Timbre and affect dimensions: Evidence from affect and similarity ratings and acoustic correlates of isolated instrument sounds
Eerola, T., Ferrer Flores, R., & Alluri, V. (2012). Timbre and affect dimensions: Evidence from affect and similarity ratings and acoustic correlates of isolated instrument sounds. Music Perception, 30(1), 49-70. https://doi.org/10.1525/mp.2012.30.1.49
Julkaistu sarjassa
Music PerceptionPäivämäärä
2012Tekijänoikeudet
© 2012 by the regents of the University of California. Published in this repository with the kind permission of the publisher.
Considerable effort has been made towards
understanding how acoustic and structural features
contribute to emotional expression in music, but
relatively little attention has been paid to the role of
timbre in this process. Our aim was to investigate the
role of timbre in the perception of affect dimensions
in isolated musical sounds, by way of three behavioral
experiments. In Experiment 1, participants
evaluated perceived affects of 110 instrument sounds
that were equal in duration, pitch, and dynamics
using a three-dimensional affect model (valence,
energy arousal, and tension arousal) and preference
and emotional intensity. In Experiment 2, an
emotional dissimilarity task was applied to a subset
of the instrument sounds used in Experiment 1 to
better reveal the underlying affect structure. In
Experiment 3, the perceived affect dimensions as
well as preference and intensity of a new set of 105
instrument sounds were rated by participants. These
sounds were also uniform in pitch, duration, and
playback dynamics but contained systematic
manipulations in the dynamics of sound production,
articulation, and ratio of high-frequency to low-frequency
energy. The affect dimensions for all the
experiments were then explained in terms of the
three kinds of acoustic features extracted: spectral
(e.g., ratio of high-frequency to low-frequency
energy), temporal (e.g., attack slope), and spectrotemporal
(e.g., spectral flux). High agreement among
the participants’ ratings across the experiments suggested
that even isolated instrument sounds contain
cues that indicate affective expression, and these are
recognized as such by the listeners. A dominant portion
(50-57%) of the two dimensions of affect
(valence and energy arousal) could be predicted by
linear combinations of few acoustic features such as
ratio of high-frequency to low-frequency energy,
attack slope, and spectral regularity. Links between
these features and those observed in the vocal expression
of affects and other sound phenomena are discussed.
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Julkaisija
University of California PressISSN Hae Julkaisufoorumista
0730-7829Julkaisu tutkimustietojärjestelmässä
https://converis.jyu.fi/converis/portal/detail/Publication/22100697
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