THRESHOLDS FOR THE DETECTION OF INHARMONICITY IN COMPLEX TONES
THRESHOLDS FOR THE DETECTION OF INHARMONICITY IN COMPLEX TONES
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DOI：
10.1121/1.391937
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发表时间：
1985-01-01
影响因子：
2.4
通讯作者：
GLASBERG, BR
中科院分区：
文献类型：
--
作者：
MOORE, BCJ;PETERS, RW;GLASBERG, BR
测量了检测复杂音调中不和谐的阈值。受试者需要区分其分音全部处于精确谐波频率的复杂音调与其中一个分音稍微失调的类似复杂音调。在 2 个替代强制选择任务中，对每个部分依次估计了允许 71% 正确识别的误调。在实验 I 中，基频为 100、200 或 400 Hz，复杂音调包含每个组件 60 dB SPL（沙压级别）的相同级别的前 12 个谐波。刺激持续时间为 410 毫秒。对于每个基频，当以 Hz 表示时，阈值大致恒定，平均值为 .apprx。 4赫兹（范围2.4-7.3赫兹）。在实验 II 中，基频固定为 200 Hz，测量刺激持续时间为 50、110、410 和 1610 ms 的不和谐阈值。对于五次以上的谐波，阈值从 < 1 Hz 增加到 .apprx。 40 Hz，持续时间从 1610-50 ms 减少。对于较低的谐波（直到第 4 次），阈值随持续时间的变化要小得多，而对于 3 个较短持续时间的阈值，每个持续时间的阈值大致是谐波频率的恒定比例。高次谐波和低次谐波的不和谐检测方式不同。对于低和声，不和谐的分音似乎从整个复杂的音调中脱颖而出。对于高谐波，失谐被检测为一种拍频或粗糙度，大概反映了失谐谐波相对于其他谐波的相对相位变化的敏感性。结合音高感知理论讨论了结果。
Thresholds were measured for the detection of inharmonicity in complex tones. Subjects were required to distinguish a complex tone whose partials were all at exact harmonic frequencies from a similar complex tone with one of the partials slightly mistuned. The mistuning which allowed 71% correct identification in a 2-alternative forced-choice task was estimated for each partial in turn. In experiment I the fundamental frequency was either 100, 200, or 400 Hz, and the complex tones contained the first 12 harmonics at equal levels of 60 dB SPL [sand pressure level] per component. The stimulus duration was 410 ms. For each fundamental the thresholds were roughly constant when expressed in Hz, having a mean value of .apprx. 4 Hz (range 2.4-7.3 Hz). In experiment II the fundamental frequency was fixed at 200 Hz, and thresholds for inharmonicity were measured for stimulus durations of 50, 110, 410 and 1610 ms. For harmonics above the 5th the thresholds increased from < 1 Hz to .apprx. 40 Hz as duration was decreased from 1610-50 ms. For the lower harmonics (up to the 4th) threshold changed much less with duration, and for the 3 shorter durations thresholds for each duration were roughly a constant proportion of the harmonic frequency. Inharmonicity is detected in different ways for high and low harmonics. For low harmonics the inharmonic partial appears to stand out from the complex tone as a whole. For high harmonics the mistuning is detected as a kind of beat or roughness, presumably reflecting a sensitivity to the changing relative phase of the mistuned harmonic relative to the other harmonics. The results are discussed in relation to theories of pitch perception.