“The 100 Hz pitch associated with the fundamental is acquired in under 20 ms, whereas that of 100 Hz sinusoid takes in excess 80 ms.” Roy D. Patterson, Robert W. Peters, Robert Milroy: Threshold duration for melodic pitch. In: Rainer Klinke, Rainer Hartmann: Hearing, physiological bases and psychophysics. Proceedings of the 6th International Symposium on Hearing, Bad Nauheim, Germany, April 5–9, 1983. Springer, Berlin/Heidelberg/New York/Tokyo 1983, ISBN 3-540-12618-X, S. 321–326 (PDF).
doi.org
J. A. Simmons, A. Megela Simmons: Bats and frogs and animals in between: evidence for a common central timing mechanism to extract periodicity pitch. In: Journal of comparative physiology. A, Neuroethology, sensory, neural, and behavioral physiology. Band 197, Nummer 5, Mai 2011, ISSN1432-1351, S. 585–594, doi:10.1007/s00359-010-0607-4, PMID 21072522, PMC 3257830 (freier Volltext) (Review).
google.de
books.google.de
Roy D. Patterson, Etienne Gaudrain, Thomas C. Walters: Music Perception – The Perception of Family and Register in Musical Tones. 2010, ISBN 978-1-4419-6113-6, S.38 (englisch, eingeschränkte Vorschau in der Google-Buchsuche).
„Die Tonhöhe ist definiert als die Eigenschaft einer Hörempfindung nach der Schalle auf einer musikalischen Tonleiter geordnet werden können (ANSI S1.1), mithin auf einem Kontinuum von ‚tief‘ bis ‚hoch‘. Bei Sinustönen ist sie eng mit der Frequenz des Tones verbunden.“ Stefan Weinzierl: Handbuch der Audiotechnik. 2008, ISBN 978-3-540-34300-4, S.65 (eingeschränkte Vorschau in der Google-Buchsuche).
“For the purposes of this book we decided to take a conservative approach, and to focus on the relationship between pitch and musical melodies. Following the earlier ASA definition, we define pitch as ‘that attribute of sensation whose variation is associated with musical melodies.’ Although some might find this too restrictive, an advantage of this definition is that it provides a clear procedure for testing whether or not a stimulus evokes a pitch, and a clear limitation on the range of stimuli that we need to consider in our discussions.” Christopher J., Andrew J. Oxenham, Richard R. Fay: Pitch: Neural Coding and Perception. 2005, ISBN 0-387-23472-1, S.2 (englisch, eingeschränkte Vorschau in der Google-Buchsuche).
“Melody: In the most general case, a coherent succession of pitches. Here pitch means a stretch of sound whose frequency is clear and stable enough to be heard as not noise; succession means that several pitches occur; and coherent means that the succession of pitches is accepted as belonging together.” Randel, Don Michael: The Harvard Dictionary of Music. 2003, ISBN 0-674-01163-5, S.499 (englisch, eingeschränkte Vorschau in der Google-Buchsuche).
„Die Tonhöhe wird durch die Frequenz des Schalls bestimmt, nicht primär durch seine Wellenlänge. […] In Luft und Wasser nimmt man dein gleichen Ton wahr, obwohl die Wellenlängen bei gleicher Frequenz sehr unterschiedlich sind.“ Hartmut Zabel: Kurzlehrbuch Physik. 2010, ISBN 978-3-13-162521-2, S.150 (eingeschränkte Vorschau in der Google-Buchsuche).
“Pitch is an important quality of sound, the focus of intense inquiry and investigation since antiquity. Pitch is basic to two forms of behavior specific to humans: speech and music. Pitch is usually understood as a one-dementional precept determined by the period of the stimulus (or its inverse, F0), and insensitive to changes along other stimulus dimensions. However, its complex role within music involves harmonic and melodic effects that go beyond this simple one-dementional model. There is still debate as to where, and how, pitch is extracted within the auditory system.” Christopher J. Plack, David R. Moore: Hearing Olp Series Oxford Handbooks Oxford library of psychology Volume 3 of The Oxford Handbook of Auditory Science, Christopher J. Plack. 2010, ISBN 978-0-19-923355-7, S.95 (englisch, eingeschränkte Vorschau in der Google-Buchsuche).
“Pure [Sinus] tones produce a clear, unambiguous pitch, and we are very sensitive to changes in their frequency. For instance, well-trained listeners can distinguish between two tones with frequencies of 1000 and 1002 Hz – a difference of only 0,2 % (Moore, 1973). A semitone, the smallest step in the Western scale system, is a difference of about 6 %, or about a factor of 30 greater then the JND of frequency for pure [Sinus] tones. Perhaps not surprisingly, musicians are generally better then nonmusicans at discriminating small changes in frequency; what is more surpising is that it does not take much practice for people with no musical training to ‘catch up’ with musicians in terms of their performance. In a recent study, […] it took only between 4 and 8 hours of practice […] of the untrained listeners to match those of the trained musicians, […]” Diana Deutsch: The Psychology of Music. 2012, ISBN 978-0-12-381461-6, S.9, 10 (eingeschränkte Vorschau in der Google-Buchsuche).
“The average JND for the octave was 16 cents, and JNDs for other intervals of the chromatic scale ranged from 13 to 26 cents. […] for Example, Hagerman and Sundberg (1980) reported that the average intonation accuracy in a sample of expert barbershop songs was less then 3 cents.” Diana Deutsch: The Psychology of Music. 2012, ISBN 978-0-12-381461-6, S.124, 125 (eingeschränkte Vorschau in der Google-Buchsuche).
„Ihre Ursache ist die Welleneigenschaft des Schalles und die daraus resultierende Unbestimmtheit der Frequenz bei kurzen Signalen. Der Begriff ‚Frequenz‘, wie er üblicherweise gebraucht wird, impliziert ein sich für alle Zeiten exakt periodisch wiederholendes Signal. In einem zeitveränderlichen Signal hängt die Gültigkeit des Begriffes von der Beobachtungsdauer bzw. von der Veränderungsrate ab; es gibt nur so etwas wie unscharfe ‚momentane Frequenzen‘. Ein extrem kurzes Signal ‚hat‘ keine Frequenz mehr (verkürzt man eine harmonische Schwingung schrittweise, so wird nach und nach aus dem Ton ein Geräusch).“ Thomas Görne: Tontechnik. 2. Auflage. Carl Hanser Verlag, München 2008, ISBN 978-3-446-41591-1, S.148ff. (online in der Google-Buchsuche)
“Effects of Peripheral Tuning on the Auditory Nerve’s Representation of Speech Envelope and Temporal Fine Structure Cues.” Enrique A. Lopez-Poveda, A. Alan R. Palmer, Ray Meddis: The Neurophysiological Bases of Auditory Perception. 2010, ISBN 978-1-4419-5686-6 (englisch, eingeschränkte Vorschau in der Google-Buchsuche).
“There is some psychoacostical evidence for both place and temporal codes. One piece of evidence in favor of a temporal code is that pitch discrimination abilities deteriorate at frequencies above 4 to 5 kHz – the same frequency range above which listeners’ ability to recognize familiar melodies (Oxenham, Micheyl, Keebler, Loper, & Santurette, 2011), degrades. […]” Diana Deutsch: The Psychology of Music. 2012, ISBN 978-0-12-381461-6, S.11 (englisch, eingeschränkte Vorschau in der Google-Buchsuche).
nih.gov
ncbi.nlm.nih.gov
J. A. Simmons, A. Megela Simmons: Bats and frogs and animals in between: evidence for a common central timing mechanism to extract periodicity pitch. In: Journal of comparative physiology. A, Neuroethology, sensory, neural, and behavioral physiology. Band 197, Nummer 5, Mai 2011, ISSN1432-1351, S. 585–594, doi:10.1007/s00359-010-0607-4, PMID 21072522, PMC 3257830 (freier Volltext) (Review).
plos.org
journals.plos.org
“the principles that govern the relationship between natural sound ensembles and observed responses in neurophysiological studies remain unclear.” Michael A. Carlin, Mounya Elhilal: Sustained Firing of Model Central Auditory Neurons Yields a Discriminative Spectro-temporal Representation for Natural Sounds. 2013 (englisch, online).
plosone.org
“The mechanism by which neurons process the coding of signals is not well understood. Here, we propose that coincidence detection, […]” Yueling Chen, Hui Zhang, Hengtong Wang, Lianchun Yu,Yong Chen: The Role of Coincidence-Detector Neurons in the Reliability and Precision of Subthreshold Signal Detection in Noise. 2013 (englisch, online [PDF]).
„Dass eine Messung eine unvermeidliche Unschärfe hat, ist keine Spezialität der Quantenmechanik, sondern gilt grundsätzlich für alle wellenartigen Phänomene – von Musik bis zum Alphazerfall von Atomkernen.“ Norbert Treitz: Von den falschen Tönen zur Unbestimmtheitsrelation, Das Unschärfe-Prinzip. 2013 (online [PDF]).
zdb-katalog.de
J. A. Simmons, A. Megela Simmons: Bats and frogs and animals in between: evidence for a common central timing mechanism to extract periodicity pitch. In: Journal of comparative physiology. A, Neuroethology, sensory, neural, and behavioral physiology. Band 197, Nummer 5, Mai 2011, ISSN1432-1351, S. 585–594, doi:10.1007/s00359-010-0607-4, PMID 21072522, PMC 3257830 (freier Volltext) (Review).
