| Track |
Demonstration |
Duration |
| 1 |
Cancelled harmonics |
1'33" |
| 2-6 |
Critical bands by masking |
1'50" |
| 7 |
Critical bands by loudness comparisons |
1'09" |
| 8-11 |
The decibel scale |
1'57" |
| 12-16 |
Filtered noise |
1'50" |
| 17-18 |
Frequency response of the ear |
2'07" |
| 19-20 |
Loudness scaling |
2'58" |
| 21 |
Temporal integration |
2'02" |
| 22 |
Asymmetry of masking by pulsed tones |
1'31" |
| 23-25 |
Backward and forward masking |
4'18" |
| 26 |
Pulsation threshold |
0'42" |
| 27-28 |
Dependence of pitch on intensity |
0'48" |
| 29 |
Pitch silences and tone duration |
0'50" |
| 30 |
Influence of masking noise on pitch |
0'28" |
| 31 |
Octave matching |
1'46" |
| 32 |
Stretched and compressed scales |
0'59" |
| 33 |
Frequency difference limen or jnd |
2'16" |
| 34-35 |
Logarithmic and linear frequency scales |
1'37 |
| 36 |
Pitch streaming |
1'22" |
| 37 |
Virtual pitch |
0'41" |
| 38-39 |
Shift of virtual pitch |
1'08" |
| 40-42 |
Masking spectral and virtual pitch |
1'28" |
| 43-45 |
Virtual pitch with random harmonics |
1'03" |
| 46-47 |
Strike note of a chime |
1'22" |
| 48 |
Analytic vs synthetic pitch |
0'28" |
| 49-51 |
Scales with repetition pitch |
1'25" |
| 52 |
Circularity in pitch judgment |
1'20" |
| 53 |
Effect of spectrum on timbre |
1'17" |
| 54-56 |
Effect of tome envelope on timbre |
2'16" |
| 57 |
Change in timbre with transposition |
0'46" |
| 58-61 |
Tones and tuning with stretched partials |
3'05" |
| 62-63 |
Primary and secondary beats |
1'32" |
| 64-67 |
Distortion |
2'17" |
| 68-69 |
Aural combination tones |
1'35" |
| 70 |
Effect of echoes |
1'47" |
| 71 |
Binaural beats |
0'42" |
| 72-74 |
Binaural lateralization |
3'14" |
| 75-79 |
Masking level differences |
2'03" |
| 80 |
An auditory illusion |
0'38" |
