Exam 1

Front 1

Critical listening

Back 1

The evaluation of the perceived parameters of sound; evaluating for its own content, out of musical context and out of time.

Hint 1

Sound object

Front 2

Analytical listening

Back 2

The evaluation of the artistic parameters of sound within musical context over time. Understanding the function of the sound in relation to the music.

Hint 2

Sound event

Front 3

Sound event

Back 3

The shape or design of a musical idea over time. Actively evolving and unfolding

Hint 3

Analytical listening

Front 4

Sound object

Back 4

The perception of the whole musical idea at an instant, out of time. The qualities of the sound itself without relation to another sound.

Hint 4

Critical listening

Front 5

Pitch reference

Back 5

An internal sense of pitch level that is present within each individual

Hint 5

E4

Front 6

Overtones

Back 6

Frequencies in the spectrum that are not proportionally related to the fundamental.

Hint 6

Not whole integers

Front 7

Partials

Back 7

All of the frequencies of the spectrum, overtones/harmonics, subtones/subharmonics, formats and formants

Hint 7

Everything

Front 8

Formant

Back 8

An individual frequency or certain range of frequencies that are emphasized consistently, no matter the fundamental

Hint 8

Partials of a body

Front 9

Active listening

Back 9

The listening process with the listener focused and intent on extracting specific information from music or sound

Hint 9

Critical or analytical

Front 10

Direct sound

Back 10

Sound that travels on a direct path from the sound source to the listener

Hint 10

Bang

Front 11

Dynamic contours

Back 11

Dynamic levels over time

Front 12

Dynamic envelope

Back 12

The contour of the changes in the overall dynamic level of the sound throughout its existence. Attack, initial decay, sustain, release

Front 13

Early reflections

Back 13

Reflections that arrive at the listener within the first 50 ms after the arrival of direct sound

Front 14

Effective listening zone

Back 14

Area in the control room where spatial characteristics of reproduced sound can be accurately perceived

Front 15

Equivalence

Back 15

The concept that all artistic elements of sound have equal potential to carry the most significant musical information, or of any structural hierarchy

Front 16

Focus

Back 16

The act of bringing some aspect of sound to the center of ones attention at a specific level of detail

Hint 16

Perspective

Front 17

Fundamental

Back 17

The periodic vibration of a waveform producing a sensation of a dominant frequency resonating within the body or room

Front 18

Harmonics

Back 18

The frequencies in the spectrum that are whole number multiples of the fundamental

Front 19

Hierarchy

Back 19

Organization of materials by levels of importance

Front 20

Interaural amplitude differences

Back 20

Arrivals of the same sound at each ear at different sound pressure levels used for localization cues of high frequencies

Front 21

Interaural spectral differences

Back 21

Head related transfer functions causing certain frequencies to be blocked from the furthest ear

Front 22

Interaural time differences

Back 22

Arrivals of the same sound at each ear at different times

Front 23

Masking

Back 23

Covering the qualities of a sound source by slowly introducing another sound source

Front 24

Musical balance

Back 24

The relationship of dynamic levels to the sound source in regards to the entire musical texture

Front 25

Passive listening

Back 25

The process of listening while the listener is consciously focused on some activity other than the music

Front 26

Performance intensity

Back 26

The timbre of the sound source in relation to the dynamic of the sound source performing and the expressive qualities

Front 27

Perspective

Back 27

The level of detail at which the sound material is heard and related to a specified level of structural hierarchy within the mix

Hint 27

Brings focus to a specific level of detail

Front 28

Pitch area

Back 28

Defined area between an upper and lower pitch level in which the prominent portion of the spectrum exists

Front 29

Pitch density

Back 29

Range of pitches spanned by a musical idea plus the spectrum of the sound source playing it

Hint 29

Perspective of the individual sound source

Front 30

Sound stage

Back 30

A single area within which all sound sources are perceived as being located in providing the performance that is the recording; has physical size, width, and depth

Front 31

Imaging

Back 31

The lateral location and distance placement of the individual sound sources within the sound stage, provides depth and width

Front 32

Distance perception

Back 32

The perception of the distance of a sound source from the listener defined by the ratio of direct sound to reverberant sound and the loss of low amplitude partials from the spectrum with increasing distance (timbral detail)

Front 33

Lateral location

Back 33

Vertical location cues

Front 34

Distance location

Back 34

Location cues

Front 35

Perceived performance environment

Back 35

The environment of the sound stage that the listener perceives as the location where the sound is taking place. Environmental characteristics bind individual sound sources into a single performance area, providing an overall texture

Front 36

Space within a space

Back 36

Individual perceived environments of a sound source existing within the overall environment of the recording

Front 37

Environmental characteristics

Back 37

Overall sound quality that is comprised of a number of component parts

Front 38

Spectral content

Back 38

All frequency components of s sound including the fundamental, harmonics and overtones, and subharmonics and subtones