Experiments in tonal as well in non-tonal contexts have shown
the potential relevance of a proper model of roughness estimation
in the framework of computer-aided composition environments.
Two types of models are currently available that operate in either
the spectral or the temporal domain. An experiment has been designed
in which the respective influences of different cues have been
pitted against one another using phase differences. Significant
variation in roughness appeared between sounds with different temporal
envelopes and roughness was generally linked to the rms value
of the envelope. However, significant differences also appeared
between sounds with the same spectrum and the same envelope but different
temporal fine structure. This calls for a new modeling approach
based on peripheral auditory processing.
Contribution au colloque ou congrès : ICMC: International Computer Music Conference