BBN ANG 141 Foundations of phonology Phonetics 3: Acoustic phonetics 1
|
|
|
- Melissa Anthony
- 5 years ago
- Views:
Transcription
1 BBN ANG 141 Foundations of phonology Phonetics 3: Acoustic phonetics 1 Zoltán Kiss Dept. of English Linguistics, ELTE z. kiss (elte/delg) intro phono 3/acoustics 1 / 49
2 Introduction z. kiss (elte/delg) intro phono 3/acoustics 2 / 49
3 Introduction z. kiss (elte/delg) intro phono 3/acoustics 3 / 49
4 Introduction z. kiss (elte/delg) intro phono 3/acoustics 4 / 49
5 Introduction contrast beer bear z. kiss (elte/delg) intro phono 3/acoustics 5 / 49
6 Introduction contrast: how?? what makes the contrast possible? z. kiss (elte/delg) intro phono 3/acoustics 6 / 49
7 Introduction some basic terms z. kiss (elte/delg) intro phono 3/acoustics 7 / 49
8 Introduction acoustic cues z. kiss (elte/delg) intro phono 3/acoustics 8 / 49
9 sound waves acoustics definition and etymology acoustics is a branch of physics and is the study of sound (which is characterized as mechanical waves in gases, liquids, and solids) acoustic is derived from the Greek wordćkoustóc able to be heard it is concerned with the production, control, transmission, reception, and e=ects of sound it aims at describing and quantifying the properties of sounds with the help of various wave-related models acoustic phonetics deals with the acoustic properties and quantification of speech sounds z. kiss (elte/delg) intro phono 3/acoustics 9 / 49
10 sound waves what is sound? whenever there is a sound, there is: sound transmission sound source transmission through a medium (e.g., air, water) potential receiver/interpreter the definition of sound Sound is a potentially audible disturbance of a medium produced by a vibrating source. z. kiss (elte/delg) intro phono 3/acoustics 10 / 49
11 sound waves how to measure sounds? two problems: sound is invisible most sounds are fairly complex the task: make sound visible for analysis deal with the simplest sounds first z. kiss (elte/delg) intro phono 3/acoustics 11 / 49
12 sound waves the simplest sounds: pure tones the tuning fork emits pure tone z. kiss (elte/delg) intro phono 3/acoustics 12 / 49
13 sound waves the sound of the tuning fork z. kiss (elte/delg) intro phono 3/acoustics 13 / 49
14 sound waves simple periodic motion (SPM) the SPM of the tuning fork the tines of the tuning fork vibrate in simple periodic motion the tines move back and forth one fixed number of times per second (no matter how hard the fork is struck) periodic motion: the pattern repeats itself until it damps out z. kiss (elte/delg) intro phono 3/acoustics 14 / 49
15 sound waves simple periodic motion (SPM) the SPM of the tuning fork a complete movement: starting/rest position > maximum displacement > back over starting position > maximum displacement > back to starting position = a cycle (c) frequency (F): the number of completed cycles per second (s) (Hertz (Hz) or cps) the tines complete 440 cycles per second, frequency of the tuning fork = 440 Hz z. kiss (elte/delg) intro phono 3/acoustics 15 / 49
16 sound waves more simple periodic motion (SPM): the swing & the pendulum of the grandfather clock z. kiss (elte/delg) intro phono 3/acoustics 16 / 49
17 sound waves graphing SPM Let s try to record SPM in a graph! (demo) z. kiss (elte/delg) intro phono 3/acoustics 17 / 49
18 sound waves graphing SPM: sound wave/waveform z. kiss (elte/delg) intro phono 3/acoustics 18 / 49
19 sound waves graphing SPM: sinus waveform z. kiss (elte/delg) intro phono 3/acoustics 19 / 49
20 sound waves graphing SPM: sinus waveform z. kiss (elte/delg) intro phono 3/acoustics 20 / 49
21 sound waves 2 definitions waveform A graphical display of how amplitude varies over time. simple harmonic motion (SHM) A motion whose waveform is a sinus wave. the SPM of the tuning fork is a simple harmonic motion z. kiss (elte/delg) intro phono 3/acoustics 21 / 49
22 sound waves waveform properties 2 independent properties: 1. TIME, expressed as period (T) = time for a cycle to complete (expressed in seconds) in the graph T = 0.01 s OR frequency (Hz) = number of cycles in a second in the graph frequency =??? Hz 2. (PEAK) AMPLITUDE: the distance from the zero crossing z. kiss (elte/delg) intro phono 3/acoustics 22 / 49
23 sound waves the sound of the tuning fork z. kiss (elte/delg) intro phono 3/acoustics 23 / 49
24 sound waves the propagation of sound: pressure wave movement z. kiss (elte/delg) intro phono 3/acoustics 24 / 49
25 sound waves sound propagation (of the pure tone): summary SHM of sound source SHM of air particle set in motion by source air particle moves in sympathy with the SHM of source individual particle has limited motion areas of air compression and rarefaction are created compression and rarefaction areas move in time away from source, transmitting the SHM of source (pressure wave movement) listener senses same SHM as that of the source: sound has been propagated z. kiss (elte/delg) intro phono 3/acoustics 25 / 49
26 sound waves representations of sound propagation: waveform z. kiss (elte/delg) intro phono 3/acoustics 26 / 49
27 sound waves graphing SHM of air particles: waveform z. kiss (elte/delg) intro phono 3/acoustics 27 / 49
28 sound waves pressure-based graph variations in air pressure with respect to an equilibrium z. kiss (elte/delg) intro phono 3/acoustics 28 / 49
29 sound waves pressure-based grap: sinuosoid waveform variations in air pressure with respect to an equilibrium z. kiss (elte/delg) intro phono 3/acoustics 29 / 49
30 sound waves the sound of the tuning fork z. kiss (elte/delg) intro phono 3/acoustics 30 / 49
31 frequency change in frequency subjective sensation of pitch z. kiss (elte/delg) intro phono 3/acoustics 31 / 49
32 frequency some important facts about frequency when a sound is twice the frequency of another sound, it is an octave higher frequency range of human hearing: 20 Hz 20,000 Hz speech sound analysis usually involves the range between 100 Hz 10,000 Hz z. kiss (elte/delg) intro phono 3/acoustics 32 / 49
33 frequency change in amplitude subjective sensation of loudness/intensity z. kiss (elte/delg) intro phono 3/acoustics 33 / 49
34 amplitude the decibel: a measure of relative intensity why the decibel scale? air pressure amplitude is measured in pascals (Pa) the pascal scale is a linear scale: each increment is equal to the next the sensation of sound loudness/intensity is related to amplitude; however, it is not linear but logarithmic, that is, it is constructed with increments with increasingly larger numerical di=erences the decibel (db) scale (or sound pressure level (SPL) scale ) is a logarithmic scale of the amplitude of air pressure variations the db scale has intervals that are roughly equal to perceived loudness z. kiss (elte/delg) intro phono 3/acoustics 34 / 49
35 amplitude 0 db = 20 µpa (the threshold of hearing; the buzz of a mosquito around 3 meters away) z. kiss (elte/delg) intro phono 3/acoustics 35 / 49
36 amplitude 80 db ( µpa) (average street tra;c) z. kiss (elte/delg) intro phono 3/acoustics 36 / 49
37 amplitude 140 db (= 100,000,000µPa) (threshold of pain; jet engine at 25m distance) z. kiss (elte/delg) intro phono 3/acoustics 37 / 49
38 synthesis? what about complex sounds?! (speech sounds are nothing like pure tones!) z. kiss (elte/delg) intro phono 3/acoustics 38 / 49
39 synthesis how can we characterize complex waves? Jean Baptiste Joseph Fourier ( ) key idea: if we can reduce a complex periodic waveform into a combination of sine waves then we can describe it using information about the frequency and amplitude of each component sine wave z. kiss (elte/delg) intro phono 3/acoustics 39 / 49
40 synthesis to build a complex wave is like a recipe, e.g., take Hz/30 db sinus wave, then add Hz/10 db sinus wave, and also add Hz/20 db sinus wave This addition of two or more di=erent sine waves to create a complex periodic wave is called synthesis. z. kiss (elte/delg) intro phono 3/acoustics 40 / 49
41 synthesis waveform of a complex tone derives from 2 or more pure tones of di=erent frequency and/or amplitude z. kiss (elte/delg) intro phono 3/acoustics 41 / 49
42 synthesis three important consequences of synthesis the amplitudes of the complex wave depends on the addition of the amplitudes of the component waves the sine wave with the smallest frequency will define the main/basic repetition frequency of the complex wave: fundamental frequency f 0 the other sine wave frequencies present in the complex wave are called harmonics (H) (or: overtones); harmonics and f 0 harmonics are integer (whole number) multiples of the f 0 (this is because each sine wave component must complete a whole number of cycles within one period of the complex) z. kiss (elte/delg) intro phono 3/acoustics 42 / 49
43 harmonic analysis Our example complex wave has this harmonic series (also called Fourier series): Harmonic Frequency Amplitude H1 (= f 0 ) 100 (100 1) Hz 30 db H2 200 (100 2) Hz 10 db H3 300 (100 3) Hz 20 db harmonic analysis the reverse of synthesis, finding (characterizing) the component sine wave harmonics of the complex wave z. kiss (elte/delg) intro phono 3/acoustics 43 / 49
44 harmonic analysis Fourier s theorem (1822) All complex periodic waveforms can be analysed into a sum of sinusoidal component waveforms (harmonics). The mathematical algorithm of this process of harmonic analysis is called Fourier analysis or Fourier transformation. z. kiss (elte/delg) intro phono 3/acoustics 44 / 49
45 harmonic analysis? how can we graphically represent harmonic analysis? z. kiss (elte/delg) intro phono 3/acoustics 45 / 49
46 harmonic analysis spectrum graphs the (power/amplitude/line/sound) spectrum (plural: spectra): is a plot of the results of harmonic analysis frequency of harmonic: horizontal axis amplitude of harmonic: vertical axis time and phase: not shown (Fourier analysis is taken at a particular instant of time) z. kiss (elte/delg) intro phono 3/acoustics 46 / 49
47 harmonic analysis harmonic series of D harmonic freq. ampl. first (=f 0) 100 Hz (100 1) 30 db second 200 Hz (100 2) 10 db third 300 Hz (100 3) 20 db z. kiss (elte/delg) intro phono 3/acoustics 47 / 49
48 harmonic analysis loudness, pitch, quality: a summary all these components are independent of each other: sound loudness depends on amplitude sound pitch depends on f 0 sound quality/timbre depends on the spectrum (harmonic series) z. kiss (elte/delg) intro phono 3/acoustics 48 / 49
49 harmonic analysis contrast: depends on the spectrum beer bear z. kiss (elte/delg) intro phono 3/acoustics 49 / 49
The Physics Of Sound. Why do we hear what we hear? (Turn on your speakers)
The Physics Of Sound Why do we hear what we hear? (Turn on your speakers) Sound is made when something vibrates. The vibration disturbs the air around it. This makes changes in air pressure. These changes
Simple Harmonic Motion: What is a Sound Spectrum?
Simple Harmonic Motion: What is a Sound Spectrum? A sound spectrum displays the different frequencies present in a sound. Most sounds are made up of a complicated mixture of vibrations. (There is an introduction
Lecture 1: What we hear when we hear music
Lecture 1: What we hear when we hear music What is music? What is sound? What makes us find some sounds pleasant (like a guitar chord) and others unpleasant (a chainsaw)? Sound is variation in air pressure.
Math and Music: The Science of Sound
Math and Music: The Science of Sound Gareth E. Roberts Department of Mathematics and Computer Science College of the Holy Cross Worcester, MA Topics in Mathematics: Math and Music MATH 110 Spring 2018
Music Representations
Advanced Course Computer Science Music Processing Summer Term 00 Music Representations Meinard Müller Saarland University and MPI Informatik meinard@mpi-inf.mpg.de Music Representations Music Representations
I. LISTENING. For most people, sound is background only. To the sound designer/producer, sound is everything.!tc 243 2
To use sound properly, and fully realize its power, we need to do the following: (1) listen (2) understand basics of sound and hearing (3) understand sound's fundamental effects on human communication
Music Representations
Lecture Music Processing Music Representations Meinard Müller International Audio Laboratories Erlangen meinard.mueller@audiolabs-erlangen.de Book: Fundamentals of Music Processing Meinard Müller Fundamentals
Note on Posted Slides. Noise and Music. Noise and Music. Pitch. PHY205H1S Physics of Everyday Life Class 15: Musical Sounds
Note on Posted Slides These are the slides that I intended to show in class on Tue. Mar. 11, 2014. They contain important ideas and questions from your reading. Due to time constraints, I was probably
Musical Signal Processing with LabVIEW Introduction to Audio and Musical Signals. By: Ed Doering
Musical Signal Processing with LabVIEW Introduction to Audio and Musical Signals By: Ed Doering Musical Signal Processing with LabVIEW Introduction to Audio and Musical Signals By: Ed Doering Online:
PSYCHOACOUSTICS & THE GRAMMAR OF AUDIO (By Steve Donofrio NATF)
PSYCHOACOUSTICS & THE GRAMMAR OF AUDIO (By Steve Donofrio NATF) "The reason I got into playing and producing music was its power to travel great distances and have an emotional impact on people" Quincey
CTP 431 Music and Audio Computing. Basic Acoustics. Graduate School of Culture Technology (GSCT) Juhan Nam
CTP 431 Music and Audio Computing Basic Acoustics Graduate School of Culture Technology (GSCT) Juhan Nam 1 Outlines What is sound? Generation Propagation Reception Sound properties Loudness Pitch Timbre
Musical Sound: A Mathematical Approach to Timbre
Sacred Heart University DigitalCommons@SHU Writing Across the Curriculum Writing Across the Curriculum (WAC) Fall 2016 Musical Sound: A Mathematical Approach to Timbre Timothy Weiss (Class of 2016) Sacred
Musical Acoustics Lecture 15 Pitch & Frequency (Psycho-Acoustics)
1 Musical Acoustics Lecture 15 Pitch & Frequency (Psycho-Acoustics) Pitch Pitch is a subjective characteristic of sound Some listeners even assign pitch differently depending upon whether the sound was
UNIVERSITY OF DUBLIN TRINITY COLLEGE
UNIVERSITY OF DUBLIN TRINITY COLLEGE FACULTY OF ENGINEERING & SYSTEMS SCIENCES School of Engineering and SCHOOL OF MUSIC Postgraduate Diploma in Music and Media Technologies Hilary Term 31 st January 2005
FPFV-285/585 PRODUCTION SOUND Fall 2018 CRITICAL LISTENING Assignment
FPFV-285/585 PRODUCTION SOUND Fall 2018 CRITICAL LISTENING Assignment PREPARATION Track 1) Headphone check -- Left, Right, Left, Right. Track 2) A music excerpt for setting comfortable listening level.
Spectral Sounds Summary
Marco Nicoli colini coli Emmanuel Emma manuel Thibault ma bault ult Spectral Sounds 27 1 Summary Y they listen to music on dozens of devices, but also because a number of them play musical instruments
Chapter 6: Modifying Sounds Using Loops
Chapter 6: Modifying Sounds Using Loops How sound works: Acoustics, the physics of sound Sounds are waves of air pressure Sound comes in cycles The frequency of a wave is the number of cycles per second
Visit for notes and important question. Visit for notes and important question
Characteristics of Sound Sound is a form of energy. Sound is produced by the vibration of the body. Sound requires a material medium for its propagation and can be transmitted through solids, liquids and
Mathematics 5 SN SINUSOIDAL GRAPHS AND WORD PROBLEMS
Mathematics 5 SN SINUSOIDAL GRAPHS AND WORD PROBLEMS 1 The tuning fork is a device used to verify the standard pitch of musical instruments. The international standard pitch has been set at a frequency
Using the new psychoacoustic tonality analyses Tonality (Hearing Model) 1
02/18 Using the new psychoacoustic tonality analyses 1 As of ArtemiS SUITE 9.2, a very important new fully psychoacoustic approach to the measurement of tonalities is now available., based on the Hearing
CSC475 Music Information Retrieval
CSC475 Music Information Retrieval Monophonic pitch extraction George Tzanetakis University of Victoria 2014 G. Tzanetakis 1 / 32 Table of Contents I 1 Motivation and Terminology 2 Psychacoustics 3 F0
Beethoven s Fifth Sine -phony: the science of harmony and discord
Contemporary Physics, Vol. 48, No. 5, September October 2007, 291 295 Beethoven s Fifth Sine -phony: the science of harmony and discord TOM MELIA* Exeter College, Oxford OX1 3DP, UK (Received 23 October
PHYSICS OF MUSIC. 1.) Charles Taylor, Exploring Music (Music Library ML3805 T )
REFERENCES: 1.) Charles Taylor, Exploring Music (Music Library ML3805 T225 1992) 2.) Juan Roederer, Physics and Psychophysics of Music (Music Library ML3805 R74 1995) 3.) Physics of Sound, writeup in this
Getting Started with the LabVIEW Sound and Vibration Toolkit
1 Getting Started with the LabVIEW Sound and Vibration Toolkit This tutorial is designed to introduce you to some of the sound and vibration analysis capabilities in the industry-leading software tool
Pitch Perception and Grouping. HST.723 Neural Coding and Perception of Sound
Pitch Perception and Grouping HST.723 Neural Coding and Perception of Sound Pitch Perception. I. Pure Tones The pitch of a pure tone is strongly related to the tone s frequency, although there are small
Sound ASSIGNMENT. (i) Only... bodies produce sound. EDULABZ. (ii) Sound needs a... medium for its propagation.
Sound ASSIGNMENT 1. Fill in the blank spaces, by choosing the correct words from the list given below : List : loudness, vibrating, music, material, decibel, zero, twenty hertz, reflect, absorb, increases,
Audio Editing. Developed by. Allama Iqbal Open University, Islamabad, Pakistan. In association with
Audio Editing Developed by Allama Iqbal Open University, Islamabad, Pakistan In association with Commonwealth Educational Media Centre for Asia (CEMCA), New Delhi 2016 These curricula are made available
Electrical and Electronic Laboratory Faculty of Engineering Chulalongkorn University. Cathode-Ray Oscilloscope (CRO)
2141274 Electrical and Electronic Laboratory Faculty of Engineering Chulalongkorn University Cathode-Ray Oscilloscope (CRO) Objectives You will be able to use an oscilloscope to measure voltage, frequency
Laboratory Assignment 3. Digital Music Synthesis: Beethoven s Fifth Symphony Using MATLAB
Laboratory Assignment 3 Digital Music Synthesis: Beethoven s Fifth Symphony Using MATLAB PURPOSE In this laboratory assignment, you will use MATLAB to synthesize the audio tones that make up a well-known
Dither Explained. An explanation and proof of the benefit of dither. for the audio engineer. By Nika Aldrich. April 25, 2002
Dither Explained An explanation and proof of the benefit of dither for the audio engineer By Nika Aldrich April 25, 2002 Several people have asked me to explain this, and I have to admit it was one of
Vibration Measurement and Analysis
Measurement and Analysis Why Analysis Spectrum or Overall Level Filters Linear vs. Log Scaling Amplitude Scales Parameters The Detector/Averager Signal vs. System analysis The Measurement Chain Transducer
Physics. Approximate Timeline. Students are expected to keep up with class work when absent.
Physics Approximate Timeline Students are expected to keep up with class work when absent. CHAPTER 15 SOUND Day Plans for the day Assignments for the day 1 15.1 Properties & Detection of Sound Assignment
Measurement of overtone frequencies of a toy piano and perception of its pitch
Measurement of overtone frequencies of a toy piano and perception of its pitch PACS: 43.75.Mn ABSTRACT Akira Nishimura Department of Media and Cultural Studies, Tokyo University of Information Sciences,
The Mathematics of Music and the Statistical Implications of Exposure to Music on High. Achieving Teens. Kelsey Mongeau
The Mathematics of Music 1 The Mathematics of Music and the Statistical Implications of Exposure to Music on High Achieving Teens Kelsey Mongeau Practical Applications of Advanced Mathematics Amy Goodrum
We realize that this is really small, if we consider that the atmospheric pressure 2 is
PART 2 Sound Pressure Sound Pressure Levels (SPLs) Sound consists of pressure waves. Thus, a way to quantify sound is to state the amount of pressure 1 it exertsrelatively to a pressure level of reference.
CTP431- Music and Audio Computing Musical Acoustics. Graduate School of Culture Technology KAIST Juhan Nam
CTP431- Music and Audio Computing Musical Acoustics Graduate School of Culture Technology KAIST Juhan Nam 1 Outlines What is sound? Physical view Psychoacoustic view Sound generation Wave equation Wave
Tempo and Beat Analysis
Advanced Course Computer Science Music Processing Summer Term 2010 Meinard Müller, Peter Grosche Saarland University and MPI Informatik meinard@mpi-inf.mpg.de Tempo and Beat Analysis Musical Properties:
HARMONIC ANALYSIS OF ACOUSTIC WAVES
Practical No3 HARMONIC ANALYSIS OF ACOUSTIC WAVES Equipment 1. Analog part: spectrum analyzer, acoustic generator, microphone, headphones. 2. Digital part: PC with sound card, microphone and loudspeaker.
Underwater Noise Levels
TO: FROM: Rick Huey Jim Laughlin (206) 440-4643 SUBJECT: Port Townsend Dolphin Timber Pile Removal Vibratory Pile Monitoring Technical Memorandum. Underwater Noise Levels This memo summarizes the vibratory
Foundations and Theory
Section I Foundations and Theory Sound is fifty percent of the motion picture experience. George Lucas Every artist must strive to understand the nature of the raw materials he or she uses to express creative
Music 170: Wind Instruments
Music 170: Wind Instruments Tamara Smyth, trsmyth@ucsd.edu Department of Music, University of California, San Diego (UCSD) December 4, 27 1 Review Question Question: A 440-Hz sinusoid is traveling in the
Author Index. Absolu, Brandt 165. Montecchio, Nicola 187 Mukherjee, Bhaswati 285 Müllensiefen, Daniel 365. Bay, Mert 93
Author Index Absolu, Brandt 165 Bay, Mert 93 Datta, Ashoke Kumar 285 Dey, Nityananda 285 Doraisamy, Shyamala 391 Downie, J. Stephen 93 Ehmann, Andreas F. 93 Esposito, Roberto 143 Gerhard, David 119 Golzari,
Quarterly Progress and Status Report. An attempt to predict the masking effect of vowel spectra
Dept. for Speech, Music and Hearing Quarterly Progress and Status Report An attempt to predict the masking effect of vowel spectra Gauffin, J. and Sundberg, J. journal: STL-QPSR volume: 15 number: 4 year:
Digital music synthesis using DSP
Digital music synthesis using DSP Rahul Bhat (124074002), Sandeep Bhagwat (123074011), Gaurang Naik (123079009), Shrikant Venkataramani (123079042) DSP Application Assignment, Group No. 4 Department of
Pitch. The perceptual correlate of frequency: the perceptual dimension along which sounds can be ordered from low to high.
Pitch The perceptual correlate of frequency: the perceptual dimension along which sounds can be ordered from low to high. 1 The bottom line Pitch perception involves the integration of spectral (place)
OCTAVE C 3 D 3 E 3 F 3 G 3 A 3 B 3 C 4 D 4 E 4 F 4 G 4 A 4 B 4 C 5 D 5 E 5 F 5 G 5 A 5 B 5. Middle-C A-440
DSP First Laboratory Exercise # Synthesis of Sinusoidal Signals This lab includes a project on music synthesis with sinusoids. One of several candidate songs can be selected when doing the synthesis program.
INSTRUCTION SHEET FOR NOISE MEASUREMENT
Customer Information INSTRUCTION SHEET FOR NOISE MEASUREMENT Page 1 of 16 Carefully read all instructions and warnings before recording noise data. Call QRDC at 952-556-5205 between 9:00 am and 5:00 pm
Pitch-Synchronous Spectrogram: Principles and Applications
Pitch-Synchronous Spectrogram: Principles and Applications C. Julian Chen Department of Applied Physics and Applied Mathematics May 24, 2018 Outline The traditional spectrogram Observations with the electroglottograph
Spectrum Analyser Basics
Hands-On Learning Spectrum Analyser Basics Peter D. Hiscocks Syscomp Electronic Design Limited Email: phiscock@ee.ryerson.ca June 28, 2014 Introduction Figure 1: GUI Startup Screen In a previous exercise,
Lecture 5: Frequency Musicians describe sustained, musical tones in terms of three quantities:
Lecture 5: Frequency Musicians describe sustained, musical tones in terms of three quantities: Pitch Loudness Timbre These correspond to our perception of sound. I will assume you have an intuitive understanding
Chapter 2 Signals. 2.1 Signals in the Wild One-Dimensional Continuous Time Signals
Chapter 2 Signals Lasciate ogni speranza, voi ch entrate. Dante Alighieri, The Divine Comedy We all send and receive signals. A letter or a phone call, a raised hand, a hunger cry signals are our information
9.35 Sensation And Perception Spring 2009
MIT OpenCourseWare http://ocw.mit.edu 9.35 Sensation And Perception Spring 29 For information about citing these materials or our Terms of Use, visit: http://ocw.mit.edu/terms. Hearing Kimo Johnson April
Mathematics and Music
Mathematics and Music What? Archytas, Pythagoras Other Pythagorean Philosophers/Educators: The Quadrivium Mathematics ( study o the unchangeable ) Number Magnitude Arithmetic numbers at rest Music numbers
Ch. 1: Audio/Image/Video Fundamentals Multimedia Systems. School of Electrical Engineering and Computer Science Oregon State University
Ch. 1: Audio/Image/Video Fundamentals Multimedia Systems Prof. Ben Lee School of Electrical Engineering and Computer Science Oregon State University Outline Computer Representation of Audio Quantization
Quest Chapter 26. Flying bees buzz. What could they be doing that generates sound? What type of wave is sound?
1 Why do flying bees buzz? 1. They have special wings that make sounds. 2. The buzz comes from their heads. They make a buzzing noise to communicate with each other. 3. They move their wings at audible
Lecture 7: Music
Matthew Schwartz Lecture 7: Music Why do notes sound good? In the previous lecture, we saw that if you pluck a string, it will excite various frequencies. The amplitude of each frequency which is excited
DETECTING ENVIRONMENTAL NOISE WITH BASIC TOOLS
DETECTING ENVIRONMENTAL NOISE WITH BASIC TOOLS By Henrik, September 2018, Version 2 Measuring low-frequency components of environmental noise close to the hearing threshold with high accuracy requires
UNIT 1: QUALITIES OF SOUND. DURATION (RHYTHM)
UNIT 1: QUALITIES OF SOUND. DURATION (RHYTHM) 1. SOUND, NOISE AND SILENCE Essentially, music is sound. SOUND is produced when an object vibrates and it is what can be perceived by a living organism through
Dave Jones Design Phone: (607) Lake St., Owego, NY USA
Manual v1.00a June 1, 2016 for firmware vers. 2.00 Dave Jones Design Phone: (607) 687-5740 34 Lake St., Owego, NY 13827 USA www.jonesvideo.com O Tool Plus - User Manual Main mode NOTE: New modules are
The BAT WAVE ANALYZER project
The BAT WAVE ANALYZER project Conditions of Use The Bat Wave Analyzer program is free for personal use and can be redistributed provided it is not changed in any way, and no fee is requested. The Bat Wave
Experiments on musical instrument separation using multiplecause
Experiments on musical instrument separation using multiplecause models J Klingseisen and M D Plumbley* Department of Electronic Engineering King's College London * - Corresponding Author - mark.plumbley@kcl.ac.uk
Sound energy and waves
ACOUSTICS: The Study of Sound Sound energy and waves What is transmitted by the motion of the air molecules is energy, in a form described as sound energy. The transmission of sound takes the form of a
FC Cincinnati Stadium Environmental Noise Model
Preliminary Report of Noise Impacts at Cincinnati Music Hall Resulting From The FC Cincinnati Stadium Environmental Noise Model Prepared for: CINCINNATI ARTS ASSOCIATION Cincinnati, Ohio CINCINNATI SYMPHONY
AN INTRODUCTION TO MUSIC THEORY Revision A. By Tom Irvine July 4, 2002
AN INTRODUCTION TO MUSIC THEORY Revision A By Tom Irvine Email: tomirvine@aol.com July 4, 2002 Historical Background Pythagoras of Samos was a Greek philosopher and mathematician, who lived from approximately
Eric Dubois. Visual Communications from Broadcast TV to Telepresence
Eric Dubois Visual Communications from Broadcast TV to Telepresence Electronic Visual Communications From Electronic Visual Communications To My trajectory 1972-1974 M.Eng. Electrical Engineering, McGill
Multimedia Systems Giorgio Leonardi A.A Lecture 2: A brief history of image and sound recording and storage
Multimedia Systems Giorgio Leonardi A.A.2014-2015 Lecture 2: A brief history of image and sound recording and storage Overview Course page (D.I.R.): https://disit.dir.unipmn.it/course/view.php?id=639 Consulting:
How to Obtain a Good Stereo Sound Stage in Cars
Page 1 How to Obtain a Good Stereo Sound Stage in Cars Author: Lars-Johan Brännmark, Chief Scientist, Dirac Research First Published: November 2017 Latest Update: November 2017 Designing a sound system
Supplementary Course Notes: Continuous vs. Discrete (Analog vs. Digital) Representation of Information
Supplementary Course Notes: Continuous vs. Discrete (Analog vs. Digital) Representation of Information Introduction to Engineering in Medicine and Biology ECEN 1001 Richard Mihran In the first supplementary
Spectral toolkit: practical music technology for spectralism-curious composers MICHAEL NORRIS
Spectral toolkit: practical music technology for spectralism-curious composers MICHAEL NORRIS Programme Director, Composition & Sonic Art New Zealand School of Music, Te Kōkī Victoria University of Wellington
Digital audio and computer music. COS 116, Spring 2012 Guest lecture: Rebecca Fiebrink
Digital audio and computer music COS 116, Spring 2012 Guest lecture: Rebecca Fiebrink Overview 1. Physics & perception of sound & music 2. Representations of music 3. Analyzing music with computers 4.
Digital Signal. Continuous. Continuous. amplitude. amplitude. Discrete-time Signal. Analog Signal. Discrete. Continuous. time. time.
Discrete amplitude Continuous amplitude Continuous amplitude Digital Signal Analog Signal Discrete-time Signal Continuous time Discrete time Digital Signal Discrete time 1 Digital Signal contd. Analog
Experiment 13 Sampling and reconstruction
Experiment 13 Sampling and reconstruction Preliminary discussion So far, the experiments in this manual have concentrated on communications systems that transmit analog signals. However, digital transmission
LeCroy Digital Oscilloscopes
LeCroy Digital Oscilloscopes Get the Complete Picture Quick Reference Guide QUICKSTART TO SIGNAL VIEWING Quickly display a signal View with Analog Persistence 1. Connect your signal. When you use a probe,
BACHELOR THESIS. Placing of Subwoofers. Measurements of common setups with 2-4 subwoofers for an even sound
BACHELOR THESIS Placing of Subwoofers Measurements of common setups with 2-4 subwoofers for an even sound pressure lever over the audience area and lower level on the stage Linnéa Burman 2013 Bachelor
Swept-tuned spectrum analyzer. Gianfranco Miele, Ph.D
Swept-tuned spectrum analyzer Gianfranco Miele, Ph.D www.eng.docente.unicas.it/gianfranco_miele g.miele@unicas.it Video section Up until the mid-1970s, spectrum analyzers were purely analog. The displayed
LESSON 1 PITCH NOTATION AND INTERVALS
FUNDAMENTALS I 1 Fundamentals I UNIT-I LESSON 1 PITCH NOTATION AND INTERVALS Sounds that we perceive as being musical have four basic elements; pitch, loudness, timbre, and duration. Pitch is the relative
Lab 5 Linear Predictive Coding
Lab 5 Linear Predictive Coding 1 of 1 Idea When plain speech audio is recorded and needs to be transmitted over a channel with limited bandwidth it is often necessary to either compress or encode the audio
Computer-based sound spectrograph system
Computer-based sound spectrograph system William J. Strong and E. Paul Palmer Department of Physics and Astronomy, Brigham Young University, Provo, Utah 84602 (Received 8 January 1975; revised 17 June
Available online at International Journal of Current Research Vol. 9, Issue, 08, pp , August, 2017
z Available online at http://www.journalcra.com International Journal of Current Research Vol. 9, Issue, 08, pp.55560-55567, August, 2017 INTERNATIONAL JOURNAL OF CURRENT RESEARCH ISSN: 0975-833X RESEARCH
2. AN INTROSPECTION OF THE MORPHING PROCESS
1. INTRODUCTION Voice morphing means the transition of one speech signal into another. Like image morphing, speech morphing aims to preserve the shared characteristics of the starting and final signals,
Manual of Operation for WaveNode Model WN-2m. Revision 1.0
Manual of Operation for WaveNode Model WN-2m. Revision 1.0 TABLE OF CONTENTS 1. Description of Operation 2. Features 3. Installation and Checkout 4. Graphical Menus 5. Information for Software Expansion
August Acoustics and Psychoacoustics Barbara Crowe Music Therapy Director. Notes from BC s copyrighted materials for IHTP
The Physics of Sound and Sound Perception Sound is a word of perception used to report the aural, psychological sensation of physical vibration Vibration is any form of to-and-fro motion To perceive sound
Experiment 9A: Magnetism/The Oscilloscope
Experiment 9A: Magnetism/The Oscilloscope (This lab s "write up" is integrated into the answer sheet. You don't need to attach a separate one.) Part I: Magnetism and Coils A. Obtain a neodymium magnet
MIE 402: WORKSHOP ON DATA ACQUISITION AND SIGNAL PROCESSING Spring 2003
MIE 402: WORKSHOP ON DATA ACQUISITION AND SIGNAL PROCESSING Spring 2003 OBJECTIVE To become familiar with state-of-the-art digital data acquisition hardware and software. To explore common data acquisition
Machinery Diagnostic Plots Part 2 ORBIT Back-to-Basics: What does the data really tell us?
Machinery Diagnostic Plots Part 2 ORBIT Back-to-Basics: What does the data really tell us? Gaston Desimone Latin America Technical Leader Bently Nevada* Machinery Diagnostic Services (MDS) Buenos Aires
Assignment 2 Line Coding Lab
Version 2 March 22, 2015 281.273 Assignment 2 Line Coding Lab By: Year 2: Hamilton Milligan ID: 86009447 281.273 Assignment 2 Line Coding Lab 1 OBJECTIVE The Objective of this lab / assignment 2 is to
Lab experience 1: Introduction to LabView
Lab experience 1: Introduction to LabView LabView is software for the real-time acquisition, processing and visualization of measured data. A LabView program is called a Virtual Instrument (VI) because
Audio Engineering Society Conference Paper Presented at the 21st Conference 2002 June 1 3 St. Petersburg, Russia
Audio Engineering Society Conference Paper Presented at the 21st Conference 2002 June 1 3 St. Petersburg, Russia dr. Ronald M. Aarts 1), ir. H. Greten 2), ing. P. Swarte 3) 1) Philips Research. 2) Greten
Pitch Perception. Roger Shepard
Pitch Perception Roger Shepard Pitch Perception Ecological signals are complex not simple sine tones and not always periodic. Just noticeable difference (Fechner) JND, is the minimal physical change detectable
Determination of Sound Quality of Refrigerant Compressors
Purdue University Purdue e-pubs International Compressor Engineering Conference School of Mechanical Engineering 1994 Determination of Sound Quality of Refrigerant Compressors S. Y. Wang Copeland Corporation
Lab P-6: Synthesis of Sinusoidal Signals A Music Illusion. A k cos.! k t C k / (1)
DSP First, 2e Signal Processing First Lab P-6: Synthesis of Sinusoidal Signals A Music Illusion Pre-Lab: Read the Pre-Lab and do all the exercises in the Pre-Lab section prior to attending lab. Verification:
MULTISIM DEMO 9.5: 60 HZ ACTIVE NOTCH FILTER
9.5(1) MULTISIM DEMO 9.5: 60 HZ ACTIVE NOTCH FILTER A big problem sometimes encountered in audio equipment is the annoying 60 Hz buzz which is picked up because of our AC power grid. Improperly grounded
SOUND LABORATORY LING123: SOUND AND COMMUNICATION
SOUND LABORATORY LING123: SOUND AND COMMUNICATION In this assignment you will be using the Praat program to analyze two recordings: (1) the advertisement call of the North American bullfrog; and (2) the
HX0074 DEMO Kit for METRIX Oscilloscopes
GB - User s Guide HX0074 DEMO Kit for METRIX Oscilloscopes DIGITAL OSCILLOSCOPES 1 HX0074 Demo Kit for METRIX Oscilloscopes General description The oscilloscope kit features a circuit which generates 15
Crash Course in Digital Signal Processing
Crash Course in Digital Signal Processing Signals and Systems Conversion Digital Signals and Their Spectra Digital Filtering Speech, Music, Images and More DSP-G 1.1 Signals and Systems Signals Something
Amplitude and Loudness 1
Amplitude and Loudness 1 intensity of vibration measured in db-spl (sound pressure level) range for humans 0 (threshold of hearing) to 120 (pain) and beyond 1 LOUDNESS CHART 0--threshold 1 20 quiet living
Signal Processing. Case Study - 3. It s Too Loud. Hardware. Sound Levels
Case Study - 3 Signal Processing Lisa Simpson: Would you guys turn that down! Homer Simpson: Sweetie, if we didn't turn it down for the cops, what chance do you have? "The Simpsons" Little Big Mom (2000)
CATHODE-RAY OSCILLOSCOPE (CRO)
CATHODE-RAY OSCILLOSCOPE (CRO) I N T R O D U C T I O N : The cathode-ray oscilloscope (CRO) is a multipurpose display instrument used for the observation, measurement, and analysis of waveforms by plotting
ECE 5765 Modern Communication Fall 2005, UMD Experiment 10: PRBS Messages, Eye Patterns & Noise Simulation using PRBS
ECE 5765 Modern Communication Fall 2005, UMD Experiment 10: PRBS Messages, Eye Patterns & Noise Simulation using PRBS modules basic: SEQUENCE GENERATOR, TUNEABLE LPF, ADDER, BUFFER AMPLIFIER extra basic:
Experiment 9 Analog/Digital Conversion
Experiment 9 Analog/Digital Conversion Introduction Most digital signal processing systems are interfaced to the analog world through analogto-digital converters (A/D) and digital-to-analog converters