Auditory Scene Analysis: The Perceptual Organization of by Albert Bregman

By Albert Bregman

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"Bregman has written a big ebook, a different and critical contribution to the quickly increasing box of complicated auditory conception. it is a mammoth, wealthy, and pleasant piece of labor that merits the huge viewers it really is bound to attract."
-- Stewart H. Hulse, "Science"
Auditory Scene research addresses the matter of listening to advanced auditory environments, utilizing a sequence of artistic analogies to explain the method required of the human auditory approach because it analyzes combos of sounds to get well descriptions of person sounds. In a unified and complete approach, Bregman establishes a theoretical framework that integrates his findings with an strangely wide variety of prior examine in psychoacoustics, speech notion, tune conception and composition, and computing device modeling.

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Additional resources for Auditory Scene Analysis: The Perceptual Organization of Sound

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Scene-Analysis View Prevents Missing of Vision-Audition Differences It was argued in the earlier discussion that Gestalt explanations had to be supplemented by ones based on scene analysis because the latter might lead us to new phenomena, such as the role of the occluding mask in perceptual closure. There is another difference between the two approaches. Because the Gestalt theorists saw the principles of organization as following from general properties of neural tissue they focused on similarities between the senses rather than on differ­ ences.

There is a third phenomenon that deserves to be mentioned in this introductory chapter. It is introduced here not to demonstrate a parallel between vision and audition, but to show another dimension of the grouping problem. This is the perceptual decomposition of simultaneous sounds. It can be illustrated through an experiment by Bregman and Pinker. 1 1 The sounds used in this experiment are shown in figure 1 . 1 6. They consist of a repeating cycle formed by a pure tone A alternating with a complex tone that has two pure-tone components, B and C.

The authors noted that the necessary frequency separation was approximately 1 5 percent of the frequency of the fixed 52 Chapter 2 tone at the lower frequencies but became less at the higher ones. The possibility that this phenomenon could be explained by Gestalt prin­ ciples of grouping did not escape the notice of these researchers: "If frequency and time in the tonal pattern are replaced by vertical and horizontal spatial coordinates (e. g. , as in the sound spectrographs of visible speech), then the principles of visual organ�zation discovered by the Gestalt psychologists are applicable to the auditory situation.

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