Effect of inharmonicity on pitch perception and subjective tuning of piano tones.

The consensus in piano tuning philosophy explains the stretched tuning scale by the inharmonicity of piano strings. This study aimed to examine how variable inharmonicity influences the result of the piano tuning process, compare the tuning curves of aurally tuned pianos with the curves derived from subjective octave enlargement experiments, and evaluate whether the pitches of inharmonic or harmonic versions of the same tone are perceived differently. In addition, the influence of strings of other piano keys on the measured inharmonicity of a single piano string was investigated. The inharmonicity of all individual strings was measured on a Steinway D grand piano. Variable inharmonicity was implemented by additive synthesis with frequency-adjusted sinusoidal partials. Fifteen piano tuners and 18 orchestra musicians participated in the experiments. The results indicate that the inharmonic piano tones produced a keyboard tuning curve similar to the Railsback curve and differed significantly from the harmonic counterpart. The inharmonic tuning curve was reminiscent of the subjective octave enlargement curve. Inharmonic tone pitches were perceived to be higher than harmonic tones up to C ♯ 7. The covibrating strings of the other keys did not exhibit any meaningful effect on the measured inharmonicity of a single string of the played key.

Octave stretching phenomenon with complex tones of orchestral instruments.

For decades, the phenomenon of subjectively enlarged octaves has been investigated using sinusoidal and synthesized complex tones. The present study elaborates the topic with samples of real orchestra instruments in successive tone listening experiments. Compared to previous research, this study also included a substantially larger number of subjects (N = 36). Examined instrument tones were categorized into five groups based on their acoustic principles. In addition, each group was assessed at three dynamic levels (pp-mf-ff). Collected data were analyzed with tuning stretch curves by applying generalized additive models in the manner of the Railsback curve used to characterize piano tuning. Although the tuning curve modeled for the orchestra instruments was observed to differ slightly from the Railsback curve and typical Steinway D grand piano tuning (Steinway, New York), the stretching trends were qualitatively similar. Deviation from a mathematical equal-tempered scale was prominent. According to statistical analyses, dynamics or musical background of the participant did not affect results significantly, but some instrument groups exhibited differences in the curve extremities. In conclusion, the stretched scale is natural for a human listener and should be used as a reference scale in tuning machines instead of the mathematical equal-tempered scale.

Proportion of effects by head-related transfer function and receiver position variation to interaural cross-correlation values.

Interaural cross-correlation coefficient (IACC) is an objective room-acoustic parameter associated with the spatial impression and subjective quality of the acoustics. This study investigates the proportion of effects on the IACC variance simultaneously by (1) varied head-related transfer function (HRTF) and (2) locally varied receiver positions. The early IACC80 values are estimated from the binaural room simulations in eight room-acoustic conditions varying in room shape, side wall absorption, and receiver distance. Analysis across the combinations of HRTF and receiver positions indicates that below 2 kHz, around two-thirds of total IACC variance is explained by the receiver displacement, and at higher frequencies the HRTF variations dominate the IACC variance.

Perceptual aspects of reproduced sound in car cabin acoustics.

An experiment was conducted to determine the perceptual effects of car cabin acoustics on the reproduced sound field. In-car measurements were conducted whilst the cabin's interior was physically modified. The captured sound fields were recreated in the laboratory using a three-dimensional loudspeaker array. A panel of expert assessors followed a rapid sensory analysis protocol, the flash profile, to perceptually characterize and evaluate 12 acoustical conditions of the car cabin using individually elicited attributes. A multivariate analysis revealed the panel's consensus and the identified perceptual constructs. Six perceptual constructs characterize the differences between the acoustical conditions of the cabin, related to bass, ambience, transparency, width and envelopment, brightness, and image focus. The current results indicate the importance of several acoustical properties of a car's interior on the perceived sound qualities. Moreover, they signify the capacity of the applied methodology in assessing spectral and spatial properties of automotive environments in laboratory settings using a time-efficient and flexible protocol.

Perception of music dynamics in concert hall acoustics.

Dynamics is one of the principal means of expressivity in Western classical music. Still, preceding research on room acoustics has mostly neglected the contribution of music dynamics to the acoustic perception. This study investigates how the different concert hall acoustics influence the perception of varying music dynamics. An anechoic orchestra signal, containing a step in music dynamics, was rendered in the measured acoustics of six concert halls at three seats in each. Spatial sound was reproduced through a loudspeaker array. By paired comparison, naive subjects selected the stimuli that they considered to change more during the music. Furthermore, the subjects described their foremost perceptual criteria for each selection. The most distinct perceptual factors differentiating the rendering of music dynamics between halls include the dynamic range, and varying width of sound and reverberance. The results confirm the hypothesis that the concert halls render the performed music dynamics differently, and with various perceptual aspects. The analysis against objective room acoustic parameters suggests that the perceived dynamic contrasts are pronounced by acoustics that provide stronger sound and more binaural incoherence by a lateral sound field. Concert halls that enhance the dynamics have been found earlier to elicit high subjective preference.

Concert hall acoustics: Repertoire, listening position, and individual taste of the listeners influence the qualitative attributes and preferences.

Some studies of concert hall acoustics consider the acoustics in a hall as a single entity. Here, it is shown that the acoustics vary between different seats, and the choice of music also influences the perceived acoustics. The presented study compared the acoustics of six unoccupied concert halls with extensive listening tests, applying two different music excerpts on three different seats. Twenty eight assessors rated the halls according to the subjective preference of the assesors and individual attributes with a paired comparison method. Results show that assessors can be classified into two preference groups, which prioritize different perceptual factors. In addition, the individual attributes elicited by assessors were clustered into three latent classes.

Concert halls with strong and lateral sound increase the emotional impact of orchestra music.

An audience's auditory experience during a thrilling and emotive live symphony concert is an intertwined combination of the music and the acoustic response of the concert hall. Music in itself is known to elicit emotional pleasure, and at best, listening to music may evoke concrete psychophysiological responses. Certain concert halls have gained a reputation for superior acoustics, but despite the continuous research by a multitude of objective and subjective studies on room acoustics, the fundamental reason for the appreciation of some concert halls remains elusive. This study demonstrates that room acoustic effects contribute to the overall emotional experience of a musical performance. In two listening tests, the subjects listen to identical orchestra performances rendered in the acoustics of several concert halls. The emotional excitation during listening is measured in the first experiment, and in the second test, the subjects assess the experienced subjective impact by paired comparisons. The results showed that the sound of some traditional rectangular halls provides greater psychophysiological responses and subjective impact. These findings provide a quintessential explanation for these halls' success and reveal the overall significance of room acoustics for emotional experience in music performance.

Processing of spatial sounds in human auditory cortex during visual, discrimination and 2-back tasks.

Previous imaging studies on the brain mechanisms of spatial hearing have mainly focused on sounds varying in the horizontal plane. In this study, we compared activations in human auditory cortex (AC) and adjacent inferior parietal lobule (IPL) to sounds varying in horizontal location, distance, or space (i.e., different rooms). In order to investigate both stimulus-dependent and task-dependent activations, these sounds were presented during visual discrimination, auditory discrimination, and auditory 2-back memory tasks. Consistent with previous studies, activations in AC were modulated by the auditory tasks. During both auditory and visual tasks, activations in AC were stronger to sounds varying in horizontal location than along other feature dimensions. However, in IPL, this enhancement was detected only during auditory tasks. Based on these results, we argue that IPL is not primarily involved in stimulus-level spatial analysis but that it may represent such information for more general processing when relevant to an active auditory task.

Acoustic visualizations using surface mapping.

Sound visualizations have been an integral part of room acoustics studies for more than a century. As acoustic measurement techniques and knowledge of hearing evolve, acousticians need more intuitive ways to represent increasingly complex data. Microphone array processing now allows accurate measurement of spatio-temporal acoustic properties. However, the multidimensional data can be a challenge to display coherently. This letter details a method of mapping visual representations of acoustic reflections from a receiver position to the surfaces from which the reflections originated. The resulting animations are presented as a spatial acoustic analysis tool.

Concert halls with strong lateral reflections enhance musical dynamics.

One of the most thrilling cultural experiences is to hear live symphony-orchestra music build up from a whispering passage to a monumental fortissimo. The impact of such a crescendo has been thought to depend only on the musicians' skill, but here we show that interactions between the concert-hall acoustics and listeners' hearing also play a major role in musical dynamics. These interactions contribute to the shoebox-type concert hall's established success, but little prior research has been devoted to dynamic expression in this three-part transmission chain as a complete system. More forceful orchestral playing disproportionately excites high frequency harmonics more than those near the note's fundamental. This effect results in not only more sound energy, but also a different tone color. The concert hall transmits this sound, and the room geometry defines from which directions acoustic reflections arrive at the listener. Binaural directional hearing emphasizes high frequencies more when sound arrives from the sides of the head rather than from the median plane. Simultaneously, these same frequencies are emphasized by higher orchestral-playing dynamics. When the room geometry provides reflections from these directions, the perceived dynamic range is enhanced. Current room-acoustic evaluation methods assume linear behavior and thus neglect this effect. The hypothesis presented here is that the auditory excitation by reflections is emphasized with an orchestra forte most in concert halls with strong lateral reflections. The enhanced dynamic range provides an explanation for the success of rectangularly shaped concert-hall geometry.

Relationships between preference ratings, sensory profiles, and acoustical measurements in concert halls.

Preferences of concert hall acoustics are explored with preference mapping. The investigation is performed on previously gathered data from individual vocabulary profiling of nine concert halls and three pieces of symphonic music, namely, excerpts of compositions by Beethoven, Bruckner, and Mozart. Individual preferences are regressed onto a latent three-dimensional sensory space obtained by multiple factor analysis of descriptive sensory data. Overlaying individually estimated preference surfaces onto one another produces preference maps which illustrates both the overall preference of the stimuli as well as differences between individual listeners. A comparison of the maps between music motifs illustrates how each music signal affects the weighting of different acoustical qualities in preference judgments. Differences in preferences between individuals are pronounced in the excerpts of Beethoven and Bruckner, while the responses are more homogeneous for Mozart music motif. Overall, proximity is identified as the main aspect associated with preference, but also loudness, envelopment, and bass are important. A correlation analysis of objective parameters and subjective perceptions substantiates the importance of lateral sound energy for good concert hall acoustics. Particularly, the lateral early energy fraction at high frequencies is found to be associated with the perception of proximity, and hence, also with preference.

Design and outcomes of an acoustic data visualization seminar.

Recently, the Department of Media Technology at Aalto University offered a seminar entitled Applied Data Analysis and Visualization. The course used spatial impulse response measurements from concert halls as the context to explore high-dimensional data visualization methods. Students were encouraged to represent source and receiver positions, spatial aspects, and temporal development of sound fields, frequency characteristics, and comparisons between halls, using animations and interactive graphics. The primary learning objectives were for the students to translate their skills across disciplines and gain a working understanding of high-dimensional data visualization techniques. Accompanying files present examples of student-generated, animated and interactive visualizations.

The role of diffusive architectural surfaces on auditory spatial discrimination in performance venues.

In musical or theatrical performance, some venues allow listeners to individually localize and segregate individual performers, while others produce a well blended ensemble sound. The room acoustic conditions that make this possible, and the psycho-acoustic effects at work are not fully understood. This research utilizes auralizations from measured and simulated performance venues to investigate spatial discrimination of multiple acoustic sources in rooms. Signals were generated from measurements taken in a small theater, and listeners in the audience area were asked to distinguish pairs of speech sources on stage with various spatial separations. This experiment was repeated with the proscenium splay walls treated to be flat, diffusive, or absorptive. Similar experiments were conducted in a simulated hall, utilizing 11 early reflections with various characteristics, and measured late reverberation. The experiments reveal that discriminating the lateral arrangement of two sources is possible at narrower separation angles when reflections come from flat or absorptive rather than diffusive surfaces.

The effect of diffuse reflections on spatial discrimination in a simulated concert hall.

This letter presents results from a study on diffusive architectural surfaces and auditory perception. Spatial discrimination of multiple sources is investigated in a simulated performance venue with various diffusive surface treatments. Simulations were generated with closely spaced sound sources on the stage of a concert hall and a listener in the audience area. Subjects were asked to distinguish signals in which pairs of simultaneous talkers were presented at various lateral separations, in halls with flat or diffusive surfaces. The experiments reveal that discriminating differences in the lateral arrangement of sources is possible at narrower separation angles when reflections come from flat rather than diffusive surfaces.

Analysis of concert hall acoustics via visualizations of time-frequency and spatiotemporal responses.

Acousticians and other practitioners alike often describe acoustic conditions in performance spaces with standard objective parameters. Apart from a few exceptions, the parameters are calculated by integrating the sound energy of the impulse responses over time; this makes them inadequate for researching the acoustics in detail, especially in the early part of the room impulse response. This paper proposes a method based on time-frequency and spatiotemporal presentations to overcome the lack of detail in the standard analysis. In brief, the proposed methods visualize the cumulative development of the sound field as a function of frequency or direction by forward-integrating the energy in the impulse response in short time frames. Analysis on the measurements from six concert halls concentrates particularly on interpreting the results in light of the seat dip effect. Earlier research has concluded that the seat dip effect is reduced by reflection from low overhead surfaces. In contrast, the current results indicate that the seat dip attenuation in the frequency response is corrected the best when the hall provides most lateral reflections. These findings suggest that the proposed analysis is suitable for explaining concert hall acoustics in detail.

Disentangling preference ratings of concert hall acoustics using subjective sensory profiles.

Subjective evaluation of acoustics was studied by recording nine concert halls with a simulated symphony orchestra on a seat 12 m from the orchestra. The recorded music was spatially reproduced for subjective listening tests and individual vocabulary profiling. In addition, the preferences of the assessors and objective parameters were gathered. The results show that concert halls were discriminated using perceptual characteristics, such as Envelopment/Loudness, Reverberance, Bassiness, Proximity, Definition, and Clarity. With these perceptual dimensions the preference ratings can be explained. Seventeen assessors were divided into two groups based on their preferences. The first group preferred concert halls with relatively intimate sound, in which it is quite easy to hear individual instruments and melody lines. In contrast, the second group preferred a louder and more reverberant sound with good envelopment and strong bass. Even though all halls were recorded exactly at the same distance, the preference is best explained with subjective Proximity and with Bassiness, Envelopment, and Loudness to some extent. Neither the preferences nor the subjective ratings could be fully explained by objective parameters (ISO3382-1:2009), although some correlations were found.

Lateral reflections are favorable in concert halls due to binaural loudness.

A recent study on perceptual difference in simulated concert halls showed that a concert hall renders stronger sound with more bass when the temporal envelope of a signal is preserved in the reflections [Lokki et al., J. Acoust. Soc. Am. 129, EL223-EL228 (2011)]. In the same study the lateral reflections were shown to contribute to the perceived envelopment and openness. Moreover, the listening test results suggest that lateral reflections contribute to perception of sound source distance. Here, it is shown that lateral reflections are beneficial due to their increasing effect on binaural loudness-the phenomenon known well in psychoacoustics, but not in architectural acoustics. The reflections from the side are amplified more than median plane reflections, in particular at high frequencies, due to the shape of the human head.

Concert hall acoustics assessment with individually elicited attributes.

Concert hall acoustics was evaluated with a descriptive sensory analysis method by employing an individual vocabulary development technique. The goal was to obtain sensory profiles of three concert halls by eliciting perceptual attributes for evaluation and comparison of the halls. The stimuli were gathered by playing back anechoic symphony music from 34 loudspeakers on stage in each concert hall and recording the sound field with a microphone array. Four musical programs were processed for multichannel 3D sound reproduction in the actual listening test. Twenty screened assessors developed their individual set of attributes and performed a comparative evaluation of nine seats, three in each hall. The results contain the distinctive groups of elicited attributes and show good agreement within assessors, even though they applied individual attributes when rating the samples. It was also found that loudness and distance gave the strongest perceptual direction to the principal component basis. In addition, the study revealed that the perception of reverberance is related to the size of the space or to the enveloping reverberance, depending on the assessor.

Method for measuring violin sound radiation based on bowed glissandi and its application to sound synthesis.

This work presents a method for measuring and computing violin-body directional frequency responses, which are used for violin sound synthesis. The approach is based on a frame-weighted deconvolution of excitation and response signals. The excitation, consisting of bowed glissandi, is measured with piezoelectric transducers built into the bridge. Radiation responses are recorded in an anechoic chamber with multiple microphones placed at different angles around the violin. The proposed deconvolution algorithm computes impulse responses that, when convolved with any source signal (captured with the same transducer), produce a highly realistic violin sound very similar to that of a microphone recording. The use of motion sensors allows for tracking violin movements. Combining this information with the directional responses and using a dynamic convolution algorithm, helps to improve the listening experience by incorporating the violinist motion effect in stereo.

Engaging concert hall acoustics is made up of temporal envelope preserving reflections.

Strong, exciting, and engaging sound is perceived in the best concert halls. Here, it is shown that wideband early reflections that preserve the temporal envelope of sound contribute to the clear and open acoustics with strong bass. Such reflections are fused with the direct sound due to the precedence effect. In contrast, reflections that distort the temporal envelope render the sound weak and muddy because they partially break down the precedence. The presented findings are based on the earlier psychoacoustics research, and confirmed by a perceptual evaluation with six simulated concert halls that have same monaural room acoustical parameter values according to ISO3382-1.