Significance of Harmonic Contents with Respect to the Timbre of the Violoncello
Harmonic contents (harmonic or inharmonic partials) is an important waveform characteristic that influences the timbre of musical tones. The first part of this research is aimed at finding out (through waveform analysis) the harmonic and inharmonic partials of four sampled violoncello (or cello)...
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| Format: | Thesis |
| Language: | English English |
| Published: |
2002
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| Online Access: | http://psasir.upm.edu.my/id/eprint/8234/1/FEM_2002_3_A.pdf |
| _version_ | 1825944358510133248 |
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| author | Liu, Li Yoon |
| author_facet | Liu, Li Yoon |
| author_sort | Liu, Li Yoon |
| collection | UPM |
| description | Harmonic contents (harmonic or inharmonic partials) is an important
waveform characteristic that influences the timbre of musical tones. The first part of
this research is aimed at finding out (through waveform analysis) the harmonic and
inharmonic partials of four sampled violoncello (or cello) C#3 tones, each played
using a different technique. The four different techniques studied are 'arco',
'spiccato', 'pizzzicato' and 'tremolando'. From the results of the waveform analysis,
the difference in timbre between the four different playing techniques of the cello
could be understood by comparing the harmonic contents of the four cello tones. The
results of the waveform analysis generally showed that the four different playing
techniques have different number of harmonic and inharmonic partials in their
spectra. Both the 'spiccato' and 'tremolando' techniques produced more inharmonic
compared to harmonic partials while the 'arco' technique produced more harmonic compared to inharmonic partials. The 'pizzicato' technique produced only harmonic
partials. The results of the waveform analysis is then used in the second part of this
research that is aimed at finding out the significance of various groups of harmonic or
inharmonic partials in contributing to the timbre of the cello through a listening test.
For this test, the results of the waveform analysis are used to modify the harmonic
contents of the four cello tones. The timbres of the modified cello tones are then
compared with the original cello tones by using short music sequences. Comparisons
are then made between the four different techniques by using tables and graphs.
Results indicate that different groups of harmonic or inharmonic partials affect the
timbre of the cello in different ways. In other words, some groups of harmonic or
inharmonic partials are more significant to the timbre of the cello compared to other
groups. Besides, the timbres of the four different playing techniques are influenced by
the harmonic contents modifications differently. The results generally showed the
'spiccato' technique as the technique that is influenced most significantly and the
'pizzicato' technique as the. technique that is influenced least significantly in timbre
by the harmonic contents modifications executed. The timbres of both the 'arco' and
'tremolando' techniques are influenced moderately by the harmonic contents
modifications. However, the timbre of the cello 'arco' technique is influenced more
significantly by the harmonic contents modifications compared to the 'tremolando'
technique. |
| first_indexed | 2024-03-06T07:14:38Z |
| format | Thesis |
| id | upm.eprints-8234 |
| institution | Universiti Putra Malaysia |
| language | English English |
| last_indexed | 2024-03-06T07:14:38Z |
| publishDate | 2002 |
| record_format | dspace |
| spelling | upm.eprints-82342010-11-08T08:22:46Z http://psasir.upm.edu.my/id/eprint/8234/ Significance of Harmonic Contents with Respect to the Timbre of the Violoncello Liu, Li Yoon Harmonic contents (harmonic or inharmonic partials) is an important waveform characteristic that influences the timbre of musical tones. The first part of this research is aimed at finding out (through waveform analysis) the harmonic and inharmonic partials of four sampled violoncello (or cello) C#3 tones, each played using a different technique. The four different techniques studied are 'arco', 'spiccato', 'pizzzicato' and 'tremolando'. From the results of the waveform analysis, the difference in timbre between the four different playing techniques of the cello could be understood by comparing the harmonic contents of the four cello tones. The results of the waveform analysis generally showed that the four different playing techniques have different number of harmonic and inharmonic partials in their spectra. Both the 'spiccato' and 'tremolando' techniques produced more inharmonic compared to harmonic partials while the 'arco' technique produced more harmonic compared to inharmonic partials. The 'pizzicato' technique produced only harmonic partials. The results of the waveform analysis is then used in the second part of this research that is aimed at finding out the significance of various groups of harmonic or inharmonic partials in contributing to the timbre of the cello through a listening test. For this test, the results of the waveform analysis are used to modify the harmonic contents of the four cello tones. The timbres of the modified cello tones are then compared with the original cello tones by using short music sequences. Comparisons are then made between the four different techniques by using tables and graphs. Results indicate that different groups of harmonic or inharmonic partials affect the timbre of the cello in different ways. In other words, some groups of harmonic or inharmonic partials are more significant to the timbre of the cello compared to other groups. Besides, the timbres of the four different playing techniques are influenced by the harmonic contents modifications differently. The results generally showed the 'spiccato' technique as the technique that is influenced most significantly and the 'pizzicato' technique as the. technique that is influenced least significantly in timbre by the harmonic contents modifications executed. The timbres of both the 'arco' and 'tremolando' techniques are influenced moderately by the harmonic contents modifications. However, the timbre of the cello 'arco' technique is influenced more significantly by the harmonic contents modifications compared to the 'tremolando' technique. 2002 Thesis NonPeerReviewed application/pdf en http://psasir.upm.edu.my/id/eprint/8234/1/FEM_2002_3_A.pdf Liu, Li Yoon (2002) Significance of Harmonic Contents with Respect to the Timbre of the Violoncello. Masters thesis, Universiti Putra Malaysia. Harmony - Musical instrument Violoncello - Instruction and study English |
| spellingShingle | Harmony - Musical instrument Violoncello - Instruction and study Liu, Li Yoon Significance of Harmonic Contents with Respect to the Timbre of the Violoncello |
| title | Significance of Harmonic Contents with Respect to the Timbre of the Violoncello |
| title_full | Significance of Harmonic Contents with Respect to the Timbre of the Violoncello |
| title_fullStr | Significance of Harmonic Contents with Respect to the Timbre of the Violoncello |
| title_full_unstemmed | Significance of Harmonic Contents with Respect to the Timbre of the Violoncello |
| title_short | Significance of Harmonic Contents with Respect to the Timbre of the Violoncello |
| title_sort | significance of harmonic contents with respect to the timbre of the violoncello |
| topic | Harmony - Musical instrument Violoncello - Instruction and study |
| url | http://psasir.upm.edu.my/id/eprint/8234/1/FEM_2002_3_A.pdf |
| work_keys_str_mv | AT liuliyoon significanceofharmoniccontentswithrespecttothetimbreofthevioloncello |