Experiments were conducted to explore the relationship between wind instrument dyad timbres and verbal attributes drawn from the musicological literature in order to compare and contrast results with studies using artificial stimuli and amusical rating scales. In the first experiment, all adjectives in Piston's (1955) "Orchestration" were collated and subsequently reduced to 61 examples. A checklist procedure was used in response to the dyad timbres to further reduce the set of adjectives to 21. The 21 adjectives were used in verbal attribute magnitude estimation of the 10 wind instrument dyad timbres. Principal components analysis of ratings revealed four verbal attribute factors, accounting for 90.604% of the variance: power, strident, plangent, and reed. Correlational analyses demonstrated an improvement in mapping between the ratings and perceptual similarity spaces over the procedure used in Part I of this study. The two-dimensional timbral circumplex was interpreted as having a principal dimension of nasality versus richness and a secondary dimension of reediness versus brilliance.


Terrence Rafferty (1991, p. 60) to Wynton Marsalis' trumpet performance of Stardust in the film Miracle, indicating reverberant, ringing, and resonant, tinged with plaintiveness.
Kendall and Car- terette (1991), specifically, not nasal becomes rich and rich becomes reedy.
Kendall and Carterette (1991)


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