Introduction to the Physics and Psychophysics of Music:
Gespeichert in:
| 1. Verfasser: | |
|---|---|
| Format: | Elektronisch E-Book |
| Sprache: | English |
| Veröffentlicht: |
New York, NY
Springer US
1975
|
| Ausgabe: | Second Edition |
| Schriftenreihe: | Heidelberg Science Library
|
| Schlagworte: | |
| Online-Zugang: | Volltext |
| Beschreibung: | viii book we shall refer a great deal to the discipline of psycho physics, which in a broad sense tries to establish in a quan titative form the causal relationship between the "physical" input from our senses and the psychological sensations and physiological reactions evoked in our mind and body, re spectively. Actually, we shall try to weave a rather close mesh between physics and psychophysics-or, more pre cisely, psychoacoustics. After all, they appear naturally interwoven in music itself: not only pitch, loudness and timbre are a product of physical and psychoacoustical proc esses, but so are the sensations related to consonance and dissonance, tonic dominance, trills and ornamentation, vibrato, phrasing, beats, tone attack, duration and decay, rhythm, and so on. Many books on physics of music or musical acoustics are readily available. An up-to-date text is the treatise of John Backus (1969). No book on psychoacoustics is available at the elementary level, though. Several review articles on pertinent topics can be found in Tobias (1970) and in Plomp and Smoorenburg (1970). A comprehensive discussion is given in Flanagan's book on speech (1972). And, of course, there is the classical treatise of von Bekesy (1960). A com prehensive up-to-date analysis of general brain processes can be found in Sommerhoff (1974); musical psychology is discussed in classical terms in Lundin (1967) |
| Beschreibung: | 1 Online-Ressource |
| ISBN: | 9781461599814 9781461599838 |
| ISSN: | 0073-1595 |
| DOI: | 10.1007/978-1-4615-9981-4 |
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| 500 | |a viii book we shall refer a great deal to the discipline of psycho physics, which in a broad sense tries to establish in a quan titative form the causal relationship between the "physical" input from our senses and the psychological sensations and physiological reactions evoked in our mind and body, re spectively. Actually, we shall try to weave a rather close mesh between physics and psychophysics-or, more pre cisely, psychoacoustics. After all, they appear naturally interwoven in music itself: not only pitch, loudness and timbre are a product of physical and psychoacoustical proc esses, but so are the sensations related to consonance and dissonance, tonic dominance, trills and ornamentation, vibrato, phrasing, beats, tone attack, duration and decay, rhythm, and so on. Many books on physics of music or musical acoustics are readily available. An up-to-date text is the treatise of John Backus (1969). No book on psychoacoustics is available at the elementary level, though. Several review articles on pertinent topics can be found in Tobias (1970) and in Plomp and Smoorenburg (1970). A comprehensive discussion is given in Flanagan's book on speech (1972). And, of course, there is the classical treatise of von Bekesy (1960). A com prehensive up-to-date analysis of general brain processes can be found in Sommerhoff (1974); musical psychology is discussed in classical terms in Lundin (1967) | ||
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Datensatz im Suchindex
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| author | Roederer, Juan G. |
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| dewey-ones | 530 - Physics |
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| dewey-tens | 530 - Physics |
| discipline | Physik |
| doi_str_mv | 10.1007/978-1-4615-9981-4 |
| edition | Second Edition |
| format | Electronic eBook |
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| spelling | Roederer, Juan G. Verfasser aut Introduction to the Physics and Psychophysics of Music by Juan G. Roederer Second Edition New York, NY Springer US 1975 1 Online-Ressource txt rdacontent c rdamedia cr rdacarrier Heidelberg Science Library 0073-1595 viii book we shall refer a great deal to the discipline of psycho physics, which in a broad sense tries to establish in a quan titative form the causal relationship between the "physical" input from our senses and the psychological sensations and physiological reactions evoked in our mind and body, re spectively. Actually, we shall try to weave a rather close mesh between physics and psychophysics-or, more pre cisely, psychoacoustics. After all, they appear naturally interwoven in music itself: not only pitch, loudness and timbre are a product of physical and psychoacoustical proc esses, but so are the sensations related to consonance and dissonance, tonic dominance, trills and ornamentation, vibrato, phrasing, beats, tone attack, duration and decay, rhythm, and so on. Many books on physics of music or musical acoustics are readily available. An up-to-date text is the treatise of John Backus (1969). No book on psychoacoustics is available at the elementary level, though. Several review articles on pertinent topics can be found in Tobias (1970) and in Plomp and Smoorenburg (1970). A comprehensive discussion is given in Flanagan's book on speech (1972). And, of course, there is the classical treatise of von Bekesy (1960). A com prehensive up-to-date analysis of general brain processes can be found in Sommerhoff (1974); musical psychology is discussed in classical terms in Lundin (1967) Physics Physics, general Musik (DE-588)4040802-4 gnd rswk-swf Musikhören (DE-588)4075127-2 gnd rswk-swf Musikalische Akustik (DE-588)4123807-2 gnd rswk-swf Psychophysik (DE-588)4176251-4 gnd rswk-swf Hören (DE-588)4025405-7 gnd rswk-swf Psychoakustik (DE-588)4176198-4 gnd rswk-swf Physik (DE-588)4045956-1 gnd rswk-swf Musik (DE-588)4040802-4 s Physik (DE-588)4045956-1 s 1\p DE-604 Psychoakustik (DE-588)4176198-4 s 2\p DE-604 Psychophysik (DE-588)4176251-4 s 3\p DE-604 Hören (DE-588)4025405-7 s 4\p DE-604 Musikhören (DE-588)4075127-2 s 5\p DE-604 Musikalische Akustik (DE-588)4123807-2 s 6\p DE-604 https://doi.org/10.1007/978-1-4615-9981-4 Verlag Volltext 1\p cgwrk 20201028 DE-101 https://d-nb.info/provenance/plan#cgwrk 2\p cgwrk 20201028 DE-101 https://d-nb.info/provenance/plan#cgwrk 3\p cgwrk 20201028 DE-101 https://d-nb.info/provenance/plan#cgwrk 4\p cgwrk 20201028 DE-101 https://d-nb.info/provenance/plan#cgwrk 5\p cgwrk 20201028 DE-101 https://d-nb.info/provenance/plan#cgwrk 6\p cgwrk 20201028 DE-101 https://d-nb.info/provenance/plan#cgwrk |
| spellingShingle | Roederer, Juan G. Introduction to the Physics and Psychophysics of Music Physics Physics, general Musik (DE-588)4040802-4 gnd Musikhören (DE-588)4075127-2 gnd Musikalische Akustik (DE-588)4123807-2 gnd Psychophysik (DE-588)4176251-4 gnd Hören (DE-588)4025405-7 gnd Psychoakustik (DE-588)4176198-4 gnd Physik (DE-588)4045956-1 gnd |
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| title | Introduction to the Physics and Psychophysics of Music |
| title_auth | Introduction to the Physics and Psychophysics of Music |
| title_exact_search | Introduction to the Physics and Psychophysics of Music |
| title_full | Introduction to the Physics and Psychophysics of Music by Juan G. Roederer |
| title_fullStr | Introduction to the Physics and Psychophysics of Music by Juan G. Roederer |
| title_full_unstemmed | Introduction to the Physics and Psychophysics of Music by Juan G. Roederer |
| title_short | Introduction to the Physics and Psychophysics of Music |
| title_sort | introduction to the physics and psychophysics of music |
| topic | Physics Physics, general Musik (DE-588)4040802-4 gnd Musikhören (DE-588)4075127-2 gnd Musikalische Akustik (DE-588)4123807-2 gnd Psychophysik (DE-588)4176251-4 gnd Hören (DE-588)4025405-7 gnd Psychoakustik (DE-588)4176198-4 gnd Physik (DE-588)4045956-1 gnd |
| topic_facet | Physics Physics, general Musik Musikhören Musikalische Akustik Psychophysik Hören Psychoakustik Physik |
| url | https://doi.org/10.1007/978-1-4615-9981-4 |
| work_keys_str_mv | AT roedererjuang introductiontothephysicsandpsychophysicsofmusic |