Abstract
The present chapter on the residue phenomenon is set up in an unorthodox way. Instead of giving a cursory review it presents the historical development in great detail. It is more a textbook on the psychophysics of pitch than a review of recent research. There are several reasons for this, as listed below:
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a)
Very few scientists, even those working on pitch perception, are aware of all the intricacies involved.
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b)
Textbooks on psychophysics or physiology of hearing in general are either outdated — the development has been very fast the last five years — or not authorative on this subject.
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c)
The older literature on the residue is inaccessible as a consequence, an overview is difficult to obtain.
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d)
The publications include many subtleties in psychophysical experiments or advanced mathematical details of signal generation which make them difficult to understand for physiologists, etc.
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e)
There exist many misconceptions about the relevance of certain physiological experiments for pitch perception (and vice versa).
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f)
The problem of the residue is of prime importance for speech as well as for music, but a comprehensive account of the subject does not exist.
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g)
In some instances psychophysical or physiological studies are reported that seem to indicate that the “residue” is about to be discovered again. Such situations may be prevented by the existence of a general text.
To J. F. Schotjten who “placed” his mark on a “period”.
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de Boer, E. (1976). On the “Residue” and Auditory Pitch Perception. In: Keidel, W.D., Neff, W.D. (eds) Auditory System. Handbook of Sensory Physiology, vol 5 / 3. Springer, Berlin, Heidelberg. https://doi.org/10.1007/978-3-642-66082-5_13
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