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Abstract submission deadline: May 22, Notification of acceptance: June 30, Camera ready paper submission deadline: July 24, Revisions of abstracts for oral and poster presentations, which can be expanded up to a 4-page paper, must be submitted online on the EasyChair website. When submitting, please include the camera ready abstract or paper both in Word and PDF formats, accompanied by a PDF document explaining how you have taken into account reviewers' comments in the final version. Please fill in the online registration form. Timbre will be presented through Zoom and the Zoom link will be emailed to all registered attendants one day prior to the conference.

Nikos Diminakis musicologist, multi-instrumentalist, music educator, b. He has presented and published articles about music analysis in various conference proceedings. He is appointed as a music teacher in public elementary schools and since he has also been active in giving courses Didjeridou, Harmony, Vocal and Aural Skills Training at the School of Music of the Aristotle University.

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Since he tries to incorporate beatbox techniques in several instruments mainly winds through improvisations and his own compositions. Matina Kalaitzidou is a music educator, b. Beatbox is also transforming rapidly into an umbrella term since it manages to combine a number of diverse sound production techniques of different ethnic groups in various periods of their cultural identity i.

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Mongolian throat singing, eefing, etc. This talk explores how timbre contributes to the perception of musical tension. Tension is an aggregate of a wide range of musical and auditory features and is a fundamental aspect of how listeners interpret and enjoy music.

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Timbre as a contributor to musical tension has received relatively little attention from an empirical perspective compared to other musical features such as melodic contour and harmony. The studies described here explore how common timbre descriptors contribute to tension perception. Multiple features including spectral centroid, inharmonicity, and roughness were examined through listener evaluations of tension in both artificially generated stimuli and electroacoustic works by well-known composers such as Stockhausen and Nono.

Timbral tension was further examined in an audiovisual context by pairing electroacoustic compositions with abstract animations. As the thinking went, a good sound synthesis method should produce sound output with all the attributes of acoustically-produced sound. And yet, physical models are posed in a way which makes any scientific exploration of the notion of timbre quite difficult.

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Physical modeling is a roundabout approach: physical models obey laws of physics and not human perception, and it is expected that any acoustic system that obeys the laws of physics will produce natural sound. As to why they produce natural soundthis is wrapped up in the physical parameters that define a particular model, which often do not relate directly to perceptual definitions of timbre or even pitch or loudness.

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The aim of this talk is to give a short qualitative introduction to physical modelling synthesis and to explore, through both mathematical models and sound examples, the way engineers and musicians and not scientists! Timbre is a key perceptual feature of sound, that allows the listener to identify a sound source.

Wednesday, May 21, 2014

Timbral differences enable the recognition of musical instruments and are critical for vowel perception in human speech. In this talk I will present recent work that has explored how the auditory cortex extracts and represents spectral timbre and how neural representations facilitate perceptual constancy. Perceptual constancy requires neural representations that are selective for object identity, but also tolerant across identity-preserving transformations.

By combining behavioural testing in ferrets and humans, with neural recordings from the auditory cortex of ferrets actively discriminating sound timbre, we will demonstrate how cortical representations represent timbre across differences in pitch and location and robustly in the presence of background noise. Timbre can influence pitch perception — an effect that is not directly obvious and this talk will explore some of the ways this can occur. In addition, it will consider the implications for the tuning of individual notes by singers and what the potential can be for pitch drift as well as audience appreciation of the overall tuning.

The session will consist of 6 sub-sessions each of wich will last 8 minutes and will include participants selected randomly. Each participant will be allocated with a max of 2 minutes self-presentation. Once you enter the first sub-session via the link provided in the instructions email the switching to the next sessions will be automated. Separate virtual rooms hosting each poster can be accessed through the corresponding links included in the instructions email. Poster session presenters should join their rooms 10 minutes before the session begins. Gather Town is a virtual space where you can interact with other people in a more direct and informal way.

You can enter the two available virtual spaces maximum of 50 people in each via the links provided in the instructions email. Organisers and participants can contact the technical support of the conference via the following skype account and the following email: Skype Account Name: TIMBRE Morwaread M. Flatscreen TV. Non-smoking rooms. Family rooms. Languages Spoken.

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2nd International Conference on Timbre

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