“The Alchemy of Tone”
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An Assessment of Sound Annoyance As a Function of Consonance
An Assessment of Sound Annoyance as a Function of Consonance Song Hui Chon CCRMA / Electrical Engineering Stanford University Stanford, CA 94305 [email protected] Abstract In this paper I study the annoyance generated by synthetic auditory stimuli as a function of consonance. The concept of consonance is one of the building blocks for Western music theory, and recently tonal consonance (to distinguish from musical consonance) is getting attention from the psychoacoustics community as a perception parameter. This paper presents an analysis of the experimental result from a previous study, using tonal consonance as a factor. The result shows that there is a direct correlation between annoyance and consonance and that perceptual annoyance, for the given manner of stimulus presentation, increases as a stimulus becomes more consonant at a given loudness level. 1 Introduction 1.1 Addressing Annoyance Annoyance is one of the most common feelings people experience everyday in this modern society. It is a highly subjective sensation; however this paper presumes that there is a commonality behind each person's annoyance perception. It is generally understood that one aspect of annoyance is a direct correlation with spectral power [1], although the degree of correlation is under investigation [2][3]. Previous studies have assumed that noise level is a strict gauge for determining annoyance [4], but it is reasonable to suggest that the influence of sound level might be more subtle; annoyance is, after all, a subjective and highly personal characteristic. One study reveals that subjects perceive annoyance differently based on their ability to influence it [5]. Another demonstrates that age plays a significant role in annoyance judgments [6], though conflicting results indicate more complex issues. -
Significance of Beating Observed in Earthquake Responses of Buildings
SIGNIFICANCE OF BEATING OBSERVED IN EARTHQUAKE RESPONSES OF BUILDINGS Mehmet Çelebi1, S. Farid Ghahari2, and Ertuğrul Taciroǧlu2 U.S. Geological Survey1 and University of California, Los Angeles2 Menlo Park, California, USA1 and Los Angeles, California, USA2 Abstract The beating phenomenon observed in the recorded responses of a tall building in Japan and another in the U.S. are examined in this paper. Beating is a periodic vibrational behavior caused by distinctive coupling between translational and torsional modes that typically have close frequencies. Beating is prominent in the prolonged resonant responses of lightly damped structures. Resonances caused by site effects also contribute to accentuating the beating effect. Spectral analyses and system identification techniques are used herein to quantify the periods and amplitudes of the beating effects from the strong motion recordings of the two buildings. Quantification of beating effects is a first step towards determining remedial actions to improve resilient building performance to strong earthquake induced shaking. Introduction In a cursory survey of several textbooks on structural dynamics, it can be seen that beating effects have not been included in their scopes. On the other hand, as more earthquake response records from instrumented buildings became available, it also became evident that the beating phenomenon is common. As modern digital equipment routinely provide recordings of prolonged responses of structures, we were prompted to visit the subject of beating, since such response characteristics may impact the instantaneous and long-term shaking performances of buildings during large or small earthquakes. The main purpose in deploying seismic instruments in buildings (and other structures) is to record their responses during seismic events to facilitate studies understanding and assessing their behavior and performances during and future strong shaking events. -
Echo Eliminator Ceiling & Wall Panels
Echo Eliminator Ceiling & Wall Panels Echo Eliminator, or Bonded Acoustical Cotton (B.A.C.), is the most cost-effective acoustical absorbing material on the market. It is a high-performance panel manufactured from recycled cotton, and is ideal for noise control applications. Echo Eliminator can easily be installed as acoustical wall panels or hanging baffles. • No VOCs (Volatile Organic Compounds) • No formaldehyde, requires no warning labels • Fungi-, mold-, and mildew-resistant • Class A Fire Rated (Non-flammable per ASTM E-84) ACOUSTICAL SURFACES, INC. CELEBRATING 35 YEARS – SOUNDPROOFING, ACOUSTICS, NOISE & VIBRATION SPECIALISTS! ™ 952.448.5300 • 800.448.0121 • [email protected] • www.acousticalsurfaces.com Echo Eliminator APPLICATIONS Residential, commercial, industrial; schools, restaurants, classrooms, Ceiling & Wall Panels houses of worship, community centers, offices, conference rooms, music rooms, recording studios, theaters, public spaces, medical facilities, audi- toriums, arenas/stadiums, warehouses, manufacturing plants, and more. Acoustics and Expected Performance: Absorbing sound and reducing echo / reverberation can be challeng- ing. Echo Eliminator offers a high Noise Reduction Coefficient (NRC) to reduce the amount of sound within a room. One-inch thick panels are appropriate for areas wher e the main issue is understanding speech. Rooms with more mid-and-low frequency noise, or where music is present, benefit from using two-inch thick panels. SIZES & OPTIONS Standard Size: 24" x 48" (minimum quantities apply, call for details); options: 12" x 12", 24" x 24", 48" x 48", 48" x 96". Note: All sizes are nominal and subject to manufacturing tolerances that may vary +/- 1/8". Thickness/Density: 1" thick / 3 lb. per cubic foot (pcf); 1" thick/6 lb. -
Can You Reflect Sound? ECHO TUBE
Exhibit Sheet Can you reflect sound? ECHO TUBE (Type) Ages Topic Time Science 7-14 Sound <10 mins background Skills used Observation, Curiosity Overview for adults Echo Tube is a 15 metre hollow tube. When you shout or make a sound into the tube, it is reflected off the end of the tube and comes back to you. You hear this as an echo. The tube has two flaps within it that you can open or close, changing the length of the tube and the length of time it takes the echo to bounce back to you. What’s the science? Sound travels through the air as sound waves. When these sound waves meet a surface, they are reflected back to where they came from. Sound travels at 330 meters per second in air, which is much slower than light. This means that when light is reflected, we see its reflection instantly but when sound is reflected, we can hear the delay as an echo. The surface that the sound bounces off doesn’t have to be solid. The echo tube is open at both ends. The air pressure inside the tube is higher than the air pressure outside. When the sound wave meets the open end of the tube, this change in pressure causes a wave to be reflected down the tube from the open end. Science in your world Echoes from the open ends of tubes are what make musical instruments such as horns and trumpets work. The sound wave reflects up and down the tube from the open ends. -
Meeting Agenda 20-23 April 2004
ICES-Working Group on Fisheries Acoustics, Science and Technology Meeting Agenda 20-23 April 2004 DRAFT (8 April 2004) Sea Fisheries Institute (Demel Room) Gdynia, Poland Dr David Demer, USA, Chair April 20th 0900 Opening: host greeting, adoption of agenda, selection of rapporteur FAST Topic 1: Effectiveness of noise-reduced platforms (topic discussion leaders: Alex De Robertis and Ian H. McQuinn) 0930 Ron Mitson (presented by Paul G. Fernandes). “Underwater noise; a brief history of noise in fisheries.” (topic review) 1000 Paul G. Fernandes, Andrew S. Brierley, and F. Armstrong. “Examination of herring at the surface of the North Sea.” 1020 Coffee break 1040 Grazyna Grelowska and Ignacy Gloza. “The acoustic transmissions of a moving ship and a grey seal.” 1100 Pall Reynisson. “Noise reduced vessels; the Icelandic experience.” 1120 Janusz Burczynski. “New Deployment Options for Digital Sonar.” 1140 Martyn Simmons or Steve Goodwin. “TONES - an overview” 1200 Lunch 1330 Ron Mitson (presented by D. Van Holliday). “Does ICES CRR 209 need revision?” 1350 Discussion (topic discussion leaders: Alex De Robertis and Ian H. McQuinn) FAST Topic 2: Using acoustics for evaluating ecosystem structure, with emphasis on species identification (topic discussion leaders: Rudy Kloser and Rolf Korneliussen) 1430 John Horne. “Challenges and trends in acoustic species identification.” (topic review) 1500 Coffee break 1520 Michael Jech and William Michaels. “Multi-frequency analyses of acoustical survey data.” 1540 Paul G. Fernandes. “Determining the quality of a multifrequency identification algorithm.” 1600 A. Mair and Paul G. Fernandes. “Examination of plankton samples in relation to multifrequency echograms.” 1620 Valerie Mazauric and Laurent Berger. “The numerical tool OASIS for echograms simulation.” 1640 Valerie Mazauric and John Dalen. -
AN INTRODUCTION to MUSIC THEORY Revision A
AN INTRODUCTION TO MUSIC THEORY Revision A By Tom Irvine Email: [email protected] July 4, 2002 ________________________________________________________________________ Historical Background Pythagoras of Samos was a Greek philosopher and mathematician, who lived from approximately 560 to 480 BC. Pythagoras and his followers believed that all relations could be reduced to numerical relations. This conclusion stemmed from observations in music, mathematics, and astronomy. Pythagoras studied the sound produced by vibrating strings. He subjected two strings to equal tension. He then divided one string exactly in half. When he plucked each string, he discovered that the shorter string produced a pitch which was one octave higher than the longer string. A one-octave separation occurs when the higher frequency is twice the lower frequency. German scientist Hermann Helmholtz (1821-1894) made further contributions to music theory. Helmholtz wrote “On the Sensations of Tone” to establish the scientific basis of musical theory. Natural Frequencies of Strings A note played on a string has a fundamental frequency, which is its lowest natural frequency. The note also has overtones at consecutive integer multiples of its fundamental frequency. Plucking a string thus excites a number of tones. Ratios The theories of Pythagoras and Helmholz depend on the frequency ratios shown in Table 1. Table 1. Standard Frequency Ratios Ratio Name 1:1 Unison 1:2 Octave 1:3 Twelfth 2:3 Fifth 3:4 Fourth 4:5 Major Third 3:5 Major Sixth 5:6 Minor Third 5:8 Minor Sixth 1 These ratios apply both to a fundamental frequency and its overtones, as well as to relationship between separate keys. -
Does Halo Insulation Work As Soundproofing?
Does Halo Insulation Work as Soundproofing? You’re probably familiar with Halo’s strengths as an insulation product that slashes energy costs by keeping room temperatures at a comfortable level. But what about noise control — can Halo also add comfort by reducing sound transmission? It turns out that it can, although Halo’s performance as a soundproofing material is not as impressive as its array of thermal benefits. This post will talk about the several ways in which Halo’s products can be used to manage sound in a building. Managing Sound Transmission vs. Echo © 2018 Logix Insulated Concrete Forms LTD | 855-350-4256 (HALO) Does Halo Insulation Work as Soundproofing? Soundproofing and sound absorption are 2 distinct processes. Soundproofing means blocking soundwaves from traveling from one space to the next, whereas sound absorption refers to reducing echo. One of the ways to soundproof a space is by decoupling the partition. This practice requires two layers of solid material — gypsum, concrete, or glass — with an air gap between them. The solid layer facing the sound’s origin acts as a conductor to the soundwaves until they reach the air cavity, interrupting the waves’ direct path. This way, the soundwaves are far weaker when they reach the solid layer on the other side of the partition. Unfortunately, decoupling alone is not enough to block soundwaves of all frequencies. That’s why other strategies, like adding mass, damping the partitions, and improving absorption, are crucial to sound control. Absorption, for instance, boosts the soundproofing performance of decoupled walls and improves the sound quality in the space from which the noise is coming. -
Contrast Echo on Evaluation of Cardiac Function – Basic Principles
Contrast echo and evaluation of cardiac function: basic principles Y. Yotov University Hospital “St.Marina” Varna, Bulgaria EAE Teaching Corse, 5-7 April 2012, Sofia, Bulgaria Contrast in echocardiography: Why? • To delineate the endocardium by cavity opacification. – for assessment of global and regional systolic function, LV volumes and ejection fraction. – LV opacification (LVO) for improved visualisation of structural abnormalities – enhanced visualisation of wall thickening during stress echocardiography • To enhance Doppler flow signals from the cavities and great vessels. • To determine myocardial ischaemia and viability using myocardial perfusion contrast echocardiography (MCE) • Quantification of the coronary flow reserve, which has prognostic value in various disease conditions TISSUE: Incident frequency results in equal and opposite vibration (i.e. LINEAR RESPONSE) MICROBUBBLES: Can only become so small but can expand to a greater degree, resulting in unequal oscillation (i.e. NON-LINEAR RESPONSE) This results in asymmetrical vibrations which produce harmonic frequencies http://www.escardio.org/communities/EAE/contrast-echo-box/ TISSUE HARMONIC IMAGING Principles of Contrast echocardiography Blood appears black on conventional two dimensional echocardiography, not because blood produces no echo, but because the ultrasound scattered by red blood cells at conventional imaging frequencies is very weak—several thousand times weaker than myocardium—and so lies below the displayed dynamic range. Stewart MJ. Heart. 2003; 89(3): 342–348. • It is a remarkable coincidence that gas bubbles of a size required to cross the pulmonary capillary vascular bed (1–5 mm) resonate in a frequency range of 1.5–7 MHz, precisely that used in diagnostic ultrasound. Stewart MJ. Heart. 2003; 89(3): 342–348. -
Characterization of Radio Frequency Echo Using Frequency Sweeping and Power Analysis Amar Zeher, Stéphane Binczak, Jerome Joli
Characterization of Radio Frequency Echo using frequency sweeping and power analysis Amar Zeher, Stéphane Binczak, Jerome Joli To cite this version: Amar Zeher, Stéphane Binczak, Jerome Joli. Characterization of Radio Frequency Echo using fre- quency sweeping and power analysis. 2014 IEEE REGION 10 TECHNICAL SYMPOSIUM, Apr 2014, Kuala Lumpur, Malaysia. pp.356-360, 10.1109/TENCONSpring.2014.6863057. hal-01463734 HAL Id: hal-01463734 https://hal.archives-ouvertes.fr/hal-01463734 Submitted on 17 Feb 2017 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. Characterization of Radio Frequency Echo Using Frequency Sweeping and Power Analysis Amar Zeher Stephane´ Binczak Jerome´ Joli LE2I CNRS UMR 6306, Laboratory LE2I CNRS UMR 6306, SELECOM, Universite´ de Bourgogne, Universite´ de Bourgogne, ZA Alred Sauvy, 9 avenue Alain Savary, BP47870 9 avenue Alain Savary, BP47870 66500 Prades, France. 21078 Dijon cedex, France 21078 Dijon cedex, France Email: [email protected] Email: [email protected] Email: [email protected] Abstract—Coupling between repeater’s antennas, called Radio as Wiener Filter, Linear Prediction [4] or Non-linear Acoustic Frequency Echo (RFE) deteriorates signal quality and compro- Echo Cancellation Based on Volterra Filters [5]. -
The Perception of Pure and Mistuned Musical Fifths and Major Thirds: Thresholds for Discrimination, Beats, and Identification
Perception & Psychophysics 1982,32 (4),297-313 The perception ofpure and mistuned musical fifths and major thirds: Thresholds for discrimination, beats, and identification JOOS VOS Institute/or Perception TNO, Soesterberg, TheNetherlands In Experiment 1, the discriminability of pure and mistuned musical intervals consisting of si multaneously presented complex tones was investigated. Because of the interference of nearby harmonics, two features of beats were varied independently: (1) beat frequency, and (2) the depth of the level variation. Discrimination thresholds (DTs) were expressed as differences in level (AL) between the two tones. DTs were determined for musical fifths and major thirds, at tone durations of 250, 500, and 1,000 msec, and for beat frequencies within a range of .5 to 32 Hz. The results showed that DTs were higher (smaller values of AL) for major thirds than for fifths, were highest for the lowest beat frequencies, and decreased with increasing tone duration. Interaction of tone duration and beat frequency showed that DTs were higher for short tones than for sustained tones only when the mistuning was not too large. It was concluded that, at higher beat frequencies, DTs could be based more on the perception of interval width than on the perception of beats or roughness. Experiments 2 and 3 were designed to ascertain to what extent this was true. In Experiment 2, beat thresholds (BTs)for a large number of different beat frequencies were determined. In Experiment 3, DTs, BTs, and thresholds for the identifica tion of the direction of mistuning (ITs) were determined. For mistuned fifths and major thirds, sensitivity to beats was about the same. -
A Biological Rationale for Musical Consonance Daniel L
PERSPECTIVE PERSPECTIVE A biological rationale for musical consonance Daniel L. Bowlinga,1 and Dale Purvesb,1 aDepartment of Cognitive Biology, University of Vienna, 1090 Vienna, Austria; and bDuke Institute for Brain Sciences, Duke University, Durham, NC 27708 Edited by Solomon H. Snyder, Johns Hopkins University School of Medicine, Baltimore, MD, and approved June 25, 2015 (received for review March 25, 2015) The basis of musical consonance has been debated for centuries without resolution. Three interpretations have been considered: (i) that consonance derives from the mathematical simplicity of small integer ratios; (ii) that consonance derives from the physical absence of interference between harmonic spectra; and (iii) that consonance derives from the advantages of recognizing biological vocalization and human vocalization in particular. Whereas the mathematical and physical explanations are at odds with the evidence that has now accumu- lated, biology provides a plausible explanation for this central issue in music and audition. consonance | biology | music | audition | vocalization Why we humans hear some tone combina- perfect fifth (3:2), and the perfect fourth revolution in the 17th century, which in- tions as relatively attractive (consonance) (4:3), ratios that all had spiritual and cos- troduced a physical understanding of musi- and others as less attractive (dissonance) has mological significance in Pythagorean phi- cal tones. The science of sound attracted been debated for over 2,000 years (1–4). losophy (9, 10). many scholars of that era, including Vincenzo These perceptual differences form the basis The mathematical range of Pythagorean and Galileo Galilei, Renee Descartes, and of melody when tones are played sequen- consonance was extended in the Renaissance later Daniel Bernoulli and Leonard Euler. -
The Suppression of Selected Acoustic Noise Frequencies In
The Suppression of Selected Acoustic Noise Frequencies in MRI by XINGXIAN SHOU Submitted in partial fulfillment of the requirements For the degree of Doctor of Philosophy Dissertation Adviser: Robert W. Brown, Ph.D. Department of Physics CASE WESTERN RESERVE UNIVERSITY January, 2011 CASE WESTERN RESERVE UNIVERSITY SCHOOL OF GRADUATE STUDIES We hereby approve the thesis/dissertation of ______________________________________________________XINGXIAN SHOU candidate for the ________________________________degreePh.D. *. (signed)_______________________________________________Robert W. Brown (chair of the committee) ________________________________________________Jeffrey Duerk ________________________________________________David Farrell ________________________________________________Harsh Mathur ________________________________________________Shmaryu Shvartsman ________________________________________________ (date) _______________________July 26, 2010 *We also certify that written approval has been obtained for any proprietary material contained therein. To my parents Jun Shou, Huiqin Bian and my fiancée Shuofen Li ii Table of Contents Chapter 1 An Overview of Magnetic Resonance Imaging ....................................................... 1 1.1 What Is MRI? .................................................................................................................. 1 1.2 Principles of Magnetic Resonance Imaging .................................................................... 2 1.2.1 Spin Precession and Larmor Frequency ..................................................................