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Abstract
What are the timbral characteristics of musical sounds? From the second half of the 19th Century the ideas about musical timbre had been affected by contradictory and platitude statements that have lead the researchers and musicians throughout history to various models and perspectives. However, by definition the influence of pitch and dynamics has largely been ignored within these models. Another fact had further effects on our audio research history: While Helmholtz' »Lehre von den Tonempfindungen« had been translated into English by Alexander J. Ellis, a translation of Stumpf’s standard works »Tonpsychologie« (1883 and 1890) and »Die Sprachlaute« (1826) is still missing, as well as the translation of the publications of other German-speaking successors of Helmholtz and Stumpf (like Köhler, Schumann, Albersheim, Reinecke, Fricke etc.). Consequently, the English research literature, which has been most influential in this field since World War II, is lacking this particular aspect of knowledge of musical timbre. Its salience can be immediately observed by examining an instrument in all its pitch and dynamic levels (instead of only one or a few pitches like in most timbre studies): timbre perception of musical instruments is determined to a certain extent by steady pitch-independent formant areas, whose origin and characteristics at pitch and dynamic changes has generally been resolved today. These timbral effects appear to be in accordance with the principles of the Auditory Scene Analysis as well as with recommendations in the orchestration treatises of the last centuries. Both the English and the German timbre perception paradigms have their own advantages. With the help of the actual sound analysis and re-synthesis software and in combination with the concept of mel-frequency cepstral coefficients methods it should be possible to merge these paradigms into a common timbre perception model.
Originalsprache | Deutsch |
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Titel | Organized Sound. Klang und Wahrnehmung in der Musik des 20. und 21. Jahrhunderts |
Redakteure*innen | Christian Utz |
Erscheinungsort | Saarbrücken |
Herausgeber (Verlag) | Pfau |
Seiten | 97 |
Seitenumfang | 112 |
Band | 6 |
ISBN (Print) | 978-3-89727-504-1 |
Publikationsstatus | Veröffentlicht - 2013 |
Publikationsreihe
Reihe | Musiktheorien der Gegenwart |
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Band | Band 6 |
ÖFOS 2012
- 103002 Akustik
- 604024 Musikwissenschaft
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7 März 2017Aktivität: Vorträge › Vortrag › Science to Science
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Formanten als hilfreiche Timbre-Deskriptoren für die Darstellung von Blasinstrumentenklängen
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Timbre Spaces and Formant field - Representation of Single Sounds and Whole Instruments
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12 Jan. 2017Aktivität: Vorträge › Vortrag › Science to Science
Publikationen
- 1 Beitrag in Konferenzband
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Timbre Space reloaded: Tonhöhe und Dynamik als Teil der Klangfarbenempfindung
Siddiq, S., Reuter, C., Czedik-Eysenberg, I. & Knauf, D., 2017, Fortschritte der Akustik – DAGA 2017: 43. Jahrestagung für Akustik (DAGA). S. 194-197 4 S.Veröffentlichungen: Beitrag in Buch › Beitrag in Konferenzband › Peer Reviewed