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Perceptually Correlated Parameters of Musical Instrument Tones

Beauchamp J. W.

Archives of Acoustics

2011

Vol. 36, No. 2

225-238

In Western music culture instruments have been developed according to unique instrument acoustical features based on types of excitation, resonance, and radiation. These include the woodwind, brass, bowed and plucked string, and percussion families of instruments. On the other hand, instrument performance depends on musical training, and music listening depends on perception of instrument output. Since musical signals are easier to understand in the frequency domain than the time domain, much effort has been made to perform spectral analysis and extract salient parameters, such as spectral centroids, in order to create simplified synthesis models for musical instrument sound synthesis. Moreover, perceptual tests have been made to determine the relative importance of various parameters, such as spectral centroid variation, spectral incoherence, and spectral irregularity. It turns out that the importance of particular parameters depends on both their strengths within musical sounds as well as the robustness of their effect on perception. Methods that the author and his colleagues have used to explore timbre perception are: 1) discrimination of parameter reduction or elimination; 2) dissimilarity judgments together with multidimensional scaling; 3) informal listening to sound morphing examples. This paper discusses ramifications of this work for sound synthesis and timbre transposition.

Tonality of low-frequency synthesized piano tones

Cuddy L. L., Russo F. A., Galembo A.

Archives of Acoustics

2007

Vol. 32, No. 3

541--550

The influences of inharmonicity and bandwidth on sensitivity to tonality in the lowfrequency range (A0 to G#1) were tested in a listening experiment. Participants were presented a key-defining context (do-mi-do-so) and were asked to rate the goodness of fit of probe tones to the context. Probe tones were the 12 tones of the chromatic scale beginning on do. The set of 12 ratings, called the probe-tone profile, was compared to an established standardized profile for the Western tonal hierarchy. Prior research employing this method with real (sampled) piano tones has suggested that sensitivity to tonality is influenced by inharmonicity, particularly in the lowest octaves of the piano where inharmonicity levels are substantially above the detection threshold. In the present experiment, sensitivity to tonality was tested using synthesized piano-like tones that were either harmonic or inharmonic. Participants were tested in either a broadband (no filtering) or low-pass (low-pass filtered at 1 KHz) condition. Sensitivity to tonality was highest in the broadband harmonic condition followed by the broadband inharmonic condition. No sensitivity to tonality was found for the low-pass conditions; rather, for both harmonic and inharmonic tones, participants rated probe tones as increasingly good fit as pitch distance from do decreased.