Subject: AW: experiment on roughness of complex tones From: "reinifrosch@xxxxxxxx" <reinifrosch@xxxxxxxx> Date: Wed, 5 May 2010 10:13:35 +0000 List-Archive:<http://lists.mcgill.ca/scripts/wa.exe?LIST=AUDITORY>------=_Part_1453_2785302.1273054415478 Content-Type: text/plain; charset=UTF-8 Content-Transfer-Encoding: quoted-printable Hello Alex, =20 There are several published experiments, on the topic that you have mention= ed, after Plomp and Levelt (1965). Since the experimental part of that pape= r in my opinion is very good, I include it in the following list (which is = in alphabetical order): =20 R. Frosch (2002), Sections 3.2 (Consonant two-tones), 3.3 (Remarks on conso= nance theories), 3.4 (Why are thirds beautiful), in "Meantone Is Beautiful= , Studies on Tunings of Musical Instruments", Peter Lang, Bern, pp. 44-66. =20 R. Frosch (2007), Psycho-Acoustic Experiments on the Sensory Consonance of = Musical Two-Tones, Canadian Acoustics, Vol. 35, No. 3, 38-45. =20 D. E. Hall and J. T. Hess (1984), Perception of Musical Interval Tuning, Mu= sic Perception 2, 166-195. =20 A. Kameoka and M. Kuriyagawa (1969a), Consonance Theory Part I: Consonance = of Dyads, JASA 45, 1451-1459.=20 =20 A. Kameoka and M. Kuriyagawa (1969b), Consonance Theory Part II: Consonance= of Complex Tones and its Calculation Method, JASA 45, 1460-1469. =20 R. Plomp and W. J. M. Levelt (1965), Tonal Consonance and Critical Bandwidt= h, JASA 38, 548-560. =20 J. Vos (1986), Purity Ratings of Tempered Fifths and Major Thirds, Music Pe= rception 3, 221-258. =20 With best wishes, =20 Reinhart. ----Urspr=C3=BCngliche Nachricht------------------------------- Von: mentalosmosis@xxxxxxxx Datum: 05.05.2010 08:23 An: <AUDITORY@xxxxxxxx> Betreff: experiment on roughness of complex tones. =20 Hi there, I would like to know if there are any other important experiment on roughne= ss or psychoacoustical dissonance after Plomp & Levelt, especially if u= ndertaken with complex tones and musical instruments. I hopefully wish to design new experiments, and I need some references plea= se. thanks Alex ------------------------------------------------------------------------ Reinhart Frosch, Dr. phil. nat., r. PSI and ETH Zurich, Sommerhaldenstr. 5B, CH-5200 Brugg. Phone: 0041 56 441 77 72. Mobile: 0041 79 754 30 32. E-mail: reinifrosch@xxxxxxxx . =20 =20 ------=_Part_1453_2785302.1273054415478 Content-Type: text/html;charset="UTF-8" Content-Transfer-Encoding: quoted-printable <html><head><style type=3D'text/css'> <!-- div.bwmail { background-color:#ffffff; font-family: Trebuchet MS,Arial,Helv= etica; font-size: 12px; margin:0; padding:0;} div.bwmail p { margin:0; padding:0; } div.bwmail table { font-family: Trebuchet MS,Arial,Helvetica; font-size: 12= px; } div.bwmail li { margin:0; padding:0; } --> </style> </head><body><div class=3D'bwmail'><P>Hello Alex,</P> <P> </P> <P>There are several published experiments, on the topic that you have ment= ioned, after Plomp and Levelt (1965). Since the experimental part of that p= aper in my opinion is very good, I include it in the following list (w= hich is in alphabetical order):</P> <P> </P> <P>R. Frosch (2002), Sections 3.2 (Consonant two-tones), 3.3 (Remarks = on consonance theories), 3.4 (Why are thirds beautiful), in "Meantone= Is Beautiful, Studies on Tunings of Musical Instruments", Peter Lang, Bern= , pp. 44-66.</P> <P> </P> <P>R. Frosch (2007), Psycho-Acoustic Experiments on the Sensory Consonance = of Musical Two-Tones, Canadian Acoustics, Vol. 35, No. 3, 38-45.</P> <P> </P> <P>D. E. Hall and J. T. Hess (1984), Perception of Musical Interval Tuning,= Music Perception 2, 166-195.</P> <P> </P> <P>A. Kameoka and M. Kuriyagawa (1969a), Consonance Theory Part I: Consonan= ce of Dyads, JASA 45, 1451-1459. </P> <P> </P> <P>A. Kameoka and M. Kuriyagawa (1969b), Consonance Theory Part II: Consona= nce of Complex Tones and its Calculation Method, JASA 45, 1460-1469.</P> <P> </P> <P>R. Plomp and W. J. M. Levelt (1965), Tonal Consonance and Critical Bandw= idth, JASA 38, 548-560.</P> <P> </P> <P>J. Vos (1986), Purity Ratings of Tempered Fifths and Major Thirds, Music= Perception 3, 221-258.</P> <P> </P> <P>With best wishes,</P> <P> </P> <P>Reinhart.</P> <P><BR>----Urspr=C3=BCngliche Nachricht-------------------------------<BR>V= on: mentalosmosis@xxxxxxxx<BR>Datum: 05.05.2010 08:23<BR>An: <AUDITORY@xxxxxxxx= LISTS.MCGILL.CA><BR>Betreff: experiment on roughness of complex tones.<B= R></P> <DIV> </DIV> <DIV>Hi there,</DIV> <DIV><BR></DIV> <DIV>I would like to know if there are any other important experiment on ro= ughness or psychoacoustical dissonance after Plomp & Levelt, especially= if undertaken with complex tones and musical instruments.</DIV> <DIV><BR></DIV> <DIV>I hopefully wish to design new experiments, and I need some references= please.</DIV> <DIV><BR></DIV> <DIV>thanks</DIV> <DIV>Alex</DIV> <DIV>----------------------------------------------------------------------= --</DIV> <P>Reinhart Frosch,<BR>Dr. phil. nat.,<BR>r. PSI and ETH Zurich,<BR>Sommerh= aldenstr. 5B,<BR>CH-5200 Brugg.<BR>Phone: 0041 56 441 77 72.<BR>Mobile: 004= 1 79 754 30 32.<BR>E-mail: reinifrosch@xxxxxxxx .<BR></P> <P> </P> <P><BR> </P><BR></div></body></html> ------=_Part_1453_2785302.1273054415478--