Sound Research WIKINDX
Sound Research WIKINDX |
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Displaying 1 - 4 of 4 Parameters |
| Bregman, A. S. (1993). Auditory scene analysis: Hearing in complex environments. In S. McAdams & E. Bigand (Eds.), Thinking in Sound: The Cognitive Psychology of Human Audition. (pp. 10–36). Oxford: Clarendon Press. |
  
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| Added by: Mark Grimshaw-Aagaard Last edited by: Mark Grimshaw-Aagaard 28/09/2005, 10:43 | |
| The correct perception of sound "is probably as long as the system is operating in the rich natural environment in which it evolved." Sound in isolation or in anechoic chambers may produce illusions. | |
| "...it is reasonable to conclude that the principles of grouping that were discovered and named by the Gestalt psychologists exist in order to perform the role of scene analysis." | |
| A useful anaology of a robot attempting to 'perceive' and separate multiple sound sources to illustrate the fact that there is more to the perception of sound than the theories supplied by physics. | |
| Describes three methods that humans use to decompose complex sounds into perceptually recognisable units. The first two depend on experienced and learned sound schemas (i.e. memory) that are activated a) automatically (often the case when our name is spoken unexpectedly) or b) voluntarily as part of a voluntary attentive mode of listening (for example when we are listening out for flight announcements in a noisy airport. The third is used to distinguish audio components where there is no familiar schema to use. Bregman terms this primitive auditory scene analysis and it uses acoustic properties rather than familiar schemas. | |
| Humans exploit acoustic regularity in order to analyse and synthesis the auditory scene into different perceptual units. | |
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A long section in which several rules are supplied for primitive auditory scene analysis based on the detection of frequency, temporal and intensity regularity. 1. "Unrelated sounds seldom start or stop exactly at the same time." p.17 2. "Gradualness of change. a) A single sound tends to change its properties smoothly and slowly. b) A sequence of sounds from the same source tends to change its properties slowly." p.18 3. "When a body vibrates with a repetitive period, its vibrations give rise to an acoustic pattern in which the frequency components are multiples of a common fundamental." p.27 4. "Many changes that take place in an acoustic event will affect all the components of the resulting sound in the same way and at the same time." p.28 |
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| Suggests that humans do "not give absolute priority to the spatial cue" p.26 when separating sound in the audio scene because of the ability of sound to bend around corners, be attenuated by objects or to be reflected off objects. None of these affect the sound's fundamental frequency or add frequencies to the sound so it is reasonable to assume that frequency (as detected by the filtering effect of the pinnae) is a more reliable method of localisation. | |
| Crowder, R. G. (1993). Auditory memory. In S. McAdams & E. Bigand (Eds.), Thinking in Sound: The Cognitive Psychology of Human Audition. (pp. 113–145). Oxford: Clarendon Press. |
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| Added by: Mark Grimshaw-Aagaard 06/05/2008, 15:43 | |
| "...the auditory modality shows a consistent advantage in memory over the visual modality." | |
| "Aside from language, the other major, complex mode of auditory cognition is music..." | |
| Proceduralists assert that there is a precategorical memory of auditory events -- precategorical being memory of acoustic sensations before cognition and meaning are applied. | |
| There are two academic camps on auditory memory: the storage position whcih theorises that there are areas of the brain dedicated to memory (for audio, an echoic store) and the proceduralist position whcih claims that there are no such specific stores and that memory of an event resides wherever the processing of that event took place as a residual of the process. | |
| Jones, M. R., & Yee, W. (1993). Attending to auditory events: The role of temporal organization. In S. McAdams & E. Bigand (Eds.), Thinking in Sound: The Cognitive Psychology of Human Audition. (pp. 69–112). Oxford: Clarendon Press. |
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| Added by: Mark Grimshaw-Aagaard 20/09/2005, 15:38 | |
| "Contemporary approaches that address attending to extended auditory events implicate the role of both immediate and prior experience in shaping schemes that control attending." | |
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When discussing attention, the authors take Bregman's (1993) auditory scene theory and reformulate it in terms of a stage theory (i.e. auditory perception passes through several stages). Bregman's schemas control selective attention and belongs to the second stage. The preattentive stage is the first stage. |
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| McAdams, S. (1993). Recognition of sound sources and events. In S. McAdams & E. Bigand (Eds.), Thinking in Sound: The Cognitive Psychology of Human Audition. (pp. 146–198). Oxford: Clarendon Press. |
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| Added by: Mark Grimshaw-Aagaard 21/09/2005, 14:45 | |
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As related to perception and cognition, McAdams describes the information processing psychological approach to sound in which an auditory event is passed through a multi-stage process and contrasts this to the ecological psychology approach (cf. Gibson) in which an auditory event is perceived directly without intermediate processing because the perceptual system is developed to perceive directly aspects of the environment that are of significance, whether biologically significant or significant on the basis of learned experience (Gibson 1966). McAdams takes the former approach in this chapter. |
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| Recognition of auditory events appears to rely on the accumulation of invariant physical attributes of the event upon repeated exposure. |