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A single sound of definite, recognizable PITCH. It also refers to the SONORITY or the quality of TIMBRE of a particular sound or sounding instrument. In British musical usage the word is also employed to refer to the INTERVAL of a major SECOND.
A recent development where, in contrast to the conventional analog TAPE RECORDER, the audio SIGNAL is sampled within a set of pre-defined limits. It is thus the reciprocal process to that described as digital SOUND SYNTHESIS. Digital sampling is also used is some digital SOUND SYNTHESIZERs.
Any process that encourages a person to listen more discriminately, particularly to sounds of the environment. The term was originally used by R.M. Schafer in his book Ear Cleaning (Toronto, BMI Canada, 1967) to contrast with the traditional practice of ear training in music education which concentrates on the identification and reproduction of intervals, chords, melodies and so on.
Reverberation is a result of multiple REFLECTIONs. A SOUND WAVE in an enclosed or semi-enclosed environment will be broken up as it is bounced back and forth among the reflecting surfaces. Reverberation is, in effect, a multiplicity of ECHOes whose speed of repetition is too quick for them to be perceived as separate from one another. W.C. Sabine established the official period of reverberation as the time required by a sound in a space to decrease to one-millionth of its original strength.