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Pro Gradu
Rafael Ferrer Flores
Department of Music
University of Jyvskyl
September 2007
JYVSKYLN YLIOPISTO
Tiedekunta - Faculty
Humanities
Laitos - Department
Music
Tekij - Author
Rafael Ferrer Flores
Tyn nimi - Title
The Role of Timre in the Memori!ation of Microtonal "nter#als
$ppiaine - %uject
Music& Mind and Technolo'y
Tyn laji - Le#el
Master(s Thesis
Aika - Month and year
%eptemer )**+
%i#umr - ,umer of pa'es
-.
Tii#istelm - Astract
The aim of this thesis /as to determine if timre has any effect in the memori!ation of
melodic inter#als0 For this purpose& a test /as de#eloped in /hich )1 sujects heard
an inter#al& and after + seconds of silence /ere played three options from /hich they
had to select the ori'inal inter#al0 The sound samples composin' each tar'et inter#al&
had one control and three de'rees of timral modification0 %uch modifications
consisted in alterin' the ori'inal partial structure of the sound samples0 %pectral
Modellin' and Additi#e %ynthesis techni2ues /ere used to reali!e these modifications0
Results su''est that is possile to enhance or impair the aility of e3tractin' cues for
memori!in' inter#als y alterin' timral structure0
Asiasanat - 4ey/ords
timre& memory& ear trainin'
%ilytyspaikka - Depository
Muita tietoja - Additional information
bstract
The aim of this thesis /as to determine if timre has any effect in the
memori!ation of melodic inter#als0 For this purpose& a test /as de#eloped in /hich )1
sujects heard an inter#al& and after + seconds of silence /ere played three options from
/hich they had to select the ori'inal inter#al0 The sound samples composin' each tar'et
inter#al& had one control and three de'rees of timral modification0 %uch modifications
consisted in alterin' the ori'inal partial structure of the sound samples0 %pectral
Modellin' and Additi#e %ynthesis techni2ues /ere used to reali!e these modifications0
Results su''est that is possile to enhance or impair the aility of e3tractin' cues for
memori!in' inter#als y alterin' timral structure0
Table of !ontents
" Intro#$ction%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%&
' Theoretical consi#erations%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%"(
)05 Music education0000000000000000000000000000000000000000000000000000000000000000000000000000000000000000005)
)0505 6ar trainin'00000000000000000000000000000000000000000000000000000000000000000000000000000000000051
)050) "nter#als0000000000000000000000000000000000000000000000000000000000000000000000000000000000000000057
)0) Timre00000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000058
)0)05 Timre and scales000000000000000000000000000000000000000000000000000000000000000000000000005.
)0)0505%pectral shape0000000000000000000000000000000000000000000000000000000000000000000000000000005.
)0)050)9onsonance : Dissonance00000000000000000000000000000000000000000000000000000000000005;
)0)0501%cales0000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000)*
)0)0507Relations et/een timre& consonance and scale000000000000000000000000)5
)01 Memory000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000)7
)0105 A three sta'es in one000000000000000000000000000000000000000000000000000000000000000000000)7
)010505%ensory memory00000000000000000000000000000000000000000000000000000000000000000000000000)7
)01050)%hort-term memory0000000000000000000000000000000000000000000000000000000000000000000000)8
)010501Lon'-term memory0000000000000000000000000000000000000000000000000000000000000000000000)-
)010507<orkin' memory0000000000000000000000000000000000000000000000000000000000000000000000000)-
)010) Memory for timre000000000000000000000000000000000000000000000000000000000000000000000000)-
) *m+irical a++roach%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%',
105 Method00000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000).
10505 Desi'n0000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000).
1050) =articipants000000000000000000000000000000000000000000000000000000000000000000000000000000000000);
10501 Materials00000000000000000000000000000000000000000000000000000000000000000000000000000000000000001*
1050105%timuli0000000000000000000000000000000000000000000000000000000000000000000000000000000000000000001*
Selection..................................................................................................30
Discrimination.........................................................................................31
Analysis...................................................................................................31
Synthesis.................................................................................................35
105010)Apparatus000000000000000000000000000000000000000000000000000000000000000000000000000000000000075
10507 =rocedure0000000000000000000000000000000000000000000000000000000000000000000000000000000000000007)
10508 Results00000000000000000000000000000000000000000000000000000000000000000000000000000000000000000007)
10) Discussion0000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000007-
10)05 Adaptaility000000000000000000000000000000000000000000000000000000000000000000000000000000000007.
10)0) Timre descriptors00000000000000000000000000000000000000000000000000000000000000000000000008*
- !oncl$sions%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%.&
References..............................................................................................................59
Appendix A. Instructive of the experiment............................................................67
Appendix B. Questionnaire....................................................................................68
In#e/ of Ill$strations
Fi'ure 50 Representation of sensory dissonance y =lompt > Le#elt000000000000000000000000000)5
Fi'ure )0 Rou'hness and ratios00000000000000000000000000000000000000000000000000000000000000000000000000000000000000))
Fi'ure 10 63ample of dissonance cur#e computed /ith %ethares( al'orithm0000000000000000)1
Fi'ure 70 Desi'n of the e3periment0000000000000000000000000000000000000000000000000000000000000000000000000000000);
Fi'ure 80 Minima hits from +1 dissonance cur#es0000000000000000000000000000000000000000000000000000000001)
Fi'ure -0 Mean dissonance cur#e for a set of +1 different timres000000000000000000000000000000011
Fi'ure +0 Representation of timre in relation /ith the steps of different scales00000000001+
Fi'ure .0 63ample of adjustment of timral structure0000000000000000000000000000000000000000000000000001.
Fi'ure ;0 %ynthesis types000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000007*
Fi'ure 5*0 Appearance of the e3perimental interface000000000000000000000000000000000000000000000000000075
Fi'ure 550 Accuracy per inter#al00000000000000000000000000000000000000000000000000000000000000000000000000000000000077
Fi'ure 5)0 Accuracy per %ynthesis Type0000000000000000000000000000000000000000000000000000000000000000000000078
Fi'ure 510 Accuracy per "nstrument Type0000000000000000000000000000000000000000000000000000000000000000000007-
Fi'ure 570 Tendency of responses 0000000000000000000000000000000000000000000000000000000000000000000000000000000007+
Fi'ure 580 Histo'ram of responses000000000000000000000000000000000000000000000000000000000000000000000000000000007+
Fi'ure 5-0 Adaptaility per inter#al00000000000000000000000000000000000000000000000000000000000000000000000000000007;
Fi'ure 5+0 $#erall Adaptaility00000000000000000000000000000000000000000000000000000000000000000000000000000000000008*
Fi'ure 5.0 $ne-/ay A,$?A et/een timres of t/o synthesis 'roups (ad( > (s2(00000085
Fi'ure 5;0 $ne-/ay A,$?A et/een timres of t/o synthesis 'roups& t/o data sets81
Fi'ure )*0 9orrelation et/een eha#ioural and acoustical data000000000000000000000000000000000087
Fi'ure )50 %catter plots of rele#ant timral descriptors and eha#ioural data0000000000000088
In#e/ of Tables an# 0orm$las
Table 1. Convergence of ratios from different sources..................................................22
Table 2. Tabulated frequencies for interval selection....................................................34
Table 3. Example of selection of candidates..................................................................36
Table 4. Different combination of subsets to test syntheses type with one-way ANOVA
.........................................................................................................................................45
Formula 1. Computation of ratios for a 12 tone equally tempered system....................20
Formula 2. Relation of partials and steps of a scale......................................................36
7
" Intro#$ction
This /ork has een inspired y the need for hard e#idence o#er the effecti#eness
of traditional practices in music education& in the area of ear trainin' /ithin /estern
culture0 Althou'h the solution for this prolem is o#iously far more comple3 than the
approach that can e co#ered in a sin'le thesis like this& an atomistic approach makes
possile to focus the prolem on the concept of timre and the memory for it0
The concept of timre encloses more 2uestions than ans/ers for the time ein'&
proaly ecause the disentan'lement of its perceptual characteristics in a systematic
2uantitati#e form is a fairly recent /ork0 The modern conception of timre has a
predecessor 'estated durin' the French 6nli'htenment at the hands of @ean =hillipe
Rameau& /ho predicted the e3istence of music uni#ersals in the inner structure of a
sin'le tone0 ,e#ertheless& the possiility to otain some scientific proof for that
conception came some years later as the result of the influence that pro#oked the /ork
of personalities like Fourier& Helmholt!& and Arey& amon' others B/hom are not
mentioned here ecause the intention is to estalish a rief chain of ideas and not doin'
an e3hausti#e historical re#ie/C0
,o/adays in the analysis of timre it can e said that /e ha#e t/o main ranches in the
academic production& one is the approach that uses a #eral description for the soundin'
2ualities of a 'i#en timre& and the second consists in computin' a numerical
description for it0 The first option is the most common used amon' musicians and non-
musicians& and the second is the outcome of research in an area denominated Music
"nformation Retrie#al0 This former ranch pro#ides the niche in /hich this /ork /ould
rest& since /e are interested in searchin' ojecti#e uni#ersals more than particular
differences amon' indi#iduals or 'roups0
6ar trainin' is a #ery important acti#ity of formal musical trainin' in /hich asic skills
of music literacy are de#eloped& for e3ample the necessary ailities for readin':/ritin'
music0 <estern musical tradition has de#eloped a sustantial numer of forms to fulfil
the main ojecti#e of codin' music y cate'ori!in' the sounds& throu'h uildin'
8
minimal construction locks and creatin' a ta3onomy for its physical characteristics0
<ithin this mentioned forms /e picked one that can e presumed as 'eneric& ecause it
can e found in the asic steps of most methodolo'ies0 "t consists in the identification
of melodic inter#als& /hich can e defined as the perceptual distance et/een t/o
consecuti#e musical tones0
"n this task of identifyin' morpholo'ies such as a claimed distance et/een t/o fi3ed
points& the role of memory is the central matter& ecause just as another perceptual
cate'ories like the #isual stimuli e#oked y an sculpture and /hich has its dominion
o#er a constant space& the auditi#e stimuli resultin' from music e3ists only in the
ephemeral present0 "mplyin' /ith this that music has its dominion o#er time and
proposin' that memory can e seen as a human capaility meant to recreate past
e3periences and project them in the futureD just as it is the purpose of learnin'0
The topics mentioned ao#e 'i#es us a frame/ork to e3plore causalities et/een certain
timral characteristics of a 'i#en sound source and the performance of memory&
particularly in the task of recallin' musical dyads0 The main focus is the mnemonic
strate'ies of lon' lastin' effect& just after the short-term memory span0 To this effect /e
run an e3periment in /hich people are asked to memori!e an inter#al& and then after a
period of silence they ha#e to identify the same inter#al et/een three optionsD ein'
t/o of the three options de#iated in tunin' from the ori'inal& and possessin' all the
same timre per trial0 The /hole e3periment consists of -* trials and the construction
of them is three inter#alsE 18*& 88*& +8* cents
5
D fi#e different instrumental sourcesE alto
flute& french horn& ooe& synthetic piano B/hich /e call M"D" pianoC& and o/ed
#iraphoneD and three analysis:adjustment:synthesis methods plus the ori'inal sample0
Thus 'i#in' a cuic matri3 of dimensions 1 3 8 3 7 F -* trials0 The inter#als /ill e
referred as microtonal ecause they fall in a di#ision of the /estern half-tone& /hich is
the standard shortest inter#al traditionally used0 The methodolo'y employed to adjust
the timre is at the core of this /ork ecause in case of succeeded in the first premise
/hich /asE different timres lead to differential mnemonic capailities& the ne3t step
/as to speculate aout /hich kind of modifications /ould lead to those results and /hy0
1 A cent is defined as the hundredth part of a whole tone.
9
The main strate'y consisted in sutractin' the tar'et inter#als from the timral structure
of the tones& ut the entire process is e3plained in detail in section 10501050
The te3t is di#ided mainly in t/o parts& ein' the first the theoretical frame/ork /hich
pro#ides a 'eneral o#er#ie/ and in some cases a plain summary of some /orks related
/ith music education& timre and memory0 The second is a ri'orous empirical
approach& /hich e3plains step y step the e3periment done for this /ork& from the
desi'n& participants and materials to the procedure& results and discussion0
10
' Theoretical consi#erations
A sustantial amount of academic production in music analysis is focused in
/ritten music& and most musicolo'ists /ould a'ree that the in#ention of a set of
symols to code music represented the most important ad#ance in the history of /estern
music0 "t allo/ed the rapid e#olution of music ecause the separation of human and
epistemic ojects BGent > =ople& )**-C0 ,e#ertheless& that code has also a disad#anta'e&
ecause it is just a 'ross representation of the actual sound itself0
The un#eilin' of structure and form is the outcome of analysis& therefore is 'enerally
admitted that music structure relies on rhythm& pitch and timre0 $ther cate'ories can
e considered as the result of the comination of these three features& as it is the case for
melody and harmony0
The set of symols /ritten in a score fitted #ery /ell to study the co'niti#e processes
in#ol#ed in music in terms of rhythm and pitch& ut unfortunately that /as not the case
for music outside those symols& for e3ample the music that makes use of timre as the
main aesthetic resource BFales& )**)& p08+C0
%i'nal processin' technolo'y is related from its semantic ori'in to communication and
codification0 This technolo'y can e seen as a ne/ /ay to represent sounds in a more
accurate /ay& for instance& it is possile to #isuali!e timre chan'es as a function of
time& /hich has permitted speculation aout music structure focusin' on timre features
B<essel& 5;+;C& and /hich 'oes eyond the symolic representation of a sound in a
score& openin' the possiility to understand the role of timre in learnin' music0
<ith the use of ne/ technolo'ies in music education& it is common to find electronic
de#ices in the classroom producin' synthetic sounds& for e3ample in the ear trainin'
class in /hich some teachers also send their students to self-study practices /ith
soft/are made for that specific purpose0 At this point one can speculate aout the
effecti#eness of trainin' the ear /ith one synthetic sound or another& or to e more
specific to understand the characteristics of that sound in order to impro#e the
applications0 $n the other hand it is important to understand that the rele#ance of ear
11
trainin' relies on the fact that it is not the ear that it is actually trained& ut the co'niti#e
schema /hich takes the form of an ima'e in the rain of each indi#idual0 Thus to train
the ear can e e3plained as the impro#ement of precision in music ima'ery /ithin a
particular tonal schema& ecause efore readin'& /ritin'& performin' or analysin' music
one has to make an ima'e of it in the mind B=itt > 9ro/der& 5;;)D Aordon& 5;;+C0
The perception of different timres must lead to the ac2uisition of different ima'es& ut
is there a set of characteristics in timre that can imprint in mind etter than othersH 9an
/e find a 'ood set of timres to impro#e the ear trainin'H "s timre a rele#ant feature in
the optimi!ation of learnin' musicH "s there any especially commendale instrument to
teach the most asic aspects of tonal schemaH
Althou'h research in musical timre has a relati#ely short history& there is crescent
empirical e#idence of its rele#ance for the perception of music0 "n traditional music
education in the /estern culture& the most closely related topic to the study of timre
can e found in the courses of orchestration& ut the approach is ounded to its aesthetic
ori'ins& /hich undoutedly is the result of many years of e#olution in seekin' for
functionality for the senses BHelmholt!& 5;87C0 ,e#ertheless that ar'ued functionality
has een reached throu'h unconscious processes& and the stress in peda'o'ical
applications has een left unattended0 There are of course e3emplar efforts like the
/ork of @a2ues-Dalcro!e& 4odIly& and $rff& /hom specified in their peda'o'ical
methodolo'ies the timres to e used in the early sta'es of musical de#elopment
B9hoksy& Aramson& Aillespie& <oods& Jork& )**5C0 Thou'h this area remains
un2uestioned in a systematic /ay& since there is a lack of literature dealin' for instance&
/ith the differential musical ailities ac2uired y usin' only #oice or the instrumental
set su''ested y $rff0 Furthermore in the area of music education for adults it is ur'ent
to understand ho/ different instruments could optimi!e the musical learnin'& for
e3ample in those countries /ere the official curricula does not contemplate musical
trainin' as an indispensale part of education for the plenary de#elopment of the
indi#iduals0
"n the process of learnin' #ie/ed from the co'niti#e perspecti#e& memory has a central
role not as a container of information& ut as a dynamic unit capale of systemati!e the
perception B=ante#& )**5& p01*5C0 Auditory memory is di#ided in three different
12
cate'ories accordin' /ith the span of retention of percei#ed phenomena0 These three
cate'ories are not isolated locks of processin'& instead& they actually /ork to'ether at
any 'i#en instant& and this interaction recei#es the name of /orkin' memory0 The first
cate'ory is the echoic memory& and it is related /ith e#ents happenin' in no more than
fe/ seconds0 The second is referred to as short-term memory and studies the
phenomena happenin' after the echoic memory and /ithin a time span of appro3imately
. seconds0 And the third is the lon'-term memory& /hich can e considered the most
stale ecause the 2ualities of the information it KretainsL& that can e reconstruction of
e#ents that had happen in the past eyond the domain of short-term memory& or
conditions that had een rehearsed se#eral times0 Lon'-term memory is also related
/ith the idea of schema& /hich is a kind of superior learnin' controllin' the perception
of ne/ phenomena BLeman& 5;;8D %nyder& )***C0
2.1 Music education
Learnin' has t/o sidesD one is the iolo'ical fact of 'enetic herita'e& and the
other has to e /ith the sophistication of strate'ies to take ad#anta'e of that 'enetic
herita'e0 Music has these t/o sides /hen it is learned B=apouMek& )**1C& and for that
reason there is no need to recei#e any special instruction to understand music& althou'h
in order to communicate particular /ays to or'ani!e sounds /e actually do0
"n /estern culture for e3ample& the de'ree of systemati!ation of music has e#ol#ed in
schools speciali!ed in the teachin' of music& and music education is suject to certain
con#entions depicted in the contents of the curricula and in the role of music and
musicians in e#ery society0 Ho/e#er& amon' the o#ious differences et/een each
society& one idea has een preser#ed since the foundations of /estern cultureE not all the
indi#iduals in the society are supposed to ecome producers of music& therefore& it can
e e3pected that amon' the three main musical acti#itiesD composition& performance and
analysis B9hoksy& Aramson& Aillespie& <oods& Jork& )**5C& e#ery person must posses a
fair kno/led'e in at least one of them0 9onse2uently it can e presumed that
alphaeti!ed indi#iduals in /estern /orld ha#e a minimum skill to analyse music
B%erafine& 5;..C0
13
<estern culture and its idea of music education has spread in many parts of the /orld&
ut in each 'eo'raphical re'ion there is a particular set of instruments used& as /ell as
the time dedicated to learn music as a part of 'eneral education BHar'rea#es > ,orth&
)**5C0
Gy considerin' the immense di#ersity of musical sound sources& it is una#oidale to
2uestion if there is no other etter /ay to e educated musically than /ith the traditional
practices 'estated in central 6urope durin' the last millennium0 Moreo#er& it is
imperati#e to ackno/led'e that technolo'y is introducin' in a #ery fast manner ne/
sounds and aesthetic forms& and that /e must e prepared to understand ho/ they /ill
affect our perception of music in the near future0
'%"%" *ar trainin1
There are t/o main sources of music educationD the proper music education that
is reali!ed in the institutions dedicated specifically to education or as a complement of
'eneral education& and the music education implicit in the oral tradition of music0 "n the
institutionali!ed music education ear trainin' is at the core of the curricula for e3ample
in Aermany BHar'rea#es > ,orth& )**5& p07+C& "taly /here one of the main aims is Nto
sharpen percepti#e ailitiesO Bp0+;C and =oland Bp051;C0 A rele#ant data in the case of
Aermany is that 51P of the teachers sur#eyed in 5;;8 had e3perience /ith M"D"
technolo'y in the classroom0
9omputer assisted instruction is an approach in ear trainin'& that has een 'ro/in' for
more than a 2uarter of century& like AQ"D$& /hich /as presented as an "nteracti#e
9omputer-Gased system for "mpro#ement of "nstruction and Research in 6ar-Trainin'
BHofstetter& 5;+8C0 More recent methods /hich ein' printed material also include the
possiility to access throu'h internet to auditi#e media& like the Gen/ard > 4olosick
method B)**8C& use a recorded piano to play the e3ercises0 Also recent #ersions of
soft/are dedicated to ear trainin' use synthetic sounds reproduced /ith a M"D" capale
de#ice& for instance Ear Master 5 B)**+C0 Gut a'ain& the documentation related /ith the
2ualities of sound source or timre is poor or une3istent0
As stated y %looda B)**8C& ear trainin' is an area in /hich teachers are used to
14
discuss Nde#elopin' a 'ood earO& althou'h from the scientific point of #ie/ most
peopleLs ears function e3cellently& and there is nothin' one can do to enhance their
functionin'0 The idea is to find out /hat needs to happen in the rain to produce the
eha#iour that musicians /ould associate /ith a N'ood earO Bp05+-C0 For that effect& the
music learnin' theory de#eloped y 6d/in 60 Aordon B5;;+C fits #ery /ellD in his ook
entitled Learnin' %e2uences in Music the main focus of attention is in the concept of
audiation0 Aordon e3plains that audiation happens /hen /e assimilate music that /e
ha#e heard or performed& and also /hen /e assimilate and comprehend in our minds the
music that comes from a symolic representation of it Bp07CD throu'h this description of
the concept it is easy to understand that the term audiation refers the same phenomena
that 9ro/der > =itt B5;;)C descried as Nima'ery in musicO0 They attract the /ork of
He B9oncernin' "ma'ery& 5;-.C to e3plain that Nima'ery representation is the
acti#ation of the same central neural systems that played a role in the ori'inal e#ent& ut
this time in the asence of the ori'inal sensory acti#ityO Bp01*C0 "ma'ery is linked to
perception& and in the particular case of timre it has demonstrated a hi'h correlation y
usin' eha#ioural and neural data BHalpern& Ratorre& Gouffard > @ohnson& )**7C0
'%"%' Intervals
The plain definition of a musical inter#al is referred as the distance et/een t/o
tones& ut this definition rin's some comple3ities if one think aout the perceptual
meanin' of a distance in the /orld of sounds& and e#en more if /e in#ol#e the nature of
a tone0 %o in order to disentan'le a functional definition of inter#al that /ould e useful
for the present project it ecomes necessary to rin' the concept of pitch as a
Nmorphoporic mediumO B%hepard& )**5C0 Gy usin' this concept& and just as e3emplified
y %hepard& it can e ar'ued that the specific #isual idea /e ha#e of a trian'le does not
chan'e if this trian'le chan'es its position in spaceD /hich implies that #isual space is
also a morphoporic medium0 "n the same sense& the percei#ed pitch space has
morphophoric 2ualities in a manner that ideas of auditi#e forms& such as the trian'le&
can e sketched0 Furthermore& melodies could e re'arded as those forms& as could e
scales& /hich from a reductionist point of #ie/& are nothin' else than sets of inter#als0
"n this thesis& the aim is to in#esti'ate ho/ different timres affect the memori!ation of
15
inter#als& so it is useful to think aout inter#als as sound units /ith particular
morpholo'ical characteristics0
The most rele#ant issue in the perception of inter#als is related /ith the re-co'nition of
patterns& ut ho/ this phenomena takes place in#ol#es a physiolo'ical system and its
capailities0 A tone in a musical conte3t outside the controlled en#ironment of a
laoratory& should e concei#ed as the sum of multiple pitches& /hich e3cite the
hearin' system in a manner that makes it to con#ey an analysis of such pitches& as /ell
as a reduction of them into a sin'le most salient feature kno/n as pitch0 Further
e3planations on ho/ this analysis > reduction takes place had re#ealed that many areas
on the physiolo'ical and neurolo'ical domain are in#ol#ed& and these had een
e3tensi#ely studied durin' the past )* years BGurns& 5;;;C0 For instance& it is kno/n
that humans are ale to discriminate appro3imately 5&7** different fre2uencies& in
discrimination tasks that in#ol#e the comparison of sounds at t/o fre2uencies in
immediate succession BHandel& 5;.;C0
Accordin' to the model descried y Deutsch B5;;;C& pitch is only one sudi#ision of
the ar'ued analysis reali!ed y the hearin' system& /hich is processed and stored in
parallel areas /ith inter#al si!e and timre& amon' other patterns like loudness and
duration0 Furthermore& it is e3pected that these ar'ued sudi#isions ha#e interaction
et/een themD in fact some e#idence su''est that the perception of inter#al si!e tend to
e distorted dependin' on timral #ariations B<arrier& Ratorre& )**)D Russo& Thompson&
)**8C0
2.2 Timbre
Timre is still at the e'innin' of )5st century an elusi#e concept& perhaps
ecause the necessity for an accurate description of it can e seen as a fairly ne/ task0
"t mi'ht e possile that the 2uest for an accurate conception of timre is the result of
the separation of the sound from its source& /hich /as a conse2uence of the industrial
re#olution& and /ith it also the ecomin' of recordin' technolo'y B%chafer& 5;++C0 This
separation rou'ht ne/ sounds that /ere not necessarily the result of an acoustic source
ut sometimes a crude si'nal created /ith a /a#e 'enerator0 Furthermore& the rele#ance
16
of recordin' technolo'y for our recent conception of timre and musical meanin' is as
stron' as it is also unattended y consumers outside the circle of the e3pertise& and it
must e underlined that the sophistication of recordin' techni2ues pursues an aesthetic
ideal BRa'orski-Thomas& )**8C rather than ein' an e3pression of other means& like for
e3ample peda'o'ical efficiency0
The ad#anta'e of countin' /ith an acoustic source as reference& /as the possiility of
associate a certain timre /ith its source in terms of #isual or #eral domains& in such a
/ay that the description of the sound /as made easy& for instance the e3pressionE Nthis
sounds like a000 -somethin' you ha#e e3perienced efore-O0 This #eral e3pression
encloses se#eral cues for memory BRo'ers& )**8C& /hich y some means completes the
information that could satisfy the description of a sound0 $r not& in the case of those
sounds that are so stran'e and ne/ that a #isual reference can e only fictional0 Gut so
far& this kind of #eral descriptions has een the constant throu'h history& at least in the
/estern culture& e#en for music e3perts ein' them instrumentalists& composers or
musicolo'ists0 "n the case of these e3perts& it can e found a #ery elaorated lan'ua'e
to discuss for e3ample aout the desired soundin' result of a particular piece of music0
,e#ertheless this code shared y musicians is far to e homo'eneous& and in some cases
it can e also contradictory at a metaphorical le#el dependin' on the su-cultural
conte3t0
An etymolo'ical approach for the /ord timre re#eals its French ori'ins and accordin'
to Fales B)**8C& the concept in the sense of sound 2uality is the result of a process of
e#olution occurred durin' the ei'hteenth century0 "t /as implicit in se#eral acceptations
/hich /ere actual metaphors of the timre itself& such as consonance or unison& /hich
referred indirectly to a Nne/O separation of this 2ualia of sound0 The prolem since
then has een to find a descripti#e #ocaulary to parse a sound into perceptual
phenomena0
"n this intend there are some references that are /orth to mention& one of them /as
pulished in 5+-8& and it is included in the #olume S? of the Encyclopdie /ritten y
Rosseau in his article aout sound0 This is supposed to e the first definition of timre
in the modern sense& ut y jud'in' the similarities it has /ith the definition of the
"nternational %tandards $r'ani!ation pulished in 5;-*& /e can confirm that it has not
17
chan'ed too much in nearly )** yearsD althou'h the former includes a note /hich makes
an e3plicit reference to the spectrum of the sound& the similarities consist in that oth
descrie /hat timre is not& rather than postulatin' ojecti#e facts aout /hat timre
actually is0 Another 'roup of pulications correspond to those 2uoted y Huron B)**5C
as theoretical approaches& in reference to the /ork of %la/son B5;.8C and McAdams
B5;;8C
)
0 %chaeffer(s Trait des objets musicaux B5;-.C could also e considered as an
antecedent of this 'roup althou'h his /ork could e descried in 'eneral terms as a
ta3onomical approach created for music peda'o'y purposes0 A third 'roup constitutes
perhaps a foundation in the field of music co'nition due the disco#erin' of a
multidimensional perceptual space for timre BArey& 5;++D <essel& 5;+;D McAdams&
<einser'& Donadieu& De %oete& 4rimphoff& 5;;8C0
$li'ated to this effort& ecause /e rely on it& is to point to the /ork of Lartillot >
Toi#iainen B)**+C& /hom had een de#elopin' a computational approach that can e
re'arded as a compendium of 2uantitati#e timre descriptors& /hich are taken from the
/ork of many researches in the area of music co'nition0 The nature of the tool makes
possile the processin' of a sound y modules that emulate the physiolo'ical and
neurolo'ical particularities of the human auditory system& thus pro#idin' an accurate
idea of ho/ the sound is Nmakin' senseO to the rain0 These descriptors could ha#e any
#eral laels ut their 2uantifiale result makes them e3cellent in terms of reliaility
ecause the measurement /ill al/ays e the same for a particular sound sample0 These
measurements represent the est solution to make connections et/een data e3tracted
from an audio si'nal and eha#ioural or neural data 'athered from people& ecause they
pro#ide 2uantifiale 'round to formulate statistical inferences0 <ith this computational
tools /e elie#e that the old prolem of non homo'eneous and sujecti#e description of
timre is 'radually startin' to disappear& and is lea#in' in its place ne/ attracti#e
prolems related /ith the perceptual sutleties of timre0
2 the year of this reference has been changed from 1986, because it is not clear which is the specific
work Huron is pointing at.
18
'%'%" Timbre an# scales
'%'%"%" S+ectral sha+e
To concede that timre can e computed from a sound si'nal implies that /e
posses a special /ay to represent the sound phenomena /hich is useful& amon' other
thin's& to apply different forms of analysis on it0 This representation also kno/n as
di'ital sound is essentially an arran'ement of inary ciphers encodin' a sound /a#e0
Althou'h there is a standard principle& /hich consists in encodin' the situation of a
'roup of particles in small portions of time and space& there has een a considerale
increment in the amount of mathematical al'orithms that seek to achie#e this principle
in a more efficient /ay0
Gy ha#in' a representation of a sound /a#e in a i dimensional form& /e can fi'ure out
that the /ider the /a#e means more displacement of particles and so more ener'y
1
& and
the amount of repetitions of a /a#e in a fi3ed time span is related /ith the fre2uency of
that sound Bor pitchC0 Gut this analysis of periodicities of a /a#e only /orks in an ideal
scenario& ecause the truth of music relies in the comple3ity of its /a#es& in such a /ay
that if /e /ant to 'o eyond the superficial kno/led'e aout #olume or pitch& it
ecomes necessary a more detailed analysis& one that perhaps y lookin' for
periodicities in the superficial periodicities /ould re#eal a three or multidimensional
form to represent the sound0 This prolem of decomposin' a comple3 /a#e into the
sum of its simpler components /as sol#ed y @ean-Gaptiste @oseph Fourier B5+-.-
5.1*C& and this decomposition applied to sound is kno/n as spectral analysis0
"n a detailed analysis of the spectrum of a sound& it can e oser#ed that there are
certain components that has more po/er than others& such components are referred as
principal components of the spectrum& and the distriution and differentiated po/er of
these components are uni2ue for each sound& ut some part of this components remain
unchan'ed in sounds that come from the same source& thus dra/in' a certain shape0
Timre could e re'arded as this non-#ariant shape dra/n y the principal components
in the spectrum0 "n other /ords& timre can e found in the spectrum of a sound ut this
3 or volume of particles displaced
19
imply that the spectrum /ill not contain rele#ant information concernin' other 2ualities
of that sound& like pitch for e3ample0
This is actually a confirmation for the predictions of @ean =hillipe Rameau B5.-1-5+-7C&
/ho askedE N9an it really e that /e hear three sounds e#ery time /e hear oneHO& in
relation to the spectral components he could hear& and se#eral of his collea'ues could
not0 $r it /as not the case that they /ould not really hear them ut as a matter of
perceptual 'roupin' they heard not the principal components& ut the timre itself
BFales& )**8C0
'%'%"%' !onsonance 2 3issonance
The special se'mentation done y Rameau made him suspicious aout the role
of those components for the entire harmonic system as it /as concei#ed at his time& and
the /ay the rules of composition had een settled alon' years of e#olution as a
conse2uence of constant e3perimentation in the 2uest for an aesthetic ideal0 This
disco#erin' made him and his successors to ha#e a ne/ consciousness aout the inner
structure of a sound& thou'h this could not e pro#en y scientific methodolo'ies until
the time of Helmholt! B5.)5-5.;7C0
"n his /ork Die Lehre von den Tonenmfindungen, Helmol!t estalished the
mechanical and physiolo'ical asis for the concepts of consonance:dissonance& y
analysin' the phenomena of soundin' t/o tones simultaneously& keepin' one at a fi3ed
fre2uency& and soundin' the second at different fre2uencies0 "n that /ay he claimed that
the difference et/een consonant and dissonant phenomena /as related /ith the
difference of their fre2uency& ut specifically /ith the sound produced y the
comination of the spectral shape of one tone /ith the spectral shape of the otherD if the
principal spectral components
7
of one sound resemled the other under a certain
threshold B11 H!C& then the inter#al
8
could e considered dissonant& and if this
resemlance /as outside this threshold& and additionally had a numerical relation close
to an inte'er then inter#al could e considered as consonant0 This /as later studied and
rectified later y =lomp > Le#elt B5;-8C& /hom added that such threshold /as in fact a
4 also referred as overtones or partials.
5 see a definition in section 2.1.2.
20
cur#e /hich chan'es as a function of fre2uency& this cur#e is contained /ithin t/o
linear oundaries /hich they called critical and/idth0 The area et/een these lines is
/ider at lo/er fre2uencies and narro/er at hi'her fre2uenciesD N%imple-tone inter#als
are e#aluated as consonant for fre2uency differences e3ceedin' this and/idth0
<hereas the most dissonant inter#als correspond /ith fre2uency differences of aout a
2uarter of this and/idthO Bp0 87.C0
'%'%"%) Scales
There is one inter#al /hich is the most important ecause can e found in the
music of many cultures as a oundary for a scale B4rumhansl& 5;;*C& and in /estern
tradition has een considered the most consonant in second place just elo/ the unisonE
the octa#e BFu3& 5;--C0 "f t/o tones are soundin' in unison that means that the salient
fre2uencies of their spectrum are so similar that the relation of distance can e
e3pressed as 5E5& in other /ords& for the most salient fre2uency of the spectrum in one
tone& there is another soundin' at the same fre2uency in the other tone0 "n the case of
the octa#e the relation is e3pressed as )E5& ecause the salient fre2uency of the second
tone doules the salient fre2uency of the first0 This numerical relations are kno/n as
ratios& and this is a synonym of inter#al& in such a /ay that a scale could e seen as a set
of ratios of fre2uency /ithin an octa#e0 There mi'ht e as many scales as are lan'ua'es
in the /orld& ut the most popular scale used in /estern culture is one that di#ides the
inter#al of an octa#e in t/el#e e#en parts& its ratios can e otained y the formulaE
Ratio
i
=2
i
12