Abstract
One of the problems in psychoacoustics is the question which temporal aspects of a signal are coded and contribute to the sensation. For example, the sensation of “roughness” seems to correspond to envelope detection (Terhardt, 1968). Another subjective aspect of sound which is fairly often ascribed to time-structure detection is the “residuepitch” or “periodicity pitch” (Schouten et al., 1962). For three-component signals, Mathes and Miller (1947), de Boer (1956) and Goldstein (1967a) have reported changes in the prominence of residue pitch, as well as timbre and roughness as the time structure changed while the power spectrum remained constant.
This is a preview of subscription content, log in via an institution to check access.
Access this chapter
Tax calculation will be finalised at checkout
Purchases are for personal use only
Preview
Unable to display preview. Download preview PDF.
References
Bilsen, F.A. (1968), On the interaction of a sound with its repetition,Doctoral Dissertation, Univ. of Delft.
Boer, E. de (1956), On the residue in hearing, Doctoral Dissertation,Univ. of Amsterdam.
Boer, E. de (1961), A note on phase distortion and hearing, Acustica 11, 182–184.
Buunen, T.J.F., J.M. Festen, F.A. Bilsen and G. v.d. Brink (1974),Phase effects in a three-component signal, J. Acoust.Soc.Am. 55, 297–303.
Goldstein, J.L. (1967a), Auditory spectral filtering and monaural phaseperception, J. Acoust.Soc.Am. 41, 458–479.
Goldstein, J.L. (1967b), Auditory nonlinearity, J. Acoust.Soc.Am. 41, 676–689.
Houtsma, A.H.., and J.L. Goldstein (1972), The central origin of thepitch of complex tones: Evidence from musical interval recognition. J. Acoust.Soc.Am. JH, 520–529.
Mathes, R.C. and R.L. Miller (1947), Phase effects in monaural perception,J. Acoust.Soc.Am. 19, 780–797.
Plomp, R. (1965), Detectability threshold for combination tones,J. Acoust.Soc.Am. 37, 1110–1123.
Plomp, R. (1970), Timbre as a multidimensional attribute of complex tones, in Frequency Analysis and Periodicity Detection in Hearing, Plomp and Smoorenburg Eds, Sythoff, Leiden p. 397–411.
Smoorenburg, G.F. (1972a), Audibility region of combination tones,J. Acoust.Soc.Am. 52, 603–614.
Smoorenburg, G.F. (1972b), Combination tones and their origin,J. Acoust.Soc.Am. 52, 615–632.
Schouten, J.F., R.J. Ritsma and B.L. Cardozo (1962), Pitch of the residue,J. Acoust.Soc.Am. 34, 1418–1424.
Terhardt, E. (1968), Uber die durch amplitudenmodulierte Sinustöne hervorgerufene Empfindung, Acustica 20, 210–214.
Terhardt, E. (1972), Zur Tonhöhenwahrnehmung von Klängen I. Psycho-akustische Grundlagen, Acustica 26, 173–186.
Zwicker, E. (1952), Die Grenzen der Hörbarkeit der Amplituden-modulationund der Frequenzmodulation eines Tones, Acustica 2, 125–133.
Zwicker, E. (1955), Der ungewöhnliche Amplitudengang der nichtlinearen Verzerrungen des Ohres, Acustica 5, 67–74
Author information
Authors and Affiliations
Editor information
Editors and Affiliations
Rights and permissions
Copyright information
© 1974 Spinger-Verlag Berlin Heidelberg
About this paper
Cite this paper
Buunen, T.J.F., Bilsen, F.A. (1974). Subjective Phase Effects and Combination Tones. In: Zwicker, E., Terhardt, E. (eds) Facts and Models in Hearing. Communication and Cybernetics, vol 8. Springer, Berlin, Heidelberg. https://doi.org/10.1007/978-3-642-65902-7_45
Download citation
DOI: https://doi.org/10.1007/978-3-642-65902-7_45
Publisher Name: Springer, Berlin, Heidelberg
Print ISBN: 978-3-642-65904-1
Online ISBN: 978-3-642-65902-7
eBook Packages: Springer Book Archive