Pitch
| Abstract | Some sounds have pitch, some do not. A tuba’s notes are lower pitched than a flute’s, but the fuzz from an untuned radio has no discernible pitch. Pitch is an attribute in virtue of which sounds that possess it can be ordered from “low” to “high”. Given how audition works, physics has taught us that frequency determines what pitch a sound auditorily appears to have | |||||||||
| Keywords | Pitch Audible qualities | |||||||||
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Similar books and articlesAndranick Tanguiane (1993). An Explanation of Logarithmic Pitch Scaling and of Insensitivity of the Ear to the Signal Phase. In M. G. Boroda (ed.), Fundamentals of Musical Language: An Interdisciplinary Approach. Universitätsverlag Dr. N. Brockmeyer.
Gilbert Murray (1930). Pitch Accent and Metrical Stress. The Classical Review 44 (01):5-6.
Fiona Macpherson (1999). Perfect Pitch and the Content of Experience. Philosophy and Anthropology 3 (2).
Casey O'Callaghan (2011). Hearing Properties, Effects or Parts? Proceedings of the Aristotelian Society 111 (3pt3):375-405.
David Beaver & Dan Velleman (2011). The Communicative Significance of Primary and Secondary Accents. Lingua.
Sean D. Kelly (2005). The Puzzle of Temporal Experience. In Andrew Brook (ed.), Cognition and the Brain: The Philosophy and Neuroscience Movement. Cambridge: Cambridge University Press.
Sarah C. Creel & Melanie A. Tumlin (2012). Online Recognition of Music Is Influenced by Relative and Absolute Pitch Information. Cognitive Science 36 (2):224-260.
Candace Brower (2008). Paradoxes of Pitch Space. Music Analysis 27 (1):51-106.
Karl Aschenbrenner (1972). What is Pitch?A Note on the Dissociation of Language and Nature. Inquiry 15 (1-4):458 – 462.
Bruce Krajewski (1994). A Pitch of Philosophy: Autobiographical Exercises (Review). Philosophy and Literature 18 (2):363-365.
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