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| [[File:Bach - Taylor 1873.png|right|thumb|250px|In musical notation, the different vertical positions of notes indicate different '''pitches'''. {{audio|Bach - Taylor 1873 top.mid|Play top}} & {{audio|Bach - Taylor 1873 bottom.mid|Play bottom}}]]
| | My name: Dakota Soutter<br>Age: 24<br>Country: Australia<br>Town: North Yeoval <br>Post code: 2868<br>Address: 81 Farnell Street<br><br>Also visit my web blog [https://safedietsthatwork.shutterfly.com/22 diet plans] |
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| '''Pitch''' is a [[perception|perceptual]] property that allows the ordering of [[sound]]s on a [[frequency]]-related [[scale (music)|scale]].<ref>
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| {{Cite book
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| | author = Anssi Klapuri and Manuel Davy
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| | title = Signal processing methods for music transcription
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| | publisher = Springer
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| | year = 2006
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| | page = 8
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| | isbn = 978-0-387-30667-4
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| | url = http://books.google.com/books?id=AF30yR41GIAC&pg=PA8
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| }}</ref>
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| Pitches are compared as "higher" and "lower" in the sense associated with musical [[melody|melodies]],<ref>
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| {{Cite book
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| | title = Pitch: Neural Coding and Perception
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| | last = Plack|first=Christopher J.
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| |coauthors= Andrew J. Oxenham, Richard R. Fay, eds.
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| | publisher = Springer
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| | year = 2005
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| | isbn = 0-387-23472-1
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| | quote = For the purposes of this book we decided to take a conservative approach, and to focus on the relationship between pitch and musical melodies. Following the earlier ASA definition, we define pitch as 'that attribute of sensation whose variation is associated with musical melodies.' Although some might find this too restrictive, an advantage of this definition is that it provides a clear procedure for testing whether or not a stimulus evokes a pitch, and a clear limitation on the range of stimuli that we need to consider in our discussions.
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| | url = http://books.google.com/books?id=n6VdlK3AQykC&pg=PA2
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| }}</ref>
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| which require sound whose frequency is clear and stable enough to distinguish from noise.<ref>
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| {{Cite book
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| | title = The Harvard Dictionary of Music
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| | editor = Randel, Don Michael
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| | publisher = Harvard University Press
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| | year = 2003
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| | edition = 4
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| | page = 499
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| | isbn = 978-0-674-01163-2
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| | quote = Melody: In the most general case, a coherent succession of pitches. Here pitch means a stretch of sound whose frequency is clear and stable enough to be heard as not noise; succession means that several pitches occur; and coherent means that the succession of pitches is accepted as belonging together.
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| | url = http://books.google.com/books?id=02rFSecPhEsC&pg=PA499
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| }}</ref>
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| Pitch is a major [[auditory system|auditory]] attribute of [[musical tone]]s, along with [[duration (music)|duration]], [[loudness]], and [[timbre]].<ref>
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| {{cite book
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| | title = Music Perception
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| | chapter = The Perception of Family and Register in Musical Tones
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| | editor = Mari Riess Jones, Richard R. Fay, and Arthur N. Popper
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| | author = Roy D. Patterson, Etienne Gaudrain, and Thomas C. Walters
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| | publisher = Springer
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| | year = 2010
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| | isbn = 978-1-4419-6113-6
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| | pages = 37–38
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| | url = http://books.google.com/books?id=ZYXd3CF1_vkC&pg=PA38
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| }}</ref>
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| Pitch may be quantified as a [[frequency]], but pitch is not a purely objective physical property; it is a subjective [[Psychoacoustics|psychoacoustical]] attribute of sound. Historically, the study of pitch and pitch perception has been a central problem in psychoacoustics, and has been instrumental in forming and testing theories of sound representation, processing, and perception in the auditory system.<ref name=hartmann>{{Cite book| title = Signals, Sound, and Sensation | last= Hartmann |first= William Morris| publisher = Springer | year = 1997 | isbn = 1-56396-283-7 | pages = 145, 284, 287 | url = http://books.google.at/books?id=3N72rIoTHiEC&printsec=frontcover&dq=William+M.+Hartmann}}</ref>
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| ==Perception of pitch==
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| ===Pitch and frequency===
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| Pitch is an auditory sensation in which a listener assigns [[musical tone]]s to relative positions on a [[musical scale]] based primarily on the [[frequency]] of vibration.<ref name=plack>
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| {{Cite book
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| | title = Pitch: Neural Coding and Perception
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| | last = Plack|first=Christopher J.
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| |coauthors= Andrew J. Oxenham, Richard R. Fay, eds.
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| | publisher = Springer
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| | year = 2005
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| | isbn = 0-387-23472-1
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| | url = http://books.google.com/books?id=n6VdlK3AQykC&pg=PA2
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| }}</ref> Pitch is closely related to frequency, but the two are not equivalent. Frequency is an objective, scientific concept, whereas pitch is subjective. Sound waves themselves do not have pitch, and their [[oscillations]] can be measured to obtain a frequency. It takes a human mind to map the internal quality of pitch. Pitches are usually quantified as frequencies in cycles per second, or hertz, by comparing sounds with [[pure tone]]s, which have [[Period (physics)|periodic]], [[sinusoidal]] waveforms. Complex and aperiodic sound waves can often be assigned a pitch by this method.<ref>
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| {{cite book
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| | title = Hearing loss: determining eligibility for Social Security benefits
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| | author = Robert A. Dobie and Susan B. Van Hemel
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| | publisher = National Academies Press
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| | year = 2005
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| | isbn = 978-0-309-09296-8
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| | pages = 50–51
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| | url = http://books.google.com/books?id=l-ndNsXrB1IC&pg=PA51
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| }}</ref><ref name=goldstein>
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| {{cite book
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| | title = Blackwell handbook of perception
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| | edition = 4th
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| | author = E. Bruce Goldstein
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| | publisher = Wiley-Blackwell
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| | year = 2001
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| | isbn = 978-0-631-20683-5
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| | page = 381
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| | url = http://books.google.com/books?id=I5k0jC0MbXcC&pg=PA381
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| }}</ref><ref name=lyon>
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| {{cite book
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| | chapter = Auditory Representation of Timbre and Pitch
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| | title = Auditory Computation
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| | editor = Harold L. Hawkins and Teresa A. McMullen
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| | author = Richard Lyon and Shihab Shamma
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| | publisher = Springer
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| | year = 1996
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| | isbn = 978-0-387-97843-7
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| | pages = 221–223
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| | url = http://books.google.com/books?id=6_iy8tixc_oC&pg=PA221
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| }}</ref>
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| According to the [[American National Standards Institute]], pitch is the auditory attribute of sound according to which sounds can be ordered on a scale from low to high. Since pitch is such a close [[Proxy_(statistics)|proxy]] for frequency, it is almost entirely determined by how quickly the sound wave is making the air vibrate and has almost nothing to do with the intensity, or [[amplitude]], of the wave. That is, "high" pitch means very rapid oscillation, and "low" pitch corresponds to slower oscillation. Despite that, the [[idiom]] relating vertical height to sound pitch is shared by most languages.<ref name="pratt1930"/> At least in English, it is just one of many deep conceptual metaphors that involve up/down. The exact etymological history of the musical sense of high and low pitch is still unclear. There is evidence that humans do actually perceive that the source of a sound is slightly higher or lower in vertical space when the sound frequency is increased or decreased.<ref name="pratt1930">http://www.aruffo.com/eartraining/research/articles/pratt30.htm Carroll C. Pratt, Journal of Experimental Psychology, 13, 278-85, 1930</ref>
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| In most cases, the pitch of complex sounds such as [[Speech communication|speech]] and [[musical note]]s corresponds very nearly to the repetition rate of periodic or nearly-periodic sounds, or to the [[Multiplicative inverse|reciprocal]] of the time interval between repeating similar events in the sound waveform.<ref name=goldstein/><ref name=lyon/>
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| The pitch of complex tones can be ambiguous, meaning that two or more different pitches can be perceived, depending upon the observer.<ref name=hartmann/> When the actual [[fundamental frequency]] can be precisely determined through physical measurement, it may differ from the perceived pitch because of [[overtones]], also known as upper partials, [[harmonic]] or otherwise. A complex tone composed of two sine waves of 1000 and 1200 Hz may sometimes be heard as up to three pitches: two spectral pitches at 1000 and 1200 Hz, derived from the physical frequencies of the pure tones, and the [[combination tone]] at 200 Hz, corresponding to the repetition rate of the waveform. In a situation like this, the percept at 200 Hz is commonly referred to as the [[missing fundamental]], which is often the [[greatest common divisor]] of the frequencies present.<ref>{{cite journal|last=Schwartz|first=D.A.|coauthors=Purves, D.|title=Pitch is determined by naturally occurring periodic sounds|journal=Hearing Research|date=May 2004|volume=194|pages=31–46|doi=10.1016/j.heares.2004.01.019|url=http://www.purveslab.net/publications/schwarrtz_purves_pitch.pdf|accessdate=4 September 2012}}</ref>
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| Pitch depends to a lesser degree on the [[sound pressure]] level (loudness, volume) of the tone, especially at frequencies below 1,000 Hz and above 2,000 Hz. The pitch of lower tones gets lower as sound pressure increases. For instance, a tone of 200 Hz that is very loud seems one semitone lower in pitch than if it is just barely audible. Above 2,000 Hz, the pitch gets higher as the sound gets louder.<ref name=Olson/>
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| ===Theories of pitch perception===
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| [[Scientific_theory|Theories]] of pitch perception try to explain how the physical sound and specific physiology of the auditory system work together to yield the experience of pitch. In general, pitch perception theories can be divided into [[Place_theory_(hearing)|place coding]] and [[Temporal_theory_(hearing)|temporal coding]]. Place theory holds that the perception of pitch is determined by the place of maximum excitation on the [[basilar membrane]].
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| A place code, taking advantage of the [[tonotopy]] in the auditory system, must be in effect for the perception of high frequencies, since neurons have an upper limit on how fast they can phase-lock their [[action potential]]s.<ref name=plack></ref> However, a purely place-based theory cannot account for the accuracy of pitch perception in the low and middle frequency ranges.
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| Temporal theories offer an alternative that appeals to the temporal structure of action potentials, mostly the [[Circle map|phase-locking]] and [[Arnold_tongue#Mode_locking|mode-locking]] of action potentials to frequencies in a stimulus. The precise way this temporal structure helps code for pitch at higher levels is still debated, but the processing seems to be based on an [[autocorrelation]] of action potentials in the auditory nerve.<ref>{{cite journal|last=Cariani|first=P.A.|coauthors=Delgutte, B.|title=Neural Correlates of the Pitch of Complex Tones. I. Pitch and Pitch Salience|journal=Journal of Neurophysiology|date=September 1996|volume=76|issue=3|pages=1698–1716|pmid=8890286|url=http://www.brainmusic.org/MBB91%20Webpage/Pitch_II_Cariani.pdf|accessdate=13 November 2012}}</ref> However, it has long been noted that a neural mechanism that may accomplish a delay—a necessary operation of a true autocorrelation—has not been found.<ref name=plack></ref> At least one model shows that a temporal delay is unnecessary to produce an autocorrelation model of pitch perception, appealing to [[Phase_shift#Phase_shift|phase shifts]] between [[Cochlea|cochlear filters]];<ref>{{cite journal|last=de Cheveigné|first=A.|coauthors=Pressnitzer, D.|title=The case of the missing delay lines: Synthetic delays obtained by cross-channel phase interaction|journal=Journal of the Acoustical Society of America|date=June 2006|volume=119|issue=6|pages=3908–3918|pmid=16838534|url=http://audition.ens.fr/dp/pdfs/cheveigne-2006-synthetic_delay.pdf|accessdate=13 November 2012|bibcode = 2006ASAJ..119.3908D |doi = 10.1121/1.2195291 }}</ref> however, earlier work has shown that certain sounds with a prominent peak in their autocorrelation function do not elicit a corresponding pitch percept,<ref>{{cite journal|last=Kaernbach|first=C.|coauthors=Demany, L.|title=Psychophysical evidence against the autocorrelation theory of auditory temporal processing|journal=Journal of the Acoustical Society of America|date=October 1998|volume=104|issue=4|pages=2298–2306|pmid=10491694|accessdate=13 November 2012|bibcode = 1998ASAJ..104.2298K |doi = 10.1121/1.423742 }}</ref><ref name=pressnitzer2012>{{cite journal|last=Pressnitzer|first=D.|coauthors=de Cheveigné, A., Winter, I.M.|title=Perceptual pitch shift for sounds with similar waveform autocorrelation|journal=Acoustics Research Letters Online|date=January 2002|volume=3|issue=1|pages=1–6|doi=10.1121/1.1416671|accessdate=13 November 2012}}</ref> and that certain sounds without a peak in their autocorrelation function nevertheless elicit a pitch.<ref>{{cite journal|last=Burns|first=E.M.|coauthors=Viemeister, N.F.|title=Nonspectral pitch|journal=Journal of the Acoustical Society of America|date=October 1976|volume=60|issue=4|pages=863–869|bibcode = 1976ASAJ...60..863B |doi = 10.1121/1.381166 }}</ref><ref>{{cite journal|last=Fitzgerald|first=M.B.|coauthors=Wright, B.|title=A perceptual learning investigation of the pitch elicited by amplitude-modulated noise|journal=Journal of the Acoustical Society of America|date=December 2005|volume=118|issue=6|pages=3794–3803|pmid=16419824|bibcode = 2005ASAJ..118.3794F |doi = 10.1121/1.2074687 }}</ref> To be a more complete model, autocorrelation must therefore apply to signals that represent the output of the cochlea, as via auditory-nerve interspike-interval histograms.<ref name=pressnitzer2012/> Some theories of pitch perception hold that pitch has inherent [[octave]] ambiguities, and therefore is best decomposed into a pitch ''chroma'', a periodic value around the octave, like the note names in western music, and a pitch ''height'', which may be ambiguous, indicating which octave the pitch may be in.<ref name=hartmann/>
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| ===Just-noticeable difference===
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| The ''[[just-noticeable difference|just-noticeable difference (jnd)]]'' (the [[Sensory threshold|threshold]] at which a change is perceived) depends on the tone's frequency content. Below 500 Hz, the jnd is about 3 Hz for sine waves, and 1 Hz for complex tones; above 1000 Hz, the jnd for sine waves is about 0.6% (about 10 [[Cent (music)|cents]]).<ref>
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| {{cite book
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| | title = Springer handbook of speech processing
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| | editor = Jacob Benesty, M. Mohan Sondhi, Yiteng Huang
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| | author = B. Kollmeier, T. Brand, and B. Meyer
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| | chapter = Perception of Speech and Sound
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| | publisher = Springer
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| | year = 2008
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| | isbn = 978-3-540-49125-5
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| | page = 65
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| | url = http://books.google.com/books?id=Slg10ekZBkAC&pg=PA65
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| }}</ref>
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| The '''jnd''' is typically tested by playing two tones in quick succession with the listener asked if there was a difference in their pitches.<ref name=Olson>{{Cite book|title=Music, Physics and Engineering |last=Olson |first=Harry F. |authorlink=Harry F. Olson |year= 1967|publisher=Dover Publications |isbn=0-486-21769-8 |pages=171, 248–251 |url=http://books.google.com/books?id=RUDTFBbb7jAC }}</ref> The '''jnd''' becomes smaller if the two tones are played [[simultaneity (music)|simultaneously]] as the listener is then able to discern [[Beat (acoustics)|beat frequencies]]. The total number of perceptible pitch steps in the range of human hearing is about 1,400; the total number of notes in the equal-tempered scale, from 16 to 16,000 Hz, is 120.<ref name=Olson/>
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| ===Aural illusions===
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| The relative perception of pitch can be fooled, resulting in ''[[aural illusion]]s''. There are several of these, such as the [[tritone paradox]], but most notably the [[Shepard scale]], where a continuous or discrete sequence of specially formed tones can be made to sound as if the sequence continues ascending or descending forever.
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| ==Definite and indefinite pitch== <!--[[Definite pitch]], "Indefinite pitch", and "Indeterminate pitch" all redirect to this section heading-->
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| Not all musical instruments make notes with a clear pitch. The [[unpitched percussion instrument]] class of [[percussion instrument]] do not produce particular pitches. A sound or note of '''definite pitch''' is one where a listener can possibly (or relatively easily) discern the pitch. Sounds with definite pitch have [[harmonic]] [[frequency spectrum|frequency spectra]] or close to harmonic spectra.<ref name=Olson/>
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| A sound generated on any instrument produces many modes of vibration that occur simultaneously. A listener hears numerous frequencies at once. The vibration with the lowest frequency is called the ''[[fundamental frequency]]''; the other frequencies are ''[[overtones]]''.<ref>{{Cite book
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| | last = Levitin
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| | first = Daniel
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| | title = This is Your Brain on Music
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| | page = 40
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| | publisher = Penguin Group
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| | year = 2007
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| | location = New York
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| | isbn = 0-452-28852-5
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| | quote = "The one with the slowest vibration rate—the one lowest in pitch—is referred to as the fundamental frequency, and the others are collectively called overtones."}}
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| </ref>
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| ''[[Harmonics]]'' are an important class of overtones with frequencies that are integer multiples of the fundamental. Whether or not the higher frequencies are integer multiples, they are collectively called the [[Harmonic series (music)#Partial|partials]], referring to the different parts that make up the total spectrum.
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| A sound or note of '''indefinite pitch''' is one that a listener finds impossible or relatively difficult to identify as to pitch. Sounds with indefinite pitch do not have harmonic spectra or have altered harmonic spectra a characteristic known as [[inharmonicity]].
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| It is still possible for two sounds of indefinite pitch to clearly be higher or lower than one another. For instance, a [[snare drum]] sounds higher pitched than a [[bass drum]] though both have indefinite pitch, because its sound contains higher frequencies. In other words, it is possible and often easy to roughly discern the relative pitches of two sounds of indefinite pitch, but sounds of indefinite pitch do not neatly correspond to any specific pitch.
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| A special type of pitch often occurs in free nature when sound reaches the ear of an observer directly from the source, and also after reflecting of a sound-reflecting surface. This phenomenon is called ''[[repetition pitch]],'' because the addition of a true repetition of the original sound to itself is the basic prerequisite.
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| ==Concert pitch==
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| {{Main|Concert pitch}}
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| Concert pitch is the pitch reference a group of [[musical instrument]]s are tuned to for a performance. Concert pitch may vary from ensemble to ensemble, and has varied widely over musical history.
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| {{listen|filename=Sine wave 440.ogg|title=440 Hz}}
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| The '''A''' above [[middle C]] is usually set at 440 Hz (often written as "A = [[A440 (pitch standard)|440 Hz]]" or sometimes "A440"), although other frequencies are also often used, such as 442 Hz. Historically, this A has been tuned to a variety of higher and lower pitches.
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| The [[transposing instruments]] in an orchestra conventionally have their [[Part (music)|parts]] transposed into different [[key signatures|keys]] from the other instruments (and even from each other). As a result, musicians need a way to refer to a particular pitch in an unambiguous manner when talking to different sections of the orchestra.
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| For example, the most common type of [[clarinet]] or [[trumpet]], when playing a note written in their [[Part (music)|part]] as C, sounds a pitch that is called B{{music|flat}} on a non-transposing instrument like a piano. If you want to refer to that pitch unambiguously, you call it ''concert B{{music|flat}}'', meaning, "...the pitch that someone playing a non-transposing instrument like a piano calls B{{music|flat}}."
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| ==Labeling pitches==
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| {{unreferenced section|date=February 2011}}
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| {{for|a comprehensive list of frequencies of musical notes|Scientific pitch notation|Frequencies of notes}}
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| [[File:Music frequency diatonic scale-3.svg|thumb|350px|right|Note frequencies, four-octave C major diatonic scale, starting with [[C (musical note)|C1]].]]
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| Pitches are labeled using:
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| * Letters, as in [[Helmholtz pitch notation]]
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| * A combination of letters and numbers—as in [[scientific pitch notation]], where notes are labelled upwards from C0, the 16 Hz C
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| * Number that represent the frequency in [[hertz]] (Hz), the number of cycles per second
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| For example, one might refer to the A above middle C as ''a''', ''A4'', or ''440 Hz''. In standard Western [[equal temperament]], the notion of pitch is insensitive to "spelling": the description "G4 double sharp" refers to the same pitch as ''A4''; in other temperaments, these may be distinct pitches.
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| Human perception of musical intervals is approximately logarithmic with respect to [[fundamental frequency]]: the perceived interval between the pitches "A220" and "A440" is the same as the perceived interval between the pitches ''A440'' and ''A880''. Motivated by this logarithmic perception, music theorists sometimes represent pitches using a numerical scale based on the logarithm of fundamental frequency. For example, one can adopt the widely used [[MIDI]] standard to map fundamental frequency, ''f'', to a real number, ''p'', as follows
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| :<math>
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| p = 69 + 12\times\log_2 { \left(\frac {f}{440\; \mbox{Hz}} \right) }
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| </math>
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| This creates a linear [[pitch space]] in which octaves have size 12, semitones (the distance between adjacent keys on the piano keyboard) have size 1, and A440 is assigned the number 69. (See [[Frequencies of notes]].) Distance in this space corresponds to musical intervals as understood by musicians. An equal-tempered semitone is subdivided into 100 [[Cent (music)|cents]]. The system is flexible enough to include "microtones" not found on standard piano keyboards. For example, the pitch halfway between C (60) and C{{music|sharp}} (61) can be labeled 60.5.
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| ==Scales==
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| The relative pitches of individual notes in a [[scale (music)|scale]] may be determined by one of a number of [[musical tuning|tuning]] systems. In the west, the twelve-note [[chromatic scale]] is the most common method of organization, with [[equal temperament]] now the most widely used method of tuning that scale. In it, the pitch ratio between any two successive notes of the scale is exactly the twelfth root of two (or about 1.05946). In [[well temperament|well-tempered]] systems (as used in the time of [[Johann Sebastian Bach]], for example), different methods of [[musical tuning]] were used. Almost all of these systems have one [[interval (music)|interval]] in common, the [[octave]], where the pitch of one note is double the frequency of another. For example, if the A above middle C is 440 Hz, the A an octave above that is {{Audio-nohelp|Tone 880Hz.ogg|880 Hz}}.
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| ==Other musical meanings of pitch==
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| In [[atonal]], [[twelve tone technique|twelve tone]], or [[set theory (music)|musical set theory]] a "pitch" is a specific frequency while a [[pitch class]] is all the octaves of a frequency. In many analytic discussions of atonal and post-tonal music, pitches are named with [[integer]]s because of octave and enharmonic equivalency (for example, in a serial system, C{{music|sharp}} and D{{music|flat}} are considered the same pitch, while C4 and C5 are functionally the same, one octave apart).
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| Discrete pitches, rather than continuously variable pitches, are virtually universal, with exceptions including "[[Shout-and-fall|tumbling strains]]"<ref>Sachs, C. and Kunst, J. (1962). In ''The wellsprings of music'', ed. Kunst, J. The Hague: Marinus Nijhoff. Cited in Burns (1999).</ref> and "indeterminate-pitch chants".<ref>Malm, W.P. (1967). ''Music Cultures of the Pacific, the Near East, and Asia''. Englewood Cliffs, NJ: Prentice-Hall. Cited in Burns (1999).</ref> Gliding pitches are used in most cultures, but are related to the discrete pitches they reference or embellish.<ref>Burns, Edward M. (1999). "Intervals, Scales, and Tuning", ''The Psychology of Music'' second edition. Deutsch, Diana, ed. San Diego: Academic Press. ISBN 0-12-213564-4.</ref>
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| ==See also==
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| {{div col|colwidth=30em}}
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| *[[3rd bridge]] (harmonic resonance based on equal string divisions)
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| *[[Absolute pitch]]
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| *[[Diplacusis]]
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| *[[Eight foot pitch]]
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| *[[Harmonic pitch class profiles]]
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| *[[Just intonation]]
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| *[[Music and mathematics]]
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| *[[Piano key frequencies]]
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| *[[Pitch accent]]
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| *[[Pitch circularity]]
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| *[[Pitch detection algorithm]]
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| *[[Pitch of brass instruments]]
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| *[[Pitch shifter (audio processor)|Pitch shifter]]
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| *[[Pitch pipe]]
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| *[[Relative pitch]]
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| *[[Scale of vowels]]
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| *[[Template:Vocal and instrumental pitch ranges|Vocal and Instrumental Pitch Ranges]]
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| {{Div col end}}
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| ==References==
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| {{Reflist|colwidth=30em}}
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| ==Further reading==
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| * Moore, B.C. & Glasberg, B.R. (1986) Thresholds for hearing mistuned partials. as separate tones in harmonic complexes. J. Acoust. Soc. Am., 80, 479–483.
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| * Parncutt, R. (1989). Harmony: A psychoacoustical approach. Berlin: Springer-Verlag, 1989.
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| *{{Cite book| title = Pitch: Neural Coding and Perception | last = Plack|first=Christopher J.|coauthors= Andrew J. Oxenham, Richard R. Fay, eds. | publisher = Springer | year = 2005 | isbn = 0-387-23472-1 | url = http://books.google.com/books?id=n6VdlK3AQykC&pg=PA2}}
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| * Schneider, P.; Sluming, V.; Roberts, N.; Scherg, M.; Goebel, R.; Specht, H.-J.; Dosch, H.G.; Bleeck, S.; Stippich, C.; Rupp, A. (2005): Structural and functional asymmetry of lateral Heschl's gyrus reflects pitch perception preference. Nat. Neurosci. 8, 1241-1247.
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| * Terhardt, E., Stoll, G. and Seewann, M. (1982). Algorithm for extraction of pitch and pitch salience from complex tonal signals. Journal of the Acoustical Society of America, 71, 679-688.
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| ==External links==
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| {{Commons cat|Pitch (music)}}
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| *[http://www.music.sc.edu/fs/bain/atmi02/tuning/default.html 12 Tone Equal Temperament Frequency Table Maker]
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| *[http://www.musictheoryhelp.co.uk/fundamentals/2/pitchandclefs Online Guide to Pitch and Clefs]
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| {{Melody}}
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| {{Musical notation}}
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| {{harmony}}
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| {{Timbre}}
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| {{DEFAULTSORT:Pitch (Music)}}
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| [[Category:Pitch (music)| ]]
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| [[Category:Perception]]
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| [[Category:Auditory perception]]
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| [[Category:Psychoacoustics]]
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| [[Category:Cognitive musicology]]
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| [[bg:Музикален тон]]
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| [[cs:Tón]]
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| [[da:Tone]]
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| [[fa:ارتفاع (موسیقی)]]
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| [[hr:Ton]]
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| [[id:Nada]]
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| [[it:Altezza (musica)]]
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| [[he:גובה (מוזיקה)]]
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| [[jv:Nada]]
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| [[no:Tone]]
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| [[ro:Înălțimea sunetelor]]
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| [[qu:Hayñiq kay]]
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| [[sl:Ton]]
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| [[sr:Тон]]
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| [[fi:Sävel]]
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| [[sv:Ton (ljud)]]
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| [[th:ระดับเสียง (ดนตรี)]]
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