帶有雜質的樂音－聽覺模型及「泛音－噪音比」

Impure Musical Sounds: Auditory Model and harmonic-to-noise Ratio

10.29873/GMJ.200905.0007

蔡振家(Chen-Gia Tsai)

音色 ； 泛音－噪音比 ； 音景分析 ； 吼音 ； 尺八 ； 電吉他 ； 京胡 ； Timbre ； harmonic-to-noise ratio ； auditory scene analysis ； growl voice ； shakuhachi ； electric guitar ； jinghu

關渡音樂學刊

10期（2009 / 05 / 01）

113 - 125

繁體中文

在西方古典音樂裏面，帶有雜質的音色似乎不如純淨的樂音來得悅耳，因此音樂家通常會刻意避免產生這類音色，但在某些音樂文化中，嘈雜不純的音色卻是音樂風格中不可分割的一環。本文從音景分析(auditory scene analysis)理論來建立嘈雜音色的聽覺模型，並以頻譜圖與「泛音－噪音比」(harmonic-to-noise ratio)來分析器樂與聲樂裏的各種嘈雜音色。

In western classical music, the impure timbre is more unpleasant than the timbre without any impurity. Therefore, musicians usually intentionally avoid the production of the former timbre. In other musical cultures, however, the impure timbre is an integral part of musical styles. The present paper proposes an auditory model for the impure timbre on the theoretical basis of auditory scene analysis. Examples of the impure timbre in instrumental and vocal music are analyzed with spectrograms and harmonic-to-noise ratios.

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