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Music Perception (2022) 40 (1): 27–38.
Published: 01 September 2022
... results also suggest that higher string register locations have a darker timbre and possibly a wider and faster vibrato. Further research on whether musicians can effectively imitate vocal range location signals with their instruments is warranted. Caitlyn Trevor, Department of Psychology...
Music Perception (2022) 39 (3): 289–308.
Published: 01 February 2022
...Rebecca N. Faubion-Trejo; James T. Mantell Listeners can recognize musical excerpts less than one second in duration (plinks). We investigated the roles of timbre and implicit absolute pitch for plink identification, and the time course associated with processing these cues, by measuring listeners...
Includes: Supplementary data
Music Perception (2021) 39 (1): 1–20.
Published: 01 September 2021
...Zachary Wallmark; Linh Nghiem; Lawrence E. Marks Musical timbre is often described using terms from non-auditory senses, mainly vision and touch; but it is not clear whether crossmodality in timbre semantics reflects multisensory processing or simply linguistic convention. If multisensory...
Includes: Supplementary data
Music Perception (2021) 38 (3): 282–292.
Published: 01 February 2021
...André Almeida; Emery Schubert; Joe Wolfe In music, vibrato consists of cyclic variations in pitch, loudness, or spectral envelope (hereafter, “timbre vibrato”—TV) or combinations of these. Here, stimuli with TV were compared with those having loudness vibrato (LV). In Experiment 1, participants...
Music Perception (2020) 38 (2): 106–135.
Published: 25 November 2020
... that match previous listening experiences in the lab, suggesting reactivation of those experiences. Previous studies suggested that timbre and brief rhythmic patterns may influence metrical restoration. However, variations in the magnitude of effects in different experiments suggest that other factors...
Music Perception (2019) 37 (2): 134–146.
Published: 01 December 2019
...Weixia Zhang; Fang Liu; Linshu Zhou; Wanqi Wang; Hanyuan Jiang; Cunmei Jiang T imbre is an important factor that affects the perception of emotion in music. To date, little is known about the effects of timbre on neural responses to musical emotion. To address this issue, we used ERPs...
Music Perception (2019) 37 (1): 57–65.
Published: 01 September 2019
... by The Regents of the University of California 2019 singing vowels timbre relative pitch psychoacoustics A number of factors extraneous to fundamental frequency have influence over the perception of relative pitch. For example, the perception of relative pitch can be influenced by pitch...
Music Perception (2017) 35 (2): 144–164.
Published: 01 December 2017
...Sven-Amin Lembke; Scott Levine; Stephen McAdams Achieving a blended timbre between two instruments is a common aim of orchestration. It relates to the auditory fusion of simultaneous sounds and can be linked to several acoustic factors (e.g., temporal synchrony, harmonicity, spectral relationships...
Music Perception (2017) 34 (3): 313–318.
Published: 01 February 2017
... lower). In an exposure phase, 90 participants ( M = 4.1 years training, SD = 3.9) rated their liking of 24 melodies—6 each in voice, piano, banjo, and marimba. After a short break, they heard the same melodies plus 24 timbre-matched foils (6 per timbre) and rated their recognition of each melody...
Music Perception (2016) 33 (4): 446–456.
Published: 01 April 2016
.... Received: September 27, 2014, accepted February 10, 2015. Key words: ERPs, expertise, music, timbre, cortex T HE LAST TWO DECADES OF NEUROIMAGINGand electromagnetic studies have provided solidevidence that being a musician (particularly when music training started early in childhood) is asso- ciated...
Music Perception (2014) 31 (3): 288–296.
Published: 01 February 2014
... 4 2013 © 2014 by The Regents of the University of California 2014 amplitude envelope temporal structure auditory stimulus timbre tone envelope SURVEYING THE TEMPORAL STRUCTURE OF SOUNDS USED IN MUSIC PERCEPTION MICHAEL SCHUTZ & JONATHAN M. VAISBERG McMaster Institute for Music...
Music Perception (2012) 30 (1): 49–70.
Published: 01 September 2012
...Tuomas Eerola; Rafael Ferrer; Vinoo Alluri 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...
Music Perception (2011) 28 (3): 265–278.
Published: 01 February 2011
...Mathieu Barthet; Philippe Depalle; Richard Kronland-Martinet; Sølvi Ystad In a Previous Study, Mechanical and Expressive clarinet performances of Bach's Suite No. II and Mozart's Quintet for Clarinet and Strings were analyzed to determine whether some acoustical correlates of timbre (e.g., spectral...
Music Perception (2010) 28 (2): 135–154.
Published: 01 December 2010
... and Strings were recorded. Timbre, timing, dynamics, and pitch descriptors were extracted from the recorded performances. The data were processed using a two-way analysis of variance, where the musician's expressive intentions and the note factors were defined as the independent variables. In both musical...
Music Perception (2008) 25 (3): 253–255.
Published: 01 February 2008
... and catalogued, and revisions are implemented in a form of an installer. © 2008 By the Regents of the University of California timbre audio sample musical instruments sound sample music database Instrument Library Revision 253 INSTRUMENT LIBRARY (MUMS) REVISED TUOMAS EEROLA AND RAFAEL FERRER...