Electrophysiological correlates of timbre imagery and perception

Tużnik, Przemysław; Augustynowicz, Paweł; Francuz, Piotr

doi:10.1016/j.ijpsycho.2018.05.004

Cited by 10 publications

(9 citation statements)

References 24 publications

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“…Accompanying neuroimaging results confirmed that activity in the auditory association cortices is present for both perceived and imagined timbre. Similarly, Tużnik, Augustynowicz, and Francuz (2018) trained participants to imagine synthesized auditory stimuli varying in timbre and found that electrophysiological measurements reflected differences in imagined timbres. Their results also suggest that musicians perform timbre imagery tasks more accurately than do nonmusicians.…”

mentioning

confidence: 99%

Using auditory imagery tasks to map the cognitive linguistic dimensions of musical instrument timbre qualia.

Reymore¹,

Huron²

2020

Psychomusicology: Music, Mind, and Brain

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Two studies are reported related to musical instrument timbre qualia. In the first study, open-ended interviews were conducted with 23 musicians who were asked to describe their phenomenal experiences of imagined sounds for 20 Western instruments. A content analysis of the transcribed interviews suggests 77 qualitative categories underlying the musicians’ descriptions. In a second study, 460 musician participants rated subsets of the same 20 imagined instrument sounds according to the 77 categories derived from Study 1. Principal component analyses were applied to the results of Study 2, yielding several models. Researcher interpretations of the components in these models were combined with the results of supplementary polls where musicians rated the descriptive utility of each candidate component, producing a final 20-dimensional timbre qualia model. The model dimensions include rumbling/low, soft/singing, watery/fluid, direct/loud, nasal/reedy, shrill/noisy, percussive, pure/clear, brassy/metallic, raspy/grainy, ringing/long decay, sparkling/brilliant, airy/breathy, resonant/vibrant, hollow, woody, muted/veiled, sustained/even, open, and focused/compact.

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mentioning

confidence: 99%

Using auditory imagery tasks to map the cognitive linguistic dimensions of musical instrument timbre qualia.

Reymore¹,

Huron²

2020

Psychomusicology: Music, Mind, and Brain

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“…Shahin [96] manipulated the spectral complexity of the piano sound by removing a certain amount of harmonics. The amplitudes of the P2 and P2m components in this work were larger in the case of sounds with a large number of harmonics, the response components N1 and N1m were still uninformative Another Tuznik, Augustynowicz, and Francuz study [107] in this direction was performed using sound synthesis and changes in the spectral centroid and spectral irregularity. The P2 component was also informative.…”

Section: Neurophysiological Basis For Timbre Perceptionmentioning

confidence: 88%

“…The structure of the perceptual space of the timbre is still the subject of discussion. Three dimensions are considered generally [107]. Studies of Caclin [16,17] and Kong [52] found that timbre differences in specific measurements are most effectively explained by attack time, spectral centroid and spectral irregularity (attack time, spectral centroid and spectral irregularity).…”

Section: Neurophysiological Basis For Timbre Perceptionmentioning

confidence: 99%

Structural Organization and Features of Speech and Music Perception in Language Functionsâ€™ Implementation with Timbreâ€™s Perceptive Assessment

Andreeva

Dymnikowa

Огородникова

2019

AJHSS

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In cognitive science, the psychological and biological foundations of music are often considered in the context of comparison with the functions of speech and language. The article describes some aspects of the similarities and differences between music and speech in the implementation of language functions, as well as a typological study of its features according to Buhler, Jakobson, Halliday and Kiklewicz classifications. A general comparison of structural organization and main perceptual characteristics of music and speech signals is carried out additionally, with separate consideration of neurophysiological foundations of the auditory analysis of timbre characteristics of speech sources (speaker's voice) and music (instrument sounds). Some aspects of the practical application of auditory and musical training in the context of training and rehabilitation measures for sensory-cognitive dysfunctions of various genesis are explained, with the prospects of further research aimed at studying the influence of the timbre on the indices of spatial selectivity of musical perception in comparison with the characteristics of the spatial selectivity of speech hearing in the perception of complex acoustic scenes.

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“…Imagined rather than recorded sounds were used because the target for the ratings was an instrument’s prototypical sound rather than any specific instantiation. Previous work suggests that people compare imagined timbres similarly to perceived timbres (Halpern et al, 2004), and Tużnik et al (2018) found that electrophysiological measurements reflected differences in imagined timbres. Huron (2006) observed that when asked to imagine specific musical sounds, people tend to imagine the most commonly occurring elements (for example, when asked to imagine a chord, musicians tended to imagine a major chord in root position, the most common chord in Western music).…”

Section: Methodsmentioning

confidence: 97%

Characterizing prototypical musical instrument timbres with timbre trait profiles

Reymore

2021

Musicae Scientiae

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This paper offers a series of characterizations of prototypical musical timbres, called Timbre Trait Profiles, for 34 musical instruments common in Western orchestras and wind ensembles. These profiles represent the results of a study in which 243 musician participants imagined the sounds of various instruments and used the 20-dimensional model of musical instrument timbre qualia proposed by Reymore and Huron (2020) to rate their auditory image of each instrument. The rating means are visualized through radar plots, which provide timbral-linguistic thumbprints, and are summarized through snapshot profiles, which catalog the six highest- and three lowest-rated descriptors. The Euclidean distances among instruments offer a quantitative operationalization of semantic distances; these distances are illustrated through hierarchical clustering and multidimensional scaling. Exploratory Factor Analysis is used to analyze the latent structure of the rating data. Finally, results are used to assess Reymore and Huron’s 20-dimensional timbre qualia model, suggesting that the model is highly reliable. It is anticipated that the Timbre Trait Profiles can be applied in future perceptual/cognitive research on timbre and orchestration, in music theoretical analysis for both close readings and corpus studies, and in orchestration pedagogy.

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Electrophysiological correlates of timbre imagery and perception

Cited by 10 publications

References 24 publications

Using auditory imagery tasks to map the cognitive linguistic dimensions of musical instrument timbre qualia.

Using auditory imagery tasks to map the cognitive linguistic dimensions of musical instrument timbre qualia.

Structural Organization and Features of Speech and Music Perception in Language Functionsâ€™ Implementation with Timbreâ€™s Perceptive Assessment

Characterizing prototypical musical instrument timbres with timbre trait profiles

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