PL
 |
EN
Preferencje help
Polish version English version Język
Widoczny [Schowaj] Abstrakt
Liczba wyników

Znaleziono wyników: 12

Liczba wyników na stronie
first rewind previous Strona / 1 next fast forward last
Wyniki wyszukiwania
help Sortuj według:

help Ogranicz wyniki do:
first rewind previous Strona / 1 next fast forward last
1
Content available Identification of Harmonic Musical Intervals : The Effect of Pitch Register and Tone Duration
Rogala T., Miśkiewicz A., Rogowski P.
Archives of Acoustics
|
2017
|
Vol. 42, No. 4
591--600
EN
An experiment was conducted to explore the effect of the pitch strength of pure tones constituting a dyad on the accuracy of musical interval identification. Pitch strength was controlled by presenting the intervals in different frequency regions and varying their duration. The intervals were organized into 18 blocks made up by a combination of three octaves: the second (65.4-130.8 Hz), the fourth (261.6-523.3 Hz), and the sixth octave (1047-2093 Hz), and six tone durations, ranging 50-2000 ms in the second octave, and 10-500 ms in the two higher ones. The results indicate that interval identification improves with increasing pitch strength of the interval’s component tones. The identification scores were much lower in the second octave than in the two higher ones and in all octaves identification worsened as the interval’s duration was shortened. The intervals were most often confused with intervals of similar size rather than with their inversions and intervals of similar sonic character. This finding suggests that the main cue for the identification of harmonic intervals is the pitch distance between two tones. However, in the low pitch range, when the tone pitches are less salient, the impression of consonance may become a helpful, although not very effective cue.
2
Content available Absolute Pitch and Its Frequency Range
Rakowski A., Rogowski P.
Archives of Acoustics
|
2011
|
Vol. 36, No. 2
251-266
EN
This paper has two distinct parts. Section 1 includes general discussion of the phenomenon of “absolute pitch” (AP), and presentation of various concepts concerning definitions of “full”, “partial” and “pseudo” AP. Sections 2–4 include presentation of the experiment concerning frequency range in which absolute pitch appears, and discussion of the experimental results. The experiment was performed with participation of 9 AP experts selected from the population of 250 music students as best scoring in the pitch-naming piano-tone screening tests. Each subject had to recognize chromas of 108 pure tones representing the chromatic musical scale of nine octaves from E0 to D#9. The series of 108 tones was presented to each subject 60 times in random order, diotically, with loudness level about 65 phon. Percentage of correct recognitions (PC) for each tone was computed. The frequency range for the existence of absolute pitch in pure tones, perceived by sensitive AP possessors stretches usually over 5 octaves from about 130.6 Hz (C3) to about 3.951 Hz (B7). However, it was noted that in a single case, the upper boundary of AP was 9.397 Hz (D9). The split-halves method was applied to estimate the reliability of the obtained results.
3
Content available Pitch Strength of Residual Sounds Estimated Through Chroma Recognition by Absolute-Pitch Possessors
Rogowski P., Rakowski A.
Archives of Acoustics
|
2010
|
Vol. 35, No. 3
331-347
EN
Absolute pitch is a unique feature of the auditory memory which makes it possible for its possessors to recognize the musical name (chroma) of a tone. Six musicians with absolute pitch, selected from a group of 250 music students as best scoring in musical pitch-naming tests, identified the chroma of residue pitch produced by harmonic complex tones with several lower partials removed (residual sounds). The data show that the percentage of correct chroma recognitions decreases as the lowest physically existent harmonic in the spectrum is moved higher. According to our underlying hypothesis the percentage of correct chroma recognitions corresponds to the pitch strength of the investigated tones. The present results are compared with pitch strength values derived in an experiment reported by Houtsma and Smurzynski (1990) for tones same as those used in this study but investigated with the use of a different method which consisted in identification of musical intervals between two successive tones. For sounds comprising only harmonics of very high order the new method yields a very low pitch recognition level of about 20% while identification of musical intervals remains stable at a level of about 60%.
4
Content available remote New method for the estimation of homogeneity of individual judgements in psychoacoustical experiments
Aranowska E., Manturzewska M., Rogowski P.
Archives of Acoustics
|
2007
|
Vol. 32, No. 3
729--735
EN
This paper presents a new indicator for the estimation of homogeneity of individual judgements in psychoacoustical experiments. The indicator may be also used in studies from other fields in which the judgements are obtained in the form of numerical values. Two examples of the application of the new indicator have been discussed: one for the assessment of cohesion of listeners’ judgements in a psychoacoustical experiment conducted with the use of the method of absolute magnitude estimation and the other one for the assessment of homogeneity of marks given by jury members in a music competition. In the latter case, a new aggregate measurement tool was also proposed for ranking of competition participants.
5
Content available remote Experiments on long-term and short-term memory for pitch in musicians
Rakowski A., Rogowski P.
Archives of Acoustics
|
2007
|
Vol. 32, No. 4
815--826
EN
A series of experiments on the memory for pitch was performed with 18 musicians. They had to pass a pitch-naming and a newly-designed pitch-producing test meant to check their passive and active absolute-pitch ability. On that ground two of them, who revealed faultless, full absolute pitch and one who had most typical relative (non-absolute) pitch, were selected to take part in a case-study-type experiment on short-term memory for pitch. The experiment partly confirmed the previous finding (RAKOWSKI, [5]) of the about 2-minute time range for short-term pitch memory in relative-pitch listeners. It also explained cases in which absolute pitch possessors, when required to repeat after short-term delay an external pitch standard, either use for that purpose their authentic short-term memory for pitch, or rather relay on comparisons with their absolute-pitch standards.
6
Content available remote Sound reproduction levels in portable players used by pupils in Warsaw secondary schools
Rogowski P., Rościszewska T., Jaroszewski A.
Archives of Acoustics
|
2001
|
Vol. 26, no. 1
3-10
EN
Sound pressure levels in insert headphones used by young users of CC and CD players were measured in 421 cases. In 137 of these cases short selections of music were recorded and analysed. The results show SPLs in excess of what is considered as a safe sound pressure level.
7
Content available Resting hearing thresholds in children aged 7-10 years
Jaroszewski A., Rogowski P., Rakowski A.
Archives of Acoustics
|
2001
|
Vol. 26, no. 3
175-184
EN
Resting hearing thresholds were measured in 107 children in 7-10 years of age category, from primary schools in Warsaw. The children were recruited regardless of the priority of these in which problems with hearing acuity were observed or these in which such problems might have been expected on the grounds of their children-illness history. The measurements were performed with the use of tonal audiometry with intermittent 250/250ms signal, in the range of frequencies from 100Hz to 16kHz. In the children with deeper hearing loss, both air and bone conduction procedures were used. In the tested group normal hearing within š10dB was found in only 13% of the children. In the rest of the group hearing loss of various nature was found, i.e.: wideband hearing loss (8%), high frequency (24%), selective V-dip type (36%), low frequency (54%) and deep hearing loss of various configurations (16%). In the fraction with low frequency hearing loss often conductive hearing loss was found, whilst in the case of high frequency hearing loss, bone conduction audiometry indicated sensorineural type of hearing loss. High frequency hearing loss, selective and low frequency hearing loss in excess of 20dB was found in 25% of the children tested. In the fraction with deep hearing loss in 25% of the children tested, hearing loss of approximately 40dB was found.
8
Content available Gap detection thresholds in young musicians with normal hearing and with very high frequency sloping hearing loss in 1/3-octave white noise centered at 4kHz
Jaroszewski A., Jaroszewska A., Rogowski P.
Archives of Acoustics
|
2001
|
Vol. 26, no. 4
271-276
EN
Gap detection thresholds in 1/3-octave white noise centred at 4kHz were determined in young musicians with normal hearing preserved and with very high frequency sloping hearing loss. The thresholds were determined in the control group of 20 with normal hearing, i.e. flat audiogram up to 16kHz, and in the experimental group of 15 with high frequency sloping hearing loss exceeding 30dB at 12kHz or at 16kHz, the so called peculiar hearing loss. A group of 7 older subjects exhibiting also peculiar hearing loss was included for comparison. The results show gap detection thresholds in the normal hearing subjects ranging from 1ms to 6ms, which are in good agreement with the earlier data from the present authors. However, few examples of higher gap detection thresholds (11, 26ms) in normal hearing were also observed. For the experimental group with high frequency sloping hearing loss at 12kHz or at 16kHz, the gap detection thresholds found were on the average significantly higher ranging from 6ms to 26ms. In the group of older subjects gap detection thresholds were on the average still significantly higher.
9
Content available remote Sound pressure levels in emission of percussion instruments during training sessions
Jaroszewski A., Rogowski P., Rakowski A.
Archives of Acoustics
|
2000
|
Vol. 25, no. 3
283-289
EN
Sounds of selected percussion instruments played in individual training sessions of students-percussion players were recorded and analysed. In statistical signal analysis the "impulsiveness" in terms of L max - L eq and in terms of kurtosis, as an alternative measure were determined. Signal recording and spectral analysis were performed in the frequency range up to 96 kHz.
10
Content available remote High freqency hearing loss in percusion players
Rogowski P., Rakowski A., Jaroszewski A.
Archives of Acoustics
|
1999
|
Vol. 24, no. 2
119-128
EN
In a number of reports it has been observed that a prolonged exposure to music at sound pressure levels exceeding 1OOdB leads to substantial temporary threshold shifts TTS2, reaching 60-80dB in the range of high frequencies. Cumulative effects of such exposures result in acoustic trauma, affecting the perception of pitch, loudness and time, accompanying the decrease of hearing sensitivity. The hearing threshold in percussion players is affected largely at high frequencies, where substantial decrease of sensitivity between 10 and 16kHz reaching 40 to 75dB has been observed. In the present report a number of hearing thresholds in percussion players and in control group consisting of musicians who have never played percussion instruments or were long exposed to their sounds have been analysed with reference to thein- exposure characteristics.
11
Content available remote Exposures and hearing thresholds in music students due to training sessions
Jaroszewski A., Fidecki T., Rogowski P.
Archives of Acoustics
|
1999
|
Vol. 24, no. 2
111-118
EN
Measurements of SPL's in sound emission from some wind instruments during training sessions of music students show all in excess of LAmax 110dB and reach LAmax 132dB in some cases. Long time average spectra in 1/3-octave bands and cumulative distribution functions show that e.g. sound pressure levels LA 50 are often around 100-110dB and in most instruments the spectra cover substantial range of frequencies. Resting hearing thresholds in many students show dips of various depths at 6kHz, which in some cases reach over 30dB. TTS2 measured at 6kHz following 4-hrs training session reach 40dB.
12
Content available Hearing damage from exposure to music
Jaroszewski A., Fidecki T., Rogowski P.
Archives of Acoustics
|
1998
|
Vol. 23, no. 1
3--31
EN
Sound pressure levels and exposures in discotheques and youth clubs and during training sessions of music students were measured and analysed. Effects of exposure in the form of permanent and temporary threshold shift were determined in the samples of young discotheque attendants and in music students. The consequences of the threshold shift in the perception of pitch, loudness, and time are discussed.
first rewind previous Strona / 1 next fast forward last
JavaScript jest wyłączony w Twojej przeglądarce internetowej. Włącz go, a następnie odśwież stronę, aby móc w pełni z niej korzystać.