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Timbre saliency vs. timbre dissimilarity – What is the relationship?
The Journal of the Acoustical Society of America, 2013We have proposed the notion of timbre saliency as the attention-capturing quality of timbre. The definition of saliency requires an object to stand out with respect to its surroundings, implying dissimilarity between the object and its neighbors. What then might be the relationship between timbre saliency and timbre dissimilarity?
Song Hui Chon, Stephen McAdams
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Interspeech 2005, 2005
We describe a perceptual space for timbre, dene an objective metric that takes into account perceptual orthogonality and measure the quality of timbre interpolation. We discuss two timbre representations and measure perceptual judgments. We determine that a timbre space based on Mel-frequency cepstral coefcients (MFCC) is a good model for perceptual ...
Hiroko Terasawa +2 more
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We describe a perceptual space for timbre, dene an objective metric that takes into account perceptual orthogonality and measure the quality of timbre interpolation. We discuss two timbre representations and measure perceptual judgments. We determine that a timbre space based on Mel-frequency cepstral coefcients (MFCC) is a good model for perceptual ...
Hiroko Terasawa +2 more
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2018
Abstract Organ stops, violin mutes, piano pedals: these are devices for altering an instrument’s sound, and one way to understand how these devices transform sound is that they change the timbre. Already in use and objects of discussion in the seventeenth century, organ stops and violin mutes, however, pre-date the idea of timbre ...
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Abstract Organ stops, violin mutes, piano pedals: these are devices for altering an instrument’s sound, and one way to understand how these devices transform sound is that they change the timbre. Already in use and objects of discussion in the seventeenth century, organ stops and violin mutes, however, pre-date the idea of timbre ...
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Breathing with timbre of the tones
Proceedings of the 13th Participatory Design Conference: Short Papers, Industry Cases, Workshop Descriptions, Doctoral Consortium papers, and Keynote abstracts - Volume 2, 2014Timbre of the tones is an interactive sound installation inspired by the Namibian landscape. This handcrafted sound installation will mainly be built with metal, as well containing sand of different colors, found in the host country Namibia. Through the use of a bow and striking sticks, sounds and tones will arise when participants strike the ...
Martin Spühler, Beate Zorn
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Timbre as Harmony—Harmony as Timbre
2019Abstract While timbre is typically understood as a property of a single musical note or event, many contemporary musical practices depend on the combination of multiple events—each with their own pitch, dynamic, and sound color—into unified composites with their own emergent timbres.
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1998
Abstract Re-read section 2.4 to remind yourself of the meaning of ‘timbre’ or ‘tone-colour’, and its applications, ranging from the wholly obvious qualities which differentiate a string quartet from a brass band, the subtler difference between, say, the lowest and highest strings of a violin and, most subtle of all, the varieties of ...
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Abstract Re-read section 2.4 to remind yourself of the meaning of ‘timbre’ or ‘tone-colour’, and its applications, ranging from the wholly obvious qualities which differentiate a string quartet from a brass band, the subtler difference between, say, the lowest and highest strings of a violin and, most subtle of all, the varieties of ...
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The perception of musical timbre
2012This article discusses musical-timbre perception. Musical timbre is a combination of continuous perceptual dimensions and discrete features to which listeners are differentially sensitive. The continuous dimensions often have quantifiable acoustic correlates.
Stephen McAdams, Bruno L. Giordano
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Issues in Timbre and Perception
Contemporary Music Review, 1994Since electroacoustic technology has made it possible to utilise a sounding repertory no longer restricted to a pitch-based model it allows composers to create a music in which timbral possibilities are more fully explored but at the same time imposes new demands on its audience.
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Effect of phase on the timbre and detection of timbre of complex tones
The Journal of the Acoustical Society of America, 1975It has been assumed that the human auditory organ can detect only the spectra of complex tones, but recently it would appear that the ear can detect not only these spectra but also the difference of the phase relation among harmonics. In such a case, however, the condition of detecting has not yet been discussed thoroughly.
Toshiaki Nagai +3 more
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2018
Timbre, the distinctive quality of a particular sound, has become an increasingly critical analytical focus in recent music theory. Yet the sublinguistic nature of timbral cognition and the parameter’s inherent multidimensionality pose significant challenges to description and representation.
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Timbre, the distinctive quality of a particular sound, has become an increasingly critical analytical focus in recent music theory. Yet the sublinguistic nature of timbral cognition and the parameter’s inherent multidimensionality pose significant challenges to description and representation.
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