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dc.contributor.authorEerola, Tuomas
dc.contributor.authorFerrer Flores, Rafael
dc.contributor.authorAlluri, Vinoo
dc.date.accessioned2016-02-08T07:05:35Z
dc.date.available2016-02-08T07:05:35Z
dc.date.issued2012
dc.identifier.citationEerola, T., Ferrer Flores, R., & Alluri, V. (2012). Timbre and affect dimensions: Evidence from affect and similarity ratings and acoustic correlates of isolated instrument sounds. <i>Music Perception</i>, <i>30</i>(1), 49-70. <a href="https://doi.org/10.1525/mp.2012.30.1.49" target="_blank">https://doi.org/10.1525/mp.2012.30.1.49</a>
dc.identifier.otherCONVID_22100697
dc.identifier.otherTUTKAID_53984
dc.identifier.urihttps://jyx.jyu.fi/handle/123456789/48672
dc.description.abstractConsiderable 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.
dc.language.isoeng
dc.publisherUniversity of California Press
dc.relation.ispartofseriesMusic Perception
dc.subject.othertimbre
dc.subject.otheraffect
dc.subject.otheremotion
dc.titleTimbre and affect dimensions: Evidence from affect and similarity ratings and acoustic correlates of isolated instrument sounds
dc.typearticle
dc.identifier.urnURN:NBN:fi:jyu-201602051481
dc.contributor.laitosMusiikin laitosfi
dc.contributor.laitosDepartment of Musicen
dc.contributor.oppiaineMusiikkitiedefi
dc.contributor.oppiaineMusicologyen
dc.type.urihttp://purl.org/eprint/type/JournalArticle
dc.date.updated2016-02-05T13:15:23Z
dc.type.coarjournal article
dc.description.reviewstatuspeerReviewed
dc.format.pagerange49-70
dc.relation.issn0730-7829
dc.relation.numberinseries1
dc.relation.volume30
dc.type.versionpublishedVersion
dc.rights.copyright© 2012 by the regents of the University of California. Published in this repository with the kind permission of the publisher.
dc.rights.accesslevelopenAccessfi
dc.subject.ysosointiväri
dc.subject.ysotunteet
dc.subject.ysomusiikki
jyx.subject.urihttp://www.yso.fi/onto/yso/p26459
jyx.subject.urihttp://www.yso.fi/onto/yso/p3485
jyx.subject.urihttp://www.yso.fi/onto/yso/p1808
dc.relation.doi10.1525/mp.2012.30.1.49


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