Conveners
A11.05/A15.03 Perception of Music and Musical Instruments: S078
- Kai Siedenburg (CvO University of Oldenburg)
A11.05/A15.03 Perception of Music and Musical Instruments: P471
- Kai Siedenburg (CvO University of Oldenburg)
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Ulysse LEFEUVRE (L-Acoustics)09/09/2026, 14:20A11 Musical Acoustics
Groove, defined as the pleasurable urge to move in response to music, is a central dimension of rhythmic perception. While previous research has examined the contributions of syncopation, microtiming, and tempo to groove, the role of sound dynamics remains poorly understood. This study investigates how variations in sound level across drum patterns influence perceived groove, and whether...
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Mathilde de Kerangal (UCL Ear Institute)09/09/2026, 14:40A11 Musical Acoustics
When we listen to music, our auditory system performs a complex task known as auditory scene analysis. This process involves organising overlapping acoustic signals into distinct streams or sources, such as an instrument or a singing voice, and perceiving individual sound events, such as the notes played. The current project focused on investigating selective attention in multi-instrument...
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Cristhiam Fidel Martínez Orellanos (University of Hamburg)09/09/2026, 15:00A11 Musical Acoustics
The underrepresentation of non-western musical traditions in open-source datasets poses a persistent challenge for computational psychoacoustic analysis, particularly due to low-quality recordings or insufficient sample sizes that characterize these collections. This study examines the use of statistical inference methods for the psychoacoustic characterization of non-western traditional...
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Helene Lindenbauer (Universität Wien)09/09/2026, 15:00A11 Musical Acoustics
Each year, the Eurovision Song Contest (ESC) generates speculation about the winning song. Previous research about Eurovision Song Contest Songs has mainly examined the musical features of past ESC participants, while the listeners emotions and chill experiences have not yet been combined with it. This study investigated whether acoustic and emotional differences can be measured between...
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Michel Buergel09/09/2026, 15:00A11 Musical Acoustics
Auditory attention in multi-voiced music typically gravitates towards the highest voice (high-voice superiority; Trainor et al., 2014). Conversely, bass lines often lack this kind of salience (bass inferiority; Bürgel et al., 2021). However, our recent study using pseudo-randomized pure-tone melodies revealed a contrasting "edge effect," where melodies in both the highest and lowest frequency...
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Szymon Błaszczyk (Adam Mickiewicz University in Poznan)09/09/2026, 15:00A11 Musical Acoustics
Timbre's temporal micro-variability contributes substantially to source identity and sound quality. However, existing temporal representations are either computationally driven or perceptually motivated but reduced to scalar descriptors. Building on a momentary approach to timbre developed in prior work, we present a framework that isolates temporal variability and represents it as a...
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Simon Jacobsen (CvO University of Oldenburg)09/09/2026, 15:00A11 Musical Acoustics
Identification of musical instruments has primarily been investigated for sounds in isolation. However, as musical scene analysis often involves multi-source scenarios, research must be extended to sound mixtures.In this study, thirty-four listeners identified sounds from eight Western classical instruments presented in isolation and in stationary chord mixtures of two to four instruments. For...
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Sven-Amin Lembke (Anglia Ruskin University)09/09/2026, 15:20A11 Musical Acoustics
Compared to individual instruments, audio features that characterise multiple instruments forming ensembles have received less attention. Apart from reports arguing the importance of decorrelated amplitude modulation of partial tones, it largely remains unknown what audio features describe ensemble sound more generally and how features may vary as a function of instruments, performance...
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Katharina Pollack (Acoustics Research Institute, ÖAW)09/09/2026, 15:40A11 Musical Acoustics
Audio scores convey the musical information from the composer to the musician in an acoustic way instead of written notation. Typically, the score is being played to the musician via loudspeakers, and the musician imitates what they hear. Here, psychoacoustics play a major role in the composition, because the timing of perceiving the sound changes and consciously imitating it depends on the...
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Christoph Reuter (Universität Wien)09/09/2026, 16:00A11 Musical Acoustics
The Space for Interdisciplinary Experiments on Sounds (SInES, University of Vienna) has developed in recent years more than 80 browser-based applications for audio analysis, AI-driven audio feature estimation, (re)synthesis, and video tracking at https://sinestools.univie.ac.at. Following a "upload file – click analyze – download results" philosophy, these free tools leverage modern JavaScript...
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