Pitch – Timbre Interactions
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MPCL Bibliographies: Pitch – Timbre Interactions
Compiled at the Music Perception and Cognition Laboratory (MPCL) — McGill University.
Updated March 28, 2022.
Allen, E. J., & Oxenham, A. J. (2014). Symmetric interactions and interference between pitch and timbre. Journal of the Acoustical Society of America, 135(3), 1371–1379. https://doi.org/10.1121/1.4863269
Bishop, J., & Keating, P. (2012). Perception of pitch location within a speaker’s range: Fundamental frequency, voice quality and speaker sex. Journal of the Acoustical Society of America, 132(2), 1100–1112. https://doi.org/10.1121/1.4714351
Boltz, M. G. (2011). Illusory tempo changes due to musical characteristics. Music Perception: An Interdisciplinary Journal, 28(4), 367–386. https://doi.org/10.1525/mp.2011.28.4.367
Caruso, V. C., & Balaban, E. (2014). Pitch and timbre interfere when both are parametrically varied. PLOS One, 9(1), e87065. https://doi.org/10.1371/journal.pone.0087065
Cousineau, M., Carcagno, S., Demany, L., & Pressnitzer, D. (2014). What is a melody? On the relationship between pitch and brightness of timbre. Frontiers in Systems Neuroscience, 7(127), 1–7. https://doi.org/10.3389/fnsys.2013.00127
Demany, L., & Semal, C. (1993). Pitch versus brightness of timbre: Detecting combined shifts in fundamental and formant. Music Perception, 11(1), 1–13. https://doi.org/10.2307/40285596
Gero, S., Uwe, L., Karsten, L., Nils, R., & Claus, W. (2005). Local Models in Register Classification by Timbre. http://hdl.handle.net/10419/22640
Hall, M. D., Pastore, R. E., Acker, B. E., & Huang, W. (2000). Evidence for auditory feature integration with spatially distributed items. Perception & Psychophysics, 62(6), 1243–1257. https://doi.org/10.3758/BF03212126
Hall, M. D., & Wieberg, K. (2003). Illusory conjunctions of musical pitch and timbre. Acoustics Research Letters Online, 4(3), 65–70. https://doi.org/10.1121/1.1578951
Handel, S., & Erickson, M. L. (2001). A Rule of Thumb: The Bandwidth for Timbre Invariance Is One Octave. Music Perception, 19(1), 121–126. https://doi.org/10.1525/mp.2001.19.1.121
Handel, S., & Erickson, M. L. (2004). Sound Source Identification: The Possible Role of Timbre Transformations. Music Perception, 21(4), 587–610. https://doi.org/10.1525/mp.2004.21.4.587
Krumhansl, C. L., & Iverson, P. (1992). Perceptual interactions between musical pitch and timbre. Journal of Experimental Psychology: Human Perception and Performance, 18(3), 739–751. https://doi.org/10.1037/0096-1523.18.3.739
Luo, X., Soslowsky, S., & Pulling, K. R. (2019). Interaction between pitch and timbre perception in normal-hearing listeners and cochlear implant users. Journal of the Association for Research in Otolaryngology, 20(1), 57–72. https://doi.org/10.1007/s10162-018-00701-3
Makris, I. ; M., E. (2003). Judging the pleasantness of contour-rhythm-pitch-timbre musical combinations. American Journal of Psychology, 116(4), 581–611. https://doi.org/10.2307/1423661
Margulis, E. H., & Levine, W. H. (2006). Timbre priming effects and expectation in melody. Journal of New Music Research, 35(2), 175–182. https://doi.org/10.1080/09298210600835042
Marks, L. E. (1989). On cross-modal similarity: The perceptual structure of pitch, loudness, and brightness. Journal of Experimental Psychology: Human Perception and Performance, 15(3), 586–602. https://doi.org/10.1037/0096-1523.15.3.586
Marozeau, F., de Cheveigné, A., McAdams, S., & Winsberg, S. (2003). The dependency of timbre on fundamental frequency. Journal of the Acoustical Society of America, 114(5), 2946–2957. https://doi.org/10.1121/1.1618239
Marozeau, J., & de Cheveigné, A. (2007). The effect of fundamental frequency on the brightness dimension of timbre. Journal of the Acoustical Society of America, 121(1), 383–387. https://doi.org/10.1121/1.2384910
Marvin, E. W., & Brinkman, A. R. (2000). The effect of key color and timbre on absolute pitch recognition in musical contexts. Music Perception, 18(2), 111–137. https://doi.org/10.2307/40285905
McAdams, S., Vieillard, S., Houix, O., & Reynolds, R. (2004). Perception of musical similarity among contemporary thematic materials in two instrumentations. Music Perception, 22(2), 207–237. https://doi.org/10.1525/Mp.2004.22.2.207
Melara, R. D., & Marks, L. E. (1990a). HARD and SOFT interacting dimensions: Differential effects of dual context on classification. Perception and Psychophysics, 47(4), 307–325.
Melara, R. D., & Marks, L. E. (1990b). Interaction among auditory dimensions: Timbre, pitch and loudness. Perception & Psychophysics, 48(2), 169–178. https://doi.org/10.3758/BF03207084
Melara, R. D., & Marks, L. E. (1990c). Perceptual primacy of dimensions: Support for a model of dimensional interaction. Journal of Experimental Psychology: Human Perception and Performance, 16(2), 398–414.
Paavilainen, P., Arajärvi, P., & Takegata, R. (2007). Preattentive detection of nonsalient contingencies between auditory features. Neuroreport, 18(2), 159–163. https://doi.org/10.1097/WNR.0b013e328010e2ac
Pitt, M. (1994). Perception of pitch and timbre by musically trained and untrained listeners. Journal of Experimental Psychology: Human Perception and Performance, 20(5), 976–986.
Robinson, K. (1993). Brightness and octave position: Are changes in spectral envelope and in tone height perceptually equivalent? Contemporary Music Review, 9(1), 83–95. https://doi.org/10.1080/07494469300640361
Robinson, K., & Patterson, R. D. (1995). The stimulus duration required to identify vowels, their octave, and their pitch chroma. Journal of the Acoustical Society of America, 98(4), 1858–1865. https://doi.org/10.1121/1.414405
Russo, F. A., & Thompson, W. F. (2005a). An interval size illusion: The influence of timbre on the perceived size of melodic intervals. Perception and Psychophysics, 67(4), 559–568. https://doi.org/10.3758/BF03193514
Russo, F. A., & Thompson, W. F. (2005b). The subjective size of melodic intervals over a two-octave range. Psychonomic Bulletin & Review, 12(6), 1068–1075. https://doi.org/10.3758/BF03206445
Sandell, G. J., & Chronopoulos, M. (1997). Perceptual constancy of musical instrument timbres; generalizing timbre knowledge across registers. 222–227.
Schubert, E., & Wolfe, J. (2006). Does timbral brightness scale with frequency and spectral centroid? Acta Acustica United with Acustica, 92(5), 820–825.
Shepard, R. N. (1991). Integrality versus separability of stimulus dimensions: From an early convergence of evidence to a proposed theoretical basis. In G. R. Lockhead & J. R. Pomerantz (Eds.), The Perception of Structure (pp. 53–71). APA.
Siedenburg, K., & McAdams, S. (2018). Short-term recognition of timbre sequences: Effects of musical training, pitch variability, and timbral similarity. Music Perception, 36(1), 24–39. https://doi.org/10.1525/MP.2018.36.1.24
Singh, P. G., & Hirsh, I. J. (1992). Influence of spectral locus and F0 changes on the pitch and timbre of complex tones. Journal of the Acoustical Society of America, 92(5), 2650–2661. https://doi.org/10.1121/1.404381
Slawson, A. W. (1968). Vowel quality and musical timbre as functions of spectrum envelope and fundamental frequency. Journal of the Acoustical Society of America, 43(1), 87–101. https://doi.org/10.1121/1.1910769
Steele, K., & Williams, A. K. (2006). Is the bandwidth for timbre invariance only one octave? Music Perception, 23(3), 215–220. https://doi.org/10.1525/mp.2006.23.3.215
Tillmann, B., Bigand, E., Escoffier, N., & Lalitte, P. (2006). The influence of musical relatedness on timbre discrimination. European Journal of Cognitive Psychology, 18(3), 343–358. https://doi.org/10.1080/09541440500269548
Uwe, L., Christoph, R., & Claus, W. (2004). Register Classification by Timbre. http://hdl.handle.net/10419/22584
Vurma, A. (2014). Timbre-induced pitch shift from the perspective of signal detection theory: The impact of musical expertise, silence interval, and pitch region. Frontiers in Psychology, 5(44), 1–13. https://doi.org/10.3389/fpsyg.2014.00044
Vurma, A., Raju, M., & Kuuda, A. (2011). Does timbre affect pitch? Estimations by musicians and non-musicians. Psychology of Music, 39(3), 291–306. https://doi.org/10.1177/0305735610373602
Warrier, C. M., & Zatorre, R. J. (2002). Influence of tonal context and timbral variation on perception of pitch. Perception & Psychophysics, 64(2), 198–207. https://doi.org/10.3758/BF03195786
Wolpert, R. S. (1990). Recognition of melody, harmonic accompaniment, and instrumentation: Musicians vs. Nonmusicians. Music Perception, 8(1), 95–106. https://doi.org/10.2307/40285487
Zarate, J. M., Ritson, C. R., & Poeppel, D. (2013). The effect of instrumental timbre on interval discrimination. PLOS One, 8(9), e75410. https://doi.org/10.1371/journal.pone.0075410