Difference between revisions of "Vibrato"

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(literature review)
Line 7: Line 7:
 
:* frequency-dependent hysteresis behavior
 
:* frequency-dependent hysteresis behavior
 
:* test: preference for sounds with modulated spectral envelope
 
:* test: preference for sounds with modulated spectral envelope
:* --> great literature review & background info on vibrato pitch, rate, extent, shape, and temporal evolution
+
:* offers great literature review & background info on vibrato pitch, rate, extent, shape, and temporal evolution
 
:* vibrato is made of at least one of these three kind of modulations:
 
:* vibrato is made of at least one of these three kind of modulations:
 
:# amplitude modulation (predominant in wind and brass instr)
 
:# amplitude modulation (predominant in wind and brass instr)
 
:# frequency modulation (predominant in voice and string instr)
 
:# frequency modulation (predominant in voice and string instr)
 
:# spectral envelope modulation and hysteresis (existing in wind, brass, voice)
 
:# spectral envelope modulation and hysteresis (existing in wind, brass, voice)
 +
:* Questions & thoughts:
 +
:: * How much of the analysis is instrument-specific, and how much is it performer/ context/ style-specific?
 +
:: * It'd be interesting to see a more music-passage specific (higher level) analysis as opposed to instrument-specific modelling

Revision as of 15:12, 20 July 2009

literature review

  1. Perceptual Evaluation of Vibrato Models
Vincent Verfaille, Catherine Guastavino, Philippe Depalle
Proceedings of the Conference on Interdisciplinary Musicology (CIM05)
  • spectral envelope modulation
  • frequency-dependent hysteresis behavior
  • test: preference for sounds with modulated spectral envelope
  • offers great literature review & background info on vibrato pitch, rate, extent, shape, and temporal evolution
  • vibrato is made of at least one of these three kind of modulations:
  1. amplitude modulation (predominant in wind and brass instr)
  2. frequency modulation (predominant in voice and string instr)
  3. spectral envelope modulation and hysteresis (existing in wind, brass, voice)
  • Questions & thoughts:
* How much of the analysis is instrument-specific, and how much is it performer/ context/ style-specific?
* It'd be interesting to see a more music-passage specific (higher level) analysis as opposed to instrument-specific modelling