Analysis and evaluation of irregularity in pitch vibrato for string-instrument tones (Record no. 2643)
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| fixed length control field | 02599nam a22001577a 4500 |
| 003 - CONTROL NUMBER IDENTIFIER | |
| control field | OSt |
| 005 - DATE AND TIME OF LATEST TRANSACTION | |
| control field | 20160817150404.0 |
| 008 - FIXED-LENGTH DATA ELEMENTS--GENERAL INFORMATION | |
| fixed length control field | 160817b xxu||||| |||| 00| 0 eng d |
| 040 ## - CATALOGING SOURCE | |
| Transcribing agency | National Acoustics Laboratories |
| 100 ## - MAIN ENTRY--PERSONAL NAME | |
| Personal name | Martens, William L |
| 245 ## - TITLE STATEMENT | |
| Title | Analysis and evaluation of irregularity in pitch vibrato for string-instrument tones |
| 520 3# - SUMMARY, ETC. | |
| Summary, etc | In describing musical performances, the use of the term vibrato can imply any periodic (or quasi-periodic) fluctuation in pitch, amplitude, or timbre of a sustained musical tone. The current study focused only upon analysis and evaluation of ‘pitch vibrato’ observed in recorded performances on a number of string instruments (three violins, a viola, a cello, and a bass violin). In order to gain a better understanding of the identifiable auditory attributes associated with the perception of pitch vibrato as performed, a multi-parameter vibrato synthesis algorithm was employed in the creation of a set of stimuli for evaluation by human listeners. Besides rate and depth of pitch modulation, a third parameter was included in the synthesis that allowed for a manipulation of the quasi-periodic nature of simulated vibrato intended to mimic performed vibrato. Control for this third parameter, effectively capturing the amount of irregularity in pitch modulation, was enabled via adjustment of the Q value of a resonant low-pass filter that was used to either spread or concentrate a modulation signal’s energy around the nominal pitch modulation frequency (vibrato rate). A high Q value was associated with pitch modulation that sounded very regular, practically sinusoidal at the sub-audio vibrato rate (when the Q value exceeded around 30). Lower Q values were associated with irregular sounding pitch modulation that was heard as more rough, and could become very rough at the lowest Q values (below Q=3). Performances recorded without substantial pitch vibrato were processed via a delay-modulation algorithm that employed a collection of the synthesized modulation signals in an attempt to match the character and quality of vibrato performances recorded on the same instruments. A group of fifteen listeners was employed to determine how detectably different the synthetic vibrato was as the Q value was varied, and to what extent changes in Q value influenced the perceived ‘fluctuation strength’ of the synthetic vibrato. |
| 773 ## - HOST ITEM ENTRY | |
| Title | Acoustics 2015 Hunter Valley 15-18 November 2015 |
| 856 ## - ELECTRONIC LOCATION AND ACCESS | |
| Uniform Resource Identifier | <a href="http://dspace.nal.gov.au/xmlui/bitstream/handle/123456789/458/p126.pdf?sequence=1&isAllowed=y">http://dspace.nal.gov.au/xmlui/bitstream/handle/123456789/458/p126.pdf?sequence=1&isAllowed=y</a> |
| 942 ## - ADDED ENTRY ELEMENTS (KOHA) | |
| Source of classification or shelving scheme | Universal Decimal Classification |
| Koha item type | Journal article |
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