Houtsma A J
J Acoust Soc Am. 1979 Jul;66(1):87-99. doi: 10.1121/1.382943.
Most studies of the musical pitch of harmonic tone complexes have utilized signals comparing two or more successive harmonics. The present study provides systematic data on melodic interval recognition by three musically experienced subjects with sounds whose missing fundamentals were represented by two nonsuccessive harmonics nf0,(n + m)f0, delivered to separate ears. Data were obtained in the ranges 1 less than or equal to n less than or equal to 9, 2 less than or equal to m less than or equal to 4, and 200 Hz less than or equal to f0 less than or equal to 1000 Hz. The data are interpreted in the light of three theories, the "optimum processor theory," the "virtual pitch theory," and the "pattern transformation theory." For each theory, a constraint on preformance is proposed based on interference between the "analytic" and "synthetic" pitch perception modes. The former is obtained with large spacings between harmonics, where listeners are more likely to perceive harmonics as individual tones, each having their own pitch. This degrades the listener's ability to hear the fundamental pitch.
大多数关于和声音调复合体音高的研究都使用了比较两个或更多连续谐波的信号。本研究提供了系统的数据，这些数据来自三名有音乐经验的受试者对旋律音程的识别，所使用的声音中缺失的基频由两个非连续谐波nf0、(n + m)f0表示，并分别传送到两只耳朵。数据是在1≤n≤9、2≤m≤4以及200Hz≤f0≤1000Hz的范围内获得的。这些数据根据三种理论进行解释，即“最佳处理器理论”、“虚拟音高理论”和“模式转换理论”。对于每种理论，基于“分析”和“合成”音高感知模式之间的干扰，提出了对表现的限制。前者是在谐波之间有较大间距时获得的，此时听众更有可能将谐波感知为单独的音调，每个音调都有自己的音高。这会降低听众听到基频的能力。
