Why Are My Brownies Crumbly

sound and scientific references




Passante, Bartolomeo (1618-1648) - The Sense Of Hearing
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Pierre Schaeffer in his studies on the perception of sound, distinguished four modes of play, two subjective and two objective:

Hearing (ouir):
perceived through the ear.
The most basic form of perception through which we listen, passively, and so entirely subjective, sounds that do not necessarily have to be deciphered.

Listen (ecouter): Listen
someone or something through a sound, in order to identify a source, a cause, an event.
Sound and objective means of communication of an event.

understand (entender):
through listening (ecouter), selecting what interests extracting it from what you heard (ouir).

understand (comprendre):
objectively Decrypt a message, through sound as a sign and as an expressive language.


"I have heard (ouir), but I have not heard what you said (ecouter), and then I did not understand what I wanted to say (comprendre), not having deciphered what I heard (entender)"

This phrase summarizes the four different scan jobs.


appears certain, unequivocal Therefore, the difference between the simple and subjective hearing and listening, from the purpose of meaning and grasp the reality of content, namely, that sound object.

Our brain analyzes the time, day and night, every type of acoustic stimulation (hearing and listening), a selective and utilitarian holds that those currently considered important, but at the same time by a continuous process of recognition in order to identify ( understand and understand.)

The constant comparison of acoustic stimuli with the experiences and the events associated with them and captured in the memory, determines the evocative capacity of the brain, able to relate to a past event and then transport us to another dimension to the simple occurrence of a note or sound, as could happen with a flavor, a scent or a picture.
The more expressive and coincident with that in mind is the sound you hear, the more spontaneous and more evocative of the play. If

record our voices, all appear to be uniquely our own, except to us that we will be amazed the difference with the tone we think we know.
Our voice travels directly from our lips to the ears of our party, but we, speaking or singing, we perceive not only through our ears, but through vibrations internal to our body and this is the stamp that our brains recognize other than what others perceive.

Listening to the sound of a violin, the brain will then compare what he has in mind as "sound of the violin" and, if the two coincide, recognize it as "violin", the instrument being played.

Not necessarily, however, that in memory there is a natural and realistic sound of the instrument!

In the absence of knowledge of the original sound, the brain may still have acquired a reference through a surrogate such as, for example, a mediocre or excellent plant breeding, or by a synthesis of several reproductions listen on several occasions.

If the listener acquires the sound of musical instruments through reproduction, as paradoxical as it is not unlikely that, listening to the originals, do not recognize them as real because of the cognitive dissonance produced from having scored in their memory the reproduced sound, certainly different from the original. How passionate listeners

plant breeding and we commit unconsciously continue this kind of error.

continuously submitting incorrect reference to the sound patterns of our brain and mental development through creating us further support to the cultural demonstration of the goodness of our acquisitions, often we end up not accepting or fail to recognize the best sound reproduction systems, better tools, recording and generally best solution to listen better when not conform to our sound or culturally acquired patterns.

Improper acquisition of a reference and the construction of a mental habit to support, can culminate to cognitive dissonance, the paradox of rejecting the original event.