The term "auditory roughness" was first introduced in the 19th century to describe the buzzing, rattling auditory
sensation accompanying narrow harmonic intervals (i.e. two tones with frequency difference in the range of ~15-150Hz,
presented simultaneously). A broader definition and an overview of the psychoacoustic correlates of the auditory
roughness sensation, also referred to as sensory dissonance, is followed by an examination of efforts to quantify it over
the past one hundred and fifty years and leads to the introduction of a new roughness calculation model and an
application that automates spectral and roughness analysis of sound signals. Implementation of spectral and roughness
analysis is briefly discussed in the context of two pilot perceptual experiments, designed to assess the relationship among
cultural background, music performance practice, and aesthetic attitudes towards the auditory roughness sensation.
Access to the requested content is limited to institutions that have purchased or subscribe to SPIE eBooks.
You are receiving this notice because your organization may not have SPIE eBooks access.*
*Shibboleth/Open Athens users─please
sign in
to access your institution's subscriptions.
To obtain this item, you may purchase the complete book in print or electronic format on
SPIE.org.
INSTITUTIONAL Select your institution to access the SPIE Digital Library.
PERSONAL Sign in with your SPIE account to access your personal subscriptions or to use specific features such as save to my library, sign up for alerts, save searches, etc.