Psychophysiological reactions to music in male coronary patients and healthy controls
Psychophysiological reactions to music in male coronary patients and healthy controls
Psychophysiological reactions to music in male coronary patients and healthy controls
Fear across the senses Brain responses to music vocalizations and facial expressions
Musical rhythm spectra from Bach to Joplin obey a 1/f power law
Contribution of active hair-bundle motility to nonlinear amplification in the mammalian cochlea
Simplified Model to Demonstrate the Energy Flow and Formation of Traveling Waves similar to those found in Cochlea
The basis of musical consonance as revealed by congenital amusia
Evolution of Music by Public Choice
Sight over sound in the judgment of music performance
US Military Air Optical Fiber Femto-second Pulsed Sound Waves Increase Power of LASER Weapons
Cardas 223 Guitar Cable
Cardas Golden Ratio Guitar Pickups Custom made body & hardware to George’s specifications by Borealis Guitars, then hotrodded with George’s own Golden Ratio Pickups and non-capacitive Golden Ratio tone control (ie, a tone control you’ll actually use). http://www.cardas.com/cardas_guitar.php
Automotive Audio Tubed Tunes on the Go Robb Report Collection
Pitch Memory in Nonmusicians and Musicians
Functional anatomy of musical processing in listeners with absolute pitch and relative pitch
Topographic maps of multisensory attention
Musicians have enhanced subcortical auditory and audiovisual processing of speech and music
Listening to tailor-made notched music reduces tinnitus loudness and tinnitus-related auditory cortex activity
The Discordant Eardrum – Chaotic and Superior above 3 kHz
Practicing a musical instrument is a rich multisensory experience involving the integration of visual, auditory, and tactile inputs with motor responses. This combined psychophysics-fMRI study used the musician’s brain to investigate how sensory-motor experience molds temporal binding of auditory and visual signals. Behaviorally, musicians exhibited a narrower temporal integration window than nonmusicians for music but … Read more
“…the perception of musical pitch at high frequencies is not constrained by temporal phase locking in the auditory nerve but may instead stem from higher-level constraints shaped by prior exposure to harmonic sounds.” Humans’ ability to recognize musical melodies is generally limited to pure-tone frequencies below 4 or 5 kHz. This limit coincides with the … Read more
Claudia Fritz, Joseph Curtin, Jacques Poitevineau, Hugues Borsarello, Indiana Wollman, Fan-Chia Tao, and Thierry Ghasarossian PNAS 2014 111 (20) 7224-7229; published ahead of print April 7, 2014, http://www.pnas.org/content/111/20/7224.full.pdf+html “Soloist evaluations of six Old Italian and six new violins” conducted by Claudia Fritz, Joseph Curtin, Jacques Poitevineau, and Fan-Chia Tao. This research was published in the … Read more
Michael J. Hove, Céline Marie, Ian C. Bruce, and Laurel J. Trainor PNAS 2014 ; published ahead of print June 30, 2014, http://www.pnas.org/content/early/2014/06/25/1402039111.full.pdf+html The statement you provided suggests that there may be a relationship between the perception of time and musical pitch, particularly in the context of rhythm perception and bass-ranged instruments. Here’s an … Read more
“…the fundamental premise of tonal superiority has not yet been properly investigated.” http://www.pnas.org/search?fulltext=violi n&submit=yes&x=0&y=0 http://www.pnas.org/content/109/3/760.a bstract ABSTRACT Most violinists believe that instruments by Stradivari and Guarneri “del Gesu” are tonally superior to other violins–and to new violins in particular. Many mechanical and acoustical factors have been proposed to account for this superiority; however, the fundamental premise of … Read more