Free Pitch Perception Essays and Papers

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Free Pitch Perception Essays and Papers

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    pitch perception

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    Service, S. K., Gitshcier, J., Freimer, N. B. (1998). Absolute pitch: An approach for identification of genetic and nongenetic components. American Journal of Human Genetics, 62, 224-231. Retrieved 11/16/2004. Deutsch, D. (1985). Dichotic listening to melodic patterns and its relationship to hemispheric specialization of function. Music Perception, 3, (2), 127-154. Gregersen, P.K. (1998). Instant recognition: The gentics of pitch perception. American Journal of Human Genetics, 62, 221-223. Retrieved

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    language, since it is the relationship between pitches rather than the absolute pitch that is used to convey intonational and lexical meaning. Most adult humans are also effortlessly able to recognize two versions of a melody as the same if all intervals between its notes are preserved, even when the starting pitch is different. In contrast, songbirds show a tendency to perceive sound in terms of absolute rather than relative pitch (Hulse & Cynx, 1985). While this difference has long been thought to reflect

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    Music Appreciation and the Auditory System

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    Appreciation and the Auditory System Have you ever come home after an exhausting day and turned on music to relax your nerves? While you are taking it easy, your auditory cortex is not. It works hard to synthesize the several musical elements of rhythm, pitch, frequency, and timbre to create a rich auditory experience. First, a discussion of the ear physiology is needed. Vibrating air moving at different frequencies hits the eardrum which causes the middle ear's three bones to move accordingly. The stapes

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    Neurobiology of Harmony

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    brain, and how the perceptions become meaningful are interesting questions for neurobiology to ask, as well as necessary ones if knowledge of the brain is to account for all behavior. The brain is able to discern harmony because the inner ear is capable of differentiating between different frequencies. The brain's differentiation between pitches and chords corresponds to the physical, "real," differences between notes and chords, although our sense of music built from perception of harmonies through

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    capacity. Density is a monophonic work that is characterized by extreme dynamics, angular motives, timbral variety, and complex rhythms. During the span of sixty-one measures, Varèse exploits the flute’s full range of sound and color and almost every pitch on the instrument is realized. The form of Density is partitioned into three sections: A measures 1 - 23, B measures 18 - 40, A1 measures 41 - end. The first A section can be broken into two parts: Aa mm1-14 and Ab mm.15-23. The B section may be

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    The Changing of Communication

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    both good and bad; good for the expansion of businesses, but bad for the loss of personal connection. With telephone meetings eliminating travel, it is paralanguage that conveys personalities, not appearances, over the phone through variations in pitch, volume and pace, or how a person speaks. Just as a person would dress to give the right impression for a job, now with effective paralanguage, a person can use speech to give the right impression for a job. Before the surge of globalization, Albert

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    concerns are those involving perception versus reality. In the beginning of the play, both couples seem to be average, loving couples of the nineteen-fifties. Even George and Martha seem to be playful in their insults toward each other. Things do not start to turn until George warns Martha not to “start in about the bit with the kid”, after which both of them begin to get more hostile toward each other. Even then, their antagonism of each other did not reach the feverish pitch that it had by the end of

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    Tone-Deafness

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    2001). This paper will examine the tone-deafness real-life terms, the past and current research, and current direction which all contribute to its need for exploration. Tone-deaf people live from early in life with tone-deaf. The ability to hear a pitch and sing it back is similar to hand-eye coordination. Lancet states, "it is voice-ear coordination" (p.779). Neither one of these abilities are born into us, we have to learn them. Babies do not have hand-eye coordination. If a person holds a toy in

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    The Sense of Smell

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    because it is bas ed on the recognition of actual objects, of molecules in the gaseous phase. Unlike differences in light or sound, which can both be plotted as a range on the continuum of a single feature (wavelength for color and frequency for pitch), the range of odo rs we perceive cannot be plotted as a wave function. The movement of odorous molecules depends on diffusion, and the gathering and funneling of air that my own nostrils do. Ones nose is involved in a sort of constant sampling of

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    objects such as keys. It sounds as if they are made of plastic or wood. The squeaky sound continues and becomes more regular and frequent. Added to it is a sound similar to a xylophone. I hear objects being struck that produce different tones, medium in pitch. The mood of the piece gradually changes into a darker aura. Deeper, lower pitched percussion begins to take over as the most-noticed sound in the piece. This low percussion gets louder and more frequent, leading into some high pitched sounds that

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