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Kai Siedenburg

Audiology and Music Psychology
Year 2022

Carl von Ossietzky Universität Oldenburg

Dept. für medizinische Physik und Akustik

Küpkersweg 74
26129 Oldenburg

T:
+49 441-7983579
Portrait of Kai Siedenburg. He has short, dark blond hair and a beard. He wears glasses and a blue shirt.
Photo: Peter Himsel

Research areas

  • Music perception and cognition

  • Auditory scene analysis

  • Hearing impairment

  • Music signal processing

Resume

  • since 02/2020
    Principal investigator, Music Perception and Processing Lab and Freigeist Fellow at the Carl von Ossietzky University of Oldenburg

  • 01/2016–01/2020
    Postdoctoral fellow, Signal Processing Group (Prof. Simon Doclo) at the Carl von Ossietzky University of Oldenburg

  • 09/2012–05/2016
    PhD in Music Technology at McGill University, Montreal, Canada
    Specialization: Music perception and cognition

  • 09/2012–09/2015
    Research assistant, Music Perception and Cognition Lab (Prof. Stephen McAdams) at McGill University, Montreal, Canada

  • 02/2012–07/2012
    Research associate, Intelligent Music Processing Group (Prof. Gerhard Widmer) at the Austrian Research Institute for Artificial Intelligence, Vienna, Austria

  • 10/2009–04/2011
    Research assistant, Audio Communication Group (Prof. Stefan Weinzierl) at the Technical University Berlin

  • 06/2009–08/2009
    Research assistant, Center for New Music and Audio Technologies (Prof. David Wessel) at the University of California at Berkeley, USA

  • 09/2008–08/2009
    Fulbright visiting student in Music and Mathematics

  • 10/2005–01/2012
    MSc (Diplom) in Mathematics (major) and Musicology (minor) at the Humboldt University Berlin

  • 09/2004–09/2005
    Studies in Jazz-Piano, Berlin

Publications

  • K. Siedenburg (2022)

    Beyond (the cave of) loudness/pitch-equalization: A commentary on Reymore (2021).

    Empirical Musicology Review, in press

  • M. Bürgel, L. Picinali, K. Siedenburg (2021)

    Listening in the mix: Vocals robustly attract auditory attention in popular music.

    Frontiers in Psychology, doi: 10.3389/fpsyg.2021.769663

  • K. Siedenburg, F. M. Barg, H. Schepker (2021)

    Adaptative auditory brightness perception.

    Scientific Reports, 11(21456), https://doi.org/10.1038/s41598-021-00707-7

  • K. Siedenburg, S. Jacobsen, C. Reuter (2021)

    Spectral envelope position and shape in sustained instrument sounds.

    The Journal of the Acoustical Society of America, 149(6), 3715–3727, https://doi.org/10.1121/10.0005088

  • M. Touizrar, A.L. Knoll, K. Siedenburg (2021)

    Repetition and aesthetic judgment in post-tonal music for ensemble and large orchestra.

    Frontiers in Psychology, https://doi.org/10.3389/fpsyg.2021.673706

  • K. Siedenburg, K. Goldmann, S. van de Par (2021)

    Tracking musical voices in Bach’s The Art of the Fugue: Timbral heterogeneity differentially affects younger normal-hearing listeners and older hearing-aid users.

    Frontiers in Psychology, 12(608684), https://doi.org/10.3389/fpsyg.2021.608684

  • C. Saitis & K. Siedenburg (2020).

    Brightness perception for musical instrument sounds: relation to timbre dissimilarity and source-cause categories.

    The Journal of the Acoustical Society of America, 148(4), 2256-2266, https://doi.org/10.1121/10.0002275

  • K. Siedenburg (2020)

    Die Farbe macht die Musik: Akustische und perzeptuelle Grundlagen der Klangfarbenwahrnehmung.

    Akustik Journal. 3/20, 27–39

  • K. Siedenburg, S. Röttges, K. C. Wagener, V. Hohmann (2020).

    Can you hear out the melody? Testing musical scene perception in young normal-hearing and older hearing-impaired listeners.

    Trends in Hearing, 24, 1–15, https://doi.org/10.1177/2331216520945826

  • K. Siedenburg, C. Saitis, S. McAdams, A. Popper, R. Fay (2019)

    Timbre: Acoustics, Perception, and Cognition

    Springer Handbook of Auditory Research Series, New York, NY: Springer, https://doi.org/10.1007/978-3-030-14832-4

  • K. Siedenburg, M.R. Schädler, D. Hülsmeier (2019)

    Modeling the onset advantage in musical instrument identification.

    The Journal of the Acoustical Society of America, 146(6), EL523–EL529, https://doi.org/10.1121/1.5141369

  • B. Cauchi, K. Siedenburg, J. F. Santos, T. H. Falk, S. Doclo, S. Goetze (2019)

    Non-intrusive speech quality prediction using modulation energies and LSTM-network.

    IEEE Transactions on Audio, Speech, and Language Processing, 27(7), 1151–1163, https://doi.org/10.1109/TASLP.2019.2912123

  • K. Siedenburg (2019).

    Specifying the relevance of onset transients in musical instrument identification.

    The Journal of the Acoustical Society of America, 145(2), 1078–1087, https://doi.org/10.1121/1.5091778

  • K. Siedenburg (2018)

    Timbral Shepard-illusion reveals perceptual ambiguity and context sensitivity of brightness perception.

    The Journal of the Acoustical Society of America, 143(2), EL-00691, https://doi.org/10.1121/1.5022983

  • K. Siedenburg & S. McAdams (2018)

    Short-term recognition of timbre sequences: Musical training, pitch variability, and timbral similarity.

    Music Perception, 36(6), 24–39, https://doi.org/10.1525/mp.2018.36.1.24