The division of sounds into units or segments perceived as separate and distinct is sometimes referred to as “auditory event analysis” or “auditory scene analysis” (“ASA”).  An extensive discussion of auditory scene analysis is set forth by Albert S. Bregman in his book Auditory Scene Analysis—The Perceptual Organization of Sound, Massachusetts Institute of Technology, 1991, Fourth printing, 2001, Second MIT Press paperback edition.)  In addition, U.S. Pat.  No.  6,002,776 to Bhadkamkar, et al, Dec. 14, 1999 cites publications dating back to 1976 as “prior art work related to sound separation by auditory scene analysis.”  However, the Bhadkamkar, et al patent discourages the practical use of auditory scene analysis, concluding that “[t]echniques involving auditory scene analysis, although interesting from a scientific point of view as models of human auditory processing, are currently far too computationally demanding and specialized to be considered practical techniques for sound separation until fundamental progress is made.” 
There are many different methods for extracting characteristics or features from audio.  Provided the features or characteristics are suitably defined, their extraction can be performed using automated processes.  For example “ISO/IEC JTC 1/SC 29/WG 11” (MPEG) is currently standardizing a variety of audio descriptors as part of the MPEG-7 standard.  A common shortcoming of such methods is that they ignore auditory scene analysis.  Such methods seek to measure, periodically, certain “classical” signal processing parameters such as pitch, amplitude, power, harmonic structure and spectral flatness.  Such parameters, while providing useful information, do not analyze and characterize audio signals into elements perceived as separate and distinct according to human cognition.  However, MPEG-7 descriptors may be useful in characterizing an Auditory Event identified in accordance with aspects of the present invention.