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When Speech and Audio Signal Processing published in 1999, it stood out from its competition in its breadth of coverage and its accessible, intutiont-based style. This book was aimed at individual students and engineers excited about the broad span of audio processing and curious to understand the available techniques. Since then, with the advent of the iPod in 2001, the field of digital audio and music has exploded, leading to a much greater interest in the technical aspects of audio processing. This Second Edition will update and revise the original book to augment it with new material describing both the enabling technologies of digital music distribution (most significantly the MP3) and a range of exciting new research areas in automatic music content processing (such as automatic transcription, music similarity, etc.) that have emerged in the past five years, driven by the digital music revolution. New chapter topics include: Psychoacoustic Audio Coding, describing MP3 and related audio coding schemes based on psychoacoustic masking of quantization noise Music Transcription, including automatically deriving notes, beats, and chords from music signals. Music Information Retrieval, primarily focusing on audio-based genre classification, artist/style identification, and similarity estimation. Audio Source Separation, including multi-microphone beamforming, blind source separation, and the perception-inspired techniques usually referred to as Computational Auditory Scene Analysis (CASA).
An easy to understand text on basic acoustics and speech. Some basic physics, but basically written to a general college audience. Can be used for music majors, speech majors, physics majors. Includes an entire section on the acoustics of all major musical instructions. Also includes a section on speech and audio equipment acoustics.
This book reports on an outstanding thesis that has significantly advanced the state-of-the-art in the automated analysis and classification of speech and music. It defines several standard acoustic parameter sets and describes their implementation in a novel, open-source, audio analysis framework called openSMILE, which has been accepted and intensively used worldwide. The book offers extensive descriptions of key methods for the automatic classification of speech and music signals in real-life conditions and reports on the evaluation of the framework developed and the acoustic parameter sets that were selected. It is not only intended as a manual for openSMILE users, but also and primarily as a guide and source of inspiration for students and scientists involved in the design of speech and music analysis methods that can robustly handle real-life conditions.
This book provides a true A to Z of recorded sound, from its inception to the present day, outlining how technologies, techniques, and social attitudes have changed things, noting what is good and what is less good. The author starts by discussing the physics of sound generation and propagation. He then moves on to outline the history of recorded sound and early techniques and technologies, such as the rise of multi-channel tape recorders and their impact on recorded sound. He goes on to debate live sound versus recorded sound and why there is a difference, particularly with classical music. Other topics covered are the sound of real instruments and how that sound is produced and how to record it; microphone techniques and true stereo sound; digital workstations, sampling, and digital media; and music reproduction in the home and how it has changed. The author wraps up the book by discussing where we should be headed for both popular and classical music recording and reproduction, the role of the Audio Engineer in the 21st century, and a brief look at technology today and where it is headed. This book is ideal for anyone interested in recorded sound. “[Julian Ashbourn] strives for perfection and reaches it through his recordings... His deep knowledge of both technology and music is extensive and it is with great pleasure that I see he is passing this on for the benefit of others. I have no doubt that this book will be highly valued by many in the music industry, as it will be by me.” -- Claudio Di Meo, Composer, Pianist and Principal Conductor of The Kensington Philharmonic Orchestra, The Hemel Symphony Orchestra and The Lumina Choir
Customize your sound environment for a better quality of life • Shows how to use music and sound to reduce stress, enhance learning, and improve performance • Provides detailed guidelines for musicians and health care professionals • Includes a new 75-minute CD of psychoacoustically designed classical music What we hear, and how we process it, has a far greater impact on our daily living than we realize. From the womb to the moment we die we are surrounded by sound, and what we hear can either energize or deplete our nervous systems. It is no exaggeration to say that what goes into our ears can harm us or heal us. Joshua Leeds--a pioneer in the application of music for health, learning, and productivity--explains how sound can be a powerful ally. He explores chronic sensory overload and how auditory dysfunction often results in difficulties with learning and social interactions. He offers innovative techniques designed to invigorate auditory skills and provide balanced sonic environments. In this revised and updated edition of The Power of Sound, Leeds includes current research, extensive resources, analysis of the maturing field of soundwork and a look at the effect of sound on animals. He also provides a new 75-minute CD of psycho­acoustically designed classical music for a direct experience of the effect of simplified sound on the nervous system. With new information on how to use music and sound for enhanced health and productivity, The Power of Sound provides readers with practical solutions for vital and sustained well-being.
Humans are remarkable in processing speech, audio, image and some biomedical signals. Artificial neural networks are proved to be successful in performing several cognitive, industrial and scientific tasks. This peer reviewed book presents some recent advances and surveys on the applications of artificial neural networks in the areas of speech, audio, image and biomedical signal processing. It chapters are prepared by some reputed researchers and practitioners around the globe.
This book is for readers with an interest in the sounds of music & speech--how they are produced & how they are perceived. Conversion of airborne sounds into perceived sounds is traced out in the functions of the ear & brain. Speech is described in terms of sounds produced at the vocal folds & then modified as they pass through the various shapes in a vocal tract. There is a special chapter on the singing voice. Descriptions are given of sound produced in many musical instruments, including clarinets, trumpets, flutes, violins, guitars, pianos, drums & bells. Electronic musical instruments are also described with special emphasis given to electronic synthesizers. Various listening environments, including those in concert halls & those produced by electronic reinforcement of sound, are discussed. Principles of operation & specifications are given for the various media & devices used in the electronic reproduction of music & speech. Many other related topics are also included. The book is written at a descriptive level with an emphasis on the application of physical principles for explaining the phenomena of sounds in music & speech. Drawings & photographs are used profusely to illustrate concepts.
Video games open portals to fantastical worlds where imaginative play and enchantment prevail. These virtual settings afford us considerable freedom to act out with relative impunity. Or do they? Sound Play explores the aesthetic, ethical, and sociopolitical stakes of people's creative engagements with gaming's audio phenomena-from sonorous violence to synthesized operas, from democratic music-making to vocal sexual harassment. William Cheng shows how video games empower their designers, composers, players, critics, and scholars to tinker (often transgressively) with practices and discourses of music, noise, speech, and silence. Faced with collisions between utopian and alarmist stereotypes of video games, Sound Play synthesizes insights across musicology, sociology, anthropology, communications, literary theory, philosophy, and additional disciplines. With case studies spanning Final Fantasy VI, Silent Hill, Fallout 3, The Lord of the Rings Online, and Team Fortress 2, this book insists that what we do in there-in the safe, sound spaces of games-can ultimately teach us a great deal about who we are and what we value (musically, culturally, humanly) out here. Foreword by Richard Leppert Video Games Live cover image printed with permission from Tommy Tallarico
In this ground-breaking synthesis of art and science, Diana Deutsch, one of the world's leading experts on the psychology of music, shows how illusions of music and speech--many of which she herself discovered--have fundamentally altered thinking about the brain. These astonishing illusions show that people can differ strikingly in how they hear musical patterns--differences that reflect variations in brain organization as well as influences of language on music perception. Drawing on a wide variety of fields, including psychology, music theory, linguistics, and neuroscience, Deutsch examines questions such as: When an orchestra performs a symphony, what is the "real" music? Is it in the mind of the composer, or the conductor, or different members of the audience? Deutsch also explores extremes of musical ability, and other surprising responses to music and speech. Why is perfect pitch so rare? Why do some people hallucinate music or speech? Why do we hear phantom words and phrases? Why are we subject to stuck tunes, or "earworms"? Why do we hear a spoken phrase as sung just because it is presented repeatedly? In evaluating these questions, she also shows how music and speech are intertwined, and argues that they stem from an early form of communication that had elements of both. Many of the illusions described in the book are so striking and paradoxical that you need to hear them to believe them. The book enables you to listen to the sounds that are described while reading about them.