Metode ARTS Sebagai Upaya Meningkatkan Keterampilan Solfegio Mahasiswa Prodi Pendidikan Musik di Jurusan Sendratasik FBS Universitas Negeri Padang

This study aims to describe the ARTS method as an effort to improve the solfegio skills of music study students in the Department of Drama, FBS, Padang State University. This research is a quasi-experimental research using descriptive analytic approach. The results of the study found that applying the four stages in the ARTS method could improve Solfegio skills, namely: (1) the preparation stage, namely designing the subject matter. (2) Presentation stage, namely the explanation of the concept of rhythm, interval, melody, and transfiguration of note units. (3) Practice stages or exercises, namely Audio, Reproduction, Transcription, and Sight-reading/ Sight-singing exercises. (4) Stages of performance, namely assessment. This research is expected to be a guide in learning solfegio, both at the elementary and tertiary levels

The quest for myriad strains

In the era in which the web is fully demonstrating its archival potential, more and more composers make use of sound, melody and computer library repositories. It is a clear trend in popular music, which is increasingly being extended also to ‘academic’ composition: today authors can access and contribute to a vast array of audio materials, of procedures and languages, where historicity and innovation coexist in an eternal present. At first glance it may seem a revolution. However, a closer look reveals ancient roots in the history of music that audio reproduction has made only more evident: the fixation of music on tape, at first, has led some composers (e.g. Bruno Maderna) to create sound libraries to be reused in different works, thus blurring the borders of the Opera; later on, the dematerialization and atomization of procedures in IT have pushed towards a philosophy of sharing (e.g. libraries for Computer Assisted Composition systems) – exalted today by the capillarity of the lightning-fast web distribution – raising deep questions about the concept of author itself. Moving further backwards, to the re-uses in Rossini and Mozart, or to the anonymous formulas in Gregorian chant, could we not find the recurrence of a quest for that world of «myriad strains that once shall sound», where the composer can stretch forth a hand for a musical idea, so wonderfully glimpsed by Busoni in his Sketch for a New Esthetic of Music?

Creation of Auditory Augmented Reality Using a Position-Dynamic Binaural Synthesis System—Technical Components, Psychoacoustic Needs, and Perceptual Evaluation

For a spatial audio reproduction in the context of augmented reality, a position-dynamic binaural synthesis system can be used to synthesize the ear signals for a moving listener. The goal is the fusion of the auditory perception of the virtual audio objects with the real listening environment. Such a system has several components, each of which help to enable a plausible auditory simulation. For each possible position of the listener in the room, a set of binaural room impulse responses (BRIRs) congruent with the expected auditory environment is required to avoid room divergence effects. Adequate and efficient approaches are methods to synthesize new BRIRs using very few measurements of the listening room. The required spatial resolution of the BRIR positions can be estimated by spatial auditory perception thresholds. Retrieving and processing the tracking data of the listener’s head-pose and position as well as convolving BRIRs with an audio signal needs to be done in real-time. This contribution presents work done by the authors including several technical components of such a system in detail. It shows how the single components are affected by psychoacoustics. Furthermore, the paper also discusses the perceptive effect by means of listening tests demonstrating the appropriateness of the approaches.