Rabenhorst, D. A., E. J. Farrell, D. H. Jameson, T. D. Linton, and
J. A. Mandelman. "Complementary Visualization and Sonification of Multidimensional
Data." In Extracting Meaning from Complex Data: Processing, Display,
Interaction, edited by E. J. Farrel, Vol. 1259, 147--153. SPIE, 1990.
Data enhancement is only the first level of auditory data representation.
Utilization of the auditory channel to present unseen data is represented
in this paper. The goal of these researchers was to use sound in a manner
that "is intuitive enough and readily learnable enough to be effective
as an additional sensory input to a mental model."
Rakowski, A. "Intonation Variants of Musical Intervals in Isolation
and in Musical Contexts." Psych. Music 18 (1990): 60--72.
Rakowski presents experimental evidence to demonstrate that different musical
intervals have different perceptual salience for musicians, some having
more distant category boundaries and some more accurate recognition (strong
and weak intervals). Further evidence is presented that musicians tune
intervals to match perceptual categorizations. Three factors--acoustic
(tuning to beats arising from its relationship with preceding note), psychological
(perceptual) and aesthetic (accentuation of intervals)--all participate
is this phenomenon.
Rasch, R. A., and R. Plomp. "The Perception of Musical Tones." In The
Psychology of Music, edited by Diana Deutsch. New York: Academic Press,
Musicians' rank dyads in terms of their consonance and dissonance differently
than naive subjects.
Richards, W. Natural Computation. Cambridge, MA: MIT Press, 1988.
This book includes seven chapters on sound interpretation including: representing
acoustic information, models of binaural localization and separation, schematizing
spectrograms, acoustics of the signing, recovering material properties
from sound, perception of breaking and bouncing events, and perception
Risset, J. C., and D. L. Wessel. "Exploration of Timbre by Analysis
and Synthesis." In The Psychology of Music, edited by D. Deutsch.
New York: Academic Press, 1982.
The authors describe analysis and synthesis as a technique for data reduction
in computer music. Seminal work by founders of the field.
Roads, Curtis, and John Strawn, eds. Foundations of Computer Music.
ISBN 0-262-68051-3. Cambridge, MA: MIT Press, 1985.
A survey of sound computation and other computer music issues.
Roads, Curtis, ed. The Music Machine. ISBN 0-262-18131-2. Cambridge,
MA: MIT Press, 1989.
A collection of papers from Computer Music Journal.
Roederer, J. G. Introduction to the Physics and Psychophysics of
Music. New York: Springer-Verlag, 1973.
A good introduction for the "intelligent layman."
Rothstein, Joseph. MIDI: A Comprehensive Introduction. Computer
Music and Digital Audio Series, Vol. 7. John Strawn, Series Editor. Madison,
WI: A-R Editions, 1992.
A thorough discussion of the basic principles of MIDI. Rothstein describes
categories of MIDI instruments, accessories, and computer software, and
tells how to get it all to work together.