psychoacoustics

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psy·cho·a·cous·tics

 (sī′kō-ə-ko͞o′stĭks)
n. (used with a sing. verb)
The scientific study of the perception of sound.

psy′cho·a·cous′tic, psy′cho·a·cous′ti·cal adj.

psychoacoustics

(ˌsaɪkəʊəˈkuːstɪks)
n
(Psychology) (functioning as singular) psychol the study of the relationship between sounds and their physiological and psychological effects

psychoacoustics

the study of the relationship between sounds and their perception by the listener, especially with regard to how the perception depends on the physical characteristics of the sound rather than on the mind of the listener. — psychoacoustician, n. — psychoacoustic, adj.
See also: Sound
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References in periodicals archive ?
Investigating strong emotions, combining psychological, physiological, and psychoacoustical methods.
Listening to music as a re-creative process: Physiological, psychological, and psychoacoustical correlates of chills and strong emotions.
For example, he writes that Huffman coding (a kind of lossless data compression) was integral to the MP3 digital audio format, when MP3's true innovation was in its lossy compression (in which the compressed data are degraded) based on a psychoacoustical model of how the ear masks frequencies.
Tom Rice's chapter, "Listening," shows how' the work psychologists have done in auditory research should be expanded by the field of sound studies: "the psychoacoustical approach frames listening as a perceptual process that, broadly speaking, occurs in the same way for people everywhere.
Pitch, harmonicity and concurrent sound segregation: Psychoacoustical and neurophysiological findings.
Psychoacoustical tests (tonal audiometry, speech audiometry) or objective measures (eCAP, ESRT) are commonly performed (see below).
Up to the 19th century, when medical science was still in its infancy and the concept of neural activity was unknown, the only method of understanding and researching the brain was through a black-box approach based on psychoacoustical experiments.
The unmasked psychoacoustical hearing thresh olds were established at 0.125, 0.25, 0.5, 0.75, 1, 1.5, 2, 3, 4, 6, and 8 kHz, for tonal stimuli, using a standard two-step-down, one-step-up method, as per the modified Hughson-Westlake procedure [19].