XXXSpeechScience Dr. Milner Test 2
Quiz yourself by thinking what should be in
each of the black spaces below before clicking
on it to display the answer.
Help!
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| The nerve fibers from the Cochlear Nucleus decussate between what 2 things | The nerve fibers from the cochlear nucleus decussate between the cochlear nucleus and and superior olivary complex
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| The neural tract that crosses the brainstem is the | Trapezoid Body
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| 1/3 of the nerve fibers reach the superior olivary complex on the | ipsilateral side
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| 2/3 of the nerve fibers decussate going contralateral and 1/3 remain | ipsilateral
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| The 2nd major nucleus in the pons region is the | lateral lemniscus
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| the third major nucleus at the level of the midbrain is the | inferior colliculus
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| Connected fibers allow crossover between the two | inferior colliculi
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| A nerve tract that crosses the brainstem that is a neural tract is the | Trapezoid Body
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| Some fibers bypass the inferior colliculus and go directly from the | lateral lemniscus
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| The fibers that bypass the inferior colliculus and go directly to the lateral lemniscus go to the | medial geniculate body
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| The medial geniculate body is located in the | thalamus
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| The tract that runs to the medial geniculate body fans into | auditory radiations
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| The auditory radiations fan out from the medial geniculate body to the | auditory cortex via auditory radiations
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| The auditory cortex is in which lobe of the brain | temporal lobe
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| Know lecture 4 slide 6 | lecture 4 slide 6
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| Where is the auditory reception area of the brain located | in the temporal lobe
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| Where does the understanding of speech and processing of other complex acoustic signals happen? | In the Auditory Reception Area in the Temporal Lobe
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| Where does the perception of pitch and loudness take place | at the level of the brainstem
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| You can use a single neuron reponse to a variety of stimuli to obtain | the response pattern of a neuron
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| Damage along the pathways or at level of auditory cortex produces difficulties | understanding speech
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| Difficulty understanding what is 'coming in' and then difficulty producing something appropriate in response | damage along pathways or at level of auditory corex
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| The firing of a neuron is recorded at three points | before
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| The three points of recording the firing of a neuron (before | during and after stimulus presentation) are then
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| Averaging the three points of recording the firing of a neuron can show the | response pattern for a particular neuron
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| Post-stimulus time histograms show | the neural response pattern as well as the spontaneous discharge rate
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| Spontaneous discharge rate | rate at which a neuron fires in the absence of stimulation
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| Spontaneous discharge rate and neuron response pattern are both shown in a | post-stimulus time histrogram
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| In a post-stimulus time histogram you will see a | baseline and a return to baseline, if you look at firing rate and average it you get spontaneous discharge rate
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| Spontaneous discharge is when the neuron isn't really firing as much as reacting to | natural electrical activity
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| Neurons are 'tuned' to be responsive to different stimuli or | sounds
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| Auditory stimuli can be different sounds and different sounds are used as | stimuli
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| If we only want to activate a small number of neurons we use a | pure tone as stimuli
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| If we use speech as a stimuli we get | way more neural activity
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| We can actually activate neurons in | certain places
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| Pitch and loudness are processed at the level of the | brainstem
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| Pitch Pattern Perception | hear three tones and determine pitches
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| If person has a problem with a Pitch Pattern Perception test they could have problems at the level of the | brainstem as pitch and loudness are processed at the level of the brainstem
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| The cochlear nucleus divides into two portions | dorsal and ventral portions
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| Dorsal and Ventral portions are division of the | cochlear nucleus
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| Dorsal and Ventral portions of the cochlear nucleus have | second order neurons
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| Second order neurons synapse with | CN VIII
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| The response pattern of second order neurons is | complex
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| Second order neurons may respond to specific stimuli events such as | onset of sound or frequency changes
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| Some second order neurons have variable... | firing rates
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| Synapse | point of information transmission
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| Chart B of lec 4 slide 9 is reacting to | sound onset
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| Another type of neuron in the cochlear nuclei are the | internuncial neurons
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| Internuncial neurons are innervated by and also innervate other neurons in the | cochlear nucleus
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| Internuncial neurons can do two things to other neurons | inhibit or excite
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| Internuncial neurons innervate and are innervated by other neurons in the | cochlear nucleus
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| Internuncial neurons can be stimulated but can also inhibit a response | from other neurons
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| Internuncial neurons can inhibit or | excite
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| What is the SOC | Superior Olivary Complex
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| The SOC is the most peripheral point in the | CANS Central Auditory Nervous System
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| The SOC is where in relation to the CANS | most peripheral point
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| The superior olivary complex is the most peripheral point in the CANS to recieve | input from BOTH COCHLEAS
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| The SOC controls the reflex activity of which two muscles? | the Stapedius and Tensor Tympani muscles
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| How do neurological impulses from sounds arrive at the SOC? | via CN VIII
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| After neurological impulses from sounds arrive at the SOC via CN VIII this happens | Messages are sent down to the Stapedius Muscle via CN VII and the muscle contracts
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| After CN VII sends a message to the stapedius muscle causing it to contract we know that | a neurological impulse from sounds arrived at the SOC via CN VIII
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| SOC is important for what? | Sound Localization!!!
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| SOC is able to be used for sound localization because it is sensitive to difference cues in | Time and Intensity
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| CN VIII to Superior Olivary Complex then to | CN VII and then to Stapedius
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| Auditory testing from one tone can tell us about which cranial nerves? | CN VIII and CN VII
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| Auditory testing from one tone can tell us about CN VIII and CN VII and two other things what are they: | Stapedius and SOC
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| start on slide 13 lecture 4 | here
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| After a message goes CN VIII to SOC to CN VII to the Stapedius it goes to the Lateral Lemniscus and the Inferior Colliculus but SOMETIMES | it SKIPS the Lateral Lemniscus and just goes directly to the Inferior Colliculus
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| Message can SKIP the | Lateral Lemniscus
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| After the message SKIPS the Lateral Lemniscus | it goes directly to the Inferior Colliculus
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| The MAJORITY of the information from the SOC is received at the | Inferior Colliculus
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| What is the IC | Inferior Colliculus - the place where the majority of information from the SOC arrives
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| What happens to information at the level of the IC | it is synthesized with visual
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| Neural impulse information combines with these at the level of the IC | visual
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| Where does the Startle Reflex originate | at the Inferior Colliculus
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| When a newborn hears a sound and startles we know that auditory information is traveling up system all the way to the | inferior colliculus
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| After the Inferior Colliculus information goes to the MEDIAL geniculate bodies of the | thalamus
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| The Thalamus routes information from the sensory systems to the appropriate areas of the | midbrain and cortex
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| What parts of the brain help coordinate the sensory and motor systems | the medial geniculate body
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| Most auditory information is directed to | Heschl's Gyrus
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| Heschl's Gyrus is made up of | auditory radiations that are part of the Temporal Superior Gyrus of the Temporal Lobe
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| Wernicke's Area | contains information necessary for speech comprehension
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| Where is Wernicke's Area located | in the Cerebral Cortex
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| Sound is | a physical event
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| 3 necessary components for sound production | energy source, body capable of vibration, and a medium
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| Sounds are | tiny fluctuations in air pressure that radiate from a source
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| Pressure changes from sound waves are | localized disturbances from ambient air pressure
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| Ambient pressure in room | = Patm
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| The most common medium for sound is | air
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| Billions of particles that make up air are called | molecules
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| Molecules are spaced consistently with regard to | distance from each other
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| Air and other propogating mediums have these properties | Mass Elasticity
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| Mass is | any form of matter (solid
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| Air particles consist of | mass
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| Elasticity is the | ability to resist permanent distortion to its original shape
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| The ability to resist permanent distortion to original shape is | Elasticity
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| Springiness | the propensity of the particles of a medium to return to their original position once they are no longer being displaced.
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| The propensity of particles in a medium to return to original position after no longer being displaced is | Springiness
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| If Elasticity results in Springiness together they form | Stiffness
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| Stiffness | = elasticity resulting in Springiness
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| Small weight to rubber band and bouncing of mass versus weight | springiness
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| Elasticity | will resist being distorted
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| Springiness | wants to go back to original position
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| Inertia | common to all matter 'an object in motion remains in motion / an object at rest remains at rest until it is acted upon by an external force
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| Resistance | why a vibrating body will not remain in motion indefinitely
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| Why does energy dissipate in a system by converting energy into thermal energy (heat) | Resistance
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| Impedance | = mass stiffness and resistance
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| An overall opposition to energy transfer in a mechanical system is | impedance
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| What are some things that can cause impedance | mass
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| The dissipation of vibratory energy is called | damping
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| An example of dissipating is | a pendulum slowing down gradually
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| Pressure | force distributed over a particular area
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| Pressure is measured in | dyne/cm2 or Pa (pascals)
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| 0.0002 dyne/cm2 = | 20 micropascals
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| When there are pressure variations from Patm | sound occurs
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| Variations that occur with a frequency of occurence are detectable by | the auditory system
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| The law that describes the relationship between volume of air and pressure is | Boyles's Law
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| Boyle's Law | at constant temperature as volume decreases air pressure in a container increases proportionately.
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| As air molecules become more densely packed with volume decreasing | the density and air pressure increase
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| As volume increases | pressure and density decrease
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| Cycle of increased pressure (tuning forks) = | compression or condensation phase
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| Cycle of decreased pressure (tuning forks) = | rarefaction phase
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| Small increases and decreases in ambient pressure that propogate through space are phases called | compression/condensation and rarefaction
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| Sound waves radiate from a point source in a | spherical wave
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| In a spherical wave of radiation from a point source there are areas of | condensation and rarefaction alternately
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| Wave motion in a sound wave is | longitudinal
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| Longitudinal wave motion is when molecules move parallel to the direction that the | wave is traveling.
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| The movement that occurs when an object is set into motion by a force is, | Vibratory Motion
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| The simplest pattern of vibratory motion is the | Sinusoidal or sine wave
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| The sinusoidal wave (sine wave) is the | simplest pattern of vibratory motion
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| Sine wave = | continuous
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| The continuous | regular
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| Displacement occurs when an object is | acted upon by a force
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| The displacement pattern of a sine wave is called | simple harmonic motion
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| Simple Harmonic Motion is the term we use to describe | the displacement pattern of a sine wave
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| disturbance in a medium such as activation of tuning forks or a clockk pendulum | vibratory motion
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| Lecture 5 slide 10 | view this slide
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| Sine Wave: 0 90 180 270 360 | 0 180 and 360 cross zero amplitude
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| On a sine wave the wave is halfway finished at | 180 degrees
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| On a sine wave compression is finished at | 90 degrees
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| On a sine wave rarefaction is finished at | 270 degrees
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| At 360 degrees on a sine wave the wave has begun its next | cycle of movement
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| On a sine wave the amount of displacement around rest has to be | symmetrica
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| Whatever the amplitude is at 90 degrees on a sine wave | it is the same but negative at
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| If the amplitude at 90 on a sine wave is 3 | then the amplitude at 270 is
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| Characteristics of a Sine Wave are | displacement around rest is symmetric and the vibratory pattern of a given wave repeats itself into infinity
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| The vibratory pattern of a sine wave | repeats itself into infinity
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| What is symmetric in a sine wave | the displacement around rest
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| One Cycle in a sine wave is | one complete transition of sinusoidal motion from 0 to 360 degrees
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| What are the 5 criterion for describing SHM | Frequency Period Amplitude Phase and Wavelength
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| Which of the criterion for describing Simple Harmonic Motion is missing | Frequency Period Phase Wavelength
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| Which of the criterion for describing SHM is missing | Wavelength Frequency Phase Amplitude
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| Frequency is | the number of cycles completed in
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| Frequency is described using what unit of measure | Hz (hertz)
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| What is the psychological correlate for frequency | PITCH
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| Pitch = | frequency
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| 8 | 000 Hz = 8
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| 250 Hz = sounds like a fog horn | really low pitch
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| Hz = frequency | number of cycles completed in one second
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| Period = | amount of time it takes a sinusoid to complete one cycle
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| Units = | Time (T) usually measured in seconds or milliseconds
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| Time is the reciprocal of | frequency
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| T = | 1/f
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| F = | 1/T
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| If have period | can compute frequency
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| If have frequency | can compute period
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| 1 Hz = | 1 cycle is complete in one second
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| Period should be represented in what unit of measure | seconds or milliseconds
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| If four sine waves in one second | t = 1/f t = 1 / 4 = .25 seconds
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| The strength of vibration of molecules | amplitude
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| Amplitude | the strength of vibration of molecules
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| Amount of vibratory displacement | the distance molecules are displaced from object at rest.
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| The psychological correlate of amplitude | loudness
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| There are four ways to measure amplitude | IA PA P2PA RMS A
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| Of the ways to measure amplitude how do they vary | 1 varies with time and the other three are time independent
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| The one way to measure amplitude that varies with time is | instantaneous amplitude
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| Amplitude is determined by | how much force is exerted
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| Increased force | increased amplitude because of increased displacement of molecules
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| Psychological correlate of amplitude | LOUDNESS
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| Instantaneous amplitude | varies with time displacement at any given moment in time
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| Peak amplitude | a point of positive or negative maximum displacement
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| Peak to peak amplitude | total distance from point of positive maximum displacement to negative maximum displacement
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| RMS amplitude | square numbers add them divide by how many or you can multiply by .707
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| To find the average amplitude of a sine wave | calculate RMS
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| No displacement | Zero Amplitude
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| RMS = | square root of the mean of the squared deviations of the IA
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| Average 1A of a sine wave = | 0
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| Squared IAs become | positive
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| To use the .707 | multiply .707 by peak amplitude
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| Squared = | multiplied by itself (negative x negative = a positive)
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| Phase | the point in a cycle when an object BEGINS to vibrate
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| Phase is measured in | degrees
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| Starting Phase | the point in the cycle when an object begins to vibrate
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| Instantaneous Phase | measurement of phase at ANY point along the waveform
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| Starting phase | zero degrees
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| Instantaneous phase | any point along the wave form
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| Wavelength | distance between 2 consecutive positive peaks (points of condensation) in a wave or between 2 consecutive negative peaks (points of rarefaction) in a wave
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| Wavelength is directly affected by | Hz and the speed of sound
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| Wavelength is directly affected by | Frequency in Hz and the speed of sound
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| Measure of sound in air = | c (constants)
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| C = | 344m/sec or 1100 ft/sec
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| To measure wavelength = | l = c/f where c = 344 m/sec or 1100 ft/sec
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| Quick calculations of wavelength | use 1000 ft/sec in l = c/f
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| Speed of sound in air | tend to use meters as measurement
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| Wavelength is | frequency divided by constant c/f
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| Wavelength gets | SHORTER as frequency gets higher
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| As frequency gets higher | WAVELENGTH gets SHORTER
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| It is harder for a high frequency wave to travel so wavelength is | shorter
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| Low frequencies travel farther so wavelength is | longer
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| When waves travel completely freely in space | completely free boundary
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| When a wave hits an object | completely fixed boundary
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| A boundary can be neither completely free nor completely fixed if a change in | medium
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| If part of the wave is reflected and part is transmitted | the boundary is neither completely free nor completely fixed – like in ear
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| A wave may be reflected off an object | this is called Reverberation
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| Reverberations | multiple sounds which are reflected continuously in a confined space creating a prolongation of the sounds existence.
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| A wave can be reflected or transmitted or | absorbed by the object it has struck.
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| Think of sound in a room | it can be absorbed by soft things or reflected by hard smooth things or transmitted through
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| When waves combine it is called | interference
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| Interference is not a negative thing it is just the word we use to describe two waves | traveling together in space.
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| Interference can be one of two things | constructive or destructive.
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| Superposition does NOT mean waves combine | it means they OVERLAP.
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| Interfering is the word for | the combination of two waves.
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| Destructive interference could result in waves being | reduced or cancelled out.
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| If the 2nd wave is 180 degrees out of phase when it meets up with the 1st wave | you have a positive peak meeting up with a negative peak = cancel.
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| If the two waves meet and they directly overlap you get superposition but also when they both peak at their positive peak they AMPLIFY but imperceptibly. |
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| Two waves that meet and directly overlap are | moving in phase with each other.
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| Reverberation is the | enemy.
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| Reverberation is the enemy as it results in a | degraded signal that is hard to decipher and hear especially with background noise.
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| Periodicity | when a wave shape repeats itself over time as a function of time
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| An example of periodicity would be | a pure tone
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| Aperiodicity | when the wave shape does NOT repeat itself as a function of time (ie: noise
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| Fundamental frequency | the lowest frequency in a wave also known as the first harmonic
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| Complex periodic waves have whole number multiples of the | fundamental frequency known as harmonics
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| Complex aperiodic sounds do NOT have what? | Complex aperiodic sounds do NOT have fundmental frequencies nor harmonics since there is no repetition in the wave.
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| Since there is no repetition in a complex aperiodic wave there are no | fundamental frequency nor harmonics.
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| In a complex aperiodic sound energy is distributed throughout the sound spectrum | at a particular instant in time.
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| The more a sound bounces around the more | degraded it becomes.
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| Periodicity is when a wave repeats itself over and over in time and every wave looks like the cycle before it | a sine wave.
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| A sine wave is one frequency that repeats itself into | infinity.
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| Aperiodic does not repeat itself as a function in | time.
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| Complex periodic waves | multiple frequencies in a repeatable pattern.
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| An example of a complex periodic sound would be /a/ | there is more than one frequency (formant frequencies)
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| Complex periodic waves have more than one | frequency
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| Frequencies in complex periodic waves are | whole number multiples of the fundamental frequency.
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| The fundamental frequency is also the | first harmonic
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| The fundamental frequency is also the | lowest frequency in that sound
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| Whole number multiples of the fundamental frequency of 100 Hz | 200 Hz
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| Whole number multiples of the fundamental frequency of 150 Hz | 300 Hz
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| Fundamental frequencies together form the | complex periodic wave
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| The waves in a complex periodic wave are not | random
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| Complex APERIODIC wave | more than one frequency but does not repeat itself in a periodic fashion and the frequencies are random and not mathematically related to each other.
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| An example of a complex aperiodic wave is | /sh/ /f/
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| Low frequency | high amplitude
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| High frequency | low amplitude
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| Amplitude is related to | intensity
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| Low frequency soundshave greater energy and therefore | more amplitude or intensity
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| In a Wave Periodicity spectrum the peaks are | high peaks are peaks of energy in the sound called Formants F1 F2 F3
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| Low frequency = high amplitude |
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| Why are certain frequencies amplified (in the vocal tract or a guitar)? | because their frequencies are close to the natural resonant frequency of that container
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| The three harmonics that are amplified have | the highest amplitudes they are called formants
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| Low frequency sounds have greater energy and therefore | more amplitude or intensity - easier to hear
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| High frequency sounds have less energy and therefore less intensity | harder to hear for those with hearing loss
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|
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| Does the resonance of the vocal tract change? | YES when you go to produce different speech sounds via things like lip rounding etc.
🗑
|
||||
| Steam hissing | complex aperiodic whole bunch of frequencies energy is diluted
🗑
|
||||
| /s/ | energy aross board but a concentration in the high freuqency range
🗑
|
||||
| complex aperiod sound contains | all the frequencies that there are
🗑
|
||||
| with /s/ a speech sound | you still have all the frequencies but some are enhanced because they are close to the natural resonance of the vocal tract because it is in position to produce /s/
🗑
|
||||
| The amplitude of the high frequencies in the complex aperiodic sound /s/ are higher than | the low frequency aperiodic sounds in /s/
🗑
|
||||
| When the vocal tract is in position to produce /s/ | you get more natural resonance in the high frequency sounds
🗑
|
||||
| Impedance | opposition to the flow of energy
🗑
|
||||
| What are three components of impedence | Mass Stiffness and Resistance
🗑
|
||||
| Mass | energy storing component
🗑
|
||||
| Stiffness | energy storing component
🗑
|
||||
| Resistance | energy dissipating component
🗑
|
||||
| What are two energy storing components that relate to impedence | mass and stiffness
🗑
|
||||
| What is the energy dissipating component of impedance | resistance
🗑
|
||||
| Resistance | roll a heavy ball up a hill let the ball go and it rolls down the hill expending the stored energy
🗑
|
||||
| Resistance changes | the form of energy
🗑
|
||||
| The process by which resistance changes the form of energy is known as | transduction
🗑
|
||||
| When you rub your hands together to create friction and heat this is | transduction because you turn mechanical energy into thermal energy
🗑
|
||||
| Mass and stiffness determine the rate of what | the rate at which a system vibrates when set into vibration
🗑
|
||||
| Vibration rate is determined by | mass and stiffness
🗑
|
||||
| Increased stiffness with constant mass | = higher rate of vibration or frequency of vibration
🗑
|
||||
| Resistance determines | how long a system will vibrate
🗑
|
||||
| Frequency of vibration increases | when stiffness is greater than mass
🗑
|
||||
| Frequency of vibration decreases | when mass becomes greater than stiffness
🗑
|
||||
| Resonant frequency = | natural frequency
🗑
|
||||
| Resonant frequency is the frequency with which | a system vibrates when set into motion
🗑
|
||||
| Resonant frequency is determined by | the relative magnitude of the mass and stiffness components of its impedance
🗑
|
||||
| If mass and stiffness are equal | the opposition to the flow of energy is from resistance alone
🗑
|
||||
| All systems respond best when stimulated at their | resonant frequency
🗑
|
||||
| If you strike a set of tuning forks | one will vibrate louder when put on a table as it is being stimulated at its resonant frequency
🗑
|
||||
| Resonant frequency occurs at the midpoint of | stiffness decreasing and mass increasing
🗑
|
||||
| The tone at the resonant frequency becomes | louder
🗑
|
||||
| When a tone at the resonant frequency becomes louder it contrarily | vibrates for a shorter time
🗑
|
||||
| When tuning fork tines are placed upon a table where does the energy go | into the tabletop
🗑
|
||||
| When tuning forks impart energy into a table top what happens to the energy | it gets used up quickly and goes into the table
🗑
|
||||
| Why does energy get used up quickly by tuning forks placed on a tabletop | the tabletop is larger and uses it up rapidly
🗑
|
||||
| The rate at which the magnitude of vibration and loudness of a sound decreases is called | damping
🗑
|
||||
| Damping is the rate at which | magnitiude of vibration and loudness decrease
🗑
|
||||
| Heavy damping | when sound diminishes rapidly
🗑
|
||||
| Light damping | when sound diminishes slowly
🗑
|
||||
| When sound diminishes slowly | Light Damping
🗑
|
||||
| When sound diminishes rapidly | Heavy Damping
🗑
|
||||
| Little damping occurs at or near the | resonant frequency
🗑
|
||||
| Why does little damping occur at the resonant frequency | because there is very little opposition to the flow of energy known as very little impedance
🗑
|
||||
| If there is very little impedance | there is very little damping and the sound must be at or near the resonant frequency
🗑
|
||||
| If the tuning fork frequency is close to that of the tabletop | there is very little damping
🗑
|
||||
| If the tuning fork frequency is far from that of the tabletop | there is more damping due to the increased impedance
🗑
|
||||
| Impedance | opposition to the flow of energy
🗑
|
||||
| If you put four tuning forks on a table one may vibrate louder because | its frequency is closer to the natural resonant frequency of the table
🗑
|
||||
| Some speech sounds will get enhanced because | their frequencies are closer to the natural resonant frequency of the vocal tract
🗑
|
||||
| Nearer the resonant frequency there is not a lot of | impedance
🗑
|
||||
| Reduction in intensity no enhancement of intensity | damping
🗑
|
||||
| Quarter Wave Resonator | a cavity closed at one end and open at the other
🗑
|
||||
| The tube length needed for resonance to occur with the test tube tuning fork experiment is | equal to the wavelength of the frequency of the stimulating sound divided by 4.
🗑
|
||||
| The wavelength of the frequency of the stimulating sound divided by 4 | is the tube length needed for resonance to occur if it is open at one end and closed at the other
🗑
|
||||
| Wavelength = c/f |
🗑
|
||||
| c/f = | wavelength
🗑
|
||||
| .68m = | 68cm
🗑
|
||||
| 68 cm = | .68m
🗑
|
||||
| For 500 Hz compute wavelength | 350/500 = .68m = 68cm
🗑
|
||||
| Once you know the wavelength you can calculate | the length of the tube / quarter wave resonator
🗑
|
||||
| To compute tube length needed for resonance to occur | wavelength divided by 4 if a quarter wave resonator
🗑
|
||||
| Compute tube length needed for resonance to occur in a quarter wave resonator if the wavelength is 68 cm | 68 cm divided by 4 = 17cm
🗑
|
||||
| Compute tube length needed for resonance to occur in a quarter wave resonator if the frequency of the stimulating sound is 1000Hz | 340/1000 = .34m = 34cm 34cm/4 = 8.5 cm tube length
🗑
|
||||
| As the tube length decreases natural resonant frequencies of the vibration of the tube become | higher
🗑
|
||||
| As the tube length increases | natural resonant frequencies of the vibration of the tube become
🗑
|
||||
| Length of tube and the natural resonant frequency of the tube are | inverse
🗑
|
||||
| Shorter vocal tract | higher resonant frequencies as with a child
🗑
|
||||
| Frequency Response Curve | the graph of frequencies to which a resonator will respond
🗑
|
||||
| Two Types of Frequency Response Curves | Undamped Resonators and Damped Resonators
🗑
|
||||
| Cavities and tubes can act as resonators because they are | columns of air vibrating at certain frequencies
🗑
|
||||
| Undamped Resonators | resonate to a NARROW range of frequencies and generate a SHARP peaked response curve
🗑
|
||||
| UNDAMPED | NARROW AND SHARP
🗑
|
||||
| Damped Resonators | resonate to a broad range of frequencies and generate a flat
🗑
|
||||
| DAMPED | broad range flat broad response
🗑
|
||||
| The range of frequencies to which a resonator responds | bandwidth
🗑
|
||||
| Bandwidth | the range of frequencies to which a resonator responds
🗑
|
||||
| Bandwidth is measured across the frequency response curve where | at the half power point
🗑
|
||||
| The half power point | where bandwidth is measured across the frequency response curve
🗑
|
||||
| What is the value of the bandwidth from the peak value of the spectrum | 3 dB lower than the peak value
🗑
|
||||
| Vocal tract responds to schwa at what frequencies | 500 1500 2500
🗑
|
||||
| Undamped resonator is vocal tract | in a neutral position relatively unimpeded.
🗑
|
||||
| Vocal tract can be damped or undamped depending on multiple variables including | articulators.
🗑
|
||||
| The range of frequency to which a resonator responds is called | bandwidth.
🗑
|
||||
| Vocal tract in position for schwa = | 500 1500 2500 etc.
🗑
|
||||
| The bandwidth of the vocal tract when it is in position for schwa is | 500 Hz to whatever frequency the vocal tract is responsive to – we only care up the highest frequency for speech sounds which only goes up to 5000 or 6000 Hz.
🗑
|
||||
| The length of the vocal tract in the average male for the production of schwa | 17 cm
🗑
|
||||
| 17 cm = | length of vocal tract in average male for production of schwa
🗑
|
||||
| Resonant frequency of this tube is 500 Hz | male human vocal tract
🗑
|
||||
| Resonant frequencies are the | ODD NUMBER multiples of that lowest frequency (not 500 1000 1500) but rather 500 1500 2500
🗑
|
||||
| We don’t take all the harmonics because | the brain recognizes certain intervals.
🗑
|
||||
| The brain recognizes the fundamental frequency and then the odd number harmonics for example | 500 is first harmonic
🗑
|
||||
| As length of tube or vocal tract gets shorter | the resonant frequency goes up
🗑
|
||||
| As the length of the tube or vocal tract gets shorter the resonant frequency goes up and so | do the whole number multiples.
🗑
|
||||
| Adult male has longest vocal tract | female shorter and child is shortest smallest vocal tract.
🗑
|
||||
| The odd numbers are resonant frequencies if the cavity is | open at one end and closed at the other.
🗑
|
||||
| Two quarter wave resonators in the human body are | the human vocal tract and the ear.
🗑
|
||||
| If not a resonant frequency | they still EXIST but they don’t get amplified.
🗑
|
||||
| With regard to resonant frequency and odd number multiples the odd numbers determine | the odd numbers determine the formants.
🗑
|
||||
| To find length of vocal tract in a quarter wave resonator | find wavelength then divide by four .
🗑
|
||||
| The decimal goes away when go from | meters to cm
🗑
|
||||
| Half Power Point | 3 dB down from the peak draw a line across look at point that corresponds in frequency
🗑
|
||||
| dB is a | RATIO not an actual value
🗑
|
||||
| Decibel = | unit of measurement of amplitude of a signal
🗑
|
||||
| Unit of measurement of the amplitude of a signal | dB = decibel = a ratio
🗑
|
||||
| When amplitude is being measured in terms of pressure or power use | dB
🗑
|
||||
| There is no such thing as | absence of sound
🗑
|
||||
| There is no such thing as zero sound pressure because some reference pressure is used to represent | zero
🗑
|
||||
| The reference pressure is | the smallest pressure variation from Patm produced by a 1kHz tone detected by young adults the smallest amount of pressure that can be detected
🗑
|
||||
| 0 db | = a really soft sound (because it is a ratio)
🗑
|
||||
| The pressure variation is represented by: | 0.0002 dyne/cm2
🗑
|
||||
| A measure of force in square centimeters | dyne
🗑
|
||||
| Why are dynes measured in square cm | that is the size of the area over which the force is distributed
🗑
|
||||
| The reference pressure is also noted as | 0.0002 µbar (microbar) and more commonly 20 µpascals (microPascals)
🗑
|
||||
| Decibel = | think loudness
🗑
|
||||
| Pitch = | frequency
🗑
|
||||
| The normal hearing young adult is btw 19 and 26 years of age = no hearing damage. What is the smallest pressure variation they can hear | = .0002 dyne/cm2.
🗑
|
||||
| Sound is | a disturbance that causes a change in atmospheric pressure (change in pressure from atmospheric)
🗑
|
||||
| 10 million:1 = | smallest pressure detectable by humans. We can perceive very very very small changes in pressure because ear is a finely tuned instrument.
🗑
|
||||
| Logarithms are scientific shorthand | 10 to the 3 is 1000. 10 to the 2nd power is 100. Log of 100 = 2. (count the zeros)
🗑
|
||||
| The equation for computing decibels in sound pressure level is: | 20 [log10 (x/0.0002)] where x is measured pressure
🗑
|
||||
| 20 [log10 (x/0.0002)] | This equation yields the decibels in dBSPL
🗑
|
||||
| Sound pressure = | sound power squared (double the exponent)
🗑
|
||||
| 20 [log10 (x/0.0002)] X = | measured pressure
🗑
|
||||
| 20 [log10 (x/0.0002)] Ie: | x = .0002 dyne/cm2) .0002 divided by .0002 = 1 Log 10 of 1 is 0 20 x 0 = 0 dBSPL
🗑
|
||||
| 0 means | measured pressure is equal to the reference pressure. Still could be a sound.
🗑
|
||||
| Log10 | just use log function on a calculator
🗑
|
||||
| In clinical audiology we use dBHL decibels hearing level. dBHL is an arbitrary system made up by someone but not a physical measurement… it is | arbitrary
🗑
|
||||
| In THIS CLASS we use | dBSPL…
🗑
|
||||
| Use HL scale to test hearing (this is normal hearing this is not) | detects a loss in hearing need to know what normal is … developed a scale this number to this number is normal hearing. . .
🗑
|
||||
| 1000 Hz (= 1kHz) it is 0 dBHL it is 7.5 dBSPL | Meaning that at that frequency the average normal listener would begin to hear a tone at 7.5 dBSPL.
🗑
|
||||
| 20 [log10 (x/0.0002)] | This equation yields the decibels in dBSPL
🗑
|
||||
| See Lecture 7 Slide 11 | dBHL to dBSPL 125 Hz - 8K Hz all are 0 dBHL and sound pressure level is higher then lower than higher again 45 to 9 to 15.5
🗑
|
||||
| Sound amplitudes are determined by | sound pressure
🗑
|
||||
| Sound pressure level measured in | dynes/cm2 or Pascals
🗑
|
||||
| Referent point for SPL | = .0002 dyne/cm2 or 20uPa
🗑
|
||||
| The weakest amplitude sound humans can hear at 1000 Hz = | .0002 dyne/cm2 or 20uPa
🗑
|
||||
| Which scale is used when testing hearing | HL scale
🗑
|
||||
| Why on the HL scale is the zero point different at different frequencies | human hearing is not the same for each frequency.
🗑
|
||||
| With low frequency sounds and high frequency sounds in order to hear it you need | more pressure
🗑
|
||||
| The ear hears 1000 Hz the best threshold of 0 dBHL means | excellent hearing.
🗑
|
||||
| If the person’s dBHL threshold is 50 | they cant hear it if the sound is below 50 dBHL
🗑
|
||||
| Low frequency sounds have a long | wavelength
🗑
|
||||
| We start testing hearing at what frequency? | 250 Hz it sounds like a foghorn or a heartbeat
🗑
|
||||
| Zero is the lowest limit of normal hearing and is referred to as | audiometric zero
🗑
|
||||
| Best hearing range for humans is between | 500 Hz and 4000 Hz
🗑
|
||||
| 500 Hz to 4000 Hz | ideal hearing range for humans
🗑
|
||||
| dBHL | a scale made up to show what is normal hearing for a species
🗑
|
||||
| Know the markers for 1000 Hz | and know the trend and know the range
🗑
|
||||
| A tone at what frequency is easiest for humans to hear | 1000 Hz
🗑
|
||||
| The study of the human perception of sounds and psychological correlates of the physical properties of sounds | psychoacoustics
🗑
|
||||
| The study of the relationship between perception of sensory information and the physical properties of sensory stimuli |
🗑
|
||||
| Auditory sensitivity relies on variables. List 4 of them: | characteristics of the stimulus
🗑
|
||||
| Give two examples of a characteristic of the stimulus: | frequency
🗑
|
||||
| When you use a tone of 1000Hz on a hearing test who will hear it best | the normal hearing young adult
🗑
|
||||
| Give an example of a method of assessment: | hear the beep & raise your hand
🗑
|
||||
| Give two examples of listener variables: clearer instructions to listener can yield better results and fatigue can result in inaccurate ones. Also attention span or ability to attend can be listener variables. |
🗑
|
||||
| Give an example of methods of stimulus presentation: | pulse tone versus continuous tone
🗑
|
||||
| Why is a pulse tone possibly preferable when giving a hearing test? | you get slightly lower thresholds and people with tinitis often find it easier to pick out a pulse tone than a continuous tone
🗑
|
||||
| Auditory sensitivity relies on sensitivity of the ear but is subject to a lot of other | variables
🗑
|
||||
| With regard to stimulus characteristics the human ear can detect sounds in what frequency range | 20-20
🗑
|
||||
| Human hearing is most sensitive to sounds in what range | 500 – 5000 Hz range
🗑
|
||||
| Most of the frequencies contained in speech are in the range where hearing is most sensitive | 500 Hz – 5000 Hz
🗑
|
||||
| There are many sounds that exist in the atmosphere that are outside our ability to detect | ie: fluorescent light hum
🗑
|
||||
| The Human Audibility Curve represents | auditory sensitivity across frequencies
🗑
|
||||
| What is the main reason people seek audiologic help | because they want to talk to people
🗑
|
||||
| With really high or really low frequencies you need more dB to hear them as you get | older
🗑
|
||||
| On the Human Audibility Curve what two variables are represented | X = Hz and Y = dB
🗑
|
||||
| With regard to stimulus duration the auditory system integrates energy over time - meaning a longer stimulus is | easier to detect - to a point (then neurons stop firing.)
🗑
|
||||
| What is the shortest duration that produces a sensation of tonality | 10 ms for many pure tones
🗑
|
||||
| The ear’s sensitivity to a tone will improve until the sound is up to | 300 ms long
🗑
|
||||
| Temporal integration is also known as | summation
🗑
|
||||
| The improvement in detection with a longer stimulus duration is called | temporal integration or summation
🗑
|
||||
| Temporal integration function for individuals with normal auditory function is | relatively constant over a wide range of frequencies
🗑
|
||||
| The magnitude of the temporal integration function is reduced for individuals with | cochlear hearing loss
🗑
|
||||
| • 10 ms long is great for a hearing test pure tone | – it is one frequency. If a pure tone is shorter than 10 ms
🗑
|
||||
| • The ear’s sensitivity improves up to a point | – at 300ms you no longer get that improvement in sensitivity…
🗑
|
||||
| • The improvement in detection of a longer stiumulus duration | = temporal integration or summation
🗑
|
||||
| • 10 ms to 300 ms duration is across multiple frequencies | – don’t need more or less for diff frequencies – is a constant.
🗑
|
||||
| • A tone has to be within a certain duration to be detectable | temporal integration or summation
🗑
|
||||
| • 10 ms to 300 ms duration for a sound to be detected | is for normal hearing
🗑
|
||||
| • Many times cochlear damage involves the cells that are responsive to this particular function | called temporal integration
🗑
|
||||
| • On a Human Audibility Curve Better is | Low number on Y (dB)
🗑
|
||||
| • Which is the ear is more sensitive to 1000 Hz or 125Hz | 1000 Hz
🗑
|
||||
| • Good is LOW in audiology. In hearing you want LOW threshold. You want threshold to be as low as possible. If it is zero | you have REALLY good hearing!
🗑
|
||||
| • In order to hear a 125 Hz sound it needs to be about | 50dB which is a very loud sound.
🗑
|
||||
| As threshold gets lower you have better sensitivity; low threshold can detect a really soft sound. If their threshold was 90dB | can’t detect anything softer in sound than 90dB.
🗑
|
||||
| • As the duration of the stimulus increases | the change in sensitivity for pure tones is about
🗑
|
||||
| • As the duration of the stimulus increases threshold goes down! As the duration of the tone increases | threshold goes down
🗑
|
||||
| • Longer duration = | lower threshold
🗑
|
||||
| • Longer tone | better hearing
🗑
|
||||
| • From 10 ms to 300 ms the change in sensitivity is about | 10dB
🗑
|
||||
| • Four pulse tones in 300 ms the actual signal PRESENTATION | is 300 ms long
🗑
|
||||
| • 3 Parameters of a Sound | There are frequencies of the stimulus the intensity of the stimulus and the duration off the stimulus
🗑
|
||||
| • . Can talk about a sound with regard | to frequency intensity and its duration.
🗑
|
||||
| • For each listener there is a range of intensities that person can hear | from the softest sound the ear can detect to the level of discomfort or tactile sensation of sound usually from 0-140 dBSPL
🗑
|
||||
| • Threshold of feeling is called threshold of feeling | because the sound is so intense it creates a bone conducted response; low frequency sounds can create vibrotactile response too.
🗑
|
||||
| • Dynamic range = range of intensities a person can hear from threshold of | hearing to threshold of feeling 0 dBHL to 140 dBHL
🗑
|
||||
| Lower than 250 Hz and higher than 8 | 000 =
🗑
|
||||
| Bottom curve is the | human audibility curve
🗑
|
||||
| Top Line | threshold of feeling
🗑
|
||||
| On the threshold of feeling not much difference as a function of frequency when you get to that level of 130 dB to 140 dB |
🗑
|
||||
| The auditory response area is the | middle also known as the dynamic range
🗑
|
||||
| Dynamic range | = auditory response area
🗑
|
||||
| Minimum Audibility to Threshold of Feeling | = auditory response area = dynamic range
🗑
|
||||
| Hearing loss would be called reduced | dynamic range
🗑
|
||||
| In many people with sensorineural loss the threshold of feeling or discomfort is way before | 140 dB
🗑
|
||||
| Recruitment | the term for sound becoming unusually loud in people with sensorineural loss and lowering their threshold of feeling and discomfort
🗑
|
||||
| Hearing aids go to 100dB | we can set them within a person’s dynamic range from their minimum audibility curve to their threshold of feeling; we set them to auditory response area.
🗑
|
||||
| Sensorineural loss: sounds are soft but also | distorted; cranking up the sound doesn’t fully fix sensorineural loss can make it louder but can’t fix distortion.
🗑
|
||||
| • Threshold of feeling threshold of discomfort | followed by threshold of pain
🗑
|
||||
| • Human Audibility curve is on the exam | it is the bottom line.
🗑
|
||||
| • Stimulus Presentation Methods | There are two ways which sound is presented to a listener: via earphones or in the sound field
🗑
|
||||
| • Earphones: | allow for ear-specific information as well as more accurate control of the acoustic signal
🗑
|
||||
| • Use of phones obliterates the | natural resonance of the outer ear
🗑
|
||||
| • With use of headphones there is no natural resonance of the outer ear and | There is no benefit of bilateral summation
🗑
|
||||
| • With the use of headphones | Ambient noise is reduced
🗑
|
||||
| • If using headphones for a hearing test | Application of information obtained under headphones to real-world listening must be cautious
🗑
|
||||
| • Sound field: | sound is presented through speakers
🗑
|
||||
| • With sound field stimulus presentation | Must be wary of reverberation: reflected sound. When incident and reflected sound meet each other there are variations in sound pressure levels
🗑
|
||||
| • Head shadow | reduces sound level at the ear on the far side from the sound source
🗑
|
||||
| • Body baffle | means that the presence of the body in the field causes both reflection and absorption of the sound
🗑
|
||||
| • Sit in the booth and the sound comes to you over speakers = | sound field
🗑
|
||||
| • Two ways to present sound – have to do one or the other | not both.
🗑
|
||||
| • No headphones | with little kids or if people have hearing aids in.
🗑
|
||||
| • When possible use earphones/headphones because it helps block out ambient noise | also you can present a stimulus to only ONE ear with headphones.
🗑
|
||||
| • Drawbacks: when you put earphones over pinna | called supraaural (over the ear) or pinnay
🗑
|
||||
| • In a sound field you get binaural summation. With headphones you can’t benefit from | binaural summation and don’t get natural resonance.
🗑
|
||||
| With a hearing test you always test one ear or the other… and then both. So you get left ear | right ear
🗑
|
||||
| We never use a pure tone in the sound field because | pure tones are more apt to be subject to reverberation and cancelation.
🗑
|
||||
| Know what head shadow is. | Sounds arrive at one ear before they arrive at the other and by the time they get to far side they get reduced.
🗑
|
||||
| • Thresholds measured with earphones = | Minimum Auditory Pressure (MAP)
🗑
|
||||
| • Thresholds measured in the sound field = | Minimum Auditory Field (MAF)
🗑
|
||||
| • MAP | Minimum Auditory Pressure
🗑
|
||||
| • MAF | Minimum Auditory Field
🗑
|
||||
| • MAF yielded lower thresholds. Average normal hearing young adult has better hearing in sound field because of the | 3 dB boost. Ends up being 6 – 10 dB increase in sensitivity!
🗑
|
||||
| • In audiology clinic the first thing you do everyday | is calibrate equipment…
🗑
|
||||
| • When MAF and MAP curves are compared | it can be seen that MAF is more sensitive than MAP by 6-10 dB
🗑
|
||||
| • Why would the sound field results yield more sensitive hearing than hearing under headphones? | 3 reasons:,
• Lack of ear canal resonance under headphones
• Lack of binaural summation
• Factors due to earphone calibration
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Review the information in the table. When you are ready to quiz yourself you can hide individual columns or the entire table. Then you can click on the empty cells to reveal the answer. Try to recall what will be displayed before clicking the empty cell.
To hide a column, click on the column name.
To hide the entire table, click on the "Hide All" button.
You may also shuffle the rows of the table by clicking on the "Shuffle" button.
Or sort by any of the columns using the down arrow next to any column heading.
If you know all the data on any row, you can temporarily remove it by tapping the trash can to the right of the row.
To hide a column, click on the column name.
To hide the entire table, click on the "Hide All" button.
You may also shuffle the rows of the table by clicking on the "Shuffle" button.
Or sort by any of the columns using the down arrow next to any column heading.
If you know all the data on any row, you can temporarily remove it by tapping the trash can to the right of the row.
Embed Code - If you would like this activity on your web page, copy the script below and paste it into your web page.
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Created by:
MayaMayaAlejandra
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