Vibrato of saxophones

Several alto saxophone players' vibratos have been recorded. The signals are analyzed using time-frequency methods in order to estimate the frequency modulation (vibrato rate) and the amplitude modulation (vibrato extent) of each vibrato sample. Some parameters are derived from the results in order to separate the two ways of vibrato playing: vibrato "à la machoire" and vibrato "sur l'air." Moreover, time domain simulations of single-reed instrument vibratos are created. The model is controlled by two parameters: the mouth overpressure and a parameter characterizing the reed-mouthpiece system. Preliminary comments and comparisons between the simulated vibratos and recorded vibratos results are made.     

Acoustical Comparison Between Samples of Good and Poor Vibrato in Singers

The purpose of this research was to analyze samples of frequency vibrato taken from recordings of eight different singers, which were classified as examples of good or poor singing. The samples were analyzed by a software package, which makes use of the linear prediction coding (LPC) method to determine the time varying rate and extent of the frequency vibrato wave. Four parameters, which relate to the periodicity of the samples, were extracted from the time varying rate and extent and investigated in order to verify or reject the hypothesis that the best vibrato samples were the most symmetric ones. Ten samples per singer were analyzed, 5 good and 5 poor, for a total of 80 samples. The results show that the samples judged as good were the most periodic ones.     

Perceiving pitch absolutely: Comparing absolute and relative pitch possessors in a pitch memory task

Background  

The perceptual-cognitive mechanisms and neural correlates of Absolute Pitch (AP) are not fully understood. The aim of this fMRI study was to examine the neural network underlying AP using a pitch memory experiment and contrasting two groups of musicians with each other, those that have AP and those that do not.     

Dial A440 for absolute pitch: absolute pitch memory by non-absolute pitch possessors

Listeners without absolute (or "perfect") pitch have difficulty identifying or producing isolated musical pitches from memory. Instead, they process the relative pattern of pitches, which remains invariant across pitch transposition. Musically untrained non-absolute pitch possessors demonstrated absolute pitch memory for the telephone dial tone, a stimulus that is always heard at the same absolute frequency. Listeners accurately classified pitch-shifted versions of the dial tone as "normal," "higher than normal" or "lower than normal." However, the role of relative pitch processing was also evident, in that listeners' pitch judgments were also sensitive to the frequency range of stimuli.     

Vibrato rate and extent in soprano voice: a survey on one century of singing

This work presents a statistical study of vibrato parameters in soprano voices. More than one hundred recordings of the same tone sung by 75 artists have been analyzed. Vibrato rate and extent, tone length and intonation, together with their correlations are the main parameters under examination. The study shows a clear decrease of the mean vibrato rate during the last century (-1.8±0.3 Hz/century), together with an increase of vibrato extent (56.4±0.3cent/century). Vibrato rate and extent show a statistically significant negative correlation (r=-0.62). Vibrato rate increase near the end of the tone has been observed too, in agreement with previous measurements, together with a mean increase of the pitch of the tone. A small positive correlation has been also found among note duration and vibrato extent.     

Musical pitch of two-tone complexes and predictions by modern pitch theories.

Most studies of the musical pitch of harmonic tone complexes have utilized signals comparing two or more successive harmonics. The present study provides systematic data on melodic interval recognition by three musically experienced subjects with sounds whose missing fundamentals were represented by two nonsuccessive harmonics nf0,(n + m)f0, delivered to separate ears. Data were obtained in the ranges 1 less than or equal to n less than or equal to 9, 2 less than or equal to m less than or equal to 4, and 200 Hz less than or equal to f0 less than or equal to 1000 Hz. The data are interpreted in the light of three theories, the "optimum processor theory," the "virtual pitch theory," and the "pattern transformation theory." For each theory, a constraint on preformance is proposed based on interference between the "analytic" and "synthetic" pitch perception modes. The former is obtained with large spacings between harmonics, where listeners are more likely to perceive harmonics as individual tones, each having their own pitch. This degrades the listener's ability to hear the fundamental pitch.     

Acoustic characteristics of vocal oscillations: Vibrato, exaggerated vibrato, trill, and trillo

Acoustic analysis was performed on recordings of 10 early music singers producing examples of vibrato, exaggerated vibrato, whole-tone trill, and trillo to obtain measures of oscillation rate, frequency extent, and jitter. Oscillation rates for vibrato, exaggerated vibrato, and trill were similar, but trillo rate was much faster. Average frequency extent of oscillation was 1 semitone (st) for vibrato, 2.21 st for exaggerated vibrato, 2.71 st for whole-tone trill, and 1.64 st for trillo. Jitter measures indicated that exaggerated vibrato had the most stable oscillations and trillo the least.     

Dead regions and pitch perception

The perception of pitch for pure tones with frequencies falling inside low- or high-frequency dead regions (DRs) was examined. Subjects adjusted a variable-frequency tone to match the pitch of a fixed tone. Matches within one ear were often erratic for tones falling in a DR, indicating unclear pitch percepts. Matches across ears of subjects with asymmetric hearing loss, and octave matches within ears, indicated that tones falling within a DR were perceived with an unclear pitch and/or a pitch different from "normal" whenever the tones fell more than 0.5 octave within a low- or high-frequency DR. One unilaterally impaired subject, with only a small surviving region between 3 and 4 kHz, matched a fixed 0.5-kHz tone in his impaired ear with, on average, a 3.75-kHz tone in his better ear. When asked to match the 0.5-kHz tone with an amplitude-modulated tone, he adjusted the carrier and modulation frequencies to about 3.8 and 0.5 kHz, respectively, suggesting that some temporal information was still available. Overall, the results indicate that the pitch of low-frequency tones is not conveyed solely by a temporal code. Possibly, there needs to be a correspondence between place and temporal information for a normal pitch to be perceived.     

Infant pitch perception: evidence for responding to pitch categories and the missing fundamental

While numerous studies on infant perception have demonstrated the infant's ability to discriminate sounds having different frequencies, little research has evaluated more sophisticated pitch perception abilities such as perceptual constancy and perception of the missing fundamental. In the present study 7-8-month-old infants demonstrated the ability to discriminate harmonic complexes from two pitch categories that differed in pitch by approximately 20% (e.g., 160 vs 200 Hz). Using a visually reinforced conditioned head-turning paradigm, a number of spectrally different tonal complexes that contained varying harmonic components but signaled the same two pitch categories were presented. After learning the basic pitch discrimination, the same infants learned to categorize spectrally different tonal complexes according to the pitches signaled by their fundamental frequencies. That is, the infants showed evidence of perceptual constancy for the pitch of harmonic complexes. Finally, infants heard tonal complexes that signaled the same pitch categories but for which the fundamental frequency was removed. Infants were still able to categorize the harmonic complexes according to their pitch categories. These results suggest that by 7 months of age infants show fairly sophisticated pitch perception abilities similar to those demonstrated by adults.     

Light-controlled helical pitch and dynamic gratings

A chiral nematic liquid crystal (LC) with a photo-sensitive chiral agent is employed for a light-controlled modulation of optical activity and used as a model substance for a dynamic diffraction grating recording. The described liquid crystalline system has shown a strong nonlinear response with effective parameter of cubic nonlinearity being much greater of that characteristic of the orientational nonlinearity of LC. A simple mathematical model of light diffraction on the grating of modulated optical activity was developed. Calculated values of intensities and polarisation states of diffracting beams have shown very good agreement with the experimental data. LC systems with light-controlled chirality could be promising media for nonlinear optical applications or all-optical switching devices.     

Binaural coherence edge pitch

The binaural coherence edge pitch (BICEP) is a dichotic broadband noise pitch effect similar to the binaural edge pitch (BEP). The BICEP stimulus is made by summing spectrally dense sine wave components with random phases. The interaural phase angle is a constant (0 or pi) for components with frequencies below (or above) a chosen edge frequency, and it is a random variable for the remaining components. The chosen edge frequency is a coherence edge because the noises to the two ears are mutually coherent within any band of frequencies on one side of the edge and they are mutually incoherent in any band on the other side. Pitch-matching experiments show that the BICEP exists for coherence edge frequencies between about 300 and 1000 Hz. It is matched by a pure-tone frequency that differs from the edge frequency by 5% to 10%. The matching frequency lies on the incoherent side of the edge, an important result that is consistent with the way that the equalization-cancellation model has been applied to binaural pitch effects, especially the BEP. The results of BICEP experiments depend upon whether the coherent components are presented in 0 or pi interaural phase for some listeners but not for all. The BICEP persists if the noise to one of the ears is delayed, but it becomes weaker and less well matched as the delay increases beyond 2 ms. The BICEP does not depend on whether the component amplitudes are all created equal or are given a Rayleigh distribution. Some reliable pitch sensation exists even when the component amplitudes are entirely independent in the two ears, so long as the phase coherence conditions of the BICEP stimulus are maintained. The existence of the BICEP is a challenge for current models of dichotic pitch because none of them predicts all its features.     

Temporal pitch perception and the binaural system

Two experiments examined the relationship between temporal pitch (and, more generally, rate) perception and auditory lateralization. Both used dichotic pulse trains that were filtered into the same high (3,900-5,400-Hz) frequency region in order to eliminate place-of-excitation cues. In experiment 1, a 1-s periodic pulse train of rate Fr was presented to one ear, and a pulse train of rate 2Fr was presented to the other. In the "synchronous" condition, every other pulse in the 2Fr train was simultaneous with a pulse in the opposite ear. In each trial, subjects concentrated on one of the two binaural images produced by this mixture: they matched its perceived location by adjusting the interaural level difference (ILD) of a bandpass noise, and its rate/pitch was then matched by adjusting the rate of a regular pulse train. The results showed that at low Fr (e.g., 2 Hz), subjects heard two pulse trains of rate Fr, one in the "higher rate" ear, and one in the middle of the head. At higher Fr (>25 Hz) subjects heard two pulse trains on opposite sides of the midline, with the image on the higher rate side having a higher pitch than that on the "lower rate" side. The results were compared to those in a control condition, in which the pulses in the two ears were asynchronous. This comparison revealed a duplex region at Fr > 25 Hz, where across-ear synchrony still affected the perceived locations of the pulse trains, but did not affect their pitches. Experiment 2 used a 1.4-s 200-Hz dichotic pulse train, whose first 0.7 s contained a constant interaural time difference (ITD), after which the sign of the ITD alternated between subsequent pulses. Subjects matched the location and then the pitch of the "new" sound that started halfway through the pulse train. The matched location became more lateralized with increasing ITD, but subjects always matched a pitch near 200 Hz, even though the rate of pulses sharing the new ITD was only 100 Hz. It is concluded from both experiments that temporal pitch perception is not driven by the output of binaural mechanisms.     

Analytic and synthetic pitch of two-tone complexes

An experiment was performed in which subjects had to judge whether the pitch of two sequential sounds went up or down. The sounds were harmonic two-tone complexes. They were constructed in such a way that the frequency of one harmonic remained fixed, the frequency of the other went up or down, and the missing fundamental moved in the opposite direction. Results show that, for partials of low harmonic order, most subjects tend to follow the frequency of the moving partial, whereas for partials of order 6 or higher, responses are divided more or less equally between tracking of the moving partial and tracking of the missing fundamental.     

Comparative learning of pitch and loudness identification

This study investigated possible similarities between the ability to identify pitches and the ability to identify loudnesses. Systematic training of musically naive subjects indicated that frequency identification performance improves at about the same rate as intensity identification performance. Examination of frequency and intensity identification behavior of musically trained subjects showed that their ability to code pitch information efficiently does not generalize to an ability to encode loudness information more efficiently than untrained subjects. Intensity identification training curves of musically trained and untrained subjects are similar, but final performance levels are below frequency identification performance levels exhibited by musically trained subjects, especially those with absolute pitch.