Until recently, hearing impairment has been a blind spot of the map of music perception research. We aim to provide a conceptual and empirical groundwork that may allow an optimization of hearing aids to music. This involves a host of questions: How do listeners parse and organize complex musical scenes? How is music listening affected by hearing loss? Hearing aids are currently optimized for speech -- how can we improve music listening with hearing aids?
K. Siedenburg, S. Röttges, K. C. Wagener, V. Hohmann (under review). Can you hear the melody? Testing musical scene analysis of young hearing-impaired and older normal-hearing listeners.
This project has received funding from the European Union’s Framework Programme for Research and Innovation Horizon 2020 (2014-2020) under the Marie Skłodowska-Curie Grant Agreement No. 747124. The project was entitled TIMPANI - Test, Predict, and Improve Musical Scene Perception of Hearing-Impaired Listeners.
Onset transients have classically been considered as an important acoustical feature for the identification of musical instruments. Here we use a novel sound transient extraction algorithm to more detailedly isolate and study the role of transients and onsets for instrument identification. The subsequent modeling results indicate that onsets possess a wealth of acoustic information that can be exploited by the human auditory system. [Sound examples]
Siedenburg, K., Schädler, M. R., Hülsmeier, D. (in press). Modeling the onset advantage in musical instrument identification. The Journal of the Acoustical Society of America - Express Letters
Siedenburg, K. (2019). Specifying the perceptual relevance of onset transients for musical instrument identification. The Journal of the Acoustical Society of America, 145(2):1078–1087.
Siedenburg, K. and Doclo, S. (2017). Iterative structured shrinkage algorithms for stationary/transient audio separation. In Proc. of the 20th Int. Conf. on Digital Audio Effects (DAFx- 20), Edinburgh, Sep 5–8. [Best Paper Award]
The famous Shepard illusion yields the impression of an infinitely ascending or descending sequence of pitches. It can be shown that an analogue phenomenon also works for brightness perception, using stimuli with modulating spectral envelopes. This allows us to raise new questions regarding the mechanisms underlying spectral change perception: under which circumstances are shifts in spectral fine structure (related to pitch) and shifts in spectral envelope (related to timbre) ambiguous? When do they interfere which each other? And what does this tell us about the relation of pitch and timbre perception? [Sound examples]
Siedenburg, K. (2018). Timbral Shepard-illusion reveals perceptual ambiguity and con- text sensitivity of brightness perception. The Journal of the Acoustical Society of America, 143(2):EL93.
What is musical timbre and what does it do in music? What are the acoustic and cognitive factors that affect timbre dissimilarity and brightness perception? Gaining a better understanding of these questions may not only inform the psychological basis of this important auditory parameter, but also improve our general understanding of music perception.
Siedenburg, K., Saitis, C., McAdams, S., Popper, A. N., and Fay, R. R. (2019). Timbre: Acoustics, Perception, and Cognition. Springer Handbook of Auditory Research. Springer Nature, Heidelberg, Germany.