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Perception of Sound Waves01:01

Perception of Sound Waves

5.0K
The human ear is not equally sensitive to all frequencies in the audible range. It may perceive sound waves with the same pressure but different frequencies as having different loudness. Moreover, the perception of sound waves depends on the health of an individual's ears, which decays with age. The health of one's ears may also be affected by regular exposure to loud noises.
The pitch of a sound depends on the frequency and the pressure amplitude of the source. Two sounds of the same...
5.0K
Auditory Perception01:17

Auditory Perception

717
The auditory system is essential for sound perception, utilizing various critical structures. When sound waves enter the outer ear, they travel through the ear canal and cause the eardrum to vibrate. These vibrations are then transmitted to the middle ear, where three tiny bones – the malleus, incus, and stapes – amplify the sound. This amplification is crucial, as it ensures that the sound vibrations are strong enough to be conveyed to the inner ear. These vibrations then reach the...
717
Perceiving Loudness, Pitch, and Location01:21

Perceiving Loudness, Pitch, and Location

576
The human brain perceives pitch through two primary mechanisms reflected in place theory and frequency theory. Each mechanism describes how sound waves are interpreted as specific pitches by the brain, offering insights into the intricate processes of auditory perception.
Place theory, or place coding, suggests that different pitches are heard because various sound waves activate specific locations along the cochlea's basilar membrane. The brain determines the pitch of a sound by...
576
Sound as Pressure Waves01:17

Sound as Pressure Waves

2.7K
Sound waves, which are longitudinal waves, can be modeled as the displacement amplitude varying as a function of the spatial and temporal coordinates. As a column of the medium is displaced, its successive columns are also displaced. As the successive displacements differ relatively, a pressure difference with the surrounding pressure is created. The gauge pressure varies across the medium.
The pressure fluctuation depends on the difference in displacements between the successive points in the...
2.7K
Hearing01:31

Hearing

54.6K
When we hear a sound, our nervous system is detecting sound waves—pressure waves of mechanical energy traveling through a medium. The frequency of the wave is perceived as pitch, while the amplitude is perceived as loudness.
54.6K
Sound Waves: Resonance01:14

Sound Waves: Resonance

2.9K
Resonance is produced depending on the boundary conditions imposed on a wave. Resonance can be produced in a string under tension with symmetrical boundary conditions (i.e., has a node at each end). A node is defined as a fixed point where the string does not move. The symmetrical boundary conditions result in some frequencies resonating and producing standing waves, while other frequencies interfere destructively. Sound waves can resonate in a hollow tube, and the frequencies of the sound...
2.9K

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Related Experiment Video

Updated: Nov 3, 2025

fMRI Mapping of Brain Activity Associated with the Vocal Production of Consonant and Dissonant Intervals
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fMRI Mapping of Brain Activity Associated with the Vocal Production of Consonant and Dissonant Intervals

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Perceiving Sound Objects in the Musique Concrète.

Rolf Inge Godøy1,2

  • 1Department of Musicology, University of Oslo, Oslo, Norway.

Frontiers in Psychology
|June 7, 2021
PubMed
Summary
This summary is machine-generated.

Musique concrète, utilizing recorded environmental sounds, introduced the concept of the "sound object." This innovative approach explored music perception and cognition, influencing modern music psychology.

Keywords:
morphologymusique concrèteperceptionsound objecttypology

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Area of Science:

  • Musicology
  • Acoustic Phonetics
  • Cognitive Science

Background:

  • Emergence of musique concrète in Paris (late 1940s-early 1950s) pioneered by Pierre Schaeffer.
  • Defined by the use of concrete, recorded sound fragments, departing from traditional Western music notation.
  • Introduced the concept of the 'sound object' to represent perceptual images of these sound fragments.

Purpose of the Study:

  • To explore the foundational principles of musique concrète and its theoretical underpinnings.
  • To analyze the significance of the 'sound object' in understanding music perception and cognition.
  • To highlight the early contributions of musique concrète to contemporary music psychology research.

Main Methods:

  • Analysis of musique concrète's compositional techniques centered on recorded environmental sounds.
  • Examination of Pierre Schaeffer's theoretical framework, particularly the concept of the 'sound object'.
  • Review of the use of metaphors, specifically motion shapes, in describing sound object features.

Main Results:

  • Musique concrète represented a significant departure from abstract musical concepts through its use of concrete sound.
  • The 'sound object' theory provided a framework for studying the perception and cognition of musical elements.
  • The theoretical concepts of musique concrète anticipated key areas of modern music psychology.

Conclusions:

  • Musique concrète fundamentally altered the landscape of musical composition and theory.
  • The 'sound object' concept remains relevant for understanding how listeners perceive and process music.
  • Pierre Schaeffer's work laid crucial groundwork for the interdisciplinary study of music perception and cognition.