TUNING digest 1222

>> It must be something else, then, that causes additive patches to sound more
>> like violins when you detune the harmonics.
>
>I suggest that "something else" is vibrato.

I don't think it's vibrato.

>Here is a brief definition of sensory dissonance:
>
>(1) Define the sensory dissonance between two sine waves to be
>given by the psychoacoustic data gathered by Plomp and Levelt. (A
>simple approximation to this is given below).
>
>(2) Given two sounds F and G, one with partials at frequencies f1, f2,
>f3, f4, etc and the other with partials at frequencies g1, g2, g3, g4,
>etc. Define the sensory dissonance between F and G to be the sum of
>all the dissonances between all the sine wave partials, weighted by
>the relative amplitudes of the partials.
>
>Suppose two sine waves are at frequencies f and g. The data
>gathered by Plomp and Levelt can be parameterized as the
>difference between two exponentials
>
> exp(-a |f-g|) - exp(-b |f-g|)
>
>where a and b are constants.

Now we're talking!

>For details, see my paper in JASA, Sept 93.

Journal of Acoustic Science and Astrology?

>If you need a computer program that implements these
>calculations, I can mail you one.

By all means! Intel version?

>Just a simple thought--consonance, having to do with the relationship
>between 2 or more pitches--when the intervals coincide with the harmonic
>overtone series, they are consonant--when they do not or one of them does
>not, they are not consonant, irregardless of how they "sound" to the ear.
>What "sounds" pleasant is, I believe, much more of a learned thing than
>seems to be generally acknowledged. 7/4 "sounds" perhaps a bit dissonant
>in the 12TET world, but I believe is extremely consonant when developed in
>the proper musical setting.

Right. Likes and dislikes are products of behavior.

Carl


SMTPOriginator: tuning@eartha.mills.edu
From: "Paul H. Erlich"
Subject: RE: a definition of sensory dissonance
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