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Sensation of Sound Intensity and Perception of Loudness

  • Albrecht Schneider
Part of the Springer Handbooks book series (SHB)

Abstract

This chapter is on sensation of sound intensity and perception of loudness. Since some of the relevant matter (on scaling concepts of loudness) has been presented in Chap.  30, and because a considerable portion of research on loudness is done outside musical contexts (namely, in industrial and environmental noise control as well as in audiology), this chapter condenses facts and models more than the previous two on pitch and timbre respectively. Section 33.1 of this chapter offers the physical and physiological basis of sound intensity sensation while Sect. 33.2 discusses features of some models of loudness sensation that have been established in psychoacoustics over the past decades. Since these models were originally designed for stationary sound signals and levels, and have been tested mostly in lab situations, they cannot adequately cover a range of real-world sound types found in natural or technical environments. In music genres such as techno presented in discos, or heavy metal performed in live music venues or at open air festivals to audiences at very high sound pressure levels, sound is heavily processed in regard to dynamics and spectral energy, which calls for appropriate measurement and assessment of sensory effects. Different from perception of pitch (where samples of subjects respond more or less in similar ways to certain types of sound signals), perception of loudness shows a high degree of variability even within groups of musically trained subjects reflecting their musical background and preferences (Sect. 33.3). Recent empirical evidence demonstrates that subjects judge loudness for various musical genres on a category scale (from very soft to very loud), however, the center (relative to loudness level and loudness scales) and the range of each category differ considerably, for individual subjects.

Finally, there is a concluding section (Sect. 33.4) in which some of the major topics and issues discussed in Chaps.  30–33 of Part D are summed up. In addition, a tentative model of the interrelationship of pitch, timbre and loudness perception is sketched.

AF

auditory filter

AM

amplitude modulation

AN

auditory nerve

AuP

auditory pathway

BBS

Baseler Befindlichkeits-Skala

BM

basilar membrane

CB

critical band

CF

characteristic frequency

CGM

corpus geniculatum mediale/medial geniculate body

ERB

equivalent rectangular bandwidth

FM

frequency modulation

fMRI

functional magnetic resonance imaging

FTT

Fourier time transformation

IC

inferior colliculus

IHC

inner hair cell

OHC

outer hair cell

PCAP

peristimulus compound action potential

SD

standard deviation

SOC

superior olivary complex

SPL

sound pressure level

STFT

short-term Fourier transform/short-time Fourier transform

STM

short-term memory

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Copyright information

© Springer-Verlag Berlin Heidelberg 2018

Authors and Affiliations

  • Albrecht Schneider
    • 1
  1. 1.Institute of Systematic MusicologyUniversity of HamburgHamburgGermany

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