Auditory Perception : a New Synthesis
Auditory Perception: A New Synthesis focuses on the effort to show the connections between key areas in hearing. The book offers a review of classical problems, and then presents interpretations and evidence of this topic. A short introduction to the physical nature of sound and the way sound is transmitted and changed within the ear is provided. The book discusses the importance of being able to identify the source of a sound, and then presents processes in this regard. The text provides information on the organs involved in the identification of sound and discusses pitch and infrapitch
1 online resource (256 pages)
9781483148144, 1483148149
1047725678
Front Cover ; Auditory Perception: A New Synthesis; Copyright Page; Table of Contents; Dedication; Preface; Chapter 1. Sound andthe Auditory System; THE NATURE OF AUDITORY STIMULI; OUR AUDITORY APPARATUS; THE AUDITORY-ACOUSTIC PARADOX: EXCELLENT DISCRIMINATION FROM A POOR INSTRUMENT; ELECTROPHYSIOLOGICAL RESPONSE OF THE COCHLEA AND PERIPHERAL NEURAL APPARATUS; Chapter 2. Spatial Localization and Binaural Hearing; BINAURAL PERCEPTION OF AZIMUTH; DETECTION OF LONG INTERAURAL DELAYS; CONTRALATERAL INDUCTION; MASKING LEVEL DIFFERENCES; TWO TYPES OF TEMPORAL DISPARITY; TIME-INTENSITY TRADING. SOME CAUTIONS CONCERNING INTERPRETATION OF STUDIES USING HEADPHONESIMPORTANCE OF THE PINNA IN SOUND LOCALIZATION; ROOM ACOUSTICS; AUDITORY REORIENTATION; ESTIMATES OF DISTANCE FROM THE SOURCE; SENSORY INPUT AND PHYSICAL CORRELATES; Chapter 3. Perception of Acoustic Repetition: Pitch and Infrapitch; TERMINOLOGY; PITCH; PERIODIC SOUNDS AND LOCAL TEMPORAL PATTERNS ON THE BASILAR MEMBRANE; MODEL PERIODIC STIMULI VERSUS SPECIAL PERIODIC STIMULI; PITCH AND INFRAPITCH; ECHO PITCH AND INFRAPITCH ECHO; PERIODIC SIGNALS WITH ALTERNATING POLARITY; PITCHES PRODUCED BY DICHOTIC INTERACTIONS. EAR DOMINANCE FOR PERCEPTION OF PITCHMUSICAL PITCH AND MUSICAL INFRAPITCH (RHYTHM); SOME RECENT MODELS FOR THE PITCH OF COMPLEX TONES; Chapter 4. The Measurement of Loudness and Pitch; THE HISTORY OF LOUDNESS MEASUREMENT; APPARENT LOUDNESS AND ITS RELATION TO AUDITORY LOCALIZATION: THE PHYSICAL CORRELATE THEORY; THE MEL SCALE OF PITCH MAGNITUDE; SOME CONCLUSIONS AND INFERENCES; Chapter 5. Perception of Acoustic Sequences; RATE AT WHICH COMPONENT SOUNDS OCCUR IN SPEECH AND MUSIC; TEMPORAL ORDER IDENTIFICATION WITHIN EXTENDED SEQUENCES. IDENTIFICATION OF PATTERNS WITHOUT DISCRIMINATION OF ORDER: HOLISTIC PATTERN RECOGNITIONCONCLUSIONS; Chapter 6. Perceptual Restoration of Missing Sounds; TEMPORAL INDUCTION; TEMPORAL INDUCTION OF SPEECH; Chapter 7. Speech; SPEECH PRODUCTION; VISUAL REPRESENTATION OF SPEECH SOUNDS; THE PROTEAN PHONEME; ARE PHONEMES PERCEPTUAL UNITS?; THE TEMPORAL COURSE OF SPEECH PERCEPTION; SPEECH ERRORS IN EVERYDAY LIFE; CHANGES IN SPEECH PERCEPTION DURING STIMULUS REPETITION; EAR ADVANTAGES AND CORTICAL PROCESSING OF SPEECH; PERCEPTION OF LINGUISTIC AND NONLINGUISTIC SEQUENCES. Chapter 8. The Relation of Hearing to Other SensesMULTIMODAL PERCEPTION; AUDITORY INPUT PERCEIVED AS TOUCH; MULTIMODAL SENSORY CONTROL OF SPEECH PRODUCTION; GENERAL PERCEPTUAL RULES AND MODALITY-SPECIFIC RULES; PERCEPTUAL CALIBRATION OF SENSORY INPUT; References; Author Index; Subject Index; About the Author