著者

厨川 守 八尋 博司 柏木 成豪

出版者

一般社団法人 日本音響学会

雑誌

日本音響学会誌 (ISSN:03694232)

巻号頁・発行日

vol.34, no.9, pp.493-500, 1978-09-01 (Released:2017-06-02)

---

As a result of determining a macroscopic structure of tone quality by sensory evaluations and multidimensional scaling method, it seemed that the psychological space applicable to tonal descriptive terms is composed of three main attributes, namely LOUDNESS(loud-sorf), PITCH(high pitched-low pitched) and PLEASANTNESS(pleasant-unpleasant) mutually almost orthogonal. Moreover, four sub-attributes intersecting obliquely to the three main-attributes were found. These sub-attributes included CONSONANCE (clear-turbid), BRIGHTNESS(bright-somber), RICHNESS (rich-thin) and SMOOTHNESS (smooth-rough). As a matter of fact, these four sub-attributes depend on the three main-attributes(Fig. 10). For example, the "clear" quality of consonance is "soft", "high pitched" and "pleasant" sound, while the "turbid" quality is "loud", "low pitched" and "unpleasant" sound, and this result thoroughly corresponds to the CONSONANCE THEORY. The tonal sources used for the present hearing experiments consist of four groups. They are (1) 57 synthetic tones the physical values of which are distinctly grasped, (2) 97 musical instrument solo tones, (3) 44 tones by varying a part of the sound of "Scheherazade", which is the orchestral music with dominant string sections, and (4) 33 tones by varying a part of "Pictures at an exhibition", which is the orchestral music with dominant percussion and brass sections. As for the variation of above mentioned two orchestral sources, the quantitative variations such as spectrum form, intensity, phase modulation and echo were given, 41-53 hearing panels evaluated these tones by the choise of 38 tonal descriptive terms(Table 1) in the auditorium. For analysis, the program by Kruskal was used. (Fig. 4). As the result of this analysis, configurations in Fig. 6〜9 were obtained in three dimensions for each two source groups(Table 3). As for the distribution of the terms for these four source groups, the words of praise and displeasure distributed in two semispherical shell space divided by LOUDNESS-PITCH plane. At the center of the two hemispheric configurations, "pleasant" and "unpleasant" distributed, which represent important factors. This axis was stable even if the sources are different, therefore, PLEASANTNESS is regarded as the third main attribute following LOUDNESS and PITCH(Table 4). Next, the stable terms distributing in the diagonal quadrants among eight quadrants in Fig. 6〜9 are closely examined in common in four source groups, then the terms of four sub-attributes described above were extracted. When the above experimental data were reanalyzed with 14 terms concerning three main attributes and four sub-attributes, the stress in three dimensions decreased further, and approximately similar configuration was obtained. Based on these facts, it is suggested that the fourteen tonal descriptive terms concerning three main-attributes and four sub-attributes are sufficient for deriving the macroscopic structure of tonal sources.

著者

厨川 守 八尋 博司 柏木 成豪

出版者

一般社団法人日本音響学会

雑誌

日本音響学会誌 (ISSN:03694232)

巻号頁・発行日

vol.34, no.9, pp.493-500, 1978-09-01

被引用文献数

17 8

---

As a result of determining a macroscopic structure of tone quality by sensory evaluations and multidimensional scaling method, it seemed that the psychological space applicable to tonal descriptive terms is composed of three main attributes, namely LOUDNESS(loud-sorf), PITCH(high pitched-low pitched) and PLEASANTNESS(pleasant-unpleasant) mutually almost orthogonal. Moreover, four sub-attributes intersecting obliquely to the three main-attributes were found. These sub-attributes included CONSONANCE (clear-turbid), BRIGHTNESS(bright-somber), RICHNESS (rich-thin) and SMOOTHNESS (smooth-rough). As a matter of fact, these four sub-attributes depend on the three main-attributes(Fig. 10). For example, the "clear" quality of consonance is "soft", "high pitched" and "pleasant" sound, while the "turbid" quality is "loud", "low pitched" and "unpleasant" sound, and this result thoroughly corresponds to the CONSONANCE THEORY. The tonal sources used for the present hearing experiments consist of four groups. They are (1) 57 synthetic tones the physical values of which are distinctly grasped, (2) 97 musical instrument solo tones, (3) 44 tones by varying a part of the sound of "Scheherazade", which is the orchestral music with dominant string sections, and (4) 33 tones by varying a part of "Pictures at an exhibition", which is the orchestral music with dominant percussion and brass sections. As for the variation of above mentioned two orchestral sources, the quantitative variations such as spectrum form, intensity, phase modulation and echo were given, 41-53 hearing panels evaluated these tones by the choise of 38 tonal descriptive terms(Table 1) in the auditorium. For analysis, the program by Kruskal was used. (Fig. 4). As the result of this analysis, configurations in Fig. 6〜9 were obtained in three dimensions for each two source groups(Table 3). As for the distribution of the terms for these four source groups, the words of praise and displeasure distributed in two semispherical shell space divided by LOUDNESS-PITCH plane. At the center of the two hemispheric configurations, "pleasant" and "unpleasant" distributed, which represent important factors. This axis was stable even if the sources are different, therefore, PLEASANTNESS is regarded as the third main attribute following LOUDNESS and PITCH(Table 4). Next, the stable terms distributing in the diagonal quadrants among eight quadrants in Fig. 6〜9 are closely examined in common in four source groups, then the terms of four sub-attributes described above were extracted. When the above experimental data were reanalyzed with 14 terms concerning three main attributes and four sub-attributes, the stress in three dimensions decreased further, and approximately similar configuration was obtained. Based on these facts, it is suggested that the fourteen tonal descriptive terms concerning three main-attributes and four sub-attributes are sufficient for deriving the macroscopic structure of tonal sources.

著者

亀岡 秋男 厨川 守

出版者

一般社団法人日本音響学会

雑誌

日本音響学会誌 (ISSN:03694232)

巻号頁・発行日

vol.23, no.2, pp.70-79, 1967-03-30

---

Subjective harmaonics are generally interpreted to be caused by the nonlinearity of ears, and seem to have great effects on timbre or tone quality. Wegel and Lane assumed that the intensity of a subjective harmonic could be known by introducing a mistund tone of a slightly different frequency and determing the intensity giving the most pronounced beat sensation. Although this so-called 'Best Beat Method' has been adopted for measuring the intensity of subjective harmonics by many researchers^&lt1), 3), 5), 6)&gt, some objections have been raised against the above-mentioned interpretation^&lt3), 10)&gt. In this paper a P. S. E. Tracing Method developed by the authors is introduced, and the results of experiments are discussed on the sound pressure level and phase of subjective harmonics, monaural phase effect on timble, the phase rule, and a subjective pure tone synthesis. Both soud pressure level and phase of subjective harmonics were measured simultaneously, by adopting the P. S. E. Tracing Method based on successive pair comparisons. This method is characterized by exploring tones consisting of two reciprocal assisiting tones A_&ltnB&gt(Basic phase) and A_&ltnR&gt(Rsversed phase), and a mistuned the M_n. The frequency of assisting tones is the same as that of the subjective harmonic, while the frequency of M_n is slighily different. The mistuned tone is merely introduced to make beats, which intensify observer's sensitivity in adjusting P. S. E. Theoretical considerations are carried out in Fig. 1 under the assumption that the vector addition law holds good in adding external harmonics (assisting tones) to the subjective harmonics. Fig. 2 gives a block diagram of the equipment. A_&ltnB&gt and A_&ltnR&gt are alternately transferred by an electronic switch with a time sequence shown in Fig. 3. The results of experiments are tabulated in tables 2 and 3. Experimental vector loci obtained by this method are shown in Fig. 4, 5 and 6. The agreement of the experimental loci with ones determined theoretically is satisfactory, showing the appropriateness of the assumption. In Fig. 7. comparisons between the results by the Best Beat Method and by the P. S. E. Tracing Method are depicted. The conclusions reached are as follows: (1) The subjective harmonics measured by the new method were approximately 20 dB lower than those by the Best Beat Method. The second subjective harmonic of a fundamental (440 cps. 80 dB SPL), for example, was 46 dB SPL eqe. with a sine phase angle of 262°, while it was 63 dB SPL according to Fletcher. (2) The vector addition law holds good in adding external harmonics to subjective harmonics. (3) The M. P. E. (Monaural Phase Effect) depends largely on subjective harmonics. (4) By adjusting the intensity and phase of external harmonics, observers can hear subjective pure tones. (5) The above-mentioned suggest a hypothesis that the M. P. E. shows itself eventually in the form of a change in amplitude of harmonics due to interactions with subjective harmonics. The phase rule seems to be less reliable with nonlinear actual ears.