Current position: Sound Engineering: Chair of Musical Acoustics: Professor Andrzej Rakowski
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A selection of Professor Andrzej Rakowski's
publications illustrating the different areas of his research:

  1. ARTICLES
    1. The application of the autocorrelation method to the spectral analysis of sound records Acustica 11 (1961) 39-45.
    2. Opening transients in tones of the flute Bull. Soc. Ami. Sc. et Lt. Poznan; B19 (1967) 147-161.
    3. Eine Analyse des Intonierungsvorganges bei Orgeln Gravesaner Blätter 15 (1969) 46-58.
    4. On some secondary masking effects Acustica 31 (1974) 325-329.
    5. Pitch scales as a physical, psychological and musical concept. In: A. Czekanowska and L. Bielawski (eds.), Studies in the methods of ethnomusicology. Wroclaw-Warszawa, Ossolineum, 1975, pp. 51-76.
    6. Pitch shifts in post-stimulatory masking Acustica 34 (1976) 320-323.
    7. Psychoacoustical equivalents of tuning curves as determined by the post-stimulatory masking technique Archives of Acoustics 1 (1976) 127-136.
    8. Variability of the hearing threshold tracings in automatic audimetry beyond the initial transient phase Archives of Acoustics 2 (1977) 71-79.
    9. The application of organ sound in reverberation measurements in the concert hall of Warsaw Academy of Music Archives of Acoustics 2 (1977) 105-113.
    10. Measurements of pitch Journal of the Catgut Acoustical Society 27 (1977) 11-29.
    11. Opening transients and the quality of classic guitars Archives of Acoustics 3 (1978) 81-86.
    12. The magic number two: seven examples of binary apposition in pitch theory The Humanities Association Review 30 (1979) 24-45.
    13. Poststimulatory pitch shifts for pure tones The Journal of the Acoustic Society of America 68 (1980) 467-472.
    14. Psychoacoustic dissonance in pure-tone intervals: Disparities and common findings. In: C. Dahlhaus, M. Krause (red.) Tiefenstruktur der Musik TU Berlin (1982) 51-67.
    15. Pitch discrimination and musical interval recognition in backward masking. In: R. Klinke, R. Hartman (red.) Hearing-Physiological Bases and Psychophysics Springer Verlag, Berlin-Heidelberg-New York-Tokyo (1983) 315-320.
    16. The differential threshold for pitch and auditory memory as determinants of the pitch categorisation system n musici. In: J. Poniatowska (ed.), Works of music - Theory, History, Interpretation. Kraków, PWM, 1984, pp. 57-70.
    17. The perception of musical intervals Council for Research in Music Education Bulletin 16 (1985) 175-186.
    18. In search for the criteria of absolute pitch Archives of Acoustics 12 (1987) 75-87.
    19. The two-dimensional theory of sound pitch in light of psychoacoustic research. Muzyka 1987/2, 2-12.
    20. The arrangement of pitch in music within the context of the universal characteristics of language. Muzyka 1987/4, 39-59.
    21. An investigation of pitch of standards and categories in absolute pitch. Muzyka 1988/3, 3-20.
    22. Pitch code in music as compared with the natural language code Archives of Acoustics 13 (1988) 313-322.
    23. Some phonological universals in music and language Qualitative Linguistics 37 (1988) 1-9.
    24. Intonation variants of musical intervals in isolation and in musical contexts Psychology of Music 18 (1990) 60-72.
    25. Context-dependent intonation variants of melodic intervals. In: J. Sundberg, L. Nord, R. Carlson (red.) Music, Language, Speech and Brain MacMillan Press, London (1991) 203-211.
    26. Music vs noise: A comparison of loudness estimates Archives of Acoustics 17 (1992) 203-216.
    27. Musical instruments as sources of noise The Journal of the Acoustic Society of Japan 14 (1993) 151-154.
    28. Short-term memory for pitch investigated with vocal matchings Archives of Acoustics 18 (1993) 173-179.
    29. Categorical perception in absolute pitch Archives of Acoustics 18 (1993) 515-523.
    30. Psychoacoustic foundations of the musical communication code. Muzyka 1994/2, 1-8.
    31. Loud music threshold shifts and damage risk prediction Archives of Acoustics 19 (1994) v. 3.
    32. Loudness level and sound pressure level: A comparison of musical instruments The Journal of the Acoustic Society of Amererica 96 (1994) v. 6, 3375-3379.
    33. Short-term memory for pitch w: H. Fastl, S. Kuwano and A. Shick (red.), Recent Trends in Hearing Research BIS, Oldenburg (1996) 99-129.
    34. Pitch strength, pitch value and pitch distance Acustica 82, (1996) 86.
    35. Music education in Poland. Studia Edukacyjne 2 (1996), 109-119.
    36. Loudness reduction of music transmitted through building partitions co-author T. Fidecki, Acustica 82 (1996) 110.
    37. Timbre solfege at the Department of Sound Engineering (article in Japanese). In: S. Iwamiya (ed.), Aural sensitivity training - Theory and application of the Technical Listening method (in Japanese), Kyushu Institute of Design, Fukuoka (1996), 113-121.
    38. The phonological system of musical language in the domain of pitch. In: J. Stęszewski and M. Jabłoński (red.) Interdisciplinary Studies in Musicology PTPN Poznań (1997) t. 4, 211-221.
    39. Models of music teacher training in light of the assumptions of the educational reform. In: M. Jabłoński and J. Stęszewski (eds.), Polish music education in the face of systemic transformation. PTPN Poznań (1997), 35-53.
    40. Pitch as the phonological material of the music language. Muzyka 43 (1998), 7-24.
    41. Pitch in music and its forms of memorisation. In: J. Krassowski (ed.), The musical work. Between inspiration and reflection. Gdansk Music Academy (1998), 284-298.
    42. Perceptual dimensions of pitch and their appearance in the phonological system of music Musicae Scientiae 3 (1), (1999) 23-29.
    43. La memoir de la hauteur du son en musique. In: M. Jabłoński at al (red.) Contexts of Musicology Ars Nova, Poznan (1999) t. 2, 261-273.
    44. Similarities in the phonological systems of music and language Speech and Language Technology 3 (1999) 11-20.
    45. High frequency hearing loss in percussion players (co-authors P. Rogowski and A. Jaroszewski) Archives of Acoustics 24, (1999) 119-129.
    46. Teaching psychoacoustics in Poland (co-author E. Hojan) Acustica 85 (1999) 623-625.
    47. Roughness of beating tone pairs measured by absolute magnitude estimation (co-authors A. Miśkiewicz i T. Rościszewska). In: Suk Won Yi (red.) Music, Mind and Science Seoul National University Press, (1999) 496-505.
    48. The scale of pitch in music (co-athor A. Miskiewicz). In: L. Bielawski and J. K. Dadak-Kozicka (eds.), Interpreting music. Warszawa, Wydawnictwo Związku Kompozytorów Polskich 91999), 276-186.
    49. Short-term memory for pitch and its significance for music. In: A. Rakowski (ed.), Studies on pitch and timbre. Warszawa, AMFC (1999), 11-38.
    50. An investigation of the psychological scale of pitch (co-author A. Miskiewicz). In: A. Rakowski (ed.), Studies on pitch and timbre. Warszawa, AMFC (1999), 64-82.
    51. An investigation of the melodic intonation of the tritone (co-author D. Blaszczak ). In: A. Rakowski (ed.), Studies on pitch and timbre. Warszawa, AMFC (1999), 83-94.

  2. MONOGRAPHS
    1. Categorical perception of pitch in music. Warszawa, PWSM (1978), pp. 171 (Winner of the Department IV, Polish Academy of Sciences Award, 1980).
    2. The basic determinants of access of children and adolescents to music culture in Poland. Warszawa, AMFC (1984), pp. 96.
    3. Studies on pitch and timbre. Warszawa, AMFC (1999), pp. 250.

  3. HANDBOOK

    1. Acoustics. Selected issues. Warszawa, AMFC (1979), pp. 90.




      Compiled by: The Fryderyk Chopin Academy of Music