1971 rayleigh gold medal address: Calculating the perceived level of light and sound

Stevens, S. S.

doi:10.1016/0022-460x(72)90626-8

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“…Free from known biasing factors, judgments of half-loudness correspond to ca 6 dB attenuation for tones. If this is true, traditional procedures for calculating loudness (102, 149,214,215; see also 8) should be reconsidered. A similar approach for speech under reverberation (258) seems to support the hypothesis that half-loudness judgments are equivalent to estimates of the effect of doubling distance from listener to sound source.…”

Section: Further Monaural Functions Loudnessmentioning

confidence: 99%

Auditory Psychophysics

Plomp¹

1975

Annu. Rev. Psychol.

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In this contribution, I have tried to evade the Scylla of a critical but too specifi c review and the Charybdis of a general but too uncritical review by partly giving' way to both dangers. The fi rst half of the allocated space is used for a critical discussion on the origin of the low pitch of complex sounds. Referring to the proceedings of the 1969 Driebergen symposium (162), largely devoted to that question, Harris (87) wrote in his 1972 review on audition that "probably at least 3 years more should elapse before another review would be useful." Even though this period has barely expired, the present reviewer nonetheless feels that there is an urgent need for a reconsideration of the pitch problem in the light of recent experimental evidence. If von Bekesy (246) was right in stating that, to some extent, our so-called theories of hearing are actually only theories of pitch perception, this may be a sufficient argument to devote half of this review to it. The second half is used for a general survey of other major topics of auditory psychophysics. THE LOW PITCH OF COMPLEX SOUNDSComplex sounds as produced by musical instruments and the vocal cords are characterized by a pitch equal to the pitch of the fundamental. According to their experimental conditions, or their preferred explanations, authors have referred to this pitch as residue pitch, periodicity pitch, time-separation pitch, repetition pitch, virtual pitch, etc. I will adopt in this review the term low pitch as a more neutral denotation for the pitch of complex sounds. 1 With a few exceptions, only papers published in the years 1970 through 1973 are considered in this review. Articles not directly referring to the low pitch of complex sounds but related to subjects brought up in the discussion on the origin of low pitch are included in that part of the review. Limited space obliged me to leave out such subjects as speech perception, auditory memory, signal detection theory, temporal threshold shifts, and studies on animals. For the same reason, papers published in the Proceedings of the Seventh International Congress on Acoustics, Budapest 1971, were excluded. 207Annu. Rev. Psychol. 1975.26:207-232. Downloaded from www.annualreviews.org Access provided by McGill University on 02/05/15. For personal use only. Quick links to online content Further ANNUAL REVIEWS Annu. Rev. Psychol. 1975.26:207-232. Downloaded from www.annualreviews.org Access provided by McGill University on 02/05/15. For personal use only. Annu. Rev. Psychol. 1975.26:207-232. Downloaded from www.annualreviews.org Access provided by McGill University on 02/05/15. For personal use only. Annu. Rev. Psychol. 1975.26:207-232. Downloaded from www.annualreviews.org Access provided by McGill University on 02/05/15. For personal use only.

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Section: Further Monaural Functions Loudnessmentioning

confidence: 99%

Auditory Psychophysics

Plomp¹

1975

Annu. Rev. Psychol.

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1971 rayleigh gold medal address: Calculating the perceived level of light and sound

Cited by 1 publication

References 16 publications

Auditory Psychophysics

Auditory Psychophysics

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