Psychoacoustics

The acoustics of a space can have a real impact on the sounds you create and capture. Acoustics and Psychoacoustics, Fifth Edition provides supportive tools and exercises to help you understand how music sounds and behaves in different spaces, whether during a performance or a recording, when planning a control room or listening space, and how it is perceived by performers, listeners, and recording engineers. With their clear and simple style, Howard and Angus cover both theory and practice by addressing the science of sound engineering and music production, the acoustics of musical instruments, the ways in which we hear musical sounds, the underlying principles of sound processing, and the application of these concepts to music spaces to create professional sound. This new edition is fully revised to reflect new psychoacoustic information related to timbre and temporal perception, including an updated discussion of vocal fold vibration principles, samples of recent acoustic treatments, and a description of variable acoustics in spaces, as well as coverage of the environment’s effect on production listening, sonification, and other topics. Devoted to the teaching of musical understanding, an accompanying website (www.routledge.com/cw/howard) features various audio clips, tutorial sheets, questions and answers, and trainings that will take your perception of sound to the next level. This book will help you: Gain a basic grounding in acoustics and psychoacoustics with respect to music audio technology systems Incorporate knowledge of psychoacoustics in future music technology system designs as appropriate Understand how we hear pitch, loudness, and timbre Learn to influence the acoustics of an enclosed space through designed physical modifications

Psychoacoustics - Facts and Models represents a comprehensive collection of data describing the processing of sound by the human hearing system. It includes quantitative relations between sound stimuli and auditory perception in terms of hearing sensations. In addition, quantitative psychoacoustic models of hearing sensations are given. The monograph contains a unique collection of data on the human hearing system as a receiver of acoustic information as well as many examples of the practical application of the results of basic research in fields such as audiology, noise evaluation, and sound engineering. Many helpful hints for the solution of practical problems will be of particular benefit to engineers, and the book as a whole should serve as an important benchmark in the field of psychoacoustics. The treatment given in this second edition has been thoroughly updated with recent results.

Psychoacoustics offers a unique, comprehensive summary of information describing the processing of sound by the human hearing system. The third edition includes an additional chapter on audio-visual interactions and applications, plus more on applications throughout.

The acoustics of a recording space can have a real impact on the sounds you create and capture. The book gives an essential grounding and understanding to how real music sounds behave and are perceived in real spaces. With a clear and simple style Howard and Angus walk you through the theory- the science of sound engineering and music production, and the practical ? how to apply it to music spaces so create professional sound, using real world examples and providing audio clips and recorded sounds to work with. Updated throughout the new edition uncovers the acoustic application for today's recording industry. The website is packed with audio clips, questions and answers, a calculation facility as well as links and resources.

This book provides a comprehensive introduction to the subject of acoustics, including the principles of human perception of sound, sometimes called psychoacoustics. Acoustics and Psychoacoustics is ideal for students of music technology, sound recording, traditional music and acoustics, as well as engineers studying audio, multimedia and communications systems. Anyone who wants a practical understanding of how real musical sounds behave and are perceived in real spaces, will find this an accessible and interesting read. Subjects featured include: Principles of sound Human hearing and psychoacoustics Musical timbre, pitch and loudness perception Sound generation in musical instruments Sound in different environments (architectural acoustics) Processing sound electronically The book's second edition provides new material on wave motion, brass and woodwind instruments, forward and backward masking, an introduction to coding, and diffusion. Additional references and marginal notes explaining basic terms are provided to aid understanding. Supporting website: http://www-users.york.ac.uk/~dmh8/AcPsych/acpsyc.htm Visit the book's supporting website, designed by author David Howard, for additional resources: Questions and exercises to test your knowledge Web links for further resources and research Audio clips Calculation facilities (eg. adding decibel values and converting between frequency ratio and cents/semitones) The website can also be reached via www.focalpress.com Professor David M Howard lectures on music technology at the University of York's Electronics Department. His research interests include the analysis and synthesis of music, speech and singing, human hearing modelling and the use of computer displays in voice teaching. He is an active organist, choral singer and choral conductor. Dr James Angus was an instigator of the music technology courses at York, where he formerly lectured. He is now an independent consultant and researches in the area of acoustics, in particular diffuser design and audio signal processing. Acoustics and Psychoacoustics is part of the Focal Press Music Technology Series. *A broad-ranging introduction to acoustics and psychoacoustics *Highly accessible for students requiring a practical understanding of the subject *Supporting website features exam questions and links to online sources

Psychoacoustics: Perception of Normal and Impaired Hearing with Audiology Applications provides an overview of the field of psychoacoustics, with a primary focus on auditory perception. The influence of hearing loss on these general auditory abilities is discussed in every chapter. Components of the book also include the role of psychoacoustics in audiological assessment and treatment. Psychoacoustics is ideal for graduate students in audiology who intend on having a clinical career and need an understanding of both normal and impaired auditory perception. It is intended to give students sufficient information to understand how the ear achieves auditory perception, what the capabilities of the ear are, and how hearing loss influences that perception. It also provides students with a foundation for further study in the area and to apply psychoacoustic principles to diagnostic audiology and audiological rehabilitation. Each chapter presents self-contained information related to the acoustics, physiology, and methodologies as they apply to the topic being discussed. Chapters include the following: introduction, relevant acoustics, important physiological studies, perception by normal-hearing listeners, and perception by listeners who have sensorineural hearing loss. The final chapter discusses clinical implications of deficits in perceptual abilities by listeners with sensorineural hearing loss. Because psychoacoustics is intimately integrated into clinical audiology, this chapter also includes a discussion of many of the clinical tests and practices that have evolved directly from psychoacoustic experimentation. Key Features: Learning objectives and summaries begin and end each chapter to convey the goals of the text and review student comprehension.Each chapter contains exercises designed to develop critical thinking about psychoacoustics.The text emphasizes applied learning for more effective and efficient learning of the material.Disclaimer: Please note that ancillary content (such as documents, audio, and video, etc.) may not be included as published in the original print version of this book.

Outlines advances in dynamic, cognitive, and ecological investigations of auditory perception and ties this work to findings in more traditional areas of psychoacoustics. This book examines basic psychoacoustics from a more cognitive and ecological perspective. It provides coverage including both basic and applied research in auditory perception.

The first book to provide comprehensive introductory coverage of the multiple topics encompassed under psychoacoustics. How hearing works and how the brain processes sounds entering the ear to provide the listener with useful information are of great interest to psychologists, cognitive scientists, and musicians. However, while a number of books have concentrated on individual aspects of this field, known as psychoacoustics, there has been no comprehensive introductory coverage of the multiple topics encompassed under the term. Music, Cognition, and Computerized Sound is the first book to provide that coverage, and it does so via a unique and useful approach. The book begins with introductory chapters on the basic physiology and functions of the ear and auditory sections of the brain, then proceeds to discuss numerous topics associated with the study of psychoacoustics, including cognitive psychology and the physics of sound. The book has a particular emphasis on music and computerized sound. An accompanying download includes many sound examples to help explicate the text and is available with the code included in the book at http://mitpress.mit.edu/mccs. To download sound samples, you can obtain a unique access code by emailing [email protected] or calling 617-253-2889 or 800-207-8354 (toll-free in the U.S. and Canada).The contributing authors include John Chowning, Perry R. Cook, Brent Gillespie, Daniel J. Levitin, Max Mathews, John Pierce, and Roger Shepard.