AUDITORY posting archive 1998

• Thread Index

• Collected rhythm responses
  • From: HARTMANN
• The vOICe Learning Edition
  • From: PETER B.L. Meijer
• Research Professorship in Auditory Cognition (Macarthur Auditory Cognition Laboratory)
  • From: Kate Stevens
• loudness as a function of angle of incidence
  • From: Soeren Bech
• NATO ASI on Computational Hearing
  • From: Steve Greenberg
• Vibrotactile
  • From: Mari Jones
• Re: Vibrotactile
  • From: john erdreich
• Limerick Workshop
  • From: Niall Griffith
• .adf file conversions
  • From: MITCHELL Sommers
• Re: .adf file conversions
  • From: Tom Carrell
• Stuart Rosen: Re: .adf file conversions
  • From: Dan Ellis
• Johns Hopkins Speech Recognition Workshop
  • From: Steve Greenberg
• It's About Time: Music as a Cognitive Skill: Symposium Papers on-line
  • From: Kate Stevens
• Phd. studentships: Connectionist Models of Musical Processes
  • From: Niall Griffith
• Pitch of a complex tone
  • From: Alexander Galembo
• Re: Pitch of a complex tone
  • From: Dr L S Smith (Staff)
• Re: Pitch of a complex tone
  • From: Bill Schottstaedt
• Re: Pitch of a complex tone
  • From: Malcolm Slaney
• Re: Pitch of a complex tone
  • From: Peter Cariani
• effect of phase on pitch
  • From: R. Parncutt
• Re: effect of phase on pitch
  • From: PETER B.L. Meijer
• Re: effect of phase on pitch
  • From: Bert Schouten
• [no subject]
  • From: LASZLO Toth
• Re: effect of phase on pitch
  • From: Steven M. Boker
• Re: effect of phase on pitch
  • From: Peter Cariani
• Re: effect of phase on pitch
  • From: Michael Kubovy
• references on loudness as a function of angle
  • From: SOREN Bech
• correlation of vision and audition (fwd)
  • From: Al Bregman
• Scott Lipscomb: Re: correlation of vision and audition
  • From: Dan Ellis
• cross-modal interactions
  • From: Robert Zatorre
• Phases/pitch
  • From: Alexander Galembo
• Re: correlation of vision and audition
  • From: Al Bregman
• Re: correlation of vision and audition
  • From: PETER B.L. Meijer
• [no subject]
  • From: Alexander Galembo
• audio-visual correlation
  • From: Scott Lipscomb
• Re: audio-visual correlation
  • From: TODD
• Postdoctoral Position
  • From: MITCHELL Sommers
• Brightness affecting pitch
  • From: Punita Singh
• Re: Brightness affecting pitch
  • From: Punita Singh
• strange effect in auditory localization
  • From: Barbara Muller
• Matching Visual and Auditory Cues in Films
  • From: Richard M Warren
• Re: Matching Visual and Auditory Cues in Films
  • From: Al Bregman
• Illusions
  • From: Stuart Rosen
• Book query
  • From: Richard M Warren
• help
  • From: NIGEL FRAYNE
• Wake-up levels for auditory warning?
  • From: Bruce N. Walker
• Re: Wake-up levels for auditory warning?
  • From: Stephen McAdams
• Re: Wake-up levels for auditory warning?
  • From: Daniel Levitin
• Examples of illusions increasing intelligibility
  • From: Richard M Warren
• Re: Wake-up levels for auditory warning?
  • From: Sheila Williams
• Interpretation of published earphone frequency response
  • From: john erdreich
• Tomatis
  • From: R. Parncutt
• Positions
  • From: Steve Slade
• News
  • From: HARTMANN
• B&K
  • From: Nancy Vaughan
• B&K
  • From: Nancy Vaughan
• Re: your mail
  • From: Al Bregman
• Changes
  • From: Roy Patterson
• Conference in Musical Imagery-99. Call for papers
  • From: Preben von der Lippe
• Caroline Palmer: music cognition
  • From: Dan Ellis
• Speech signal SPL & S/N
  • From: Athanassios Protopapas
• Bibliography on background music effects
  • From: Garcia De La Fuente
• Re: Bibliography on background music effects
  • From: EH
• Re: Speech signal SPL & S/N
  • From: Torben Poulsen
• Re: Bibliography on background music effects
  • From: mountain
• Re: Bibliography on background music effects
  • From: gary r. kidd
• Re: Bibliography on background music effects
  • From: Scott Lipscomb
• Re: Speech signal SPL & S/N
  • From: Mike Brookes
• Re: Speech signal SPL & S/N --- Responses
  • From: Athanassios Protopapas
• Development of auditory system
  • From: Punita Singh
• PHASES/PITCH/BRIGHTNESS discussion
  • From: Alexander Galembo
• Re: PHASES/PITCH/BRIGHTNESS discussion
  • From: Alain de Cheveigne'
• Late reply to the message by R. Parncutt.
  • From: Alexander Galembo
• Music Cognition Workshop
  • From: David Huron - Conrad Grebel
• Notice of availability
  • From: Al Bregman
• Tomatis
  • From: R. Parncutt
• Re: Tomatis
  • From: Stephen McAdams
• Re: Tomatis
  • From: Jim Ballas
• Re: Tomatis
  • From: Alain de Cheveigne'
• Tomatis
  • From: R. Parncutt
• Re: matching speech synth?
  • From: Jim Stevenson Ph.D
• [Fwd: Well said!]
  • From: Stephen McAdams
• Re: Tomatis
  • From: Charles S. Watson
• French endeavours
  • From: Stuart Rosen
• Re: French endeavours
  • From: Neil Todd
• Re: French endeavours
  • From: Eric Mousset
• Measuring Loudness Growth Functions
  • From: grant
• Development of auditory system
  • From: R. Parncutt
• speech/music characteristics
  • From: Sue Johnson
• Re: speech/music characteristics
  • From: Neil Todd
• Re: speech/music characteristics
  • From: Eric Scheirer
• Re: speech/music characteristics
  • From: Steve Slade
• Auditory time to contact
  • From: Mickey Mouse
• Haunting Melody
  • From: Eliot Handelman
• Re: Auditory time to contact
  • From: Lonce LaMar Wyse
• Re: speech/music characteristics
  • From: Lonce LaMar Wyse
• Music Cognition Workshop
  • From: David Huron - Conrad Grebel
• speech/music - thanks
  • From: Sue Johnson
• speech and music
  • From: Robert Port
• Re: speech/music - thanks
  • From: Al Bregman
• Re: Auditory time to contact
  • From: John Neuhoff
• Re: speech/music
  • From: Dan Ellis
• Re: speech/music - thanks
  • From: Pierre Divenyi
• Re: speech/music
  • From: Sue Johnson
• speech/music
  • From: BRUNO H. Repp
• APU R.I.P.
  • From: Bob Carlyon
• Re: speech/music
  • From: Malcolm Slaney
• Re: speech/music
  • From: Mark DeWitt
• Re: speech/music
  • From: Neil Todd
• Re: a layman's reply speech/music
  • From: RealTime
• Re: a layman's reply speech/music
  • From: RealTime
• Re: speech/music
  • From: Jont Allen
• subscription instructions?
  • From: Jim Gardner
• Re: speech/music
  • From: Neil Todd
• phonemes
  • From: Keith R. Kluender
• Speech and bottom-up processes
  • From: BRUNO H. Repp
• Re: speech/music
  • From: Pierre Divenyi
• Re: phonemes
  • From: Neil Todd
• Speech and Music
  • From: Richard Pastore
• Re: speech/music
  • From: Neil Todd
• Re: Speech and bottom-up processes
  • From: Al Bregman
• Re: Speech and bottom-up processes
  • From: grant
• Re: speech/music
  • From: Pierre Divenyi
• Noise effect on rapacious avians
  • From: Hiroshi Riquimaroux
• consonant/vowel characterization
  • From: Franck Ramus
• Auditory-visual comodulation
  • From: BRUNO H. Repp
• Brian Karlsen: Re: speech/music
  • From: Dan Ellis
• APERIODIC ADMIN REMINDER
  • From: Dan Ellis
• the digital Foley artist
  • From: Robert E. Remez
• [no subject]
  • From: LASZLO Toth
• Re: Auditory-visual comodulation
  • From: grant
• Test of Mail Relay
  • From: Harry Erwin
• Re: speech/music -> speech/singing
  • From: Dan Ellis
• Re: speech/music -> speech/singing
  • From: Ying-Fen Wang
• Re: speech/music
  • From: John Hershey
• Cross-modality comodulation and the release from masking
  • From: grant
• Re: speech/music
  • From: John Hershey
• Vibrato
  • From: David Huron - Conrad Grebel
• Re: Vibrato
  • From: Neil Todd
• Re: Vibrato
  • From: James W. Beauchamp
• Re: Vibrato
  • From: Gregory J. Sandell
• Vibrato
  • From: Richard M Warren
• Re: Vibrato
  • From: John Neuhoff
• Re: vibrato
  • From: Laurent Demany
• Judith Brown: Re: Vibrato
  • From: Dan Ellis
• vmccaw@yahoo.com is my new e-dress
  • From: Valerie M. McCaw
• Re: vibrato
  • From: Jont Allen
• Unexplainable electronic mishap
  • From: Valerie M. McCaw
• sight reading
  • From: Robert J. Zatorre
• mental planning for performance
  • From: Punita Singh
• Re: mental planning for performance
  • From: Neil Todd
• possible postdoc position
  • From: Sid P. Bacon
• Professor position
  • From: Torben Poulsen
• An idea whose time has com: NetBib
  • From: Jont Allen
• Re: An idea whose time has com: NetBib
  • From: Charles S. Watson
• Re: An idea whose time has com: NetBib
  • From: Rebecca Mercuri
• Re: An idea whose time has com: NetBib
  • From: Pierre Divenyi
• Re: An idea whose time has com: NetBib
  • From: Steven M. Boker
• Re: An idea whose time has com: NetBib
  • From: Rebecca Mercuri
• Re: An idea whose time has com: NetBib
  • From: Dave Mellinger
• BIBTEX format
  • From: Jont Allen
• Re: BIBTEX format
  • From: Dan Ellis
• Preprint archive
  • From: Didier A. Depireux
• Re: An idea whose time has com: NetBib
  • From: Mike Brookes
• reference to A.A. Mayer on masking
  • From: Jont Allen
• Binaural Recording
  • From: Mickey Mouse
• SPL meters
  • From: Sheila Williams
• SPL meters
  • From: Sheila Williams
• mental planning for hitting the right note
  • From: Punita Singh
• lyrics
  • From: Arty Samuel
• Re: lyrics
  • From: Jont Allen
• job announcement
  • From: Ying-fen Wang
• tone matching
  • From: Mary V Andrianopoulos
• Tomatis method
  • From: Mary V Andrianopoulos
• information transmission analysis
  • From: MITCHELL Sommers
• Re: information transmission analysis
  • From: Stuart Rosen
• Re: audio lab url
  • From: Fantini D
• Help: using mics as earphones
  • From: Daniel J. Tollin
• Re: tapping device
  • From: LAURA-LEE Balkwill
• Re: tapping device
  • From: LAURA-LEE Balkwill
• Re: tapping device
  • From: RealTime
• Re: tapping device
  • From: Patrick Flanagan
• Re: Help: using mics as earphones
  • From: Daniel J. Levitin
• Re: tapping device
  • From: Bruce N. Walker
• Re: tapping device responses
  • From: LAURA-LEE Balkwill
• Re: tapping device
  • From: Steve Slade
• Re: Using mics as earphones
  • From: Bob Masta
• mics to speakers
  • From: HARTMANN
• looking for a transformation to "extract" prosody from speech
  • From: Christophe Pallier
• Re: Help: using mics as earphones
  • From: Dan Mapes-Riordan
• Research ListServ
  • From: Sid P. Bacon
• Temporary Lectureship
  • From: Stuart Rosen
• Fw: ASHA Research Listserv: Beware!
  • From: Stuart Rosen
• ASHA list serve
  • From: Sid P. Bacon
• UCL studentship
  • From: Stuart Rosen
• The Next WAVe(sm): Auditory Browsing in Web and non-Web Databases
  • From: Gerry McKiernan
• [no subject]
  • From: Hermann Wagner
• dB SPL to dBA
  • From: Christian Kaernbach
• Re: dB SPL to dBA
  • From: Torben Poulsen
• Re: dB SPL to dBA
  • From: Torben Poulsen
• Re: dB SPL to dBA
  • From: Patrick Susini
• Re: dB SPL to dBA
  • From: Pierre Divenyi
• dB SPL to dBA (fwd)
  • From: rmaarts
• ** New host machine for AUDITORY list **
  • From: Dan Ellis
• Life is But A Stream: Streaming Audio for Auditory Browsing
  • From: Gerry McKiernan
• Connectionist Bibliography for Music
  • From: Niall Griffith
• Correlogram Web Server
  • From: Malcolm Slaney
• spoken digit database
  • From: W. Bradley Fain
• Seashore tests of musical ability
  • From: Stuart Rosen
• Re: spoken digit database
  • From: Ke CHEN
• Re: spoken digit database
  • From: RealTime
• Re: spoken digit database
  • From: John Hershey
• Daniel Fain: Re: spoken digit database
  • From: Dan Ellis
• Re: Seashore tests of musical ability
  • From: Phil Harris
• ATOM BIGGS: ROCK MUSIC
  • From: Dan Ellis
• Re: ATOM BIGGS: ROCK MUSIC
  • From: Brian Gygi
• Re: ATOM BIGGS: ROCK MUSIC
  • From: Douglas H. Keefe
• Re: ATOM BIGGS: ROCK MUSIC
  • From: Neil Todd
• rock music
  • From: Linda A. Seltzer
• Re: ATOM BIGGS: ROCK MUSIC
  • From: Charles S. Watson
• ROCK MUSIC
  • From: KEVIN AUSTIN
• Re: rock music
  • From: Leigh Smith
• rock music
  • From: repp
• Music & arousal
  • From: Eliot Handelman
• Re: Greeks, Ethos and Rock Music
  • From: James Wright Mcgill
• Re: ROCK MUSIC
  • From: Charles S. Watson
• Re: rock music
  • From: Edward W. Large
• Re: Greeks, Ethos and Rock Music
  • From: Douglas H. Keefe
• rock music
  • From: Linda A. Seltzer
• Re: Greeks, Ethos and Rock Music
  • From: Eliot Handelman
• bp, a Perl Bibliography Package
  • From: Jont Allen
• Re: Critical bands
  • From: Julius O. Smith III
• Correlations, but ...
  • From: Roy Patterson
• headphones
  • From: Bob Carlyon
• International Foundation for Music Research / CogPrints
  • From: Dan Ellis
• Call for papers - AES 16th International
  • From: Zacharov Nick NRC/Tre
• delay-and-add noise
  • From: Robert J. Zatorre
• Positions available
  • From: Torben Poulsen
• Hearing loss simulation ?
  • From: Dirk Meister
• Profile analysis: David Green?
  • From: meijer
• Re: Profile analysis: David Green?
  • From: meijer
• Sound of tube amplifiers
  • From: Linda A. Seltzer
• Re: Sound of tube amplifiers
  • From: Ewan A. Macpherson
• Re: Sound of tube amplifiers
  • From: Tom Maglione
• Re: Sound of tube amplifiers
  • From: Søren Laugesen
• sennheiser hd250 linear 2 headphones: additional info
  • From: Bob Carlyon
• Tech report on speech segregation
  • From: DeLiang Wang
• Re: Sound of tube amplifiers
  • From: Bramsløw, Lars
• Klatt synthesis
  • From: msommers
• Profile analysis and intra-CB beats
  • From: meijer
• Digital compression
  • From: Søren Laugesen
• Call for papers - AES 16th International
  • From: Zacharov Nick NRC/Tre
• dB HL to dB SPL
  • From: Christian Kaernbach
• Iowa Musical Instrument Samples (fwd)
  • From: James W. Beauchamp
• looking for stimuli to build a www demo of categorical speech perception
  • From: Christophe Pallier
• Tucker and Davis AP2 board
  • From: Pierre Divenyi
• Post retry again repeated.
  • From: Tom Maglione
• Midi rendering programmes
  • From: Ranil Sonnadara
• [no subject]
  • From: tothl
• Job Posting
  • From: William A. Ahroon
• time and frequency spacing in direction of pitch change judgement
  • From: Pascal BELIN
• speech synthesis
  • From: McAnally, Ken
• Research studentship advert
  • From: Sue McCabe
• Postdoctoral Researchers in Music Cognition
  • From: Luke Windsor
• IEEE Spectrum vacuum tubes.
  • From: Tom Maglione
• Inverted phase at each ear
  • From: John K. Bates
• Upside down noise
  • From: Fred Wightman
• Re: Inverted phase at each ear
  • From: Rebecca Mercuri
• Re: Upside down noise
  • From: Pierre Divenyi
• Re: Upside down noise
  • From: Al Bregman
• Re: Upside down noise
  • From: Al Bregman
• Tucker and Davis AP2
  • From: Pierre Divenyi
• Re: Upside down noise
  • From: Charles S. Watson
• Re: Upside down noise
  • From: Eric Mousset
• Postdoc opening at Plattsburgh
  • From: Dan Ellis
• Roy Patterson: email change
  • From: Dan Ellis
• email addresses again
  • From: Roy Patterson
• Speech Recognition Scientist needed in San Francisco.
  • From: Ron Benson
• even more email addresses
  • From: Bob Carlyon
• job opening in Tuebingen, Germany
  • From: joachim.ostwald
• EXTENDED call for papers - AES 16th Inte
  • From: Zacharov Nick NRC/Tre
• Postdoc announcement
  • From: Dan Ellis
• digital output (SP/DIF) under DOS
  • From: Christian Kaernbach
• spectral analysis program
  • From: James W. Beauchamp
• Re: spectral analysis program (WARNING : file may contain a virus)
  • From: Julian Vrieslander
• Re: spectral analysis program (WARNING : file may contain a virus)
  • From: James W. Beauchamp
• Data acquisition system for PCs
  • From: Bob Masta
• Vocal sounds?
  • From: Pascal BELIN
• Re: spectral analysis program (WARNING : file may contain a virus)
  • From: James W. Beauchamp
• Re: spectral analysis program (WARNING : file may contain a virus)
  • From: Julian Vrieslander
• IFMR Accepting Research Pre-Proposals
  • From: Dan Ellis
• high pressure microphone
  • From: James W. Beauchamp
• Re: high pressure microphone
  • From: RealTime
• Re: High pressure microphone
  • From: Torben Poulsen
• Why is high high?
  • From: Pawel Kusmierek
• Re: Why is high high?
  • From: Sheila Flanagan
• Re: Why is high high?
  • From: Harry Erwin
• Re: Why is high high?
  • From: Robert Bolia
• Re: Why is high high?
  • From: Jim Stevenson
• Re: Why is high high?
  • From: Brian Gygi
• Re: Why is high high?
  • From: Patrick Flanagan
• JOHANNES ZANKER: Neuroscience graduate program
  • From: Dan Ellis
• Re: Why is high high?
  • From: Daniel Salomons
• Re: Why is high high?
  • From: Johannes Nix
• Re: Why is high high?
  • From: Sheila Flanagan
• Re: Why is high high?
  • From: Steven M. Boker
• pitch
  • From: HARTMANN
• Re: Why is high high?
  • From: James W. Beauchamp
• Re: Why is high high?
  • From: Harry Erwin
• up and down-ness
  • From: Charles S. Watson
• Re: Why is high high?
  • From: Eliot Handelman
• Re: Why is high high?
  • From: Eliot Handelman
• Re: Why is high high?
  • From: Andrew Vermiglio
• Selective numbing (was: Re: Why is high high?)
  • From: Eliot Handelman
• Re: Selective numbing
  • From: Regis Rossi A. Faria
• Re: Selective numbing (was: Re: Why is high high?)
  • From: Andrew Vermiglio
• Re: pitch
  • From: Al Bregman
• Re: pitch
  • From: Dan Mapes-Riordan
• Re: pitch
  • From: Charles S. Watson
• Re: pitch
  • From: Al Bregman
• Re: Selective numbing (was: Re: Why is high high?)
  • From: Eliot Handelman
• Postdoc position wanted
  • From: Al Bregman
• perceptual variables and data variables
  • From: Stephen Barrass
• Re: Selective numbing
  • From: Alain de Cheveigne'
• Why is high high?
  • From: Robert Bolia
• Re: Why is high high?
  • From: Pawel Kusmierek
• Pawel,
  • From: Robert Bolia
• Re: (why is high high)
  • From: Pawel Kusmierek
• Re: Why is high high?
  • From: Michael Kubovy
• Flangers
  • From: Brian Gygi
• [no subject]
  • From: tothl
• [no subject]
  • From: tothl
• high and low, fast and slow
  • From: Neil Todd
• Re: pitch
  • From: Charles S. Watson
• Re: (why is high high)
  • From: Edward M. Burns
• Re: (why is high high)
  • From: Al Bregman
• Re: (why is high high)
  • From: Robert Bolia
• Flangers (was: Selective numbing)
  • From: Alain de Cheveigne'
• Re: (why is high high)
  • From: Jim Stevenson
• Re: (why is high high)
  • From: Biao Tian PhD
• high and low pitch
  • From: Sandra E. Trehub
• The McGurk-effect on web
  • From: Arnt Maasø
• Re: Flangers
  • From: Dan Levitin
• noise generators
  • From: msommers
• Re: noise generators
  • From: Francky goes to Hollywood
• Re: (why is high high)
  • From: Linda A. Seltzer
• pitch
  • From: Richard M Warren
• Re: pitch
  • From: Jont Allen
• Sound Therapy: Fact vs. Hear say
  • From: Punita Singh
• Re: Metathetic vs. Prothetic & Sensory Scales
  • From: Richard M Warren
• Re: (Why is high high)
  • From: B Suresh Krishna
• Re: What's a compelling example of sonification?
  • From: meijer
• Re: What's a compelling example of sonification?
  • From: John Lazzaro
• Gentle reminder - Abstract submissions -
  • From: Zacharov Nick NRC/Tre
• Barbara Muller: Question on soundproof rooms
  • From: Dan Ellis
• The central stereo image
  • From: Richard J. Fabbri
• New book
  • From: Brian C.J. Moore
• pitch shift with age
  • From: Aniruddh Patel
• Re: pitch shift with age
  • From: Daniel J. Levitin
• Re: pitch shift with age
  • From: Pierre Divenyi
• [Fwd: pitch shift with age]
  • From: Jont Allen
• Re: [Fwd: pitch shift with age]
  • From: Elito Handelman
• The Central Stereo Image
  • From: Richard J. Fabbri
• Ear training for musicians
  • From: repp
• Re: pitch shift with age
  • From: Peter Cariani
• Progress report from Phonetics & Linguistics, UCL
  • From: Stuart Rosen
• applications
  • From: Tim Cox
• Re: applications
  • From: meijer
• Re: applications
  • From: Tim Cox
• Re: applications
  • From: Al Bregman
• Re: applications
  • From: Pierre Divenyi
• Re: applications
  • From: Tim Cox
• Re: applications
  • From: Christian Kaernbach
• comodulation release of masking (CMR)
  • From: Jont Allen
• Re: comodulation release of masking (CMR)
  • From: david eddins
• Re: comodulation release of masking (CMR)
  • From: Neil Todd
• Re: comodulation release of masking (CMR)
  • From: par
• Re: comodulation release of masking (CMR)
  • From: Neil Todd
• Ariel DSP 16
  • From: Jont Allen
• Re: comodulation release of masking (CMR)
  • From: par
• Re: comodulation release of masking (CMR)
  • From: Neil Todd
• Granular synthesis and auditory segregation
  • From: meijer
• identification test procedure
  • From: James W. Beauchamp
• Re: identification test procedure
  • From: Timothy C. Justus
• Re: identification test procedure
  • From: Pierre Divenyi
• Re: identification test procedure
  • From: William L Martens
• Re: identification test procedure
  • From: Pierre Divenyi
• Re: identification test procedure
  • From: William L Martens
• Unsubscribe
  • From: M Clackler
• Discrimination / Identification
  • From: KEVIN AUSTIN
• [no subject]
  • From: Dan Tollin
• change of addressDear colleagues
  • From: Richard Parncutt
• Re: your mail
  • From: Al Bregman
• Re: your mail
  • From: Charles S. Watson
• Re: your mail
  • From: Al Bregman
• Re: your mail
  • From: Al Bregman
• Re: Granular synthesis and auditory segregation
  • From: Al Bregman
• Re: your mail
  • From: Jim Stevenson
• your mail
  • From: Edward M. Burns
• Identity ...
  • From: KEVIN AUSTIN
• detection and identification
  • From: Dan Mapes-Riordan
• Re: your mail
  • From: Charles S. Watson
• Re: detection and identification
  • From: Richard J. Fabbri
• detection/identification
  • From: lseltzer
• Position available
  • From: Paul Iverson
• A piano is a piano is... [Re: detection/identification]
  • From: Andrew L. Kaye
• Re. A piano is a piano is...
  • From: Steve Slade
• Re: Granular synthesis and auditory segmentation
  • From: John K. Bates
• Re: Granular synthesis and auditory segmentation
  • From: Richard J. Fabbri
• Re: Granular synthesis and auditory segmentation
  • From: Didier A Depireux
• A piano is a piano is...
  • From: lseltzer
• Re: Granular synthesis and auditory segmentation
  • From: meijer
• Re: Granular synthesis and auditory segmentation
  • From: Pierre Divenyi
• Re: A piano is a piano is...
  • From: Andrew L. Kaye
• Re: Granular synthesis and auditory segmentation
  • From: Richard J. Fabbri
• Re: Granular synthesis and auditory segmentation
  • From: Robert Bolia
• Re: Granular synthesis and auditory segmentation
  • From: Richard J. Fabbri
• MAA and stream separation
  • From: Brian Gygi
• Re: A piano is a piano is...
  • From: Julius O. Smith III
• Re: MAA and stream separation
  • From: Richard J. Fabbri
• Re: Granular synthesis and auditory segmentation
  • From: Peter Cariani
• Re: Granular synthesis and auditory segmentation
  • From: Richard J. Fabbri
• Re: Granular synthesis and auditory segmentation
  • From: Peter Cariani
• Ann: RESPITE: Positions in speech recognition & scene analysis
  • From: Dan Ellis
• MAA
  • From: Torben Poulsen
• ITDs, grouping and auditory attention
  • From: Chris Darwin
• granular synthesis and auditory segmentation
  • From: John K. Bates
• Re: granular synthesis and auditory segmentation
  • From: Peter Cariani
• Re: granular synthesis and auditory segmentation
  • From: meijer
• Re: granular synthesis and auditory segmentation
  • From: Richard J. Fabbri
• UNmixing Sources, i.e., The Cocktail Party Effect
  • From: Richard J. Fabbri
• Re: UNmixing Sources, i.e., The Cocktail Party Effect
  • From: James W. Beauchamp
• Re: granular synthesis and auditory segmentation
  • From: Pierre Divenyi
• Re: UNmixing Sources, i.e., The Cocktail Party Effect
  • From: William Treurniet
• Re: Dr. Schick's (Oldenburg, Germany) vacation announcements
  • From: by way of Pierre Divenyi " <schick@PSYCHOLOGIE.UNI-OLDENBURG.DE>
• Re: granular synthesis and auditory segmentation
  • From: Peter Cariani
• Re: UNmixing Sources, i.e., The Cocktail Party Effect
  • From: Richard J. Fabbri
• Re: granular synthesis and auditory segmentation
  • From: Richard J. Fabbri
• Re: granular synthesis and auditory segmentation
  • From: Pierre Divenyi
• Style of interchanges
  • From: Al Bregman
• [Fwd: granular synthesis and auditory segmentation]
  • From: Jont Allen
• Purpose
  • From: Richard J. Fabbri
• Basilar-Tectorial Membrane - Harmonic Analysis?
  • From: Richard J. Fabbri
• Re: Granular synthesis and auditory segmentation
  • From: meijer
• Re: Granular synthesis and auditory segmentation
  • From: Richard J. Fabbri
• Re: Style of interchanges
  • From: Jim Stevenson
• Re: Granular synthesis and auditory segmentation
  • From: meijer
• Re: Style of interchanges
  • From: Charles S. Watson
• Re: Granular synthesis and auditory segmentation
  • From: Richard J. Fabbri
• Re: Granular synthesis and auditory segmentation
  • From: Jont Allen
• spectrogram/sonogram aspect ratio
  • From: Christian Kaernbach
• Re: spectrogram/sonogram aspect ratio
  • From: Grabsch Hans-Peter (FV/FLP) *
• Back to the piano ...
  • From: James W. Beauchamp
• Re: Granular synthesis and auditory segmentation
  • From: meijer
• 'pressure at the ears' visiting an anechoic chamber
  • From: dr. R.M. Aarts
• Re: Back to the piano ...
  • From: Timothy C. Justus
• Re: Granular synthesis and auditory segmentation
  • From: Jont Allen
• Re: 'pressure at the ears' visiting an anechoic chamber
  • From: Al Bregman
• Re: 'pressure at the ears' visiting an anechoic chamber
  • From: Malcolm Slaney
• Re: 'pressure at the ears' visiting an anechoic chamber
  • From: Richard J. Fabbri
• Re: granular synthesis and auditory segmentation
  • From: Alain de Cheveigne'
• Cage & Anechoic Chambers -- a few questions
  • From: Eliot Handelman
• Perfect Pitch Problem
  • From: KEVIN AUSTIN
• Cage & Anechoic Chambers
  • From: mountain
• Re: ear training programs?
  • From: Jim Stevenson
• Re: Cage & Anechoic Chambers
  • From: Christian Kaernbach
• Re: Cage & Anechoic Chambers -- a few questions
  • From: Didier A Depireux
• Re: Cage & Anechoic Chambers -- a few questions
  • From: Richard J. Fabbri
• Re: Cage & Anechoic Chambers -- a few questions
  • From: Didier A Depireux
• Re: Perfect Pitch Problem
  • From: Daniel J. Levitin
• spectrally rotated speech
  • From: Aniruddh Patel
• Re: Cage & Anechoic Chambers -- a few questions
  • From: Tom Maglione
• Re: Perfect Pitch Problem
  • From: Tom Maglione
• Ear training
  • From: KEVIN AUSTIN
• Re: 'pressure at the ears' visiting an anechoic chamber
  • From: Nancy Vaughan
• Re: 'pressure at the ears' visiting an anechoic chamber
  • From: Jont Allen
• Re: 'pressure at the ears' visiting an anechoic chamber
  • From: Jen Tufts
• 'pressure at the ears' visiting an anechoic chamber
  • From: Dan Tollin
• Re: Perfect pitch problem.
  • From: Tom Maglione
• Re: Cage & anechoic chambers.
  • From: Tom Maglione
• AC & static pressure feeling
  • From: Sanja Dupor
• Re: 'pressure at the ears' visiting an anechoic chamber
  • From: Pierre Divenyi
• Re: Perfect pitch problem.
  • From: SKoT McDonald
• Re: AC & static pressure feeling
  • From: Sanja Dupor
• pulling teeth
  • From: Robert J. Zatorre
• limits of phase locking
  • From: Alain de Cheveigne'
• Re: pulling teeth
  • From: Julius O. Smith III
• absolute pitch
  • From: HARTMANN
• Re: absolute pitch
  • From: Tom Maglione
• Re: absolute pitch
  • From: Pierre Divenyi
• More on resonant teeth and absolute pitch
  • From: Peter Marvit
• Teeth, dentistry, pain, and audio analgesia (but not pitch)
  • From: Peter Cariani
• sensation of pressure
  • From: HARTMANN
• Re: limits of phase locking
  • From: Jont Allen
• Re: More on resonant teeth and absolute pitch
  • From: Brian Gygi
• Re: pulling teeth
  • From: Richard J. Fabbri
• Re: granular synthesis and auditory segmentation
  • From: John K. Bates
• Re: More on resonant teeth and absolute pitch
  • From: Daniel J. Levitin
• filling = AM receiver?
  • From: Antonio Pena Gimenez [GTS]
• Re: tuning teeth
  • From: Jim Stevenson
• Re: filling = AM receiver?
  • From: Sanja Dupor
• Re: filling = AM receiver?
  • From: Jim Stevenson
• pitch interval distribution of speech
  • From: Richard Parncutt
• Some administrative notes
  • From: Dan Ellis
• AP in wolf's clothing
  • From: Robert J. Zatorre
• Option "DIGEST" not yet available
  • From: Dan Ellis
• About speech and reverberation
  • From: Katia Lebart
• [no subject]
  • From: tothl
• voiced/unvoiced
  • From: Alain de Cheveigne'
• Re: voiced/unvoiced detection
  • From: Keith D. Martin
• DIGEST option now available
  • From: Dan Ellis
• MPEG-7 Information
  • From: Adam Taro Lindsay
• Re: your mail
  • From: Al Bregman
• [no subject]
  • From: tothl
• Laszlo Toth & the Robust Voicing Cue
  • From: Richard Pastore
• From Parmly Hearing Institute
  • From: William Yost
• Perfect-ly happy to pitch in
  • From: Punita Singh
• Re: voiced/unvoiced detection
  • From: Pierre Divenyi
• Pitch/Loudness Discrimination for alerting schemes
  • From: Good, Michael (MN65)
• Re: Pitch/Loudness Discrimination for alerting schemes
  • From: Patrick Flanagan
• Re: voiced/unvoiced detection
  • From: Alain de Cheveigne'
• Re: voiced/unvoiced detection
  • From: Beerends, J.G.
• From Parmly Hearing Institute
  • From: Bernhard Laback
• Re: voiced/unvoiced detection
  • From: Jont Allen
• Re: voiced/unvoiced detection
  • From: Alain de Cheveigne'
• Echoic memory and answers reliability
  • From: Massimo Grassi
• voiced/unvoiced detection
  • From: John K. Bates
• Re: Echoic memory and answers reliability
  • From: Jim Stevenson
• Q: Shifts in perceived time with spectral changes?
  • From: SKoT McDonald
• Re: Q: Shifts in perceived time with spectral changes?
  • From: Pierre Divenyi
• Re: Q: Shifts in perceived time with spectral changes?
  • From: Jont Allen
• Auditory Display Technology
  • From: Good, Michael (MN65)
• Universal Declaration of Human Rights
  • From: Manuel S. Malmierca
• phd opportunities in media and sound
  • From: Niall Griffith
• Re: Universal Declaration of Human Rights
  • From: Rebecca Mercuri
• Conference on Musical Imagery (CMI-99). Reminder
  • From: Preben von der Lippe
• NT
  • From: Georg Klump
• Re: about graduate program
  • From: Al Bregman
• thinkquest contest and soundery web page
  • From: vsummers
• URGENT: error in programme and web page
  • From: Bob Carlyon
• apology
  • From: Bob Carlyon
• Re: apology
  • From: Pierre Divenyi
• NEWS: AES 16th International conference
  • From: Zacharov Nick NRC/Tre
• holiday conundrum
  • From: Richard J. Baker
• Position in Cognitive Psychology
  • From: Al Bregman
• cocktail party invitation
  • From: John Hershey
• SMPC99 Conference
  • From: Rene van Egmond
• Univeral Delcaration of Human Rights
  • From: Dan
• [no subject]
  • From: enm
• Book
  • From: Richard M Warren
• Postdoc Positions at Boys Town
  • From: Jesteadt, Walt
• [CFP] 3rd IJCAI Workshop on CASA (CASA'99)
  • From: Hiroshi Gitchang Okuno
• salience of pitch-time patterns
  • From: Richard Parncutt
• NPR news of interest
  • From: Jont Allen
• [no subject]
  • From: my preferred perspective (the "prediction-
• [no subject]
  • From: another viewpoint--namely that of the rock g
• [no subject]
  • From: the literature I've read s
• [no subject]
  • From: an aesthetic perspective ~
• [no subject]
  • From: the Department of Redundancy Department, her