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Re: Pitch learning
I suspect that if you'll look at some of the literature on piano and related
instrument tuning that you'll find that beat counting and/or the "feel" of the
beats as they combine are a large help in recognition tasks. Timbre enters into
the situation for those musicians who can recognize structure on one instrument
better than another but for those who's pitch recognition is both good and
accurate at least teaching research seems to indicate a beat count/recognition
Tom Brennan KD5VIJ, CCC-A/SLP
web page http://titan.sfasu.edu/~g_brennantg/sonicpage.html
On Wed, 7 Feb 2007, [iso-8859-1] Ole Kühl wrote:
> Date: Wed, 07 Feb 2007 11:20:31 +0100
> From: "[iso-8859-1] Ole Kühl" <kyhl@xxxxxxx>
> To: AUDITORY@xxxxxxxxxxxxxxx
> Subject: Pitch learning
> Martin Braun wrote:
> "It's timbre learning. Automatic association of timbre and chroma, the latter
> being derived from the summation of octave-spaced partials, results in a
> secure "secondary" pitch perception.
> An analogy is chord identification. Highly trained musicians can identify
> chord categories from the timbre of a chord."
> I find this idea very interesting, and believe it to be true as I have long suspected it to be the case that chord learning is actually timbre learning. If there is any empirical evidence for this I would be most grateful for the particulars.
> Incidentally, this seems to be not only a higher order function, but also an example of what in the lingo of cognitive semantics would be called conceptual integration or "blending". We could say that we conceptualize a pitch through the integration of information from two different domains: a perceived timbre domain and a learned schema for partials.
> Ole Kühl