Psychology of Music MUSED 681

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Psychology of Music MUSED 681

• The Science Psychoacoustics
• of
• Instruments

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Introduction to the Science Psychoacoustics of
Instruments

• Desire for answers to Gestalt/Global questions
• How to play more musically
• How to produce the best/ideal tone
• How to play in tune
• What is the challenge?
• Performers as authors have tended to
  fashion complex pseudo-scientific theories post
  hoc to match their beliefs (p. 285)
• Ability to empirically study specific details
• But these results appear to be of no or limited
  use
• Solution??

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Introduction to the Science Psychoacoustics of
Instruments

• Atomistic Synthesis Gestalt

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• The Physiology and
• Psychoacoustics of
• The Singing Voice

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Vocal Anatomy Physiology
Respiration Phonation Resonance
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Vocal Anatomy Physiology

• Respiration
• Muscles
• Intercostals
• Diaphragm
• Abdominals
• Muscular Antagonism

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Vocal Anatomy Physiology
Phonation
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Vocal Anatomy Physiology

• Normal Larynx

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Vocal Anatomy Physiology
Resonance
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Formants
The Science Psychology of Music
Performance Parncutt McPherson p. 256
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Formants
Teaching Kids To Sing Phillips p. 257
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Voice Pathology

• Cyst Pre- and Post-Operative

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Voice Pathology

• Cyst and Nodule Cancer

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Voice Pathology

• Video Clips
• http//www.voicedoctor.net/media/video/index.html
  
• Normal Female Voice
• http//www.voicedoctor.net/media/video/female.html
  
• Polyp
• http//www.voicedoctor.net/media/video/polyp/polyp
  _large.html
• Smoker Polyps and Post Op
• http//www.voicedoctor.net/media/video/smoker_larg
  e.html
• Male to Female Laryngeal Reduction
• http//www.voicedoctor.net/media/cases/pitch/inde
  x.html
• http//www.lionsvoiceclinic.umn.edu/page3d.htmvid
  eos

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Voice Pathology

• Larynx Anatomy site
• http//sprojects.mmi.mcgill.ca/larynx/Default.htm
• http//biology.about.com/gi/dynamic/offsite.htm?si
  tehttp//www.ship.edu/7Ecgboeree/genpsycerebrum.
  html

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Choral Singing
Review terminology Physical vs.
Perceptual Frequency vs. Pitch SPL (amplitude)
vs. Loudness Complex waves (distribution of
energy over frequency) vs. Timbre Well-known
Researchers Ternström and Sundberg
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Choral Singing

• Self-to-Other Ratio (SOR)
• Positive number self is louder
• e.g. 5 db means self is 5 db louder than
  others
• ? Major factor inter-singer space
• ? Lower room reverb higher SOR ratio
• (less reverb less other more self)
• ? Ideal on-stage SOR 6 db
• SOR is lowest in Bass section and highest in
  soprano section when all
• are singing
• O SPL naturally higher at higher frequencies
• O Sectional formation is problematic in large
  choirs

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Choral Singing
Pitch-amplitude Effect Constant-frequency tone
changes pitch (perception) due to slight
changes in loudness 300 Hz tone (pitch drops for
most people) 3000 Hz tone (pitch raises for most
people) Effect is most relevant to loud and high
soprano singing
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Choral Singing
Chorus (Ensemble) Effect Very small tuning
differences between unison pitches more
voices Cannot tell how many
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Psychology of Music MUSED 681

• The Science Psychoacoustics
• of
• Keyboard, String, and Wind Instruments

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Wind Instruments

• Respiratory System/Muscles
• Excessive emphasis has been given to the
  diaphragm
• Increased air pressure requires reduction in
  embouchure tightness
• Direct correlation (but not perfect) between blow
  pressure and fundamental frequency
• Value of judging blow pressure
• Vibrato
• Possibility of vocal fold involvement!!

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Wind Instruments

• Embouchure interface with the instrument
• Reed valve that controls the air passing
  through the instrument

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Wind Instruments

• Four Types of Reeds
• Mechanical single and double-reed woodwinds
• Embouchure regulates reed parameters
  (stiffness, airflow, etc.)
• Lip brass
• Embouchure IS the reed
• Free harmonica
• Air flute, recorder
• Embouchure directs the air to the edge (labium)

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Wind Instruments

• Bernoulli Effect/Force
• Air column
• Acoustical Coupling

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Wind Instruments

• Other points of interest?

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Piano

• Piano Timbre
• Based on loudness issues
• Timbre depends on
• spectral envelope
• temporal envelope

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Piano

• Piano Timbre
• Speed and force of the key strike
• Hammer-string noise
• Depends on velocity
• Finger-key noise
• More audible in high register due to less masking
• Irrelevant to listener (like chest resonance
  of singer)
• Key-keybed noise

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Piano

• Fingers
• Arms/Fingers
• Leap Trajectory
• Repetitions

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Piano

• Pedaling
• Sustain
• Una corda (soft)

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Piano

• Melody Lead
• Fingerings

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Piano

• Other points of interest?

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String Instruments

• Helmholtz Motion
• Bow and String
• Slipping Sticking Intervals
• Corner runs from bridge to nut/finger and back
• Sticking interval is from bow to nut/finger
• Slipping interval is during bow to bridge
• Hiss during slipping interval (rosin noise)
• Implications
• Higher bow pressure sharper corner higher
  energy in upper partials
• Lower bow pressure rounded corner softer
  tone color

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String Instruments

• Response Time
• Time to reach 90 of full amplitude
• RT of strings is slower than winds
• Attack
• Determined by bow pressure and acceleration
• Steady State tone
• Determined by bow pressure and speed
• Bow direction change
• Decelerate before the change

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String Instruments

• Performance Implications
• Interaction of 4 Dimensions
• Bow speed
• Bow pressure
• Relative bow-to-bridge distance
• Fundamental frequency

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String Instruments

• Characteristics of String Players ?

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String Instruments

• Other points of interest?

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Next Week

• Reading assignments
• Chapter 8
• eJournal due Wednesday 8 AM
• See eJournal assignment for remaining eJournals
• Will schedule Class Presentations
• and review specifics of the assignment
• Research Project Draft 2

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Project Presentations

• Assignment guidelines
• Presentation Days http//edtech.kennesaw.edu/inte
  ch/randomnumbergenerator.htm

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• SAFE TRAVELS

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Emotional Communication

• What emotions do we communicate?
• How?

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Emotional Communication

• The Code of expressive communication
• in music
• Cues

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Emotional Communication

• Performer
• Intentions
• Encoding through performance cues
• Decoding of cues
• Listener

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Emotional Communication

• How do we TEACH emotional expressiveness?

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The Psychology of Music Competition

• Based on what we now know about the psychology
  of music, what are the pros and cons of
  competition in music?