6 Pitch perception models
نویسنده
چکیده
This chapter discusses models of pitch, old and recent. The aim is to chart their common points – many are variations on a theme – and differences, and build a catalog of ideas for use in understanding pitch perception. The busy reader might read just the next section, a crash course in pitch theory that explains why some obvious ideas don’t work and what are currently the best answers. The brave reader will read on as we delve more deeply into the origin of concepts, and the intricate and ingenious ideas behind the models and metaphors that we use to make progress in understanding pitch.
منابع مشابه
Pitch perception: a dynamical-systems perspective.
Two and a half millennia ago Pythagoras initiated the scientific study of the pitch of sounds; yet our understanding of the mechanisms of pitch perception remains incomplete. Physical models of pitch perception try to explain from elementary principles why certain physical characteristics of the stimulus lead to particular pitch sensations. There are two broad categories of pitch-perception mod...
متن کاملNonlinear Dynamics of the Perceived Pitch of Complex Sounds
The pitch of a sound is where we perceive it to lie on a musical scale. Like all sensations, pitch is a subjective quantity related to physical attributes of the stimulus, in this case mainly its component frequencies. For a pure tone with a single frequency component, the relation is monotonic and enables us to adopt an operational definition of pitch in terms of frequency: the pitch of an arb...
متن کاملPitch perception models
This chapter discusses models of pitch, old and recent. The aim is to chart their common points – many are variations on a theme – and differences, and build a catalog of ideas for use in understanding pitch perception. The busy reader might read just the next section, a crash course in pitch theory that explains why some obvious ideas don’t work and what are currently the best answers. The bra...
متن کاملMusic psychology:tonal structures in perception and memory.
INTRODUCTION . . . . . . . . . . . . . . . .. . . . . . . . . . . . . . . . . . . . .. . . . . . . . .... . . ... . . . . . . . . . . . . . . ... . . . .. . . . . . . . . . 277 CONSONANCE . . . . . . . . . . . . . . . . .. . . . . . . . . ....... . . . . ... . . . . . . . . . . . . . . . . . . . . . . .... . . . . . . . . . . .. . . . . . . .. . 278 TUNING AND INTONATION...... . . ........ . .....
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In the experiment we proof the paradoxical perception of pitch. A tone sequence demonstrates this paradox: the sequence is perceived as descending, although the first and last tone are identical. The intransitivity of pitch perception generalizes (Shepard 1964). It applies also to harmonic complex tones with variate amplitude envelope and partials that are arranged in intervals different from o...
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