Re: Perception of sequential tones as simultaneous tones.

[beaucham <beaucham@xxxxxxxxxxxxxxxxxxxxxx>]

Note that in most recordings there is a fair amount of reverberation. This
can turn a rapid sequence of notes into a "chord" in much the same way as
holding a pedal down on a piano while playing an arpeggio creates a chord.
Any testing of the perception of rapid pitch sequences should take
the method of tone production into account.

Jim Beauchamp
University of Illinois at Urbana-Champaign



On Sun, 26 Jun 2005, Emilio Renard wrote:

> Thank you for your answer. I understand your
> explanation, but I refer
> to something more basic: to the perception of rapid
> tones and physically not simultaneous as simultaneous.
> Per exemple in the line of the researches of Rasch
> about real simultaneity in poliphonic music (although
> here the sounds are normally relatively larges and
> then, intuitively, I think that it seem more normal
> that they are perceived as simultaneous) or the
> phenomenon of the aparent temporal continuity (here
> there is sounds no simultaneous that are percived as
> simultaneous), or perhaps (I still have that read the
> paper) in the case of the "Pitch for non-simultaneous
> succesive harmonics" (Hall & Peters, 1981 JASA, 69).
>
> Emilio Renard
>
> Dorrell <aud@xxxxxxxx> escribió:
>
> > This may be stating the obvious, but if the notes
> > from a chord are
> > played sequentially, and not necessarily very
> > rapidly, then they will be
> > heard "as a chord". So, for example, if you play C,
> > E and G
> > sequentially, you will perceive the chord C major
> > (=CEG). This implies
> > that the response of the neurons in the cortical map
> > (or maps) that
> > respond to chords must be somewhat independent of
> > whether the different
> > tones involved are simultaneous or sequential (and
> > at least some of the
> > neurons involved must have a response function where
> > the neuron
> > responding to a particular tone remains active after
> > that tone has
> > finished). In which case perception of the chord is
> > not a very good
> > criterion for determining perception of
> > simultaneity. (My guess is that
> > such a "chord-perception" cortical map actually
> > exists to perceive
> > relationships between different pitch values within
> > a single speech
> > melody, and because of how it operates, it just
> > happens to be able to
> > respond to relationships between simultaneous tones
> > as well.)
> >
> > Philip Dorrell.
> >
> > Emilio Renard wrote:
> >
> > >Dear all:
> > >
> > >I am a new member of Auditory list. (I´m sorry!, I
> > >don´t speak english, so my english is bad).
> > >
> > >I would like know if there is some studies about
> > the
> > >perception of sequentials tones as simultaneous
> > tones.
> > >More specifically, I would like know if a sequence
> > of
> > >two (musical) tones, they very rapid and without
> > >silence between they, can be heard simultaneously,
> > as
> > >a chord. And if it is so, I would like know the
> > >physical conditions for that it occur.
> > >
> > >Sincerely, Emilio.
> > >
> > >
> > >
> > >
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> > >
> > >
> > >
> >
>
>
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