Dannenbring, G. L., and A. S. Bregman. "Streaming vs. Fusion of Sinusoidal
Components of Complex Tones." Percep. & Psycho. 24(4)
(1978): 369--376.
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The authors describe perceptual consequences of the interaction between
relative intensity and onset/offset asynchrony of partials of complex tones.
Das, S., and R. Bargar. "Sound for Virtual Immersive Environments."
Notes for Course 23, Applied Virtual Reality, Chapter 4, SIGGRAPH '93,
1993.
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The authors discuss issues involved in implementing and using sound in
virtual reality, as well as providing a description of the CAVE audio system,
from both hardware and software standpoints.
Davies, J. B. The Psychology of Music. Stanford, CA: Stanford
University Press, 1978.
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Davies provides a clear and decipherable account of the state of research
up until the publication date, covering all of the fundamental areas: physics
of sound, early psychophysical studies, melody perception, musical aptitude,
as well as the basic musical parameters (pitch, loudness, timbre, duration)
and their physical correlates. Particularly interesting are Davies' human
perspective, e.g., "music exists in the ear of the listener, and nowhere
else," and his final chapter on specific musical instrument families and
character traits of the individuals who play them.
Davis, D. Computer Applications in Music: A Bibliography. ISBN
0-89579-225-7. A-R Editions, 1988.
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A collection of references to other papers in the computer/music domain,
over 500 pages of them. Covers aesthetics, composition, music in education,
digital audio and signal processing, MIDI, programming languges, synthesis,
and many others.
Deutsch, D. "Music Recognition." Psych. Rev. 76(3) (1969):
300--307.
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Knowing what we perceive about harmonic intervals is dependent upon how
we perceive them. This causality is important if they are to be utilized
as words of a natural language for data displays. Harmonic intervals are
basic operatives of musical abstraction, and the question arises as to
whether or not their recognition is innate or learned.
Deutsch, D. "Organizational Processes in Music." In Music, Mind and
Brain: The Neuropsychology of Music, edited by M. Clynes. New York:
Plenum, 1982.
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The elements of music may be isolated through decomposition but, in practice,
are dependent upon each other. They are multicolinear in their perception
by the listener.
Diana Deutsch, ed. The Psychology of Music. ISBN 0-12-213562-8.
New York: Academic Press, 1982.
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A well-known book, covers perception, analysis of timbre, rhythm and tempo,
timing, melodic processes, and others.
Deutsch, D. "The Tritone Paradox: An Influence of Language on Music
Perception." Music Percep. 8 (1991): 335--347.
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Of particular interest, as the author presents evidence that individuals
not only perceive the same musical intervals between complex tones differently
but also that the perception of each individual is related to his or her
own customary speech patterns.
DiGiano, Christopher J., and Ronald M. Baecker. "Program Auralization:
Sound Enhancements to the Programming Environment." In Proceedings of
the Graphics Interface '92, 44--52, 1992.
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The authors identify classes of program information suitable for mapping
to sound and suggest how to add auralization capabilities to programming
environments. they describe LogoMedia, a sound-enhanced programming system
which illustrates these concepts.
DiGiano, Christopher J. "Visualizing Program Behavior Using Non-speech
Audio." M.Sc. Thesis, University of Toronto, 1992.
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DiGiano addresses the use of sound for software visualization and considers
it in concert with the other modalities. The potential of sound to illucidate
a program's behavior is investigated. A programming environment is presented
which supports the ability to trace control and data flow during program
execution using audio.
Doll, T. J., and D. J. Folds. "Auditory Signals in Military Aircraft:
Ergonomic Principles Versus Practice." Appl. Ergo. 17 (1986):
257--264.
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The authors studied and compared the auditory signals used in a variety
of aircraft and found no standardization. They found also that a relatively
large number of signals were used to make it difficult for the crew to
recall the meaning of the messages.
Doll, T. J., and T. E. Hanna. "Enhanced Detection with Bimodal Sonar
Displays." Human Factors 31 (1989): 539--550.
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This paper is an examination of the visually and aurally enhanced sonar
displays. Signal uncertainty was found to cause significantly greater decrement
in performance for detectability in visual displays than in auditory displays.
Doll, T. J., T. E. Hanna, and J. S. Russotti. "Masking in Three-Dimensional
Auditory Displays." Human Factors 34(3) (1992): 255--265.
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The authors study masking in a three-dimensional display for a simulated
sonar task. Found detectability of a tonal signal is greater when background
noise is uncorrelated. Head coupling of the three-dimensional display had
no significant effect given that the task was simple signal detection rather
than localization, classification, or tracking.
Doughty, J., and W. Garner. "Pitch Characteristics of Short Tones II:
Pitch as a Function of Duration." J. Exp. Psych. 38 (1948):
478--494.
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One of the earliest issues in the psychology of hearing was how long a
tone must be in order to have an identifiable pitch. The authors show that
when a tone is long enough to have a perceptible pitch, the actual pitch
has little or no dependence on duration.
Dowling, W.J., and D. L. Harwood. Music Cognition. San Diego:
Academic Press, 1986.
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A general text providing an abundance of information concerning the physical
characteristics of musical sound and the processes involved in its perception.
Topics covered include basic acoustics, physiology of hearing, music perception
(e.g., timbre, consonance/dissonance, etc.), melodic organization, temporal
organization, emotion and meaning, and cultural context of musical experience;
abundant references to research in each of these areas are provided for
further reading.
Draper, S., K. Waite, and P. Gray. "Alternative Bases for Comprehensibility
and Competition for Expression in an Icon Generation Tool." In Proceedings
of Interact '90, held August 27--31, 1990, in Cambridge, UK. Amsterdam:
North Holland, 1991.
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The authors describe a system for systematically generating families of
icons. Notable for suggesting the possibilities of parameterizing visual
icons.
Durlach N. I., and L. D. Braida. "Intensity Perception I: Preliminary
Theory of Intensity Resolution." J. Acous. Soc. Am. 46(2)
(1969): 372--383.
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Durlach, Braida, and their colleagues in a series of papers have proposed
a general model of acoustic intensity resolution which incorporates the
noise of sensory and memory processes. The model addresses factors that
affect memory noise, such as the stimulus range, timing of experimental
events, and the type of task.
Durlach, N. I., and X. D. Pang. "Interaural Magnification." J. Acous.
Soc. Am. 80 (1986): 1849--1850.
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A brief examination of the issues involved in super-localization display,
i.e., enhancing the normal cues used in localization. Problems with the
use of an "enlarged head" (with greater distance between the ears) are
addressed, and a signal-processing scheme for interaural magnification
is described.
Durlach, N. I., A. Rigopulos, X. D. Pang, W. S. Woods, A. Kulkarni,
H. S. Colburn, and E. M. Wenzel. "On the Externalization of Auditory Images."
Presence 1(2) (1992): 251--257.
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The authors discuss some of the important factors involved in synthesizing
virtual acoustic sources beyond the simulation of pinna cues.
Durlach, N. I. "Auditory Localization in Teleoperator and Virtual Environment
Systems: Ideas, Issues, and Problems." Perception 20 (1991):
543--554.
The author discusses the use of auditory localization cues for virtual
environments and teleoperations, with special attention to the potential
for superlocalization (i.e., providing enhanced cues). Schemes for encoding
position are described and their difficulties are discussed. This paper
is a review of the literature and a position statement, rather than a presentation
of empirical results.
