Abstract
Previous work has shown that the presence or absence of auditory feedback in musicians has little effect on the performance factors such as note accuracy, timing, and dynamics. This study explored the extent to which an instrumentalist's timber is affected by various feedback conditions. Nine cellists were recorded playing excerpts from the orchestral literature with their hearing completely unimpeded, masked by pink noise, and masked by orchestral recordings of the excerpts requested for the experiment, simulating orchestral playing. Changes in relative harmonic strengths across the three conditions were focused on in analysis. Overall, the results show that the auditory feedback condition has minimal effect on timber production.
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