Frequency Range of Music
*This chart only displays to a C0, though the octocontrabass clarinet extends down the B♭ below that C.
Wednesday, February 4, 2009
Speed of sound
Speed of sound
U.S. Navy F/A-18 breaking the sound barrier. The white halo is formed by condensed water droplets which are thought to result from a drop in air pressure around the aircraft (see Prandtl-Glauert Singularity).[2][3]
Main article: Speed of sound
The speed of sound depends on the medium through which the waves are passing, and is often quoted as a fundamental property of the material. In general, the speed of sound is proportional to the square root of the ratio of the elastic modulus (stiffness) of the medium to its density. Those physical properties and the speed of sound change with ambient conditions. For example, the speed of sound in gases depends on temperature. In 20 °C (68 °F) air at the sea level, the speed of sound is approximately 343 m/s (1,230 km/h; 767 mph). In fresh water, also at 20 °C, the speed of sound is approximately 1,482 m/s (5,335 km/h; 3,315 mph). In steel, the speed of sound is about 5,960 m/s (21,460 km/h; 13,330 mph).[4] The speed of sound is also slightly sensitive (a second-order anharmonic effect) to the sound amplitude, which means that there are nonlinear propagation effects, such as the production of harmonics and mixed tones not present in the original sound (see parametric array).
Acoustics and noise
The scientific study of the propagation, absorption, and reflection of sound waves is called acoustics. Noise is a term often used to refer to an unwanted sound. In science and engineering, noise is an undesirable component that obscures a wanted signal.
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U.S. Navy F/A-18 breaking the sound barrier. The white halo is formed by condensed water droplets which are thought to result from a drop in air pressure around the aircraft (see Prandtl-Glauert Singularity).[2][3]
Main article: Speed of sound
The speed of sound depends on the medium through which the waves are passing, and is often quoted as a fundamental property of the material. In general, the speed of sound is proportional to the square root of the ratio of the elastic modulus (stiffness) of the medium to its density. Those physical properties and the speed of sound change with ambient conditions. For example, the speed of sound in gases depends on temperature. In 20 °C (68 °F) air at the sea level, the speed of sound is approximately 343 m/s (1,230 km/h; 767 mph). In fresh water, also at 20 °C, the speed of sound is approximately 1,482 m/s (5,335 km/h; 3,315 mph). In steel, the speed of sound is about 5,960 m/s (21,460 km/h; 13,330 mph).[4] The speed of sound is also slightly sensitive (a second-order anharmonic effect) to the sound amplitude, which means that there are nonlinear propagation effects, such as the production of harmonics and mixed tones not present in the original sound (see parametric array).
Acoustics and noise
The scientific study of the propagation, absorption, and reflection of sound waves is called acoustics. Noise is a term often used to refer to an unwanted sound. In science and engineering, noise is an undesirable component that obscures a wanted signal.
Perception of sound
Perception of sound
Human ear
For humans, hearing is limited to frequencies between about 20 Hz and 20,000 Hz (20 kHz), with the upper limit generally decreasing with age. Other species have a different range of hearing. For example, dogs can perceive vibrations higher than 20 kHz. As a signal perceived by one of the major senses, sound is used by many species for detecting danger, navigation, predation, and communication. Earth's atmosphere, water, and virtually any physical phenomenon, such as fire, rain, wind, surf, or earthquake, produces (and is characterized by) its unique sounds. Many species, such as frogs, birds, marine and terrestrial mammals, have also developed special organs to produce sound. In some species, these have evolved to produce song and speech. Furthermore, humans have developed culture and technology (such as music, telephone and radio) that allows them to generate, record, transmit, and broadcast sound.
Human ear
For humans, hearing is limited to frequencies between about 20 Hz and 20,000 Hz (20 kHz), with the upper limit generally decreasing with age. Other species have a different range of hearing. For example, dogs can perceive vibrations higher than 20 kHz. As a signal perceived by one of the major senses, sound is used by many species for detecting danger, navigation, predation, and communication. Earth's atmosphere, water, and virtually any physical phenomenon, such as fire, rain, wind, surf, or earthquake, produces (and is characterized by) its unique sounds. Many species, such as frogs, birds, marine and terrestrial mammals, have also developed special organs to produce sound. In some species, these have evolved to produce song and speech. Furthermore, humans have developed culture and technology (such as music, telephone and radio) that allows them to generate, record, transmit, and broadcast sound.
Channel-Associated versus Common-Channel
Channel-Associated versus Common-Channel
Channel-Associated signalling employs a signalling channel which is dedicated to a specific bearer channel.
Common-Channel signalling is so-called, because it employs a signalling channel which conveys signalling information relating to multiple bearer channels. These bearer channels therefore have Compelled Signalling
The term Compelled signalling refers to the case where receipt of each signal needs to be explicitly acknowledged before the next signal is able to be sent.
Most forms of R2 register signalling are compelled (see R2 signalling), while R1 multi-frequency is not.
The term is only relevant in the case of signalling systems that use discrete signals (e.g. a combination of tones to denote one digit), as opposed to signalling systems which are message-oriented (such as SS7 and ISDN Q.931) where each message is able to convey multiple items of information (e.g. multiple digits of the called telephone number).
Channel-Associated signalling employs a signalling channel which is dedicated to a specific bearer channel.
Common-Channel signalling is so-called, because it employs a signalling channel which conveys signalling information relating to multiple bearer channels. These bearer channels therefore have Compelled Signalling
The term Compelled signalling refers to the case where receipt of each signal needs to be explicitly acknowledged before the next signal is able to be sent.
Most forms of R2 register signalling are compelled (see R2 signalling), while R1 multi-frequency is not.
The term is only relevant in the case of signalling systems that use discrete signals (e.g. a combination of tones to denote one digit), as opposed to signalling systems which are message-oriented (such as SS7 and ISDN Q.931) where each message is able to convey multiple items of information (e.g. multiple digits of the called telephone number).
Line versus Register
Line versus Register
Line signaling is concerned with conveying information on the state of the line or channel, such as on-hook, off-hook (Answer supervision and Disconnect supervision, together referred to as supervision), ringing current (alerting), and recall. In the middle 20th Century, supervision signals on long distance trunks in North America were usually inband, for example at 2600 Hz, necessitating a notch filter to prevent interference. Late in the century, all supervisory signals were out of band. With the advent of digital trunks, supervision signals are carried by robbed bits or other bits in the digital stream dedicated to signalling.
Register signaling is concerned with conveying addressing information, such as the calling and/or called telephone number. In the early days of telephony, with operator handling calls, the addressing information is by voice as "Operator, connect me to Mr. Smith please". In the first half of the 20th century, addressing information is by using a rotary dial, which rapidly breaks the line current into pulses, with the number of pulses conveying the address. Finally, starting in the second half of the century, address signalling is by DTMF
Line signaling is concerned with conveying information on the state of the line or channel, such as on-hook, off-hook (Answer supervision and Disconnect supervision, together referred to as supervision), ringing current (alerting), and recall. In the middle 20th Century, supervision signals on long distance trunks in North America were usually inband, for example at 2600 Hz, necessitating a notch filter to prevent interference. Late in the century, all supervisory signals were out of band. With the advent of digital trunks, supervision signals are carried by robbed bits or other bits in the digital stream dedicated to signalling.
Register signaling is concerned with conveying addressing information, such as the calling and/or called telephone number. In the early days of telephony, with operator handling calls, the addressing information is by voice as "Operator, connect me to Mr. Smith please". In the first half of the 20th century, addressing information is by using a rotary dial, which rapidly breaks the line current into pulses, with the number of pulses conveying the address. Finally, starting in the second half of the century, address signalling is by DTMF
In-Band versus Out-Of-Band
In-Band versus Out-Of-Band
In the public switched telephone network, (PSTN), in-band signalling is the exchange of signalling (call control) information within the same channel that the telephone call itself is using. An example is DTMF 'Dual-Tone multi-frequency' signalling, which is used on most telephone lines to exchanges.
Out-of-band signalling is telecommunication signalling (exchange of information in order to control a telephone call) that is done on a channel that is dedicated for the purpose and separate from the channels used for the telephone call. Out-of-band signalling is used in Signalling System #7 (SS7), the standard for signalling among exchanges that has controlled most of the world's phone calls for some twenty years.
In the public switched telephone network, (PSTN), in-band signalling is the exchange of signalling (call control) information within the same channel that the telephone call itself is using. An example is DTMF 'Dual-Tone multi-frequency' signalling, which is used on most telephone lines to exchanges.
Out-of-band signalling is telecommunication signalling (exchange of information in order to control a telephone call) that is done on a channel that is dedicated for the purpose and separate from the channels used for the telephone call. Out-of-band signalling is used in Signalling System #7 (SS7), the standard for signalling among exchanges that has controlled most of the world's phone calls for some twenty years.
Signalling
Signalling (telecommunications)
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Jump to: navigation, search
In telecommunication, signalling (UK spelling) or signaling (US spelling) has the following meanings:
The use of signals for controlling communications.
In a telecommunications network, the information exchange concerning the establishment and control of a connection and the management of the network, in contrast to user information transfer.
The sending of a signal from the transmitting end of a circuit to inform a user at the receiving end that a message is to be sent.
Signalling systems can be classified according to their principal properties, some of which are described below:
Contents[hide]
1 In-Band versus Out-Of-Band
2 Line versus Register
3 Channel-Associated versus Common-Channel
4 Compelled Signalling
5 Subscriber versus trunk signalling
6 Classification examples
7 Sources
//
From Wikipedia, the free encyclopedia
Jump to: navigation, search
In telecommunication, signalling (UK spelling) or signaling (US spelling) has the following meanings:
The use of signals for controlling communications.
In a telecommunications network, the information exchange concerning the establishment and control of a connection and the management of the network, in contrast to user information transfer.
The sending of a signal from the transmitting end of a circuit to inform a user at the receiving end that a message is to be sent.
Signalling systems can be classified according to their principal properties, some of which are described below:
Contents[hide]
1 In-Band versus Out-Of-Band
2 Line versus Register
3 Channel-Associated versus Common-Channel
4 Compelled Signalling
5 Subscriber versus trunk signalling
6 Classification examples
7 Sources
//
Personalized ringback tone
Personalized ringback tone
In recent years "personalized" ringback tones become known in the following alternative names, such as Caller Ring Back Tones (CRBT). Personalized ringback tones have become globally popular.[citation needed] With this feature, callers will hear an audio selection applied to the telephone line that has been previously determined by the called party. Audio selections can include music, messages, greetings and special effects like mixing. Equipment is installed in the telephone network to enable replacement of the standard ringback tone with a personalized audio selection. This ensures that the handset equipment is not burdened with media storage and playback. The application of the personalized audio selections is accomplished with a subscriber account that can be modified through WWW, WAP, SMS, USSD or Voice User Interfaces, as well as by customer care personnel.
Sleevi - US Patent No. 4,811,380, Gregorek - US Patent No. 5,321,740, and Stietzel - US Patent No. 20010051517 were the first to invent early versions of Ring Back Tones but CRBTs weren't implemented until Seelig's RBT patented filed in 2001 - US Patent No. 7,006,608. The first functional prototype for RBT replacement as we know them today was created by PromoTel, a US company using Karl Seelig's RBT technology in August 2001, published in an Advertisment in the Economist Magazine 2001 and as an Article in the OC Register.
Witcom also developed CRBT IP server for mass service as well. In March 2004, Vodafone D2 was the first European operator to launch the Ringback Tone service. Vodafone used the European Computer Telecoms (ECT) solution. RingPlus and Promotel were the first to use RBT Ads to pay for free phone calls in the US.
Today various companies supply personalized ringback equipment for mobile phone and landline telephone companies. Most mobile operators offer RBT services to their customers. Most global communication companies now have ringback equipment provided by VAS vendors like RealNetworks, Huawei,Alcatel-Lucent, Comverse Technology, Ericsson, Nortel, and OnMobile.
The majority of mobile operators have now launched the RBT service to their customers. The most notable being Vodafone where it is live in 18 of Vodafone’s markets. [LogicaCMG] was the system integration and prime contractor for most Vodafone deployments using the MyCaller RBT solution from [NMS Communications]. NMS Communications now renamed Livewire Mobile has now divesified into offering a complete portfolio of music services including full track music download, managed store fronts and client based applications.
The use of such nonstandard telephony signals can cause problems with automatic dialing equipment such as faxes and modems, however lines intended to receive such data telephone calls normally have the proper ringback tone. In addition, a caller may define specific users to whom the personalized content will be played. Other callers will hear the "traditional" ringback tone
In recent years "personalized" ringback tones become known in the following alternative names, such as Caller Ring Back Tones (CRBT). Personalized ringback tones have become globally popular.[citation needed] With this feature, callers will hear an audio selection applied to the telephone line that has been previously determined by the called party. Audio selections can include music, messages, greetings and special effects like mixing. Equipment is installed in the telephone network to enable replacement of the standard ringback tone with a personalized audio selection. This ensures that the handset equipment is not burdened with media storage and playback. The application of the personalized audio selections is accomplished with a subscriber account that can be modified through WWW, WAP, SMS, USSD or Voice User Interfaces, as well as by customer care personnel.
Sleevi - US Patent No. 4,811,380, Gregorek - US Patent No. 5,321,740, and Stietzel - US Patent No. 20010051517 were the first to invent early versions of Ring Back Tones but CRBTs weren't implemented until Seelig's RBT patented filed in 2001 - US Patent No. 7,006,608. The first functional prototype for RBT replacement as we know them today was created by PromoTel, a US company using Karl Seelig's RBT technology in August 2001, published in an Advertisment in the Economist Magazine 2001 and as an Article in the OC Register.
Witcom also developed CRBT IP server for mass service as well. In March 2004, Vodafone D2 was the first European operator to launch the Ringback Tone service. Vodafone used the European Computer Telecoms (ECT) solution. RingPlus and Promotel were the first to use RBT Ads to pay for free phone calls in the US.
Today various companies supply personalized ringback equipment for mobile phone and landline telephone companies. Most mobile operators offer RBT services to their customers. Most global communication companies now have ringback equipment provided by VAS vendors like RealNetworks, Huawei,Alcatel-Lucent, Comverse Technology, Ericsson, Nortel, and OnMobile.
The majority of mobile operators have now launched the RBT service to their customers. The most notable being Vodafone where it is live in 18 of Vodafone’s markets. [LogicaCMG] was the system integration and prime contractor for most Vodafone deployments using the MyCaller RBT solution from [NMS Communications]. NMS Communications now renamed Livewire Mobile has now divesified into offering a complete portfolio of music services including full track music download, managed store fronts and client based applications.
The use of such nonstandard telephony signals can cause problems with automatic dialing equipment such as faxes and modems, however lines intended to receive such data telephone calls normally have the proper ringback tone. In addition, a caller may define specific users to whom the personalized content will be played. Other callers will hear the "traditional" ringback tone
Ring-back tone characteristics
Ring-back tone characteristics
The ring-back tone is different in various countries depending on the requirements for the ring-back specification in those countries. The ring-back signal may be generated by the called-party servicing switch(S-MSC) or by the calling-party switch (O-MSC), but it is not generated by the called telephone instrument. It is generally started and stopped at the same rate as the ringing signal itself but perhaps out of phase.
[edit] United Kingdom and the Commonwealth
In the UK and many other Commonwealth countries, it is a signature double beep. For most countries, it consists of a 0.4-second pulse, a 0.2-second pause, a 0.4-second pulse, and a 2-second pause.
In some countries the pulse is made by mixing a 400 Hz and 450 Hz sine wave. This tone has been made famous by being included at the end of Pink Floyd's "Another Brick in the Wall (Part 2)" and "Young Lust".
In others, and until the 1990s in the UK on the now obsolete ETACS analogue mobile phone networks the tone is comprised of a single frequency tone of 425 Hz or 450 Hz, generated at the same cadence. This tone is used on the telephone networks of Malaysia and Singapore.
[edit] Personalized ringback tone
The ring-back tone is different in various countries depending on the requirements for the ring-back specification in those countries. The ring-back signal may be generated by the called-party servicing switch(S-MSC) or by the calling-party switch (O-MSC), but it is not generated by the called telephone instrument. It is generally started and stopped at the same rate as the ringing signal itself but perhaps out of phase.
[edit] United Kingdom and the Commonwealth
In the UK and many other Commonwealth countries, it is a signature double beep. For most countries, it consists of a 0.4-second pulse, a 0.2-second pause, a 0.4-second pulse, and a 2-second pause.
In some countries the pulse is made by mixing a 400 Hz and 450 Hz sine wave. This tone has been made famous by being included at the end of Pink Floyd's "Another Brick in the Wall (Part 2)" and "Young Lust".
In others, and until the 1990s in the UK on the now obsolete ETACS analogue mobile phone networks the tone is comprised of a single frequency tone of 425 Hz or 450 Hz, generated at the same cadence. This tone is used on the telephone networks of Malaysia and Singapore.
[edit] Personalized ringback tone
Synthetic Music Mobile Application Format
Synthetic Music Mobile Application Format
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This is a music data format specified by Yamaha for portable electronic devices, such as cell phones and PDAs. The file extension for SMAF is .MMF and is common as ringtones for mobile phones with one of five sound chips.
SMAF resembles MIDI, but also supports graphics and PCM sound playback. Its MIDI playback is produced via FM synthesis or PCM wavetable synthesis, where instrument data (parameters and/or PCM samples) is stored within the .MMF file itself, similar to module files. This enables users to create custom instruments, which will sound exactly the same on devices with the same chip.
[edit] References
Yamaha's SMAF Website
SMAF Specifications
From Wikipedia, the free encyclopedia
Jump to: navigation, search
This is a music data format specified by Yamaha for portable electronic devices, such as cell phones and PDAs. The file extension for SMAF is .MMF and is common as ringtones for mobile phones with one of five sound chips.
SMAF resembles MIDI, but also supports graphics and PCM sound playback. Its MIDI playback is produced via FM synthesis or PCM wavetable synthesis, where instrument data (parameters and/or PCM samples) is stored within the .MMF file itself, similar to module files. This enables users to create custom instruments, which will sound exactly the same on devices with the same chip.
[edit] References
Yamaha's SMAF Website
SMAF Specifications
The Mosquito
The Mosquito
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(Redirected from Teen Buzz)
Jump to: navigation, search
The Mosquito or Mosquito alarm (marketed as the Beethoven in France and the Swiss-Mosquito in Switzerland) is an electronic device which emits an ultrasonic sound, similar to the buzz of a mosquito (approximately 17.4 kHz at 85dB)[1][clarification needed]. The device is typically heard by people less than 25 years of age because the ability to hear high frequencies deteriorates in humans with age (a phenomenon known as presbycusis).
The device is marketed as a safety and security tool for preventing anti-social behaviour such as gang loitering which has been publicly associated with graffiti, vandalism, drug usage, drug distribution, and violence. In the UK, over 3000 have been sold, mainly for use outside shops and near transport hubs.[2] The device is also being sold in Australia, Canada and the USA.[3]
The Mosquito has attracted controversy on the basis of human rights. Critics say that using the Mosquito is discrimination against young people and that the device infringes their human rights. Supporters, on the other hand, argue that making the Mosquito illegal would infringe the human rights of shopkeepers who suffer business losses when "unruly teenagers" drive away their customers.[4] Mosquito distributors have said that they employ standards to ensure that the device is not abused and the Welsh inventor of the device, Howard Stapleton, has asked European governments to legislate guidelines governing its use.[3]
Contents[hide]
1 History
2 Awards
3 Health effects
4 Support of the Mosquito
5 Opposition
6 Teen Buzz ringtone
7 Legal status
7.1 Europe
7.2 France
7.3 Republic of Ireland
7.4 United Kingdom
8 References
9 External links
//
From Wikipedia, the free encyclopedia
(Redirected from Teen Buzz)
Jump to: navigation, search
The Mosquito or Mosquito alarm (marketed as the Beethoven in France and the Swiss-Mosquito in Switzerland) is an electronic device which emits an ultrasonic sound, similar to the buzz of a mosquito (approximately 17.4 kHz at 85dB)[1][clarification needed]. The device is typically heard by people less than 25 years of age because the ability to hear high frequencies deteriorates in humans with age (a phenomenon known as presbycusis).
The device is marketed as a safety and security tool for preventing anti-social behaviour such as gang loitering which has been publicly associated with graffiti, vandalism, drug usage, drug distribution, and violence. In the UK, over 3000 have been sold, mainly for use outside shops and near transport hubs.[2] The device is also being sold in Australia, Canada and the USA.[3]
The Mosquito has attracted controversy on the basis of human rights. Critics say that using the Mosquito is discrimination against young people and that the device infringes their human rights. Supporters, on the other hand, argue that making the Mosquito illegal would infringe the human rights of shopkeepers who suffer business losses when "unruly teenagers" drive away their customers.[4] Mosquito distributors have said that they employ standards to ensure that the device is not abused and the Welsh inventor of the device, Howard Stapleton, has asked European governments to legislate guidelines governing its use.[3]
Contents[hide]
1 History
2 Awards
3 Health effects
4 Support of the Mosquito
5 Opposition
6 Teen Buzz ringtone
7 Legal status
7.1 Europe
7.2 France
7.3 Republic of Ireland
7.4 United Kingdom
8 References
9 External links
//
Nokia tune
Nokia tune
The Nokia tune. The final A is an octave lower in Gran Vals.
A section from Gran Vals is used by Nokia for promoting its cellphones. Known as the Nokia tune (also called Grand Valse on old Nokia mobile phones), it is taken from measures 14-17, and appears again towards the end at measure 142.
The tune, which Nokia claims as a sound trademark,[3] was the first identifiable musical ring tone on a cellphone.[4]
[edit] Media representation
The cold open of many episodes of Trigger Happy TV feature Dom Joly screaming into a humorously oversized Nokia phone, always prefixed by an otherwise normal-volume Nokia tune ringer.
The Nokia tune was heard extensively during the first and second seasons of the television show Alias as Nokia was one of the biggest sponsors of the show's first season. The main character of the show, Sydney Bristow, owned a Nokia bar phone. It is also used in the television show Medium for the main character's, Allison Dubois', phone. It was also heard during a sequence of The Simpsons Movie when Homer Simpson received a mobile phone call.
The podcast for this WEEK in TECH includes Leo Laporte vocalizing the tune in the podcast's end theme.
The Nokia tune. The final A is an octave lower in Gran Vals.
A section from Gran Vals is used by Nokia for promoting its cellphones. Known as the Nokia tune (also called Grand Valse on old Nokia mobile phones), it is taken from measures 14-17, and appears again towards the end at measure 142.
The tune, which Nokia claims as a sound trademark,[3] was the first identifiable musical ring tone on a cellphone.[4]
[edit] Media representation
The cold open of many episodes of Trigger Happy TV feature Dom Joly screaming into a humorously oversized Nokia phone, always prefixed by an otherwise normal-volume Nokia tune ringer.
The Nokia tune was heard extensively during the first and second seasons of the television show Alias as Nokia was one of the biggest sponsors of the show's first season. The main character of the show, Sydney Bristow, owned a Nokia bar phone. It is also used in the television show Medium for the main character's, Allison Dubois', phone. It was also heard during a sequence of The Simpsons Movie when Homer Simpson received a mobile phone call.
The podcast for this WEEK in TECH includes Leo Laporte vocalizing the tune in the podcast's end theme.
Truetone
Truetone
A truetone (also known as "realtone", "mastertone", "superphonic ringtone" or "audio recording") is simply an audio recording, typically in a common format such as MP3, AAC, or WMA, and represents the latest evolution of the ring tone. Truetones, which are often excerpts from songs, have become popular as ring tones.
A truetone (also known as "realtone", "mastertone", "superphonic ringtone" or "audio recording") is simply an audio recording, typically in a common format such as MP3, AAC, or WMA, and represents the latest evolution of the ring tone. Truetones, which are often excerpts from songs, have become popular as ring tones.
Polyphony
Polyphony
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This article is about the musical texture. For the feature of electronic instruments, see Polyphony (instrument). For the feature of texts, see Polyphony (literature). For the choir, see Polyphony (choir). For the company, see Polyphony Digital.
A bar from J.S. Bach's "Fugue No.17 in A flat", BWV 862, from Das Wohltemperirte Clavier (Part I), a famous example of contrapuntal polyphony
In music, polyphony is a texture consisting of two or more independent melodic voices, as opposed to music with just one voice (monophony) or music with one dominant melodic voice accompanied by chords (monody).
Within the context of Western music tradition the term is usually used in reference to music of the late Middle Ages and Renaissance. Baroque forms such as the fugue which might be called polyphonic are usually described instead as contrapuntal. Also, as opposed to the species terminology of counterpoint, polyphony was generally either "pitch-against-pitch" / "point-against-point" or "sustained-pitch" in one part with melismas of varying lengths in another (van der Werf, 1997). In all cases the conception was likely what Margaret Bent (1999) calls "dyadic counterpoint", with each part being written generally against one other part, with all parts modified if needed in the end. This point-against-point conception is opposed to "successive composition", where voices were written in an order with each new voice fitting into the whole so far constructed, which was previously assumed.
From Wikipedia, the free encyclopedia
Jump to: navigation, search
This article is about the musical texture. For the feature of electronic instruments, see Polyphony (instrument). For the feature of texts, see Polyphony (literature). For the choir, see Polyphony (choir). For the company, see Polyphony Digital.
A bar from J.S. Bach's "Fugue No.17 in A flat", BWV 862, from Das Wohltemperirte Clavier (Part I), a famous example of contrapuntal polyphony
In music, polyphony is a texture consisting of two or more independent melodic voices, as opposed to music with just one voice (monophony) or music with one dominant melodic voice accompanied by chords (monody).
Within the context of Western music tradition the term is usually used in reference to music of the late Middle Ages and Renaissance. Baroque forms such as the fugue which might be called polyphonic are usually described instead as contrapuntal. Also, as opposed to the species terminology of counterpoint, polyphony was generally either "pitch-against-pitch" / "point-against-point" or "sustained-pitch" in one part with melismas of varying lengths in another (van der Werf, 1997). In all cases the conception was likely what Margaret Bent (1999) calls "dyadic counterpoint", with each part being written generally against one other part, with all parts modified if needed in the end. This point-against-point conception is opposed to "successive composition", where voices were written in an order with each new voice fitting into the whole so far constructed, which was previously assumed.
[edit] Sacred monophony
Gregorian chant of the Kyrie
[edit] Sacred monophony
[edit] Music of India
Indian classical music is an ancient form of music therapy where monophonic melodies called ragas are played to activate "chakras" (Chi energy wheels) to attain realization on the Kundalini yogic path. Drone instruments, are followed by the soloist, then accompanists and percussionists.
Hindustani music
Carnatic music is a divine art form devoted to Devi worship, Rama, Krishna,and many of the other Hindu deities. It is sung in Sanskrit and also in Tamil, Telugu, Malayalam and Kannada.
For more information see also Music history of India.[1]
[edit] Troubador song monophony
Most Troubador songs were monophonic. Aristocratic troubadours and trouvères played religious devotion in courtly performances for kings, queens, and countesses. Guillaume de Machaut, poet and composer in the 14th century produced many songs which can be seen as extensions of the Provençal Troubador tradition, such as his secular monophonic lais and virelais. Jehan de Lescurel (or Jehannot de l'Escurel), poet and composer northern French Trouvère) also wrote monophonic songs in the style of virelais, ballades, rondeaux and diz entés. Minnesänger were similar to the French style but in Middle High German.[2]
Monophony
Monophony
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In music, monophony is the simplest of textures, consisting of melody without accompanying harmony. This may be realized as just one note at a time, or with the same note duplicated at the octave (such as often when men and women sing together). If the entire melody is sung by two voices or a choir with an interval between the notes or in unison, it is also said to be in monophony. Music in which all the notes sung are in unison is called monophonic. Musical texture is determined in song and music by varying different components. Songs intersperse monophony, heterophony, polyphony, homophony, or monody elements throughout the melody to create atmosphere and style. Monophony may also have a complex rhythmic element, as when percussion accompanies a melody in some types of Chinese or Indian music.
According to Adris Butterfield (1997), monophony "is the dominant mode of the European vernacular genres as well as of Latin song [...] in polyphonic works, it remains a central compositional principle." Polyphony has two or more independent melodic voices. Monophony is one voice in music rather like a soliloquy.
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In music, monophony is the simplest of textures, consisting of melody without accompanying harmony. This may be realized as just one note at a time, or with the same note duplicated at the octave (such as often when men and women sing together). If the entire melody is sung by two voices or a choir with an interval between the notes or in unison, it is also said to be in monophony. Music in which all the notes sung are in unison is called monophonic. Musical texture is determined in song and music by varying different components. Songs intersperse monophony, heterophony, polyphony, homophony, or monody elements throughout the melody to create atmosphere and style. Monophony may also have a complex rhythmic element, as when percussion accompanies a melody in some types of Chinese or Indian music.
According to Adris Butterfield (1997), monophony "is the dominant mode of the European vernacular genres as well as of Latin song [...] in polyphonic works, it remains a central compositional principle." Polyphony has two or more independent melodic voices. Monophony is one voice in music rather like a soliloquy.
Features
Features
Older telephones simply used a pair of bells for the ringer. Modern ring tones have become extremely diverse, leading to phone personalization and customization.
Newer mobile phones allow users to associate different ring tones with individual family members and friends. Taking advantage of these features, a new ring tone maker trend has emerged. For example, websites like Mobilephoria, Phone Sherpa, and Dopetone let users make ring tones from the music they already own (MP3, CD etc.) and upload directly to their mobile phone with no limit on the number of songs uploaded. In addition to the cost benefits, a key feature is the music editor that lets the user easily pick the part of the song they wish to set as a ring tone. Such services automatically detect the phone settings to ensure the best file type and format. There are, however, providers who have already edited and trimmed the song for you.
Some providers allow users to create their own music tones, either with a "melody composer" or a sample/loop arranger (such as the MusicDJ in many Sony Ericsson phones). However, these use native formats only available to one particular phone model or brand. Other formats, such as MIDI or MP3, are often supported; they must be downloaded to the phone before they can be used as a normal ring tone. Commercial ring tones take advantage of this functionality, which has led to the success of the mobile music industry. Southern rapper Chamillionaire was the first to have a ring tone go 3x platinum for the hit single "Ridin." He now has his own category on certain phones.[citation needed]
The latest innovation is the sing tone, a type of karaoke ring tone where a user’s voice recording is adjusted to be both in time and in tune then mixed with a backing track to make a user-created ring tone.
Older telephones simply used a pair of bells for the ringer. Modern ring tones have become extremely diverse, leading to phone personalization and customization.
Newer mobile phones allow users to associate different ring tones with individual family members and friends. Taking advantage of these features, a new ring tone maker trend has emerged. For example, websites like Mobilephoria, Phone Sherpa, and Dopetone let users make ring tones from the music they already own (MP3, CD etc.) and upload directly to their mobile phone with no limit on the number of songs uploaded. In addition to the cost benefits, a key feature is the music editor that lets the user easily pick the part of the song they wish to set as a ring tone. Such services automatically detect the phone settings to ensure the best file type and format. There are, however, providers who have already edited and trimmed the song for you.
Some providers allow users to create their own music tones, either with a "melody composer" or a sample/loop arranger (such as the MusicDJ in many Sony Ericsson phones). However, these use native formats only available to one particular phone model or brand. Other formats, such as MIDI or MP3, are often supported; they must be downloaded to the phone before they can be used as a normal ring tone. Commercial ring tones take advantage of this functionality, which has led to the success of the mobile music industry. Southern rapper Chamillionaire was the first to have a ring tone go 3x platinum for the hit single "Ridin." He now has his own category on certain phones.[citation needed]
The latest innovation is the sing tone, a type of karaoke ring tone where a user’s voice recording is adjusted to be both in time and in tune then mixed with a backing track to make a user-created ring tone.
History
History
The first commercial mobile phone with ring tones was the Japanese NTT DoCoMo Digital Mova N103 Hyper by NEC, released in May 1996.[1] It had a few preset songs in MIDI format. In September 1996, IDO, the current au, sold Digital Minimo D319 by Denso. It was the first mobile phone where a user could input an original melody, rather than the preset songs. These phones proved to be popular in Japan. Kētai Chakumero Do-Re-Mi Book (ケータイ着メロ ドレミBOOK, "Mobile Ringtones Do-Re-Mi Book"), a book published on July 1998 introducing the "notes" of popular songs sold more than 3.5 million copies.
The first downloadable mobile ring tone service was created and delivered in Finland in autumn 1998 when a Finnish mobile operator Radiolinja (today Elisa) started their service called Harmonium, invented by Vesa-Matti Pananen.[2], the Harmonium contained both tools for individuals to create monophonic ring tones and a mechanism to deliver them over-the-air (OTA) via SMS to a mobile handset. On November 1998, Digitalphone Groupe, the current SoftBank Mobile, started the similar service in Japan
The first commercial mobile phone with ring tones was the Japanese NTT DoCoMo Digital Mova N103 Hyper by NEC, released in May 1996.[1] It had a few preset songs in MIDI format. In September 1996, IDO, the current au, sold Digital Minimo D319 by Denso. It was the first mobile phone where a user could input an original melody, rather than the preset songs. These phones proved to be popular in Japan. Kētai Chakumero Do-Re-Mi Book (ケータイ着メロ ドレミBOOK, "Mobile Ringtones Do-Re-Mi Book"), a book published on July 1998 introducing the "notes" of popular songs sold more than 3.5 million copies.
The first downloadable mobile ring tone service was created and delivered in Finland in autumn 1998 when a Finnish mobile operator Radiolinja (today Elisa) started their service called Harmonium, invented by Vesa-Matti Pananen.[2], the Harmonium contained both tools for individuals to create monophonic ring tones and a mechanism to deliver them over-the-air (OTA) via SMS to a mobile handset. On November 1998, Digitalphone Groupe, the current SoftBank Mobile, started the similar service in Japan
Ringtone
Ringtone
From Wikipedia, the free encyclopedia
(Redirected from Ringtones)
Jump to: navigation, search
This article may require cleanup to meet Wikipedia's quality standards.Please improve this article if you can. (August 2007)
A ringtone or ring tone is the sound made by a mobile phone to indicate an incoming call or text message. The term is a misnomer, as it is often used to refer to any ring sound, almost all of which are not tones. The term is most often used to refer to the customizable sounds used on mobile phones.
A phone “rings” when its network indicates an incoming call and the phone thus alerts the user. For landline telephones, the call signal can be an electric current generated by the switch to which the telephone is connected. For mobile phones, the network sends the phone a message indicating an incoming call.
A telephone “ring” is the sound generated when there is an incoming telephone call. The term originated from the fact that early telephones had a ringing mechanism consisting of a bell and an electromagnetically-driven hammer, producing a ringing sound. The aforementioned electrical signal powered the electromagnet which would rapidly move and release the hammer, striking the bell. This "magneto" bell system is still in widespread use. The ringing signal sent to a customer's telephone is AC at 90 volts and 20 hertz in North America. In Europe it is around 60-90 volts AC at a frequency of 25 hertz
While the sound produced is still called a “ring”, more-recently manufactured telephones electronically produce a warbling, chirping, or other sound. Variation of the ring signal can be used to indicate characteristics of incoming calls (for example, rings with a shorter interval between them might be used to signal a call from a given number).
From Wikipedia, the free encyclopedia
(Redirected from Ringtones)
Jump to: navigation, search
This article may require cleanup to meet Wikipedia's quality standards.Please improve this article if you can. (August 2007)
A ringtone or ring tone is the sound made by a mobile phone to indicate an incoming call or text message. The term is a misnomer, as it is often used to refer to any ring sound, almost all of which are not tones. The term is most often used to refer to the customizable sounds used on mobile phones.
A phone “rings” when its network indicates an incoming call and the phone thus alerts the user. For landline telephones, the call signal can be an electric current generated by the switch to which the telephone is connected. For mobile phones, the network sends the phone a message indicating an incoming call.
A telephone “ring” is the sound generated when there is an incoming telephone call. The term originated from the fact that early telephones had a ringing mechanism consisting of a bell and an electromagnetically-driven hammer, producing a ringing sound. The aforementioned electrical signal powered the electromagnet which would rapidly move and release the hammer, striking the bell. This "magneto" bell system is still in widespread use. The ringing signal sent to a customer's telephone is AC at 90 volts and 20 hertz in North America. In Europe it is around 60-90 volts AC at a frequency of 25 hertz
While the sound produced is still called a “ring”, more-recently manufactured telephones electronically produce a warbling, chirping, or other sound. Variation of the ring signal can be used to indicate characteristics of incoming calls (for example, rings with a shorter interval between them might be used to signal a call from a given number).
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