Harmony: a psychoacoustical approach

Background.- 1.1 Music Theory.- 1.1.1 Introduction.- 1.1.2 Single Chords.- 1.1.3 Pairs of Chords.- 1.1.4 Chord Progressions.- 1.1.5 A Scientific Basis?.- 1.2 Physically Based Theories.- 1.2.1 Introduction.- 1.2.2 Frequency Ratios.- 1.2.3 Harmonic Series.- 1.2.4 Beats.- 1.2.5 Combination Tones.- 1.2.6 Periodicity.- 1.3 Psychologically Based Theories.- 1.3.1 Introduction.- 1.3.2 Cognitive Structures.- 1.3.3 Generative Grammars.- 1.3.4 Mathematical Groups.- 1.4 Towards a Psychophysical Theory.- 1.4.1 From Rameau to Terhardt.- 1.4.2 The Psychoacoustical Approach.- 1.4.3 Outline of the Book.- 2. Psychoacoustics.- 2.1 Philosophy of Perception.- 2.1.1 Hardware and Software.- 2.1.2 Matter, Experience and Information.- 2.1.3 Perception, Sensation and Cognition.- 2.1.4 Tone, Tone Sensation and Note.- 2.2 Auditory Sensation.- 2.2.1 Loudness and Timbre.- 2.2.2 Spectral Analysis.- 2.2.3 Sensory Memory.- 2.3 Extraction of Information.- 2.3.1 Noticing and Salience.- 2.3.2 Categorical Perception.- 2.3.3 Holistic Perception and Pattern Recognition.- 2.3.4 Ambiguity, Multiplicity and Context.- 2.4 Tone Sensation.- 2.4.1 Terminology.- 2.4.2 Pure Tone Sensations.- 2.4.3 Complex Tone Sensations.- 2.4.4 Pitch Ambiguity of Complex Tones.- 2.4.5 Subharmonic Pitches of Pure Tones.- 2.4.6 Melodic Streaming.- 2.5 Pitch Perception.- 2.5.1 Dimensionality.- 2.5.2 Continuous Pitch Scales.- 2.5.3 Categorical Pitch Perception.- 2.5.4 Musical Training.- 2.5.5 Perfect Pitch.- 3. Psychomusicology.- 3.1 Conditioning.- 3.1.1 Sensory Versus Cultural.- 3.1.2 Prenatal Conditioning.- 3.2 Consonance.- 3.2.1 Introduction.- 3.2.2 Roughness and Tonalness.- 3.2.3 Pitch Commonality and Pitch Distance.- 3.3 Musical Pitch.- 3.3.1 Octave Equivalence.- 3.3.2 The Chromatic Scale.- 3.3.3 Intonation.- 3.4 Tonality.- 3.4.1 Introduction.- 3.4.2 The Root of a Chord.- 3.4.3 The Tonic of a Scale.- 3.4.4 Major/Minor and Emotion.- 3.4.5 Chord Progressions.- 4. Model.- 4.1 General Aspects.- 4.1.1 Aim, Form and Implementation.- 4.1.2 Formulation and Assessment.- 4.1.3 Culture-Specific Aspects.- 4.1.4 Comparison with Terhardt's Model.- 4.2 Input.- 4.2.1 Pitch Category.- 4.2.2 Experiments.- 4.2.3 Auditory Level.- 4.2.4 Applications.- 4.3 Masking and Audibility.- 4.3.1 Critical Bandwidth.- 4.3.2 Masking.- 4.3.3 Audibility.- 4.4 Recognition of Harmonic Pitch Patterns.- 4.4.1 Harmonic Template.- 4.4.2 Complex Tone Sensations.- 4.4.3 Tonalness.- 4.5 Salience.- 4.5.1 Multiplicity.- 4.5.2 Tone Salience.- 4.5.3 Chroma Salience.- 4.6 Sequential Pitch Relationship.- 4.6.1 Pitch Commonality.- 4.6.2 Pitch Distance.- 4.6.3 Pitch Analysis Experiment.- 4.6.4 Similarity Experiments.- 5. Experiments.- 5.1 General Method.- 5.1.1 Results and Modelling.- 5.1.2 Cultural Effects.- 5.2 Multiplicity.- 5.2.1 Introduction.- 5.2.2 Method.- 5.2.3 Results.- 5.2.4 Modelling.- 5.2.5 Conclusions.- 5.3 Pitch Analysis.- 5.3.1 Introduction.- 5.3.2 Method.- 5.3.3 Results.- 5.3.4 Modelling.- 5.3.5 Conclusions.- 5.4 Similarity of Piano Tones.- 5.4.1 Introduction.- 5.4.2 Method.- 5.4.3 Results.- 5.4.4 Grouping.- 5.4.5 Conclusions.- 5.5 Similarity of Synthetic Tones I.- 5.5.1 Introduction.- 5.5.2 Method.- 5.5.3 Results.- 5.5.4 Grouping.- 5.5.5 Conclusions.- 5.6 Similarity of Synthetic Tones II.- 5.6.1 Introduction.- 5.6.2 Method.- 5.6.3 Grouping and Results.- 5.6.4 Modelling.- 5.6.5 Conclusions.- 5.7 Similarity of Chords.- 5.7.1 Introduction.- 5.7.2 Method.- 5.7.3 Results.- 5.7.4 Modelling.- 5.7.5 Conclusions.- 5.8 Discussion.- 5.8.1 Modelling.- 5.8.2 Musical Universals?.- 6. Applications.- 6.1 Simultaneities.- 6.1.1 Masking.- 6.1.2 Spectral Dominance.- 6.1.3 Multiplicity.- 6.1.4 Tonalness.- 6.1.5 Pitch Analyses.- 6.1.6 Chroma Salience and the Root.- 6.2 Progression.- 6.2.1 Pitch Commonality.- 6.2.2 Pitch Distance.- 6.2.3 Tonicity.- 6.2.4 Implied Triad/Scale.- 6.2.5 Key Profile.- 6.3 Pieces.- 6.3.1 Analysis.- 6.3.2 Composition.- Glossary of Symbols.- References.