DOCSLIB.ORG

Proquest Dissertations

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Proquest Dissertations ptp u Ottawa L'Université canadienne Canada's university FACULTÉ DES ÉTUDES SUPÉRIEURES I=J FACULTY OF GRADUATE AND ETPOSTOCTORALES u Ottawa posdoctoral studies L'Université canadienne Canada's university Brian Heffernan autëïïrîéIXtïïésF/MîorWthësïs M.Sc. (Systems Science) Department of Systems Science ~TÂCULTElÎCCtÎ7D^ Neuronal Models of Consonance and Dissonance TITRE DE LA THÈSE / TITLE OF THESIS André Longtin DIRECTEUR (DIRECTRICE) DE LA THESE / THESIS SUPERVISOR CO-DIRECTEUR (CO-DIRECTRICE) DE LA THESE / THESIS CO-SUPERVISOR ÇJiristianGiguCTe John Lewis Gary W. Slater Le Doyen de la Faculté des études supérieures et postdoctorales / Dean of the Faculty of Graduate and Postdoctoral Studies NEURONAL MODELS OF CONSONANCE AND DISSONANCE by Brian Heffernan Thesis submitted to the Faculty of Graduate and Postdoctoral Studies In partial fulfillment of the requirements For the M. Sc. degree in Systems Science Interdisciplinary Studies Faculty of Graduate and Postdoctoral Studies University of Ottawa © Brian Heffernan, Ottawa, Canada, 2010 Library and Archives Bibliothèque et ?F? Canada Archives Canada Published Heritage Direction du Branch Patrimoine de l'édition 395 Wellington Street 395, rue Wellington Ottawa ON K1A 0N4 Ottawa ON K1A 0N4 Canada Canada Your file Votre référence ISBN: 978-0-494-69075-8 Our file Notre référence ISBN: 978-0-494-69075-8 NOTICE: AVIS: The author has granted a non- L'auteur a accordé une licence non exclusive exclusive license allowing Library and permettant à la Bibliothèque et Archives Archives Canada to reproduce, Canada de reproduire, publier, archiver, publish, archive, preserve, conserve, sauvegarder, conserver, transmettre au public communicate to the public by par télécommunication ou par l'Internet, prêter, telecommunication or on the Internet, distribuer et vendre des thèses partout dans le loan, distribute and sell theses monde, à des fins commerciales ou autres, sur worldwide, for commercial or non- support microforme, papier, électronique et/ou commercial purposes, in microform, autres formats. paper, electronic and/or any other formats. The author retains copyright L'auteur conserve la propriété du droit d'auteur ownership and moral rights in this et des droits moraux qui protège cette thèse. Ni thesis. Neither the thesis nor la thèse ni des extraits substantiels de celle-ci substantial extracts from it may be ne doivent être imprimés ou autrement printed or otherwise reproduced reproduits sans son autorisation. without the author's permission. In compliance with the Canadian Conformément à la loi canadienne sur la Privacy Act some supporting forms protection de la vie privée, quelques may have been removed from this formulaires secondaires ont été enlevés de thesis. cette thèse. While these forms may be included Bien que ces formulaires aient Inclus dans in the document page count, their la pagination, il n'y aura aucun contenu removal does not represent any loss manquant. of content from the thesis. 1+1 Canada Abstract One of the fundamental questions in music is why certain combinations of tones sound pleasant (or consonant) and others unpleasant (or dissonant). This question's impor- tance is highlighted by the cross-cultural overlap in preferred musical tone combinations found across the globe and throughout human history as well as the seemingly innate predisposition towards the processing of these same tone combinations by infants; the phenomenon indeed appears to be a universal one. In order to gain insight into the pos- sible neurophysiological mechanism(s) underlying this phenomenon, plausible neuronal models are constructed and investigated in order to assess their explanatory power. This thesis investigates two different models: one which explores a correspondence between synchrony in nonlinear dynamical systems and consonance assessments, and another which explores the relationship between the stochastic resonance - already a viable mech- anism for pitch extraction - and its consonance assessments. The results obtained using the first model indicate that the previously reported correspondence was the result of an error of analysis, and that any such correspondence is parameter dependent. A modified version of the model reflecting a higher degree of biophysical realism was constructed; initial results show an interesting modal structure in the relationship between intervals and their synchronized states. The second model further establishes the temporal coding of consonance via interspike interval statistics and shows a good correspondence with psychoacoustic consonance assessments, and a nearly perfect correspondence with mu- sical consonance assessments. The latter result is of particular interest as it not only provides a biologically plausible account of the musical consonance of intervals, but may also provide insight into the actual neural machinery behind the development of auditory perception more generally. 11 Acknowledgements I would like thank André for providing me with the opportunity to study under his kind, enthusiastic and intellectually humbling advisement (as well as for purchasing a shiny new iMac upon which to run an endless sea of sims). Of all the areas of research I could have stumbled into, I don't believe that any of them could have been nearly so suiting to my passions and abilities. I would like to thank all of the longtinlab group for stimulating parts of my brain that I had presumed to be either dead or dormant and for being cool in general. In particular, a one future Dr. Jason Boulet who, aside from sharing a passion for good beer, shared with me his exceptional knowledge of matlab and all things technical, as well as his insight into the perplexing conceptual models I so often wrestled with. Without his help, this would have been an even more trying process. To my good friends who spared me from a complete immersion into geekdom and nerdery - I thank thee. To Mark and to the MSC: I am thankful for all the good people I met, and for learning so much about what I do and do not want to do with my life. To my family, for always supporting me, even if they don't so much know exactly what it is I'm studying. I truly could not be more blessed. Lastly, to mononucleosis, for showing me to the woman I love. If ever anything good could have come out of being so ill, this is it. Merci pour chaque moment de chaque jour que t'es dans ma vie mon chou. Bisous. m Dedication For my mom and dad. THIS PAGE IS INTENTIONALLY LEFT BLANK. ? Contents 1 Introduction 1 1.1 References 5 2 Background 7 2.1 Music: A Brief Introduction 8 2.1.1 What is music? 9 2.1.2 On Origins: Why is Music? 11 2.2 Systems Relevant to Music 13 2.2.1 Physical: The Basics of Sound & Musical Acoustics 13 2.2.2 Biological: Music and the Brain 18 2.2.3 Cognitive and Perceptive: Music and the Mind 24 2.3 The Basics of Auditory Neuroscience 38 2.3.1 The Leaky Integrate-and-Fire Neuron Model 39 2.3.2 Ordinary Measures of Neural Firing 41 2.3.3 Auditory Coding Schemes 42 2.4 Relevant Non-Linear Dynamics 49 2.4.1 Stochastic Resonance 49 2.4.2 The Sine-Circle Map & Mode-Locking 52 2.5 Summary 54 2.6 References 56 vi 3 Artide I 63 4 Artide II 76 4.1 Background 77 4.2 Model 80 4.3 Simulation Methods 80 4.4 Results 81 4.5 Analysis 82 4.6 Discussion 84 4.7 Conclusion 88 4.8 Figures 89 4.9 References 108 5 Conclusions 112 5.1 Summary 112 5.2 Final Thoughts 114 5.3 References 116 A Code 118 A.l Shapira Lots & Stone Model 118 A. 1.1 diadsweepForPublication . m 118 A. 1.2 modelockingForPublication .m 122 A.2 Cariani's Model 125 A.2.1 chialvoGSR2 .m 125 A.2. 2 chialvoGSRCaller.m 126 VIl List of Tables 2.1 The Systems Relevant to Music 14 4.1 The Wester Dyads: Consonance and Adjusted Amplitude Values 76 vin List of Figures 2.1 The Celestial Spheres of Pythagoras 13 2.2 Pure Tones 16 2.3 The Harmonic Series: Natural Modes of a String 17 2.4 The Human Ear 21 2.5 The Cochlea 21 2.6 The Auditory Pathway 23 2.7 Equal-loudness Contours 26 2.8 Virtual Pitch 27 2.9 The "Missing Fundamental" 27 2.10 Spectrogram of a Violin Playing 29 2.11 The Western Dyads: Equal Temperament vs. Just Intonation 31 2.12 The Other Pythagorean Theorem 33 2.13 Overlapping Partíais of a Perfect 5th 35 2.14 Beats & Roughness: The Basilar Membrane as a Series of Overlapping Band-pass Filters 36 2.15 Stumpf's Theory of Tonal Fusion 37 2.16 A Neuron 40 2.17 Schematic: Stimulus to Neural Response to Percept 43 2.18 Sensory Coding Schemes 43 2.19 Temporal Coding of the Auditory Nerve 47 2.20 Summary of Pitch Percepts Described by Temporal Coding 48 ix 2.21 Stochastic Resonance 49 2.22 Ghost Stochastic Resonance 51 2.23 The Devil's Staircase 53 2.24 Arnold Tongues 54 4.1 Cariani's all-order ISIH, Harmonic Sieve, & Pitch Salience 82 4.2 Cariani's Consonance 83 4.3 Schematic of Conceptual Model 84 4.4 The Stochastic Resonance of an LIF - Replicating Barbi et al 84 4.5 First-order ISIH's for Consonances Under Identical Parameterization . 85 4.6 First-order ISIH's for the Dissonances Under Identical Parameterization . 86 4.7 All-order ISIH for the Consonances Under Identical Parameterization . 87 4.8 All-order ISIH for the Consonances Under Identical Parameterization (Con- tinued) 88 4.9 All-order ISIH's for the Dissonances Under Identical Parameterization . 89 4.10 All-order ISIH's for the Dissonances Under Identical Parameterization (Continued) 90 4.11 First-order ISIH's for the Consonances with Adjusted Amplitudes ...
Load more

Recommended publications
  • The Perception of Melodic Consonance: an Acoustical And
    The perception of melodic consonance: an acoustical and neurophysiological explanation based on the overtone series Jared E. Anderson University of Pittsburgh Department of Mathematics Pittsburgh, PA, USA Abstract The melodic consonance of a sequence of tones is explained using the overtone series: the overtones form “flow lines” that link the tones melodically; the strength of these flow lines determines the melodic consonance. This hypothesis admits of psychoacoustical and neurophysiological interpretations that fit well with the place theory of pitch perception. The hypothesis is used to create a model for how the auditory system judges melodic consonance, which is used to algorithmically construct melodic sequences of tones. Keywords: auditory cortex, auditory system, algorithmic composition, automated com- position, consonance, dissonance, harmonics, Helmholtz, melodic consonance, melody, musical acoustics, neuroacoustics, neurophysiology, overtones, pitch perception, psy- choacoustics, tonotopy. 1. Introduction Consonance and dissonance are a basic aspect of the perception of tones, commonly de- scribed by words such as ‘pleasant/unpleasant’, ‘smooth/rough’, ‘euphonious/cacophonous’, or ‘stable/unstable’. This is just as for other aspects of the perception of tones: pitch is described by ‘high/low’; timbre by ‘brassy/reedy/percussive/etc.’; loudness by ‘loud/soft’. But consonance is a trickier concept than pitch, timbre, or loudness for three reasons: First, the single term consonance has been used to refer to different perceptions. The usual convention for distinguishing between these is to add an adjective specifying what sort arXiv:q-bio/0403031v1 [q-bio.NC] 22 Mar 2004 is being discussed. But there is not widespread agreement as to which adjectives should be used or exactly which perceptions they are supposed to refer to, because it is difficult to put complex perceptions into unambiguous language.
    [Show full text]
  • Music: Broken Symmetry, Geometry, and Complexity Gary W
    Music: Broken Symmetry, Geometry, and Complexity Gary W. Don, Karyn K. Muir, Gordon B. Volk, James S. Walker he relation between mathematics and Melody contains both pitch and rhythm. Is • music has a long and rich history, in- it possible to objectively describe their con- cluding: Pythagorean harmonic theory, nection? fundamentals and overtones, frequency Is it possible to objectively describe the com- • Tand pitch, and mathematical group the- plexity of musical rhythm? ory in musical scores [7, 47, 56, 15]. This article In discussing these and other questions, we shall is part of a special issue on the theme of math- outline the mathematical methods we use and ematics, creativity, and the arts. We shall explore provide some illustrative examples from a wide some of the ways that mathematics can aid in variety of music. creativity and understanding artistic expression The paper is organized as follows. We first sum- in the realm of the musical arts. In particular, we marize the mathematical method of Gabor trans- hope to provide some intriguing new insights on forms (also known as short-time Fourier trans- such questions as: forms, or spectrograms). This summary empha- sizes the use of a discrete Gabor frame to perform Does Louis Armstrong’s voice sound like his • the analysis. The section that follows illustrates trumpet? the value of spectrograms in providing objec- What do Ludwig van Beethoven, Ben- • tive descriptions of musical performance and the ny Goodman, and Jimi Hendrix have in geometric time-frequency structure of recorded common? musical sound. Our examples cover a wide range How does the brain fool us sometimes • of musical genres and interpretation styles, in- when listening to music? And how have cluding: Pavarotti singing an aria by Puccini [17], composers used such illusions? the 1982 Atlanta Symphony Orchestra recording How can mathematics help us create new of Copland’s Appalachian Spring symphony [5], • music? the 1950 Louis Armstrong recording of “La Vie en Rose” [64], the 1970 rock music introduction to Gary W.
    [Show full text]
  • The Octave Illusion and Auditory Perceptual Integration
    The Octave Illusion and Auditory Perceptual Integration DIANA DEUTSCH University of California, San Diego, La Jolla, California I. Introduction . 1 II. The Octave Illusion . 2 A. The Basic Effect . 2 B. Handedness Correlates . 4 C. Further Complexities: Ears or Auditory Space? . 6 D. Dependence of the Illusion on Sequential Interactions . 6 III. Parametric Studies of Ear Dominance . 7 A. Apparatus . 7 B. Experiment 1 . 7 C. Experiment 2 . 9 D. Experiment 3 . 10 E. Experiment 4 . .11 F. Hypothesized Basis for Ear Dominance . 13 G. Discussion . 13 IV. Parametric Studies of Lateralization by Frequency . .15 A. Experiment 1 . 15 B. Experiment 2. 16 C. Experiment 3 . 16 D. Experiment 4 . 16 E. Discussion . 18 V. The What–Where Connection . 18 Discussion . 19 VI. Conclusion . 19 References . 20 I. INTRODUCTION hemisphere damage to Brodmann’s areas 39 and 40 has been found to produce deficits in visual perceptual clas- A philosophical doctrine stemming from the empiri- sification (Warrington and Taylor, 1973). Further, vari- cists of the seventeenth and eighteenth centuries is that ous studies on human and subhuman species point to objects manifest themselves simply as bundles of attrib- an anatomical separation between the pathways medi- ute values. This doctrine has had a profound influence ating pattern discrimination on the one hand and local- on the thinking of sensory psychologists and neurophys- ization on the other (Ingle et al., 1967-1968). For exam- iologists. For example, it is assumed that when we see an ple, Schneider found that ablation of visual cortex in object, we separately appreciate its color, its shape, its hamsters led to an inability to discriminate visual pat- location in the visual field, and so on.
    [Show full text]
  • The Shepard–Risset Glissando: Music That Moves
    University of Wollongong Research Online Faculty of Social Sciences - Papers Faculty of Social Sciences 2017 The hepS ard–Risset glissando: music that moves you Rebecca Mursic University of Wollongong, [email protected] B Riecke Simon Fraser University Deborah M. Apthorp Australian National University, [email protected] Stephen Palmisano University of Wollongong, [email protected] Publication Details Mursic, R., Riecke, B., Apthorp, D. & Palmisano, S. (2017). The heS pard–Risset glissando: music that moves you. Experimental Brain Research, 235 (10), 3111-3127. Research Online is the open access institutional repository for the University of Wollongong. For further information contact the UOW Library: [email protected] The hepS ard–Risset glissando: music that moves you Abstract Sounds are thought to contribute to the perceptions of self-motion, often via higher-level, cognitive mechanisms. This study examined whether illusory self-motion (i.e. vection) could be induced by auditory metaphorical motion stimulation (without providing any spatialized or low-level sensory information consistent with self-motion). Five different types of auditory stimuli were presented in mono to our 20 blindfolded, stationary participants (via a loud speaker array): (1) an ascending Shepard–Risset glissando; (2) a descending Shepard–Risset glissando; (3) a combined Shepard–Risset glissando; (4) a combined-adjusted (loudness-controlled) Shepard–Risset glissando; and (5) a white-noise control stimulus. We found that auditory vection was consistently induced by all four Shepard–Risset glissandi compared to the white-noise control. This metaphorical auditory vection appeared similar in strength to the vection induced by the visual reference stimulus simulating vertical self-motion.
    [Show full text]
  • Notices of the American Mathematical
    ISSN 0002-9920 Notices of the American Mathematical Society AMERICAN MATHEMATICAL SOCIETY Graduate Studies in Mathematics Series The volumes in the GSM series are specifically designed as graduate studies texts, but are also suitable for recommended and/or supplemental course reading. With appeal to both students and professors, these texts make ideal independent study resources. The breadth and depth of the series’ coverage make it an ideal acquisition for all academic libraries that of the American Mathematical Society support mathematics programs. al January 2010 Volume 57, Number 1 Training Manual Optimal Control of Partial on Transport Differential Equations and Fluids Theory, Methods and Applications John C. Neu FROM THE GSM SERIES... Fredi Tro˝ltzsch NEW Graduate Studies Graduate Studies in Mathematics in Mathematics Volume 109 Manifolds and Differential Geometry Volume 112 ocietty American Mathematical Society Jeffrey M. Lee, Texas Tech University, Lubbock, American Mathematical Society TX Volume 107; 2009; 671 pages; Hardcover; ISBN: 978-0-8218- 4815-9; List US$89; AMS members US$71; Order code GSM/107 Differential Algebraic Topology From Stratifolds to Exotic Spheres Mapping Degree Theory Matthias Kreck, Hausdorff Research Institute for Enrique Outerelo and Jesús M. Ruiz, Mathematics, Bonn, Germany Universidad Complutense de Madrid, Spain Volume 110; 2010; approximately 215 pages; Hardcover; A co-publication of the AMS and Real Sociedad Matemática ISBN: 978-0-8218-4898-2; List US$55; AMS members US$44; Española (RSME). Order code GSM/110 Volume 108; 2009; 244 pages; Hardcover; ISBN: 978-0-8218- 4915-6; List US$62; AMS members US$50; Ricci Flow and the Sphere Theorem The Art of Order code GSM/108 Simon Brendle, Stanford University, CA Mathematics Volume 111; 2010; 176 pages; Hardcover; ISBN: 978-0-8218- page 8 Training Manual on Transport 4938-5; List US$47; AMS members US$38; and Fluids Order code GSM/111 John C.
    [Show full text]
  • Functional Transfer of Musical Training to Speech Perception in Adverse Acoustical Situations
    Functional transfer of musical training to speech perception in adverse acoustical situations THESIS Presented in Partial Fulfillment of the Requirements for the Degree Master of Arts in the Graduate School of The Ohio State University By Jianming Shen Graduate Program in Speech and Hearing Science The Ohio State University 2014 Master's Examination Committee: Dr. Lawrence L. Feth, Advisor Dr. Antoine J. Shahin Copyrighted by Jianming Shen 2014 Abstract Listeners can perceive interrupted speech as continuous, provided that the gap is masked by another extraneous sound such as white noise or a cough. This phenomenon, known as the continuity illusion or phonemic restoration, is an adaptive function of our auditory system that facilitates speech comprehension in adverse acoustic situations. In this study, we examined the hypothesis that the effect of music training, as manifested in one’s enhanced ability to anticipate envelope variation and thus perceive continuity in degraded music, can transfer to phonemic restoration. We posited that this cross-domain extension is largely due to the overlapping neural networks associated with rhythm processing in the lower-level central auditory system. Musicians and non-musicians listened to physically interrupted short music tunes and English words which contained a segment that was replaced by white noise, and judged whether they heard the stimuli as interrupted or continuous through the noise. Their perceptual threshold of continuity— here defined as the interruption duration at which they perceived the sound as continuous by a 50% chance—for each session was measured and calculated based on an adaptive procedure. Results revealed that musicians tolerated longer interruptions than non-musicians during the speech session, but not during the music session.
    [Show full text]
  • The Cognitive Neuroscience of Music
    THE COGNITIVE NEUROSCIENCE OF MUSIC Isabelle Peretz Robert J. Zatorre Editors OXFORD UNIVERSITY PRESS Zat-fm.qxd 6/5/03 11:16 PM Page i THE COGNITIVE NEUROSCIENCE OF MUSIC This page intentionally left blank THE COGNITIVE NEUROSCIENCE OF MUSIC Edited by ISABELLE PERETZ Départment de Psychologie, Université de Montréal, C.P. 6128, Succ. Centre-Ville, Montréal, Québec, H3C 3J7, Canada and ROBERT J. ZATORRE Montreal Neurological Institute, McGill University, Montreal, Quebec, H3A 2B4, Canada 1 Zat-fm.qxd 6/5/03 11:16 PM Page iv 1 Great Clarendon Street, Oxford Oxford University Press is a department of the University of Oxford. It furthers the University’s objective of excellence in research, scholarship, and education by publishing worldwide in Oxford New York Auckland Bangkok Buenos Aires Cape Town Chennai Dar es Salaam Delhi Hong Kong Istanbul Karachi Kolkata Kuala Lumpur Madrid Melbourne Mexico City Mumbai Nairobi São Paulo Shanghai Taipei Tokyo Toronto Oxford is a registered trade mark of Oxford University Press in the UK and in certain other countries Published in the United States by Oxford University Press Inc., New York © The New York Academy of Sciences, Chapters 1–7, 9–20, and 22–8, and Oxford University Press, Chapters 8 and 21. Most of the materials in this book originally appeared in The Biological Foundations of Music, published as Volume 930 of the Annals of the New York Academy of Sciences, June 2001 (ISBN 1-57331-306-8). This book is an expanded version of the original Annals volume. The moral rights of the author have been asserted Database right Oxford University Press (maker) First published 2003 All rights reserved.
    [Show full text]
  • Perceived Intensity Effects in the Octave Illusion
    Perception & Psychophysics 2005, 67 (4), 648-658 Perceived intensity effects in the octave illusion RANIL R. SONNADARA and LAUREL J. TRAINOR McMaster University, Hamilton, Ontario, Canada We showed that there is an intensity aspect to the octave illusion in addition to the pitch and loca- tion aspects originally reported by Deutsch (1974). In Experiment 1, we asked participants to directly compare the stimulus giving rise to the illusion (ILLU) with one mimicking its most commonly reported percept (illusion consistent; IC) and showed that they were easily able to distinguish between the two. In Experiment 2, we demonstrated a clear difference between the perceived loudness of ILLU and IC when IC follows ILLU, but not when IC precedes ILLU. In Experiments 3 and 4, we showed that this ef- fect depends on the alternation of high and low tones between the ears in an extended pattern. In Ex- periment 5, we showed that this difference in perceived loudness disappears if the interval between the ILLU and IC stimuli is sufficiently large. Complex sounds contain energy at a number of differ- might be due to hemispheric dominance, with the high ent frequencies. In a typical environment, several objects tones perceived as coming from the dominant ear. emit complex sounds overlapping in time. The inner ear The octave illusion presents a paradox. Although each performs a frequency analysis over time on the sum of ear receives a sequence of high and low tones (see Fig- these incoming sound waves, leaving it to higher stages ures 1A and 1B), Deutsch found that the most commonly of processing to appropriately recombine the various reported percept was an alternating pattern with the high components into an accurate representation of the origi- tones heard as though they were being presented solely nal environment.
    [Show full text]
  • Shepard Tones
    Shepard Tones Ascending and Descending by M. Escher 1 If you misread the name of this exhibit, you may have expected to hear some pretty music played on a set of shepherd’s pipes. Instead what you heard was a sequence of notes that probably sounded rather unmusical, and may have at first appeared to keep on rising indefinitely, “one note at a time”. But soon you must have noticed that it was getting nowhere, and eventually you no-doubt realized that it was even “cyclic”, i.e., after a full scale of twelve notes had been played, the sound was right back to where it started from! In some ways this musical paradox is an audible analog of Escher’s famous Ascending and Descending drawing. While this strange “ever-rising note” had precursors, in the form in which it occurs in 3D-XplorMath, it was first described by the psychologist Roger N. Shepard in a paper titled Circularity in Judgements of Relative Pitch published in 1964 in the Journal of the Acoustical Society of America. To understand the basis for this auditory illusion, it helps to look at the sonogram that is shown while the Shepard Tones are playing. What you are seeing is a graph in which the horizontal axis represents frequency (in Hertz) and the vertical axis the intensity at which a sound at a given frequency is played. Note that the Gaussian or bell curve in this diagram shows the inten- sity envelope at which all sounds of a Shepard tone are played. A single Shepard tone consists of the same “note” played in seven different octaves—namely the octave containing A above middle C (the center of our bell curve) and three octaves up and three octaves down.
    [Show full text]
  • Chapter 8 the Perception of Auditory Patterns Diana Deutsch University of California, San Diego
    Chapter 8 The Perception of Auditory Patterns Diana Deutsch University of California, San Diego 1 INTRODUCTION Over the last half-century a considerable body of knowledge has accumulated concerning visual shape perception, based on findings in experimental psychology, neurophysiology, artificial intelligence and related fields. These developments have not, however, been paralleled by analogous developments in audition. It is inter- esting, therefore, that the foundations of pattern perception were laid by scientists who were as much concerned with auditory and musical phenomena as they were with visual ones. Wertheimer (1924/1938) described the beginnings of Gestalt theory thus: 'Historically, the most important impulse came from von Ehrenfels who raised the following problem. Psychology has said that experience is a compound of elements; we hear a melody and then, upon hearing it again, memory enables us to recognize it. But what is it that enables us to recognize the melody when it is played in a new key? The sum of its elements is different, yet the melody is the same; indeed, one is often not even aware that a transposition has been made.' (p. 4) In another paper in which he proposed the Gestalt principles of perceptual organization, Wertheimer (1923/1955) frequently presented musical illustrations along with visual ones. For example, in order to illustrate that 'more or less dissimilarity operates to determine experienced arrangement' he wrote: 'With tones, for example, C, C~, E, F, G~, A, C, C~... will be heard in the grouping ab/cd... ; and C, C~, D, E, F, F~, G~, A, A~, C, C~, D ... in the grouping abc/def' (1923/1955, p.
    [Show full text]
  • Music and the Brain Course Guidebook
    Topic Subtopic Science Neuroscience & Psychology Music and the Brain Course Guidebook Professor Aniruddh D. Patel Tufts University PUBLISHED BY: THE GREAT COURSES Corporate Headquarters 4840 Westfields Boulevard, Suite 500 Chantilly, Virginia 20151-2299 Phone: 1-800-832-2412 Fax: 703-378-3819 www.thegreatcourses.com Copyright © The Teaching Company, 2015 Printed in the United States of America This book is in copyright. All rights reserved. Without limiting the rights under copyright reserved above, no part of this publication may be reproduced, stored in or introduced into a retrieval system, or transmitted, in any form, or by any means (electronic, mechanical, photocopying, recording, or otherwise), without the prior written permission of The Teaching Company. Aniruddh D. Patel, Ph.D. Professor of Psychology Tufts University rofessor Aniruddh D. Patel is a Professor of Psychology at Tufts University. After Pattending the University of Virginia as a Jefferson Scholar, he received his Ph.D. in Organismic and Evolutionary Biology from Harvard University, where he studied with Edward O. Wilson and Evan Balaban. His research focuses on the cognitive neuroscience of music. Prior to arriving at Tufts, Professor Patel was the Esther J. Burnham Senior )HOORZ DW 7KH 1HXURVFLHQFHV ,QVWLWXWH D VFLHQWL¿F UHVHDUFK RUJDQL]DWLRQ founded by the late Nobel laureate Gerald M. Edelman. Professor Patel’s major contributions have included research on music-language relations, the processing of musical rhythm, cross-species comparisons, and relations between musical training and neural plasticity. Professor Patel is the author of Music, Language, and the Brain, which won a Deems Taylor Award from the American Society of Composers, Authors and Publishers in 2008.
    [Show full text]
  • Creation of Auditory Augmented Reality Using a Position-Dynamic Binaural Synthesis System—Technical Components, Psychoacoustic Needs, and Perceptual Evaluation
    applied sciences Article Creation of Auditory Augmented Reality Using a Position-Dynamic Binaural Synthesis System—Technical Components, Psychoacoustic Needs, and Perceptual Evaluation Stephan Werner 1,†,* , Florian Klein 1,† , Annika Neidhardt 1,† , Ulrike Sloma 1,† , Christian Schneiderwind 1,† and Karlheinz Brandenburg 1,2,†,* 1 Electronic Media Technology Group, Technische Universität Ilmenau, 98693 Ilmenau, Germany; fl[email protected] (F.K.); [email protected] (A.N.); [email protected] (U.S.); [email protected] (C.S.) 2 Brandenburg Labs GmbH, 98693 Ilmenau, Germany * Correspondence: [email protected] (S.W.); [email protected] (K.B.) † These authors contributed equally to this work. Featured Application: In Auditory Augmented Reality (AAR), the real room is enriched by vir- tual audio objects. Position-dynamic binaural synthesis is used to auralize the audio objects for moving listeners and to create a plausible experience of the mixed reality scenario. Abstract: For a spatial audio reproduction in the context of augmented reality, a position-dynamic binaural synthesis system can be used to synthesize the ear signals for a moving listener. The goal is the fusion of the auditory perception of the virtual audio objects with the real listening environment. Such a system has several components, each of which help to enable a plausible auditory simulation. For each possible position of the listener in the room, a set of binaural room impulse responses Citation: Werner, S.; Klein, F.; (BRIRs) congruent with the expected auditory environment is required to avoid room divergence Neidhardt, A.; Sloma, U.; effects. Adequate and efficient approaches are methods to synthesize new BRIRs using very few Schneiderwind, C.; Brandenburg, K.
    [Show full text]