The effect of a leading tone on the pitch of a sine tone‐intensity step experiment

1980 ◽  
Vol 68 (S1) ◽  
pp. S109-S109
Author(s):  
W. M. Hartmann
Keyword(s):  
Sine Tone ◽  
Tone Intensity

scholarly journals Resonator properties of paranasal sinuses: preliminary results of an anatomical study

2014 ◽  
Vol 52 (2) ◽  
pp. 178-182
Author(s):  
M. Havel ◽  
L. Ertl ◽  
D. Bauer ◽  
M. Schuster ◽  
K. Stelter ◽  
...  
Keyword(s):  
Paranasal Sinuses ◽  
Vocal Tract ◽  
Low Frequency ◽  
Anatomical Study ◽  
Sinus Surgery ◽  
Direct Access ◽  
Middle Meatus ◽  
Frequency Responses ◽  
Direct Exposure ◽  
Sine Tone

Background: The contribution of the nasal and paranasal cavities to vocal tract resonator properties is unclear as are voice effects of sinus surgery. Here we investigate resonance phenomena of paranasal sinuses with and without selective occlusion of the middle meatus and maxillary ostium in a cadaver. Methodology: Nasal and paranasal cavities of a Thiel-embalmed cadaver were excited by sine-tone sweeps from an earphone in the epipharynx. The response was picked up by a microphone at the nostrils. Different conditions with blocked and unblocked middle meatus were tested. Additionally, infundibulotomy was performed allowing direct access to and selective occlusion of the maxillary ostium. Results: Responses showed high reproducibility. Minor effects appeared after removal of meatal occlusion. A marked low frequency dip was detected after removal of occlusion of maxillary ostium following infundibulotomy. Conclusion: Reproducible frequency responses of nasal tract can be derived from cadaver measurements. Marked acoustic effects of the maxillary sinus appeared only after direct exposure of the maxillary ostium following infundibulotomy.

Hypnotic Deafness: A Psychophysical Study of Responses to Tone Intensity as Modified by Hypnosis

1979 ◽  
Vol 92 (2) ◽  
pp. 193 ◽  
Author(s):  
Helen J. Crawford ◽  
Hugh Macdonald ◽  
Ernest R. Hilgard
Keyword(s):  
Tone Intensity ◽  
Psychophysical Study

Effect of Sound Stimulation on Visual Afterimages

1971 ◽  
Vol 32 (2) ◽  
pp. 343-346
Author(s):  
Robert H. Anderson ◽  
Kenneth A. Deffenbacher
Keyword(s):  
Pure Tone ◽  
Apparent Size ◽  
Reliable Measurement ◽  
Sound Stimulation ◽  
Tone Intensity

This report describes the structure and operation of a device which provides reliable measurement of changes in the apparent size and brightness of achromatic negative afterimages. Utilizing this device two experiments were conducted to assess the effects of pure tone intensity and frequency on reported size and brightness of afterimages. Intense sound stimulation produced very pronounced increases in afterimage size and brightness. These results were discussed in light of previous Soviet findings.

Duifhuis pitch: neuromagnetic representation and auditory modeling

2014 ◽  
Vol 112 (10) ◽  
pp. 2616-2627 ◽  
Author(s):  
Martin Andermann ◽  
Roy D. Patterson ◽  
Michael Geldhauser ◽  
Norman Sieroka ◽  
André Rupp
Keyword(s):  
Auditory Cortex ◽  
High Harmonic ◽  
Auditory Periphery ◽  
Harmonic Complex ◽  
Auditory Modeling ◽  
Sine Tone ◽  
Large Peak ◽  
Onset Response ◽  
First Time ◽  
Sustained Field

When a high harmonic is removed from a cosine-phase harmonic complex, we hear a sine tone pop out of the perception; the sine tone has the pitch of the high harmonic, while the tone complex has the pitch of its fundamental frequency, f0. This phenomenon is commonly referred to as Duifhuis Pitch (DP). This paper describes, for the first time, the cortical representation of DP observed with magnetoencephalography. In experiment 1, conditions that produce the perception of a DP were observed to elicit a classic onset response in auditory cortex (P1m, N1m, P2m), and an increment in the sustained field (SF) established in response to the tone complex. Experiment 2 examined the effect of the phase spectrum of the complex tone on the DP activity: Schroeder-phase negative waves elicited a transient DP complex with a similar shape to that observed with cosine-phase waves but with much longer latencies. Following the transient DP activity, the responses of the negative and positive Schroeder-phase waves converged, and the increment in the SF slowly died away. In the absence of DP, the two Schroeder-phase conditions with low peak factors both produced larger SFs than cosine-phase waves with large peak factors. A model of the auditory periphery that includes coupling between adjacent frequency channels is used to explain the early neuromagnetic activity observed in auditory cortex.

Tone Intensity and Rise-Decay Time Effects on Cardiac Responses During Sleep

1975 ◽  
Vol 12 (3) ◽  
pp. 254-261 ◽  
Author(s):  
W. Keith Berg ◽  
Jan C. Jackson ◽  
Frances K. Graham
Keyword(s):  
Decay Time ◽  
Time Effects ◽  
Cardiac Responses ◽  
Tone Intensity

Electronic Inspirations

2019 ◽  
Author(s):  
Jennifer Iverson
Keyword(s):  
Information Theory ◽  
Twentieth Century ◽  
Cold War ◽  
Magnetic Tape ◽  
Electronic Music ◽  
Driving Force ◽  
Laboratory Culture ◽  
West Germany ◽  
Sine Tone ◽  
Cultural Healing

Cold War electronic music—made with sine tone and white-noise generators, filters, and magnetic tape—was the driving force behind the evolution of both electronic and acoustic music in the second half of the twentieth century. Electronic music blossomed at the Westdeutscher Rundfunk (WDR [West German Radio]) in Cologne in the 1950s, when technologies were plentiful and the need for cultural healing was great. Building an electronic studio, West Germany confronted the decimation of the “Zero Hour” and began to rebuild its cultural prowess. The studio’s greatest asset was its laboratory culture, where composers worked under a paradigm of invisible collaboration with technicians, scientists, performers, intellectuals, and the machines themselves. Composers and their invisible collaborators repurposed military machinery in studio spaces that were formerly fascist broadcasting propaganda centers. Composers of Cold War electronic music reappropriated information theory and experimental phonetics, creating aesthetic applications from military discourses. In performing such reclamations, electronic music optimistically signaled cultural growth and progress, even as it also sonified technophobic anxieties. Electronic music—a synthesis of technological, scientific, and aesthetic discourses—was the ultimate Cold War innovation, and its impacts reverberate today.

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