I found the following in the Frankfurt City and University Library:
Albrecht Schneider, _Tonho"he Skala Klang: Akustische, tonmetrische und psychoakustische Studien auf vergleichender Grundlage_ (Band 89 der Orpheus-Schriftenreihe zu Grundfragen der Musik, Orpheus Verlag, Bonn 199= 7)
Although I am generally cautious about books in this series, the house press of Prof. Martin Vogel, there is some interesting material here.
The first part has some general remarks about comparative-systematic musicology with an extended essay on functional models of musical perception. The second and central part of this 597 page _Habilitation_ concerns the acoustics and measurements of idiophones, and treats the problematic relationship between complex timbres and equidistant tunings = in African and Southeastasian idiophones. The third part treats the data of the second part in terms of the relationship between psychoacoustic and comparative-systematic musicology.
The essay on (primarily pitch) perception is quite up-to-date, and list readers into psychoacoustics who can hack the German should enjoy it. The=
second part - which is more in my line of work - contains a few errors in=
ethnographic data, and makes a more fundamental error in measuring museum=
gamelan instruments without - surprisingly - considering their functional=
ensemble roles and ignoring the fact that gamlean repertoire is also sung=
or played on instruments with integer-related harmonic spectra. The measurements, however, are very interesting, and illustrate spectra widel= y deviating from the best models. There is also some suggestive data here about subharmonic components in the spectra of struck idiophones.
While I am too unfamiliar with the music of the African instruments Schneider presents, the conclusion I raise from the Southeastasian data i= s that although the divergence from from simple harmonic spectra is probabl= y one reason that intervals between perceived fundamentals are able to vary=
greatly from the simplest ratios, the variation in the divergence (both from instrument to instrument and among the bars or gongs of a single instrument) is so great that it would be extremely unlikely that the tunings are directly related to the timbral structures. There is very likely, however, a lower-level perceptual mechanism at work in which timbres are grouped together in rather broad classes of spectra and envelopes. The streaming of a complex ensemble of idiophones into musical-functional roles (e.g. distinguishing a gender from a saron from = a bonang from a kenong) would then be constructed through this mechanism.