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Canadian Acoustics ISSN 0711-6659 Canadian acoustics acou/tiaue canadienne Journal of the Canadian Acoustical Association - Journal de l’Association Canadienne d’Acoustique MARCH 2009 MARS 2009 Volume 37 -- Number 1 Volume 37 -- Numéro 1 G uest E ditorial / É ditorial invité 1 T echnical A rticles and N otes / A rticles et N otes T echniques Clarifying Spectral And Temporal Dimensions Of Musical Instrument Timbre Michael D. Hall, and James W. Beauchamp 3 Deconstructing a musical illusion: Point-light representations capture salient properties of impact motions Michael Schutz and Michael Kubovy 23 Expressing tonal closure in music performance: Auditory and visual cues Donovon Keith Ceaser, William Forde Thompson and Frank A. Russo 29 Perception of Synthetic Vowels by Monolingual Canadian-English, Mexican-Spanish, and Peninsular-Spanish Listeners - Errata 34 Cross-modal melodic contour similarity Jon B. Prince, Mark A. Schmuckler and William F. Thompson 35 Other Features / Autres Rubriques Book Reviews / Revue des publications 50 Canadian News - Retirement of David Quirt 52 What is New in Acoustics in Canada? 54 CAA Prizes Announcement / Annonce de Prix 60 Canadian News - Acoustics Week in Canada 2009 / Semaine Canadienne d’acoustique 2009 62 canodfon acoustique acou/tic/ canadienne THE CANADIAN ACOUSTICAL ASSOCIATION L’ASSOCIATION CANADIENNE D’ACOUSTIQUE P.O. BOX 1351, STATION “F” C.P. 1351, SUCCURSALE “F” TORONTO, ONTARIO M4Y 2V9 TORONTO, ONTARIO M4Y 2V9 CANADIAN ACOUSTICS publishes refereed articles and ACOUSTIQUE CANADIENNE publie des articles arbitrés et news items on all aspects of acoustics and vibration. Articles des informations sur tous les domaines de l'acoustique et des reporting new research or applications, as well as review or vibrations. On invite les auteurs à soumettre des manuscrits, tutorial papers and shorter technical notes are welcomed, in rédigés en français ou en anglais, concernant des travaux in­ English or in French. Submissions should be sent directly to édits, des états de question ou des notes techniques. Les the Editor-in-Chief. Complete instructions to authors concern­ soumissions doivent être envoyées au rédacteur en chef. Les ing the required camera-ready copy are presented at the end instructions pour la présentation des textes sont exposées à of this issue. la fin de cette publication. CANADIAN ACOUSTICS is published four times a year - in March, ACOUSTIQUE CANADIENNE est publiée quatre fois par année - June, September and December. The deadline for submission of ma­ en mars, juin, septembre et décembre. La date de tombée pour la terial is the first day of the month preceeding the issue month. 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EDITOR-IN-CHIEF / RÉDACTEUR EN CHEF EDITOR / RÉDACTEUR Ramani Ramakrishnan Chantai Laroche Department of Architectural Science Programme d’audiologie et d’orthophonie Ryerson University École des sciences de la réadaptation 350 Victoria Street Université d’Ottawa Toronto, Ontario M5B 2K3 451, chemin Smyth, pièce 3062 Tel: (416) 979-5000; Ext: 6508 Ottawa, Ontario K1H 8M5 Fax: (416) 979-5353 Tél: (613) 562-5800 # 3066; Fax: (613) 562-5428 E-mail: [email protected] E-mail: [email protected] A ssociate E dit< / REDACTEURS ASSOCIES Advertising / Publicité Canadian News / Informations Jason Tsang Jérémie Voix Sonomax Hearing Healthcare Inc 7 Parkwood Crescent 8375 Mayrand Street Ottawa, ONTARIO Montréal, QC, H4P 2E2, Canada K1B3J5 Tel: (514) 932-2674 E-mail:[email protected] Fax: (514) 932-4994 E-mail: [email protected] GUEST EDITORIAL / ÉDITORIAL INVITÉ Canadian researchers have been and continue to be at the Les chercheurs canadiens continuent d’être aujourd’hui au forefront of research in music cognition. By my count, there premier plan de la recherche en cognition musicale. D’après are currently 12 labs in Canada that are engaged in some as­ mon dénombrement, il y a présentement 12 laboratoires au pect of music cognition, and in any given year, work from Canada qui se consacrent à certains aspects de la cognition these labs accounts for no less than 15% of the peer-reviewed musicale, et l’ouvrage émis annuellement par ces labora­ literature in the field. Although the roots of music cognition toires constitue non moins de 15% des articles évalués par can be found in well-controlled psychoacoustic paradigms, les pairs dans ce domaine. Malgré le fait que les origines de researchers have increasingly branched out to consider ques­ la cognition musicale se trouvent dans les paradigmes de re­ tions that touch on aspects that run closer to our everyday cherche psychoacoustique contrôlée, les chercheurs se sont experience with music. Consistent with this trend, there éloignés progressivement de ces paradigmes afin de consid­ has been a growing interest in the manner by which sepa­ érer des questions portant sur des aspects qui se rapprochent rate physical dimensions of music including those that span à notre expérience musicale quotidienne. Conformément à modalities are registered, compared, and in some cases inte­ ces changements, il y eu aussi de plus en plus d’intérêts à la grated. This special issue features four papers that investigate manière dans laquelle les différentes dimensions physiques the multidimensional and multimodal nature of music and de la musique incluant celles de toutes modalités sont per­ related questions of integration. çues, comparées, et dans certains cas intégrées. Cette édition The first paper, by Hall & Beauchamp, concerns a classic spéciale présente quatre articles qui examinent les propriétés question in music cognition: What are the primary dimen­ multidimensionnelles et multimodales de la musique ainsi sions that determine timbre perception? Their approach, que certaines questions portant à l’intégration. however, is novel focusing on the common listening goal of Le premier article, par Hall et Beauchamp, adresse une identification rather than discrimination. Utilizing synthetic question classique dans le domaine de la cognition musi­ timbres made to vary systematically along spectral and tem­ cale : Quelles sont les dimensions principales qui détermi­ poral continua, they show that the spectral envelope domi­ nent la perception du timbre? Leur approche, cependant, nates identification judgements and that formant structure est une concentration atypique sur l’objectif d’écoute com­ has relatively more influence than does spectral centroid. mun d’identification au lieu de celui de discrimination. En The second paper, by Schutz and Kubovy, presents a con­ utilisant des timbres synthétiques variant systématique­ vincing albeit surprising example of multimodal integration. ment selon leur emplacement sur les continuums spectral et The study demonstrates that perception of tone duration can temporel, ils démontrent que les jugements d’identification be dominated by visual information even when that visual sont principalement basés sur l’enveloppe spectrale et que information is highly degraded. This finding is surprising be­ la structure du formant a relativement moins d’influence sur cause audition is normally thought of as the dominant modal­ ces jugements que les centroïdes spectraux. Le deuxième ar­ ity for temporal discrimination. This finding also represents ticle, par Schultz et Kubovy, présente un exemple convain­ a formidable challenge for the optimal integration theory, a cant, bien que surprenant, d’intégration multimodal. Leur widely accepted account of multimodal integration. The third étude démontre que la perception de la durée d’un son mu­ paper, by Ceaser, Thompson & Russo, examines auditory and sical peut être principalement influencée par l’information visual influences on the perception of tonal closure. The au­ visuelle, même quand cette information visuelle est très dé­ thors provide evidence that tonal closure can be perceived on gradée. Ce résultat est surprenant puisque l’audition est nor­ the basis of visual cues alone, and in some cases, on the basis malement conçue comme étant la modalité dominante pour of expressive non-pitch acoustic features. The final paper, by la discrimination temporelle. Ce résultat représente aussi Prince, Schmuckler & Thompson, examines perception of un défi redoutable pour la théorie d’intégration optimale, cross-modal similarity. The study demonstrates that observ­ une théorie sur l’intégration
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