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Systematic Musicology: Empirical and Theoretical Studies

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Edited By Albrecht Schneider and Arne von Ruschkowski

This volume contains articles most of which present empirical studies in the field of systematic musicology. Contributions in particular deal with aspects of melody including modeling and computer-assisted analysis as well as with various issues in sound and music perception, musical acoustics and psychoacoustics. Topics range from loudness perception in ‘Techno’ music to sound radiation in classical singing styles, and from timbre research to wave field synthesis and room acoustics. One focus of this volume is on pop and rock music, another is on ethno and folk music. In addition to empirical investigations, theoretical and methodological issues are addressed including some fundamental concepts in ethnomusicology and folk music scholarship.

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Albrecht Schneider, Valeri Tsatsishvili: Perception of Musical Intervals at Very Low Frequencies: Some Experimental Findings

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99 Albrecht Schneider Valeri Tsatsishvili Perception of Musical Intervals at Very Low Frequencies: Some Experimental Findings Summary Interval recognition of musical intervals (major second, minor third, major third, fourth, tritone, fifth) at very low frequencies of pairs of complex tones was studied in an experiment carried out with two samples of subjects at Hamburg (Germany) and Jyväs- kylä (Finland). Pairs of complex harmonic tones were generated representing the six musical inter- vals. Each complex tone comprised five harmonic components with frequency ratios 1:2:3:4:5 and amplitudes A = 1/n, n = 1, 2, 3, 4, 5. Fundamental frequencies of the lower complex tone were set at 31.5 Hz, 40 Hz, 50 Hz, 63 Hz, and 80 Hz (corresponding to ISO frequencies for 1/3-octave band filters). Thus the design of the experiment consisted of six intervals times five fundamental frequencies (= 30 sound stimuli). The stimuli were presented to subjects in two runs, and in different order. Interval recognition scores in general were low, however, data from the experiments indicate a gradual difference between a very low number of correct judgements at 31.5 Hz and 40 Hz, on the one hand, and improved scores at 50 Hz, 63 Hz, and 80 Hz, respectively, on the other. Results of the experiments as well as pitch perception and interval recognition in general are discussed in regard to concepts of Critical Bands (CBs) with special emphasis given to low frequencies (f < 100 Hz). Zusammenfassung Die Wahrnehmung musikalischer Intervalle (große Sekunde, kleine Terz,...

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