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If two TONEs are about 15 Hertz or less apart, INTERFERENCE will result from their similar though not exactly identical frequencies. Gradually they will move out of PHASE until at 180° destructive interference results, producing diminished loudness. When they move back into phase, constructive interference will produce increased loudness. Thus, beats are a form of AMPLITUDE MODULATION. As two frequencies are brought closer together, the beats will gradually slow down and disappear when they become identical.
The FREQUENCY content of a sound or audio SIGNAL, often displayed as a graphic representation of amplitude against frequency. The spectrum of a sound is a primary determinant of its perceived TIMBRE.
(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 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.