Towards timbre-driven semantic retrieval of violins

Lukasik, Ewa

doi:10.1109/isda.2005.94

Cited by 4 publications

(4 citation statements)

References 12 publications

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“…Gray boxes contain note-specificcomputed values. In bold are the semantic labels of the formed space as proposed by Łukasik [19]. and all partials above and including the fifth harmonic (T3),a nd measures the extent to which each group contributes to the timbre of the sound:…”

Section: Tristimulus Ratiosmentioning

confidence: 99%

“…"R esults from al istening test showed that violin notes described as sharp and narrow were associated with higher and lower spectral centroid values respectively [18]. Łukasik proposed that aviolin sound described as dark may be characterized by a spectral centroid of less than 1200-1400 Hz, with higher values indicating a bright or sharp sound [19]. She further argued that av iolin sound with high T1 and T3 values may be described as deep versus empty in the opposite case.…”

Section: Introductionmentioning

confidence: 99%

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Effect of Task Constraints on the Perceptual Evaluation of Violins

Saitis¹,

Scavone²,

Fritz³

et al. 2015

Acta Acustica united with Acustica

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SummaryResults from twop revious studies that involved free-playing evaluative tasks showed that players are selfconsistent in their preference for violins and tend to agree of what particular qualities theyl ook for in an instrument (int his case, "richness" and "dynamic range"). However, as ignificant lack of agreement between violinists wasobserved, likely because different players evaluate the same perceptual attributes in different ways. The present study thus investigated whether there will be more inter-player agreement if musicians evaluate violin richness and dynamic range by playing only certain notes in certain registers. Results showed that the more focused the task, the more self-consistent violinists are and the more theyagree with each other.Wefurther examined the evaluation of richness from playing versus listening tasks and observed that players were better able to discriminate between violins in the former than in the latter.Finally,the potential correlation of spectral centroid and tristimulus with violin richness were examined. Results showed that the perception of richness is likely associated with the relative amount of low-and mid-frequencypartials in agiven sound (i.e., lowspectral centroid and high tristimulus 1and 2),though more exploration would be necessary before drawing anyconclusions.

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Section: Tristimulus Ratiosmentioning

confidence: 99%

Section: Introductionmentioning

confidence: 99%

Effect of Task Constraints on the Perceptual Evaluation of Violins

Saitis¹,

Scavone²,

Fritz³

et al. 2015

Acta Acustica united with Acustica

View full text Add to dashboard Cite

show abstract

“…Štěpánek and Otčenášek ( 1999 ) reported on associations among several tone qualities such as sharp/narrow with high/low spectral centroid values and rustle with temporal energy changes. Similarly, Lukasik ( 2005 ) suggested associations among spectral centroid with bright/dark, and tristimulus 1 and 3 with deep/full and flat/empty, respectively. Saitis et al ( 2015 ) reported on associations among spectral centroid, tristimulus 2 and 3 with sound richness.…”

Section: Systems For Automatic Assessment Of Music Performancementioning

confidence: 91%

“…Research aiming to obtain representative timbre spaces have been conducted in the past by means of perceptual similarity experiments (Grey, 1977 ; Grey and Gordon, 1978 ; Iverson and Krumhansl, 1993 ; McAdams et al, 1995 ; Lakatos, 2000 ). Studies aiming to find semantic labels for characterizing timbre and its acoustical correlates have been performed by searching adjectives used consistently to describe acoustical tonal features, as well by performing surveys on the verbalization of the description of several timbre stimuli (Moravec and Štepánek, 2003 ; Nykänen and Johansson, 2003 ; Lukasik, 2005 ; Disley et al, 2006 ; Sarkar et al, 2007 ).…”

Section: Systems For Automatic Assessment Of Music Performancementioning

confidence: 99%

Automatic Assessment of Tone Quality in Violin Music Performance

et al. 2019

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The automatic assessment of music performance has become an area of increasing interest due to the growing number of technology-enhanced music learning systems. In most of these systems, the assessment of musical performance is based on pitch and onset accuracy, but very few pay attention to other important aspects of performance, such as sound quality or timbre. This is particularly true in violin education, where the quality of timbre plays a significant role in the assessment of musical performances. However, obtaining quantifiable criteria for the assessment of timbre quality is challenging, as it relies on consensus among the subjective interpretations of experts. We present an approach to assess the quality of timbre in violin performances using machine learning techniques. We collected audio recordings of several tone qualities and performed perceptual tests to find correlations among different timbre dimensions. We processed the audio recordings to extract acoustic features for training tone-quality models. Correlations among the extracted features were analyzed and feature information for discriminating different timbre qualities were investigated. A real-time feedback system designed for pedagogical use was implemented in which users can train their own timbre models to assess and receive feedback on their performances.

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Motor performance in violin bowing: Effects of attentional focus on acoustical, physiological and physical parameters of a sound-producing action

Allingham

Burger

Wöllner

2021

Journal of New Music Research

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Violin bowing is a specialised sound-producing action, which may be affected by psychological performance techniques. In sport, attentional focus impacts motor performance, but limited evidence for this exists in music. We investigated effects of attentional focus on acoustical, physiological, and physical parameters of violin bowing in experienced and novice violinists. Attentional focus significantly affected spectral centroid, bow contact point consistency, shoulder muscle activity, and novices' violin sway. Performance was most improved when focusing on tactile sensations through the bow (somatic focus), compared to sound (external focus) or arm movement (internal focus). Implications for motor performance theory and pedagogy are discussed.

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Towards timbre-driven semantic retrieval of violins

Cited by 4 publications

References 12 publications

Effect of Task Constraints on the Perceptual Evaluation of Violins

Effect of Task Constraints on the Perceptual Evaluation of Violins

Automatic Assessment of Tone Quality in Violin Music Performance

Motor performance in violin bowing: Effects of attentional focus on acoustical, physiological and physical parameters of a sound-producing action

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