Neural Correlates of Timbre Change in Harmonic Sounds

Menon, Vinod; Levitin, Daniel J.; Smith, Bennett K.; Lembke, Anna; Krasnow, Ben; Glazer, Dariya S.; Glover, Gary H.; McAdams, Stephen

doi:10.1006/nimg.2002.1295

Cited by 106 publications

(79 citation statements)

References 55 publications

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“…These dimensions timbre and affect dimensions: evidence from affect and similarity ratings and acoustic correlates of isolated instrument sounds have been commonly found in behavioral studies employing similarity ratings (Grey, 1977;Lakatos, 2000;McAdams, Winsberg, Donnadieu, De Soete, & Krimphoff, 1995), and have been further explored and (for the most part) corroborated in a series of meta-analytic overviews (Burgoyne & McAdams, 2008;Caclin, McAdams, Smith, & Winsberg, 2005). Several studies have also recently traced the neural underpinnings of these timbre dimensions (Caclin et al, 2008(Caclin et al, , 2006Menon et al, 2002). Much research on music and emotions investigates the links between perceived emotions and music (e.g., Juslin & Sloboda, 2010), but the precise definition of those emotions has been notoriously difficult to pin down, even if there is agreement over their general characteristics and subcomponents (Sloboda & Juslin, 2010;Zentner & Eerola, 2010).…”

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confidence: 85%

“…Composers and arrangers take great care in selecting different instruments to bring out desired characteristics and emotional colors in the musical structure (Schutz, Huron, Keeton, & Loewer, 2008). In light of this, it seems surprising that little attention has been paid to timbre in communicating emotions in music despite its role as a "major structuring force in music and one of the most important and ecologically relevant features of auditory events" (Menon et al, 2002(Menon et al, , p. 1742. Only recently few studies have bordered the issue in the context of recognition of emotions from brief excerpts of music (Filipic, Tillmann, & Bigand, 2010;Krumhansl, 2010), although the actual qualities of the timbre with respect to emotional expression has not yet been considered.…”

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confidence: 99%

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Timbre and Affect Dimensions: Evidence from Affect and Similarity Ratings and Acoustic Correlates of Isolated Instrument Sounds

2012

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considerable effort has been made towards understanding how acoustic and structural features contribute to emotional expression in music, but relatively little attention has been paid to the role of timbre in this process. Our aim was to investigate the role of timbre in the perception of affect dimensions in isolated musical sounds, by way of three behavioral experiments. In Experiment 1, participants evaluated perceived affects of 110 instrument sounds that were equal in duration, pitch, and dynamics using a three-dimensional affect model (valence, energy arousal, and tension arousal) and preference and emotional intensity. In Experiment 2, an emotional dissimilarity task was applied to a subset of the instrument sounds used in Experiment 1 to better reveal the underlying affect structure. In Experiment 3, the perceived affect dimensions as well as preference and intensity of a new set of 105 instrument sounds were rated by participants. These sounds were also uniform in pitch, duration, and playback dynamics but contained systematic manipulations in the dynamics of sound production, articulation, and ratio of high-frequency to low-frequency energy. The affect dimensions for all the experiments were then explained in terms of the three kinds of acoustic features extracted: spectral (e.g., ratio of high-frequency to low-frequency energy), temporal (e.g., attack slope), and spectro-temporal (e.g., spectral flux). High agreement among the participants' ratings across the experiments suggested that even isolated instrument sounds contain cues that indicate affective expression, and these are recognized as such by the listeners. A dominant portion (50-57%) of the two dimensions of affect (valence and energy arousal) could be predicted by linear combinations of few acoustic features such as ratio of high-frequency to low-frequency energy, attack slope, and spectral regularity. Links between these features and those observed in the vocal expression of affects and other sound phenomena are discussed.

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confidence: 85%

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Timbre and Affect Dimensions: Evidence from Affect and Similarity Ratings and Acoustic Correlates of Isolated Instrument Sounds

2012

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“…Direct evidence for this, however, remains scant. Most studies have localized timbre processing in regions of the temporal lobe, including superior temporal gyrus, superior temporal sulcus, and Heschl's gyrus Caclin et al, 2006;Halpern, Zatorre, Bouffard, & Johnson, 2004;Menon et al, 2002;Pantev, Roberts, Schulz, Engelien, & Ross, 2001;Platel et al, 1997;F. Samson, Zeffiro, Toussaint, & Belin, 2011;S.S Samson & Zatorre, 1994).…”

Section: Timbre and The Embodied Mindmentioning

confidence: 99%

“…Timbre discrimination has been localized to temporal regions of the brain involved in auditory processing Caclin et al, 2006;Halpern et al, 2004;Menon et al, 2002;Pantev et al, 2001;Platel et al, 1997;F. Samson et al, 2011;S.…”

Section: Embodied Timbre Perceptionmentioning

confidence: 99%

Embodied Listening and Timbre

et al. 2018

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TIMBRE PLAYS AN ESSENTIAL ROLE IN TRANSMIT-ting musical affect, and in recent years, our understanding of emotional expression in music has been enriched by contributions from the burgeoning field of embodied music cognition. However, little attention has been paid to timbre as a possible mediator between musical embodiment and affect. In three experiments, we investigated the embodied dimensions of timbre perception by focusing on timbral qualities considered ''noisy'' and aversive. In Experiment 1, participants rated brief isolated natural timbres scaled into ordinal levels of ''noisiness.'' Experiment 2 employed the same design with a focus on polyphonic timbre, using brief (400 ms) excerpts from 6 popular music genres as stimuli. In Experiment 3, functional magnetic resonance imaging was used to explore neural activations associated with perception of stimuli from Experiment 1. Converging results from behavioral, acoustical, and fMRI data suggest a motor component to timbre processing, particularly timbral qualities considered ''noisy,'' indicating a possible enactive mechanism in timbre processing. Activity in somatomotor areas, insula, and the limbic system increased the more participants disliked a timbre, and connectivity between the premotor cortex and insula relay decreased. Implications for recent theories of embodied music cognition, affect, and timbre semantics are discussed in conclusion.

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“…Similarly, it helps us to differentiate between the two speakers speaking the same words. Timbre is the property that gives musical instrument or voice a typical tone or texture (Iverson & Krumhansl, 1993;Menon et al, 2002).…”

Section: Syntax Semantics and Melody In Language And Musicmentioning

confidence: 99%

The Effect of Background Music on the Visual Categorization of Printed Words in Normal Younger and Older Adults

Mairal¹

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Neural Correlates of Timbre Change in Harmonic Sounds

Cited by 106 publications

References 55 publications

Timbre and Affect Dimensions: Evidence from Affect and Similarity Ratings and Acoustic Correlates of Isolated Instrument Sounds

Timbre and Affect Dimensions: Evidence from Affect and Similarity Ratings and Acoustic Correlates of Isolated Instrument Sounds

Embodied Listening and Timbre

The Effect of Background Music on the Visual Categorization of Printed Words in Normal Younger and Older Adults

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