Perceptual evaluation of violins: A psycholinguistic analysis of preference verbal descriptions by experienced musicians

Saitis, Charalampos; Fritz, Claudia; Scavone, Gary P.; Guastavino, Catherine; Dubois, Danièle

doi:10.1121/1.4980143

Cited by 32 publications

(43 citation statements)

References 30 publications

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“…Music fruition and performance therefore present a well-defined framework in which to study basic psychophysical, perceptual, and biomechanical aspects of touch and proprioception, all of which may inform the design of novel haptic musical devices. There is now a growing body of scientific studies of music performance and perception from which to inform research in musical haptics, including topics and methods from the fields of psychophysics [19], biomechanics [11], music education [29], psycholinguistics [32], and artificial intelligence [20].…”

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confidence: 99%

Musical Haptics: Introduction

Papetti

Saitis

2018

Springer Series on Touch and Haptic Systems

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This chapter introduces to the concept of musical haptics, its scope, aims, challenges, as well as its relevance and impact for general haptics and humancomputer interaction. A brief summary of subsequent chapters is given. 1.1 Scope and Goals Musical haptics is an emerging interdisciplinary field investigating touch and proprioception in music scenarios from the perspectives of haptic engineering, humancomputer interaction (HCI), applied psychology, musical acoustics, aesthetics, and music performance. The goals of musical haptics research may be summarized as: (i) to understand the role of haptic interaction in music experience and instrumental performance, and (ii) to create new musical devices yielding meaningful haptic feedback. 1.2 Haptic Cues in Music Practice and Fruition Whenever an acoustic or electroacoustic musical instrument produces sound, that comes from its vibrating components (e.g., the reed and air column in a clarinet, or the strings and soundboard of a piano). While performing on such instruments, the haptic channel is involved in a complex action-perception loop: The player physically interacts with the instrument, on the one hand, to generate sound by injecting energy in

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confidence: 99%

Musical Haptics: Introduction

Papetti

Saitis

2018

Springer Series on Touch and Haptic Systems

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“…Previous studies relating auditory cues to geometry and material properties of vibrating objects have pointed out the importance of internal friction related to the damping factors of the spectral components (Avanzini and Rocchesso 2001;Giordano and McAdams 2006;Lutfi and Oh 1997;Ystad et al, SHAR 69, 2019, https://doi.org/10.1007/978-3-030-14832-4_13 Klatzky et al 2000;McAdams et al 2004McAdams et al , 2010 as theoretically shown by Wildes and Richards (1988). Other studies on sound quality of musical instruments have been performed for instance in the case of violin sounds (Saitis et al 2012(Saitis et al , 2017 based on psycholinguistic analyses of verbal descriptions from experienced musicians. These studies, based on the musician's spontaneous verbalizations describing the playing experience, led to a model linking auditory and haptic sensations to timbre, quality and playability of the instrument.…”

Section: Timbre-based Wood Selection Made By a Xylophone Makermentioning

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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“…A different approach relies on cognitive categories emerging from psycholinguistically inferred semantic relations in free verbalizations of sound qualities. Such analyses have provided additional insight regarding particular factors that contribute to the salient semantic dimensions of timbre [6][7][8]. Still, both semantic differential scales and free verbalization tasks seem to miss an important point: sensory nonauditory attributes of timbre exemplify a more ubiquitous aspect of human cognition known as crossmodal correspondences: people tend to map between sensory experiences in different modalities (e.g., between color and touch [9]) or within the same modality (e.g., between pitch, timbre, and loudness [10]).…”

Section: Motivationmentioning

confidence: 99%