From 4b046252c27acaed363a19fb8bc4b95b92f2c4e5 Mon Sep 17 00:00:00 2001
From: Hans-Christoph Steiner <eighthave@users.sourceforge.net>
Date: Wed, 14 Apr 2004 14:51:26 +0000
Subject: added first cognition patches

svn path=/trunk/; revision=1602
---
 .../cognition/durations affect recognition.pd      | 18 +++++
 doc/tutorials/cognition/ear dominance.pd           | 78 ++++++++++++++++++++++
 doc/tutorials/cognition/identification of order.pd | 19 ++++++
 3 files changed, 115 insertions(+)
 create mode 100644 doc/tutorials/cognition/durations affect recognition.pd
 create mode 100644 doc/tutorials/cognition/ear dominance.pd
 create mode 100644 doc/tutorials/cognition/identification of order.pd

(limited to 'doc')

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
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+#X msg 160 322 220;
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+#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
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+#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;
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+#X connect 10 2 11 0;
+#X connect 11 0 13 0;
+#X connect 12 0 13 0;
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+#X connect 20 0 27 0;
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+#X connect 22 0 27 0;
+#X connect 23 0 4 1;
+#X connect 24 0 23 1;
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+#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;
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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;
-- 
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