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By Juan G. Roederer

This publication makes use of acoustics, psychophysics, and neurobiology to discover the actual platforms and organic procedures that intrude once we pay attention song. It accommodates the most recent findings in mind technology and tone iteration in musical instruments.

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Extra info for Introduction to the Physics and Psychophysics of Music

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I..... I I I I I ---+: I -II I I . I . . . : I I : I..... 1. 2 (VarYing frequency) ) I I 1// I I I I I I I Smooth--- I I M I t I Beat Frequency I o i 1 I ~~f~ I I I I I I-~ - l I feB I • +~f Frequency Difference 2. Sound Vibrations, Pure Tones, and the Perception of Pitch 30 tion of fl' Notice the extension of the critical band on either side of the unison (AI 0). We must emphasize again that this transition from roughness to smoothness is not at all sudden, as one might be tempted to conclude from Fig.

If f2 becomes equal to ft, the beats disappear completely: both component tones sound in unison. let us summarize the tone sensations evoked by the superposition of two pure tones of equal amplitude and of frequencies ft and f2 ft + Af, respectively. To that effect, let us assume that we hold ft steady and increase f2 slowly from f t (unison, Af = 0) to higher values. ) At unison, we hear one single tone of pitch corresponding to ft and a loudness that will depend on the particular phase difference between the two simple tones.

One has a fairly good idea on how the ear's primary frequency and amplitude detection mechanism works for pure sounds. In this chapter we only consider pitch. The simple harmonic oscillations of the eardrum are transmitted by a chain of three small bones (called hammer, anvil, and stirrup) to a membrane at the entrance (oval window) to the cochlear duct, which represents the inner ear proper (Fig. 6). This duct, wound up like a snail's shell (in Fig. 5 cm long, which holds the actual sensor organ (organ of Corti) and corresponding nerve endings.

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