Index
393
Neve, Rupert, xv, xxi
Noise, 8, 34, 63, 126, 162, 174, 240, 257, 291, 296, 299, 300, 304, 313,
314, 315, 316, 336, 345, 346, 349, 350, 351,
noise gate, 256, 316, 317, 337
pink noise, 367
Nominal level, 200
defi nition, 373
Notating sounds (
see also Graphs), 106, 112, 247
snap shots of time, 113–114
O
Objective descriptions, defi nition, 373
Off-axis, defi nition, 374
Off-axis coloration, defi nition, 374
Onset, 9
defi nition, 374
Orchestration, 41, 225, 328
Overall program, 41, 48, 91, 141, 146–147, 160, 161, 177, 180, 181, 189,
204, 224, 227, 243, 248, 267, 269, 328, 333, 344, 352, 353
characteristics of, 230–233
environment of (
see perceived performance environment),
53–54, 230–233
Overall texture (
see Overall program)
defi nition, 374
Overtones, 7, 8, 9, 22, 32, 93, 110, 163, 164, 165, 168, 169, 226
defi nition, 374
P
Partials, 8–9, 22, 28, 32, 163, 165–166, 168, 174–175, 191, 226
defi nition, 374
Passive listening, 61, 78–79
defi nition, 374
Pattern perception, 39, 45, 64–65, 95, 198–199
Penderecki, Krzysztof, 160
“Penny Lane,” The Beatles, 44, 60
Pentatonic system, 40
Perceived Parameters, 4, 5, 15–34, 36–38, 74, 90, 91, 92, 99, 100–101,
104, 106, 114, 164, 312, 313, 318, 345
defi nition, 374
duration, 19–21
interaction, 30–34
loudness, 18–19
pitch, 16–17
spatial characteristics, 23–30
timbre, 21–22
Perceived performance environment, 38, 49, 50, 52, 53–55, 58, 101,
114, 177–184, 188, 195–196, 201, 203–205, 224, 230, 248, 263,
265, 275–276, 321–322, 329, 333, 357
characteristics, 182, 195–196
defi nition, 374
evaluation of, 233, 241
exercise, 220–221
overall texture, 224, 230, 333
Perceived performance intensity (
see Performance intensity)
Perfect pitch, 16
defi nition, 374
Performance intensity, 38, 44, 47, 60, 101, 139, 140, 141–142, 144, 147,
149, 167, 226–227, 238, 250, 266, 269, 276, 313, 320, 325, 326,
336, 339, 346, 361, 362
defi nition, 374
dynamic markings, and, 141–152
musical balance exercise, and, 60
versus musical balance, 110, 151–153, 233
versus musical balance exercise, 156
versus musical balance graph, 152, 234, 241, 244, 246
Performance intensity versus musical balance graph, defi nition, 374
Performance space, creating, 328–334
Performance techniques, 38, 47
Perspective, 43, 89, 91, 92–94, 95, 103, 104, 124–125, 129, 132, 144,
146–147, 149, 157–159, 192, 224, 226, 239–242, 276, 320, 321,
341, 345
defi nition, 375
exercise, 251
focus, and, 92–94, 243–246
hierarchical levels of, 93
shifting of, 94, 243–246, 311–316, 317–319
sound quality, and, 160–173
Phantom images, 38, 51–52, 56–38, 180, 184, 194, 196, 209, 212–213,
223, 293, 329
defi nition, 375
point source, 51–52, 56, 186, 210–211, 215, 223
spread image, 51–52, 56, 186, 210–211, 215, 223
Phon, 18
defi nition, 375
Physical dimensions, defi nition, 375
Pinna, 27
Pitch, 8–9, 16–17, 34–35, 37, 38–42, 43, 45, 66–69, 76, 93, 101–102,
158–175, 176, 200, 201, 225–229, 230, 232, 235, 282, 312, 313,
320–321, 324, 346
concerns of audio production, 40–42, 326–328
defi nition, 162, 163, 166, 167, 169–170, 172, 174, 375
estimation, 359
evaluating, 118–137
examining pitch defi nition, 163
internal pitch reference, 120–121
intervals, 16–19
level estimation exercise, 136
levels and relationships, 38–42
perception, 16–17, 30–32, 121
pitch center, 17, 39
pitch reference exercise, 134–135
pitch register boundaries, 360
quality, 31, 41, 163, 167, 174
recognizing levels, 121–124
registers, 121, 129, 136, 139, 169, 231, 245, 322, 327
traditional uses of, 39–40
Pitch area, 38–42, 101, 118, 125–128, 129, 161, 199–200, 201, 219, 225–
227, 233, 235, 241–242, 245–246, 249–250, 326, 327, 328
analysis exercise, 126, 136–137
analysis graph, 125
analysis graph, defi nition, 375
defi nition, 375
density, 129
environments, 199
evaluation, 119, 129
frequency band recognition, 124–128
musical idea, 129, 226–227
secondary, 124, 226
Pitch defi nition, defi nition, 375
Pitch density, 39, 40–41, 66, 69, 101, 129, 159–160, 225–227, 241–242,
245–246, 276, 316, 319, 320, 323, 327, 328, 330
defi nition, 375
evaluating, 161, 225–227, 250
exercise, 249–250
graph, 153, 223–224
overall texture, 230–233
pitch area and, 129
timbral balance and, 225–229, 320
Pitch reference, defi nition, 375
Pitch-level estimation, defi nition, 375
Pitch/frequency registers, defi nition, 375
Playback (listening) environment, xxvii, 23–24, 56, 176–177, 298–306
interaction with reproduced sound, 23, 354–355
listener location, 23–24, 300–304, 355
qualities, 23, 298
system, 24, 176, 276, 298, 299–300, 349, 354–355, 366–367, 368
Poetry, 70–71
Point of reference, xiii–xv, 58, 165, 197, 308, 353
Point source, 51–52, 56, 186, 210–211, 215, 223
defi nition, 375
Polar pattern, 282–284
defi nition, 376
Prefi x, 9–10
defi nition, 376
Preprocessing, 257, 293, 316, 317