Current Challenges	565
	References	566
	Part D Psychophysics/Psychoacoustics	571
	30 Fundamentals	574
	30.1 Theoretical and Methodological Background	575
	30.2 Types of Sound and Sound Features Relevant for Hearing and Music Perception	602
	30.3 Some Basics of Sound in a Sound Field	611
	References	613
	31 Pitch and Pitch Perception	619
	31.1 Pitch as Elementary Sensation and as Perceptual Quality	620
	31.2 Sketch of the Auditory Pathway (AuP)	629
	31.3 Excitation of the Auditory System: From the Tympanum to the BM, the IHC and OHC	631
	31.4 Place Coding and Temporal Coding of Sound Features	634
	31.5 Auditory Models and Pitch Extraction	641
	31.6 Psychophysics	643
	31.7 Categorical Pitch Perception, Relative and Absolute Pitch	654
	31.8 Scales, Tone Systems, Aspects of Intonation	665
	31.9 Geometric Pitch Models, Tonality	677
	References	685
	32 Perception of Timbre and Sound Color	700
	32.1 Timbre and Sound Color: Basic Features	700
	32.2 Sensation and Perception of Timbre and Sound Color	708
	References	732
	33 Sensation of Sound Intensity and Perception of Loudness	739
	33.1 Physical and Physiological Basis of Sound Intensity Sensation	739
	33.2 Models of Loudness Sensation	742
	33.3 From Lab to Disco: Measurements and Perceptual Variability of Loudness	747
	33.4 Summing up	749
	References	751
	Part E Music Embodiment	754
	34 What Is Embodied Music Cognition?	757
	34.1 Ontological and Epistemological Foundations	758
	34.2 The Architecture of Embodied Music Cognition	760
	34.3 Empirical Evidence for Embodied Music Cognition	763
	34.4 Embodiment and Dynamic Cognition	766
	34.5 Contributions to a Paradigm Shift in Systematic Musicology	767
	34.6 Conclusion	767
	References	768
	35 Sonic Object Cognition	771
	35.1 Object Focus	771
	35.2 Ontologies	773
	35.3 Motor Theory	774
	35.4 Timescales and Duration Thresholds	775
	35.5 Chunking	776
	35.6 Sound Generation	777
	35.7 Constraints and Idioms	778
	35.8 Sound Synthesis	779
	35.9 Feature Taxonomy	780
	35.10 Shape Cognition	781
	35.11 Typology and Morphology of Sonic Objects	782
	35.12 Singular, Composed, Composite and Concatenated Objects	783
	35.13 Textures, Hierarchies, Roles and Translations	784
	35.14 Analysis-by-Synthesis	785
	35.15 Summary	786
	References	786
	36 Investigating Embodied Music Cognition for Health and Well-Being	788
	36.1 Transitions in Musicology and Society	788
	36.2 Models of Music, Health and Well-Being	790
	36.3 From Theory to Therapeutic Approaches	792
	36.4 Conclusion	798
	References	798
	37 A Conceptual Framework for Music-Based Interaction Systems	801
	37.1 A Conceptual Model of Music-Based Interaction Systems	802
	37.2 The Human Reward System	803
	37.3 Social Interaction	805
	37.4 Monitoring, Motivation, and Alteration	805
	37.5 The Evaluation of Music-Based Interactive Systems	807
	37.6 Some Case Studies of Applications and Supporting Research	807
	37.7 Conclusion	809
	References	810
	38 Methods for Studying Music-Related Body Motion	813
	38.1 Some Key Challenges	813
	38.2 Qualitative Motion Analysis	814
	38.3 Video-Based Analyses	816
	38.4 Sensor-Based Motion Capture	820
	38.5 Synchronization and Storage	823
	38.6 Conclusion	824
	References	824
	Part F Music and Media	827
	39 Content-Based Methods for Knowledge Discovery in Music	830
	39.1 Music Structure Analysis	831
	39.2 Feature Representation	833
	39.3 Music Synchronization and Navigation	834
	39.4 Self-Similarity in Music Recordings	836
	39.5 Automated Extraction of Repetitive Structures	842
	39.6 Conclusions	845
	References	845
	40 Hearing Aids and Music: Some Theoretical and Practical Issues	848
	40.1 Assessment of Musicians	849
	40.2 Peripheral Sensory Hearing Loss	849
	40.3 Direct Assessment of Music with a Peripheral Hearing Loss	851
	40.4 Acoustic Properties of Music versus Speech	851
	40.5 Some Strategies to Handle the More Intense Inputs of Music	853
	40.6 Some Hearing-Aid Technologies to Handle the More Intense Inputs of Music	854
	40.7 General Recommendations for an Optimal Hearing Aid for Music	856
	40.8 Conclusions and Recommendations for Further Research	858
	References	858
	41 Music Technology and Education	861
	41.1 Background	862
	41.2 Music Education Tools	863
	41.3 Sound Source Separation for the Creation of Music Practice Material	865
	41.4 Drum Transcription for Real-Time Music Practice	868
	41.5 Guitar Transcription Beyond Score Notation	871
	41.6 Discussion and Future Challenges	874
	References	875
	42 Music Learning: Automatic Music Composition and Singing Voice Assessment	878
	42.1 Related Work on Melody Composition	879
	42.2 Related Work on Voice Analysis for Assessment	879
	42.3 Music Composition for Singing Assessment	880
	42.4 Singing Assessment	884
	42.5 Summary	886
	References	887
	43 Computational Ethnomusicology: A Study of Flamenco and Arab-Andalusian Vocal Music	889
	43.1 Motivation	889
	43.2 Background	891
	43.3 Case Study	893
	43.4 Conclusion and Future Perspectives	899
	43.5 Complementary Material	900
	References	900
	44 The Relation Between Music Technology and Music Industry	902
	44.1 Recording and Performance	904
	44.2 Music Creation	906
	44.3 Music Distribution and Consumption	909
	44.4 Conclusion	910
	References	911
	45 Enabling Interactive and Interoperable Semantic Music Applications	913
	45.1 IM AF Standard	914
	45.2 Implementation of the IM AF Encoder	915
	45.3 IM AF in Sonic Visualiser	919
	45.4 Future Developments and Conclusions	922
	References	922
	46 Digital Sensing of Musical Instruments	924
	46.1 Digital Music Instruments	924
	46.2 Elements of a Hyperinstrument	925
	46.3 Acoustic Instrument	925
	46.4 Hyperinstrument	926
	46.5 Direct Sensors	926
	46.6 Indirect or Surrogate Sensors	928
	46.7 Instrument Case Studies	929
	46.8 Application Case Studies	931
	46.9 Conclusions	933
	References	933
	Part G Music Ethnology	935
	47 Interaction Between Systematic Musicology and Research on Traditional Music	938
	47.1 Background	938
	47.2 Folk/Traditional Music Research	939
	47.3 Comparative Musicology	940
	47.4 Cognitive Approaches – Cross-Cultural Music Cognition and Cognitive Ethnomusicology	940
	47.5 Anthropology of Music – Ethnomusicology – Cultural Musicology	942
	47.6 New Trends	944
	47.7 Function of Ethnomusicology in Systematic Musicology	945
	47.8 Summary	947
	References	948
	48 Analytical Ethnomusicology: How We Got Out of Analysis and How to Get Back In	952
	48.1 Ethnomusicology's Analytical Roots	952
	48.2 The Mid-Century Pendulum Swing: The Rise of Anthropology-Based Studies	958
	48.3 Analysis in Modern Ethnomusicology	965
	References	973
	49 Musical Systems of Sub-Saharan Africa	977
	References	980
	50 Music Among Ethnic Minorities in Southeast Asia	984
	50.1 Singing Manners	985
	50.2 The Sounds of Bamboo and Metal	989
	50.3 Music and Village Life	993
	50.4 Village Music and Modern Society	996
	50.A Appendix: Recordings	985
	References	999
	51 Music Archaeology	1002
	51.1 Methods	1003
	51.2 Research Topics	1004
	51.3 Musical Practice	1005
	51.4 Music Theory	1006
	51.5 Ancient Sounds	1007
	51.6 Conclusion	1008
	References	1009
	52 The Complex Dynamics of Improvisation	1013
	52.1 The Study of Improvisation	1013
	52.2 The Field of Improvisation Studies	1014
	52.3 Challenges in Defining Improvisation	1014
	52.4 Some Contemporary Research Directions	1016
	52.5 Referent-Based Improvisation	1017
	52.6 Referent-Free Improvisation	1018
	52.7 Final Thoughts	1020
	References	1021
	53 Music of Struggle and Protest in the 20th Century	1024
	53.1 Historical Antecedents of Music of Protest and Struggle in the United States	1025
	53.2 The Poet Walt Whitman's Influence on the Image of the Protest Singer-Songwriter	1026
	53.3 Ballad Collectors, Songs of Struggle, and Versions of the American Identity	1027
	53.4 The Vocal Style and Performance Practice of US Protest Music	1028
	53.5 20th Century Politics and Protest Music	1030
	53.6 African-American Musical Traditions and Social Protest	1031
	53.7 The Conservative Reaction	1032
	53.8 The Folk Music Revival and The Commercialization of Folk Music	1033
	53.9 Conclusion	1035
	References	1036
	About the Authors	1038
	Detailed Contents	1052
	Subject Index	1074