Violin timbre was studied for five tone pitches (H3, F ♯4, C5, G5, D6). A set of violin tones played on different instruments was recorded in an anechoic room. The recordings were subsequently manipulated to weaken an influence of tone transient parts on the perception. Two pair listening tests in headphones were performed for each pitch: timbre dissimilarity scaling test and spontaneous verbal description of timbre dissimilarities. A perceptual timbre space was constructed from the results of dissimilarity scaling test for each pitch using the multidimensional scaling method. Projections of verbal descriptions into the perceptual spaces enabled their external interpretation. Some perceptual attributes and pairs of attributes of violin timbre were established (‘‘narrow,’’ ‘‘rustle,’’ ‘‘soft’’–‘‘sharp,’’ ‘‘dark’’–‘‘bright,’’ ‘‘clear’’–‘‘blurred’’) based on correlation analysis of word occurrence frequencies on individual tones and on comparison of word projection coordinates in perceptual spaces. Comparing the results for five studied pitches it was possible to pronounce the hypothesis of salient violin timbre dimensions.
Particular violin tones were played by a professional violin player in an anechoic room. The tones from the whole violin range, played nonvibrato using selected bowing techniques (naturale, sul ponticello, sul tasto) and dynamics of playing (p, mf, f), were recorded. The analysis based on the short-time Fourier transform was used to compute the time courses of amplitudes and frequencies of separated harmonics from the SPL recordings of the tones. The time characteristics of the time envelopes of the whole tone and his harmonics were calculated in the next step. For example, attack time, decay time, and relative starting time were studied. The influence of playing techniques, dynamics, and tone pitch on these time characteristics was described.
Properties of harmonic and unharmonic spectral components of violin tones played nonvibrato using different bowing techniques (naturale, sul ponticello, sul tasto) and dynamics of playing (p, mf, f) were studied by means of suitable analytical methods. The tones from the whole violin range were recorded in an anechoic room. The shape of the spectral envelope, harmonicity, and amplitude relations among harmonic components were observed. Unharmonic components were investigated in three frequency bands separated by fundamental frequency of the tone and by the frequency of the highest ‘‘well pronounced’’ harmonic. Specific analytical tools and describing quantities were used in each part of the spectrum. The dependence of the spectrum on playing techniques, dynamics, and tone pitch was discussed.
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