Semantic structures of timbre emerging from social and acoustic descriptions of music

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dc.contributor.author Ferrer, Rafael
dc.contributor.author Eerola, Tuomas
dc.date.accessioned 2012-11-16T12:31:10Z
dc.date.available 2012-11-16T12:31:10Z
dc.date.issued 2011-12-07
dc.identifier.citation Ferrer Flores, R., & Eerola, T. (2011). Semantic Structures of Timbre Emerging From Social and Acoustic Descriptions of Music. EURASIP Journal on Audio, Speech, and Music Processing 2011, 2011 (11). doi:doi:10.1186/1687-4722-2011-11 Retrieved from http://asmp.eurasipjournals.com/content/2011/1/11
dc.identifier.issn 1687-4722
dc.identifier.uri http://dx.doi.org/10.1186/1687-4722-2011-11
dc.identifier.uri http://hdl.handle.net/123456789/40347
dc.description.abstract The perceptual attributes of timbre have inspired a considerable amount of multidisciplinary research, but because of the complexity of the phenomena, the approach has traditionally been confined to laboratory conditions, much to the detriment of its ecological validity. In this study, we present a purely bottom-up approach for mapping the concepts that emerge from sound qualities. A social media (http://www.last.fm) is used to obtain a wide sample of verbal descriptions of music (in the form of tags) that go beyond the commonly studied concept of genre, and from this the underlying semantic structure of this sample is extracted. The structure that is thereby obtained is then evaluated through a careful investigation of the acoustic features that characterize it. The results outline the degree to which such structures in music (connected to affects, instrumentation and performance characteristics) have particular timbral characteristics. Samples representing these semantic structures were then submitted to a similarity rating experiment to validate the findings. The outcome of this experiment strengthened the discovered links between the semantic structures and their perceived timbral qualities. The findings of both the computational and behavioural parts of the experiment imply that it is therefore possible to derive useful and meaningful structures from free verbal descriptions of music, that transcend musical genres, and that such descriptions can be linked to a set of acoustic features. This approach not only provides insights into the definition of timbre from an ecological perspective, but could also be implemented to develop applications in music information research that organize music collections according to both semantic and sound qualities.
dc.language.iso eng
dc.publisher Springer
dc.relation.ispartofseries EURASIP Journal on Audio, Speech, and Music Processing 2011
dc.rights © 2011 Ferrer and Eerola; licensee Springer. This is an Open Access article distributed under the terms of the Creative Commons Attribution License (http://creativecommons.org/licenses/by/2.0), which permits unrestricted use, distribution, and reproduction in any medium, provided the original work is properly cited.
dc.rights.uri http://creativecommons.org/licenses/by/2.0
dc.subject.other sointiväri
dc.subject.other sosiaalinen media
dc.subject.other musiikki
dc.subject.other akustiset piirteet
dc.subject.other timbre
dc.subject.other social media
dc.subject.other music
dc.subject.other acoustic features
dc.title Semantic structures of timbre emerging from social and acoustic descriptions of music
dc.type Article en
dc.subject.kota 613
dc.contributor.laitos Musiikin laitos fi
dc.contributor.laitos Department of Music en
dc.type.uri http://purl.org/eprint/type/JournalArticle
dc.identifier.doi 10.1186/1687-4722-2011-11
dc.date.updated 2012-11-15T14:50:05Z
dc.description.version Published version
eprint.status http://purl.org/eprint/type/status/PeerReviewed
dc.rights.holder Rafael Ferrer et al.; licensee BioMed Central Ltd.

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