Re: Theory of Timbre Perception

[Kevin Austin <kevin.austin@xxxxxxxxxxxx>]

I'm not a scientist and not trained in this so others will give you 
real answers. For my (electroacoustic composition) classes I work 
from the ideas closely related to ASA to help students develop 
multi-dimensional hierarchical listening abilities and habits.

The process begins with slowing down sounds without changing their 
spectral / frequency characteristics -- now not difficult to 
accomplish in software. I used to say the word "music" spread out 
over 20 - 30 seconds with high vocal resonance to pick off the 
harmonic gliss in the /i/>/u/ transition. The sound 'separated' (or 
in ASA the integrated became segregated). Bregman's book and others 
cover much of this in some detail.

From my reading, the book focuses more on the "what" happens than the 
"how", and I think your question is about theories of how. My 
personal model begins with the quantization of time (windows, 
multiple levels), and various kinds of spectral templates or masks 
which are applied. I try to convince myself that in teaching hearing, 
there is little I can do to change how the window is created and 
works, but it is possible to teach people new spectral templates. 
Sorry to be 'all art' on this.


Best

Kevin



At 6:24 PM +1000 8/6/07, Chris Share wrote:
> > 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.
>
> That's actually what I was interested in. For example, there are 
> various theories of pitch perception (Place, Timing, Pattern). What 
> I was asking is, are there any equivalent theories regarding timbre 
> perception.
>
> When you say "the 'cognition' side of this process", where does this begin?
>
> Cheers,
>
> Chris