Harmonic Intervals Research Articles

Teste para avaliação do ouvido relativo por meio de tríades em primeira inversão: um estudo psicométrico

Relative Pitch (RP) is a basic auditory skill related to the ability to perceive melodic and har-monic interval relationships. However, there are few studies that sought to extract empirical information about the recognition of triads to measure OR in volunteers with considerable musical training. This paper aims to propose a test to measure OR ability through the specific task of recognizing First Inversion Triads. A total of 783 undergraduate-level music students volunteered for this research, which consisted of a battery of ten stimuli in varying timbres and registers. Data analysis was performed based on Item Response Theory, with discrimina-tion and difficulty of each item, Model Fit Information and Ability Histogram. Results showed that the test shows a good fit and has the potential for validation in its entirety. Thus, the test can be used by other researchers to measure OR ability in this specific task.

On the function approximation by trigonometric polynomials and the properties of families of function classes over harmonic intervals

The article is devoted to research on approximation theory. When approximating functions by trigonometric polynomials, the spectrum is chosen from various sets. In this paper, the spectrum consists of harmonic intervals. Devices, various processes, perception of the senses have a limited range. In the mathematical modeling of numerous practical problems and in the further study of such mathematical models, it is sufficient to find a solution in this range. It is possible to study such models to some extent with the help of harmonic intervals. To prove the main theorem, an auxiliary lemma was proved, and elements of the theory of approximations with respect to harmonic intervals were used. For the constructed families of function classes associated with the best approximations by trigonometric polynomials with a spectrum of harmonic intervals, their relationship with classical Besov spaces is shown.

Computer-assisted Analysis of Field Recordings: A Case Study of Georgian Funeral Songs

Three-voiced funeral songs from Svaneti in North-West Georgia (also referred to as Zär) are believed to represent one of Georgia’s oldest preserved forms of collective music-making. Throughout a Zär performance, the singers often jointly and intentionally drift upwards in pitch. Furthermore, the singers tend to use pitch slides at the beginning and end of sung notes. Musicological studies on tonal analysis or transcription have to account for such musical peculiarities, e.g., by compensating for pitch drifts or identifying stable note events (located between pitch slides). These tasks typically require labor-intensive annotation processes with manual corrections executed by experts with domain knowledge. For instance, in the context of a previous musicological study on pitch inventories (or pitch-class histograms) of Zär performances, ethnomusicologists tediously annotated fundamental frequency (F0) trajectories, stable note events, and pitch drifts for a set of 11 multitrack field recordings. In this article, we study how musicological studies on field recordings can benefit from interactive computational tools that support such annotation processes. As one contribution of this article, we compile a dataset from the previously annotated audio material, which we release under an open-source license for research purposes. As a second contribution, we introduce two computational tools for removing pitch slides and compensating pitch drifts in performances. Our tools were developed in close collaboration with ethnomusicologists and allow for incorporating domain knowledge (e.g., on singing styles or musically relevant harmonic intervals) in the different processing steps. In a case study using our Zär dataset, we evaluate our tools by reproducing the pitch inventories from the original musicological study and subsequently discuss the potential of computer-assisted approaches for interdisciplinary research.

Heart Response to Harmonic Music Interval Stimuli Via Deep Learning Structures

The effect of music on the heart is reflected in variables such as heart rate and electrocardiographic (ECG) signals. ECG is a record of heart electrical activity and is a useful tool in diagnosing various cardiopathies. Artificial intelligence techniques have recently been implemented to analyze ECG and RR-interval data and are used thus in the present study to examine the influence on the heart of harmonic musical intervals and colored noise. Harmonic intervals were chosen because of their emotional response, while noise has been linked to positive responses such as improved sleep quality. A deep learning system was implemented, employing the ResNet-18 and GoogLeNet pre-trained networks to discriminate 31 different classes of ECG and RR-interval responses to the sound stimuli. Following an exploratory approach, deep learning was selected as an alternative to traditional analysis with the expectation that it could be incorporated into future music perception research. Classification revealed the ability of the implemented system to demonstrate heart response to the stimuli. ECG signals performed best, with 97% accuracy and Matthew’s coefficient of 0.97, while RR-interval achieved a 93% accuracy and Matthews coefficient of 0.93, suggesting that the considered stimuli of harmonic musical intervals and noise produced different responses in the heart. Moreover, the Matthews coefficient values above 0.7 and close to 1 imply a correlation between the two types of stimuli and the heart response, as measured by ECG and RR-interval signals.

Harmonic and Supraharmonic Emissions of Plug-In Electric Vehicle Chargers

Electric vehicle (EV) charging represents a relevant electric load with a rapid evolution in terms of number, power rating and distortion, in particular, considering the connection to the low-voltage public grid: available short-circuit power may be limited and particularly susceptible loads may co-exist in the same grid portion. Standards can partially address the problem covering only the harmonic interval, but they necessitate significant extension and improvement in the supraharmonic range. In addition, EV chargers have been observed to violate in some scenarios the applicable harmonic limits, so that the mechanisms of emission and distortion should be better understood and evaluated, including phenomena of mutual influence between EV chargers and with pre-existing grid distortion. Although models can help simulate large-scale scenarios in terms of fundamental frequency phenomena, such as power flow, voltage fluctuation and imbalance, substantial and reliable information can come from experimental results, providing measured harmonic and supraharmonic emissions, accompanied by details on loads mix, grid characteristics and EV charger operating conditions. This work thus defines the applicable constraints in terms of limits and compatibility levels for public and light industrial low-voltage grids, discusses the available experimental results and datasets, analyzing the typical distortion behavior and providing indication of sources of information for further studies.

The philosophy of music of Pythagoras

The article reproduces the image of the great thinker Pythagoras - one of the most popular scientists and the most mysterious personality, the philosopher. Pythagoras created the brightest and most modern "religion": he nurtured in humanity a belief in the power of reason, the belief that the key to the mysteries of the worldview is mathematics. Music for Pythagoras became not only a means of inspiration but also a subject of scientific research, it was in music that Pythagoras found direct proof of his statement: "Everything is a number." 2,500 years ago, Pythagoras guided people on the path of triumph of the Mind. The whole world, Pythagoras argued, is a harmonious number. And these numbers form the ratio as well as the intervals between different degrees of scale. From time immemorial, numbers seemed to people to be something mysterious. Any object could be seen. The number cannot be touched and, at the same time, numbers really exist, because all objects can be counted... Pythagoras and his followers believed that everything in nature is measured, everything is subject to numbers, and to know the world means to know the numbers that control them. If before Pythagoras, music was understood magically and understood as the embodiment of the forces of nature, used mainly in ritual and religious rites, it is Pythagoras who became the progenitor of the mathematization of the musical phenomenon. The main grain of Pythagorean world harmony is the idea of ​​harmony in a mathematically ordered whole. Pythagoras came to this idea when he discovered that the basic harmonic intervals: octave, pure fifth and pure fourth - occur when the lengths of the strings are 2:1, 3:2 and 4:3. Drawing analogies between the orderliness of the material world and the orderly mathematical relationship in music, he suggested that each planet in its rotation around the Earth emits a tone of a certain height, passing through the clean upper air - the ether. All the celestial sounds of all the planets, merging, form what is called "harmony of the spheres" or "music of the spheres." The laws of music and mathematics are the basic essence of natural existence, according to which the universe is not only built, but also moves and develops.The teachings of Pythagoras showed the unity of everything in the set, and the main purpose of man was expressed in the fact that through self-development man must achieve a connection with the cosmos.

On the boundedness of the partial sums operator for the Fourier series in the function classes families associated with harmonic intervals

The article is devoted to the study of some data from the theory of functions approximation by trigonometric polynomials with a spectrum from special sets called harmonic intervals. Due to the limited perception range of devices, the perception range of the senses of the person himself, when studying a mathematical model it is often enough to find an approximation of the object so that the error (noise, interference, distortion) is outside the interval of perception. Harmonic intervals model problems of this kind to some extent. In the article the main components of the approximation theory of functions by trigonometric polynomials with a spectrum from harmonic intervals are presented, the theorem on estimating the best approximation of a function by trigonometric polynomials through the best approximations of a function by trigonometric polynomials with a spectrum from harmonic intervals is proved. Theorems on the boundedness of the partial sums operator for the Fourier series in the function classes families associated with harmonic intervals are considered; such a theorem for the Lorentz space is generalized and proved. The article is mainly aimed at scientific researchers dealing with practical applications of the approximation theory of functions by trigonometric polynomials with a spectrum from special sets.

Judgement of valence of musical sounds by hand and by heart, a machine learning paradigm for reading the heart

The intention of the experiment is to investigate whether different sounds have influence on heart signal features in the situation the observer is judging the different sounds as positive or negative. As the heart is under (para)sympathetic control of the nervous system this experiment could give information about the processing of sound stimuli beyond the conscious processing of the subject. As the nature of the influence on the heart signal is not known these signals are to be analysed with AI/machine learning techniques. Heart rate variability (HRV) is a variable derived from the R-R interval peaks of electrocardiogram which exposes the interplay between the sympathetic and parasympathetic nervous system. In addition to its uses as a diagnostic tool and an active part in the clinic and research domain, the HRV has been used to study the effects of sound and music on the heart response; among others, it was observed that heart rate is higher in response to exciting music compared with tranquilizing music while heart rate variability and its low-frequency and high-frequency power are reduced. Nevertheless, it is still unclear which musical element is related to the observed changes. Thus, this study assesses the effects of harmonic intervals and noise stimuli on the heart response by using machine learning. The results show that noises and harmonic intervals change heart activity in a distinct way; e.g., the ratio between the axis of the ellipse fitted in the Poincaré plot increased between harmonic intervals and noise exposition. Moreover, the frequency content of the stimuli produces different heart responses, both with noise and harmonic intervals. In the case of harmonic intervals, it is also interesting to note how the effect of consonance quality could be found in the heart response.

Experimental Harmonic Validation of 3D Multiconductor Cell Analysis: Measurements on the 100 km Long Sicily-Malta 220 kV Three-Core Armoured Cable

The paper deals with a final experimental validation of three-dimensional Multiconductor Cell Analysis (MCA) developed by the Electric Energy Transmission Laboratory of the University of Padova. This final confirmation comes from the measurement campaign carried out on one of the longest (100 km) HVAC submarine three-core cables: the Sicily-Malta interconnector. The considered frequency measurements range from 0 to 40 <sup xmlns:mml="http://www.w3.org/1998/Math/MathML" xmlns:xlink="http://www.w3.org/1999/xlink">th</sup> harmonic order with both positive and zero sequence supplies. In this overall harmonic interval and with both supplies, the comparison between measurements and MCA results highlights a very good agreement (maximum differences of 10%). These differences are negligible if measurement uncertainties are considered.

Consonance perception beyond the traditional existence region of pitch.

Some theories posit that the perception of consonance is based on neural periodicity detection, which is dependent on accurate phase locking of auditory nerve fibers to features of the stimulus waveform. In the current study, 15 listeners were asked to rate the pleasantness of complex tone dyads (2 note chords) forming various harmonic intervals and bandpass filtered in a high-frequency region (all components >5.8 kHz), where phase locking to the rapid stimulus fine structure is thought to be severely degraded or absent. The two notes were presented to opposite ears. Consonant intervals (minor third and perfect fifth) received higher ratings than dissonant intervals (minor second and tritone). The results could not be explained in terms of phase locking to the slower waveform envelope because the preference for consonant intervals was higher when the stimuli were harmonic, compared to a condition in which they were made inharmonic by shifting their component frequencies by a constant offset, so as to preserve their envelope periodicity. Overall the results indicate that, if phase locking is indeed absent at frequencies greater than ∼5 kHz, neural periodicity detection is not necessary for the perception of consonance.

Pleasantness Ratings for Harmonic Intervals With Acoustic and Electric Hearing in Unilaterally Deaf Cochlear Implant Patients.

BackgroundHarmony is an important part of tonal music that conveys context, form and emotion. Two notes sounded simultaneously form a harmonic interval. In normal-hearing (NH) listeners, some harmonic intervals (e.g., minor 2nd, tritone, major 7th) typically sound more dissonant than others (e.g., octave, major 3rd, 4th). Because of the limited spectro-temporal resolution afforded by cochlear implants (CIs), music perception is generally poor. However, CI users may still be sensitive to relative dissonance across intervals. In this study, dissonance ratings for harmonic intervals were measured in 11 unilaterally deaf CI patients, in whom ratings from the CI could be compared to those from the normal ear.MethodsStimuli consisted of pairs of equal amplitude MIDI piano tones. Intervals spanned a range of two octaves relative to two root notes (F3 or C4). Dissonance was assessed in terms of subjective pleasantness ratings for intervals presented to the NH ear alone, the CI ear alone, and both ears together (NH + CI). Ratings were collected for both root notes for within- and across-octave intervals (1–12 and 13–24 semitones). Participants rated the pleasantness of each interval by clicking on a line anchored with “least pleasant” and “most pleasant.” A follow-up experiment repeated the task with a smaller stimulus set.ResultsWith NH-only listening, within-octave intervals minor 2nd, major 2nd, and major 7th were rated least pleasant; major 3rd, 5th, and octave were rated most pleasant. Across-octave counterparts were similarly rated. With CI-only listening, ratings were consistently lower and showed a reduced range. Mean ratings were highly correlated between NH-only and CI-only listening (r = 0.845, p < 0.001). Ratings were similar between NH-only and NH + CI listening, with no significant binaural enhancement/interference. The follow-up tests showed that ratings were reliable for the least and most pleasant intervals.DiscussionAlthough pleasantness ratings were less differentiated for the CI ear than the NH ear, there were similarities between the two listening modes. Given the lack of spectro-temporal detail needed for harmonicity-based distinctions, temporal envelope interactions (within and across channels) associated with a perception of roughness may contribute to dissonance perception for harmonic intervals with CI-only listening.

Acoustic impedance estimation from combined harmonic reconstruction and interval velocity

Low-frequency components of reflection seismic data are of paramount importance for acoustic impedance (AI) inversion, but they typically suffer from a poor signal-to-noise ratio. The estimation of the low frequencies of AI can benefit from the combination of a harmonic reconstruction method (based on autoregressive [AR] models) and a seismic-derived interval velocity field. We have developed the construction of a convex cost function that accounts for the velocity field, together with geologic a priori information on AI and its uncertainty, during the AR reconstruction of the low frequencies. The minimization of this function allows one to reconstruct sensible estimates of low-frequency components of the subsurface reflectivity, which lead to an estimation of AI model via a recursive formulation. In particular, the method is suited for an initial and computationally inexpensive assessment of the absolute value of AI even when no well-log data are available. We first tested the method on layered synthetic models, then we analyzed its applicability and limitations on a real marine seismic data set that included tomographic velocity information. Despite a strong trace-to-trace variability in the results, which could partially be mitigated by multitrace inversion, the method demonstrates its capability to highlight lateral variations of AI that cannot be detected when the low frequencies only come from well-log information.

Singing together: Pitch accuracy and interaction in unaccompanied unison and duet singing.

This paper investigates singing interaction by analysis of the factors influencing pitch accuracy of unaccompanied pairs of singers. Eight pairs of singers sang two excerpts either in unison or two-part harmony. The experimental condition varied which singers could hear singing partners. After semi-automatic pitch-tracking and manual checking, this paper calculated the pitch error (PE) and interval error and tested the factors of influence using a one-way analysis of variance and a linear mixed-effects model. The results indicate that: (1) singing with the same vocal part is more accurate than singing with a different vocal part; (2) singing solo has less pPE than singing with a partner; (3) PEs are correlated, as singers adjust pitch to mitigate a partner's error and preserve harmonic intervals at the expense of melodic intervals and absolute pitch; (4) other factors influence the pitch accuracy, including: score pitch, score harmonic interval, score melodic interval, musical background, vocal part, and individual differences.

Aural identification of harmonic intervals: An observational study at the Girona Music Conservatory (Catalonia, Spain)

This study evaluated the design of a teaching method to improve aural identification of harmonic intervals (m2–P8). Three groups of first-year professional-grade music theory students aged 11–13 ( N = 25) at the Girona Music Conservatory (Catalonia, Spain) were given 20 lessons. All groups were taught using the same method. Observational methodology was used, with teachers acting as participant observers who systematically registered their observations in field diaries and were then interviewed at the end of the experiment. Assessments confirmed that the proposal was generally effective, as the design allowed students to improve. However, the experiment highlighted the fact that difficulties lie mainly in the aural identification of the TT, m6, M6, m7 and M7 intervals. The relationship between this general difficulty and other, more specific patterns observed during this study suggests that the design of the teaching method requires more flexibility to be adaptable to the different nature of each interval and the way in which the intervals tend to be perceived and processed. Knowledge of the most difficult aspects of the teaching proposal that was tested may guide us in designing what, how and when to teach.

Automatic chord label personalization through deep learning of shared harmonic interval profiles

Current automatic chord estimation systems are trained and tested using datasets that contain single reference annotations, i.e., for each corresponding musical segment (e.g., audio frame or section), the reference annotation contains a single chord label. Nevertheless, theoretical insights on harmonic ambiguity from harmony theory, experimental studies on annotator subjectivity in harmony annotations, and the availability of vast amounts of heterogeneous (subjective) harmony annotations in crowd-sourced repositories make the notion of a single-harmonic “ground truth” reference annotation a tenuous one. Recent studies suggest that subjectivity is intrinsic to harmonic reference annotations that should be embraced in automatic chord estimation rather than resolved. We introduce the first approach to automatic chord label personalization by modeling annotator subjectivity through harmonic interval-based chord representations. We integrate these representations from multiple annotators and deep learn them from audio. From a single trained model and the annotators’ chord-label vocabulary, we can accurately personalize chord labels for individual annotators. Furthermore, we show that chord personalization using multiple reference annotations outperforms using just a single reference annotation. Our results show that annotator subjectivity should inform future research on automatic chord estimation to improve the state of the art.

Mismatch negativity reflects asymmetric pre-attentive harmonic interval discrimination.

ObjectiveWestern music is based on intervals; thus, interval discrimination is important for distinguishing the character of melodies or tracking melodies in polyphonic music. In this study the encoding of intervals in simultaneously presented sound is studied.Study designIn an electrophysiological experiment in 15 normal-hearing non-musicians, major thirds or fifths were presented in a controlled oddball paradigm. Harmonic intervals were created by simultaneously presented sinusoidals with randomized root frequency. Mismatch negativity (MMN) responses were measured with an EEG recording. The discrimination index was calculated in a psychoacoustic experiment.ResultsA clear MMN response was found for the major third but not for the fifth. The neural generators were located within the auditory cortices. Psychoacoustically, no evidence was found that the subjects were able to detect the deviants.ConclusionsWe conclude that pre-attentive discrimination of harmonic interval size is, in principle, possible in listeners without musical training although simultaneous presentation makes it harder to distinguish compared to non-overlapping intervals. Furthermore we see a difference in the response to infrequent dissonant stimuli in consonant standard stimuli compared to the opposite, rare consonant stimuli in dissonant standard stimuli.

Вміст загальних ліпідів та співвідношення їх класів у молозиві і молоці свиноматок за різного рівня аквацитрату йоду в їх раціонах

&lt;p&gt;&lt;span lang="EN-US"&gt;This article presents the data on the total liquid maintance and correlation of their classes in the sow’s colostrum and milk, depending on the level of Iodine in the rations. It is shown that in the sow’s colostrum (F1 generation from maternal pure lines of Landrace x Large white) the content of total lipids is 33% &lt;span&gt;(Р &amp;lt; 0.01) &lt;/span&gt;higher &lt;span&gt;than in &lt;/span&gt;milk. It was established that the level of triacylglycerols in the colostrum of the control group of animals, that has received a ration of potassium iodide as a mineral supplements, was 18.7%&lt;span&gt; (Р &amp;lt; 0.01) &lt;/span&gt;higher than in milk. &lt;span&gt;Compared with the milk, the level of phospholipids was 13,5% (Р &amp;lt; 0.05) significantly higher in the colostrum; &lt;/span&gt;and by 23.6% (Р &amp;lt; 0.05) – the content of&lt;span&gt;free cholesterol.&lt;/span&gt; &lt;span&gt;And Vice versa – in the sows’ milk there was higher concentration of mono – and diacylglycerol and eterified cholesterol. In account of a better bioavailability and a higher activity, Iodine, in the form of aquacart, shows a stimulatory effect on lipogenesis in amounts that, in comparison with the dose of Iodine in molecular form is 2 and even 4 times less. Hydration of the dry sows’ feed with the aquacare iodine in such a quantity provided the growth of the percent of phospholipids in colostrum, comparing with the control by 14.4 and 18.4% (Р &amp;lt; 0.05). Under such conditions the content of free cholesterol was also significantly higher. In groups of animals, treated with the maximum analyzed amount of Iodine in nanodispersed form (1 : 1 ratio of Iodine in nano - and molecular form), we observed a tendency to a slight increasing of the phospholipids and mono – and diacylglycerol in the colostrum, and Vice versa –&lt;span&gt; &lt;/span&gt;the content of phospholipids, free cholesterol and free fatty acids reduced under obviously insufficient doses of Iodine (0.1 : 1).&lt;span&gt; &lt;/span&gt;Under the maximum necessary amount of Iodine in the rations (0.25 – 0.5 : 1) of the sows’ milk, the content of mono – and diacylglycerole encreased, compared with the control group 16.6&lt;/span&gt; &lt;span&gt;(Р &amp;lt; 0.01) and 9.3% (Р &amp;lt; 0.05), under the tendency to a higher percentage of phospholipids on the background of a reducing level of free fatty acids. After including gestating and further lactating sows to the rations of Iodine in the form of aquacart in a dose that is 10 times less than the amount of the composition of potassium iodide, it was notified that content of triacylglycerols, phospholipids and free cholesterol in milk was decreased. Thus, aquacart Iodine covers a need of the thyroid body in Iodine for the harmonic interval processes and its regulatory impact on metabolic processes, including lipid metabolism in much smaller quantities than in an inorganic form.&lt;/span&gt;&lt;/span&gt;&lt;/p&gt;

Identification of Harmonic Musical Intervals: The Effect of Pitch Register and Tone Duration

Abstract An experiment was conducted to explore the effect of the pitch strength of pure tones constituting a dyad on the accuracy of musical interval identification. Pitch strength was controlled by presenting the intervals in different frequency regions and varying their duration. The intervals were organized into 18 blocks made up by a combination of three octaves: the second (65.4-130.8 Hz), the fourth (261.6- 523.3 Hz), and the sixth octave (1047-2093 Hz), and six tone durations, ranging 50-2000 ms in the second octave, and 10-500 ms in the two higher ones. The results indicate that interval identification improves with increasing pitch strength of the interval’s component tones. The identification scores were much lower in the second octave than in the two higher ones and in all octaves identification worsened as the interval’s duration was shortened. The intervals were most often confused with intervals of similar size rather than with their inversions and intervals of similar sonic character. This finding suggests that the main cue for the identification of harmonic intervals is the pitch distance between two tones. However, in the low pitch range, when the tone pitches are less salient, the impression of consonance may become a helpful, although not very effective cue.

Evaluation of musical language in grownup students: Design and validation of a scale

Musical language organizes general musical training in conservatories and music schools, becoming an attractive, active and dynamic way of learning music, often including rhythmic, body and game activities, and didactic elements such as songs, dance and musical listening. In the case of adult learners, teaching musical language must adapt to psychosocial characteristics of this group. This paper aims to design, validate and apply an instrument shaped as a rubric to evaluate musical language performance in a sample of adult students, based on specific analysis of documents. Scale contains 21 activities that evaluate four skills. The results confirm that there are four main items that would explain most of the academic achievement in musical language in adults: to recognize melodic and harmonic intervals, internalizing tempo, musical dictation and vocal creation, with preparation. Likewise, the results allow to raise a teaching methodology that combines perceptive, corporal, symbolic and communicative aspects in this subject, updating and consolidating the present orientation that teaching has gradually taken.

The perception of musical consonance beyond the traditional existence region of pitch

The traditional notion that pitch perception breaks down for frequency components above 5 kHz was challenged by a study [Oxenham et al., Proc. Natl. Acad. Sci. U. S. A. 108, 7629-7634 (2011)] showing that complex tones high-pass filtered at 6 kHz convey the perception of melodic intervals. We investigated whether complex tones high-pass filtered above 6 kHz can also convey the perception of harmonic intervals. Eleven listeners rated the pleasantness of consonant and dissonant dyads (two-note chords) consisting of harmonic complex tones band-pass filtered either in a low-frequency (1-6 kHz) or in a high-frequency (7-12 kHz) region. The two tones in each dyad were presented to opposite ears. In the high-frequency condition the dyads were presented with a low-pass noise to mask combination tones. Pleasantness ratings were significantly higher for consonant than for dissonant intervals in both frequency regions. This preference for consonant dyads in the high-frequency region was not observed when the tones were made inharmonic by shifting all their components by a fixed offset so as to preserve envelope periodicity cues. The results indicate that the perception of consonance is preserved for tones composed entirely of components above the traditional existence region of pitch.