Memory for Timbre

Siedenburg, Kai; Müllensiefen, Daniel

doi:10.1007/978-3-030-14832-4_4

Cited by 7 publications

(5 citation statements)

References 62 publications

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“…The raw distances between the target and the performance values revealed that the accuracy to reproduce the timbre of tones is substantially reduced (see Table 3 ) when the playback of stimuli is limited compared with conditions where unlimited repetitions are possible. To further investigate this, future research on memory for timbre (e.g., Golubock & Janata, 2013 ; Halpern & Müllensiefen, 2008 ; see overview in Siedenburg & Müllensiefen, 2019 ) may benefit from implementing the TPT to investigate the decay of timbral memory by its independent dimensions, over multiple time periods.…”

Section: Discussionmentioning

confidence: 99%

“…Moreover, these individual responses only gain little information due to high guessing probabilities on 2AFC or same–different tasks. We propose that the TPT can be broadly applied in the field of perceptual psychology to address outstanding questions on the individual differences on timbre perception (Siedenburg & Müllensiefen, 2019 ). Furthermore, given that the test is provided as open source and its parameters can be easily manipulated, the testing paradigm does not only have to be restricted to assess timbre perception but applied to other aspects of auditory perception amenable to the employment of a production paradigm.…”

Section: Discussionmentioning

confidence: 99%

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The Timbre Perception Test (TPT): A new interactive musical assessment tool to measure timbre perception ability

Lee

Müllensiefen

2020

Atten Percept Psychophys

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To date, tests that measure individual differences in the ability to perceive musical timbre are scarce in the published literature. The lack of such tool limits research on how timbre, a primary attribute of sound, is perceived and processed among individuals. The current paper describes the development of the Timbre Perception Test (TPT), in which participants use a slider to reproduce heard auditory stimuli that vary along three important dimensions of timbre: envelope, spectral flux, and spectral centroid. With a sample of 95 participants, the TPT was calibrated and validated against measures of related abilities and examined for its reliability. The results indicate that a short-version (8 minutes) of the TPT has good explanatory support from a factor analysis model, acceptable internal reliability (α = .69, ωt = .70), good test–retest reliability (r = .79) and substantial correlations with self-reported general musical sophistication (ρ = .63) and pitch discrimination (ρ = .56), as well as somewhat lower correlations with duration discrimination (ρ = .27), and musical instrument discrimination abilities (ρ = .33). Overall, the TPT represents a robust tool to measure an individual’s timbre perception ability. Furthermore, the use of sliders to perform a reproductive task has shown to be an effective approach in threshold testing. The current version of the TPT is openly available for research purposes.

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Section: Discussionmentioning

confidence: 99%

Section: Discussionmentioning

confidence: 99%

The Timbre Perception Test (TPT): A new interactive musical assessment tool to measure timbre perception ability

Lee

Müllensiefen

2020

Atten Percept Psychophys

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“…We will infer real and imaginary sources, actions, and spaces (Young, 1996). The real will be a well-known source in a familiar situation (Siedenburg & Müllensiefen, 2019). The imaginary could range from relatively uncertain to very uncertain sources that we can imagine by re-enacting a relevant SSALMS.…”

Section: Grounded Cognition and Sound Indexes And Iconsmentioning

confidence: 99%

Cross-Modal Musical Expectancy in Complex Sound Music: A Grounded Theory

Correa

2023

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Expectancy is a core mechanism for constructing affective and cognitive experiences of music. However, research on musical expectations has been largely founded upon the perception of tonal music. Therefore, it is still to be determined how this mechanism explains the cognition of sound-based acoustic and electroacoustic music, such as complex sound music (CSM). Additionally, the dominant methodologies have consisted of well-controlled experimental designs with low ecological validity that have overlooked the listening experience as described by the listeners. This paper presents results concerning musical expectancy from a qualitative research project that investigated the listening experiences of 15 participants accustomed to CSM listening. Corbin and Strauss’ (2015) grounded theory was used to triangulate data from interviews along with musical analyses of the pieces chosen by the participants to describe their listening experiences. Cross-modal musical expectancy (CMME) emerged from the data as a subcategory that explained prediction through the interaction of multimodal elements beyond just the acoustic properties of music. The results led to hypothesise that multimodal information coming from sounds, performance gestures, and indexical, iconic, and conceptual associations re-enact cross-modal schemata and episodic memories where real and imagined sounds, objects, actions, and narratives interrelate to give rise to CMME processes. This construct emphasises the effect of CSM’s subversive acoustic features and performance practices on the listening experience. Further, it reveals the multiplicity of factors involved in musical expectancy, such as cultural values, subjective musical and non-musical experiences, music structure, listening situation, and psychological mechanisms. Following these ideas, CMME is conceived as a grounded cognition process.

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“…Schaeffer (1966: 232) alerts us to the ambiguity of timbre being the quality that allows us to identify the identification of different sounds as originating from the same instrument but nevertheless to differentiate between these two sounds in the first place. In summing up multiple contributions in the field, Siedenburg (2016) proposes three conceptual categories for timbre but points out that ‘it is misleading to suggest that one sound-producing object or instrument yields exactly one timbre. Contrary to parlance of “the timbre of the clarinet”, there is no single timbre that fully characterises the clarinet’ (Siedenburg 2016: 15).…”

Section: Sound and Timbrementioning

confidence: 99%

“…In summing up multiple contributions in the field, Siedenburg (2016) proposes three conceptual categories for timbre but points out that ‘it is misleading to suggest that one sound-producing object or instrument yields exactly one timbre. Contrary to parlance of “the timbre of the clarinet”, there is no single timbre that fully characterises the clarinet’ (Siedenburg 2016: 15). In the work presented here, this timbre plurality is circumnavigated by restricting the research to relative timbre changes between 12 sound recordings originating from comparatively long excerpts of a music performance featuring multiple playing techniques and articulations.…”

Section: Sound and Timbrementioning

confidence: 99%

Transformed Sound as Personal Construct

Plessas

2017

Org. Sound

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To better understand the function of sound within electronic music it is inevitable to consider the way composers and performers talk about such sound and its different qualities. An attempt to classify sound is a logical consequence of the desire to orient oneself in a vast field of possibilities. It remains difficult, however, to relate such a classification to the intuitive way we talk about sound. Heavily influenced by our individual upbringing, cultural and musical environment and, perhaps most strongly, by our peers in the creation and performance of music, words verbalised in relation to sound and music invite a systematic investigation. This article exemplifies such an investigation, attempting the elicitation and structuring of a vocabulary from eight musically trained individuals in a two-stage experiment. The words examined here are concerned with sounds created by transformation of acoustic sources through electronic processing methods.

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Memory for Timbre

Cited by 7 publications

References 62 publications

The Timbre Perception Test (TPT): A new interactive musical assessment tool to measure timbre perception ability

The Timbre Perception Test (TPT): A new interactive musical assessment tool to measure timbre perception ability

Cross-Modal Musical Expectancy in Complex Sound Music: A Grounded Theory

Transformed Sound as Personal Construct

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