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The Global ETD Search service is a free service for researchers
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Showing 1 to 4 of 4 (0.047 seconds)Spelling suggestions: "subject:"auditiva diewahrnehmung"" "subject:"auditiva farbwahrnehmung""
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Perception-Based Optimization of Sound ProjectorsWühle, Tom 31 May 2022 (has links)
This thesis deals with optimization of sound projectors, based on knowledge on the auditory perception. In sound projection it is desired that the lagging projected sound dominates the localization. One of the most limiting factors here is the leading direct sound, which, however, can only be reduced to a limited extent since the focusing capabilities of sound projectors are physically limited.
In order to enable the perception-based optimization, it was therefore essential to gain an understanding of the perceptual role of the direct sound in achieving localization dominance of the projected sound, and which perception-based requirements for sound projection result from this role. A review of existing literature on the perception in scenarios with leading and lagging sound revealed that further insights into lag localization dominance were needed to this end. These insights were gained by conducting several psychoacoustic investigations in an anechoic chamber, reproducing the sounds via individual loudspeakers. Lag localization dominance seemed to be strongly influenced by the temporal characteristics of the playback signal.
Afterwards, comprehensive perception-based requirements for sound projection were derived and their consequences for the design of sound projectors were discussed. On this basis, a method for the perception-based optimization was developed with the goal to reduce the influence of the direct sound on localization. This method was named localization masking. Localization masking is based on the additional generation of one or more sounds arriving earlier and from another direction than the direct sound at the position of the listener. An investigation under laboratory conditions, using cascaded lead-lag pairs representing the sounds involved, suggested that localization masking has the potential to achieve that goal. Localization masking enabled the initial lag, representing the projected sound, to dominate the localization up to a 7 dB higher level of the initial lead, representing the direct sound.
Finally, localization masking was investigated under realistic conditions. Localization masking was applied to real sound projectors in a real room and proved to work. Localization masking enabled a given projector to be effectively used with a playback signal that requires stronger focusing capabilities. Furthermore, localization masking enabled a projector with less strong focusing capabilities to be effectively used with a given playback signal.
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Characterizing predictive auditory processing with EEGReiche, Martin 20 June 2017 (has links) (PDF)
Predictive coding theorizes the capacity of neural structures to form predictions about forthcoming sensory events based on previous sensory input. This concept increasingly gains attention within experimental psychology and cognitive neuroscience. In auditory research, predictive coding has become a useful model that elegantly explains different aspects of auditory sensory processing and auditory perception. Many of these aspects are backed up by experimental evidence. However, certain fundamental features of predictive auditory processing have not been addressed so far by experimental investigations, like correlates of neural predictions that show up before the onset of an expected event. Four experiments were designed to investigate the proposed mechanism under more realistic conditions as compared to previous studies by manipulating different aspects of predictive (un)certainty, thereby examining the ecological validity of predictive processing in audition. Moreover, predictive certainty was manipulated gradually across five conditions from unpredictable to fully predictable in linearly increasing steps which drastically decreases the risk of discovering incidental findings. The results obtained from the conducted experiments partly confirm the results from previous studies by demonstrating effects of predictive certainty on ERPs in response to omissions of potentially predictable stimuli. Furthermore, results partly suggest that the auditory system actively engages in stimulus predictions in a literal sense as evidenced by gradual modulations of pre-stimulus ERPs associated with different degrees of predictive certainty. However, the current results remain inconsistent because the observed effects were relatively small and could not consistently be replicated in all follow-up experiments. The observed effects could be regained after accumulating the data across all experiments in order to increase statistical power. However, certain questions remain unanswered regarding a valid interpretation of the results in terms of predictive coding. Based on the current state of results, recommendations for future investigations are provided at the end of the current thesis in order to improve certain methodological aspects of investigating predictive coding in audition, including considerations on the design of experiments, possible suitable measures to investigate predictive coding in audition, recommendations for data acquisition and data analysis as well as recommendations for publication of results.
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Characterizing predictive auditory processing with EEGReiche, Martin 09 June 2017 (has links)
Predictive coding theorizes the capacity of neural structures to form predictions about forthcoming sensory events based on previous sensory input. This concept increasingly gains attention within experimental psychology and cognitive neuroscience. In auditory research, predictive coding has become a useful model that elegantly explains different aspects of auditory sensory processing and auditory perception. Many of these aspects are backed up by experimental evidence. However, certain fundamental features of predictive auditory processing have not been addressed so far by experimental investigations, like correlates of neural predictions that show up before the onset of an expected event. Four experiments were designed to investigate the proposed mechanism under more realistic conditions as compared to previous studies by manipulating different aspects of predictive (un)certainty, thereby examining the ecological validity of predictive processing in audition. Moreover, predictive certainty was manipulated gradually across five conditions from unpredictable to fully predictable in linearly increasing steps which drastically decreases the risk of discovering incidental findings. The results obtained from the conducted experiments partly confirm the results from previous studies by demonstrating effects of predictive certainty on ERPs in response to omissions of potentially predictable stimuli. Furthermore, results partly suggest that the auditory system actively engages in stimulus predictions in a literal sense as evidenced by gradual modulations of pre-stimulus ERPs associated with different degrees of predictive certainty. However, the current results remain inconsistent because the observed effects were relatively small and could not consistently be replicated in all follow-up experiments. The observed effects could be regained after accumulating the data across all experiments in order to increase statistical power. However, certain questions remain unanswered regarding a valid interpretation of the results in terms of predictive coding. Based on the current state of results, recommendations for future investigations are provided at the end of the current thesis in order to improve certain methodological aspects of investigating predictive coding in audition, including considerations on the design of experiments, possible suitable measures to investigate predictive coding in audition, recommendations for data acquisition and data analysis as well as recommendations for publication of results.:1. Introduction ... 5
1.1 An introduction to predictive coding theory ... 9
1.2 Predictive coding in audition ... 11
1.3 Electrophysiological correlates of predictive auditory processing ... 14
1.4 Limitations of previous research and aims of the thesis ... 21
2. Traditional correlates of auditory prediction ... 24
2.1 Experiment 1: Reliability of auditory predictions ... 25
2.2 Experiment 2: Accuracy of auditory predictions ... 39
3. Pre-stimulus correlates of auditory prediction ...47
3.1 Pre-stimulus effects in Experiment 1 and 2 ... 48
3.2 Experiment 3: Temporal dynamics of auditory prediction ... 56
3.3 Experiment 4: The influence of omissions on stimulus processing ... 64
4 Results across experiments ... 74
4.1 Methods ... 76
4.2 Results ... 80
4.3 Discussion ... 82
5. General Discussion ... 87
5.1 Implications for current research ... 89
5.2 Recommendations for future investigations ... 93
5.3 Future prospects ... 101
5.4 Conclusion ... 104
References ...106
Appendix ... 116
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HörgerätePapenburg, Jens Gerrit 21 March 2012 (has links)
Die Geräte, durch die Musik im Zeitalter der technischen (Re-)Produktion gehört wird, haben sich immer wieder gewandelt. Solche Geräte müssen überhört werden. Nur so kann Musik gehört werden. Trotzdem – so die These der Arbeit – organisieren diese Geräte das Hören und sind Agenturen einer Bewirtschaftung und Technisierung der Wahrnehmung. In der Arbeit wird anhand von zwei Fallstudien aus der Geschichte der Rock- und Popmusik gezeigt, wie solche Geräte sowohl den Hörer als auch die gehörte Musik formieren. Durch Hörtechnologien bilden sich neue Hörpraktiken heraus und die Körperlichkeit des Hörers wird neu bestimmt. Die Anpassung von Klanggeschehen an spezifische Hörtechnologien wird im Mastering – dem letzten Schritt der technischen Musikproduktion – untersuchbar. Die Geräte, durch die Musik gehört wird, sind also weder schlichte Wiedergabetechnologien noch bloße elektrotechnische Artefakte. Vielmehr sind sie Gefüge aus Klanglichkeit, Körperlichkeit und Technologie. Diese werden in der Arbeit als Hörgeräte auf den Begriff gebracht. Die Hörgeräte der Rock- und Popmusik zielen – wie ihre medizintechnischen Verwandten – auf die Materialität der Wahrnehmung. Im Gegensatz zu diesen funktionieren sie jedoch nicht als Prothesen, die an einer gattungsweit postulierten Norm ausgerichtet sind. Statt Normen bergen sie Exzesse – an Serialität und Wiederholung – sowie Eskalationen – von Lautstärke und von hohen und tiefen Frequenzen. Die Arbeit ist in drei Kapiteln gegliedert. Im ersten Kapitel wird die These der Arbeit in Bezug auf theoretische Diskurse der Musik-, Kultur- und Medienwissenschaft verortet und eine begriffliche Systematik entwickelt. Kapitel zwei und drei sind Fallstudien gewidmet. In der ersten wird das Jukeboxhören der Rock’n’Roll-Kultur der 1950er Jahre untersucht, in der zweiten das Soundsystemhören der Disco- und Clubkultur der 1970er bis 1990er Jahre. Die im ersten Kapitel entwickelte begriffliche Systematik macht die Fallstudien vergleichbar. / The devices by which music is listened to in the age of technological (re-)production have changed over and over again. These devices must be imperceptible to the ear. Only then can music be heard. Nonetheless – this is the claim of the thesis – these devices organize hearing and are agents of a cultivation and technization of perception. Based on two case studies from the history of rock and pop music, this thesis reveals how such devices constitute not only the listener but also the music which is listened to. Through listening technologies new listening practices emerge and the corporality of the listener is newly defined. The adaptation of sound to specific listening technologies can be analysed during the mastering process, the last step in technological music production. The devices by which music is listened to are thus neither simple technologies of reproduction nor mere electrotechnical artefacts. Rather, they are assemblages of sound, corporality, and technology. In this thesis these assemblages are called “Hörgeräte” (listening devices). The listening devices of rock and pop music target – like medical-technical “Hörgeräte” (hearing aids) – the materiality of perception. Contrary to medical technologies, however, listening devices do not function as prostheses, which are calibrated according to medical industry standards. Instead, they contain excesses – of seriality and repetition – and escalations – of amplitude and high and low frequencies. The thesis is arranged in three chapters. In the first chapter I situate the main argument of the thesis within discourses of musicology, media and cultural studies, and develop my own terminology. Chapters two and three deal with case studies. In chapter two I investigate jukebox listening in 1950s rock’n’roll culture, whilst in chapter three I explore sound system listening in disco and club culture from the 1970s to the 1990s. The terminology developed in chapter one enables a comparison of the case studies.
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