Identifying the number of instruments in pairs of simultaneously sounding timbre
Bibliographic record
Abstract
Timbre as a source o f variation in music has become increasingly important in music composition in recent years.The present study investigated the ability o f listeners to appreciate pairs o f different timbres simultaneously.The stimuli were combinations o f the steady state portions (300 ms) o f three instrumental timbres, including the clarinet, trombone and harp.Forty different pairs were constructed for the four stimulus conditions: three experimental conditions consisting o f the instrumental timbres, and a control condition consisting o f pure tones corresponding to the fundamental frequency of these timbres.Thirty undergraduates, with and without musical training, were required to listen to a total o f 400 randomized tonal stimuli.Their task was to make a judgment on whether they heard one or two instrument(s) after listening to each stimulus.Overall, musicians could perceive two timbres more readily than non-musicians, thus suggesting that musical experience may enhance the perception o f timbre.Performance differences between the groups across conditions are also discussed. r é s u m éCette etude a examine la perception de deux instruments joues en meme temps, les deux instruments etant choisis d 'entre le clarinet, le trombone, et le harp.Les stimuli etait contenus dans deux portions fixes (300 ms) des timbres produits par les instruments choisi.Quarante paires etaient construites pour quatre types des conditions: trois conditions experimentales de timbre instrumental, et une condition controle de pure ton correspondant a la frequance fondamentale de ce timbre.Une trentaine d 'etudiants, avec et sans formation musicale, ont ecoute a un melange de quatre cents stimuli randomises.Les participants devaient identifier si le stimulus presente etait compose d 'un ou de deux instruments de musique.Nous avons trouves que les participants avec une formation musicales etaient en general plus doues.Ceci peut constituer une indication que la formation musicale ameliore l'abilite de reconnaitre des timbres.Une discussion des differences dans le groupe experimental est presente.
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How this classification was reachedexpand
Full frame machine prediction
Teacher imitationNot calibrated prevalence, not ground truth. Human validation pending. The Gemma side is a direct model label for every work in the frame, read from the title-only record. The Codex side is a classifier learned from the 10,348 direct Codex labels and calibrated to design-weighted sample rates; fields without enough sample support carry no Codex call. Candidate is the union of the two sides; consensus is their intersection. These outputs are machine_predicted_unvalidated and are not human labels.
Distilled classifier scores by category (both heads)
| Category | Codex | Gemma |
|---|---|---|
| Metaresearch | 0.001 | 0.004 |
| Meta-epidemiology (narrow) | 0.000 | 0.000 |
| Meta-epidemiology (broad) | 0.000 | 0.000 |
| Bibliometrics | 0.000 | 0.000 |
| Science and technology studies | 0.000 | 0.000 |
| Scholarly communication | 0.001 | 0.001 |
| Open science | 0.000 | 0.001 |
| Research integrity | 0.001 | 0.000 |
| Insufficient payload (model declined to judge) | 0.005 | 0.001 |
Machine scores (provisional)
The two teacher heads of the student model, read on this work. A score orders the frame for review; it never asserts a category, and the validation status ships verbatim with every row.
Baseline scores from an immature model (maturity gate not passed, 7 training rounds). Scores rank; they never assert a category.
score_only:v0-immature-baseline · verbatim from the scoring run: score_only means the number may rank works, and no category label ships from itClassification
machine, unvalidatedMachine predicted; a candidate call from one source (direct Gemma or distilled Codex), not a consensus.
How this classification was reached, model by model and score by score, is at the end of the page under "How this classification was reached".