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its frequency. In this situation, the instantaneous phase of the pure tone varies linearly with time. If a pure tone gives rise to a constant, steady-state percept, then it can be concluded that its phase does not influence this percept. However, when multiple pure tones are presented at once, like in musical tones, their relative phase plays a role in the resulting percept. In such a situation, the perceived pitch is not determined by the frequency of any individual component, but by the frequency relationship between these components (see
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that are composed of the sum of a number of harmonically related sinusoidal components, pure tones only contain one such sinusoidal waveform. When presented in isolation, and when its frequency pertains to a certain range, pure tones give rise to a single pitch percept, which can be characterized by
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depends on the frequency of the most prominent tone, and the phases of the individual components is discarded. This theory has often been blamed for creating a confusion between pitch, frequency and pure tones.
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A pure tone's pressure waveform versus time looks like this; its frequency determines the x axis scale; its amplitude determines the y axis scale; and its phase determines the x origin.
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Ohm, Georg (1843). "Ueber die
Definition des Tones, nebst daran geknupfter Theorie der Sirene und ahnlicher tonbildenden Vorrichtungen".
80:(e.g., a voltage). A pure tone has the property – unique among real-valued wave shapes – that its wave shape is unchanged by
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building blocks of more complex waves. As additional sine waves having different frequencies are
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Stanley Smith
Stevens and Edwin B. Newman (1936). "The localization of actual sources of sound".
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to support theories asserting that the ear functions in a way equivalent to a
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On the sensations of tone as a physiological basis for the theory of music
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W. Dixon Ward (1970). "Musical
Perception". In Jerry V. Tobias (ed.).
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above middle C. The frequency is twice that of middle C (523 Hz).
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is often more difficult with pure tones than with other sounds.
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to characterize hearing thresholds at different frequencies.
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a single-frequency tone or pure tone is a purely sinusoidal
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von
Helmholtz, Hermann L. F.; Ellis, Alexander J. (1875).
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Hartmann, W. M. (1983). "Localization of sound in rooms".
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of middle C (262 Hz). (Scale: 1 square is equal to 1
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Pure tones have been used by 19th century physicists like
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are perceived as a set of pure tones. The percept of
318:The Journal of the Acoustical Society of America
199:below middle C. The frequency is half that of
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399:. Vol. 1. Academic Press. p. 438.
142:, later further elaborated by Helmholtz,
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365:. London, UK: Longmans, Green, and Co.
397:Foundations of Modern Auditory Theory
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87:Sine and cosine waves can be used as
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122:Relation to pitch and musical tones
99:, a pure tone may also be called a
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215:Pure tone oscillogram of C5, an
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112:pure-tone audiometry
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246:Missing fundamental
161:missing fundamental
72:. By extension, in
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384:: 513–565.
257:References
175:Pure tone
48:sinusoidal
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128:Georg Ohm
108:audiology
70:amplitude
62:frequency
44:pure tone
225:See also
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417:Hearing
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154:Unlike
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231:Sound
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55:sine
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