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The Dependence of Pitch on Harmonic Sound Spectra

It has long been known that the pitch of musical sounds depends not only on frequency, but also on loudness and timbre. For example, clarinets often seem to be too fiat in relation to the tuning of other orchestral instruments; also violin players tend to play too sharp in the higher positions of the G-string. Other manifestations of the relationship between pitch and timbre are the pitch change during the reverberant decay or the effect that music played behind the stage in opera houses normally seems to be too fiat in tuning. The investigation reported here was undertaken to find out in which direction and to what extent the sound spectrum influences the pitch, when subjects with and without experience in musical sounds were listening. Two principal questions for which clarification was sought were: l. Does the smallest frequency difference which can be discriminated depend on the sound spectrum when sounds of equal spectrum are compared? 2. When two sounds of identical fundamental frequency, but with different sound spectra, are compared, which one seems to have the higher pitch? All listening tests were carried out in the same way. Fig. l shows the rhythm of the test tones and breaks. Each pair of test tones was played three times in order to give subjects more certainty. The duration of the test tones and of the break between both test tones of a pair was two-thirds of a second. Experiments with shorter test tones showed that subjects became more uncertain. When the pace of the test tones was slower, by up to one second for each tone, the discrimination of pitch did not improve. When the duration of the test tones was longer than one second, several subjects tended to attend in an analytical way by attempting to concentrate upon the fundamentals of the sounds and to compare only these components. This way of listening is not normal in a genuine musical situation, and the faster pace was therefore preferred as shown in Fig. 1.