Joris, P. X., C. E. Schreiner, and A. Rees. Neural Processing of Amplitude-Modulated Sounds. Physiol Rev 84: 541–577, 2004; 10.1152/physrev.00029.2003.—Amplitude modulation (AM) is a temporal featu...

https://www.physiology.org/doi/pdf/10.1152/physrev.00029.2003

Neural processing of amplitude-modulated sounds.

This article presents a unifying theory of soundscape ecology, which brings the idea of the soundscape—the collection of sounds that emanate from landscapes—into a research and application focus. Our conceptual framework of soundscape ecology is based on the causes and consequences of biological (biophony), geophysical (geophony), and human-produced (anthrophony) sounds. We argue that soundscape ecology shares many parallels with landscape ecology, and it should therefore be considered a branch of this maturing field. We propose a research agenda for soundscape ecology that includes six areas: (1) measurement and analytical challenges, (2) spatial-temporal dynamics, (3) soundscape linkage to environmental covariates, (4) human impacts on the soundscape, (5) soundscape impacts on humans, and (6) soundscape impacts on ecosystems. We present case studies that illustrate different approaches to understanding soundscape dynamics. Because soundscapes are our auditory link to nature, we also argue for their prot...

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Soundscape Ecology: The Science of Sound in the Landscape

We summarize the foundational elements of a new area of research we call soundscape ecology. The study of sound in landscapes is based on an understanding of how sound, from various sources—biological, geophysical and anthropogenic—can be used to understand coupled natural-human dynamics across different spatial and temporal scales. Useful terms, such as soundscapes, biophony, geophony and anthrophony, are introduced and defined. The intellectual foundations of soundscape ecology are described—those of spatial ecology, bioacoustics, urban environmental acoustics and acoustic ecology. We argue that soundscape ecology differs from the humanities driven focus of acoustic ecology although soundscape ecology will likely need its rich vocabulary and conservation ethic. An integrative framework is presented that describes how climate, land transformations, biodiversity patterns, timing of life history events and human activities create the dynamic soundscape. We also summarize what is currently known about factors that control temporal soundscape dynamics and variability across spatial gradients. Several different phonic interactions (e.g., how anthrophony affects biophony) are also described. Soundscape ecology tools that will be needed are also discussed along with the several ways in which soundscapes need to be managed. This summary article helps frame the other more application-oriented papers that appear in this special issue.

What is soundscape ecology? An introduction and overview of an emerging new science

Use of a bilinear conformal map to achieve a frequency warping nearly identical to that of the Bark frequency scale is described Because the map takes the unit circle to itself, its form is that of the transfer function of a first-order allpass filter Since it is a first-order map, it preserves the model order of rational systems, making it a valuable frequency warping technique for use in audio filter design A closed-form weighted-equation-error method is derived that computes the optimal mapping coefficient as a function of sampling rate, and the solution is shown to be generally indistinguishable from the optimal least-squares solution The optimal Chebyshev mapping is also found to be essentially identical to the optimal least-squares solution The expression 08517[arctan(006583fs)]/sup 1/2/-0916 is shown to accurately approximate the optimal allpass coefficient as a function of sampling rate f/sub s/ in kHz for sampling rates greater than 1 kHz A filter design example is included that illustrates improvements due to carrying out the design over a Bark scale Corresponding results are also given and compared for approximating the related "equivalent rectangular bandwidth (ERB) scale" of Moore and Glasberg (ACTA Acustica, vo82, p335-45, 1996) using a first-order allpass transformation Due to the higher frequency resolution called for by the ERB scale, particularly at low frequencies, the first-order conformal map is less able to follow the desired mapping, and the error is two to three times greater than the Bark-scale case, depending on the sampling rate

/pdf/bark-and-erb-bilinear-transforms-392mjxorqz.pdf

Bark and ERB bilinear transforms

Music perception and performance rely heavily on temporal processing: for instance, each event must be situated in time in relation to surrounding events, and events must be grouped together in order to overcome memory constraints. The temporal structure of music varies considerably from one culture to another, and so it has often been supposed that the specific implementation of perceptual and cognitive temporal processes will differ as a function of an individual’s cultural exposure and experience. In this paper we examine the alternative position that some temporal processes may be universal, in the sense that they function in a similar manner irrespective of an individual’s cultural exposure and experience. We first review rhythm perception and production studies carried out with adult musicians, adult nonmusicians, children, and infants in order to identify temporal processes that appear to function in a similar fashion irrespective of age, acculturation, and musical training. This review leads to the identification of five temporal processes that we submit as candidates for the status of ‘temporal universals’. For each process, we select the simplest and most representative experimental paradigm that has been used to date. This leads to a research proposal for future intercultural studies that could test the universal nature of these processes.

The Cognitive Neuroscience of Music

Preface.- 1. Pure Tones.- 2. Complex Representation.- 3. Power, Intensity, and Decibels.- 4. Intensity and Loudness.- 5. Fourier Series.- 6. Perception of Periodic Complex Tones.- 7. Delta Functions.- 8. Fourier Integral.- 9. Filters.- 10. Auditory Filters.- 11. Musical Measures of Frequency.- 12. Pitch of Sine Tones.- 13. Applications of the Fourier Transform.- 14. Correlation Functions and Spectra.- 15. Delay-and-Add Filtering.- 16. Probability Density Functions.- 17. Beats and Amplitude Modulation.- 18. The Envelope.- 19. Frequency Modulation.- 20. Modulation Detection and Perception.- 21. Sampled Signals.- 22. Nonlinear Distortion.- 23. Noise.- 24. Signal Detection Theory.- Appendices A - K.- References.- Index.

James F. Bartram

Papers

Signals, Sound, and Sensation