The Processing of Pitch Combinations

Deutsch, Diana

doi:10.1016/b978-0-12-381460-9.00007-9

Cited by 38 publications

(23 citation statements)

References 173 publications

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“…In the model considered up to now, performance is limited by a noisy encoding of the elements of C, but not T. This was an appropriate model for the main experiment of Demany and Ramos (2005), in which the elements of C were always synchronous-a circumstance propitious to informational masking-and T was presented after C. In the current experiment, however, the elements of C were not always synchronous and T was presented before C. Since the memory trace of a tone can be strongly affected by the presentation of subsequent tones (Deutsch, 1972(Deutsch, , 1999, it is reasonable to assume that T had a more noisy internal representation than the elements of C when these elements were asynchronous and successively compared to T. This led us to consider an ideal listener ⌳' behaving exactly like ⌳ but hampered by noise in the encoding of T alone, not the elements of C. For the five values of previously selected, the results of ⌳' in the two tasks are plotted as diamonds in Figure 2. It can be seen that the relation between performance in the two tasks is rather similar for ⌳ and ⌳'.…”

Section: Two Mechanisms Of Auditory Change Detectionmentioning

confidence: 96%

Implicit versus explicit frequency comparisons: Two mechanisms of auditory change detection.

Demany¹,

Semal²,

Pressnitzer³

2011

Journal of Experimental Psychology: Human Perception and Perfor

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Listeners had to compare, with respect to pitch (frequency), a pure tone (T) to a combination of pure tones presented subsequently (C). The elements of C were either synchronous, and therefore difficult to hear out individually, or asynchronous and therefore easier to hear out individually. In the "present/absent" condition, listeners had to judge if T reappeared in C or not. In the "up/down" condition, the task was to judge if the element of C most similar to T was higher or lower than T. When the elements of C were synchronous, the up/down task was found to be easier than the present/absent task; the converse result was obtained when the elements of C were asynchronous. This provides evidence for a duality of auditory comparisons between tone frequencies: (1) implicit comparisons made by automatic and direction-sensitive "frequency-shift detectors"; (2) explicit comparisons more sensitive to the magnitude of a frequency change than to its direction. Another experiment suggests that although the frequency-shift detectors cannot compare effectively two tones separated by an interfering tone, they are largely insensitive to interfering noise bursts.

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Section: Two Mechanisms Of Auditory Change Detectionmentioning

confidence: 96%

Implicit versus explicit frequency comparisons: Two mechanisms of auditory change detection.

Demany¹,

Semal²,

Pressnitzer³

2011

Journal of Experimental Psychology: Human Perception and Perfor

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“…As for half-octave pitch shifts, listeners are on average equally likely to report upward or downward pitch shifts (Shepard, 1964). This effect appears to be subject to strong idiosyncratic biases, which itself has become the subject of a large body of work (e.g., Deutsch, 2013;Repp, 1997).…”

Section: Introductionmentioning

confidence: 99%

Timbral Shepard-illusion reveals ambiguity and context sensitivity of brightness perception

Siedenburg

2018

The Journal of the Acoustical Society of America

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Recent research has described strong effects of prior context on the perception of ambiguous pitch shifts of Shepard tones [Chambers, Akram, Adam, Pelofi, Sahani, Shamma, and Pressnitzer (2017). Nat. Commun. 8, 15027]. Here, similar effects are demonstrated for brightness shift judgments of harmonic complexes with cyclic spectral envelope components and fixed fundamental frequency. It is shown that frequency shifts of the envelopes are perceived as systematic shifts of brightness. Analogous to the work of Chambers et al., the perceptual ambiguity of half-octave shifts resolves with the presentation of prior context tones. These results constitute a context effect for the perceptual processing of spectral envelope shifts and indicate so-far unknown commonalities between pitch and timbre perception.

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“…Although the present metaphoric representation of the Western pitch space in terms of verticality, originating in Medieval Latin, is still the dominant mode of musical pitch conceptualization (Deutsch 2013;Park 2015), there are many languages that use other metaphors to refer to pitch relations. In some languages there is a metonymic connection between the process of music performance and the instruments used, which results in the attribution of small and large to the pitches typical of the musical practice.…”

Section: čLanci -Articles -Artikelmentioning

confidence: 99%

The embodied and the cultural in the conceptualization of pitch space in Croatian

Žuvela¹,

Anić
²

2019

Jezikoslovlje (Online)

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Most conceptual metaphors that conceptualize musical pitch rely heavily on human perception, images and experience structured through spatial and orientation image schemas such as the schema of verticality. The paper analyses conceptual metaphors that structure pitch relations in terms of vertical space, thickness and size as they appear in the Croatian musical terminology. The image schemas of verticality and size are analysed within the conceptual metaphors pitch relations are relations in vertical space and pitch relations are relations in size in order to define to what extent their motivation is embodied and universal, and what can be attributed to cross-cultural and cross-linguistic influences present in the creation and understanding of music terminology in Croatia.

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The Processing of Pitch Combinations

Cited by 38 publications

References 173 publications

Implicit versus explicit frequency comparisons: Two mechanisms of auditory change detection.

Implicit versus explicit frequency comparisons: Two mechanisms of auditory change detection.

Timbral Shepard-illusion reveals ambiguity and context sensitivity of brightness perception

The embodied and the cultural in the conceptualization of pitch space in Croatian

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