A post processing technique for improved harmonic/percussion separation in polyphonic speech

In this paper we propose a postprocessing technique for a spectrogram diffusion based harmonic/percussion decom- position algorithm. The proposed technique removes har- monic instrument leakages in the percussion enhanced out- puts of the baseline algorithm. The technique uses median filtering and an adaptive detection of percussive segments in subbands followed by piecewise signal reconstruction using envelope properties to ensure that percussion is enhanced while harmonic leakages are suppressed. A new binary mask is created for the percussion signal which upon applying on the original signal improves harmonic versus percussion separation. We compare our algorithm with two recent techniques and show that on a database of polyphonic Indian music, the postprocessing algorithm improves the harmonic versus percussion decomposition significantly.

On the percussion drilling of SI using a 20W MOPA based YB fiber laser

A study on the nanosecond fiber laser interaction with silicon was performed experimentally for the generation of percussion drilled holes. Single pulse ablation experiments were carried out on mono crystalline 650μm thick Si wafers. Changes of the mass removal mechanism were investigated by varying laser fluence up to 68 J/cm2 and pulse duration from 50 ns to 200 ns. Hole width and depth were measured and surface morphology were studied using scanning electron microscopy (SEM) and optical interferometric profilometry (Veeco NT3300). High speed photography was also used to examine laser generated plasma expansion rates. The material removal rate was found to be influenced by the pulse energy, full pulse duration and pulse peak power. Single pulse ablation depth of 4.42 μm was achieved using a 200 ns pulse of 13.3 J/cm 2, giving a maximum machining efficiency of 31.86 μm per mJ. Holes drilled with an increased fluence but fixed pulse length were deeper, exhibited low recast, but were less efficient than those produced at a lower fluence. The increased peak power in this case led to high levels of plasma and vapour production. The expansion of which, results in a strong driving recoil force, an increase in the rate and volume of melt ejection, and cleaner hole formation. The experimental findings show that for efficient drilling at a given energy, a longer, lower peak power pulse is more desirable than a high peak power short pulse.

Influence of micro supersonic jets on micro percussion drilling of 316L stainless steel using nanosecond 355NM laser radiation

The interaction phenomena of nanosecond Q-switched diode-pumped solid state (DPSS) laser using 355nm radiation with 0.2mm thick 316L stainless steel foil was investigated at incident laser fluence range of 19 - 82Jcm-2. The characterization study was performed with and without the use of assist gas by utilizing micro supersonic minimum length nozzles (MLN), specifically designed for air at inlet chamber pressure of 8bar. MLN ranged in throat diameters of 200μm, 300μm, and 500μm respectively. Average etch rate per pulse under the influence of three micro supersonic impinging jets, for both oxygen and air showed the average etch rate was reduced when high-speed gas jets were utilized, compared to that without any gas jets, but significant variation was noticed between different jet sizes. Highest etch rate and quality was achieved with the smallest diameter nozzle, suggesting that micro nozzles can produce a viable process route for micro laser cutting.

RECITAL REPERTOIRE FOR TROMBONE AND PERCUSSION

The solo trombone recital was once a rare musical event, but in recent years professional and amateur trombonists frequently present solo performances. The trombone has been around since the latter half of the 15th century and there is a wealth of ensemble repertoire, written for the instrument; however, there is no corresponding corpus of solo works. A small body of solo works does exist, from baroque sonatas and the alto trombone concertos of Leopold Mozart and Georg Wagenseil, to the romantic works by Ferdinand David and Nicolai Rimsky-Korsakov. This repertoire is small in number and a modern trombonist often has to resort to orchestral reductions and arrangements for modern performance in a solo recital setting. The trombone came into its own as a solo instrument in the 20th century and it is in this era where the bulk of a modern trombonist's repertoire resides. While there is now no shortage of music to choose from, presenting a diverse, yet musically cohesive recital remains a challenge though many interesting musical opportunities can arise to meet this challenge. While the piano is an extremely versatile instrument, pairing trombone with percussion opens up possibilities that are absent from the more traditional piano pairing. Percussion instruments can offer an almost unlimited variation of timbre and dynamics to complement the trombone. Dynamic range of the trombone must be considered as the instrument has the ability to play at the extremes of the dynamic range. Percussion instruments can match the trombone in these extremes. When presenting a recital of 20th and 21st century music, using timbre and dynamic range as selection criteria when planning the program are effective ways to bring a unique and intense musical experience to the audience. In this paper, the two considerations of dynamics and timbre will be explored and the need for a dissertation recital project will be explained.

THEATRICAL MUSIC FOR SOLO PERCUSSION

The act of playing percussion is innately theatrical. The motions by which a percussionist plays his instruments often resemble a carefully choreographed dance. Our bodies are freed from having to hold or blow into an instrument. We are free to move to and from our instruments, to change our facial expressions, and to vocalize. This performance dissertation consists of three recitals featuring theatrical music for solo percussion. The selections are limited to works in which the composer instructs the solo percussion performer to perform in an extra-musical capacity, whether it be by singing, speaking, moving, acting, dancing, or any other action. On all three recitals, I performed established works for solo theatrical percussion. However, on the first recital, I also played the world premiere performance of The Authors, a new work by Stuart Saunders Smith. This half-hour long marimba opera requires the solo performer to speak, sing, and act while playing the marimba. For the final recital, I featured pieces commissioned from two professional composers, John Leupold II and Daniel Adams. Through this series, I hope to both pay tribute to existing great works and to encourage new composition of solo theatrical percussion music.

Premiere of Serenade for Percussion. Performed by NYC based ensemble TimeTable who commissioned the work. Performed at the AC Institute, NYC.

Performed by NYC based ensemble TimeTable who commissioned the work. Performed at the AC Institute, NYC.

Wastes:for percussion and tape

commissioned by Cwmni Dawns Gwylan with funds from the Welsh Arts Council, for Chapter Arts Centre, Cardiff. Choreographer Lucy Fawcett. (Nick Parkin, percussion)

World Percussion Bash, May 28, 2013

Concert program for World Percussion Bash, May 28, 2013

Percussion April 23, 1970

Concert program for Percussion April 23, 1970

The University Wind Sinfonietta and University Percussion Ensemble December 9, 1973

Concert program for University Wind Sinfonietta and University Percussion Ensemble, Dec. 9, 1973