When timbre blends musically: perception and acoustics underlying orchestration and performance
Notice bibliographique
Résumé
Blending or contrasting instrumental timbres are common techniques employed in orchestration.Both bear a direct relevance to the perceptual phenomenon of auditory fusion, which in turn depends on a series of acoustical cues.Whereas some cues relate to musical aspects, such as timing and pitch relationships, instrumentation choices more likely concern the acoustical traits of instrument timbre.Apart from choices made by composers and orchestrators, the success of timbre blending still depends on precise execution by musical performers, which argues for its relevance to musical practice as a whole.This thesis undertakes a comprehensive investigation aiming to situate timbre blend in musical practice, more specifically addressing the perceptual effects and acoustical factors underlying both orchestration and performance practice.Three independent studies investigated the perception of blend as a function of factors related to musical practice, i.e., those derived from musical context and realistic scenarios (e.g., pitch relationships, leadership in performance, room acoustics).The first study establishes generalized spectral descriptions for wind instruments, which allow the identification of prominent features assumed to function as their timbral signatures.Two listening experiments investigate how these features affect blend by varying them in frequency, showing a critical perceptual relevance.The second study considers two other listening experiments, which evaluate perceived blend for instrument combinations in dyads and triads, respectively.Correlational analyses associate the obtained blend measures with a wide set of acoustic measures, showing that blend depends on pitch and temporal relationships as well as the previously identified spectral features.The third study extends the previous ones, addressing factors related to musical performance by investigating the timbral adjustments performers employ in blending with one another, as well as their interactive relationship.Timbral adjustments can be shown to be made towards the musician leading the performance.All studies contribute to a greater understanding of blend as it applies to musical and orchestration practice.Their findings expand previous research and provide possible explanations for discrepancies between hypotheses made in the past.Together, the conclusions drawn allow us to propose a general perceptual theory for timbre blend as it applies to musical practice, which considers the musical material and spectral relationships among instrument timbres as the determining factors. of me and guiding me around potential pitfalls, and IDMIL for the many lusophone friends I have made over the years.Writing this thesis has been rather smooth, and I owe it to the persons introducing me to L A T E X and those improving the experience, namely, Mark Zadel, Finn Upham, and Marcello Giordano.Across the road at the Centre for Interdisciplinary Research in Music Media and Technology (CIRMMT), I would first like to thank Scott Levine, formerly with the Sound Recording Area, whose technical contribution to Experiment 5 has been invaluable to its success, which reached a scope of complexity impossible to realize alone and in such a short time.I would also like to thank Martha de Francisco for her co-supervision of Scott's
Récupéré en direct depuis OpenAlex et désinversé. Les résumés ne sont pas conservés dans cette base de données : les index inversés représentent 8,6 Go des 9,3 Go de texte de la base, et le serveur dispose de 13 Go libres.
Comment cette classification a été obtenuedéplier
Prédiction distillée sur la base complète
Imitation des enseignantsNi prévalence calibrée, ni vérité terrain. Validation humaine à venir. Apprise à partir de 10 348 étiquettes directes de Codex et de 10 348 étiquettes directes de Gemma. Le mode candidate est l'union des têtes enseignantes seuillées; le consensus est leur intersection. Ces sorties portent le statut machine_predicted_unvalidated et ne sont ni des étiquettes humaines ni des étiquettes directes de modèles de pointe.
Scores Codex et Gemma par catégorie
| Catégorie | Codex | Gemma |
|---|---|---|
| Métarecherche | 0,001 | 0,000 |
| Méta-épidémiologie (sens strict) | 0,001 | 0,001 |
| Méta-épidémiologie (sens large) | 0,001 | 0,000 |
| Bibliométrie | 0,000 | 0,000 |
| Études des sciences et des technologies | 0,001 | 0,000 |
| Communication savante | 0,000 | 0,001 |
| Science ouverte | 0,001 | 0,000 |
| Intégrité de la recherche | 0,001 | 0,001 |
| Charge utile insuffisante (le modèle a refusé de juger) | 0,000 | 0,000 |
Scores machine (provisoires)
Les deux têtes enseignantes du modèle étudiant, lues sur ce travail. Un score ordonne la base pour la relecture; il n'affirme jamais une catégorie, et le statut de validation accompagne chaque rangée tel quel.
Scores de référence d'un modèle non mature (critères de maturité non atteints, 7 itérations). Un score ordonne; il n'affirme jamais une catégorie.
score_only:v0-immature-baseline · tel quel depuis la passe de notation : score_only signifie que le nombre peut ordonner les travaux, et qu'aucune étiquette de catégorie n'en découleClassification
machine, non validéePrédiction automatique; un appel candidat d’une seule tête enseignante, pas un consensus.
Le détail, modèle par modèle et score par score, se trouve en fin de page sous « Comment cette classification a été obtenue ».