AW: dissonance modelling; virtual pitch x harmonicity x tonal fusion x roughness ("reinifrosch@xxxxxxxx" )


Subject: AW: dissonance modelling; virtual pitch x harmonicity x tonal fusion x roughness
From:    "reinifrosch@xxxxxxxx"  <reinifrosch@xxxxxxxx>
Date:    Thu, 24 Mar 2011 12:03:07 +0000
List-Archive:<http://lists.mcgill.ca/scripts/wa.exe?LIST=AUDITORY>

------=_Part_2035_17507445.1300968187596 Content-Type: text/plain; charset=UTF-8 Content-Transfer-Encoding: quoted-printable Hello Alex, In October 2007, I gave an invited talk at the Canadian-Acoustical-Society = meeting in Montreal, "Psycho-Acoustic Experiments on the Sensory Consonance= of Musical Two-Tones". That paper (which contains a section "A Modified Co= nsonance Theory") appeared in the Journal Canadian Acoustics, Vol. 35 No. 3= (2007) 38-45. Reinhart.=20 Reinhart Frosch, Dr. phil. nat., CH-5200 Brugg. reinifrosch@xxxxxxxx . ----Urspr=C3=BCngliche Nachricht---- Von: porres@xxxxxxxx Datum: 23.03.2011 18:39 An: <AUDITORY@xxxxxxxx> Betreff: dissonance modelling; virtual pitch x harmonicity x tonal fusion x= roughness Dear list, Hi, I'm a composer that deals with computers and I've been developing tools= for dissonance models, but basically roughness. Let me draw you the notion I got by checking the literature of dissonance m= odelling and raise questions from it. I'm aware that roughness accounts as the main aspect of what is so called s= ensory consonance/dissonance or "tonal consonance", which are terms that ex= clude from it the notion of dissonance being influenced by cultural aspects= and, therefore, is opposed to what you'd normally call "musical dissonance= ". Hence, the attributes of sensory dissonance can be measured and analyzed= regardless of "musical context" or even in "non-musical sounds". Nonetheless, there are studies that look into perceptual principals of musi= cal sounds in musical contexts, such as the book "Harmony, a Psychoacoustic= al Approach", which is based a lot on the work of Terhardt. It makes a diff= erent distinction of "Sensory" Versus "Cultural", but under the umbrella of= "Sensory" does include more than just a strictly physiological/innate appr= oach, so it is not the same pricipal I would say as "sensory dissonance" us= ually refers to. this is in line with Terhardt's distinction of perceptual = aspects that musical dissonance depends on. He divides in mainly two catego= ries, "sensory dissonance" in its common meaning, plus "harmony". Anyway, I'm going for this approach and trying to gather many psychoacousti= c attributes and models to model "musical dissonance". Going back to sensory dissonance (basically roughness), it's been usually o= pposed to an aspect such as Stumpf's "Tonal Fusion" - as in DeWitt, Crowder= 1987. I've also seen the composer Clarence Barlow develop a model of "Harm= onicity". I like the work of Terhardt and Parncutt as a starting point for my develop= ments, but I don't see any mentioning of harmonicity or tonal fusion, and I= wonder if Virtual Pitch Theory is an equivalent of those. Could it be so?= =20 I know that Huron presents elements such as Virtual Pitch, Tonal Fusion, To= nalness, Roughness altogether in "Tone And Voice", but they are presented s= eparately. I would like to make a review of the literature. Departuring from Terhardt/= Parncutt and also put on the table things like Harmonicity/Tonal Fusion or = even other stuff. but also making connections and writting about their inte= rplay. Has anyone ever done this? Any papers out there that discusses this moreove= r? Thanks a lot Alex ------=_Part_2035_17507445.1300968187596 Content-Type: text/html;charset="UTF-8" Content-Transfer-Encoding: quoted-printable <html><head><style type=3D'text/css'> <!-- div.bwmail { background-color:#ffffff; font-family: Trebuchet MS,Arial,Helv= etica, sans-serif; font-size: small; margin:0; padding:0;} div.bwmail p { margin:0; padding:0; } div.bwmail table { font-family: Trebuchet MS,Arial,Helvetica, sans-serif; f= ont-size: small; } div.bwmail li { margin:0; padding:0; } --> </style> </head><body><div class=3D'bwmail'><P><FONT size=3D2>Hello Alex,</FONT></P> <P><FONT size=3D2>In October 2007, I gave an invited talk at the Canadian-A= coustical-Society meeting in Montreal, "Psycho-Acoustic Experiments on the = Sensory Consonance of Musical Two-Tones". That paper (which contains a sect= ion "A Modified Consonance Theory") appeared in the Journal Canadian Acoust= ics,&nbsp;Vol. 35 No. 3 (2007) 38-45.</FONT></P> <P><FONT size=3D2>Reinhart.&nbsp;<BR><BR>Reinhart Frosch,<BR>Dr. phil. nat.= ,<BR>CH-5200 Brugg.<BR>reinifrosch@xxxxxxxx .</FONT></P> <BLOCKQUOTE><FONT size=3D2>----Urspr=C3=BCngliche Nachricht----<BR>Von: por= res@xxxxxxxx<BR>Datum: 23.03.2011 18:39<BR>An: &lt;AUDITORY@xxxxxxxx= A&gt;<BR>Betreff: dissonance modelling; virtual pitch x harmonicity x tonal= fusion x roughness<BR><BR>Dear list,</FONT> <DIV><BR></DIV> <DIV><FONT size=3D2>Hi, I'm a composer that deals with computers and I've b= een developing tools for dissonance models, but basically roughness.</FONT>= </DIV> <DIV><FONT size=3D2><BR></FONT></DIV> <DIV><FONT size=3D2>Let me draw you the notion I got by checking the litera= ture of dissonance modelling and raise questions from it.</FONT></DIV> <DIV><FONT size=3D2><BR></FONT></DIV> <DIV><FONT size=3D2>I'm aware that roughness accounts as the main aspect of= what is so called sensory consonance/dissonance or "tonal consonance", whi= ch are terms that exclude from it the notion of dissonance being influenced= by cultural aspects and, therefore, is opposed to what you'd normally call= "musical dissonance". Hence, the attributes of sensory dissonance can be m= easured and analyzed regardless of "musical context" or even in "non-musica= l sounds".</FONT></DIV> <DIV><FONT size=3D2><BR></FONT></DIV> <DIV><FONT size=3D2>Nonetheless, there are studies that look into perceptua= l principals of musical sounds in musical contexts, such as the book "Harmo= ny, a Psychoacoustical Approach", which is based a lot on the work of Terha= rdt. It makes a different distinction of "Sensory" Versus "Cultural", but u= nder the umbrella of "Sensory" does include more than just a strictly physi= ological/innate approach, so it is not the same pricipal I would say as "se= nsory dissonance" usually refers to. this is in line with Terhardt's distin= ction of perceptual aspects that musical dissonance depends on. He divides = in mainly two categories, "sensory dissonance" in its common meaning, plus = "harmony".</FONT></DIV> <DIV><FONT size=3D2><BR></FONT></DIV> <DIV><FONT size=3D2>Anyway, I'm going for this approach and trying to gathe= r many psychoacoustic attributes and models to model "musical dissonance".<= /FONT></DIV> <DIV><FONT size=3D2><BR></FONT></DIV> <DIV><FONT size=3D2>Going back to sensory dissonance (basically roughness),= it's been usually opposed to an aspect such as Stumpf's "Tonal Fusion" - a= s in DeWitt, Crowder 1987. I've also seen the composer Clarence Barlow deve= lop a model of "Harmonicity".</FONT></DIV> <DIV><FONT size=3D2><BR></FONT></DIV> <DIV><FONT size=3D2>I like the work of Terhardt and Parncutt as a starting = point for my developments, but I don't see any mentioning of harmonicity or= tonal fusion, and I wonder if Virtual Pitch Theory is an equivalent of tho= se. Could it be so?&nbsp;</FONT></DIV> <DIV><FONT size=3D2><BR></FONT></DIV> <DIV><FONT size=3D2>I know that Huron presents elements such as Virtual Pit= ch, Tonal Fusion, Tonalness, Roughness altogether in "Tone And Voice", but = they are presented separately.</FONT></DIV> <DIV><FONT size=3D2><BR></FONT></DIV> <DIV><FONT size=3D2>I would like to make a review of the literature. Depart= uring from Terhardt/Parncutt and also put on the table things like Harmonic= ity/Tonal Fusion or even other stuff. but also making connections and writt= ing about their interplay.</FONT></DIV> <DIV><FONT size=3D2><BR></FONT></DIV> <DIV><FONT size=3D2>Has anyone ever done this? Any papers out there that di= scusses this moreover?</FONT></DIV> <DIV><FONT size=3D2><BR></FONT></DIV> <DIV><FONT size=3D2>Thanks a lot</FONT></DIV> <DIV><FONT size=3D2>Alex</FONT></DIV></BLOCKQUOTE></div></body></html> ------=_Part_2035_17507445.1300968187596--


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