Pulkki, Ville, <br/><br/>
Communication acoustics :  an introduction to speech, audio, and psychoacoustics / 
Ville Pulkki and Matti Karjalainen. 
 - xxiv, 430 pages ;  26 cm 
<br/><br/>Includes bibliographical references and index. 
<br/><br/>About the Authors xix<br/>Preface xxi<br/><br/><br/>Preface to the Unfinished Manuscript of the Book xxiii<br/><br/><br/>Introduction 1<br/><br/><br/>1 How to Study and Develop Communication Acoustics 7<br/><br/><br/>1.1 Domains of Knowledge 7<br/><br/><br/>1.2 Methodology of Research and Development 8<br/><br/><br/>1.3 Systems Approach to Modelling 10<br/><br/><br/>1.4 About the Rest of this Book 12<br/><br/><br/>1.5 Focus of the Book 12<br/><br/><br/>1.6 Intended Audience 13<br/><br/><br/>References 14<br/><br/><br/>2 Physics of Sound 15<br/><br/><br/>2.1 Vibration and Wave Behaviour of Sound 15<br/><br/><br/>2.1.1 From Vibration to Waves 16<br/><br/><br/>2.1.2 A Simple Vibrating System 16<br/><br/><br/>2.1.3 Resonance 18<br/><br/><br/>2.1.4 Complex Mass?Spring Systems 19<br/><br/><br/>2.1.5 Modal Behaviour 20<br/><br/><br/>2.1.6 Waves 21<br/><br/><br/>2.2 Acoustic Measures and Quantities 23<br/><br/><br/>2.2.1 Sound and Voice as Signals 23<br/><br/><br/>2.2.2 Sound Pressure 24<br/><br/><br/>2.2.3 Sound Pressure Level 24<br/><br/><br/>2.2.4 Sound Power 25<br/><br/><br/>2.2.5 Sound Intensity 25<br/><br/><br/>2.2.6 Computation with Amplitude and Level Quantities 25<br/><br/><br/>2.3 Wave Phenomena 26<br/><br/><br/>2.3.1 Spherical Waves 26<br/><br/><br/>2.3.2 Plane Waves and the Wave Field in a Tube 27<br/><br/><br/>2.3.3 Wave Propagation in Solid Materials 29<br/><br/><br/>2.3.4 Reflection, Absorption, and Refraction 31<br/><br/><br/>2.3.5 Scattering and Diffraction 32<br/><br/><br/>2.3.6 Doppler Effect 33<br/><br/><br/>2.4 Sound in Closed Spaces: Acoustics of Rooms and Halls 34<br/><br/><br/>2.4.1 Sound Field in a Room 34<br/><br/><br/>2.4.2 Reverberation 36<br/><br/><br/>2.4.3 Sound Pressure Level in a Room 37<br/><br/><br/>2.4.4 Modal Behaviour of Sound in a Room 38<br/><br/><br/>2.4.5 Computational Modelling of Closed Space Acoustics 39<br/><br/><br/>Summary 41<br/><br/><br/>Further Reading 41<br/><br/><br/>References 41<br/><br/><br/>3 Signal Processing and Signals 43<br/><br/><br/>3.1 Signals 43<br/><br/><br/>3.1.1 Sounds as Signals 43<br/><br/><br/>3.1.2 Typical Signals 45<br/><br/><br/>3.2 Fundamental Concepts of Signal Processing 46<br/><br/><br/>3.2.1 Linear and Time-Invariant Systems 46<br/><br/><br/>3.2.2 Convolution 47<br/><br/><br/>3.2.3 Signal Transforms 48<br/><br/><br/>3.2.4 Fourier Analysis and Synthesis 49<br/><br/><br/>3.2.5 Spectrum Analysis 50<br/><br/><br/>3.2.6 Time?Frequency Representations 53<br/><br/><br/>3.2.7 Filter Banks 54<br/><br/><br/>3.2.8 Auto- and Cross-Correlation 55<br/><br/><br/>3.2.9 Cepstrum 56<br/><br/><br/>3.3 Digital Signal Processing (DSP) 56<br/><br/><br/>3.3.1 Sampling and Signal Conversion 56<br/><br/><br/>3.3.2 Z Transform 57<br/><br/><br/>3.3.3 Filters as LTI Systems 58<br/><br/><br/>3.3.4 Digital Filtering 58<br/><br/><br/>3.3.5 Linear Prediction 59<br/><br/><br/>3.3.6 Adaptive Filtering 62<br/><br/><br/>3.4 Hidden Markov Models 62<br/><br/><br/>3.5 Concepts of Intelligent and Learning Systems 63<br/><br/><br/>Summary 64<br/><br/><br/>Further Reading 64<br/><br/><br/>References 64<br/><br/><br/>4 Electroacoustics and Responses of Audio Systems 67<br/><br/><br/>4.1 Electroacoustics 67<br/><br/><br/>4.1.1 Loudspeakers 67<br/><br/><br/>4.1.2 Microphones 70<br/><br/><br/>4.2 Audio System Responses 71<br/><br/><br/>4.2.1 Measurement of System Response 71<br/><br/><br/>4.2.2 Ideal Reproduction of Sound 72<br/><br/><br/>4.2.3 Impulse Response and Magnitude Response 72<br/><br/><br/>4.2.4 Phase Response 74<br/><br/><br/>4.2.5 Non-Linear Distortion 75<br/><br/><br/>4.2.6 Signal-to-Noise Ratio 76<br/><br/><br/>4.3 Response Equalization 76<br/><br/><br/>Summary 77<br/><br/><br/>Further Reading 78<br/><br/><br/>References 78<br/><br/><br/>5 Human Voice 79<br/><br/><br/>5.1 Speech Production 79<br/><br/><br/>5.1.1 Speech Production Mechanism 80<br/><br/><br/>5.1.2 Vocal Folds and Phonation 80<br/><br/><br/>5.1.3 Vocal and Nasal Tract and Articulation 82<br/><br/><br/>5.1.4 Lip Radiation Measurements 84<br/><br/><br/>5.2 Units and Notation of Speech used in Phonetics 84<br/><br/><br/>5.2.1 Vowels 86<br/><br/><br/>5.2.2 Consonants 86<br/><br/><br/>5.2.3 Prosody and Suprasegmental Features 88<br/><br/><br/>5.3 Modelling of Speech Production 90<br/><br/><br/>5.3.1 Glottal Modelling 92<br/><br/><br/>5.3.2 Vocal Tract Modelling 92<br/><br/><br/>5.3.3 Articulatory Synthesis 94<br/><br/><br/>5.3.4 Formant Synthesis 95<br/><br/><br/>5.4 Singing Voice 96<br/><br/><br/>Summary 96<br/><br/><br/>Further Reading 97<br/><br/><br/>References 97<br/><br/><br/>6 Musical Instruments and Sound Synthesis 99<br/><br/><br/>6.1 Acoustic Instruments 99<br/><br/><br/>6.1.1 Types of Musical Instruments 99<br/><br/><br/>6.1.2 Resonators in Instruments 100<br/><br/><br/>6.1.3 Sources of Excitation 102<br/><br/><br/>6.1.4 Controlling the Frequency of Vibration 103<br/><br/><br/>6.1.5 Combining the Excitation and Resonant Structures 104<br/><br/><br/>6.2 Sound Synthesis in Music 104<br/><br/><br/>6.2.1 Envelope of Sounds 105<br/><br/><br/>6.2.2 Synthesis Methods 106<br/><br/><br/>6.2.3 Synthesis of Plucked String Instruments with a<br/>One-Dimensional Physical Model 107<br/><br/><br/>Summary 108<br/><br/><br/>Further Reading 108<br/><br/><br/>References 108<br/><br/><br/>7 Physiology and Anatomy of Hearing 111<br/><br/><br/>7.1 Global Structure of the Ear 111<br/><br/><br/>7.2 External Ear 112<br/><br/><br/>7.3 Middle Ear 113<br/><br/><br/>7.4 Inner Ear 115<br/><br/><br/>7.4.1 Structure of the Cochlea 115<br/><br/><br/>7.4.2 Passive Cochlear Processing 117<br/><br/><br/>7.4.3 Active Function of the Cochlea 119<br/><br/><br/>7.4.4 The Inner Hair Cells 122<br/><br/><br/>7.4.5 Cochlear Non-Linearities 122<br/><br/><br/>7.5 Otoacoustic Emissions 123<br/><br/><br/>7.6 Auditory Nerve 123<br/><br/><br/>7.6.1 Information Transmission using the Firing Rate 124<br/><br/><br/>7.6.2 Phase Locking 126<br/><br/><br/>7.7 Auditory Nervous System 127<br/><br/><br/>7.7.1 Structure of the Auditory Pathway 127<br/><br/><br/>7.7.2 Studying Brain Function 129<br/><br/><br/>7.8 Motivation for Building Computational Models of Hearing<br/>130<br/><br/><br/>Summary 131<br/><br/><br/>Further Reading 131<br/><br/><br/>References 131<br/><br/><br/>8 The Approach and Methodology of Psychoacoustics 133<br/><br/><br/>8.1 Sound Events versus Auditory Events 133<br/><br/><br/>8.2 Psychophysical Functions 135<br/><br/><br/>8.3 Generation of Sound Events 135<br/><br/><br/>8.3.1 Synthesis of Sound Signals 136<br/><br/><br/>8.3.2 Listening Set-up and Conditions 137<br/><br/><br/>8.3.3 Steering Attention to Certain Details of An Auditory Event<br/>137<br/><br/><br/>8.4 Selection of Subjects for Listening Tests 138<br/><br/><br/>8.5 What are We Measuring? 138<br/><br/><br/>8.5.1 Thresholds 138<br/><br/><br/>8.5.2 Scales and Categorization of Percepts 140<br/><br/><br/>8.5.3 Numbering Scales in Listening Tests 141<br/><br/><br/>8.6 Tasks for Subjects 141<br/><br/><br/>8.7 Basic Psychoacoustic Test Methods 142<br/><br/><br/>8.7.1 Method of Constant Stimuli 143<br/><br/><br/>8.7.2 Method of Limits 143<br/><br/><br/>8.7.3 Method of Adjustment 143<br/><br/><br/>8.7.4 Method of Tracking 144<br/><br/><br/>8.7.5 Direct Scaling Methods 144<br/><br/><br/>8.7.6 Adaptive Staircase Methods 144<br/><br/><br/>8.8 Descriptive Sensory Analysis 145<br/><br/><br/>8.8.1 Verbal Elicitation 147<br/><br/><br/>8.8.2 Non-Verbal Elicitation 148<br/><br/><br/>8.8.3 Indirect Elicitation 148<br/><br/><br/>8.9 Psychoacoustic Tests from the Point of View of Statistics<br/>149<br/><br/><br/>Summary 149<br/><br/><br/>Further Reading 150<br/><br/><br/>References 150<br/><br/><br/>9 Basic Function of Hearing 153<br/><br/><br/>9.1 Effective Hearing Area 153<br/><br/><br/>9.1.1 Equal Loudness Curves 155<br/><br/><br/>9.1.2 Sound Level and its Measurement 156<br/><br/><br/>9.2 Spectral Masking 156<br/><br/><br/>9.2.1 Masking by Noise 157<br/><br/><br/>9.2.2 Masking by Pure Tones 159<br/><br/><br/>9.2.3 Masking by Complex Tones 159<br/><br/><br/>9.2.4 Other Masking Phenomena 161<br/><br/><br/>9.3 Temporal Masking 161<br/><br/><br/>9.4 Frequency Selectivity of Hearing 163<br/><br/><br/>9.4.1 Psychoacoustic Tuning Curves 164<br/><br/><br/>9.4.2 ERB Bandwidths 166<br/><br/><br/>9.4.3 Bark, ERB, and Greenwood Scales 167<br/><br/><br/>Summary 169<br/><br/><br/>Further Reading 169<br/><br/><br/>References 169<br/><br/><br/>10 Basic Psychoacoustic Quantities 171<br/><br/><br/>10.1 Pitch 171<br/><br/><br/>10.1.1 Pitch Strength and Frequency Range 171<br/><br/><br/>10.1.2 JND of Pitch 172<br/><br/><br/>10.1.3 Pitch Perception versus Duration of Sound 173<br/><br/><br/>10.1.4 Mel Scale 174<br/><br/><br/>10.1.5 Logarithmic Pitch Scale and Musical Scale 175<br/><br/><br/>10.1.6 Detection Threshold of Pitch Change and Frequency<br/>Modulation 176<br/><br/><br/>10.1.7 Pitch of Coloured Noise 176<br/><br/><br/>10.1.8 Repetition Pitch 177<br/><br/><br/>10.1.9 Virtual Pitch 178<br/><br/><br/>10.1.10 Pitch of Non-Harmonic Complex Sounds 178<br/><br/><br/>10.1.11 Pitch Theories 178<br/><br/><br/>10.1.12 Absolute Pitch 179<br/><br/><br/>10.2 Loudness 179<br/><br/><br/>10.2.1 Loudness Determination Experiments 179<br/><br/><br/>10.2.2 Loudness Level 180<br/><br/><br/>10.2.3 Loudness of a Pure Tone 180<br/><br/><br/>10.2.4 Loudness of Broadband Signals 182<br/><br/><br/>10.2.5 Excitation Pattern, Specific Loudness, and Loudness<br/>183<br/><br/><br/>10.2.6 Difference Threshold of Loudness 185<br/><br/><br/>10.2.7 Loudness versus Duration of Sound 187<br/><br/><br/>10.3 Timbre 188<br/><br/><br/>10.3.1 Timbre of Steady-State Sounds 189<br/><br/><br/>10.3.2 Timbre of Sound Including Modulations 189<br/><br/><br/>10.4 Subjective Duration of Sound 189<br/><br/><br/>Summary 191<br/><br/><br/>Further Reading 191<br/><br/><br/>References 191<br/><br/><br/>11 Further Analysis in Hearing 193<br/><br/><br/>11.1 Sharpness 193<br/><br/><br/>11.2 Detection of Modulation and Sound Onset 195<br/><br/><br/>11.2.1 Fluctuation Strength 195<br/><br/><br/>11.2.2 Impulsiveness 197<br/><br/><br/>11.3 Roughness 198<br/><br/><br/>11.4 Tonality 200<br/><br/><br/>11.5 Discrimination of Changes in Signal Magnitude and Phase<br/>Spectra 201<br/><br/><br/>11.5.1 Adaptation to the Magnitude Spectrum 201<br/><br/><br/>11.5.2 Perception of Phase and Time Differences 202<br/><br/><br/>11.6 Psychoacoustic Concepts and Music 206<br/><br/><br/>11.6.1 Sensory Consonance and Dissonance 206<br/><br/><br/>11.6.2 Intervals, Scales, and Tuning in Music 208<br/><br/><br/>11.6.3 Rhythm, Tempo, Bar, and Measure 211<br/><br/><br/>11.7 Perceptual Organization of Sound 212<br/><br/><br/>11.7.1 Segregation of Sound Sources 213<br/><br/><br/>11.7.2 Sound Streaming and Auditory Scene Analysis 214<br/><br/><br/>Summary 216<br/><br/><br/>Further Reading 217<br/><br/><br/>References 217<br/><br/><br/>12 Spatial Hearing 219<br/><br/><br/>12.1 Concepts and Definitions for Spatial Hearing 219<br/><br/><br/>12.1.1 Basic Concepts 219<br/><br/><br/>12.1.2 Coordinate Systems for Spatial Hearing 221<br/><br/><br/>12.2 Head-Related Acoustics 222<br/><br/><br/>12.3 Localization Cues 226<br/><br/><br/>12.3.1 Interaural Time Difference 227<br/><br/><br/>12.3.2 Interaural Level Difference 228<br/><br/><br/>12.3.3 Interaural Coherence 231<br/><br/><br/>12.3.4 Cues to Resolve the Direction on the Cone of Confusion<br/>232<br/><br/><br/>12.3.5 Interaction Between Spatial Hearing and Vision 234<br/><br/><br/>12.4 Localization Accuracy 235<br/><br/><br/>12.4.1 Localization in the Horizontal Plane 235<br/><br/><br/>12.4.2 Localization in the Median Plane 236<br/><br/><br/>12.4.3 3D Localization 237<br/><br/><br/>12.4.4 Perception of the Distribution of a Spatially Extended<br/>Source 238<br/><br/><br/>12.5 Directional Hearing in Enclosed Spaces 239<br/><br/><br/>12.5.1 Precedence Effect 239<br/><br/><br/>12.5.2 Adaptation to the Room Effect in Localization 240<br/><br/><br/>12.6 Binaural Advantages in Timbre Perception 241<br/><br/><br/>12.6.1 Binaural Detection and Unmasking 241<br/><br/><br/>12.6.2 Binaural Decolouration 243<br/><br/><br/>12.7 Perception of Source Distance 243<br/><br/><br/>12.7.1 Cues for Distance Perception 244<br/><br/><br/>12.7.2 Accuracy of Distance Perception 245<br/><br/><br/>Summary 246<br/><br/><br/>Further Reading 246<br/><br/><br/>References 246<br/><br/><br/>13 Auditory Modelling 249<br/><br/><br/>13.1 Simple Psychoacoustic Modelling with DFT 250<br/><br/><br/>13.1.1 Computation of the Auditory Spectrum through DFT 250<br/><br/><br/>13.2 Filter Bank Models 255<br/><br/><br/>13.2.1 Modelling the Outer and Middle Ear 255<br/><br/><br/>13.2.2 Gammatone Filter Bank and Auditory Nerve Responses<br/>256<br/><br/><br/>13.2.3 Level-Dependent Filter Banks 256<br/><br/><br/>13.2.4 Envelope Detection and Temporal Dynamics 258<br/><br/><br/>13.3 Cochlear Models 260<br/><br/><br/>13.3.1 Basilar Membrane Models 260<br/><br/><br/>13.3.2 Hair-Cell Models 261<br/><br/><br/>13.4 Modelling of Higher-Level Systemic Properties 263<br/><br/><br/>13.4.1 Analysis of Pitch and Periodicity 263<br/><br/><br/>13.4.2 Modelling of Loudness Perception 265<br/><br/><br/>13.5 Models of Spatial Hearing 265<br/><br/><br/>13.5.1 Delay-Network-Based Models of Binaural Hearing 265<br/><br/><br/>13.5.2 Equalization Cancellation and ILD Models 268<br/><br/><br/>13.5.3 Count-Comparison Models 268<br/><br/><br/>13.5.4 Models of Localization in the Median Plane 270<br/><br/><br/>13.6 Matlab Examples 270<br/><br/><br/>13.6.1 Filter-Bank Model with Autocorrelation-Based Pitch<br/>Analysis 270<br/><br/><br/>13.6.2 Binaural Filter-Bank Model with Cross-Correlation-Based<br/>ITD<br/><br/><br/>Analysis 272<br/><br/><br/>Summary 274<br/><br/><br/>Further Reading 274<br/><br/><br/>References 274<br/><br/><br/>14 Sound Reproduction 277<br/><br/><br/>14.1 Need for Sound Reproduction 277<br/><br/><br/>14.2 Audio Content Production 279<br/><br/><br/>14.3 Listening Set-ups 280<br/><br/><br/>14.3.1 Loudspeaker Set-ups 280<br/><br/><br/>14.3.2 Listening Room Acoustics 282<br/><br/><br/>14.3.3 Audiovisual Systems 283<br/><br/><br/>14.3.4 Auditory-Tactile Systems 284<br/><br/><br/>14.4 Recording Techniques 284<br/><br/><br/>14.4.1 Monophonic Techniques 285<br/><br/><br/>14.4.2 Spot Microphone Technique 285<br/><br/><br/>14.4.3 Coincident Microphone Techniques for Two-Channel<br/>Stereophony 286<br/><br/><br/>14.4.4 Spaced Microphone Techniques for Two-Channel Stereophony<br/>286<br/><br/><br/>14.4.5 Spaced Microphone Techniques for Multi-Channel<br/>Loudspeaker Systems 287<br/><br/><br/>14.4.6 Coincident Recording for Multi-Channel Set-up with<br/>Ambisonics 287<br/><br/><br/>14.4.7 Non-Linear Time?Frequency-domain Reproduction of<br/>Spatial Sound 290<br/><br/><br/>14.5 Virtual Source Positioning 293<br/><br/><br/>14.5.1 Amplitude Panning 293<br/><br/><br/>14.5.2 Amplitude Panning in a Stereophonic Set-up 294<br/><br/><br/>14.5.3 Amplitude Panning in Horizontal Multi-Channel Loudspeaker<br/>Set-ups 295<br/><br/><br/>14.5.4 3D Amplitude Panning 295<br/><br/><br/>14.5.5 Virtual Source Positioning using Ambisonics 296<br/><br/><br/>14.5.6 Wave Field Synthesis 296<br/><br/><br/>14.5.7 Time Delay Panning 297<br/><br/><br/>14.5.8 Synthesizing the Width of Virtual Sources 298<br/><br/><br/>14.6 Binaural Techniques 298<br/><br/><br/>14.6.1 Listening to Binaural Recordings with Headphones 299<br/><br/><br/>14.6.2 HRTF Processing for Headphone Listening 299<br/><br/><br/>14.6.3 Virtual Listening of Loudspeakers with Headphones 300<br/><br/><br/>14.6.4 Headphone Listening to Two-Channel Stereophonic Content<br/>301<br/><br/><br/>14.6.5 Binaural Techniques with Cross-Talk-Cancelled<br/>Loudspeakers 301<br/><br/><br/>14.7 Digital Audio Effects 302<br/><br/><br/>14.8 Reverberators 303<br/><br/><br/>14.8.1 Using Room Impulse Responses in Reverberators 304<br/><br/><br/>14.8.2 DSP Structures for Reverberators 305<br/><br/><br/>Summary 306<br/><br/><br/>Further Reading and Available Toolboxes 306<br/><br/><br/>References 307<br/><br/><br/>15 Time?Frequency-domain Processing and Coding of Audio<br/>311<br/><br/><br/>15.1 Basic Techniques and Concepts for Time?Frequency<br/>Processing 311<br/><br/><br/>15.1.1 Frame-Based Processing 311<br/><br/><br/>15.1.2 Downsampled Filter-Bank Processing 313<br/><br/><br/>15.1.3 Modulation with Tone Sequences 315<br/><br/><br/>15.1.4 Aliasing 316<br/><br/><br/>15.2 Time?Frequency Transforms 317<br/><br/><br/>15.2.1 Short-Time Fourier Transform (STFT) 318<br/><br/><br/>15.2.2 Alias-Free STFT 320<br/><br/><br/>15.2.3 Modified Discrete Cosine Transform (MDCT) 321<br/><br/><br/>15.2.4 Pseudo-Quadrature Mirror Filter (PQMF) Bank 323<br/><br/><br/>15.2.5 Complex QMF 323<br/><br/><br/>15.2.6 Sub-Sub-Band Filtering of the Complex QMF Bands 325<br/><br/><br/>15.2.7 Stochastic Measures of Time?Frequency Signals<br/>325<br/><br/><br/>15.2.8 Decorrelation 327<br/><br/><br/>15.3 Time?Frequency-Domain Audio-Processing Techniques<br/>328<br/><br/><br/>15.3.1 Masking-Based Audio Coding 328<br/><br/><br/>15.3.2 Audio Coding with Spectral Band Replication 328<br/><br/><br/>15.3.3 Parametric Stereo, MPEG Surround, and Spatial Audio<br/>Object Coding 329<br/><br/><br/>15.3.4 Stereo Upmixing and Enhancement for Loudspeakers and<br/>Headphones 330<br/><br/><br/>Summary 332<br/><br/><br/>Further Reading 332<br/><br/><br/>References 332<br/><br/><br/>16 Speech Technologies 335<br/><br/><br/>16.1 Speech Coding 336<br/><br/><br/>16.2 Text-to-Speech Synthesis 338<br/><br/><br/>16.2.1 Early Knowledge-Based Text-to-Speech (TTS) Synthesis<br/>339<br/><br/><br/>16.2.2 Unit-Selection Synthesis 340<br/><br/><br/>16.2.3 Statistical Parametric Synthesis 342<br/><br/><br/>16.3 Speech Recognition 345<br/><br/><br/>Summary 346<br/><br/><br/>Further Reading 347<br/><br/><br/>References 347<br/><br/><br/>17 Sound Quality 349<br/><br/><br/>17.1 Historical Background of Sound Quality 350<br/><br/><br/>17.2 The Many Facets of Sound Quality 351<br/><br/><br/>17.3 Systemic Framework for Sound Quality 352<br/><br/><br/>17.4 Subjective Sound Quality Measurement 353<br/><br/><br/>17.4.1 Mean Opinion Score 353<br/><br/><br/>17.4.2 MUSHRA 354<br/><br/><br/>17.5 Audio Quality 356<br/><br/><br/>17.5.1 Monaural Quality 356<br/><br/><br/>17.5.2 Perceptual Measures and Models for Monaural Audio Quality<br/>356<br/><br/><br/>17.5.3 Spatial Audio Quality 359<br/><br/><br/>17.6 Quality of Speech Communication 360<br/><br/><br/>17.6.1 Subjective Methods and Measures 361<br/><br/><br/>17.6.2 Objective Methods and Measures 362<br/><br/><br/>17.7 Measuring Speech Understandability with the Modulation<br/>Transfer Function 363<br/><br/><br/>17.7.1 Modulation Transfer Function 363<br/><br/><br/>17.7.2 Speech Transmission Index STI 367<br/><br/><br/>17.7.3 STI and Speech Intelligibility 368<br/><br/><br/>17.7.4 Practical Measurement of STI 369<br/><br/><br/>17.8 Objective Speech Quality Measurement for Telecommunication<br/>370<br/><br/><br/>17.8.1 General Speech Quality Measurement Techniques 371<br/><br/><br/>17.8.2 Measurement of the Perceptual Effect of Background Noise<br/>372<br/><br/><br/>17.8.3 Measurement of the Perceptual Effect of Echoes 373<br/><br/><br/>17.9 Sound Quality in Auditoria and Concert Halls 374<br/><br/><br/>17.9.1 Subjective Measures 374<br/><br/><br/>17.9.2 Objective Measures 375<br/><br/><br/>17.9.3 Percentage of Consonant Loss 377<br/><br/><br/>17.10 Noise Quality 377<br/><br/><br/>17.11 Product Sound Quality 378<br/><br/><br/>Summary 380<br/><br/><br/>Further Reading 380<br/><br/><br/>References 380<br/><br/><br/>18 Other Audio Applications 383<br/><br/><br/>18.1 Virtual Reality and Game Audio Engines 383<br/><br/><br/>18.2 Sonic Interaction Design 386<br/><br/><br/>18.3 Computational Auditory Scene Analysis, CASA 387<br/><br/><br/>18.4 Music Information Retrieval 387<br/><br/><br/>18.5 Miscellaneous Applications 389<br/><br/><br/>Summary 390<br/><br/><br/>Further Reading 390<br/><br/><br/>References 390<br/><br/><br/>19 Technical Audiology 393<br/><br/><br/>19.1 Hearing Impairments and Disabilities 393<br/><br/><br/>19.1.1 Key Terminology 394<br/><br/><br/>19.1.2 Classification of Hearing Impairments 395<br/><br/><br/>19.1.3 Causes for Hearing Impairments 396<br/><br/><br/>19.2 Symptoms and Consequences of Hearing Impairments 396<br/><br/><br/>19.2.1 Hearing Threshold Shift 397<br/><br/><br/>19.2.2 Distortion and Decrease in Discrimination 398<br/><br/><br/>19.2.3 Speech Communication Problems 400<br/><br/><br/>19.2.4 Tinnitus 400<br/><br/><br/>19.3 The Effect of Noise on Hearing 401<br/><br/><br/>19.3.1 Noise 401<br/><br/><br/>19.3.2 Formation of Noise-Induced Hearing Loss 402<br/><br/><br/>19.3.3 Temporary Threshold Shift 402<br/><br/><br/>19.3.4 Hearing Protection 404<br/><br/><br/>19.4 Audiometry 405<br/><br/><br/>19.4.1 Pure-Tone Audiometry 405<br/><br/><br/>19.4.2 Bone-Conduction Audiometry 406<br/><br/><br/>19.4.3 Speech Audiometry 406<br/><br/><br/>19.4.4 Sound-Field Audiometry 407<br/><br/><br/>19.4.5 Tympanometry 407<br/><br/><br/>19.4.6 Otoacoustic Emissions 408<br/><br/><br/>19.4.7 Neural Responses 409<br/><br/><br/>19.5 Hearing Aids 409<br/><br/><br/>19.5.1 Types of Hearing Aids 409<br/><br/><br/>19.5.2 Signal Processing in Hearing Aids 410<br/><br/><br/>19.5.3 Transmission Systems and Assistive Listening Devices<br/>414<br/><br/><br/>19.6 Implantable Hearing Solutions 414<br/><br/><br/>19.6.1 Cochlear Implants 414<br/><br/><br/>19.6.2 Electric-Acoustic Stimulation 416<br/><br/><br/>19.6.3 Bone-Anchored Hearing Aids 416<br/><br/><br/>19.6.4 Middle-Ear Implants 416<br/><br/><br/>Summary 416<br/><br/><br/>Further Reading 417<br/><br/><br/>References 417<br/><br/><br/>Index 419 
<br/><br/> "This book aims to convey to engineering students and researchers alike the relevant knowledge about the nature of acoustics, sound and hearing that will enable them to develop new technologies in this area through acquiring a thorough understanding of how sound and hearing works. There is currently no technical book available covering the communication path from sound sources through medium to the formation of auditory events in the brain - this book will fill this gap in the current book literature. It discusses the multidisciplinary area of acoustics, hearing, psychoacoustics, signal processing, speech and sound quality and is suitable for use as a main course textbook for senior undergraduate and graduate courses related to audio communication systems.  It covers the basics of signal processing, traditional acoustics as well as the human hearing system and how to build audio techniques based on human hearing resolution. It discusses the technologies and applications for sound synthesis and reproduction, and for speech and audio quality evaluation"-- 
<br/><br/><label>ISBN: </label>9781118866542 
<br/><br/><label>LCCN: </label>2014030757 
<br/><br/><label>Subjects--Topical Terms: </label><br/>Sound--Recording and reproducing.<br/>Hearing.<br/>Psychoacoustics.<br/>Sound.
<br/><br/><label>LC Class. No.: </label>TK7881.4  / .P85 2015 
<br/><br/><label>Dewey Class. No.: </label>620.2 PUL K