Trainor L J
Department of Psychology, McMaster University, Hamilton, ON, Canada.
Percept Psychophys. 1996 Jul;58(5):704-12. doi: 10.3758/bf03213102.
The contribution of different harmonics to pitch salience in a musical context was examined by requiring subjects to discriminate a small (1/4 semitone) pitch change in one note of a melody that repeated in transposition. In Experiment 1, performance was superior when more harmonics were present (first five vs. fundamental alone) and when the second harmonic (of tones consisting of the first two harmonics) was in tune compared with when it was out of tune. In Experiment 2, the effects of harmonics 6 and 8, which stand in octave-equivalent simple ratios to the fundamental (2:3 and 1:2, respectively) were compared with harmonics 5 and 7, which stand in more complex ratios (4:5 and 4:7, respectively). When the harmonics fused into a single percept (tones consisting of harmonics 1, 2, and one of 5, 6, 7, or 8), performance was higher when harmonics 6 or 8 were present than when harmonics 5 or 7 were present. When the harmonics did not fuse into a single percept (tones consisting of the fundamental and one of 5, 6, 7, or 8), there was no effect of ratio simplicity.
通过要求受试者辨别在移调重复的旋律中一个音符上小的（1/4 半音）音高变化，研究了在音乐情境中不同谐波对音高显著性的贡献。在实验 1 中，当存在更多谐波时（前五个谐波与仅基波相比），以及当第二谐波（由前两个谐波组成的音调中）与不协调时相比处于协调状态时，表现更优。在实验 2 中，将与基波呈八度等效简单比例（分别为 2:3 和 1:2）的谐波 6 和 8 的效果，与呈更复杂比例（分别为 4:5 和 4:7）的谐波 5 和 7 的效果进行了比较。当谐波融合成单一感知时（由谐波 1、2 以及谐波 5、6、7 或 8 中的一个组成的音调），存在谐波 6 或 8 时的表现高于存在谐波 5 或 7 时的表现。当谐波未融合成单一感知时（由基波以及谐波 5、6、7 或 8 中的一个组成的音调），比例简单性没有影响。
