Some aspects of the psychophysics of the vibrato.

Tiffin, Joseph

doi:10.1037/h0093277

Cited by 12 publications

(3 citation statements)

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“…Tiffin studied the location of principal pitch of vibrato sounds not only when only frequency is modulated periodically but also when frequency and amplitude are modulated simultaneously. 2) In his study, the principal pitch of vibrato sounds is shifted higher than the carrier frequency when the phase difference between frequency modulation (FM) and amplitude modulation (AM) is in-phase, and it is shifted lower in the case of anti-phase. "Inphase" means that when frequency becomes higher, amplitude becomes larger, and when frequency becomes lower, amplitude becomes smaller.…”

Section: •@ Introductionmentioning

confidence: 99%

Perceived principal pitch of FM-AM tones when the phase difference between frequency modulation and amplitude modulation is in-phase and anti-phase.

Iwamiya¹,

Nishikawa

Kitamura³

1984

J. Acoust. Soc. Jpn. (E), J Acoust Soc Jpn E

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Principal pitch" is defined as somewhat steady pitch perceived from periodically frequency modulated tones, like vibrato tones. Principal pitch of vibrato tones whose frequency alone modulated periodically is indicated to be located around their carrier frequencies (the middle of the extent of FM). We studied where the principal pitch of FM-AM tones is located by the psychoacoustical experiment using a method of adjustment. FM-AM tone is defined as vibrato tone whose frequency and amplitude are periodically modulated by an identical modulation waveform simultaneously. The principal pitch of FM-AM tones is shifted higher than their carrier frequencies when the phase difference between FM and AM is in-phase, and lower when it is anti-phase. The shifted interval from the carrier frequency to the localized principal pitch of FM-AM tones is proportional to the extent of FM and the square of the degree of AM. To interpret these experimental results, we suppose the psychoacoustical model which is the expansion of the pitch averaging mechanism to perceive principal pitch of FM tones. In this model, continuously changing pitch of FM-AM tones is sampled, weighted with its amplitude fluctuation, registered in sensory store, and averaged every certain moment. The weighting process in this model is constructed with loudness perception mechanism and the mechanism to perceive fluctuation strength. We also discussed how the effect of intensity on pitch influences our experimental results.

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Section: •@ Introductionmentioning

confidence: 99%

Perceived principal pitch of FM-AM tones when the phase difference between frequency modulation and amplitude modulation is in-phase and anti-phase.

Iwamiya¹,

Nishikawa

Kitamura³

1984

J. Acoust. Soc. Jpn. (E), J Acoust Soc Jpn E

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“…Seashore, 1932;Tiffin, 1931), which suggested that the mean of the steady-state portion of a note corresponds to its perceived pitch. The mean pitch was calculated by visually tracing a line through each note.…”

Section: Discussionmentioning

confidence: 98%

“…An example of this is perceived pitch; H. Seashore used the results from previous studies in the Seashore laboratory (Metfessel, 1926; H. Seashore, 1932; Tiffin, 1931), which suggested that the mean of the steady-state portion of a note corresponds to its perceived pitch. The mean pitch was calculated by visually tracing a line through each note.…”

Section: Discussionmentioning

confidence: 99%

Recapturing the musical performance data in Seashore’s published performance scores

Devaney

2015

Musicae Scientiae

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In the first half of the 20th century, Carl Seashore and colleagues undertook extensive work in performance analysis of a variety of instruments. Their data were embodied in so-called performance scores, which still exist as illustrations of laborious work undertaken by the early pioneers of music performance research and, in their original form, offer today's researchers the opportunity to only visually examine the experimental data. This article describes the use of image-processing methods to accurately convert the visual data in Seashore's performance scores into data points. This use of technology offers researchers the opportunity to directly engage with the data collected in Seashore's laboratory, either for the purposes of validation or performing analyses for which the researchers in Seashore's time did not have the computational facilities or algorithms to perform.

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