28a. pitch & music (ch 12)

Question 1

Octave def? How many notes? Ex?

Answer 1

• A sequence of notes in which the fundamental frq of the last note is DOUBLE the fundamental frq of the first note
• 13 notes!
  –> 12 natural
  –> 5 sharps/flats
• A4 = 220 Hz
• A5 = 440 Hz

Question 2

Semitones def?

Answer 2

The 12 proportionally equivalent intervals between the notes in an octave

Question 3

What does it mean that semitones are perceptually equivalent?

Answer 3

• difference in PITCH between successive notes is perceived as constant
• actual difference in fund. FRQ is increasing as notes increase in frequency

Question 4

What is the relation between notes separated by octaves? (ex. C3, C4, C5…?)

Answer 4

• they are all integer multiples of the SAME fundamental frequency
• each octave is an increase of DOUBLE

(C3 x2 = C4)

Question 5

Tone chroma def? AKA? How is it shown on the helix?

Answer 5

• refers to the differences in pitch within an octave
• AKA “pitch class”
• represented by the letters (A-G) and by the color of the helix

Question 6

Tone height def? How is it shown on the helix?

Answer 6

• refers to the octave in which a tone appears
• represented by the numbers (higher numbers = higher frq) and vertical height of the helix

Question 7

Octave generalization? LIMITATION?

Answer 7

• we can recognize tunes/melodies when they’re played in ANY different octaves
• LIMIT:
• the octaves of the notes in the melody must be consistent
• can’t recognize songs if the notes are played in several different, mixed octaves

Question 8

Transpositions def?

Answer 8

• 2 versions of the same melody, containing the same intervals but starting at diff. notes

Question 9

Harmonicity def?

Answer 9

The extent to which the harmonics of notes played in combination (simultaneously or sequentially) coincide with the harmonics of a note with a lower fundamental frequency

Question 10

Harmonicity: class examples of consonance vs dissonance?

Answer 10

• C & G are consonant –> they have harmonics that coincide with the harmonics of a lower note “Q”
• (C & G’s harmonics sometimes overlap)
• C & D flat are dissonant –> their harmonics never overlap
• there is no lower note that coincides with both C & D flat

Question 11

Which side of the brain is more active for processing changes in pitch? For processing timing of sounds? conclusion?*

Answer 11

• RIGHT = pitch
• LEFT = timing
• indirect evidence that there may be specialized regions of the brain for music and speech processing

Question 12

Which side of the brain is more specialized for speech? for music? **

Answer 12

• RIGHT = speech
• LEFT = music

Question 13

What is the tritone paradox? Best explanation for why?

Answer 13

• change in pitch that is 1/2 an octave
• ex. C –> F#
• some people perceive that change as ascending, and some perceive it as descending
• it’s actually arbitrary
  –> component frqs are split evenly higher/lower than the original C
• best explanation: linked to the type of speech you heard as a child

Question 14

Circularity in perceived pitch meaning?

Answer 14

• you can create sounds / sound patterns that seem like they’re increasing in pitch, but really aren’t

Question 15

Periodicity pitch AKA virtual pitch def? How?

Answer 15

• the constancy of a complex tone’s pitch when the fundamental frequency (and/or other lower harmonics) are eliminated
• the diff. between each harmonic IS the fund. frq, so we assume that’s the original
• *has to be exact multiples, not just the right intervals