Music, cognition, and computerized sound : an introduction to psychoacoustics /

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Bibliographic Details
Imprint:	Cambridge, Mass : MIT Press, c1999.
Description:	xi, 372 p. : ill. ; 27 cm. + 1 computer laser optical disc (4 3/4 in.)
Language:	English
Subject:	Music -- Acoustics and physics. Psychoacoustics. Music -- Psychological aspects. Music -- Acoustics and physics. Music -- Psychological aspects. Psychoacoustics.
Format:	Print Book
URL for this record:	http://pi.lib.uchicago.edu/1001/cat/bib/3753747

Hidden Bibliographic Details
Other authors / contributors:	Cook, Perry R.
ISBN:	0262032562 (hc : alk. paper)
Notes:	Includes bibliographical references and index.

Table of Contents:

Introduction
About the Authors
1. The Ear and How It Works
1.1. Structure of the Ear
1.2. Acoustic Shadows and Filters
1.3. The Pinnae and Auditory Canal
1.4. Inside the Ear
1.5. Details of the Cochlea
1.6. Concluding Remarks About the Ear
References
2. The Auditory Brain
2.1. Nerves and the Brain
2.2. Electrical Behavior of Nerves
2.3. Propagation Times in Nerves
2.4. Inner and Outer Hair Cells: Nerve Signals in the Ear
2.5. Rate and Place Theory of Pitch Perception
2.6. Efferent Nerves and Cochlear Response Curves
2.7. The Auditory Brain
2.8. Interaural Timings
References
3. Cognitive Psychology and Music
3.1. Cognitive Psychology
3.2. Unconscious Inference
3.3. Size and Loudness Constancy
3.4. Spatial and Temporal Inversion
3.5. Perceptual Completion
3.6. The Gestalt Grouping Principles
References
4. Sound Waves and Sine Waves
4.1. Sound and Sine Waves
4.2. Linear Systems
4.3. Sine Waves
4.4. Sine Waves and Musical Sounds
4.5. Fourier Analysis
4.6. The Sampling Theorem
4.7. Filter Banks and Vocoders
4.8. Wavelets and the Sampling Theorem
4.9. Closing Thoughts
References
5. Introduction to Pitch Perception
5.1. Pitch
5.2. Pitch and Brightness
5.3. Pitch and Partials
5.4. Experiments with Tone Bursts
5.5. Odd Harmonics Only
5.6. Chimes and Bells
5.7. Pitch and Unusual Tones
5.8. Concluding Remarks
References
6. What Is Loudness?
6.1. Equal Loudness Contours
6.2. Synthesizing and Listening to Examples
6.3. What's Twice as Loud?
6.4. Complex Sounds
Reference
7. Introduction to Timbre
7.1. Average Spectral Shape
7.2. Bumpy Spectra
7.3. ''Holy Spectra"
7.4. Time Variation in Sounds
7.5. Concluding Remarks on Timbre
References
8. Hearing in Time and Space
8.1. Hearing the World
8.2. The "Cocktail Party Effect"
8.3. Binaural Masking
8.4. The Precedence Effect
8.5. Reverberation
8.6. A Sense of Distance
8.7. Sense of Direction, Left or Right
8.8. Sense of Direction, Up or Down
8.9. Dummy Heads and Spatial Effects
8.10. Our Perception of Noise
8.11. In Conclusion
References
9. Voice Physics and Neurology
9.1. Introduction
9.2. Voice Physiology
9.3. Vocal Tract Acoustics
9.4. Voice System Neurology
9.5. Conclusion
References
10. Stream Segregation and Ambiguity in Audition
10.1. Introduction
10.2. Apparent Motion
10.3. Pitch, Time, and Amplitude: The Separation Phenomenon
10.4. Ambiguity and Music
10.5. Shepard Tones
10.6. Conclusion
References
11. Formant Peaks and Spectral Valleys
11.1. Standing Waves and Resonance
11.2. Destructive Interference, Anti-Resonances
11.3. Nasalized Vowels
11.4. Resonances and Anti-Resonances in Rooms
11.5. Reasonable Formant Ranges
11.6. Human Sensitivity to Formant Frequencies and Bandwidths
11.7. Some Final Thoughts on Resonance and Anti-Resonance
References
12. Articulation in Speech and Sound
12.1. Introduction
12.2. Spectral Properties of Phonemes
12.3. Production in Perception
12.4. Ambiguous Sounds: Ba, Da, Ga
12.5. Pick the Simplest Explanation
12.6. Lexical Filtering and Lazy Evaluation
12.7. More on Reasonable Formant Ranges
12.8. The McGurk Effect, and Prosody and Gesture in Perception
12.9. Conclusion
References
13. Pitch Perception and Measurement
13.1. Introduction
13.2. Logarithms and the Just Noticeable Difference
13.3. Direct Subjective Assessments
13.4. The Mel Scale
13.5. Competence vs. Performance
13.6. Pitch is a Morphophoric Medium
13.7. Dispensable versus Indispensable Attributes
13.8. Spaces to Represent Pitch: Chroma versus Height
13.9. Separating Height from Chroma
13.10. Confusing Chroma and Height
References
14. Consonance and Scales
14.1. Numbers
14.2. Periodicity, Partials, and Intervals
14.3. Beats and Tuning
14.4. Relative Consonance of Intervals
14.5. Beats in Triads of Sine Waves
14.6. Rameau and Inversions
14.7. Consonant Intervals and Scales
14.8. Pitch Errors in Scales
14.9. Other Scales
14.10. Tones with Strange Spectra
References
15. Tonal Structure and Scales
15.1. Introduction
15.2. Testing Musical Tones in Musical Contexts
15.3. Scales Are More Than Simple Ratios of Frequency
15.4. Other Cultures
References
16. Pitch, Periodicity, and Noise in the Voice
16.1. Isn't Singing Just Strange Speech?
16.2. Pitch in Singing
16.3. Noise in the Voice
16.4. Subharmonics in the Voice
16.5. Pitch and Noise in Vowel Perception
16.6. Conclusion
References
17. Memory for Musical Attributes
17.1. Introduction
17.2. Types of Memory
17.3. Working Memory Capacity
17.4. Remembering and Forgetting Details
17.5. Memory For Music
17.6. Contour
17.7. Lyrics
17.8. Amusia
17.9. Memory for Musical Pitch and Tempo
17.10. Summary
Acknowledgments
References
18. Haptics
18.1. Introduction
18.2. Historical Overview
18.2.1. Aristotle
18.2.2. Denis Diderot
18.2.3. Ernst H. Weber
18.2.4. David Katz
18.2.5. Geza Revesz
18.2.6. James Gibson
18.2.7. The Present
18.3. The Sensors
18.3.1. The Cutaneous Sensors
Thermal Sensors
Mechanoreceptors
18.3.2. The Kinesthetic Sensors
18.3.3. Efference Copy
18.4. Interlude: The Haptic Senses in Musical Performance
References
19. Haptics in Manipulation
19.1. Introduction
19.2. The Mechanical Contact: A Two-Way Street
19.3. Force and Position Control: Examples from Telerobotics
19.4. Feedback Control
19.5. Anticipatory Control
19.6. Hierarchical Control
19.7. Learning Theory
19.7.1. Method Selection
19.7.2. Component Strengthening
19.7.3. Chunking
19.8. Summary: The Utility of Haptic Feedback
References
20. Perceptual Fusion and Auditory Perspective
20.1. Introduction
20.2. Perceptual Fusion and Quasi Periodicity
20.2.1. The Limits of Perfection
20.2.2. Periodicity and Quasi Periodicity
20.2.3. Source Identification
20.2.4. Source Segregation
20.2.5. The Chorus Effect and Spectral Smearing
20.2.6. More About Vibrato
20.2.7. Periodicity and Symmetry
20.3. Auditory Perspective
20.3.1. Loudness
20.3.2. Spectral Cues
20.3.3. Distance Cue and Reverberation
20.4. Conclusion: Computer Instruments and Computer Composition
References
21. Passive Nonlinearities in Acoustics
21.1. Introduction
21.2. A Few Examples
21.3. Passive Nonlinearities
21.4. Digital Simulation of Passive Nonlinearities
21.5. Summary
References
22. Storage and Reproduction of Music
22.1. Introduction
22.2. Scores
22.3. Mechanical Instruments
22.4. Imitation Instruments
22.5. Listening to Sounds
22.6. What We Cannot Hear
22.7. In Retrospect
References
23. Experimental Design in Psychoacoustic Research
23.1. Introduction
23.2. The Goals of Scientific Research
23.3. Three Types of Scientific Studies
23.3.1. Controlled Studies ("True Experiments")
23.3.2. Correlational Studies
23.3.3. Descriptive Studies
23.4. Design Flaws in Experimental Design
23.4.1. Clever Hans
23.4.2. Infants' Perception of Musical Structure
23.4.3. Computers, Timing, and Other Pitfalls
23.5. Number of subjects
23.6. Types of Experimental Designs
23.7. Ethical Considerations in Using Human Subjects
23.8. Analyzing Your Data
23.8.1. Quantitative Analysis
23.8.2. Qualitative Analysis, or "How to Succeed in Statistics Without Significance Testing"
23.9. Sources of Ideas for Experiments
23.10. Special Considerations in Psychoacoustic Research
23.11. Checklist: The Ten Stages of a Research Project
23.12. Coda: An Example of a Class Study
Acknowledgments
References
Appendix A. Suggested Lab Exercises
Appendix B. Questions and Thought Problems
Appendix C. Sound Examples on CD
Index

Music, cognition, and computerized sound : an introduction to psychoacoustics /

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