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Theory of Timbre Perception
Sorry, I don't understand the question. Perhaps this is because we
have different ideas about what 'timbre' is, and maybe, you don't
explain what you mean by 'timbre'.
A concrete example to explain: a clarinet plays its E below middle C,
4 seconds, mezzopiano, crescendo / diminuendo. Do you call this a
A second example: I sing the word "See", G below middle C, 4 seconds,
mezzoforte. Do you hear a single timbre?
As the term psychoacoustics has evolved into perception and
cognition, I would place timbre on the 'cognition' side of this
process, that is, it doesn't exist except as interpreted by the
brain. The first thing I examine is how the sound is segmented. This
is in my experience not easy to generalize and (for example)
http://www.ears.dmu.ac.uk/spip.php?rubrique28 , as with Pierre
Schaeffer (objet sonore
encounters serious difficulties in many real-world situations. My
thinking is that this relates to their attempt to collapse
multi-dimensional and hierarchical processes into a single 'flatland'
Your mileage may vary.
Date: Mon, 6 Aug 2007 13:15:43 +1000
From: Chris Share <cshare01@xxxxxxxxx>
Subject: Theory of Timbre Perception
I'm looking for information related to the mechanism of timbre
perception in human listeners. I realise that timbre perception
relies on the perception of loudness and pitch, however I'm having
trouble finding anything that specifically addresses the theory of
timbre perception (am I Googling in the wrong places?). I'm not
interested in articles on how listeners classify timbre.
Any suggestions would be appreciated.