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%0 Book Section
%A McAdams, Stephen
%T Recognition of Auditory Sound Sources and Events
%D 1993
%B Thinking in Sound : The Cognitive Psychology of Human Audition
%I Oxford University Press
%P 146-198
%F McAdams93a
%K event structure
%K auditory representations
%K natural acoustic events
%K musical instruments
%K ecological psychology
%K information processing
%X (1) Being interested in the mechanisms by which recognition occurs, and given the relative paucity of research in ecological acoustics (aside from a growing body of research on speech perception), this chapter will primarily adopt the information processing approach in the discussion that follows, making reference to possible contributions by the ecological stance where these are appropriate. (2) The purpose of the present chapter is to examine aspects of auditory representations and the nature of the processes operating on them that result in the recognition of sound sources and events. For the purpose of illustration, the discussion will be primarily confined to musical instruments and a few simple, `natural' acoustic events. Relatively little work has been done on systematically investigating the various stages of the recognition process in audition. Therefore, I am obliged to examine a number of experiments that were directed at other experimental issues in an attempt to glean indirectly information that will help us piece together a picture of nonverbal auditory recognition. While the purpose of this chapter is to examine auditory recognition in general, most of the experiments that have directly dealt with the recognition of musical instruments and natural sound events have been confined to identification experiments. (3) The structure of the rest of this chapter is as follows. First I will consider in abstract terms the stages of processing that may be imagined to contribute to recognition as conceived within the information processing approach and extract from this consideration a number of important issues that should be analyzed. Next I will examine experimental data from the literature on perception and identification of musical instrument tones and natural acoustic events. These experiments variously involved asking listeners to discriminate between sounds, to judge the degree of similarity among them, to classify them, or to identify them by name or by an arbitrarily chosen label. The data obtained from these experiments will be used to complete a more concrete, if tentative, picture of the stages of auditory processing previously discussed in abstract terms. Finally, I will discuss the properties of a number of models of recognition drawn from the domains of nonverbal audition, speech, and visual form recognition and analyze them in terms of what they might contribute to further clarification of the process of auditory recognition.
%1 4
%2 3
%U http://articles.ircam.fr/textes/McAdams93a