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Some Parameters Influencing the Perceptibility of Pitch
The Journal of the Acoustical Society of America, 1970A sound signal added to its repetition after a delay time τ is able to produce a pitch, repetition pitch, corresponding to 1/τ. When the repetition is attenuated relative to the original sound, the strength of the pitch sensation (the perceptibility of pitch) decreases.
Bilsen, F.A., Ritsma, R.J.
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The Journal of the Acoustical Society of America, 1970
In music, melodies can be recognized regardless of the instrument on which they are played. This is true even when the musical sounds have no energy at the fundamental frequency. This phenomenon was studied through identification of melodies, each note of which was played by a complex of two simple tones with adjacent harmonic frequencies and randomly ...
A. J. M. Houtsma, J. L. Goldstein
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In music, melodies can be recognized regardless of the instrument on which they are played. This is true even when the musical sounds have no energy at the fundamental frequency. This phenomenon was studied through identification of melodies, each note of which was played by a complex of two simple tones with adjacent harmonic frequencies and randomly ...
A. J. M. Houtsma, J. L. Goldstein
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Cancellation model of pitch perception
The Journal of the Acoustical Society of America, 1998A model of pitch perception is presented involving an array of delay lines and inhibitory gating neurons. In response to a periodic sound, a minimum appears in the pattern of outputs of the inhibitory neurons at a lag equal to the period of the sound. The position of this minimum is the cue to pitch. The model is similar to the autocorrelation model of
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The Journal of the Acoustical Society of America, 1975
While listening to a violinist, the author noticed that as an accompaniment of hearing loss his perception of the higher pitches deviates from normal by a large musical interval. Pitch is perceived as of separate overlapping components, each with its own dependence of frequency.
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While listening to a violinist, the author noticed that as an accompaniment of hearing loss his perception of the higher pitches deviates from normal by a large musical interval. Pitch is perceived as of separate overlapping components, each with its own dependence of frequency.
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2nd European Conference on Speech Communication and Technology (Eurospeech 1991), 1991
Tim Aarset, Ben Gold
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Tim Aarset, Ben Gold
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The Journal of the Acoustical Society of America, 1997
Although most of Dix Ward’s publications were concerned with the effects of noise on hearing, his first love was music perception. The publication derived from his doctoral dissertation, ‘‘Subjective musical pitch’’ [J. Acoust. Soc. Am. 26, 369–380 (1954)], is one of the seminal works in the area, as is his treatise on absolute pitch [Sound 2(3), 14–21
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Although most of Dix Ward’s publications were concerned with the effects of noise on hearing, his first love was music perception. The publication derived from his doctoral dissertation, ‘‘Subjective musical pitch’’ [J. Acoust. Soc. Am. 26, 369–380 (1954)], is one of the seminal works in the area, as is his treatise on absolute pitch [Sound 2(3), 14–21
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1995
This chapter is about the decline of the traditional phenomenological approach to pitch perception. Auditory experiments with ambiguous stimuli provide arguments in favour of a model in which pitch is seen as an emerging outcome from auditory information processing, rather than in terms of phenomenological attributes.
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This chapter is about the decline of the traditional phenomenological approach to pitch perception. Auditory experiments with ambiguous stimuli provide arguments in favour of a model in which pitch is seen as an emerging outcome from auditory information processing, rather than in terms of phenomenological attributes.
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