Pitch of two‐tone complexes comprising nonsuccessive harmonics

Abstract

Most studies of the musical pitch of harmonic tone complexes have utilized signals comprising two or more successive harmonics. It is also easily observed that tones from a clarinet, whose even harmonics are heavily suppressed, evoke a strong and unambiguous pitch. The present study provides systematic data on melodic interval recognition by three musically experienced subjects, with sounds made up of two nonsuccessive harmonics. If we describe such a two‐tone complex as nf0, (n + m)f0, data were obtained for the ranges 1 ⩽ n ⩽ 10, 2 ⩽ m ⩽ 4, 200 ⩽ f0 ⩽ 1000 Hz. Trends in the data are interpreted in the light of three popular models, the “optimum processor theory” (Goldstein), the “pattern transformation theory” (Wightman), and the “learning matrix theory” (Terhardt). A constraint on performance is proposed which is based on the “analytic” and “synthetic” perception modes of complex tones (Helmholtz). Apparently, when the harmonic spacing increases, the listener is more likely to operate in the analytic mode, perceiving harmonics as individual tones each having its own pitch. This degrades the tracking ability for the missing fundamental. [Work partially supported by NIH.]