Multiphonics

Has any work ever been done on analyzing the pitch content of multiphonics as produced on wind instruments like the saxophone by interplay of two different pitches?I understand it is not simply a series of sum and difference tones,but a nonlinearly stretched such-a folding which echoes back into complexity.Have any idea on this?

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MATS �LJARE
http://www.angelfire.com/mo/oljare
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Hi Mats. Once, I had the opportunity to visit AT&T's Westchester complex
which housed a pair of oscilloscopes that were built to track radar for
submarines during the Viet Nam war. A composer at The Juilliard named Potter
coordinated with a scientist there to make musique concrete scores. These
were exhibited in a "performance" of recorded music and a gallery of print
outs of the oscilloscope scores. Inside, it moved as you watched it, at a
steady pace.

The other oscilloscope analyzed pitch ingredients. There was this naive
notion that one could look at the pitch frequencies produced by flutist
Julius Baker, or bassoonist Johnny Reinhard, and have an audio blueprint for
matching the unique tone of a teacher to a student. This was not taken too
seriously.

Most interesting, and to the point, I found that with fingered multiphonics
(distinguishing from overblown or underblown notes) there are 2 sets of
longitudal vibrations running through the same instrument. When frequencies
locked up more (sort of like DNA comparisons) there was a sense of
consonance. The inverse was greater grit.

Johnny Reinhard
AFMM, bassoonist