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research_topics [2016/04/22 18:42] – created mtlocal | research_topics [2019/01/10 21:52] – [Music Perception and Cognition] gary | ||
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**Dr. Stephen McAdams** | **Dr. Stephen McAdams** | ||
- | My research goal is to understand how listeners mentally organize a complex musical scene into sources, events, sequences, and musical structures. In my laboratory we use techniques of digital signal processing, mechanics, psychophysics, | + | My research goal is to understand how listeners mentally organize a complex musical scene into sources, events, sequences, and musical structures. In my laboratory, we use techniques of digital signal processing, psychophysics, computational modeling of auditory processing, cognitive psychology, and music analysis. |
- | The origin of music is in sound-producing objects. We seek to understand how listeners perceive the events produced by such objects in terms of the mechanical nature of the objects and the ways objects interact (impact, friction, blowing) | + | The origin of music is in sound-producing objects. We seek to understand how listeners perceive the events produced by such objects in terms of the mechanical nature of the objects and the ways objects interact |
- | One of the most mysterious of musical properties of sound events, very closely related to source properties, is their timbre. Timbre is a whole set of dimensions of musical perception such as brightness, roughness, attack quality, richness, inharmonicity, | + | One of the most mysterious of musical properties of sound events, very closely related to source properties, is their timbre. Timbre is a whole set of dimensions of musical perception such as brightness, roughness, attack quality, richness, inharmonicity, |
+ | In music, many sound sources | ||
- | In music, many such (musical) objects are often playing at the same time, which means that the listener must organize the musical scene into events and sequences that carry musical information about the behavior of sound sources (a musical instrument playing a melody, for example). However, composers can play with sound in ways that make a listener hear several sources as one (blending sounds), or with sound synthesis to make a single sound split into several (sound segregation). Musical scene analysis is affected not only by what we hear but also what we see. We will thus be extending work on auditory scene analysis to multimodal scene analysis more generally. | + | Music happens in time and the ephemeral world of temporal experience is another concern in my laboratory. We are interested in how cognitive processes such as attention, memory, recognition, |
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- | Music happens in time and the ephemeral world of temporal experience is another concern in my laboratory. We are interested in how cognitive processes such as attention, memory, recognition, | + | |
+ | We are also interested in how timbre can be used as an integral part of musical discourse through orchestration. Studies involving analysis of scores and writings about orchestration, | ||
====== Gestural Control of Sound Synthesis ====== | ====== Gestural Control of Sound Synthesis ====== | ||