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Identification of Harmonic Musical Intervals : The Effect of Pitch Register and Tone Duration

Rogala T., Miśkiewicz A., Rogowski P.

Archives of Acoustics

2017

Vol. 42, No. 4

591--600

An experiment was conducted to explore the effect of the pitch strength of pure tones constituting a dyad on the accuracy of musical interval identification. Pitch strength was controlled by presenting the intervals in different frequency regions and varying their duration. The intervals were organized into 18 blocks made up by a combination of three octaves: the second (65.4-130.8 Hz), the fourth (261.6-523.3 Hz), and the sixth octave (1047-2093 Hz), and six tone durations, ranging 50-2000 ms in the second octave, and 10-500 ms in the two higher ones. The results indicate that interval identification improves with increasing pitch strength of the interval’s component tones. The identification scores were much lower in the second octave than in the two higher ones and in all octaves identification worsened as the interval’s duration was shortened. The intervals were most often confused with intervals of similar size rather than with their inversions and intervals of similar sonic character. This finding suggests that the main cue for the identification of harmonic intervals is the pitch distance between two tones. However, in the low pitch range, when the tone pitches are less salient, the impression of consonance may become a helpful, although not very effective cue.

Combination Tones in the Model of Central Auditory Processing for Pitch Perception

Ziębakowski T.

Archives of Acoustics

2012

Vol. 37, No. 4

571-582

This work addresses the problem of difficulties in classical interpretation of combination tones as non- linear distortions. One of the basic problems of such an interpretation is to point out the sources of these distortions. Besides, these kinds of distortions have numerous “anomalies” which are difficult to explain on the grounds of physics or physiology. The aim of the model presented in this paper is to show that combination tones phenomenon can be explained as an effect of central mechanisms. Most of existing theories of pitch perception focus mainly on virtual pitch perception and do not take into account com- bination tones as an element of the same mechanism. The proposed model of central auditory processing for pitch perception allows one to interpret in a coherent way both virtual pitches and combination tones phenomena. This model is of a demonstrative nature and gives an introduction to more advanced model. It belongs to the class of spectral models and it will be shown that such a model can be in a simple way extended to spectral – time model which is partially consistent with autocorrelation models.

Experiments on pitch perception: implications for music and other processes

Houtsma A. J. M.

Archives of Acoustics

2007

Vol. 32, No. 3

475--490

This paper presents a review of the development of our understanding of pitch perception during the past three decades, in which the author was deeply involved. Some specific applications are discussed that are for the most part in the domain of music perception and show where the interest in pitch perception has led us today.