Topic
Virtual pitch
About: Virtual pitch is a research topic. Over the lifetime, 102 publications have been published within this topic receiving 7253 citations.
Papers published on a yearly basis
Papers
TL;DR: Comparison of recent psychoacoustic data on consonance with those on roughness reveals that “psychoacoustic consonance” merely corresponds to the absence of roughness and is only slightly and indirectly correlated with musical intervals, so psychoac acoustic consonance cannot be considered as the basis of the sense of musical intervals.
Abstract: Comparison of recent psychoacoustic data on consonance with those on roughness reveals that “psychoacoustic consonance” merely corresponds to the absence of roughness and is only slightly and indirectly correlated with musical intervals. Thus, psychoacoustic consonance cannot be considered as the basis of the sense of musical intervals. The basis of that sense seems to be provided by the concept of virtual pitch. This concept is introduced with a model. The concept accounts for many psychoacoustic and musical phenomena as, e.g., the ambiguity of pitch of complex tones, the “residue,” the pitch of inharmonic signals, the dominance of certain harmonics, pitch shifts, the sense for musical intervals, octave periodicity, octave enlargement, “stretching” of musical scales, and the “tonal meaning” of chords in music.
748 citations
TL;DR: Licklider made his original suggestion in an attempt to explain the human ability to perceive the pitch of a complex tone even though that tone contained no spectral component corresponding to that pitch.
Abstract: Licklider made his original suggestion in an attempt to explain the human ability to perceive the pitch of a complex tone even though that tone contained no spectral component corresponding to that pitch. He rejected the prevailing theory (Fletcher, 1924) that distortion products of nonlinear cochlear responses could wholly explain the phenomenon. He pointed to the fact that the waveform envelope of unresolved harmonic components could be used to extract pitch information if an autocorrelation analysis could be performed. He thought that this might be achieved by a delay line mechanism at a low level in the auditory nervous system. His theory depended on the idea that the harmonic com
561 citations
TL;DR: In this paper, a procedure for the automatic extraction of the various pitch percepts which may be simultaneously evoked by complex tonal stimuli is described, based on the theory of virtual pitch.
Abstract: A procedure is described for the automatic extraction of the various pitch percepts which may be simultaneously evoked by complex tonal stimuli. The procedure is based on the theory of virtual pitch, and in particular on the principle, that the whole pitch percept is dependent both on analytic listening (yielding spectral pitch), and on holistic perception (yielding virtual pitch). The more or less ambiguous pitch percept governed by these two pitch modes is described by two pitch patterns: the spectral‐pitch pattern, and the virtual‐pitch pattern. Each of these patterns consists of a number of pitch (height) values, and associated weights, which account for the relative prominence of every individual pitch. The spectral‐pitch pattern is constructed by spectral analysis, extraction of tonal components, evaluation of masking effects (masking and pitch shifts), and weighting according to the principle of spectral dominance. The virtual‐pitch pattern is obtained from the spectral‐pitch pattern by an advanced...
422 citations
TL;DR: A procedure for the schematic and automatic extraction of 'fundamental pitch' from complex tonal signals, such as voiced speech and music, has been developed and its applicability to the research and engineering of auditory communication is illustrated by some examples.
398 citations
TL;DR: It is argued that the favorable performance of the subharmonic-summation algorithm stems from its corresponding more closely with current pitch-perception theories than does the harmonic sieve.
Abstract: In order to account for the phenomenon of virtual pitch, various theories assume implicitly or explicitly that each spectral component introduces a series of subharmonics. The spectral-compression method for pitch determination can be viewed as a direct implementation of this principle. The widespread application of this principle in pitch determination is, however, impeded by numerical problems with respect to accuracy and computational efficiency. A modified algorithm is described that solves these problems. Its performance is tested for normal speech and "telephone" speech, i.e., speech high-pass filtered at 300 Hz. The algorithm out-performs the harmonic-sieve method for pitch determination, while its computational requirements are about the same. The algorithm is described in terms of nonlinear system theory, i.c., subharmonic summation. It is argued that the favorable performance of the subharmonic-summation algorithm stems from its corresponding more closely with current pitch-perception theories than does the harmonic sieve.
374 citations
Related Topics (5)
Performance Metrics
| Year | Papers |
|---|---|
| 2021 | 2 |
| 2019 | 1 |
| 2018 | 3 |
| 2017 | 2 |
| 2015 | 1 |
| 2014 | 2 |