CONTENTS
Preface to the Third Edition = ⅶ
1 Music, Physics, Psychophysics, and Neuropsychology ： An Interdisciplinary Approach = 1
1.1 The Intervening Physical Systems = 1
1.2 Characteristic Attributes of Musical Sounds = 3
1.3 The Time Element in Music = 5
1.4 Physics and Psychophysics = 6
1.5 Psychophysics and Neuropsychology = 10
1.6 What is Music? = 12
2 Sound Vibrations, Pure Tones, and the Perception of Pitch = 15
2.1 Motion and Vibration = 15
2.2 Simple Harmonic Motion = 19
2.3 Acoustical Vibrations and Pure Tone Sensations = 21
2.4 Superposition of Pure Tones ： First Order Beats and the Critical Band = 28
2.5 Other First Order Effects ： Combination Tones and Aural Harmonics = 36
2.6 Second Order Effects ： Beats of Mistuned Consonances = 40
2.7 Fundamental Tracking = 43
2.8 Auditory Coding in the Peripheral Nervous System = 50
2.9 Subjective Pitch and the Role of the Central Nervous System = 55
3 Sound Waves, Acoustical Energy, and the Perception of Loudness = 67
3.1 Elastic Waves, Force, Energy, and Power = 67
3.2 Propagation Speed, Wavelength, and Acoustical Power = 71
3.3 Superposition of Waves ； Standing Waves = 82
3.4 Intensity, Sound Intensity Level, and Loudness = 85
3.5 The Loudness Perception Mechanism and Related Processes = 97
3.6 Music from the Ears ： Otoacoustic Emissions and Cochlear Mechanics = 100
4 Generation of Musical Sounds, Complex Tones, and the Perception of Timbre = 106
4.1 Standing Waves in a String = 106
4.2 Generation of Complex Standing Vibrations in String Instruments = 111
4.3 Sound Vibration Spectra and Resonance = 120
4.4 Standing Longitudinal Waves in an Idealized Air Column = 129
4.5 Generation of Complex Standing Vibrations in Wind Instruments = 133
4.6 Sound Spectra of Wind Instrument Tones = 139
4.7 Trapping and Absorption of Sound Waves in a Closed Environment = 142
4.8 Perception of Pitch and Timbre of Musical Tones = 146
4.9 Identification of Musical Sounds = 151
4.10 Cognitive Brain Processes Relevant to the Perception of Individual Tones = 153
5 Superposition and Successions of Complex Tones and the Perception of Music = 162
5.1 Superposition of Complex Tones = 162
5.2 The Sensation of Musical Consonance and Dissonance = 165
5.3 Building Musical Scales = 171
5.4 The Standard Scale and the Standard of Pitch = 176
5.5 Why Art There Musical Scales? = 179
5.6 Cognitive and Affective Brain Processes in Music Perception ： Why Do We Respond Emotionally to Music? = 181
5.7 Specialization of Speech and Music Processing in the Cerebral Hemispheres = 185
Appendix Ⅰ ： Some Quantitative Aspects of the Bowing Mechanism = 191
Appendix Ⅱ ： Some Quantitative Aspects of Central Pitch Processor Models = 195
Appendix Ⅲ ： Some Remarks on Teaching Physics and Psychophysics of Music = 205
References = 208
Index = 215
