10.1515/aoa-2017-0063
Identification of Harmonic Musical Intervals: The Effect of Pitch Register and Tone Duration
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.
References
Boer E. de (1976), On the residue and auditory pitch perception, [in:] Handbook of Sensory Physiology, Keidel W.D., Neff W.D (Eds.), pp. 479–583, Springer Verlag, New York.
Butram J.B. (1969), Perception of musical intervals, Perceptual and Motor Skills, 28, 391–394.
Cazden N. (1980), The definition of consonance and dissonance, International Review of the Aesthetics and Sociology of Music, 11, 123–168.
Fastl H. (1998), Pitch strength and frequency discrimination for noise bands or complex tones, [in:] Psychophysical and Physiological Advances in Hearing, Palmer A.R., Rees A., Summerfield Q., Meddis R. (Eds.), Whurr Publishers, London.
Fastl H., Stoll G. (1979), Scaling of pitch strength, Hearing Research, b, 293–301.
Freyman R.L., Nelson D.A. (1985), Frequency discrimination as a function of tonal duration and excitation-pattern slopes in normal and hearing-impaired listeners, Journal of the Acoustical Society of America, 79, 1034–1044.
Glasberg B.R., Moore B.C.J. (1990), Derivation of auditory-filter shapes from notched-noise data, Hearing Research, 47, 103–138.
Greenwood D.D. (1961), Critical bandwidth and the frequency coordinates of the basilar membrane, Journal of the Acoustical Society of America, 33, 1344–1356.
Hartmann W.M., Rakerd B., Packard T.N. (1985), On measuring the frequency-difference limen for short tones, Perception and Psychophysics, 38, 199-207.
Hsieh I-H., Saberi K. (2007), Temporal integration in absolute identification of musical pitch, Hearing Research, 233, 108-116.
ISO (1966), Method for Calculation Loudness Level, R-532 B. International Organization for Standardization, Geneva.
Kameoka A., Kuriyagawa M. (1969a), Consonance theory part I: Consonance of dyads, Journal of the Acoustical Society of America, 45, 1451 – 1459.
Kameoka A., Kuriyagawa M. (1969b), Consonance theory part II: Consonance of complex tones and its calculation methods, Journal of the Acoustical Society of America, 45, 1460 – 1469.
Killam R.N., Norton P.V., Schubert E.D. (1975), Interval recognition: Identification of harmonic and melodic intervals, Journal of Music Theory, 19, 212–234.
Micheyl Ch., Xiao L., Oxenham A.J. (2012), Characterizing the dependence of pure-tone frequency difference limens on frequency, duration, and level, Hearing Research, 292, 1–13.
Moore B.C.J. (1973), Frequency-difference limens for short duration tones, Journal of the Acoustical Society of America, 54, 610–619.
Mursell J.L. (1932), The Psychology of Music, Norton, New York.
Plomp R., Levelt W.J.M. (1965), Tonal consonance and the critical bandwidth, Journal of the Acoustical Society of America, 38, 548–560.
Plomp R., Steeneken H. (1968), Interference between two simple tones, Journal of the Acoustical Society of America, 43, 883–884.
Plomp R., Wagenaar W.A., Mimpen A.M. (1973), Musical interval recognition with simultaneous tones, Acustica, 29, 101–109.
Pratt C.C. (1928), Comparison of tonal distances, Journal of Experimental Psychology, 11, 84–88.
Pressnitzer D., Patterson R., Krumbholtz K. (2001), The lower limit of melodic pitch, Journal of the Acoustical Society of America, 109, 2074–2084.
Rakowski A. (1977), Measurements of pitch, Catgut Acoustical Society Newsletter, 27, 9–11.
Rakowski A. (1990), Intonation variants of musical intervals in isolation and in musical contexts, Psychology of Music, 18, 68-72.
Rakowski A. (2000), Measurements of the pitch strength of percussion instruments, Proceedings of the 6th International Conference on Music Perception and Cognition, Keele.
Rakowski A., Miśkiewicz A. (1985), Deviations from equal temperament in tuning isolated musical intervals, Archives of Acoustics, 10, 291–304.
Rakowski A., Miśkiewicz A. (2002), Pitch discrimination of low-frequency tones, Proceedings of the 7th International Congress on Music Perception and Cognition, 538–540, Sydney.
Rakowski A., Rogowski P. (2009), Investigating the pitch strength of short pure-tone pulses in middle frequency range through their chroma recognition by absolute pitch listeners, Interdisciplinary Studies in Musicology, 8, 273–278.
Rogala T. (2008), Pitch strength of musical tones, [in Polish:] Siła wysokości dźwięków muzycznych, Ph.D. Thesis, The Fryderyk Chopin University of Music.
Rogala T. (2010), Melody identification as a method of measuring pitch strength, [in Polish:] Identyfikacja melodii jako metoda badania siły wysokości dźwięku, Muzyka, 55, 65–76.
Ronken D.A. (1971), Some effects of bandwidth-duration constraints of frequency discrimination, Journal of the Acoustical Society of America, 49, 1232–1242.
Samplaski A. (2005), Interval and interval class similarity: Results of a confusion study, Psychomusicology, 19, 59–74.
Schouten J.F. (1940), The residue and the mechanism of hearing, Proceedings of the Koninklijke Akademie van Wetenschappen, 43, 991–999.
Wier C.C., Jesteadt W., Green D.M. (1977), Frequency discrimination as a function of frequency level and frequency, Journal of the Acoustical Society of America, 61, 178–184.
Zwicker E. (1961), Subdivision of the audible frequency range into critical bands (Frequenzgruppen), Journal of the Acoustical Society of America, 33, 248.
DOI: 10.1515/aoa-2017-0063