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Hearing & Deafness (5) Timbre, Music & Speech

Hearing & Deafness (5)

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Hearing & Deafness (5). Timbre, Music & Speech. Vocal Tract. Source & Filter. Larynx. Vocal tract. Output sound. Pitch and Formants. 1. Harmonics (giving pitch) produced by vocal cord vibration. 2. Formant frequencies: resonances of the vocal tract. - PowerPoint PPT Presentation

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Page 1: Hearing & Deafness (5)

Hearing & Deafness (5)

Timbre, Music & Speech

Page 2: Hearing & Deafness (5)

Vocal Tract

Page 3: Hearing & Deafness (5)

Source & Filter

Larynx Vocal tract Output sound

Page 4: Hearing & Deafness (5)

Pitch and Formants1. Harmonics (giving pitch) produced by vocal cord vibration

frequency125 Hz (fundamental)

FormantsF1 = 396HzF2 = 1520Hz

F3 = 1940Hz

2. Formant frequencies: resonances of the vocal tract3. Formant frequencies change as you change the

shape of your vocal tract

Page 5: Hearing & Deafness (5)

Vowel production

Page 6: Hearing & Deafness (5)

Tuvan throat music

Page 7: Hearing & Deafness (5)

Tuvan throat music - 2

Page 8: Hearing & Deafness (5)

Vocal tract change

Me (m)

Higher pitch Shorter vocal-tract(higher formants)

Both (-> f)

Page 9: Hearing & Deafness (5)

narrow-band spectrogram

sine-wave speech

SWS

Page 10: Hearing & Deafness (5)

Adding harmonics to make an instrument’s timbre

Track 53

Different notes on clarinet and oboe

Page 11: Hearing & Deafness (5)

What determines an instrument’s timbre

1. “formant” frequencies

2. Amplitude envelope

3. Onset / offset transients

Page 12: Hearing & Deafness (5)

Instrument timbre does not scale - it is more like speech formants

Timbre does NOT stay constant when

sounds are simply scaled up in frequency

frequency ->

dB

Timbre stays more constant when the

formants stay constant

frequency ->

dB

frequency ->

dB

maximum amplitude

maximum amplitude

maximum amplitude

Cheap synthesisers do this to generate different notes

Natural instruments and good synthesisers do this

Page 13: Hearing & Deafness (5)

Bassoon & violin notes

Track 57

Page 14: Hearing & Deafness (5)

Forwards & backwards temporal envelopesTrack 54

Track 56

Time (s)0 0.891633

–0.1693

0.1385

0

Time (s)0 0.891633

–0.1693

0.1385

0

Page 15: Hearing & Deafness (5)

Onset transients

Time (s)0 0.0842

ミ 0.6922

0.7817

0

Time (s)0 0.0842

ミ 0.6922

0.7817

0

Page 16: Hearing & Deafness (5)

Why are some intervals consonant and others dissonant?

Consonant musical intervals form simple ratios

octave 2/1 fifth 3/2fourth 4/3 major third 5/4minor sixth 8/5minor third 6/5major sixth 5/3 major second 9/8

consonant

dissonant

Page 17: Hearing & Deafness (5)

Two complex tones separated by a perfect fifth (3:2)

Separate Excitation Patterns

0.0

5.0

10.0

15.0

20.0

25.0

30.0

0 500 1000 1500 2000 2500 3000frequency

One

Two

Total Excitation Pattern

0.0

5.0

10.0

15.0

20.0

25.0

0 500 1000 1500 2000 2500 3000frequency

Consonant intervals havemaximally separated component frequencies