The phrase "attributes of sound" is correct and usable in written English.
It can be used when discussing the characteristics or qualities that define sound, such as pitch, volume, and timbre.
Example: "In our music theory class, we explored the various attributes of sound that contribute to the overall experience of listening."
Alternatives: "qualities of sound" or "characteristics of sound".
Since it is anticipated that some users will be interested in the semantic attributes of sounds, the four attributes mentioned in [31] as well as "tenseness" will be included as part of a sound's entry.
Many researchers have investigated semantic attributes of sounds, such as "harshness" or "complexity" (see Section 4 below for citations), or broader sound categories which can also be included, either from pre-existing data, if an associate (described below) has such data on that particular sound, or by aggregating ratings submitted on the website (see Section 8.4 below).
Other researchers might also want to know acoustic attributes of sounds, such as the amount of high frequency information, the duration, and the temporal structure if they are undertaking studies in filtering environmental sounds (e.g., [2]) or looking at the role of temporal cues [1].
This difference is consistent with the hypothesis that medial regions extract basic auditory features whereas lateral belt and parabelt regions process more abstract, attentionally-relevant attributes of sounds [25], [70].
Collignon et al. (2013) in a recent study investigated the role of experience in shaping functional organization of the occipital cortex during processing of pitch or spatial attributes of sounds.
Loudness, in acoustics, attribute of sound that determines the intensity of auditory sensation produced.
For example, timbre, another holistic attribute of sounds, may be derived in part from integrative comparisons between envelope and fine-structural information over a larger region of the tonotopic map than is used for holistic pitch.
Also, other important subjective attributes of the sound fields, the subjective diffuseness, and subjective preferences of both listeners and performers for single reflection are demonstrated here.
While the appeal of using speech as a natural stimulus is clear, it nonetheless introduces difficulties in equating the physical attributes of the sound between the passive and active conditions.
