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38 Cards in this Set
- Front
- Back
- 3rd side (hint)
Critical listening |
The evaluation of the perceived parameters of sound; evaluating for its own content, out of musical context and out of time. |
Sound object |
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Analytical listening |
The evaluation of the artistic parameters of sound within musical context over time. Understanding the function of the sound in relation to the music. |
Sound event |
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Sound event |
The shape or design of a musical idea over time. Actively evolving and unfolding |
Analytical listening |
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Sound object |
The perception of the whole musical idea at an instant, out of time. The qualities of the sound itself without relation to another sound. |
Critical listening |
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Pitch reference |
An internal sense of pitch level that is present within each individual |
E4 |
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Overtones |
Frequencies in the spectrum that are not proportionally related to the fundamental. |
Not whole integers |
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Partials |
All of the frequencies of the spectrum, overtones/harmonics, subtones/subharmonics, formats and formants |
Everything |
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Formant |
An individual frequency or certain range of frequencies that are emphasized consistently, no matter the fundamental |
Partials of a body |
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Active listening |
The listening process with the listener focused and intent on extracting specific information from music or sound |
Critical or analytical |
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Direct sound |
Sound that travels on a direct path from the sound source to the listener |
Bang |
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Dynamic contours |
Dynamic levels over time |
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Dynamic envelope |
The contour of the changes in the overall dynamic level of the sound throughout its existence. Attack, initial decay, sustain, release |
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Early reflections |
Reflections that arrive at the listener within the first 50 ms after the arrival of direct sound |
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Effective listening zone |
Area in the control room where spatial characteristics of reproduced sound can be accurately perceived |
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Equivalence |
The concept that all artistic elements of sound have equal potential to carry the most significant musical information, or of any structural hierarchy |
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Focus |
The act of bringing some aspect of sound to the center of ones attention at a specific level of detail |
Perspective |
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Fundamental |
The periodic vibration of a waveform producing a sensation of a dominant frequency resonating within the body or room |
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Harmonics |
The frequencies in the spectrum that are whole number multiples of the fundamental |
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Hierarchy |
Organization of materials by levels of importance |
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Interaural amplitude differences |
Arrivals of the same sound at each ear at different sound pressure levels used for localization cues of high frequencies |
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Interaural spectral differences |
Head related transfer functions causing certain frequencies to be blocked from the furthest ear |
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Interaural time differences |
Arrivals of the same sound at each ear at different times |
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Masking |
Covering the qualities of a sound source by slowly introducing another sound source |
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Musical balance |
The relationship of dynamic levels to the sound source in regards to the entire musical texture |
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Passive listening |
The process of listening while the listener is consciously focused on some activity other than the music |
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Performance intensity |
The timbre of the sound source in relation to the dynamic of the sound source performing and the expressive qualities |
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Perspective |
The level of detail at which the sound material is heard and related to a specified level of structural hierarchy within the mix |
Brings focus to a specific level of detail |
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Pitch area |
Defined area between an upper and lower pitch level in which the prominent portion of the spectrum exists |
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Pitch density |
Range of pitches spanned by a musical idea plus the spectrum of the sound source playing it |
Perspective of the individual sound source |
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Sound stage |
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 |
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Imaging |
The lateral location and distance placement of the individual sound sources within the sound stage, provides depth and width |
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Distance perception |
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) |
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Lateral location |
Vertical location cues |
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Distance location |
Location cues |
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Perceived performance environment |
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 |
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Space within a space |
Individual perceived environments of a sound source existing within the overall environment of the recording |
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Environmental characteristics |
Overall sound quality that is comprised of a number of component parts |
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Spectral content |
All frequency components of s sound including the fundamental, harmonics and overtones, and subharmonics and subtones |
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