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(French: concrete music) A development introduced in Paris in 1948 by Pierre Schaeffer at the studio of the French Radio (O.R.T.F.). Its aim was to replace traditional musical material with recorded (i.e. concrete) sounds which were then manipulated by FILTERing, tape reversal, TAPE LOOPs, speed changes, tape SPLICEs, or other electronic means. The source of all sounds, however, was environmental. The experimental side of this study developed the concept of l'objet sonore.
The subjective impression of FREQUENCY, in the same sense that LOUDNESS is the subjective sense of the INTENSITY or AMPLITUDE of a sound. As such, pitch is a psychoacoustic variable, and the degree of sensitivity shown to it varies widely with people. Some individuals have a sense of remembered pitch, that is, a pitch once heard can be remembered and compared to others for some length of time; others have a sense of absolute pitch called PERFECT PITCH.
A form of active participation in the SOUNDSCAPE. Though the variations are many, the essential purpose of the soundwalk is to encourage the participant to listen discriminatively, and moreover, to make critical judgments about the sounds heard and their contribution to the balance or imbalance of the sonic environment.
The study of the relationship between physical SOUNDs and the brain's interpretation of them. Until recently, psychoacoustics has devoted more attention to the behaviour of the peripheral auditory system than to the details of cognitive processing.