PsySound3: a program for the analysis of sound recordings

Cabrera, Densil; Ferguson, Sam; Rizwi, Farhan; Schubert, Emery

doi:10.1121/1.2933513

Cited by 20 publications

(19 citation statements)

References 10 publications

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“…The stimuli were normed for loudness with a method that is common in broadcast media (ITU-R BS.1770-1) using a Matlab script [ 28 ]. Computational low- and mid-level musical features (see [ 27 ] and [ 29 ] for a discussion of the hierarchy of such features) of the excerpts were extracted using the MIR Toolbox [ 30 ], and psychoacoustic descriptors were produced with Psysound3 ([ 31 ], [ 32 ]). The musical features were grouped in three categories: Rhythmic & Dynamic (Tempo , Attack time , Lowenergy); Timbral (Spectral centroid , Brightness , Spectral spread , Rolloff [85%] , Spectentropy , Spectral flatness , Irregularity , Zerocross rate , Spectralflux); and Tonal (Chromagram peak position , Keyclarity , Mode) .…”

Section: Methodsmentioning

confidence: 99%

Colour Association with Music Is Mediated by Emotion: Evidence from an Experiment Using a CIE Lab Interface and Interviews

Lindborg

Friberg

2015

PLoS ONE

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Crossmodal associations may arise at neurological, perceptual, cognitive, or emotional levels of brain processing. Higher-level modal correspondences between musical timbre and visual colour have been previously investigated, though with limited sets of colour. We developed a novel response method that employs a tablet interface to navigate the CIE Lab colour space. The method was used in an experiment where 27 film music excerpts were presented to participants (n = 22) who continuously manipulated the colour and size of an on-screen patch to match the music. Analysis of the data replicated and extended earlier research, for example, that happy music was associated with yellow, music expressing anger with large red colour patches, and sad music with smaller patches towards dark blue. Correlation analysis suggested patterns of relationships between audio features and colour patch parameters. Using partial least squares regression, we tested models for predicting colour patch responses from audio features and ratings of perceived emotion in the music. Parsimonious models that included emotion robustly explained between 60% and 75% of the variation in each of the colour patch parameters, as measured by cross-validated R 2. To illuminate the quantitative findings, we performed a content analysis of structured spoken interviews with the participants. This provided further evidence of a significant emotion mediation mechanism, whereby people tended to match colour association with the perceived emotion in the music. The mixed method approach of our study gives strong evidence that emotion can mediate crossmodal association between music and visual colour. The CIE Lab interface promises to be a useful tool in perceptual ratings of music and other sounds.

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Section: Methodsmentioning

confidence: 99%

Colour Association with Music Is Mediated by Emotion: Evidence from an Experiment Using a CIE Lab Interface and Interviews

Lindborg

Friberg

2015

PLoS ONE

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“…The perceived loudness can be measured by the dynamic loudness model of Chalupper and Fast implemented in PsySound [1]. We can also use it to extract 40 energy-related features including audio power (AP), total loudness (TL), and specific loudness sensation coefficients (SONE).…”

Section: Music Featuresmentioning

confidence: 99%

A New Recognition Method for Visualizing Music Emotion

Nguyen

Kim

et al. 2017

IJECE

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This paper proposes an emotion detection method using a combination of dimensional approach and categorical approach. Thayer's model is divided into discrete emotion sections based on the level of arousal and valence. The main objective of the method is to increase the number of detected emotions which is used for emotion visualization. To evaluate the suggested method, we conducted various experiments with supervised learning and feature selection strategies. We collected 300 music clips with emotions annotated by music experts. Two feature sets are employed to create two training models for arousal and valence dimensions of Thayer's model. Finally, 36 music emotions are detected by proposed method. The results showed that the suggested algorithm achieved the highest accuracy when using RandomForest classifier with 70% and 57.3% for arousal and valence, respectively. These rates are better than previous studies.

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“…EDT N and T N are similar in concept to the conventional EDT and T 20 , but they use the loudness-decay function of a room impulse response rather than the Schroeder's backward integration curve. In the present study, the time-varying loudness model by Glasberg and Moore 39 as implemented in Psysound3 40 was used for the loudness decay calculations. For more accurate predictions of the loudness of dichotic signals, the loudness model implemented in Psysound3 also utilizes functions for the binaural loudness summation as proposed by Moore and Glasberg.…”

Section: E Subjective Reverberance By a Loudness-based Model And Lismentioning

confidence: 99%

Influence of impedance phase angle on sound pressures and reverberation times in a rectangular room

Jeong

Lee

Santurette

et al. 2014

The Journal of the Acoustical Society of America

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In most room acoustic predictions, phase shift on reflection has been overlooked. This study aims to quantify the effects of the surface impedance phase angle of the boundary surfaces on room acoustic conditions. As a preliminary attempt, a medium-sized rectangular room is simulated by a phased beam tracing model, after verifying it numerically against boundary element simulations. First, the absorption characteristic of the boundary surfaces varies uniformly from 0.2 to 0.8, but with various impedance phase angles. Second, typical non-uniform cases having hard walls and floor, but with an absorptive ceiling are investigated. The zero phase angle, which has commonly been assumed in practice, is regarded as reference and differences in the sound pressure level and early decay time from the reference are quantified. As expected, larger differences in the room acoustic parameters are found for larger impedance phase angles. Additionally, binaural impulse responses are compared in a listening test for the uniform absorption cases, revealing that non-zero impedance phase angle cases can be perceptually different from the reference condition in terms of reverberance perception. For the non-uniform settings, the change in the impedance phase angle of the ceiling does not affect the acoustic conditions significantly.

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PsySound3: a program for the analysis of sound recordings

Cited by 20 publications

References 10 publications

Colour Association with Music Is Mediated by Emotion: Evidence from an Experiment Using a CIE Lab Interface and Interviews

Colour Association with Music Is Mediated by Emotion: Evidence from an Experiment Using a CIE Lab Interface and Interviews

A New Recognition Method for Visualizing Music Emotion

Influence of impedance phase angle on sound pressures and reverberation times in a rectangular room

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