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The Physics and Psychophysics of Music An Introduction

:	Juan G. Roederer
:	The Physics and Psychophysics of Music An Introduction
:	Springer-Verlag
:	9780387094748
:	4
:	CHF 43.00
:

:	Naturwissenschaft
:	English

:	228
:	DRM
:	PC/MAC/eReader/Tablet
:	PDF

"This introductory text deals with the physical systems and biological processes that intervene in what we broadly call""music."" It analyzes what physical properties of sound patterns are associated with what psychological sensations of music, and describes how these sound patterns are actually produced in musical instruments, how they propagate through the environment, and how they are detected by the ear and interpreted in the brain. Without using complicated mathematics, the author weaves a close mesh between the disciplines of acoustics, psychophysics, and neurobiology, offering an integral picture of not only the science of music, but also the""music of science"", that is, the beauty and excitement of scientific research, reasoning and understanding. This text should be accessible to undergraduate-level students, whether from science, arts or engineering schools, but it should also be useful to professional musicians, physics educators, acoustical engineers and neuroscientists. The fourth edition incorporates recent research on tone generation in musical instruments and latest findings in brain science, including substantially updated coverage of psychophysics and brain function relevant to music perception, new results from tomographic imaging, and new understanding of the neural processes responsible for human consciousness and the emotional response of the brain to music."

	Preface	6
	Contents	9
	The Science of Music and the Music of Science: A Multidisciplinary Overview	12
	1.1 The Intervening Physical Systems	12
	1.2 Characteristic Attributes of Musical Sounds	14
	1.3 The Time Element in Music	17
	1.4 Physics and Psychophysics	19
	1.5 Psychophysics and Neuroscience	23
	1.6 Neuroscience and Informatics	25
	1.7 Informatics and Music: Why Is There Music?	28
	Sound Vibrations, Pure Tones, and the Perception of Pitch	33
	2.1 Motion and Vibration	33
	2.2 Simple Harmonic Motion	37
	2.3 Acoustic Vibrations and Pure Tone Sensations	38
	2.4 Superposition of Pure Tones: First-Order Beats and the Critical Band	45
	2.5 Other First-Order Effects: Combination Tones and Aural Harmonics	54
	2.6 Second-Order Effects: Beats of Mistuned Consonances	57
	2.7 Fundamental Tracking	60
	2.8 Auditory Coding in the Peripheral Nervous System	66
	2.9 Subjective Pitch and the Role of the Central Nervous System	74
	Sound Waves, Acoustic Energy, and the Perception of Loudness	87
	3.1 Elastic Waves, Force, Energy, and Power	87
	3.2 Propagation Speed, Wavelength, and Acoustic Power	91
	3.3 Superposition of Waves	Standing Waves
	3.4 Intensity, Sound Intensity Level, and Loudness	104
	3.5 The Loudness Perception Mechanism and Related Processes	115
	3.6 Music from the Ears: Otoacoustic Emissions and Cochlear Mechanics	118
	Generation of Musical Sounds, Complex Tones, and the Perception of Timbre	124
	4.1 Standing Waves in a String	125
	4.2 Generation of Complex Standing Vibrations in String Instruments	129
	4.3 Sound Vibration Spectra and Resonance	137
	4.4 Standing Longitudinal Waves in an Idealized Air Column	146
	4.5 Generation of Complex Standing Vibrations in Wind Instruments	150
	4.6 Sound Spectra of Wind Instrument Tones	156
	4.7 Trapping and Absorption of Sound Waves in a Closed Environment	158
	4.8 Perception of Pitch and Timbre of Musical Tones	163
	4.9 Neural Processes Relevant to the Perception of Musical Tones	168
	Superposition and Successions of Complex Tones and the Integral Perception of Music	178
	5.1 Superposition of Complex Tones	178
	5.2 The Sensation of Musical Consonance and Dissonance	181
	5.3 Building Musical Scales	187
	5.4 The Standard Scale and the Standard of Pitch	191
	5.5 Why Are There Musical Scales?	194
	5.6 Cognitive and Affective Brain Processes in Music Perception: Why Do We Respond Emotionally to Music?	196
	5.7 Specialization of Speech and Music Processing in the Cerebral Hemispheres	201
	5.8 Why Is There Music?	205
	Some Quantitative Aspects of the Bowing Mechanism	210
	Some Quantitative Aspects of Central Pitch Processor Models	213
	Some Remarks on Teaching Physics and Psychophysics of Music	221
	Index	231
	About the Author	237