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PSYCH 20 > LECTURE SEVEN > Flashcards

LECTURE SEVEN Flashcards

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1
Q

SOUND

A

Waves of changing air pressure with compressions and rarefactions
* Simplest sound wave is a sine wave

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2
Q

FREQUENCY (Hz)

A

related to perceived pitch

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3
Q

AMPLITUDE (dB)

A

related to perceived loudness

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4
Q

FUNDAMENTAL FREQUENCY

A
  • Basic determiner of pitch
  • Sine waves have only one frequency, the
    fundamental
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5
Q

HARMONICS

A

Changes the sound without changing its fundamental frequency (pitch)
* Complex tones have multiple frequencies at once
* For single vibration source, multiples of fundamental
* Harmonic spectra
* Gives sounds different timbre

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6
Q

TIMBRE

A

Independent of pitch and intensity

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7
Q

WAVEFORM

A

Intensity over time

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8
Q

SPECTOGRAM

A
  • Frequency and intensity over time
  • Benefit – can see all the frequencies that make up a sound
  • Simple tones = One frequency gives One line on spectrogram
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9
Q

COMPLEX TONES

A

Multiple frequencies at once
* Many lines on spectrogram

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10
Q

HAIR CELLS

A
  • Specialized neurons – auditory equivalent of photoreceptors
  • Basilar vibration (from sound) leads to stereocilia
    “hairs” flattening causing depolarization
  • Area of most vibration depends on frequency of
    sound
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11
Q

THE COCHLEA

A

“Acoustic prism”
* Different areas respond most strongly to certain
frequencies
* Physical structure mirrors spectrogram seen earlier –
detects all frequencies in complex wave in parallel
* High frequencies stimulate hair cells near base, low
frequencies stimulate hair cells near apex

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12
Q

AUDITORY CORTEX

A
  • Temporal lobe
  • After A1, splits into dorsal (where) and ventral
    (what) stream, just like vision
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13
Q

COCHLEAR IMPLANTS

A

Cochlea transmits electrical impulses to auditory cortex
* These impulses can also be provided artificially

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14
Q

HEARING LOSS

A

Conductive hearing loss
* Vibrations inhibited due to earwax buildup, infection, or otosclerosis
* Sensorineural hearing loss: Metabolic or Sensory

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15
Q

SOUND LOCALIZATION

A

Binaural and Monaural Cues

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16
Q

METABOLIC HEARING LOSS

A

Can be caused by certain drugs (ototoxicity)

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17
Q

SENSORY HEARING LOSS

A

Cause by exposure to loud noises over long periods of time

18
Q

BINAURAL CUES

A

Interaural Time Difference (ITD)
– sound reaching opposite ear is delayed
* Interaural Level Difference (ILD)
– sound reaching opposite ear is quieter

19
Q

MONAURAL CUE

A

Pinna folds – shape of ear

20
Q

CONE OF CONFUSION

A
  • Elevation and 3d make things trickier
  • ITD and ILD are ambiguous for corresponding points
    on the cone of confusion
  • Pinna cues can help
  • Best way to resolve CoC? Move your head!
21
Q

LOCALIZING DISTANCE

A
  • Best at around 1 meter
  • Underestimate long distances – inverse square law
  • Really good at telling if things are approaching or
    receding – change in intensity
22
Q

REVERBERATION

A

Sound bounces off surfaces
* “Echo” occurs when distance is large with a lot of reflections
* Overall sound sensation combination of direct sound
and reverberations
* Reverb helps gauge how far away sound source is – ratio of direct to indirect sound
* Reverberations allow you to gauge size/shape of room as well as material of walls

23
Q

AUDITORY STREAM SEGMENTATION

A
  • Sounds in the environment are all mixed together
  • Need to segment one “stream” (one source) of sound
    from others
  • Auditory scene analysis
24
Q

AUDITORY GROUPING PRINCIPLES

A
  • Similar to Gestalt visual grouping principles
  • Proximity (in time)
  • Pitch
  • Timbre
25
Q

CONTINUITY AND RESTORATION

A
  • Web activity
  • When noise added to a sound – we can reconstruct
    missing tones!
  • Prediction, top-down effects, etc.
26
Q

AUDITORY ATTENTION

A

Ability to focus attention on one speaker alone when lots of other speakers as background noise
* Note – auditory cortex responds in almost the same way as listening to only one speaker (fMRI)!
* Acoustic startle response – VERY rapid motor response to a loud unexpected noise
* Probably a good idea

27
Q

SIZE AND PITCH

A
  • Pitch is a good determiner of the size of an animal
  • If an unknown animal has a low pitch, it is probably
    large – and should be avoided
  • Frog croaking is intentionally misleading!
28
Q

Music Perception

A
  • Music involves more complicated forms than
    simple auditory perception
  • Tone / pitch
  • Timbre
  • Rhythm
  • Language (if lyrical)
  • Emotional content /
    aesthetics
  • Music is perceived
    holistically
29
Q

AMUSIA

A
  • Inability to perceive / reproduce tone
  • “Tone deafness”
  • Can be acquired or congenital
  • Flipside – absolute/perfect pitch
30
Q

MUSIC AGNOSIA

A
  • Inability to perceive music holistically
  • Similar to associative object agnosia – and similar locations of damage (temporal lobe, ventral stream)
  • You can hear it as sound, but you can’t hear it as music
  • Can appear selective to music – implications?
31
Q

RHYTHM

A
  • People can pick up on basic rhythm (pulse) of a song within only a few beats
  • Neural entrainment
32
Q

NEURAL ENTRAINMENT

A

Repetitive beat creates pulses of neural firing,
resulting in synchronized oscillations generated after only a few cycles

33
Q

ENTRAINMENT AND BEAT

A
  • Steady beat results in neural entrainment
  • Different rates of beats have different effects
  • Can result in altered states of consciousness
  • Shamanic drumming: 4 – 4.5 beats per second
    (Hz). Same frequency as theta brain waves (in between
    wakefulness and sleep). Induces trance-like state
34
Q

RHYTHM AND MOVEMENT

A
  • When listening to rhythmic music, areas of motor
    cortex and cerebellum are engaged
  • Rhythm perception is sensorimotor
  • Entrain body movement to musical rhythm. Eg:Foot tapping, head bobbing, Dancing
35
Q

MUSIC AESTHETIC

A
  • The “beautiful” and artistic qualities of music (and art in general) are known as aesthetics
  • Understanding aesthetics requires understanding of
    psychological processes leading to “aesthetic experience”
  • Related to emotional aspects, but distinct
36
Q

FEAR-SUPPRESSION AND AESTHETIC

A
  • Music and fear-suppression (Huron)
  • Something happens in the song that triggers a fear response (in the amygdala)
  • Loud unexpected noises
  • Crescendos
  • “Bass drops”
  • Frisson response
  • We then appraise the initial fear response as not harmful
  • This resolution of fear feels good, leading to part of the aesthetic experience
37
Q

PREDICTION, MUSIC AND REWARD

A
  • Caudate active during “anticipation”
  • Nucleus accumbens (dopaminergic structure in
    reward circuit) active during “peak” moments
  • Cycle of anticipation -> resolution is rewarding
  • EDM break/build/drop structure
38
Q

URBAN LEGEND MOZART

A
  • “Mozart effect”
  • Listening to Mozart before a test of. spatial reasoning improved scores on the test compared to control!
    (Rauscher et al., 1993)
  • (as filtered by pop journalism) Mozart makes you smart!
39
Q

MOZART EFFECT TRUTH

A
  • Effect size was very small, and transient (doesn’t
    last long)
  • Effect did not generalize to fluid intelligence
  • NO evidence that it does anything to babies
  • Effect can be seen with other stimuli…
  • Other kinds of music also work (even heavy metal…if
    you’re into it)
  • Pop music works better
  • Stephen King fans get the same effect from listening to Stephen King
40
Q

MUSIC AND CONGITIVE ABILITY

A
  • Linguistic/attentional factors
  • Don’t listen to lyrical music while reading
  • Cognitive arousal is good…in moderation
  • Listen to something you like, but not too much (distracting)
  • Mostly instrumental, not too arousing, steady beat but not to the point of trance induction
41
Q
A

PSYCH 20 (14 decks)

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