The phrase "auditory content" is correct and usable in written English.
It can be used when referring to information or material that is conveyed through sound, such as audio recordings, music, or spoken language.
Example: "The auditory content of the podcast was engaging and kept the listeners interested throughout the episode."
Alternatives: "audio material" or "sound information".
The artists involved credit four elements to this alchemy: the understanding of the artist's intensions by the production team and the trust engendered by this; the quality of the capture; the complex layering of visual and auditory content; and the 'eye' with which it is edited.
The requirement of fidelity to auditory content may be challenged on a number of grounds.
However, wave theorists may also try to reconcile auditory content with the wave conception.
Sound designers have traditionally made extensive use of recordings for creating the auditory content of audiovisual productions.
As we have seen, we do hear sounds both as externalized (hence auditory content is at odds with proximal views) and as distally located (hence auditory content is at odds with medial views).
Second, the requirement of fidelity to auditory content may be challenged by questioning the phenomenological claim that motivates it.
For instance, the cognitive contents of the visual system are visual contents, whereas the cognitive contents of the auditory system are auditory contents.
For another half of the sounds the auditory contents were correctly identified, though participants agreed on labels (sense sets) that differed from the target concepts.
In slightly more general terms, Extensional theorists who believe that in our ordinary perceptual experience we are presented with purely phenomenal items (sense-data, qualia or similar) will regard the visual and auditory contents of specious presents as themselves being phenomenal in nature.
The producers used a variety of formal features, which were auditory, and content features, which consisted of invitations given to the audience, such as "Will you help?" The features were also in the form of both recurrent and unique formats and content.
Because there is no unique way to classify the perceived emotion of mismatching audiovisual stimuli, we scored a participant response as correct when it was identical to the auditory emotional content.
