Psicoacústica

Disciplinas de Estudio [DdE]

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La psicoacústica es el estudio de las relaciones entre los sonidos físicos y la interpretación que hace el cerebro de ellos. Hasta hace poco, la psicoacústica dedicaba más atención al comportaniento del sistema auditivo externo que a los detalles del procesamiento cognitivo.

Esta disciplina es una rama de la psicofísica que se interesa en la relación entre las estímulos sensoriales de entrada y las respuestas psicológicas o de comportamiento que ellos provocan. A causa de las variaciones obervadas en las respuestas individuales, los resultados alcanzados son generalmente de tipo estadístico.

Entre las temáticas que tradicionalmente enfoca la psicoacústica están aquellas vinculadas con la percepción de la altura, la sonoridad subjetiva (loudness), el volumen y el timbre. Actualmente, las áreas de investigación incluyen conceptos de alto nivel como la percepción auditiva, el flujo de sonidos (streaming), y el análisis de escenas auditivas (auditory scene analysis).

(Fuente: Barry Truax (1999). Handbook for Acoustic Ecology. CD-ROM. Cambridge Street Publishing. CSR-CDR 9901)

 

Bibliography:

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Appleton, Jon H., Perera, Ronald C. (1975). The Development and Practice of Electronic Music
Arfib, D., Coutrurier, J. N., Kessous, L., Verfaille, V. (2002). Strategies of Mapping between Gesture Data and Synthesis Model Parameters Using Perceptual Spaces
Augoyard, Jean-François (1999). L’objet sonore ou l’environnement suspendu
Battier, Marc (1990). Les principaux centres de recherche musicale aux Etats-Unis
Bayle, François (1994). L’espace (post-scriptum...)
Bayle, François (1998a). L’odyssée de l’espace
Bayle, François (1999b). Penser le son aujourd’hui
Belkin, Alan (1988). Orchestration, Perception, and Musical Time: A Composer’s View
Beyls, Peter (1978). History and development of IPEM Studio
Blaukopf, Kurt (1971). Space in Electronic Music
Castanet, Pierre-Albert (2001a). Voyages en Nouvelles Atlantide
Charles, Daniel (1991). Michel Redolfi : musique et profondeur
Chion, Michel (1993b). Le promeneur écoutant
Chion, Michel (1998). Le son
Chouvel, Jean-Marc (2004). Du son à la forme: les nouvelles stratégies compositionnelles issues du studio de musique électroacoustique
Chowning, John (2005). Composer le son lui-même
Chowning, John, Gayou, Évelyne (2005). Entretien entre John Chowning et Évelyne Gayou
Clozier, Christian, Leipp, Emile (1975a). Le groupe de musique expérimental de Bourges
Clozier, Christian, Leipp, Emile (1975b). Discussion
Collins, Nick (2002b). Relating Superhuman Virtuosity to Human Performance
Cook, Perry (Ed.) (2001b). Music, Cognition and Computerized Sound: An Introduction to Psychoacoustics
Davis, Deta S. (1988). Computer Applications in Music: A Bibliography
Delalande, François (1972). L’analyse des musiques électro-acoustiques
Delalande, François (1974). L’{Omaggio a Joyce} de Luciano Berio
Delalande, François (1985). Perception des sons et perception des œuvres
Delalande, François, Formosa, Marcel, Frémiot, Marcel, Gobin, Pascal, Malbosc, Pierre, Mandelbrojt, Jacques, Pedler, Emmanuel (1996). Les unités sémiotiques temporelles
DOATI, Roberto (1984). Symmetry, Regularity, Direction, Velocity
Doati, Roberto, Vidolin, Alvise (1986). Nuova Atlantide. Il continente della musica elettronica 1900-1986 (New Atlantis. The electronic music continent 1900-1986)
Dodge, Charles, Jerse, Thomas A. (1985). Computer Music Synthesis, Composition, and Performance
Emmerson, Simon (2000c). Time Regained
Georgaki, Anastasía (2004). Virtual Voices on Hands: Prominent Applications on the Synthesis and Control of the Singing Voice
Gordon, John W. (1996). Psychoacoustics in Computer Music
Guerin, François (1991). Un espace mental à favoriser
Heinrich, Marie-Noëlle (2003). Création musicale et technologies nouvelles
Howard, David M., Tyrrell, Andy M. (1997). Psychoacoustically Informed Spectography and Timbre
Howe, Hubert S. (1975). Electronic Music Synthesis
Kupper, Léo (1991). The Well-tempered Space Sound Instrument a New Musical Instrument
Kupper, Léo (2003). Musiques imaginaires, musiques méta-réelles, musiques matérielles
Küpper, Léo (1998). Expérimentations et prospections
Küpper, Leo (2000). Le temps audio-numérique
LA MOTTE-HABER, Helga de (1992). In den Extremen der Dynamik. Maryanne Amachers Wahrnehmungslandschaften (In the Extremes of Dynamics: Maryanne Amacher’s Perception Landscapes)
Laliberté, Martin (1993). Informatique musicale : utopies et réalités 1957-1990
Leipp, Émile (1968). La musique expérimentale au laboratoire d’acoustique
Merlier, Bertrand (1998). À la conquête de l’espace
Meston, Olivier (2003). Jean-Claude Risset et les nouvelles technologies musicales: l’ordinateur, maître-mot
Milicevic, Mladen (1999a). Aesthetics of Designing an Adaptive Fuzzy System for Evaluation of the Computer Music
Nucibella, Francesca, Zattra, Laura (2005). Audio content tools for the musicological analysis of electroacoustic music
NUÑEZ, Adolfo (1993). Informática y Electrónica Musical - 2da. edición, revisada (Musical Electronics and Informatics - 2nd edition, revised)
Redolfi, Michel (1991). Écouter sous l’eau. Les musiques subaquatiques
Risset, Jean-Claude (1969). L’ordinateur, instrument de musique
Risset, Jean-Claude (1985b). Digital Techniques and Sound Structure in Music
Risset, Jean-Claude (1985d). Musique et perception
Risset, Jean-Claude (1986a). Timbre et synthèse des sons
RISSET, Jean-Claude (1986b). Arte e scienza: musica elettroacustica numerica (Arts and Science: Digital electroacoustic music)
Risset, Jean-Claude (1993). Synthèse et matériau musical
Risset, Jean-Claude (1998). Quelques observations sur l’espace et la musique aujourd’hui
Risset, Jean-Claude (2003). Computer Music: Why?
Risset, Jean-Claude, Meston, Olivier (2001). Portrait d’un homme cultivé
Roads, Curtis (1996c). The Computer Music Tutorial
ROEDERER, Juan G. (1979). Introduction to the Physics and Psychophysics of Music

 

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