Tenney, J., and L. Polansky. "Temporal Gestalt Perception in Music."
J. Music Theory 24(2) (1979): 205--241.
The authors describe a simple computational system for identifying hierarchical
structure in melodies based on frequency proximity and temporal distance,
and assuming categorical perception. The model is based to some extent
on Tenney's 1961 book, Meta Hodos.
Terenzi, F. "Design and Realization of an Integrated System for the
Composition of Musical Scores and for the Numerical Synthesis of Sound
(Special Application for Translation of Radiation from Galaxies into Sound
Using Computer Music Procedures)." Unpublished manuscript, Physics Department,
University of Milan, 1988.
Terenzi describes audification of radio astronomy data and musical use
of the results.
Terhardt, E. "Pitch, Consonance, and Harmony." J. Acous. Soc. Am.
55(5) (1974): 1061--1069.
Stumpf used the listener's judgment of the harmonic interval's "fusion"
as the ranking criterion for his perception study; Malmberg used "smoothness"
for his. The discrepancies between their studies are a result of the uncontrolled
overtone series used in tone production, and the bias due to the adjective
used to describe the harmonic intervals. Psychoacoustic studies relating
to harmonic intervals continued in the first half of the twentieth century.
Reviews of their contributions can be found in this article.
Terhardt, E. "Toward Understanding Pitch Perception: Problems, Concepts
and Solutions." In Psychophysical, Physiological and Behavioural Studies
in Hearing, edited by G. van den Brink and F. A. Bilsen. Delft University
Terhardt presents a broad overview of pitch perception concepts and terminology.
Terhardt, E. "Pitch of Pure of Tones: Its Relation to Intensity." In
Facts and Models in Hearing, edited by E. Zwicker and E. Terhardt.
New York: Springer-Verlag, 1974.
The author finds that for some individuals the change in pitch with intensity
can be as large as that reported by Stevens; however, when these changes
are averaged over many subjects, the changes are insignificant.
Terhardt, E. "Gestalt Principles and Music Perception." In Auditory
Processing of Complex Sounds, edited by W. A. Yost and C. S. Watson.
Hillsdale, NJ: Lawrence Erlbaum, 1987.
Terhardt identifies contours and categorized representations of sensory
objects as the focus of gestalt perception. The theory presented is known
as Hierarchical Processing of Categories (HPC) in which perception is organized
on hierarchical layers, each of which are concerned only with categorizing
or recategorizing. The most peripheral level corresponds to analytic listening
and spectral pitch, analogous to primary visual contours, whereas synthetic
forms are secondary, including virtual pitch. The multiple levels of perception
associated with Western Tonal music are considered within the context of
Terwoght, M. M., and F. van Grinsven. "Musical Expression of Moodstates."
Psych. Music 19 (1991): 99--109.
The authors present an experimental study of emotional response to short
extracts from eight pieces of classical music.
Treisman, A. "Properties, Parts, and Objects." In Handbook of Perception
and Human Performance, edited by K. R. Boff, L. Kaufman, and J. P.
Thomas, Chap. 35. New York: Wiley, 1986.
Treisman explores the information-processing mechanisms that identify the
objects and events of subjective experience from physical stimuli. Includes
coverage of similarity judgment, perceptual analysis of dimensions/features/parts,
and integration of parts and properties. Although most of the coverage
and examples are based on visual studies, auditory studies are covered
Truax, B. Acoustic Communication. Norwood, NJ: Ablex, 1984.
Broad coverage of sound including speech, music, natural sound and sounds
of modern life. Truax presents a communication model that places sound
in a mediating role between listeners and the environment. He presents
results of the World Soundscape Project.
Tzelgov, J., R. Srebro, A. Henik, and A. Kushelevsky. "Radiation Detection
by Ear and by Eye." Human Factors 29(1) (1987): 87--98.
Tzelgov et al. found that in a seach task the auditory signal was better
than the visual display or the dual mode system. In a detection task, there
were no differences between the single modes and no differences between
single modes and dual mode. Their interpretation of the results considers
a visual bias effect in which the operator's attention is directed away
from other aspects of the monitoring task.