288:
268:
307:
765:
556:
261:
Above 2,000 Hz, the pitch gets higher as the sound gets louder. These results were obtained in the pioneering works by S. Stevens and W. Snow. Later investigations, i.e. by A. Cohen, have shown that in most cases the apparent pitch shifts were not significantly different from pitch‐matching errors. When averaged, the remaining shifts followed the directions of
Stevens's curves but were small (2% or less by frequency, i.e. not more than a semitone).
3312:
693:
3302:
38:
357:. However, a purely place-based theory cannot account for the accuracy of pitch perception in the low and middle frequency ranges. Moreover, there is some evidence that some non-human primates lack auditory cortex responses to pitch despite having clear tonotopic maps in auditory cortex, showing that tonotopic place codes are not sufficient for pitch responses.
155:). Pitch is closely related to frequency, but the two are not equivalent. Frequency is an objective, scientific attribute which can be measured. Pitch is the subjective perception of a sound wave by the individual person, which cannot be directly measured. However, this does not necessarily mean that people will not agree on which notes are higher and lower.
3454:
1746:
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
368:
of action potentials in the auditory nerve. However, it has long been noted that a neural mechanism that may accomplish a delay—a necessary operation of a true autocorrelation—has not been found. At least one model shows that a temporal delay is unnecessary to produce an autocorrelation model of
260:
level (loudness, volume) of the tone, especially at frequencies below 1,000 Hz and above 2,000 Hz. The pitch of lower tones gets lower as sound pressure increases. For instance, a tone of 200 Hz that is very loud seems one semitone lower in pitch than if it is just barely audible.
209:
relating vertical height to sound pitch is shared by most languages. At least in
English, it is just one of many deep conceptual metaphors that involve up/down. The exact etymological history of the musical sense of high and low pitch is still unclear. There is evidence that humans do actually
373:
between cochlear filters; however, earlier work has shown that certain sounds with a prominent peak in their autocorrelation function do not elicit a corresponding pitch percept, and that certain sounds without a peak in their autocorrelation function nevertheless elicit a pitch. To be a more
526:
though both have indefinite pitch, because its sound contains higher frequencies. In other words, it is possible and often easy to roughly discern the relative pitches of two sounds of indefinite pitch, but sounds of indefinite pitch do not neatly correspond to any specific pitch.
125:
attribute of sound. Historically, the study of pitch and pitch perception has been a central problem in psychoacoustics, and has been instrumental in forming and testing theories of sound representation, processing, and perception in the auditory system.
267:
1747:
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.
240:
or otherwise. A complex tone composed of two sine waves of 1000 and 1200 Hz may sometimes be heard as up to three pitches: two spectral pitches at 1000 and 1200 Hz, derived from the physical frequencies of the pure tones, and the
2555:
Schneider, P.; Sluming, V.; Roberts, N.; Scherg, M.; Goebel, R.; Specht, H.-J.; Dosch, H.G.; Bleeck, S.; Stippich, C.; Rupp, A. (2005). "Structural and
Functional Asymmetry of Lateral Heschl's Gyrus Reflects Pitch Perception Preference".
408:
at which a change is perceived) depends on the tone's frequency content. Below 500 Hz, the jnd is about 3 Hz for sine waves, and 1 Hz for complex tones; above 1000 Hz, the jnd for sine waves is about 0.6% (about 10
306:
940:
657:
on a non-transposing instrument like a violin (which indicates that at one time these wind instruments played at a standard pitch a tone lower than violin pitch). To refer to that pitch unambiguously, a musician calls it
329:
of pitch perception try to explain how the physical sound and specific physiology of the auditory system work together to yield the experience of pitch. In general, pitch perception theories can be divided into
850:. Motivated by this logarithmic perception, music theorists sometimes represent pitches using a numerical scale based on the logarithm of fundamental frequency. For example, one can adopt the widely used
510:
is one that a listener finds impossible or relatively difficult to identify as to pitch. Sounds with indefinite pitch do not have harmonic spectra or have altered harmonic spectra—a characteristic known as
481:
A sound generated on any instrument produces many modes of vibration that occur simultaneously. A listener hears numerous frequencies at once. The vibration with the lowest frequency is called the
499:
are an important class of overtones with frequencies that are integer multiples of the fundamental. Whether or not the higher frequencies are integer multiples, they are collectively called the
364:
of action potentials to frequencies in a stimulus. The precise way this temporal structure helps code for pitch at higher levels is still debated, but the processing seems to be based on an
63:
614:
can be set to either 427 Hz (about halfway between A415 and A440) or 430 Hz (also between A415 and A440 but slightly sharper than the quarter tone). And ensembles specializing in
52:
1491:
now the most widely used method of tuning that scale. In it, the pitch ratio between any two successive notes of the scale is exactly the twelfth root of two (or about 1.05946). In
636:
from voices and other instruments (and even from each other). As a result, musicians need a way to refer to a particular pitch in an unambiguous manner when talking to each other.
429:. The total number of perceptible pitch steps in the human hearing range is about 1,400; the total number of notes in the equal-tempered scale, from 16 to 16,000 Hz, is 120.
287:
64:
2058:
Cohen, A. (1961). Further investigation of the effects of intensity upon the pitch of pure tones. Journal of the
Acoustical Society of America, 33, 1363–1376.
2436:
The one with the slowest vibration rate—the one lowest in pitch—is referred to as the fundamental frequency, and the others are collectively called overtones.
53:
1684:
201:
for frequency, it is almost entirely determined by how quickly the sound wave is making the air vibrate and has almost nothing to do with the intensity, or
949:
in which octaves have size 12, semitones (the distance between adjacent keys on the piano keyboard) have size 1, and A440 is assigned the number 69. (See
245:
at 200 Hz, corresponding to the repetition rate of the waveform. In a situation like this, the percept at 200 Hz is commonly referred to as the
3607:
2745:
868:
451:, where a continuous or discrete sequence of specially formed tones can be made to sound as if the sequence continues ascending or descending forever.
228:
The pitch of complex tones can be ambiguous, meaning that two or more different pitches can be perceived, depending upon the observer. When the actual
1589:" and "indeterminate-pitch chants". Gliding pitches are used in most cultures, but are related to the discrete pitches they reference or embellish.
957:. The system is flexible enough to include "microtones" not found on standard piano keyboards. For example, the pitch halfway between C (60) and C
610:, has been set in the 20th century as A = 415 Hz—approximately an equal-tempered semitone lower than A440 to facilitate transposition. The
606:" or sometimes "A440"), although other frequencies, such as 442 Hz, are also often used as variants. Another standard pitch, the so-called
2429:
2404:
2025:
1925:
1893:
1863:
1836:
1804:
1772:
1739:
1715:
194:
90:, or more commonly, pitch is the quality that makes it possible to judge sounds as "higher" and "lower" in the sense associated with musical
574:
3865:
838:; in other temperaments, these may be distinct pitches. Human perception of musical intervals is approximately logarithmic with respect to
2348:
Fitzgerald, M. B.; Wright, B. (December 2005). "A Perceptual
Learning Investigation of the Pitch Elicited by Amplitude-Modulated Noise".
953:.) Distance in this space corresponds to musical intervals as understood by musicians. An equal-tempered semitone is subdivided into 100
549:
in a group are tuned to for a performance. Concert pitch may vary from ensemble to ensemble, and has varied widely over musical history.
349:
in the auditory system, must be in effect for the perception of high frequencies, since neurons have an upper limit on how fast they can
2234:
Kaernbach, C.; Demany, L. (October 1998). "Psychophysical
Evidence Against the Autocorrelation Theory of Auditory Temporal Processing".
205:, of the wave. That is, "high" pitch means very rapid oscillation, and "low" pitch corresponds to slower oscillation. Despite that, the
197:, pitch is the auditory attribute of sound allowing those sounds to be ordered on a scale from low to high. Since pitch is such a close
573:
417:
is typically tested by playing two tones in quick succession with the listener asked if there was a difference in their pitches. The
3348:
2526:
2476:
740:
615:
210:
perceive that the source of a sound is slightly higher or lower in vertical space when the sound frequency is increased or reduced.
2563:
Terhardt, E., Stoll, G. and
Seewann, M. (1982). "Algorithm for Extraction of Pitch and Pitch Salience from Complex Tonal Signals".
3485:
3211:
2597:
1664:
460:
3600:
2738:
2073:"Divergence in the functional organization of human and macaque auditory cortex revealed by fMRI responses to harmonic tones"
718:
714:
2541:
Moore, B.C. & Glasberg, B.R. (1986) "Thresholds for
Hearing Mistuned Partials as Separate Tones in Harmonic Complexes".
3946:
1619:
842:: the perceived interval between the pitches "A220" and "A440" is the same as the perceived interval between the pitches
518:
It is still possible for two sounds of indefinite pitch to clearly be higher or lower than one another. For instance, a
1558:
is all the octaves of a frequency. In many analytic discussions of atonal and post-tonal music, pitches are named with
378:, as via auditory-nerve interspike-interval histograms. Some theories of pitch perception hold that pitch has inherent
62:
3246:
3110:
703:
51:
3418:
1659:
400:
722:
707:
3593:
3315:
3206:
3181:
2972:
2731:
1654:
1585:
Discrete pitches, rather than continuously variable pitches, are virtually universal, with exceptions including "
790:
754:
335:
3941:
3769:
3630:
3216:
3166:
3055:
2962:
967:
784:
471:
is one where a listener can possibly (or relatively easily) discern the pitch. Sounds with definite pitch have
360:
Temporal theories offer an alternative that appeals to the temporal structure of action potentials, mostly the
3890:
3305:
3176:
625:
500:
250:
232:
can be precisely determined through physical measurement, it may differ from the perceived pitch because of
1794:
3931:
3860:
3662:
2855:
1961:
Schwartz, David A.; Dale Purves (May 2004). "Pitch Is
Determined by Naturally Occurring Periodic Sounds".
565:
338:. Place theory holds that the perception of pitch is determined by the place of maximum excitation on the
331:
222:
31:
3910:
3875:
3655:
3640:
3510:
3341:
3287:
3151:
2850:
1639:
1634:
1547:
1515:
1496:
839:
603:
483:
464:
229:
3824:
3478:
3438:
2982:
2780:
2590:
2357:
2322:
2243:
2193:
1629:
950:
758:
628:
have their origin in the variety of pitch standards. In modern times, they conventionally have their
422:
214:
2178:
966:
The following table shows frequencies in Hertz for notes in various octaves, named according to the
764:
3936:
3905:
3221:
3201:
2179:"The Case of the Missing Delay Lines: Synthetic Delays Obtained by Cross-channel Phase Interaction"
246:
1944:
3564:
2873:
2129:
2040:
Stevens S. S. The relation of pitch to intensity//J. Acoust. Soc. Amer. 1935. Vol. 6. p. 150–154.
1986:
1551:
546:
475:
374:
complete model, autocorrelation must therefore apply to signals that represent the output of the
198:
2049:
Snow W. B. (1936) Change of Pitch with
Loudness at Low Frequencies. J. Acoust. Soc. Am/ 8:14–19.
273:
Lower pitches have lower frequency. C3, an octave below middle C. The frequency is half that of
221:
corresponds very nearly to the repetition rate of periodic or nearly-periodic sounds, or to the
3829:
3806:
3799:
3779:
3774:
3759:
3732:
3677:
3645:
3559:
3398:
3393:
3267:
3015:
2522:
2472:
2425:
2400:
2373:
2259:
2209:
2152:
2110:
2092:
2021:
1978:
1921:
1913:
1889:
1883:
1859:
1832:
1800:
1768:
1735:
1711:
1644:
1488:
824:
405:
326:
2466:
2392:
1853:
1760:
667:, meaning, "the pitch that someone playing a non-transposing instrument like a violin calls B
174:(in cycles per second, or hertz), by comparing the sounds being assessed against sounds with
3895:
3834:
3749:
3527:
3433:
3334:
3226:
3030:
3005:
2957:
2830:
2754:
2681:
2666:
2649:
2629:
2365:
2330:
2293:
2251:
2201:
2144:
2100:
2084:
1970:
1826:
1729:
1703:
1614:
1531:
1507:
1492:
769:
426:
354:
339:
274:
242:
179:
103:
618:
set the A above middle C to 432 Hz or 435 Hz when performing repertoire from the
3839:
3784:
3754:
3742:
3707:
3702:
3697:
3682:
3505:
3471:
3403:
3120:
3115:
3000:
2967:
2883:
2686:
2661:
2583:
1679:
1624:
1484:
444:
365:
152:
122:
95:
2361:
2326:
2247:
2197:
3951:
3413:
3277:
3251:
2990:
2845:
2639:
2105:
2072:
2011:
1710:, edited by Anssi Klapuri and Manuel Davy, 1–20 (New York: Springer, 2006): p. 8.
1674:
1604:
1586:
1500:
1480:
633:
619:
439:
386:, a periodic value around the octave, like the note names in Western music—and a pitch
257:
3925:
3672:
3667:
3443:
3408:
3388:
3368:
3282:
3141:
3060:
2888:
2825:
2805:
2762:
2712:
2654:
2644:
2448:
1523:
1476:
542:
536:
512:
448:
361:
350:
144:
87:
2071:
Norman-Haignere, S.V.; Kanwisher, N.G.; McDermott, J.; Conway, B.R. (10 June 2019).
1990:
3737:
3547:
3423:
3373:
3196:
3186:
3161:
3072:
3035:
2937:
2925:
2915:
2878:
2865:
2815:
2707:
1527:
954:
682:
648:
629:
410:
293:
218:
159:
140:
99:
935:{\displaystyle p=69+12\times \log _{2}{\left({\frac {f}{440{\mbox{ Hz}}}}\right)}}
41:
In musical notation, the different vertical positions of notes indicate different
37:
2015:
1974:
572:
61:
50:
3714:
3687:
3650:
3272:
3146:
3125:
3102:
3087:
2900:
2835:
2810:
2785:
2696:
1649:
1562:
because of octave and enharmonic equivalency (for example, in a serial system, C
1555:
946:
692:
370:
278:
17:
3724:
3378:
3171:
3045:
2910:
2905:
2148:
2130:"Neural Correlates of the Pitch of Complex Tones. I. Pitch and Pitch Salience"
2088:
1669:
1609:
1598:
586:
519:
183:
75:
2096:
225:
of the time interval between repeating similar events in the sound waveform.
3870:
3855:
3692:
3635:
3622:
3241:
3231:
3191:
3156:
3040:
2800:
2702:
523:
495:
489:
297:
233:
202:
175:
148:
121:, but pitch is not a purely objective physical property; it is a subjective
118:
83:
2377:
2263:
2213:
2114:
1982:
2156:
3880:
3789:
3574:
3569:
3537:
3522:
3092:
3077:
2920:
2895:
2618:
2282:"Perceptual Pitch Shift for Sounds with Similar Waveform Autocorrelation"
1519:
640:
599:
472:
346:
237:
107:
2495:, edited by J. Kunst. The Hague: Marinus Nijhoff. Cited in Burns (1999).
3900:
3885:
3383:
3357:
3067:
3050:
3025:
3010:
2995:
2952:
2795:
2634:
2624:
2059:
1825:
Plack, Christopher J.; Andrew J. Oxenham; Richard R. Fay, eds. (2005).
1728:
Plack, Christopher J.; Andrew J. Oxenham; Richard R. Fay, eds. (2005).
1559:
644:
375:
3453:
2369:
2298:
2281:
2205:
827:, the notion of pitch is insensitive to "spelling": the description "G
186:
waveforms). Complex and aperiodic sound waves can often be assigned a
3816:
3553:
3516:
3494:
3082:
3020:
2947:
2775:
2770:
2691:
2676:
2606:
2334:
2255:
1763:. In Mari Riess Jones; Richard R. Fay & Arthur N. Popper (eds.).
1543:
1511:
390:, which may be ambiguous, that indicates the octave the pitch is in.
379:
313:
111:
91:
2313:
Burns, E.M.; Viemeister, N. F. (October 1976). "Nonspectral Pitch".
768:
Note frequencies, four-octave C major diatonic scale, starting with
503:, referring to the different parts that make up the total spectrum.
3585:
2723:
1759:
Roy D. Patterson; Etienne Gaudrain & Thomas C. Walters (2010).
3763:
3532:
3236:
2942:
2840:
2820:
1855:
Hearing Loss: Determining Eligibility for Social Security Benefits
801:
763:
206:
79:
36:
2521:, second edition. Deutsch, Diana, ed. San Diego: Academic Press.
316:
above middle C. The frequency is twice that of middle C (523 Hz).
2790:
2280:
Pressnitzer, D.; Cheveigné, A. de; Winter, I.M. (January 2002).
851:
3589:
3467:
3330:
2727:
2579:
2395:. In Jacob Benesty; M. Mohan Sondhi & Yiteng Huang (eds.).
459:
Not all musical instruments make notes with a clear pitch. The
1514:
doubles the frequency of a note; for example, an octave above
753:
For a comprehensive list of frequencies of musical notes, see
686:
2508:. Englewood Cliffs, NJ: Prentice-Hall. Cited in Burns (1999).
437:
The relative perception of pitch can be fooled, resulting in
27:
Perceptual property in music ordering sounds from low to high
554:
312:
Higher pitches have higher frequency. Oscillogram of C5, an
382:
ambiguities, and therefore is best decomposed into a pitch
139:
Pitch is an auditory sensation in which a listener assigns
3326:
2517:
Burns, Edward M. (1999). "Intervals, Scales, and Tuning",
30:
This article is about pitch in music. For other uses, see
3463:
2575:
594:
Standard pitch is a more widely accepted convention. The
1916:. In Harold L. Hawkins & Teresa A. McMullen (eds.).
1761:"The Perception of Family and Register in Musical Tones"
808:
For example, one might refer to the A above middle C as
467:) do not produce particular pitches. A sound or note of
2506:
Music Cultures of the Pacific, the Near East, and Asia
2391:
Birger Kollmeier; Thomas Brand & B. Meyer (2008).
918:
162:
of sound waves can often be characterized in terms of
871:
683:
Musical note § Distinguishing pitches of a scale
602:
is usually set at 440 Hz (often written as "A =
170:
are usually associated with, and thus quantified as,
1601:(harmonic resonance based on equal string divisions)
3848:
3815:
3723:
3621:
3260:
3134:
3101:
2981:
2864:
2761:
213:In most cases, the pitch of complex sounds such as
2275:
2273:
934:
1852:Robert A. Dobie & Susan B. Van Hemel (2005).
1708:Signal Processing Methods for Music Transcription
1487:is the most common method of organization, with
2468:On the Sensations of Tone (English Translation)
2177:Cheveigné, A. de; Pressnitzer, D. (June 2006).
2128:Cariani, P.A.; Delgutte, B. (September 1996).
1888:(4th ed.). Wiley-Blackwell. p. 381.
1582:are functionally the same, one octave apart).
1475:The relative pitches of individual notes in a
3601:
3479:
3342:
2739:
2591:
2020:. Dover Publications. pp. 171, 248–251.
1914:"Auditory Representation of Timbre and Pitch"
8:
2565:Journal of the Acoustical Society of America
2543:Journal of the Acoustical Society of America
2350:Journal of the Acoustical Society of America
2315:Journal of the Acoustical Society of America
2236:Journal of the Acoustical Society of America
2186:Journal of the Acoustical Society of America
1858:. National Academies Press. pp. 50–51.
1554:, a "pitch" is a specific frequency while a
421:becomes smaller if the two tones are played
1945:The Spatial Character of High and Low Tones
1939:
1937:
1877:
1875:
789:A combination of letters and numbers—as in
721:. Unsourced material may be challenged and
545:) is the conventional pitch reference that
147:based primarily on their perception of the
3608:
3594:
3586:
3486:
3472:
3464:
3349:
3335:
3327:
3301:
2746:
2732:
2724:
2598:
2584:
2576:
1788:
1786:
1784:
831:double sharp" refers to the same pitch as
443:. There are several of these, such as the
2297:
2104:
1912:Richard Lyon & Shihab Shamma (1996).
917:
908:
903:
894:
870:
793:, where notes are labelled upwards from C
741:Learn how and when to remove this message
277:(131 Hz). (Scale: 1 square is equal to 1
2006:
2004:
2002:
2000:
1479:may be determined by one of a number of
972:
800:Numbers that represent the frequency in
425:as the listener is then able to discern
256:Pitch depends to a lesser degree on the
2447:The Concise Grove Dictionary of Music:
2424:. New York: Penguin Group. p. 40.
1820:
1818:
1816:
1695:
854:standard to map fundamental frequency,
647:, when playing a note written in their
263:
2397:Springer Handbook of Speech Processing
1907:
1905:
1574:are considered the same pitch, while C
968:"German method" of octave nomenclature
584:
345:A place code, taking advantage of the
1518:is 880 Hz. If however the first
1499:, for example), different methods of
804:(Hz), the number of cycles per second
651:as C, sounds a pitch that is called B
639:For example, the most common type of
195:American National Standards Institute
7:
2550:Harmony: A Psychoacoustical Approach
2060:https://dx.doi.org/10.1121/1.1908441
1799:. Springer. pp. 145, 284, 287.
719:adding citations to reliable sources
2491:Sachs, C. and Kunst, J. (1962). In
1828:Pitch: Neural Coding and Perception
1731:Pitch: Neural Coding and Perception
1704:Introduction to Music Transcription
1685:Vocal and instrumental pitch ranges
1526:, as in the extremes of the piano,
2451:, Oxford University Press (1994),
1949:Journal of Experimental Psychology
531:Pitch standards and standard pitch
25:
2286:Acoustics Research Letters Online
1793:Hartmann, William Morris (1997).
3452:
3311:
3310:
3300:
2552:. Berlin: Springer-Verlag, 1989.
2393:"Perception of Speech and Sound"
1885:Blackwell Handbook of Perception
1495:systems (as used in the time of
691:
585:Problems playing this file? See
570:
461:unpitched percussion instruments
401:just-noticeable difference (jnd)
305:
286:
266:
236:, also known as upper partials,
59:
48:
1538:Other musical meanings of pitch
1506:In almost all of these systems
1483:. In the west, the twelve-note
369:pitch perception, appealing to
2017:Music, Physics and Engineering
478:or close to harmonic spectra.
1:
1920:. Springer. pp. 221–23.
1796:Signals, Sound, and Sensation
1620:Harmonic pitch class profiles
522:sounds higher pitched than a
455:Definite and indefinite pitch
117:Pitch may be quantified as a
3770:Perception as interpretation
1975:10.1016/j.heares.2004.01.019
1767:. Springer. pp. 37–38.
487:; the other frequencies are
322:Theories of pitch perception
253:of the frequencies present.
3111:History of music publishing
2465:Helmholtz, Hermann (1885).
2422:This Is Your Brain on Music
1882:E. Bruce Goldstein (2001).
779:Pitches are labeled using:
143:to relative positions on a
3968:
3419:List of chord progressions
2455:. Retrieved 3 August 2007.
2137:Journal of Neurophysiology
1660:Pitch of brass instruments
963:(61) can be labeled 60.5.
752:
680:
632:transposed into different
534:
394:Just-noticeable difference
29:
3501:
3450:
3364:
3316:Category:Musical notation
3296:
3182:Numbered musical notation
2973:Scientific pitch notation
2613:
2149:10.1152/jn.1996.76.3.1698
2089:10.1038/s41593-019-0410-7
1655:Pitch detection algorithm
791:scientific pitch notation
755:Scientific pitch notation
2963:Helmholtz pitch notation
2493:The Wellsprings of Music
2420:Levitin, Daniel (2007).
2399:. Springer. p. 65.
785:Helmholtz pitch notation
3891:Relational frame theory
3866:Higher nervous activity
3306:List of musical symbols
3177:Nashville Number System
2519:The Psychology of Music
626:Transposing instruments
541:A pitch standard (also
447:, but most notably the
251:greatest common divisor
3861:Experiential avoidance
2856:Transposing instrument
2471:. Cosimo. p. 15.
1734:. New York: Springer.
945:This creates a linear
936:
823:. In standard Western
776:
559:
465:percussion instruments
296:of middle C (262 Hz) (
68:
32:Pitch (disambiguation)
3876:Ironic process theory
3641:Cognitive flexibility
3511:Fundamental frequency
2548:Parncutt, R. (1989).
2449:Hermann von Helmholtz
1640:Piano key frequencies
1635:Music and mathematics
1497:Johann Sebastian Bach
937:
840:fundamental frequency
767:
616:authentic performance
558:
484:fundamental frequency
249:, which is often the
230:fundamental frequency
94:. Pitch is a major
78:property that allows
40:
3947:Cognitive musicology
1918:Auditory Computation
1630:Meantone temperament
951:Frequencies of notes
869:
858:, to a real number,
759:Frequencies of notes
715:improve this section
3906:Thought suppression
3202:Percussion notation
2504:Malm, W.P. (1967).
2362:2005ASAJ..118.3794F
2327:1976ASAJ...60..863B
2248:1998ASAJ..104.2298K
2198:2006ASAJ..119.3908D
2077:Nature Neuroscience
1943:Carroll C. Pratt, "
547:musical instruments
506:A sound or note of
247:missing fundamental
135:Pitch and frequency
82:to be ordered on a
3565:Sympathetic string
1951:13 (1930): 278–85.
1552:musical set theory
932:
922:
797:, the 16 Hz C
777:
560:
69:
3919:
3918:
3678:Critical thinking
3646:Cognitive liberty
3583:
3582:
3560:Spectral envelope
3461:
3460:
3394:Chord progression
3324:
3323:
3268:Mensural notation
2721:
2720:
2431:978-0-452-28852-2
2406:978-3-540-49125-5
2370:10.1121/1.2074687
2299:10.1121/1.1416671
2206:10.1121/1.2195291
2027:978-0-486-21769-7
1927:978-0-387-97843-7
1895:978-0-631-20683-5
1865:978-0-309-09296-8
1838:978-0-387-23472-4
1806:978-1-56396-283-7
1774:978-1-4419-6113-6
1741:978-0-387-23472-4
1716:978-0-387-30667-4
1645:Pitch circularity
1532:octave stretching
1489:equal temperament
1468:
1467:
925:
921:
825:equal temperament
751:
750:
743:
575:
476:frequency spectra
355:action potentials
193:According to the
65:
54:
16:(Redirected from
3959:
3616:Mental processes
3610:
3603:
3596:
3587:
3488:
3481:
3474:
3465:
3456:
3351:
3344:
3337:
3328:
3314:
3313:
3304:
3303:
3167:Graphic notation
2831:Rehearsal letter
2755:Musical notation
2748:
2741:
2734:
2725:
2600:
2593:
2586:
2577:
2530:
2515:
2509:
2502:
2496:
2489:
2483:
2482:
2462:
2456:
2445:
2439:
2438:
2417:
2411:
2410:
2388:
2382:
2381:
2356:(6): 3794–3803.
2345:
2339:
2338:
2335:10.1121/1.381166
2310:
2304:
2303:
2301:
2277:
2268:
2267:
2256:10.1121/1.423742
2242:(4): 2298–2306.
2231:
2225:
2224:
2222:
2220:
2192:(6): 3908–3918.
2183:
2174:
2168:
2167:
2165:
2163:
2143:(3): 1698–1716.
2134:
2125:
2119:
2118:
2108:
2083:(7): 1057–1060.
2068:
2062:
2056:
2050:
2047:
2041:
2038:
2032:
2031:
2008:
1995:
1994:
1963:Hearing Research
1958:
1952:
1941:
1932:
1931:
1909:
1900:
1899:
1879:
1870:
1869:
1849:
1843:
1842:
1822:
1811:
1810:
1790:
1779:
1778:
1765:Music Perception
1756:
1750:
1749:
1725:
1719:
1702:Anssi Klapuri, "
1700:
1615:Eight foot pitch
1587:tumbling strains
1573:
1572:
1567:
1566:
1522:is sharp due to
1437:
1436:
1400:
1399:
1394:
1393:
1325:
1324:
1319:
1318:
1250:
1249:
1244:
1243:
1206:
1205:
1169:
1168:
1132:
1131:
1126:
1125:
1057:
1056:
1051:
1050:
1013:
1012:
973:
962:
961:
941:
939:
938:
933:
931:
930:
926:
924:
923:
919:
909:
899:
898:
746:
739:
735:
732:
726:
695:
687:
677:Labeling pitches
672:
671:
665:
664:
656:
655:
577:
576:
557:
508:indefinite pitch
427:beat frequencies
340:basilar membrane
309:
290:
270:
243:combination tone
190:by this method.
123:psychoacoustical
67:
66:
56:
55:
21:
18:Indefinite pitch
3967:
3966:
3962:
3961:
3960:
3958:
3957:
3956:
3942:Psychoacoustics
3922:
3921:
3920:
3915:
3844:
3811:
3719:
3698:Problem solving
3683:Decision-making
3617:
3614:
3584:
3579:
3528:Microinflection
3506:Colors of noise
3497:
3492:
3462:
3457:
3448:
3404:Harmonic rhythm
3360:
3355:
3325:
3320:
3292:
3256:
3130:
3121:Music publisher
3116:Music engraving
3097:
2977:
2968:Letter notation
2860:
2757:
2752:
2722:
2717:
2687:Steps and skips
2609:
2604:
2574:
2538:
2536:Further reading
2533:
2516:
2512:
2503:
2499:
2490:
2486:
2479:
2464:
2463:
2459:
2446:
2442:
2432:
2419:
2418:
2414:
2407:
2390:
2389:
2385:
2347:
2346:
2342:
2312:
2311:
2307:
2279:
2278:
2271:
2233:
2232:
2228:
2218:
2216:
2181:
2176:
2175:
2171:
2161:
2159:
2132:
2127:
2126:
2122:
2070:
2069:
2065:
2057:
2053:
2048:
2044:
2039:
2035:
2028:
2012:Olson, Harry F.
2010:
2009:
1998:
1960:
1959:
1955:
1942:
1935:
1928:
1911:
1910:
1903:
1896:
1881:
1880:
1873:
1866:
1851:
1850:
1846:
1839:
1824:
1823:
1814:
1807:
1792:
1791:
1782:
1775:
1758:
1757:
1753:
1742:
1727:
1726:
1722:
1701:
1697:
1693:
1680:Scale of vowels
1625:Just intonation
1595:
1581:
1577:
1570:
1569:
1564:
1563:
1540:
1485:chromatic scale
1473:
1434:
1433:
1397:
1396:
1391:
1390:
1322:
1321:
1316:
1315:
1247:
1246:
1241:
1240:
1203:
1202:
1166:
1165:
1129:
1128:
1123:
1122:
1054:
1053:
1048:
1047:
1010:
1009:
959:
958:
913:
904:
890:
867:
866:
836:
830:
817:
796:
783:Letters, as in
773:
762:
747:
736:
730:
727:
712:
696:
685:
679:
669:
668:
662:
661:
653:
652:
612:Classical pitch
592:
591:
583:
581:
580:
579:
578:
571:
568:
561:
555:
539:
533:
457:
445:tritone paradox
440:aural illusions
435:
433:Aural illusions
396:
366:autocorrelation
336:temporal coding
324:
317:
310:
301:
291:
282:
271:
153:audio frequency
137:
132:
60:
57:
49:
46:
35:
28:
23:
22:
15:
12:
11:
5:
3965:
3963:
3955:
3954:
3949:
3944:
3939:
3934:
3924:
3923:
3917:
3916:
3914:
3913:
3908:
3903:
3898:
3893:
3888:
3886:Mental fatigue
3883:
3878:
3873:
3868:
3863:
3858:
3852:
3850:
3846:
3845:
3843:
3842:
3837:
3832:
3827:
3821:
3819:
3813:
3812:
3810:
3809:
3804:
3803:
3802:
3797:
3792:
3782:
3777:
3772:
3767:
3757:
3752:
3747:
3746:
3745:
3735:
3729:
3727:
3721:
3720:
3718:
3717:
3712:
3711:
3710:
3705:
3695:
3690:
3685:
3680:
3675:
3670:
3665:
3660:
3659:
3658:
3648:
3643:
3638:
3633:
3627:
3625:
3619:
3618:
3615:
3613:
3612:
3605:
3598:
3590:
3581:
3580:
3578:
3577:
3572:
3567:
3562:
3557:
3550:
3545:
3540:
3535:
3530:
3525:
3520:
3513:
3508:
3502:
3499:
3498:
3493:
3491:
3490:
3483:
3476:
3468:
3459:
3458:
3451:
3449:
3447:
3446:
3441:
3436:
3431:
3426:
3421:
3416:
3414:List of chords
3411:
3406:
3401:
3396:
3391:
3386:
3381:
3376:
3371:
3365:
3362:
3361:
3356:
3354:
3353:
3346:
3339:
3331:
3322:
3321:
3319:
3318:
3308:
3297:
3294:
3293:
3291:
3290:
3285:
3280:
3275:
3270:
3264:
3262:
3258:
3257:
3255:
3254:
3249:
3244:
3239:
3234:
3229:
3224:
3219:
3214:
3209:
3204:
3199:
3194:
3189:
3184:
3179:
3174:
3169:
3164:
3159:
3154:
3149:
3144:
3138:
3136:
3132:
3131:
3129:
3128:
3123:
3118:
3113:
3107:
3105:
3099:
3098:
3096:
3095:
3090:
3085:
3080:
3075:
3070:
3065:
3064:
3063:
3058:
3053:
3048:
3043:
3038:
3028:
3023:
3018:
3013:
3008:
3003:
2998:
2993:
2987:
2985:
2979:
2978:
2976:
2975:
2970:
2965:
2960:
2955:
2950:
2945:
2940:
2935:
2930:
2929:
2928:
2923:
2918:
2908:
2903:
2898:
2893:
2892:
2891:
2886:
2881:
2870:
2868:
2862:
2861:
2859:
2858:
2853:
2848:
2846:Time signature
2843:
2838:
2833:
2828:
2823:
2818:
2813:
2808:
2803:
2798:
2793:
2788:
2783:
2778:
2773:
2767:
2765:
2759:
2758:
2753:
2751:
2750:
2743:
2736:
2728:
2719:
2718:
2716:
2715:
2710:
2705:
2700:
2694:
2689:
2684:
2679:
2674:
2669:
2664:
2659:
2658:
2657:
2647:
2642:
2640:Melodic motion
2637:
2632:
2627:
2622:
2614:
2611:
2610:
2605:
2603:
2602:
2595:
2588:
2580:
2573:
2572:External links
2570:
2569:
2568:
2561:
2558:Nat. Neurosci.
2553:
2546:
2537:
2534:
2532:
2531:
2510:
2497:
2484:
2477:
2457:
2440:
2430:
2412:
2405:
2383:
2340:
2305:
2269:
2226:
2169:
2120:
2063:
2051:
2042:
2033:
2026:
1996:
1969:(1–2): 31–46.
1953:
1933:
1926:
1901:
1894:
1871:
1864:
1844:
1837:
1812:
1805:
1780:
1773:
1751:
1740:
1720:
1694:
1692:
1689:
1688:
1687:
1682:
1677:
1675:Relative pitch
1672:
1667:
1662:
1657:
1652:
1647:
1642:
1637:
1632:
1627:
1622:
1617:
1612:
1607:
1605:Absolute pitch
1602:
1594:
1591:
1579:
1575:
1539:
1536:
1501:musical tuning
1481:tuning systems
1472:
1469:
1466:
1465:
1462:
1459:
1456:
1453:
1450:
1447:
1444:
1441:
1438:
1429:
1428:
1425:
1422:
1419:
1416:
1413:
1410:
1407:
1404:
1401:
1386:
1385:
1382:
1379:
1376:
1373:
1370:
1367:
1364:
1361:
1358:
1354:
1353:
1350:
1347:
1344:
1341:
1338:
1335:
1332:
1329:
1326:
1311:
1310:
1307:
1304:
1301:
1298:
1295:
1292:
1289:
1286:
1283:
1279:
1278:
1275:
1272:
1269:
1266:
1263:
1260:
1257:
1254:
1251:
1236:
1235:
1232:
1229:
1226:
1223:
1220:
1217:
1214:
1211:
1208:
1198:
1197:
1194:
1191:
1188:
1185:
1182:
1179:
1176:
1173:
1170:
1161:
1160:
1157:
1154:
1151:
1148:
1145:
1142:
1139:
1136:
1133:
1118:
1117:
1114:
1111:
1108:
1105:
1102:
1099:
1096:
1093:
1090:
1086:
1085:
1082:
1079:
1076:
1073:
1070:
1067:
1064:
1061:
1058:
1043:
1042:
1039:
1036:
1033:
1030:
1027:
1024:
1021:
1018:
1015:
1005:
1004:
1001:
998:
995:
992:
989:
986:
983:
980:
977:
943:
942:
929:
916:
912:
907:
902:
897:
893:
889:
886:
883:
880:
877:
874:
834:
828:
815:
806:
805:
798:
794:
787:
771:
749:
748:
699:
697:
690:
678:
675:
582:
569:
564:
563:
562:
553:
552:
551:
535:Main article:
532:
529:
469:definite pitch
456:
453:
434:
431:
423:simultaneously
395:
392:
323:
320:
319:
318:
311:
304:
302:
292:
285:
283:
272:
265:
258:sound pressure
151:of vibration (
136:
133:
131:
128:
26:
24:
14:
13:
10:
9:
6:
4:
3:
2:
3964:
3953:
3950:
3948:
3945:
3943:
3940:
3938:
3935:
3933:
3932:Pitch (music)
3930:
3929:
3927:
3912:
3909:
3907:
3904:
3902:
3899:
3897:
3894:
3892:
3889:
3887:
3884:
3882:
3879:
3877:
3874:
3872:
3869:
3867:
3864:
3862:
3859:
3857:
3854:
3853:
3851:
3847:
3841:
3838:
3836:
3833:
3831:
3828:
3826:
3825:Consolidation
3823:
3822:
3820:
3818:
3814:
3808:
3805:
3801:
3798:
3796:
3793:
3791:
3788:
3787:
3786:
3783:
3781:
3778:
3776:
3773:
3771:
3768:
3765:
3761:
3758:
3756:
3753:
3751:
3748:
3744:
3741:
3740:
3739:
3736:
3734:
3731:
3730:
3728:
3726:
3722:
3716:
3713:
3709:
3706:
3704:
3701:
3700:
3699:
3696:
3694:
3691:
3689:
3686:
3684:
3681:
3679:
3676:
3674:
3673:Consciousness
3671:
3669:
3668:Comprehension
3666:
3664:
3661:
3657:
3654:
3653:
3652:
3649:
3647:
3644:
3642:
3639:
3637:
3634:
3632:
3629:
3628:
3626:
3624:
3620:
3611:
3606:
3604:
3599:
3597:
3592:
3591:
3588:
3576:
3573:
3571:
3568:
3566:
3563:
3561:
3558:
3556:
3555:
3551:
3549:
3546:
3544:
3541:
3539:
3536:
3534:
3531:
3529:
3526:
3524:
3521:
3519:
3518:
3514:
3512:
3509:
3507:
3504:
3503:
3500:
3496:
3489:
3484:
3482:
3477:
3475:
3470:
3469:
3466:
3455:
3445:
3444:Voice leading
3442:
3440:
3437:
3435:
3432:
3430:
3427:
3425:
3422:
3420:
3417:
3415:
3412:
3410:
3409:Harmonization
3407:
3405:
3402:
3400:
3397:
3395:
3392:
3390:
3387:
3385:
3382:
3380:
3377:
3375:
3372:
3370:
3369:Accompaniment
3367:
3366:
3363:
3359:
3352:
3347:
3345:
3340:
3338:
3333:
3332:
3329:
3317:
3309:
3307:
3299:
3298:
3295:
3289:
3288:Transcription
3286:
3284:
3283:Sight-reading
3281:
3279:
3278:Perfect pitch
3276:
3274:
3271:
3269:
3266:
3265:
3263:
3259:
3253:
3250:
3248:
3245:
3243:
3240:
3238:
3235:
3233:
3230:
3228:
3225:
3223:
3220:
3218:
3215:
3213:
3212:Ancient Greek
3210:
3208:
3205:
3203:
3200:
3198:
3195:
3193:
3190:
3188:
3185:
3183:
3180:
3178:
3175:
3173:
3170:
3168:
3165:
3163:
3160:
3158:
3155:
3153:
3152:Chord diagram
3150:
3148:
3145:
3143:
3142:Braille music
3140:
3139:
3137:
3135:Other systems
3133:
3127:
3124:
3122:
3119:
3117:
3114:
3112:
3109:
3108:
3106:
3104:
3100:
3094:
3091:
3089:
3086:
3084:
3081:
3079:
3076:
3074:
3071:
3069:
3066:
3062:
3059:
3057:
3054:
3052:
3049:
3047:
3044:
3042:
3039:
3037:
3034:
3033:
3032:
3029:
3027:
3024:
3022:
3019:
3017:
3014:
3012:
3009:
3007:
3004:
3002:
2999:
2997:
2994:
2992:
2989:
2988:
2986:
2984:
2980:
2974:
2971:
2969:
2966:
2964:
2961:
2959:
2956:
2954:
2951:
2949:
2946:
2944:
2941:
2939:
2936:
2934:
2931:
2927:
2924:
2922:
2919:
2917:
2914:
2913:
2912:
2909:
2907:
2904:
2902:
2899:
2897:
2894:
2890:
2887:
2885:
2882:
2880:
2877:
2876:
2875:
2872:
2871:
2869:
2867:
2866:Musical notes
2863:
2857:
2854:
2852:
2851:Transposition
2849:
2847:
2844:
2842:
2839:
2837:
2834:
2832:
2829:
2827:
2824:
2822:
2819:
2817:
2814:
2812:
2809:
2807:
2806:Key signature
2804:
2802:
2799:
2797:
2794:
2792:
2789:
2787:
2784:
2782:
2779:
2777:
2774:
2772:
2769:
2768:
2766:
2764:
2760:
2756:
2749:
2744:
2742:
2737:
2735:
2730:
2729:
2726:
2714:
2713:Voice leading
2711:
2709:
2706:
2704:
2701:
2698:
2695:
2693:
2690:
2688:
2685:
2683:
2680:
2678:
2675:
2673:
2670:
2668:
2665:
2663:
2660:
2656:
2653:
2652:
2651:
2648:
2646:
2643:
2641:
2638:
2636:
2633:
2631:
2628:
2626:
2623:
2621:
2620:
2616:
2615:
2612:
2608:
2601:
2596:
2594:
2589:
2587:
2582:
2581:
2578:
2571:
2567:, 71, 679–88.
2566:
2562:
2559:
2554:
2551:
2547:
2545:, 80, 479–83.
2544:
2540:
2539:
2535:
2528:
2527:0-12-213564-4
2524:
2520:
2514:
2511:
2507:
2501:
2498:
2494:
2488:
2485:
2480:
2478:9781602066397
2474:
2470:
2469:
2461:
2458:
2454:
2450:
2444:
2441:
2437:
2433:
2427:
2423:
2416:
2413:
2408:
2402:
2398:
2394:
2387:
2384:
2379:
2375:
2371:
2367:
2363:
2359:
2355:
2351:
2344:
2341:
2336:
2332:
2328:
2324:
2321:(4): 863–69.
2320:
2316:
2309:
2306:
2300:
2295:
2291:
2287:
2283:
2276:
2274:
2270:
2265:
2261:
2257:
2253:
2249:
2245:
2241:
2237:
2230:
2227:
2215:
2211:
2207:
2203:
2199:
2195:
2191:
2187:
2180:
2173:
2170:
2158:
2154:
2150:
2146:
2142:
2138:
2131:
2124:
2121:
2116:
2112:
2107:
2102:
2098:
2094:
2090:
2086:
2082:
2078:
2074:
2067:
2064:
2061:
2055:
2052:
2046:
2043:
2037:
2034:
2029:
2023:
2019:
2018:
2013:
2007:
2005:
2003:
2001:
1997:
1992:
1988:
1984:
1980:
1976:
1972:
1968:
1964:
1957:
1954:
1950:
1946:
1940:
1938:
1934:
1929:
1923:
1919:
1915:
1908:
1906:
1902:
1897:
1891:
1887:
1886:
1878:
1876:
1872:
1867:
1861:
1857:
1856:
1848:
1845:
1840:
1834:
1830:
1829:
1821:
1819:
1817:
1813:
1808:
1802:
1798:
1797:
1789:
1787:
1785:
1781:
1776:
1770:
1766:
1762:
1755:
1752:
1748:
1743:
1737:
1733:
1732:
1724:
1721:
1717:
1713:
1709:
1705:
1699:
1696:
1690:
1686:
1683:
1681:
1678:
1676:
1673:
1671:
1668:
1666:
1665:Pitch shifter
1663:
1661:
1658:
1656:
1653:
1651:
1648:
1646:
1643:
1641:
1638:
1636:
1633:
1631:
1628:
1626:
1623:
1621:
1618:
1616:
1613:
1611:
1608:
1606:
1603:
1600:
1597:
1596:
1592:
1590:
1588:
1583:
1561:
1557:
1553:
1549:
1545:
1537:
1535:
1533:
1529:
1525:
1524:inharmonicity
1521:
1517:
1513:
1509:
1504:
1502:
1498:
1494:
1493:well-tempered
1490:
1486:
1482:
1478:
1470:
1463:
1460:
1457:
1454:
1451:
1448:
1445:
1442:
1439:
1431:
1430:
1426:
1423:
1420:
1417:
1414:
1411:
1408:
1405:
1402:
1388:
1387:
1383:
1380:
1377:
1374:
1371:
1368:
1365:
1362:
1359:
1356:
1355:
1351:
1348:
1345:
1342:
1339:
1336:
1333:
1330:
1327:
1313:
1312:
1308:
1305:
1302:
1299:
1296:
1293:
1290:
1287:
1284:
1281:
1280:
1276:
1273:
1270:
1267:
1264:
1261:
1258:
1255:
1252:
1238:
1237:
1233:
1230:
1227:
1224:
1221:
1218:
1215:
1212:
1209:
1200:
1199:
1195:
1192:
1189:
1186:
1183:
1180:
1177:
1174:
1171:
1163:
1162:
1158:
1155:
1152:
1149:
1146:
1143:
1140:
1137:
1134:
1120:
1119:
1115:
1112:
1109:
1106:
1103:
1100:
1097:
1094:
1091:
1088:
1087:
1083:
1080:
1077:
1074:
1071:
1068:
1065:
1062:
1059:
1045:
1044:
1040:
1037:
1034:
1031:
1028:
1025:
1022:
1019:
1016:
1007:
1006:
1002:
999:
996:
993:
990:
987:
984:
981:
978:
975:
974:
971:
969:
964:
956:
952:
948:
927:
914:
910:
905:
900:
895:
891:
887:
884:
881:
878:
875:
872:
865:
864:
863:
862:, as follows
861:
857:
853:
849:
845:
841:
837:
826:
822:
818:
811:
803:
799:
792:
788:
786:
782:
781:
780:
774:
766:
760:
756:
745:
742:
734:
731:February 2011
724:
720:
716:
710:
709:
705:
700:This section
698:
694:
689:
688:
684:
676:
674:
666:
650:
646:
642:
637:
635:
631:
627:
623:
621:
617:
613:
609:
608:Baroque pitch
605:
601:
597:
590:
588:
567:
550:
548:
544:
543:concert pitch
538:
537:Concert pitch
530:
528:
525:
521:
516:
514:
513:inharmonicity
509:
504:
502:
498:
497:
492:
491:
486:
485:
479:
477:
474:
470:
466:
462:
454:
452:
450:
449:Shepard scale
446:
442:
441:
432:
430:
428:
424:
420:
416:
412:
407:
403:
402:
393:
391:
389:
385:
381:
377:
372:
367:
363:
358:
356:
352:
348:
343:
341:
337:
333:
328:
321:
315:
308:
303:
299:
295:
289:
284:
280:
276:
269:
264:
262:
259:
254:
252:
248:
244:
239:
235:
231:
226:
224:
220:
219:musical notes
216:
211:
208:
204:
200:
196:
191:
189:
185:
181:
177:
173:
169:
165:
161:
156:
154:
150:
146:
145:musical scale
142:
141:musical tones
134:
129:
127:
124:
120:
115:
113:
109:
105:
102:, along with
101:
100:musical tones
98:attribute of
97:
93:
89:
85:
81:
77:
73:
58:Play bottom:
44:
39:
33:
19:
3794:
3552:
3548:Rustle noise
3542:
3515:
3439:Simultaneity
3428:
3374:Alberti bass
3187:Klavarskribo
3162:Figured bass
3036:Appoggiatura
2983:Articulation
2932:
2781:Abbreviation
2671:
2617:
2564:
2557:
2549:
2542:
2518:
2513:
2505:
2500:
2492:
2487:
2467:
2460:
2452:
2443:
2435:
2421:
2415:
2396:
2386:
2353:
2349:
2343:
2318:
2314:
2308:
2289:
2285:
2239:
2235:
2229:
2217:. Retrieved
2189:
2185:
2172:
2160:. Retrieved
2140:
2136:
2123:
2080:
2076:
2066:
2054:
2045:
2036:
2016:
1966:
1962:
1956:
1948:
1917:
1884:
1854:
1847:
1831:. Springer.
1827:
1795:
1764:
1754:
1745:
1730:
1723:
1707:
1698:
1584:
1541:
1505:
1474:
997:Three-lined
965:
944:
859:
855:
847:
843:
832:
820:
813:
809:
807:
778:
737:
728:
713:Please help
701:
659:
638:
624:
611:
607:
595:
593:
540:
517:
507:
505:
494:
488:
482:
480:
468:
463:(a class of
458:
438:
436:
418:
414:
399:
397:
387:
383:
371:phase shifts
359:
344:
332:place coding
325:
255:
227:
212:
192:
187:
171:
167:
163:
160:oscillations
157:
138:
116:
71:
70:
42:
3715:Prospection
3688:Imagination
3651:Forecasting
3631:Association
3273:Music stand
3147:Chord chart
3126:Scorewriter
3103:Sheet music
2901:Dotted note
2836:Repeat sign
2811:Ledger line
2560:8, 1241–47.
2453:Answers.com
2219:13 November
2162:13 November
1650:Pitch class
1556:pitch class
1548:twelve tone
1503:were used.
1003:Five-lined
1000:Four-lined
979:Sub-contra
947:pitch space
821:440 Hz
604:440 Hz
566:440 Hz
294:Oscillogram
279:millisecond
178:(ones with
172:frequencies
3937:Perception
3926:Categories
3896:Mental set
3775:Peripheral
3725:Perception
3708:strategies
3379:Banjo roll
3247:Shakuhachi
3222:Ekphonetic
3207:Simplified
3172:Lead sheet
3046:Grace note
2911:Note value
2906:Grace note
2874:Accidental
2292:(1): 1–6.
1691:References
1670:Pitch pipe
1610:Diplacusis
1599:3rd bridge
1530:resort to
994:Two-lined
991:One-lined
681:See also:
587:media help
520:snare drum
362:phase-lock
351:phase-lock
223:reciprocal
184:sinusoidal
176:pure tones
130:Perception
76:perceptual
47:Play top:
3871:Intention
3856:Attention
3790:Harmonics
3743:RGB model
3693:Intuition
3663:Foresight
3656:affective
3636:Awareness
3623:Cognition
3399:Four-part
3242:Swaralipi
3232:Kunkunshi
3192:Tablature
3157:Eye music
3041:Glissando
3016:Fingering
2801:Dal segno
2703:Ululation
2097:1097-6256
901:
888:×
702:does not
660:concert B
524:bass drum
496:Harmonics
490:overtones
406:threshold
298:pure tone
234:overtones
203:amplitude
164:frequency
149:frequency
119:frequency
86:-related
84:frequency
3911:Volition
3901:Thinking
3881:Learning
3830:Encoding
3575:Waveform
3570:Tonality
3538:Overtone
3523:Loudness
3434:Sequence
3252:Znamenny
3093:Tonguing
3078:Staccato
3031:Ornament
3006:Dynamics
2958:Interval
2921:Notehead
2896:Cue note
2699:(figure)
2682:Sequence
2667:Phrasing
2650:Ornament
2630:Interval
2619:Balungan
2378:16419824
2264:10491694
2214:16838534
2115:31182868
2014:(1967).
1991:40608136
1983:15276674
1593:See also
1571:♭
1565:♯
1560:integers
1520:overtone
1508:interval
1464:7902.13
1435:♭
1427:7458.62
1398:♭
1392:♯
1384:7040.00
1352:6644.88
1323:♭
1317:♯
1309:6271.93
1277:5919.91
1248:♭
1242:♯
1234:5587.65
1204:♯
1196:5274.04
1167:♭
1159:4978.03
1130:♭
1124:♯
1116:4698.64
1084:4434.92
1055:♭
1049:♯
1041:4186.01
1011:♯
960:♯
920: Hz
670:♭
663:♭
654:♭
641:clarinet
620:Romantic
600:middle C
501:partials
473:harmonic
347:tonotopy
327:Theories
275:middle C
238:harmonic
180:periodic
108:loudness
104:duration
96:auditory
92:melodies
3835:Storage
3703:methods
3384:Cadence
3358:Harmony
3261:Related
3227:Gamelan
3217:Chinese
3197:Parsons
3068:Portato
3051:Mordent
3026:Marcato
3011:Fermata
3001:Damping
2996:Caesura
2953:Tremolo
2884:natural
2796:Da capo
2662:Pattern
2635:Melisma
2625:Cadence
2358:Bibcode
2323:Bibcode
2244:Bibcode
2194:Bibcode
2157:8890286
2106:6592717
1510:of the
1461:3951.07
1458:1975.53
1424:3729.31
1421:1864.66
1381:3520.00
1378:1760.00
1349:3322.44
1346:1661.22
1306:3135.96
1303:1567.99
1274:2959.96
1271:1479.98
1231:2793.83
1228:1396.91
1193:2637.02
1190:1318.51
1156:2489.02
1153:1244.51
1113:2349.32
1110:1174.66
1081:2217.46
1078:1108.73
1038:2093.00
1035:1046.50
982:Contra
723:removed
708:sources
645:trumpet
413:). The
376:cochlea
168:Pitches
43:pitches
3840:Recall
3817:Memory
3807:Visual
3800:Speech
3780:Social
3760:Haptic
3733:Amodal
3554:Sawari
3517:Jivari
3495:Timbre
3083:Tenuto
3021:Legato
2991:Accent
2948:Tuplet
2692:Timbre
2677:Rhythm
2607:Melody
2525:
2475:
2428:
2403:
2376:
2262:
2212:
2155:
2113:
2103:
2095:
2024:
1989:
1981:
1924:
1892:
1862:
1835:
1803:
1771:
1738:
1714:
1706:", in
1544:atonal
1528:tuners
1512:octave
1471:Scales
1455:987.77
1452:493.88
1449:246.94
1446:123.47
1418:932.33
1415:466.16
1412:233.08
1409:116.54
1375:880.00
1372:440.00
1369:220.00
1366:110.00
1343:830.61
1340:415.30
1337:207.65
1334:103.83
1300:783.99
1297:392.00
1294:196.00
1268:739.99
1265:369.99
1262:185.00
1225:698.46
1222:349.23
1219:174.61
1187:659.26
1184:329.63
1181:164.81
1150:622.25
1147:311.13
1144:155.56
1107:587.33
1104:293.66
1101:146.83
1075:554.37
1072:277.18
1069:138.59
1032:523.25
1029:261.63
1026:130.81
988:Small
985:Great
598:above
388:height
384:chroma
380:octave
353:their
314:octave
215:speech
112:timbre
110:, and
80:sounds
3952:Sound
3849:Other
3795:Pitch
3785:Sound
3764:Touch
3750:Depth
3738:Color
3543:Pitch
3533:Noise
3429:Pitch
3389:Chord
3237:Neume
3061:Trill
3056:Slide
2943:Tacet
2933:Pitch
2889:sharp
2841:Tempo
2826:Scale
2821:Ossia
2763:Staff
2708:Voice
2672:Pitch
2655:Trill
2645:Motif
2182:(PDF)
2133:(PDF)
1987:S2CID
1578:and C
1568:and D
1550:, or
1477:scale
1443:61.74
1440:30.87
1406:58.27
1403:29.14
1363:55.00
1360:27.50
1331:51.91
1328:25.96
1291:98.00
1288:49.00
1285:24.50
1259:92.50
1256:46.25
1253:23.12
1216:87.31
1213:43.65
1210:21.83
1178:82.41
1175:41.20
1172:20.60
1141:77.78
1138:38.89
1135:19.45
1098:73.42
1095:36.71
1092:18.35
1066:69.30
1063:34.65
1060:17.32
1023:65.41
1020:32.70
1017:16.35
976:Note
955:cents
819:, or
802:hertz
630:parts
622:era.
411:cents
404:(the
207:idiom
199:proxy
188:pitch
88:scale
74:is a
72:Pitch
3755:Form
3424:Note
3073:Slur
2938:Rest
2926:stem
2916:beam
2879:flat
2816:Mode
2791:Clef
2697:Type
2523:ISBN
2473:ISBN
2426:ISBN
2401:ISBN
2374:PMID
2260:PMID
2221:2012
2210:PMID
2164:2012
2153:PMID
2111:PMID
2093:ISSN
2022:ISBN
1979:PMID
1922:ISBN
1890:ISBN
1860:ISBN
1833:ISBN
1801:ISBN
1769:ISBN
1736:ISBN
1712:ISBN
1516:A440
852:MIDI
848:A880
846:and
844:A440
757:and
706:any
704:cite
649:part
634:keys
398:The
334:and
217:and
158:The
3088:Tie
2786:Bar
2366:doi
2354:118
2331:doi
2294:doi
2252:doi
2240:104
2202:doi
2190:119
2145:doi
2101:PMC
2085:doi
1971:doi
1967:194
1947:",
1542:In
1432:B/C
1207:/F
1164:E/F
1014:/C
915:440
892:log
717:by
673:."
643:or
419:jnd
415:jnd
3928::
2776:15
2434:.
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