Music Perception, Pitch, and the Auditory System This Review Comes from a Themed Issue on Sensory Systems Edited Pitch Relations across Time—relative Pitch Relative Pitch—behavioral Evidence Neural Mechanisms of Relative Pitch Representation of Simultaneous Pitches

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Josh H. McDermott;A. Oxenham;Tony Movshon;David P Corey

音乐的感知取决于许多特定的文化因素，但也受到听觉系统特性的限制。这在涉及音高的音乐方面表现得最好。音高序列是根据相对音高和绝对音高来听的。音高组合产生了成分音符中不存在的新特性。在这篇综述中，我们讨论了基本的听觉机制有助于这些和其他感知效果的音乐。音乐涉及对声音的操纵。因此，我们对音乐的感知受到听觉系统编码和保留声学信息的方式的影响。这不是一个新的课题，但最近的方法和研究结果作出了重要贡献。我们将回顾这些沿着在这一领域的一些经典的发现。了解音乐中发生的听觉过程有助于揭示为什么音乐是这样的，甚至可能提供一些关于其起源的线索。音乐也提供了一个强大的刺激，发现有趣的听觉现象;这些可能反过来揭示听觉机制，否则会被忽视或低估。我们将主要关注音高在音乐中的作用。音高是音乐作品中声音变化的主要尺度之沿着。当然，其他维度也很重要，但基础科学和音乐之间的联系在音高方面最为紧密，这主要是因为我们知道听觉系统是如何分析音高的。例如，音色（见词汇表）[1]和节奏[2]与基本感知机制的联系就不那么紧密，尽管它们代表了当前和未来研究的有趣领域。音高音高是声音周期性的感知相关性。根据定义，周期性声音具有在时间上重复的波形（图1a）。它们通常具有谐波频谱（图1b），其频率都是共同基频（F0）的倍数。F0是周期的倒数-波形重复一次所需的时间。然而，F0不一定是声音的最显著频率（图1b），甚至不一定是实际存在的频率。虽然大多数人声和乐器都能产生很强的F0，但许多音频播放设备（如手持收音机）都没有能够再现低频的扬声器，因此在听音乐时，基频有时并不存在。具有特定F0的声音通常被感知为…

The perception of music depends on many culture-specific factors, but is also constrained by properties of the auditory system. This has been best characterized for those aspects of music that involve pitch. Pitch sequences are heard in terms of relative as well as absolute pitch. Pitch combinations give rise to emergent properties not present in the component notes. In this review we discuss the basic auditory mechanisms contributing to these and other perceptual effects in music. Introduction Music involves the manipulation of sound. Our perception of music is thus influenced by how the auditory system encodes and retains acoustic information. This topic is not a new one, but recent methods and findings have made important contributions. We will review these along with some classic findings in this area. Understanding the auditory processes that occur during music can help to reveal why music is the way it is, and perhaps even provide some clues as to its origins. Music also provides a powerful stimulus with which to discover interesting auditory phenomena; these may in turn reveal auditory mechanisms that would otherwise go unnoticed or under-appreciated. We will focus primarily on the role of pitch in music. Pitch is one of the main dimensions along which sound varies in a musical piece. Other dimensions are important as well, of course, but the links between basic science and music are strongest for pitch, mainly because something is known about how pitch is analyzed by the auditory system. Timbre (see Glossary) [1] and rhythm [2], for instance, are less well linked to basic perceptual mechanisms , although these represent interesting areas for current and future research. Pitch Pitch is the perceptual correlate of periodicity in sounds. Periodic sounds by definition have waveforms that repeat in time (Figure 1a). They typically have harmonic spectra (Figure 1b), the frequencies of which are all multiples of a common fundamental frequency (F0). The F0 is the reciprocal of the period—the time it takes for the waveform to repeat once. The F0 need not be the most prominent frequency of the sound, however (Figure 1b), or indeed even be physically present. Although most voices and instruments produce a strong F0, many audio playback devices, such as handheld radios, do not have speakers capable of reproducing low frequencies, and so the fundamental is sometimes not physically present when music is listened to. Sounds with a particular F0 are generally perceived …

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