Search Results for formant
1-20 of 55 Search Results for
Music Perception (2019) 36 (5): 480–487.
Published: 01 June 2019
...Paolo Ammirante; Fran Copelli I n order to be heard over the low-frequency energy of a loud orchestra, opera singers adjust their vocal tracts to increase high-frequency energy around 3,000 Hz (known as a “singer's formant”). In rap music, rhymes often coincide with the beat and thus may be masked...
Music Perception (1993) 11 (1): 1–13.
Published: 01 October 1993
... the Fall 1993, Vol. 1 1, No. 1, 1-14 university of California Pitch versus Brightness of Timbre: Detecting Combined Shifts in Fundamental and Formant Frequency LAURENT DEMANY & CATHERINE SEMAL Université de Bordeaux 2, France The pitch of a periodic tone depends on its fundamental frequency (FO), and...
Music Perception (2017) 35 (2): 144–164.
Published: 01 December 2017
..., the acoustical influence of performance room and communication impairment were also investigated. Role assignments affected spectral adjustments in that musicians acting as followers adjusted toward a “darker” timbre (i.e., realized by reducing the frequencies of the main formant or spectral centroid...
Music Perception (2020) 37 (4): 323–338.
Published: 11 March 2020
Music Perception (2019) 37 (1): 57–65.
Published: 01 September 2019
... brightness scale with frequency and spectral centroid? Acta Acustica United with Acustica , 92 ( 5 ), 820 – 825 . Slawson, W. ( 1985 ). Sound color . London, UK : University of California Press . Sundberg, J. ( 1972 ). A perceptual function of the singing formant . Speech Transmission...
Music Perception (2018) 36 (2): 156–174.
Published: 01 December 2018
... – 169 . Klatt, D. H. ( 1980 ). Software for a cascade-parallel formant synthesizer . Journal of the Acoustical Society of America , 67 , 971 – 995 . Kong, Y.-Y. , Mullangi, A. , Marozeau, J. , & Epstein, M. ( 2011 ). Temporal and spectral cues for musical timbre perception in...
Music Perception (2018) 35 (5): 527–539.
Published: 01 June 2018
..., and Classical music (e.g., Opera). In the case of Classical music, difficulty in perceiving sung words can arise because classical vocalists are typically trained to concentrate energy in the singer s formant (between *3 4 kHz for female singers and *2 3 kHz for male singers) (Huron & Condit...
Includes: Supplementary data
Music Perception (2018) 35 (5): 540–560.
Published: 01 June 2018
...), and vowel formant centralization (leading to more similar vowels because the chin and tongue assume less extreme positions) (Kienast, Paeschke, & Sendlmeier, 1999; Kie- nast & Sendlmeier, 2000). Mumbled speech, moreover, exhibits lenition where consonants are weakened and less enunciated (de...
Music Perception (2017) 34 (5): 585–604.
Published: 01 June 2017
... were voice synthesized sung sequences generated using the software package Voca- loid: Leon (Zero-G Limited, Okehampton, UK). All notes were produced on the syllable dah The male stimuli reflected a normal male singing range. The female stimuli were shifted an octave higher and the formants were...
Music Perception (2017) 34 (4): 489–495.
Published: 01 April 2017
... acoustic parameters, such as vibrato or singer s formant, developed through operatic vocal training. In order to examine the construct of pitch accuracy in operatic voices, Larrouy-Maestri et al. (2014a) asked professional musicians to rate the pitch accuracy of Happy Birthday performances sung with an...
Music Perception (2016) 34 (1): 94–103.
Published: 01 September 2016
... order to determine boundaries for sounds such as /l/, /r/, /w/ and /j/, we considered in addition both perceptual information and rapid spectral changes in formants. Following Patel et al. (2006), we segmented individual vowels rather than vocalic intervals, and following Ferragne and Pellegrino TABLE 1...
Music Perception (2015) 33 (2): 135–146.
Published: 01 December 2015
... variations do not affect perceptions of intonation accuracy (Sundberg, Prame, & Iwarsson, 1995). Pitch variations greater than 5 cents were only retained for notes with noticeable vibrato, as described previously. For notes with vibrato, pitch was defined as mean fundamental frequency over time. Formant...
Music Perception (2015) 33 (1): 70–82.
Published: 01 September 2015
... structures including the thalamus and primary/second- ary auditory cortices (Picton et al., 1999), were also measured. Previous studies revealed that, like brainstem FFRs, cortical ERPs are also sensitive to parametric changes in perceptual features of acoustic waveforms (e.g., voice pitch, formant...
Music Perception (2015) 32 (5): 470–483.
Published: 01 June 2015
...- nate as the fundamental frequency is increased. Simi- larly, Hollien, Mendes-Schwartz, and Nielsen (2000) found that the intelligibility of sung vowels declines considerably when the fundamental frequency reaches or exceeds the typical first formant, as is often the case for soprano singers. Apart from...
Music Perception (2015) 32 (3): 232–241.
Published: 01 February 2015
... formant shifting the voice in near-real time. The typical behavioral response to pitch-shifted auditory feedback includes the opposing response, in which subjects compensate for the pitch-shift by adjusting their vocal pitch in the opposite direction. However, in some cases a following response was also...
Music Perception (2014) 32 (1): 1–10.
Published: 01 September 2014
... perceptual judgment of the pitch accuracy of operatic singing voices. The operatic singing technique influences several acoustical components such as vibrato and reinforcement of the energy band containing the singer s formant (Sundberg, 2013). Vibrato has been extensively investi- gated since Seashore (1938...
Music Perception (2013) 30 (5): 441–462.
Published: 01 June 2013
Music Perception (2012) 30 (2): 147–159.
Published: 01 December 2012
Music Perception (2012) 30 (1): 49–70.
Published: 01 September 2012
... already been found in research on expressive speech (e.g., spectral energy distribution and formant structure, Juslin & Laukka, 2003; Laukka, Juslin, & Bresin, 2005; Scherer & Oshinsky, 1977) and have recently been explored with nonverbal affect vocalizations (Belin, Fillion-Bilodeau, & Gosselin, 2008...
Music Perception (2011) 29 (2): 133–146.
Published: 01 December 2011
... language disordered children: Is there a causal connection? Journal of Memory and Language, 29, 336 360. goswami, u., fosKer, t., huss, m., mead, n., & sZucs, d. (2011). Rise time and formant transition duration in the discrimination of speech sounds: the Ba-Wa distinction in developmental dyslexia...