給您參考，這本是 F. Alton Everest 著名音響專家在 1986 年出版的「 Auditory Perception 」卡式錄音帶所隨附之說明書；

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        阿國聲明：

        1. 阿國在這裡要聲明：阿國沒有幫賣書籍的、出版社、及著者做廣告。

        2. 阿國沒有看過以下的簡體中文版書籍，只是上網到「亞馬遜簡體中文網頁」針對於阿國推薦的英文原版書籍搜尋而查到的；僅供您參考。

        3. 如果您看到阿國在這裡貼的簡體中文版書籍而去購買，但當您閱讀之後，如果覺得不好與及不值得…… 等等，這些問題都與阿國無關。

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※ 註：我不知道這些網址的路徑是否有效，如果，連結失效了，就請您自己尋找吧。

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        Manual for Auditory Perception  ( 英文 / 初階 )

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        以下的英文字是在掃瞄成影像檔後，以文字辨識系統 ( 程式 ) 所辨認出來的。如果有錯字及或錯誤，請自行對照參閱影像內所顯示的內容。

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『    Acknowledgements
    The production of instructional audio cassettes, such as this Auditory Perception series, demanded a far wider range of talents than this author was able to muster. The contributions of the following persons brought quality to musical excerpts and to unusual sound effects: Alisdair Fraser and Paul Machlis, Andrea Byers, Richard Elegino, Michele Bovyer, Christina Soule, Marilyn Swan, and Gary Bovyer. Special thanks must be extended to Carol Plantamura, Professor of Music, University of California , San Diego . Thanks also to Richard Martinez, who allowed Fritz, the dummy head, to listen to the sounds of the La Puente High School Band on their outdoor marching practice. A debt of gratitude is also acknowledged to Edward Carterette, Professor of Psychology, University of California , Los Angeles , for his checking the accuracy of the psychoacoustical concepts of the series. To John Ingle, veteran actor and director of films and television programs, goes our heartfelt thanks for the touch of professionalism he has brought to the narration. David Russell, friend and technical wizard, has been of inestimable help in critical evaluation of the finished recordings. Ron Streicher has borne the entire production load. He has meticulously planned and organized the needs and then gone out and captured just the sounds needed, maintaining the highest quality standards each step of the way.
    Ron has brought to the project a wealth of experience, both in the recording arts and in music. He has a B.A. from U.C.L.A. in music composition and theory and an MA from Loyola University , Los Angeles , in communications. His many projects for public radio include numerous radio plays and the national broadcasts of the Los Angeles Philharmonic Orchestra, the California Chamber Symphony, the Monday Evening Concert series, and many others. He has been the audio consultant at the Mann Music Center in Philadelphia since 1977 and, in this capacity, has designed and supervised sound reinforcement for the Philadelphia Orchestra, the Metropolitan Opera, and the New York City Opera productions at the Mann Music Center . He is active in the Audio Engineering Society at both the Los Angeles sectional and national levels.
    Rarely does an author/producer have such a pleasant relationship with the distributor as I have had with those at Mix magazine. The whole-hearted cooperative spirit of David M. Schwartz, Publisher/Editor and Penny Riker Jacob, Publisher/General Manager, are gratefully acknowledged. The day-by-day help of Craig Wingate, General Manager of Mix Bookshelf, has been of inestimable help as the Auditory Perception package was put together.
    The encouragement and cooperation of my wife, Elva, has been the vital flame that has kept the boilers of this project full of steam and moving ahead to completion. 』

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『    Preface
    The purpose of this audio training series is to emphasize the importance of an understanding of the functioning of our ear/brain system in music, speech, and in the recording arts and sciences.
    There is something mysterious about sound. We cannot see it. We cannot feel it (in normal doses, that is). Only as it makes that fragile membrane, the ear drum, vibrate are we aware of its presence, and even then we give attention to the meaning of the sound, not the hearing process itself. The hoary conundrum, “if a tree falls in the forest and there is no ear to hear it, is there any sound?”, actually forces us to focus on the duality of sound, first as a stimulus, and then as a sensation.
    Sound as a stimulus is the province of the physicist, sound as a sensation the province of the psychologist. Both are rather austere figures. The work of the psychologist is of primary interest in this series. Sensation sound is more the private property of the experimental psychologist, and here we are trying to crash his gates. For more than a hundred years, physiologists have been rooting around in the infinitely small and delicate structures of the hearing organs of animals. Psychologists have designed experiments to see how both animals and human subjects respond to cleverly devised sound stimuli. The results of the two are related in that the auditory systems of all mammals are quite similar. Very important and practically significant information is buried in the scientific papers and books of these most diligent workers. It is our goal to exhume a few of these topics to upgrade our understanding of human hearing.
    The violinist is engrossed in the beautiful tonal combinations possible through inspired fingering and bowing of the strings. An intense interest in the quality of the instru­ment as it affects the tone is invariably present. The average violinist scarcely gives the functioning and limitations of the ear a second thought. There is much perception but little attention to the perceiving ear.
    The recording engineer is an impressive sight seated at the console with its hundreds of knobs and flickering level indicators. In deep concentration on the sound from his monitor loudspeakers, the perception of the sound is the engrossing thing. The mechanism doing the perceiving rarely enters his consciousness.
    It is this way also with the audiophile. The reproduced music that elicits such enjoyable reactions is the thing. There is no thought about the ear that brings the reactions.
    It is about time that the musician and the person involved in the recording arts and sciences and the high-fidelity aficionado be alerted to the pan the human hearing system plays in these worthy activities. The ear/brain system is the final recipient of all the music and speech and other signals of this sound-filled world.
    This series of eight units (“lesions” sounds so pedagogical!) is an attempt, albeit feeble, to open up the treasury of the experimental psychologist, what has been discovered about the workings of our auditory system. True, they have only scratched the surface of the intricate workings of this marvelous hearing sense, but what is known is immediately pertinent to the perception of music and speech and other sounds important in human communication.
    An introduction to the marvelous structure and functioning of the human ear is included to provide a basis for better understanding of the eight specific units to follow. For those interested in further study, a glossary and bibliography are included in the back of the manual.

F. Alton Everest 』

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『    Use of Loudspeakers and Headphones
    Some of the experiments and demonstrations in this series require the use of headphones. For example, the masking experiments of Unit #2 definitely require headphones as does the exploration of binaural beats in Unit #4. To appreciate the experiments of Unit #7 showing how the convolutions of the outer ear give directional cues, headphones are necessary. The true binaural recordings made with the dummy head in Unit #8 are fully appreciated only by using headphones. Headphones of good quality should be used. Here is a tabulation of the points in the series requiring headphones:
    Unit                                     Loudspeakers             Headphones
1. Loudness, Pitch and Timbre                     All      
2. How One Sound Masks Another                                          All
3. How The Ear Analyzes Sound                    All      
4. Non-Linearities in the Auditory System            Beginning and end         Central portion
5. The Perception of Delayed Sounds                All     
6. Why Some Sounds Are More Pleasant Than Others   All     
7. How We Locate Sounds                         First part                 Last part
8. True Binaural Listening                                                  All 』

未完……