Analysis, Parametric Synthesis, and Control of Hand Clapping Sounds

The purpose of this thesis was to create a synthesis and control model for hand clapping sounds. The first part of this thesis is a synthesis model for a sound of hand clapping. The synthesis model is based on a two-pole resonator filter whose coefficients are derived from measurements. The filter is excited with short noise pulses to create a simplified but realistic resynthesis of the sound of hand clapping. As the synthesis is based on measurements made in anechoic chamber, also an artificial room reverberation is included. The second part of this thesis focuses on creating control models for the synthesis model. The simplest control model is an imitation of one clapper. The fluctuation of clapping rate is based on the analysis of recorded clapping sequences. More advanced control model addresses to the phenomenon of synchronized applause and is based on the Kuramoto model of coupled nonlinear oscillators. Every clapper in an audience is modeled as an oscillator that has its own preferred clapping rate. When a synchronization is turned on these oscillators start to change their clapping rate and phase to find a synchronization. Both synthesis and control model are implemented as a real-time software.

[1]  D. Gabor Acoustical Quanta and the Theory of Hearing , 1947, Nature.

[2]  Manfred R. Schroeder,et al.  Natural Sounding Artificial Reverberation , 1962 .

[3]  Pierre Ruiz,et al.  Synthesizing Musical Sounds by Solving the Wave Equation for Vibrating Objects: Part 2 , 1971 .

[4]  W H Warren,et al.  Auditory perception of breaking and bouncing events: a case study in ecological acoustics. , 1984, Journal of experimental psychology. Human perception and performance.

[5]  Xavier Rodet,et al.  The CHANT Project: From the Synthesis of the Singing Voice to Synthesis in General , 1984 .

[6]  Chong-Kwan Un,et al.  On Predictive Coding of Speech Signals , 1985 .

[7]  B. Repp The sound of two hands clapping: an exploratory study. , 1987, The Journal of the Acoustical Society of America.

[8]  Y. Kuramoto,et al.  Statistical macrodynamics of large dynamical systems. Case of a phase transition in oscillator communities , 1987 .

[9]  Richard E. Pastore,et al.  Source characteristics: A study of hand clapping , 1989 .

[10]  D. Freed,et al.  Auditory correlates of perceived mallet hardness for a set of recorded percussive sound events. , 1990, The Journal of the Acoustical Society of America.

[11]  Jean-Marie Adrien,et al.  The missing link: modal synthesis , 1991 .

[12]  Curtis Roads,et al.  Asynchronous granular synthesis , 1991 .

[13]  Robert J. Logan,et al.  Perception of acoustic source characteristics: walking sounds. , 1991, The Journal of the Acoustical Society of America.

[14]  Claude Cadoz,et al.  The physical model: modeling and simulating the instrumental universe , 1991 .

[15]  Durand R. Begault,et al.  3-D Sound for Virtual Reality and Multimedia Cambridge , 1994 .

[16]  S Puckette Miller,et al.  Pure Data : another integrated computer music environment , 1996 .

[17]  Curtis Roads,et al.  The Computer Music Tutorial , 1996 .

[18]  Vesa Välimäki,et al.  Physical Modeling of Plucked String Instruments with Application to Real-Time Sound Synthesis , 1996 .

[19]  R. Caussé,et al.  The representation of auditory source characteristics: simple geometric form. , 1996, Perception & psychophysics.

[20]  Perry R. Cook,et al.  Physically Informed Sonic Modeling (PhISM): Synthesis of percussive sounds , 1997 .

[21]  C. Carello,et al.  Perception of Object Length by Sound , 1998 .

[22]  J. Sundberg,et al.  Does music performance allude to locomotion? A model of final ritardandi derived from measurements of stopping , 1999 .

[23]  S. Strogatz,et al.  Time Delay in the Kuramoto Model of Coupled Oscillators , 1998, chao-dyn/9807030.

[24]  Sofia Dahl The Playing of an Accent – Preliminary Observations from Temporal and Kinematic Analysis of Percussionists* , 2000 .

[25]  Anders Friberg,et al.  Emotional Coloring of Computer-Controlled Music Performances , 2000, Computer Music Journal.

[26]  A. Barabasi,et al.  Physics of the rhythmic applause. , 2000, Physical review. E, Statistical physics, plasmas, fluids, and related interdisciplinary topics.

[27]  M. Turvey,et al.  Hearing shape. , 2000, Journal of experimental psychology. Human perception and performance.

[28]  Roberto Bresin,et al.  IS THE PLAYER MORE INFLUENCED BY THE AUDITORY THAN THE TACTILE FEEDBACK FROM THE INSTRUMENT , 2001 .

[29]  Anders Friberg,et al.  Toward a new model for sound control , 2001 .

[30]  Unto K. Laine,et al.  A comparison of warped and conventional linear predictive coding , 2001, IEEE Trans. Speech Audio Process..

[31]  Matti Karjalainen,et al.  Frequency-Zooming ARMA Modeling of Resonant and Reverberant Systems , 2002 .

[32]  Davide Rocchesso,et al.  Efficiency, accuracy, and stability issues in discrete-time simulations of single reed wind instruments. , 2002, The Journal of the Acoustical Society of America.

[33]  Perry R. Cook,et al.  Real Sound Synthesis for Interactive Applications , 2002 .

[34]  Perry Cook FOFs, Wavelets, and Particles , 2002 .

[35]  Sofia Dahl,et al.  Experiments on gestures: walking, running, and hitting. , 2003 .

[36]  Murray Campbell,et al.  Discrete-time modeling of woodwind instrument bores using wave variables. , 2003, The Journal of the Acoustical Society of America.

[37]  Davide Rocchesso,et al.  Sounding Objects , 2003, IEEE Multim..

[38]  Federico Fontana,et al.  Physics-based sound synthesis and control: crushing, walking and running by crumpling sounds , 2003 .

[39]  Federico Fontana,et al.  Physics-based models for the acoustic representation of space in virtual environments , 2003 .

[40]  Steven H. Strogatz Sync : rhythms of nature, rhythms of ourselves , 2003 .

[41]  Tamás Vicsek,et al.  Synchronization of two-mode stochastic oscillators: a new model for rhythmic applause and much more , 2003 .

[42]  Paavo Alku,et al.  Linear predictive method for improved spectral modeling of lower frequencies of speech with small prediction orders , 2004, IEEE Transactions on Speech and Audio Processing.

[43]  Vesa Välimäki Physics-Based Modeling of Musical Instruments , 2004 .

[44]  L. Leon,et al.  The sound of many hands clapping , 2022 .

[45]  Federico Avanzini,et al.  Chapter 8 Low-level models : resonators , interactions , surface textures , .