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Topic: Glissando illusion

Related Topics

Auditory illusion

Octave illusion

Optical illusion

Illusory continuity of tones

Psychoacoustics

Doppler effect

Chromatically microtonal

Tamora Pierce

Speed of gravity

Audio compression

Hip hop music

Josef Locke

Penrose triangle

David Chalmers

Cearl of Mercia

	Auditory illusion
		An auditory illusion is an illusion of hearing (sense), the
		sound equivalent of an optical illusion: the listener hears either sounds which are not present in the stimulus, or "impossible" sounds.
		In short, audio illusions highlight areas where the human ear and brain, as organic, makeshift tools, differ from perfect audio receptors (for better or for worse).
	www.mp3.fm /Auditory_illusion.htm (115 words)

	ASA 149th Meeting Lay Language Papers - The glissando illusion: A spatial illusory contour in hearing
		To experience the glissando illusion, you should be seated in front of two stereophonically separated loudspeakers, with one to your left and the other to your right, as in Figure 1.
		The switching rate between the glissando and oboe tone was held constant at 238 ms, and the duration of one cycle of the glissando was held constant at 2.5 sec.
		Perhaps the most remarkable aspect of this illusion is that, although the portions of the glissando are alternating abruptly between widely different spatial positions, it is perceived as though coming from a single source that moves around in space in accordance with it pitch characteristics.
	www.aip.org /149th/deutsch.html (1143 words)

	[No title]
		The effect of bow position illusion is further strengthened by simulating the burst of noise that is produced when a string slips under a bow [Chafe 1990].
		This noise occurs naturally when the string is slipping under the bow, and its duration per period is obtained by multiplying the period by the distance from the bow to the bridge divided by the string length.
		A simple glissando, coupled with a bow amplitude envelope that has a notch on rearticulation, simulates a one-finger shift.
	www.jaffe.com /bowedstring.html (2763 words)

	Lecture Notes
		It seems this illusion is correlated with what is known as brain lateralization and that certain functions are localized to one hemisphere or the other.
		This illusion is constructed from an ascending and descending major scales with notes switching from channel, as shown in the Figure B below.
		Like with the octave illusion, right-handers tend to hear the higher pattern in their right ear, whereas for left-handers there are differing results regarding which pattern is heard in which ear.
	www.colorado.edu /physics/phys4830/phys4830_fa01/lab/n1204.htm (1253 words)

	Tone generator for electronic musical instrument with digital glissando, portamento and vibrato - Patent 4198892
		Portamento, glissando and vibrato are effects commonly used in accoustical and electronic musical instruments, all three effects involving the feature of changing the pitch of a note being sounded.
		Portamento, glissando or vibrato may then be achieved by suitably varying or modulating the program code supplied to the divider such that the desired frequency change is exhibited by the output tone signal.
		The glissando effect is now realized by simply closing glissando enable switch 35 and thereby enabling 6-bit switch 25 as well as coupling a logically high level signal to AND gate 31.
	www.freepatentsonline.com /4198892.html (11785 words)

	Report
		Deutsch is responsible for the discovery of a number of musical illusions and phenomena such as the cambiata illusion, the glissando illusion, the octave illusion, the scale illusion, and the tritone paradox (“Diana Deutsch”).
		Yet, while researching the cambiata illusion, Deutsch noted that “right-handed listeners tend to hear the higher tones on the right and the lower tones on the left while left-handed listeners have more varied listening experiences (“Psychologist…”).” Therefore, patterns of cerebral dominance in left-handed people are not the same as those in a typical brain.
		The scale illusion sequence was most often perceived as “two melodic lines, a higher one and a lower one, that moved in contrary motion.
	www.immaculata.edu /academics/Departments/Music/studentartifacts/report10.htm (1605 words)

	[No title] (Site not responding. Last check: 2007-10-20)
		Robert Boswell’s “Glissando” showcases using The Road to escape when this story turns sour; he portrays people who pretend that moving on will make them happy.
		“Glissando” shows how The Road can be used for that end, how it can be used as a backdoor for those down on their luck to duck out.
		Alida too wants a “full glissando” (168) lifestyle; one that ends up as “far down her mother’s scale” (167) as possible.
	students.washington.edu /bribera/docs/engl111/theroad.doc (1271 words)

	PRESS.ARTICLES.
		Buckingham employs largely acoustic guitars on this set, and with the exception of the Fleetwood Mac rhythm section helping out on "Down on Rodeo" and some orchestration by David Campbell on "Someone's Gonna Change Your Mind," he mostly allows the acoustic guitar to carry his impeccable sense of rhythm and time.
		Its beautiful cascading notes stand in stark contrast to the melancholy lyrics that discuss his frustration at his solo career despite what's written about him, and he wonders whether or not he's fooling himself.
		That it's a song of gratitude for found love is something rooted in reality, not the illusion of dreams.
	www.lindseybuckingham.com /press/article_display.asp?loc=2006-10-A2.asp (632 words)

	THE PSYCHOLOGY OF HEARING
		The scale illusion and its variants are produced by simultaneously presented ascending and descending scales.
		The oboe tone and glissando are made to switch from ear to ear (or from loudspeaker to loudspeaker) in such a way that when the oboe tone is to the right, a portion of the glissando is to the left, and vice versa.
		Sometimes the glissando appears to be consistently in one spatial location, and sometimes, it appears to travel from one side of space to the other as its pitch goes from low to high and then back again as its pitch goes from high to low.
	svconline.com /mag/avinstall_psychology_hearing (3642 words)

	Music Cognition Handbook: A Glossary of Concepts
		This phenomenon is analogous to the "picket fence" illusion in vision.
		That is, if two visual patterns are interleaved, there is a tendency for one pattern to appear to be an intermittent foreground (picket fence) and the other pattern to appear as a continuous background (what's behind the fence).
		Since vowels in different cultures differ in their harmonic content, the spectral dominance region may be expected to shift according to the listener's cultural background.
	dactyl.som.ohio-state.edu /Music838/glossary.html (12133 words)

	OUP: Programme Notes (Site not responding. Last check: 2007-10-20)
		The mellow and somewhat mournful sound produced by the duduk (although being a double-reed instrument) is most similar to the timbre that, by the use of certain techniques, can be achieved by the soprano saxophone.
		The piece deals with the ‘problem’ of providing drones that are not present as such, and sets its task as creating the illusion of their presence.
		At the same time, this polarisation between drone and melody, carried to the extremes, demands experimentation with the material in a way that reflects an equally extreme emotional background: the trauma that stems from a yearning for a lost homeland which, along with a sense of survival against all odds, characterises the Armenian psyche.
	www.oup.co.uk /music/repprom/erkoreka/prognotes (2683 words)

	ASA/EAA/DAGA '99 - Music Acoustics and Contemporary Musical Composition
		Example 1 (692 kBytes), an excerpt from Jean-Claude Risset's Computer Suite from Little Boy (1968), is a never-ending downward glissando made by controlling very precisely the temporal evolution of the partials of the sound.
		Example 2 (726 kBytes) is taken from the piece Northern Migrations by the American composer Shawn Decker and illustrates the illusion of movement of sound in space.
		Example 3 (907 kBytes) is from Rainstick (1993) by the author and illustrates acoustical modeling of the singing voice.
	www.acoustics.org /press/137th/bennett.html (1166 words)

	Chapter Five: Principles of Digital Audio
		Click here to hear the aliasing of a simple glissando from 440 Hz to 44,100 Hz at a sampling rate of 44.1K
		By altering the rate at which you blink, you should be able to create a false image of the fan blades moving more slowly or even moving backwards.
		A simpler method would be to watch an old Western, where the 'sampling rate' of the film's frame rate create an illusion of wagon wheels turning backwards.
	www.indiana.edu /~emusic/etext/digital_audio/chapter5_nyquist.shtml (621 words)

	Cantus - publishing, production, organizing (Site not responding. Last check: 2007-10-20)
		It is possible to listen to such an “endlessly” falling glissando for hours without reaching its expected bottom, that is, without its ever reaching the limit of 20 Hz, which is the lowest frequency threshold that the human ear can hear.
		However much it may seem, at first glance, that this glissando moves, it is in fact static (for it is always the same endless event), while the real agents of motion are these harmonic progressions (as a firm support which I fix earlier in the composition).
		This glissando can start out from any place, from any pitch and at any speed of progression, and it will always seem to fit in well with the harmonic context.
	www.cantus.hr /kat3_en.php?id3=191&id=2 (1486 words)

	Risset's Endless Glissando (Site not responding. Last check: 2007-10-20)
		It is Jean-Claude Risset's endless glissando instrument (coded into Csound by Professor Russell Pinkston, University of Texas at Austin).
		With the partials all displayed the same color and the animation set to loop, the endless illusion can be easily seen.
		Again with the partials all displayed the same color and the animation set to loop, the endless illusion can be easily seen.
	www.vanderbilt.edu /Blair/Courses/MUSC216/evans/Risset.html (360 words)

	VARIOUS ARTISTS R2 70719 Legends Of Guitar - Rock: The 50's Vol. 1 **** (Site not responding. Last check: 2007-10-20)
		Trashy stereo glissando duels fire off the opening before it disappoints by dropping into a regular old guitar boogie riff.
		This was a monster hit for the Virtues in the fifties, and defined the already overcrowded rockabilly boogie field.
		The track has been stereo-ized, using a fake spread induced to create a rather effective illusion of a fairly modern and natural stereo.
	www.reverbcentral.com /reviews/comp/legends3247.html (331 words)

	THE BREAKAWAYS On The Air ****
		While I'm normally a fan of powerful surf, these folks use skill and a liquid sound to create a quiet power not often seen in surf.
		The production is a little odd, with the tracks either essentially mono with stereo delayed 8 bit reverb to create a stereo illusion, or almost ambiently recorded.
		A big "Pipeline"-esq glissando opens this cover of Marlowe Stewart and The Illusions "Earthquake" in the mold of the Jon and the Nightriders' reworking as "Earthquake At Surf City." Infectious and beautifully played.
	www.reverbcentral.com /reviews/b/breakaways2771.html (419 words)

	Bartok
		Bartok's uses of isorhythms create strong accents as well as the illusion of resultant multi-meters.
		Among the more obvious Bartokian trademarks include his use of string pizzicato and glissando.
		The Adagio is an excellent example of Bartok's "night-music." Various textures are organized into a six-part symmetrical form, with thematic material from the first movement functioning as transitional material.
	hunsmire.tripod.com /music/celesta.html (557 words)

	Auditory illusion - One Language (Site not responding. Last check: 2007-10-20)
		OneLang.com lets you search a huge database of reference and product information to find relevant, specific information on almost any topic.
		An auditory illusion is an illusion of hearing (sense), the sound equivalent of an optical illusion: the listener hears either sounds which are not present in the stimulus, or "impossible" sounds.
		Demonstrations of various auditory illusions at (http://www.kyushu-id.ac.jp/~ynhome/ENG/Demo/illusions.html) Kyushu Institute of Design
	www.onelang.com /encyclopedia/index.php/Auditory_illusion (159 words)

	EXN.ca \| Discovery
		"One group of illusions occur when two simultaneous streams of tones are presented, one to the right ear and the other to the left," she explains.
		"Experimental findings indicate that these illusions are perceived in ways that reflect activity primarily in the dominant hemisphere [of the brain], or the hemisphere that is dominant for speech," she explains.
		Although the experiments are not yet complete, she did say, "it's exciting and it's looking very promising." In the meantime, maybe your healthy disagreement with a friend about last night's symphonic or jazz performance can boil down to the fact that he or she is from somewhere else and/or they're a 'leftie'.
	www.exn.ca /Stories/1997/02/21/02.asp (869 words)

	MTO 6.3: Kaminsky, Revenge of the Boomers: Notes on the Analysis of Rock
		At bar 38, the vocal timbre is enhanced with reverb, adding intensity to the thrice-repeated line "to another night"; metrically this segment articulates its own eight-bar hypermeasure, thereby markedly extending the phrase.
		With the corresponding sustaining of the dominant harmony and the concluding falling bass glissando, the phrase extension precisely recalls the introduction, and the glissando becomes literally associated with "mercury falling," still another image of emotional disintegration.
		On a larger scale, while the "mercury falling" glissando frames the song, the image "mercury falling" frames the entire album, as the first song opens and the final song closes with these words.
	societymusictheory.org /mto/issues/mto.00.6.3/mto.00.6.3.kaminsky.html (2479 words)

	Legato Document
		On the marimba, this is easier when descending in pitch as the natural sustain time (and the perception of sustain level) increases.
		In either case, if the sticks are hard enough to produce too many upper partials (which have much faster decay time), it is a poor representation of legato.
		The player can also make use of glissando or portamento to change pitches within a single bow motion and then there will be even less articulation.
	www.tedrounds.com /legato.html (2104 words)

	Darren Copeland: The Sounds of Displacement (Site not responding. Last check: 2007-10-20)
		After drifting into a thick cocoon of overlapping reverberations, the decay of the music drifted seamlessly into the gradually ascending glissando of a departing TGV train.
		As a bus pulled in and eventually obliterated the train's presence, the bus pushed the glissando downward before coming to a full stop.
		Only the ears had fallen silent at that moment to create what was ultimately an illusion of silence.
	interact.uoregon.edu /MediaLit/wfae/readings/copeland/sounds.html (1796 words)

	Science Articles \|\| For Young Canaries Learning Their Song, Freedom In Youth Gives Way To Rules In Adulthood
		A recording of the random walk song was played to 10 of the canaries every two hours during daylight; the remaining six birds heard the glissando instead.
		In the normal course of learning their song, canaries begin to organize syllables into phrases by the time they are two months old.
		But the birds growing up listening to the random walk and glissando songs instead did their best to imitate the atypical, synthetic songs of their tutors for several months, producing long sequences of dissimilar sounds.
	www.sciscoop.com /story/2005/5/18/15840/4791 (1347 words)

	Risset-shepard Effect - Forums
		I thought it was quite cool, it fools the ears into thinking they're hearing something which they aren't.
		(IMG:style_emoticons/default/unsure.gif) the descending glissando is, to my ear, more effective and smoother, but I can hear octave jumps or something happening in there, and can definitely hear that the falling starts from higher up every so often...
		With the glissando one I can just about make myself hear the illusion but actually seem to have to concentrate to hear it, rather than the other way around....
	forums.abrsm.org /index.php?act=ST&f=1&t=18853&hl=& (815 words)

	The World in Shirtsleeves
		In a philosophical piece like this one, it will be the "use and abuse of language," she says, that will guide the audience.
		Enrico, waylaid by his lover twenty years after her betrayal, tells her, "we all grasp on to a single idea of ourselves, the way aging people dye their hair.
		The "humor" that he and Coonrod are seeking to retain is, therefore, not simply comedy or satire, but humor as Pirandello described it: a complex notion, entailing not only laughter, but also pity and fear.
	www.amrep.org /enrico/shirtsleeves.html (1173 words)

	Music
		Beat, dynamics, tempo, rhythm, timbre, pitch, texture and form should be considered when choosing and editing it because the interaction of these components creates the illusion of movement on which the actual movement rests.
		The synthesis of virtual musical movement and the skater's physical movement defines the performance whether the programme's inspiration is a story, an external theme or skating itself.
		Consider using a harp glissando or drum roll to get to the next piece.
	www.skatingaheadofthecurve.com /Music.html (934 words)

	thumbuki (Site not responding. Last check: 2007-10-20)
		One of my favorite works of his is For Ann (rising), a process music composition featuring an endless rising glissando.
		In my opinion, Tenney’s is more musically interesting, and the illusion of the glissando is much more transparent.
		James is also one of the performers in Karlheinz Stockhausen’s Kontakte, which is featured on Ohm: The Early Gurus of Electronic Music.
	www.thumbuki.com /tags/glissando (167 words)

	Endless Series (Site not responding. Last check: 2007-10-20)
		The Endless Series are three plugins based on the auditory illusion known as Circular Pitch (or more commonly the Shepard/Risset tone).
		Circular pitch means a sound that appears to be constantly ascending or descending but ultimately doesn’t seem to get any higher or lower (it returns to where it started).
		Endless Phaser works in the same way but instead of using delay lines it uses filters to produce its effect.
	www.oli.adbe.org /eseries.shtml (333 words)

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