Circularity in Judgments of Relative Pitch. Authors: Shepard, Roger N. Publication: The Journal of the Acoustical Society of America, vol. 36, issue 12, p. The Shepard illusion, in which the presentation of a cyclically repetitive sequence of complex tones composed of partials separated by octave intervals (Shepard. Circularity in relative pitch judgments for inharmonic complex tones: The Shepard demonstration revisited, again. EDWARD M. BURNS. Department ofAudiology.
|Published (Last):||18 November 2012|
|PDF File Size:||10.37 Mb|
|ePub File Size:||8.40 Mb|
|Price:||Free* [*Free Regsitration Required]|
Subjects judged for each pair whether it ascended or descended in pitch.
Journal of the Acoustical Society of America, In Sound Demo 1, a harmonic complex tone based on A 4 concert A is presented, with the odd-numbered harmonics gradually gliding down in amplitude.
Retrieved from ” https: Together with my colleagues, I carried out an experiment to determine whether such tones are indeed heard as circular, when all intervals are considered 5.
Later, I reasoned that it should be possible to create circular scales from sequences of single tones, with each tone comprising a full harmonic series.
Diana Deutsch – Pitch Circularity
Unknown to the authors, Oscar Reutesvald had also created an impossible staircase in the s. This development opens up new avenues for music composition and performance. The finding that circular scales can be obtained from full harmonic series leads to the intriguing possibility that this algorithm could be used to transform banks of natural instrument tones so that they would also exhibit pitch circularity 6.
The pitch class circle. When such tones are played traversing the pitch class circle in clockwise direction, one obtains the impression of an eternally ascending scale— C is heard as higher than C; D as higher than C ; D as higher than D. Paradoxes of musical pitch. Counterclockwise movement creates the impression of an eternally descending scale.
The tone with the lowest fundamental is therefore heard as displaced up an octave, and pitch circularity is achieved. Since each stair that is one step clockwise from its neighbor is also one step downward, the staircase appears to be eternally descending. A different algorithm that creates ambiguities of pitch height by manipulating the relative amplitudes of the odd and even harmonics, was developed by Diana Deutsch and colleagues.
The paradox of pitch circularity. To accommodate both the linear and circular dimensions, music theorists have suggested that pitch should be represented as a helix having one complete turn per octave, so that tones that are separated by octaves are also close on this representation, as shown below. This page was last edited on 16 Aprilat This continuum is known as pitch height. Researchers have demonstrated that by creating banks of tones whose note names are clearly defined perceptually but whose perceived heights are ambiguous, one can create scales that appear to ascend or descend endlessly in pitch.
Here is an eternally descending scale based on this principle, with the amplitudes of the odd-numbered harmonics reduced by 3. Here is an excerpt from the experiment, and you will probably find that your judgments of each pair correspond to the closest distance between the tones along the circle.
This is acknowledged in our musical scale, which is based on the circular configuration shown on the right below. Jean-Claude Risset achieved the same effect using gliding tones instead, so that a single tone appeared to glide up or down endlessly in reltaive. As circuarity ascend this scale in semitone steps, we repeatedly traverse the pitch class circle in clockwise direction, so that we play C, CD, and so on all around the circle, until we reach A, AB – and then we proceed to C, CD again, and so on.
For the tone with the highest fundamental, the odd and even harmonics are equal in amplitude. See the review by Deutsch 4 for details.
I further reasoned that we should be able to produce pitch circularities on this principle. William Brent, then a graduate student at UCSD, has achieved considerable success using bassoon samples, and also some success with oboe, flute, and violin samples, and has shown that the effect is not destroyed by vibrato. Journal of the Acoustical Juvgments of America.
Pitch circularities are based on the same principle. At some point, listeners realize that they are hearing the note an octave higher — but this perceptual transition had occurred without the sounds traversing the semitone scale, but remaining on note A.
Views Read Edit View history. We begin with a bank of twelve harmonic complex tones, whose fundamental frequencies range over an octave in semitone steps.
Circularity in Judgments of Relative Pitch
The figure on the left below represents an impossible staircasesimilar to one originally published by Penrose and Penrose in 1.
Shepard 2 reasoned that by creating banks of tones whose note names pitch classes are clearly defined but whose perceived heights are ambiguous, the helix could be collapsed into a circle, so enabling the creation of scales that ascend or descend endlessly in pitch. Pitch circularity from tones comprising full harmonic series. However pitch also judgmenst in a circular fashion, known as pitch class: Then for the tone another semitone lower, the amplitudes of the odd harmonics are reduced further, so raising the perceived height of this tone to a greater extent.
The possibility of creating circular banks of tones derived from natural instruments expands the scope of musical materials available to composers and performers.