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The psychoacoustics of musical artic...

Spiegelberg, Scott Charles.

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The psychoacoustics of musical articulation.

Record Type:	Language materials, printed : Monograph/item
Title/Author:	The psychoacoustics of musical articulation./
Author:	Spiegelberg, Scott Charles.
Description:	263 p.
Notes:	Source: Dissertation Abstracts International, Volume: 63-02, Section: A, page: 0415.
Contained By:	Dissertation Abstracts International63-02A.
Subject:	Music. -
Online resource:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3045253
ISBN:	0493591419

The psychoacoustics of musical articulation.
Spiegelberg, Scott Charles.

The psychoacoustics of musical articulation. - 263 p.

Source: Dissertation Abstracts International, Volume: 63-02, Section: A, page: 0415.

Thesis (Ph.D.)--The University of Rochester, Eastman School of Music, 2002.

This dissertation develops psychoacoustical definitions of notated articulations, the necessary first step in articulation research. This research can be useful to theorists interested in timbre analysis, the psychology of performance, analysis and performance, the psychology of style differentiation, and performance pedagogy. An explanation of wavelet transforms precedes the development of new techniques for analyzing transient sounds. A history of timbre perception research reveals the inadequacies of current sound segmentation models, resulting in the creation of a new model, the Pitch/Amplitude/Centroid Trajectory (PACT) model of sound segmentation. The new analysis techniques and PACT model are used to analyze recordings of performers playing a melodic fragment in a series of notated articulations. Statistical tests showed that the performers generally agreed on the interpretation of five different articulation groups. A cognitive test of articulation similarity, using musicians and non-musicians as participants, revealed a close correlation between similarity judgments and physical attributes, though additional unknown factors are clearly present. A second psychological test explored the perceptual salience of articulation notation, by asking musically-trained participants to match stimuli to the same notations the performers used. The participants also marked verbal descriptors for each articulation, such as short/long, sharp/dull, loud/soft, harsh/gentle, and normal/extreme. These results were matched against the results of Chapters Five and Six, providing an overall interpretation of the psychoacoustics of articulation.

ISBN: 0493591419Subjects--Topical Terms:

516178
Music.

The psychoacoustics of musical articulation.
LDR:02552nam 2200289 a 45 001 931318
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035 $a (UnM)AAI3045253
035 $a AAI3045253
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100 1 $a Spiegelberg, Scott Charles. $3 1254860
245 1 0 $a The psychoacoustics of musical articulation.
300 $a 263 p.
500 $a Source: Dissertation Abstracts International, Volume: 63-02, Section: A, page: 0415.
500 $a Supervisor: David Headlam.
502 $a Thesis (Ph.D.)--The University of Rochester, Eastman School of Music, 2002.
520 $a This dissertation develops psychoacoustical definitions of notated articulations, the necessary first step in articulation research. This research can be useful to theorists interested in timbre analysis, the psychology of performance, analysis and performance, the psychology of style differentiation, and performance pedagogy. An explanation of wavelet transforms precedes the development of new techniques for analyzing transient sounds. A history of timbre perception research reveals the inadequacies of current sound segmentation models, resulting in the creation of a new model, the Pitch/Amplitude/Centroid Trajectory (PACT) model of sound segmentation. The new analysis techniques and PACT model are used to analyze recordings of performers playing a melodic fragment in a series of notated articulations. Statistical tests showed that the performers generally agreed on the interpretation of five different articulation groups. A cognitive test of articulation similarity, using musicians and non-musicians as participants, revealed a close correlation between similarity judgments and physical attributes, though additional unknown factors are clearly present. A second psychological test explored the perceptual salience of articulation notation, by asking musically-trained participants to match stimuli to the same notations the performers used. The participants also marked verbal descriptors for each articulation, such as short/long, sharp/dull, loud/soft, harsh/gentle, and normal/extreme. These results were matched against the results of Chapters Five and Six, providing an overall interpretation of the psychoacoustics of articulation.
590 $a School code: 0891.
650 4 $a Music. $3 516178
650 4 $a Physics, Acoustics. $3 1019086
650 4 $a Psychology, Cognitive. $3 1017810
690 $a 0413
690 $a 0633
690 $a 0986
710 2 0 $a The University of Rochester, Eastman School of Music. $3 1250031
773 0 $t Dissertation Abstracts International $g 63-02A.
790 $a 0891
790 1 0 $a Headlam, David, $e advisor
791 $a Ph.D.
792 $a 2002
856 4 0 $u http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3045253