The ability to localize a source of sound in space is a fundamental component of the three dimensional character of the sound of audio. For over a century scientists have been trying to understand the physical and psychological processes and physiological mechanisms that subserve sound localization. This research has shown that important information about sound source position is provided by interaural differences in time of arrival, interaural differences in intensity and direction-dependent filtering provided by the pinnae. Progress has been slow, primarily because experiments on localization are technically demanding. Control of stimulus parameters and quantification of the subjective experience are quite difficult problems. Recent advances, such as the ability to simulate a three dimensional sound field over headphones, seem to offer potential for rapid progress. Research using the new techniques has already produced new information. It now seems that interaural time differences are a much more salient and dominant localization cue than previously believed. Wightman, Frederic L. and Kistler, Doris J. NASA-CR-187706, NAS 1.26:187706 NIH-P01-NS-12732; NCC2-542...

Paul of Tarsus, the Pharisee who tried to destroy the church of God, experienced a conversion to faith in Jesus Christ that was to turn his life upside down and lead to his becoming one of the greatest missionaries and theologians of all time. His theology is highly controversial and has both inspired and appalled his listeners. Richard Bell presents the major themes in Paul’s theology and also asks what he got right, what he got wrong, and what in his theology needs reinterpreting for the twenty-first century. The book thereby shows the ongoing relevance of Paul’s thought for today. To accompany this volume, a website of music designed to add an experiential dimension in discovering Paul’s message for the world can be found at richardhbell.co.uk.

Sound, devoid of meaning, would not matter to us. It is the information sound conveys that helps the brain to understand its environment. Sound and its underlying meaning are always associated with time and space. There is no sound without spatial properties, and the brain always organizes this information within a temporal–spatial framework. This book is devoted to understanding the importance of meaning for spatial and related further aspects of hearing, including cross-modal inference. People, when exposed to acoustic stimuli, do not react directly to what they hear but rather to what they hear means to them. This semiotic maxim may not always apply, for instance, when the reactions are reflexive. But, where it does apply, it poses a major challenge to the builders of models of the auditory system. Take, for example, an auditory model that is meant to be implemented on a robotic agent for autonomous search-&-rescue actions. Or think of a system that can perform judgments on the sound quality of multimedia-reproduction systems. It becomes immediately clear that such a system needs • Cognitive capabilities, including substantial inherent knowledge • The ability to integrate information across different sensory modalities To realize these functions, the auditory system provides a pair of sensory organs, the two ears, and the means to perform adequate preprocessing of the signals provided by the ears. This is realized in the subcortical parts of the auditory system. In the title of a prior book, the term Binaural Listening is used to indicate a focus on sub-cortical functions. Psychoacoustics and auditory signal processing contribute substantially to this area. The preprocessed signals are then forwarded to the cortical parts of the auditory system where, among other things, recognition, classification, localization, scene analysis, assignment of meaning, quality assessment, and action planning take place. Also, information from different sensory modalities is integrated at this level. Between sub-cortical and cortical regions of the auditory system, numerous feedback loops exist that ultimately support the high complexity and plasticity of the auditory system. The current book concentrates on these cognitive functions. Instead of processing signals, processing symbols is now the predominant modeling task. Substantial contributions to the field draw upon the knowledge acquired by cognitive psychology. The keyword Binaural Understanding in the book title characterizes this shift. Both books, The Technology of Binaural Listening and the current one, have been stimulated and supported by AABBA, an open research group devoted to the development and application of models of binaural hearing. The current book is dedicated to technologies that help explain, facilitate, apply, and support various aspects of binaural understanding. It is organized into five parts, each containing three to six chapters in order to provide a comprehensive overview of this emerging area. Each chapter was thoroughly reviewed by at least two anonymous, external experts. The first part deals with the psychophysical and physiological effects of Forming and Interpreting Aural Objects as well as the underlying models. The fundamental concepts of reflexive and reflective auditory feedback are introduced. Mechanisms of binaural attention and attention switching are covered—as well as how auditory Gestalt rules facilitate binaural understanding. A general blackboard architecture is introduced as an example of how machines can learn to form and interpret aural objects to simulate human cognitive listening. The second part, Configuring and Understanding Aural Space, focuses on the human understanding of complex three-dimensional environments—covering the psychological and biological fundamentals of auditory space formation. This part further addresses the human mechanisms used to process information and interact in complex reverberant environments, such as concert halls and forests, and additionally examines how the auditory system can learn to understand and adapt to these environments. The third part is dedicated to Processing Cross-Modal Inference and highlights the fundamental human mechanisms used to integrate auditory cues with cues from other modalities to localize and form perceptual objects. This part also provides a general framework for understanding how complex multimodal scenes can be simulated and rendered. The fourth part, Evaluating Aural-scene Quality and Speech Understanding, focuses on the object-forming aspects of binaural listening and understanding. It addresses cognitive mechanisms involved in both the understanding of speech and the processing of nonverbal information such as Sound Quality and Quality-of- Experience. The aesthetic judgment of rooms is also discussed in this context. Models that simulate underlying human processes and performance are covered in addition to techniques for rendering virtual environments that can then be used to test these models. The fifth part deals with the Application of Cognitive Mechanisms to Audio Technology. It highlights how cognitive mechanisms can be utilized to create spatial auditory illusions using binaural and other 3D-audio technologies. Further, it covers how cognitive binaural technologies can be applied to improve human performance in auditory displays and to develop new auditory technologies for interactive robots. The book concludes with the application of cognitive binaural technologies to the next generation of hearing aids.

This thesis presents a new method for atonal ear-training. Musicians with relative pitch learn to catalog sound in two dimensions: by interval and by using a movable tonal reference. Unfortunately, this approach is unreliable in an atonal context. By manufacturing a non-moving point of reference (the note "C"), the student can add a third dimension to his/her aural cataloging skills and develop a tool perfect for atonal and hyper-chromatic music. This thesis contains numerous malleable exercises to help the student gain fluency in three-dimensional hearing, including atonal and tonal studies and melodies, ideas for using ear-training computer programs, and four supplemental appendices.

Art has become an essential part of human life because of its aesthetic structure, its presence in communication, its ability to stimulate emotions and thoughts. The reason the art is included in education is to spread the art-related gains across society. The aim is to develop individuals who can adapt to the rapidly evolving and changing world, especially with art training that helps to develop the creative characteristics. The art education includes theoretical parts such as aesthetic, art history, cultural heritage, as well as activities involving two-dimensional or three-dimensional applications. This study, named Art Education and Three Dimensions, contains art, art education, the concept of three-dimension, and information and experiences about applications based on this concept. In this context, the place of three dimensions in art education was studied with reference to difference aspects. The reason for addressing the concept of three dimensions is that this concept is the basis of existence in human life and that most of the sensing process is completed around it. The inclusion of three dimensions within the scope of art education provides gains in different directions for the individual. These gains are considered physical, cognitive and sensory. In this study, the relevant field literature was reviewed and blended with the author’s knowledge and experience of the field. I owe a debt to my dear family who did not withhold their support during the creation of this book.

This collection of articles provides practical and relevant tools, tips, and techniques for those working in the digital audio field. Volume III, with contributions from experts in their fields, includes articles on a variety of topics, including: - Recording Music - Sound Synthesis - Voice Synthesis - Speech Processing - Applied Signal Processing

This tutorial goes through the requirements for a game engine and addresses those requirements using the applicable aspects of DirectX with C#.