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Kramer, G. (1994). Introduction to auditory display. In G. Kramer (Ed.), Auditory Display: Sonification, Audification, and Auditory Interfaces (pp. 1–77). Reading MA: Addison-Wesley. 
Added by: Mark Grimshaw-Aagaard (2/3/06, 12:00 PM)   Last edited by: Mark Grimshaw-Aagaard
Resource type: Book Chapter
BibTeX citation key: Kramer1994
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Categories: General, Sound Design
Keywords: Auditory Display, Auditory Worlds
Creators: Kramer
Publisher: Addison-Wesley (Reading MA)
Collection: Auditory Display: Sonification, Audification, and Auditory Interfaces
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Selected papers from the International Conference on Auditory Display 1992.
Added by: Mark Grimshaw-Aagaard  Last edited by: Mark Grimshaw-Aagaard
p.3   "[Auditory Display] can, after all, encompass the disciplines of cognitive and experimental psychology, psychoacoustics, communication, education, computer science, mathematics, statistics, linguistics, psychomusicology, sound analysis and sythesis, music composition and all the data generating fields. ... Information-generating sources, sound-generating and manipulating techniques, human perception and comprehension, all must be throughly comprehended in order to assure effectiveness in the field."   Added by: Mark Grimshaw-Aagaard
p.8   "...the use of soundtracks in computer software, games, and so on offers these media advantages identical to film soundtracks. Fear, anticipation, calm, humor, and other emotions can all be suggested."   Added by: Mark Grimshaw-Aagaard
p.67   Quoting R.B. Dannenberg (unreferenced) providing a meaning of timbre as a demonstration of the paucity of audial descriptive tools in everyday language: "...we picked out the two things we understood, pitch and amplitude, and called everything else timbre. So timbre is by definition that which we cannot explain."   Added by: Mark Grimshaw-Aagaard