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This book provides a comprehensive introduction to the subject of acoustics, including the principles of human perception of sound, sometimes called psychoacoustics. Acoustics and Psychoacoustics is ideal for students of music technology, sound recording, traditional music and acoustics, as well as engineers studying audio, multimedia and communications systems. Anyone who This book provides a comprehensive introduction to the subject of acoustics, including the principles of human perception of sound, sometimes called psychoacoustics. Acoustics and Psychoacoustics is ideal for students of music technology, sound recording, traditional music and acoustics, as well as engineers studying audio, multimedia and communications systems. Anyone who wants a practical understanding of how real musical sounds behave and are perceived in real spaces, will find this an accessible and interesting read. Subjects featured include: Principles of sound Human hearing and psychoacoustics Musical timbre, pitch and loudness perception Sound generation in musical instruments Sound in different environments (architectural acoustics) Processing sound electronically The book's second edition provides new material on wave motion, brass and woodwind instruments, forward and backward masking, an introduction to coding, and diffusion. Additional references and marginal notes explaining basic terms are provided to aid understanding.


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This book provides a comprehensive introduction to the subject of acoustics, including the principles of human perception of sound, sometimes called psychoacoustics. Acoustics and Psychoacoustics is ideal for students of music technology, sound recording, traditional music and acoustics, as well as engineers studying audio, multimedia and communications systems. Anyone who This book provides a comprehensive introduction to the subject of acoustics, including the principles of human perception of sound, sometimes called psychoacoustics. Acoustics and Psychoacoustics is ideal for students of music technology, sound recording, traditional music and acoustics, as well as engineers studying audio, multimedia and communications systems. Anyone who wants a practical understanding of how real musical sounds behave and are perceived in real spaces, will find this an accessible and interesting read. Subjects featured include: Principles of sound Human hearing and psychoacoustics Musical timbre, pitch and loudness perception Sound generation in musical instruments Sound in different environments (architectural acoustics) Processing sound electronically The book's second edition provides new material on wave motion, brass and woodwind instruments, forward and backward masking, an introduction to coding, and diffusion. Additional references and marginal notes explaining basic terms are provided to aid understanding.

30 review for Acoustics and Psychoacoustics. Music Technology Series.

  1. 5 out of 5

    Doug

    This review has been hidden because it contains spoilers. To view it, click here. I wouldn't recommend this book at all for a casual read. The book is written like a textbook with many mathematical examples throughout. Since I was reading this for "fun" and not really interested in practicing the principles I decided to skip over many of the examples. The most interesting parts by far were the descriptions of our hearing system and secondly our tendencies to perceive music. For example, Bass sounds are typically registered on the left side of the head and treble sounds typical I wouldn't recommend this book at all for a casual read. The book is written like a textbook with many mathematical examples throughout. Since I was reading this for "fun" and not really interested in practicing the principles I decided to skip over many of the examples. The most interesting parts by far were the descriptions of our hearing system and secondly our tendencies to perceive music. For example, Bass sounds are typically registered on the left side of the head and treble sounds typically registered on the right. This contradicts how choral performers are lined up on stage with respect to the audience, but is in line with how they perceive each other. For example, altos prefer to hear bass performers on THEIR left, which is actually the audiences right. If you would've described what I just said as "blah blah blah" then this book isn't for you :-D.

  2. 4 out of 5

    Jeremiah

  3. 4 out of 5

    Alex Doman

  4. 4 out of 5

    Lewis

  5. 4 out of 5

    Henry Wadsworth

  6. 5 out of 5

    Mike Testa

  7. 5 out of 5

    Ryan Hansen

  8. 4 out of 5

    Easton Thomas

  9. 4 out of 5

    Aggela

  10. 4 out of 5

    Heidi R Taylor

  11. 4 out of 5

    Theworkshopcrew

  12. 5 out of 5

    Avshalom Hasfari

  13. 4 out of 5

    James Robson

  14. 4 out of 5

    Josh Dubya

  15. 4 out of 5

    Leah Carr

  16. 4 out of 5

    Eddy

  17. 5 out of 5

    Jeff Szymanski

  18. 5 out of 5

    Mike McCabe

  19. 5 out of 5

    John

  20. 4 out of 5

    David

  21. 4 out of 5

    Svetoslav Nunev

  22. 5 out of 5

    Alex Mader

  23. 4 out of 5

    SpentCello

  24. 5 out of 5

    Jarm

  25. 4 out of 5

    Mikus Salgravis

  26. 5 out of 5

    Lorentrogers

  27. 5 out of 5

    David Pauliuc

  28. 4 out of 5

    Zeeshan Lakhani

  29. 5 out of 5

    Spencer Vale

  30. 4 out of 5

    Georgios Adamides

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