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Figure-4-4 (mp4) Bjarte Malmo : Edvard Grieg, “Solveig’s Song”, refrain, beat durations in score time synchronized with harmonic tension graphs: cloud diameter (dissonance), cloud momentum (chord movement), tensile strain (distance from global key)
No full textAppendix-3 (mp4) Compare Tempo A : Edvard Grieg, “Solveig’s Song”, beat duration graphs in score time comparing the introduction and concluding bars; top-to-bottom: Karajan with the Berlin Philharmonic, Karajan with the Vienna Philharmonic, Sir Neville Marriner with the Academy of St. Martin in the Fields, Bjarte Engeset with the Malmö Symphony Orchestra
No full textDemo material
No full textDebussy, Claude: Syrinx for solo flute
Purcell, Henry: My dearest, my fairest (piano: Nikolaus Newerkla, duet partner: Tobias Matej Mistelbauer)
Bohuslav, Martinu: Sonate No. 1 for flute and piano H. 306, 1st movement Allegro moderato (piano: Simon Schuller)
Pergolesi, Giovanni: Se tu m’ami, se sospiri (live video, piano: Nikolaus Newerkla)Debussy, Claude: Syrinx for solo flute
Purcell, Henry: My dearest, my fairest (piano: Nikolaus Newerkla, duet partner: Tobias Matej Mistelbauer)
Bohuslav, Martinu: Sonate No. 1 for flute and piano H. 306, 1st movement Allegro moderato (piano: Simon Schuller)
Pergolesi, Giovanni: Se tu m’ami, se sospiri (live video, piano: Nikolaus Newerkla
Air (in G-Major) Bass 2 J.S. Bach / Arranged for Bass Ensemble By Martin Wind
No full textRevised in February 202
Air (in G-Major) Bass 3 J.S. Bach / Arranged for Bass Ensemble By Martin Wind
No full textRevised in February 202
Extended Vector-Based EB-ESPRIT Method
No full textThe estimation of direction of arrivals (DoAs) from spherical microphone array data is one of the key issues in extracting source information from all-around audio recordings. One such technique is the eigenbeam estimation of signal parameters via the rotational invariance technique (EB-ESPRIT), which separates the signal subspace related to the stationary sound field and then directly estimates DoAs of multiple sound sources. EB-ESPRIT has been evolved in many different ways by involving different types of recurrence relations of spherical harmonics, all of which are able to identify DoAs of a limited number of sources that are noticeably smaller than the number of finite-order spherical harmonic coefficients recorded. In this work, we report that it is possible to go beyond the known limits of detectable sources. The proposed formula is also based on conventional recurrence relations and probably permits to reach the ultimate limit by additional constraints of the signal parameters that can better exploit the highest-order coefficients. Monte-Carlo simulations conducted with various source positions and signal-to-noise ratios (SNRs) reveal that the proposed technique can detect more sources with insignificant loss in estimation performance and robustness
Figure 1 SolveigsSongC : Edvard Grieg, “Solveig’s Song”, Refrain (b. 25–39), piano score from Six Song Transcriptions, op. 52, No. 4, piano arr. by Edvard Grieg
No full textAppendix 4-4 perf-time-A-Bjarte-Malmo-TL : Edvard Grieg, “Solveig’s Song”, loudness-beat duration graphs in performance time comparing the introduction and concluding bars; top-to-bottom: Karajan with the Berlin Philharmonic, Karajan with the Vienna Philharmonic, Sir Neville Marriner with the Academy of St. Martin in the Fields, Bjarte Engeset with the Malmö Symphony Orchestra
No full textMediterranean: Concerto for Guitar and Orchestra
No full textJohn McLaughlin - composer, orchestrated by Michael Gibbs, 202