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of new software that largely decouples pitch class and pitch height, and does so in real time, has opened up intriguing new avenues for composition and performance.AT
References and links:
1 L. S. Penrose and R. Penrose, “Impossible objects: A special type of visual illusion,” British J. Psychol. 49, 31-33 (1958). Unknown to the authors, Oscar Reutesvald had also created an impossible staircase in the 1930s.
2 R. N. Shepard, “Circularity in judgments of relative pitch,” J. Acoust. Soc. Am. 36, 2345–2353 (1964).
3 R. N. Shepard, “Structural representations of musical pitch,” in The Psychology of Music, 1st Edition, edited by D. Deutsch (Academic Press, New York, 1982), pp. 343–390.
4 M. V. Mathews, “The digital computer as a musical instrument,” Science 142, 553–557 (1963).
5 J. C. Risset, “Pitch control and pitch paradoxes demonstrated with computer-synthesized sounds,” J. Acoust. Soc. Am. 46, 88 (1969).
6 J. C. Risset, “Paradoxes de hauteur,” (“Paradoxes of height”) Proceedings of the 7th International Congress on Acoustics, Budapest, S10, 613-616 (1971).
7 E. Burns, “Circularity in relative pitch judgments for inharmon- ic complex tones: The Shepard demonstration revisited, again,” Perception & Psychophysics 30, 467–472 (1981).
8 R. Teranishi, “Endlessly ascending/descending chords per- formable on a piano,” Reports of the Acoustical Society of Japan, H, 82–68 (1982).
9 Y. Nakajima, T. Tsumura, D. Matsuura, H. Minami, and R. Teranishi, “Dynamic pitch perception for complex tones derived from major triads,” Music Perception 6, 1–20 (1988).
10 I. Braus, “Retracing one’s steps: An overview of pitch circularity and Shepard tones in European music, 1550–1990,” Music Perception 12, 323–351 (1995).
11 R. King, “‘The Dark Knight’ sound effects,” Los Angeles Times, February 4, 2009.
12 A. H. Benade, Fundamentals of Musical Acoustics (Oxford University Press, New York, 1976).
13 R. D. Patterson, “Spiral detection of periodicity and the spiral form of musical scales,” Psychology of Music, 14, 44–61 (1986).
14 D. Deutsch, “Some new pitch paradoxes and their implications,” in Auditory Processing of Complex Sounds. Philosphical
Transactions of the Royal Society, Series B, 1992, 336, 391–397.
15 The tones were created using Miller Puckette’s software Pd, which is posted at http://crca.ucsd.edu/~msp/software.html
16 D. Deutsch, K. Dooley, and T. Henthorn, “Pitch circularity from
tones comprising full harmonic series,” J. Acoust. Soc. Am. 124,
589–597 (2008).
17 The DSP module created by Brent to generate these bassoon
scales is posted at http://williambrent.conflations.com/.
18 J. D. Warren, S. Uppenkamp, R. D. Patterson, and T. D. Griffiths, “Separating pitch chroma and pitch height in the human brain,” Proceedings of the Natl. Acad. Sci. of the USA. 100,
10038–10042 (2003).
19 G. Langner, “Neuronal mechanisms underlying the perception
of pitch and harmony,” Annals New York Acad. Sci. 1060, 50–52
(2005).
20 The tones were generated using a software package created by F.
Richard Moore and Mark Dolson in the cmusic programming
environment (http://www.crca.ucsd.edu/cmusic).
21 D. Deutsch “A musical paradox,” Music Perception 3, 275–280
(1986).
22 D. Deutsch, “The tritone paradox: Effects of spectral variables,”
Perception & Psychophysics 41, 563–575 (1987).
23 D. Deutsch, W. L. Kuyper, and Y. Fisher, “The tritone paradox: Its presence and form of distribution in a general population,”
Music Perception 5, 79–92 (1987).
24 D. Deutsch, “Processing of pitch combinations,” in The
Psychology of Music, 2nd Edition, edited by D. Deutsch,
(Academic Press, San Diego, 1999), pp. 349–412.
25 D. Deutsch, F. R. Moore, and M. Dolson, “The perceived height of octave-related complexes,” J. Acoust. Soc. Am. 80, 1346–1353
(1986).
26 D. Deutsch, “The semitone paradox,” Music Perception 6,
115–132 (1988).
27 American National Standards Institute (ANSI), New York, 1973.
Diana Deutsch is Professor of Psychology at the University of California, San Diego. She obtained her B.A. from Oxford University, and her Ph.D. from the University of California, San Diego. Her work primarily involves perception and memory for sounds, particularly music. Deutsch has been elected Fellow of the Acoustical Society of America, the American Association for the Advancement of Science, the Audio Engineering Society, the Society of Experimental Psychologists, the American Psychological Society, and the American Psychological Association. She was Founding President of the Society for Music Perception and Cognition, and Founding Editor of the journal Music Perception. She has served as Governor of the Audio Engineering Society, as Chair of the Section on Psychology of the American Association for the Advancement of Science, as President of Division 10 of the American Psychological Association, and as Chair of the Society of Experimental Psychologists. She was awarded the Rudolf Arnheim Award for Outstanding Achievement in Psychology and the Arts by the American Psychological Association in 2004, and the Gustav Theodor Fechner Award for Outstanding Contributions to Empirical Aesthetics by the International Association of Empirical Aesthetics in 2008.
14 Acoustics Today, July 2010