ìConsistency of Timbre
patterns in Expressive Music Performanceî
International
Conference on Digital Audio Effects (DAFx-06)
A professional clarinettist was asked to play a short piece of music
(the beginning of a Bachís Cello Suite) twenty times with the same musical
intention.
Figure 1 : Score
Please click on the following link to play one of the recorded
performances: P15
Strong changes of spectral centroid can be
observed within the duration of the notes. For example, here is the spectral centroid of the same note N5 (the fifth note of the melody
which is a B) for several performances (P15 to P19).
Figure 2 : Spectral Centroid of the fifth
note for different performances
For each performances, the spectral centroid of the note globally increases within its
duration. This systematic behaviour might be closely related to musical
interpretation. One can hear the brightness of the note N5 getting higher
within its duration. Please click on the links below to play or download the
sound files corresponding to the five performances P15 to P19.
We applied signal transformations to the original note to point out
these changes of brightness. For that purpose, we forced the spectral centroid to remain stable from the end of the attack part
until the beginning of the decay part. The transformation keeps the original
attack, decay and intensity envelope of the note. We made two sounds, one for
which the spectral centroid is that of the original
note close to its beginning (low brightness), and one for which the spectral centroid is that of the original note close to its end
(high brightness).
Original note |
|
fixed Spectral Centroid (close to the
beginning of the note) |
|
fixed Spectral Centroid (close to the end of
the note) |
Figure 3 : Freezing the Spectral Centroid
Remarks about the sounds:
- The sampling frequency is Fe = 44.1 kHz.
- The sound P15 corresponds to the original recorded performance.
- The other sounds have been produced by using an additive synthesis
model with 50 harmonics.