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pitch, attack, steady-state

I'm seeking evidence for or against the claim that, when listening
to musical instruments, pitch perception relies primarily on the
sustained or steady-state portion of the tone, rather than the
attack transient.

My own search has turned up papers on similar topics (Robinson &
Patterson, 1995; Campbell & Heller, 1979; Gordon, 1987), but nothing
that addresses my question in particular.

Many thanks for any references.

Sincerely yours,
Paul von Hippel
Post-Doctoral Fellow
School of Music
Ohio State University
1866 College Road
Columbus, OH 43210
614 292-7321

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