1816:
448:
masking to happen. A masked signal can be heard even though it is weaker than the masker. Masking happens when a signal and a masker are played together—for instance, when one person whispers while another person shouts—and the listener doesn't hear the weaker signal as it has been masked by the louder masker. Masking can also happen to a signal before a masker starts or after a masker stops. For example, a single sudden loud clap sound can make sounds inaudible that immediately precede or follow. The effects of
152:
508:
643:
2103:
373:
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731:
712:. It is also applied today within music, where musicians and artists continue to create new auditory experiences by masking unwanted frequencies of instruments, causing other frequencies to be enhanced. Yet another application is in the design of small or lower-quality loudspeakers, which can use the phenomenon of
142:
also arises in discussions about cognitive psychology and the effects that personal expectations, prejudices, and predispositions may have on listeners' relative evaluations and comparisons of sonic aesthetics and acuity and on listeners' varying determinations about the relative qualities of various
522:
It can explain how a sharp clap of the hands might seem painfully loud in a quiet library but is hardly noticeable after a car backfires on a busy, urban street. This provides great benefit to the overall compression ratio, and psychoacoustic analysis routinely leads to compressed music files that
452:
is weaker than forward masking. The masking effect has been widely studied in psychoacoustical research. One can change the level of the masker and measure the threshold, then create a diagram of a psychophysical tuning curve that will reveal similar features. Masking effects are also used in lossy
208:
That is, changes in pitch larger than 3.6 Hz can be perceived in a clinical setting. However, even smaller pitch differences can be perceived through other means. For example, the interference of two pitches can often be heard as a repetitive variation in the volume of the tone. This amplitude
447:
Suppose a listener can hear a given acoustical signal under silent conditions. When a signal is playing while another sound is being played (a masker), the signal has to be stronger for the listener to hear it. The masker does not need to have the frequency components of the original signal for
601:
A compression algorithm can assign a lower priority to sounds outside the range of human hearing. By carefully shifting bits away from the unimportant components and toward the important ones, the algorithm ensures that the sounds a listener is most likely to perceive are most accurately
342:
is the process of determining the location of a sound source. The brain utilizes subtle differences in loudness, tone and timing between the two ears to allow us to localize sound sources. Localization can be described in terms of three-dimensional position: the
282:
A more rigorous exploration of the lower limits of audibility determines that the minimum threshold at which a sound can be heard is frequency dependent. By measuring this minimum intensity for testing tones of various frequencies, a frequency-dependent
130:
systems make use of this fact by nonlinearly compressing data samples before transmission and then expanding them for playback. Another effect of the ear's nonlinear response is that sounds that are close in frequency produce phantom beat notes, or
523:
are one-tenth to one-twelfth the size of high-quality masters, but with discernibly less proportional quality loss. Such compression is a feature of nearly all modern lossy audio compression formats. Some of these formats include
298:. Equal-loudness contours indicate the sound pressure level (dB SPL), over the range of audible frequencies, that are perceived as being of equal loudness. Equal-loudness contours were first measured by Fletcher and Munson at
676:
Psychoacoustics is applied within many fields of software development, where developers map proven and experimental mathematical patterns in digital signal processing. Many audio compression codecs such as
232:(these are used in studying perception, but not usually in musical composition), and these are approximately logarithmic in frequency at the high-frequency end, but nearly linear at the low-frequency end.
519:
by describing which parts of a given digital audio signal can be removed (or aggressively compressed) safely—that is, without significant losses in the (consciously) perceived quality of the sound.
693:. Furthermore, scientists have experimented with limited success in creating new acoustic weapons, which emit frequencies that may impair, harm, or kill. Psychoacoustics are also leveraged in
1126:
95:, it is advantageous to take into account not just the mechanics of the environment, but also the fact that both the ear and the brain are involved in a person's listening experience.
689:
for the reproduction of music in theatres and homes can be attributed to psychoacoustics and psychoacoustic considerations gave rise to novel audio systems, such as psychoacoustic
190:. The lowest frequency that has been identified as a musical tone is 12 Hz under ideal laboratory conditions. Tones between 4 and 16 Hz can be perceived via the body's
275:, but the upper limit is not as clearly defined. The upper limit is more a question of the limit where the ear will be physically harmed or with the potential to cause
235:
The intensity range of audible sounds is enormous. Human eardrums are sensitive to variations in sound pressure and can detect pressure changes from as small as a few
1446:
1152:
2760:
2139:
355:, are adept at detecting direction in the horizontal, but less so in the vertical directions due to the ears being placed symmetrically. Some species of
697:
to make multiple independent data dimensions audible and easily interpretable. This enables auditory guidance without the need for spatial audio and in
1710:
1028:
893:
2375:
2025:
118:, make use of this fact. In addition, the ear has a nonlinear response to sounds of different intensity levels; this nonlinear response is called
1190:
Thompson, Daniel M. Understanding Audio: Getting the Most out of Your
Project or Professional Recording Studio. Boston, MA: Berklee, 2005. Print.
1115:
1339:
1533:
Ziemer, Tim; Nuchprayoon, Nuttawut; Schultheis, Holger (2019). "Psychoacoustic
Sonification as User Interface for Human-Machine Interaction".
197:
Human perception of audio signal time separation has been measured to be less than 10 microseconds. This does not mean that frequencies above
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984:
1471:
Ziemer, Tim; Schultheis, Holger; Black, David; Kikinis, Ron (2018). "Psychoacoustical
Interactive Sonification for Short Range Navigation".
3018:
143:
musical instruments and performers. The expression that one "hears what one wants (or expects) to hear" may pertain in such discussions.
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309:
Robinson and Dadson refined the process in 1956 to obtain a new set of equal-loudness curves for a frontal sound source measured in an
1628:
Oohashi T.; Kawai N.; Nishina E.; Honda M.; Yagi R.; Nakamura S.; Morimoto M.; Maekawa T.; Yonekura Y.; Shibasaki H. (February 2006).
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have their ears placed asymmetrically and can detect sound in all three planes, an adaption to hunt small mammals in the dark.
1705:
634:
LPs (1969–79) are an early example of commercially available sounds released expressly for enhancing psychological abilities.
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to give the effect of bass notes at lower frequencies than the loudspeakers are physically able to produce (see references).
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91:. These nerve pulses then travel to the brain where they are perceived. Hence, in many problems in acoustics, such as for
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1144:
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630:
306:. Because subjective loudness was difficult to measure, the Fletcher–Munson curves were averaged over many subjects.
2230:
1864:
574:, especially the ear's limitations in perceiving sound as outlined previously. To summarize, these limitations are:
383:
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552:
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402:
387:
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2197:
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1609:
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1920:
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1745:
1630:"The Role of Biological System other Than Auditory Air-conduction in the Emergence of the Hypersonic Effect"
802:
791:
667:
472:
287:(ATH) curve may be derived. Typically, the ear shows a peak of sensitivity (i.e., its lowest ATH) between
209:
modulation occurs with a frequency equal to the difference in frequencies of the two tones and is known as
83:, but is also a sensory and perceptual event. When a person hears something, that something arrives at the
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or vertical angle, and the distance (for static sounds) or velocity (for moving sounds). Humans, as most
291:, though the threshold changes with age, with older ears showing decreased sensitivity above 2 kHz.
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as a mechanical sound wave traveling through the air, but within the ear it is transformed into neural
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709:
690:
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578:
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Audio
Bandwidth extension. Application of Psychoacoustics, Signal Processing and Loudspeaker Design.
224:. Other scales have been derived directly from experiments on human hearing perception, such as the
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2005:
1969:
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1361:
1360:. Current Research in Systematic Musicology. Vol. 7. Cham: Springer. pp. 171–202.
1329:
807:
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originally specialized in consulting on acoustics issues before it began building the first
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651:
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consider some of the results of psychoacoustics to be meaningful only in a musical context.
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588:
449:
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310:
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111:
80:
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in 1933 using pure tones reproduced via headphones, and the data they collected are called
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GPSYCHO—An Open-source Psycho-Acoustic and Noise-Shaping Model for ISO-Based MP3 Encoders.
1673:
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548:
164:
132:
127:
92:
48:
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Automobile manufacturers engineer their engines and even doors to have a certain sound.
201:
are audible, but that time discrimination is not directly coupled with frequency range.
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2015:
1962:
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into neural stimuli, so certain differences between waveforms may be imperceptible.
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1995:
1957:
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1715:
1492:
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1383:
898:
868:
615:
571:
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242:
52:
36:
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182:. The upper limit tends to decrease with age; most adults are unable to hear above
2890:
2698:
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2602:
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2380:
2365:
1990:
1642:
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2010:
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767:
372:
236:
1679:
MĂĽller C, Schnider P, Persterer A, Opitz M, Nefjodova MV, Berger M (1993). "".
439:
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2642:
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2552:
2489:
2071:
2061:
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1222:
848:
726:
686:
625:
536:
229:
71:, electronic engineering, physics, biology, physiology, and computer science.
40:
17:
1424:
1210:
http://www.owlpages.com/articles.php?section=Owl+Physiology&title=Hearing
3023:
3008:
2845:
2788:
2775:
1852:
1782:
1761:
1507:
1199:
Roads, Curtis. The
Computer Music Tutorial. Cambridge, MA: MIT, 2007. Print.
781:
352:
299:
225:
99:
68:
1651:
1116:"Audibility of temporal smearing and time misalignment of acoustic signals"
220:
scale used in
Western musical notation is not a linear frequency scale but
1700:
1692:
1401:. Current Research in Systematic Musicology. Vol. 7. Cham: Springer.
685:
use a psychoacoustic model to increase compression ratios. The success of
204:
Frequency resolution of the ear is about 3.6 Hz within the octave of
3033:
2942:
1947:
1915:
776:
560:
217:
119:
107:
1280:
673:
Licklider wrote a paper entitled "A duplex theory of pitch perception".
3053:
3038:
2464:
2235:
1893:
1484:
564:
344:
271:
1334:
67:. Psychoacoustics is an interdisciplinary field including psychology,
2969:
2403:
913:
348:
60:
495:
is a specific frequency), humans tend to perceive that the pitch is
2738:
2117:
1547:
250:
is also measured logarithmically, with all pressures referenced to
2916:
2315:
2066:
641:
556:
506:
438:
178:
150:
64:
56:
44:
1208:
Lewis, D.P. (2007): Owl ears and hearing. Owl Pages . Available:
610:
Psychoacoustics includes topics and studies that are relevant to
2056:
1281:"Irv Teibel died this week: Creator of 1970s "Environments" LPs"
356:
2742:
2121:
1734:
650:
Psychoacoustics has long enjoyed a symbiotic relationship with
678:
528:
511:
Perceptual audio coding uses psychoacoustics-based algorithms.
454:
366:
314:
115:
84:
662:
both completed graduate-level work in psychoacoustics, while
1730:
1610:"Reproducing Low-pitched Signals through Small Loudspeakers"
1054:
Jack Katz; Robert F. Burkard & Larry
Medwetsky (2002).
268:). The lower limit of audibility is therefore defined as
1255:
The
Audible Past: Cultural Origins of Sound Reproduction
1356:
1145:"MQA Time-domain Accuracy & Digital Audio Quality"
171:
The human ear can nominally hear sounds in the range
325:
using data collected from 12 international studies.
3001:
2968:
2876:
2774:
2676:
2538:
2442:
2394:
2196:
2155:
2049:
1978:
1875:
1833:
1768:
1572:"Mercedes Doors Have a Signature Sound: Here's How"
1508:"Games and Training for Minimally Invasive Surgery"
515:The psychoacoustic model provides for high quality
313:. The Robinson-Dadson curves were standardized as
79:Hearing is not a purely mechanical phenomenon of
1697:—Simulation of Free-field Hearing by Head Phones
1314:The Journal of the Acoustical Society of America
499:. An audible example can be found on YouTube.
2754:
2133:
1746:
8:
1535:International Journal of Informatics Society
401:. Unsourced material may be challenged and
51:. It is the branch of science studying the
2761:
2747:
2739:
2140:
2126:
2118:
1753:
1739:
1731:
1399:Psychoacoustic Music Sound Field Synthesis
1358:Psychoacoustic Music Sound Field Synthesis
55:responses associated with sound including
1641:
1546:
1447:"Acoustic-Energy Research Hits Sour Note"
1333:
421:Learn how and when to remove this message
1617:Journal of the Audio Engineering Society
1093:. Dover Publications. pp. 248–251.
894:Sound of fingernails scraping chalkboard
2376:Temporal dynamics of music and language
1721:HyperPhysics Concepts—Sound and Hearing
1166:Fastl, Hugo; Zwicker, Eberhard (2006).
1079:
1077:
936:
794:incl. 3D-sound perception, localization
1706:Definition of: perceptual audio coding
770:, a commonly used perceptual loudness
39:involving the scientific study of the
1307:"A Duplex Theory of Pitch Perception"
1060:. Lippincott Williams & Wilkins.
7:
1608:Larsen E.; Aarts R.M. (March 2002).
1305:Licklider, J. C. R. (January 1951).
808:Combination tone (also Tartini tone)
570:Psychoacoustics is based heavily on
475:of frequencies in the relationship 2
399:adding citations to reliable sources
27:Scientific study of sound perception
1667:The Musical Ear—Perception of Sound
1155:from the original on 10 March 2023.
1000:Lars Ahlzen; Clarence Song (2003).
591:(forward masking, backward masking)
1473:Acta Acustica United with Acustica
1221:Acoustic, Musical (9 March 2015).
1132:from the original on 14 July 2014.
25:
2321:Music in psychological operations
1600:E. Larsen and R.M. Aarts (2004),
1258:. Durham: Duke University Press.
1168:Psychoacoustics: Facts and Models
2266:Generative theory of tonal music
2102:
2101:
1814:
1711:Java appletdemonstrating masking
1345:from the original on 2016-09-02.
1030:Modern dictionary of electronics
818:Equivalent rectangular bandwidth
729:
704:and other applications, such as
597:(also known as spectral masking)
371:
102:, for example, does significant
2276:Hedonic music consumption model
2173:Cognitive neuroscience of music
1233:from the original on 2021-12-20
1114:Kuncher, Milind (August 2007).
750:Cognitive neuroscience of music
159:. Note peak sensitivity around
1643:10.1016/j.brainres.2005.12.096
1570:Tarmy, James (5 August 2014).
1143:Robjohns, Hugh (August 2016).
1090:Music, Physics and Engineering
1057:Handbook of Clinical Audiology
1:
2713:Psychology of Music (journal)
2256:Eye movement in music reading
973:Christopher J. Plack (2005).
584:Absolute threshold of hearing
294:The ATH is the lowest of the
285:absolute threshold of hearing
2923:Perception as interpretation
2281:Illusory continuity of tones
1170:. Springer. pp. 21–22.
1003:The Sound Blaster Live! Book
946:Handbook for Sound Engineers
2727:This Is Your Brain on Music
2706:Music, Thought, and Feeling
2692:Musicae Scientiae (journal)
1557:10.13140/RG.2.2.14342.11848
1366:10.1007/978-3-030-23033-3_7
944:Ballou, Glen (2012-11-12).
555:in several countries), and
3116:
2500:Neuronal encoding of sound
2470:Melodic intonation therapy
2178:Culture in music cognition
1726:The MP3 as Standard Object
687:conventional audio systems
559:, the compression used in
553:digital audio broadcasting
464:
432:
332:
277:noise-induced hearing loss
2226:Consonance and dissonance
2097:
1809:
1407:10.1007/978-3-030-23033-3
1252:Sterne, Jonathan (2003).
347:or horizontal angle, the
2515:Psychoanalysis and music
2495:Neurologic music therapy
2429:Music-specific disorders
2241:Embodied music cognition
2231:Deutsch's scale illusion
813:Deutsch's Scale illusion
517:lossy signal compression
453:audio encoding, such as
3044:Relational frame theory
3019:Higher nervous activity
2371:Speech-to-song illusion
2183:Evolutionary musicology
1778:Architectural acoustics
1027:Rudolf F. Graf (1999).
803:Blind signal separation
792:Auditory scene analysis
668:packet-switched network
638:Applied psychoacoustics
296:equal-loudness contours
163:, in the middle of the
3014:Experiential avoidance
2720:The World in Six Songs
2663:William Forde Thompson
2419:Musical hallucinations
1865:Fletcher–Munson curves
1860:Equal-loudness contour
1770:Acoustical engineering
1636:. 1073–1074: 339–347.
1514:. University of Bremen
884:Rate-distortion theory
647:
512:
471:When presented with a
444:
323:equal-loudness contour
317:226 in 1986. In 2003,
304:Fletcher–Munson curves
239:(ÎĽPa) to greater than
168:
157:equal-loudness contour
3029:Ironic process theory
2794:Cognitive flexibility
2525:Systematic musicology
2001:Hermann von Helmholtz
1899:Fundamental frequency
1803:Sympathetic resonance
1223:"Missing Fundamental"
761:Psychoacoustic topics
691:sound field synthesis
645:
510:
442:
154:
135:distortion products.
3090:Cognitive musicology
2331:Music-related memory
2168:Cognitive musicology
1397:Ziemer, Tim (2020).
1123:boson.physics.sc.edu
976:The Sense of Hearing
950:Taylor & Francis
859:Noise health effects
714:missing fundamentals
710:image-guided surgery
654:. Internet pioneers
646:Psychoacoustic model
618:. Theorists such as
595:Simultaneous masking
579:High-frequency limit
395:improve this section
248:sound pressure level
246:. For this reason,
165:voice frequency band
147:Limits of perception
114:techniques, such as
106:in converting sound
3059:Thought suppression
2618:Max Friedrich Meyer
2510:Philosophy of music
2505:Performance science
2450:Aesthetics of music
2424:Musician's dystonia
2409:Auditory arrhythmia
2296:Melodic expectation
2021:Werner Meyer-Eppler
1931:Missing fundamental
1681:Wien Med Wochenschr
1326:1951ASAJ...23..147L
1006:. No Starch Press.
948:(Fourth ed.).
839:Language processing
631:Environments series
467:Missing fundamental
461:Missing fundamental
443:Audio masking graph
353:four-legged animals
2677:Books and journals
2598:Carol L. Krumhansl
2316:Music and movement
2271:Glissando illusion
2251:Exercise and music
1904:Frequency spectrum
1672:2005-12-25 at the
1576:Bloomberg Business
1485:10.3813/AAA.919273
1151:. Sound On Sound.
909:Speech recognition
889:Sound localization
829:Glissando illusion
656:J. C. R. Licklider
648:
513:
445:
340:Sound localization
335:Sound localization
329:Sound localization
169:
124:Telephone networks
3072:
3071:
2831:Critical thinking
2799:Cognitive liberty
2736:
2735:
2485:Musical acoustics
2361:Sharawadji effect
2341:Musical semantics
2311:Music and emotion
2211:Auditory illusion
2115:
2114:
2077:Musical acoustics
1909:harmonic spectrum
1416:978-3-030-23032-6
1375:978-3-030-23033-3
1335:10.1121/1.1917296
1177:978-3-540-23159-2
1100:978-0-486-21769-7
1067:978-0-683-30765-8
1040:978-0-7506-9866-5
1013:978-1-886411-73-9
986:978-0-8058-4884-7
904:Speech perception
879:Psycholinguistics
874:Precedence effect
834:Hypersonic effect
787:Auditory illusion
772:transfer function
431:
430:
423:
206:1000–2000 Hz
104:signal processing
89:action potentials
35:is the branch of
16:(Redirected from
3107:
3095:Music psychology
2769:Mental processes
2763:
2756:
2749:
2740:
2685:Music Perception
2628:Richard Parncutt
2613:Leonard B. Meyer
2563:Jane W. Davidson
2548:Jamshed Bharucha
2326:Music preference
2221:Background music
2216:Auditory imagery
2149:Music psychology
2142:
2135:
2128:
2119:
2105:
2104:
2006:Carleen Hutchins
1938:Combination tone
1825:
1818:
1798:String vibration
1755:
1748:
1741:
1732:
1716:Temporal Masking
1696:
1687:(23–24): 633–5.
1655:
1645:
1624:
1614:
1587:
1586:
1584:
1582:
1567:
1561:
1560:
1550:
1530:
1524:
1523:
1521:
1519:
1503:
1497:
1496:
1479:(6): 1075–1093.
1468:
1462:
1461:
1459:
1458:
1449:. Archived from
1443:
1437:
1436:
1394:
1388:
1387:
1353:
1347:
1346:
1344:
1337:
1311:
1302:
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1243:
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1238:
1218:
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755:Music psychology
739:
734:
733:
732:
664:BBN Technologies
652:computer science
612:music psychology
589:Temporal masking
450:backward masking
435:Auditory masking
426:
419:
415:
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375:
367:
320:
311:anechoic chamber
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112:Data compression
93:audio processing
81:wave propagation
21:
3115:
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3085:Psychoacoustics
3075:
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3068:
2997:
2964:
2872:
2851:Problem solving
2836:Decision-making
2770:
2767:
2737:
2732:
2672:
2558:Robert Cutietta
2534:
2520:Sociomusicology
2475:Music education
2460:Ethnomusicology
2438:
2390:
2386:Tritone paradox
2351:Octave illusion
2336:Musical gesture
2301:Melodic fission
2291:Lipps–Meyer law
2261:Franssen effect
2192:
2188:Psychoacoustics
2151:
2146:
2116:
2111:
2093:
2045:
2036:D. Van Holliday
1974:
1943:Mersenne's laws
1877:Audio frequency
1871:
1835:Psychoacoustics
1829:
1828:
1821:
1807:
1764:
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1678:
1674:Wayback Machine
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919:Tritone paradox
864:Octave illusion
824:Franssen effect
763:
746:
735:
730:
728:
725:
640:
620:Benjamin Boretz
608:
549:MPEG-1 Layer II
505:
473:harmonic series
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437:
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363:Masking effects
337:
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321:was revised as
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149:
140:psychoacoustics
133:intermodulation
128:noise reduction
77:
49:auditory system
33:Psychoacoustics
28:
23:
22:
15:
12:
11:
5:
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3039:Mental fatigue
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2608:Daniel Levitin
2605:
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2443:Related fields
2440:
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2398:
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2356:Relative pitch
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2346:Musical syntax
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2333:
2328:
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2313:
2308:
2303:
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2286:Levitin effect
2283:
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2258:
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2228:
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2206:Absolute pitch
2202:
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2051:
2050:Related topics
2047:
2046:
2044:
2043:
2038:
2033:
2031:Joseph Sauveur
2028:
2023:
2018:
2016:Marin Mersenne
2013:
2008:
2003:
1998:
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1661:External links
1659:
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1634:Brain Research
1625:
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985:
965:
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952:. p. 43.
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896:
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861:
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854:Musical tuning
851:
846:
844:Levitin effect
841:
836:
831:
826:
821:
815:
810:
805:
800:
798:Binaural beats
795:
789:
784:
779:
774:
764:
762:
759:
758:
757:
752:
745:
744:Related fields
742:
741:
740:
724:
721:
702:computer games
639:
636:
607:
604:
599:
598:
592:
586:
581:
504:
501:
491:, etc. (where
465:Main article:
462:
459:
433:Main article:
429:
428:
379:
377:
370:
364:
361:
333:Main article:
330:
327:
192:sense of touch
148:
145:
76:
73:
26:
24:
18:Psychoacoustic
14:
13:
10:
9:
6:
4:
3:
2:
3112:
3101:
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3017:
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3010:
3007:
3006:
3004:
3000:
2994:
2991:
2989:
2986:
2984:
2981:
2979:
2978:Consolidation
2976:
2975:
2973:
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2967:
2961:
2958:
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2949:
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2926:
2924:
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2901:
2897:
2894:
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2892:
2889:
2887:
2884:
2883:
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2875:
2869:
2866:
2862:
2859:
2857:
2854:
2853:
2852:
2849:
2847:
2844:
2842:
2839:
2837:
2834:
2832:
2829:
2827:
2826:Consciousness
2824:
2822:
2821:Comprehension
2819:
2817:
2814:
2810:
2807:
2806:
2805:
2802:
2800:
2797:
2795:
2792:
2790:
2787:
2785:
2782:
2781:
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2773:
2764:
2759:
2757:
2752:
2750:
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2744:
2741:
2729:
2728:
2724:
2722:
2721:
2717:
2715:
2714:
2710:
2708:
2707:
2703:
2701:
2700:
2696:
2694:
2693:
2689:
2687:
2686:
2682:
2681:
2679:
2675:
2669:
2668:Sandra Trehub
2666:
2664:
2661:
2659:
2656:
2654:
2651:
2649:
2648:Roger Shepard
2646:
2644:
2641:
2639:
2638:Carl Seashore
2636:
2634:
2631:
2629:
2626:
2624:
2623:James Mursell
2621:
2619:
2616:
2614:
2611:
2609:
2606:
2604:
2601:
2599:
2596:
2594:
2591:
2589:
2586:
2584:
2581:
2579:
2578:Tuomas Eerola
2576:
2574:
2573:Diana Deutsch
2571:
2569:
2568:Irène Deliège
2566:
2564:
2561:
2559:
2556:
2554:
2551:
2549:
2546:
2545:
2543:
2541:
2537:
2531:
2530:Zoomusicology
2528:
2526:
2523:
2521:
2518:
2516:
2513:
2511:
2508:
2506:
2503:
2501:
2498:
2496:
2493:
2491:
2488:
2486:
2483:
2481:
2480:Music therapy
2478:
2476:
2473:
2471:
2468:
2466:
2463:
2461:
2458:
2456:
2453:
2451:
2448:
2447:
2445:
2441:
2435:
2434:Tone deafness
2432:
2430:
2427:
2425:
2422:
2420:
2417:
2415:
2414:Beat deafness
2412:
2410:
2407:
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2401:
2399:
2397:
2393:
2387:
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2332:
2329:
2327:
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2309:
2307:
2306:Mozart effect
2304:
2302:
2299:
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2277:
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2189:
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2169:
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2163:Biomusicology
2161:
2160:
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2039:
2037:
2034:
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2029:
2027:
2026:Lord Rayleigh
2024:
2022:
2019:
2017:
2014:
2012:
2009:
2007:
2004:
2002:
1999:
1997:
1996:Ernst Chladni
1994:
1992:
1989:
1987:
1984:
1983:
1981:
1977:
1971:
1968:
1964:
1961:
1960:
1959:
1958:Standing wave
1956:
1954:
1951:
1949:
1946:
1944:
1941:
1939:
1936:
1932:
1929:
1927:
1926:Inharmonicity
1924:
1922:
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1918:
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1914:
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1813:
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1801:
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1796:
1794:
1793:Soundproofing
1791:
1789:
1788:Reverberation
1786:
1784:
1781:
1779:
1776:
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1717:
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1712:
1709:
1707:
1704:
1702:
1699:
1694:
1690:
1686:
1683:(in German).
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1464:
1453:on 2010-07-19
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1009:
1005:
1004:
996:
993:
988:
982:
979:. Routledge.
978:
977:
969:
966:
961:
959:9781136122538
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951:
947:
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910:
907:
905:
902:
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899:Sound masking
897:
895:
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875:
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870:
869:Pitch (music)
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623:
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616:music therapy
613:
605:
603:
602:represented.
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582:
580:
577:
576:
575:
573:
572:human anatomy
568:
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546:
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538:
534:
530:
526:
525:Dolby Digital
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458:
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396:
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385:
380:This section
378:
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369:
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2653:John Sloboda
2633:Oliver Sacks
2603:Fred Lerdahl
2455:Bioacoustics
2381:Tonal memory
2366:Shepard tone
2187:
2041:Thomas Young
1991:Jens Blauert
1979:Acousticians
1834:
1684:
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1623:(3): 147–64.
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1579:. Retrieved
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161:2–4 kHz
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2868:Prospection
2841:Imagination
2804:Forecasting
2784:Association
2658:Carl Stumpf
2588:David Huron
2540:Researchers
2246:Entrainment
2011:Franz Melde
1986:John Backus
1970:Subharmonic
1823:Spectrogram
1604:, J. Wiley.
1290:18 November
768:A-weighting
708:flying and
252:20 ÎĽPa
222:logarithmic
3079:Categories
3049:Mental set
2928:Peripheral
2878:Perception
2861:strategies
2643:Max Schoen
2593:Nina Kraus
2553:Lola Cuddy
2490:Musicology
2072:Ultrasound
2062:Infrasound
1848:Bark scale
1548:1912.08609
1457:2010-02-06
1320:(1): 147.
1033:. Newnes.
926:References
849:Misophonia
660:Bob Taylor
626:Irv Teibel
551:(used for
537:Ogg Vorbis
230:Bark scale
126:and audio
75:Background
41:perception
3100:Acoustics
3024:Intention
3009:Attention
2943:Harmonics
2896:RGB model
2846:Intuition
2816:Foresight
2809:affective
2789:Awareness
2776:Cognition
2396:Disorders
1953:Resonance
1853:Mel scale
1783:Monochord
1762:Acoustics
1581:10 August
1493:125466508
1433:201136171
1425:2196-6974
1384:201142606
1285:Earth Ear
1237:19 August
782:Audiology
563:and some
411:June 2016
382:does not
300:Bell Labs
241:100
226:mel scale
138:The term
108:waveforms
100:inner ear
69:acoustics
3064:Volition
3054:Thinking
3034:Learning
2983:Encoding
2107:Category
1948:Overtone
1916:Harmonic
1670:Archived
1652:16458271
1340:Archived
1231:Archived
1153:Archived
1127:Archived
1087:(1967).
777:ABX test
723:See also
567:models.
561:MiniDisc
527:(AC-3),
503:Software
263:10
218:semitone
188: Hz
173:20 to 20
120:loudness
2988:Storage
2856:methods
2465:Hearing
2236:Earworm
1894:Formant
1693:8178525
1594:Sources
1518:15 July
1506:CURAT.
1322:Bibcode
1227:YouTube
565:Walkman
403:removed
388:sources
345:azimuth
319:ISO 226
270:0
211:beating
199:100 kHz
2993:Recall
2970:Memory
2960:Visual
2953:Speech
2933:Social
2913:Haptic
2886:Amodal
2404:Amusia
2198:Topics
2087:Violin
1921:Series
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3002:Other
2948:Pitch
2938:Sound
2917:Touch
2903:Depth
2891:Color
2156:Areas
2082:Piano
2067:Sound
1881:pitch
1843:Pitch
1613:(PDF)
1543:arXiv
1541:(1).
1512:CURAT
1489:S2CID
1429:S2CID
1380:S2CID
1343:(PDF)
1310:(PDF)
1130:(PDF)
1119:(PDF)
931:Notes
820:(ERB)
706:drone
606:Music
557:ATRAC
256:1.973
65:music
57:noise
45:sound
2908:Form
2057:Echo
1963:Node
1889:Beat
1879:and
1689:PMID
1648:PMID
1583:2020
1520:2020
1421:ISSN
1411:ISBN
1370:ISBN
1292:2015
1260:ISBN
1239:2019
1172:ISBN
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1008:ISBN
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683:Opus
681:and
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614:and
533:Opus
386:any
384:cite
357:owls
254:(or
228:and
216:The
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1685:143
1638:doi
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1481:doi
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1403:doi
1362:doi
1330:doi
679:MP3
628:'s
545:WMA
541:AAC
529:MP3
487:, 5
483:, 4
479:, 3
455:MP3
397:by
315:ISO
265:atm
243:kPa
186:000
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