We describe a perceptual space for timbre, define an objective metric that takes into account perceptual orthogonality and measure the quality of timbre interpolation. We discuss three timbre representations and measure perceptual judgments. We determine that a timbre space based on Mel-frequency cepstral coefficients (MFCC) is a good model for a perceptual timbre space.

The Covid-19 pandemic severely limited collaboration among musicians in rehearsal and ensemble performance, and demanded radical shifts in collaborative practices. Understanding the nature of these changes in music creators' patterns of collaboration, as well as how musicians shifted prioritizations and adapted their use of the available technologies, can offer invaluable insights into the resilience and importance of different aspects of musical collaboration. In addition, assessing changes in the collaboration networks among music creators can improve the current understanding of genre and style formation and evolution. We used an internet survey distributed to music creators, including performers, composers, producers, and engineers, all active before and during the pandemic, to assess their perceptions of how their music, collaborative practice, and use of technology were impacted by shelter-in-place orders associated with Covid-19, as well as how they adapted over the course of the pandemic. This survey was followed by Zoom interviews with a subset of participants. Along with confirming previous results showing increased reliance on nostalgia for musical inspiration, we found that participants' collaborative behaviors were surprisingly resilient to pandemic-related changes. In addition, participant responses appeared to be driven by a relatively small number of underlying factors, representing approaches to musical collaboration such as musical extroversion or musical introversion, inspiration clusters such as activist musicking, and style or genre clusters.

This study presents a Japanese translation of the Goldsmiths Musical Sophistication Index (Gold-MSI). The index consists of 38 self-report questions and provides a general sophistication score as well as subscale scores for Active Engagement, Perceptual Abilities, Musical Training, Singing Abilities, and Emotions. The validation of the translation with 689 native Japanese speakers indicated excellent internal consistency and test–retest reliability. Confirmatory factor analysis revealed that the bifactor model structure formulated by the original study of Gold-MSI is maintained reasonably in our data. The strengths of the Gold-MSI self-report inventory are (1) it offers a multifaceted view of musical sophistication, (2) a subset of five subscales can be used to measure different aspects of musical sophistication independently, and (3) the ease of administration as it is a self-report questionnaire. In view of the fact that this inventory and its translations increasingly contribute to research on musical expertise, skills, and abilities, having a Japanese translation may enhance future research in these areas even further.

No abstract

Timbre is a fundamental attribute of sound. It is important in differentiating between musical sounds, speech utterances, and characterizing everyday sounds in our environment as well as novel synthetic sounds. A hybrid model of timbre perception, which integrates the concepts of color and texture of sound, is proposed. The color of sound is described in terms of an instantaneous (or ideally timeless) spectral envelope, while the texture of a sound describes the temporal structure of the sound, as the sequential changes of color with an arbitrary range of time-scale. The computational implementation of this model represents a sound’s color as the spectral envelope of a specific window, and its texture as the granularity (or microtexture) of the corresponding window. The temporal structures across windows from both color and texture parts of the model serve as the texture of a sound in a larger time-scale. In support of the proposed theory a series of psychoacoutic experiments was performed. The quantitative relationship between the spectral envelope and subjective perception of complex tones used Mel-frequency cepstral coefficients as a representation. A perceptually tested quantitative representation of texture was established using normalized echo density.