Search results for: musical surface

Authors: A. Buzzanca, G. Castellano, A.M. Fanelli

Abstract:

In this paper we address the problem of musical style classification, which has a number of applications like indexing in musical databases or automatic composition systems. Starting from MIDI files of real-world improvisations, we extract the melody track and cut it into overlapping segments of equal length. From these fragments, some numerical features are extracted as descriptors of style samples. We show that a standard Bayesian classifier can be conveniently employed to build an effective musical style classifier, once this set of features has been extracted from musical data. Preliminary experimental results show the effectiveness of the developed classifier that represents the first component of a musical audio retrieval system

Keywords: Musical style, Bayesian classifier.

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Authors: Justyna Humięcka-Jakubowska

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Background in music analysis: Traditionally, when we think about a composer’s sketches, the chances are that we are thinking in terms of the working out of detail, rather than the evolution of an overall concept. Since music is a “time art,” it follows that questions of a form cannot be entirely detached from considerations of time. One could say that composers tend to regard time either as a place gradually and partially intuitively filled, or they can look for a specific strategy to occupy it. It seems that the one thing that sheds light on Stockhausen’s compositional thinking is his frequent use of “form schemas,” that is often a single-page representation of the entire structure of a piece. Background in music technology: Sonic Visualiser is a program used to study a musical recording. It is an open source application for viewing, analyzing, and annotating music audio files. It contains a number of visualisation tools, which are designed with useful default parameters for musical analysis. Additionally, the Vamp plugin format of SV supports to provide analysis such as for example structural segmentation. Aims: The aim of paper is to show how SV may be used to obtain a better understanding of the specific musical work, and how the compositional strategy does impact on musical structures and musical surfaces. It is known that “traditional” music analytic methods don’t allow indicating interrelationships between musical surface (which is perceived) and underlying musical/acoustical structure. Main Contribution: Stockhausen had dealt with the most diverse musical problems by the most varied methods. A characteristic which he had never ceased to be placed at the center of his thought and works, it was the quest for a new balance founded upon an acute connection between speculation and intuition. In the case with Mikrophonie I (1964) for tam-tam and 6 players Stockhausen makes a distinction between the “connection scheme,” which indicates the ground rules underlying all versions, and the form scheme, which is associated with a particular version. The preface to the published score includes both the connection scheme, and a single instance of a “form scheme,” which is what one can hear on the CD recording. In the current study, the insight into the compositional strategy chosen by Stockhausen was been compared with auditory image, that is, with the perceived musical surface. Stockhausen’s musical work is analyzed both in terms of melodic/voice and timbre evolution. Implications: The current study shows how musical structures have determined of musical surface. The general assumption is this, that while listening to music we can extract basic kinds of musical information from musical surfaces. It is shown that interactive strategies of musical structure analysis can offer a very fruitful way of looking directly into certain structural features of music.

Keywords: Automated analysis, composer's strategy, Mikrophonie I, musical surface, Stockhausen.

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Authors: Jun-Yong Lee, Hyoung-Gook Kim

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In this paper, we propose a smart music player that combines the musical genre classification and the spatial audio processing. The musical genre is classified based on content analysis of the musical segment detected from the audio stream. In parallel with the classification, the spatial audio quality is achieved by adding an artificial reverberation in a virtual acoustic space to the input mono sound. Thereafter, the spatial sound is boosted with the given frequency gains based on the musical genre when played back. Experiments measured the accuracy of detecting the musical segment from the audio stream and its musical genre classification. A listening test was performed based on the virtual acoustic space based spatial audio processing.

Keywords: Automatic equalization, genre classification, music segment detection, spatial audio processing.

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Authors: Ora Geiger

Abstract:

This paper discusses the question whether a person diagnosed with dyslexia will necessarily have difficulty in reading musical notes. The author specifies the characteristics of alphabet reading in comparison to musical notation reading, and concludes that there should be no contra-indication for teaching standard music reading to children with dyslexia if an appropriate process is offered. This conclusion is based on a long term case study and relies on two main characteristics of music reading: (1) musical notation system is a systematic, logical, relative set of symbols written on a staff; and (2) music reading learning connected with playing a musical instrument is a multi-sensory activity that combines sight, hearing, touch, and movement. The paper describes music reading teaching procedures, using soprano recorders, and provides unique teaching methods that have been found to be effective for students who were diagnosed with dyslexia. It provides theoretical explanations in addition to guidelines for music education practices.

Keywords: Alphabet reading, music reading, multisensory teaching method, dyslexia, recorder playing.

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Authors: Shannon Steinmetz, Ellen Gethner

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In this paper a theoretical foundation is developed to segment, analyze and associate patterns within audio. We explore this on imagery via sonified audio applied to our segmentation framework. The approach involves a geodesic estimator within the statistical manifold, parameterized by musical centricity. We demonstrate viability by processing a database of random imagery to produce statistically significant clusters of similar imagery content.

Keywords: Sonification, musical information geometry, image content extraction, automated quantification, audio segmentation, pattern recognition.

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Authors: Yuan-Hsiang Chang, Zhong-Xian Peng, Li-Der Jeng

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Music has always been an integral part of human’s daily lives. But, for the most people, reading musical score and turning it into melody is not easy. This study aims to develop an Automatic music score recognition system using digital image processing, which can be used to read and analyze musical score images automatically. The technical approaches included: (1) staff region segmentation; (2) image preprocessing; (3) note recognition; and (4) accidental and rest recognition. Digital image processing techniques (e.g., horizontal /vertical projections, connected component labeling, morphological processing, template matching, etc.) were applied according to musical notes, accidents, and rests in staff notations. Preliminary results showed that our system could achieve detection and recognition rates of 96.3% and 91.7%, respectively. In conclusion, we presented an effective automated musical score recognition system that could be integrated in a system with a media player to play music/songs given input images of musical score. Ultimately, this system could also be incorporated in applications for mobile devices as a learning tool, such that a music player could learn to play music/songs.

Keywords: Connected component labeling, image processing, morphological processing, optical musical recognition.

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Authors: Ehsan Amid, Sina Rezaei Aghdam

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In this paper, a novel method for recognition of musical instruments in a polyphonic music is presented by using an embedded hidden Markov model (EHMM). EHMM is a doubly embedded HMM structure where each state of the external HMM is an independent HMM. The classification is accomplished for two different internal HMM structures where GMMs are used as likelihood estimators for the internal HMMs. The results are compared to those achieved by an artificial neural network with two hidden layers. Appropriate classification accuracies were achieved both for solo instrument performance and instrument combinations which demonstrates that the new approach outperforms the similar classification methods by means of the dynamic of the signal.

Keywords: hidden Markov model (HMM), embedded hidden Markov models (EHMM), MFCC, musical instrument.

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Authors: Kasikrit Damkliang, Athiwat Thongnuan, Suppakit Chanlert

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This paper proposes an architectural and graphical user interface (GUI) design of a traditional Thai musical instrument application for tablet computers for practicing “Ranaad Ek" which is a trough-resonated keyboard percussion instrument. The application provides percussion methods for a player as real as a physical instrument. The application consists of two playing modes. The first mode is free playing, a player can freely multi touches on wooden bar to produce instrument sounds. The second mode is practicing mode that guilds the player to follow percussions and rhythms of practice songs. The application has achieved requirements and specifications.

Keywords: Architectural software design, GUI; traditional Thai musical instrument, percussion instrument

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Authors: Prakash Persad, Kelvin Loutan, Jr., Trichelle Seepersad

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The Finite Element Method is commonly used in the analysis of flexible manipulators to predict elastic displacements and develop joint control schemes for reducing positioning error. In order to preserve simplicity, regular geometries, ideal joints and connections are assumed. This paper presents the dynamic FE analysis of a 4- degrees of freedom open chain manipulator, intended for striking a curved 3D surface percussion musical instrument. This was done utilizing the new MultiBody Dynamics Module in COMSOL, capable of modeling the elastic behavior of a body undergoing rigid body type motion.

Keywords: Dynamic modeling, Entertainment robots, Finite element method, Flexible robot manipulators, Multibody dynamics, Musical robots.

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Authors: Ahmed Amin Mousa, Huda Mazeed, Eman Saad

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The study aims to identify the extent of effectiveness of the artistic formation program using some types of pastes to reduce the hyperactivity of the kindergarten children with learning difficulties. The researchers have discussed the aforesaid topic, where the research sample included 120 children of ages between 5 to 6 years, from five schools for special needs, learning disability section, Cairo Governorate. The study used the quasi-empirical method, which depends on designing one group using the pre& post application measurements for the group to validate both, hypothesis and effectiveness of the program. The variables of the study were specified as follows; artistic formation program using Paper Mache as an independent variable, and its effect on the skills of kindergarten child with learning disabilities, as a dependent variable. The researchers utilized the application of an artistic formation program consisting of artistic and musical skills for kindergarten children with learning disabilities. The tools of the study, designed by the researchers, included: observation card used for recording the culling paper using pulp molding skills for kindergarten children with learning difficulties during practicing the artistic formation activity. Additionally, there was a program utilizing Artistic and Musical Activities for kindergarten children with learning disabilities to acquire educational concepts. The study was composed of 20 lessons for fine art activities and 20 lessons for musical activities, with obligation of giving the musical lesson with art lesson in one session to cast on the kindergarten child some educational concepts.

Keywords: musical activities, developing skills, early childhood, educational concepts, learning difficulties

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Authors: Olupemi E. Oludare

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This paper discusses the thematic structure of Yoruba popular music of Southwest Nigeria. It examines the use of themes and variations in early and contemporary Juju music. The work is an outcome of a research developed by the author in his doctoral studies at the University of Lagos, Nigeria, with the aim of analyzing the thematic and motivic developments in Yoruba popular genres. Observations, interviews, live recordings and CDs were used as methods for eliciting information. Field recordings and CDs of selected musical samples were also transcribed and notated. The research established the prevalent use of string of themes by Juju musicians as a compositional technique in moving from one musical section to another, as they communicate the verbal messages in their song. These themes consist of the popular ‘call and response’ form found in most African music, analogous to the western ‘subject and answer’ style of the fugue or sonata form, although without the tonic– dominant relations. Due to the short and repetitive form of African melodies and rhythms, a theme is restated as a variation, where its rhythmic and melodic motifs are stylistically developed and repeated, but still retaining its recognizable core musical structure. The findings of this study showed that Juju musicians generally often employ a thematic plan where new themes are used to arrange the songs into sections, and each theme is developed into variations in order to further expand the music, eliminate monotony, and create musical aesthetics, serving as hallmark of its musical identity. The study established the musical and extra-musical attributes of the genre, while recommending further research towards analyzing the various compositional techniques employed in African popular genres.

Keywords: Compositional techniques, Popular music, Theme and variation, Thematic development.

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Authors: Sansanee Jasuwan

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Thai and Vietnamese music had been influenced and inspired by the traditional Chinese music. Whereby the differences of the tuning systems as well as the music modes are obviously known . The research examined the character of musical instruments, songs and culture between Thai and Vietnamese. An analyzing of songs and modes and the study of tone vibration as well as timbre had been done accurately. This qualitative research is based on documentary and songs analysis, field study, interviews and focus group discussion of Thai and Vietnamese masters. The research aims are to examine the musical instruments and songs of both Thai and Vietnamese as well as the comparison of the sounding system between Thailand and Vietnam. The finding of the research has revealed that there are similarities in certain kinds of instruments but differences in the sound systems regarding songs and scale of Thailand and Vietnam. Both cultural musical instruments are diverse and synthetic combining native and foreign inspiring. An integral part of Vietnam has been highly impacted by Chinese musical convention. Korea, Mongolia and Japan music have also play an active and effectively influenced as their geographical related. Whereas Thailand has been influenced by Chinese and Indian traditional music. Both Thai and Vietnamese musical instruments can be divided into four groups: plucked strings, bowed strings, winds and percussion. Songs from both countries have their own characteristics. They are playing a role in touching people heart in ceremonies, social functions and an essential element of the native performing arts. The Vietnamese music melodies have been influenced by Chinese music and taken the same character as Chinese songs. Thai song has specific identity and variety showed in its unique melody. Pentatonic scales have effectively been used in composing Thai and Vietnamese songs, but in different implementing concept.

Keywords: Music sound system, Thailand, Vietnam.

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Authors: Raghavi Janaswamy, Saraswathi K. Vasudev

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Raga, as the soul and base, is a distinctive musical entity, in the music system, with unique structure on its construction of srutis (musical sounds) and application. One of the essential components of the music system is the ‘tala’ that defines the rhythm of a song. There are seven basic swaras (notes) Sa, Ri, Ga, Ma, Pa, Da and Ni in the carnatic music system that are analogous to the C, D, E, F, G, A and B of the western system. The carnatic music further builds on conscious use of microtones, gamakams (oscillation) and rendering styles. It has basic 72 ragas known as melakarta ragas, and a plethora of ragas have been developed from them with permutations and combinations of the basic swaras. Among them, some ragas derived from a same melakarta raga are distinctly different from each other and could evoke a profound difference in the raga bhava (emotion) during rendering. Although these could bear similar arohana and avarohana swaras, their quintessential differences in the gamakas usage and srutis present therein offer varied melodic feelings; variations in the intonation and stress given to certain swara phrases are the root causes. This article enlightens a group of such allied ragas (AR) from the perspectives of their schema and raga alapana (improvisation), ranjaka prayogas (signature phrases), differences in rendering tempo, gamakas and delicate srutis along with the range of sancharas (musical phrases). The intricate differences on the sruti frequencies and use of AR in composing kritis (musical compositions) toward emotive accomplishments such as mood of valor, kindness, love, humor, anger, mercy to name few, have also been explored. A brief review on the existing scientific research on the music therapy on some of the Carnatic ragas is presented. Studying and comprehending the AR, indeed, enable the music aspirants to gain a thorough knowledge on the subtle nuances among the ragas. Such knowledge helps leave a long-lasting melodic impression on the listeners and enable further research on the music therapy.

Keywords: Carnatic music, Allied rags, Raga analysis, Music therapy.

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Authors: Asmaa Amehraye, Dominique Pastor, Ahmed Tamtaoui, Driss Aboutajdine

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A new analysis of perceptual speech enhancement is presented. It focuses on the fact that if only noise above the masking threshold is filtered, then noise below the masking threshold, but above the absolute threshold of hearing, can become audible after the masker filtering. This particular drawback of some perceptual filters, hereafter called the maskee-to-audible-noise (MAN) phenomenon, favours the emergence of isolated tonals that increase musical noise. Two filtering techniques that avoid or correct the MAN phenomenon are proposed to effectively suppress background noise without introducing much distortion. Experimental results, including objective and subjective measurements, show that these techniques improve the enhanced speech quality and the gain they bring emphasizes the importance of the MAN phenomenon.

Keywords: Perceptual speech filtering, maskee to audible noise, distorsion, musical noise.

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Authors: Ilona Bala

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The subject of this abstract is related to the notion of 'popular music', a notion that should be treated with extreme care, particularly when applied to Frederic Chopin, one of the greatest composers of Romanticism. By ‘popular music’, we mean a category of everyday music, set against the more intellectual kind, referred to as ‘classical’. We only need to look back to the culture of the nineteenth century to realize that this ‘popular music’ refers to the ‘music of the low’. It can be studied from a sociological viewpoint, or as sociological aesthetics. However, we cannot ignore the fact that, very quickly, this music spread to the wealthiest strata of the European society of the nineteenth century, while likewise the lowest classes often listen to the intellectual classical music, so pleasant to listen to. Further, we can observe that a sort of ‘sacralisation of kitsch’ occurs at the intersection between the classical and popular music. This process is the topic of this contribution. We will start by investigating the notion of kitsch through the study of Chopin’s popular compositions. However, before considering the popularisation of this music in today’s culture, we will have to focus on the use of the word kitsch in Chopin’s times, through his own musical aesthetics. Finally, the objective here will be to negate the theory that art is simply the intellectual definition of aesthetics. A kitsch can, obviously, only work on the emotivity of the masses, as it represents one of the features of culture-language (the words which the masses identify with). All art is transformed, becoming something outdated or even outmoded. Here, we are truly within a process of mythologization of art, through the study of the aesthetic reception of the musical work.

Keywords: F. Chopin, musical work, popular music, romantic music, mythologization of art, kitsch.

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Authors: Ana Paula Melchiors Stahlschmidt

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This paper discusses the role of music as a ludic activity and constituent element of voice in the construction and consolidation of the relationship of the baby and his/her mother or caretaker, evaluating its implications in his/her psychic structure and constitution as a subject. The work was based on the research developed as part of the author’s doctoral activities carried out from her insertion in a project of the Music Department of Federal University of Rio Grande do Sul - UFRGS, which objective was the development of musical activities with groups of babies from 0 to 24 months old and their caretakers. Observations, video recordings of the meetings, audio testemonies, and evaluation tools applied to group participants were used as instruments for this research. Information was collected on the participation of 195 babies, among which 8 were more focused on through interviews with their mothers or caretakers. These interviews were analyzed based on the referential of French Discourse Analysis, Psychoanalysis, Psychology of Development and Musical Education. The results of the research were complemented by other posterior experiences that the author developed with similar groups, in a context of a private clinic. The information collected allowed the observation of the ludic and structural functions of musical activities, when developed in a structured environment, as well as the importance of the musicality of the mother’s voice to the psychical structuring of the baby, allowing his/her insertion in the language and his/her constitution as a subject.

Keywords: Music and babies, maternal voice, Psychoanalysis and music, Psychology and music.

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Authors: Christina Volioti, Sotiris Manitsaris, Eleni Katsouli, Vasiliki Tsekouropoulou, Leontios J. Hadjileontiadis

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The piano sonatas of Beethoven represent part of the Intangible Cultural Heritage. The aims of this research were to further explore this intangibility by placing emphasis on defining emotional normative ratings for the “Waldstein” (Op. 53) and “Tempest” (Op. 31) Sonatas of Beethoven. To this end, a musicological analysis was conducted on these particular sonatas and referential patterns in these works of Beethoven were defined. Appropriate interactive questionnaires were designed in order to create a statistical normative rating that describes the emotional status when an individual listens to these musical excerpts. Based on these ratings, it is possible for emotional annotations for these same referential patterns to be created and integrated into the music score.

Keywords: Emotional annotations, intangible cultural heritage, musicological analysis, normative ratings.

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Authors: Luminiţa Duţică

Abstract:

For the music composer Myriam Marbe the musical time and memory represent 2 (complementary) phenomena with conclusive impact on the settlement of new musical ontologies. Summarizing the most important achievements of the contemporary techniques of composition, her vision on the microform presented in The Concert for Daniel Kientzy, saxophone and orchestra transcends the linear and unidirectional time in favour of a flexible, multivectorial speech with spiral developments, where the sound substance is auto(re)generated by analogy with the fundamental processes of the memory. The conceptual model is of an archetypal essence, the music composer being concerned with identifying the mechanisms of the creation process, especially of those specific to the collective creation (of oral tradition). Hence the spontaneity of expression, improvisation tint, free rhythm, micro-interval intonation, coloristictimbral universe dominated by multiphonics and unique sound effects, hence the atmosphere of ritual, however purged by the primary connotations and reprojected into a wonderful spectacular space. The Concert is a work of artistic maturity and enforces respect, among others, by the timbral diversity of the three species of saxophone required by the music composer (baritone, sopranino and alt), in Part III Daniel Kientzy shows the performance of playing two saxophones concomitantly. The score of the music composer Myriam Marbe contains a deeply spiritualized music, full or archetypal symbols, a music whose drama suggests a real cinematographic movement.

Keywords: Archetype, chronogenesis, concert, multiphonics.

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Authors: Dariush Semnani, Javad Yekrang, Hossein Ghayoor

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Concerning the measurement of friction properties of textiles and fabrics using Kawabata Evaluation System (KES), whose output is constrained to the surface friction factor of fabric, and no other data would be generated; this research has been conducted to gain information about surface roughness regarding its surface friction factor. To assess roughness properties of light nonwovens, a 3-dimensional model of a surface has been simulated with regular sinuous waves through it as an ideal surface. A new factor was defined, namely Surface Roughness Factor, through comparing roughness properties of simulated surface and real specimens. The relation between the proposed factor and friction factor of specimens has been analyzed by regression, and results showed a meaningful correlation between them. It can be inferred that the new presented factor can be used as an acceptable criterion for evaluating the roughness properties of light nonwoven fabrics.

Keywords: Surface roughness, Nonwoven, Machine vision, Image processing.

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Authors: Yusuf S. Dambatta, Ahmed A. D. Sarhan

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Fused deposition modelling (FDM) is one of the most prominent rapid prototyping (RP) technologies which is being used to efficiently fabricate CAD 3D geometric models. However, the process is coupled with many drawbacks, of which the surface quality of the manufactured RP parts is among. Hence, studies relating to improving the surface roughness have been a key issue in the field of RP research. In this work, a technique of modelling the surface roughness in FDM is presented. Using experimentally measured surface roughness response of the FDM parts, an ANFIS prediction model was developed to obtain the surface roughness in the FDM parts using the main critical process parameters that affects the surface quality. The ANFIS model was validated and compared with experimental test results.

Keywords: Surface roughness, fused deposition modelling, adaptive neuro fuzzy inference system, ANFIS, orientation.

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Authors: C. Agrawal, R. Kumar, A. Gupta, B. Chatterjee

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An experimental investigation has been carried out to study the cooling of a hot horizontal Stainless Steel surface of 3 mm thickness, which has 800±10 C initial temperature. A round water jet of 22 ± 1 oC temperature was injected over the hot surface through straight tube type nozzles of 2.5- 4.8 mm diameter and 250 mm length. The experiments were performed for the jet exit to target surface spacing of 4 times of jet diameter and jet Reynolds number of 5000 -24000. The effect of change in jet Reynolds number on the surface quenching has been investigated form the stagnation point to 16 mm spatial location.  

Keywords: Hot-Surface, Jet Impingement, Quenching, Stagnation Point.

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Authors: M.A. Kamely, S.M. Kamil, C.W. Chong

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A mathematical model of the surface roughness has been developed by using response surface methodology (RSM) in grinding of AISI D2 cold work tool steels. Analysis of variance (ANOVA) was used to check the validity of the model. Low and high value for work speed and feed rate are decided from design of experiment. The influences of all machining parameters on surface roughness have been analyzed based on the developed mathematical model. The developed prediction equation shows that both the feed rate and work speed are the most important factor that influences the surface roughness. The surface roughness was found to be the lowers with the used of low feed rate and low work speed. Accuracy of the best model was proved with the testing data.

Keywords: Mathematical Modeling, Response surfacemethodology, Surface roughness, Cylindrical Grinding.

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Authors: T. Zlámal, J. Petrů, M. Pagáč, P. Krajkovič

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For the required function of components with the thermal spray coating, it is necessary to perform additional machining of the coated surface. The paper deals with assessing the surface integrity of Metco 2042, a plasma sprayed coating, after its machining. The selected plasma sprayed coating serves as an abradable sealing coating in a jet engine. Therefore, the spray and its surface must meet high quality and functional requirements. Plasma sprayed coatings are characterized by lamellar structure, which requires a special approach to their machining. Therefore, the experimental part involves the set-up of special cutting tools and cutting parameters under which the applied coating was machined. For the assessment of suitably set machining parameters, selected parameters of surface integrity were measured and evaluated during the experiment. To determine the size of surface irregularities and the effect of the selected machining technology on the sprayed coating surface, the surface roughness parameters Ra and Rz were measured. Furthermore, the measurement of sprayed coating surface hardness by the HR 15 Y method before and after machining process was used to determine the surface strengthening. The changes of strengthening were detected after the machining. The impact of chosen cutting parameters on the surface roughness after the machining was not proven.

Keywords: Machining, plasma sprayed coating, surface integrity, strengthening.

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Authors: P. S. Dabeer, G. K. Purohit

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Burnishing is a method of finishing and hardening machined parts by plastic deformation of the surface. Experimental work based on central composite second order rotatable design has been carried out on a lathe machine to establish the effects of ball burnishing parameters on the surface roughness of brass material. Analysis of the results by the analysis of variance technique and the F-test show that the parameters considered, have significant effects on the surface roughness.

Keywords: Ball burnishing, Response surface Methodology.

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Authors: Amoljit S. Gill, Sanjeev Kumar

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In this study, Electrical Discharge Machining (EDM) is used to modify the surface of high carbon steel En31 with the help of tool electrode (Copper-Chromium-Nickel) manufactured by powder metallurgy (PM) process. The effect of EDM on surface roughness during surface alloying is studied. Taguchi’s Design of experiment (DOE) and L18 orthogonal array is used to find the best level of input parameters in order to achieve high surface finish. Six input parameters are considered and their percentage contribution towards surface roughness is investigated by analysis of variances (ANOVA). Experimental results show that an hard alloyed surface (1.21% carbon, 2.14% chromium and 1.38% nickel) with surface roughness of 3.19µm can be generated using EDM with PM tool. Additionally, techniques like Scanning Electron Microscope (SEM) and Energy Dispersive Spectroscopy (EDS) are used to analyze the machined surface and EDMed layer composition, respectively. The increase in machined surface micro-hardness (101%) may be related to the formation of carbides containing chromium.

Keywords: Electrical Discharge Machining, Surface Roughness, Powder metallurgy compact tools, Taguchi DOE technique.

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Authors: Muhammed Çetin, Yılmaz Tunçer, Nejat Ekmekçi

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In this paper, the translation surfaces in 3-dimensional Euclidean space generated by two space curves have been investigated. It has been indicated that Scherk surface is not only minimal translation surface.

Keywords: Minimal surface, Surface of Scherk, Translationsurface

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Authors: O. Takakuwa, Y. Mano, H. Soyama

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This paper reveals the interaction between hydrogen and surface stress in austenitic stainless steel by X-ray diffraction stress measurement and thermal desorption analysis before and after being charged with hydrogen. The surface residual stress was varied by surface finishing using several disc polishing agents. The obtained results show that the residual stress near surface had a significant effect on hydrogen absorption behavior, that is, tensile residual stress promoted the hydrogen absorption and compressive one did opposite. Also, hydrogen induced equi-biaxial stress and this stress has a linear correlation with hydrogen content.

Keywords: Hydrogen embrittlement, Residual stress, Surface finishing, Stainless steel.

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Authors: Khawtar Hasan Ahmed, Sasha Omanovic

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Polarization modulation infrared reflection absorption spectroscopy (PM-IRRAS) in combination with electrochemistry, was employed to study the influence of surface charge (potential) on the kinetics of bovine serum albumin (BSA) adsorption on a biomedical-grade 316LVM stainless steel surface is discussed. The BSA adsorption kinetics was found to greatly depend on the surface potential. With an increase in surface potential towards more negative values, both the BSA initial adsorption rate and the equilibrium (saturated) surface concentration also increased. Both effects were explained on the basis of replacement of well-ordered water molecules at the 316LVM / solution interface, i.e. by the increase in entropy of the system.

Keywords: adsorption, biomedical grade stainless steel, bovine serum albumin (BSA), electrode surface potential / charge, kinetics, PM-IRRAS, protein/surface interactions

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Authors: Mohammed T. Hayajneh, Adel Mahmood Hassan, Moath AL-Qudah

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Burnishing is increasingly used as a finishing operation to improve surface roughness and surface hardness. This can be achieved by applying a hard ball or roller onto metallic surfaces under pressure, in order to achieve many advantages in the metallic surface. In the present work, the feed rate, speed and force have been considered as the basic burnishing parameters to study the surface roughness and surface hardness of metallic matrix composites. The considered metal matrix composites were made from Aluminum-Magnesium-Graphite with five different weight percentage of graphite. Both effects of burnishing parameters mentioned above and the graphite percentage on the surface hardness and surface roughness of the metallic matrix composites were studied. The results of this investigation showed that the surface hardness of the metallic composites increases with the increase of the burnishing force and decreases with the increase in the burnishing feed rate and burnishing speed. The surface roughness of the metallic composites decreases with the increasing of the burnishing force, feed rate, and speed to certain values, then it starts to increase. On the other hand, the increase in the weight percentage of the graphite in the considered composites causes a decrease in the surface hardness and an increase in the surface roughness.

Keywords: Burnishing process, Al-Mg-Graphite composites, Surface hardness, Surface roughness.

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Authors: Busra Balli, Tuncay Dikici, Mustafa Toparli

Abstract:

Titanium and its alloys have been used extensively over the past 25 years as biomedical materials in orthopedic and dental applications because of their good mechanical properties, corrosion resistance, and biocompatibility. It is known that the surface properties of titanium implants can enhance the cellular response and play an important role in Osseo integration. The rate and quality of Osseo integration in titanium implants are related to their surface properties. The purpose of this investigation was to evaluate the effect of sandblasting and acid etching on surface morphology, roughness, the wettability of titanium. The surface properties will be characterized by scanning electron microscopy and contact angle and roughness measurements. The results show that surface morphology, roughness, and wettability were changed and enhanced by these treatments.

Keywords: Dental implant, etching, surface modifications, surface morphology, surface roughness.

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