Perceived principal pitch of vibrato tones.

Iwamiya, Shin-ichiro; Kosugi, Kyohei; Kitamura, Otoichi

doi:10.1250/ast.4.73

Cited by 14 publications

(8 citation statements)

References 14 publications

Supporting

Mentioning

Contrasting

Order By: Relevance

“…Because of the necessity of stimulus control in experimental studies of perception, until recently previous research has used electronic or synthesized sound sources in place of acoustical instruments. These studies have indicated that perceived pitch corresponds closely to the mean of the frequency-modulated sound (Iwamiya, Kosugi, & Kitamura, 1983;Seashore, 1938;Shonle & Horan, 1980;van Besouw, Brereton, & Howard, 2008). Shonle and Horan extended the range of modulations to whole tones, and found that perceived pitch of those wider modulations corresponded more closely to the geometric mean of the extreme frequencies, a frequency only slightly lower than the arithmetic mean.…”

mentioning

confidence: 97%

Two studies of pitch in string instrument vibrato: Perception and pitch matching responses of university and high school string players

Geringer

MacLeod

Ellis

2012

International Journal of Music Education

View full text Add to dashboard Cite

We investigated pitch perception of string vibrato tones among string players in two separate studies. In both studies we used tones of acoustic instruments (violin and cello) as stimuli. In the first, we asked 192 high school and university string players to listen to a series of tonal pairs: one tone of each pair was performed with vibrato and the other without. Violin tones with vibrato were judged as lower in pitch than non-vibrato stimuli with the same mean frequency, more so among high school string players than university students. In the second study string players tuned their own instrument to match stimulus tones and we tested whether there are differences when performers match tones using vibrato versus non-vibrato. Participants were 30 high school string players and 30 university string players: 20 cellists, 20 violists, and 20 violinists. Performers tuned slightly but significantly lower (about three cents) when using vibrato. This outcome was consistent for tuning conditions, instruments, and experience levels.

show abstract

mentioning

confidence: 97%

Two studies of pitch in string instrument vibrato: Perception and pitch matching responses of university and high school string players

Geringer

MacLeod

Ellis

2012

International Journal of Music Education

View full text Add to dashboard Cite

show abstract

“…Because of the necessity of stimulus control in experimental studies of perception, most all previous research has used electronic or synthesized sound sources in place of acoustical instruments. Most of these studies show that perceived pitch corresponds closely to the mean of the frequency-modulated sound (Iwamiya, Kosugi, & Kitamura, 1983;Seashore, 1938;Shonle & Horan, 1980). Shonle and Horan found that perceived pitch of wider (whole-tone) modulations corresponded more closely to the geometric mean of the extreme frequencies, a frequency only slightly lower than the arithmetic mean.…”

Section: Listeners' Perception Of Pitch Center During Vibratomentioning

confidence: 99%

String Vibrato: Research Related to Performance and Perception

Geringer

Allen

MacLeod

2010

String Research Journal

View full text Add to dashboard Cite

This article presents a summary of our presentation that was invited by the Research Committee of ASTA and given at the 2009 ASTA National Conference in Atlanta. In this article we describe and discuss previous and current research studies concerning string vibrato performance and listeners’ perception of vibrato. Topics addressing performance aspects of vibrato include rates and widths, pitch center, initial direction, and continuity during slurs. Investigations that have used various approaches to determine the perceived pitch center of string vibrato are also summarized. We present suggestions for further investigation of vibrato in both the study of listener perception and performance practice and discuss pedagogical applications of research findings.

show abstract

“…Can the concept of overall loudness of level‐fluctuating sounds exist? In the case of the pitch of a vibrato tone (tone with frequency modulation), the principal pitch is determined by the carrier frequency (Iwamiya, Kosugi, & Kitamura, 1983). Listeners can detect rapid frequency changes over time and also judge the principal pitch as a representative value of the vibrato tone.…”

Section: Possible Representative Values For the Variation And Generatmentioning

confidence: 99%

Loudness of non‐steady‐state sounds

2008

View full text Add to dashboard Cite

Basic research in psychoacoustics and its applications are discussed. Psychophysical laws should be robust in order to be used for practical purposes. The importance of the development and use of appropriate psychophysical methods in relation to the present study is introduced. When laboratory findings are applied to real-life situations, there are various problems that have to be considered. It is necessary to control for complicated variables, to cover a wide area of stimuli, from static stimuli to dynamic stimuli, and to take into consideration the effects of cognitive factors and ecological validity. Using the loudness of non-steady-state sounds as an example, the process from basic psychoacoustic research to its practical applications is introduced.

show abstract

Perceived principal pitch of vibrato tones.

Cited by 14 publications

References 14 publications

Two studies of pitch in string instrument vibrato: Perception and pitch matching responses of university and high school string players

Two studies of pitch in string instrument vibrato: Perception and pitch matching responses of university and high school string players

String Vibrato: Research Related to Performance and Perception

Loudness of non‐steady‐state sounds

Contact Info

Product

Resources

About