Auditory Perception Music

Since the 50 s, filimnaking has involved sound as more than a subconscious additive feature (Barry, 2007). Music has come to play more of an integrated dramatic role. Sound and image are combined so closely that they form a single, inseparable fusion of experience (Fliiui, 1992). Scholarly literature of emotion and film supports this assertion. Research at the Auditory Perception Music Cognition Research Training Laboratory at the University of Prince Edward Island, finds evidence that music is intrinsic to film (Cohen, 2001), and asserts that music provides a primary somce of the emotional experieiKe of a film. 

Beyond the perception of the body itself, the enhanced sensory experience has called attention to the pleasures and insights that can be obtained directly from sensory experience. Light shows and modern rock music reflect some of the visual and auditory experiences produced by psychedelics. Aldous Huxley (1956) has pointed out the luminous intensity of colors found in "the antipodes of the mind," and this is mimicked by Day-Glo paints and the eerie glow of... 

Our lives are for the most part spent in reverberant environments. Whether we are enjoying a musical performance in a concert hall, speaking to colleagues in the office, walking outdoors on a city street, or even in the woods, the sounds we hear are invariably accompanied by delayed reflections from many different directions. Rather than causing confusion, these reflections often go unnoticed, because our auditory system is well equipped to deal with them. If the reflections occur soon after the initial sound, the result is not perceived as separate sound events. Instead, the reflections modify the perception of the sound, changing the loudness, timbre, and most importantly, the spatial characteristics of the sound. Late reflections, common in very reverberant... 

Another study was designed to determine how neural circuits are organized to provide a perception of sound. Specifically, Williamson wanted to find whether individuals have a tone map across the auditory cortex—that is, whether tones of different frequencies evoke neural activity at different locations. While Williamson s subjects listened to notes of a scale, the sensors hunted for magnetic field variations, and the researchers were able to monitor the movement of nerve impulses from cell group to cell group inside the brain. It appeared that the brain assigned equal numbers of neurons to each octave of the musical scale, much like the arrangement of keys on a piano. This... 

It is well known that human sensitivity to the frequency scale is not linear for instance we know that musical relationships are clearly logarithmic. Studies into the low-level perception of sounds have resulted in a number of auditory scales which define a new frequency range that is more in... 

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