Klarinet Archive - Posting 000545.txt from 2000/06
From: "Mark Charette" <charette@-----.org>
Subj: Re: [kl] Tones 2001 (not 2000)
Date: Thu, 15 Jun 2000 23:23:04 -0400
From: "Luby D. Jackson III" <mus_ldj@-----.edu>
> Does this experiment involve semi-tones between actual pitches. These
> "sub-tones" I cannot distinguish that well, but I can tell which octave
> pitches are in because I listen to their color.
For anyone considering research in this area:
There's been a great deal of research on psychoacoustics done by Dr. Dianna
Deutsch, including ambiguous octaves and tones, the differences in auditory
perceptions by left and right handed people, and the effect of a person's
native language on music. Scientific American has a few articles by her; you
also may want to check (from her Web page at
http://www-psy.ucsd.edu/~ddeutsch/):
Physiological Psychology Illinois: Dorsey Press, (with J. A. Deutsch 1st
Edition 1966; 2nd Edition 1973.
Short Term Memory. (Editor, with J. A. Deutsch), New York: Academic Press,
1975.
The Psychology of Music (Editor). New York: Academic Press. In E. C.
Carterette and M. P. Friedman (Editors), Series on Cognition and Perception,
1982. Second printing and paperback edition, 1983. Japanese translation,
Nishimura Co., Ltd. , Volume I, 1987; Volume II, 1988; 2nd Edition, 1998.
http://www.apcatalog.com/cgi-bin/APISBN=0122135652&LOCATION=US&FORM=FORM2
for ordering info.
Journal of the Audio Engineering Society, 1983, 31 (9).
Music Perception, Special issue, Spring, 1996
Attention: Some theoretical considerations. Psychological Review, 1963, 70,
80-90. (With Deutsch, J. A.) Music recognition. Psychological Review, 1969,
76, 300-309.
Dislocation of tones in a musical sequence: A memory illusion. Nature,
1970, 226, No. 5242.
Tones and numbers: Specificity of interference in immediate memory.
Science, 1970, 168, 1604-1605.
Effect of repetition of standard and comparison tones on recognition memory
for pitch. Journal of Experimental Psychology, 1972, 93, 156-162.
Octave generalization and tune recognition. Perception and Psychophysics,
1972, 11, 411-412.
Mapping of interactions in the pitch memory store. Science, 1972, 175,
1020-1022.
Music and Memory. Psychology Today, 1972, 8552, 87-89, 119.
Interference in memory between tones adjacent in the musical scale. Journal
of Experimental Psychology, 1973, 100, 228-231.
Octave generalization of specific interference effects in memory for tonal
pitch. Perception and Psychophysics, 1973, 13, 271-275.
Generality of interference by tonal stimuli in recognition memory for
pitch. Quarterly Journal of Experimental Psychology, 1974, 26, 229-234.
1974. (With Deutsch, J. A.)
The organization of short term memory for a single acoustic attribute. In
D. Deutsch and J. A. Deutsch (Eds.), Short Term Memory, New York: Academic
Press, 1975, 107-151.
An auditory illusion. Nature, 1974, 251, 307-309.
Error patterns in delayed pitch comparison as a function of relational
context. Journal of Experimental Psychology, 1974,103, 1027-1034. (first
author with Roll, P. L.)
Disinhibition in pitch memory. Perception and Psychophysics, 1975, 17,
320-324. (first author with Feroe, J.)
Two-channel listening to musical scales. Journal of the Acoustical Society
of America, 1975, 57, 1156-1160.
Facilitation by repetition in recognition memory for tonal pitch. Memory
and Cognition, 1975, 3, 263-266.
Auditory Memory. Canadian Journal of Psychology, 1975, 29, 87-105.
Musical Illusions. Scientific American, 1975, 233, 92-104.
Separate "what" and "where" decision mchanisms in processing a dichotic
tonal sequence. Journal of Experimental Psychology: Human Perception and
Performance, 1976, 2, 23-29. (first author with Roll, P. L.)
Illusioni musicali. Le Scienze, 1976, 76-83.
Memory and attention to music. In M. Critchley and R. A. Henson (Eds.),
Music and the Brain, London: Heinemann Medical Books, 1977, 95-130.
Pitch memory: An advantage for the lefthanded. Science, 1978, 199, 559-560.
Lateralization by frequency for repeating sequences of dichotic 400 Hz and
800 Hz. tones. Journal of the Acoustical Society of America, 1978, 63,
184-186.
Octave generalization and melody identification. Perception and
Psychophysics, 1978, 23, 91-92.
Delayed pitch comparisons and the principle of proximity. Perception and
Psychophysics, 1978, 23, 227-230.
Interference in pitch memory as a function of ear of input. Quarterly
Journal of Experimental Psychology, 1978, 30, 283-287.
The psychology of music. In E. C. Carterette and M. P. Friedman (Eds.),
Handbook of Perception, Volume X, New York: Academic Press, 1978, 191-218.
Interactive effects in memory for harmonic intervals. Perception and
Psychophysics, 1978, 24, 7-10.
Binaural integration of melodic patterns. Perception and Psychophysics,
1979, 25, 399-405.
Octave generalization and the consolidation of melodic information.
Canadian Journal of Psychology, 1979, 33, 201-205.
Handedness and memory for tonal pitch. In J. Herron (Ed.), Neuropsychology
of Lefthandedness, Academic Press, 1980, 263-272.
Ear dominance and sequential interactions. Journal of the Acoustical
Society of America, 1980, 67, 220-228.
The octave illusion and the what-where connection. In R. S. Nickerson
(Ed.), Attention and Performance VIII, 1980, 575-594.
Music perception. The Musical Quarterly, 1980, 66, 165-179.
The processing of structured and unstructured tonal sequences. Perception
and Psychophysics, 1980, 28, 381-389.
The octave illusion and auditory perceptual integration. In Tobias, J.V.,
and Schubert, E.D., Hearing Research and Theory, Vol. I, New York: Academic
Press, 1981, 99-142.
The internal representation of pitch sequences in tonal music.
Psychological Review, 1981, 88, 503-522 ( first author with Feroe, J.).
This week's citation classic. Current Contents, 1981, 11, 16. (with
Deutsch, J. A.)
Music perception and memory. Kungliga Musikaliska Akademiens Arsskrift,
1981, 38-60.
Grouping mechanisms in music. In D. Deutsch (Ed.), The Psychology of Music,
New York: Academic Press, 1982, 99-134.
The processing of pitch combinations. In D. Deutsch (Ed.), The Psychology
of Music, New York: Academic Press, 1982, 271-316.
Organizational processes in music. In M. Clynes (Ed.), Music, Mind and
Brain, Plenum, New York, 1982, 119-136.
The influence of melodic context on pitch recognition judgement. Perception
and Psychophysics, 1982, 31, 407-410.
Opening Editorial, Music Perception, 1983, 1, 1-2.
Handedness and memory for tonal pitch. In J. Herron (Ed) Neuropsychology of
Left-handedness, Japanese edition, 1983, pp. 269-278.
The octave illusion in relation to handedness and familial handedness
background. Neuropsychologia, 1983, 21, 289-293.
Auditory illusions and audio. Journal of the Audio Engineering Society,
1983, 31, 606.
Auditory illusions, handedness, and the spatial environment. Journal of the
Audio Engineering Society, 1983, 31, 607-618.
The generation of two isochronous sequences in parallel. Perception and
Psychophysics, 1983, 34, 331-337.
Psychology and music. In M. H. Bornstein (Ed.), Psychology and its Allied
Disciplines, Hillsdale: Erlbaum, 1984, 155-194.
Memory for auditory information. In Squire, L. R. and N. Butters (Eds.),
Neuropsychology of Memory, The Guiford Press, 1984, 45-54.
Pitch classes differ with respect to height. Music Perception, 1984, 2,
265-271 (first author with F.R.Moore and M. Dolson).
Two issues concerning tonal hierarchies: Comment on Castellano, Bharucha,
and Krumhansl. Journal of Experimental Psychology: General, 1984, 113,
413-416.
Musical space. In R. Crozier and T Chapman (Eds) Cognitive Processes in the
Perception of Art, North Holland, 1984.
Octave equivalence and the processing of tonal sequences. Music Perception,
1984, 2, 40-51 ( first author with Boulanger, R.C.).
Dichotic listening to melodic patterns, and its relationship to hemispheric
specialization of function. Music Perception, 1985, 3, 1-28.
Representation of pitch and pitch combinations. In H. Bruhn, R. Oerter, and
H. Rosing (Eds.), Musikpsychologie - Ein Handbuch in Schluselbegriffen,
Urban and Schwarzenberg, 1985.
Recognition of durations embedded in temporal patterns. Perception and
Psychophysics, 1986, 39, 179-187.
The perceived height of octave-related complexes. Journal of the Acoustical
Society of America, 1986, 80, 1346-1353. (first author with Moore, F. R.,
and Dolson, M. ).
La rappresentazione interna delle sequenze sonore nella musica tonale. In
L. M. Lorenzetti, and A. Antonietti (Eds) Processi cognitivi in musica,
Milano, Franco Angeli Libri, 1986. (first author with Feroe, J.) pp133-163.
Generalizzione dell'ottava e ritenzione dell'informazione melodica. In L.
M. Lorenzetti, and A. Antonietti (Eds) Processi cognitivi in musica, Milano,
Franco Angeli Libri, 1986. pp 164-170.
A musical paradox. Music Perception, 1986, 3, 275-280.
Auditory pattern recognition. In K. Boff, L. Kaufman and J. Thomas (Eds.),
Handbook of Perception and Human Performance, Wiley, 1986. 32, 1-44.
Illusions for stereo headphones. Audio Magazine, March, 1987, 36-48.
The tritone paradox: Effects of spectral variables. Perception and
Psychophysics, 1987, 42, 563-575.
Auditory illusions. In R. L. Gregory (Ed.), The Oxford Companion to the
Mind, 1987, 61-63.
Music perception: History of thought. In R. L. Gregory (Ed.), The Oxford
Companion to the Mind, 1987, 505-506.
The tritone paradox: Its presence and form of distribution in a general
population. Music Perception, 1987, 5, 79-92. (first author with Kuyper, W.
L. and Fisher, Y).
Foreward to R. Frances The Perception of Music (Translation of La
Perception de la Musique), Hillsdale: Erlbaum, 1988.
Pitch class and perceived height: Some paradoxes and their implications. In
E. Narmour and R. Solie (Eds.), Explorations in Music, The Arts, and Ideas:
Essays in Honor of Leonard B. Meyer, New York: Pendragon Press, 1988.
261-294.
Lateralization and sequential relationships in the octave illusion, Journal
of the Acoustical Society of America, 1988, 83, 365-368.
Music perception. In E. Barnouw (Ed.), International Encyclopedia of
Communications, Oxford University Press, 1988.
The semitone paradox, Music Perception, 1988, 6, 115-134.
Music for the Ear and Brain. Ars Musica, 1989.
Foreward to S. McAdams and I. Deliege (Eds) Music and the Cognitive
Sciences, Contemporary Music Review, Harwood Academic Publishers, London,
1989.
Foreward to S. MacAdams and I. Deliege (Eds) Musique et sciences
cognitives, Editions Pierre Mardaga, Brussels., 1989.
Some new musical paradoxes. In S. Nielzen and O. Olsson (Eds) Structure and
perception of electroacoustic sound and music, Springer-Verlag, 1989,
61-812.
Pitch class and octave similarity. In Proceedings of the First
International Conference on Music Perception and Cognition. Kyoto, Japan,
1989, 107-112.
Pitch proximity in the formation of harmonic groupings. In Proceedings of
the First International Conference on Music Perception and Cognition. Kyoto,
Japan, 1989, 445-448.
The tritone paradox: Correlate with the listener's vocal range for speech.
Music Perception, 1990, 7, 371-384 (first author with North, T. and Ray, L.)
The tritone paradox: An influence of language on music perception. Music
Perception; 1991, 8, 335-347.
Pitch proximity in the grouping of simultaneous tones. Music Perception,
1991, 9, 185-198.
The tritone paradox: Implications for the representation and communication
of pitch structures. In M. R. Jones and S. Holleran (Eds.) Cognitive bases
of musical communication. American Psychological Association Monograph
Series, 1992. 115-138.
The climate of auditory imagery and music. In D. Reisberg (Ed) Auditory
Imagery, Hillsdale: Erlbaum, 1992, 237-260.(first author with Pierce, J. R.)
Some new sound paradoxes and their implications. In Auditory Processing of
Complex Sounds; Philosphical Transactions of the Royal Society, Series B,
1992, 336, 391-397
Paradoxes of musical pitch. Scientific American, 1992, 267, 88-95.
Some new pitch paradoxes and their implications. In R. P. Carlyon, C. J.
Darwin, and I. J. Russell (Eds.) Processing of Complex Sounds by the
Auditory System, Oxford University Press, Oxford, 1992, 97-104.
La perception des structures musicales. In A. Zenatti (Ed) Psychologie de la
Musique, Presses Universitaires de France, 1994.
Perceptual organization: Auditory/temporal patterns. In W. Prinz and B.
Bridgeman (Eds) Perception, Volume in Enzyklopadie de Psychologie, Verlag
fur Psychologie, 1994, 339-389.
The tritone paradox: Some further geographical correlates. Music Perception,
1994, 12, 125-136.
A regional difference in perception of the tritone paradox within the
United States. Music Perception, 1994, 12, 213-225 (with Raggozine, F.).
Illusions in sound and music. Sound and Video Contractor, August 1994,
10-20.
Paradoxes of musical pitch. In Science and the Arts, Special Issue of
Scientific American, 1995, 46-51.
The perception of auditory patterns. In W. Prinz and B. Bridgeman (Eds)
Handbook of Perception and Action, Vol 1, Academic Press, 1996.
Paradoxical Music. Echoes (Newsletter of the Acoustical Society of America)
1996, 6, 1-5.
The tritone paradox: A link between music and speech. Current Directions in
Psychological Science, 1998, 174-180.
Musical Intelligence. In R. J. Sternberg (Ed.) Macmillan Encyclopedia of
Human Intelligence, New York: Macmillan, in press.
Grouping mechanisms in music. In D. Deutsch (Ed.) The psychology of music,
2nd Edition, Academic Press, 1998.
Processing of pitch combinations. In D. Deutsch (Ed.) The psychology of
music, 2nd Edition, Academic Press, 1998.
Music. In Encyclopedia of Psychology, American Psychological Association,
In press.
Hearing, Human. In McGraw-Hill 2000 Yearbook of Science and Technology, in
preparation.
Deutsch, D., Henthorn, T. and Dolson, M. Bilingual listeners hear the
tritone paradox in accordance with their first language., in preparation.
PUBLISHED SOUND EXAMPLES
In Kubovy and Pomeranz (Eds.), Perceptual Organization, Erlbaum, 1981.
(cassette)
In Pierce, J.R. The Science of Musical Sound, Scientific American Library,
1983. (soft LP)
In Auditory Illusions and Audio. Special Issue of the Journal of the Audio
Engineering Society, 1983. (soft LP)
In Illusions for Stereo Headphones. Audio Magazine, March, 1987. (soft LP)
In Auditory demonstrations. Acoustical Society of America and Philips,
1987, (compact disc).
Musical Illusions and Paradoxes, Philomel Records, 1995 (compact disc)
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