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Analysis, Synthesis, and Perception of Musical Sounds: The Sound of Music (Modern Acoustics and Signal Processing) Hardcover – January 24, 2007

ISBN-13: 978-0130420183 ISBN-10: 0130420182 Edition: 2007th

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Product Details

  • Series: Modern Acoustics and Signal Processing
  • Hardcover: 328 pages
  • Publisher: Springer; 2007 edition (January 24, 2007)
  • Language: English
  • ISBN-10: 0130420182
  • ISBN-13: 978-0130420183
  • ASIN: 0387324968
  • Product Dimensions: 6.1 x 0.8 x 9.2 inches
  • Shipping Weight: 1.3 pounds (View shipping rates and policies)
  • Average Customer Review: 4.8 out of 5 stars  See all reviews (5 customer reviews)
  • Amazon Best Sellers Rank: #1,046,922 in Books (See Top 100 in Books)

Editorial Reviews

From the Back Cover

Analysis, Synthesis, and Perception of Musical Sounds contains a detailed treatment of basic methods for analysis and synthesis of musical sounds, including the phase vocoder method, the McAulay-Quatieri frequency-tracking method, the constant-Q transform, and methods for pitch tracking with several examples shown. Various aspects of musical sound spectra such as spectral envelope, spectral centroid, spectral flux, and spectral irregularity are defined and discussed. One chapter is devoted to the control and synthesis of spectral envelopes. Two advanced methods of analysis/synthesis are given: "Sines Plus Transients Plus Noise" and "Spectrotemporal Reassignment" are covered. Methods for timbre morphing are given. The last two chapters discuss the perception of musical sounds based on discrimination and multidimensional scaling timbre models.

About the Author

James W. Beauchamp has been working in the area of analysis, synthesis, and perception of musical sounds for over 40 years. He is editor and co-author of Music by Computers (Wiley, 1969), a fellow of the Audio Engineering Society and of the Acoustical Society of America, former president and board member of the International Computer Music Association, and has published numerous papers in the Journal of the Audio Engineering Society, the Journal of the Acoustical Society of America, the Computer Music Journal, Proceedings of the International Computer Music Conference, Proceedings of the International Conference on Music Perception and Cognition, Proceedings of the International Society of Musical Acoustics, and Proceedings of the IEEE Workshop on Applicatiions of Signal Processing to Audio and Acoustics. For over thirty years at the University of Illinois at Urbana-Champaign he taught courses on musical acoustics, electronic music, and computer music (in the School of Music) and audio engineering, electronic music synthesis, and acoustics (in the Department of Electrical and Computer Engineering). During spring, 1988 he was a visiting scholar at the Center for Research in Music and Acoustics at Stanford University, and during 1994-95 he was a visiting researcher at the Institute for Research and Coordination in Acoustics and Music in Paris. His research interests have been in electronic and computer music synthesis systems, analysis, synthesis, and perception of musical instrument sounds, automatic pitch detection, and instrument separation.

Customer Reviews

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Most Helpful Customer Reviews

6 of 6 people found the following review helpful By Charles Cooper on September 4, 2007
Format: Hardcover
Covers both the "classic" techniques and some very recent advances in the analysis, modification and synthesis of musical sounds. The chapters on the psychoacoustics of musical timbre are excellent. I've got virtually every available book in the general area of audio signal processing and musical psychoacoustics, and this one is clearly the best so far. Chapters are contributed by several different authors. They provide both a clear review or summary of each topic and some cutting-edge "goodies" describing recent research and techniques in areas such re-synthesis of transients and noise, frequency tracking, and sound morphing.
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Format: Hardcover
This book covers a major area of music signal processing, namely analysis, synthesis and perception (AS&P) of musical sound. The book is nicely written by leading experts in this field and coherently organized. In the analysis part, the authors provide important tools for investigating the internal structure of musical sound. These tools also serve as important feature extractors for content-based music information retrieval (such as multimedia search). The synthesis part is a nice extension for analysis. First, because analysis and synthesis are essentially always connected in concept and practice of Music DSP (such as "analysis by synthesis"), the synthesis part in this book is naturally part of the core arsenal of sound analysis. Second, musical sound synthesis has its own applications, the same as speech synthesis. The perception part is also nicely written and provides complete examples of cognition experiments with a summary of experimental results.

This book is important for graduate students, academic researchers, and industry developers working in the field of music signal processing. Besides covering the fundamentals of music SP, this book clearly outlines current research frontiers (and open problems). The algorithms are clearly illustrated and many have readily available implementations. I feel the majority of the available books on music SP are too close to speech SP (or they treat music SP as a "recent" extension from speech SP). This book is unique because it is specifically targeted to music (as the editor points out in the preface, music SP also has a very long research tradition). Another reason that I find this book appealing is that the most essential tools can be learned and implemented quickly.
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2 of 3 people found the following review helpful By A. Rowley on November 3, 2007
Format: Hardcover
Despite being a pure maths graduate, I still found that I have to read each chapter a few times before I can understand it. However, I think thats got more to do with the subject matter than anything else, its obviously quite techincal.

That being said, its exactly the information I am looking for, presented concisely, economically and with a logical strucuture. Pleased with my purchase.
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2 of 3 people found the following review helpful By Michael Tsiappoutas on December 22, 2011
Format: Paperback Verified Purchase
I have been using this book on and off for the last 3 years, and intensely for the last year and a half, as part of my Ph.D. dissertation in Engineering and Applied Science---Physics. I have used directly only the first chapter, the only one written by the Editor, James W. Beauchamp. I've glanced through the rest of it, but my review is largely based on this first chapter.

Professor Beauchamp's organization and presentation of the material is amazingly clear and logical. This becomes more apparent when one considers (recent) literature on this very specialized field, acoustical digital signal processing (DSP). That been said, the material is not easy to grasp for the reader not familiar with DSP and acoustics fundamentals. The mathematical theory has a natural hierarchical structure and every single equation in the first chapter is justified. I could be hard-pressed to single out one equation or concept that does not add considerable value to this product.

I particularly enjoyed the deliberate emphasis on the interdisciplinarity of the subject. DSP, acoustics theory (both from a physics and an engineering perspective), and psychoacoustics all blend well, their parts carefully weighted to give the reader a working knowledge of each part's contribution. Intuitive as this may sound, it is not common practice in the general acoustics DSP literature. It takes a person with immense practical experience and theoretical background to achieve that. Professor Beauchamp's central role in this space is grounded on years of relevant teaching at the Univ. of Illinois (Urbana-Champaign) as well as his expertise on practical applications of this material.

Everything presented in the first chapter can be readily applied using Dr.
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By JT on May 26, 2012
Format: Hardcover
I was keen to get a copy of this book because at least five of the chapters are relevant to my current Ph.D. studies in Music.

This book comprehensively covers a range of topics that makes this a core text for anyone interested in analysis, synthesis and perception, and judging by the reviews above, this book is also relevant in a range of disciplines. I was also pleased to see a number of distinguished authors contributing to this book, which also supports the quality of this publication.

The book begins with analysis and synthesis of musical instruments, and then delves a bit deeper into signal analysis. The next four chapters discuss a range of important synthesis techniques finishing up with discussions on timbre and psychoacoustics.

Overall, the book is very well structured and is logically presented, especially considering the complexity of each topic and the relationship between topics.

I recommend this book to anyone interested in musical analysis, synthesis or perception, and agree with Kyriakos above:

"A wonderful and needed publication in the field of acoustical DSP, indeed."
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