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Scientific legacy of Professor Andrzej Rakowski in current studies of pitch discrimination in music

Miśkiewicz Andrzej

Vibrations in Physical Systems

2019

Vol. 30, nr 1

art. no. 2019113

This paper is an overview of experimental studies of pitch discrimination and pitch strength in music conducted in recent years at the Chopin University of Music. The studies were inspired by Professor Andrzej Rakowski’s findings and ideas on the foundations of pitch perception in music. The measurements of pitch discrimination show that the ability to hear pitch differences markedly decreases below 200-Hz frequency so that the pitch discrimination threshold increases to about a semitone at very low frequencies. The auditory system’s relatively poor ability of pitch discrimination of low-frequency tones also manifests itself in much less accurate identification of musical intervals and melodic patterns in the lowest octaves of the musical scale, comparing with higher octaves. The paper also discusses the results of an experiment which indicate that some percussion instruments of the indefinite pitch family produce a sensation of pitch strength comparable with melodic instruments.

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.