Shepard tone (English Wikipedia)

Analysis of information sources in references of the Wikipedia article "Shepard tone" in English language version.

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9doi.org

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acousticstoday.org

Deutsch, Diana (2010). "The Paradox of Pitch Circularity" (PDF). Acoustics Today. 6 (3): 8–14. doi:10.1121/1.3488670.

att.com

techchannel.att.com

Shepard, Roger N.; Zajac, Edward E. (1967). A Pair of Paradoxes. AT&T Bell Laboratories.

bbc.co.uk

"Clip from Series 4, Episode 6". Bang Goes the Theory. 18 April 2011. BBC. It's like a barber's pole of sound.

books.google.com

Blake, Mark (2011) [2007]. Pigs Might Fly: The Inside Story of Pink Floyd. Arum Press. ISBN 978-1-781-31519-4. Archived from the original on 21 May 2021. Retrieved 18 November 2021.
Phillips, Winifred (14 February 2014). A Composer's Guide to Game Music. MIT Press. ISBN 978-0-262-02664-2.

businessinsider.com

Guerrasio, Jason. "Christopher Nolan explains the biggest challenges in making his latest movie 'Dunkirk' into an 'intimate epic'". Business Insider. Retrieved 14 November 2020.

cambridge.org

Hutchinson, Mark (April 2019). "Stairways in the Dark: Sound, Syntax and the Sublime in Haas's in Vain". Tempo. 73 (288): 7–25. doi:10.1017/S0040298218000943. ISSN 0040-2982. S2CID 151161376.

cdm.link

"Jean-Claude Risset, who reimagined digital synthesis, has died - CDM Create Digital Music". CDM Create Digital Music. 22 November 2016. Retrieved 30 December 2019. The sound for which Risset is best known is perhaps the most emblematic of his contributions. Creating a sonic illusion much like M.C. Escher's optical ones, the Shepherd-Risset glissando / Risset scale, in its present form invented by the French composer, seems to ascend forever.

doi.org

Shepard, Roger N. (December 1964). "Circularity in Judgements of Relative Pitch". Journal of the Acoustical Society of America. 36 (12): 2346–53. Bibcode:1964ASAJ...36.2346S. doi:10.1121/1.1919362.
Deutsch, Diana (1986). "A musical paradox" (PDF). Music Perception. 3 (3): 275–280. doi:10.2307/40285337. JSTOR 40285337.
Deutsch, D. (1992). "Some New Pitch Paradoxes and their Implications". Philosophical Transactions of the Royal Society B: Biological Sciences. 336 (1278): 391–397. Bibcode:1992RSPTB.336..391D. doi:10.1098/rstb.1992.0073. PMID 1354379.
DEUTSCH, DIANA; HENTHORN, TREVOR; DOLSON, MARK (2004). "Speech Patterns Heard Early in Life Influence Later Perception of the Tritone Paradox". Music Perception. 21 (3): 357–372. doi:10.1525/mp.2004.21.3.357. ISSN 0730-7829.
Deutsch, Diana (2010). "The Paradox of Pitch Circularity" (PDF). Acoustics Today. 6 (3): 8–14. doi:10.1121/1.3488670.
Braus, I. (1995). "Retracing one's steps: An overview of pitch circularity and Shepard tones in European music, 1550–1990". Music Perception. 12 (3): 323–351. doi:10.2307/40286187. JSTOR 40286187.
Hutchinson, Mark (April 2019). "Stairways in the Dark: Sound, Syntax and the Sublime in Haas's in Vain". Tempo. 73 (288): 7–25. doi:10.1017/S0040298218000943. ISSN 0040-2982. S2CID 151161376.
Gemünden, Gerd; Spitta, Silvia (1 June 2018). "'I Was Never Afraid': An Interview with Lucrecia Martel". Film Quarterly. Vol. 71, no. 4. pp. 33–40. doi:10.1525/fq.2018.71.4.33. ISSN 0015-1386.

dx.doi.org

DEUTSCH, DIANA; HENTHORN, TREVOR; DOLSON, MARK (2004). "Speech Patterns Heard Early in Life Influence Later Perception of the Tritone Paradox". Music Perception. 21 (3): 357–372. doi:10.1525/mp.2004.21.3.357. ISSN 0730-7829.

ghostarchive.org

Sumio Kobayashi "Unreal Rain" (Japan), archived from the original on 11 December 2021, retrieved 15 October 2021

harvard.edu

ui.adsabs.harvard.edu

Shepard, Roger N. (December 1964). "Circularity in Judgements of Relative Pitch". Journal of the Acoustical Society of America. 36 (12): 2346–53. Bibcode:1964ASAJ...36.2346S. doi:10.1121/1.1919362.
Deutsch, D. (1992). "Some New Pitch Paradoxes and their Implications". Philosophical Transactions of the Royal Society B: Biological Sciences. 336 (1278): 391–397. Bibcode:1992RSPTB.336..391D. doi:10.1098/rstb.1992.0073. PMID 1354379.

hfbk-hamburg.de

swiki.hfbk-hamburg.de

"Risset rhythm - eternal accelerando". 12 May 2013.

jstor.com

Braus, I. (1995). "Retracing one's steps: An overview of pitch circularity and Shepard tones in European music, 1550–1990". Music Perception. 12 (3): 323–351. doi:10.2307/40286187. JSTOR 40286187.

jstor.org

Deutsch, Diana (1986). "A musical paradox" (PDF). Music Perception. 3 (3): 275–280. doi:10.2307/40285337. JSTOR 40285337.
Braus, I. (1995). "Retracing one's steps: An overview of pitch circularity and Shepard tones in European music, 1550–1990". Music Perception. 12 (3): 323–351. doi:10.2307/40286187. JSTOR 40286187.

latimes.com

King, Richard (4 February 2009). "'The Dark Knight' sound effects". Los Angeles Times.

nih.gov

pubmed.ncbi.nlm.nih.gov

Deutsch, D. (1992). "Some New Pitch Paradoxes and their Implications". Philosophical Transactions of the Royal Society B: Biological Sciences. 336 (1278): 391–397. Bibcode:1992RSPTB.336..391D. doi:10.1098/rstb.1992.0073. PMID 1354379.

npr.org

Stephin Merritt: Two Days, 'A Million Faces'. NPR (video). 4 November 2007. Retrieved 9 October 2015. 'It turns out I was thinking about a Shepard tone, the illusion of ever-ascending pitches.'

philomel.com

Deutsch, Diana (1986). "A musical paradox" (PDF). Music Perception. 3 (3): 275–280. doi:10.2307/40285337. JSTOR 40285337.

researchgate.net

Patricio, Pedro. From the Shepard tone to the perpetual melody auditory illusion. Proceedings of the 9th Sound and Music Computing Conference, SMC 2012. 5-10, 2012.

rug.nl

icce.rug.nl

Pollack, Alan W. "Notes on "I Am The Walrus"". soundscapes.info.

semanticscholar.org

api.semanticscholar.org

Hutchinson, Mark (April 2019). "Stairways in the Dark: Sound, Syntax and the Sublime in Haas's in Vain". Tempo. 73 (288): 7–25. doi:10.1017/S0040298218000943. ISSN 0040-2982. S2CID 151161376.

telegraph.co.uk

McCormick, Neil (9 February 2018). "Franz Ferdinand are still operating on an elevated plateau – Always Ascending, review". The Telegraph.

ucpress.edu

online.ucpress.edu

Gemünden, Gerd; Spitta, Silvia (1 June 2018). "'I Was Never Afraid': An Interview with Lucrecia Martel". Film Quarterly. Vol. 71, no. 4. pp. 33–40. doi:10.1525/fq.2018.71.4.33. ISSN 0015-1386.

vox.com

Haubursin, Christopher (26 July 2017). "The sound illusion that makes Dunkirk so intense". Vox.

web.archive.org

Blake, Mark (2011) [2007]. Pigs Might Fly: The Inside Story of Pink Floyd. Arum Press. ISBN 978-1-781-31519-4. Archived from the original on 21 May 2021. Retrieved 18 November 2021.

worldcat.org

search.worldcat.org

DEUTSCH, DIANA; HENTHORN, TREVOR; DOLSON, MARK (2004). "Speech Patterns Heard Early in Life Influence Later Perception of the Tritone Paradox". Music Perception. 21 (3): 357–372. doi:10.1525/mp.2004.21.3.357. ISSN 0730-7829.
Hutchinson, Mark (April 2019). "Stairways in the Dark: Sound, Syntax and the Sublime in Haas's in Vain". Tempo. 73 (288): 7–25. doi:10.1017/S0040298218000943. ISSN 0040-2982. S2CID 151161376.
Gemünden, Gerd; Spitta, Silvia (1 June 2018). "'I Was Never Afraid': An Interview with Lucrecia Martel". Film Quarterly. Vol. 71, no. 4. pp. 33–40. doi:10.1525/fq.2018.71.4.33. ISSN 0015-1386.

youtube.com

Axwell, Ingrosso, Angello, Laidback Luke ft. Deborah Cox - Leave The World Behind (Original) – via YouTube.
Sumio Kobayashi "Unreal Rain" (Japan), archived from the original on 11 December 2021, retrieved 15 October 2021