Atjaunināt sīkdatņu piekrišanu

E-grāmata: Psychoacoustic Music Sound Field Synthesis: Creating Spaciousness for Composition, Performance, Acoustics and Perception

Citas grāmatas par šo tēmu:
  • Formāts - PDF+DRM
  • Cena: 154,06 €*
  • * ši ir gala cena, t.i., netiek piemērotas nekādas papildus atlaides
  • Ielikt grozā
  • Pievienot vēlmju sarakstam
  • Šī e-grāmata paredzēta tikai personīgai lietošanai. E-grāmatas nav iespējams atgriezt un nauda par iegādātajām e-grāmatām netiek atmaksāta.
Psychoacoustic Music Sound Field Synthesis: Creating Spaciousness for Composition, Performance, Acoustics and PerceptionPalielināt
Citas grāmatas par šo tēmu:

DRM restrictions

  • Kopēšana (kopēt/ievietot):

    nav atļauts

  • Drukāšana:

    nav atļauts

  • Lietošana:

    Digitālo tiesību pārvaldība (Digital Rights Management (DRM))
    Izdevējs ir piegādājis šo grāmatu šifrētā veidā, kas nozīmē, ka jums ir jāinstalē bezmaksas programmatūra, lai to atbloķētu un lasītu. Lai lasītu šo e-grāmatu, jums ir jāizveido Adobe ID. Vairāk informācijas šeit. E-grāmatu var lasīt un lejupielādēt līdz 6 ierīcēm (vienam lietotājam ar vienu un to pašu Adobe ID).

    Nepieciešamā programmatūra
    Lai lasītu šo e-grāmatu mobilajā ierīcē (tālrunī vai planšetdatorā), jums būs jāinstalē šī bezmaksas lietotne: PocketBook Reader (iOS / Android)

    Lai lejupielādētu un lasītu šo e-grāmatu datorā vai Mac datorā, jums ir nepieciešamid Adobe Digital Editions (šī ir bezmaksas lietotne, kas īpaši izstrādāta e-grāmatām. Tā nav tas pats, kas Adobe Reader, kas, iespējams, jau ir jūsu datorā.)

    Jūs nevarat lasīt šo e-grāmatu, izmantojot Amazon Kindle.

This book provides a broad overview of spaciousness in music theory, from mixing and performance practice, to room acoustics, psychoacoustics and audio engineering, and presents the derivation, implementation and experimental validation of a novel type of spatial audio system. Discussing the physics of musical instruments and the nature of auditory perception, the book enables readers to precisely localize synthesized musical instruments while experiencing their timbral variance and spatial breadth.

Offering interdisciplinary insights for novice music enthusiasts and experts in the field of spatial audio, this book is suitable for anyone interested in the study of music and musicology and the application of spatial audio mixing, or those seeking an overview of the state of the art in applied psychoacoustics for spatial audio.







 
1 Introduction 1(8)
1.1 General Remarks
1(2)
1.2 Intersection of Space and Music
3(3)
References
6(3)
2 Spatial Concepts of Music 9(36)
2.1 Space in Music Psychology
9(5)
2.2 Space in Composition and Performance Practice
14(4)
2.3 Space in Music Production
18(9)
2.3.1 Space in Recording Techniques
19(4)
2.3.2 Space in Mixing Techniques
23(4)
2.4 Space in Music Theory
27(4)
2.5 Space in Music Information Retrieval
31(6)
References
37(8)
3 Biology of the Auditory System 45(20)
3.1 Functional Evolution of the Auditory System
45(4)
3.1.1 Lateral Line System
46(3)
3.1.2 Auditory System of Fish
49(1)
3.2 Human Auditory System
49(16)
3.2.1 Human Ear
50(4)
3.2.2 Human Auditory Pathway
54(7)
References
61(4)
4 Psychoacoustics 65(46)
4.1 Thresholds and Just Noticeable Differences
65(5)
4.2 Critical Bands
70(3)
4.3 Masking
73(6)
4.3.1 Monaural Masking
73(6)
4.3.2 Binaural Masking
79(1)
4.4 Spatial Hearing
79(12)
4.4.1 Research Conditions and Definition of Terms
81(1)
4.4.2 Horizontal Plane
82(5)
4.4.3 Median Plane
87(1)
4.4.4 Distance Hearing
88(2)
4.4.5 Localization of Various Sound Sources
90(1)
4.5 Auditory Scene Analysis
91(14)
4.5.1 Properties of Streams and Their Elements
93(2)
4.5.2 Primitive Grouping Principles
95(5)
4.5.3 Schema-Based Grouping Principles
100(1)
4.5.4 Organization Based on Auditory Scene Analysis Principles
101(3)
4.5.5 Auditory Scene Analysis in Composition
104(1)
4.6 Usability of Psychoacoustic Knowledge for Audio Systems
105(2)
References
107(4)
5 Spatial Sound of Musical Instruments 111(34)
5.1 Wave Equation and Solutions
111(8)
5.1.1 Homogeneous Wave Equation
111(1)
5.1.2 Wave Field
112(1)
5.1.3 Homogeneous Helmholtz Equation
113(1)
5.1.4 Plane Waves
114(1)
5.1.5 Inhomogeneous Wave Equation
115(1)
5.1.6 Point Sources
116(3)
5.2 The Spatial Sound of Musical Instruments
119(4)
5.3 Measurement of the Radiation Characteristics of Musical Instruments
123(12)
5.3.1 Far Field Recordings
123(4)
5.3.2 Beamforming
127(3)
5.3.3 Nearfield Recordings
130(5)
5.4 Visualization of the Radiation Characteristics of Musical Instruments
135(6)
References
141(4)
6 Spatial Acoustics 145(26)
6.1 Geometric and Architectural Room Acoustics
146(5)
6.1.1 Ray Tracing
148(3)
6.2 Subjective Room Acoustics
151(16)
6.2.1 Objective Data
152(8)
6.2.2 Subjective Impressions
160(7)
References
167(4)
7 Conventional Stereophonic Sound 171(32)
7.1 Technical Demands
171(1)
7.2 Audio Systems
172(26)
7.2.1 Mono
173(2)
7.2.2 Stereo
175(7)
7.2.3 Quadraphonic Sound
182(3)
7.2.4 Dolby Surround
185(3)
7.2.5 Discrete Surround Sound
188(3)
7.2.6 Immersive Audio Systems
191(6)
7.2.7 Head Related Stereophonic Sound
197(1)
7.3 Discussion of Audio Systems
198(1)
References
199(4)
8 Wave Field Synthesis 203(42)
8.1 Sound Field Synthesis History
204(4)
8.2 Theoretical Fundamentals of Sound Field Synthesis
208(5)
8.2.1 Huygens' Principle
209(1)
8.2.2 Kirchhoff-Helmholtz Integral
210(3)
8.3 Wave Field Synthesis
213(13)
8.3.1 Constraints for Implementation
214(1)
8.3.2 Rayleigh-Integrals
214(10)
8.3.3 Spatial Border
224(1)
8.3.4 Listening Room
224(2)
8.4 Sound Field Synthesis and Radiation Characteristics
226(3)
8.5 Existing Sound Field Synthesis Installations
229(9)
References
238(7)
9 Psychoacoustic Sound Field Synthesis 245(38)
9.1 Psychoacoustic Reasoning
246(2)
9.1.1 Integration Times
246(2)
9.1.2 Frequency Resolution
248(1)
9.2 Physical Fundamentals
248(11)
9.2.1 Radiation of the Loudspeakers
249(1)
9.2.2 Radiation of Musical Instruments
250(2)
9.2.3 Sound Field Extrapolation
252(1)
9.2.4 Sound Field Reconstruction
252(7)
9.3 Implementation of Psychoacoustics
259(15)
9.3.1 Implementation of Critical Bands
260(3)
9.3.2 Implementation of Interaural Coherence
263(3)
9.3.3 Implementation of the Precedence Effect
266(4)
9.3.4 Implementation of Integration Times
270(1)
9.3.5 Implementation of Masking
271(1)
9.3.6 Implementation of Timbre Perception
272(1)
9.3.7 Implementation of Auditory Scene Analysis
272(2)
9.4 Summary
274(1)
9.5 The Future of Psychoacoustic Sound Field Synthesis
275(3)
References
278(5)
Index 283
Biežāk uzdotie jautājumi par e-grāmatām Biežāk uzdotie jautājumi par e-grāmatām
Permanent link: https://www.kriso.lv/db/97830302303332e.html