Both Krasner and Schroeder built upon the work performed by Eberhard F . Zwicker in the areas of tuning and masking of critical bands, that in turn built on the fundamental research in the area from Bell Labs of Harvey Fletcher and his collaborators.
22.
In 1983, using the psychoacoustic principle of the masking of critical bands first published in 1967, he started developing a practical application based on the recently developed IBM PC computer, and the broadcast automation system was launched in 1987 under the name Audicom.
23.
If there is a strong attack of the loudness in several critical bands and if the perceived direction is stable, this attack is in all probability caused by the direct sound of a sound source, which is entering newly or which is changing its signal characteristics.
24.
In 1961, Professor Donald D . Greenwood utilized experimental methods within the field of psychoacoustics to measure the frequency resolution between critical bands within the human cochlea and develop a function correlating the anatomic location of the inner ear hair cells and the frequencies at which they are stimulated ( Greenwood 1961a, b ).
25.
The equal-loudness contours on which the phon is based apply only to the perception of pure steady tones : tests using octave or third-octave bands of noise reveal a different set of curves, owing to the way in which the critical bands of our hearing integrate power over varying bandwidths and our brain sums the various critical bands
26.
The equal-loudness contours on which the phon is based apply only to the perception of pure steady tones : tests using octave or third-octave bands of noise reveal a different set of curves, owing to the way in which the critical bands of our hearing integrate power over varying bandwidths and our brain sums the various critical bands
27.
The sonance of the interval between two notes can be maximized ( producing consonance ) by maximizing the alignment of the two notes'partials, whereas it can be minimized ( producing dissonance ) by mis-aligning each otherwise nearly aligned pair of partials by an amount equal to the width of the critical band at the average of the two partials'frequencies (;, ).
28.
Aside from its presence at the'In Tune ?'Festivals, the ensemble'Critical Band'undertook several recordings, concerts and tours, including a CD of three of Wood's own compositions : " Venancio Mbande talking with the Trees ", " Phainomena " and " Two men meet, each presuming the other to be from a distant planet " ( NMC-D044 ).
29.
The majority of Tenney's mature works ( post-1964 ) are instrumental pieces, often for unconventional instrumental combinations ( e . g . " Glissade " for viola, cello, double bass and tape delay system ( 1982 ), " Bridge " for two pianos eight hands in a microtonal tuning system ( 1982 84 ), " Changes " for six harps tuned a sixth of a semitone apart, 1985 ) or for variable instrumentation ( " Critical Band ", 1988, " In a Large Open Space ", 1994 ).
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