| Project/Area Number |
01510069
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| Research Category |
Grant-in-Aid for General Scientific Research (C)
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| Allocation Type | Single-year Grants |
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| Research Field |
Psychology
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| Research Institution | Kyushu Institute of Design |
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Principal Investigator |
TSUMURA Takashi (1991) Kyushu Institute of Design, Faculty of Design, Professor, 芸術工学部, 教授 (20038962)
寺西 立年 (1989-1990) 九州芸術工科大学, 芸術工学部, 教授 (50038981)
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| Co-Investigator(Kenkyū-buntansha) |
NAKAJIMA Yoshitaka Kyushu Institute of Design, Faculty of Design, Associate Professor, 芸術工学部, 助教授 (90127267)
津村 尚志 九州芸術工科大学, 芸術工学部, 教授 (20038962)
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| Project Period (FY) |
1989 – 1991
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| Project Status |
Completed (Fiscal Year 1991)
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| Budget Amount *help |
¥1,800,000 (Direct Cost: ¥1,800,000)
Fiscal Year 1991: ¥400,000 (Direct Cost: ¥400,000)
Fiscal Year 1990: ¥700,000 (Direct Cost: ¥700,000)
Fiscal Year 1989: ¥700,000 (Direct Cost: ¥700,000)
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| Keywords | Pitch Perception / Complex Tones / Shepard's Illusion / Movement Perception / Common Fate Principle / Cognitive Threchold / Vowel Perception / Melody / 無限音階複合音 / 動的な音の高さ / メロディ知覚 / シェパ-ドの錯覚 |
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| Research Abstract |
Dynamic pitch perception, as well as static pitch perception, is important in melody cognition in a broad sense. The present research aimed to examine the relationship between the movements of spectral components and the corresponding perceptual impressions to examine the mechanism of relative pitch perception.
We generated complex tones with a fixed trapezoidal spectral envelope on the coordinates of logarithmic frequency and sound pressure level. They had a non-octave spectral periodicity. We asked subjects to judge the relative pitches of these tones using a paired comparison procedure, and found that the circularity (or the failure of transitive law) in pitch perception as Shepard (1964) had shown appeared even when thud-periodicity was non-octave or a little irregular (against Shepard's explanation using the notion of tone chrome).
We also made inharmonic complex tones whose components either ascended or descended together with the same speed (on the dimension of logarithmic frequency), and called them backgrounds. Another component either ascending or descending with the same speed was added to each of them as the signal. It turned out that signals moving in the opposite direction from the background were easier to hear out. We also used inharmonic Japanese vowels as signals, and got similar results by measuring their cognitive thresholds under fixed backgrounds.
Our general conclusion was that, when many spectral components move together in the same direction with similar speeds, they cause a single perception of an ascending or descending pitch. This idea could be derived from the common fate principle of Gestalt psychology. Our study showed the applicability of this principle to inharmonic complex tones for the first time.
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