東華大學圖書館 |

When Timbre Blends Musically: Perception and Acoustics Underlying Orchestration and Performance.

紀錄類型:	書目-電子資源 : Monograph/item
正題名/作者:	When Timbre Blends Musically: Perception and Acoustics Underlying Orchestration and Performance./
作者:	Lembke, Sven-Amin.
出版者:	Ann Arbor : ProQuest Dissertations & Theses, : 2014,
面頁冊數:	194 p.
附註:	Source: Dissertations Abstracts International, Volume: 82-10, Section: B.
Contained By:	Dissertations Abstracts International82-10B.
標題:	International conferences. -
電子資源:	https://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=28254213
ISBN:	9798597027449

When Timbre Blends Musically: Perception and Acoustics Underlying Orchestration and Performance.
Lembke, Sven-Amin.

When Timbre Blends Musically: Perception and Acoustics Underlying Orchestration and Performance. - Ann Arbor : ProQuest Dissertations & Theses, 2014 - 194 p.

Source: Dissertations Abstracts International, Volume: 82-10, Section: B.

Thesis (Ph.D.)--McGill University (Canada), 2014.

This item must not be sold to any third party vendors.

Blending or contrasting instrumental timbres are common techniques employed in orchestration. Both bear a direct relevance to the perceptual phenomenon of auditory fusion, which in turn depends on a series of acoustical cues. Whereas some cues relate to musical aspects, such as timing and pitch relationships, instrumentation choices more likely concern the acoustical traits of instrument timbre. Apart from choices made by composers and orchestrators, the success of timbre blending still depends on precise execution by musical performers, which argues for its relevance to musical practice as a whole.This thesis undertakes a comprehensive investigation aiming to situate timbre blend in musical practice, more specifically addressing the perceptual effects and acoustical factors underlying both orchestration and performance practice. Three independent studies investigated the perception of blend as a function of factors related to musical practice, i.e., those derived from musical context and realistic scenarios (e.g., pitch relationships, leadership in performance, room acoustics).The first study establishes generalized spectral descriptions for wind instruments, which allow the identification of prominent features assumed to function as their timbral signatures. Two listening experiments investigate how these features affect blend by varying them in frequency, showing a critical perceptual relevance. The second study considers two other listening experiments, which evaluate perceived blend for instrument combinations in dyads and triads, respectively. Correlational analyses associate the obtained blend measures with a wide set of acoustic measures, showing that blend depends on pitch and temporal relationships as well as the previously identified spectral features. The third study extends the previous ones, addressing factors related to musical performance by investigating the timbral adjustments performers employ in blending with one another, as well as their interactive relationship. Timbral adjustments can be shown to be made towards the musician leading the performance.All studies contribute to a greater understanding of blend as it applies to musical and orchestration practice. Their findings expand previous research and provide possible explanations for discrepancies between hypotheses made in the past. Together, the conclusions drawn allow us to propose a general perceptual theory for timbre blend as it applies to musical practice, which considers the musical material and spectral relationships among instrument timbres as the determining factors.

ISBN: 9798597027449Subjects--Topical Terms:

3558960
International conferences.
Subjects--Index Terms:

Music technology

When Timbre Blends Musically: Perception and Acoustics Underlying Orchestration and Performance.
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245 1 0 $a When Timbre Blends Musically: Perception and Acoustics Underlying Orchestration and Performance.
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300 $a 194 p.
500 $a Source: Dissertations Abstracts International, Volume: 82-10, Section: B.
500 $a Advisor: McAdams, Stephen.
502 $a Thesis (Ph.D.)--McGill University (Canada), 2014.
506 $a This item must not be sold to any third party vendors.
520 $a Blending or contrasting instrumental timbres are common techniques employed in orchestration. Both bear a direct relevance to the perceptual phenomenon of auditory fusion, which in turn depends on a series of acoustical cues. Whereas some cues relate to musical aspects, such as timing and pitch relationships, instrumentation choices more likely concern the acoustical traits of instrument timbre. Apart from choices made by composers and orchestrators, the success of timbre blending still depends on precise execution by musical performers, which argues for its relevance to musical practice as a whole.This thesis undertakes a comprehensive investigation aiming to situate timbre blend in musical practice, more specifically addressing the perceptual effects and acoustical factors underlying both orchestration and performance practice. Three independent studies investigated the perception of blend as a function of factors related to musical practice, i.e., those derived from musical context and realistic scenarios (e.g., pitch relationships, leadership in performance, room acoustics).The first study establishes generalized spectral descriptions for wind instruments, which allow the identification of prominent features assumed to function as their timbral signatures. Two listening experiments investigate how these features affect blend by varying them in frequency, showing a critical perceptual relevance. The second study considers two other listening experiments, which evaluate perceived blend for instrument combinations in dyads and triads, respectively. Correlational analyses associate the obtained blend measures with a wide set of acoustic measures, showing that blend depends on pitch and temporal relationships as well as the previously identified spectral features. The third study extends the previous ones, addressing factors related to musical performance by investigating the timbral adjustments performers employ in blending with one another, as well as their interactive relationship. Timbral adjustments can be shown to be made towards the musician leading the performance.All studies contribute to a greater understanding of blend as it applies to musical and orchestration practice. Their findings expand previous research and provide possible explanations for discrepancies between hypotheses made in the past. Together, the conclusions drawn allow us to propose a general perceptual theory for timbre blend as it applies to musical practice, which considers the musical material and spectral relationships among instrument timbres as the determining factors.
520 $a FUsionner ou differencier les timbres instrumentaux sont des techniques d'orchestration courantes. Elles presentent toutes deux un interet direct pour Ie phenomene de fusion auditive, qui depend d'une serie d'indices acoustiques. Alors que certaIns indices sont lies aux aspects musIcaux comme la synchronisation ou les relations de hauteurs percues, les choix d'instrumentation sont davantage lies aux traits acoustiques du timbre de I'instrument. En plus des choix faits par les compositeurs et les orchestrateurs, Ie succes de la fusion des timbres tient de la precision de I'execution des instrumentistes, ce qui renforce encore sa pertinence pour la pratique musicale en general.Cette these presente une etude approfondie de la place de la fusion des timbres dans Ie jeu musical, et s'interesse plus particulierement aux effets perceptifs et aux facteurs acoustiques sousjacents a I'orchestration et a la pratique instrumentale. Trois etudes independantes ont ete conduites pour etudier la perception de la fusion en fonction de facteurs lies a la pratique musicale, c'est-a-dire, decoulant du contexte musical et de scenarios realistes comme les relations entre les hauteurs percues, Ie leadership pendant Ie jeu, I'acoustique de la salie.La premiere etude propose des descriptions spectrales generalisees pour les instruments a vent, ce qui permet I'identification des descripteurs les plus importants pouvant representer leur signature de timbre. Deux tests d'ecoute etudient leur influence sur la fusion en les faisant varier en frequence, ce qui demontre leur pertinence sur Ie plan perceptif. La seconde etude est fondee sur deux autres tests d'ecoute ayant pour but d'evaluer la fusion perceptive lors de combinaison d'instruments, respectivement presentes en dyade et en triade. Des analyses de correlation montrent une assocIation entre les mesures obtenues sur la fusion et de nombreuses mesures acoustiques, et montrent que la fusion depend de la hauteur et des relations temporelles mais egalement des caracteristiques spectrales identifiees precedemment. La troisieme etude complete les precedentes en ce sens qu'elle s'interesse aux facteurs lies a la performance musicale en etudiant les ajustements de timbre auxquels les musiciens ont recours lorsqu'ils cherchent a fusionner leurs jeux, et comment ces ajustements sont interdependants. 11 est possible de montrer que ces ajustements de timbre sont executes en fonction du musicien qui guide la performance.Toutes ces etudes contribuent a une meilleure comprehension de la fusion, appliquee au jeu musical et a I'orchestration. Les resultats obtenus permettent de completer les recherches existantes sur Ie sujet en ce sens qu'ils apportent des explications possibles aux divergences existant entre les differentes hypotheses formulees par Ie passe. Finalement, les conclusions de cette these permettent d'etablir une theorie perceptive generale pour la fusion de timbre en contexte musical, qui pose Ie materiel musical et les relations spectrales entre timbres instrumentaux comme facteurs determinants.
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