17

The perception of a pitch is due to the frequency of vibration of the hairs in the cochlea (the spiral-shaped organ in the inner ear), which is, in turn, driven by the vibration of the eardrum. Anything that drives the eardrum at a given frequency, say 440 Hz, will be perceived as the same pitch, regardless of medium. What the medium does affect, however, ...


7

One approach may be found in the Implication-Realization Model by Leonard Meyer and Eugene Narmour. In short, there are five proposed governing principles that suggest what listeners expect from a given musical excerpt. How we perceive the music is then based on either the attainment or the denial of the expected events. In other words, a musical excerpt ...


7

There are other questions here that have dealt with this topic. Basically, there are good reasons why historically certain keys sounded different from others, due to the fact that unequal temperaments were more common, and thus some keys would sound more "in-tune" than others. These aspects of tuning often influenced the choices of genres for writing music ...


6

If you can cause the tympanic membrane of a normal-hearing human to vibrate 440 times per second, they will "hear" the pitch we call A4. So, there are two ways to go with your question. A device that is designed to produce 440 Hz here on Earth is designed to cause normal earth air at normal air pressure to vibrate 440 times per second. In significantly ...


5

There's no evidence that I'm aware of that in an equal temperament world different keys have intrinsically distinct characters, in the sense that Bb major would relate to a different range of emotions than C major. I guess I find it a bit surprising that you find Elfman's statement noteworthy - It seems fairly intuitive that with most people possessing ...


5

Short Answer: Just tap eighth notes throughout the entire subject. You'll find that the G♯ lasts four eighth notes, not three or five. Furthermore, Gould gives slight accents to the first of each slurred two-note grouping; this shows that he's accenting the stronger downbeats as opposed to each upbeat. He's definitely playing it the right way! Long Answer: ...


4

I heard that claim of close similarity to the human voice for so many instruments, that I lost track, whether any one is missing: violin, viola, clarinet, even for an instrument I have never encountered before: Sarangi. Mostly these statements were from players or strong supporters of that instrument, so it is obviously considered a positive or even ...


4

Not in my experience as a music teacher. Perfectly intelligent students, upon being presented with such a cluster, will look at you in incomprehension and/or suggest various different pitches as the tonic.


4

A few years ago I experienced a very strange (to me), and quite frightening disturbance in pitch perception -- one that came out of the blue. Fortunately it was temporary, lasting not much more than 24 hours. This may not apply directly to your situation, but is a possible answer to your question 3 (What other circumstances could affect the perception of the ...


3

According to Wiki., a one cent change is imperceptible to most humans, so half of that is going to be a pretty accurate parameter change. One semitone (say from E to F, or A to Bb) is easily recognised, but when that interval of a minor second is split into 100 different 'notes', most wouldn't spot note 77 from 78 as being different/out of tune. Halve that ...


3

In equal temperament, the mode impacts the brightness or darkness of the music far more than the key, from lydian on the bright side (it's the cartoon mode, after all!) to phrygian on the dark side. In addition to Tama's excellent answer above on timbres and how they affect brightness, it's also worth considering that before equal temperament, each key did ...


3

When you write a piece in a certain key you're really writing with a tonic note in mind. That is, one note is considered the note on which the piece rests and which all other notes are compared to. Different notes are either higher or lower than each other depending on the instrument's range, the composer's intentions, and the limitations of the player. For ...


3

I think it is simply related to your hearing (ie not pitch perception). In this case your ability to hear yourself. In this case you haven't mentioned whether your performance was solo or with a group. If it was solo I would say that you have suffered from a temporary hearing loss resulting in the inability to properly hear your violon and thus intonate. ...


2

For the sake on completeness, I will add that the relative speed between the generator of the sound and the observer will change the pitch, due to the Doppler effect.


2

Lets say I play a big chromatic chord (Like a tone cluster) - After hearing that chord, I have a tonic (Fact). My question is - will everybody get the same tonic? No - some chords (like a major triad) do quite strongly point to a single root note (which might then be perceived as a tonic), but others (when you consider the superset of their harmonics) might ...


2

Many people experience keys with more sharps to be "brighter" and keys with more flats to be "darker," as this question discusses. The accepted answer doesn't actually agree with the premise that a key with more sharps is brighter in and of itself - and while you may well be able to find a number of people who perceive things like that, I've not heard of ...


2

You ask about the brightness/darkness of modes from a particular key - all using exactly the same notes, but not in the right order (Eric Morecombe-ish). For starters, bright and dark are somewhat subjective terms in themselves, so it's a difficult question made harder. Taking the Ionian as the basic mode, as is recognised today as the basic major, would ...


2

There is way too much missing to provide a complete answer but I will try and add some guidance from experience. You state that you want random groups of notes to be "meaningful" but can you define a criterion for meaningful (or is that what you want from us). What makes music meaningful in many cultures is rhythm not melody (though both are important). ...


2

This is the question, that I had been asking myself for quite some time, and though I am by no means a professional musician and do NOT have a perfect pitch I still think that the key is to some extent important. I would not argue that a half-tone change will make the music sound different for me, but the large differences will sound differently. The reason ...


2

I think Percy Grainger was perhaps referring to the range of the saxophone. Depending (very often) on gender people's singing voice more than not falls into the alto (like sax/viola) or tenor (sax/cello) range. Wether or not they actually sound the same has to do with the timbral characteristics of the sound spectrum. Personally, I don't really think that ...


1

I do my own tuning using TuneLab software. I try to get all strings within 0.5 cent of perfect. Then I check for beats, especially very slow ones, like 2-3 seconds. It sounds good when I play, so I must be doing something right. At the first sign of beating I touch up the tuning. (It helps to have a Dampp-Chaser installed.) FWIW, I've been playing - ...


1

Is this a general question, or about one specific person? What's the nature of his hearing impairment? Maybe he only hears a limited range of frequencies. Or maybe the aid is designed to only boost a narrow range. Speech intelligibility is between about 1.5kHz and 4kHz. Anything outside that range might be deliberately filtered out. Try him without ...


1

As this is an old question, I don't know if OP is still looking for this information. But there is significant literature (both theoretical and empirical) on metric grouping and perception. Perhaps the first to create a detailed theoretical model based on Gestalt principles was Lerdahl and Jackendoff's A Generative Theory of Tonal Music (1983), which ...


1

It is not about if they actually sound like the human voice. They're alike because of its harmonics, both are so harmonically rich as the human voice. As a classical singer, I would say that are (again, harmonically) close as an educated voice, rather than the standard spoken voice. If course, there are some people that have a very rich voice in their ...


1

I don't think it's a particularly scientific thing. Just that the sax sound is very "bendable" and can do the same sort of tricks as a human voice can. I don't personally see the same similarity in cello, though it certainly has a very beautiful, expressive sound.


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