{"product_id":"speech-and-audio-signal-processing-processing-and-perception-of-speech-and-music-hardback-9780470195369","title":"Speech and Audio Signal Processing; Processing and Perception of Speech and Music (Hardback) 9780470195369","description":"\u003cfont face=\"Georgia\"\u003e\r\n\u003cp\u003e\u003cfont size=\"6\"\u003eSpeech and Audio Signal Processing\u003c\/font\u003e\u003cbr\u003e\r\n\u003cfont size=\"5\"\u003eProcessing and Perception of Speech and Music\u003c\/font\u003e\u003c\/p\u003e\r\n\r\n\r\n\r\n\r\n\u003cp\u003e\u003cfont size=\"4\"\u003eBen Gold (Author), Nelson Morgan (Author), Dan Ellis (Author)\u003c\/font\u003e\u003c\/p\u003e\r\n\r\n\u003cp\u003e\u003cfont size=\"3\"\u003e9780470195369, Wiley\u003c\/font\u003e\u003c\/p\u003e\r\n\r\n\u003cp\u003e\u003cfont size=\"3\"\u003eHardback, published 30 September 2011\u003c\/font\u003e\u003c\/p\u003e\r\n\r\n\u003cp\u003e\u003cfont size=\"3\"\u003e688 pages\u003cbr\u003e23.6 x 19 x 3.8 cm, 1.315 kg\u003c\/font\u003e\u003c\/p\u003e\r\n\r\n\r\n\r\n\r\n\r\n\u003cp align=\"justify\"\u003e\u003cstrong\u003e\u003cfont size=\"3\"\u003eWhen \u003ci\u003eSpeech and Audio Signal Processing\u003c\/i\u003e published in 1999, it stood out from its competition in its breadth of coverage and its accessible, intutiont-based style.  This book was aimed at individual students and engineers excited about the broad span of audio processing and curious to understand the available techniques. Since then, with the advent of the iPod in 2001, the field of digital audio and music has exploded, leading to a much greater interest in the technical aspects of audio processing.  \u003cp\u003eThis \u003ci\u003eSecond Edition\u003c\/i\u003e will update and revise the original book to augment it with new material describing both the enabling technologies of digital music distribution (most significantly the MP3) and a range of exciting new research areas in automatic music content processing (such as automatic transcription, music similarity, etc.) that have emerged in the past five years, driven by the digital music revolution.\u003c\/p\u003e \u003cp\u003eNew chapter topics include:\u003c\/p\u003e \u003cul\u003e \u003cli\u003e\n\u003cb\u003ePsychoacoustic Audio Coding,\u003c\/b\u003e describing MP3 and related audio coding schemes based on psychoacoustic masking of quantization noise\u003c\/li\u003e \u003cli\u003e\n\u003cb\u003eMusic Transcription,\u003c\/b\u003e including automatically deriving notes, beats, and chords from music signals.\u003c\/li\u003e \u003cli\u003e\n\u003cb\u003eMusic Information Retrieval,\u003c\/b\u003e primarily focusing on audio-based genre classification, artist\/style identification, and similarity estimation.\u003c\/li\u003e \u003cli\u003e\n\u003cb\u003eAudio Source Separation\u003c\/b\u003e, including multi-microphone beamforming, blind source separation, and the perception-inspired techniques usually referred to as Computational Auditory Scene Analysis (CASA).\u003c\/li\u003e \u003c\/ul\u003e\u003c\/font\u003e\u003c\/strong\u003e\u003c\/p\u003e\r\n\r\n\u003cp\u003e\u003cfont size=\"3\"\u003ePREFACE TO THE 2011 EDITION xxi  \u003cp\u003eCHAPTER 1 INTRODUCTION 1\u003c\/p\u003e \u003cp\u003e\u003cb\u003ePART I HISTORICAL BACKGROUND\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eCHAPTER 2 SYNTHETIC A UDIO: A BRIEF HISTORY 9\u003c\/p\u003e \u003cp\u003eCHAPTER 3 SPEECH ANALYSIS AND SYNTHESIS OVERVIEW 21\u003c\/p\u003e \u003cp\u003eCHAPTER 4 BRIEF HISTORY OF AUTOMATIC SPEECH RECOGNITION 40\u003c\/p\u003e \u003cp\u003eCHAPTER 5 SPEECH-RECOGNITION OVERVIEW 59\u003c\/p\u003e \u003cp\u003e\u003cb\u003ePART II MATHEMATICAL BACKGROUND\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eCHAPTER 6 DIGITAL SIGNAL PROCESSING 73\u003c\/p\u003e \u003cp\u003eCHAPTER 7 DIGITAL FILTERSAND DISCRETE FOURIER TRANSFORM 87\u003c\/p\u003e \u003cp\u003eCHAPTER 8 PATTERN CLASSIFICATION 105\u003c\/p\u003e \u003cp\u003eCHAPTER 9 STATISTICAL PATTERN CLASSIFICATION 124\u003c\/p\u003e \u003cp\u003e\u003cb\u003ePART III ACOUSTICS\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eCHAPTER 10 WAVE BASICS 141\u003c\/p\u003e \u003cp\u003eCHAPTER 11 ACOUSTIC TUBE MODELING OF SPEECH PRODUCTION 152\u003c\/p\u003e \u003cp\u003eCHAPTER 12 MUSICAL INSTRUMENT ACOUSTICS 158\u003c\/p\u003e \u003cp\u003eCHAPTER 13 ROOM ACOUSTICS 179\u003c\/p\u003e \u003cp\u003e\u003cb\u003ePART IV AUDITORY PERCEPTION\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eCHAPTER 14  EAR PHYSIOLOGY 193\u003c\/p\u003e \u003cp\u003eCHAPTER 15 PSYCHOACOUSTICS 209\u003c\/p\u003e \u003cp\u003eCHAPTER 16 MODELS OF PITCH PERCEPTION 218\u003c\/p\u003e \u003cp\u003eCHAPTER 17 SPEECH PERCEPTION 232\u003c\/p\u003e \u003cp\u003eCHAPTER 18 HUMAN SPEECH RECOGNITION 250\u003c\/p\u003e \u003cp\u003e\u003cb\u003ePART V SPEECH FEATURES\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eCHAPTER 19 THE AUDITORY SYSTEM AS A FILTER BANK 263\u003c\/p\u003e \u003cp\u003eCHAPTER 20 THE CEPSTRUM AS A SPECTRAL ANALYZER 277\u003c\/p\u003e \u003cp\u003eCHAPTER 21 LINEAR PREDICTION 286\u003c\/p\u003e \u003cp\u003e\u003cb\u003ePART VI A UTOMATIC SPEECH RECOGNITION\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eCHAPTER 22 FEATURE EXTRACTION FOR ASR 301\u003c\/p\u003e \u003cp\u003eCHAPTER 23 LINGUISTIC CATEGORIES FOR SPEECH RECOGNITION 319\u003c\/p\u003e \u003cp\u003eCHAPTER 24 DETERMINISTIC SEQUENCE RECOGNITION FOR ASR 337\u003c\/p\u003e \u003cp\u003eCHAPTER 25 STATISTICAL SEQUENCE RECOGNITION 350\u003c\/p\u003e \u003cp\u003eCHAPTER 26 STATISTICAL MODEL TRAINING 364\u003c\/p\u003e \u003cp\u003eCHAPTER 27 DISCRIMINANT ACOUSTIC PROBABILITY ESTIMATION 381\u003c\/p\u003e \u003cp\u003eCHAPTER 28 ACOUSTIC MODEL TRAINING: FURTHER TOPICS 394\u003c\/p\u003e \u003cp\u003eCHAPTER 29 SPEECH RECOGNITION AND UNDERSTANDING 416\u003c\/p\u003e \u003cp\u003e\u003cb\u003ePART VII SYNTHESIS AND CODING\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eCHAPTER 30 SPEECH SYNTHESIS 431\u003c\/p\u003e \u003cp\u003eCHAPTER 31 PITCH DETECTION 455\u003c\/p\u003e \u003cp\u003eCHAPTER 32 VOCODERS 473\u003c\/p\u003e \u003cp\u003eCHAPTER 33 LOW-RATE VOCODERS 493\u003c\/p\u003e \u003cp\u003eCHAPTER 34 MEDIUM-RATE AND HIGH-RATE VOCODERS 505\u003c\/p\u003e \u003cp\u003eCHAPTER 35 PERCEPTUAL A UDIO CODING 531\u003c\/p\u003e \u003cp\u003e\u003cb\u003ePART VIII OTHER APPLICATIONS\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eCHAPTER 36 SOME ASPECTS OF COMPUTER MUSIC SYNTHESIS 553\u003c\/p\u003e \u003cp\u003eCHAPTER 37 MUSIC SIGNAL ANALYSIS 567\u003c\/p\u003e \u003cp\u003eCHAPTER 38 MUSIC RETRIEVAL 581\u003c\/p\u003e \u003cp\u003eCHAPTER 39 SOURCE SEPARATION 59\u003c\/p\u003e \u003cp\u003eCHAPTER 40 SPEECH TRANSFORMATIONS 617\u003c\/p\u003e \u003cp\u003eCHAPTER 41 SPEAKER VERIFICATION 633\u003c\/p\u003e \u003cp\u003eCHAPTER 42 SPEAKER DIARIZATION 644\u003c\/p\u003e\u003c\/font\u003e\u003c\/p\u003e\r\n\r\n\u003cp\u003e\u003cfont size=\"3\"\u003eSubject Areas: Electronics \u0026amp; communications engineering [\u003ca title=\"See our other books on Electronics \u0026amp; communications engineering\" href=\"https:\/\/freshlyprintedbooks.co.uk\/search?q=%22Electronics%20\u0026amp;%20communications%20engineering%20%5BTJ%5D%22\"\u003eTJ\u003c\/a\u003e]\u003c\/font\u003e\u003c\/p\u003e\r\n\r\n\r\n\u003c\/font\u003e","brand":"Wiley-Interscience","offers":[{"title":"Brand 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