The Perception of Microsound and its Musical Implications

Annals of the New York Academy of Sciences

Volumn 999, Issue , 2003, Pages 272-281

  Roads, Curtis ^a  

^a Santa Barbara   (United States)

Author keywords

Grains; Microsound; Music composition; Music perception; Pointillism; Pulsars; Sound particles; Temporal acuity

Indexed keywords

ACOUSTICS; ATMOSPHERIC PRESSURE; AUDITORY NERVOUS SYSTEM; AUDITORY STIMULATION; BRAIN FUNCTION; CONFERENCE PAPER; EVOKED AUDITORY RESPONSE; HEARING; HEARING ACUITY; HUMAN; MAXIMUM ALLOWABLE CONCENTRATION; MUSIC; PHENOMENOLOGY; PHYSICAL PARAMETERS; PITCH; SOUND; SOUND INTENSITY; SOUND PRESSURE; STIMULUS RESPONSE; TIME; VIBRATION;

EID: 0347651362     PISSN: 00778923     EISSN: None     Source Type: Book Series    
DOI: 10.1196/annals.1284.038     Document Type: Conference Paper

References (48)

1. GABOR, D. 1946. Theory of communication. J. Inst. Elect. Eng. Pt. 3, 93: 429-457.
2. GABOR, D. 1947. Acoustical quanta and the theory of hearing. Nature 159: 591-594.
3. GABOR, D. 1952. Lectures on communication theory. Technical Report 238. Research Laboratory of Electronics. Massachusetts Institute of Technology. Cambridge, MA.
4. ROADS, C. 1978. Automated granular synthesis of sound. Comput. Music J. 2: 61-62. Granular synthesis of sound. 1985. In Foundations of Computer Music. C. Roads & J. Strawn, Eds. :145-159. The MIT Press. Cambridge, MA.
5. ROADS, C. 1978. Automated granular synthesis of sound. Comput. Music J. 2: 61-62. Granular synthesis of sound. 1985. In Foundations of Computer Music. C. Roads & J. Strawn, Eds. :145-159. The MIT Press. Cambridge, MA.
6. ROADS, C. 2001. Sound composition with pulsars. J. Audio Eng. Soc. 49: 134-147.
7. ROADS, C. 2002. Microsound. Book and audio compact disc. MIT Press, Cambridge, MA.
8. GORDON, J. 1996. Psychoacoustics in computer music. In The Computer Music Tutorial. C. Roads, Ed. :1053-1069. MIT Press, Cambridge, MA.
9. HELMHOLTZ, H. 1850. On the velocity of propagation of nerve impulses. Comptes Rendus 30, 33. Cited in H. Margenau's introduction to H. Helmholtz. 1885. On the Sensations of Tone. Translated by A. Ellis. New edit. 1954. Dover Publications. New York. The cited page is not numbered.
10. GALAMBOS, R. 1962. Nerves and Muscles. Anchor Doubleday. New York.
11. WINCKEL, F. 1967. Music, Sound, and Sensation. Dover Publications. New York.
12. DOUGHTY, J. & W. GARNER. 1947. Pitch characteristics of short tones I: two kinds of pitch thresholds. J. Exp. Psychol. 37: 351-365.
13. BUSER, P. & M. IMBERT. 1992. Audition. MIT Press. Cambridge, MA.
14. MEYER-EPPLER, W. 1959. Grundlagen und Aufwendungen der Informationstheorie. Springer-Verlag. Berlin.
15. WHITFIELD, J. 1978. The neural code. In Handbook of Perception, vol. IV, Hearing. E. Carterette & M. Friedman, Eds. Academic Press. Orlando, FL.
16. JONES, E.G. 2002. Anatomical and physiological pathways to sound perception. Presented at the conference on the Neurosciences and Music. Venice, Italy. Ann. N.Y. Acad. Sci., this volume.
17. ZATORRE, R.J., P. BELIN & V. PENHUNE. 2002. Structure and function of auditory cortex: music and speech. Trends Cognit. Sci. 6: 37-46.
18. BREGMAN, A. 1990. Auditory Scene Analysis. MIT Press. Cambridge, MA.
19. BREGMAN, A. 1997. When will we hear separate events in a sequence of sounds? Preprint 4582. Presented at the 103rd Conference of the Audio Engineering Society. Audio Engineering Society. New York.
20. BREGMAN, A. & J. CAMPBELL. 1971. Primary auditory stream segregation and perception of order in rapid sequences of tones. J. Exp. Psychol. 89: 244-249.
21. MCAULAY, R. & T. QUATIERI. 1986. Speech analysis/synthesis based on a sinusoidal representation. IEEE Trans. on Acoustics, Speech, and Signal Processing 34: 744-754.
22. MALLAT, S. & Z. ZHENG. 1993. Matching pursuit with time-frequency dictionaries. IEEE Trans. Signal Processing 41: 3397-3415.
23. DAVIS, G., S. MALLAT & Z. ZHENG. 1994. Adaptive time-frequency decompositions with matching pursuit. Optical Eng. 33: 2183-2191.
24. KURTZ, M. 1992. Stockhausen: A Biography. Faber and Faber. London.
25. BUTLER, D. 1992. The Musician's Guide to Perception and Cognition. Schirmer Books. New York.
26. HELMHOLTZ, H. 1885. On the Sensations of Tone. Translated by A. Ellis. New edit. 1954. Dover Publications. New York.
27. GREEN, D. 1971. Temporal auditory acuity. Psychol. Rev. 78: 540-551.
28. MOORE, B. 1989. An Introduction to the Psychology of Hearing. Academic Press. London.
29. BLAUERT, J. 1997. Spatial Hearing. Revised edition. MIT Press. Cambridge, MA.
30. BOERGER, G. 1965. Die Lokalisation von Gausstönen. Ph.D. thesis. Technische Universität, Berlin.
31. RABINER, L. & B. GOLD. 1975. Theory and Application of Digital Signal Processing. Prentice-Hall. Englewood Cliffs, NJ.
32. FREEMAN, W. 1995. Chaos in the central nervous system. In Neural Modeling and Neural Networks. F. Ventriglia, Ed. :185-216. Pergamon Press. New York.
33. OOHASHI, T., E. NISHINA, N. KAWAI, et al. 1991. High frequency sound above the audible range affects brain electric activity and sound perception. Preprint 3207(W-1). Presented at the 91st convention of the Audio Engineering Society. Audio Engineering Society. New York.
34. OOHASHI, T., E. NISHINA, Y. FUWAMOTO & N. KAWAI. 1993. On the mechanism of hypersonic effect. In Proceedings of the 1993 International Computer Music Conference. S. Ohteru, Ed. :432-434. International Computer Music Association. San Francisco.
35. THAUT, M.H. 2002. Neurophysiology of neural timing networks in musical rhythm and rhythmic synchronization: basic science and clinical data. Presented at the conference on the Neurosciences and Music. Venice, Italy.
36. THAUT, M., T. BIN & M. AZIMI-SADJADI. 1998. Rhythmic finger-tapping sequences to cosine-wave modulated metronome sequences. Hum. Mov. Sci. 17: 839-863.
37. MOLINARI, M. 2002. The neurobiology of rhythmic motor entrainment: a neurorehabilitation perspective. Presented at the Conference on the Neurosciences and Music. Venice, Italy.
38. MOLINARI, M., M. THAUT, C. GIOIA, et al. 2001. Motor entrainment to auditory rhythms is not affected by cerebellar pathology. Proceedings of the Society for Neuroscience 950.2. Society for Neuroscience. Washington, DC.
39. REDER, L. & J.S. GORDON. 1995. Subliminal perception: nothing special, cognitively speaking. In Cognitive and Neuropsychological Approaches to the Study of Consciousness. J. Cohen & J. Schooler, Eds. Lawrence Erlbaum Associates. Hillsdale, NJ.
40. MARIN, O.S.M. 1982. Neurological aspects of music perception and performance. In The Psychology of Music. D. Deutsch, Ed. :453-477. Academic Press. New York.
41. TIPPETT, M. 1978. Foreword. In Music and the Brain. M. Critchley & R. Henson, Eds. W. Heinemann Medical Books. London.
42. APEL, K. 1972. Harvard Dictionary of Music. Harvard University Press. Cambridge, MA.
43. WALLIN, N. 1991. Biomusicology. Pendragon Press. Stuyvesant, NY.
44. TOOP, R. 1982. A note - new music and neurobiologic research: can they meet? In Music, Mind, and Brain. M. Clynes, Ed. :387-398. Plenum. New York.
45. WENGER, E. & E. SPIEGEL. 1999. MetaSynth Manual. U&I Software. San Francisco.
46. GOODWIN, M. & M. VETTERLI. 1997. Atomic decompositions of audio signals. Proceedings of the IEEE ASSP Workshop on Audio Signal Processing. :4-7. IEEE. New York.
47. EINSTEIN, A. 1952. Relativity: The Special and the General Theory. 15th edit. of the original published in 1916. Three Rivers Press. New York.
48. HOMER, W.I. 1964. Seurat and the Science of Painting. MIT Press. Cambridge, MA.