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| -rw-r--r-- | doc/tutorials/cognition/durations affect recognition.pd | 18 | ||||
| -rw-r--r-- | doc/tutorials/cognition/ear dominance.pd | 78 | ||||
| -rw-r--r-- | doc/tutorials/cognition/identification of order.pd | 19 |
3 files changed, 115 insertions, 0 deletions
diff --git a/doc/tutorials/cognition/durations affect recognition.pd b/doc/tutorials/cognition/durations affect recognition.pd new file mode 100644 index 00000000..df1a6468 --- /dev/null +++ b/doc/tutorials/cognition/durations affect recognition.pd @@ -0,0 +1,18 @@ +#N canvas 448 122 530 585 10; +#X text 91 14 Note durations affect recognition; +#X text 117 91 (from Thinking in Sound p.52); +#X text 57 122 "Sequences of tones forming melodies are perceived as +more than a series of pitches \, and seem to have an emergent property +characteristic of the particular pattern- in other words \, they form +distinctive auditory gestalten or temporal compounds. If melodies can +be considered as temporal compounds \, then we would expect to find +a 'temporal template' for melody recognition that has both upper and +lower durational limits." [1]; +#X text 31 479 [1] "Thinking in sound: the cognitive psychology of +human audition" \, ed. S. McAdams and E. Bigand. Oxford University +Press \, 1993 \, p52; +#X text 81 294 play happy birthday fast/slow; +#X text 79 320 play twinkle twinkle little star fast/slow; +#X obj 0 0 cnv 15 580 40 empty empty durations_affect_recognition 20 12 +1 18 -216441 -66577 0; +#X text 258 24 'cognition' by Hans-Christoph Steiner; diff --git a/doc/tutorials/cognition/ear dominance.pd b/doc/tutorials/cognition/ear dominance.pd new file mode 100644 index 00000000..324c9aea --- /dev/null +++ b/doc/tutorials/cognition/ear dominance.pd @@ -0,0 +1,78 @@ +#N canvas 336 40 526 598 10; +#X obj 0 0 cnv 15 520 40 empty empty ear_dominance 20 12 1 18 -216441 +-66577 0; +#X text 258 24 'cognition' by Hans-Christoph Steiner; +#X text 36 166 The original experiment is from:; +#X text 46 182 Deutsch \, D. (1975). Musical Illusions. Scientific +American \, 233 \, pp92-104.; +#X obj 251 550 dac~; +#X obj 168 496 *~; +#X obj 184 470 tgl 25 1 empty empty left 0 -6 1 10 -212983 -1 -1 1 +1; +#X obj 168 431 *~; +#X obj 168 384 osc~; +#X obj 212 282 alternate; +#X obj 146 359 t b f b; +#X msg 212 391 0 5; +#X msg 127 391 1 5; +#X obj 184 412 line~; +#X msg 16 272 \; pd dsp \$1; +#X obj 16 235 tgl 35 0 empty empty compute_audio 0 -6 1 12 -4033 -1 +-1 0 1; +#X obj 212 258 metro 500; +#X obj 211 226 tgl 25 0 empty empty start 0 -6 1 10 -4033 -1 -1 0 1 +; +#X obj 193 256 bng 15 250 50 0 empty empty empty 0 -6 0 8 -262144 -1 +-1; +#X msg 160 322 220; +#X msg 189 322 440; +#X msg 279 321 440; +#X msg 309 321 220; +#X obj 342 496 *~; +#X obj 358 470 tgl 25 1 empty empty right 0 -6 1 10 -261364 -1 -1 1 +1; +#X obj 342 431 *~; +#X obj 342 384 osc~; +#X obj 320 359 t b f b; +#X msg 386 391 0 5; +#X msg 301 391 1 5; +#X obj 358 412 line~; +#X text 35 51 Most listeners perceive this stream as a tone alternating +back and forth from ear to ear \, while alternating between high and +low pitches. What is actually happening is that the high and low tones +are alternating in each ear \, but at opposite times.; +#X text 35 119 Your dominant ear tells the brain that the pitch of +the tone is changing \, while both ears track the position of the high +pitched tone.; +#X connect 5 0 4 0; +#X connect 6 0 5 1; +#X connect 7 0 5 0; +#X connect 8 0 7 0; +#X connect 9 0 20 0; +#X connect 9 0 19 0; +#X connect 9 1 21 0; +#X connect 9 1 22 0; +#X connect 10 0 12 0; +#X connect 10 1 8 0; +#X connect 10 2 11 0; +#X connect 11 0 13 0; +#X connect 12 0 13 0; +#X connect 13 0 7 1; +#X connect 15 0 14 0; +#X connect 16 0 9 0; +#X connect 16 0 18 0; +#X connect 17 0 16 0; +#X connect 19 0 10 0; +#X connect 20 0 27 0; +#X connect 21 0 10 0; +#X connect 22 0 27 0; +#X connect 23 0 4 1; +#X connect 24 0 23 1; +#X connect 25 0 23 0; +#X connect 26 0 25 0; +#X connect 27 0 29 0; +#X connect 27 1 26 0; +#X connect 27 2 28 0; +#X connect 28 0 30 0; +#X connect 29 0 30 0; +#X connect 30 0 25 1; diff --git a/doc/tutorials/cognition/identification of order.pd b/doc/tutorials/cognition/identification of order.pd new file mode 100644 index 00000000..54cc9fa6 --- /dev/null +++ b/doc/tutorials/cognition/identification of order.pd @@ -0,0 +1,19 @@ +#N canvas 336 40 530 585 10; +#X obj 123 280 osc~ 500; +#X obj 275 280 phasor~; +#X obj 275 261 sig~; +#X msg 275 241 300; +#X text 74 63 There are four distinct sounds being played in a sequence. +Determine the order of the sequence of the sounds.; +#X obj 192 259 noise~; +#X text 97 619 (Warren 1968 \; Warren et al. 1969 \; Warren and Obusek +1972); +#X obj 192 279 hip~ 3000; +#X text 347 280 speech 'ee'; +#X text 167 119 (from Thinking in Sound \, p.40); +#X obj 0 0 cnv 15 580 40 empty empty Identification_of_order 20 12 +1 18 -216441 -66577 0; +#X text 258 24 'cognition' by Hans-Christoph Steiner; +#X connect 2 0 1 0; +#X connect 3 0 2 0; +#X connect 5 0 7 0; |