Psychoacoustics and cognition for musicians
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چکیده
Our experience of pitch, timing, loudness, and timbre in music depends in complex ways on physical measurements of frequency, time, amplitude, spectral envelope, and temporal envelope. Psychoacousticians, who investigate these dependencies, can shed light on basic musical questions. Psychoacoustics can explain the central role of frequency and time in music theory and notation, variations in the perceived consonance and frequency of occurrence of pitch–time structures, differences in consonance between simultaneous and successive intervals, why some structures are commoner than others, harmony and voice-leading conventions (including why parallels are avoided, why a leap is often followed by a step in the other direction, and why the interval between tenor and bass usually exceeds that between soprano and alto). In music performance, psychoacoustics can explain why musical intonation deviates from “pure” intervals, how we can recognise mistuned intervals, and why synthesising musical instrument sounds is so difficult. Psychoacoustics is a subdiscipline of psychophysics dedicated to sound and hearing. Its experiential parameters include the pitch, loudness and timbre of musical tones. Experiential sound parameters depend on relevant physical parameters. Pitch differs from frequency, loudness differs from sound pressure level (SPL), and timbre differs from frequency spectra or temporal envelope. A pure tone’s pitch depends on its intensity (pitch shift)—it sounds slightly sharp or flat at extremes of intensity. The clarity of a short pure tone’s pitch depends on its duration; the more periods in the waveform, the clearer the pitch. In general, the exact pitches and saliencies (clarity) of the tone sensations within a complex sound depend on the frequencies and SPLs of all audible partials.
منابع مشابه
Vocal and instrumental musicians: Electrophysiologic and psychoacoustic analysis of pitch discrimination and production
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تاریخ انتشار 2012