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Roughness of two simultaneous harmonic complex tones in various pitch registers

Szczepańska-Antosik J.

Archives of Acoustics

2008

Vol. 33, No. 1

73-78

The purpose of the study was to determine the dependence of perceived roughness on the frequency ratio of two simultaneous harmonic complex tones. A set of 36 dyads forming musical intervals of various tuning systems was presented in three pitch registers. Twelve sound engineering students judged each dyad for roughness by the method of absolute magnitude estimation. Results show that roughness considerably varies with the frequency ratio of the two complex tones, what is a well-known phenomenon. A new finding, being in contrast to published theories of roughness, is that some of the equally-tempered intervals are perceived less rough than their counterparts based on integer frequency ratios. This effect is attributed to slow beats that arise between the harmonics of two complex tones when the frequency ratio of the tones slightly departs from the integer ratio.

Absolute pitch and its implications for music

Miyazaki K.

Archives of Acoustics

2007

Vol. 32, No. 3

529–-540

Absolute pitch is defined as an ability to identify musical pitch of single tones presented in isolation. There has been so far little empirical research investigating in detail how people with absolute pitch perceive musical pitch, so absolute pitch is still surrounded by mystery. This article summarizes a series of the author’s experiments exploring the perception of musical pitch and melodies by listeners having absolute pitch. Absolute pitch has been considered an important part of musical ability, and is assumed to be acquired primarily through early music training at the age from 3 to 6 years. However, critically important is relative pitch (pitch relations) on which melodies and harmonic structures are constructed. In contrast, absolute pitch that enables its possessors to name isolated tones is not crucial to music. Moreover, the experimental findings suggest that absolute pitch may sometimes be disadvantageous for musicians since it may, in some cases, be incompatible with processing and learning of relative pitch.