Psychoacoustics

Psychoacoustics is the study of the relationship between physical sounds and the brain's interpretation of them. Until recently, psychoacoustics has devoted more attention to the behaviour of the peripheral auditory system than to the details of cognitive processing.

The discipline is a branch of psychophysics in that it is interested in the relation between sensory input stimuli and the behavioural or psychological response that they provoke. Because of individual variations in observed responses, statistical results are most often achieved.

Some of the traditional psychoacoustic concerns involve the perception of pitch, loudness, volume and timbre. Contemporary work involves higher level concepts such as auditory percepts, streaming, and auditory scene analysis. (Source - Barry Truax - Handbook for Acoustic Ecology CD-ROM Edition. Cambridge Street Publishing, 1999 - CSR-CDR 9901)

Psychoacoustique

La psychoacoustique est l'étude des relations entre les sons et leur interprétation par le cerveau. Jusqu'à très récemment, les recherches en psychoacoustique se sont concentrées sur le comportement du système auditif périphérique plutôt que sur les détails du processus cognitif.

Cette discipline apparaît comme une branche de la psychophysique à travers la relation étudiée entre les stimuli sensoriels et la réponse comportementale ou psychologique qu'ils provoquent. En raison des différentes variations des résultats observés, un traitement statistique des résultats est alors souvent employé.

Plusieurs directions de recherche de la psychoacoustique traditionnelle concerne la perception des hauteurs, de l'intensité, du volume et du timbre. Mais, les œuvres contemporaines font appel des concepts de niveau plus élevés tels que la perception auditive, le flux et l'analyse de scène auditive. (Source - Barry Truax - Handbook for Acoustic Ecology CD-ROM Edition. Cambridge Street Publishing, 1999 - CSR-CDR 9901)

Psicoacustica

La psicoacustica è lo studio delle relazioni tra i suoni e la loro interpretazione da parte del cervello. Se fino a poco tempo fa le ricerche si sono concentrate sul comportamento del sistema uditivo periferico, attualmente esse indagano i dettagli del processo cognitivo.

La disciplina nasce come branca della psicofisica, poiché è interessata alla relazione tra gli stimoli sensoriali in entrata e la risposta comportamentale o psicologica che questi provocano. Poiché le risposte analizzate variano a seconda degli individui, la statistica è utilizzata come strumento più efficace. La psicoacustica tradizionale si suddivide in molte direzioni di ricerca tra cui la percezione delle altezze, dell'intensità, del volume e del timbro. Con lo studio delle opere contemporanee, fa spesso appello a concetti di livello più elevato come la percezioni uditiva, il flusso e l'analisi della scena uditiva. (Fonte – Barry Truax - Handbook for Acoustic Ecology CD-ROM Edition. Cambridge Street Publishing, 1999 - CSR-CDR 9901).

Con questo termine si identifica lo studio della relazione tra i suoni e la loro interpretazione data dal cervello. In passato la psicoacustica ha dedicato più attenzione al comportamento del sistema uditivo periferico piuttosto che ai dettagli del processo cognitivo. La psicoacustica raccoglie oggi le competenze dell'acustica e della psicologia poiché mette in relazione gli stimoli sensoriali ed il risultato a livello psicologico e comportamentale che essi provocano.

Psychoakustik

Psychoacoustics is the study of the relationship between physical sounds and the brain's interpretation of them. Until recently, psychoacoustics has devoted more attention to the behaviour of the peripheral auditory system than to the details of cognitive processing.

The discipline is a branch of psychophysics in that it is interested in the relation between sensory input stimuli and the behavioural or psychological response that they provoke. Because of individual variations in observed responses, statistical results are most often achieved.

Some of the traditional psychoacoustic concerns involve the perception of pitch, loudness, volume and timbre. Contemporary work involves higher level concepts such as auditory percepts, streaming, and auditory scene analysis. (Source - Barry Truax - Handbook for Acoustic Ecology CD-ROM Edition. Cambridge Street Publishing, 1999 - CSR-CDR 9901)

Psicoacústica

La psicoacústica es el estudio de las relaciones entre los sonidos físicos y la interpretación que hace el cerebro de ellos. Hasta hace poco, la psicoacústica dedicaba más atención al comportaniento del sistema auditivo externo que a los detalles del procesamiento cognitivo.

Esta disciplina es una rama de la psicofísica que se interesa en la relación entre las estímulos sensoriales de entrada y las respuestas psicológicas o de comportamiento que ellos provocan. A causa de las variaciones obervadas en las respuestas individuales, los resultados alcanzados son generalmente de tipo estadístico.

Entre las temáticas que tradicionalmente enfoca la psicoacústica están aquellas vinculadas con la percepción de la altura, la sonoridad subjetiva (loudness), el volumen y el timbre. Actualmente, las áreas de investigación incluyen conceptos de alto nivel como la percepción auditiva, el flujo de sonidos (streaming), y el análisis de escenas auditivas (auditory scene analysis).

(Fuente: Barry Truax (1999). Handbook for Acoustic Ecology. CD-ROM. Cambridge Street Publishing. CSR-CDR 9901)

References

Appleton J. H., Perera R. C. (1975) The Development and Practice of Electronic Music
Augoyard J.-F. (1999) L'objet sonore ou l'environnement suspendu
Battier M. (1990) Les principaux centres de recherche musicale aux Etats-Unis
Bayle F. (1988) L'odyssée de l'espace
Bayle F. (1994) L'espace (post-scriptum...)
Bayle F. (1999) Penser le son aujourd'hui
Belkin A. (1988) Orchestration, Perception, and Musical Time: A Composer's View
Beyls P. (1978) History and development of IPEM Studio
Blaukopf K. (1971) Space in Electronic Music
Castanet P.-A. (2001) Voyages en Nouvelles Atlantide
Charles D. (1991) Michel Redolfi : musique et profondeur
Chion M. (1993) Le promeneur écoutant
Chion M. (1998) Le son
Chouvel J.-M. (2004) Du son à la forme: les nouvelles stratégies compositionnelles issues du studio de musique électroacoustique
Chowning J. M. (2005) Composer le son lui-même
Collins N. (2002) Relating Superhuman Virtuosity to Human Performance
Cook P. R. (2001) Music, Cognition and Computerized Sound: An Introduction to Psychoacoustics
Davis D. S. (1988) Computer Applications in Music: A Bibliography
Delalande F. (1972) L'analyse des musiques électro-acoustiques
Delalande F. (1974) L'Omaggio a Joyce de Luciano Berio
Delalande F. (1985) Perception des sons et perception des œuvres
Delalande F., Frémiot M., Malbosc P., Mandelbrojt J., Formosa M., Pedler E., Gobin P. (1996) Les unités sémiotiques temporelles
Doati R., Vidolin A. (1986) Nuova Atlantide. Il continente della musica elettronica 1900-1986 (New Atlantis. The electronic music continent 1900-1986)
Doati R. (2000) Symmetry, Regularity, Direction, Velocity
Dodge C., Jerse T. A. (1985) Computer Music Synthesis, Composition, and Performance
Emmerson S. (2001) Time Regained
Gayou É., Chowning J. M. (2005) Entretien entre John Chowning et Évelyne Gayou
Georgaki A. (2004) Virtual Voices on Hands: Prominent Applications on the Synthesis and Control of the Singing Voice
Gordon J. W. (1996) Psychoacoustics in Computer Music
Guerin F. (1991) Un espace mental à favoriser
Heinrich M.-N. (2003) Création musicale et technologies nouvelles
Howard D. M., Tyrrell A. M. (1997) Psychoacoustically Informed Spectography and Timbre
Howe H. S. (1975) Electronic Music Synthesis
Kessous L., Arfib D., Couturier J.-M., Verfaille V. (2002) Strategies of Mapping between Gesture Data and Synthesis Model Parameters Using Perceptual Spaces
Küpper L. (1991) The Well-tempered Space Sound Instrument a New Musical Instrument
Küpper L. (1998) Expérimentations et prospections
Küpper L. (2001) Le temps audio-numérique
Küpper L. (2003) Musiques imaginaires, musiques méta-réelles, musiques matérielles
La Motte-Haber H. d. (1992) In den Extremen der Dynamik. Maryanne Amachers Wahrnehmungslandschaften (In the Extremes of Dynamics: Maryanne Amacher's Perception Landscapes)
Laliberté M. (1993) Informatique musicale : utopies et réalités 1957-1990
Leipp É. (1968) La musique expérimentale au laboratoire d'acoustique
Leipp É., Clozier C. (1975) Le groupe de musique expérimental de Bourges
Leipp É., Clozier C. (1975) Discussion
Merlier B. (1998) À la conquête de l'espace
Meston O. (2003) Jean-Claude Risset et les nouvelles technologies musicales: l'ordinateur, maître-mot
Milicevic M. (1999) Aesthetics of Designing an Adaptive Fuzzy System for Evaluation of the Computer Music
Nuñez A. (1993) Informática y Electrónica Musical - 2da. edición, revisada (Musical Electronics and Informatics - 2nd edition, revised)
Redolfi M. (1991) Écouter sous l'eau. Les musiques subaquatiques
Redolfi M. (1991) Écouter sous l'eau. Les musiques subaquatiques
Risset J.-C. (1969) L'ordinateur, instrument de musique
Risset J.-C. (1985) Musique et perception
Risset J.-C. (1986) Arte e scienza: musica elettroacustica numerica (Arts and Science: Digital electroacoustic music)
Risset J.-C. (1988) Quelques observations sur l'espace et la musique aujourd'hui
Risset J.-C. (1991) Timbre et synthèse des sons
Risset J.-C. (1993) Synthèse et matériau musical
Risset J.-C. (1996) Digital Techniques and Sound Structure in Music
Risset J.-C., Meston O. (2001) Portrait d'un homme cultivé
Risset J.-C. (2003) Computer Music: Why?
Roads C. (1996) The Computer Music Tutorial
Roederer J. G. (1979) Introduction to the Physics and Psychophysics of Music
Rossille F.-A. (1998) Nouvelles technologies musicales et imageries mentales
Ruget-Langlois N. (1999) Musique et technologie: la démarche particulière de Marco Stroppa. Entretien avec le compositeur
Schaeffer P., Pierret M. (1969) Entretiens avec Pierre Schaeffer
Schaeffer P., Reibel G., Ferreyra B. (1998[1967]) Solfège de l'objet sonore
Schafer R. M. (1994) The Soundscape: Our Sonic Environment and the Tuning of the World
Slawson W. A. (1975) Sound, Electronics, and Hearing
Smalley D. (1991) Spatial Experience in Electro-acoustic Music
Spiegel L. (1999) Music as Mirror of Mind
Sterne J. (2003) Sounds Like the Mall of America: Programmed Music and the Architectonics of Commercial Space
Tamburini A. (1988) Il calcolatore e la musica : informatica musicale, compositore e pubblico (The computer and music: computer music, composers and the public)
Torra-Mattenklot C. (2000) Illusionnisme musical
Truax B. (1995) La composition basée sur le timbre avec son granulaire
Ungeheuer G. (1960) Ähnlichkeitsklassen bei Schallsignalen (Similarity Classes of Sound Signals)
Whalley I. (2000) Applications of System Dynamics Modelling to Computer Music
Zattra L., Nucibella F. (2005) Audio content tools for the musicological analysis of electroacoustic music
Zazeela M., Young L. M. (1971) Dream House
Zazeela M., Young L. M. (1971) La Monte Young