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How hearing works and how the brain processes sounds entering the ear to provide the listener with useful information are of great interest to psychologists, cognitive scientists, and musicians. However, while a number of books have concentrated on individual aspects of this field, known as psychoacoustics, there has been no comprehensive introductory coverage of the multiple topics encompassed under the term. Music, Cognition, and Computerized Sound is the first book to provide that coverage, and it does so via a unique and useful approach.
The book begins with introductory chapters on the basic physiology and functions of the ear and auditory sections of the brain, then proceeds to discuss numerous topics associated with the study of psychoacoustics, including cognitive psychology and the physics of sound. The book has a particular emphasis on music and computerized sound. An accompanying download includes many sound examples to help explicate the text and is available with the code included in the book at http://mitpress.mit.edu/mccs. The contributing authors include John Chowning, Perry R. Cook, Brent Gillespie, Daniel J. Levitin, Max Mathews, John Pierce, and Roger Shepard.
- Sales Rank: #681532 in Books
- Published on: 2001-03-01
- Original language: English
- Number of items: 1
- Dimensions: 9.00" h x .70" w x 7.00" l, 1.48 pounds
- Binding: Paperback
- 392 pages
Review
This volume splendidly meets the need for an up-to-date introduction to musical psychoacoustics in a collection of wide-ranging chapters by some of the most distinguished scholars in the field. I recommend it highly as a text and reference for undergraduates, graduate students, and professionals.
(Fred Lerdahl, Fritz Reiner Professor of Music, Columbia University)This collection of well-written chapters introduces readers to a range of CURRENT findings from musical acoustics, physical acoustics, and psychological experiments. The text is easy to read, and ideal for undergraduate and graduate students from varying disciplines
(Caroline Palmer, Department of Psychology, Ohio State University)A welcome and valuable teaching resource. Oriented toward classroom teaching, the book presents topics in an accessible, engaging style. The breadth of coverage is greater than that typically found in a single volume and provides an excellent introduction to the rich diversity of the field.
(Lola L. Cuddy, Professor of Psychology, Queen's University at Kingsto)This volume provides a fine, readable introduction to many topics related to music perception and computer music in a way that neatly complements other current texts. Written in a fresh, approachable style, but having significant scholarly depth, it will prove useful both as a textbook and for individuals interested in this burgeoning field of research.
(Richard Ashley, Department of Music, Northwestern University) About the Author
Perry R. Cook is Assistant Professor in the Department of ComputerScience at Princeton University, with a joint appointment in Music.
Most helpful customer reviews
14 of 14 people found the following review helpful.
A great place to start.
By Riccardo
Simply a great book to "start" your research. Excellent bibliography, and very very important contributors (those who have made the history of CM). I have bought another couple of books on this subject, however this is the most balanced one. Make sure you read the book by Bregman and Fastl & Zwicker (if your a tech head) once you're finished with this one.
7 of 7 people found the following review helpful.
Great intro to the subjective human perception of sound
By calvinnme
Developed from a series of lectures at the Stanford Center for Computer Research in Music and Acoustics (CCRMA), this book offers a coherent panorama of the field of psychoacoustics as it pertains to music and computerized sound. The authors-among them Max Mathews, Roger Shepard, John Chowning, and John Pierce-are recognized authorities in the field of computer synthesized sound and the nature of acoustical and musical perception. The CD-ROM contains audio samples for each chapter, plus source code for all the samples.
Although it is specifically intended as a course book for psychoacoustics, with a closing chapter on the effective design of experiments and an appendix of exercises, this book should prove valuable to a wide audience. Computers provide what seems the ultimate level of control over sound synthesis, but it is often hard to know where to begin. Anyone who has ever confronted the problem of determining which parameters of a synthesized sound are acoustically perceptible or meaningful will appreciate the clarity with which the introductory chapters distinguish the physical parameters of sound from the perception of sound. Building on established research into the fundamentals of acoustic perception, the book proceeds to more complex issues of voice articulation and synthesis, perceptual streaming, musical memory, and the haptics of sound production. Computer musicians will find material to suggest diverse directions for experimentation. Multimedia artists working with sound will discover new methods for generating sounds, with the potential for weaning themselves from straight playback of sampled sound and working with real time synthesis. Some of the perceptual effects documented in the text and audible on the CD are remarkable in themselves, such as Shepard and Risset tones, or the complex effects of perceptual streaming. The level of detail of many of the chapters is sufficient, particularly when supplemented by the source code, to get you started in a variety of sound synthesis techniques. The brief list of bibliographic references at the end of each chapter will lead you onwards.
While this book is most valuable as a guide to the uses of state-of-the-art technology for acoustic research, it also sheds light on how human cognitive abilities shape musical structures. Choices of rhythm, melodic variation, chord structure, timbre, orchestration, and even the evolution of musical styles over time have some of their reasons in the nature of the human auditory system. A welcome result of reading this book may be that the reader learns to hear natural and musical sounds with a new appreciation of the complex dynamics of sound production, sound perception, and the inner logic of music.
If you are interested in the signal processing end of psychoacoustics, I recommend you read "Signals, Sound, and Sensation" by Hartmann after you finish this book.
8 of 10 people found the following review helpful.
Superficial and dangerously incomplete
By Telstar
This book has not had a sufficient editorial vision of the whole book, nor control of the content of the individual chapters. The timbre chapter is among the most incomplete and superficial in existence. This could be said of many entries here.
There is absolutely no doubt these are people of authority, but the whole is far, far less than the sum of the parts.
Most importantly, almost no chapter explains how the entire set of concepts connects specifically to *computerized* sound.
Howard and Angus "Acoustics and Psychoacoustics" is a far more cogently structured, complete, yet introductory, approach to these topics.
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