On Wed, Dec 22, 2010 at 6:01 AM, AUDITORY automatic digest system
<LISTSERV@xxxxxxxxxxxxxxx> wrote:
There are 3 messages totalling 353 lines in this issue.
Topics of the day:
1. Signals and Systems in Speech and Hearing, 2nd edition
2. SV: [AUDITORY] Rhythmic discrimination fovea?
3. Forum Acusticum 2011 abstract deadline soon!
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Date: Tue, 21 Dec 2010 09:22:43 +0000
From: Stuart Rosen <stuart@xxxxxxxxxxxxxxxxxxx>
Subject: Signals and Systems in Speech and Hearing, 2nd edition
Peter Howell and I are pleased to announce that, just about exactly 20=20
years after its first appearance, a new edition of 'Signals and Systems=20
in Speech and Hearing' has appeared. This book aims to present the=20
essentials of signals and systems analysis required by audiologists,=20
phoneticians, speech and language therapists and psychologists=20
interested in almost any aspect of speech and hearing. It will also be=20
of use to people working in acoustic aspects of animal communication.
Although much of the main thrust of the book remains unchanged (no=20
modifications to Fourier's theorem have appeared recently!), many=20
changes have been made to reflect the nearly total reliance in the field=20
now concerning digital means for the recording, manipulation, storage=20
and transmission of signals.
This is most strongly reflected in two chapters. Chapter 11, dealing=20
with spectrograms, has been much extended and describes the two=20
different ways in which spectrograms can be constructed =96 through filte=
r=20
banks and time windowing =96 and the relationship between them. Chapter=20
14, dealing explicitly with digital signals and systems, has been=20
expanded greatly to give concrete examples of digital systems and=20
digital signal processing, including the notion of infinite impulse=20
response (IIR) and finite impulse response (FIR) filters.
Finally, more in response to our teaching experience than any change in=20
instrumentation, Chapter 12 now focuses on the notion of the auditory=20
periphery as a set of systems, showing how its function is analogous to=20
that of making a spectrogram.
More information about the book can be found at:
http://www.phon.ucl.ac.uk/home/stuart/S&S_2010.html
You can order an inspection copy here:
http://info.emeraldinsight.com/promo/signals.htm
On sale at Amazon:
http://www.amazon.com/Signals-Systems-Speech-Hearing-2nd/dp/1848552262/re=
f=3Dsr_1_1?ie=3DUTF8&s=3Dbooks&qid=3D1292923151&sr=3D8-1
UK site:
http://www.amazon.co.uk/Signals-Systems-Speech-Hearing-2nd/dp/1848552262/=
ref=3Dsr_1_1?ie=3DUTF8&s=3Dbooks&qid=3D1292923151&sr=3D8-1
I have used this book for some years now in a basic course aimed mostly=20
at audiologists, the details of which can be found here:
http://www.phon.ucl.ac.uk/courses/spsci/sigsys/
--=20
/*------------------------------------------------*/
Stuart Rosen, PhD
Professor of Speech and Hearing Science
Co-director of the UCL Centre for Human Communication
Speech, Hearing and Phonetic Sciences
UCL Division of Psychology & Language Sciences
2 Wakefield Street
London WC1N 1PF
England
Tel: internal x24077
(+ 44 [0]20) 7679 4077
Admin: (+ 44 [0]20) 7679 4050
Fax: (+ 44 [0]20) 7679 4238
Email: stuart@xxxxxxxxxxxxxx
Home page: http://www.phon.ucl.ac.uk/home/stuart
/*------------------------------------------------*/
------------------------------
Date: Tue, 21 Dec 2010 11:07:00 +0100
From: Leon van Noorden <leonvannoorden@xxxxxxx>
Subject: Re: SV: [AUDITORY] Rhythmic discrimination fovea?
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Dear Eliot,
I don't know of direct measurements of the discrimination of such patterns.
One hypothesis that I can think of is that for such discriminations it is
necessary to count the beats. This would be easiest if the
duration of the temporal unit of which the pattern is constructed is in between
375 and 750 ms, with a shift to the latter for untrained people.
But perceiving directly the beat in such sequences could be difficult.
Cf:
Van Noorden, L., & Moelants, D. (1999). Resonance in the Perception of Musical Pulse. Journal of New Music Research, 28(1), 43--66.
For discrimination of tempo as such you should look at work of Michon.
Kind regards,
Leon van Noorden
www.ipem.ugent.be
www.unescog.org
On 20 Dec 2010, at 18:31, Eliot Handelman wrote:
> On 20/12/2010 10:52 AM, Guy Madison wrote:
>> Hi Eliot,
>>
>> there are virtually countless variations of short rhythms like these. It's not clear to me what scientific question you want to address with them, and that determines to a large extent which references that may be relevant.
>
> Sorry to be unclear, thanks for speedy reply. I am asking specifically about the effect of tempo on rhythmic discrimination,
> and the example I gave was only intended to illustrate. I selected it because it is especially simple:
>
> 2 1 1 can be divided into two parts, a long, and two shorts which add up to the long. Now vary the rhythm such that
> the shorts are all the same size but don't quite add up to the long, eg 10 6 6.
>
> My question is: at what tempo will such variations tend to be perceived as being just the same as 2 1 1?
>
> If, eg, the tempo is extremely slow (1= 1 day, or maybe 8 seconds). then I guess we do not perceive any difference.
> If the tempo is extremely fast, then some variations will certainly also be indistinguishable from 2 1 1 (eg, 1000, 499, 499).
>
> To be clear: I'm asking about the effect of tempo/rate of discrimination. I am guessing that there's some window
> with optimal discrimination.
>
> The first of the references you gave below, for example, found tempo to be a complex variable to control. The author
> also seems to be working with rather complex rhythms of the sort that occur in serial music and probably wanted to
> know whether anyone can hear these. Sorry if I munged this, as I only looked rather quickly. In contrast, I'm asking
> about very simple rhythms and what happens to simple inequalities as the tempo is varied from very slow to very fast.
>
> The research problem behind this has to do with representations of music at various levels of rhythmic approximation,
> in particular I am studying patterns of alternation that be induced over rhythmic groups, given segmentation
> criteria. In order to construct different quantal levels, I'm just using clustering algorithms on IOIs to generate base
> structures used for further analysis, but it occurred to me that there's one area roughly between 80 & 800ms
> where (I think) very fine discriminations can be made -- to which the clustering algorithm should be sensitive.
>
> This is all part of my Jack & Jill automatic composition system: for more information see my home page.
>
> best,
>
> -- eliot
>
>
>
>
>
>> However, here are a few papers that should be relevant. Please mail me directly if you can provide more detailed description of your goal, in which case I might be able to give more specific tips.
>>
>> Best, Guy
>>
>> 1. Carson, B. (2007). Perceiving and distinguishing simple timespan ratios without metric reinforcement. Journal of New Music Research, 36, 313-336.
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<html><head></head><body style=3D"word-wrap: break-word; =
-webkit-nbsp-mode: space; -webkit-line-break: after-white-space; =
"><div>Dear Eliot,</div><div><br></div><div>I don't know of direct =
measurements of the discrimination of such patterns.</div><div>>
hypothesis that I can think of is that for such discriminations it =
is</div><div>necessary to count the beats. This would be easiest if =
the</div><div>duration of the temporal unit of which the pattern is =
constructed is in between</div><div>375 and 750 ms, with a shift to the =
latter for untrained people.</div><div>But perceiving directly the beat =
in such sequences could be =
difficult.</div><div><br></div><div>Cf:</div><div>Van Noorden, L.,
& Moelants, D. (1999). Resonance in the Perception of Musical Pulse. =
<i style=3D"mso-bidi-font-style:normal">Journal of New Music Research, =
28</i>(1),
43--66.</div><div>For discrimination of tempo as such you should look at =
work of Michon.</div><div><br></div><div>Kind =
regards,</div><div><br></div><div>Leon van Noorden</div><div><a =
href="" href="http://www.ipem.ugent.be" target="_blank">http://www.ipem.ugent.be">www.ipem.ugent.be</a></div><div><a =
href="" href="http://www.unescog.org" target="_blank">http://www.unescog.org">www.unescog.org</a></div><div><br></div><d=
iv><br></div>
<!--EndFragment-->
<br><div><div>On 20 Dec 2010, at 18:31, Eliot Handelman wrote:</div><br =
class=3D"Apple-interchange-newline"><blockquote type=3D"cite"><div>On =
20/12/2010 10:52 AM, Guy Madison wrote:<br><blockquote type=3D"cite">Hi =
Eliot,<br></blockquote><blockquote =
type=3D"cite"><br></blockquote><blockquote type=3D"cite">there are =
virtually countless variations of short rhythms like these. It's not =
clear to me what scientific question you want to address with them, and =
that determines to a large extent which references that may be =
relevant.<br></blockquote><br>Sorry to be unclear, thanks for speedy =
reply. I am asking specifically about the effect of tempo on rhythmic =
discrimination,<br>and the example I gave was only intended to =
illustrate. I selected it because it is especially =
simple:<br><br>2 1 1 can be divided into two parts, a long, and two =
shorts which add up to the long. Now vary the rhythm such =
that<br>the shorts are all the same size but don't quite add up to the =
long, eg 10 6 6.<br><br>My question is: at what tempo will such =
variations tend to be perceived as being just the same as 2 1 =
1?<br><br>If, eg, the tempo is extremely slow (1=3D 1 day, or maybe 8 =
seconds). then I guess we do not perceive any difference.<br>If the =
tempo is extremely fast, then some variations will certainly also be =
indistinguishable from 2 1 1 (eg, 1000, 499, 499).<br><br>To be clear: =
I'm asking about the effect of tempo/rate of discrimination. I am =
guessing that there's some window<br>with optimal =
discrimination.<br><br>The first of the references you gave below, for ="">
example, found tempo to be a complex variable to control. The =
author<br>also seems to be working with rather complex rhythms of the =
sort that occur in serial music and probably wanted to<br>know whether =
anyone can hear these. Sorry if I munged this, as I only looked rather =
quickly. In contrast, I'm asking<br>about very simple rhythms and what =
happens to simple inequalities as the tempo is varied from very slow to =
very fast.<br><br>The research problem behind this has to do with =
representations of music at various levels of rhythmic =
approximation,<br>in particular I am studying patterns of alternation =
that be induced over rhythmic groups, given segmentation<br>criteria. In =
order to construct different quantal levels, I'm just using clustering =
algorithms on IOIs to generate base<br>structures used for further =
analysis, but it occurred to me that there's one area roughly between 80 =
& 800ms<br>where (I think) very fine discriminations can be made -- =
to which the clustering algorithm should be sensitive.<br><br>This is =
all part of my Jack & Jill automatic composition system: for more =
information see my home page.<br><br>best,<br><br>-- =
eliot<br><br><br><br><br><br><blockquote type=3D"cite">However, here are =
a few papers that should be relevant. Please mail me directly if you can =
provide more detailed description of your goal, in which case I might be =
able to give more specific tips.<br></blockquote><blockquote =
type=3D"cite"><br></blockquote><blockquote type=3D"cite">Best, =
Guy<br></blockquote><blockquote type=3D"cite"><br></blockquote><blockquote=
type=3D"cite"><span class=3D"Apple-tab-span" style=3D"white-space:pre"> =
</span>1. <span class=3D"Apple-tab-span" style=3D"white-space:pre"> =
</span>Carson, B. (2007). Perceiving and distinguishing simple timespan =
ratios without metric reinforcement. Journal of New Music Research, 36, =
313-336.<br></blockquote></div></blockquote></div><br></body></html>=
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------------------------------
Date: Tue, 21 Dec 2010 14:57:06 +0200
From: Ville Pulkki <ville@xxxxxxxxxxxxxxxx>
Subject: Forum Acusticum 2011 abstract deadline soon!
Dear colleague,
It is with great pleasure that we hereby invite you to submit your abstra=
cts=20
for the Forum Acusticum 2011 - the triennial European conference of the=20
European Acoustics Association (EAA), which will take place in Aalborg, D=
enmark=20
from June 27 to July 1, 2011 (Previous Forum Acusticums were organized in=
=20
- 1996: Antwerp, Belgium,=20
- 1999: Berlin, Germany (jointly with ASA and DEGA),
- 2002: Sevilla, Spain,
- 2005: Budapest, Hungary,=20
- 2008: Paris, France (jointly with ASA and SFA)).
The Forum Acusticum embraces all fields of acoustics, and the technical p=
rogram=20
will among other include the following keynote lectures:
ROOM AND BUILDING ACOUSTICS: What do we know in room acoustics?=20
by Michael Vorl=E4nder, RWTH Aachen University, Germany
COMPUTATIONAL ACOUSTICS: Modern Numerical Methods to Solve Real Life Acou=
stic Problems
by Otto von Estorff, Hamburg University of Technology, Germany
PSYCHOLOGICAL AND PHYSIOLOGICAL ACOUSTICS: Pitch
by Alain de Cheveigne, CNRS, Ecole Normale Sup=E9rieure, Universit=E9 Par=
is Descartes,=20
and University College London
NOISE: Reduction of Tyre/Road Noise =96 A complex challenge needing techn=
ological development
by Wolfgang Kropp, Chalmers University of Technology, Sweden
MUSICAL ACOUSTICS: Modeling and simulation of musical instruments
by Antoine Chaigne, ENSTA ParisTech, France
ULTRASOUND: Laser Ultrasonics: Recent Achievements and Perspectives
by Vitalyi Gusev, Universit=E9 du Maine, France
HYDROACOUSTICS:=20
by Henrik Schmidt, Laboratory of Autonomous Marine Sensing Systems, MIT.
OTHER TOPICS: Advanced statistical analysis of perceptual audio evaluatio=
n data
by Per Brockhoff, Technical University of Denmark, Denmark
The technical program will also include invited and contributed papers in=
structured=20
parallel sessions and poster presentations. During the past months many p=
roposals for="">
structured sessions have been accepted, and we now hereby invite abstract=
s for these=20
sessions, as well as for all other scientific areas of the Forum Acusticu=
m in general.=20
If you have been invited to participate in a given structured session, we=
kindly ask=20
that you indicate that session as the area of you submission. We also wel=
come=20
submissions within the general EAA TC areas (capital letters in the list)=
, and in the=20
field of acoustics generally.
Abstracts shall be of 100 to 250 words, and the deadline for abstracts is=
January 9th 2011.=20
Notification of acceptance will be given by February 21st 2011, and the d=
eadline for the=20
four-page conference papers is March 21st 2011.
The EAA offers free participation for a total of 10 East European Ph.D. s=
tudents. Detailed=20
instructions for this will be posted on the conference website soon, but =
please tick the box=20
of 'EAA grant applicant', when submitting your abstract, if you intend to=
apply for free=20
participation through the EAA.
Information for exhibitors and sponsors will soon follow. If you wish to =
be notified=20
directly on options for the exhibition, booth sizes, prices etc., then pl=
ease send your=20
contact information to <exhibition@xxxxxxxxxx>.
We hope that the Forum Acusticum conference will be a fruitful meeting po=
int for researchers=20
and practitioners dealing with all fields of acoustics and sound-related =
research.
Welcome to Forum Acusticum 2011 in Denmark!
Ville Pulkki, Sessions Chairman
Flemming Christensen, General Secretary
Dorte Hammersh=F8i, General Chairman
____________________________________________________________________=
______
powered by Conference Accelerator - http://www.intellagence.eu/
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End of AUDITORY Digest - 20 Dec 2010 to 21 Dec 2010 (#2010-293)
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