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Physics - Classical Continuum Physics | Analysis, Synthesis, and Perception of Musical Sounds - The Sound of Music

Analysis, Synthesis, and Perception of Musical Sounds

The Sound of Music

Beauchamp, James (Ed.)

2007, XXIV, 325 p.

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Analysis, Synthesis, and Perception of Musical Sounds contains a detailed treatment of basic methods for analysis and synthesis of musical sounds, including the phase vocoder method, the McAulay-Quatieri frequency-tracking method, the constant-Q transform, and methods for pitch tracking with several examples shown. Various aspects of musical sound spectra such as spectral envelope, spectral centroid, spectral flux, and spectral irregularity are defined and discussed. One chapter is devoted to the control and synthesis of spectral envelopes. Two advanced methods of analysis/synthesis are given: "Sines Plus Transients Plus Noise" and "Spectrotemporal Reassignment" are covered. Methods for timbre morphing are given. The last two chapters discuss the perception of musical sounds based on discrimination and multidimensional scaling timbre models.

Content Level » Research

Keywords » Jim Beauchamp - Phase - Wave - computer music - digital audio - music information retrieval - music perception and cognition - musical acoustics - signal analysis

Related subjects » Classical Continuum Physics - Information Systems and Applications - Signals & Communication

Table of contents 

Analysis and Synthesis of Musical Instrument Sounds: Analysis/Synthesis Methods.Analysis Results using SNDAN.Summary.- Fundamental Frequency Tracking and Applications to Music Signal Analysis: Introduction to Musical Signal Analysis in the Frequency Domain.Calculation of a Constant-Q Transform for Musical Analysis.Musical Fundamental Frequency Tracking using a Pattern Recognition Method.High-Resolution Frequency Calculation Based on Phase Differences.Applications of the High-Resolution Pitch Tracker.Summary and Conclusions.- Beyond Traditional Sampling Synthesis: Real-Time Timbre Morphing using Additive Synthesis: Introduction.Additive Synthesis Model.Additive Sound Analysis.Navigating Source Timbres: Timbre Control Space.New Possibilities for the Performer: the Continuum Fingerboard.Final Summary.- A Compact and Malleable Sines + Transients + Noise Model for Sound: Introduction.System Overview.Multi-Resolution Sinusoidal Modeling.Transform-Cided Transients.Noise Modeling.Applications.Conclusions.Acknowledgement.- Spectral Envelopes and Additive + Residual Analysis/Synthesis: Introduction.Spectral Envelopes and Source-Filter Models.Spectral Envelope Estimation Methods.Representation of Spectral Envelopes.Transcoding and Manipulation of Spectral Envelopes.Synthesis with Spectral Envelopes.Applications.Conclusions.Summary.- A Comparison of Wavetable and FM Data Reduction Methods for Resynthesis of Musical Sounds: Introduction.Evaluation of Wavetable and FM Methods.Comparison of Wavetable and FM Methods.Results.Conclusions.- The Effect of Dynamic Acoustical Features on Musical Timbre: Introduction.Global Time-Envelope and Spectral Parameters.The Experimental Control of Acoustical Variables.Conclusions and Directions for Future Research.- Mental Representation of the Timbre of Complex Sounds: Timbre: A Problematic Definition.The Notion of Timbre Space.Categories of Timbre.Conclusions.

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