Details Details PDF BIBTEX RIS Title Pitch Strength of Residual Sounds Estimated Through Chroma Recognition by Absolute-Pitch Possessors Journal title Archives of Acoustics Yearbook 2010 Volume vol. 35 Issue No 3 Authors Rogowski, Piotr ; Rakowski, Andrzej Keywords absolute pitch ; residual sounds ; virtual pitch Divisions of PAS Nauki Techniczne Coverage 331-347 Publisher Committee on Acoustics PAS, PAS Institute of Fundamental Technological Research, Polish Acoustical Society Date 2010 Type Artykuły / Articles Identifier DOI: 10.2478/v10168-010-0028-y Source Archives of Acoustics; 2010; vol. 35; No 3; 331-347 References Aranowska E. (2000), The problem of sample size in the 2AFC procedure [in Polish], null, II, 617. ; Attneave F. (1971), Pitch as medium: A new approach to psychophysical scaling, American Journal of Psychology, 84, 147. ; Bachem A. (1937), Various types of absolute pitch, Journal of the Acoustical Society of America, 9, 146. ; Burns E. (1983), Hearing-Physiological Bases and Psychophysics. ; Deutsch D. (2006), Absolute pitch among American and Chinese conservatory students: Prevalence, differences, and evidence for a speech-related critical period (L), Journal of the Acoustical Society of America, 119, 719. ; Fastl H. (1971), Uber Tonhohen empfindungen bei Rauschen, 25, 350. ; Houtsma A. (2007), Experiments on pitch perception: Implications for music and other processes, Archives of Acoustics, 32, 3, 475. ; Houtsma A. (1972), Perception of musical intervals: Evidence from musical interval recognition, Journal of the Acoustical Society of America, 51, 520, doi.org/10.1121/1.1912873 ; Houtsma A. (1990), Pitch identification and discrimination for complex tones with many harmonics, Journal of the Acoustical Society of America, 87, 304. ; Hsieh I-H. (2007), Temporal integration in absolute identification of musical pitch, Hearing Research, 233, 108. ; Makomaska S. (2008), <i>The prevalence of various kinds of absolute pitch in students at Polish music schools</i> [in Polish], unpublished doctoral dissertation, Warsaw University. ; Makomaska S. (2008), Absolute pitch and it's role in the system of music communication, Interdisciplinary Studies in Musicology, 7, 43. ; Miyazaki K. (2007), Absolute pitch and its implications for music, Archives of Acoustics, 32, 3, 529. ; Moore B. (1997), Introduction to Psychology of Hearing. ; Ohgushi K. (1991), Perception of the musical pitch of high frequency tones, null. ; Pollack J. (1975), Auditory informational masking, Journal of the Acoustical Society of America, 57, 1, 5. ; Rakowski A. (1968), <i>Pitch of filtered noise</i>, Reports of the 6th International Congress on Acoustics, Tokyo, Japan, A 105. ; Rakowski A. (1976), Tuning of isolated musical intervals (A), Journal of the Acoustical Society of America, 59, 1, 50. ; Rakowski A. (1978), Kategorialna percepcja wysokości dźwięku w muzyce], State College of Music (PWSM). ; Rakowski A. (2009), The domain of pitch in music, Archives of Acoustics, 34, 4, 429. ; Rakowski A. (1985), Deviations from equal temperament in tuning isolated musical intervals, Archives of Acoustics, 10, 95. ; Rakowski A. (2007), Absolute pitch: Common traits in music and language, Archives of Acoustics, 32, 1, 5. ; Rakowski A. (2008), Absolute pitch as a measuring device in psychoacoustic experiments, null. ; Ritsma R. (1967), Frequencies Dominant in the Perception of the Pitch of Complex sounds, Journal of the Acoustical Society of America, 42, 1, 191. ; Schouten J. (1940), The perception of pitch, Philips Technical Review, 5, 286. ; Schouten J. (1962), Pitch of the residue, Journal of the Acoustical Society of America, 34, 1418. ; Ward W. (1954), Subjective musical pitch, Journal of the Acoustical Society of America, 26, 369.