William M. Hartmann (born July 28, 1939) is a noted physicist, psychoacoustician, author, and former president of the Acoustical Society of America. His major contributions in psychoacoustics are in pitch perception, binaural hearing, and sound localization. Working with junior colleagues, he discovered several major pitch effects: the binaural edge pitch,[1] the binaural coherence edge pitch,[2] the pitch shifts of mistuned harmonics,[3][4] and the harmonic unmasking effect.[5] His textbook, Signals, Sound and Sensation, is widely used in courses on psychoacoustics. He is currently a professor of physics at Michigan State University.
Hartmann was born in Elgin, Illinois, USA on 28 July 1939. He studied electrical engineering and physics at Iowa State University in Ames, IA, (BSEE 1961). Supported by a Rhodes Scholarship (Iowa and Lincoln, 1961) he studied theoretical physics with Sir Roger Elliott at Oxford University in England (D.Phil. – condensed matter theory 1965).[6][7] He continued research in condensed matter theory as a post-doctoral scholar at Argonne National Laboratory in Argonne Illinois (1965–1968).
In 1968 Dr. Hartmann joined the Department of Physics (now the Department of Physics and Astronomy) at Michigan State University in East Lansing where he is still employed as a professor of physics. His work in condensed matter theory primarily involved lattice vibrations (phonons) in defective crystals, where he was the first to show how to include short-range order among defects in the vibrational theory of alloys.[8] Later, he studied the electron–phonon interaction in metals where he made the first calculation of the latent heats of melting metals.[9]
In 1974 he began teaching an undergraduate course on musical acoustics which inspired his interest in human hearing. In 1976 he reinvented himself as a psychoacoustician, and he has continued to work in psychoacoustics, musical acoustics, and signal processing since that time. He has been an adjunct professor in the MSU Department of Psychology since 1979.
In 1981–82 Dr. Hartmann was a visiting scientist at the Institute for Research on Acoustics and Music (IRCAM) in Paris. He subsequently served at IRCAM as acting director of acoustics (1982–1983) and as consultant (1983–1987). He was an associate editor of Music Perception from 1988 to 1997, and he is currently the editor-in-chief of the Springer series Modern Acoustics and Signal Processing.
Dr. Hartmann's published work in psychoacoustics deals with pitch perception,[10][11][12][13][14][15] signal detection,[16][17][18][19][20][21] modulation detection [22][23][24][25][26] and localization of sound.[27][28][29] His pitch perception research is characterized by an unusual emphasis on tonotopically local effects such as pitch shifts, presumably originating in the auditory periphery. His sound localization research has emphasized signal confusions caused by room reflections and the strategies used by listeners to cope with them.
He has written one textbook, Signals, Sound, and Sensation (published by Springer-Verlag – AIP Press, 1997) and he was co-editor of the Springer Handbook of Acoustics (2007). He is the author of over 75 peer-reviewed journal articles. His patented (USPTO# 6,925,426) protocol for high-fidelity sound recording with uniquely realistic spatial characteristics became a New York Times science feature by James Glanz, November 16, 1999 "Recorded music gets dose of reality".
In 2001 Dr. Hartmann received the Distinguished Faculty Award from Michigan State University and the Interdisciplinary (Helmholtz–Rayleigh) ASA Silver Medal from the Acoustical Society of America.[30] He later received the ASA Gold Medal in 2017 "for contributions to research and education in psychological acoustics and service to the society".[31]
Dr. Hartmann has been a fellow of the Acoustical Society of America since 1983. He was chairman of the Technical Committee on Musical Acoustics and a member of the Society's Executive Council. He gave the Society Tutorial at the spring meeting in 1996 entitled, "Pitch, Periodicity and the Brain". He served as vice president of the Society (1998–1999) and as president (2001–2002). As president, he worked to enhance the Society's connections with allied organizations such as the Institute for Noise Control Engineering, and to expand the Society's international presence.
References and notes
↑ "Binaural edge pitch," M.A. Klein and W.M. Hartmann, J. Acoust. Soc. Am. {70}, 51–61, (1980).
↑ "Binaural coherence edge pitch," W.M. Hartmann and C.D. McMillon, J. Acoust. Soc. Am. {109}, 294–305 (2001).
↑ "On the pitches of the components of a complex tone," W.M. Hartmann and S.L. Doty, J. Acoust. Soc. Am. {99}, 567-578 (1996).
↑ "The pitch of a mistuned harmonic: Evidence for a template model," J-Y. Lin and W.M. Hartmann J. Acoust Soc. Am. {103}, 2608–2617 (1998).
↑ "Enhancing and unmasking the harmonics of a complex tone," W.M. Hartmann and M.J. Goupell, J. Acoust. Soc. Am. {120}, 2142–2157 (2006).
↑ Hartmann WM and Elliott RJ (1967) Theory of 1-phonon impurity-induced infra-red absorption in rare-gas solids. Proceedings of the Physical Society of London 91:187
↑ Elliott RJ and Hartmann WM (1967) Theory of neutron scattering from liquid and solid hydrogen. Proceedings of the Physical Society of London, 90:671–&.
↑ "Theory of the vibrations of dilute alloys with short-range order," W.M. Hartmann, Phys. Rev. {172}, 677–688 (1968).
↑ "Pseudopotential calculation of the latent heats of melting of simple metals," W.M. Hartmann, Physical Review Letters {26}, 1640–1643 (1971).
↑ "On the Duifhuis pitch effect," J-Y. Lin and W.M. Hartmann, J. Acoust Soc. Am. {101}, 1034-1043 (1997).
↑ "On the origin of the enlarged melodic octave," W.M. Hartmann, J. Acoust. Soc. Am. {93}, 3400–3409 (1993).
↑ "Stream segregation and peripheral channeling," W.M. Hartmann and D. Johnson, Music Perception Journal {9}, 155–183 (1991).
↑ "Pitch perception and the segregation and integration of auditory entities," W.M. Hartmann, in Auditory Function – Neurobiological Bases of Hearing, eds. Edelman, G.W., Gall, E., and Cowan, W.M. John Wiley and Sons, pp. 623–645 (1988).
↑ "The effect of amplitude envelope on the pitch of sine wave tones." W.M. Hartmann, J. Acoust. Soc. Am. {63}, 1105–1113 (1978).
↑ "On measuring the frequency difference limen for short tones," W.M. Hartmann, B. Rakerd, and T.N. Packard, Perception and Psychophysics, {38}, 199–207 (1985).
↑ "Release from speech on speech masking by adding a delayed masker at a different location," B. Rakerd, N.L. Aaronson, and W.M. Hartmann, J. Acoust. Soc. Am. {119}, 1597–1605 (2006).
↑ "The role of reverberation in release from masking due to spatial separation of sources for speech identification," G. Kidd, C.R. Mason, A. Brughera, and W.M. Hartmann, Acta Acustica {91}, 526–536 (2005).
↑ "The masking level difference in low-noise noise," J.W. Hall, J.H. Grose, and W.M. Hartmann, J. Acoust. Soc. Am. {103}, 2573–2577 (1998).
↑ "Turning on a tone," W.M. Hartmann and D. Sartor, J. Acoust. Soc. Am. {90}, 866–873 (1991).
↑ "Noise power fluctuations and the masking of sine signals," W.M. Hartmann and J. Pumplin, J. Acoust. Soc. Am. {83}, 2277–2289, (1988).
↑ "On the detection of a tone masked by two tones," W.M. Hartmann, J. Acoust. Soc. Am. {71}, 127–132 (1982).
↑ "Discrimination of spectral density," W.M. Hartmann, Stephen McAdams, Andrew Gerszo, and Pierre Boulez, J. Acoust. Soc. Am.{79}, 1915–1925 (1986).
↑ "Theory of frequency modulation detection for low modulation frequencies" W.M. Hartmann and M.A. Klein, J. Acoust. Soc. Am. {67}, 935–946 (1980).
↑ "The effect of uncertainty on the detection of frequency modulation at low modulation rates," W.M. Hartmann and M.A. Klein, Percep. and Psychophysics {30}, 417–424 (1981).
↑ "Detection of mixed modulation," W.M. Hartmann and G.M. Hnath, Acustica {50}, 297–312 (1982).
↑ "Hearing a mistuned harmonic in an otherwise periodic complex tone," W.M. Hartmann, S. McAdams, and B.K. Smith, J. Acoust. Soc. Am. {88}, 1712–1724, (1990).
↑ "Interaural fluctuations and the detection of interaural incoherence I, II, and III, M.J. Goupell and W.M.Hartmann, J. Acoust. Soc. Am. {bf 119}, 3971–3986 (2006); {121}, 2127–2136 (2007); {122}, 1029–1045 (2007).
↑ "Localization of sound in rooms IV: The Franssen effect," W.M. Hartmann and B. Rakerd, J. Acoust. Soc. Am. {86},1366–1373 (1989).
↑ "Localization of sound in rooms I," W.M. Hartmann, J. Acoust. Soc. Am. {74}, 1380–1391 (1983).
Acoustics is a branch of physics that deals with the study of mechanical waves in gases, liquids, and solids including topics such as vibration, sound, ultrasound and infrasound. A scientist who works in the field of acoustics is an acoustician while someone working in the field of acoustics technology may be called an acoustical engineer. The application of acoustics is present in almost all aspects of modern society with the most obvious being the audio and noise control industries.
Pitch is a perceptual property that allows sounds to be ordered on a frequency-related scale, or more commonly, pitch is the quality that makes it possible to judge sounds as "higher" and "lower" in the sense associated with musical melodies. Pitch is a major auditory attribute of musical tones, along with duration, loudness, and timbre.
The pitch being perceived with the first harmonic being absent in the waveform is called the missing fundamental phenomenon.
A combination tone is a psychoacoustic phenomenon of an additional tone or tones that are artificially perceived when two real tones are sounded at the same time. Their discovery is credited to the violinist Giuseppe Tartini and so they are also called Tartini tones.
The absolute threshold of hearing (ATH), also known as the absolute hearing threshold or auditory threshold, is the minimum sound level of a pure tone that an average human ear with normal hearing can hear with no other sound present. The absolute threshold relates to the sound that can just be heard by the organism. The absolute threshold is not a discrete point and is therefore classed as the point at which a sound elicits a response a specified percentage of the time.
Robert Sherwood Shankland was an American physicist and historian.
In psychoacoustics, a pure tone is a sound with a sinusoidal waveform; that is, a sine wave of constant frequency, phase-shift, and amplitude. By extension, in signal processing a single-frequency tone or pure tone is a purely sinusoidal signal . A pure tone has the property – unique among real-valued wave shapes – that its wave shape is unchanged by linear time-invariant systems; that is, only the phase and amplitude change between such a system's pure-tone input and its output.
Sound localization is a listener's ability to identify the location or origin of a detected sound in direction and distance.
Musical acoustics or music acoustics is a multidisciplinary field that combines knowledge from physics, psychophysics, organology, physiology, music theory, ethnomusicology, signal processing and instrument building, among other disciplines. As a branch of acoustics, it is concerned with researching and describing the physics of music – how sounds are employed to make music. Examples of areas of study are the function of musical instruments, the human voice, computer analysis of melody, and in the clinical use of music in music therapy.
A parametric array, in the field of acoustics, is a nonlinear transduction mechanism that generates narrow, nearly side lobe-free beams of low frequency sound, through the mixing and interaction of high frequency sound waves, effectively overcoming the diffraction limit associated with linear acoustics. The main side lobe-free beam of low frequency sound is created as a result of nonlinear mixing of two high frequency sound beams at their difference frequency. Parametric arrays can be formed in water, air, and earth materials/rock.
Computational auditory scene analysis (CASA) is the study of auditory scene analysis by computational means. In essence, CASA systems are "machine listening" systems that aim to separate mixtures of sound sources in the same way that human listeners do. CASA differs from the field of blind signal separation in that it is based on the mechanisms of the human auditory system, and thus uses no more than two microphone recordings of an acoustic environment. It is related to the cocktail party problem.
The ASA Silver Medal is an award presented by the Acoustical Society of America to individuals, without age limitation, for contributions to the advancement of science, engineering, or human welfare through the application of acoustic principles or through research accomplishments in acoustics. The medal is awarded in a number of categories depending on the technical committee responsible for making the nomination.
Repetition pitch is an unexpected sensation of tonality or pitch that often occurs in nature when a sound is reflected against a sound-reflecting surface, and both the original and the reflected sound arrive at the ear of an observer, but with a short time delay between the two arrivals.
In physics, sound is a vibration that propagates as an acoustic wave through a transmission medium such as a gas, liquid or solid. In human physiology and psychology, sound is the reception of such waves and their perception by the brain. Only acoustic waves that have frequencies lying between about 20 Hz and 20 kHz, the audio frequency range, elicit an auditory percept in humans. In air at atmospheric pressure, these represent sound waves with wavelengths of 17 meters (56 ft) to 1.7 centimeters (0.67 in). Sound waves above 20 kHz are known as ultrasound and are not audible to humans. Sound waves below 20 Hz are known as infrasound. Different animal species have varying hearing ranges.
Psychoacoustics is the branch of psychophysics involving the scientific study of sound perception and audiology—how the human auditory system perceives various sounds. More specifically, it is the branch of science studying the psychological responses associated with sound. Psychoacoustics is an interdisciplinary field including psychology, acoustics, electronic engineering, physics, biology, physiology, and computer science.
Ernst Terhardt is a German engineer and psychoacoustician who made significant contributions in diverse areas of audio communication including pitch perception, music cognition, and Fourier transformation. He was professor in the area of acoustic communication at the Institute of Electroacoustics, Technical University of Munich, Germany.
Lloyd Alexander Jeffress was an acoustical scientist, a professor of experimental psychology at the University of Texas at Austin, and a developer of mine-hunting models for the US Navy during World War II and after, Jeffress was known to psychologists for his pioneering research on auditory masking in psychoacoustics, his stimulus-oriented approach to signal-detection theory in psychophysics, and his "ingenious" electronic and mathematical models of the auditory process.
Temporal envelope (ENV) and temporal fine structure (TFS) are changes in the amplitude and frequency of sound perceived by humans over time. These temporal changes are responsible for several aspects of auditory perception, including loudness, pitch and timbre perception and spatial hearing.
Brian C.J. Moore FMedSci, FRS is an Emeritus Professor of Auditory Perception in the University of Cambridge and an Emeritus Fellow of Wolfson College, Cambridge. His research focuses on psychoacoustics, audiology, and the development and assessment of hearing aids.
Binaural unmasking is phenomenon of auditory perception discovered by Ira Hirsh. In binaural unmasking, the brain combines information from the two ears in order to improve signal detection and identification in noise. The phenomenon is most commonly observed when there is a difference between the interaural phase of the signal and the interaural phase of the noise. When such a difference is present there is an improvement in masking threshold compared to a reference situation in which the interaural phases are the same, or when the stimulus has been presented monaurally. Those two cases usually give very similar thresholds. The size of the improvement is known as the "binaural masking level difference" (BMLD), or simply as the "masking level difference".
This page is based on this Wikipedia article Text is available under the CC BY-SA 4.0 license; additional terms may apply. Images, videos and audio are available under their respective licenses.
