Acoustics and PsychoacousticsAcoustics 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. Gain a practical understanding of how real musical sounds behave and are perceived in real spaces with this accessible and interesting read. This third edition offers a CD of audio examples, crucial for a clear understanding of the concepts discussed. Visit the book's supporting website at http://books.elsevier.com/0240519957 for additional resources such as: * 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) This website can also be reached via www.focalpress.com |
Contents
1 Introduction to sound | 1 |
2 Introduction to hearing | 65 |
3 Notes and harmony | 110 |
4 Acoustic model for musical instruments | 153 |
5 Hearing timbre and deceiving the ear | 216 |
6 Hearing music in different environments | 261 |
7 Processing sound electronically | 348 |
Appendix 1
Solving the ERB equation | 387 |
Appendix 2
Converting between frequency ratios and cents | 389 |
Appendix 3
Deriving the reverberation time equation | 391 |
Appendix 4
Deriving the reverberation time equation for different frequencies and surfaces | 395 |
Appendix 5
Track listing for the audio compact disc | 398 |
| 405 | |
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Common terms and phrases
absorbers absorption acoustic amplitude approximately average bandwidth becomes boundaries calculated Chapter components consider critical decay delay depends diffuse direction distance effect energy equal Equation example fact field fifth filter follows frequency function given gives harmonics hearing higher important increase input instruments intensity intervals known length less listener loudness lower major material means measured membrane modes move musical nature occur octave organ output particular perceived perception performance period phase pipe pitch played position possible present pressure processing produce range ratio recording reduce reed reference reflections relative resonator respect response result reverberation scale shape shown in Figure shows signal sound source sound wave space spectrum square stopped string surface third timbre tone tuning values vary vibration vocal wave waveform wavelength