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Z-Sensation & Perception > Chapter 11 > Flashcards

Chapter 11 Flashcards

1
Q

physical definition: pressure changes in the air or other medium.
perceptual definition: the experience we have when we hear.

A

sound

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2
Q

the pattern of air pressure changes, which travels through air at 340 meters per second (and through water at 1,500 meters per second)

A

sound wave

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3
Q

occurs when changes in air pressure occur in a pattern described by a mathematical function called a sine wave.

A

pure tone

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4
Q

the number of cycles per second that the pressure changes repeat

A

frequency

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5
Q

the size of the pressure change

A

amplitude

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6
Q

the units used to measure frequency.

A

Hertz (Hz)

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7
Q

a unit of measuring sound used by auditory researchers which converts the large range of sound pressures into a more manageable scale.

A

Decibel (dB)

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8
Q

a notation added to indicate that decibels were determined using the standard pressure p of 20 micropascals.

A

sound pressure level (SPL)

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9
Q

the term used to refer to the sound pressure of a sound stimulus in decibels

A

sound level

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10
Q

a waveform that undergoes a pattern of changes, returns to its original pattern, and then repeats the same pattern of changes.

A

periodic waveform

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11
Q

The repetition rate of a periodic waveform

A

fundamental frequency

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12
Q

complex tones that are made up of a number of pure tone (sine wave) components added together.

A

harmonic

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13
Q

a pure tone with frequency equal to the fundamental frequency. Usually called the fundamental of the tone.

A

first harmonic

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14
Q

pure tones with frequencies that are whole-number (2, 3, 4, etc.) multiples of the fundamental frequency.

A

higher harmonics

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15
Q

provides a way of indicating a complex tones fundamental frequency and harmonics that add up to the tones complex waveform.

A

frequency spectra

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16
Q

the perceptual quality most closely related to the level or amplitude of an auditory stimulus, which is expressed in decibels.

A

loudness

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17
Q

indicates the threshold for hearing versus frequency.

A

audibility curve

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18
Q

the area in which we can best hear the tones that fall there.

A

auditory response area

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19
Q

curves that indicate the sound levels that create the same perception of loudness at different frequencies.

A

equal loudness curves

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20
Q

the property of auditory sensation in terms of which sounds may be ordered on a musical scale extending from low to high.

A

pitch

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21
Q

the perceptual experience of increasing pitch that accompanies increases in a tones fundamental frequency.

A

tone height

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22
Q

the position of a note within the musical octave

A

tone chroma

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23
Q

a series of eight notes occupying the interval between (and including) two notes, one having twice or half the frequency of vibration of the other.

A

octave

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24
Q

pitch remains the same, even when the fundamental or other harmonics are removed.

A

effect of the missing fundamental

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25
Q

the quality that distinguishes between two tones that have the same loudness, pitch, and duration, but still sounds different.

A

timbre

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26
Q

the buildup of sound at the beginning of the tone.

A

attack

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27
Q

the decrease in sound at the end of the tone.

A

decay

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28
Q

the pattern of pressure changes in the waveform repeats.

A

periodic sounds

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29
Q

the pattern of pressure changes in the waveform that do not repeat.

A

aperiodic sounds

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30
Q

the area in which sound waves first pass through and consists of the pinnae and the auditory canal.

A

outer ear

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31
Q

the structures that stick out from the sides of the head.

A

pinnae

32
Q

a tubelike recess about 3 cm long that protects the eardrum.

A

auditory canal

33
Q

the membrane of the middle ear, which vibrates in response to sound waves.

A

tympanic membrane/eardrum

34
Q

occurs in the auditory canal when sound waves that are reflected back from the closed end of the auditory canal interact with sound waves that are entering the canal.

A

resonance

35
Q

the natural frequency of an object where it tends to vibrate at a higher amplitude.

A

resonant frequency

36
Q

a small cavity, about 2 cubic centimeters in volume, that separates the outer and inner ears.

A

middle ear

37
Q

the three smallest bones in the body.

A

ossicles

38
Q

aka the hammer. Set into vibration by the tympanic membrane, to which it is attached.

A

malleus

39
Q

aka the anvil. Receives the vibrations transmitted by the malleus and transmits it to the stapes.

A

Incus

40
Q

aka the stirrup. Receives vibrations from the incus and transmits them to the inner ear.

A

stapes

40
Q

aka the stirrup. Receives vibrations from the incus and transmits them to the inner ear.

A

stapes

41
Q

connective tissue membrane located at the end of the middle ear and the beginning of the inner ear.

A

oval window

42
Q

the smallest skeletal muscles in the body that are attached to the ossicles, and at very high sound levels they contract to dampen the ossicles’ vibration.

A

middle ear muscles

43
Q

the semicircular canals and cochlea, which form the organs of balance and hearing and are embedded in the temporal bone.

A

inner ear

43
Q

the semicircular canals and cochlea, which form the organs of balance and hearing and are embedded in the temporal bone.

A

inner ear

44
Q

the spiral cavity of the inner ear containing the organ of Corti.

A

cochlea

45
Q

the area of the uncoiled cochlea that separates the upper and lower half.

A

cochlear partition

46
Q

a structure in the cochlea of the inner ear which produces nerve impulses in response to sound vibrations.

A

Organ of Corti

47
Q

the receptors for hearing.

A

hair cells

48
Q

a membrane in the cochlea that bears the organ of Corti.

A

basilar membrane

49
Q

a highly hydrated extracellular matrix that resides above the hair bundles of mechanosensory hair cells in the cochlea.

A

tectorial membrane

50
Q

a small process at the tip of a hair cell that bends in response to pressure changes.

A

stereocilia

51
Q

extracellular filaments that stretch and open tiny ion channels in the membrane of the stereocilia, which function like trapdoors.

A

tip links

52
Q

firing at the same place in the sound stimulus.

A

phase locking

53
Q

the movement that scientist Bekesy described for the basilar membrane’s vibration.

A

traveling wave

54
Q

the places on the membrane that vibrate the most

A

apex

55
Q

area near the oval window, place on the membrane that vibrates the least

A

base

56
Q

an illustration detailing the sorting of frequencies, with high frequencies activating the base of the cochlea and low frequencies activating the apex.

A

tonotopic map

57
Q

determined by presenting pure tones of different frequencies and measuring the sound level necessary to cause the neuron to increase its firing above the baseline or “spontaneous” rate in the absence of sound.

A

frequency tuning curve

58
Q

the frequency to which the neuron is most sensitive or has the lowest sound level threshold.

A

characteristic frequency

59
Q

an inactive mechanical process that took place in the outer hair cells.

A

cochlear amplifier

60
Q

a theory that is based on the relation between a sounds frequency and the place along the basilar membrane that it activated.

A

place theory

61
Q

The low-order harmonics of a complex tone can be separated out by a single auditory filter

A

resolved harmonics

62
Q

The high-order harmonics of a complex tone evoke a complex temporal pattern of activation on the basilar membrane whose envelope repeats at the fundamental period of the waveform.

A

unresolved harmonics

63
Q

a sound stimulus created by Edward Burns and Neil Viemeister that wasn’t associated with vibration of a particular place on the basilar membrane, but which created a perception

A

amplitude-modulated noise

64
Q

a stimulus that contains many random frequencies so it doesn’t create a vibration pattern on the basilar membrane that corresponds to a specific frequency.

A

noise

65
Q

the level (or intensity) of the noise was changed so the loudness of the noise fluctuated rapidly up and down.

A

amplitude modulation

66
Q

the major mechanism of pitch perception

A

temporal coding

67
Q

structures below the cerebral cortex

A

subcortical structures

68
Q

cochlear nucleus–> superior olivary nucleus–> inferior colliculus–> medial geniculate nucleus–> primary auditory

A

sequence of subcortical structures

69
Q

neurons tuned to a specific pitch.

A

pitch neurons

70
Q

occurs when loud noises cause degeneration of the hair cells.

A

noise-induced hearing loss

71
Q

sounds heard during leisure activities (both wanted and unwanted)

A

leisure noise

72
Q

an audiogram that reflects normal hearing sensitivity across all frequency ranges, but speech-in-noise tests reveal a deficit.

A

hidden hearing loss

73
Q

a plot of hearing loss versus frequency

A

audiogram

Z-Sensation & Perception (10 decks)

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