Results 131 to 140 of about 1,015 (177)
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The Journal of the Acoustical Society of America, 1988
The perception of timbre differences in a vowel sung by eight male and seven female singers has been investigated by means of two types of listening experiments: (1) using the paradigm of the comparison of similarity, and (2) using judgments on 21 semantic bipolar scales. Using INDSCAL analysis for the similarity-comparison data and MDPREF analysis for
G, Bloothooft, R, Plomp
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The perception of timbre differences in a vowel sung by eight male and seven female singers has been investigated by means of two types of listening experiments: (1) using the paradigm of the comparison of similarity, and (2) using judgments on 21 semantic bipolar scales. Using INDSCAL analysis for the similarity-comparison data and MDPREF analysis for
G, Bloothooft, R, Plomp
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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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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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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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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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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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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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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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Pitch and timbre influences on the short-term memory for timbre
The Journal of the Acoustical Society of America, 1994Memory for pitch is susceptible to same-dimension interference as a function of pitch distance, while remaining relatively free from cross-dimensional (e.g., timbre) interference [C. Semal and L. Demany, J. Acoust. Soc. Am. 89, 2404–2410 (1991)]. This study investigated whether analogous effects occur in memory for timbre.
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Transplayer: Timbre Style Transfer with Flexible Timbre Control
ICASSP 2023 - 2023 IEEE International Conference on Acoustics, Speech and Signal Processing (ICASSP), 2023Yuxuan Wu +4 more
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