Abstract
Historically, the quantitative study of sound has been wedded to the development of sound-measurement technology. Researchers have routinely seized on and resourcefully adapted various technological tools, whether intended for sound analysis or not. Sabine (1900), for example, developed acoustical reverberation theory in an empty theater at Harvard University, using an organ pipe, a chronograph, and his own hearing to measure reverberant sound duration. Similarly, Brand (1934) characterized the time-varying frequency of birdsong by recording vocalizations on motion-picture film and measuring spatial line-density on the soundtrack. Successive milestones in sound-measurement technology — notably the microphone, the oscilloscope, and later the sound spectrograph — helped researchers to visualize and measure sounds but not to model them directly. Modeling of acoustic communication was instead typically performed indirectly via statistical analysis, comparison, and classification of individual measured sound features.
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Beeman, K. (1998). Digital Signal Analysis, Editing, and Synthesis. In: Hopp, S.L., Owren, M.J., Evans, C.S. (eds) Animal Acoustic Communication. Springer, Berlin, Heidelberg. https://doi.org/10.1007/978-3-642-76220-8_3
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DOI: https://doi.org/10.1007/978-3-642-76220-8_3
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