Liu Jingyu, Wang Shuang, Xiang Yanyin, Jiang Jian, Jiang Yujian, Lan Jing
State Key Laboratory of Media Convergence and Communication, Communication University of China, Beijing, China.
Key Laboratory of Acoustic Visual Technology and Intelligent Control System, Ministry of Culture and Tourism, Communication University of China, Beijing, China.
Front Psychol. 2022 Jul 7;13:878581. doi: 10.3389/fpsyg.2022.878581. eCollection 2022.
Timbre fusion is the theoretical basis of instrument acoustics and Chinese and Western orchestral acoustics. Currently, studies on timbre fusion are mainly focused on Western instruments, but there are some studies on the timbre fusion of Chinese instruments. In this paper, the characteristics of timbre fusion for Chinese and Western instruments are explored, focusing on the subjective attributes and objective acoustic parameters, and a series of experiments is carried out. First, a database containing 518 mixed timbre stimuli of Chinese and Western instruments was constructed to provide basic data that are necessary for the subjective and objective analyses of timbre fusion. We designed and conducted a subjective evaluation experiment of timbre perception attributes based on the method of successive categories. The experimental data were processed using statistical approaches, such as variance analysis, multidimensional preference analysis, and correlation analysis, and we studied the influence of the temporal envelopes and instrument types on fusion, segregation, roughness, and pleasantness. In addition, the differences between Chinese and Western instruments were compared based on these four perception attributes. The results show that fusion and segregation are the most important attributes for Chinese instrument timbre, while roughness is the most important attribute for Western instrument timbre. In addition, multiple linear regression, random forest, and multilayer perceptron were used to construct a set of timbre fusion models for Chinese and Western instruments. The results show that these models can better predict the timbre fusion attributes. It was also found that there are some differences between the timbre fusion models for Chinese and Western instruments, which is consistent with the analysis results of subjective experimental data. The contribution of acoustic objective parameters to the fusion model is also discussed.
音色融合是乐器声学以及中西管弦乐声学的理论基础。目前，关于音色融合的研究主要集中在西方乐器上，但也有一些关于中国乐器音色融合的研究。本文探讨了中西乐器音色融合的特点，重点关注主观属性和客观声学参数，并开展了一系列实验。首先，构建了一个包含518个中西乐器混合音色刺激的数据库，为音色融合的主观和客观分析提供必要的基础数据。我们基于连续范畴法设计并进行了音色感知属性的主观评价实验。使用方差分析、多维偏好分析和相关分析等统计方法对实验数据进行处理，研究了时间包络和乐器类型对融合、分离、粗糙度和愉悦度的影响。此外，基于这四种感知属性比较了中西乐器之间的差异。结果表明，融合和分离是中国乐器音色最重要的属性，而粗糙度是西方乐器音色最重要的属性。此外，使用多元线性回归、随机森林和多层感知器构建了一组中西乐器的音色融合模型。结果表明，这些模型能够较好地预测音色融合属性。还发现中西乐器的音色融合模型存在一些差异，这与主观实验数据分析结果一致。同时也讨论了声学客观参数对融合模型的贡献。
