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Risset, J.-C., & Wessel, D. L. (1999). Exploration of timbre by analysis and synthesis. In D. Deutsch (Ed.), The Psychology of Music Second Edition ed.(pp. 113–169). San Diego: Academic Press. 
Added by: sirfragalot (07/03/2021 11:22:55 AM)   Last edited by: sirfragalot (07/03/2021 11:24:17 AM)
Resource type: Book Article
Peer reviewed
DOI: https://doi.org/10.1016/B978-012213564-4/50006-8
ID no. (ISBN etc.): 978-0-12-213564-4
BibTeX citation key: Risset1999
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Categories: General
Keywords: Timbre
Creators: Deutsch, Risset, Wessel
Publisher: Academic Press (San Diego)
Collection: The Psychology of Music
Views: 1/10
Abstract
Publisher Summary: "This chapter explains the exploration of timbre by analysis and synthesis. Timber is referred as the quality of sound. It is the perceptual attribute that helps in distinguishing among orchestral instruments that are playing the same pitch and are equally loud. But, unlike loudness and pitch, timbre is not a well-defined perceptual attribute. The chapter explains that timber is that attribute of auditory sensation in terms of which a listener can judge that two sounds similarly presented and having the same loudness and pitch are dissimilar. It seems that a form of timbral constancy is implied by the common observation that a sound source can be reliably identified over a wide variety of circumstances. For periodic tones, timbre depends upon spectrum. It has long been thought that musical tones are periodic, at least for most of their duration. Musical tones are often thought of as comprising three sections: attack, steady state, and decay. Helmholtz and his followers considered timbre to be determined by the spectrum of the steady state. However, this conception suffers from serious difficulties. Thus, the chapter briefly discusses the shortcomings of the classical conception."
  
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