The Judgment of Musical Intervals

Hesse, Horst-Peter

doi:10.1007/978-1-4684-8917-0_11

Cited by 10 publications

(5 citation statements)

References 3 publications

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“…This result is not inconsistent with earlier work, for two reasons. First, pitch differences between complex tones with the same fo appear to be small unless their terms of biases or of confusions of pitch with timbre (Hesse, 1982;Singh, 1989). Although experiment 1 showed that pitch shifts between the A and B tones were generally small and nonsignificant, the s.d.…”

Section: Discussionmentioning

confidence: 91%

Accuracy of pitch matching for pure tones and for complex tones with overlapping or nonoverlapping harmonics

Moore

Glasberg

Proctor

1992

The Journal of the Acoustical Society of America

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The discrimination of the fundamental frequency (fo) of pairs of complex tones with no common harmonics is worse than the discrimination of fo for tones with all harmonics in common. These experiments were conducted to assess whether this effect is a result of pitch shifts between pairs of tones without common harmonics or whether it reflects influences of spectral differences (timbre) on the accuracy of pitch perception. In experiment 1, pitch matches were obtained between sounds drawn from the following types: (1) pure tones (P) with frequencies 100, 200, or 400 Hz; (2) a multiple-component complex tone, designated A, with harmonics 3, 4, 8, 9, 10, 14, 15, and fo = 100, 200, or 400 Hz; (3) A multiple-component complex tone, designated B, with harmonics 5, 6, 7, 11, 12, 13, 16, and with fo = 100, 200 or 400 Hz. The following matches were made; A vs A, B vs B, A vs P, B vs P and P vs P. Pitch shifts were found between the pure tones and the complex tones (A vs P and B vs P), but not between the A and B tones (A vs B). However, the variability of the A vs B matches was significantly greater than that of the A vs A or B vs B matches. Also, the variability of the A vs P and B vs P matches was greater than that for the A vs B matches. In a second experiment, frequency difference limens (DLCs) were measured for the A vs A, B vs B, and A vs B pairs of sounds. The DLCs were larger for the A vs B pair than for A vs A or B vs B. The results suggest that the poor frequency discrimination of tones with no common harmonics does not result from pitch shifts between the tones. Rather, it seems that spectral differences between tones interfere with judgements of their relative pitch.

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Section: Discussionmentioning

confidence: 91%

Accuracy of pitch matching for pure tones and for complex tones with overlapping or nonoverlapping harmonics

Moore

Glasberg

Proctor

1992

The Journal of the Acoustical Society of America

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“…The nature and direction of the perceived difference should reflect the acoustic properties of the restored speech sound: Since an [s] noise is characterized by strong high-frequency energy, the residue of the target noise should be depleted of energy in that region. Noises can be described as having a pitch-like quality or relative "brightness" of timbre that depends on their spectral composition (see, e.g., Glave, 1973;Hesse, 1982). An [s] noise has a relatively high pitch or bright timbre, which reflects the predominance of highfrequency components mostly above 4 kHz, whereas white noise has a somewhat lower (indefinite) pitch or darker timbre, which reflects its flat spectrum, and lowpass filtered noise has an even lower pitch.…”

Section: Methodological Considerationsmentioning

confidence: 99%

Perceptual restoration of a “missing” speech sound: Auditory induction or illusion?

Repp

1992

Perception & Psychophysics

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This study investigated whether the apparent completeness of the acoustic speech signal during phonemic restoration derives from a process of auditory induction (Warren, 1984) or segregation, or whether it is an auditory illusion that accompanies the completion of an abstract phonological representation. Specifically,five experiments tested the prediction of the auditory induction (segregation) hypothesis that active perceptual restoration of an [s] noise that has been replaced with an extraneous noise would use up a portion ofthat noise's high-frequency energy and consequently change the perceived pitch (timbre, brightness) of the extraneous noise. Listeners were required to compare the pitch of a target noise, which replaced a fricative noise in a sentence, with that of a probe noise preceding or following the speech. In the first two experiments, a significant tendency was found in favor of the auditory induction hypothesis, although the effect was small and may have been caused by variations in acoustic context. In the following three experiments, a larger variety of stimuli were used and context was controlled more carefully; this yielded negative results. Phoneme identification responses collected in the same experiments, as well as informal observations about the quality of the restored phoneme, suggested that restoration of a fricative phone distinct from the extraneous noise did not occur; rather, the spectrum of the extraneous noise itself influenced phoneme identification. These results suggest that the apparent auditory restoration which accompanies phonemic restoration is illusory, and that the schemaguided process of phoneme restoration does not interact with auditory processing.

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“…First, listeners could confuse pitch with brightness, that dimension of timbre along which tones can be ordered from low to highsimilar to pitch ͑Chuang and Wang, 1978;Hesse, 1982;Singh, 1989͒. Second, differences in spectral region can induce differences in pitch between complex tones having identical F0s ͑van den Brink, 1977;Ohgushi, 1978͒.…”

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confidence: 99%

Does fundamental-frequency discrimination measure virtual pitch discrimination?

Micheyl

Divis

Wrobleski

et al. 2010

The Journal of the Acoustical Society of America

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Studies of pitch perception often involve measuring difference limens for complex tones ͑DLCs͒ that differ in fundamental frequency ͑F0͒. These measures are thought to reflect F0 discrimination and to provide an indirect measure of subjective pitch strength. However, in many situations discrimination may be based on cues other than the pitch or the F0, such as differences in the frequencies of individual components or timbre ͑brightness͒. Here, DLCs were measured for harmonic and inharmonic tones under various conditions, including a randomized or fixed lowest harmonic number, with and without feedback. The inharmonic tones were produced by shifting the frequencies of all harmonics upwards by 6.25%, 12.5%, or 25% of F0. It was hypothesized that, if DLCs reflect residue-pitch discrimination, these frequency-shifted tones, which produced a weaker and more ambiguous pitch than would yield larger DLCs than the harmonic tones. However, if DLCs reflect comparisons of component pitches, or timbre, they should not be systematically influenced by frequency shifting. The results showed larger DLCs and more scattered pitch matches for inharmonic than for harmonic complexes, confirming that the inharmonic tones produced a less consistent pitch than the harmonic tones, and consistent with the idea that DLCs reflect F0 pitch discrimination.

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The Judgment of Musical Intervals

Cited by 10 publications

References 3 publications

Accuracy of pitch matching for pure tones and for complex tones with overlapping or nonoverlapping harmonics

Accuracy of pitch matching for pure tones and for complex tones with overlapping or nonoverlapping harmonics

Perceptual restoration of a “missing” speech sound: Auditory induction or illusion?

Does fundamental-frequency discrimination measure virtual pitch discrimination?

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