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Fiebig, Andre. "Psychoacoustic evaluation of soundscapes by means of repeated measurements." INTER-NOISE and NOISE-CON Congress and Conference Proceedings 263, no. 1 (August 1, 2021): 5485–90. http://dx.doi.org/10.3397/in-2021-3118.
Research on soundscape explore facets of how acoustic environments affect human perception in context. By means of psychoacoustic parameters the sound character of acoustic environments can be described comprehensively as those parameters play an important role with respect to manifold auditory sensations. Although there seems to be a consensus of the benefit of psychoacoustics for soundscape evaluations and the ISO/TS 12913-2 particularly requests to give consideration to psychoacoustic indicators in soundscape investigations rather little is known about the relationships between psychoacoustic quantities and significant soundscape dimensions. Numerous investigations aimed to establish links between psychoacoustics and soundscape appraisal, but the gained results were often not suited for generalization. Moreover, it is rather unclear how urban locations vary in their sound character over longer periods and how the level of variation drives soundscape assessments. In order to establish an understanding of potential psychoacoustic characterization of urban locations for soundscape evaluations, repeated measurements of different locations are analyzed and the general behavior of psychoacoustic quantities derived. Based on these investigations it is intended to expand knowledge on the usefulness of psychoacoustics from the perspective of the soundscape approach.
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Kumar, Sanjay, Wong Sze Wing, and Heow Pueh Lee. "Psychoacoustic Analysis of Vacuum Cleaner Noise." Acoustics 3, no. 3 (August 4, 2021): 545–59. http://dx.doi.org/10.3390/acoustics3030035.
Vacuum cleaners are one of the most widely used household appliances associated with unpleasant noises. Previous studies have indicated the severity of loud vacuum cleaner noise and its impact on the users nearby. The standalone quantified measurements of the generated noise are not sufficient for properly characterizing vacuum cleaners. Human perception should also be included for a better assessment of the quality of sound. A hybrid approach such as psychoacoustics analysis, which comprises subjective and objective evaluations of sounds, has recently been widely used. This paper focuses on the experimental assessment of vacuum cleaner noise and evaluates their psychoacoustical matrices. Three vacuum cleaners with different specifications have been selected as test candidates, and their sound qualities have been analyzed. Statistical analysis, ANOVA, has been performed in order to investigate the effectiveness of individual psychoacoustic metrics.
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Sęk, Aleksander P., and Brian C. J. Moore. "PSYCHOACOUSTICS: Software package for psychoacoustics." Acoustical Science and Technology 41, no. 1 (January 1, 2020): 67–74. http://dx.doi.org/10.1250/ast.41.67.
Yost, William A. "Dave Green and psychoacoustics." Journal of the Acoustical Society of America 153, no. 3_supplement (March 1, 2023): A115. http://dx.doi.org/10.1121/10.0018347.
Dave Green’s career spanned four decades all devoted to the study of psychoacoustics. It is hard to imagine anyone whose work has had a greater impact on the field. Dave’s interest in psychoacoustics began as an Experimental Psychology student at the University of Michigan. He is most widely recognized in the field of psychophysics for his pioneering contributions to Signal Detection Theory (SDT), which he helped develop in the Electronic Defense Group (EDG) of the Department of Electrical Engineering in the early 1950s. The culmination of this work is given in his seminal text “Signal Detection Theory and Psychophysics” (co-authored with John Swets) in 1966. His later work on Profile Analysis in the 1980s helped established a new view of auditory perception. As a consultant for Bolt, Beranek, and Newman (BB&N), Dave provided numerous publications and reports that have served beneficial to society, including his testimony regarding the reenactment of the assassination of John F. Kennedy in 1979. More than 50 students, post-docs, and colleagues, many who have made important contributions to psychoacoustics, have worked directly in Dave’s labs and received his mentoring. To say that Dave Green is a psychoacoustic icon would be an understatement.
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Sun, Jianwei, Koichi Yonezawa, Eiji Shima, and Hao Liu. "Integrated Evaluation of the Aeroacoustics and Psychoacoustics of a Single Propeller." International Journal of Environmental Research and Public Health 20, no. 3 (January 20, 2023): 1955. http://dx.doi.org/10.3390/ijerph20031955.
Aeroacoustic noise in multiple rotor drones has been increasingly recognized as a crucial issue, while noise reduction is normally associated with a trade-off between aerodynamic performance and sound suppression as well as sound quality improvement. Here, we propose an integrated methodology to evaluate both aeroacoustics and psychoacoustics of a single propeller. For a loop-type propeller, an experimental investigation was conducted in association with its aerodynamic and acoustic characteristics via a hover stand test in an anechoic chamber; the psychoacoustic performance was then examined with psychoacoustic annoyance models to evaluate five psychoacoustic metrics comprising loudness, fluctuation strength, roughness, sharpness, and tonality. A comparison of the figure of merit (FM), the overall sound pressure level (OASPL) and psychoacoustic metrics was undertaken among a two-blade propeller, a four-blade propeller, the loop-type propeller, a wide chord loop-type propeller, and a DJI Phantom III propeller, indicating that the loop-type propeller enables a remarkable reduction in OASPL and a noticeable improvement in sound quality while achieving comparable aerodynamic performance. Furthermore, the psychoacoustic analysis demonstrates that the loop-type propeller can improve the psychological response to various noises in terms of the higher-level broadband and lower-level tonal noise components. It is thus verified that the integrated evaluation methodology of aeroacoustics and psychoacoustics can be a useful tool in the design of low-noise propellers in association with multirotor drones.
Gatt, Monika, Marcus Guettler, and Steffen Marburg. "Objective psychoacoustics." Journal of the Acoustical Society of America 141, no. 5 (May 2017): 4028. http://dx.doi.org/10.1121/1.4989279.
Fay, Richard R. "Animal psychoacoustics." Journal of the Acoustical Society of America 86, S1 (November 1989): S70. http://dx.doi.org/10.1121/1.2027618.
Wilson, Vayda, Anne C. Balant, and Heather L. Lai. "Socially distanced psychoacoustics." Journal of the Acoustical Society of America 149, no. 4 (April 2021): A111. http://dx.doi.org/10.1121/10.0004680.
The overall goal of this work is to help classical guitar makers to have better control over the potential sound of their instruments. This is done by correlating changes in the vibrational behaviour of an instrument with perceivable changes in its radiated sound. Three strategies have been employed in this thesis in an attempt to accomplish this goal. An investigation is carried out on the vibrational properties and radiated sound of a classical guitar, steel-string folk guitar and a five-string banjo. The aim here is to demonstrate how large constructional differences in plucked-string instruments lead to their unique acoustical characteristics. Results demonstrate that effective masses of low-order body modes relative to higher-order ones, internal damping of strings and amount of coupling between strings and the body of an instrument are responsible for the main characteristics of these instruments’ acoustical signatures. The problem of over-coupling a string to the body of a classical guitar is then addressed. Over-coupling creates an uneven tone quality between notes, an effect known as wolf notes. Knowledge of the perceptual threshold of over-coupling, which is found using psychoacoustical tests, can help instrument makers build a strongly radiating instrument without wolf notes. Simple remedies are suggested to minimise the effects of wolf notes on existing guitars in the most effective manner. Finally, the smallest perceivable changes are found in the parameters of a physical model of a classical guitar. The parameters that are responsible for the most perceptually obvious changes are likely to be the most important ones for the maker to control because these are the parameters to which our ears are most sensitive. The effective mass and effective area of low-order modes are studied in detail because these parameters have been identified previously as having a strong influence over the radiated sound from the instrument.
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Himonides, Evangelos. "The psychoacoustics of vocal beauty : a new taxonomy." Thesis, Institute of Education (University of London), 2008. http://eprints.ioe.ac.uk/7396/.
This thesis investigates the phenomenon of perceived vocal 'beauty' in singing, being that moment in time when we are emotionally overwhelmed by the quality of the singer's voice in performance. Theoretical analyses indicate that this perceptual experience arises from the particular ways that diverse, but definable variables of the phenomenon are interwoven. The robustness of the emergent theoretical taxonomy is subjected to empirical evaluation through a multifaceted investigation into the psycho-acoustic and context-specific interpretation of sung performance quality. Initial research was grounded in an analysis of semi-structured interviews with seven people from a wide range of backgrounds as listeners (i.e. conductors, educators and performers) concerning their experience of sung performance. An iterative process of data analyses juxtaposed with a wide interdisciplinary range of literature reviews led to the design of three surveys. These were focused on (i) a large scale (N=374) survey regarding professionals' opinions about the evaluation of 'quality' in sung performances (ii) the qualitative analyses of a series of BBC Radio 4 broadcasts titled 'The Singer Not the Song', aiming to capture experts' opinions on the perception of beautiful performances across different musical genres and (iii) an online survey (N=177) that was conducted in order to present a narrower-angle perspective as demonstrated through people's views about a sung performance in a nonmainstream context (musical genre). Taken together, the evidence base indicated that different perceptual features become contextually sensitive and salient for individual listeners of singing performances. Then the emergent taxonomy of underlying contributory factors was further interrogated by individual expert listeners using an innovative experimental procedure that embraces the application of new multimedia technology. This new technology (based on the renowned Continuous Response Digital Interface (CRD!) concept that was developed at Florida State University) was designed to act as a real-time monitoring system of singing perception along a 'like/ dislike' continuum of perceived quality, whilst simultaneously collecting realtime data of listeners' physiological responses to the sung performance. Findings from this final phase of the empirical study indicated that the acquired combined perceptual/physiological-response data are systematic and support the theorised taxonomy of the perception of sung performance quality and its integrated nature.
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Harris, Neil John. "The acoustics and psychoacoustics of the distributed-mode loudspeaker (DML)." Thesis, University of Essex, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.392692.
Nine experiments were done to test three theories of auditory stream segregation and to investigate some conditions under which segregated tones re-integrate. In two-part trials, subjects (adults with normal hearing) first heard a segregation-inducing "Induction Sequence" whose effects upon an immediately subsequent "Test Sequence" were measured. The Test Sequence always had tones that alternated rhythmically between two frequencies. Rhythm and total duration of Induction Sequence tones were varied in the first two studies. Similarity of Induction and Test Sequences aided segregation whereas rhythmic predictability and longer tone durations in the Induction Sequence did not. Frequency alternation during the Induction Sequence was not necessary to induce segregation in the Test Sequence. The effects of sudden and gradual changes in lateralization, spatial location and sound level were investigated also. The data suggest that explaining segregation by peripheral processes is inadequate and that, once a distinct percept emerges from an auditory scene, properties derived from the percept (particularly changes) are fed back to control the ongoing analysis of that scene. A neural adaptation to stimuli with constant properties may form part of this analysis.
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Turgeon, Martine. "The influence of log-frequency parallel gliding upon perceptual fusion." Thesis, McGill University, 1994. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=26164.
It is generally recognized that simple harmonic ratios among partials promote their perceptual fusion. However, the influence of parallel gliding in log frequency upon fusion is not understood. The present experiment investigated fusion in relation to different types of parallel and non-parallel log-frequency motion of three concurrent tonal glides. The main hypothesis was that parallel motion on log-frequency-by-time coordinates favors fusion. It was reasoned that a higher degree of fusion of the glides evokes fewer auditory images. Fusion was thus measured by asking eighteen subjects to rate the number of distinct sounds perceived in various gliding stimuli. On test trials, subjects received a pair of stimuli in succession and had to judge which one contained more sounds and to rate the size of the difference on a 7-point scale. Each stimulus was a complex of three sinusoidal tones, gliding in frequency. Each 1400-ms three-glide complex was either increasing or decreasing in frequency, and the spacing among its components was either small, medium or large. The stimuli were aligned in one of five ways: (1) harmonically related, parallel, and therefore unequally spaced in log frequency, (2) inharmonic, parallel, and equally spaced in log frequency, (3) inharmonic, parallel, and unequally spaced in log frequency, (4) non-parallel and diverging in log frequency, and (5) non-parallel and converging in log frequency. Results showed that more sources were perceived under the three parallel conditions than under the two non-parallel ones (p $<$ 0.00001). Moreover, as the spacing between gliding partials increased, more distinct sounds were heard (p $<$ 0.00001). These results suggest that both spectral spacing and non-parallel log-frequency motion segregate concurrent glides. A multiple regression analysis showed that parallel log-frequency gliding promotes fusion over and above the contribution of average spectral spacing and harmonicity (p $<$.0001). The observed dat
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Hill, Toby Jonathan Willoughby. "Experiments on the perception of pitch increments in simple tone sequences." Thesis, University of Exeter, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.341191.
Chau, Ching Christy. "The recognition of isolated and interleaved melodies by children." Click to view the E-thesis via HKU Scholors Hub, 2005. http://lookup.lib.hku.hk/lookup/bib/B3827906X.
Thesis (B.Sc)--University of Hong Kong, 2005. "A dissertation submitted in partial fulfilment of the requirements for the Bachelor of Science (Speech and Hearing Sciences), The University of Hong Kong, June 30, 2005." Also available in print.
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Piker, Gürer Seçkin Yavuz. "Evaluation Of Product Sound Design Within The Context Of Emotion Design And Emotional Branding/." [s.l.]: [s.n.], 2005. http://library.iyte.edu.tr/tezler/master/endustriurunleritasarimi/T000363.pdf.
Pincas, Jonathan. "Amplitude modulation of noise in voiced fricatives : acoustics, psychoacoustics and perception." Thesis, University of Surrey, 2009. http://epubs.surrey.ac.uk/798092/.
Werner, Lynne A., and Edwin W. Rubel, eds. Developmental psychoacoustics. Washington: American Psychological Association, 1992. http://dx.doi.org/10.1037/10119-000.
Howard, David M., and Jamie A. S. Angus. Acoustics and Psychoacoustics. 5th edition. | New York; London : Routledge, 2016. | “2016: Routledge, 2017. http://dx.doi.org/10.4324/9781315716879.
Klump, G. M., R. J. Dooling, R. R. Fay, and W. C. Stebbins, eds. Methods in Comparative Psychoacoustics. Basel: Birkhäuser Basel, 1995. http://dx.doi.org/10.1007/978-3-0348-7463-2.
Gunther, Leon. "Psychoacoustics." In The Physics of Music and Color, 327–51. New York, NY: Springer New York, 2011. http://dx.doi.org/10.1007/978-1-4614-0557-3_10.
Bader, Rolf. "Psychoacoustics." In Nonlinearities and Synchronization in Musical Acoustics and Music Psychology, 319–28. Berlin, Heidelberg: Springer Berlin Heidelberg, 2013. http://dx.doi.org/10.1007/978-3-642-36098-5_10.
Knispel, Joel D. "Psychoacoustics." In States of Brain and Mind, 83–85. Boston, MA: Birkhäuser Boston, 1988. http://dx.doi.org/10.1007/978-1-4899-6771-8_33.
Ziemer, Tim. "Psychoacoustics." In Current Research in Systematic Musicology, 65–110. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-23033-3_4.
Gunther, Leon. "Psychoacoustics." In The Physics of Music and Color, 283–301. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-19219-8_11.
Moore, Brian C. J. "Psychoacoustics." In Springer Handbook of Acoustics, 475–517. New York, NY: Springer New York, 2014. http://dx.doi.org/10.1007/978-1-4939-0755-7_13.
Knispel, Joel D. "Psychoacoustics." In Sensory Systems: II, 101–3. Boston, MA: Birkhäuser Boston, 1988. http://dx.doi.org/10.1007/978-1-4684-6760-4_44.
Long, Glenis R. "Psychoacoustics." In Comparative Hearing: Mammals, 18–56. New York, NY: Springer New York, 1994. http://dx.doi.org/10.1007/978-1-4612-2700-7_2.
Kollmeier, B. "PSYCHOACOUSTICS, SPEECH AND HEARING AIDS." In Proceedings of the Summer School and International Symposium. WORLD SCIENTIFIC, 1996. http://dx.doi.org/10.1142/9789814531436.
Hartmann, William M. "The relevance of theory in psychoacoustics." In 157th Meeting Acoustical Society of America. ASA, 2009. http://dx.doi.org/10.1121/1.3236505.
FASTL, H. "FROM PSYCHOACOUSTICS TO SOUND QUALITY ENGINEERING." In Spring Conference Acoustics 2003. Institute of Acoustics, 2023. http://dx.doi.org/10.25144/18077.
Edwards, B. "Application of psychoacoustics to audio signal processing." In Conference Record. Thirty-Fifth Asilomar Conference on Signals, Systems and Computers. IEEE, 2001. http://dx.doi.org/10.1109/acssc.2001.987037.
Huang, Chih-Hsiang, Po-Hao Wu, Yi-Wen Liu, and Shan-Hung Wu. "Attacking and Defending Behind A Psychoacoustics-Based Captcha." In ICASSP 2021 - 2021 IEEE International Conference on Acoustics, Speech and Signal Processing (ICASSP). IEEE, 2021. http://dx.doi.org/10.1109/icassp39728.2021.9414135.
Algazi, V. Ralph, and Richard O. Duda. "Effective Use of Psychoacoustics in Motion-Tracked Binaural Audio." In 2008 Tenth IEEE International Symposium on Multimedia (ISM) (Formerly MSE). IEEE, 2008. http://dx.doi.org/10.1109/ism.2008.38.
Ewert, Stephan D., Steffen Kortlang, and Volker Hohmann. "A Model-based hearing aid: Psychoacoustics, models and algorithms." In ICA 2013 Montreal. ASA, 2013. http://dx.doi.org/10.1121/1.4798816.
Antunes, Micael, Danilo Rossetti, and Jonatas Manzolli. "A computer-based framework to analyze continuous and discontinuous textural works using psychoacoustics audio descriptors." In Simpósio Brasileiro de Computação Musical. Sociedade Brasileira de Computação - SBC, 2019. http://dx.doi.org/10.5753/sbcm.2019.10415.
This paper discusses a computer-aided musical analysis methodology anchored on psychoacoustics audio descriptors. The musicological aim is to analyze compositions centered on timbre manipulations that explore sound masses and granular synthesis as their builders. Our approach utilizes two psychoacoustics models: 1) Critical Bandwidths and 2) Loudness, and two spectral features extractors: 1) Centroid and 2) Spectral Spread. A review of the literature, contextualizing the state-of-art of audio descriptors, is followed by a definition of the musicological context guiding our analysis and discussions. Further, we present results on a comparative analysis of two acousmatic pieces: Schall (1995) of Horacio Vaggione and Asperezas (2018) of Micael Antunes. As electroacoustic works, there are no scores, therefore, segmentation and the subsequent musical analysis is an important issue to be solved. Consequently, the article ends discussing the methodological implication of the computational musicology addressed here.
Reports on the topic "Psychoacoustics":
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ARD CORP COLUMBIA MD. Signal Feature Analysis Using Neural Networks & Psychoacoustics. Fort Belvoir, VA: Defense Technical Information Center, May 1993. http://dx.doi.org/10.21236/ada266048.
Turner, Christopher W. Interactions between Neurophysiology and Psychoacoustics: Meeting of the Acoustical Society of America (117th) Held in Syracuse, New York on 22 May 1989. Fort Belvoir, VA: Defense Technical Information Center, June 1989. http://dx.doi.org/10.21236/ada236763.
Zeller, Peter, and Alfred Zeitler. Psychoacoustic-Based Sound Design in Vehicle Engineering. Warrendale, PA: SAE International, May 2005. http://dx.doi.org/10.4271/2005-08-0028.
