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*To*: AUDITORY@xxxxxxxxxxxxxxx*Subject*: Re: Is there considerable phase locking up to 6 kHz?*From*: Eckard Blumschein <Eckard.Blumschein@xxxxxxxxxxxxxxxxxxxxxxxxxx>*Date*: Tue, 16 Mar 2004 18:07:14 +0100*Comments*: To: tsai.cc@lycos.com*Delivery-date*: Tue Mar 16 12:18:03 2004*In-reply-to*: <FHABGLMAKFNLCJAA@mailcity.com>*Reply-to*: Eckard Blumschein <Eckard.Blumschein@xxxxxxxxxxxxxxxxxxxxxxxxxx>*Sender*: AUDITORY Research in Auditory Perception <AUDITORY@xxxxxxxxxxxxxxx>

Dear Chen-Gia Tsai, Once more you provided evidence for what is at least my guess but perhaps your finding: Pitch apparently relates to a kind of autocorrelation that is not based on phase locking but presumably on a joint mechanism according to Wiener-Chintchine theorem. It includes a neural second analysis of a preceding cochlear Cosine transform followed by one-way rectification. Such envisioned joined main mechanism of hearing would largely correspond to real valued cepstral analysis. In VDI Fortschrittsberichte Nr.579, Wolfgang Riedißer clarified, the complex cepstrum of a real causal signal is real. In other words, hearing can be understood without complex calculus. After 18 months of tenacious discussion, a theoretical physicist eventually admitted that my suggested use of real-valued Fourier cosine transform is mathematically correct and apologized for his distrust. Meanwhile I dealt with a modification of FCT in order to better allow for CB. Hopefully, work by those who dealt with the role of multipolars within CN will further elucidate what happens. I already reminded of Gerald Langner and will add Lutz Wiegrebe. Are musical scale and chords based on something like cepstrum rather than frequency? Why not? Kind regards, Eckard pitches appear somewhat ambiguous. The frequency difference of adjacent components is 800 Hz in these complex tones. As they do not have the same pitch of 800 Hz, the pitch could not be extracted in terms of the temporal envelop of adjacent components. > >Pitch models based on autocorrelation analysis or coincidence detection (Shamma and Klein: The case of the missing pitch templates: How harmonic templates emerge in the early auditory system. JASA 107:2631-44) could explain the multi-pitch effect of tones composed of upper odd-numbered harmonics, if temporal cues for pitch extraction were assumed to be maintained in the range of 4 - 6 kHz. >This finding prompts the question: is there considerable phase locking up to 6 kHz? > >For more audio files demonstrating the multi-pitch effect of tones composed of upper odd-numbered harmonics, see >http://www.yogimont.net/jia/nasality_hollowness/multi-pitch.html > > >Any comment is much appreciated. > >Best, >Chen-Gia Tsai > >______________________________________ >Chen-Gia Tsai >Ph.D Musicology, Humboldt University Berlin >http://www.yogimont.net/jia/ >tsai.cc@lycos.com > > >____________________________________________________________ >Find what you are looking for with the Lycos Yellow Pages >http://r.lycos.com/r/yp_emailfooter/http://yellowpages.lycos.com/default.as p?SRC=lycos10 >

**References**:**Is there considerable phase locking up to 6 kHz?***From:*chen-gia tsai

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