Föranmälan: projektledare@ljudcentrum.lu.se - skriv "May 24" i ämnesraden

FRIDAY, May 24th. 9:00 - 16:00

LUX Aula, Lunds Universitet. Helgonavägen 3, 223 62 Lund

Look at your voice!
Johan Sundberg,
Affiliation: Department of Speech Music Hearing, School of Electrical Engineering and Computer Science, KTH and University College of Music Education Stockholm
Email: jsu@kth.se

Describing sound is an almost hopeless task. The difficulties are clearly demonstrated in vocal pedagogy, where the student often have great problems in correctly interpretating the teacher's descriptions of vocal sounds. In such situations, visual feedback in terms of real-time acoustic analysis of vocal sounds can be particularly helpful. It can efficiently direct the student's attention to specific properties of voice that are crucial for vocal control and vocal health. The presentation will include demonstration of some examples.

Visualising the unknown: Transcription in ethnomusicology
Håkan Lundström, professor faculty of Performing Arts, Malmö
Email: hakan.lundstrom@iac.lu.se

Ethnomusicology deals with music in its cultural settings. Initially its focus was the study of music in other cultures relative to the researcher, including minority cultures. Today the methods of ethnomusicology are used in the study of any music also in the researcher’s home culture.
The music studied by the first ethnomusicologists was actually unknown to them. It differed in structure from Western classical tradition and they needed to find ways to describe and analyse it. Visualisations became an important method. Today there is a large body of studies from many societies in the world and a number of culture-specific principles for constructing music have been described. Therefore the modern ethnomusicologist has a different point of departure. Even so, it happens that a music or certain aspects of it were never before studied.
During more than one century various methods of visualisation were developed with regards to the different aims of the research. They range from transcription by ear from wax phonograph cylinders to analysis of digital audio files by use of present-day computer software.

Leaders in choral voices, identified by visual examination of graphs from recorded individual voices in choral singing.
Sverker Zadig
Affiliation: Lektor and teacher of Music, at Spyken – un upper secondary school in Lund – and the Malmö Academy of Music, Lund University. mailto:sverker.zadig@gmail.com
 
In Western European choral traditions, the ambition of most choirs is to attain an equalized blend of sound and to perform well together, with regard to timing and intonation. In order to be able to synchronize this, the choir members need to cooperate musically and listen to each other.
In my research a method was tried out to record the individual singers, while singing in choir together. The recordings were done addressing each singer on a separate recording track by using head-set microphones. Analyses could then be done with a computer software, converting these tracks into graphs. The graphs were studied visually by comparing the equal time-period for the different voices. With this method, it is possible to explore how singers take the lead and how other singers follow along, during singing.
 

Visualizations of music and sound
Sanne Krogh Groth
Affiliation: Ass prof of musicology, director Sound Environment Center, dep of 

culture studies vid Lunds universitet. Email: sanne_krogh.groth@kultur.lu.se

Visual representations of audible events have throughout history been central to theoreticians’, historians’ and practitioners’ insights in music and sound. As an example, musical scores have played a crucial role in the study and performance of Western Art Music, - even to such extend, that they from the end of the 18th century and on, begin to occupy a position as the musical work. With 20th century sonograms visualizations also served composers of electro acoustic music as tools, that could give insight to the tiniest detail of a sound, meanwhile they also became documentation and scores for future performances.
With today’s ubiquity of audio recordings, one could think, that the visualizations of sound and music would diminish. Never the less, the visualization of music is still around offering insights to music and sound, that we could not achieve without them. With examples from 20th and 21st century music and sound art, this presentation argues for the visualization of music as a situated and performative act, that offers much more than an imaginary of sound.  
 

 
Visualisation in architectural acoustics
Jens Holger Rindel, MSc, PhD
Affiliation:       Odeon A/S, DTU Science Park, Diplomvej Building 381, DK-2800 Kgs. Lyngby, Denmark
E-mail: jhr@odeon.dk

Visualisation of sound reflections in a scale model of an auditorium was first applied by Wallace C. Sabine around 1900. The method was in principle the Schlieren photography invented by A. Toepler in 1864 to study supersonic motion. The method could only be applied to 2D sections of a room, but it proved useful to show effects like echoes, focusing from concave surfaces, diffraction around edges and scattering by irregular structures. Today, similar visualisations can be made with wave-based computer models. Computer models for architectural acoustics are mostly high-frequency models using geometrical acoustics, i.e. ray tracing and image sources methods. In these models the sound reflections can be visualised with a large number of “particles” emitted from the sound source and propagating like a wave front through the room. This technique can also show echoes, focusing and scattering effects, but not diffraction. However, the method applies to 3D models and visualisation can be either in 2D or 3D. Acoustic colours are another kind of visualisation of acoustic properties in a computer model of a room. The colours are applied to the room surfaces and represent the acoustic reflectance of the surfaces. Thus, bright colours represent hard reflecting surfaces while dark colours represent highly absorptive surfaces. The intensity of the three basic colours red, green, blue are controlled by the acoustic reflectance in the low -, middle -, and high frequency range, respectively. This method allows understanding the acoustical character of a room model at a glance. Physically, both sound and light are waves and humans can sense a certain range of wavelengths. Although this range is much wider in sound than in light, there seems to be a fascinating analogy in the way humans interpret the wavelengths in sound and light.

 
Ljudets representation i Landskapsarkitektur: En överblick
Dr. Gunnar Cerwén,
Landscape architect, researcher, SLU, Landscape Architecture, planning and administration
gunnar.cerwen@slu.se

Det har länge hävdats att frågor som rör ljud har varit eftersatta inom arkitektur och stadsplanering. Mycket av det som görs och gjorts handlar om kartläggningar och tekniska lösningar för att hantera buller. På senare år har dock intresset för upplevelsen av ljud ökat vilket ställer krav på nya sätt att fånga och representera ljud. I den här presentationen ges en kort historisk överblick över hur ljud hanterats inom disciplinen landskapsarkitektur, och några metoder för att representera ljud presenteras. I genomgången berörs bland annat bildcollage, text, video, inspelningar, auraliseringar, konceptualiseringar, kartor, ljudkonst och ljudvandringar.

Images of Sound in Visual Art
Max Liljefors
Professor at division of art and visual studies at Lund university
max.liljefors@kultur.lu.se

This paper will present and discuss artworks that in various ways visualize and problematize sound.
Several modern and late modern artists have devoted their creativity to produce visual representations of aural phenomena, not seldom in the form of the human voice. Often their work have involved translating the temporality of sound into the spatial parameters of visual art. Sometimes this has involved destroying the aural object represented, e.g. dissolving the semantic meaning of spoken words into mere sound, or, the subduing of sound into silence. Sometimes, on the other hand, sound has been made to generate never-before-seen visual forms.
The paper will discuss aesthetic as well as political aspects of the translation of sound into image in modern and late modern art, in works by, among others, Nancy Holt and Richard Serra, Gary Hill, Jorge Roberto Lopes Don Santos, and Lawrence Abu Hamdan.

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