Acoustical Correlates of Timbre and Expressiveness in Clarinet Performance

Barthet, Mathieu; Depalle, Philippe; Kronland‐Martinet, Richard; Ystad, Sølvi

doi:10.1525/mp.2010.28.2.135

Cited by 32 publications

(25 citation statements)

References 30 publications

(33 reference statements)

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“…Investigations on musical timbre do not solely focus on the mechanical properties of the instrument itself, but also on the way a musician can control timbre during the instrumental play. In the following section a study on the influence of a clarinet player's pressure and aperture on the resulting timbre using a physical synthesis model is described (Barthet et al 2010a), followed by an investigation of the influence of timbre on expressiveness in clarinet performance (Barthet et al 2010b).…”

Section: Timbre Control In Clarinet Performancesmentioning

confidence: 99%

Timbre from Sound Synthesis and High-Level Control Perspectives

Ystad

Aramaki

Kronland‐Martinet

2019

Timbre: Acoustics, Perception, and Cognition

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Exploring the many surprising facets of timbre through sound manipulations has been a common practice among composers and instrument makers of all times. The digital era radically changed the approach to sounds thanks to the unlimited possibilities offered by computers that made it possible to investigate sounds without physical constraints. In this chapter, we describe investigations on timbre based on the analysis-by-synthesis approach that consists of using digital synthesis algorithms to reproduce sounds and further modify the parameters of the algorithms to investigate their perceptual relevance. In the first part of the chapter, timbre is investigated in a musical context. An examination of the sound quality of different wood species for xylophone making is first presented. Then the influence of physical control on instrumental timbre is described in the case of clarinet and cello performances. In the second part of the chapter, environmental sounds have been investigated in order to identify so-called invariant sound structures that can be considered as the backbone, or the bare minimum, of the information contained in a sound that enables the listener to recognize its source both in terms of structure (e.g. size, material) and action (e.g. hitting, scraping). Such invariants are generally composed of combinations of audio descriptors such as decay, attack, spectral density and pitch. Various investigations on perceived sound properties responsible for the evocations of sound sources are here identified and described through both applied and fundamental studies.

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Section: Timbre Control In Clarinet Performancesmentioning

confidence: 99%

Timbre from Sound Synthesis and High-Level Control Perspectives

Ystad

Aramaki

Kronland‐Martinet

2019

Timbre: Acoustics, Perception, and Cognition

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“…The modal-based sound synthesis exhibits a higher overall deviation (15 ± 11 cents) without modulation within the notes. This has implications for the expressiveness of the musical performance [36] and relates to the artificial nature of the sound that can be perceived by experienced listeners. This is also noticeable in Fig.…”

Section: An Example: Sound Synthesis Of a Clarinetmentioning

confidence: 99%

Modal analysis of the input impedance of wind instruments. Application to the sound synthesis of a clarinet

Taillard¹,

Silva

Guillemain

et al. 2018

Applied Acoustics

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Modal analysis of the input impedance of wind instruments. Application to the sound synthesis of a clarinet. Applied Acoustics, Elsevier, 2018, 141, pp.271 -280 AbstractThis paper investigates the modal analysis of wind instruments as seen from the input of their air column. Beside the treatment of analytical models, a particular emphasis is given to the analysis of measured input impedances. This requires special care because the measurements cover only a limited frequency band and are affected by some unknown errors. This paper describes how the Prony analysis and the Least Squares Complex Exponential (LSCE) classical techniques can be used in this context and how the main pitfalls can be avoided in their application. A physically acceptable method of reconstruction of the low frequency band is proposed. A technique using fictitious points in the high frequency range is described in order to ensure the passivity of the resonator in the whole frequency band. The principles of a real-time synthesis of clarinet sounds based on the modal representation of the resonator is given as an application, with a method to efficiently handle the modal representation during the transition between fingerings. A musically relevant example finally illustrates the possibilities of the modal analysis applied to wind instruments.

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“…While much of the research on music timbre has focused on relationships between vocal speaking, and timing and dynamics in music performing (Juslin & Laukka, 2003), Barthet, Depalle, Kronland-Martinet, & Ystad (2010) discovered that clarinetists' timbre varied, causing listeners to report an expressive change in the performance. This study found a difference in the initial sound quality (e.g., bright, dull) and the relative energy between odd and even harmonics.…”

Section: Emotional Expressiveness (E) Incorporates the Manipulation Omentioning

confidence: 99%

The effects of projected films on singers’ expressivity in choral performance.

Keown¹

2015

Psychomusicology: Music, Mind, and Brain

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The purpose of this study was to investigate the effects of projected film visuals on singers' expressivity in choral performance. The study was divided into three phases. In Phase One, university choir singers (N = 21) viewed eight audiovisual pairings (two film excerpts and four choral etudes) and rated these pairings according to perceived music to film congruency. Based on these ratings, two choral etudes were identified that elicited the broadest congruency contrasts when paired with the film segments.In Phase Two, a different group of university choir singers (N = 116) rehearsed and prepared both of the selected choral etudes referred to as "Doh" and "Noo." Subsequently, these singers were organized into smaller chamber ensembles (n = 11), and performed each choral etude three times under the following conditions: (1) while viewing congruent film, (2) while viewing incongruent film, and (3) with no film projected. After each performance, singers reported their level of self-expression. At the completion of all three performances, singers reported their preferred performance condition. Finally, participants listened to their audio-recorded performances and rated these for performance expressivity and personal preference. During Phase Three, choral experts (N = 8) rated performance expressivity and reported personal preference for each audio-recorded performance. iv A two-way ANOVA with repeated measures found significant main effects of both etude and film visual performance condition on participants' expressivity ratings (p < .001).

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Acoustical Correlates of Timbre and Expressiveness in Clarinet Performance

Cited by 32 publications

References 30 publications

Timbre from Sound Synthesis and High-Level Control Perspectives

Timbre from Sound Synthesis and High-Level Control Perspectives

Modal analysis of the input impedance of wind instruments. Application to the sound synthesis of a clarinet

The effects of projected films on singers’ expressivity in choral performance.

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