p a p e r s
i n v i t e d p r e s e n t a t i o n s
Kendall, R.A. and Vassilakis, P.N. (2010). Perception
and acoustical analyses of traditionally orchestrated musical structures
versus non-traditional counterparts. J. Acoust. Soc. Am.,
128(4/2): 2344 (presented at the 160th meeting of the Acoustical Society
of America / 7th Iberoamerican Congress of Acoustics / 17th Mexican
Congress on Acoustics, Cancun, Mexico)
[Invited presentation - Special session on Musical Acoustics:
Analysis, Synthesis, & Perception of Musical Sounds II.]
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Abstract
Many studies use single tone or dyadic unison stimuli in the exploration of
musical timbre. Musical contexts, however, often employ larger numbers of
simultaneous voices. Recently, we have conducted perceptual acoustical
studies of consonance, dissonance, and roughness in multitimbral triads
often finding that chord quality (major, minor, diminished, augmented) had
perceptual primacy over timbre. The present research extends this work to
include major and minor triads in similarity scaling, blend, and
identification experiments. In addition, four tone chords were orchestrated
according to procedures articulated in orchestration texts: juxtaposition,
interlocking, enclosure, and overlapping. Sampled instrument tones (Sibelius
Kontakt) of oboe, flute, and clarinet were used, allowing comparison to
previous research, and nontraditional combinations with saxophone and
trumpet were included. Triads with each tone assigned a different timbre
provided nontraditional orchestrations to be compared and contrasted with
traditional orchestrations that duplicated timbres within a chord.
Perceptual data were correlated to acoustical analyzes of spectral
distribution and time variancy. |