Download The Intelligent Ear: On the Nature of Sound Perception by Reinier Plomp PDF

By Reinier Plomp

Plomp's features of Tone Sensation --published 25 years ago--dealt with the psychophysics of straightforward and intricate tones. considering that that point, auditory notion as a box of analysis has passed through an intensive metamorphosis. Technical and methodological strategies, in addition to a substantial bring up in awareness to a few of the features of auditory adventure, have replaced the image profoundly. This ebook is an try and account for this improvement via giving a entire survey of the current state-of-the-art as a complete. Perceptual features of listening to, really of figuring out speech because the major auditory enter sign, are completely reviewed.

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Extra info for The Intelligent Ear: On the Nature of Sound Perception

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As a result, it opts for the former alternative as the more likely solution, resulting in a kind of gestalt continu- FIG. 1. Pulsation threshold of tones of 300 Hz, 1000 Hz, and 3000 Hz. The lower curve represents the absolute hearing threshold (based on data from Houtgast, 1973). THE PERCEPTION OF MULTIPLE SOUNDS 37 ation judgement. In this respect this perceptual effect might be compared to the sensation aroused by sitting in a standing train and seeing another train starting to move. Invariably the impression is that our train rather than the other train is moving.

26 CHAPTER 2 fundamental present. In a subsequent paper (Schouten, 1940), he described the sensation induced by a periodic complex sound wave as follows: The lower harmonics can be perceived individually and have almost the same pitch as when sounded separately. The higher harmonics, however, cannot be perceived separately but are perceived collectively as one component (the residue) with a pitch determined by the periodicity of the collective wave form, which is equal to that of the fundamental tone.

6). In a subsequent study (Heise & Miller, 1951), this phenomenon was tested for sequences of eleven 125-msec repeatedly presented tone pulses, with all frequencies fixed except the sixth pulse. , appeared in a different stream) from the other ones. The solid points in Fig. 7 THE PERCEPTION OF MULTIPLE SOUNDS 41 FIG. 5. The lines represent the harmonics of a series of tone pulses with varying pitch. Panel A shows the tones interrupted by noise bands of which the latter four cover transitions from one tone to the next.

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