Psychophysics: the connection between physical/psychological

Pitch range is 11 octaves, 5-6 in music

Fourier analysis describes waveform as a sum of sine waves
Square wave: odd harmonics. Sawtooth: all harmonics
Source/filter model. String/body of violin
Multi-dimensional scaling Brightness, Attack time, Spectral flux
Octaves 2:1 frequency ratio, Fifths: 3:2
Shepards pitch helix: infinite up/down spiral in pitch
Harmonicity: the degree to which any set of frequencies aligns
with a harmonic series of the same tone.
Hard clipping: harmonics try to fill in the wave to create the
clipped sawtooth wave
Active AP: ability to produce a pitch with no reference.
Passive AP: ability to name a pitch with no reference.
Synaesthesia: Stimulation of one sensory or cognitive pathway
leads to automatic experiences in a second pathway.
Prototypical categories usually easily remembered, shorter
names, learned in early development, produce asymmetric
similarities.
Krumhansl Probe tone experiment. Testing tonality and its
cognitive relationship.
Through exposure, you gain a predisposition expectancy
Appoggiatura: Large interval followed by a step up/down
Post-skip reversal: tendency for melodic leaps followed by a
change in pitch direction
IOI: inter-onset interval, the time between the beginning of
successive notes, the interval between onsets
Beat: a recurring moment when tone onsets are more expected
Tactus: basic pulse that around 600ms
POM
Ch. 2
Acoustics: study of production, transmission, reception of sound
Psychological dimension of sound:pitch loudness timbre duration
Frequency: cycles per second (Hz)
Complex tones: combination of many frequencies
Timbre: interplay among frequencies that occur simultaneously
Coupled acoustics: musical instruments in which there are two
vibrating devices: one generates the sound, and the other
amplifies it.
Ch. 3
Perceptual experience of pitch is related to the frequency
Residue pitch or Virtual pitch: hearing the same pitch without the
fundamental frequency, based on harmonics
Critical bandwidth: a range of frequencies that evoke a similar
response in the auditory system
Musically dissonant intervals may be predicted by the critical
band if one considers interactions among upper harmonics.
Perceived dissonance is max when harmonics fit in same band
Physical loudness is referred to as intensity (decibels)
Perceived rhythms often migrate to the closest metric structure
Duration of note also impacted by visuals
Sounds fuse when separated by less than 50 ms
Clicks are heard as simultaneous if less than 2 ms
Short tones may be heard as a click with undiscernible pitch
Timbre/tone colour: intrinsic and distinctive quality of sound
Corresponds with the complexity of the waveform and the
combination of overtones
Envelope of a non-percussive: attack, steady state, decay
Interaural timing: slight time difference in sound reaching ears
Interaural intensity: intensity difference between two ears
The cochlea is designed to encode information about frequency
Place theory suggests the basilar membrane segments the
components of a complex tone. Pitch perception may be
determined by the place associated with the fundamental freq
Time theory is based on the frequency the nerves fire. The
overall pattern of the firing is used to identify the fundamental
Ch. 5
Melody: the experience of a sequence of pitches as belonging
together
Essential elements: pitch, interval, contour, harmony, and key
Pitch height: true of pitch either in or out of musical context
Chroma: the category represented by a certain pitch
Chromas are identical in octaves (octave equivalence)
Intervals denote the transition from one pitch to the next
Relative pitch: ability to recognize and remember pitches through
their relationship to one another
Melodic contour: the shape of a melody line. Rising, falling,
unchanging in pitch.
Harmony can influence perception of melody
Key: scale structure that a melody implies
Tonal: pitches imply a specific key
Atonal: no implication of any key
Errors that violate key are highly salient, as with contour
Gestalt: Whole form. Organized structures that emerge from the
physical stimuli in our environment
The perception of the emergent or whole property of an
aggregate and of the elements contributing to that whole
influence each other
Proximity: elements that are near tend to be seen as a group
Similarity: those that are similar (within elements)
Closure: when a pattern is incomplete, it is perceived as a whole
Good continuation: smooth continuity is preferred over abrupt
changes of direction
Principle of proximity: a series of tones is perceived as a melody
Nearness: in pitch, time, space is perceived as groups
Difficult to tell two interleaved melodies apart if played in
overlapping pitch ranges
If two melodies are played in two different ranges, on the same
instrument (virtual polyphony), then they can be seen as
different melodies
Sequential similarity: repetition and variation of themes, motifs,
and relationships
Principle of closure: finality as completion of a melody
Gravitation towards the tonic at the end of a melody
Phonemic restoration: listeners continue to hear speech even
when a phoneme is replaced by noise
Diana Deutsch (1975) scale illusion:
Tones were reorganized into contour
Melodies are remembered without
reference to specific pitch
Pitch memory is widespread (people
transpose melodies into the key
most comfortable to their singing
range?)
People with AP tend to be a semitone sharp when old age-
dependant physiological change that alters the mechanical
properties of the cochlea
Tonal schemata: listeners maintain internalized rule structures in
long term memory and use these schemata to interpret
incoming sounds such as melodic sequences
Used to interpret the role that the constituent pitches play
Krumhansl probe tone technique
Listeners judgements were influenced by the status of tones
within the pitch hierarchy established in the context

Priming: perception of a stimulus leads you to access related
items from memory
Harmonic priming: processing of a chord tends to be faster and
more accurate when preceded by a chord that is harmonically
related or schematically probable
Repetition priming: participants asked to sing the last pitch of a
five tone melody. Faster if pitch was included in one of the
first four notes than if it were new
Cochlea and auditory cortex share a tonotopic representation

Ch. 6
Rhythm: the time pattern created by notes as music unfolds
Long spans can be kept by accents and emphasis on melody
Categorical perception: tendency to treate a range or values
along a physical continuum as if they were the same until one
reaches a point at which the percept abruptly changes
Listeners perceived a categorical boundary separating 1:1 or 1:2
ratios in rhythm
Click migration: produced click seemed earlier/later depending
on when it was sounded
Rhythm: relative time. Tempo: absolute time
People typically try to maintain the percept of a beat of 600 ms
Younger people hear faster, and musicians tend to hear slower
Perception of rhythm from 200ms to 1000ms (300-60 bpm)
Isochrony: equal inter-onset intervals
Meter: a pattern of alternating strong and weak time points. How
the tempo is grouped
Rhythm relies on the presence of tone onsets
Metrical accents such as beat can exist without a tone.
Can conflict: syncopation
Incorporates internal counting mechanism that computes musical
structure (clock-counter models).
Entrainment: one rhythmic pattern achieves and maintains
synchrony with another pattern. Listeners synchronize
internal rhythms with external rythms. People are inherently
rhythmic and adapt to rhythms in music
Complex rhythms increase memory load (Sakai 1999)
Left temporal lobe associated with rhythm

REVIEW
P335 in MTF: glossary

Acoustic hearing
Frequency: physical characteristic of the waves
Pitch: psychological perception of the frequency
Notes: what is notated on the scores
Amplitude: How tall the wave is
Loudness: psychological perception of amplitude (db) 90+
damaging
Periodic: repetitive wave shape
Physical structure of the ear: external, middle, internal


Building blocks theory
Octaves, fifth, circle of fifths, intervals, semitones (12 total)
Consonance/dissonance
Beats: when two waves are very close, they sum to a greater
amplitude
Harmonicity: hearing overtones as a single note
Clipping: distortion in music amplification when the sound goes
beyond the designed volume
Surrounding a key, you form a tonality, in which the tonic is the
most stable and form a key around it
Tonal hierarchy (probe tone technique)
AP 1 in 10,000 people
Learned before the age of 6 or 7
Asians have higher chance of possessing AP, some languages
being tonal and some not (no solid correlation)

Time
IOI interonset interval: onset of the notes, not duration