Musicians display a variety of auditory perceptual benefits relative to people with little or no musical training; these benefits are collectively referred to as the \"musician advantage.\" Importantly, musicians consistently outperform nonmusicians for tasks relating to pitch, but there are mixed reports as to musicians outperforming nonmusicians for timbre-related tasks. Due to their experience manipulating the timbre of their instrument or voice in performance, we hypothesized that musicians would be more sensitive to acoustic context effects stemming from the spectral changes in timbre across a musical context passage (played by a string quintet then filtered) and a target instrument sound (French horn or tenor saxophone; Experiment 1). Additionally, we investigated the role of a musician\'s primary instrument of instruction by recruiting French horn and tenor saxophone players to also complete this task (Experiment 2). Consistent with the musician advantage literature, musicians exhibited superior pitch discrimination to nonmusicians. Contrary to our main hypothesis, there was no difference between musicians and nonmusicians in how spectral context effects shaped instrument sound categorization. Thus, musicians may only outperform nonmusicians for some auditory skills relevant to music (e.g., pitch perception) but not others (e.g., timbre perception via spectral differences).

Listeners show perceptual benefits (faster and/or more accurate responses) when perceiving speech spoken by a single talker versus multiple talkers, known as talker adaptation. While near-exclusively studied in speech and with talkers, some aspects of talker adaptation might reflect domain-general processes. Music, like speech, is a sound class replete with acoustic variation, such as a multitude of pitch and instrument possibilities. Thus, it was hypothesized that perceptual benefits from structure in the acoustic signal (i.e., hearing the same sound source on every trial) are not specific to speech but rather a general auditory response. Forty nonmusician participants completed a simple musical task that mirrored talker adaptation paradigms. Low- or high-pitched notes were presented in single- and mixed-instrument blocks. Reflecting both music research on pitch and timbre interdependence and mirroring traditional \"talker\" adaptation paradigms, listeners were faster to make their pitch judgments when presented with a single instrument timbre relative to when the timbre was selected from one of four instruments from trial to trial. A second experiment ruled out the possibility that participants were responding faster to the specific instrument chosen as the single-instrument timbre. Consistent with general theoretical approaches to perception, perceptual benefits from signal structure are not limited to speech.

This article presents a proposal of thermal modification of Norway spruce and sycamore maple for special wood products, mainly for musical instruments. Selected physical and acoustical characteristics (PACHs), including the density (ρ), dynamic modulus of elasticity along the wood grain (EL), specific modulus (Esp), speed of sound along the wood grain (cL), resonant frequency (fr) and acoustic constant (A), logarithmic decrement (ϑ), loss coefficient (η), acoustic conversion efficiency (ACE), sound quality factor (Q), and the timbre of sound, were evaluated. These two wood species were chosen regarding their use in the production or repair of musical instruments. For the thermal modification, a similar process to the ThermoWood process was chosen. Thermal modification was performed at the temperatures 135 °C, 160 °C and 185 °C. The resonant dynamic method was used to obtain the PACHs. Fast Fourier transform (FFT) was used to analyze the sound produced. The changes in the observed wood properties depended on the treatment temperature. Based on our results of all properties, the different temperature modified wood could find uses in the making of musical instruments or where the specific values of these wood characteristics are required. The mild thermal modification resulted in a decrease in mass, density, and increased speed of sound and dynamic modulus of elasticity at all temperatures of modification. The thermally modified wood showed higher sound radiation and lower loss coefficients than unmodified wood. The modification also influenced the timbre of sound of both wood species.

Three tree ring sequences were collected on the soundboard of the Stradivari harp. Due to the presence of the strings in the centre of the harp soundboard, the sampling of the tree ring widths was focused separately on the right side (RX), the central (CX) and the left side (LX). Tree ring measurements were carried out by using the Video Time Table (VTT), an instrument that combines a portable measuring device and a digital, high-resolution video camera. The VTT allowed non-invasive measurements of the tree rings to be made in situ and to immediately verify the quality of the sampling. The growth rings of the central portion were sampled using a high-resolution camera, which made it possible to bypass the barrier formed by the neck and strings. The consequent parallax and focus problems were overcome by taking many photographs from different angles. The measurements on the photographs were made with the CooRecorder program. The dendrochronological data were acquired with the PAST4 program and graphically processed and analysed with the PAST4 and 5 programs.

Learning a musical instrument requires a long period of training and might induce structural and functional changes in the brain. Previous studies have shown brain plasticity resulting from training with a musical instrument. However, these studies did not distinguish the effects on brain plasticity of specific musical instruments as they examined the brain of musicians who had learned a single musical instrument/genre and did not control for confounding factors, such as common or interactive effects involved in music training. To address this research gap, the present work investigated musicians who had experience with both a piano and a wind instrument, for example, flute, trumpet, clarinet etc. By examining the difference between the 2 musical instruments in the same subject, we avoided the effects common to all musical instruments and the confounding factors. Therefore, we identified several high-tier brain areas displaying a brain plasticity specific to each musical instrument. Our findings show that learning a musical instrument might result in the development of high cognitive functions reflecting the skills/abilities unique to the instrument played.

The reed is the primary component in single-reed woodwind instruments to generate the sound. The airflow of the player\'s mouth is the energy source and the airflow is modulated by the reed. The oscillations of the reed control the airflow. Traditionally, instrument reeds are made out of natural cane (Arundo Donax), but in efforts to overcome variability problems, synthetic reeds have been introduced. Previous investigations mainly focused on natural cane reeds and direct elasticity measurements did not discriminate between elasticity moduli along different directions. In order to obtain the mechanical properties along the direction of the reed fibres and in the orthogonal direction separately, a three-point bending testing setup was developed, which accommodates the small samples that can be cut from an instrument reed. Static moduli of elasticity were acquired in both directions. Much higher ratios between longitudinal and transversal moduli were seen in the natural cane reed as compared to the artificial reeds. Wet natural reeds showed a strong decrease in moduli of elasticity as compared to dry reeds. Elasticity was significantly higher in artificial reeds. The force-displacement curves of the wet natural reed show hysteresis, whereas the artificial materials did not. In the cane reed, higher energy losses were found in the transversal direction compared to the longitudinal direction.

There have been numerous reports in the literature describing the diversity of microbial flora isolated from woodwind and brass instruments, with potential infection risks for players, especially when such instruments are shared. Steam disinfection has become established as a trusted method of decontamination; however, there have been no reports on the employment of this technology to disinfect parts of musical instruments, hence it was the aim of this study to examine the fate of bacterial and yeast pathogens on artificially contaminated trumpet mouthpieces and to evaluate whether such disinfection is an effective method of disinfection for such instrument parts. Trumpet mouthpieces were artificially contaminated with 18 microbial strains (17 bacteria from four genera (Enterococcus, Escherichia, Staphylococcus and Streptococcus) and one yeast (Candida)), each at an inoculum density of approximately 1·5 × 107 colony forming units and subjected to a disinfection cycle. The experiment was repeated including 50% (v/v) sterile sputum as soil. No bacteria or yeast organisms were recovered post disinfection, including following recovery and with nonselective cultural enrichment techniques.

Playing musical instruments can bring joy to people, but can also cause a wide variety of health issues that range from mild disorders to potentially fatal conditions. Although sports medicine is an established medical subspecialty, relatively few studies have investigated the health issues associated with musical instruments. Here we present an overview of these health issues. These include infections due to microorganisms, allergic reactions, as well as mechanical injuries from sustained high pressures within the oral, mediastinal, thoracic, and abdominal cavities. For example, wind instruments can potentially harbor thousands of pathogenic organisms. If several players share the same instrument, these instruments present potential hazards in the spread of infections. A fatal case of hypersensitivity pneumonitis in a bagpiper is particularly noteworthy. Similarly, a case of gastrointestinal anthrax in an animal-hide drummer is a reminder of this rare but highly fatal disease. Although not fatal, hearing-related disorders, neuromuscular issues, musculoskeletal problems, and contact dermatitis are also very common among instrumentalists. This review aims to illuminate these under-recognized health issues by highlighting both the common conditions and the rare but fatal cases.

Composers often pick specific instruments to convey a given emotional tone in their music, partly due to their expressive possibilities, but also due to their timbres in specific registers and at given dynamic markings. Of interest to both music psychology and music informatics from a computational point of view is the relation between the acoustic properties that give rise to the timbre at a given pitch and the perceived emotional quality of the tone. Musician and nonmusician listeners were presented with 137 tones produced at a fixed dynamic marking (forte) playing tones at pitch class D# across each instrument\'s entire pitch range and with different playing techniques for standard orchestral instruments drawn from the brass, woodwind, string, and pitched percussion families. They rated each tone on six analogical-categorical scales in terms of emotional valence (positive/negative and pleasant/unpleasant), energy arousal (awake/tired), tension arousal (excited/calm), preference (like/dislike), and familiarity. Linear mixed models revealed interactive effects of musical training, instrument family, and pitch register, with non-linear relations between pitch register and several dependent variables. Twenty-three audio descriptors from the Timbre Toolbox were computed for each sound and analyzed in two ways: linear partial least squares regression (PLSR) and nonlinear artificial neural net modeling. These two analyses converged in terms of the importance of various spectral, temporal, and spectrotemporal audio descriptors in explaining the emotion ratings, but some differences also emerged. Different combinations of audio descriptors make major contributions to the three emotion dimensions, suggesting that they are carried by distinct acoustic properties. Valence is more positive with lower spectral slopes, a greater emergence of strong partials, and an amplitude envelope with a sharper attack and earlier decay. Higher tension arousal is carried by brighter sounds, more spectral variation and more gentle attacks. Greater energy arousal is associated with brighter sounds, with higher spectral centroids and slower decrease of the spectral slope, as well as with greater spectral emergence. The divergences between linear and nonlinear approaches are discussed.

OBJECTIVE: To investigate the discrimination of two isolated spectral timbre cues, spectral centroid (Fc) and spectral irregularity (spIrr), in cochlear implant (CI) listeners. To examine whether the perception of Fc and spIrr changes is related to the perception of loudness and pitch and the identification of musical instruments.
METHODS: Stimuli were based on French horn recordings which were artificially manipulated with respect to isolated changes in Fc and spIrr. Difference limens for Fc and spIrr were determined and changes in loudness and pitch perception based on these modifications were examined. Identification of musical instruments was additionally assessed.
RESULTS: Mean difference limens were 161 Hz for Fc and 0.63 dB for spIrr. Modifications in spectral timbre cues caused changes in loudness and pitch perception. None of the timbre cues examined showed a significant correlation with musical instrument identification. In contrast, instrument identification was significantly related to the frequency of listening to music prior to onset of deafness.
CONCLUSIONS: CI recipients are able to detect small modifications in spectral timbre cues which are in turn associated with changes in loudness and pitch. Variations of spectral centroid have a larger impact on loudness and pitch perception than variations of spectral irregularity. Music listening behaviour prior to onset of deafness is significantly associated with musical instrument identification.