Search results
Results from the WOW.Com Content Network
Monkeys experience octave equivalence, and its biological basis apparently is an octave mapping of neurons in the auditory thalamus of the mammalian brain. [12] Studies have also shown the perception of octave equivalence in rats, [13] human infants, [14] and musicians [15] but not starlings, [16] 4–9-year-old children, [17] or non-musicians.
The octave illusion is an auditory illusion discovered by Diana Deutsch in 1973. It is produced when two tones that are an octave apart are repeatedly played in alternation ("high-low-high-low") through stereo headphones. The same sequence is played to both ears simultaneously; however when the right ear receives the high tone, the left ear ...
Major 13th (compound major 6th) inverts to a minor 3rd by moving the bottom note up two octaves, the top note down two octaves, or both notes one octave. A simple interval (i.e., an interval smaller than or equal to an octave) may be inverted by raising the lower pitch an octave or lowering the upper pitch an octave. For example, the fourth ...
Since humans hear in such a proportional space, where a doubling of frequency (an octave) is perceived the same regardless of actual frequency (40–60 Hz is heard as the same interval and distance as 4000–6000 Hz), every octave contains the same amount of energy and thus pink noise is often used as a reference signal in audio engineering.
The octave below tenor C is called the "great" octave. Notes in it and are written as upper case letters. The next lower octave is named "contra". Notes in it include a prime symbol below the note's letter. Names of subsequent lower octaves are preceded with "sub". Notes in each include an additional prime symbol below the note's letter.
Sometimes written with “8v” below the treble, to represent the octave (8 tones in a major scale). Tenor C is an organ builder's term for small C or C 3 (130.813 Hz), the note one octave below middle C. In older stoplists it usually means that a rank was not yet full compass, omitting the bottom octave, until that octave was added later on.
On the other hand, the octave series is a geometric progression (2f, 4f, 8f, 16f, ...), and people perceive these distances as "the same" in the sense of musical interval. In terms of what one hears, each successively higher octave in the harmonic series is divided into increasingly "smaller" and more numerous intervals.
The result is a pitch at a common subharmonic of the pitches played (one octave below the first pitch when the second is the fifth, 3:2, two octaves below when the second is the major third, 5:4). This effect is useful especially in the lowest ranks of the pipe organ where cost or space could prohibit having a rank of such low pitch.