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| Format: | Recurso digital |
| Language: | English |
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Zenodo
2025
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| Online Access: | https://doi.org/10.5281/zenodo.15838308 |
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| author | ZACHARAKIS, Asterios VLAIKIDOU, Alexandra VELENIS, Konstantinos CAMBOUROPOULOS, Emilios |
| author_facet | ZACHARAKIS, Asterios VLAIKIDOU, Alexandra VELENIS, Konstantinos CAMBOUROPOULOS, Emilios |
| contents | <p><span>The prominence of auditory roughness is evident from its long-standing theoretical interest, dating back to Helmholtz nearly two centuries ago. Since then, researchers have developed various models to predict perceived roughness, while neuroscientific findings have emphasized its role in signaling alarm and danger. In music, roughness is often used to create tension or relaxation, making it a key element in musical expression. At the same time, roughness—originally a sensory concept borrowed from touch—shows strong cross-modal connections, often linked to amplitude irregularities and fluctuations. Our study explores whether auditory roughness overlaps with qualities like granularity, sharpness, and noisiness. To investigate whether these concepts can be reliably distinguished without relying on verbal descriptions, we conducted a five-alternative forced-choice experiment. Participants categorized 18 sound stimuli by selecting one of four visual representations (granular, sharp, rough, or noisy) or a 'no image' option. The results showed that participants’ choices were above chance, suggesting meaningful correspondences between sound and visual analogues. Further analysis indicated that granularity differs from roughness in its concentration of energy at slower temporal modulations, as revealed by modulation power spectrum analysis. Additionally, Zwicker’s sharpness measure correlated positively with granularity and negatively with roughness. However, the acoustic patterns for sharpness and noisiness were not statistically significant, suggesting that future studies should focus on fewer roughness-related categories and expand the sound stimulus set for clearer conclusions.</span></p> |
| format | Recurso digital |
| id | zenodo_https___doi_org_10_5281_zenodo_15838308 |
| institution | Zenodo |
| language | eng |
| publishDate | 2025 |
| publisher | Zenodo |
| record_format | zenodo |
| spellingShingle | FACETS OF AUDIO-VISUAL ROUGHNESS: FROM GRANULARITY TO SHARPNESS ZACHARAKIS, Asterios VLAIKIDOU, Alexandra VELENIS, Konstantinos CAMBOUROPOULOS, Emilios Sound and Music Computing <p><span>The prominence of auditory roughness is evident from its long-standing theoretical interest, dating back to Helmholtz nearly two centuries ago. Since then, researchers have developed various models to predict perceived roughness, while neuroscientific findings have emphasized its role in signaling alarm and danger. In music, roughness is often used to create tension or relaxation, making it a key element in musical expression. At the same time, roughness—originally a sensory concept borrowed from touch—shows strong cross-modal connections, often linked to amplitude irregularities and fluctuations. Our study explores whether auditory roughness overlaps with qualities like granularity, sharpness, and noisiness. To investigate whether these concepts can be reliably distinguished without relying on verbal descriptions, we conducted a five-alternative forced-choice experiment. Participants categorized 18 sound stimuli by selecting one of four visual representations (granular, sharp, rough, or noisy) or a 'no image' option. The results showed that participants’ choices were above chance, suggesting meaningful correspondences between sound and visual analogues. Further analysis indicated that granularity differs from roughness in its concentration of energy at slower temporal modulations, as revealed by modulation power spectrum analysis. Additionally, Zwicker’s sharpness measure correlated positively with granularity and negatively with roughness. However, the acoustic patterns for sharpness and noisiness were not statistically significant, suggesting that future studies should focus on fewer roughness-related categories and expand the sound stimulus set for clearer conclusions.</span></p> |
| title | FACETS OF AUDIO-VISUAL ROUGHNESS: FROM GRANULARITY TO SHARPNESS |
| topic | Sound and Music Computing |
| url | https://doi.org/10.5281/zenodo.15838308 |