Subject: Auditory lists, Info request. From: "Albert Bregman, Tel: 514-398-6103" <IN09(at)MUSICB.MCGILL.CA> Date: Tue, 21 Apr 1992 12:05:49 ESTApril 21, 1992 HERE IS A MESSAGE ABOUT A DISTRIBUTION LIST IN ENGLAND THAT PEOPLE MAY WANT TO SIGN UP FOR: > > From: <Adrian.Rees(at)newcastle.ac.uk> > Date: 31 Jan 92 13:28 > Subject: Distribution list > > Dear Al Bregman > > Sheila Williams sent me a copy of your message about setting up a > distribution list. You might be interested to know that such a system > already operates in the UK for just the purposes you describe. The > list is called 'earmail' and it contains the names of auditory > researchers in the UK and a few in Europe. They range from anatomists > to psychophysicists and modellers. I manage the system and I also send > out a directory of names and addresses that people can then add to > their alias files. It's addressed by sending mail to > > earmail(at)newcastle.ac.uk > > and automatically fans out to all entries on the list. > > The list is mainly used for single shot messages, each subscriber can > send circulars at any time. > > Adrian Rees. ================================================= INFORMATION ABOUT ANOTHER LIST: Subject: Sonification mailing list Reply-To: palmer(at)ncsc.org Date: Thu, 20 Feb 92 16:39:18 -0500 From: palmer(at)ncsc.org I've been maintaining a mailing list on sonification/audification topics for several months now (with 37 current members). To sign up, just send mail to sonify-request(at)doppler.ncsc.org. Thanks - - Tom Thomas C. Palmer Internet: palmer(at)ncsc.org Cray Research, Inc. Phone: (919) 248-1117 North Carolina Supercomputing Center PO BOX 12889 RTP, NC 27709 ================================================= REQUEST FOR INFORMATION BY CHRIS DARWIN (cjd(at)epvax.sussex.ac.uk) I want to ask about an experiment that we are just starting with some second-year students. We are basically lookng at how accurately listeners can adjust the pitch of one tone in an arpeggionto make it sound "in tune" and looking to see how this accuracy changes with the rate at which the arpeggio is played (amongst other things). I wuld like eventually to tie this in with a production study looking at accuracy of playing in say violinists; I suppose that the faster they play the less accurate they are (I strongly suspect I am!). Do you know of any relevant data either perceptual or productional? Ken Robinson at the APU has some data on accuracy ofpitch judgements for tones of different durations, but I don't know any experiments involving pitch discrimnations or matches using sequences of tones. Any bells rung? If your network is ready, this could go out on it if you wanted to try it out! =================================================