Perceptual Coherence : Hearing and Seeing

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The Perception of Quality: Auditory Timbre 341 Figure 8.1. The vibration modes found on a two-dimensional plate. Different driving frequencies give rise to different patterns of nodal lines. See text for a full description. output will vary from note to note. A good sound body is shaped so that its strongest vibration modes fall at the frequencies of musical notes. Wind Instruments: Air Vibration Within Hollow Tubes We can imagine the vibration of a string as the up-down movement of individual masses along that string and the vibration of a plate as the up-down
342 Perceptual Coherence motion of individual regions of the plate, and we can imagine the vibration modes of a hollow tube as the motion of slugs of air within that tube (Benade, 1960). The vibration modes of strings and plates are standing waves that result from the summation of traveling waves reflected from the ends of the strings and plates. The same is true for the vibratory modes of a hollow tube. The excitation at one end of the tube produces regions of higher pressure (compressions) and regions of lower pressure (rarefactions) that travel down the tube and are reflected back up the tube at the other end. At a closed end, compression and rarefaction are reflected back as compression and rarefaction respectively (it is an antinode); at an open end, compression is reflected back as rarefaction and vice versa (it is a node). It takes four trips up and down the pipe to complete one cycle, so that the wavelength of the first vibratory mode (i.e., the fundamental) is four times the pipe length. The traveling waves sum to produce a standing wave within the tube. For a tube open at one end, the stronger vibration modes can occur only at the odd vibration modes (i.e., 3F 0, 5F 0, 7F 0, 9F 0) because there must be zero net pressure at the open end and maximum pressure variation at the closed end. However, if the open end of the tube is flared out to create a cone, then all vibratory modes are possible. Source Excitation For brass instruments, the player’s tensed lips inject puffs of air when the oscillating air pressure at the mouthpiece is at a maximum. For woodwind instruments, the reed acts to inject air puffs when the oscillating air pressure at the mouthpiece is at a maximum (the lips and mouthpiece are antinodes—regions of maximum pressure variation). The feedback from the reflected pressure wave is critically important to stabilize the lip vibrations for the brass instruments and to open and close the reed mouthpiece for the woodwinds. However, it may take several round trips before the reflections build up to the point that the lip reed vibrations become stable. During that initiation time there are often variations in pitch and inharmonic blips of energy. Changing lip tension and the amplitude of the blowing pressure varies the frequency spectrum of the airflow entering the instrument. When the instrumentalist is blowing softly, the lips and reed will oscillate gently. The air is never completely shut off, and the input is almost purely sinusoidal. As the pressure is increased, the lips and reed will undergo large movements. The air may not be completely shut off though, and the amplitudes of the higher harmonics increase. Finally, at the highest blowing pressures, the lips and reed snap shut and stop the airflow for up to 50% of the cycle.
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PERCEPTUAL COHERENCE
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Perceptual Coherence Hearing and Se
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To My Family, My Parents, and the B
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Preface The purpose of this book is
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Preface ix intertwined with my own
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Contents 1. Basic Concepts 3 2. Tra
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PERCEPTUAL COHERENCE
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1 Basic Concepts In the beginning G
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Basic Concepts 5 sources moving in
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even though its appearance changes.
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sources. A single sound source is t
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straight line parallel to the actua
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continuous sound. The correspondenc
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Basic Concepts 15 overall uncertain
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problem. The “snapshots” in spa
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segments at different orientations.
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in amplitude across time (analogous
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Basic Concepts 23 visual experience
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we would expect the correlation to
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Transformation of Sensory Informati
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Table 2.1 Derivation of the Recepti
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Figure 2.7. Continued
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3 Characteristics of Auditory and V
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Information =−Σ. Pr(x i ) log 2
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Characteristics of Auditory and Vis
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valleys” that support the high-fr
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Phase Relationships and Power Laws
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systems to be. One possibility woul
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are most active, relatively large c
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(see figure 2.2 based on the Differ
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epresenting these naturally occurri
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found in V1. Even though the filter
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Figure 3.14. The independent compon
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specific persons or objects (e.g.,
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amplitudes of each picture and foun
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4 The Transition Between Noise (Dis
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more cortical levels. For example,
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The Transition Between Noise and St
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about poorer performance by creatin
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Figure 4.8. Continued The Transitio
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Surface Textures Visual Glass Patte
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Figure 4.11. Continued The Transiti
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(A) (B) (C) The Transition Between
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(A) (B) Warbleness The Transition B
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2000 Hz with a single action potent
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The same problem of the multiplicit
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order to create the appearance of s
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Perception of Motion 199 Figure 5.2
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Perception of Motion 203 together.
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Perception of Motion 205 (The two f
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again, two perceptions can result a
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Perception of Motion 211 notes of t
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Perception of Motion 213 Braddick (
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larger arrays and Baddeley and Tirp
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Perception of Motion 217 the judgme
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Perception of Motion 219 one color
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To review, neurons sensitive to mot
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Transparency aftereffects do occur
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Perception of Motion 225 stimuli, t
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Perception of Motion 231 perception
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Perception of Motion 237 same direc
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Time 1, Tone 1 is turned off, at Ti
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6 Gain Control and External and Int
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a signal-to-noise ratio), and Barlo
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Gain Control and External and Inter
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Suppose we have a background that h
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R Gain Control and External and Int
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Makous (1997) pointed out how diffi
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contrast that defines the boundarie
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per Second Figure 6.10. Continued G
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ane was linear, the higher sound pr
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(C. D. Geisler, 1998; C. D. Geisler
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noise visual field. 4 The S + N inp
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B. Murray, Bennett, and Sekular (20
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The authors proposed that the four
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Efficiency and Noise in Auditory Pr
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etween samples). Spiegel and Green
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Page 304 and 305: In sum, the masking release is grea
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Page 348 and 349: exists at several levels: (a) descr
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Page 352 and 353: mode is proportional to the relativ
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to grouping by perceived position d
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4. Convexity: Convex figures usuall
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Auditory and Visual Segmentation 39
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filter inferred from the background
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Jackson (1953) found that the sound
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a speaking face is located in front
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was high, then the resolution of th
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Listeners were more likely to repor
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10 Summing Up Perceiving is the con
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Summing Up 423 course of the stimul
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References Adelson, E. H. (1982). S
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References 427 Bermant, R. I., & We
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References 429 Crawford, B. H. (194
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References 431 Feldman, J., & Singh
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References 433 and male voices in t
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References 435 Isabelle, S. K., & C
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References 437 Laughlin, S. B. (200
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References 439 McAdams, S., Winsber
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References 441 Pittinger, J. B., Sh
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References 443 Shamma, S. (2001). O
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References 445 Troost, J. M. (1998)
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References 447 Welch, R. B. (1999).
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Index Boldfaced entries refer to ci
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Barbour, D. L., 83, 367, 426 Barlow
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Color reflectance 1/f c amplitude f
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Figure-ground auditory, 373, 421 in
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Hallikainen, J., 304, 440 Handel, S
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K-order statistics. See Visual text
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separation of things, 5 See also Pe
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Recanzone, G. H., 409-412, 441, 443
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Stream segregation default assumpti
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vibration frequencies of air masses
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Wavelet analysis. See Sparse coding
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