loudness/fourier analysis/grain synthesis

[BIGGERSTAFF THAD LEWIS <thad@xxxxxxxxxxxxxxxxxxx>]

First of all, I apologize for the delay on replying to those above.  I've
posted this to the overall list as well, thinking it might be of others
interest...

The original post was concerned with the question of measuring loudness
perception.  The "he" in my last post (that is, the author of the article
I made reference to) is Barry Truax.  Two articles have appeared recently
in Computer Music Journal (Volume 18:2, and 18:3) which discuss among
other things his involvement in granular synthesis composition, and how
this work has contributed towards his understanding of loudness, pitch,
timbre: sound in general.

I quote the abstract of the 18:2 article:

"The psychoacoustic implications of the technique [granular synthesis],
such as the magnification of instantaneous resonances and the perception
of increased volume, are discussed, as is compositional experience that
links the inner complexity of the sound to the complexity of the external
world."

Volume 18:3's article consists of an interview with Truax, where, again
among other things, he goes into more detail on his views of Fourier
analysis and its limitations...

Another article of great interest in this regard is again authored by
Truax.  It appears in Interface Journal (Vol. 21, 1992, pp. 29-42). It's
title is "Musical Creativity and Complexity at the Threshold of the 21st
Century".

Again, I quote from the abstract:

"The author describes a paradigm shift in which current models of sound
and music are replaced by models of complexity.  In terms of sound, the
shift moves away from linear (e.g. Fourier) models in acoustics and
parameter response models in psychoacoustics towards multi-dimensional
concepts of timbre, volume, and temporal dynamic shape.  In terms of
composition, the shift is away from its literate and detereministic
aspects, as well as the notion of art as abstract and context free.  The
result is a concept of music where sound and structure are integrated as
well as music and context. Examples are drawn from the composer's work
with granular synthesis and enviromental sound composition."

This article goes into great depth concerning the limitations of
"current" frameworks for assessing sound...

As a particular example from this article:

"It is interesting to speculate why one model, the timeless Fourier-based
fixed waveform oscillator, achieved its dominant role, despite its
obvious aural deficiencies, while another that corresponds more closely
to the auditory system languished on the sidelines.  In 1947 the British
physicists Dennis Gabor proposed an 'acoustical quantum' as the
fundamental unit of sound that incorporates both frequency and time
because "it is our most elementary experience that sound has a time
pattern as well as a frequency pattern." ...In other words, the quantum
is the shortest duration of sound that will activate the auditory
system.  It is an event, not merely a fixed stimulus...."

If any one has any comments concerning this, please forward them.  The
CMJ articles were my first introduction to much that is discussed in
them, and I would welcome any further information/experience on this
topic/approach...  I am also wondering if there are any graduate progarms
doing research in this or a related field, using a similar approach to
Truax's...

Hope this is informative, and again I welcome further
enquiries/suggestions...

-Thad Biggerstaff