ADITORV ' ~ 8 ~ C T PEROeP;ioN.

v COUNTERPOINT IN A NEW CONTEXT

JAMES K. WRIGHT
f1cGILL UNIVERSITY

Sub.ittMt to the
Facul ty oof f1usic
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and the
Faculty 04 eraduat. Studi
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in partial fulfi 11....,t Q,f the
\
, AuQ.t 14, 1986
\
Ir
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15-34476_8
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""uI.e b.e th rt that. ovtrturn.d Oll" conc.pt, of fOrlllng and
conltruetlnq, -b.cau .. lt g.v. UI luglU ln WhlCh th,,., 11 nathlnQ ta
be " It, "pattl.", 9ISt.ltu,"
.
1
Victor
)
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ABSTRACT
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Th. plycho.coustl thlcry "Iudltary ,tr'i. brlnqs a;
vltll ne'" concepts ta IlUUC th.ory. Th. pr.,ent the. 11 uplorn .0 of th.
o
r
Mholl co.plu of id ... Ind r"urch th.t hu .volv.d Into thl t'h.ory 0' ludltory
Itr, .. ,.qr'9Ib on. Put Two look. At 10 .. of th, "'Y' that th. lud 1 tpry

dh.ftlion-ror-,olyphonlC IUIlC.' Thil .ppro.ch both dlllyltlhll urt.un
to ,xpl.in contrapunt.l ph,no n
o
SOMMA IRE
L. th*orl' plychoaCoultlqU. d. 1. str, .. HO"qH1U/I" apport.
La prh.nh th ,,.plore qu.lqun dthodu lur lUQuelln Cil propOI pourral.nt
>.
'lnl co nt 11 'or tlon dl. ',udJtory str'lIs p.ut Influlne,r notre
e.H pproc.hl nOul IIrt 1. fOlS' d y.t1fler qu.IQUII prlnClplS de 1. th.orl.
'-
.ulle.le tradltlon.lll It nous offr. d. nouvIlll,'ttthod., pour 'XpllQu.r II'
o
,
_.--
\\
1
Prr ft CI
prl nc. Ind prop.rtlll of "p'lrite sound. In th nvlron nt wh.n 1I0re

th.n ()n. leoultlc .ourc. 1. prll.nt Ind letlv, It th. t1ll'.
b n clll.d th. "Ieoultle .1IItur. probl " or, wh.n th ... eoultte 10urelS
Ir, ,pllklnq vOiC", th. cocHul-PArty probl.lI", .nd lt 15 currently th"
t,
. 1
lub).ct of .)Chnuv Jlplfla.nt.l r .... reh. ThiS piper 15 Ibout one
hypothuli hl .... rq.d' frOIl thl' r ... .arch; ln hypothulS whl ch l'lu
Ip.ct.l Ilportinct for 'IUl1e th.ory. Co.pelllnQ nl\ll llborltory eVldtnee
hu eonvlnc.d 10U p.yeholollPsts th.t 1 proclSs op.r.tlng ln the hUlUn
.udltory n.rvoui Iy,t .. dICO.pOII .acoultlC IIlxturu Into "plrlt.
"
.udltory Itrllu" lecording ta ptrc.ptu.l p.tttrn-orglnIHtlon prlnclples.
c
Sine. polyphonlt IUSle g.nerally lnvo\vn bath th. 11lItur. of sounlh trOll
.ultlplt ',cou.tle lourcn .. nd th. lunlPulltlon of cO/llp1u leoultlc Pltt.r"s,.
th, th.ory of ,tr ugreqltlon" prO.II's to bnng vltll ntw
"
conc.pt, ta our und.rshndl09 of counterpol nt.
Th. Id of thll th.ul b.gln to tlk. ,h.pt Ifter 1 took 1 g"du.t,
..
I .. ln.r ln .udltory perCtptl0n wlth Profllsor Albert S. BrtglUn. Und,r
Prof.t.or Br.quo', ')Cpert tut.1.g., [ w IlIpolld to .... tllr!wlnd of n,,,,
Id.l. Ibout lound "hlCh tr.n.forlld ay thlnklng .bout couotlrpolnt. M .. ny
cone.pt, "hlch l'lad pr,vloully " ... d nltlv, to th. th.ory of c:ount.rpOlnt
... " dllCUII.d "Ithln th. brolder contut of thtorlzlog .. bout the iudltory
d.CO.pOlltlon of ,coultlC .utur". ft u d to that ilUIlC th,ortsts
ould ll1rn 'grllt dlll by co.pirlng th. conc,pts that th.y UII to ducrlb,
cont.r.puntal p.tttrn ph.no .. n. to th. conc.ptl th.t p'ychologllt. un ta
e
Iccount for th. for tlon of ludltory Itr ln ICoultte _llIturf
"
h
o
Psycholoqllh wO\lld al,o b.nwht +roll undltrltAndlng hOM p ,"o n. rti.t.d
to th. Audltory d.COlipoutlon of .eoultle IIllCturlS ar nd.,t ln tr,.. '
org.nuAtton of polyphonlc .uue.
My hrst ObJ'Ctlvw wu therlforl to tnt-r1fuCl .U'le th.orlsts to thl
.,.holl CO.pllll 0+ IdlU thilt h.vl!! .volv'd Into th. tl,.o,.y of .udltory It,. ....
I.gr.g.tlon. P.rt On. of th. th.,lS, COlllprlllnq Ch.pters On. throUQh FIV',
rvlS thl1 roll. Ch.ptlr On. ,urvlYI thl hlltory of th.on:lng Allout ob].et
plrclptlon and ld.ntlfltrl lom. of thl cIntrAI ISSUIS to IOIhlch IcuntltlC
,tudln of PtrCwptlon .nd plychophyucs .ddrlss th.lIS.lvlS. Ctapt" TMo
propOliS in .n.logy bltw n vlsu.l SCln., And 'COUstIC .llxtur.,. prlslntl
SO.I of "thl phYSIC.1 ,nd n.urologle.1 f.ets of th eoultle IU:durt SltuAtlOn.
,nd ruses 10 b.'le QUlstlons .bout ho. And why the .udltary IVltem iIIUSt-
d.co.pos coultte 11llctures ln ordtr to fulhll Its .:OlocpCili roi .
Ch.pt.,., Thr ... nd Four SUU.rI;:1 th. 'lep.n.lnt.1 lltlrltur. uoon ",hlch tt\1
And Ct'lilpttr FI 'II i 0011 1 At
l'law 10 of thl psycho.coustlc conc.pt' tl,.t Ifere dlSCUSlld ln th. IIrllt'r
Chilpt.,., .re c:urr.ntly bllng 1.pl.untld ln th. design of COIDOUt.rl:tO
coc:ktu l-pilrty proetlsors.
In P.rt ho 1 h.v. trlld to propos. 50/11 coner,tl If'V' 1 n wnlen
thl con>clptl of .udltory It, ... segreg.tlon IIlgnt contrlQut. to our
.' undlrst.ndlng of ".r.ony .nd c:ounh'rpolnt. Ch.ot." SIX .nd Sevln
shoM hOM SOCII of the prlnclPl., of .udltory Itr ngr.gAtlon corruoono
to ... ll-.st.blllh.d lIuuc-th.O,..tICll prlnClplls, ",nll. :ltn.rs
WhlCh .rl "Quit. fortlgn ta convlntlonill .uuc thlory provld. n.w W.yl
t.a III pl " n contrtlPuntal" pheno, .. n.. Chlpt ,r 51)1 dull Il( ci ull 'lei y
wlth th. noruonttll du_nslon of count.rpolnt. It ducrlbn ho ... ,.rtu"
.CoultlC p.thrn vArl.bl lnflulnc. the plrelpttOn of lodIC str ....
Il
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c
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th. horiZontal and v.rtiCll dil1.nllons of ceuntlrpolnt. It focul.s
" '
ln Chapt.r Elqht, 1 ir.gu..t th. ,..rltl of thlS IPprolch for "'USIC tnlton
ln g.n.rll, Ind for th. t .. chlnq ,of counttrpolnt ln p.rtlcullr.
Th.r .rt nu.b.r of lndIvldu.l. to wnom 1 III lnd.pt.d for gu:CI:ng
tU ln .y .. ork It I1CGlll. should hr'lt hic. ta thlnk IV
,.'
PreTenor Alhrt S. 9r.gun ln th. Oeplrt,.."t of Plychology, ana
80 Alpha"et ln th. F.culty of I1USlC. Gn.n th. IUny du.ndl on thur tlllllt
wlth both of th . Thll th.us OW.' SO lIIuch to Prof.llor Sr.gun s
\
Judg.l.nt .nd In'IQht. 9.n.rously ln tllilnv hours of OISCUSSlon.
t'ut ln IPlt. Of' .ny cl Il,.. to orlglndlty tn.t l,uv uk., i :annot
fllthfullv <1CC:ount f'or whlCh Ideu .... r. hll b'tor. olColung en/lnneo
Alphonc:.. Th. d.oth .nd bruelth of kno\lll.dqlt tlll\: hlt brlnqs to 'ftUUC
grldult. 'UI nlr "RIC.nt ilpprolChttl
.nCl "-J0dll f or 'tilt. ft l'In n S
f1UI1'frh.orv" thH nrst lnStlll!!lo
ln lit bl11,+ thlt d pragr.,s ln musIc thearv 11 to tli IChllvIPa.
ln ttJ .. l'Itn knowl.dgl 11 b'Coftllnq Incruslnglv dltoutlnlnt.llad.
IIUIIC th.orllts .Ult rlsk 1'.,:I1n9 ov.r dllClpllnarv .... 11, lnto torugn
....
t.rrttory fro. tu. to tlU.
1 .. oulel .110 Ilk. to .c:kno.d.dq_ Prohssor ",.l y Jones, wholl!
rlQutttlon Il' ttlch.r of countlrpo&nt ftrst .ttrlCt.d!llt to I1cG&11, and
')
III
o
for th. Itudy of thl pAtterns of polyphon1C: .UI1C. 1 Olf, th.nkl
1110 te Ann. C. Hall it 51r llfrtd L.urs.r Unlv.rl1ty .nd St.phln McAd.,..
et IRCAM for' thllr hllpful cntlcll" cf Chlptlr Slvln, and ta O.v\d H.r n
for ha c.r.hl hand-copY1n9 of la .. of th ullcal llI .. plll ln Ch.ptlr
S.VI". Fln.lly, l Nllh ItplCIIlly ta thlnk .y IiIIlh Suun, who, ln .ddltlon
to '"lIhn; 10 .. of th, l.borioui t.,kl Involvld ln th. r .... rch .nd
pr.paratlon of th nulcrlpt, provld,d h." unllill,,,v1n9 support, luthout
.hich thll p.pu, MOuld not hlv, I n co.pl.tlon.
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iv
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1
TABLE OF CONTENTS
P,..f .c. . . . 1 . . , , . 1 . . . .
.. . . ".
lu'
1
Tabl. of Contlnts '.-1--' v
PART ONE
CHAPTER 1 -,.- j
A BAIEF HISTORY OF THE STUDY OF aBJECT PERCEPTION
,.. AI Fro. the Grllk .nd Roun Phil osophtrl t 0 th. Ren'lIunc
2
3
. . . . . . . . . . . . . . .

1. 'Une:onscloul Cone:!uI10ns"1 Heurlltle: Procuses ln Pere:.pt1on 6
9
DI The 6ntai t P,ychoLoguts
LO
1. Th. Prlnclpl.s of Ptrc:tptuil Orglnu.tlcn
12
)
2. ho L .... of Perc.ptIonl
Th. L, .. of Pr.qnlnz Ind T .... 1.," of Bel ong1 ngnen
14
3. P,ychophYl1cal Ilo.orph1u
16
El ArtlhCl.1 Int.lllQ.nc nd Co.puhr V1Slon
17
1. Cuputt,. Sc.ne-Anll Yll S . .
lB
FI Th, Co.putt,. SClenen And Th. Coqnltlve SClInc:ts ...
21
CHAPTER Il , 24
AUOITORY OBJECT PERCEPTION
AI The hile: Qunt10ns: Th, DICO.pollltlon of AcoustlC Huturn 25
BI T .. o Appro.c:hn ta th. Par'llng Probl ..
29
1. Audl tory Loc.1l utlon . . . . . . . . . . . .
29 t
2. Th. Gut.1t ApPI"CIChl Auditory St,. ... S ~ t l O n . .
30

'to
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e'
0
1J'l
" CHAPTER III . .
,
, f,


q

30
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. . . .

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'0
,
THE"GESTALT APPROACH
, D
Il)
Visu.l ind Audl tory G.,tiltS ,

, , , ,

30
B)
Princlpl .. Sovlrni nq th. FO,..ltlon of Audi tory
Str ... ' lo
1. Th. Princlph of
Proxul tv ,

, , .1.
37
2. Th, .PrinClplt
of 511111rl ty

,


,

,

"5
3. Th, Ponclpl. of CO_lion F.tt

,

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,

"8
( il)
SynehronlClt:y . . .
,
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n
(b)
P ir i Il .1 Plot! on . . . .

5:;
( 1 )
CO Ol1 A.p11 tud. Plodul itlOl1



'of (11)
Par.ll.l Fr.quency Ploduloltlon

'of
4. Th, PrlnCl pl. of 5 t lb II Rlsonine.


. . .
'8
S. The of HlIIrlionlelty



bO
,
6. Th. Pnnclpl. of Sood Contlnultlon
."
7. Thl Pnno pl. of R.p.b t 1 on

,


,

b8'
0
a,
1 n ter iet! on Blt .. e.n th. S,nll liad ..

,

7Q
9. AU.nb on ,
. .

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n
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' ..
,CHAPTER IV ... , ' .... . 8
THE LOCALIZArtON OF ACOUSTIC SOURCES: BINAURAL SEGREGATION eUES
Al Th. Biniural Muklnq-l.vtl Ddhr.ne.
')
8} Kubovy' 1 Phu. 11.1 ad Il!!
. . ,. . .
2.' lntlnural lnttnuty tIlH,r.nc .. Ind Spectral Int.gratlon
CHAPTEA V
, CO"PUTER COCKTAIL-PARTY PROCESSORSI
....... . , . . . .
A TEST FOR THE VALIDITY OF THE PARSINS PRINCIPLES
o
Al liodel11ng the Audttory Sv.t.. .. . . .90
vi
b

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7
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C
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PART r.,o
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,CHA' TER 'V 1 .'. '. .'. 103
UQ\JEN'T tAl' 1 "TEGRATION' IN' POL YPHOHIC "USlt
AI th. Pr,nclpl. ,of "ll
vlnq
-
.nd -D d" Internls


, ,

81 Th. Prt nc J"l' Il of Si.ll.rlt.,

.1.


106
C)
YOle' Cro .. ,",9 . j, . . . . . .


..

.


109
01 Ru'l and ,,!,rtua1 AudltOl'y Ob J.ch


.

117
'.
CHAPTER'VII (l.
.
'. 120
IHTEGBATiOH tH POLYPHONIe HUSle
.. 120
,
" ur \n9
8)
"coutl'e Dlllo"lnc.





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.
Cl "Su l'n9' at ,Sup.,.'posatlo'n,'It Th, P.,.,,1119 p,.lnelpl" Ind
t "
\h.
Control of P'trCIl v.d th Ilol'lInc. ln Pol yphonl C HUile

12b
l'. H.r.onlc;, SV'ncMony v.rlu, ".1 Od1 C Pro" 1.' ty 12i:!
2. ' ",1 od le 'Tr'Jfctory .'nd R.ckl tount.rpolnt





137
t
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O.t l n.to
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14'
4. P.,..11.1 Hot l'on 1 Tonll l'nd Ru1




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1"7
IH Chord SonQr ,'\y Chord Funetlonl P.rc,p,tuAl Ru1" lnd
Svntlctlc Aul.. :. . 15,3
, t ' ,
El Str .nd th. D.flnltlon
of OlllQnlnc. '. . 157
,
CH-"TER V ( 11
RElROSPECT
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.. . . 1011
" 't.,p' 173
AcoUitac DlllOnant. 'F.lctOrs for all1rn"tervds of Two Octlv or lit.
1"1.1'0. Hutehllf)n .'Kn'opoff, lUe)
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81'ILI08RAPHY ......... ' . '
'l't,
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/)f 182
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Part One
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1. A arl.; H}stgry of th. Study of Ob],et P,r'ptlon
Th. th.or1fS that lu11 b. dllcus .. d ln th1' pap,r, on,rnlng ludltory
ob J.ct- ptre.ptlan and IIIUIl ' .. on. of ItS

ln au.tqraIIIth of provl ne." ar,
Id that ean o. trlcld bacl< tltrougn th. hl storv of 1C1.n., :2nllaIOO""

and In flet cuny of th. ISs.nt lai qu.stlons thit w 1 li b.
.
th. cUrJouty af.Q.n.ratlons of phllos0phtrS, phy"::lSts, ,n.uroioqlstS.
and psyhologllts. Th. !tlpoilng lllt of thlnk.,., .. ho havI pr.oecuPl.o
Hu Kant. ri.illlholt:, HUSltri, th. Gntlit Ind, '1Ior.
T,hlS "nlPtir 1 S J bn.' r'Vl.W of tn. hlstcry Of Hudv Of
,obJ.et g.r.ptlon. Mod.rn IClIn. ott.n n.gi.ets :0 lCknowlldg. lh
th. 1II0it r.e.nt 'XplCl1tlon lnto ..
Stud.nt,lof IInlory p.r-;.ptl0n snould r'ld tnl. cnallt.r, no .... v',.
0+ .U'le th.ory, 1 t II lnt.nd.d to flli ln 1 blC:kgrouno of IOUS Whl::1'1
q
, '
q
1
J
Erp. th, Gr"k Ind Ro n Philo,oph,r. t9 th. R.n'I"lnt'
confU'lon Il to wh.th.r \\ r"ult.d troa th. prO).ctlon of th n",
oOl.et', ouhr .urfl" .nhrld th y. through th. op.nlng th. pupll, 1
wtul. Plato <d.347 B.C.1 thought thlt vlSlon Mill du. to pArtlc:lll b.lng
Iqulrt.d out of 'Y' Ind +.ll1ng upon .xt.rn.l ob).ct . ThIl
dll contlnu.d to puzzle phl10loph.r, through th. Mlddl. Ag to th.
R.n." .. nc "round :500 A.D. th. Roun phllolophtr Bo.thlui Id.:52" 14.0.1
II1.g c:oII,ng ta th. Iy' or trOll r.y, 5.nt out ta th. ob)lCt of uQht Il
.0
doubtful to th. l ,n.d, though th. 19nor.nt Ir. un.",." th.t luch doullt
.XlIt ";! litt .1 1500. L.on.rdo d. Vinet (H52-IS19) .. l.dg ..
thlt th probl 1 th.t h.d confound.d th. Gr kl .nd Ro nl conc.rnlng
obUc:t p.rc.ptlon ,tlll p.rust.d onq tus conte.por'rllI, .lthouqn 'rolft
on y r ... dlly undtrltind, th. I.n,." ",n.n th.y rlCllv, th. ll'g' ot
,
thlng., do not I.nd forth tro. .... lv'!I .ny utu.l :lo ... r: but on th.
cont.et luth th. '.n"5. prll.nt, th .. to IL'
ultl,.t. chlll.ng. wh\ch p.rceptlon po'td for lel.nc nd Phl1o,oohv.
o dlltlnetlon b.tw.,n th. prl ry .nd I.cond.ry qU.lltl.'" of tt.r.
2
e
c
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Th, pra.lry qual1tlll ... re Ihap., quantlty, .nd .otlon, .nd "Ir, u .. d
to b. ln/t.r.nt prop.rtl" of tt.r lt lf. Sicond.rv qualltl.1 dld not
r"ld. ln .. thr ltulf, but r'lult,d .. hln th ... prl.'r:y quallb .. lllplng.d
upon nung org.nll Thu., th. qU.lltl" Ot ught (I.g., colour), lound
( g., tubr,), ... 11 .nd tut. ( g. bltt.rnl"), or fui \It.g., ... r.thl of
th. 'ab.trtctly eonudlr,d) Ill', Ih.p., .nd aotlon of th. p.rtHl"
,-
conltltutlnq It. PhYllel, for G.ll1.0, .. al th n.lYII! of prlm.ry
qU.lltl H. h.d r,(;oqnlZ.d th. l.porhne. of th. dlchotolly WhlCh rv,.
'1 th. POlnt-of d.partur. for .11 Itudl" of perceptlon and psychophY!lCS.
Th. Itudy of p.rc,ptlon 11, ln lIunCII, the study of IIcond.ry qU.11 tlf1
and th.lr r.l.tlonlhlp to thl correlpondln; prl ry qU.lltll. of the
.tuulu.,:S
' ... nutl Kant: Hqu .. n nd Ph,nglll!nil
rh. du'al1ty of th. 'lIt"n.! .. orld a'nd our "nsorv exp.rl.nct Ot lt '011'
c.ntral to th. dl,lletlc of thl Gerun philosopher 1t1'lIInu!1 "'.nt 1124-1804,.
lnud. th. und, th. oth" compl.ttlv outud Thl IlIternal .. -
conultln; of thlng.-ln-th .... lvll" (01119' ln 1.'., abjects ln
li
pur' statt" lnd.p.nd.nt of hu n r",on - Kant c.ll.d th. noum.n ....
rhouqh prllu d to 'Ult, .nd to lnhr'act ln 10lU .. ay Wlth hUII.n con,elOUI-
Onel lt .ncount,rl ilnd lnttrlCt. luth th. hu,un tund. lt b.eoll" convertld
by th lnd 1nto th. lnn.r .. orld of wPh.noa.n.". Thl word ph.no n." 11
d.rlv.d fro. th. Gruk or ",pptlr.nc,", .nd K.nt fllt that
cr
thu IU99nttd th. nltur. of th. lnn., .. orldl 1 , thlt Ifh.t hu .. n b'lngs
Ictu.lly .xperl.nc, 11 not th. obJ.ctlv. r .. l1ty of thlngl-ln-th, ... lvfS,
.(
.c:tlve .nd PUbCl .tlnq IIllnd th.-n'oulI.n.1 world. For Io..nt,
our ,Mp.rlenel of the world WiS IS lIuch r.fl.etlon of th. prop.rtl'S
Just i p.sslve refleetar of .xtern.l r llty, but. cr tar ln lts awn
rlght of lnn.r, ph.nOIl.n.} r llty.
K.nt .110 btll'V.d th.t the IIlnd follows c.rt.ln SP.Clfl.bl. rul'I
purport.dly upan hum.n belngs ln exp.rllnce of warld org.nlz.d ln
tu ... nd splce, .nd followlng mathell.tlc.l iXl01l!! .nd e.uul I.w ... not
b,c:,uSI the noumen.l world Il "r lly th.t w'y, but b.e.us. th. hum.n
,
luSt structur xp.rllnce ln thll G.nn.r.- an. of , Jses
o
.n .n.logy to .xprlSS thll Ide. mort sueelnetly: :t II through Ipeet.cl.s
construct.d of K.nt's"a prIorI" conc.pts th.t our perceptions He
.fftcttd by th. world and ItS obJ.ctl. Th.l. sp.ct.cl.1 .rt
, ,
--
\
W. c.n only ca.pr.hlnd .nd Interdrlt th. world through
nln.t nth-c.ntury .dv.nc.s ln th. study of th. PhYSIOloqy of IlnilS
.nd th. c.ntr.l ".rvous system, th.t th. flrlt Iystell.tlc Studlll of
1 ou,. c. 0 f ,It n sor y 1 J!I P r I!IU 0 n Ils ,n 0 t th. llC t If n .1 w or 1 dit SI H, but
n.rvous IYltl. whlch Int.r.cts wlth th xt.rn.l world wnll. m.klng ltS ,0
oltn contrlbutlon to perceptl'on, g.v. th15 Itudy n.w cOllpl.Xlty .nd
1 III) or t .nci.
o
4
c
,
p
H,l.holt, on P,re.otlon
9.n.r.tlon Of tru. p.re.ptlon r.cognl;td h. ow.d
gr t d.bt to th. phllolophy of
"Th.t th. chiract.r of our p.re.ptlon li eondltlon.d JUIt
ueh bv th. n.tur. Of our I,nl'I ., by thlngl II of
th, gr "tut I.pad .nc. t or th. th.ory of our heu 1 t y of
ptrctptlon. Wh.t th. phYSIOlogy of th. unses hu duonstra<t.d
.Np.rl nt.lly ln r,e,nt tl$'S, K.nt ,arll.r trl.d to do
for th. Ide .. of th und ln 9.nlr.J.""
In hl rly work ln .udltory p,rc,ptlon, H.l.holtz saught ta
d onltr.t. th ta whlCh th. prop.rtl'I Ind b,h,vlour Ot lound ind
.uIle .r ttrlbut.bi. to prop.rtl., of th. tir .nd th,'e.ntr.l n.rvoul
IVlt... lnd d, hll v.ry d.flnltlon of "Iound" d.p.nd.d UPOn th15 pr'.15e,
D onltriflng, for lOlt.n,., th. flCt th.t lou .. h.r. b.tween 20 and 2S
"Nothlng "I.ntlilly n'N happ,ns ,xt.rn.lly te th. 'Ir .t thlS
pOint. Th. only ni" rlsult II thl I.ns.tlan .xperl,nced bv th
r, "hleh for th. flrst till' b'9lnl ta b ff.et.d bv th,
'9It.tlon of th. 'lr. H.nc. th. mort rapld vlbr.tlons r'CIIV
n .... n nd .r. c.lied "sound", If you .dlalr, p.rado)(.s,
vou I.y uy th.t th .url.l VIbratIons do not b,colle sound
untll th,y upon .nd corrl!pond to clrtiln propertll! oT
a h.lr 1 ng 1Ir, "" .-.1
Thul, for H.l.ho! tz, the answtr to the fa.lll.tr Z.n koan: 'Does a
of .nythlng ln th, .. orld 15 Itholly d'p.ndlnt uoon th, IHect of lt! actlon
upon Inoth.r, h,ld not only for phY'lCiI .nd ch.tllle.l Int.ractlons
(lndlp.nd.nt of th. obllrv'I", but .110 fOI" th. of th xt.rn.!
.,orld wlth th. IIn u th.t l1ght .nd lound, for ln,tlnc., c.nnot br 511d to
eonnlctlons of th. nerv WhlCh .r ff.,tld by th,G.
, ......... --
---
o
o
lUS10ns": rieurl!itl n
\
To"cllrl.fy problems !nvolved ln the studv Ot ll.rc:.ptlon, H.iolnolt:
",l' '] J!
drlN " car.tul dutlnctlon n Its phV<J1CII, pl'lVSlologlC.1 .nd
'1
for InvIstIQ.tlon.
a
of llght .nd c:olour u. nturgphyslgloQlal a<;h'ltvell.nt mldlHed 01 h ."rn,
of ra" slns.'10n5 lnto perceptions as 1
-q.',
proc.ss IIl!dl.ted also by brun ictlvltas. but of anotn.r t'lP"',:)
noumer,tal world 1en"d. and t!ut o,rcfot:orn Ut str'JC:'Jr!O
Iccorcllng!v.
nu to an illUSion ln :ltrceptton. The Doxes 'aooear' ta :lltf"r \1 SI!!.
H.IlDholtz would nav, ugutd ,tnn our Of IUC' in :ii'JSlon rHU.':'1
"
of th. scen'j 1.", lf d.ptn :UU ugndy trut on. l' 1I0r. :llltant
th.n th, eth,r, It st'toulet Ot c:oncluclld tt'tH :e .s th. l.ri,r l'
/
c
-- - ?
,
b.t n th perc.ptu.l s .nd sylloq1StlC r sonlnq (10q1c WhlCh
'appar.nt qnltud." l11uslon.
,
But lf thl' r plctur. of
Flqurt 1.1 A vllu.l Illuilon 0.u9 to ptrellltuil JconcluIlOft. Th. cOnvtrqlnq 11nu' Ir,
lntlfpr.ttd Il dtpth cu and th CUts IDflu.ne. ptrc.ptu.l dlelSl0nl .bout
tht qnltud. of th. OOJtctl ln th. ICIft PtrClptlon 'conclud th.t,
dtllouqfl I",unhnt ln lU. ta bD. 1 ln ter .. of rthnal .tuuhtlon,
bol 2 lAd l lUit bt conlldtrtd lar9tr SlnCI dlPth CUIS lndlcatt that
tlt., Ir, flrthtr ... .,. (fro. Sibion 119501]
7
.-
o
(
o
.
th. r l Morld. th. prlnclp!,s conn.ctlng pr'.l to conclusions would b.
'qood "heurlstlcI
M
; 1 , th.y Mould contrlbut. to bUlldlng .n .ccur.t nd
UI.ful lnt.rn.l d.scrlptlon of th. ,nvlron nt by t,ndlng to giV' corr,ct
th. upp.r box.s Mould b. flrth.r a y nd h.nc. l.rg.r.
Wh.n hl' oppon.ntt cont.nd.d th.t d.c1Ilon nd conclUSions could onlv
.
b. th. product of conlelOU. thought, and th.t th pont.n'ltv 0+ p.rc.ptlon
Argu.d ag'ln.t luth a notlon, H.l_holtz count,r.d th.t th. distinction
betM n conclUSions and unconsClous conclUSions n d not b. one
of klnd but of cont.nt. H. bell,v.d th.t the for r .re concelv.d and d.rlv'd
ln t.r.s of th an-a.d, svst of Morgs .nd h.nc r' brought to
th. front of con'Clousness, Whll. th, l.tt.r, b.lng structur.d ln terms 0+
.or. .nd unconsclous. Th. Id th.t unconlclous conclUSions"
("unb,wusst" Schluss) M.r. lnvolv,d ln p.rc.ptlon p,rh.ps th' aost
u
"Th. .ctlvltl'S th.t l.ad UI to Inf.r th.t ln front of us .t
c.rtAln pl.,. th,r. IS 1 c.rt.ln obJ.ct c.rtaln ch.r.ct.r . r.
g,n.r.lly not con.ClOUS 'Ctlvltl'S but unconSClOUI on.s. In thelr
r,sult th.y .r qulv.l.nt ta conclUSion. to th th.t th.
obs,rv.d .etlon on our I.ns ,n.bl" us to for n Id 1 ta th.
pOlllbl. c.us. of thlS .ctlon; .lthouqh .s tt.r of lt lS
lnv.rl.bly 51.ply th. n.rvou. Itl.ul.t1onl th.t p.rc.lv.d. th.t IS.
th. letlon., but n.v.r th, .xt,rn.l obJect, But Mh.t
s to dlffer.ntl.t. th,. frai 1 concluilon. ln th. ordln.rv s.nl.
of th. II th.t conclUSion 11 .n .et of conlCIOUS thought ..
Still lt y be to Ip k of the PSVChlC .cts Ot ordln.rv
p.rc.ptIon .1 unconSClOUS conclUSions. th.r.by klnq distinction
of lOG. sort b.tM.en the nd th, so-cI1I,d conSCIOUI concluilons.
And Whll. lt 11 tru. that th.r. h b n, .nd prob.blv .lwlvi Mill b .
1.'lur. of doubt ., to th. Ill11.rltv of th. D'VentC 'Ctlvltv ln-
th. tMO , th.r. cln b. no doubt 1. ta the Sl.ll.rltv
th. r ults of unconlClOUI conclu'lonl .nd tho of eon.ClOUI

B

\
. \
\
N.tiYl V,rIY' E,plrICI'.! Tn. N.tur,-Nyrtur, Qu.,tlon
ph.no nal "orld M.r. Innat.. H. f.lt th,t ih. capaclty to p.rC"VI .1.
th. r ult of 1,arnlng ta k. th uncon.ClOU. p.rc.ptu.l d.clilon, Ibout
I.n.ory Input, 1 , that th ch.nl .. ' of p.rclPilon bulld up "lnt"nal
r.pr ... 0; ih. uiern.I Morld bv Itrueturlng ,.nlory Intorut1on
ln Iccordlnc. wlth a 1I0r. or, l.!u lurn'9 ut of ruln, H. b.ll'''d
th.t th p.rc.ptu.I rul ar. l.arn.d a. a r.,ult of th. coop.ratlon of
th n nd th dapilon of th. n.rvoy. ta c.rtaln r'gul.rltl"
ln th. '"Vlron nt, through ICtlV' Ind ongo1ng .xp.rl niat1an wlth lt:
-Th. ,." ;r t 1.port.ncl WhlCh Ixp.rlll.nt hal for th. c.rta1nty of
our IC11ntlflc conVIction., It ha 1.0 for th. uncon.ClOUI Induction.
of th. Plrc.ptlon. of our I.n,". It 11 only by voluntarlly brlnqlnq
our orglnl of I.n ln varloUI r.lltlons to th. obJ.ct. that "' learn
ta b. lur. al to our Judg ntl of th. CIUI.I of our s,n'Itlon,.
Thll klnd of ntltlon blgln. It blrth and continues throughout
11ft .lthout lnhrruptlon,-l::
E.rll.r phy.iologl.tl had thaught that p.re.ptlon "" 1 dllt that
<, Il;ht, for 1nltanc., ".s dlrtetly ftlt .t th. r.tlnti tlr'lnus of th, aptlc
lnlut.d thlt th If.r trlctly phYl101oq1C11 ln natur., 1 .. , n,ur,1
or9.nl ... H.nc., plre.ptlon b.c ... ubroll.d ln on. of th, perp.tu.I
controv.r'l" of p.ychology - n.tlvll. v.rlui "plrlell" H.I.holtz
.rd.ntly d.f.nd.d hl. "plrIC th.orv th,t th. lnt,rpr.tatlon of n,ural
r.lItlonl 11 th. eonllqu.ne, of r,put.d /.xpa.ur. to r.gul"l tll' In th.
r.1.tl0n b.t ln n.ur.l rllpon , Ind .nvlron ntal condItion,.
o
o
o
o
S'ltllt th.ory s ln outgroMth of a nu.b.r of tr.nds MhlCh rq.d
in psychology and phllolophy It th nd of th. nln.h.nth c.nturv.
It, orlgln, cln b. trac.d to 1 s 11 clrcl. of psychologlsts c.ntr.d
at Gru, Au.tria, '!tho '!t", trongly InBu.nc.d by th. ph.noa.nologlltl
1
Brtntano .nd Hus .. rl. Th. Nproduc:tlon schoo}",-- th.y l.t.,. b.cI
auntun.d thlt c:.rt.un cont.ntl of up.rl.nc: .... 1". blliC ('.9. s.nutlonSI
and that p.rc.ptlons Iftr. for d out of th bY 1 proclS' whleh th.v clll.d
produc.d" r.pr.I.nt.tl0n., whlch ln turn Ir. proJ.ct.d blck onto th
lIt.rnal Morld, In th. claUlc irtlci. b.r GutaltqulltH.n", Christian
yon Ehr.n"ls (1859-1932>, on. of th. Chl.f .xpon.nh of th. IChoQI
.. ph.slad th. roi. of "fora qualltlll" ln production. USlng. a.lodY ..
n h. dr ..... tttntion to .splets of lts fora .nd structur.,
co.po d. Fra. th. not .. 1. produc:.d" 1 tun Sv th.lr -ICQulutton of
tructur.1 patt.rn, nutlon. b.cQt. p.rC:l!ptl0ns, hlgh.r-l.v.l .)(p.rl.nC.1
W.rth.latr (1880-1947), Ilong Mlth hl. coiluguli Wolfqlng Kohl.r
11887-1941> and Kurt Koffka (188b-I9411 It th. Unlv.rutv of Frlnkfurt\
.lCp.rlll.nt. Involv.d .PPIr.nt /IIotion 111ullonl. Th.y found. for IO$.)tlnc
thlt wh.n t".o Ipoh of llqht If.r. prOJlCt.d ln lucc uon onte l "r .. n,
und.'" c.rtun Clrcu t.nc .. Il r.ql,..dl olnt.nslty of th. llght, b Inttr"l!
b.t". n flash.s, and th. dlstlnc. b.t ..... n th. Ipots, ... 1 on. Ipot aovlng
Icro th. Icr n rlth.r thln tMO fll.hlng spotl. Th. G.lt.lt Psvc:nologlst.
10
G
c
<.
.p.cul.t.d .bout th. pSYl:holoqlc:.l qrouplng .. ch.n15111 lnvolvlld. As th.Ir
,"p.r1 .. ntal work proclld.d, W"th'lur, Kohler, .nd KoHk. of
or9.nlzlnq prlnclpl., upon obJ.ct.. Just a' Ehr.nf.ls n.d notlCld th.t
ladY M., th.n sl.ply "Qu.nc. of ton , 10 th. b.t. non had'
1
bltn .Orl thin th. 'ua of Indlvldu.l fiuh of llght nd sQuare wu
.or. th.n th. lU. of ds ud.s. lt b.cu. clur th.t perception lnvolved
th. orq.nlz.tlon of th. world lnto lndlvlslbl. wholls or "gestalts", .nd
th.t thl' organlz.tlon w unavoldabl.1
1 ItAnd .t th. NI ndow .nd Il' hous., tret., sky. NOM on
th.or.tlc.l grounds 1 could try to I:ount .nd .ay, th.r.
Ir, 327 bn ghtnnui .nd huIS.' Do l h.ve 32;' No 1 l s
Iky, houSt, tr s, .nd no on. can rull y h.v. theu 327 oU such.
Furth.r,oT'. If ln thlS str.ng. c:alculiltlon th. hou should h'VI,
uv, 120 .nd th. trlls 90 .nd thl! sky 117, 1 h.v. ln ilny l'lent
UUJ.. co.bln.tlon, thu p.rtlc:ulu IIgrlgabon; and thl sort of
co.bln.tlon or s.grtgatlon ln whleh 1 lU lt l'.not I1l11ply up to IIV
cholc" lt is al.olt lilpOSllbl. for :u to SIe 1t ln Any d.S1red
co.bln.tlon that 1 uy n.pptrn to ehool'." 1"
In ItI.lf, thll us not il "'" Idu ln psyehologv. As Htrlmholti: h.d
th. r.t.lnd ttrllllnu. of tn. optlC: n.rv., or of t.h. bull.,. hur cells ln
th. cochl,. of th. lnn.r Ilr lupport. th. notIon of an .tO.I.tIC world
-Q
pru.nt.d bv th. uns nd suollquent.ly org.nu.d by t.h. lund. But
th. G t.lt PsvchologlSt. dld not stop "'lt.h thll Id... Th.y ",rI Int,nt
"ij
upon d.t.r.lnlnq th. pr'CI" conditIons und.r WhlCh dtff.rent klnds oT
.-
(1
t
o
o
)
!)
Th
structurlt of, COIllPl' .. conhguriltlons lnfIu.nc. our lortinq .ncl qrouplnq ot

th.'lr .l.",ents. He Iln Hllprl!5S1V' A.ount of ,.plrlcAI !!Vld.nCI
",hich lndlc.tes thllt Ife t.nd to--I.. ' . 9.stilt, (1 , .hol. obJl!ctsJ,
1-
(a) s\duI.r .I nt.s (th. hctor of slIIlll.rltyl. III. t.nd to .. e
paU.rn ln Flgur. 1.2, li "lt.rnatlng of clrcln and ls
rat.h.r th.n ., coluens of elxed Clrcl., .nd X,.
(,b) elellents "eu to 'i1ch oth.r (th. fActor of prolCl/lIltyl. We t.n:!
s the p.tt.rn ln FlgUrl 1.2b .s of clrcles r.th.r than
.5 rows of Clrcl SlnCI! AdJic.nt Clrcl.s ln th. ro"" .r. ,p.C!!O
flrther ,pArt th.n th dJ.cent Clrcl.s ln th. colu/llns.
(cl .l nt, WhlCh .r. chAnglng ln a correl.t.d ln r.l.tlon to
on .anoth.r (the factor of cotaIIIon f.t,). If a group of _I nts
.. r. to !lOVI sllghtly up and down vertlcally ( . g., !n. lut two
colu .. ns ln the Figure 1.2c) .. h!l!! .. noth.r /IIov.d
bilck .nd fortn hOrl:!ont.lly (e.g. th. flrlt four colultns
FI gur It 1. 2c) l'le ... oul d t!!nd ta su th 1 s pit tern &1 t",o gr ;:)ups :l;
.I .. ents organl:ed accordlng ta thltlr COllllion lIotlon. 5111111.,!"
.1.! ,thl .I.lllents ln th. li!lt two colUlln! lOI.r. ta nAlh on and OP
tog.th.r, wnlle th!! flrst four columns fl.Sh.d on .nd otf .t
dlffer.nt rate or dld not fluh it ail, ",e ",ould s thls
conflgur.tlon as two unlfl.d Ch coherlng .ccordlng to
th. collllllon fat." of ltS .1.III.nts.
( d) con tl nUl t y 0 f " 0 n t 0 u r a h e fi c tOI" 0 f 9 0 0 d con t 1 nUI t l 0 n ) .
W. tend to s@. the p.tt.rn ln FIgure .s t_o crOlllng
Iln.5 rlth.r th.n i5 a V-sh.p.d form .nd .n upslde-down
form touchlng .t c.nttr pOInt, Slnc. the tlrst descrIption
f.vours contlnUOU! traJlctorlls.
(.) ,lllll,nt! WhlCh enclose .n IrU (th. fiCtor of closur. or cOlllplet,n'SS/,
\II, hnd to s'!. th. p.ttern ln FIgure 1.::!. Il ,"UI ot lnco.plu.
squlr.s r.ther than iS 1 l.rlls' of lfltl.-flAng.d 1-:" .... \ ..
confllct on noth.r. For ex .. pl., ln Flgur. 1.2 , th.
f.ctor of suqg.sts th.t the colu.ns "Ill fore. tort I.l:.nt
12
.'"

"
, , ,
, ,
.'
, J'
, 'f
, .
,. , .
/ '
t"
a..
, ,
'1
,
, .

,
, ,
,
, "
A t t
4 ,0
"
0 ait
., 1
J[J[][J
1 1 a , 0 0
1 o t l 'j ; 0
a 1 1 :1' , 1
0 a
a =
4 o Q 0 J
1
,
1
o 0 1 l Q
'.
Q
n \
X'
0 0
3 G
l '
l
"
.......
!
Fl"rt 1.2 - Patttrftl .IHollitratln,' lAI ,th. Factor of 11Ilhrtty, IBI th. f.ctor of prOXlIlty,
ICI th. factor oF CDlICIft hh, IDI th. factor oi good contlnult1on, (El th, factor!'
of clDlUfI, Md IFI tlt. 1 of IllphClty. ' '
ilthough, sf you look At thlt top of thltiplgl 50 'th.t F19ur, 1.2. filll lnto'
titi. pltrlp".,.l vlIu.ll flltld, th. factor of 'prolCllIllty tends ta donllnatf and
.
outudll of brokln iquarll ln F19urlt 1.2. Ir. ln flct closer toglther
thln brok.n plrts, th. factor of clolur. t,nds to ov,rrld. th,
of ta do.snltlt ln our pere.ptlan of the patt.rn. lt 15 cl,.r that
,wh.rlt nuatroui factars .rlt Inval ved', thlty can ,ntltr 'l,nte COllp.tl tIan ln th, one
."oth.r "nd. d.p.ndlng upon ",hICh arganl:at1on produc," a "b.tt.r
H
g';t.lt,
,
P,ychalog1lts oblerved app r, te support H.l.holt::, Ide. that unconlClOUS
13
,

Il
D,
,
ta sur.ill, as H,iaholt% dld, thlt peretptull 11 hturt.tlc
Ibiilty llirned frol r.peated Ixpasur. tb In tht Invlron.lnt,
Ilnce the plrelptuai prlnclple. th.t govern the orglnlzatlon of vllu.l
, ,
",tillull Inll to capltlllZt on pattarn fut\,lrl. thit would ttnd to l .. d'to

the eotrect of IInlory .vldlnCI to ",holtt obJtcts ln th. ",orld.
\
ho of Pere'obon: Thl La", of Pdgnln; .nd The LI ... of
o
1 Th. "hetor,U dl,crlbld .bov. "'tr,' not conudereq "la ... s 01 p.rclptu.l
o
organu.ation .s hu fr.qu.ntIy bltn c-lulllld. For th. Gut.Lt P'YChologatl
thlr. loIei. on1y ho -l'Ms
u
,of perclptlon, .and ftlt thlt thn. l, ... ,
... tr, fssentully prl0r to llep.rllnc. (K.nt 1Il9ht haVI calltd
Flgur. and th. L.", of SlIlpllCltyl, ln an attllRpt ta .acount for 'Olle of
th ch.nlslI .... 'PP'lrtd ta be op,ratlnq ln perceptIon. ThiS l'III
state. th.t obllrv.rs NIll tend to prlftr th, "slllpint" I/'Id :lost "stabl,"
-t-Ht a p.dlcular orcjanluhon /lit th. crtterla/'l ot SUpllCltv .nd
Plychologlltl c:l.1IUd psychologlCil or9lnll:atlo/'l will .lw.vl 01 ..
,
'qood' .5 the prlvul1ng c:qndltl0ns alloM.a'lY In Ot thtlr
n,vlrthlllSl obslrv,d th.t ln formtng gtlt.lts th. PlrC.lYlng lund agours
prtdll.ctlon for '"1"9 thl p.tttrn ln Flqurl 1.2. Il Ilttrnatlng ro"" of
\
14


-
\
, '
"
,(
(
Law of SI.pl1clty provld.s th. only plausible for our
p.rceptlon of Fl9ure 1.2f. In thu cali, ln ,sptte of the factor of
..-1
proxi.lty, ther. 15 a t.ndency ta hvour the suple perc.ptual descrIptIon
,
-thr ld.nttcd .. tde ov.r the .or. cOllpln dtlcnptlon ufour
objetsl tlitO nlrrow pillars flanked by two strught 11nlS,"
Th. second 11l1li of perceptual organ1%atlon,. "The La", o,f Selonglngness",
"'u by th. Gutalt Psychologlsts ta deser'lb. anoth.r general prop.rty
of th. p.rceptull prot.S'J. It r.ftrr.d to thl t,nd.ney for a
pue. of .vld.nci ta b:1! allocated to one or .. noth.r perc.elved
obJ.ct, or ln ublguous cues flr5t to ont and th,en to ,nother, but not ta
1I0r. than on. at a tlme, For eump!'e, ln F,lgurl 1.2f, the Ilnn can be
allocatld,to thl nurow pillars, or te th. "Ilde pillars, or, poulbly, as a
rnult of shlftlng p,rclptuil orginu:atlons, flrst to the narrew plIlar5
and th.n to the wlde pillars; but they can neVllr seen as i part of the
shap. of both thl nurow and the illide pllla,.s at the SUI! b me. ihat 15,
thlY can only "b.long" to one or the oth.r. Such ,1 c:onstrilnt has a
clrtun hlurtstlC vallddy ln d.teral1nlng the allocah'Qn of sensorv
, /
, ,
.luents ln the Invlronunt. Figure l.J shows an uallpl,of the heur15tlc
roi. of the law of belonglngn,ss ln a1101ol1ng us ta dra", corr,ct conclUSions
about th. InVlronlllent. It v.ry unk.l'y, whln .. , su tilla surfaces
Ultlng at an Idg. (Flgur. 1. :ia), that the contour wher. they lUIt deflnes
th. shap. of 2.21tL ObUCt5. Except for the pleees'in J1gsaw puzz.les,
th. slup. of thl Sl de of on. ob Jlct 1 s rartl y th. ex act neq i t l ve of the
shlpe of th. obJlct thlt It lS sun beslde (F'lgure 1.3b,l. It IS /lueh more
l1k.ly that on. obJect putlally occludu our vu'" of th, other ind thit
thl contour wh.rl th. VISIble surfac'5 Il.t should be taken as "belonglng"
o.nly to th. ne.rlr obJect (Flgurl 1.:>C),I.
15
o
, '
" ,',
o
o
" ,
, "
, ,
',1
r,
, '
( AI
lB)
Fi9ur' 1.3 - Tht htUrlltlc valldlty of the prlnclpl, of gtlonqlnqnesl hen two tur.c"
Irt "In Itthng It 1 COllan tdg! (AI, 1t 15 unl1ktly thlt th. IIntr.
thly t dlflnt' th. Shipt of abltCts, 1.'., thit th. shlp. Df onl
abJtct 11 th et nlqltlv, of th. ,hap, of th! abJ.ct lt 15 s"n b.sld. (BI.
It i S luth lar. IL k.1 Y thit on! ob Jlct part ull y occ 1 udn th. oth" lM t hC
thu contour 'belonqs' only ta tll. IQilP' of th. nurtr ob).ct ICI.
P'YChophYSl cal Isomorpht Sil
::, Ipec:ullte about th. natuf'1! of the trlnStar/utlon that taku place !at"l!l!n
1 f,1:: t
i'! 1 > 1
, '
l,> J
,Helmholtz, hl! l'las wlth lntegratlng hlS hndtngs ln psycholoq',
',' luth current th,ery ln phYI1CS ilnd neurophY'510Iogy. Fer InstanCI!, h. l'IotlCt1
,'"an IH1nlty bet"'ll!n .1tCtrlcl1 "h,ld thlery'" ilnd the ph.nouna that "le Inc
hll coll.aguls had abserv.d - partlCularlv th. La ... 0+ 51IftpIIClt/. FIeld
"
incr singly slIIpl1 c:onflguratlans 10 as to m1nllll:! olfflrtnc.s ln
fl,lds NI5 net coincld.ntll, and ne found so nluroloqlc:.l ,vldenc, to
lb
j
J
[
c
lupport hll Id ... that forll p.rc.ptl0n could b. a r.luit of fI.ld .Hlcts
OCturrlng wlthln th. braln.
a
Th. plauslbl11ty of such a psyhophy51cal
llo.orphIU ha. bun d.bat.d by plychologllts, n.urol.oguts, and
tlphyutunl .v.r unt . ns crltici clau that th. hypothetlCal presence
,
of ttUI 1I0.orph dots Idtl. to explun perc.ptlon Slnce It would requlre
anoth.r to pert.lv, th. llo.orph and brtng lt to conteloulne.s. '
Rte.nt r .... rch hu ln flet uneov.rtd further ,vld.nee that th. electncal
.et1Vltv ln th. vllual cortu 1 111 to be actlvatld ln forll-speclflc ways,';::'
but wh.ther or not "psyehologll:il flets and the underlylng .vents ln the
r'Ulnl a provocitlV' but unt.sted qu tan.
Artlhlal Int,lllg.nct ind Co.puttr Vuten
[1 InttlltglnCl lnvolved ln plrcephon? Il perception an act of
c
cognItion? If lnt.111qlnce Il a ,..tter of theught, doltSr'I t thought begln
wh'rt th. work of the lanlll end.' Th.,. are aIl fundauntal quutlons
whlth have bltn .ddres.,.d Ilnc. Hl1.holtz Introduced th. notion of
qu.,hons have tak.n on ytt anether du nllon. Th. uttnt to WhlCh Clrtun
klndlO+ know1.dg." ind "lntI111g.nc.- art n,cl!Jury for perception. or
. (,
It 1 ... t for It, lMlt1tlon, hu bleoll. appartnt ta cp\puter progru,lIerl.
Th. Itudy of "co.puter Villon, part of thl Intelligence"
.+fort, hu lud but th )(trl ... tOlllplulty of th. h.uratlc rullS
qov.rnlng thl day-ta-diV plrclptual f.at. whlch a IIn51ng !lVlt must
p.rfor. In ord.r to lnt.ract 111 th lh phYSlta! .nvuonlllnt.
o
17
o
robot, 1 st.atlonuy h.nd-eye lunlpulator, or a pur.ly '1l.ual progru tltlth
In tlCt,
co.put.r scenl-analysls pr09ra., g.nlrally Involvl stlge, WhlCh can b.
r.gArdld IS Inllogues ta HIlmholt:;:'s phyuc.l, neurophyslologleil. ind
.
psychologlC.l ,tage. ln hU.ln perception. I.lght enlrgy 1. r.e.lved by .eans
of 1 l,n, Ind cUllrrl, that .nergy li converted lnto .1.etronlC: .nergy Ind
dlgltlZ.d, and COllputltlonl Ir, perforlled on thll lnfor ... tlon ln ord.r ta
bulld 1 r.prl'ltntltlon ln WhlCh bltl of lnfOl"utlon Ir ... llocit.d to
abJect" ch 'luth thelr specdlc pl"Opertles, and elch under,tood wlthln th.
o
ra dit" progrlms h.ave be.n r.,trlctld tq
worklng IIIlt:h -block "orlds" conu,tlng of 1 Itllited f.pertOlre Ot obacts,
suth as the CUbOld, and wedg's ln Flgur. Thes. programs y.uall!
Itart 1II1th .. dlgltlZed T.V. 1Il11ge, fro. IIIhlCh ln lnltl.l Iln'-d'"IHn9.
lueh a, the one shoMn ln Flgur. .. , Il produc.d by uung Ilgnt-lnt.nllty
grldllnts ln the T.V. pll:tur. to d.tect 'dg's.:'::': Th, IlIIpertect dr.Mlng
.dge-enhlnclng MhlCh uses eQulvllents ta th. Gestllt
prlnClpl., of proxl.ltYI good contlnultlon, clo'ure, .tc., to produc. 1
IIcond Ilne-drlMlng such i' the onl shown ln Flqur. IH.li1nolt: h.d
du, ta lr""qullr'lt1es ln r.fllchng llght, ,phenCAI and
o
dlltortlons, ta winch ail physicii sy,t , arl' su.ceptlbl'I.
2
;' 51nce tnl.
18
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i'

(A)
,

1-
\

,
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/
/
7

,BI
Fiqur. 1.4 - A block-Norld, COn\lstlnq of CUbOlds dg'!, iS It 15 r'pr,sented by comput,r
Ilnl-driwlngs. An Inltl.l ' ssy lAI IS producrd by uSlnq
Ilqht-Int.nslty frai dlglt!zld T.V. Il.g' ta d.tect .dg.s. This dat.
11 th,n cl n.d up by in .dg.-enhanclng progri' .hlch US.S gla.etr!c tqulvil,nts
tD SOI' of th. Sistait prlnClpl" ta produci a s,cond Ilne-dr lng (BI.
dlgltl%,d plctur, prls.nti sensory Inform.tlon ln an Issent!allv
hu.an .y'l, knowledq' of th. thlrd dImenSIon, WhlCh IS nec,ss.rv to compute
Ipac., mUlt th.n b. "bUllt up". ObJectlvlly, Iv,n after th. flrst dlgltlzed
If thl. Input IS to b. ",n as r,pres.ntlng a
thr'.-dlm.n'lonal Itructur., extra dImenSIon h.5 to be added bv
th, lnt,rpr.tlv, actlvlty of the se.lng system ltseif.
19
\,
Th, cOllpl,1X o1nd subtlr noltU,.e ot thlS trinStOrrutton Il ont ot thl
o
Jor problems f.cJng eo.puter-VI510n progrilml"s. A
,
c.n only be made to "see" If lt tS provlded with powlrful theQrltS about
the physlcal world, probablilty, geometrlC OptlCS, ind ptrctptuil trans-
ft lOIould MolV! ta "lMow
A
how to use thr Gestilt pnnClpln
ground, asslgn sr"fices to forlll's icc:ordtng to at the vtrtlcn
(I.e., 11ne Junctlons), and dls"card "chlmerlc" ferms cr!tated by aCCIdentai
olllgnmtnts, etc., 50 that I1ne$ arr cerrectly isslgned to obJects.
block-world (or lf the oo;rcts 101er, to move ln rel.tlon te lU olnd ta
rRcognlze lts abjects from any angll and/or ta iny of abjects.
under any llqhtlng condl
J
t1ons, 1t would haVI! ta "know" (I.e., nol"1!
o
01 computatlonal deflnltlon of) rules about geometflc rotation,
,.
gravIt y, OCclusion, obJect pl!rmanl!nc! (I.e.,' ev!n If in oo)rct snouia tacomt
completely :lccluded by another, lt should stIll eXlst ln tne ln t'le
reprtsentatlonal dOIRun), the Gestilt pl"lnclplt of common fat ete.: ail
of WhlCh seem mundane te the vlewer, but whlCh represent major
Usually ovtrwhrlmed by the number of h.urlstles and rul" ta
carry out perc,ptual computer have ichleved
pli r cel vI! r, th 1 1 r pro g 1" a" li a r 1 r 1 dl cul 0 U s 1 y " 0 b tu li e ", "c i U Il' y' n d ' 1 HIO
But th. prospect l' that such Cin bt lnflnlt,ly
lOIarld ind Ils r.gul.lrlllIS.
1
o
20
c
. .
Th. CO!Dyt.r SCllne.s .nd Th, CognitIve SCllnces
"Th. aetlvltl'I of th. computer Itself seemed ln som.
akln to cognltlV' procuns . Wh.th.r thlY do thne
thlngs Just 11kr p.ople less th an that they
do th.,. .. t .. Il. Th. COlling of th. computer provld!d a
"
uch-n d.d r.assurance that cognltlve processes
Llk. 'uny of H.I,mholtz 's conttmpOrarlu, some contnporary
psyehologlSts (1.9., J.J. Glbson) contlnue ta oppose the Ide. that
p.re.ptlon Involv.s underlYlng declslon-maklng processes that cannat be
acc.lud consclously by th. percelver, pr.ferrlng to trut perceptIon as a
,utter of unsory det.ctlon r.ther th." of conceptual construction. Even
art Inextrlc.bly (as the Cognitive Psychologlsts
1
g.nlrall y do) havI shown the full ex tent of the eonnect 1 on, nor how the
,
eonn.ctlon 11 possible. Unllkt thes. psychologlStl. workers ln computer
VIllon .r, forced to f.Cf luch Issues dlrlctly, Slnce computer pragraml
"s " only te th. ext.nt that programmer! can makI thl! connectl0n exollclt.
Th'lr r1qoroui Il.th.matlc.1 .nd sClentlflC analyses of th. problems of
and n.ural Il.ch.nlSU S"" more concret nd less frelly !peculitlVe.::'"
Wh.n Cogn1tlv, Psycholotpsts talk .bout "top-down" ilnd "bottom-up'
proe.nu ln p.rc.ptlQn, or .. "'en they conCIUV! of th! "hullan proc!!Ssor" ln
t.ru of bullt-1n "hardware" and lft.q.,abl. "!Oftwir.", th!y ir!
th, argon of cOllputer progrum.r!, And th. study of miChln. parceptlon
hal b.tn lnstrucbv. .neth.r .... y. Th. computer sc.ne-in.lyslS proDlem
ha. Ihown th.t th. capaCl ty for p,rctptl on 1 and p!rhaps fer 1 ntel1l gence 1 n
g.n"a1:,' art1 il cul or oth.rwu., d.ptnds l.rg.l y on the ibtll ty to ft nd
.... y. to tr.at f tur.1 and r.gul.rltl's of th. world as to mattlr, of
UI. and Int.r.st.
21
f1
o
o
L 6.5. Irk Ind J.E: Raun, Th! Pruocr'ltlc P,htloloQh,r. (CallbrlCfgll
Cubrld<jl Unlverslty Prus, 19&&), pp. 421-424.
:: R.J. Chrlst_iln, S.nsory Exp!rll"C' (MI" York: Int,xt, 1'171), p. 79.
1 AnlClUS Hanhui Torqu.tus SeV!rlnu. iBoethlUI), "IntroductlC!n to
the De lnstltutlon! auslca." In O. Strunk (ed,1 Saure, Rudlng, ln MUI1C
Hutqry IN!" York: Norton, 1950), p. 80.
E. MeCurdy tld.), llonudo d. "Jnp', Notlbook, (Ne ... Ellplrl
Statl, 1923), p. 118.
::1 Gdll!o 601111el "The ASllyer III Sagqlltor'.)", tr.n.l.ted bY S.
Drake ln C.A. O'MllllY .nd S. Dr.kl I,ds.) ,ontrover,v gn th, Cout. of
1.li.l IPhll.delphu: Unl v,rslty o-f Phtladelphll Pr,n ,19&01, pp. 308-314.
Thl.e prlnclpl,s "ere later d.veloped bv John Lock. (1632-1704) Into the
,.plrlCl.t phllosophy (s Lock., Es y, COne!rnlng Undlr.t.ndlng).
Although Gal1110'1 notion of prlm.ry and ,econdary qu.lltt., clearly
.ntlclpat,. hlS Mork, Loeke 11 generally cr!dlt,d for th, In f.ct, the
ld.IS orlgln.t. ln the phllo.ophy of ".tO.l " d.velop,d by th' ,.rly Greek
phllo.opher, .nd the ROII.n philosopher Lucr,tlus (s., Luer,tlUI, Qn th,
Nltyr. of ThlnQs)
.. D.B. KI.ln, "Th. Ko1ntun Background," In A Hl.torv of SC1,nttT1C
PsYthology (New York: BUlC Sooks, 1970>, pp. 47i-503.
7 S. Kcirner, K.nt (Hilrilondslllorth. Engl"ndl P.nguln Book., 1'155>, p. 57.
Quot.d ln N. Putore, "R.ev.luitlon of Bonnq on K.ntl.n
Influent., Nln.t nth Centur'Y N.tlvtS., Gestalt PSYCho!oqy and Hel.holtz,"
of th. Hutory of th, Bth.vloral SClInc", 10 11974>, p. 387.
," H. Hel.holt:, "On the PhYSloloqleal C.un' of Harmony ln MU.le."
In Popul,r lectur.s, trAnslat,d .nd 'dlt.d bY E. Atkinson
(London: Long,...n., 1873), p. 70.
10 H. Hel.haltz, "R.eent Progr,sl of the Theory Of Vl.lon. In
Popul.r Sel,n'lftc L,cture., tr.nsl.t,d .nd .dltld by E. AtkInson
(London, long:un., 1873), pp. 197-310. Helilholtz'. conClptlon of th.
th.ory o-f V1Slon dlVld.d lnto phys!c.l, phYSlo1oglcaltneuroloqlcal. and
psycholoql-il do.uns 1!1 rlf1fCted ln th ubhudlnql of thl' 'S'AV:
1. The Ey an Optl(.1 Instrullent, 11. Th, SensatIon OT 5lght, and
III. The P.rcephon of Slght.
& L H. Hel.hott:, Conc.rnlng the ?re.ptlon. ln Gen.ral" In Trutu.
on Phyuolo9Uai ORtlC:S, Vol. III (Ne" 'forkJ Dover, 19b2), p. 4. TranU.tlon
,'\ of Htrldbuch 4rr 2hploJOqlshrll Optlk i3rd ed.), L. Vou: Hubur(J, 1910.
1.:: IbId., pp. 30-31.
L3 C.F. von Ehr.nflls, b.r Ge.taltqu.lttiten, V"rt,lJ.hrs-
'SihqH "k ,..\uenghtHllch. Ptulo!ophu, 14 11890), pp. 249-292.
22
c
/
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kt
1_ ft. W.rthlu r, PrlnClpltl of P.rc.ptuil OrglnlZatlon In D.C.
-B.ardsl and M. We,.,thl1 r (.ds.) Rudlnq. In P,rcIPtlon (Prxnc.ton,
H.JoI Vin NOltrlnd, 19581, p. 115. An Ibrxdg.d translatIon by thchael
Werth.u.r of Un tir suchun IItn rur Lrllrt Ifon drr G.shl P, 11,
Pnchologlsh. Forshunq, 4 (1923), pp. 301-350.
UI H. H.I.hol tz, "Th. R.c.nt Progr,s s of th. Thlory of VI 51 on. 0' ln
Popullr ScuntJflc L!duru, translahd and .dlt.d -by E. AtkInson
(London: Long .. n., 1873), Pli. 271-272.
1. although as .any lion. hundrld and fourt.en g.stllt prlnclPll.
hAve bltn for.ulat.d by 'l,nous \!fr\tee! - the co.pletl IISt appears ln
H. H.nlon "Th. Funda.,nhi PrlilPosltlonl of Gutalt P5ycho}oqlcal
R.vl.", 40 (19331, pp. 13-32 - W.rth.u.r s orIgInal Itit .... nt of the
prxnclpl of p.rc.ptual organlzatlon" r uns the clas!l1c one.
11 K. Koftka, Thl PrlnCIQlu of Gutalt Psvchology (New York:
Harcourt, 1935), p. 110.
le althouqh IterlOplll (our ab\llty to II. "lth l.!!.Q.. Iyes> also
1110 ... th. brun to co.put. d'pth Infor.atlon by slilultaniously vl.wlng
obJ.cts frOI two dlfflr.nt anql.s, thl! alon. do.s not .xpl.ln depth
p.rClptlon. Figures 1'.1 and 1.3 Ihow so of th. d.pth CUIS that can b.
r.adlly Ippr.h.nd.d luth on. Iy'.
U W. I(hl.r, and R. Held, "Th. CortIcal Correlat. of Pattern VISIon.
Sun", 110 (19491, pp. 414-419.
:10 D. H. Hub.l And LN. W.ls.l, "R.c.ptlve FIelds tlnd Func:tlonAl
Archltectur. ln ho Non-Strllte V1SUIl Ar.as (18 and 19) of th. Ctlt-."
Journ,! of N,yroR,hvsIO!ogy, 28, pp. 229-299.
:II W. Kahltr, Thl Tuk of Gutalt Psychology (PrInceton, N.J.:
PrInc.ton UnlYtrllty Prtss, 1909), p. 00.
:1: for '1III1pl., UI Y. Shlru, "Antllyzlng Int.nSlty Arrays U!ung
Kno.l.dg. About Sc.nu," In P,H. Ihnston (.d.1 Th. Psychology of COllputtr
VIllon (N .... York: I1cGra"-Hlll Co.put.r SC1.nclI SltrllS, 1975), pp. 9:3-114.
:I:S H. H.llllholtz, "Rte.nt Progr ... of th. Theory of VISIon", Put Il
"Th. Ev. iS an OptlC:al Instrulllnt", In Populu SC1.ntlf1C L!ctur.5,
tran.l"ted and .dlt.d by E. AtkInson (London: Longallns, 187:3), pp, 197-228.
H 11. Bod.n, Artdlpal Int.tllunce and Ntlturll Man (Ne" York:
B.Ile: Books), pp. 207-244. 5
:lS U. N.lIur, Cggnltlon Sr Rullty <San FrtlnClSCOI Fruun, 19701,
pp. 5-b.
:. S. Zuck.r. "Co.put.r Villon and HUllan Perception: An Es.ay on the
Dl.coYlry of Con.trllnt!." Prpc"dlngs of th, Sev,nth I"ternatlonal
Jqlnt Cgnhrtnc, on Art1f1q.1 InUlllq.nc'
r
1981, pp. 1102-1110.
23
o
o
tt
Ii. AUDITORV aBJeCT PERCEPT l OH
H.&rlng la li wly-of knowlng obacts by th. tH.cts of thtlr vIbrations
on 1 UdlU'. Phylogen.tlcilly, It Il probtlbly older than th. IInSt of
ught. DUrIng th. urly stlq.s of .volutlon, th. Pr'lIIlltlv. Ilf. forras
thit th. dark OC.oln floor probolbly d.v.lop.d the t.p.CItv
to IInse th. pr.unel! and propertlu of obJ.c:ts by touC:h, 'Ille 1 1 , and
aound befor. th.y were able to su them.' But ln splte of Any clalm that
"lght b. ude for th. pnucy of hurlng ln 1 senll, th. study
of ludltory perceptlon hu trldltlonilly b.en by th. study of
vlIulI perceptIon, Ind, untll very rectntly, r,sflrch on hOIll th. br.l"
transfor:!, sensory Inf.orl1latlon lnto knowledg, about th nvlronllnt nu
bltn don. Illiost .xelu'lv.ly ln VISIon, 15 th. surv.y ln Chaptl!r On. hu
.hown. Thtl h bun a naturil eonnquene. of th. faet thit hUlUns OrI,nt
t.hultlv.s wlthln their phyucil envlronunt' pralnl", by Ulns 0;
vll1on.:OZ Oth.r factors sueh as th. deslr. for .ccurat. r,pr.s.nt.tl on Ot
th. world ln vlsual Irt and th. d.v.loplD.nt of th. calun provok.d .lc:tlvl
t.heOrIZ1ng about vlluil p.rceptlon, whll. th. iudltory .qulval.nts to uny
of the questions rlls.d Iif.r. scare,ly nottee or eonllc.r.d worthv 0+
Investlgatlon. Furtherllore, or p.rhtlp. y.t anoth.r contlquene. ot thu
o,.eJUdlc., the .wnsory Il.chanlS. Involv. ln vlsual p.rClPtlon hu !l n
b.tter underltood.
Th. g.n.ral onentabon of c1uI1cli psychoacou.tlcs tOMard th.
ludltory .yst .. , .... 110 plrtly r;Upctnslblw for 1ultlnq the londl 0;
t.hlng. M' eould know about lb perfor new. E.,.ly p.ycholtoustlclans w.,.e
24

\
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o
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, ;
2
pr.occupud "lth ul"lng r.th.r Il.pll ICCClpllshll.nts of th. ludltory
a valuabl. foundat1on for futurt p'YChOlcoustlc rls'Irch, but It told us
llttl. about the lost ."entlll day-ta-dIY functlon perfor d by th.
audltory Iy.t.e. In Chapttr Onl w. su l:.hlt Il:. u th. to o,.g.nu.
and -,.eprn.nt" th. ",arld, by forllng-'.I cone.phan as to the c.us.s of
Itl.ulltlan by ll9ht, en.blts us to "Ie.- ln InY,lIIIanlngful
Ifn... Llk.lust, It IS thu su. caplclty tc orgilnne and rlpru.nt thl
"
world, only by forung a conetptlon as to the c.uses of st1l11ul,ltlon b,y
.cou.tle lound",." , "hlCh en .. blll us to "h r ln Iny Itlnlngful .enu.
In thl' chapt.r 1 Will d15CUII 10,.. of th. problees ... nlch th. iudl tory
IYlh. eUlt fac. In ordtr to perfora thll rol
The hue Quutlons: The D'COllpos1tlon of AcouStlC Mlxturn
"The Illullln.t.d duk of th! OSCIlloscope Ihows only on.
lin., no H.r hOM uny tanu Irl! sung lnto the 1I1crophonl!
lleult.necully. A ncond tone add!d te on! .lrl!adv !5oundlng
do not appur a. a ncond, dl ffer.ntl y shaped lin. but 15
1 ching. 1 n th hap. of th, h r st .. Wh.t the app.r iltus
regllhr. Il 2!l.!. ",av., w. hur as 1141tlDIIOtV of
t.on'I. -
If an obJ.ct vlbriltts il ".dIUIII (usually illr) "lth audible tH.cts,
Jt il eall.d an".coust1C: saure . In natural 115t.nlng tnvlronunts lt 15
ulually tru. that I.ve,."l of the .. "COU.tIC 50urCI. ilr, ic:tlve at the !ame
tu On" bu.y city strttt-cornlr, for .. nc" w. can convene Iluth a
frl.nd, Wh11. at th. sa h belnq ""'.rI of .Jn urplan! overhUd,
pllunCJ luto.obll., Ind 1 !tr.et MUllel.n plaYlng hl' vlolln (Flgurl! 2.lal.
Furthl,..ore, Il. ar. abI. to chooll.t Will ta attrnd te any OT th ... e
indlVldual acoushc lourCII lepoIrlttly. And .. e Ire able ta oICl:Ollp11Sh thls
wlth .... , ln .plt. of t.he fact thet th. vlbriltlons eontnbutld bv e.ch of
c,
th ... Ind.p.nd.nt .coustlC: lourCIi <F1CJur. 2. lb) ar. cOlblned Into il SIngle
25
,.
o
o
.:ii:'
-
-=t
-
-
-
-
'-
lU
-
-
-=
-
-u
-
-
-=
-
,-
..,
-
+
+
26
"1/

'.l
co-:

l
- ...
..
-..
-: i-
c
:- .. ',
, ,
"
Ct
. '
l'
, ,
, ,
'.
",
"
, ,
\
CD.plu !lrenure ... ve befor,' they rtlch our tir, (Figure 2.le). Thr.
. '
ta account for our 04 Itvlral loundlng
\ ,
Vet lUit place so wh.r, ln th. audltory
, ,
"
IFloure 2.19). Thil proe, ' of dlco.poun9 .e:oushc ,lllCtur,n, to for.'
'1
, ,
J ,
an lnt.rnal,rtPr of thl'IOOlC .nviron.ent wh.rl! ,coultle: sour'l:tI,
,,1
l "
. P.r/ups ',n u,,"n.bon of th. of th.
, ,
.,chanlU, whlCh 11 l'nvalvl!ct ln the rtCepilon of the, pr,s,lur,' ",.ve. wll-), '
'.tl
, \/ Il. 1
l a'nd \ han 0+ th. cD.pl.x' .. taku plac.. J .. n Baptllt.
,
"\
\ ,
'F.ollr'1".'; ((92;2) It.t.d 'that any-flnlte
'1 \ l' ,
',:' .. v.it+or., or lnflnit.ly rtp tlnq cOllplu "'.vefors'. Cln bt, ,
r
',,' .' 1 l '
" d,.h,n.d (' of' i, of s!'rie uv,,; and' Seorg Oh. (l843J proved."
,t 1,1_ f,
, 1
" ,,'th.t IiIl th""P'.
\} /' ... t ,
,\.f \ ' l " ."
. ':.' . ,: Co.poRlntl 'qf, a,
7': I,f
,\ ,
t,.h
, L
,X ton.
,
h'u .. n. c.n put" these
,
, ,
,. J,
",', , \(1 - ,
,';. ,ducov.rad k&nd 'of ""dl tory Four'ur, an,,'l y.lI" - the convtrllon of
\ \
, ... 1\ , ' , l 'Ir ,
, \ , 'J j, f l 1 1
.,:o.ell11 Hu.,dtflilnn 'ilnforutlonl lntc of
"_ .! l , '.
1 ! l '1 1
of, v.ryl'nq lnh'"uty dou!n
ri " \ J: : ' " \
ul.,40r .. tlonh -.11 'ln' t:he coehll. of, thl Inn., ',.r.' "Th.
\ l,'
" ,
.,.brant u .n or91n :the 'cach'l ,Mhlth ',vlllr"te. 111I1I"l1y .t dltfl,..nt
, l' t, 't ( \
POUtl0ns. th 'dlffertnt ;ana,
bord-ennq q-'l1 .. "Irus n.ry. cill. _",Inch .enu th'
, .
id;" ,.c:h "o'u tl on' 'donq th. ... br.n. \ 15, bordertd 'by tl
""- L { } )
"
l
27
, '
o
o
n.urll hur c.ll ",hlch i, UIOClltld Nlth lt .nl:! \1IhlCh trlnsduclS th
brln. '1 vlbratlon lnto n.urll puls.s \1Ihlch th.n proplglti 110n9 dlltlnct
n.urll path\1lIYI, lnfor tion about dl H.rtnt parti of th. 'fr.qu.ncy
, "
,
Ip.ctru. 11 k.pt "parate .t th. n.urll l".v.l. Though th. ex.ct IUnn.,.
ln \lfhich ,thls n.urll lnforutlon 15 .ncod.d has bun th. IUbJlCt of
co,ntrov.rly Ohghtlllln, 19811, IIoSt Igru, tlut w. cln
e '
t,hilH of th. l'l.un1 ,Qutput of the cochl.1 .. an on901n9 Fourar-llkl'
.n.lvS1S or 'n.ur.1 Ipectrogru' of 'th. IcoultlC Input (F,lqur. o2.1d)
(Lyon, 1982, 1984; Searle, 1979; EVlnl, i971, 19751.
, 1
ThiS fr.qu.ncy InalYllS hilS' chlng.d, but not I1l11pllfllcj" th.
l',' 'd.CO.poSltlon problu'. The spectral co.pon.nts thit hlve bten
froll th. tot .. l "'Ive of the III xtur. lUit aOIt b. corr'ctl y
, .
110Clt.d ta I,pilrlt. groups to r.constltut. th ... Iveforll contrlbut.d by,
,
( 'i
th. IIp.r.h .coustlC sourcu (Figure 2.if). Thll pOSIS prOblu. Mny
,l1n91. fr,qu.ncy cOllpon.nt coul d b. the' rnul t of th. IUUIt! on of .n.rn
orlg1nates from mort thln one and whlch should b. comput.d
.
I.-paratel y. Conv.r .. l y, III th co.phx tOl'\II, nu.ber of fr.qu.ncy
eOllpon.nts' rnul t froll .... !llngle loure., and th.y shoul d b. group.d
Furth.rlore, It Will b. nec ury ta connect cne lIo .. .,nt Ot
lourcl 'lIanitlonli to the nut acrou bille, ln 'Plt. of dllcontlnultle, th.t
.ay b. te !lounds by oth.r sound. WhlCh 1 f tIn s
d.CO.posltlon prOC1S1 11 not pl!rforlid wlth preC1Slon Ife IIIlght hur
,v
IlUth forunt of th. vl011n lIodtfYlnQ th. Id.ntltv of on. of hll '10",.11,

Cl .. rly the ludl tory systu lUit o"ganl z:. th. chaos output bv th.
cochIn (Brtgrun. 1981a>.
28
Il
l. Auchtory Loq1llitlon
th. 11gn.ll .1:. thlt two .urs the br.un Cln perform the tOllpul:..tlons necessary to
attrIbut, cOlI'ponltnts of 'the ICOUltlC 1nput to u!par.lt lource. ln the I!nVlrOn-
nt. SIne. thl'. b1naural 'CUit. ire uled \:.0 10CIl1%" lso1ated .coustle sources
(St.vltnl " N.wun, 193bl, 1 t ollgh\:. b rgul!d th.lt ln cOllplel! envlronllent 1f1 th
.. ny loundlng lources, thlt .udltory Iyste. groups spectral cOllponl!nt's In\:.o ,1/11-
uitaneoui .nd I.qultntlal unltl wh.n they .re found to orlQ1n.l:.e fl"oll a common
pOint ln IP'CI, by " nl of th en cu ... Th1s would seu 1:.0 be. qood heurlSt1.
II:. 1. I:.rUI th.t 1f lud1tory sp.hat ".1'" .1 .. iYS hlghly accuratl,
lub tl of spltct"al etoaponents IIIln.1:.1I'9 f:rom separat. acoustlc sources.
, , ,
c
Thlt polntln-,p,c," .rqu ... nt sural, Intultlvely. \:.0 bl the lias\:. prob.ble.
But hON ".11 would IYltu ln th 'unn.r plrfor. ln, the world"
Blnaur.l h"l"ln9 Cinnot account for hO" one-eared p .... 'ons, un.bl. ta access bln-'
.urll lnfor \:.lon, achuvlt IQurCl segregatlon. Nor can 11:. IXplun ho,", lot. art
rlt.dlly .bl. ta p.r acou,tlc Ilx\:.ur" output froll' lIonophonlc radIO spe.kers,
or ln n.tur.l Clrcuastincl', such a. 11stltn1ng frOID the end of .. long revltrb-
.r.nt hllllflY, wh.rlt Sp.I:.111 lnferaltlon lS lost. Furtherilore, ev en when bln-
.urll hunnq 11 posublt, it 11 only "h.bl, for 10cl1121ng sounds hOrl!onh11y;
W. 10C6011%l soundl vltrtlcdly lnd k, front/b.ck .nd dlst.nCt dlstlnctlons
uunq athtr aon.ur'l CUlt, but only 1n.cr:urltlly. It .pp rs unllk.ly th.t
.utu" Hot only would lt 111'" .uch roo. for .rror, but It I1l11ply c.nnot
Iccoun\:. for ny of th. co on p.rs1n9 ti.ks p.rfor d by th. iudltory .y.t
"\
29
o
o

2. Th. Gestalt Str, S!gr,git19n
It ha, reclnt! y bun propoud thAt th. 'Udl tory svst .. a.c:ollgOIIS
ACOUStlC uxturu by lIonltorlng th. of th, tllt,-v4rvlng
IIgntyral spectru. wlth i sensltlvlty to c.rtiln s'Qu.nttal and sp.ctr'ai
pitt.,," cu.s, grouplng so.e c:ollpon.nts and Slgregatlng othtrl .cc:orOlng to
pattern prlnClples roughly ta the prlnCIPl!!!
ducrlb,d by th. G,stalt Psychologlltl for vlSlon (Srtglun.
Accord1ng to thu vIeM, the probl,ms f&c:.d Dy th. audltorv system .. It
trl'S to bulld in lntirnaL rtprUtnt,lon of the Hou.he ,n'nronillent and
1t. obJ.c:ts Ir. ta th. probllUIi of ',c:tn ... nalysls" ln '/lllon
(Srequn, 199"),
\
ThIS appro.ch to Audttlon And th, enttrl bOdY oflr" rcn
observlng rath.r Isolated pnenOIll.non - iudItorY ,trum ugr.qatlon.
Sr.gl .. n and Campbell (L'Hl) prellnt.d llst.n." wIth
"Qu.ne. of hlgh tlnd 10M ton.s. They rOund th.t Ifnln t:ll1
sequenc:e was pruented a slow sp.ed, the Ilst,n.n .. er, aol, te 'Iar -:'1'1'
.lt.rn.tlon of hlgh .nd low tonu; 1.'. 1 t:'IIy coul d hur tnt UQu.nC:t t:''HP
"'
Moly lt lUI bltlng HOHever, when th. ton.s ,j!'" pr!l.nt.o ou:te
rapld1v, a new exgert,nc, arol. for th. llst.nlrs.
l'lIre h,arlng tHO Iftp.rlt. ,ltquencls of sound, ail' cOlllpo'ld Ot tru hlqn
tones. th, other compoud of th. 10'" ton.!.
tonl!l M.r, dlsc:rlb.a by a,.eql1lan .nCl Cuoblll Il :,.lonqlnq to :lI dlr.nt
\ 1 '"
'Udl tory "Itr,,,,," and th. procas, th.t .... , .slull.d unr.l"'" i:,
th. erubon of thl str,.., Wi. ,.llld 'audltory str ... Slgr.gnlon".
30
c
(
,
p.ttltrn, th.Jt Itayed luthln a Slngle ,tre.J/D couid be readlly heard, and It
r"loned th.t thlS dlfflculty hearlng across-stream patterns could
bl us.d iS .n Index Of the amount Of segregation. BreglD .. n and Callpbell
.110 found th.t, ln .ddlt1on to the tupo of the!e sequences, the slze of
th. frltqu,ncy lnterv.J1 bet ..... n hlgh and 10'"' tones c:ould effl!ct the
"gr.g.tlon; 1.'., th. hrth.r ap.rt the .lternate tones l'lere ln frequenc:y,
th, 1D0ri llkely they "ire ta segregate (Figure 2.2b). Furthermore, they
found that the.e two varl.bles couid be traded off agalnst one another:
110101 tlqu,nc:.s Hould spllt only when the aHerniite tones l'lere far apart ln
fr.qullncy, ... hlle sequences where the alternatl! tones loIere close tegether,
but ""ri alternated .t faster tempI, Mould also splIt. VarlOU5 aspects Ot
thl audltory stream sIgrlg.Jtl0n phenomenen h,vl! been dl5c:ussed :n the
psychoacoustlc Ilterature under a number of other headlngs: "the trlll
thrl.hold" (l1111Ir ,and Hllse, 1950) /"rhythnllc fISSion" (Oowllng, 1967>,
",.,. c:h.nnels" INelsser, 196;), parallel audltory c:ontlnua' (Warren,
19O5> , .nd w
ju
l odlC fiSSIon" or 'tempor.l cohlrence" IHoorden, 19i5).
(il F
R
(b) F
R
E
Q
-
-
-
E
Q
U
E
N
C
- ------> - -----_ .. _} -
\ r \ / .. t"
- --------) ...:..- .------->
B
U
E
N
C
A
y ..... _-----------
TIllE
- p.rcept .t sloll ttipO
---.} - p.rtlpt .t fut ttlPO
A A
.te.
-

-
..
a
TIM:
FI9un 2.2 - Und" ttrtlln tondl honl .. reg.rds t.J of il hrnih on ind (b) th. f"quency
ranQ' b.htln il t.rnltlnq tllgh tonn H ind 1011 ton.'! 8, th. ,.qu.ne. sponhn,ouil y
"" ft! O1It tu ho 'Itrt'I" ln perc.ptlOil .. n Cupb.ll, Jlm 1.
31
\
o
o
o
Oetal1.d studl's of th. IcoustlC factorl and .xp.rl ntal vartabl.1
Involved ln audltory Itr ... leg!r.gatlon haVi YI.ld.d ,valuabl. Inl1ghtl Into
th. ph.no non lt lf and haVI alloM.d .0 roo. for IP.culatlon about
thl phyuologlc.l and psychologleal Il.chanlns lnvolv.d I g., Hoord.n.
19751. But Sreg.an wond.r.d th. audltory Iy,tu 140uld p.rfor" .uch a
Itrange f .at. Wh.t roi e coul d Itr ... I.gr.gat 1 on pOUL b 1 y play 1 n th.
b1gger schu. of perclptlon (9rlgllln, 1981a)" HOM could 1t ... rv. Itl
'C010g1C.l goals?
Thil "15 a dlparturv froll thl ulu.l und.rstandlnq of the Hr.1II
segr.gatlon phenomenon. 9r'gman chos. to from th. a'iullption
wnat h. obs.rvlng h.r. MI5 an accompllshm.nt of th. 'v,t'II and not a
preakdown of 1t, a. nrl1er (Phll.r" H.I , 1950) and preunt-dav
rllurch.r, (Nore .... n, 191i; Anstll " Suda, 19851 have a"YII.d. "'Ith
'th1 S or1.ntatl on h. ut out to tut an hypoth'51S \IIh 1 ch had .vol ".d f r 011
.xp.rulental experunce wlth thue audltory I.quences: that Itre.,.
I.gr.gatlon may contaln hint. Ibout on. of th. May' thlt th. audltorv
Iyltu cop,s \Ill th th. deco_pOIL tl on problu. H. ,p.culated that th
chanllm that 14.1 s.gr.gatlng audltory str'I.' ln s.qu.nc., of hlgh
and la" ton'I .lgnt b. off.rlng organlzatlonal propositions to att.ntlon
by lIaNlng unconlCIOUS conclusions" about th anlng Ot r.qularltl.1 ln
th nvlronll.nt. In the ca of alt.rnltlng hlgh and 1014 ton ... , by ov.rrldlng
t poril contlgulty to group on th. blS1S of fr.qu.ncy prOxlatlty, p.r"aps
th. Iylt II "bettlng" thit, ail oth.r thlngs b.lng 'Quil. grouPlng cv
crlt.rlon lull b. a good h.urllt'lc, lot., that It 14111 I d to 1
"corr.ct- parllng l:"Ilutlon, Ilnc. luch .nvlron ntal condltlonl will t.nd
ta lndlcat. th. S18ultan,oul benlvlour of ICoultlC 10ure'l, whOI.
- 32
c
Ct
1 t 1 S trul thlt Icoust 1 c sourc lU ir. r Irll y d Isconti nuous in the
unner thlt thl tif 0 streus ln Figure 2.2 Ire, but a ruchanlSll that groups
dllcontlnuous .cr055 tllght be p.rtlcul.rly useful for eoplng
lIIlth ln nplct of the ludltory decoap051tlon probletl that 15 analogous to
th. oeclu!llon probll/l ln Villon. If the spaees betHeen the tones are fliled
<1 n If 1 th no 1 Il bu rs t s, 15 1 n Fig urt 2. 3, the 5 trI! 11111 n 9 rI! sul ts are un cha n 9 e d , b
but the Iituation no ... /lore closely .pproxi/lat.s the klnd that the audltory
SYltl. fieu dally ln complex envl'onllenh. In thl'.! case, lt IS as though
th udltory syste. II tracklng the behavlor of lepllrate acoustlc sources
through Interllittent nOI51 ln a I1llxture.
ThUI, although th. observitlon of segregitlon ln sequences of alternatlng
hlQh Ind low tonu was not nlfH wlth Brequn's StUdl'l, the br the
ludltory sYltem er tlvely Ing.ged ln th. aetlvltv of l'las.
Slne, th." larly 'lCperuents, flfteen yurs of reseireh has bun !lased
on thl pruu. thlt Just as obJects - whlch Ut put together dunng a "scene
analYSls" proeess - are the bUlc unlts of VISion, so audltory streams-
WhlCh Ir, put together durlng a 'parllng' or "deeomposltlon" proces! - are
the b.ule unlts of auditIon. ThiS rellireh has revealed th.t the audltorv
Itr"tI IIgrtgatton lnltlollly observed ln sequences of ilternltlng
Ind low tonn "'as hr fro,. an Isoled lliullon. It eontalned compelilng
,vldlne. about th, norlul functlonlng of the ludltory system ind lts
ablilty to the .eoustlc mlxture5 ln the
Flqllt'. 2.3 Str ... ln9 rnulh art unch.nq.d If tb, Sp.etl b.b n th. tonu UI hll.d ln
Il t" nOIlHllt'lts.
o
o
t.stld thl! hypotheus ln aore d.t"ll, and ln Cht\phr Four 114111 pur.u.
procI". l have choun to trut iudltory s,ubal and .uddory
g.stalt groupln9 procuses lnd.plnd,ntly becilu,., illthough Ile loti Il l'ee th"t
thly ln fact work ln a coordlnatld and co.pluentuy w"y to lnftulnc, one
." .. ntully dlfferent roles-t_.nd prob.bly uSlng qUit. dl'hr.nt chanlS/llI.
Fu,.therllore, 1 thlnk that the probleu that .Ulleunl Ineounter ln thlnklng
acoushc ulItur,., ire best addrt,std by dlvldlng th, ,tudy ln thl\l lIaV,
Althouqh th, t,rll "obJlCt" seus lntxtncably bound up luth th. Vllu.ll,
Ipiltl.l and tacttl. liIorld, 1t 11111 be u!uful fo,. ,.Ul1Clanl to b bll to
thlnk of audltory abJects" as thln9S deflnlbl, wlthout r,ttr.nee to notlonl
of 'Iuc,. Victor Zucklrkilndl l'ilS sud th.t ln IIIUSlC, "'or the hrst .tl/"
b.t ..... n 1 g. ilnd SpilCt, 11 brokln . /IIuUC b.cui the ut the
oVI"turn.d our concepll of formlng and constructlng, beclui. It qav.
L plrsonll co."unlcatl0n \IIlth DI". 8,.110 Il1ch.ll /tarcott" Inltltut.
of Qcunoq,.aphy, I1CGlll Un1V.rslty, QU'b.c, Canlda, Profulor l1arcott. 1
r larch ln thlS a,. Il lu.,ur1%.d ln "The I.po,.t.lnc. of Cop.poC! Dlv.,.I1ty:
P.rc.ptlon. Cognition, Coap.titlon and p,..datlon, ln F.R. Sch,.". (,d.I
CruUacun Phylogeny (Rott.rd ... : H.A. aaneu, 1963), pp. 47-72; Inll ln
"Turbldlty, Arthropodl .nd the EvolutIon of P.rc.ptlonl A New Plradlg. Ot
l'lann. Phlnerozolc Oneruty, subaltt.d to Pll,obIO!QQY, 198,
S35-.11110n-ye.r'oid fOIllis of crultac."n-llkl Inl 1I, thought Dy 10
ta h.v. bl.n th, "Urcru.tac " (1 , orlgln.l phylog.n.t1c.llY-lnclltr.l
cru.tacn), h.v. b n found ln th. l'hddl. C brl.n l,yerl of th. C.n.dl"n
Roc:kl". Thl orglnl'" htld no .ye ln ,calocpcal t.r .. , It 11 .IIV ta
la"Qln. th.t the dIane .. "nd llck of l1;ht contra.t charac:t,rutlc 0+
.quattc tnvlron nts y h.ve ret"rded th. deyelopa.nt Dt Villon untll
th.s. Urln. org.nl'" !tvlntually lnyad.d lUd, .1111onl of y .. r. l.tt,..
c
t
Th"1 organ1'.' werl, however, probably IlnsItlve to touch. Thl
,nu Inablll an organlS. to f.,l vibrations of an abJ,ct or a lIedlU.,
an .blbty WhlCh 11 of conuder.ble surVlvil I/illut to'Tt.. For Instance,
Ilthough th.y ar. al.o equlpped wlth sl.ple 1Iqht-rlc.ptors or "ey.s-,
prlunt-day copfpoda (a .ptcu. of crustacun)" ar. Itraltlv.e to
vlbrltlons ln water r,sultlng fro th, aal/'lient of prey or pr.dltors b,yond
th'H v1Iuli fuld (e.g., they loutues r"pond il prey, 'plaYlng d.ad
wh.n Ippro,ch,d by a lourcr of v1bratlon ln the water), Hearlng have
IVOlVld wh.n the .bliity to d.tect aor. and alnute Vibrations of th,
.,dlua and to fine dl,tlnctlons betwe.n dlfferent vlbratlng sources
<I.g., b.twe.n preditor, pr.y, pot.ntlal lute, etc,) necame cf survlval
VII u. to th. organ1 U. Th1' concur! 141 th Hlch s that .ud1 tory
.enutlcn evolved fro" .. grldull unlltu.ltlon ta hlgtfr tlnd hlghlr
frequ.ncus of vloratlon (Mach, 1914, pp. 291-298). Prlsent-day coptpoda
po.u .. pr 1/111 tl ve audl tory rlceptor!; hitl rs along thl length of thel r trod1 es
WhlCh ar. attached to the1r central n.rvous syste"s, Wh1Ch rlspond to
h1gh frequency sound Itl_ull. Th.re l' eVldence of th"e "audltory Cilla"
ong the urlust fonll rlcords. Hllllholtz (1885/1954, pg. 149> felt that
thlY wlre a pr\1I1tlve, externallzed verSlon of th, basllar halr cllls of the
lnner IIr. Stlll 1II0r. hlghly-tvolvld crustace., tropical lobsters, are
known to pOlsesl lIorl sophlstlcat,d phonoreclptors" and
organs WhlCh .ppear to p.rmlt blt .. ,en lndlvldual
% notwlthstandlng f.ats of r,,,.rkabl, .udltory ,culty by th. bllnd
(Supa, tt al, 1944), th.H hindlcap lS conslder.bly 1I0rl duabllng ln thu
regard thin 11 fhe lo.s of h,arlng.
1 do not to dll.ISI thlS rtsearch - lt has proven to have
l tnll pr.ctlcal valull dt'tulld grilphlng of variOUS rt,ponsi thruholds
ha nablld the 'UdlOlogllt ta detlct .nd classlfy nu",rous form, of patholoqy,
.,pplng of tht rel.tlonlhlP b.twe.n physlcal and the subJectlvl
txpenlnct of loudn," and pltch have qlvln us the phan and .t1 scall'
rlsplctlvely and thtsl prlnclplls have been appllfd by acoultlCI.ns ln tht
de'lgn of sound reproduction ,qulp.lnt and conc,rt halls, ind flndlnqs
r'9.rdlng varlOUS ... klng tlnd ft 1 tlrlng phlnomen. h.ve bltn, appilld ln
co unlcat1onl .nglnl.nng and ,lst'fhere (l'1oorl, 1981>.
V. ZuC:kerkandl, Soynd and Syllbol: MUSIC and the External Worl"d.
Tr.nllat,d by W.R. Truk. <Prlnctton: Prlnceton UnlVtrSlty Pres., 1969>,
p. 333.
';
ln an ac:oultlc,..a.a.xture wh.rl only twenty frlquency ar.
belng rtcpsttrld on the b dar brane .t a ao nt of tut, th".
bl Il IIny .. 2:50 trlll10n (1 , 20' - fac:torlil of twenty) alternative
W'Y' to group la.' .nd .'gr,qat. oth,r, ln .n allocat. th.1I ta
.ourelt iFlgUrt 2.1d (1
.. thl' clau l'III not betn t.stld ln th. laboratory.
ft. pr.-test dJtllonstratl0nl, Intultlon, and .xtrapolatlon
of 8"9 .. n and D.nn.nbnnq (197bb>. '
It 11 baud on a
fro. the flndlnql
7 V. Luck.rkandl, Soynd Ind Sy.bol: 111.111C and th. Extern.l World.
Tran.l.hd by W.R. Truk. (PnnClton: Prtnc,ton UnlVtruty Press, 1969),
p. 260.
35
o
,/
III. Th. Gestalt Aopro!ch
VlSu.l ,nd Audi tory Gntllts
Kubovy (1961> th,t Ifhll,' two vuu.1 obJ'cts, .11k. ln .v,rv
t'up.et but !lut1011 locatlon, Ire perc.lv.d 15 p.rc,p\:ullly nu .rous,
tMO ludltory 'Vltot! .11ke ln .very r.,pett but spatl.l pout10n .re not
In .udltlon, th. PUCltptlon of nuuroslty "1115 to dep,nd not SO'lIuch
on th. dutnbutlOn of .coustlc lourCIS ln IP'C' u on th, dlltrlbutlon
of thl Inugy of thl1r It.veforll!l ov.r th, frlquency dOIll'ln. SlnC!
t .. por.11y dlltlnct, Kubovy ps th. vtsu.1 dImInuons of SpIC nd
tu. onto the .udltory dlunslons Ot frequency .nd tl/ui 1.1., as

o
C1.S.1C.1 prlnClp1.s of glst.lt for VISIon - pr,suppose! tht! dIstinctIon
blth.en .udltory .nd vuull Qut.lts, Ind h. r.tun. th. n'lIIes
of the prlnClp1e. ,centlfl.d by th, Gest.lt only .. hlrl
the frequency,tl.e-IplC.ltllll n.logy 11 .pproprlitlt (Br'g.,n, 1978.1.

PrlncIPl" Gov.rntng th! of S'r"m,
'"
of ludltOry stre.u. Wh.n.n !liOij,t1 Hrlibl. or fUtor prbvn
d
to contrlbutl te .udltery grouplng t wlll "SU.' th.t II: corre.ponds to
..
36

t
(
o
a
1 p.ycholoqltl grouplng prlnc)pl. op.rltlng ln th. audltory n.rvous
Iy.t ... 8r.g .. n (1979a) Irgu.d th.lIt th. audltory ge.tllt prtnclpll!,
1 , thlt .ach prlnclpl., tak.n lnd.p.nd.ntly, can b. und.rstood
Il a p.rc.ptual rul. of thuab- "b.ttlng str.t.gy WhlCh (.11 oth.r
thlngl b.lng .qu.l) tends to lud to the "corr.ct" dlCoapoSltlOI'l of acou.hc
'lxtur.s. lt 11 u ful for psychologlSts to d,slgn Ilborltory ,xperl nts
which llolat. th.s. audltory geltalt prlnclpl'I or "grouplng strategl's",
but lt .111 b. laport.nt to r.a b.r, throughout th, dllcusslon of th.
,_p.rl.,ntl, that luch 1 Iltuatlon lS not typlcal of th. world around u
In .nount.rl wlth th. rial world outsld. of the laboratory thele
prtnclpln probably rlrtly work ln llalatlon. Th.y .r. und together ln
1 oordln.t.d wly to .rrlV, at th. "corr.ct" lnt.rpretatlon of th. Input.
Flgur. 2.2 d on,trlt.d two klnds of .vld.nc, ontrlbute to
th. t po of th. I.qu.nc. and th. fr,qu.ncy lnt,rval blt", n ton H and a.
Thll 11 shown by th. gr.ph ln Flgur. 3.1, whlch plotl th.
thr hold" for th.s. ton. l.qu.ncl' (th. pOInt It whlCh the
Iv.rag. llst.n.r h.ar. th qu.nc. spantan,oully Ihl+t fro. one ta two
Itr , ar V1C. V.rll) il a functlon of th.' t.llpO of th. sequ.nc. and
th. fr.qu.ncy lnt.rval b.t", n ton., A and B. In condItions plott.d Aboye
str".lng thr.shold I1n., th.y tend ta h.ar on. str.... It 'PP.lrl th.t th.
audltory IYlt trl.s to group luce"11V' tone. A and B lnto 1 slngl.
Itr, ",h.n th.y Ir. clol. ta on, anoth.r ln fr,qu.ncy. ln CondItion W
CF1Qure 3.1), thll 9roupln9 11 faClllt.ted by Ilow t po of alt.rn4tlon
37

o
o
- -- --- -----------------------------
on. Anoth.r ln tl.'. Conv.rl.ly, "h.n luce.,llv' tones A And Bir.
,pArt ln fr.qulncy, th, .udltory Iyst Att pt. to group th. proxl 1
non-,ueellllY, ton'I, forclnq th, ,.quene. to ,.gr.qat. lnto t"O ,tr "
on. eompOlld of th. hlgh ton.s A, Ind th. oth.r co.pos.d of th. 10" ton'I 9.
In Condlt1on X (Flgur. 3.1l, thll qrouplnq 11 fACllltlt.d by .n lncr.Ut'd
tupo of Alttrnit10n, 'lJIhlCh knps th. non-luce.nlV, tonu clou too.th,r
ln t1M'. Th. flct that th.,. acoultle varlabl., influ.nc. grauplnq
tonls ln bath t1.' and fr.qu.ney.
LARGE
5
N U
T C
E C
R E
Il 5
A 5
.1
V
B E
E
T T
W O.,
E N
E E
N S
SPIALL
x z
TWO STREAHS
A - A -

- B - B
v W
FAST SLOW
TONE REPETITION TIHE (TEMPO)
<TEMPORAL PROXIKITV OF NON-SUCCESSIVE TONES A or fONES 8)
Fiqutl 3.1 .. Th. ',trlltlnq tnrtlhold' th. pOint .t .ll1ch th ytrlq. lutlntr h .. r, , "qulftc. of
iltern.tlnq hl9h ton A Ind la. ton B '.Itch frai on. to tlO Itr . Il plott.d
Il functlon of th. t.IpO of th. I.qu.nc nd th. 'Iii of th. frtqUlftcy Inttrvii
b,t..1ft ton" A and 9. Th. of ,tru. IIqrtqltlon on tt.,o .nd th. 'H' 0'
th. fr.qutncy lnttrv.l b.t ... n .Ittrn.t. ton.s Cin b. 9IfttrlllZtd.b'YOnd .OlClflC
"
38
,
c
o
7
ln condltlon W, one stre"''';'ln condltlon X, "tilla stre .. s"), But lt-+!
pOI.lble ta cre.t. sequenc.s wher. prQXlalty rel.tions ln one
.Ult ceapet. wlth and overce.pens.t. for the forCI of proxl.1ty rel.tlons
ln th. oth.r, befor perc.pt WIll For Ixa.ple. condItIon Y
IhoMS that when tones A and B .re clos. toq.ther ln frequency, the
hu to be very fut befor. the .. quine. l'Hll sph tInta ho struln.
, Converllly, cendltlon Z sho"l that IIh.o the te.po 11 very slow, the tenu"
han ta be very fu .part frequency before the If/quenee WIll Spl.1t->lnt.o t'lia
.tr"." In th blguous condItIons very close to strea.lng threshold,
b.t ... n on. and ho .tr.llIs (Brequn Cupbell, 1971).
The Gestalt Psychologllts h.d ob.erved th.t tMO generai and
ublqUltous l, .. , gov.rne p.rc.ptu.l group1ng ph.no.en.. The 'lrst of
th". l, ... , the "Lu 0; Pr'igTllnz" , desc:rlbn the tendeocy of the brun
Th. rnults plotted ln 3.1 can alla be expliined ln terms of thls law,
ln the c 0; sequ.nce. of aitern.ting hlgh 1011 tonts, by trYlng ta
0+ ,chang. IU,Unn ",ch .tr ... (9r.ga.n, 1979ql. Un der ctrtun cnndltlons
al the te.po of the .equence .nd the Lnterv.l bet en
alt.rn.te tones, lt .pont.neously flnds the p.rceptual descrIptIon
"twa .tr ta be 'l.pl.r Ind aore th." onl
.orupt .nd ,.tre dJIContlnultl
( ,
39
"
1
-e
, "'
, ,
. .... .:
"
o
. ,
0,
- [
,the 0+ 8.10n91n9n.I.-, "1' d.lcrlbed by th. a'ltllt Plychologl.t. to
,Iccount for th. flet thlt 1 plrtlcul.r Pl.e. of Ylsua1 ( g. 1 pOInt,
lin., .tc.) "Ill only ba IlloClt.d to on. It tl.' <1 FIgur., 1.2+
Ind,L3),- 1.1ke .. is., ln ludlt1on, .Ich of th. unorglnlzed bIts of ,p,cVl1
lnfor tlon WhlCh Irt output by th. cochlel 'Ult b. Illoclt.d to on
,
on. It 1 (&r'g'ln, Figur. 3.2 ln ludltory ,.qu.nc.
WhlCh wu uploy.d by Br'!]lun Ind Rudnlcky (1975) ln ln .xp.ruent ln
ton., D, ,and ,thu four-ton. str ... Mil Iccollplnud by anoth.r str ...
of lo".r ton.,'e IFlgur. 3.21 (11). rh. llst.n", Men th.n l'k.d wtll.ther,
ln r.vers. order cOMplr.d ta th. lsolated pr.s.ntltlon. In thl'
CI", th. 1lsten,r, hld dlfflcu1ty Judglng th. A-a ord.r corr.ctly, 11nc.
. - '
th. pllr na .. Ibsorb.d Into 1 four-not. WhlCh .tlrt.d Ind .nd.d
on th. '1" pltch, 1 for. MhlCh I d ta dIstrict Ittlntl0n trOll -
Int.rnll pllr. HOM.v.r, th. ord.r of th. A-B pllr b.c v.ry 'l'Y ta
.
.. hen th. oth.r ,tr'l' of ton., C (WhlCh w.r, clll.d c.ptor ton.,,
,,1' .ov.d clo li .nouqh Into th. fr'Qu.ncy r.gl0n of th. dl,trlctor
\
ton.s D ta for. 1 .tr ... luth .. (Flgur, 3.2. (11). In thll c ....
1101.t.d Il 1 t .. tr.l. ln Wh1,h th. hlgh-l0. ord.r .a. no ... aSllv
.--
40
'.
e
e
o
7
.
'.
',",
, , ,
'1 ( '...... 1 t
\ , 1
It sn ti\lt,,, ... h,n t'one." .. a pOllhon
ln th. nu 't,hl captor fu'ddenlY bec:u .. , "
, "
l, ,
unabl. ta ,p&rtlclp.h ln the fil,ur-ton. IIquen.:! Mi th th. \ ton ,
\ '
.. ', ,"'t
.
.
F'
R
E
Q
( a,>
. iii,
, ,
8} ,
, A ;_; ': A8
o ) )1 ISTRACTR TOMES
CAPTOR TOIlES _ ._

C c c c
,
lill
F
R
E'
Q
U C C
E
-
.
'-
Il
C
...
B
' "
f) ..
-
1 D " J
,'_: .... -
. 1
.
1" \
,.',
C
-
,,'
"
, ,
l'
L
:
"
,
:0
l ',\/
:t\
'.

1
1
't
1
U
E
Il
C
y
_. ,_. , .. f_' ,_
y
1 .! 1" l'II,',' ,ri
\ " ,',
"
TIllE
l , l,
1 1
.',,'
, 1
, "
"
'Il
D
a.
-,
.' .' . , 0, F,
-'
F
,
F
I-
"
1 k)'
'\ '
" ",
" 1
( 1\ 1
., " l, t,
l'
R R
E'
, 'D , , ,
, E
,
l ,
'Q Q
" ,
Il: "11 '
U
C '
,
U
E E E
) , (
, ....
Il "_'1 Il
,
'It A' C , "
f
-
Y'
.
-
" ,

TIllE
..
TUIE "
'II.:'J j J:II
11:J J j :11 ,II: j J tll J n :11,
Htqh Strlll Lol lhgh Str,"
l'
Lo. Strui
F19ut't 3.2 DHOn,tratlonl of ""dltory ,'Btlon91nqntss':
, '
, .'
\..!.
, ,
1
" ,
,1
l'
" ,
: '
\,
lai Th. ord.,. of .. pm of hrq.t tonll A .nd B 1111 .,.,.y huct ta Judqt Il ... s ln i
four-tan. Itrll' fI.nttO by tlIO 'dlltrlctor' tonn 0 (candI hon ,1). HlIlIIvlr. th. ardtr of tIl.' ,
Jlllr bleu. very .uy ta Jllqq. IIhtn th. ,nother strl'" of tonu C ln 10vfd,c)OI.h ,tnouqh '
utto tht frlqellftcy rtlllDn Qf 'dutractor' tOIIIS D ta for str". _lth th,. (condltlon 111
Cf,. Br" n lfudnltky, \9151.
lb' Th. rbvth.le :onUqutnCH of tht dloClhon of Ton. F ta th. htqhtr strm Icondltlon 1) or thl
1".., strll' Icondltlon III, TonI F uy b. ullqn.d ta Ilthtr Iccordlnq'to th. pnnctpll
of ,r'iulty, but not ta bath (fro. /lcAlliiS Brlq ... 1'1791. ,
41
"
...
,
, "
'1 ,
" ,
\ ..
, ' ,
" \
, , ,
0
,;'
/' : "
,"
, '
,
1
" l
\ '
, \,
, '/
. ' , ,
, ,
,
up, th. dl.trlctar tonn ... r. alloeated to on trl .. or thl other, or ln
UblgUOUS s1tuatlons shlfttng p.reepts so tlus rllulted and th.y Hlr.
", .. Ilgnld hrst to one _nd th.n to th. oth.r, but thlY If.r. nlvlr Ibl. to
tO both a1: the s
," In th. up.nlllent shoMn In'Flgurt 3.2a, th. of thl alloCltlon
of' th. tonu D deterJun.d IIheth.r th. ordlr of thl A-B
, ,
target-pur wu ddhc:ult or .isy ta Judg., and and Rudnlc:ky
;
, .
r.&sontd that th. accuruy of tt'\I'.' Judge ntl 1011. an Index 0+ strlU
"
If,q.-.g.t1on and bRlon'grngness. ln an'lICp.rulnt shawn ln Figure 3.2b,
... and Bregun (1979) u'Id J udqulnt s of rhy thll il an 1 ndlle of Itr "
, "
, '
'lIg .... gltl0n and belC'o'qlngn.sl. In thll cau, the p.rcflv"d rhythll d.p,nds
\Jpon wh .. th.r 1an, F 1$ IlloC:lted to th, upper str.u (condition 1) or to
th. lw.r str.u (condition 11). NotlC:' tha1: ln nllth.r uUlple 15 the
rhythlll (1 , J J J J J J J) n rd, une! ho strun arl Il .. avi
IIlr. puri une-tan., for Idl1ch 'th., no1:1o"" of P1te'h, Ipf!etrll fr.Qulncy'
,
(1 , th , Fourar fr.quency prlsenU, f",nd ... nt.l fr.Qu,ncy,
,
and forunt ure Iynony.ou HOIol.".r, for co.plu ton.s Witt!
.ul t l pli' pur ,-ton, putlal l, thl ,on.-to-on. corr.,spondlnce bltw n pl teh
lnd sl).ctrd fr.quenc:y obv\oUIly cannat nold. Th. p.rcflv.d IHtch of
co.pl.lI ton corr.sponds ta th. tundlun't.l fr'Qu.hcy (1.1., fr'Qu.ncy
)
of, wnll:h III of th. partIal' art Int.qril'.ultlpl.,I. In ndurdly
"
produc.d co.pllX ton", th. fundu.ntll II thl lOM.lIt and UIUllly thl
42
(
c
\
\
}
..
,
Int.nlt fr.qu.ncy co.pon.nt Ho.ttver, the fundillenhl need not
,
be'the IOSt Int.ns. putul, nor does it ."en ne.d to b, physlc.lly
present, for th. pen:ept10n of pltch correspondlng to th.t of a pur. tont!
It thll frequency to occur. It app .. rs th.t the audltory systu computes
pltch fro. hlqh.st CO./llon-denofilnator of the p.1rtlals present (e.g
pltch for harllonlc's at 400,500, .nd 600 Hz" 100 Hz). When the
p.rC:Ilv.d pltch of il cOllplex tone corresponds te that of a "1115'1ng
fund.Mentll", It 1 S known ln the pSYChOicoustlC il terature il "resldue
pltch", virlulI pltch", or perlodlclty pitch" (Hoore, 19811.
Noord.n (1975) up'loyed th. concept of the 111551ng fundaunt.l ln
Ipectrll-fr.qulncy prOlCl.uty or pltch prOX1mlty wU the .key fictor ln
th. forutlon of audltory struf15 ln sequencl!5 of alhrn.t1ng h1gh and 10"
tontt'. He found th.t ln sequences where a pure tone, A, lUS ilternated
in rlpld cycl. l41th an elght-coflponent cOllplu ton!, 9, whou aU5Slng'
funda ntal (1 , pltchl corrtsponded to the frequ.ney of tone A,
F
R'
E
Q B
U
E
N
C
V
A
( .. )
-,"'
......
-


---
-
A A
F
R
E
Q
U
E
N
C
y
z
( b )
10 __
y' 9
- , ...... ----
8_ ,_
-( -
4_ .. ___ . __
3_ _
_ .. -
TI"E ' TII1E
Fi9we 3.3 - ho tlplrulfth dUlqn" ta d.t,rau. wh.ther J not Will group stqu.nlully on th.,
blln of th. proaulty of 1 shir.d fundulfttal Ir,qu,ney, wh.ther prlt,nt or .15Iln9
[frot Noordtn, 1975]. '
4l
0"'
th .. uqu.net I.greq.t.d Into tNO st" - on. eOlpo,ed of th. tone, M, .nd
the othr eOalposed of the tones B - whleh ..... d, to proclld S1l11u1tln ..
luth no p.,.eept relltlng th two, (F\<)ure 3.311. Th. fut that tonu Pt .nd &
sharld .. couon pltch dld nct seell to lnflu.nce tht ptrClptlon of the
quenc ...
Llk.",uu, wlun three-co.pontnt cOllplu tonl, X, cOllprllln9 ha,.lIonlel
, .
3, 4, .nd 5 of a 1I1ulng fundillental, Z, .nd lnothlr thrn-eotllponlnt
co.plu tonl, Y, COllpr151nq h.rlloonicl 8, 9, and 10 of thl "/1. IIl111n9
fundulnt.tl Z wer. c:ycled repeatedly, thl uqu.nc! split Into two ItrItU,"
onl I:ollposed of th. hlCJner set of hUllonlCl, the other cOllposed of th.
10"" I.t of (Figure 3.3bl, Hoordln concludltd'frotl thl5
eVldlnee th.t lt 15 the prOlllll1ty of spIPetr.1 frlqueney (1.1., th. proxlllltv
o
..
of th05. FOUrier cOllpon.nts actuillly present ln th .. stllftulus) .nd
not pdeh prolClll1ty (1 " th. pr'oxlIlIlty of fundllDental fr.quency, wnlth.r
prnlnt or IIllllng ln the stuulusl wMleh detltrlllnlS uqulntlll grouplng,
HONever, the rllults of IlIpfPnunts by 8req,llIIn, Lnlt.n, i1nd Ll.O
,,.
,J
(1985) appelr to eontradld,lNocrden s conclusions. ThlY dUlgnlfd.n
explruent wluch t .. ,ted the Sil". quutlon by lunlpulatlng ddfer.nt
alttrnitlnq cOllplex tones A and B, both eOllpr'lung partul. oceupylng
the SIlle fr,queney r.ng nd havlnq the u,.. forrunt p ks, but dlff.rlng
b. Ixptct .. d b ... d on Hoordtn s flndlnqs, thty found th.t ton A .nd 8,
Il,.11.,. ln spect,..l frequ.ney but luth chfhr.nt Illunq fund ntlls
(1
rI-
c
c
7
A
"
p
L
E
u
D
E
o
E
U
" .
'-1 .
-- - -
- , ............... J l' .
1 l'
1-1
,te.
'-1 ..
----------
l " .
1 l'
Fi9UfI 3.4 - In thu thrll-dUlnnonal rtprn,nhhon, lits of blrs rtprn,nt cOlplu ton!5
. ..th lui hplt' fr'qu.ney cOlpon.nh, th. h'lqht of tich bir r.pru,nts the apll tudl! of
that frtqu.ncy cOlpon.nt, th. sl.ll dotted birs ln tht forl!ground r.prlSent th. II1ss1n9
fundl.tnbl or ptrCllv,d pltch of tht cD.pl.x tonn, .nd th. pliks ln th. CD.pIIX tonl
'lI.dg"- r.prlSent forunt frtqurncI!5 (1.'., .. pll tud. pUIS ln th. spectnl ,nvllop.l.
8rl9l1n, LlVltin, ind LliO (1985) found th.t cOlphx tonn A ind B, h.rIOOlC cOlpleus
.hlCh OC CUllY th. un frwqu.ncy nnql ind IIhlcn hiVI! co on forunt frlquencl!s but ... hon
I,,"ng fundu.nt.ls .r, "piralfd ln frlQulncy, '01111 Sfqrt!gate lnto t.o ,trulS.
Th, PqnpDll of SII1111arlty
\
ThlSI hndlngs Cin b. rlconclled 1+ Iole hypothlsnl thit the audttory
,.y.tl. ilso groups tonts uqutntlally whln they Ir. "SImili'" ln hmbre.
'PtrhipS .v.ry oth.r ton. ln Noorden's s.qu.nees '(Flgurl 3.3) grouped on
thll bi'lI, forc1ng thl Itgr,g.tlon of th, succesSIve (t!mbrilly
dll118ll.r) tont., Th 15 groulu n9 uy h.vlI I1111p1 y the potentul
45

o
qfouplnq on the b lS of thlt prolll.lty of th. 111.l1n9 tund .. lnt.li lOI"
pltchl th.t Noord.n wU trYlng ta tut. In the elCp.rllunt D.dorrud bv
TOnlts A <1nd B ln Flgur. 3." could not b. s.grltg.tlng on tnl b.IlS Of
Iptctroll fr!!Qu.ncy dlfftrlncn, nor on th. bUIS of tlilbr.1 dlfferlnctl,
but only on thlt 0.S15 of the up.r.tlOn of th81r pltcnt5. In thll eue,
betwI.n SUCC!!ISlvlt tann, and the tenu Ilqr.gated. It II Qu.stlon, .,
II frltqultntly th!! cas. ln thult labontory experlllltnt' , of c:ontrolling thlt
domlnanc. of one factor 0'111" the other. In Noordtn , IICpltrtmltnt, timbrai
Sllllliulty b.hlln !!vlry oth.r tont wu allowld ta Q.ollllnatl 0'111" ll1tc:h '
'1
prolCllllty b.tw n IUCtI5S1V. ton.s, and the tant. 5Igreg.t.d lnto two
o
St,.. IIIS. ThiS rlt5ult 1011,5 c:onftrl1led ln clnother eICDerlmltnt by 6rltql1lan.
Levl tin, .nd Ll ao. They found th.t when thlt fundamental freQulncllI:Jt tones
101'1"1 /Dov.d cl; r togather, thl "Qu.nc:. no long.r:
01 unglt Itret/1l, ilS ;Jlght be 'XDlc:tld. 3ut wh.n tne
formant frequencliu (shawn by the Ulplltudl puks ln Figure 3.'" Of ton., ~
ind B were th.n moved Ip.,..t to c:rltatlt tlmbril dlfferln,., ol!tw.ltn th,",.
th dlff.rencu oVI",pol4er.d the Itfftet of th. camillon fundu.ntal and
tonl' A ilnd B <1gl1n Iltqr.gated lnto two ItrUIll.
Wltu.i i19q) Ilia found r.hH tonu 1rouP slfQultntllilY I4nen ,:av il".
"111111.,.. ln tlmbr.. ri. UI.d i tltst pittl,..n ln whlcn SUCC.Ulvlt tenu lA
rtpI.tlng thr .. -tone ",Iodle IItQulnclt oIlt.rnH.d ln tllllor. 'F1Qur. j . ~ I .
III.s'el rtllo,..t, th.t whlfn tlllbres a and ~ ln thlS pattlrn ut not ':.00
dlSlIllllllar, Illtlnlrl hu,.. Ilngll SUCCln.lon of ton ln IIInlcn tne
predolunant mllodlC sh.pI lS thl ,.rllS of ilc.ndlng trlPllts ~ O
c
c
e
,,--,..----- - ---------
.nd X dlff.r 51gntflcantly ln tltru of spectral energy,(hstrlbutlon,
llthners hur ho lntltrlac.d dncendlng tnplets (grouplng shown by solld
.rro",. ln Flqur. l.5!. In thls cu,, gl"ouplng by bmbral Sllllllarlty
dlsrUPts thlt Pltl"Cltptlon of the succeSSlon of tones.
F
R
E
Q
U
E
N
C
y
1
o
X
;(
- - - ptrCltpt when tlllbru a and X are 5111111 ar
- pltrcltpt wh,n tubrn a and X are dl SSl1ll11ar
t
)
T 1 M E
Fiqurt 3.5 - Whl" ,ueet!lUVI tanu ln rlplltlnq tnru-ton. ulodle siqulnCl! dternah ln tUbrt,
".,Ylng th. 511111'1 ty b,htln th! tubrn !ln ttrU of sp.ctrd 'htrgy dl str:butlonl
Cln il hr th. Ptrc!ptual grouplng of th. tonlS ln th! pattern (frai 19i9J.
Th. flndlng that tones group 5,quentlally on the basl! of tubr"
gln.rat ... noth.r lit of quutlons (Brtgman, McAdam!!, 3. Halpern, 1977>.
R.cill th.t th. auchtory \lirslng problem wu de'lCrlDed, ln Chapter ho,
.1. problell of or9.nl%1n9 the sp.ctrill lnforlutlon output oy the cochlea
lnto both slqu.ntlll and 51l'11ult.n.ous groups ln order to rlconstltute
thl tntrqy frOIl sipuat. tliu-v.rYlng ",av,forlls contnbuhd by the sep.rate
acOUstlC soura'l ln tht Itl'lvlronlunt. Heanng timbre Invol'!e! dl'lldlng the
tot.l Ipltctru/l prodUCld by acoustlc i1l1xtur.u lnto Upirat. subsets of
frtqulncy coapon.nts.
47
o
o
o
The PrinCiO!! 0+ Fate
of il lngl. sensclon, and IS ilnaly::ed .. lth greilt.r ilnd grlutlr dlfhcultv. q
thln lt Will bl! agrlld th th. pilrtliis wh\ch eOlllprlU the 'pIetrA of
sounds ln niture ilre perc'lved ln a hlghly fus.d form. long
blfore th. Gestalt PsychologlStS, or the study of audltory stream
ugregitlon, H.lmholt;: hid guenld thit cert.un hctors ln th' b.h.avl0ur of
ail nilturally-produced complex tonls eontrlout. to th. fuslon of thllr
spectra:
'When a compound tone comll.neu to sound, ail ltS partial tonll
con,,"nef Iouth the sailli cOlDparitlv' str!nqth; whtn lt IWllli.
III of th.1I generally sw.11 undorllly; whln It C:'fUU, aIl CI.S.
Sllllulhnl'ously. Henet, no opportunlty II g.n.r;llly glven tor nurlng
them "plrately and lndependently."4
v,
Th. Gestalt Psychologlsts descrlbed the tendency ,l,ments engaqec
ln th. same pattern 1D0tion or common occupation to b. sun i5 thougn thev
are grouped as the prlnClple of "c:omllon fit,". Th. conClfpt of
COnll1l0n fate Ciln also be und to duc:rlb. c.rtun r.gulultlU ln compl,x,
acoultlC mixtures whlch h.lp to d.ftn! il subslPt of speetrill :omponents il t1
ptrc.ptuill unit. Th. iludltory prlnClple of COIlIIIon fat., 11k. ds 'Ilsual
count.rpart, has a c.rtiln hlurlltlC villldity un'I, cU HIIMhoitz ".ad
obnrvtd, It II llkely that: 1> th. ",.any fr.qulncy compon,nt! frOIll

an acoustlc source ln th. world Will COli' on and go off a lIIort 0+ l",
Sill' tl/ll' (and luch sync:hrony lS not 11k.ly to occur .accldtntilly t).twun
tHO sources), ilnd thit 2) COlllllon chingtS ln fr.qu,ncy and/or Ulpll tudl III! 1
b. IntroduCld to th. SUit dlgrll .crOIS a subslt of Ipectral COlllpon.nts Ot
cOlllllon orlgln (Bregllin, lH8il).
48
c
c
. .
Th. Pqnppl. 0+ Couon Flte: <Il Synchronllty
8reg .. n and Plnker (1978) d .. onltrltld th +hd of the fint typ. of
cycl. of two lounds "' cr t.d, Il shown ln Flgur. 3.01. Th. f1rst sound.
X, 'U' 01 pur. ton., oInd th tond W.U 1 co"pl.M tonl for.ld bv the IIllxturlt
Q+ ho pUrt tonu Y Ind Z. Wh.n Illtttners hltud thl c?_plex yz IIIlxture ln
uoioltlon, or wh,n lt ..... Iltlrnlt.d wlth the pur. tont X. th.v r,porttd
choit It hld 1 "nch" tubr How.ver, wh.n h.ud ln th. cyel., there wtre
CIrCUI.tlnc .. und.r :hlCh the tl.brli rlchn,l. of the complex tone' .. u n01
h'lrd, Ind 9regll.n Ind Plnker r.iloned thlt thll suppressIon of the (
tUbr.-quIl1ty "nchn.ss" could b. und.rstood U ln Index of th. segrtrg.tl'on
of the .uultaneoui tan .. Y oInd Z. Th. Slgregltlon of the Iltllultaneous
ton d.p.nd on tlllO klnds of flctor. thlt ",.r, vlrlld between
Introdut. vlrylng degr s of synchrony/Isynchrony wlth tone Y (s.e .rrows
ln Flqur. J.hl. Whtn th. pur. tont, X, ItU very clou ln frlquency to the
V COlpon.nt of th. corapl.x tant, It se.ud to stnp lt out of the co.pllX
tont, to crut. 1 perc.lvld C:2n.tllnlnq two rlpldly l1tern.atlnq pure
ton .. , 1 .... XYXYXYXY ... ItC. (Flgur. 3.bl. ThIS clpturlng of TInto a
,.p.r.tt Itr 11ft th. r lnlnq rep.ltlng puri-tant co"pon.nt. l, to be
hurd ln 1 IIcGnd Itr .. " of sound, Ind.p.nd.nt of Y, Ind con"qu.ntly wlth
1 purt tubrll qUll1ty. In th15 C"I, th. prlnclpi. of proxlll1ty. on. ot
th. ugy.ntltl .trtu-fqrlung hturlStlcs, " .... d to b. efhctlV' ln
tont. But thlS proe ... wu oppond by 1 spectrll grouDlng h!ur15tlc
thlt, acc:ordlng to th. pnnClpl. of c:o on fit., ... a. trytng to fus. ton. 'f

\
luth tone Z "h .. never th.lr on,et, Ind offntl .... r .. 'ynchronou,. In
F19ur. 3.6b. Ilthouqh th. ton .. , ",ri ,ynchronous, th .. '.qu,ntlll h,url,tlc
ln fr .. qu.ncy, th. ,p.etrll MI' illo"ltd to dOlllnltl. In thll
cas .. , ton. V "l' clptur.d 1nto 1 fUI.d t,.br, ,tructur. Mlth ton, Z thus
1.aVln9 ton .. ta b. h.lrd ln ln lndep.ndent Itr.u of lound. HI.
F
R
E
Q
U
1713
E 527
N
C
1 .. 300
(A)
+
.-!..- X
,
+
_v
.. --J.
100 400
TI lIE l.secs)
(C)
I .. r
etc
X Sc Y SEGRE8ATE
Y le Z FUSE
Z JUD8ED RICH
(e)
- -
. .
X Sc V STREAM
elc
V Sc Z SEGREGATE
Z JUDGEO PURE
(0)
elc
X le Y STREAM
Y le Z SEGRE GATE
Z JUDGED PURE
Fi'\lrI 3.i - COIII.hhon b.h.1ft SlqIIlfttu' h.uruhc lUI' prJnClph of prexultyl .nd , spletr,l
htul'uhc (th. pnnClph of CDeIlOll ht.J,y"cbronlCl ty) '1r'9-II" Pink.,., 1978). fi
so
(,
\
c
o
2
forurd and back",.rd 1 n tin to crute uynchronus "'1 th tone Y (Ft qure 3. bd)
ths. h.d the Iff.ct of .. t.klnlng thl splctr.l lntlgratlon of th,
ton., ta 1110 .. th. s.qutnt1.l h.urlstlt to dO.lnat g'ln. In othlr .. ords,
ln th. condItions where ton,! Y and Z lOferl synchronou, ln tlall (Figures 3.00
Ind rlllSted th. uqulntlll streu1ng forCI thilt If'S t!x,rted on tone f bv
ton. X .or. strongly th.n ln th. alynchronous condItIons \I.g. Figure 3.bd/.
th Ivnchronoui synchronles of as llttle .s 30 IIIIls.conds
th. conl.quent suppressIon of the tl.bre , rgnt th. 11xture.o
When the percllved rlehntss of the tont! II plotted il a
1
functlon of bath the synchrony 'Jf tant' Y and Z and the prox 1111 ty of ton. X
.. ,- "
ta tone y (Figure ,).71, :t 'II dur thit thu exp.ruent duonstrates the
co.pett" ln a b.ttlt for th. po,ullion of ton. YI i "horuont.l"
prlnclple th.t .tte .. ptl ta 11nk tone Y lnto Iquentl.l org.nlzltlon Nlth
tonl X, and a prlnClpl. thit .1thlllptl to group ton. i lnto i
IP.ctr.1 unlt Wlth tonl Z to cr tl fu.td tl.br. Itructure. Th.
of ton. X f.voor. the .lloc.tlan of Y lnto s.qu.ntl.1 stre.m wltn lt
r
accord,lng ta the pnnclpl. of praX1l11ty, thus llol.tlnq Z (Flquru 3.ob and
dl. and th. IvnchronOUI tupor.l poutlan of Z. on th. other h.nd. ravor!
th. Illcc.tlon of Y lnto tubrt structur. luth lt iccordlnq ta the
prlnClpl. of coaaon fat,. thui 1I0latlng X (Flgur. 3.ocl. In thl fuud
orQlnu.t1onl ,uth ton. X, .nd lnltud. lt "al th. fu d YI CO_plIX, taken
1 whol., th.t M.I na'" p.r.ltt.d ta group sequ.ntlally Mlth oth.r ca.pl.x
Sl
o
0
o
sound. thlt rueebl.d lt ln tUbr., IccorduC) t'o HI' pnnC:1pl, of Illillrdy
(Figur. 3.6c:). II: Ipp .. r. thlt th. h.unstlci for C)roup1ng uqu.ntul InCl
suultln.oUI .v.nh do not lCork ln lIol.hon. Th.y lUit cooptrat. Ind
co.p.tt luth uch other ta trutt th. but ponlol. duc:npt10n Q; th.
RICH
6
, 0 0
5
x:;::: " li
fR"ill
QF X
R L'

1 0 4 1 713 Hz
C 'II
H 0
'H F T a
E 0 3 -
/
978 Hz
S N
S
55q Hz
2 -
1 -
PURE
-58 -29 o 58
. ""-
Y-Z ASYNCHRONY (msecs)
,
Fi91U'1 3.1 Rlllli ts frol th. 'I01r111nt plI";orl.d by Br.glu lnd Plnk" (19791 thcnunq Dlre.lV" rt,ehn.n
of th. la. tDllt -plothd il functton 0+ y.z nynchrony Ind fr'Clllrncy IIrallilty of ton. to
tDII' Y. Tht frtQUlftc'f of ton. y Il fluet It 527 Hz.
In r .. lAt.d s.t of .xp.ru.nt., J.nnenbrlnq Ind Sr.qlun 119i8) IdC1ea
viluilh. ta thts. flndlIlQ" Thur rnults eonflrillel thlt
IIvnc:hronlltl b.t n suul tan,oui tonu k.n th.i r 'full on, but/th.y
dllcav.r.d thlt only c:.rl:l1n lond' of hlv, ln .HICt. In
tlquentll ble. th. one shOlCn ln Flgur. 3., th.y 'ounel th.t offt.t "llq-
S2
FIgur. 3. ) eontn buttd ta th. pltre!1 v.d sltgr.g,at 1 on of th. Il.ul tan!OU5
1
ton (ton V.nd Z, ln Flgur. 3.o'j but thlt On5ltt Ilg of thlt target ton.
co.bln.d Mith oH t Iync:hrony (-=1 Dr offset,l.o1d of th. hrget ton.!!
co.bln.d Mlth onut Iynchrony t=-l hld no .fhct.
7
Thlrv reuoned that
th. tiroet ton. hld to b. stlcklng out" of th! .1Xture ta b. c,aptur.d
uqu.ntlili y f Ind th,at "h.n 1 t us not, pltrhlp!l th. ons.t or of fs.t
, dilplrlty M. IIlk.d by the pru.nce of the other ton., ,and 'therefor. h"d
no .fftct.
Th, Prlnppl. of COllmon Flt!1 (b) Parallel 110hon
Th. I.l.cond klnd of co on htt" tho1t th. G.stllt p.vehologllts
pll.hr: the.t., lIeh covltrlrd Mlth rlndo,. dot pltt.rnt. When th. Pltternl
c
J
Ir up.r,ltlpoud by pliClng on h t on top of the oth.r' , a I1ngle
.
rando. dot pltt.rn Ippurl, dlffenng notlcllbly only ln den!llty hOIl
th, IndlvldUo11 pltt.rnlS. HOM.v.r, by 111dlng onlt of thlt tran!lpar.nclu
,
forwu'd and blck"lrd ov.r th. other ttatl onlry one, th. two cOllpon.nt dot
p.tt.rnl ar. ud. l dut.l v Qat 1 ngulSho1b 1.. Ail of thlr dot!l on on.
th.ltt Ir. grouped lnd.p.ndlntly froll tho on the other on th. baus of
th.l,. eo .. on .otlon.
Th.re 15 1 v.rv good ludltory Inalogy ta th15 d .. on5trlon. Spectral
partlilt Irlung +ro. _1 I1ng11 tourc. Will tend te und.rgo plra11e1 or
corr.lIt.d chlnglS ln fr.qu.ncy Ind Uplltud. Il th. fundo1.entll 'lUlU ln
fr.qultney Ind Uplltud. ov.,. tu Contlnuoui v .. rlltlons of thu typ. ln
fr.qu.ney Ind/or uplltud .. r. cillld'.odulitlon. Hodul.tlon cln be of tMO
typ ) 1) the typ.'wh.r. thlt urylng fr.quency or plltudl 11 ".nchorld
u
,
to .. Cltntrl! vUu., lncludlng th. lo .. -frtqulnc:y plrlodlc type (c.lltd

53
/
Il
C
vibr.to" for fr.qu.ney adul.tlon, "truolo" for Uplltud. eadul.tlon),
or 2) eDntlnuoul ctung ln pltc:h '"glldu") Dr uplltud. ,", 11,") ,ueh
,. Ir. s n ln spueh sp.ttrogriUlI. A nUlb.r of rtt rth'r' hur not.d th.t
sinUIOld. r.l.bd .adulat10n patttrn, IcrOI. tl.' t,nd te fun
. ,
ln ptre.phon. th:Adul (198<\iI,b) nu ... d, 1 d.tul.d .tudv of th, r.sponn
of th. lud1tdry Iy,t .. to the CUIS, Ind tog.th.r luth oth.r rfllireh'"
h.' nu ob,.rved hOlll thlty lnt.raet luth oth" grouplng cu .. to contrlbutt
to th.'dec:o(llpouon of ICOU!ltlc IIlxturtl.
Th. ,f ftet of IIIpll tud, lIodulltl on on the fuS! on of 'Ollp 1 u ton
hu bUll studl.d by 8kisy (19bO), Wuul (1981), 8r'gun,
Abrulo(l" Doehrlng, ilnd D.irlfln (1985), Ind Br.glUn Ind "bd.} Ahld 11985>.
ton. Ir, uplltud. 1I0duloahd tog.ther, th.y fuI. 10 HI.t il Il,,.gl, ten. 11
,
h.ard, but IIh.n a "parat. rat!!! of .lIplltud odulltlon Il lntrodue.d to on.
of th, p.rtul s, 1 t t.nds to be hlird Il 1 nplrlte Il nUIOl d.l loure
)
contnbutn ta Ip.ctril fUSion, lt h.s bltn found that audltorv nn'ltlvtv (.
to coherent upl1tud, IIodulltlon 11 rath" l<! k (8rege.n, Abra.son, D.rwln
" Do.hnnq, 1985>; conudtrably "'lInr: thln audltory I.nlltlvlt-y ta
eoh'rlnt rrtq\l.ncy lIodulatlon (8rtgll" & Abd.l Ah.d, 1985>,
P,nll.l Fr!gyeoy I1gdul.t 1 gn

Th. Ptrt.ptuAI prlnclpl. th,t group. ICOUItlC ,l nts .ccordlnq tg
prlnClpl./ th.t th. Gut.lt ?yt:hologl.tS obllrvld, th.!: qroupl
54
c
7
ducov.rtd th. drullhc cO,nnquitnc:es of, fr,qu.ncy ,.odulatlon for _fi.etra:l'
huon wh.n to John qf cOlput'-rsyntheSlZ.!i
.un; vow.l sound. <Ch-ownlng, 1980) .t th. C.nter f,or po.put.r I1USlC .nd
, '
AcoulttCS at Shllford OtcAdul, 1'96'3.'). 'H, nobced t'hat even'
If lU of th. forunt characttrlltlcs speeHal In,velopes of lUeh
, ' t
vow.l w.r. rltpllcat.d e-orrectly, the pirtJals' If'r. ,ully and
th. yow.ll lound.d unnatural, "t l.c:tronle" 1 and ,,'d.ad". But fr,equ.ncy
HU.r charachrlstle,of'all naturai 50ur'ces '. l'liS
"cAda .. J 1983b) flrlt d.Cld.d to tut wh.th" the audl systu w.u
.
h. u'ld, Iho"n ln Figure 3.8, thu que'shon '\Ill th 1 ungle heanng.
Wlth .0 111ght VArlatlon as regards ludtt\ ot', th. lIodulHlon, ,friqlJ./tcy
ranglt oceupl.d by th. ut of p.lrtuls, ilnd splelng th. P'lI"tl aIs:
.hltn lIodulltlon constAnt ratio r.lations wu Introduced
(Flgur. 3.8aI, " hlghly coherent fusltd sound Will h.ud, but when
ulntllnlng conshnt chfhr.nce,rl!la,tlonl wa., IntroduCld, (Flgure 3.8p),
1 lultlPI. plreltpt, ln whlCh the lo.est pubal generilly up.rittd fro"
"
Il,vboard, li orQ.nlZltd ieeordlng ta a IOglrlth.1C frequeney McAdns
-\
r.uoned th"t .Ilnten.ne. of constant rH10 relatlons gave rue to hlgher
dltqr, of splctral unclt 1 t corruponded- to th, "lnten.n,. of
conltant dlltinc along th. b.llllf brAne (HeAd ,
J'\
ss
t
. '
. ,
, ,
" .
" ,
.' ,
, .'
, '
" ,
:0
, "
','
o
, ,
'1.
0,
G
F
R
E
Q
o ,
"
, '
, ,
, '
,
, ,
! '
l 't
'
,
, ,
'.', (,.,) , '
, " ',' 1
, ' '
,TIME
" \ l
, "
L
o
IL,

, R
, 'E
g'
" ,1

'.:
., :
,
l" 1
" " .. ,

>' "
" .

T Il'IE
, ,,' " .
, ,
, ,
1 r' ,\
, "
l '
,
(" 1\'
, ,
Fiqr .. '3.8 .. Euggtrahd Ipectoqripluc dlgr'al of ItllUl1 usid tp th ff.ct af
" ,', v'rS1li lb)' difftrJntal IOduhtion on splctral fUlion (frOI ,
t 1
, "
, , '
' ..
, '
\
,( ,
.'ln tldd,lt,10n to Cj1vlng r1l1 to th. fUllon of plrt1t11s ln lsolat.d tonll,
, ' ,
'. c:oh.r.nt fr.qu.ney aCdull,tlon"cause.s groups of plrtlals to fr:Oll"
oth.r qroups of partlill In,lcoult1c .pturn
For .xuple, F'l'gur. 3.9' sho",.' stlllull th.t he u5ed to de.on,tr.te that
,frlqulnc:y',.oduhtion eues hlVI conuqllences for th. perciP-hon of pt te"
\ l , "
'( . )
. Figure 3.'J "fnqutnty 'DllulltlOn, 'PtCtrd IUllon, iIId th. percrptlon 0; Pltch '",Ad ... , l'l801.
When III Ot th. plrt lilt of co.p lu ton ..... 1"1 f ,..qu.ncy lIodull,t Id tOQ.thtr,
,II in 3.91, one fus.d ton. wlth. I1n9le pltch "'l' hurd. Howtv",."
" ...........
, ' ,
IIIh.n twCl ln"ependent .adultltlon pltt.rns .... 1". i.pa d, on. on th. odd nu.O-tr"d
5b
..
/
1
h.r.on1C:s .nd th. oth.r on th. ,ven nUllb.red harllonlcs, segr,gatlOn of th.
ho ut. of hUllonlCS occurr.d' and D!.Q. audltory ent1tII!S lIere heilrd, one
",th" pltch an octlV' th. other (Flgure 3.9b)' I1cAdul concluded that
pltch 11 .n attribut. of 1 tOnlr wluch Cin be reg.rded as an "emergent property
" 3.10 .hoM' a stlilulu. thit I1cAdau (1984a.bl used ta dUQnstrate
th.t' frlqu.ncy lIodulatlon CUItS can hive conuqiancis for the perception of
habrl ln acoultlC ,futur.,. FIgure 3.10. shows' complex Ip.ctru/II that reluIts
produclng ',pectral env.lope. for the \lolu!l loundl "a", "o't, and "1", it
pltehu C3, F3, a/'ld Bb3 r.,pectlV.ly. MeAd ... found thit when luteners were
p,. wlth th!1 Itl.ulul, la Of the. "'1"" able ta hear numeroul I!mbedded
,
,,-
VQMII sound. ind a. lIiny as IlX dlfferlnt pltchlPl, but thlS WiS done lncon-
h rd il hOllloglPn.ou. ton. IUU. Furtherllor!!, Mh!!n the complex spectruili
\11.1 .odulat.d il a whol., McAdilllS found th.t lt becill. ev.n mor@ dlfflcult
( . ) ( b ) ( c: )
A
1'1
P
L
1
T
1
ij
1
D
1
E
1" 1
Il
a
FREfJUENCY
!
FlqW'. 3.10 Th. IU,ct of COllon frequlllCY ICdulihon on splttril fUlton, ,plttnl parllnq, and '10 1
,ncAdnl, 198h,b).
Il) COIIIII 'II.et" rnul tInq fro. th. SUPtrlliloll hon of unaodul.ttd Splttr. for vOI,1 sounOI '.', 'D', .nd 'i'
, Ibl cDft.rtnt lOduhhon of th. COlpOIl t. splttr., ind
(cl CDftlnnt IOduhtlon oi th, partuls .Ithln tleh YOdl sptctr. ,uout, ind lncohtrtnt 101Iulatlon b.b.,n
th. diHtrtnt yovil 'pectri lubltts.
57
0-
\
for the 115teners to he.r any vawel qU.lltllS 4!lIbedded ln th. composlt. (Flgur.
3.10bl, Hewever, when a rite of modul.bon Hltred\lced te .. ch
s p e ct raI 5 u b 5 e t ( FIg ure 3, 1 0 cl, th t II 5 t I! neT' 5 h. a r d the .U P rat. y 0 101' 1 s III' r 9 e
as clearly dlstlnct entttles WhlCh t'\cAd.CIIs called "audl-tory l'IcHdalis
as Bregman and Plnker (1978) had from thelr exptrlmental flndlngs,
that tlllbre IS an' attrlbute of a ton! whlCh can be reqarded 15 an "tmer
1
tnt
property" generated by the fusIon of, sllnultaniPous partlals.
Llkt the "cocktaIl-party prablell", Le., the problu of carrectly pU51ng
S pee c: h 5 a und 5 f r 0 III a cou 5 tIC ml x tu r es l'Il th 0 the r !I pet c h sou n d s ( u y pt r, 1 Q 7Z )
t'lcAdus' el1lbedded-vowel Identlftcatlon tas\( requtred the audltory sy'1telll to
s.parate spectral subsets,. and ta fuse 51nusoldal putlals .nttlln spectral
subs.h, ln order for the timbre structures to be heard.
The Prlnclpl!!.of Stable Resonance
HcAdams aise found that the system 15 sen5ltl'le to cOlllplex
InterrelatIons between concurrent frequency and amplltud' modulation.
Th15 IS a good heur\sttc Sine! 5tabie resonant B tl"le oral
cavlty that produces 'Iowel sound5, do not produce fiat spectra, but "at!'llr
for IUch change ln the frequency of a partIal there should be an aCC::lmpoinll'1g
changt ln amplitude Since IUch partial mU5t "trace" th. splctral tn"lop,
(Rodet,1962; Lewls,1936l. For example, Figure 3.11 shows ho:.. the spectral
Invelope 15 tracd If the putt al 5 Ot a Slngl. thrU-tormant r.sonan::.
5 t r u c tu r e ir e f r que ne y ,'II 0 d u 1 cl t I! Let 5 r I! t u r n, for il 11 0 lIIII nt., :;'le ,111). t ur,
problem of Figure ;j.IOb, where, ... hen all of th, lnterlacld jurtlals 0;

three superlmpo5ed vOllel spectra "'tre freQuency .1Iodulated 1 wU
very dlfftcult for to "ur th. separate vow.l-splCtr;a !lub!lets.
l'IcAdu!! !19B4i,bl found that If hl coupl.d coherent treQu,ncy .odulation
of tht whole thr!!!l!-yollel cOl1pl.x (as ln Figure 3.10bl 1II1th uplltude
58
c
C

tIIoduhtlon of poartlill iccordlng ta the spectral envelope of tne subset
to "hlCh lt belongs, 50 as te .1101'1 eacn partlil te trace. fragment of
th. Ipletral .nv.lape ch.racterlstlc of lts vo"el, the thre1!
\
vOWll sound' suddenly elllerged as lndependent lmages
l
FI
Il 1
A
" P
l,
..
L
1
F,
1 .
T
1 1
U

D
E
' . .. .
1 1
HI H, H,
H.

FREQUENCY
FlgUri 3.11 AI th. hir.aOles of ton, I!Iltt!d frOI thrve-forunt reson.nt structure Jadulahd
ln fr.qu.ney, theu rnpectlV! i1lpl! tudes .1 sa .adul at! aecordlnq ta the shape of the
!plttr.l ,nv,lop'1. Thl5 provldn th, i1udltory sy,tu MI th u5etul ln,orutlon frai "hlCh
ta Inftr th.t il 5ubset of spectral cOlponents belong ta il st.ble resonant structure.
Hot. th.t th, triClnqs of hirQOnlCS 1 and 2 palnt tOMilrd th!! formant peik
[frOI "cAdus, 1984i1,bl.
This Acaulttc U!lculptlng of timbre" liIould be an espec1311y lmportant
cu. for the perceptlon of spnch ln i1COustlC mlXtures, 51nce phoneme and
vaw.l ldl!nttflc.tlon depends upon the precise computatlon of tubre trom,
in 1I0lit.d ,p.ctral env.lope. vow!!l Identification 15 thought to ce reiated
ln p.,tlcular ta th. detectlon of peaks or formants ln the splfctral envelope
tSun'dblrg, 1977). Wh,n. sull number of unmodulated harmonlcs are heard,
v.ry IltUe lnforutl0n about these puks lS avallable (Flqur'l! 3.11).
How.vtr, for pirtli1s WhlCh Ile b.loN forunt peak, an lncreilse ln
o
o
fr.queney, even .o as ln vIbrato, 101111 brlng about an 1ncr I. ln
of thlS proeess, not only art frag_Ints of thl sp.etral .nvilop.
trae.d Wlnd r,trac.d, but IntOrlutlon about th. of forunil 11
"II
grl.tly lncr.ised a5 thesft traclngs "point" towird ptakl .nd troughl ln
th. spletral env.lope <l1eAdul5,
Il
Th, Pr1nelple of
The .Irll.st on tonal fus10n wlr. des1gned to d,t,rmln.
the .ff.et of h.rmon1e ratlo r!la\10n5hlps on th. fUllon of two
or IIor. ton!s. Stullpf (1890), for IXuple, p.rformld a Illftpl lIplrlunt:
u51ng a r.ed organ to generat. ton'5, he pllyed Ilngle tones and Ilmultaneous
purs of ton.s, +olloMlng .. eh 0+ whleh thl nllv. (1 . unlllU51cal, untrunld,
unbl.sed) subJeet w.s askld to Judge WhlCh WilS whleh, a. Will al to lndlcat.
doubtful lmpresslons and lncllnatlons. Stullpf found that the d.gr s Of
fUll0n ln thls way frOIl thl IIOlt hlghly fus.d unltOn and
octav., to th. p,rf.ct f1fth and fourth, th. major and 11nor thlrdl, and
,
tht M'Jor and 1I1nor slxths, to the lla.t fustd major and mlnor second.,
(To"""sdllflzunq) was dlr.etl'l rel.tld to th!! 11IIpllClty of th. n.rllonlC
HeAda.s flndlngs on the .ff.ct. of th. p.raI1.1 lIotl0n Of on
sp.ctral fUSIon can b, rllnttrprlt.d ln a way that corroboratl' Stullpf YitW.
In th, dl.culslon of th. d,.onltratlon shown ln Flgurlt 3.9 a and b, lt wa.
a10ng th. biular bran. (or th, n,urll corr.l.t.s to thl' parall'l ch.ng'I,
hO
o
C -----q.VI rll. ta th. fUllon of s.t of partuls, and th. convlrselv,
uncorr.l.t.d ln frequlncy b.tween .ny tNO partlals gave rlse ta
to 1 Iub.,t of h.r.on1cs ln th. co.pllll tone <the odd nUllberld hUllon1 cs ln
th. tonl IhoNn ln 3.9b> 1 legr.gltlon ught also h.ve r!!sultld froll the
f.ct th.t th. Il.pll hu.onlc relAt10ns beheen even and odd nUlllbered partul s
.'1'" nlcl rlly brok.n up. Thlt 11, Introduclng s.parate rat., of modulation
to .ubut. of parttlll 'ln harlon1c tones Will .110 laOVI thon spectral subsets
, 1
(collprllln'g thl sets of Iven and odd harllonlCS ln Figure 3.9bl ln .nd out of
Il.pll hUIIonl e 1".1 ab ons N1 th onl anoth.r, wh.rus lodul.tlng thu aIl at
th. !.UI rite (Flgurl 3.9.> will prlServ!! the Inltul harllonlclty throughout.
81"1; n .nd Oalhrlng (1984) .tudll'd the efflet of both'par.llel motion
and Illlpii hUlllonlC rtlatlons on thl fUSion of COllp!1X tones. Unllke
(
I1cAduI' .odulltlon dillon.tr.bons, they und d1sconttnuous stllftUlt, shONn
ln FIQurl 3.12., ta dlllonstrat!!! that these v.rl ablll c.n have conuqu!!nC!!I
,
for the outCOII! of thl CO.pltltlon b.tw n uquentlll and 51l11ultlneous
;rouplng. A .lddll gllded pure-tonl (the "hrgltt" tone) of a
thrll-Collponent co.pllx gilde was alw.ys Identleal ln lntenllty. fr.quencv
Clntlr, and siopl Orllntatlon to an Isol.ted purl-tone glldl (the "captor"
tonl> WhlCh rlplatldly altern.ted wlth the cOllplex gilde ln a sequlnee.
Th. ho othlr co.ponents of the cOllpllX gIldl wtl1ch the "target"
W'''I Iluy, Idlntlcal to onl another ln siopi orunt,lon and a constant
lntlrvii of ho octavlS w alwavs ulntun.d betl4ltn thell (henc. th. tlfe
t09.ther .,.erl cdl.d the "fr .. I"). The slope of the fri relative te the
.
targltt Ind thl hAr.onlC rllatlon, b.h n thl frill. Ind tarQet wer!!! var"led
b.t.lln cond1t1ons. EACh trtd N" begun wlth the tirget:fralu lntenutv ratlO
.et luch that 1 l''lch Ql1d. (co.pond of thl fr.lle ind the tlrgetl l4iS he ... -d' .
1.

.lt.rnatlng wlth th. c.ptor .nd th. captor-tarq.t str.al couJd not b. h.ard
(th. Inltul lntenllty of c.ptar and targ.t wu ~ 5 dBM, fr lUI qS dBAI.
Th. luten.r'i tuk litas ta gradu.lly 10M.r the lnten.dy of th. fr.,.. untll
h. could hur th. t..rget. ton., Independ.nt of t.h. frall, forllng a str ...
t
wlth th. captor. Br.g n and Oo.hrlnq r.150n.d that th. lo".r ~ h fr
th. fr , the grllt.,.. th. oth.r factorl had fund the thr,,-ton. compl IX,
and t.hey th.r.fore tre.tld thl! "frall'-lntlnuty-thr.shold" a, an Ind.x of
hl.lon. FlgurlP 3.12b shan the turv.s achl.v.d "hln th. rlsultl of th!1
.)Cp.rll nt Iflr. plotted. Wh.n thl thrn pure-ton. glldn of thl target-trallll
ratios 112:4 (as ln Figur. 3.12a), the Int.nslty of th. fru. had ta bt
low.rld 10 ta 12 dB IOIot.r th.n ln ,Jnv of the nonparailtl condltl'onl Dlforl
o
th. targ.t could bl perclptually ugrlgltld frOI1l th. frul. Furth.rltor.,
It Mas found that al th. dlfflr,ncl ln Ilop. blt"trn targlt and trllII. was
lncrus.d, th. targ.t bleue la51lr ta capture Into a uqulntlll Itr'c"
\"
Togeth.r lU th MeAd".,' h ndl n9' th l!l apPlars to conf 1 rl1l thH!
Ooehrlng alla t.stld th. roi. of th. slmpl, harmonlc r,tlO r,latlons D,tN,.n
targ.t and fr by 'l'lIfting thl fra up .nd down ln frtquency ln r.l.tlon
ta th. targ.t 10 ., to d'!ltroy th, Il.pl. octavl r.l.tlon, ln the plrall,1
condition, th.y found th.t thls "uld ta nulllfy the ,filet of th. p.,.,11.1
.otlon b.h,.n th. t.rg.t ind fr.... Thil Il Ihown by th. duconn.cted pOlnt,
on uch gr.ph ln Figure 3.12b, whleh r.prll.nt th, condltlons wh.r. the t.rQ.t
anothtr. and WhlCh III eonslIt.ntly ln th. ranqe of th. nono.rall,} condltlonl
o
10 that, If th.y art connecttd, the sh.rply I1gnlflcant turv dlUPP'''.
62
c
c
(
'.

(A)
,
'C
/
,
+1

Y
"
(
1 0

MOllie
(
'U"/,'UIIE
,


/

-1
,
1
a
TIllE
(8) Il UI
It.".t IlOP" .t+1 oct/"tl (tartit 110," at -\ oct/ntl (tar,lt 1ll1100td 10 oct/"t))
..
,

A

Il 12

E
1 71
...
T ""'\>
E

S
,.
1
T
,
70
(001
-2 -1 .1 .2 -2 ... -1 0 +1 +2 -1 -1 0 -1 +1
SUIP( Of HMlIOJIlC FUll( 1 ocr liVES PU SEtDIIDI
Fiqut. 3.12 - (A) On. tyel. of th. rtll'Ihnq stllul us pattlrn studlld by 8r1911n DOllhrtng (19841. ,ho-Inq
tb. tDlldltJan th.' thrlt purt-tont 9hdlSc of th. hrq.t-fralt Cl1-c1l1J art ,10DtU ln
pIl'Ill.l Ina .r. hlrlOnlcally rthttU it Irtqutncy ratlOl 1:2J4 (1 , on. ocUv. 11I1r0.
(1) rnul h plDttln9 the frln Inttnll t'y (In dB) rlf!ulfld to Itqrtqlh th hrq.t .. , functlon
of th. Ilop. of th. Irait 1 n rtl.han ta th. si op. of th. tuqlt. ln th. puaUll condillons
th lut"'tr. nid ta lOIItr th. fnlt S InttftSlty consld.r.ily la..,. thl/l III th. non-p,rall'l
CcmdltlOft' ln orll.,. ta Illftllltud 1 y th. tuqlt. Thu IPP"'" ta \lIPoort th.
cDllc1u110Cl that th. fUSIon of th. CDlOlt. ton. "II' Itronqlf Jtiltn th. Inlt w .. slop.d ln
parai hl WI th th. tarq.t. Ho .. .,.r (_ th. bo duconn.ctld pOints shOlI th. qUI tl dl Htr.nt rnults
tbat ..... oIItuntd IIIItn th, fr ail ,.. stll ft" ull (squl"l and dDIIA (dot) 1 n f"qulncy ln r.lits on
to ta. hrq.t '0 .. ta dlStroy th. Sl89i. actn. r.htlons ln thl pardl.l Condlhon.
03
o
The Prlnclol, of Good ContInuation
If the audltory SVlt 15, .u clalas, nnutlv, to th.
#'
eo on .odulatlon of 11lultan,oul ton., or th. co on orl.ntatlon of
orIentation. or "triJectory, of ton., ln a uQu.nc.. A traJeetory
"ouid b, ustful to th. audltory "h.n It att ptl ta track sounds
Suakl 11980} prov.d the ulIttnce of a relat.d prlnclpl . H.
pr.sent.d llitent" Nlth lodle patterns ln "hlCh loud nOI bur.ts
w.r. Insert.d ln the place of ta.,,, that "tri l.ft out. H. found that,
ln sa clreu.stancl', th. co.plete lneludlng th. mlsllng tone.
o
eouid b. h.ard rlght through the nOISt.
strlklng when th. no't. "as pr.dlctabl.; 1.'., ",h.n th. m.lody 'US tulllir.
th. probable tonal funetlon of the 11I51ng not. l'Ii' ,vldent trOll lts c:ontut.
or wh.n th. not. could b. lnt.rpclat.d lnto a traJ.ctcrv tabllsh.d
,
by th. notes prleedlnq and follollunq lt, as ln a ausleal scal ln th.,.
ta"I, th. audltory SYlt s ed to Interpolatt th ton. from
tone ",.r. pr".nt, and not al ,uee."lon of I.par.t. tonel "'Ith on. ton.
111.1ng. Thil of lodle r.,teratlon" 1. Inalogous to th.
p.rc.ptual phon le rutorabon" of allIung sp ch soundl (Warr.n. 1982)
that occur. wh.n lo ch Il .o ntlrlly k.d by leud n015.5 thlt Int.rrupt
lt ( . g., wh.n a VOle. 11 lnterrupt.d by Int.raltt.nt It.tiC on nOllV
hl.phon. 11n.I.
11
o
c
,
S,..ga.n (1981> found th.1t th. co on trlJ.etory of two ln 1 I.qu.ne.
dld not co.p.t. v.ry w.ll wlth th. slaultin.ou. flctors sp.ctril
r g,.ouplng. Flgur. 3.13 shows th. stlftlulus th.t they used to tilt th. effeet'
of trll.ctory ln striPPing i pur.-ton. gIld. out of i co.pllx
th. Ilgr.gltlon of th. ton.s Y ind Z (Figure 3.13.). The
condition WhlCh .ost eff.ctlv,ly clus.d Y ta str.,. Mlth ton. X, ind
conl.qu.ntly ln WhlCh Y MIS bl.t stripp.d out of th. YZ ftllxture, Wi' whln
ton. X occupud th ..... frlgulncy reglon n tone Y (Figure 3.13b),
and not wh.n forll.d 1 contlnuous trlJtctory Mlth lt (Flgur. 3,13i),
t ,
(Al (81
F

F
/ /.
R R
E E
Q
Il: /
Q
u
/z<11
u
Il:
/:11
E E
Il H
C C
y y

0-
TIllE TillE
Fi,urt 3.13 - Conhnlu t., of trlJ.do!y b.h n ton" 1 IfId V (,) hid no .fftct on thl Jlgr.giltlon of
tont V frot thl coapI.x I,xturl l,th ton. Z. Ton. l l" only ioi. ta strlp ton. fout
of th. .ntn It occupI.d th. '.1. fr,qutnc. Il ton, 1 lb),
This r.lult corroboritl' thl flndlngs of oth.r r.SllrCh.r,. For
contlnuous fr.qu.ncy gIld.s MhlCh cros d It sa pOint (Flgurl 3,14a),
an upp.r giid. that d.sc.ndld and asc.nd.d, ind 1 lower gIlde Isclnd.d
and desclnd,d (Flgur. 3.14b), The two glld., I d to r.bound off on.
o
, '
o
ST1!M,US
AI 81
CI
Flgurl 3.14 - Cromng fr.qulney glldtt studud by BrtqNn, "cAd .. ,, .nd Hd plfn 119771.
plrelpt UI to idd 1 p.ralili gildl to on. of thl g1ton (F1Qur. 3.14c and cil
ln "hlCh CI" rillonid thlt the l1stlnlr w problbly trl'ktng contlnultv
of tl.br, IcrOIl th' lnt"r.,ctlon Ind not contlnl ty of trlJlctorv.
thlIr DM" flndlngl (Figure 3.131 c:onltltut.d ,vldlnc,
'V.t ',vOur. ,;gnl,.tl,n. ln Ohlch ln

th.t the ludltory
dlscra,t and
;, '
. '

c
Ct
1
rl.trlct.d fr.qu.ncy r.gl0nl Ir. group.d tog.th.r, ov,r org.nlz.tlons ln
Whlch .n .xchlng' of fr.qu.ney r.glonl t.k pl.e. at erosslng pOlnt.
Thll contrl.tl .h.rply wlth tH. ,n,logous vlsu.l of two erosslng
11n'l, WhlCh .r. I n luch, rath.r th.n .1 V .nd .n Invert.d "V"
touchlnq at 1 e.ntr. pOlnt.
Thl.1 r.luit. da not n.e.ls.rlly slgnlfy th.t thl .udltory 'Ylte. 15
On. pl'Ullbl. for the
...
,
wlth ton. Y .nd ra .trlp ton. Y 'N'y fro ton. Z lght b. th,t th15
hlurl.tlc 11 Ilmply not .tranq Inough ta overca. the f,t."
Ixtr.pol.tl th. of tan. V ln th 1xtur. fram th. knowo
.nd aor;. tYPlc.l of candlt10ns .ncounitrld ln th. Invlronll.nt, 1f It t;ould
lot.rppl,t. th. traJ.ctary of th. ton. b.twe.n two known
J:'>. ' '"
trIJ.c:toril" ' On th. bUll of 1011" pr.llunary pr.-t.st oburv.tlanl,
1 b.ll.V, th.t , p.tt.rn ,uch ,. th. on. ln Flqur. S.l' would Yl.ld
, ,
.uch ,!gr.q.tlon tha" p.tt.rn uSld by St.lq'r ind Br'g_.n
IFigur, 3 . 1 I1ne, th. tr,'J.ctory OT th . hrg.t ton. Y can b. Int.rpolated
0,b.h n th. trlJlctOrlU of th. ewo .dJ.e.nt frlqu.ncy glldn X and W; .nd
th.r.for. coap.t or. ,ffletlv.Iy wlth th. comllon thl
IUU! tan,oui 'tonll Y .nd Z.
1.>

t
."
o.
o
/-

Q j".
F
. R
" E

"
1.1:
u
E"
.
: l ,
" N
C
y
T t
3.15 If th. ludltory'.ystt. lntlrpalltl th. trlJfCtory of thl t.rglt tonl Y
t.o ion.s, Ind 1, wlth the contrlbutl' to th.
lt9rtglbon of th. tanlS V Ind Z. _ .
J? Cl
IUICt. Iff.cts art ln textures lnvolvlnq
on. or ln WhlCh lh. 11nlar continuation prtdlctablt,
c:anuder.tians. lt Miy Oe on. of Instances _UIle th.orlsts, Mlth,
1 ' , ..
.
'"
,Th. PrlnClpl. R.p.tltlon
Thil t.chnlAu. h b n u",b,clus,

th. qrauplng,procl.' ta r'.11n ,table wh.r. It ff.ct, Ir. "Illy
. .
observlbl liaMlv.r, ln aIl of th. up.ru.ntl IfhlCh lnvolv.d rlpldl ...
.. ith th. nu.b.r of r.p.t1tlons of . rn. 1 , that th. "1.".tlt.l0n ttulf
l '
, ,
,
1
!
S
','
.-
c
"
(
;
a
cantnbuted tQ .tr Slgr.g.tlon. Elr'gun 11978c) r,"on.d thil't und,r SOllt
th.t luth ulblgUOUS s.qu,ne , il eertun ount of g.thenng, w'lghlng, and
lortlng of eVldenc. IUy t.k. pliC' over Il nu.b,r of before the
.udltory SYlttl III.cts th. aOlt .cQnolllc.1 orqinUIt1on te be offered to
.thntlon,. Aec:ordlnq to thls V 11'" , aort 0I110w JIIore eYldence for

IIgr'!.9.atlOn to oIccu.ulit., and henc. qlve rt41 te stronger u qi-egatlon.
12
\
Br'ga.n 1\978c) nu d onrilt.d thts "s;:umuliltlVlt" etfect
1
,xp,rll1lnt.lly by prlu.l;ltlng' sequence! of ollhrnitlng hlgh ind 10'" tonu
th.t .r. dlVlded lnto ,tone-packiges" of v.trYlng (4',8,16,
l.nd.hntt, nUllbtr) b.t ... un each of ithlCh {s Inurted il four 'second Illltnce
c'
le.g., Hl qh-Loll-\i-l-Sdencl-\i-L-IH-S, or H-l-Hn\.-H-L-H-L-S-H-L-H-L-H-L-ij-L-S, etc.l. Suc )ect s
",r, .alk,d 'to idJUlt the tellpo
)
of th.,e ln erllittent sequences untll they
p.rc.ptually Ipllt lnto two ItrullS. th. rlt!lults of th1!l
It 1"" found that tht' segre,gatl on-threshold> tlllDO was
ln .... rs.ly proportlonal to the Sla of the pi.ckage of tonel. ln other ItOrd5,
lon911,. packag" of ton'!l Will split olt !llowl!r templ. Brt'gman rU50ned that
.Ithough th. I1I.ncl b,twnn th. polckage!l of tonu tlppureo to r,!Set or
'unbli'" th "hinls", It dld 10 lesl c:ollpl.tely I1hen 1I0rl! rltpl!tltlOn!l
h.d .allo .... d p.rc.ptIon to "gath.r lIor, ,'ndene," lbout the orqinlzatlon. '--
Thl prlnCl-plt of"rtp.tttlon lUII allo s.rvi to relnforce the squl!ntlal
f.cto,., "ntr. th.r, 11 COllp.tltlon b.tMttn lequentIoll ind !Slaultan'ou!l
--
o
1
o
Figuri 3.16 - plothd u .t functlon of plckiqt Sllt (4, e, III tonll/p.Cltiqt, or
Incll,ftnlt. rlptl.lhon) and tllpo (upnSled i'5 ton, r,peotlon tll' long,r iRIs siOll,r
t,api Ind YIC'-Y",.), Th, fiet th.t ru. uqrtg.ttlon cln d,pend upon th, nUlb,r of r.p,utlons
cri th. eyclf Indlcihs th.t .udltory strrillnq 15 CUlul.tlYl (Brtqun, 1178bl,
Intlpr .ch on the Sen
"If whol. body Ifere an eyll," were the hurlng;i If tn ... nol.
w.r. hlurlng, wher! were 5.elllng. "Il
\II, should not bit surprlHd to hnd that our .enll lIIodalltas. il
lndependent as they IUy sltett, hlghly lnteractlve and can IntluenCI one
(Ryan, 1940; Fulchlgnonl, 1957), If, for uupll. WI ne before u ...
CIlll.t bowlnq hlS Instru",.nt wlth thru other pl"Ylrs ln" string Qu.rtet,
J
nt.l "dlctlonull'" cOlllplled frOID prlvloUI .ncount.rs luth UI1S OIiJlct,
for a "tubr. tuplate" ",hlCh, ln thu cast, In.blls the audltory .ytt to
"look for" the partlcul"r set of forunt pt.ks characttrlstlc of the
c
/

n
2
!
'Plctral .nulop. of thl cello' the fact Ille ue hlm vlolently
Itnk. tllS bOM .gunst th. string help dHect the audltory system to 'look
for" a lit 0\ chlngl. In thl cOlI/plex IpectruCII KhlCh !llght correspond to thlS
vlIual trvent' Don th. faet thit h. l' seen to occupy a partlcul al"
pout1on ln space ud audltory locallZallon, WhlCh ln turn Glay contrtbute
\
te audl tory grouplng processes'
A good detll of eVldence I!XIsts ln our everyday llvlfs to !luggest lhat
thl! urnse /Iodes work ln cooperatIon, and sometlmes ln COftlpetltlon. The
Vlntrlloqulst hlS tlrt ln th. knowlepge that VISIon tends to
fIIotton plcturlt on televlSlon, th!! Valets always SlfI!1I to orlglnat!! at
pOint on the screen where the spuklng charachr's ilps are 1I0vlng. desplte
th flet that th!! loudspukers arl locited te th!! sldl! of the sereen
(Jlckson, 1953; Fulchlgnonl, 19571. Such Instances of the dominance of
Villon ln locallzatlon ue cOlltllonplace, but VUlon lIiy al50 ald ln
d.ttrUnlng attrlbutl's of a source othl'r th.n Its location ln !lpace.
Anyont who Ixp.rleneed th. "cocktall-partv problu' - the prooletll
of attendlng to a ungll speiklng VOlce whlch 15 emoedd!!d ln an acoustlc
.utur. IIllth ny VOlell!l or other nOlsy bickground such i5 loud
.UIlC - 14111 know ho", lIIportant It ean be to look Intently at the speaker,
and ho,", loeklng I\uy WIll aillost artalnly result ln th!! 10ss of the spe.ch
,,-
119n.1. A nu.bu of v15ual CUIS al". probably Involvld ln thlS Inst.nce.
S.untl c '1'" preVl d.d by rat ud .yell dt, frowns, uII." nods of the
'"
hud, !rtc. that hllp to "h11 ln th. g.ps" .round IIl111ng spuch sound!
lOlt ln th utur.; .nd IIp rudlng, the .!IIOelllllon of cfrtun subtIl
.otton. of th. llpi Mlth th. tubral quallttes that COllpI"1St' the sounds of
71
o
o
Bregllan and Achu (19731 found that sequences of vlsual stimulI, luch
do. That lS, ln a sequlPnce of hlgh and 10111 flashu of llght
alternatlng ln tlme, under certHn conditions, as reqards the spud of the
sequence and the dlstance between alterniite flash.s, the sequenc! ",dl be
percllved as two sequences, one conslstlng of the hlgh flashlng 119ht)' the
other conslstlng of the 10\11 flashlng llgnts (I.e., substltute Ilghts for th!!
ton.! ln 2.2, pg. 311.
1
" 0 leary and Rhodes (1984) stud\ed the
Iffects of the synchronou5 presentation of audl tory seque,nc!s 0;
altltrnatlng hlgh and tones and 'nsual sequences Of ilternatlng hlgn aod
la,"" llghts. They fHst presentlPd the audltary and vIsu.!1 S!!Quences
separately ta llst.eners, ln order to determlne lndependent segregat:on
thresholds for edch. Then they presented the t ... o together, Wl th the ln gh
and low tones synchronl;:ed ln tlme wlth the hlgh and law l\ght5, ta create
the lliusion of sequences of unlhed soundlng-flashlng obJ!cts lan
Inter-modal "common fate" effect!. The dl stance betlo/een the hqh and 10\11
llghts WiS then adJustld lndependant of th., frequency ringe bet ... een the
hlgh and lo\Ol tone!. O'Leary and Rhodes found that \IIhen the "l5u .. l
ugrlfgatlon thr!shold was reached, the audltory sequence wH 51gnl'lt:int!y
"1nduced" to threshold ln condltlons where the range \:let ... !en the nlgh and.
10101 tones ln the audltory sequence would not have bun t: 5egr.qu!
If they had bun played HI lsolatlon (and "lce-vers,o, Le., auOltorl
A "cross-modal lnductlon" heur15tlc Il1lght account for .+ftets thH
O'L"Ary and Rhodlfs oburved bltw .... n audltory and vlSu.l glSult for ...
U Iotltll as other known lnstanees of Int.,ractlon b.tw n th. SllnSI
72
L
c
c
n 2
.od", luth li the "ventnloqulslII-efhct" ln 10callZatlon.
Although thl! dliiogul betwnn thl sense modes IS of grut 1I!Iportance ln
natural 115tlnlng Sduiltlons, IlIU!lCUnS have tned to thlnk of
loundl /IIor. and 1II0re ln l!lolatlon from the audio-visuai complex. Sinee the
l
adVint of radIo and reeorded or electronlcally produced mUSIC,
have focusud on the nilture of the "acou,matlc ltstenlng" sItuatlon
1
" ln
.
WhlCh il .ound 15 heard Its cause bung seen, as opposed te the
"dtrtct" or "niltural" llstenlng Situation where the actuai acoustlc sound
!ourclS are usually present and vIsible.
Athntlon
Inst.ad of uklng lutener! QuestIons about the expenence of stream
I.grlgatlon Itself (,.g., "do you hear one or two streams'''), as many other
r"lIrehers had done, Bregman .:1978a) gUe5sed that the real slgndlean,e of

strlamlng would be revealld through experlments whlch test the ll!ltener's
to uke Judgements abol.,lt the contents of strealos. 5uch
Ixptrllllents Bregman to test hlS hypothesls that attention can be
brought to bur on th. Input only afttr the prellrllnary analysl! Into
struml hilS cccurred:
are bUllt ta pay tttntlon to audltory sourcts, net to acoustlc
ccmponlnts, and It IS the dl!compOSltlon hliurl!ltlcs ... that bulld
audltory d.scrlptl0ns cf !lourc!!s out of the cOllplex acoustlc Input and
ln so dOlng, plac!! strong constr,unt5 on the proee55 of attl!ntlon."lO
Thll hypoth!!51 S lIIu5t be present ed wlth il. quall h cab on. There are WI thout,
doubt Situations, !!speclally when the acoustlc InformatIon IS allblguoUS.
ln whlch wllifui atttntion Cin play i role ln audltory grcuplng.
Th, G.stalt Psychologl!1ts referred to the concept of -

V."lously tnnslatld as "attltud., nfocullng", or "set" (ln the sense "to
flX or appoint") - whln.ver It ' ... s nl!ce5sary to acccunt for the effect of
ce,.iun ob rv.r varllbl , luch as wlllfui attention (lnvolvlng goals,
of the stuulus fl@ld 1\!I@dhellur, 1923). L@on vin Noorden i19iSl hu Udf
ln exhaustlv@ uperlmental study of the Influence of S,t' on
the perceptIon of audltory of alt@rnltlng hlqh olnd 1014 ton.s.
He found that, ln splte of the wllifui eHort of the llstentr, und!r certain
conditIons as regards the tempo of th.se s@quenc,s and th@ fr!qu!ncy rolnge
alternate tonts, there wa5 a threshold pOint beyond WhlCh th!
temporal succession of tones could not be heard (WhiCh he c.lled the
t,poral coherence boundary), ind a threshold pOInt b!yond WhlCh streim
segregation bet ... een alternate tones could not be h@ard (whlCh h@ (illed
the fUSion boundary) IFlgure 3.17>. In the Ublguou5 casl5 otheen th.s.
two boundarl@5, he that 1lsten!rs 14er. ible to h'ir 'Ith@r orqanl:atlon,
20 -
TCS - tempor al coh!renee
1
boundary

A
---
-
-
1 t: ,
,te.
1/1

15 FB - fiSSIon boundary c:

)
----..!..
B
E
-
QI
1
,

....
10-
'7r
1
...J
TCB 0(
>
0::
W
1-
5-
z
w
FB
----
z
0
1- .",.
0 50 100 1 50 200 250 300 350
TONE REPETITION TIHE (lIIsle 5)
Figun 3.17 - Tht Fietor of Athnhond S.t [frOI Hoordtn, 19751.
Th. tllparal cohtr,ne, boundiry (TCS) lnd th. f"'lon bound&ry (FSI Gtl1.It tht r'910n _lthln _bien
.tt.ntlon Cin lnfluenc. th, forlitlon of iudltory strel", 'Rd _hlch ltt,ntlon ,., no pOll,r
to dtt'fllnt tht p.rctptuil outeOlt. Th, TeS Il tht boundiry btb .. n ttlporll :chtrtnct 1.'., on. ,tru.1
lnd fUSion lI.t., nqr!qltlon, or tllO ,trunl .h.n th. lIshner IS trYlng ta lIur t,.pord coh",nc,.
Th, FB IS th! boundiry bttllt,n tllporal cohtrtnc, ind bsslon II/I.n tht luuntr li trYlnq to "ur hsslon.
74
c
(
p
ft s
a
Iccordlng ta thl "'Y th.t they Iflr. lnstructed ta direct thelr attention.
HOlfeVlr, regardless of ho" hard the llst.nlrl consclously trled to hold
o
onto on. OT th. tif 0 l'ntlrpr.htlonl OT the uquence, ,ln thl Vlcln1ty of th.
thrl.hold, perc.ptu.l shlftlng bet"l.n one .nd tif a strl s began to take
placr, and .t the boundary the .coustlC factors

over aUtnt,lon.l set.
Whit does thls tlll us about our plrceptlon of the world outslde of the
labor.tory and ltS contr1vld lilusions? The audltory strealls ln the world
are . .i\tven ll'ss Ub1guouS th.n Noorden s streus wt'llch 111 beyond the
attlntlon threshold. They usually cont.ln a whole collect1on of
un blquous, eonustent and "utu .. CUIS that the audltory
Iystl. USI' .1 for grouplng. Thil process li sufflClently
rll1.bl, to glve corrlct" an5wer, about thl and propertlel of
D
the ludltory obJ.ctl ln the warld w\thout forCIng thl declslon-... klng
procl" to the level of con.ClOUS att.ntlon.
Thil ldea, "hlch perv.d.s the dlScuSSlon of the .ud1tory parslng
procI" throughout th1S chaptlr, lS not lailly accepttd by IIUSIClans.
,
They argul that the .rtlst1c .odl of attention 11 not n.arly 50 palllVI,
nor 11 lt lubJlct ta th. Ilth.r-or con.tralntl that psychologlstS clalm
r tr1ct thl proceSllS of plrclPt10n.
17
For Instance, psychologlsts
( g., 9rtg n te C pb.il. 1971; Hoopen, 1982> ln'lIt th.t ln sequences
J
ot alt.rnitlng hlgh and 10M tonts, th. lutIner can uther dlrect hu
n,vlr ta bath At onet; 1.,., he M111 .luys h.u onl ln thl "forlground"
of Att.nt10n and the othlr ln the "blckQround". Llk.Mlse, they rlp tedly
afhrlt th. 'ulst.ne. of .n .ud1tory 'prlnClplt,oJ belonglngness
n
, "hlCh
stat thAt ln ICOU.tlC co.ponlnt .Ult bl .110cAtld to one s.qu.ntlal
7S
o
o
thit th. deptH of the .e5thetlc exper1enCf li ln the 10051n\ng of ,uch
rutrlctlons on .und.n .athntl0n. \Ile f l th.at on. of th. grut plltisurn
ln IIUUC 11lhnlng 11 der1vld froll thl iblllty of th', llsten.r to sc.athr
hu ittenhon icrOIl i polyphonie (or ,pectral) f.bnc ta hur .ny sound
ln .. ny organuitlon - Itllultineous. uquent1l1. or 1I0r. th.an onl 0' th.u
it i tl'III! - it wlll, ind sllDult.neoully:
"Arhstlc percephon \! outher ordlnuy, nor \1 \t bound ta thl
nirrOH l1'!1ltS of everyday ilthntlon, ncr conflned ta d, preCl,e
focus WhlCh Ciln ,cnly att.,nd to il single ,.ltlody .t i tUI. The
11ke the palnter, has to trlln to Icatter hlS
itten\lon o"u the entlrl! lIu!!cal structur If '0 th.at he Ciln grup
the polyphonlc filbrlC ... nOH focuslng prltclilly on the 101Id
vertlcil sounds, now tI1ptYlng hl!l ittentlon !l0 th.at hl Ciln co.gr.hlnd
the loo,e, trilnsp-arent "lb of polyphonlC VOlces ln th.lr .ntlr,ty"'
In fict, psychologl sh concede thilt UU5 1'1 true to 50l1li IXt.nt Iven
ln liboritory sltuitlons. For !Xillple, ln tplte of th. prlnclPl. of
b.lonqlnqnul, Br.qun ind Plnk.r (1978> found thit when suul tineOU5 ind
tlquentl .. l forCIS liter, pl thd ig.lnst one inoth.,., the dOllllninc, by one
\
over the oth.r lit.S not entlrelv When thl uquintHl
Influenc.s tone Y out of th 1xturl tllllult.neout tonl ln
j
hl.r th. rieh tl_br' irl.unq'frodl th. ,uxturl. By dlr,ctlng hlS .tt.otlon
h. Mi. ibl. to favou,. th. '.qu.ntl.l or thl Sllllult.n,ous orginl:itlon.
pirticulirly ln clrCulIIst.nCII Mh.,., th. dOdll'nince of on. ovet;, the otn'r of ..
wed. Furthtrdlor., ln so.e Instincts th. hlten., , i"l,..neu of tIIftOr,

c
c
7
Th. IcouStlC rll.tlonl wlll eXlrt powlrful lnfiuencl on th.
Perh.pl wark, of Irt Ihould b. reglrded 15 eXlrelle, ln
On. of the ncrets of our llnc. of IU!l1 c, on. of the sources of
the lnn.te tendlncy of the .udltory syst'I to organlze acoustlc
accordlnq ta the hlurlstlc p.rslng prlnclpL , .nd the wlllfui effort of
the llstener al he dlrectl hl' attentlon.

"HohS'"
/ - '*.
1 S,.eq .. n .nd Cupbell (1971>, Hoerden (19iS>, .nd Sreg.an (1978b)
have aIl obnrved thlt when uqulfncls af altern.tlng t'llgh and 10111 tones
,egr'gat, lnto two the rhyth. changes spant.n,oully from that af
the lntlr,trla. COlposlte te th.t of tlllO concurrent lndpendent rhythms at
h.lf thl tupo of thl CO/llpOslte. Hoopln, It .1 (1982>, hOWlvlr, obtuned
lo.elllh.t contradlctory resuiti by ilklng Illtent,., to p""s'. ky il soo"n.s
th,y .ere lurl th.t sequenc! of altlrn.tlng hlgh .nd 10111 ton!s had stopp.d.
Th.y "onderld lf thll "itop-re.ctlon tue" (SRT) .ould b. longer for
.lqu.ncI' th.n for coherent nquences, Slnce thly ISsu.ld: 1) th.t utentlon
1. ulually lock,d ta elth.r one or the oth.r of two str.allls. '
.nd 2> th.t th. SRT prob.bly r.fl'cted th. th.t lt took for the llstlner
ta bl Clrt.ln th.t th. n.xt ton. ln th tt.ndld sequenel \II'S not heard,
1.1., II" tlll b.tw n SUCC.SIlve tone. (ln coher.nt l.quence'l th.n b.tween
,vlry othtr tone (ln .egreg.ted slqu.nCls). They found th.t th.r. w.s no
diff.rlnc. blt ... lln thl SRT ln thl slgreg.tld-strellII eondltlon Ind the SRT
ln the coh.rlnt-strla. condltlon, .nd thly r.asonld th.t .tream-segregation
.nd doe. not prlvlnt thl rlglst,r of non-strl'I or
non-Itt.nd'd tonl' by the .top-rl.etton ch.nls. th.t they wlrl .,.surlng

the 'Igrlgitlon IfflCt. "Y h,vl blln underlstl.atld bv Schoenb.rg
IIIh.n hl propolld Kl.n9f.rb'DI,lodl' - ,equ.ncls of Ch&nglng tlbr.s ., a
.tructure - ln co.pllx 'lxtur., of sound. SI' Arnold
Scheenblrg. Th!ory of H.rllony. trins. by R.E. C.rhr (Btrkllev: Unlveruty 01'
C.l1fornl. Pr ... , 1978) pp. 421-1,22 thrst publlShld I/llnnll Unlvlrul, 1911).
3 E.8. "Tonll FUSion," In EXR!r)lIItnt.l Psyehology.
Vo1.1, Part 11, Londona l1aethll.n, 1901, p. 329.
,
H. H.hhol.tz, On the S.nHtlgn gf Ton. n 1 PhyS10loglC.l BU1S
for th. Theory of (N .... York: Oovlr, 1954), pg. O.
77
...
\.
5 a. M. Murch, Vl SUII lnd tory P,rc.ptlon (He .. Var k, Bob-l1err III
1 c., 1 973), P Il 1,32
.. IIlnor nynchronus ln putliis of IIUS1Cil lnstru.ent tonu Ire
glnerilly lesS"-thln 20 .111ueconds (Grey" 1100rlr, 1977>, .nd therefore,
" "-
Iccordlng to results obtl1ned by Brlq.an .nd Plnklr, wIll not
slgnlflcintly thl fUll0n of the co.pllx tonl. See .110 TobllS
(1972), (1978) 1 Judd (1979) .nd Deutsch (1979>, rlg,trdlnq the eHects
of onset .nd 'oHut synchrony on th. perceptu.l fUSIon of slIIult.neous tone .
7 thlS lS s119ht overslmpl1flcitlon of the experlments pertormed
by Oann.nbnnq .nd Brlglun. In hct, they und lIore th.n two u.ultineous
ton.s. Olnnenbrlng Ind 8r_g n <11so us.d dlff.rent Index of ,tr "
.. grlg.tlon. They askld subJects ta lndlclte "hlthlr th. rhytha of the
"quentlll strUIII WIS hst (lndlcltlng uquentlil grouplnq XYXYXY ... t
ln teru FIgure ,3.0> or slow (Indlcltlng slquent141 groul)ln9 ,X X X X
ln tu., of FIgurl 3.b>, ln rel.tlon to fi,st ind slow clIck .tlndards
th.t werl pl.Yld before sequence.
" I1cAd (1983a> borrow.d th!s term froll HiSs.ro 1197) to ducrlblt
ludltory Intltles thlt .re forlled .1 i result of the proces,e,
perforllld by th udltory syltell. He d,flned ln "Iudttory l.ourclI) l"lge"
Il "1 psychologlCil r,presentltlon of 1 sound 'entlty exhlbltll'lg 1 coherence
ln ltS ICOU.tlC behlvlour." Accordlng to thlS deflnltlon, the term ".udltory
u.gl" c.n d.notl .udltory stre ... , fUled spectri, or .ny oth.r perceDtl to
WhlCh .udltory grouplng proces, givi rlse.
"conver!lely, th. fulure of the coherent HM of. spectral ,ub-set to
glVI nu to ugregatlon In1C"DUstle mixtures (9re9 n St Abdel .. lad, 19851
uy be due te the flet thit Incoher.nt HM 9thun speetr.l subutl ClOU not
up hlrmonle rel.tlons th. "'Iy th.t FM does,
10 furthfrlor. th_rit m.y be nllurolog1(:.1 for 1 gllo'-lncoolnq
.ech.nls. or fr.qulncY-liodulatlon-encodlng Ilch.nllll th.t groupi tone, wnen
thlfy arl g11ded or frequency lIIodullted 'ln pu.llel. SpecI.lHlld cortlc.l
n'urOnl h.vI be,n found th.t flrl ln rupon.e to fr'Quincy lIoClul.tlon and
tone gIldes (Whltflttld Ev.ns, 1965). More recent ruearen tin Ihown thlt
10 0; "FM- neurons appltlr to ftr. In sodul.tlon-freQuencY-SPICltlC
\II 1 Y (V r h n 1 n, 1 9 7 4 > 1 n t tfe c JI 0 f ton.. 9 1 1 des, the relIs 0 p pur t a b e
neuron, th.t hrl ln ln orlent.tlon-sp,clfie: "'Iy (Gardner" Wilson, 1979).
The,. neurons ln the .udltory cortu eorrupond ta thl n.ur.l
thlt hlve been dllcov.,.ed ln th. vlsu.l cortlx (Hubei"
Wu .. l ,1%5: 1969>
LL th, gest.lt psychologlsts c.lled grouplnq .crOll dlscontlnult:I'.
)thethlr due ta stuulus proxlluty or Qood' contlnultl on (tr.;ectory', .
perceptulI closurtt".
L2 It .lght Iiso be propg.fd th.t th ore predlctlble pattern
beco s, the Itrongl" thl ugregltlon tH.cts Will b., stnctly due to the
n.ture of the ch.nnelllng of the Input ln ,ttlntlon. It y be th.t a
..,chanu. of Itttntion Itself clu,e, the chlnnelllnQ .'f hlQhlv ,.edunlunt
Itl.ull ln thl' unner <Jones, 1976; Hlndu" 1970>, Thl' theory would
explaln the effects of bath rlpetltlon Ind Qood trIJecto,;e"
c
c
o
'e
7
Connt.huns l, 12: 17.
14 t.he vtl"er ,Ilia IxpirunCIS "Ippuent .ove .. nt. beheen the
Huh" ln IIch Itr .... Thll 11 thl h.llur nt lnvut,lglhd
by thl a.stalt. P,ychologl.t
U P. Sehuffer, "L' acouu,lt 1 qUI", Chapter 1 V frOIl Trll t du Ob 'Its
HUlliUX, (PAru: Seud, 1900), pp. 91-99. Sehlefftr d.nves t.he adJectlve
-Icoullat.lc fro. thl Sr.ek 1 group of dlSC1pl.s of Pythlgor.s.
Wh.n l.eturlng ta hl t.ud.ntl, Pythagorls obs.rv.d the unusu.l pr.ctlse of
nldlng hl elf blhlnd 1 curtlln, ta AVOld dl1trlctlng thelr from
nlS thought. by tht Ilgnt CJf hl. corpor.l ippUranc! Ind pru,nce. Sy
Inllogy, th. tapI-recorder el1'1nltu the dlstr.ctlon of .ttent1on froll
IDundl by the 51ght of the acoultlc sourc .. ; htncI, SchaeHer con'1ders It
the_ IUIlCll Iqulvalent tD tlputry" ("la tutu" .;* Pyth.qor,").
u A.S. 8reg n, "Thl! ForutloFl of Auditory ln J. Requln
'ed.) Attent10n Ind Ptrfo"unct VII IHtllld.l" Eribauli Anocutes
lnc., 1978), p. H.
&7 perlonll co unleiltlon luth Dr. A.C. Hill, Wllfrld Laurur
Unlv,ruty, Wahrloo, Ontano, Canada, 1995.
,. A. Ehrenz .. elQ, Th. Hlddln arder of Art (Berkeley: Un1veruty of
C.llfornu Pr,n, 1907, pp. 25-27.
1. psychologl.ts Cdl, il another uoUlpllr, the hct thilt lt l' only
Ift.er conuderlble practlee .Ullel.n. llirn to "h.ar out" partul.
ln niturilly-produc.d co.pl.x ton.s. For nllve 11st.n.rs It li 1.POSIlbl.
t.O ov.reo thl pow.rful grouplng flctor. And he.r oVlrton
,.
o
'.
79
1-
\
o
o
o
Iyst .. .:onn.cted7 In thll chapt.r, 1 will revlIw upen .. nts WhlCh hlv,
h.lp.d to d.ter,.ln. wheth.r ludltory 10cIllzltion play' roi. ln th.
hU'1ng .nlbl us to 10callzIt sounds ln SPIC' .long
horuontal plln Sy coapanng th. Uplltud. Ind ti -of-arriViI of
10undwIV WhiCh rllch the two urs, th. brun IS abl. to dete'rlllin. th.lr
literaI 0'191n in SpiC'. Sound, rllchlng th. ur farthut frOIl th. Icou,tiC
graduIlly,.thnu.tn acoustle v1br.tions ov.r dlltlnce) i nd lb> d.lly.d ln
tue (ln hru of both in1tul onset.lnd on901n9 ph.,e) relatlv, to sound.
r .. ching th. n.utr ear <Flgure 4.11. Tht int.raural IlIplltudt dHf.rtntlll
,
1. IIpltcully .uktd for hlgh.r frl!q'bltnclIs Hnc. th.v do not "b.nd'u Iround
th. hud - th. ob.hcl. Iround Whlc:h th. 1011"" ru'chlng th. far ur IIU.t,
tr.v.l,- Il .... 11 Il 10\111 frtquencll' (Moorl, 1981>. L
SOURCE
, ....
. .
,
....
"
...
,
,
"
\ ...
,
\
...

. -"'"
J
Fi,uTI 4.1 - Th, sound rlichuCJ th. futhtr ur .111 b 1 I.n ut",se, Uld !I) d,hyeG ln tu. (OIIlIt
and phi .. ) "littv. ta th. n.lt'" ur. Th. uphtud. dlfftrlfttul Il "plCu11y l&I'ied
for tht h1,hff frtquMlClf1 Jlnct th.y do not 'btnd
e
around th. ht.d th. ODlhcl. arouna
llinch wu .. rllchln9 tht hr Il' 'Ult trivt1 - Il .. 11 .. low fre"II\Clft.
80
c
1
br
7
1
11 on lU ri 1 cu .. In.bh us ta .hethlr .n ,co,tlc 10urCIt dl hlgh
or low on the uuuth, ln front of 1.\' or behlnd US, nur or flr. Th udltory
utlonl on the r,fl,dlng lurf.c, of the plnna (l:h. vl51ble outer lar Itructur.l
glVI nit to tr.nlfor.atlons o,f th. fr'qulney .pectru. wInch vary .ecordlng
to the v.rtical .ngle at wlucl'! the .ave l!I reellved (Butl.r, 1969). Llke,u'l,
an Icoulhe ",av. ln front of the hud .trlku th. tar dtulII wlth
le1rUIi QUIt, dtff.r.nt fro. th.t of th. So1l1' .cousbc Orlqlnltlnq
b.hlnd th, h d, Ilnee th. latter 1S fllterld by the 1"9. outer structu,rfP
of th, plnn. thlt It .ncounters b.f,ore -rllchlng the I.r canal (Freedm.n &
Flsh.r, 19b6>. And dlstlnce Judglunts .r, .ade by the .udltory .ystu
Iccordlng ta reI.tlvlly suple heurlst!c.: lIore IntenSt lound. arl usu.11v
ntlrlr th.n le" lntlnSI sounds, and, ln rlv.rber.nt surroundlng., tn.length
,
of th. tUI-d.101y htwt'en the r!tc.ptlon of th. dHect sound olnd the refle'Cted
lound 11 lnv.rslly proportlonal to th. prolll.1ty of th. sourc. (111111, 19721.
Th, IIDnlur.l local1utl0n CUIS Coln b 11111n.t,d Il pottntul
. ,
bllng 10c.llZld (Col n, 1962; 1100rl, 19811. Cun "hICh requirt tIJlbre
f"11unty Obvl0usly cannat pllY a dlrlct roll ln th. p.rllng of olCOU!ltIC
.'
.utur.s une. th. ludltory 'yst .. c.nnot recognlZl 1 sound ln IIIlxtur.
blforl 1 ts Iplctral cOllponents h.v, b n group.d .nd plrud frOIl the allxture.
Blnlurll lOClIlZltl0n, ho.,v.r, do., not prlSuppose fa.llllrlty luth th.
tub,.. of th, sound 0.'n9 10cll:.ad, Ind th. ludltcry sytte .. Il .n eXQulllte
".
Inllyze,. of th. blnlural cu.s.
Il lt pOluble tli.t bln.urAI lOClllzltlon
81
,
o
o.
In. Bl naur a 1 Hask 1 n'9 -L.vlfi QI f hr enc.
f
Q
(1971> p.rfor d an .xptrlunt YlIld.d
ludlble .bove the nOI!le, ilnd f,d th. II1xtur, ta ont! ur (th. rlght, ln thl'
low." th. volulI1' of th. tone untll It w.u IIuk!d bv th. nOlU, .nd thll
k.dlthre!lhOld
U
lev.l WilS noted (Figure Th.n, wlth th.
Just-USkRd ton!! and the nou !ltlll b'l,ng oipplll!d to' the rlght IUr, t/'l.
1
nOl S' li9.!!.t. was ted ta the left ear of the stereo hudphonu. Contrarv
to ... hat ught'h Itxpect!d, thlY found that thl IIHln.r !ludd.nltlt hurd.
the ton. agaln ln the rlght ur (Figure 4.2bl. The llHen.r _ .. s aqilln
Instruct.d to lower the vol uu of th. ton. untll 1 t wU agaln IUlk.d tly.'
the n01S1, and thl!! ne\ll ... sked thre5hold" wu noted. J'Ttr"s ilnd McFildd,n
the ton. In the t ... o CIIII "the blnilurill "iI'5klng-l.vel dlff,r.nc.".
J.+fr.5S ilnd McFadden .d sa found that wh.n th. ton nd nOII. w.r.
appllld .quilly ta bath elri, luth the tone ild.lUlted ta Its usk.d thr.snold
(Flgur. 4.2c) 1 Lill lf th. ton. Will ruoved froll one ur 1 t Ih.dl at.1v
"
b.c 'audlbl. 19un ln the othu (frai Figuri 4.2c to FlCjurt ".2bl, or IDI
oi the nolS., It Agun uerg.d fro_ the IUSklcl condltlon .nO D'C'.' tudlDU.
J.+fr.SI ind I1cFldd.n concluded th.t th. d.t.ctilblllty of 1 ton. ln an
10U"C. oi th, ton. 11 dlSpllCld ,ln Ip.C. trOll ttut o.f lh .... Innq nOll.
. ,
v
by ns of blnaurll CU.' lucn Il lnttrlur.l l.v.l and/or pnil' Olllllntl".
a:
o
.
"
,
, -
" ,
"
,
0
\ "
.::-=--;
" 1
'-- L
,/
J
-
FED lfQ'RIGHT EAR FED Ta LEFT
"('A)
,"
fONE
TONE J 'i
NOT
MASK 1 NG NOISE

"
(Dl

]-
:J'ONE 1
\
fONE

"
MASK 1 NG NGISE I1ASKING NOISE
-,
TONE
(\ rONE 1)
V
NOT
HEARD
V I1H51dNG NOI5E:
,'- TONE
e'
,
I1ASKING NOIse
,
FI9Urt '4.2 - Condl hon A shoM' th. telnl ind th. nOI,. prtl.nhd toq.th.r to th. rt ur l' th' th. tan. Il
" , Its Just-... ktd 1''1,1 ILl> 10 th.t 1 t li not h.,rd. CandI tl on a sn 0'" tn.t wn,n tn. nout l'
Id'Sd .t lht Itit ur, th l, tant tudatnly btcous luchblt 191,ln' If thl ton. Il th.n .1'0 'dO'O
to l.ft 'Ir il ln Condl hon C 1 t Il)lln b.colts 1 nludlbl if th. ton, h.a bttn .0 JUIne
0 '\
to Il n .. JUlt-.... kld leni IL2) ln Condition B. th. dlfhranc. Dtt .,n thlS l,,,e, And th.
0'0 "
JUlt-ank.d Il'1.1 ln Condition 15 th" 'blnlurd 'i1Sklnq-l'''11 dl,;.rtnC" (l,'" .1-L:a"U:II,
. Kubovy . 5' Phu@ Melodll!s
Kubovy, Cuttfng, Ind McGulr. 119i41 p.rformed .noth!r .xo!rIIU,nt wnten
",
p"ovld th.t the ludltory systell 11 Icut!ly senSitive to lnte,.turu ::)1''''
. ov.r st.r!o h dphon.s. eomprlSlng s.v.n \
IlnUSOlCt.l 't'on." th. dlitonlc scaiell!4,Gol,A4.84.CS.!i5.:5/ Ino .uunq
J .
SOO lIu.11UlCon'ds. Flgur. 4.:; Ihou th.t thr of th.l' tone-I:lUlt!r, "Ir.
,
Th, suCt'S'IV' tont-chu.rl. Oltt"rItO rra.
on noth,r ln on1v 'on. rnpecL On. o(th. un.-tonlS ln cr, Ot :n.
\
ton,clultlrs d1f'f,.r.d fro. btUI eoncu;.rent, 'ln.-ton., ln th' tlult'.r ln ttrlftl
., '
Inter.urll l'hASt dlSplrttv, Ind thll "targlt""ton. 11111 cn.nq.o rq,'" .. en Ot
\
., --""
1
\
---
"
, ",
\
\
th uc;,"uve ton.-c1ushrs. For 1t)( .. pll, ln the hr.t tone-cl'ulIt.r ln
---
FIQur. ..the wav. pU \(1 , of th. E5 "f.d to th. rlght ur lli thl "'.v. pe.ks
OfolE. lth earcounhrpart by 0.6 .1lbuc:ond., ",tul. for .11 of oth.r
toneurr.nt ton th ... tlv. pe.k. ftd to the rlght t.r l.gged b.hlnd th. Ifolvt
pUk. fld to th. 1if t ur by O.iI u lllllConds.:: In th ... econd tone-clustr"
1 t If". th. D5 IIhlCh dl fftred th, other tanu 1 n t,r Ot ph dllptll"1 ty,
,
Ind ln th. thard ton.-c:lustltr lt us th. C5. Whtn th.u tone-clustll"l ... r!!
pl.y.d to th. lut.nltr' ln th. exp.ru,nt.r, found th.\: th. target
ton .. "'1'. allftlYI ptrctptutllly IIQrltgtlt.d fraI the c:on.:urrent tant., 10 th,.t
th. ll.tlntr. hurd "prOlll1nent tune, tOjlprlslng th. targ.t tonu i. dncltndlng
,
b
ES
'D5 '
cs
84
,A4
G4
F4
.'
,
"
./ /

0
0
0
0
0
a
-.-0 "'-
CI 1
./
a
a
a
a
a
a
./ /'
0
0
0
0
0
0
0 0
'/
,
;)
. ,
H
1
,T
,
DIFFERENCE IN, PHASE (h9 or Illd of "IV' p ..
,ETWEEH TONE AND lTS L,EFT-EAR
,
-=
" '
Fi9V' 4.3 Each tdallno' r"'"lntl ton,-clultar about 300 .ltcs. lan9. Tht harl Jontll ml of 'mil dallno
r.prlltnts u.ttrlurll ph ... dup.nty or IIpltttd .udltary !ocahuhon of th, 'Ilven pure
tO"'1 .n Ip'Ct, and th. IIU ""rHlnti th . frequ,ncu, of th. PUrt tonll .nscn
l1li" t.klft frol th. daton.c IUlt. Th. odd lan out (of phu.!' Il th, tlr;,t tont ln uch "qunt.
Each of th. hrq.t tonll Il Il9r,qlttd fro. th, ccncurrtnt tonts ln th. elultlr, on th, billS Di
phil dupan tllI, .nd dllundlnq sel1_, CDlpoStd of th. "quille, of h,qtt tontl. 11 rUDlh
_tard"lft tlt. stuulUllS prtslnhd bln.urally {Kubovy, tuttlnq,. KtSulr., 19741.'
84

--
o
o
o
,1
thre.-not. leile. 'ln tthll CU", ove,. 1 huoqen,oul background
Q
co.polld of the oth.r to;;)s ln th. elult.rl, Thil "ph ulodv tH.et
w ut,. l y rabust and toul d b uII Y duanltr it.et ta Any liitentr.
SIne. the .tudltory IYlt.1I uln Interaurll phase dllp.ntiu IS a cu. for
locallutlon, Kubovy, Cuttlng Ind "eGuu'l eontluded that It Ilgr.g.tta
,
the hrq.t tanu beciun lt,had IsugRld thu IQr th'lI" "Hl"a! lcaustlc
so'ureu") to an. pOlnt ln SP'CR (rlght ea,. !'Ad-Mto the rlght/, .nd .11 ot
the concurr.n't tones ln the clust.rs ta .tnoth.r (rlght lir !.q-"to th. 1.tt"I.
Kubovy, Cutting .nd HcGu1ri"allo pr.sent.d ,tl.u11 IhoMn ln Figure
".3 aonlur.l1y, and faund ,lhlt 'the tonn fhd not ugreqatt Ind th. Itlod"
could not be hurd. ThiS IfU txpectld - Il co!,hrud the hypotntlll thtlt
ln th. bln.tur.l cond)tian th. ton.s w.re I.gr.gdlng .ccordlnq ta Inurluru
tues. Howevtr, alla found th.lt th. targ.t tonn lIould not p.rc:.ptuallv
"gr.gat. fraI concurrent tontl when Inv of th. ton,-clustlrl .... r. hu"d ln
'. ,
lIalatlon, lnd.pend.nt of the .. qu.nce. Thil IfU dlfflcult ta ln
' tltrlll of th. hypothull thlt th. ludltory IVlt ... MU ug".gltlng tn. pl tcnu,
of th. ulady when th..,.. ",er. the "'odd IIIn out", ln r',lat10n to c:oncurr.nt
ton e" lU th,. Il P c t t 0 1 n tir, ur. 1 p n. a SI r. i ,H Ion t n 1 U II. U 0 0 v v Il ;; 91 1 wo n d r ed
lf farh.ps th. audltor:y Iysh. IfIS not uSlnq the,e concurr.nt-olfur.rte'.'
cu t ta ,egr'q.h th. ton" ln tne bv Jo:ubOv,v, Cutting .na
" ,
HcGulr'. H, thlt If the ludltory tyst, .. co.p.r.o u," ton,-clult,r
to th. nut on. ln th.' ,equ.nce, It would flnd .notn.r got.nt:.l CU, .. ol::n,
..
Ifould rnult ln the u .. I.greg.tlon Of t". pltch.1 of th. "lodv: tne
target ton!!1 w,,.. th. bnly tones th.t ... ,., c:h.nglna 'pnu.
fra. on. ton.-clu.te" to th. nut.
ln ard,,. ta .ort thl' prObl out, "ubOvy p.rforuo .n uptrlll.nt
Wh1C:h lIuur.d the Itnu h VI ty of th. 'Udl tory IVlt. .. ta "ooth !:o"turr.nt
,
-1-
es
------------------------------ ---
c
-

4. - - -
;"
$
of tou-elult.rs ln Flgur ....... 'contuns only
Any IIgr.gatl0n rllultlng fro. thll presentatlon coula not be caused by
chug. ln th. hrg.t tonu. The uquencr' of ton.-elulters ln FIgure 4."b
contll n. onl y succesu V.-dl H.renc! cues. Any "gr.gatton rlSulbng froll
, \
thll pr.s.ntatI0n could not b. caused by concurrent dIff.renc , but only
by lnhrilurl-phu. chang" acrou tue, Ot the targl!t tones.
-
,1 a)
L
,
/. ./

a
0
0
o'
0
0
-.0 i-.b
CI IIS.CI
"
RIGHT-EAR
PHASE OISPARITY

./
a
0

'0
/'
0
a 0
,
0
0
0
0
0
0
V"
"
7
/.
0
lb)
l
./ ./
0
0
V

0
0
0
"
./ ./
0

0
0 Cl
ij
a
"
0 "
,
0.
0
0
FllJUn 4.4 (II Concurrent ph .. ,-dlfftrlnCi cu., vtrsUI lb) IUCCtsllVI phu.-dIHtrlnCI CUIS.
Th, hll,d-In Clrcltl rtprfStnt th, hrq,t tanu IKuboYY, 19811.
7
0

0
0
l/
;
"
b.t .... n th ... tllfO condItiOns: h. sl.ply uk.d llstlners ta ldentlty the
. "
, ,
dlr.ctlon (uc."dlng, or dncendlngl of th. sc.l. cOlllprUlng the tarqlt. con.s.
'"'-
Th. rnult, of thu .xperlunt shawed that the effect of th. 'UCCe!!lI,ve-Cue
pr ntatIon IFlgurll 4. Il.' RXtrul!l v robust Iotlth 9S. correct

Id.nt.lflcatlon. Whlll th. lIlt.n.rl hld /lucll .alor. dlfflcultv gUI!!Ulng the
86
,-
o
o
\
o
althaugh they still pedorl1led wlth better-than-ch.lnc . ccuricy, wlth i5,::

corrlct rtsponses. ihlS /Ilght suggest that waveforl1l'l frolll 'tlOVlng
,
acoustlc sourcts are e.lSler to parse from acoustlc mixtures than
The former supply th@
audltory SyStltlll wlth a gr'aduollly serin of lnttraural phu'.
dhpoll"ltllS, whtreols the latter produ. In lnt,"aural phas!! dlSpulty
whlch
l
dlfferent from that of concurrent waves from IcoustlC
sources in other posltlOn!l in !lpace, 15 unchanglng over tlm@.
Co.petltlop Betw!!en Binaural Cues and Gestalt Fictors
[nter.aural Inten'5lty Olfferences and Sequ.ntla! IntegrHlon
De u t 'l ch (1 975 a , b) loi 0 n der e d ho w the "101 h a t" and "w n ! rI!' dl! c 1 S 1 0 n!l ilia dt Il 1
the audltory system Interact luth one another ta forn 'tnat-ls-t'1"re"
pl!rcepts. She presented wlth the stimulus sho ... n ln ;:Igur. 4.5 \
Successive ton!!s ln a descenr:lng IUJor scale Here fed ta
OPPoSlt'e ears of a se't of stereo headphones, stutlng rllU, the rqnt ur
and, at tne same CI:n!!, suce@!!!.e
-tonen ln an ascendlnq lIIaJor scale were 'ed alternalel; ta 'ur\,
Dtut:sch wondered whether the locall:.ltlon Of SUcce5SlJI \cale tonu :ln
OppO!lte 51des of the head would Influence per:eptual 't
the ttlnes ... hlC:h, ln a '!Ionaural presentation, .. oula 'llnol! ,r:lu:! iC:or::.nq
to frequen.y jJro'nmlty. Figure -I.Sb shows "nat the !:steners '1ea":l.
Not only were the sequences or prOXimal tones heard, !lut :n tttrns J;
the acoustlc cues for locall:atlon, gros! et;ects
All of the qrouped pro::l1\al tones >fer\! heard as d they sptltai: 1
frotl one side <Figure 4.5b)':: DeutSCh i1975a,::11 and Butler (!
97Q
a,ol
87
, 1
" -
, .
. '. ,

(
,
f
7
u:
'u,
r.f.rr,d ta thil th. flctor of fr.qu.ncy proxlllty
blnlurll lnttnuty cun, Ind the dlulory spatul ta _nlch It 0'
Qiv'l rll', .1 th. - lodle: chann.lllnq" .'f.ct.-
::;;Thll I"p.rl .. "t r.vuis 1 prop.rty o, the audl tory }'"
proe ... ,thot hod not h.n nolle.d b.for., th. oud.tory ,y,.t .. fovdurs \\"
,th. a"ign nt of ,li b.r, of , str ta tn. ln spact.
o
It, 'UOCJllts th,t .udltory str.UIII forutton 15 pYlor, ln 10u sense, ta
Judo,..nts of. 10e:.11zoJt100, or .t leut ta th. procesung of th!!, bInaural '( .'
cu., whlCh nor lly l,ad ta the,. lt se.ls that ln the
ln.,anci of Melodle ehoJnnelllng, the blnaural CUIS are "short
Ind notlon,' of Ipatul orgoJnuiltlon ir. forced ta confor. wlth perceptual
d. on th. basls of the strongl!r gestalt fictors.'
.... 1
a)
RIGHT
RIGHT
LEFT
ST I t'-'tULUS
.
t t
;
R. R ,
L L
o
b ) PERCEPT Q
R
Lj

R
'L
J j J J J J j J
j J J
" ,
F19utl 4.5 - D'lOnstrltlon of ".Iodle Chlnn.lllnq. Th. prlnclpl. of fr.qu.ncy proxI.lty dO.lnlt'l
onr 1 IIttnura 1 louhutlon CUIS to such ln uttnt khat Indlvldu.1 tonn Ir, gronly
'lsloclttd ln 1 y thlt Inlur" thlt .Ich strl.1 Il to 1 slnql, loc,tlon ln
IPICI tDllltlch, 1975I,h 1.
8e
u
, .
! ..
, '
"
, :
.,:.
o
" 0
Stl1ger' and (1982,) obtuned simllir rnuIt,. ln an .xp.rtmlnt
organllatlon 1ft a blnaural
'phenolllanon' called "contralateral tnductton." Contr'alateral Inductton
iJ
refers to the case where, when a pure 11 to one ,ar and a
nOLse-bur,t lS slmultaneously to the contralat.rall
nolS. burst (Warren !t Ba5hford, 1976). St.lger and Sregman found that wh.n
of alternatlng hlQh and 10M pur. ton., A and B wal f.d ta th.
, "
rlght .ar of cl set of ,tereo heaophone" and a sequence of nOt5' bursts
, lUS hd 'to th. left ear !'Iuch that uch nOl5e"'bur,t ln the left tir
COlnCldRd wlth the occurrence of each tone B ln the rlght .ar,
contralateral Induction of the ton! B Mas only observed when ton. B was
hr enough from tone H ln frequency to fal1 to forrn a conerent streu
luth l,t.
,
tnteraural lntenslty and Soectral
, , Other Itllperlillent5 have bun performltd WhlCh tl!St" for cOlllpetltlon
-'
bltH.en binaural cues and the Gestalt eues that favour spectral rUSIOn.
" Figure shows stuull that were prl!sented to 115t!nt'rs 'lh IXOtrlml!nt
performl!d by SteIge,. and Bregllan They creatl!d 1 rltpeatlng c'I,cil!
of two sounds: the flrst sound, tone A, lUS Il t'wo-collponent hU'IIonlC tone
,
wlth at 1052 and S9 Hertz 3 and 4 of 2b3 H:
fundllll&ntall, and the second sound, tone B. lUS a four-comoonffnt
tan. luth partlals at 1024, 768,512, and 256 Hertz (hulI\onl" 1,2, 3.
"
and 4 of 256 Hz fundamentill. St.lger and Bregman camp.red conoltlons
ln WhlCh aIl of the h.'rllonlcs of ton!!! il and a Iflfre pruenud dlotlColl1I
(I.e., the same stl/Dulus fed to bath l!ar5, ilS ln FIgure to condItIons
89

-
, "
\
\1
\
of ton. B .er. ftd. ta on. tir ahd the IOM.r two hlrlloniel of tonl B .... r'.
ha to th. oth.r ur (1.1., il ln Figure 4.obl. The lutenlr
W" lnstructed ta gradually ra1S. the voluml of the 10Her tMO harmonies
of ton. B untll he could no longer he.., th. upper two hUlionles,
J
Jnd.p.ndent of th! 101ger tHO, fO"'l1ng a sequent1al streillII wlth tone A.
Th. volu of the lo ... er tHO harmonles nee.ssary t force the upper tMO
harllonlCS fun Hl th th'/ft Has desenb-ed by Stelger and Bregun as th.
\
p.re.ptual separablilty Stelger and found that th.
tif 0 p.ur, of harllon1cs ln tone B Hare seqregated (or conversely, reslst!!d
"
fUSIon) only v.ry sl1ghtly IIore readlly ln th. dlehotlc than ln
th. dlotle conthtlon; I.e., that the lower two harl1l0nlC!I of tone a had to
bt turn.d to a Sllghtly hlgh.r volUMe ln condltlon lb) th.n ln eondltIon
(1) b.for. the upper tHO haronies ee.!led to wlth the tHO harmonIes
of ton!! A. Th.y coneluded that blnaur,ll eu.s do not eOlapete very weIl
aqunlt th. prlnelplltS of ind harmonlelty that serve to fuse
1
th. h.rllonles ln cOllplex tones.
LEFT

RIGHT
Il DIDTIC
TONE A TONE B
bl DICHOTIC
TONE A TONE 8 c
LEFT
RIGHi
Fi,url - Stllull fro. ln ,.pl1'lIl11l ptrforlld to tut wh.th., dlchatie hunng cDuld Influenel titI
, hliiOft 'of harlonlc! ln e019111 tonll IShlqlf BrtlJlln, 1982b)
;)
90

o
o
)'-
Figure 4.7 shoMs inother stuului e.n bit und ta Ihow th",
Auditory Iylte. IgnrIP<I lnformatlon IIhlln lt conHlct5 Iouth
"
'Ons.t/oHslft. and harllonl CI ty cun. ClolslSlColl PsychoAeoustll:s iUyl th.at
if t_o sound" ln I!very other rnp.ct, irt pr.s.nttd ln tHO
poutlons ln spolee, one on one side of the hud .nd th. other on th. oth.r
Ildt oT th. t.hey Klll not be heard il tllO loundl but. as one sound
bet;;'en the two spatial poutlons frOIl! whlch th. tones orlQlnolt
Howevlr, when ho comple" tones whlch sholrl! one holrlllOnlC arl! pr.untl!d 11'1
dlfferent rhythms to opposite ears of a set of sterlfo hll'adphones. no thtrd
sp.tloll and rhythrl\1c percept, carrespondlng ta the lIoltent! thl! 5hired
hArlllonle COlncldes blnaurally, reluIts (Figure 4.7>." The synchronlc!ty
.nd h.rmonlclty prlnClpl!1 fUIe the COl1mon components ta th'lr rlSpl!ctlvl!
compl,,)! tones, and lt 15 the!e fU5ed tone" taken as whollPS, tnolt UI thln
lat.rallzed accordlng ta' the binaural cues.
H.rlonlc 3, 4, S of
1 733.33 Hz fundutntil
(l!!i Fm i" hd
to th. l.ft ur
Hirlanles 3, 4, lnd S of
1 440 Ht fundu.nhl (A2l
Ir. hd ta tll. nght
IIr
cOllan hirtoni e cOlponlnt:
F " 3000. bb7 "5---
--------
F 2933.313 H4--- --- --- - - --
F 2200 H3---
--------
F 2200 HS---------
F 17O
H4------------
F 1320
H3- - -- -- - - --r'- -',
F 2200
- -- --- -
Fiqurt 4.7 - HirionlC eaapon.nh frol ba pl tchll Itlliratid br Justl y-tuntd IIJor-oth riz .nd
Ft-733.33 Hz 1 ut prn.nttd ln dl fftrlnt rhyth .. to OppOSI t. urs. 1h, lIet ., 12...!!2l.
hl., 1 pUri ton., It th. frtqulne)' of th. eo.lOn hireonlc COloon.nt moo riz} 'nd lt th.
rhyth. of Its concurrlnc t th. t_o U", 'pollllln9 out' ln Iront of dtlonltratn th.
dOluinCi of tht gestAlt hctl)/'s OYlt hrst-ordt' loedluhon ln 'Pletral grouplng.
, -
<
c
J
----
----..--
dO.lutt. ov.r conflletlng eu.s. H. ftd th. odd nub.r.d
harlontc. of. cOllpl'K ton. '"hleh, ",h.n pllyed ln lIo1.tlon, ,ound.d
rouqhly .n obol ton.l to one sl. of pur of ,sterto sp k,rs,
(WhlC:h, .. h.n phy.d ln lSol.tlon, sound.d rou9h1y llke furly neh fluh
ton.) to th, otherr Il der. Wh.n l'tcAdus th.n .pp 1 J Id c:o .. on r.h of
frlqu.ney lIodull.tlan ta &11 of th. hlrllon1C' ln th. co.pln, lut_n.rs
h rd. ungl. cOllpl.x ton., \IIlth an unfullur tubr., 10ca11z.d b.t", .. n
th.,puk.rt. Ho .... v.r. wh.n h. gradu.lly duynchronlzed th. frequ.ncy
/' "
.adulatlon pitt.rnt of the tHO lubnt5,\,the llsteners hlurd the sounds
/ )
'lqratt Iluy to th.1r dlff.rtnt POSltlo-hS ln sp.c., on OPPosIte ud., of
_/
th. roo., thlnr dutlnct abOI and fluh tllllbrts. When ht' then gr.duiJly
r.synchronlz'd fr,qu.ney modulitlon pitterns .g'ln; the ton.
qradUilly "uerg.d, th. cOllpon.nt tlmbres ul'tIPd.-i0gcrth.r iqaln,and th
1'101, I1qr.ttd b.ck Into th. C:IPntral posItIon the speakers.'
HeAdnl r.uon.d th.t thv proces!u!s of lOCillzitlon ",.re appll.d to th.
IP.ctrll groups ooly if ter the decollposltlon h"d occurr,d.
rh. PrlnCIPl, of LOCil1zatlon as a Par!llng Heur15tlc
bln.ur.1l Infortl.1t1on ln aIl of Ixperll1lnt;s wh", the
,bln.uril CUIS confllchd luth th!! gest.11t CUI!!! If w. lluglne hti.luch
CO.p,tltlon t.ku pliC:' ln t,h, c:ontttxt of thll 4,v.ryday aCoult1C' InvlronunL
...
A.ong the hlurlltlC! for th. pir'llng of aCoUltlc l'lIlxture'J, bln.ural
lOClllutlon CUIS ar! probibly the leut rtlable, and lt serve!> the
lourCII, on opposlt . ude.oo+ the hlld, oftln lIo.entarlly produc. c:o on

,\
splctral co.ponlnts, Il ln th. duonstratlon ln F19UrI .J.7. If th.
",
tonl' poPPlng out" ln front of u. ln thu. lnstlnc.s. But luch a perc.pt
'would b. usl,ading. As wlth th. accld.nt.l allgnll.ntl ln cOllpuhr villon,
lt I.rv., 'Yltl 11 to dUCIrd luch lnforutlen, unc. thll ton.
would bl Chlll.,lC, 1 , lt would not r.flect an Ictual soure. ln
th. Iforld but 11 th. r.suit of ln lceldlntal coneurrentl of tompon.ntt fro
orl than on. loure
a
Furth.rllorl, eonfusloltrcan fr.quently arls, rrom
-.cho.s, "vltrbuatlon, plu991n9, IUsklng or othtr ferms of Inttrhr.nc. at
on Ir, etc It 15 thtrllfore nct surprlslng, !llnce thl iudltory sy.tu
s te ""'I!lght" the grouplng eues accordlng to thetr htrurlstlc
that the bln.ural eues are nct glven /luth credence. Blniur al cu.s IIlght
-,0
..
nKlng-l.v,l dl Herence), ,and th.y probibl y 5trlngthln th., coh,r.ne.
of ludltory strtu nd luge, "h.n.v,r thlY conftrl7l plrclPtuil dltel lions
.ad. on th. bolSI!! of th. 9Uto1lt factors, but'''hl" th.y eontradlct tr1ln
factors, thl e:tpltrlllent.l IVldernc. s.eu te Indlcat. th.lt th. iudltory
.yst 11H11 allow the gestalt CUIS ta daun.te.
S1nc. lt II customary te us. the ter,. "obJlct" a reT.rent tOI'.
VllUd percept ... hoSt fonl prop.rtlt!l ilrt chl.fly !lp.tlllly d.f1n.bl.,
.UllCl.ns trildltlonilly h.d il poor grlSp Ot thlS up.ct 0+
M t1Udltory obJ.cts", M.ny conte .. porary co.pesers, for 'Xl.ple, uplr.
1966) It appears th .. t th". ilre gre.at 1U1 t.tlons on th. uu of SPIC'
1 a control P.,u.t.,. ln aUSle, une. II 11 nat .ueh lnvolv.d ln tn.
o
93
---
--
o
a
forll nI) And th,plnC)' proe ... th.t i s carn Id out in th. ludJ tory sy.tlll.
COIpo .. rl todly can introduci thl notIon of SpICI, ta .USIC tht w.Y tl1lt, .,
. , ..
cOiposerl 1 ft url y li ght .. nth-clntury Europe lntroduc.d the notl on Of
"-
dyna.ic: cont"ut to .u_ic - llrg.ly Il ln,' -'fhtt,-,but lts potlf,ntul
.. a h19hly .,tlcul.ted di nllon of .UllC is prob.bly lu1l:td by the,
"
L tharlfor. co.pltll ton", uPlcull'y thon rlch ln upper plrtuls,
art ,.sur ta 1.terAllZ1 thln puri tonll.
, 2 I(ubovy, Cutting, and McGUlr!! v.rud thl 9ngo1ng ,phan
dlhy, not th. lnl1:1.1 lnt.,.."ural deliy ln the 'onset, of the tonlls.
Thl O"utl .nd offs!!t s of the tonn Mir. Iynchronous ln b... Thest t)'o
\+or of dtl'y Irlf confund.
;: nota .lso th!! fulur. of the prlnclple of good contlnu.ltlon ln thlS
'lCupl At thl crolslng-polnt, the "bounclng" p!!rcapt 15 favoured oYlr th.
"c:rosung" perClpe (comp.re wlth the cro5!l1ng frequency gIldes stududoby
Brtg n, I1cAdiu, and HalplH'n (1977>, FIgure 3.14).
\
.. Judd (1979) has expresud i re5ervatlon ibout, !}tutsch', resuits
o
Ind conclullon5. He noted that unc. thllr, was .lluY!l a proxual tonll
pr .. ent at th. contral.ter.! .ir ln the ,cale
..
Inter.unl lnt.n!llty-dlfhrence eu.s w!re not very !Snong, and that
thar.fort It should not b. surprll1ng th,at idl of the ton!!s W&rl!
on on. udt accordlng ta the uqu!ntlal proxlllllty CUItS.
:t Kulp. (1895), O.annllnbrlng ind BreglD.n' (1978>, and 8regrun and
DOlhn ng (1985) havit ail !lhol4n that the fUSl on ,of tonu lU th !I1l11ul taneDUs
tann 11 lnfluencld by th. relative volume the ll/Dult.neo4s tonts
. .. thll 'Kperuent wa!! suggeshd by Profe!l5or a,..eglllln. 1 tned It
lnfar lly and obtun.d th. re!lults reporhd hlfr.. Thu result has nat yet
t"n-!erdltd ln the labor.tory.
7 thll de.on!ltratlon was ln!lplred by Rog!r Reynolds plIe. for orchestra'
jnd co.puhr-g.neratRd hplt - "Archlpelago" (Nil" York: C.F. Plttr' , 1983>.
t.'
, i
fi

.-
"
o
0
t,
,0
l
o ,
-110 COlPuhr 'CocHA! 1-P.rty Pcoc.ngr,,
- '
A Tut for th. V.l1djty of th. p'CU"q PhnJRl"
, .-
psycho,cous,tic pnnclpl t.h.t holv. bun ducu d ln Ch.ptlrs Thr ... nd
Four h'vi bun ippllld ln ngln'l\r1ng' of co.put.rtt'eI "cockt.ill-p.rty
o
.xtr;acf. d"lr.d Ipllch 5lqnll fro_. co.pl.lI .c:oUIllc .utur. crut,d by
4
nu rous sp'ik.rs tllklng IUlult.aneoully (111tch.11, Ro.s Il 1.t.,. l'Hl).
to r'915t.r, ld.ntlfy, .nd respond to v.rb.1 utt,r.nc.s ln nOlly .nvlronllllnti
(FUJlllkl, et Il, 1984).
j
It 'wo,uld .'1'0 b gr.,t boon ta n"rlng-Ue!

c
r .... rch. Th. ublqUltOUS ,y.pto. of "nu,roui for 0; .udltory
, , ,"
Il.ultan'OUI sp.ak.rl ln 01 crolfd.d rooa. Th. p.tunt could b. OUttltt.eI
Itith. c:pckt.ll-p .. d1Y1C. "lth WhlCh h. couic! Ul.ctlVlly lock
,
,
O"to .nd .nhinc. th .... v,for .. fro. IIparlt. IOurcu ln iCi)Ultl c .utU,...I.'
th. work of th. r.e:ordlng .hgln r Ind co.pour.
"-'"
Although luch .,chln., do.s not y.t 'Ult. 1 ;'M p;'0.1I1ng 1IOd.i.
a
,ha", bltn propos,d. JUlt'l th. sucCIn nd +uluru 0; co.puter-'1S110n
,
, ,
'1
progrui hA'" Ih.d 11ght on th.orlU of VllUIl org.nlZ.tlon (Zuck.r.
, ,
\ th.orul, of 'Udltory org"nlutlon.
.--
--............................................ --..... ------------------------------------
'\
, .
.
,
! f
,
.'
c
.'
. '.
i !
1
0,
. '
"
"
, ,
, ,
"
,\
, .
, .'
\
, ,

"1.
1 <
, ta t
, ,
l ',!\,
" U
, .'
/'
nad.'l. nQ "$/1. AUdory Sut ..
, ,
, .'
"
"
, " Tb. fbn'd .... htd luth th. coeput.r .ndon li th.t th. coaput.r
, ' ,
" 0
proc ... lnfO,.."t,I'On .. h.rln th. brun s" .. to b. lbl.
'tD ... nu.,rQUI pteto, of lnfor .. hon ln rul tu.; 1.1., 80rt or 1.51
, ' ,
.'
.uuliln'ou'l'y. .. r F19u(I 5.11 ' ... 1"u' of ,t.glS '1'"
..
'"orfanlZld Into ',",lo""hl't that D. ofhl"ld to coap.,utl,r progr .... r,
"
; u {
il '" c:oaput"tlon.l "d.l of thl ""y ln .. hl'ch thl "udltory 'ystu procus
e r ri"
I".c;h rhl'Il On'-dl .. nllond r,pr.l.ntatlon ObV10Uslv OVlr,upll f lU
< ,
0,
, '-
tll .'or9Inaz.tlon oJ th, 'Udl tory 'y,t ' Wh.th.r or Itot tn.SI proc .... ,
, ,
"{,;'11'x oecur ln .. ru, 0': ln p.,."ll.l. hl,r.,.chu:.lly or
lt 't' 1 t f Il
" '
t,op-doltn or boUoe-yp, 11 th. 'ubJ.ct Ot conlld,r.bl.
'.
, '
:of phYllc.,1 lnforutlon +roe th. ,nvtron nt, and 'th. :tllp'l"l.ncl! of
j 1 .; r
, 0
l,heulltl'd, _, .. nln,9+u1'
"
" ,
" ,
l t \ ;
, .
"'. ,f
,
, t
, ,
. '
"
0
, 1
,
'1 PERCEPT I ON
"
"t' ,
+
fttWy
StelntlC S,ntactlt lftOlltd91
"'Un,fl. IIbtlft SIft .. /locln
fte.
\
llltobh5'Uan of SoIf(II Sound.
o Til. SltltctlO11 of Focu.
, ' '
froc':'.,., of ,il .arll
, ,
'1
.
Tht P'-'lllf PIOC'H.
_tralfAolh'U
"
LI!III 2
f
fImlllng
' COlIn' t lOft
+
o
Patttrn,Rec09nltl
, +
Attlfttl DII
+
Sp.tl.) Loc.llzltlon
+
s.,.,..bon
+
RIC.,bon
, .
'l,
li
,,"', ,
Fi ...... 5: 1 ".1 A c .. tata i' _II of tIIl", 1ft _'dl th uditary "stn proc ..... 'PIICII IOUIId.;, ,
, l
"
"
'.
,
,
" li Q _ ,..w-
.1
90
(
o
o
o
, \(
"
, ,
.' .
of clrtun "lo",--lev.l" procISS.' 11 pr.suPPol.d by oth.r proceun .t
"i0
hiQh.r hv.ll of tH- audltory Iylt... Th, deco.poll tlon for
lnshnCl ... UI to b. p,\lor to th. proclPssu of_ . ti,ll locil1utlon:
ithntion, and ,pathrn rlc09nl \:1 on. Artihc:ul syst Ihould lIod.l thll
.. ,p.ct of th. iudltory syste.. A cOGputer p.tt.rn-r.eognltlon progrl., for.
ex pl., cannat suec!Ssfully Idltntlfy speech soundl ln icoustlC IIlXtur.s
unlns it r'cuves thu SepiTlt,JV fro. a sound UpIT.tlon proCUI'!,r
-
( Br 'gun, 1984).::
cocktul-pirty P,.ocessors Involve 1 Uf,.ont-.nd
u
ltage whlCh
envlron nt ind c:onv.rts 1t lnto fr.quency-do un lnfor tlon. Thil 11
,achi.v'd by .uns'of serttl of fla."1 whlCh per'for 'lpIPetr.l In41"YIlJ
\
on th. lncollln"g .UVI iluch llk. th. p'rlpheral .uditory syst.m. Sou of' -
the .. ly,tlllS ictuilly .lttupt ta prtclselv rep!lcah th. InalytlC:.l
prop.rties of thir p.dpheri!...!.udltory systu, lnclud1nq 1h nonllnllrltUI'
Il
and distortions (Lyon, 1982; 19841. T/'Ie output of thu stig. 11 I,dtcptlud
Ipectrolr,.aph. 1 , 1 gr.ph Wh1ch r.pruents,the HOI4 0'; Iq"'U.tlc ,nargy,
in tir .. 0''+, frlqu.ncy (on th X-U
o
15 1 changln; over tl"
(prollrllung Ilong Ih V-a)cU). Th. cocktul-p.rty prOCUlor IIU.t nOM
d.t.r.ln Nh1Cll .,.U, 0+ .n.rgy 'on th. spec'troqriphO b.l ong to J21.tlnct
Cl, 1
acoulttc IQurcn ln th nvHon .. ent (Br.glun, 'lQS4),
Hln. Werne,. Strub. s COCkt'.ll-puty proc,..or IChl'V' 11111 tl IUC:C'II
,
'It th. deco.po_1t1on tuk uklOg use of .... ntully blnlur.l ,nforuttan
- -
to 10c'l1u. lourc.s of lound ln SpiC. (Strub., 19811. Ullng. ItirtoplfonlC
i
d"u y-h d (141th .lcr&phon ln th. pliee of r,) to .ceui blnlurlj
. '-'
, , tnfO,.,itlon, Struae rtco,.dld ln .C,oultU: MlxtU,.. ,of fou" luul tan.ou.
a
,
, .
, '
)
-Ji
-
tO J ..
, -
,
c
-
..
, .
-- ....
Iptaklnq VOICIS. The four sp,aklnq VOlCes ln the 11lIturi .,..,., stlt,lonlrY
and sp,tully ",.rang,d ln hllf-clrel1 ln front of t.he du .. y h"df
"pproxutlt.ly 270, 315,45, ud 90, rtlplctlv.ly. AH.,. th.
Iyltei .... ad.pt.d to th. pout.lon ud spletral thlr.cttrlltlci of th.
1,H st,,.eo channel. ln th, lutur. Iltu.hon "Ire co.p.rltd and procfsud
t.chnlqu. b .. ltd on th. ".qulllZatlon and clfte.llltlon" thory th.t hUI bun
111)nll d.ttctl0n (Ourl.eh,. 1972). Strube reporttd that th. output Q)r the
IYlt .. showltd eonll dltrlb 1. enhanellint of .the Slgnil-to-Nol se RltlO: 1. It., ,-
i t boolt.d t.h. d lr.d' Ipuklnq VOICI .. hd. atttnultlng the' othlr
, ,
thr .. (nolll). HON,vlr, th. rlqulrllll.nt that th. SYlt dapt to the
,
lU ch 1 IYlt .. 1.prlChell. Furthlrlor" ln r,.l-l4orld utuatlons, Strubl S
... ould be prone ta th, klndl 0; ,,-rorl and confu.,ons to WhlCh
.y.t ... Uilne) bInaural localll:ltion CUI' Il parllng hIUf'lstlc:. art
IUlc.ptlbl. (Ste Ch.pttr 4).
Plrsons (1976) IIP10Yld only thl pnnclple of h.,..onlelty ta extrilet. '
,;
vOI,ell fro coulUe lutur... Hu eocktul-p.rty proceslor splleh
leparltlon by I nl of 111pll harlO"le 1.I.etl0n: it .xtrlct..d frequlncy
output th ... hlrlonle groupi up.,lt.ly. Predu:t.,lbly, hll syst ... plrforlld
qUlte ".11 At utrlctlng thl 'volc,d" sp.teh loundl supporttd by p.nodlc '
"
vlfor.1 produc.d by th. chordl VOMIII, for Inltlncel, but'
-nollV unvolc.d el nta of s".ech (lnc:luchnq the unvOlcld con.onlnis:
q
\
o
conson.nh: I.g., "j., Ind r Ind' lOft "g' Il ttl.y lound ln th. french
-"fn'"I, eould not, O"f cour .. , b. parud froll the lutU,., by anl of
Furth.r.orl, Parlons" cocktal1-plrty proclssor "II
,
.p.lch sounds. In thll cu., uqu.ntul heupstlcs would h.v, been ullful
to enlblt thl systl" to output the'l h.rlllonlcs up.rat.ly, lUth luth
th ongln.l ... plltude. AllO. ln the cue of a btO-V01CI alxtur., .h,r, thl
VOle crOlI ln pltch .t pOInt, Parsons' syst,. would SOutlll'S track
th ... rong vall:. if't'r the cralung pOInt .Ind output chlll.ne
nons.nu-sentetlCl. Parsons trlld ta accolllllod.tt for thl' probl.II DV
prilutlvi lIIeehlnlsll ln hl' speech nparltor,
but luth 111llted luce .... Ol.plt. th.!t shortcolllngs, P.rson! reoort.d t<nH
th. splech output by hu .yste. "as 91n,ral1y lnt.11191ble." Furtheraore,
co.parld' ta Strubl S SYltlll, Parlons' COCktaIl-party prOCt5S0r rus ln
lIonaphonlC short.lve-r.dlo tranSlilss10ns as .ell .s enh.nce Ind up'
th. by .11dllnatlng d1sturblnq nOlU .nd d1Stortlon.
WIlntraub (1984) nu attillphd to oll1gn preprocu.or for ,pUCh
rlC09n1tlon progr'lIs ",hlCh ,"p.r.t.s spteen on th. bUll O? rtp.rtolr. Ot
and CDOP.,..ttv. grouplng h.urlstlcs WhlC" CIPlt.llZ. on patttrn
rlqul.rltl's ln the .,JustlC envlron nt. H. c.lll hlS GRASP
- - -
(Grouplng Rn rch on Audltory Sound Prottsllngl 51nCf lt .. ould ]cailly ul
..
99
J
co
t
udltory perclptl0n that
have rlvilNed'ln Chapt,rs Thr And

Four <Figur. 5.2). Th. pro9ra .. ln9 r.qulr.d" ta put Iuch,. ,ystell lnta
o,per.bon 11 saphlstlcahd "ln the ntr ... ,:! and ta dite Wl1ntraub hu
only 'produc:ltd 1 fe .. "cursory prototypes; ho .. ev.r, in th,ory, it shauld
AUDITORV "OBJECTS"
OUTPUT SEPARATELV FOR SPATIAL
ORGANIZATION, ATTENTION
PATTERN RECOGNITION
of
PrOIl.lty
PrlnClpl. of

..
lill of
B.looglngnen
Lill of
Prlgn.n:
SEQUEHTI AL cues
Pn nCI ph of Pnnclpl, of
Sullmty RepetItion
SPECTRAL CUes.
Pnnclplr a PrInclple of
H.r 11001 el ty il dItl Ching!
..
Pnnclpl, Di
cod Contlnu.tlon
Pnnclplt of
ynehronl Cl ty
SPECTROGRAPH OF ACOUSTIC MIXTURE
'Und 'good' forlS .nd loqTtrtty
Ind teono.inlly bUlld
bllt dllcriphon of SC"".'
d.co..,olf .coush C lU tur"
uSlng ln lnttrlctlVl nt of
h.uruh C spletr al ilnd
"qu.ntal grouplng eues.'
Fi9ur. 5.2 W'lntraub 11984) hn dt pt.d to dUlgn prl!.\lroc!5Jor for spuch-r,cognltlon progrills
.Inch np.r.t., 'puch on th, buIS of il rrpertolfe of qrouplnq
.hlCh C'PI hlt a on pittrrn rrq\llan hn ln th .1COu5tlC fnVlrOnltnt. Hf edis nu svstt.
SRAif ISrouplnq Rtst.rch on HudJtory Sound PrOC!551nql Slnc!, It lIould Idully use ail of
th. IIqUfntui and sp.ctral grouplnq heurutlCS (sholln ln th, sehe .. iboYl!l df'CnOL!O ln
th udltory pfrtlphan lltentUrt,
p.rforlll 1I0r .. call1plt .. ntly ln the world th.n the sY!ltems deslgnt!o ay 5trubl!
,Ind Parlons, WhlCh ilr. unsltlvt! ta only onl! klnd of cue. It l'fould work
equdly w.ll luth blniural ind IIIonaural Inforutlon, group lnharmonlC
p.rtliis .nd othfr non-penodlc sound" and perforlll sllQufntlal Integration
t k,. It would .150 uf.guGilrd ilgillnst one of the IUlor problellHl encountRred
by luchlnt-pt'rcfptlon through th! Intl!ractlon of multlpl! heurlstlcs,
the .y,t.,. would b .lb!! ta ducilrd chllllerlC" percl!pts th.t mlght have
oth.".l" r.sulhd frOll accldentll synchronIes; !lRqUtntlal amblC}Ultus,
100
o
.,
o
o
l prl'Int h,arlng-'ld. Il.ply pllfy the .ixtur., WhlCh 10.,tl."
'9Vr1v.tll the prablt. lnltt.d of all,vl.tlnq lt.
\
:t thlre .lght it lea,t be so.e "feedback 10ap.- In'thlS flowch.rt
(Figure 5.1>. lt cannat iccaunt, for exupll, for th. Influtnc. of
knowl.dgl of se.antlCS and .yntax on tht parslng of Slnttnces wlth slurr.d
or lntlr.lttent spetch fro. acoustlc
th. technlc.I/ themitleal complexltl'5 of whleh fxc.ed tht ICOP'
of thil paper. SI" B. IlIldrow et .1., "Adipbve HOlS. Canc.lllngl PrlnC:lplt.
and Appllcatlon5," Proceedlngs of the lnhrnatlonal Conference 9n I\COUltl!ii',
p"C:h, Ind 51gn.I Proeeulng (Oecuber 1975), Vol. 63, No. 12, pp. l92-1716.
th. degree of Intelllglblilty that Parsons Ichl.v.d .ay b. Il .uch
of the l1st!!ner's abllity ta perfor,. pe1"ceptull "clOture" on th.
,spI.ch output by hl! COCktail-party protestor, as lt 11 of the IUCC:151 Ot th'
prlnclple of The perceptual prlnclple of clOlur ccounts for
thl faet thlt ln the presence of frag.ent.d, flltlr.d. or grolslv m.lform.d
spet!!ch luch il the spelteh output by Parsons' IYStu, or on an lnt.rlllltt.nt
lang-dlltance telephonlP l1ne, knoHI.dge of the pnon.tlcl, syntax, .nd
IlIlIntlcs of the !!peken language SIItll!!l 'to.enabl. us to perctptuallv rt'store
the Iplu,ch Ilements 111551ng ln th. I1gn.l; I.e., to "f111 ln the
blanks". Th, braln seems to have. remarkable capaclty to "lde.llze" lmperf.ct
.nd dlstorhd Input ln thl! way. Sel! A.S. Breqlun, "P@rClptlon .nd Behav\qur
as CO.poSltl0n!! of Iduis" Cognitive P!lychology, 9 (1977), pp. 251)-292. '
, \
:1 Bregun and Toug.s (1979> ilnd Bregman (1984) have proposed that '
Zucktr', approaeh to"'.lullnt labllllng ln low-levII COIIQut,r
VIii on (Zueker, 1977; 1990), III ght .quall y weil bt ,.pp Il ed to audl torv $Cen.
analysls. ThiS .pproach Cin accomllodate multiple hlurlstlcs and It alloNI
grouplng deCIS10n!! ibout one part of a scen. toJprooaqat." Icross
scene; 1.e., te have consequence!!l for dICIUOn!! about oth.r partI ,:If ';1'11'
IClnl. Ta apply thlS approach to ",udltory sc.nl-analYI1S", the
and hlll Intorllatl0n arraY'would bl tr ted 15 a global' tuld ln whlcn
forc.s of grouplng IntIPract it.ratlvely ta .chlev. grouplnqs ln th.rt
II th. least ViolatIon of the collectlv, rulls of organlzatlon over thl
whole fald.' )
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in,tr:od!JC',d ln' P.irt On, cl'n be JI 1
, .J ) ,u 't ' 'j
ut of
"whi'ch pro\!ild. th. foundatton f>()r approach to count.rpolnt b .. ,d
"1 1 [) t L \ (; 1 \ Il "r ( j
pn 'th.orl of ludltory obj_ct
l
and pattern pefceptlon.
" Ii [1
, "6 1 _c- ,
',h.v,.' nu ab Ir of over the pnnClplu of trldt tlon.1 contrapun-hl
"
th.oryl they relat ullcal everyday iudltory
"
"
, Q
"hara-otllc tuture, are lnvol'l,d ta il!dronte /lIUS1C whl!rlt tubral qUil,lt'lU"
,[ '4ftdl! fay.rl .r, lunlpulated.
"lJ
So. ... of th\!! pnnclpll!5 outllned in the precedlng chapt,r, li.re
q
.nttrtly
ln Part TloIo,
. ,
sount.rplrts, and to knowledge about th. audltory syst.m
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7
",
VI. S,Qy',ntul Inhgr .. tlon ln Polyphonlc I1US1C
-As oIn fXuplit of bill! obJ.cts, Husserl cltes the lody of tonts.
and tangible thlngs ara nct tlme they are ln ti
te b. lur., but dOIs not cOtie to dIrect perceptIon ln the
u1
Th. student of Intultlvely recognlzes the In .. dequ.cy of
Icc.pt.d deflnltlon of elody - ". successIon of mUSical tones, .. s opposed
ta holr.ony, 1.11., llIu.lcal tones sounded sllnultaneously':: - but has been
th,or,tlcally Ill-equlpped ta Itlprove upon It. He knows that when he
t"lk. about melody he means lare than any arbltrary sequence of tones.
But prltClsely what 15 It that dlstlngulShe! a tlelody from cl random sequence
;)Of tonn' By He usually 4'lean to Illply "a sequence of tone!!
.xhlbltlng a degree of Integrlty as a unit". Acro&s the Silences and
fr.quency gaps that occur betHean the tons! of a mtlody there seems to be
a coheSIon - the force of If!los accordlng to the early Greek IlIUSIC
th.orl!ts - HhlCh blnds lts elaments together. Hetaphyslcallzlng language

h,. often beln ulad by U5lC theorlsts to descrlbe thl! Ineffable llntar
conn.ctlon betHe.n 1lI110dle tonts:
'lt II Illt.ken ta only the acoustlcal pnenomena - the
loundlng and the soundl thelllseives wlth aIl theH lahnt harlllonlC:
rll .. tlonshlps - as the mOlt elsentlal and truly slgnlflcant m04'lents
of lody, wlthout paylnq attentIon to the connectlon wlth perceptIons
of proceldlng of forces betHeen the
Thl GIstalt PlychologlSts al50 notlced these llnear forces ln mUSlC.
Wlrt.h.uer l192S) ref.rred to the "liVIng lntervtll" ln alelody - thl! speC;lal
connlctlon loltlmes observed between tonel HhlCh follow one another ln
luce.lllon, Indlcatlng thilt the y are not proces'Sed Indl\lldually by the
In Part One, 1 d15cussed. theory of audltory organl;:allon
whlch Itates that certaIn psychologlcal prlnciples glve l'Ise to sequentlal
,
grouCllno, and that th.s. prlAl::lples play a heurlstlc r'ole Iii an audltory
,trl -for.lnq proces.. Th. k.y ta the orlgln and deflnltlon of
103
(
o
'
"
.Iy by conlld.rlng hON th.le hlur1stlc prlnClpllS, whlch UI
, '
of .ulic.
fr.qu.ntly than luger on es (1 . , th. 4ths-lth,) ln .YUc."
IIllodlC lntl/rval ln musIC lS Issentlillly lnvers.ly proportlon.1 ta Itl 11Z.
\.,
(FucklJ, 1962). Thu 15 partlC::ularly true of 1Ili/l0dilS ubedd,d ln "\Jlleal
.1xture5, I.e., of polyphonie muue, and, lIore! Spl!ClflCo111y, of the
polyphonlc IIlUSIC the "eolllilon-praetlee" Ta th",
.any contrapuntal15ts have attrlbuted a klnd of "tension" to the larger
cOlimentlnq that ln the contour ot a the targer lnt,rval,
are gesturts that glve the melody a sense of urgfncy of forward but
,
that such t,n'Ion r!Qulre5 relllf by l1Iore eonJunct and 11 nct
q.n.rally th. norm.
Brl!<}lIo1n and Gupbell (10711 haVI deClonstrited thit th. audltory HSU'ta
tlnd' to group 5UeC!551Ve tones ln 51/Quence stronqly wh,n Ire
clos. to onl another ln When they ilternated ana JOW ton.,
ln a sequence, the lntagrlty of the 'UCC!SSlOn Ot tontl brOken up
Il
whenever the hlgh And low ton.s '/litrE far' apart ln .. and 'tnlf ,toulnc.
,.qregattd lnto two stream" on. cOlllposed of th. hlgh tone, and one COIlDOSld
of th, 10101 tones (Figure 2.2b>.
polyphony, Mhere two llnl5 are by rapldly .liernatlnq
bell " ton" lYlng ln hlgh and 10101 tlSSltur. (pltch r.ng.,) on 11nql.
ln,tru nt. Vlrtual polyphony 15 a technlqu. thlt lS partleullrlv lOlO tlC
104
(
.
/
of ,th. lolo-l,nltrultnt "p.rto1r., IlnCl It.illoNs th. loloist to crllt. th.
polyphony, to' .ff.ctlV.ly provld. hil own
Th.' "111uuon" of polyphony in,thil en. r.vull 10 .. Ihi.1artiu b.h.en
'th., plycholo9ical conc.pt of "aud1tory Itr ... Ind th. IUlic-th.or.t!lcll
conc.pt of voic.", 'In th. cn. of virtud polyphony, N' uy th.t th.
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Fitvr. &.1 1 vlrtu.l polyphonv ln Il. 210-211 frol th. fln.l 10Vlltnt IAlll9fQ VI,ie,) of Betthovtn Son.t.
OpUI 27, Il IQUiSI U., Fa.t.JI')i bl h.r.onle outtel, of str.a. organlIltlon, .nd c) .noth.r
hypothlhcal h.raonlc ptrCf1lt. '"'
('1
For wh.n th. four-note ln
of Fiqur. II plivtd at the t po lndlcated bv the
" co.pos.r (Alltqro VlViC., J. tH/lIln. or ). :57b/lllnol Id!., .pprox. 10
Ilxt nth-nGt.l/sec.), It IS not h rd .s a single sequence of ton.I.
Th. ton'I I.greqate Into two strl s, one compos.d of the hlgh tones and one
co.poI.d of the low ton.s, WhlCh ta proclad or less concurr.ntlv.
iJ
th. tNO Itre ... (1 , that irt eoapos.d of an letult succe!lSlon .of hlgh
Ind ION ton.I) ire vlrv hard to helr IlnCI thl s.gregatlon up,
k'
wh\l. th. lnt.rvllllc patterns th.t are form.d between sucelSSlve
ton or ,IUCCIIUV. ION ton", Il.e .. ,sclndlng .nd d.scendlng I1IIt'tar 2nds ln
/
FiQur" . )J.l.) Ir. rUdily he.rd, Ilnc. th.v occur wlthln th. str .. "
th. qrauplnq fore.s of perceptIon .1 a r.suIt, .1qht b. e.ll.d d

'.
intlrvll.,7 AlI of th! lodlC intirviii batM'ln lueCI111V! tonll
o
in thl qu.nel in Figurl b.t& (i.I., Ab4-FS.IJOr-bth, FS-G4.lnor-1th,
HOM!vlr, onlv tMO of th.,. intlrvll th inor-7th (FS-G41 and the
I.qu.ntill intlgrltlon l':!rqctls 11 curud out bv th! luditorv Ivlh thl
..
intlqfiltlon. Fll}Urn b.lb And b.le IhoM th! two'::w.YiJ that th! ludl torv
III Agree thilt th. of th. four-two
ehord. shawn ln Figure a.lb. CI.kes Cluch bitter "griCll'ubcII" sensl th.n the
hu.onv shawn in Figure b.lc. But the greuplng that we hur 11 dlltllrlllln.d
prier to, ind lndependent of. such syntictlc conslderitlons. Th, audltorv
system preters the parallel !Dotlon ind th" consonances of the grouplnq ln
o
FlC}Ure bU; lb over the contrarv lIIobon and dlslooincl!S Dt the grouplng ln
Fiqure b.lc, accordlng to the sQectril grouplng prlnClples of "c:oll!Don fat.-
and "llIrIlOnlclty, Even If the pilttern 15 dlspl.lc:ed lIetrlCilllv, 50 thilt It
stut, "1 th F5 on th., strong beat Inst.ad of Ab4, th., hlrllonl c- orC}anlutlon
shown ln Figure 6.lb Imargu aft.,r onlv 1 ft ... Thui. the tl'lO
,1or-bthl Ir. "dead" Dlelodlcallv but "l1v." harlonicilllv. whl1. th. lunor-7th
Thl PrlncIpl! of SIIDllarltv
ElIo.ruent!l bv Noordl!n (1975>, (19791. ind Brlg nJ. L'Vltln oInd
L110 (198:5) h .. vt! !lho"n th .. t th. ,iudl tory svst 110 tends to qrouo tonu
qu.ntl .. llv whltn thev oir. 51'.111, ln (rlvll" Figuru 3.3. 3.4. 3.51.
A rtputlng pblyphonlc p .. ttern thoit 1 created ln thlt co.put.r-b .. ed Ilboratorv
It I1cG111 (Flgur. b.21 Illqht uprvi to rill .. _or, ,usU:il11v relevant Quittions
100
o
,
l '-""
about th,. factor.- difl.rlnt -orch tratlon.- of the siquence Nlrl
and d,.cendlng four-notl -.calar figur.- (con.ilting of the tonl'
,
.hown wlth X in Fiqur. 6.2) that Nas I.b,ddld ln the lequinci.
,In th. first orchutratlon" III .h ton ..... G4,A4,B4,CIS,Dis. and el5
-
"tr."uuqh.d th ..... ti.brl. In thil CU" th. tones grouped lnto ho
tone. DIS, and EtS. In spitt of its good and
rhvth.ic rtqulUltv, th cahr Hgurt NU vuy hlrd to hur,' and lt-COuld
,
not b. dettcted at aIl bv the naiv. list.ner sinc. it cros.ed th. Itrel.
. "
orglnizatlon. TblS hON th. auditorv systlM flvour. orQlnlzltion
in Nhich soundl lYlnq ln di.cre.t Ihd r tricted frequeney !,glons Ire
9roup.d togeth.r, ov.r org,nlzltlon in Nhlch an ,xch.nq. of fr.quenev
r.glons tlkn plU' at a ero.ung pOint (8reg.an, MeAd ... , Sr Halpern, 1977:
revit. F1CJurt 3.14). ln tlt of .i.ple frequ!ncv DrO?!Ultv, nllth,r of
the Ilternatlve contlnuations "1' lore likeiv thln the other .t thl loell
crollov., pOlnts (.hoNn bv the cHcles ln Figure .2), SlnCl th. lnterval.
A-B. A-G, Ind a-c . B-A arl a 1.-1 Nhol. tonlS. Th. prIncipl. of' r'Petitlon-
.IV .110 hlVI eontribut.d to th tabl11ty of thi tre orqlnlzatlon
- ,
sinee .. ch r,pttltion of the o.tlnatt ano"l .or. ,vld.nee for grouplng
ta Iceu.ulitl (Sr.qun, 197e1:)'
FifUte '.2 A tonll patttrn dttOOltrltlnq th. IfftCt of the prlnclpl., of frlqulncy prOxlltty, frequlncv
<Si
fIQ10A. qoad-continu.tlon, tllOr. "Ill.rlty, .nd rtPltltlon. Thrle 'archl.tr.tlonl' of thl
pltt.,n .tr. CDIO.,tda 1) .11 SIl tan.s ..,1 ,sllgnld the "1' tlabre, 2) ton 64 ind A4
..,e 1IIIqntd onl ti.ore nd tontS 84, CtS. And EIS .tr. '1ligned 1 contr&.tlng tllbr
lIId l) tlll ton .. CQejlrUlng ln Hb.ddtd sul., figure' (canllldng at th. tanu shown w\th IX'
nDtl-fllldl) ..,. IIliqntd on. tut/ri, .nd .11 of th. rHllnlng ton .... n illlqntd Inother.
107
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ln th. "cond orChutr,ti on, tb. ton 1 n .,ch of th. 'tr .... th.t
.,r. for d ln th. flr.t w.r. "'lgn.d 11gnlflclntlv
.nd ton .. B. CI. DI, .nd El .wer. Ilsllgn.d .noth.r. contr tlng tl_br
In thls c th. ,tr"'lnq r ults w.r. 'v.n .trong.r th.n ln th. far,t
\-
orc.h.strahon., Ind th. sc.lar hq\lr, u. nON .host uPo,"bl. to h.lr.
.inc. both qrouplnq by .nd bv tl.br.1 IIIII.rltv flvour.d
th. ,.gr.gltion of ton., A Ind B It thl cro lnq pOInt.
ln th. thlrd orch.str.tlon, th. ton., COlprJ'Jng" th c.l.r f1qur.
,
.n!th.r. contr.stlng ti.br.. In thl' c.s the IClllr 11gur. "" h rd
cli.rly d,elinuttd, croSl'109,'blck Ind forth behun th. fr.qu.ncV "g1001
P . ,
thlt hld d.t.rlin.d t,tll grouplng 10 th. ftr.t and cond orch trl1.'lon., .
Ail th. oth.r ton louna.d loundl brlck.tlng th. Illl.nt ICI1.,'
figure, .nd not th Iv for.lnq .ny COOtI0UOU' Itr anc, th. Ic.l.r.
,
figur. 1It1' br'lklng th up. In thls.p.r,ang of th. pltt.rn.
\ .
t
.
of thbrt .hll,rltv dO'lut,d ov..,. th. fr.qu.n,cv-rlgl0n pnnclpl. It t,h'
l.blguoUI crosllnq pOInt.
Thl s.tond orch.str.tlon in th. d.aoo,ttltlon d crlbed Ibav' II
,
typic.l of conventlonll .i9ht nth- Ind nln.tllnth-c.ntury orch trltl00,
)
wh.r. instru.,nh (Ind thlC.;or. ttabrlll lII.r. ullqn.d to lndlo.ndlntlv'
conc.lv.d fr.qulney prOXlllty/r'Ql0n-bal.d q.,tllt. - th.
o
for rvlng Il.plv ta colour th. latt.r. Er\ckson
th. roi. th.t t.ubr. pllvs ln thll eUlle- III "tl.br .. ,,<lc.,.rl.r1 "thl ehuf
of clrri.r of iodlC funetlon.,' "ulle of thlll lort 11 q.n.r.llv
108
14
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.. tr.taon -, .. ht" .v.n, thou:qll th. dutlnct "colou!"s of th. orch.ltrat1CSn
.ri talce" Uly, ,tilt, Qlnerl'l structurn ruun une!Tlnged.
l'
o,q:lIl'\t,..tlOn, .. h,re ln an .. blguou, utulhon, tub,.., 11 uled.t'CI brln9 out
"
ibur .. hgur. ... In thll cu,. d of tub" fopowlng the uIdllt'
1
.. hl ch ,-r. for ICCOrd1"q ta thl
g
frlqu.ncy-'r'gl'op pl" inel pli, th ! odv
follow. th. tllbr
VRace CrOIJ\ng ,
Thil ttchnlqu. of crQlung luth tubr. eln b.
f '
fllund throughout th. hl.tory of IUIlC, but lt do .. not.Ii .... ys luec d,
<
lt dld ln Flqur. b.2, ,ln overeollnq th. other grouplnq factor, to forl
a n ... orglRuatlon. ln addition ,tq polyphony, numtPous,
pa.uq" cln b. found ,In lultlpart ... th. lnstrUllents llip
ibout to c:ntnbuh ta 80rt' than one pol'yphfj1:t1C: VOIC' (or It,.e .. )
at tu
,
Thl' Intuition of c:o.pollr. and eontri,punhluh' of the put does not
'h,.y, orrllpond to rtc:.".t labor,tory .flndlnqs c:anelrnlnq '.qu,ntlal
qroupuq ph.no .. n.. Host contr apunhll.tJ .t -l.ut Oh .bout the
cr.o, .. of V01C.S (1 ', ,occulonally lethng th. 10 ... er of t ... o p.rt. qo
" ,
aboVi the
1
l oCr \
uppe .. ... t, or, vl(.-vell'ul ln p,!lyphO"1,C . US1C. Sut 10"',
,u ", ,
J,.pp .. en (1939) 1 not only pt,..lt, but encour.ql, tt\lS prac:td:e by
t J
, ' c<
.11owlnCJ ycnc:.-crolllnq to hlrr.d. r'ull' of c:ontrapuhtal 'volce-lradlng.
, t \ '
..
"
For '1111.,.11, ,J.p,pe .. n ,t.tu th.t"u Ilxtttnth-tntur.y'c:ount'erpolnt, d'ne of'
l '.t>
, ,
th. c:huf thtor.cll rultl of th. Ityl." th. prohlbl tl an' of parl1l.1
y, '
l ,
"ctu ... and don not .pply ln, .. _hlr. th. ,VOlets croIs.
, "
f 0 \ ,
As an ,'Ulplt, h. Cl tn pu'uq. fro. th. Crldo of th.
l
four-Part lUI
Za ta
22'I"!
u!ra"l (Fi'qu,.' .l .. ) , Ifh.,.. U,',' l'! t""o .nd
, '
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,
,
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109
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,
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,
Il
o
,
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, '
,
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..
q
.. hen thlS p ge 15 pl.yed ln puna reduc:tlon Irlqurt a.3b", J.pptstn
"
Irgue5 that the ur don not percelve the lIIelod1c ascent b-C-j) arl'lng
frOIll the ho overllPP1ng par t5. and hent! doe. not ,nur tne parUl,l
,
6
, 0
ftfth5 that result, Detween thlS uc:ent utd tne ueent ln tne t tnor ,
une_ the upper ase ent jrues from none of the par t 5 unglv. bu t r 0" '
thelr c:omblnatlon: '
"It must be pOlnted out that th15 rule Cproh101tlnq ;):lralLoU :a"r,et
ftfths and on'! wnere luch parail!!! oC::Jr ::!'t ... e91l
glvln "pur Ot VOlCU'; li tnev art avolded b', c:roSSlnq cne IOleu.
th_n it makas I1ttle dlfurence wnetner or not thev are,present ln
th. sounds aetuallv heard Thil 15 not. as Ont II1qnt U5l.ll1lt.
purllva rutter '0; f01/"IIl for the sake or evadlng the rUI!. " tnl!
contrarv, d 15 of tne OT the la\lOl. 'or tn.
tonal Qual1tv of 'the. dl H!rent VOlen enabies one tO todow :r,.
lndlhdutll UnielodlU ana nulv ta that tni hnns 00 not oc:ur
ln parallel lIotl0n,."''7
,. )
1 1 1

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Et: r.
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:ot ter
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t 1
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rI!! - sur - ri Xlt ter - t 1 - a
b )
,< FJ9ur. tl il lathtlvi .ntras It 2il-273 of ,th. Cr.do frai th. Pntltrlnf. tcur-"rt 'l'UI
, " h tl 901lU Utr.,,; Ibl puna rtductlon sno."uJ lIiniuu.
l "
110 ",
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.. { l'Ill j
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&rgu .. nt .h .. fro. hu b.l uf thlt the '4" ,,!!fil 1 foll 0 .. the tubr.' or "tone
, , , ,
,
.. orkl"1J 1" co.petition <lgunlt thu
, " ,
But
, "
,
repllhdly sho .. n thlt th. tl_braI contlnu'1ty of lound, In,iI ,.quenc. cil,n b,
; I" ' 1
, "
brok.n up 1f prolCi.lty relationl Inother,grouplng, (Br.gun
,le Cupbe, 1971; B"'941&n,' L.vltln, " Lilo, 1985; D.utsch, 1984),
l ,
Jepp.",n .1ght hlve ugued thit"llnc. th. VOICI c:,arrIU spuch, lt
.., l ,II' ,
.hould be ... ur ta pirSI thl p.rtl,'in polyphonic vocal thall lt 11 ln
1 nltru.lntll, aUSl c. I t li' true th, huun vOlct, UF)l1 ke oth.r
'! r
ln,tru ntl, 11 not 1 hx.d-for.rit ,.,sonato ... Its tl.br' v.rlll Icc:ordlng
,
,
ta th. phan ... of spuc:h thlt 1 t 11 Irt! n9. The IUchan,,:s lnvolvld
" '
'"
ln 'chlnglng th. Ihap. of th. ruonant vocal Ilch phon"'l g1 VI!
, ,)
"
hll ta s.ooth tubral (foru.nt) trlnuHons: ,tl?t connect th. phon",e, of
: J 1,',1,
IPok.n wordl ln .11 languages (LI berun, .t ,1967> t and the iudl tory:
, 'Ylh. coul d conC'1 vabl y .. kt \lI. of
,
ap.lklng VOIC' ln IC:OUltIC
, ,
probl .. ln th!! Palestrina pnsage,
IJ I, \'1
1
;.' ':
thesl! ,.oClth, trinsltions t'a trick
! ,1
! (f','
Ho .. ner, thl,-\, dOl' not 10rVI th.
! '-/ 1
l"
Th. croll1n9 lI! 0.3. occur5

, ,
, curloully wh .... bath VOlCts art l'oundlng th , .. syl1.bi'.." u r .",' 51ne!
f ' , l' "/ ' '
bath VOU:I. contInue ta unpltched _!lbl1Ints '- ""'-Lur""I,n the ait,o,
"
l'n th. 10prJno - lt 15 unltktlY',thit forunt trlnUlnts b.
r
, ,
1 J,"
"ly"lIbll "ri',
J.pp.un ught 1110 hlVI ... guld !I1nel! thls 11, ln 1II1ltatlve
p.'U;I, the .ottve - 1 de,c:.ndlng sec:ond tolloWld by ln ncendlng fourt.lr
, ,
fallo"'11 by anoth.r dncendlng lecond - ,:"hlch 11 stahd ln th. tenor
e' l.ltattd/ln tlch voir;., ."y il la .. us ta folio .. ,thl VOICII through thl
, 1
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crOS.lng. The of 1,"t.tl0n uy play, roI. bv dtrtctlng our
attenhon for.,...rd to look. for the c:hlrac:t.hstu: contour of the lIotlv,
the 1111 X ture a', the .usi e conti nuits. 11 'But the prob 1 Il 0+ hier 1 ng '.
lotive Il' t.uk ln .udltory p.ttern recogn1tlon, .nd iluch Ot the
.xp."utnt.l ,vldenc. hu lugguhd that plttlr" r.cognltlon eln onlv be
L
ptrforud IBregun, 1976.,b; 1981a; 1964). It lS qUltl dlfhcult ta nt.r
the .lto lIohye buned ln thlS pus.gt, IOIlth'Out th. klnd of ,Hort thH' III
nct typlcal of ''len the !IIost Informed ltsuntr he.rlng tha
for th. flr't tllftlt. The' per'eeptlon of pu.ll,1 motion 1 s mueh '1Ior!
(:olap.lllng, .nd h.rd ta aVOla', une. It 15 the org.nlut:lon aH.reo t,o
l '1 ' "',
l' '.,U.ntlon by th. p."ung proc!S!" .',
Paraliels in'lng TrOIII eroued'tvolees a1so occur oeC.510ntliiy ln th.
,',
buoqu. ehoralt-Hyle.

Llk,e Jepp'.,.n" Salzer and Scluehttr (1-1:1-1) conSld.r
o
Chorales, shown ln Flqur, 0.4a, il tln eutllolt. Althouqh parail!ls :n
0.41 ilre not a, exposed as paraile!s ln :I,.:a, slnc. tnl!
\
Y01Ce-cros!I1nq occurs Inner VOIC!5 Il,e., the to ind tenor,
fir the iloSt frequently crossed VOlces ln :ne chorale HV1!!J. i .. OUIO ar;ue
that they are nonetheles! heard a5 para!lels. At tne cro551ng ;JOInt,
1111 tend ta hl!'ar the leadlng tone (011) ln tne alto contlnulng ta tne
tonlc <El ln ':.he tenor and not to ':.he 5uome<lIant ICII) ln tne 41:0, 'or
,
'bo'th tonal and psychoacoustlc rusons: II ln dlatonlC Il,,rlllonv, t:1' .tlcl1nq
tend_ney to resoll/e to the tonie, 2} the Interval Oll-E (s.mltonei 11
.;
luller than the Interval Oj-O , .. noie ton!!'1 and thartfor. 11 tn. pr,ftrr'd
groupl,ng aceordlnq ta the prlnClplt of frequltney proxt.ll:y, and ji tnIO.-CIl
112
(
.
pro4r;Ul1on 11 Inhlblted by th. B ln th. tenor I4hlCh "c:aptur.!.JI the CN ln
th. alto, thulby r trunlng It froll belonglng to Any other organlZlt:lan.
For th ... r, onl, th. ludl tory !treill-forllllng proces! choo,!s the parung
sho .. n ln Flgurl b
t
4b il the but perc: ... ptu.al dt',crlptlon of the patt!rn
. ) b )


Figurt iI.4 Il hn. phrase frai 81ch Charil, 4. Ibl the parlll,l ochvu ln th ... t'nultllltf.' IU5Urt
Ir, sholln Ml th th, il ta ind hnor VOl cn uncroned.
Parallel flfths .and octav ... , were"prohlblted durlng the cOllllDon-practle.
p.nod b,clu!5e of thetr har.'IIonlc "blandness" and becilu5! tney hlndered
th. lndeplndence of eontrapuntal vOlce" the Ideal of polyphonIe mU!!IC.
Th . ffect!5 are ln no ... ay negated by the VOlce er0551n9 ln FIgures 0.3a and
6.4.. Although no tHO "ruI" VOlces proceed ln parali!l, He tend to heilr thne
pus.agu Just u though they had. If thl' l' 50 then why werl! they Nrl tten'
W.re thu. composer!l cOlllpletely obllvlaus to th. 50und of theu passages?
J,ppell" .ppears te iISSUIU that Pal.strlna ltauld not have wanted the
parllI.ls to !lound ln the p4,sagl 5hown ln Figure 6.3a; I.e., that slnce he
wrot. thtll, h. /Iut have thought that these l'lere !HlmehoM not para! l_el
flfth,. A lIart Itktly eMplanatton IleS ln the relatlonllhlp b!tween th!
IlUlle and the tut ln tha passage. Th. VOlceS crO!l! curlou.sly ln the
cintraI _usurt of th. "Cr,do", the central !Ilovuent of the us!, wh!!r!
th. t.xt d,ellus on. of th .. clntral tl!n!!ts of th!! Chrl,st1an falth:
113
o
o
,t "SUrrlXl P ("and hl! rOSI! frai the dud"). Tht rlung puallel
flfths draut1cally convey thlS .. c.nSlon. This 15 a tYPlcal IXupl.
of word-puntlng" found throughout the !lacrvd iJlilSU! ilnd lIIotets of th.
sutnnth-clPntury polyphonuts. Thl! ilceount of th. pilsUglt that
Pllutrlna !! aNdre of the eXIstence of the pilrall!!l flfth!l, and 'xplalns
only why hlt uy have con51dered thu ilpproprtilte it thl!! pOInt ln the lUIS.
It .lght .150 be .rgued that audll:ory spatIal locilllzoltion play!! a raie
ln th. perception of the,e pa!l!5clge!!. Perhap!! the polyphonie Indeptndenci
of the ictual acou!!tlc sourc!!!! ln Figures 6.ja and 0.4. c:ould bl achll!Vld
lf the unger!! were sufflclently 5eparated ln space. r n an t t ellp t t 0
strlve towilrd 1II0r!! authentlc'perforllance!l Ot eady IaUSIC, !lcholars and
p.rforers hive recl!ntly been paYlng more attention ta recreating aspect!!
of the perforlUnce condltlon!l knoHn to the cor.aposer, Includlng th!! spitlal
.rrange/lent of the performers ln ensemble. The dramatle. er!!OphOnlc eTftct
of the /lUSle of Andrea Gabrtell (e.1520-1586) ilnd thl! "Ven.tlin 5enool",
for Instilnce, conc!!lved for t.wo wrl1ch one another altlrnat.l"
fro/l ip!leS on OPPOSltI! udes of St Mark s Baslllca, cl.uly depend!! upon the
sPiltul pO!Slbon of the Singer!!. L1kIlM}!!!!, the poutlonlnq oi pl.vtr!! 1lI1ght
Influence our perception of the vOlce-cro!!ung ln the openlng IDlasures Of
the hnal llIovuent IIIoil9JO Lutnto,o) from Teh.ukow5ky s Slxth 5::tll\pnony
<th. PathitJquf
U
). HIPre tt lught be argul!!d th.lt the iuthtntlc
irroangement oi the orchestra. "Ith the hrst,and "cond
on Oppo!Slte !!ldf1s of the !!tage, would enabl. us ta nlilr th. :uiOdlC
contour!! played by IIch of the ln!ltrullttnts ln thl s pa!lsilq' npilr.ttll y,
ln SPltlt of th. vOlce-crosung. But Butler (1979a,) and D.'ut!!ch (1993.19841
found th<1t thly iktwilyS explrunclld th. "nlodlC chaonl!lllng" "fte: lr.vlfW
4.5, pq. 981 when 115tlolng ta thu PU".ql, regArdlns of the
114
",.
c
e
(J
..
POlltlonlng of th, ln th. orchestra: fr,quency dODlnatld
ov.r ,patl.l cue nd eues te 5uch an extent th.t Figure 0.5.
,h rd 11ke the uncros5ed Ver.len of the me thtme ln Figure a.Sb, WhlCh
.pp r, l.t,r ln th. ,a8e evement. As consequence of melodlt channelllng,
th system aS'lgned of the tones ln any glven stream to a,51ngle
pOSitIon ln space ln Spltt of the f.ct th.t thl! confllcted wlth bInaural
Iniormatl0n; 1.1., Khen .dJicent tones were .ctu.llly orlglnatlng froll
OPPosltl sld,. of the stag
.-
.. :..;.
-,. ...
l' .... J. -,,_' 1 T.
"
1
1
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r. ...
,.
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et

.-f'f,; 'J-
I nI. 'C;
Fl9ur, b.5 - 1) Ifl,ur" 1-2 frOI th. fln.l lov ... nt (Ad'VIO L,,fato101 of TChllkow'ky, Sy.phonv
v
(th, 'PlthltlQU") (trol Butlar (lq79bl (clt!d ln Deutsch, 1983, IQS41tj .nd b) the s e th!'f,
wlth'th. VOICIS uncrofsed, .t .e.sure 90.
Tch.lkowsky w'l no doubt 'K,re that the melodic-chinnelling effect
1 ln thu pasug. The lIelodlc content$ of the !!tr.eal1l!! that
rl.ul t, .r. of /Ilot 1 VI c: 11gnl fi cance throughout the movement, and he
yncroll.s tht VOlces for the thlrd st.tement of th15 theme <Figure o.b, Il.
90). But why dld h. choa to centrast th e two klnds of p.rt-wrltlng:
A clu. to Tch'lkowsky S Lntent l' pern.ps to be round ln the slur marklng!!
115
o
. .
o
,
, '
, "
o
0,
/
,
beh"n, the notts; ,l'IIhlCh lndICilt:' lfglto plilYlng. ln th. ChiCAgO Sy.phony
,',
Solti,': lt sound, the play.rs are not'only plilYlng thll
pUSiI,g_ lfg.to and sost.ifto otrl ln-troduclnq portUtnto bltw.ltn
" , ,
do.s nat 91V1 thlS dlrtctlon ln th.
Icor" port'au"tp lS a sthng hchnlque t'hat l.S qUltl oHen Introductd H
, 1
, 1
th, discretion of the play,r or conductor ln glVI iln txtr ,ly
Uglte .Hect.' It 15 th",lIIore aodtrah forlD of gJuundo, "htr. th,
J,
'plily.r effects tl,connec::t!on blh n tonls by !ll1dlng hll"hng.r lqhtly
110ng th. string, !la ilS to sound .11 of th. between the
notu, ln5tl!ild Of eileh nott Hp,ilriltely. A yery pronouneed
glJss.ndo would hotv,e hild ot rldiculou!I Iffect ln But th.
last for. of wh.r. th. l' very qUlekly
o
and th. sp.d of the bOIll 15 qUlckened on the'wrltten notes te glve
ildd .. d ' .. phas'l' 50 thOlt they !tilnd olpart frCII th" glld., ,'render! th.
trln51tlon betw.en the ten.! almo,t Imperceptible olnd Ichl!Ve!l 01
Ip.c1al ,tf!ct. Although thl! do!! nct illter the predollinant streall
th. result 15 that eaeh lln" 5e"II! ta 50b (th. movem!nt II
cnly to chlnge dIrectIon Ibruptly "h"n lt l' ".t by th. Isclndlnq
port rnto of th, oldJaelnt VOle! l.ildlng te th. n.xt note ln th. strl."
(or VICe-Ver!a: a!cent-d.!centJ. Llk' th. cro551ng plteh-glld', studlld
by' Breg.iln, MeAdo1lls, and Halpltrn (FlgUrt 3.14), w! ean thlnk ef th" w"vlng
lnstrUllents bounelnq off one Inothlf lnltead oi croSSlng At the
lnt.rsectlon p01nt (1 , not

,but /y\/VV\ ) .
15 only pOlllble whlr. th etuII sourel of lound varl.1 rrc_ not, to "ott
110
"
" \
c
...
ln 1 .tr , 1. oppo d to th. Aor. usual prlctlc, Ot k,.plng th.
"
ln.trUllllrnt th. Ii'" and varylnq only the pltehes (15 ln Flgurl! iI.Sb).
Figur. b.b, ln Ixcerpt from Bengt ConstellatIon! V, II very
1
,
ta the Tehalkowsky exeerpt ln thls respect. What 1! heard, ln SPlt!
of the erosllng VOlces, 15 sl.ply 1 statlc sequence of repeitlng
dyadl. But the r.peatlnq dYids havI a very speelal quallty. The
.xplal"s that was Ixplorlng a subtle effeet wlth the vOlce-crosslng
that ht Imployld throughout Const911atlons V (50 often, ln faet, that
l
Const,ilatlons V could be eonsldered a study ln th15 technique):
5
5
"lt t.nd. to or c010ur the llnes to InJeet a llttl. bit
of en.rgy on each note, keeplog the parts actIve even though the llne5
Ir. not gOlng
A 1
,
1
J
n j b..A
,-.,
l'

" ....

l' v-

a
"
L
tJ
SpI -
ri - t,us
Do
- II?
- - -
01
,
n

..... J h ...1
,
..... .J t
... v-
"'-
...
_c:z
,
v
i---"""
,
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-
Sp 1 rI - tus Do - 1111
- - - nl
Flqurl b.b - IXCfrpt frai soprano dUit, 8enqt H br'iuI, Const!llitlons V, Il. 295-298.
"R'II" and "Vlttual" Audl tory ObJect!
haVir trud to show that ln mUSIC theory the analY"15
of conelrnlng !l!qulnt1al IntegratIon ln the atOustlc mlxtures of
polyphonie DU.1t ha, not been nearly thorough enough. S1nee theorlSt5
of th. Pllt have not hid the beneflt of th.orles about the audltory
Itr -foralng proce,s, they have generally r!lled upon lntultlon ln the1r
th1nklng about problem. - ind IntUItions can be IntUition
Ihould b. rlqlrd.d only .1 an Ild to performers, not .s an itCurat!
117
o
o
th. of polyphonlc .USIC. Although th. Audltory
p.rfors Its task wlth great accurlcy when d.allng wlth th. contlngenCl" of
th. Iveryday acou,t1c envlronment, It lS qUIt. posslbl. to d.CI1Y' lt by
organ1%lng pattern, of sound, as ln IIUS!C. WhlO thlS happent, w. Ipuk Ot
"IllusIons", prec1sely because our perc.ptual rlpr.s.ntatlon d1ff.rl
.fro. the real SItuatIon. IllUSIons of thls klnd occur v.ry fr.qu.ntly ln
.US!C, more frequently than ln th. other arts, often do nct
the l1stener to hear the adual acoustlc sourc.s ln muslcal t'lCturu.
By taklng advantage of the grouplng mechan1sms of they are able to
aanlpulate the mUSIcal pattern ln such a way that the llst.oer hl,.rs "Ylrtu.l"
acoustlc 50urce, WhlCh corresponQ to certaIn camblnatlans or segregatIons
of the 50unds produced by the "real" ICOUStlC sources ln the mlxtur .
V. Zuckl!rkandl, and Symbol: MUSIC and the External World
(Prtnc:.ton, ILJ.: PrlnCltton UnIversIty Press, 195bl, p. 11.10dlll 1D1ght
a1so b. called "fr.quency abjects" Slnc. It lS organlzatlon ln the ir.qu.ncv
domaln that lS ta sound.
Il Ha r var dOle t Ion a r y, 2 n d e d 1 tl 0 n, s. v " f'1 e 1 0 d y'.
E. Kurth, GrundJaqrn gIs Llnla,rD Kontrapunkts IBern: Verlag
Kropholz and Co., 1917>, p.l (elted and trlnslated ln Hsu 11900, p.lll]
(th. ln the quot. 15 min.).
4 and lnt.rvals greater than a IOth never occur. iher. ar!,
of eou'ru, drllllatlC regIstrai leaps III InstrUIlIt.ntil (espee11lly klybo.rdl
mUSIC, and c.rtaln lsalatvd styles, such as the "polntllll!'" ot W.o.rn,
ta WhlCh thls general rule dOIS not apply. Th. vlrtual pOlyphony
charleteratle of the baroqul! 15 not, how.vlr , an 'Xc.ptlOnj ,lt eonhru
th. rul.. In vlrtual polyphony, the large 1.lp, Ir. nct r'llly lodle
lups, but lltaps bltt", n tlolO concurrent ulodlC str .... (s pig.S 105-1,001.
t.rm Wh1Ch US1Clins us. loos.ly to r.t.r to th. four-hundr.d
y.ar perlod, roughly fro the slxteenth clntury to the b.glnnlng of th.
t"'lntllth e.ntury, dur1ng WhlCh dlltonlC tonlilty WI. e,t.bllSh.d Ind
d.veloped.
118
c
--.... - ...
.
5
np.cully ln th. Baroqu.. Th. lost outstanding nupln art found
throuqhout th. IUltes for lolo c.llo, and th. lUItes and sonatas for lolo
Violln of Bach.
7 ln th. I.nl. that th.y ar. th. Opposlt. to Werth.ll.r'i "llvlng
ut,rvlI," (W.rth.lll.;', 1925). Also, th. t.r/l'"dead lnt.rval" ha!!
pr,vloully be.n u\utd Dy eantrapuntallsts, ln i 511111ar sens., ta d.not
lodle lnt.rvlfs for d betw n the lait note of one phrase and the flrst.
note of th. n.xt, wh.r. nor.ally prohlblted lntervals (sueh al th.
auo nt.d thlrd, dlllllnlr,h.d hfth, .te.) are perlllthd 51nCI th"y are not
h rd brldglng bltw.en th. phrase structures (Wrlght, 1985)
.
th. lound! werl syntheslZl.d on a POP-11/34 cO/lputer (Dlgltal
Equlpa.nt Corporation) uSlng the MITSYN software de5lgned
by Wl111 Henke at M.I.T. ThiS deonstratlon was prnpared ln December,
1984 for il !IIuunu dHected by Al Breg/!lan. The resulh r.porhd 'wtre robust
Ind eonu!lt.nt loth other Ixperullentai flndlngs', but they retla1:! ta be
forully
., R. Erlck!lon, Sound Structure ln MUSIC (Berkeley: Unlver!llty
of C.llfornla Press, 1975), p.12. Erlckson probably means to refer to
fr.qu.ney and/or reglon-b.s.d gestalts when he !lpeaks Di "/I,lodlC
functlon!l" ln tradltlon.l
10 Je J.ppe!len, Counhrpolntr The Pol vphonlC Vocal S\fe of' the
Sptunth C.ntury, transJ<1t1!!d by G. Haydon (EnghwoQd Cllfh, N.J.,:
Prtntlee-Hil1, 1939), p. 99. (the uphaS15 ln the quote 15 cllnel.
Il for lt h<1ve been ea!ller ta hear the scalar flgure
ln th. flrlt orche5tritlon of Flgure 0.2 If lt had ln the pttern
.. il rnult of ulltatlon, or,.,1+ It h.d bIen of !lOIlf! 1II0tlV1C 51gn1flcance
urh., ln th. IaU51C.
London Oecci CS 7034
1:1 ptrsonal eonverutlon wlth Bengt Halllbrtaus, AprIl, 1985.
. .
119
-"
-

..
o
o
VII. Sillulhneous lnt.gratlon ln Polyphonlc I1USlC
1
WEuroplin IIIU51Clans ludt an Itpochii dlSCOyltry At the btqlnnlng of Our
.11lennium thit Itirted Western on ItS cour,e. It Wi'
the dlJCOvery that not only th. but .150 the of
tanlu eould yltld IIUS1C) th. tonlts could not CHY folIo" onl Anothlr
but cpuld aiso sound together . HUSIC prloccupled wlth.
il lt H.re, Itxt@ndlng ltulf froll i 11n. ta li surfact, froll thr.ad
to li wovtn
Tjlllbre and Dissonanci liS Ellirgent Qualltles
The quallhu that wlt attrlbuh to thlng!l oHen rltli,dt froll thl
qualltus of lIore bUlc Itltlunt5 bung COlllblnltd. ThlS 15 A con'ctpt
frequtntly l'lcountltred ln thlt naturai sCllncn, and
but :whlCh /llay unful111ar to mUS1.clins - the concept of e",.rgent QUAllt'f.
ln'thnc., dthouqh both 'hydrogen and oHg.n Ut gUlts that bur;'. th.
qual1tllt5 of l1quldlty, fluldity And noninfiammiblilty eurge from th.
comblnation of two parts hvdrogen and one part oxygen'under certiln conOltlons.
These neH quailtles of the chemlcai compound cal l@d wattr Are not a SI_pli
c:omblnitlon-cri the quallttes of hydrogen and oxyglln t,lken sepolrate!v - thty
holV. bun called Itmergltnt qUilltles !llnc!' thltv seu to "em1!rge" from the
co.blnatlon of baslc elements under certain condltlons.
The audltory panlng prOCe'll5 also lnvolves the glPneritlon of lurgent
qualltles. The .lUdltory system pars!?s the Indlvldu.l Sp!'ctri Of J.parite
sound sourc!'s from acoustlc mixtures by fuslng subslts of partlils wlthln
the totil spectrum of the mlxture. Whetnar or not It arly tif 0
partial! to the sam& tusltd !lubset dlpends upon varlOUJ Klnd5 of patt.rn
relatIons that eXlst between them ind upon the other grouplng rorces that'
are lXert"d on the" by the oth.r sounds ",\thln the total 1111 'f)tur I!. Thus.
th. timbraI qUdlltles that Ifll httal" ln an acoustlc 1I1xtUl"e can OIP conSld.red
120
0. _ '"
2
;.,. ,,'-
; . ..:. \
"UI1CSlns .ro. H.ll .cqu.lnt.d with .nother snvolv.s
th. construction of 1 p.re.ptud IIIIhol., and the gtnlr.tlon of tlll.rgtnt
qudiths, +ro. th. tOllblnahon of illlulhn.ous sounds. ho
o
ton c:an forll a n.w IIIIhol. 'lIhlblting a quallty .hlc:h is .or. than
th. SUI of th. qualitiu ai. th. lndivldual ton.s takln uptlrilhly.
Such qU.llty /ll9ht .150 b. r.gard.d as an IlIlrqtnt W.
upon thil qu.hty to ld.ntlfy h.rllonle lnhrvals, ilnd ta cluufy th.lI"
a
q 0
conlonant or dUlanant. Tond s1lIIUltanlltus built up of ho or lIore of
In thu c:hapt.,. [ l1li111 'llplor. 50111. of th .. IIUSlc:al eontequenc:", of
thlnking of har.onie lnt.rvills and c:hord. as audltory obJlcts
ti.br. struc:tur.s, ar. subJtet ta fUSion or ugregatlon aeeordlng to thelr
Icoultic: eontut. Th. np.ruental rn.areh sUCJguts that uny of the
pUllng prlnclpl.s \fIhleh govern th. grouplng of spectral components apply
or partlals froll more than one harllonl e SirlIS, as 1 n the cISe of
luultan'OUI ton.s ln polyphonie IUS1C. If th. pnnelples t'h.t govern
th. fUllon and ,egregatlon of tlmbrt Itructures (and, th.
lII.r9.nc. of tubr.) .pply .qud1y w.ll to h.rlllonle: lntarul5 and chords,
th. lnltrv.Illc qu.Iltus that w. eall and "dulon.nce" can
, 0
can bt tnhanC:,d or luppresud by eontrolllng th. 'pattlrn of thur ac:oustl"f
conhlCt. 1 h.v. found th"t th. th.ory of audltory Itr,'. ugregHlon-
, , ,
11 partlcul.rly ultful tooi for undtfst.ndlng the control of /1.rllonle
dl.lonanc. ln polyphonie .USIC:.
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o M.a.uring Acqust}e D1s,ontn"
In the parllnc. 0+ I:raditlanal .Ulle th.ory, Jor Ind .lnar candl,
4 Ire call.d -consontnce,-, Ind of th"" tho'l that UI th. ,c:on,ount
(1 , th. unlson, flfth, tnd fourthl Ir. call.d th. perfect"
ii on. of the prlnclples "hlCh Il'S It the core of .usle-theor.tlcll
-'
I:hlnklng of the pa.t Ind present, and lt hls 'Irv.d weIl to d.scrlb.
"
Il: do!. not.l110" u. ta dl.tlngulsh degr,e, of dl.,antne" or to t,ur.
dinonanc. f,or ehord, whleh contun callplu ealllblnitlans of tone lnttrvtll.
acc:urtte lItans of ,urlng dlsSOtancl.
put farward over the 11sl: century, th.r.
' .
Of th. that haVI b n
15 onl WhlCh but rleonc:ll ...
. ' the aUlicologlcal and psyeholcaustlc dltt, and WhlCh do nat pr.IUII.
"
. -
ta av,rnde cultural lurninq. Hel'haIt: th,arU:,d thtt
.;
\, "
the pr.senc, of rapldly butlng 11 the phYUCl1 eorr,lite Ot
1 \
in Western IIUSle, that ItS absenc, 11 th. corr,lat,
, ,
of consonlnc.. S.tt. ar. 1 product of th. lnt.ractlon b.tw n t_o SIIUI-
tln.oy. lound 'uv ... _ 7; 1 show. thlt wh.n tn 8Hz pr.slur .,.IV, .no
7Hl ,1IV" lound suul tauouil y Ilub-audlo fr.qu.ncl Il ftelll tH.
th','1ilultrabon of the pnncl-pll), th.lr .ntrgy IS total.d la thlt 1
suptrern,tn, whou ."pl}tud. 11 th. su. af th plltudn of1th. InOlvldu.!
"nt cr.,ts, 15 for d th. lndlvldu.l erllts eDIOCI'dt. Llkt_ll., Il
"
sailli pal nt 'ln ltS trlvel,
.'
l' trouQh, of
)
r
th. 7Hz w.v.,
; .
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p,nOdlC: fluc:tulhon" b,t. n' th. pe.k in pl1tud. CAUlld 'by th. ... t
"
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the' 'caund by' the cA,nC"llln9"C;. .. t' And trlugh
,
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1 e
1 8 t '
," 1 b .. t .. hlcn occurs At 1 f,r.qu.ncy .. hlCh fs th. dl'UerenC!, be:tween
fr,qult"c!" of th.' t"O pus.ur. ,dv ("9" 7Hz li 1 b.'.t/nc).
t, t i 1 l
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have luited and llralurabi. ,ba'nd'Widthl. Ta account for,hu dlll:Over\/ thl"
, \
ton., are IIlsk.d pr'iurily boy no"e in- th,lr UlII.duti VIC!nlty. h.'
"
a Ulllpiit lIod.} of na!le ln 'lIhlC,h th. ur prac."" the
"
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ton.', frequ.ncy. t\Cc.erdlng te Fletcher',s h'lpothesll, th. hlter PlU.' ,the
\'.
ton. III ln 1 nilrraw band arau'nd:lt, .but: reJIPct, autllde '
thlS inttrvd, WhlCh h. call.d the "critlcal blnd. Fletehlr d.;ln.d the 1
'1
,. '
cntll:al band in purely physicii ,,:erlll, AS lusurt of the hutld
, "
rlngl Ir,ound' InY'Aur. tont 'ftlthln whu:h othl," tonn lnt,der. Ind
lnterlct luth lt. Mor. recli:ltly ;t hu bun th'.t the
,
sour!=e of the crlhcll band 11 probably found ln t'hl flnng
pr'op.rtlls ot n'eurons. Although .. ch of hurll '
\ , 1 Il
neur.ons borderlng the uXlully toi,'t. unqle
une frequency, 'they 'also'reSPol1'l:t,t'o Ilelghborlng fr.quencui "Ith!n
, ' l' 1 l ,
, '1'
liluted ring. of tfllS "centre" fr.'qutncy, and thlS rlnge corrupands. to ,
Fletcher's c:rltlcal band iScharf, 1,9;0, Pathrs'on,: l'9H: 19811. '
, Plollp and
<II
lntegrat.d th.
()
th.t b,utlntJ, lik. IIUkll19" occurs only b,twun tilla purt tonu wholl
'tr.qu.ncus ddfer by lus than i crltlc.l bandwldth, they proved tht
1 l '1
; ,
r
hypothlili th.t harmonlC dissonance IS proportlonal to the lnten.,lt'( ote
!
bubna 0; the partqls of 'Suultaneous "hlCh Ir, clou ,naUaO to
lnttr,ct "lthln 'the cri'ltlcal bind (Ploap & L'VIU, 1905>,
, ,
,,'
,,<
H'utchlSon .n.cf KnopoH 11978> n'.ve dev.IQP.d .1 l'Ouns of
, "
Icaustlc dissonance for h.rllbnl'c lnt,r\/Ils ln polyphonlc, .uuc whlCh II
, , ,
. .
bued' upon the H,l 11h01 -Ple.p/L.vll t' lIood.'1 dncr l.b.d' aoav
Thev h.v. incorporat.d Plollp and L.v.It 's e,qnruenta"t utu'.t .. OT th u.
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of the crltlCll b.nd.$ lnto for.ulae thAt .nable thes"to c:,lc:ulate th,"d.gru
"
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ta th. t')'1.ory, to nur. th.lr Uung HIIS tho, thev arnv" At.,

,
Qf factors" (OF) for dYltlS, wholt ton., have .n' ".ver'ged"
': '
, <Il
sp.ctrll tnv.lbp'. (su Appendu Al. Hutchuon and Knopoff (1979) dinv.
-
"
;/
dillon.nce facto'r, , for chords (1. e., lup.rposl tl ons ,of lIIore 'th.n two tones)
{,
fro. thu table the dusonanc. factors for .11 of the tone, p.lrS
, ,
th.t accur lU thln th., chard, .nd .ul tlpl yi ng th!! su. by 2/N (whl!re N, 1 S
..
quli ta HI. nUllb.r 0+ ton ln the chor), ilcc::ordlng te th. for/Duh:
OF, li. 3 N (OF 1 , .3+ DF 1 N+DF 2. :5 1' DF 2. N+. ',' DF N- 1 l "
, '
g.
(1) DFe ... " ... 2/N(OFc ...... +DFe ct DFIf ct ... > ""
(2) OFc .,u ...... 2/3(,G051+.,02211'.0819) (fro. hblu ln Appendl'x'"A),
(3)' D'Fe .. ,i ...... -2/3 (.1t'>90)'
(4) DF'C4.1f " .... 0720 ' ' ... '
,
Th.V hlVI found in'It thn. caHulatlOn" for both dYilds an:d chords! rnuit
l__
,
ln of d.gr .. , of dl !I!Ionlnc. thilt c:orre!!pond ta dissonance
, ,
,scll1ng thlt has' be.n observed by"mU!!lC theoruts Ind
Ihth th. 'for"ul,u !Jlven by Hutchlson and Knopoff, dissonance factors
can bt cllc.ulat'd for ,any tonal sllDultanuty, and th. rlS. a'nd fal! of
'IC:OU"tU: conson"ne. and dlssonance can be lDeasured ln polyphonic mUSIC
IDAnner,1985>. ".ny of th. IU!l1cal eXiIlIIples ln the chapter Hlil be,
icco,plnied by grl.phll Whlc:h show l'COUltIC d15!lonance measured ln thlS way
lue Figure 7.2, for llIupl.) . 1 1'1111 use the!!!! qraphs only to
, ,
that vIry oft.n th.y de "gt r.flect the deqru of dU50nance he_rd.
Th. prtn'c1ples of Iludltor'y segregatlon'and spectral fUSion
"\ ' , ' , ,
thlt."hlther .coust!C dlssonlln,. trilnllates lnto perCl!ptual dIS50n'ance,lt
" " ( "
"th. su. ,.agn.1tude dep,nd, on th. klnds of pattern relatlons WhlCh
'.lst b.t"e.n th. dlslon.ht ton , other toneS-lrr tne1r acoustlC
cont'lCt.
_ _ _ ____ 4 a
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,Th. Par,Slnq PnncIDl!s ind th. Control of Percllv,d Qu,ounel ln Polyphonie HUIIC
,
A.onq th llllportint flndlngs ta frolll th. study of audltorv
segr,eqatlon l" th. dacovery thlt uqu.ntl.l and u/lultiln.ous
Intenct ;and cOllpete Ifl th one anoth,r to determln. th. p.arung
of icoultle: IIl1xturn (Sregman, 1978a,1978b,19841 Br.gIRan t. P1nk.r, 1"1781.
If 1ft invoke t,he cOllmen m.taphor that relilte'! thl! Interiletton ta that
of tr.nsveru threads stretched on 1 loom, we c.n thlnk of competltlo!,
\
b.h.en the warp (""lodIC) and weft (harmOnlC) dlll.n'lons of ,.lISICU
"texturlt". I1U!llC1inS il longstandlng practlcal aCQualnta'(1c! wlth thll
\
phltnoflenon. Although COlllposers and mUS1C t'hfi!or1sts mav not havI! understooCl
th. roI. th.t th!s competItIon plays ln the general audltory stream-formlng
procus, thelr' awareness of It! eXIstence IS clearlv retlected ln
. .
contrlpuntal theory and praetlc:e. Most prlnclpl!!s of eounterpolnt nave bee"
,xpressed ln terni! of c:onstralnts placed upon m.lodlC (rhythm and Pltchl
progressIon by harmonu: relitlons or Vlcil-v.rsa, and throughout thlt hlstory
of muSIC, one of the lIost Illportant conSideratiOns dlctatlng th"e
vOlc.-leadlng con!ltrunts ha!! been the atOustlc dl!l!>onanct! of the Int.rYill
formed polyphonlc VOIC!S.
1. Harmonlc Sync:hron'V versus MelodIe ProxlIllty
The Idea of controlling dlsson.nce by rlP!ltrtctlng Its patt'r;n
1
w,u ,perhaps hrst npressed !)(pl1cltlv ln the Intltutlonl "!',QJHCIIP
of Gloseffo Zullno (1558/1968). 9y the Slxteenth century, a I\l1pl,
contrapuntal rule had evol'v.d WhlCh th.it horlzont.l forCII oi
ofganl:!.1tlon wore stronger than vertlcal one! at the moun!: 0+ .COustiC
dl.sonanc Zarllno states th.at two pathrn raetors restrlct th. conttxt
, .
of dluonanc! ln slxteenth-cltntury polyphony: dl!l!lon.ant tant!! 11 coyld not
12b
c
c
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,
r
i
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s
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"
,HIC k tootth,r 1 And 2) Nere onl y peruttld 1 f they were approached and
l,ft StgUlntlally by lIutans of croumai tones, no 1I0re than cl 51ngle
scllar Itlp uuy.4 Thll tnutlIIent of dussonance 15 one of the dl5ttngulSh-
1ng ehlncterlstlcs of the Palntnna style" (Jeppe5en, 1927,1939).
Flgur. 7.2 Iho,"" ho .. dissonant plsSlng tone" bath unstressed (Figure 7.2a)
and acclnted (Flgurl' 7.2b), dl!UOnin't nughbour tones (Figure 7.2e), dl5!JOnant
intlclpo1bon, (Flgurtt 7.2d), and suspenSIons (FIgure 7.2e) aIl
"
ta thlS ruls.
When Bregman And Plnk"r (1978) created a 'Sequence ln WhlCh a pure tone
Iltlrnatltd Wlth il COllpl!x tone cOlllpo!Jed of two 'Slilultan!ous pure ton!s,
th.y found that hO.factors Influenced the Integrlty of th!!' complex tone,
Ind the eurgenc! of tUlbre from the muture (reVlew Figure 3.6, pg. 5()J.
o
A 1
C 5 F.2
OSA
0 C
S H T
T A 0.1
1 Il R
C C
E
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Flqur. 7.2 - Th. trutnnt of dusonlnCi ln th. Stylt":
a) pUllnq hm. (Pl, (bl icclnhd pa.llnq ton. OP), (cl n'lghbour ton, (Nl, (dl intlclpitlon (Hl,
.1 IUlpH'lOR (51 .hO'IRq prtpAnhon IPrl Ind ruoluhon (R).
Th. IX .,I .. Ir, .ccolpanlld by graphs sholung th, d.qrll of ilcoushc dl5son.nct Tor uch nUlonle
Intrrvtl COlpUlld Accoroln9 ln th. fOf.uh. of Hutchuon .nd ;:nnpoH
"
"
127
o
When the pure "as close ln frequencv to onl of the partl.l, Ot
the cOClplex tone, the rlch tubre that h.td bun h'e.rd when thl complu ton.
was sounded ln IsolatIon, l'las no longer heard. They reason.d that the
partIal had been qcaptured" Into a s.qulnttal stream wlth th. pur. tont
accordlng ta the proxlmlty heurlstlc, and that due ta thls parslng
It ceased ta contrlbute to the tImbre of the complex tont Slnce th. two
ton!s had been asslqned to separate streams. Howev.r, thtv
found that a second factor seemed to work 'ln OPPO'lltton to th!! filctor of
prOXIllty ln thls experlment. When the partIal, of the complex tone "Ir.
synt:hronous ln attack (on5et) and offset, thls cau5ed the Slmultaneou5 tonu
to reslst the sequentlal capturlng eff!!ct Of the purI! ton!!, and as a
consequence the tImbre emergent from the mIxture was enhancl!d. ConverselY.
when the tone, were desynchronl.ed, thelr reslstance to
segregatIon "as weakened ln proportIon to the degree of a,ynChrony.
8regman ana Plnker reasoned that a sptctral grouplng prlnclple, the
lynchronlClty (or "common fate") prlnclple, "as competlng agalnst a
grouplng prlnclple, th. proxlmlty prlnclple, ln
They also hypotheSI!ed that the 5ynchronlclty prlnclple audltor,
as a useful heurlstlc for decomposlng acoustlc mixtures, since If
partlals attack and/or offset together, chances are that they orlglnate
frOI1l a !Ilngle source, and If they do not, chances ara that th/tir
co-occurrence 15 aCCIdentai and that thev orlglnate frcm separat! sourcIs.
ThIS provldes a sClentlflc foundatlon for the pattern
prlnclples that the slxt.enth-century polyphonlsts emploved to control
ln Figura 7.2, the avold.ncl! of synchrony and the st!!pWlSe
IIotlon of one of the dIssonant VOlces between pOInts of ,ynchronoui
attack wlth the other enables the s.quentlal forces to 'Igr'gate the
128
c
.
u8ultineoui dlSlonlnt tonn frolll one .nother wlthout the r'Slstince of
the vtrtIcllly-blndlng force of synchrony. In thlS contl!xt, the dlssonincn
WhlCh ippe.,. on the IcoustlC dissonance griphs arl! !luppressed, llke tlmbre
ln th xperllIIent p.rforlted by Bregun and Plnker, as i consequence of the
Schl.lnker observed th.1It nIt IS iS If a vacuulI eX15t!1
b.tw n th. d1!lSOnint passlng tone and the statloniry cintus-flrmus tone",6
ind h. ICCUSl.ld oth.r theorl!lts who consldered dIssonant lntervals formed
ln thls l'fay to be 5lgnlflcant perceptual, harllonlc or chordil entlt1es'
(e.g., RliIllUU, Scho.nberg), of "gl4lng at superposltlons".7
In hl5 attempt ta de!lcrlbe the auraI expenence of the suspensIon forlllula
(FIgure 7.2e), Zarl1no refer!l 5peclflcally to the effect of asvnchrony on toe
segregatIon of two tones and the !luppreSSlon of thelr dl!lsonance. Llke the
other dlssonince-types, the !luspenSlon ensures not ooly that the dIssonant tone
11 captured" by proxual pltches both precedlng (preparatlon) and tOllOwlng
It (rllolutlon), but that the atticks .nd offsets of 'the dIssonant tones are
,
Isynchronous. FIgure 7.2e appear!! ln Zirllno's tr.atl5e as an IllustratIon
of suspensIons WhlCh arQ "gracefully done". He remarks that toe 5ubuetv
of th.lr efftct lS due to the asyrrchrony of attack of the dlS50nant tones:
". ticlturnlty IS illld the perCUSSlons attacks that preduce
th. ton.s ind IIIlke thum dlstlngu15hable from one another ln tlme.
The !tar blreoly notlc!!s th1s suspended dIssonance, not be1ng
luff1cuntly stlmul.lt,d by lt to cOllpr.htr'rd It fullv. S1nce there
11 no p.rcusslon synchronous at tac k?, 1 t see,.s wetlk te the ear,
whlch 15 stlmulated by percussions. "li."
Th. sU!lpenuons ln FIgure 7.2e Cin also b-e u!!ed to tllustrate how tne
conv.ntlonal dIstInctIon betw!!en the 'chorda)" and
"non-chordal" dlssonance
lv
recognlzn the Influence of offset synchronv
on th. ver'tlcal coh.rence of dls50nilnt tonu. Th. so-ctliled non-chordai
dlSlonlnc.s, luch il th!t ones +or,..d by the suspensions ln FIgure i.2e.
dlff,r frc. th. chordai dlssonanCt" such i!I thos! shown ln Figures 7.3.
ln thit th.1r r.solutlons do not lnvolve a chang. of htlrllonv. I.e" the
Iync:hronous lIov,.,nt of th. fundall.ntll biSS (Oahihaus, 1973-741.
129
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Fiqurt 7.3 IIhtn tht IIln ind i lent .hlch , duson.nCt ,bon 1 t progrtn t 1.'. 1 cll.nql or
'aif"t
l
) toq.th.r, the d1550nince 15 c.ll.d i 'chordal' dlssonantt.
Z.rllno had that ab501ute prohibition of harmonlC
put unrecl50nable con5tralnt5 on progression.
FurtherlIIore, he and hl! contemporarl8S wlfre not Int.r.sted ln olChl!Vlng
01 pancon!onant style:
"OIS50nanc." although tt"al!y, sound 50nu!what unpl.a!loint standing alon.,
.tre not only but Ictually rt';r!5h and plus. the ear d th.y
art lntroduced \ n il SUl tabl e and 1 alotful q \
They haafound that 50 long as certiun pattern conditions IIIl!t.
dl5sonanc. could create subtIl! harillonlC ten510n bl!tween contrapunt.l V01C.S,
wlthout at th6 sallie tlill. glvlng rlse ta the h.r5h sonorltv aS50clat'0
wlth th, dl!50nanCes heard ln Isolation.
r.stralnt wlth th.se dissonant sonorltll5 by rellxlnq rt5trlctlons on thelr
contlxL Figure shows i s.rll5 of "uS1Ca! ,ollloit! .. nlcn
tx.rapll fy sallie of the bold adV<1nee5 ln the trutlDent of dl550nine! :lltt"!!.n
the slxte.nth century ind the twentlltth century. FIgure 7.5 Cl.sSltleS
th. treatllent of d15s0nolnCe ln eAc:h of these uamples ln t"ru Ot tne
i t ,how,
th.t th. gradu.l " 4lnClpltl on" of dl Slon.nc. on b. tric.d ln t.,.115 "f
these t"O polrslng p,.lnclpl.s.
130

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1111 lit IY hi - IV' y '1
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B)
Or_. Ir hr. - It .oh,
0)
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F, T
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i
Fi9UfI 7.4 - th, IYOlvin9 trtlt.tnt of dlllonanCt frai tht ctntury ta th. tentllth Ctnturyl
al Ptlntrial lUit , .. ",1 ArChUUJul, BmdJctul, .1. 3B-39, lb) I!ontfVlf'dl 115D7-1643),
r. .. rh IrtClhth , tfli, u. 1-3; IcI 91th 11685-1750), Sb "inor FUQU tlilt :>, H. 38-40;
(d' 1 ... 1111 UB33-lB97l, Sy.,hony Mo.J, III, ... 73-75; Il' LUIt 11811-1880), /llphllto IIIIt; 1 Il. H3;
Cf. Scftotnbtr9 11874-19511, Il,',,rztict IOp. 3:AI, ... 10-11.
131
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V O! OFFSET Srahl'
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Y MEITHiR OKSET
.,'0
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01-
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Pallstrlna
lIonttvlrdl
./
AND HPPROACHED OR APPROACHED OR lEFT .trPROACHED ill
LEFT ev sm LiFT SV LEAP SY LEAP (80TH VCS.> LEtT av lE",
I80TH VOlCES) (OHE VOICE) OR t BOTH VO ICES>
APPROACHED AHO lEFT
BV lEAP <OHE
SeQUENTIAL IHTESRATION
FICJur, 7,5 - Thl dl9ree of ptrCllvlfl dlSson.nc! ln !Ach of th. tUlplu ln Figurt 7,A 15 plotttd U
i functlon of the co.p.tltlon b,tM'tn prOll'lty And h.r.onlc ,ynChrony.
FI gure 7."a -' two Dleil!Surt'!S of vocal pol yphony trOIll' th. t!.LU.!.
eabrl!l Archangelus of Palestrina - teatures SIX dissonant tone! wnlch
confor ta Zarll"o s rlgardlng iI.ynchrony and proxlmltv,
Flqurl 7.5 shows that ln th!s IcoustlC cont.xt th. ar.
p.rciptuillly suppruud une! the vtrtlC:al and hOrlzontal parllng
pnnelplfS H' In ilgrl!lI.nt conc.rnlng the allocation of, th, dls.onant
,
ton to s.parate .trUdls. rh. t .... o dllS0naOCfS whlch .pp .. r ln tn.
132
,.
,
1
1
1
'1
ch.nl.a, tlnCI on. of the dissonances (F*3-G4-G2, .ealure 2) lS approaehed
by p, and ln the other (Gi3-A3-A2, m.alure 4) th. dissonant
iont. ar, attacked ln Montev.rdl .xtreis.1 an hlstorleally
for the eonv.ntlon.l manner of Introduclng dissonance provoked eoqbatants
ln th. MArtull controvltrsy" to dlstt.ngu15h the co.posers of thlt Hconda
pr.tt"a ( g.! Monteverdi, Gesualdo, Rore, et il-.) froll those 0; the
pnu prittlCa (e.g., Palntrlna, Zarllno, Itt al.l. The conservatlve
to the .ar . deformatlons of the nature and proprlety of true
h.rllony." .,:
Although the eomposerl of the Hconda prattJCi had relaxltd sOlIIe of
th. prJ pr.ttlci rltstrletlons on the pattern context of dissonance, and
h.d .xpo.td bolder dlssoninc.s as i r.sult, they Mlrl still controlling thlt
Oliionant ton" could now be elther attacked together or approached
, -
lodleally by lup, but th.y IU"1I' not both attaeked togll'ther !lQlL
aHaeked tog.th.r Q!. they could offset together, but not bath. Thes.
-'lth.r/ar-but-not-both" eonstralnts ar. in the organlzatlon oT
th. graph ln Flgur. 7.5. Both th. dlssonane. ln 2 and th.
I&llinc. on th. graph. Only dissonant Intll'rvals WhlCh arR approaehed av
fi
l p ln WhlCh th. ton.s .r. synehronous, such as the F3-Gb4 ln the
133
o
toqeth.r, luch .1 thl and GbS-F4 ln FIgure 7.4(, arl plottld hlghlr
Sdnr ud 5ehachhr (1969) and Ald ... r11 lnd 5ch.ehtlr (1979) explu,n th.t
thl trutllent of, dl Isonanee ln FlC;,ure 7. 4c 1 s the rnuIt of tendeney 1 n
D
.uSlc.l nolutlon tOlOlud contr.punt.l ",11110n" or ilccordlnq
,
to thll VI'", the complex vOle.-leadlng ln FIgure 11
dissonant tones are ail asynchronous .nd .pproach.d by Itep Iccordlng to
Q
the convintlons of the Palestrtna style. Thll expllnltlon ta tost.r
th. b.ll.f th.t certaIn aspects of the aetual such as th. l p to
th. dISS0ninC! and the synchrony of the dIssonant tonu, ar:' IUpt'rflCl.l .
...
But the.study of stream segregatIon ha, shown that the .udltory p.rslng
o
o
luehanl!ll!\ 15 hlghly ,en!lltlve ta the" pattern Cletad" To. proctns Of
Involves radlca11y changlng the acoustlc pattern contlxt at the of
dllsonance ln a way that the dlssonanc., appe.r to b, much 1.sl potlnt
, ,
th.n thty .ctu.lly are.
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Figurt 7.b - Figurt i.4c Cin b. 'dtrlVld frai th. vOlCl-ludlng sholll1 aooyt by th. procH' of contflton.
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134
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In .d of th x .. pb bou, .v.n wh'rI th. di lIonut t'onu .rt ','
. (
.cou.tll: p.H!r_n 3:JJntnt. Even wh.t. both voie.s lup to the diUonim:e .
, ..
Il.u1t.n.ou.ly, as ln th. (Fiqur. 7.4d), stlpWIS' .ot\on
" .'
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Il''.yl rnu d ln the luplng"volce" fol10w1ng the dissonucl, ln ord.,.
. "
"
l
hl.tory, dlsson.nc. h.d bun bound ta th. roi, of ub.!'ll.hi ng .ctinsonaflces "
", . (
..
by connlctlng th 11n or by displlclnq jy
" .
on. Ic.lI,. .bp. But th. end of, th. nin.tunth qntury. ,'ct+ve'
J, f "', , , '1
.xp.rl ntltlon with tonal plti,rns th.t dlssonanc.
, . ,
t .. ! '
, .onorou ntlty WhlCh could Ihnd on lts:'.o'wn, ind.pentf.nt oT c'''nsonan'ce.
, ' "c ., 1 1
j , 1
For, UUpll, Flgure 7.,4. shows th. oP*,nlng . uu,.,.s Llszt 5 11 Itph lSt 0 ,
,t ,
whlt,.. th. puno out tripl'e rhythll luth -aIl oT the
VOIC.' ln synchr,o-ny,,-' Ind wh.re tne tan ,art .up.rlllpos.d one upon another
., 1
\'
'1 .( (
in 1.lpl o.t ISClndlng hfths, up a rlch contalns
, '
.lnt.rlocklng dlUOnt1nt 'nlnths. In thll CA'," ,IH tonn eu sts
Il J ... b.,. of.a ,trong1.y verl:.lcal .s>ohprlty, "!th trOll
> ", , -
, "
<.', ,h13r1'zontal forcIS ln' th.l,. u,.ldu-t. "oustt'e: conttxt.'
< , ' ,
, ,
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, ,
,Th., .tllphl."l1 on v'r'hc.1 li Iven /lora ln FlgUre (.4f,
, .
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phrl" iro. wh.,.. sequ.ntlll
, 6
. '::::. '>,>, forc: .. Ir. co.pl.t.l y' .bsent 1 n the 1 D,cil conttx't tro'u'nd ,"&Ch of
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of hlqhly-colourful Ind -' uch fU5Id to
luth ln nhnt th.lr quallty c:ould.'be dnribld i, NtlllbrtlklP
d

. ,
th.s, dl.sonant sonorltl'S are of .
,
, '.
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IIUIlCIJ I1gnsflclnc. th.n thon he."d in any of the .xiJapln:.,
. '
135 .
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:",' I_rial' r.l.bonsh.1PI bah .. n the lonontlls of tha helva chordl .r.
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of ne" prlnciple that Schoenb.rg _ trylng to
,ln P'1 ',For
1. t. 1'" they r.ad Urt backwuds and for"ar ds (chordlachord 12, 'hord2
a
chordll, .te.1
1
'Al,o
f
,tU th t,he exc:.pt 1 on of chor,d , e.ch chord 1 s pu r.d Wl th .nothlr
, <
conhnt ln hrlll of lntervd contint, chordl-chord2
a
chord12
a
cnordll,
upon the s.ll.nc. 01 the '.Irg.nt qualltlf' of tht"
'hord is they app.ar ln a contr.puntal eont.xt thlt
,
"nhant.s thtlr sonorlty.14
..
Th.' dissonlne ln try. Schoenblrg IXI.plt ar. fully "llva" on the
s.ll.nCt ln Flgur.
.,nc't!'ronlclty prlnC:lplu ar. ln .gr ... ent sonc.rnlng thl ullgnlllnt of
th_ li.ultanlous dlSlon.nt tonas to fusad splctr.l graups, th. IcoustlC
\ '
dl.sonanee gr.ph ben'ith the .x pl. ln Flgur. 7 f prob.bly lecurltaly
th. d'gr of dlslonanet h rd. At the OPPO!lt. and of the
'p.r.ceptu.l ullence Ic.le, 'the ln the p.l trlna tIIl.ple Irt
,
qUit. "de.d" ln p.rC.ptlOn. proXl.\t y .nd prlnClpl.s Ir.
in .gr ot 15 w.11, but thls tl.' bath flvour th. af th.
dlsson.nt ton.s to s.parlt. ludltory ,tr"." In thls els., th. st p
ln th. ICOUltlC dlssonane. gr.ph do ln Iny May
exp.rlenc. of aUSlC.
.
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136
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Johlnn Phil1pp th.
1\ ,1
" " 't,ti.:'t b.q'ln ... j'g'r-tll,Ath crut. a sen es of fou.r Vit; " '
, "r 1"'0 "i' ; ,. ,l' t ;" ,
'dinouncu ,(Fl:qUre', "
C,', '1' 1 l,,')'I:. l', l' ,! ,1... '"
luch plIUqls accur occulonllly 'ln 'pol:yphonlc JlUsi.c, In',dju,y b,t,
, (\ ' l,:,:, er' 1 (
1 ',I
ptr.lthd by th. st:ud.nt' of counhrpol'nf 'lf are Ml:th ,cautior,: . '
'., 1 t
l
\:, : I, e <
-Althouqh four SU;CUSIV'cI! nohs Irll duson.nt. her., lt: (stillJ: , ,,:" ,',:
, l , 1 l ''1,1' , ,
tollrabh becl!Ju"of sp d .Ind,the l1ght IUlody,;;;' .
but ln 'loN.r thu l>I,ould be, i'tttohribl. , ,', J,'S. ",as' ':'
.ost v.nturilo "l\n s' r;spect ',. " '." , " ,
1 1 t
, kHnb'r'ge,;' , ...... t l y d 1 tUS 'bi'; 50' ql..l1 C k) y', th .. t
\ t ' (t J , .'
,.
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th . Ilr ",.pl y, ,dOIS n'ct. hlve' tu. to gr'asp ttlem., 'Vet lut Ir. nQt ,1 ve
,1 I, 'I, 'h' '1 1 l'i:
to .. 'oth.I",' 'tn.af 't thts l'S' ,
l ' I," r ' .' 'l, " 1
'1,' ,',', l ' 1 t 1 ';
p'r'ha.ps b*.r' by! ln, to on ", '
l '\ "t " , l ' ' , ; ", ' J' l, t , ,
hl. of ., alobon pl'dur' urtoon., ,'thlt,<c:al"toon,lIt "rypws t'hat n .... 11 il
, f pl ,l,' \ "'1 ' , ..
1 ( "L " , '1 ,/ ( " 1 \ , " ' , ""
th. Ipul...at' .. th . Ir'"pru.nhd. th, 'prO'lCill,lty 'of, llUges on,:
, \ 1 \ ,'< \:) 1 \ " " ': l' ' ,- "1 ' , ," l '1 1 : ,
" an:q tr.j.,ctorus' 'o'n., a
l' " ".,' ': 1 1 : ,1 " r, , : ! ;," ' , 1 " 'l, ' t t t,
of thr Dr, .pr., ontrlbt. to the'llluSlon' 0'1 motion
, \ t l' 1 ,
1 < '(" \ (\
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h
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:. : (A) B .' , f !. ," " (C) :.:
".q! j' l,JA ' ,f: '.,C t, "jfm\ng " :i: "
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$' a
? E r gr .' 'w"wtJ#E, 2:
.4 "l '. 7 , k7, "l ' 6-"" 05 ',- ;4, i': ' . :
F\qllrt 7.7 - lIelodlt COI\lIrI th. oi', th. tour' al 'UllY 'in' h rd ',n ,.'1,'," , ' '"
ta of th. SI ln , long' hn r cl. ',' '
ta) ant'ltl th. prolulty Qf ttt.,tQIIIS,)S 'q.Vilhllt,';' , ' , " ,,' i " ,':
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1\-" ,cl?h.r.ncl! of anlll.hd obJ.cts (8r'9 .. n Sr Hill" 1982>' In an wlV.
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".tttie proxluty of th. tenu and th. s.ooth, fr.quenc:y t ot" tt). sc:.llt'
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l'
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(K1rn'b.rqltr's "llqht /:oltprehen!tlbl. uladus") ln Flgur. 7.7b aho contrlbutl!
"\ ,
to 'th. llluSlon of conhnulty and. th." c:oh'rlnce of th. a4dltor'y stru.':,
, ,
Rue<lrth .,organl:ahon hu dlflonstrated th.'t traJtctorv can
! 1 '
influ.nce "gY!ntul gr'ouping ln SOU,ClrcuutAncn (Chapt.r 3. Pg. 0"1.
,
9u,t Ste,lqer' and' '(19811 found th.at not, v.'pH wh.th'er 'or
not"uquenttil' cuts <1r. ',uHlclint te' capture 'ellCllents out oT
1 1 1 "
1 \ '
organu10ti l'then th.y cOIII!?te wlth sp!ctral grouplng cu .,
1 ( \ {
1 n,
a'COUI'tl,C lIIt'xturl.' (,reYle", Fl,gurlt :3.1'3, pg: 05). Thu 11 surprlslng unCI' ,
, ,', , l '
'Fi'gur", 1. 7b ta duonstratl! v.ry slmply ",ooth tr'Qu.ney
" ,4:P
',trAledarl" can centnbute te the of (Ilssonlnc. ln lIuS\'c.l
" '
1 1 l'
LI,',
. ,,,
'1 " '
',7. 1a)"l four: VI dls'sonanC,15 .ond lIIuth 1151 "harth" :;'
, '
" , iJ
" ublfdd.d' ln long traJ:ctcrus ln Figure 7.7b. 'DUPl't1 the
, l ,
l' '
, '
"
,
, <:'" , ',Iynchrony Ilf}he 'tonu" then' ir' .fhctlv.ly "duelen.d" ln
t th.y of l,l'Ule h.arlftonic and the ,c,,1
, l" 1
,
1
''t'
"
"
, '
r
l, 1
; ,
1
\ l' 1
\ ,
" '
"
"
( ,
,
,
,
,\
"
, \
, "
,
1
,
" '

, '
"
to prllcud 1<11 thqut.' rlgard for thu. The tOllblned aff.ct,s of "
'( , t 1 \ \. t
.. pr:oPUD,lt,y ln the
, L 1 \ j t
s'l'ncprony, ;hl tclnu rUI st vertical 9r,QUplnq, 'an
<' 'I '. l , t ' L, ,1 f t LI' 1 t
" i! r t 1 _ \' ,t
, "
thil,t ,is,ab"""ld'evln at 510" te"Ol, thouqh ta. luur. Utlnt.
, \: " " 1
"llnCl tQ'the of
, ,
, "
, "
,
, '
tr .. Fig'ure t'.ie ,h""I,th. tr\Je erxtent tlf tlHI tr.J.ctarv
t l, ,': 1 l, 1 1 , l , '1 ' '1 " , ' " ,l', , \
, ,
, ' ,'fhet by l'l'duC:lnq t-h., ,lnflulnce of pr.OXlIIuty on th paqlng Dt. ,thl
l'", ( , ' l, ' , \
,thtt, :a'ltr du'tanci bet\06un e fll'Ul
l' ,\ 1 1
" '; l' , ,
" 'in 7.7a i,.7c, thl traJtetory pn'nC:lpll '"lou',ecounts ,th."
< ' , , 1
of d . t'hat-\. exp,rlltne.d in Flgur, i.7c.
1'1 \, " '
, " l,'
\ '
: ,\
, ,
"
l, '
, ,
, ,
138
l".
, \
" "
, "
,,'
l, .. ,
'\ , i', 1'1
, ,
\'
"
, '
\ ,
\'
, ,
, '
, ,
\
, .
, ,
, ,
l
, ,
l ,
l' (/
,1
1 .,', '1
,'I l " / ,..
'fJ9Y";' sholt' I,cares, this'bu ln pardlel luths
1 " ,
l ' ,
an ac:tull cOIlPoii t1 cOt\hxL 'th.h puuqe from' 'the
6pldb,rq V!rutlgns 11 one of the IUn,y Instances ln !Chichi ,ta
r , 1 t
\, '
Kl,,.nb.Tg.r,, J.S. 8t1c:h HU "IIOst vltnturne ln thl! rlnpecV. In relatIon
1
: ta, FI9,uU 1'. ,the addihon of the!' parallel '!uxths o1Od thlrds ln FigUre!"
7.8 .hould aCQUitte dUlon.ncl!!I th.t: U1S1! b:eheen the two'
ICI1.s. ,But the,',ur 1 eS of, dl non,.nt uchords" thtlt occupy the sec?nd
t '
, ,
but of 7.a Irl no tiare th.n the dUlonant lnterval'!I 'iO
l , l , 1 1
Flqur. 7,7b . ln ,bath tne harllonlC!I of the dU,sanint
',ton , thlt would 'beat: vlgoroully If the,tann were sounded slI1Iultaneou'sly'
, ,
sn llohh,on, t,a one tlnoth.r, tlvoldng lnt.ractlon !Slnee:
t'h. auditor,y system nllgn. thu te separilte' ind sHong'l y coheren,t
IIqu.ntul str"lu.
, ,
'.
Flqr,7.8-J,
'fi: As Nt llsten to FIgure 7,8, the dlS50nant that eXlst's betweerJ.
, .
tO'n" ln th!! tlcoustlc realm 15 "dlscarded" from th .. mlXture
{
durlng the audItory ,dI!COmp0'51,tion protus. Figure 7.9 ,show'$ that thlS
phtna.enon 15 not ta audItIon. The upper half, of the figure
Iho",. t"O forlllS: forla X, a 501ll!!Hhat 1ncomplet!! squar!! shape, and ':orlll T
"hlCh rl'5ubl.!I "C". If onl! slde of the square shape 15
-- .-"
clptured lnto a Urles. of vertical 11nl$ WhlCh follow a c:ontlnuous
139,
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",
..
,
"l
',0
, "
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9,
,
, '
, ,
,0
:s
,
trlhctory li ln for. I, the slde no longtr,c:ontrlbut., te th. .... ' ind,
,1 '
, ,
,iri.tud" the driulln,9 lS Slin as .. 'C' i serlls of hnu ,lt.,
In thls c;ue, the Qsquuenttss", llkt! tll1,bre ln FIgure 3.0 and
d'I,lIonance ln FIgure i.B, uy be r-.gardttd H an eurgent QUilJlty that 11
.. S 1 fiotl0n pi,c:ture sequenee over bile lt would repre'5ent.ln even bettllr
, ,
x
y
, ,
, '
t " '
,1
, '
f, '1
\ '
z
, "
,1
,,1
l'
7.9 A trllKtory Ifhd ln vUIOnt 1; on. \141 of th. 'QUlrt shapi Ifor. " Clpturttl lnto i nrui
of ytrhul lInu .IIHh hn ... cDnhnuoul trlJ.ctory (for. Z) 1 th. 1ldl no lon9.r contnbutn ta
th. nlrq.nt 'QUlrln'5I, In,tlld, thl dr.l.1ng Il .. n ... 'C' shlP' '" ln iar. i" _1 th
"'111 of lln" croulng LL
140
c
V.rtl cil 1 i n. gr.du.11 y lIove, upw.rd ind t 0 the r 1 ght, acros, th!! scr!!!!n.
At the II1dpolnt of Its travel lt ,",ould be JOlned, for a few fraCRes! by the
C-llke forlll, 50 that the tHO together lIIoentarlly form a square (fortll X,
Il .. ould be seen lf thesE! frarae, 101er!! vlewed ln l501atIon). However, ln
n.l th,r the st 111 nor the Ilot 1 on-plCture pre5entatlon 15 1 t 11 kel y that
the nu ve observer HOU l d have grouped the ver t l cal Il ne ... 1 th the "C" to
" ,
perc'l"'e a sqUire. Such a forlll 15 dl!!iCarded by perception as an accldental '
"c:t'l1merlC" by-produc:t of the Interachon of tHO coherent obJects. l7
The bold ge5tures ln Figure5 7.4c and 7.4d may also be soHened
by the traJectory effect. In both cases, the dIssonant ton!!s Inlb ate

lIIooth contrAr.,lf-motlon traJectones, WhlCh, ln retrospect,lCl moly
urv. te suppres5 thelr d15!lonance ln perceptlon. The vOlce-leadlng
) n FI gurlf!5 7. 4e and 7.6 mlght be con51 dered a precedent for what
the German! calI Kontrapunkt" (" rec klu5 counterpolnt"l,
/,
1 .1
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,. ...
, ,.
,. ',.
.. ....
..
..1 _ .,..
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1 VI T
'-'
-...... t.-- --..L 1
il I_...J-A-

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) .. .. ., .... -.or ....
,
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1.1..... .-1 1 1 1
' .... ...1
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7.10 - 'R.ckl." Ccuntrrpclnt': Fourth String Quartet, IY, l. 3i-40.
141 '
2
o
\
\
'Irly tw.ntleth cent ury WhlCh horizontal ISp.ct of
plrt-wrltlng and to tak. llttl. aeeount of harmonie cOMbln.tlans.
For exaMple, the foyrth String Duartet of 9,11 9artk 11 vlrtuilly i study
in th. of traJeetory and "reekl,sl count.rpolnt
M
ln polyphony.
Figur. 7.10 shows a typlcal passage where, although other"l!' unconstrilnld,
dissonances 6ccur only betw.en contrary-aotlon triJeetorl".
The above show that iccordinjLto the traJectory prlnclpll,
whln a VOlee produee5 contlnUOU! changes ln frequency 50 th.t It,
lin r contlnuation beeo.eg pr.dlctabl8, a notable lncre.s. ln th.
",.intilns a contlnuous ,ta'l' ln frlquency, or i fiat traJectory.
,
1 J):J JJJ jjj III 1
1 1 1 1 1 1
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e: e: , .... le: , .. 1:.1"
v Il
i vu
IlO
1 Y YI 0 "vu 0 V 1 7 V 1 Vi V
7
IV


L ____
tonic ptd&l --------------------------------------------------------------.--------
Fiqur. 7.11 - HarlOnlc An&lyS1S of Brlhl., Sylpbqny tl, l, '1. 1-10, ,ho.ln9 haraonlc progr,sslon
slqrlqlttd th. Itatle tonlc ton
In FI9!tf-1 7.11, tlT. bats VOIC' blglnl .li 1 chard u.btr, but Ilnci lt
cont1nU'1 to De .nchorld to on. pltch Kh11. the oth.r VOlces progr.tl
abo .... it, lt li percltptu.l1y ItrlPPld iW.y fro. the othtr tonn ln the;,
.ilctur The .ost .pproprlltlt h.r.onlc anllysil of p.t-agu lnvolvlng
p.dll ton.s dlsr.g.rdl thl lnt.rvili for.ed b.tK n th. pedll ton nd
()
142
(
v
(
(.ee .nllY'll benlath the Itave ln Figure 7.11),
If the str.ngth of s.gregatlon II ln proportion to the
of proxl.lty .nd trajectory Nh.n they do.inat. over the spectral grouping
>
then th. pldal ton. should r.51st vertical grouplng than
Any other contr.punta1 stre foreatlon. HON,ver, although the .coustlC
di onance. b.t.l.n the pedal ton! .nd the chard, ln F1gure 7.11 are
.uppr d, th.y Ile. ta glve ri" ta ore h.rmonlC ten'lon than Ilght be
.xpected. Thil 81ght be expI'lnld wlth th. hllp of anoth.r vlsu.l an.logy.
c
b)
c
A
A
B ______________________ _
o F
,1
Fiqur. 7.12 - th. diltanc. blt-..n point C an lin. A ,and pOint 0 on lin. B II 4r.,tlr th,n th. dlstanc.
b.tlftft point E on lin. A and pOlnt F on 11n. 8'ln bath (a) ind lb), but th. lctUII
proportion of the diltanCtl 11 JUCh lOri IIIIlY:Judqtd corrtctly ln lb).
,.lation b.t_Ien pal nt. on tHO lin whln one of the 11nls 11 str'lght
and horlzontll (co.plr. Figure 7.12a ta Figure 7.12bl, the e., s
bett.r able ta He.r the rll. and fall of dl.sonant tension and
143
"
o
o
o
,.quentlal NhlCh r"lsts the vertical grouplnQ of dillon.nt ton'I,
to their context.
Ti itself Gay be another factor ln th. parslng of so. of th.
ov., tlIQ. In aIl of the expertvnt, th.t tnvolvtd the r'Pld recYCllnQ of
v.ry short tonal pattern lt Kas notlced that segreg.tlon efftct,
r.petltion Itself contrlbuted to str legregatlon. 1!978b)

hypoth'Slzed that thll probably due ta an ,vldence-galherlng"
... hich .cculllul.tes eVldence for .. org.nlzitlon over tille, 1.'., th.t
,egreg.tlon lncr over tIlle Sincl lor. ,vldenc. for str.a. org.nlzatlon
15 .llOKtd to accu.ulile (r,vIIK pagn 68-70). The Influence of the
'cal ln FIgur.s 7.7b and 7.8 .re played backward, sa that th. har.onlc
dilionances occur at th. slcond, thlrd, fourth, and flfth lnterv.l,
,
rath.r than at the fQurth, flfth, 11xth, and s'venth lnterv.ls of the
dilionant interv.ll. Lik.WII., th. r,pe.tlng p.d.l ton. In Flgur. 7.11
s ta strlp I ... ay fro. th. chard. Incre lng1y over tl.e. Th. long.r th.
144
c
l'
7
Whln a short tonal pattern 11 repetltlvely ln polyphonlc _USle
lt 11 ealled an "oltlnato". When oatlnat1 pers1st over tlme, they slem ta
.ct very /luch llke pedal toneS-ln Dusleal texture:
ln Itself 15 not necessarlly a means of lncreaslng movement;
fr.qUlntly, ev.n Nlth hlghly lIotlves It aets as a dammlng
or factor Through repetltlon, an entlre melodlc unIt
bleoses stable, ln splte of lts own IIOV&lIent. That 15, li acts,
ln prtnClple, no dlfftrently frOID one repeated pedal tone."'?
The obstlnatt! repetttlon of the same lIe10die unit, from whleh the
4 '
oltlnatq derlves lts name, al50 seems iD eontrlbute to the
segregation of slmultiineous tones ln polyphony. Fox (1948) thought
of ostuato as a spllclal contrapuntal devlC! "prepares" an
'"
Intlre elodlc unit, .nd thereby "captures" ItS notes frOID vertical
lntlgr.ltlon:
"A prvpared ostlnato, some or aIl of the notes of WhlCh may confllct"
h.r.onleally wlth the other VOlces, 15 the elearest example ln /lodern
.Ulle of a prepared lIelodlc unit .. If a short or long, 15
r.puted \11I1udutely, even only once, It uy be segregated as an
Ilne agalnst other VOlces. If a repeated may be
r.qardtd as h.vlng th1s Ilnear lt lS but a step to
11nur 1ndependenc:e of a lIIelody through sequence or l/lI1tatlon ...
If th1' prlnclpl. were lt would mean tnat any melodlC
iln. tlPpear agalnst any other, tf one of these \5 preparee b'l
!
' ..... " t "
Sllllp 1 rtrpetl Ion, sequenc" or lIutatl0n.":
o
Co.pos.r, ln the tarly century facllltated thelr experlments
Nlth n.o-tonalltles by uSlng ostlnato ln th15 way. They d15covered that
th. oltlnato could b. explolted a, a means of lncorporatlng part-wrltlng
bodylng hlgh levels of icoustlC dissonance, wltnout exce,5lvely narsn
rnults. For exupll, F1gurlt 7.13 showlI a tYPHal passige of "polyostlnato"
h .... 0lt1n.tl ln aIl Valets> taken from the rourth String Quartat of
'Sil. e.rt6k - anoth.r .x ple of rec:klesi counterpolnt".
,
-""
o
o
o
Fi qurt 7.13 - Bidek: FOlJrth 5lrtrg Quarttt 1 i, u. 14-\ 9.
c:o.putrr-based liboratory olt I1c6111 (Figure 7.14> duonHriitu Chis ttrect
out of phase one another, reckle"ly cr'itlnq a constantly cnanqlnq
\
MS ane ll,tens to the pattern, the
\
Qstlnitl ,eem to mtgrilte ilway from one another if ter il tew 10
.s to mlnlmlze the harmon1e percept bltween ,ensl or consonilnCe
and dl5!Onanc:e or of virytng ttn!l10n frotJ one lnt.rval tO
n-.xt, '''th,lt (Ilqht have been experlenced ln the hrst rl!w rep.tl':.lons,
dlsapP.irs progrl5s1vely over !Ub5eQuent repetltlons.==
FilJUl't 7.14 - hoput pal yostlnato IH1tr, th. oltlnitl ir Idull y .cv. ln and out ai pllill w, th lnotlltr.
Any SIRIt of consonance iIId dusonant. of Yirytnq hlrlOlIlC trnS1QII iro. on . Intrrvil :0 tri.
nnt, thlt Ilqht hne bttn .. "truncrd ln th. hrst ,ft '111ft! hons, 01 UOII"" pr6qrnl1 v,l v
o'Wu \ubnqullli 'I1I.tl h DIIS.
140
.'
,.
c
c
4. P.r'l1el Hotton: Tonal and Real
.enSltlve to p,r.ll,l changes ln ,fr.quency bat",een !S1G1ult,neouI tann.
He found that when two tones ch,nged frequency ln parallel the
.udltory system tended te fuse the_ lnto a sIngle ".udltory Image" (revrew
piges 52-bv). HCMdams re.soned that the prlnclple of parallel
the audltory system a5 il useful heurIstlc for decomposlng acoustlC
Slnce spectral partlals ar151ng from a Ilngle source undergo parallel
ch.nges ln frequency .5 the fundamental vibratIon rate of the source moves
up or down. Further by Bregman and Doehong (L' '4) demonstrated
th.t thl! effect 15 tlreclally If the parallel tone5 maIntaIn Slmpie
i '
h,rmonlc riltlO! tn(lJughout theH trilvlPl (revlew FIgure :;.12, page 031.
Accordlngly, parailei perfect conlonances ithe lntervals formed bv the
Ilmplest harmonie rattos). charaeterlstlc of the malt of
were avolded ln Western /lU51C from tne slxteenth century ta
the end of the nlneteenth century. The ratlonale generally glven for tnls
prlnclpl. wa! that "If two vOlces move ln parallel octaves or fliths, the
,ar tends ta r!!CelVe the ImpreSSion thilt a vOlce has dropped out (l.e.,
ttiat th. t ... o VOIC!!!, have fused lnto one], and tne feelIng Ot' reai
'counterpolnt Il lost".:::4
"
For the compo!ers of the cO/lmon-practlce
p,rlOd, the m'lntenlnc!! of polyphonlc lndependencl!, 11ke the suppresllon of
dllson.nCI, h.d baen an aesthetlc prlorlty.
Paralltl motIon can also play an Important role ln the dialogue
bet ... "n qrouplng "forces" wlthln a totill mixture. Vertical grouplng
)
f.ctor. compete Klth ethlr vertical grouplng factors, as weil ill wlth
,\, i
horIzontal on", ln the parllng proceS5. For Instance, accordlng to the
prlnClpl, of beionglngnesl, If tHO tones are movlng ln parailel motion,
14i
o
. ,
o
of botn of the tones to qrouplng other sl.ultan.ous sounds.
Thu princlple can be lllu,trated ln some of th u'lcal .)C . pl ttu.t.
'-,
hue bu" ducuned ln, thu ch.pt .... For '111111"1., when pardl.l luttl,' ','
""re added' ta the Icaln ln F1Qura 7.7b \Flgurl 7.S} 1 lnst $l of,
JnhnufYlng th. dusonances Cu th.y do acoustlC:allyl ,th.v sund ta
to th.lr - th. wlthln-strt.m conlonanc,s OVI ..
, ."
th. between-:;treu dlssoniflces ln th. Plr-ptual descrlptlon th.
l 1 . .
Llkewls., togeth.r Itlth.fh. traJ.ctory prlnclpl., the
"
also h.lps to expl.un Sach 1 l1b.ral frutunt of dl5!Onanct
ln the Sl!cond ,lIIeallure of, Figure In terms of th. norms of &.aroqui
h ... flony, the treatment of dlssonance ln thl'! nlenure seem!! .. bit 'rtcklll'
.t ftrst gl ance. But the eHet of the vOHe-Ieadl ng 15 underHood
ln t .... 5 of the prlnClP!es of- audltory stream segregatIon. 80th the SlIooth
cont .. ary-motlon traJectorles betlfeen the dissonant VOlces, and ttH! fat
th.t the bas5 and soprano vOlces ln parallel con50nance5,
contrlbut! to the segregation of bath of these from tn, d1s!onant
(and synchronous) tenor YOlce. The Sim. prlnclple .ppll!!! ln FIgure 7.40
whtr! the upper tif 0 VOlces progr!55 ln parall.l lmperfect canton.nce,.
ln ,111 of the examples above, parallel lIIotlon 15 utabillntO over a
"-
senes of-four or pirallel Intervals. But ther. lIIay be a ,uotl" 'tf.ct
.,ven when the auddory sy,t!Q d.tacts paralll!!l (Jatlon ove,. the lunlllluAl of
two consecutlv, intervals. Schoenberg clalmed that .Ighteenth-c.nturv
theorlst5 obJected to Mozart, US! of unprepared and nlghlv dissonant
"chards" ,uch as the one thit fa ""rit.s olt measur. of the 'qreat' G-lIlnor
..
Sytllphony (Flgurt 7.15 .. Llkt the oorutl'Vlt rnoluUon of trie chuonant
chllln15hed-sllventh chard (FIgure 7.15bl, th. ruolutlon of tnlS "::nord"
lnvolves t ... o Illpllrfect onsonanc.s wMlen move ln contIarY-llIotlon
ta one anoth.r so th.at th. dl Slonane.5 oecur betwlttn consonant ,treu".
146
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"
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,',
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Il
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O. 1

F
.-
F , f
TIlle
,
JUIE
" fi91lrl 7.1S - Il lIourt SYlllhony 140 in S,lnor IX. 550), 1, lSO IrlductJon of IIariony ln lund choirl,
,\, bl nora.Uv. rlSoluhon of th. d1llnuh.d-nvlntb chord.
In p.ral1.1 1I0b on, I!I 1 ri uqul!ncl!, and at lugal and Ull htl Vf!!!
.ntrl'I, we ca,,' c1uslfy relatlonshlps between sets of tones as "reil!" or
'tonal" Iccordlng ta whl!ther !!xact lntervil, are IUlntuned -betw!!l!!n thu
(rul) or lf /IIodlflclltlons ar .. /Dade to conforlll te the structure of il
parbcular scale Itonal). An !!xclrpt frolll Richard Strauss s cOlllc-opera
Dr' ROHDklva lur III ustratn rul pu,ll el '",otl on i FI gur!' 7. l) ,:6._
.h.,u. III of th ..... pl .. of parall.l .o'tlon l1IU1t":)"1
parall.l lIot'lon \I.g., -10,+10,.+10,-10 between" the outer VOlets ln
7.4c),' Although It has never bun dlrectly tnted ln the l.boratory, one
wQuld .XPIC't rul parailel lIIotlon te yll!ld stronger fUSion because. thls
-- -
lort ch !lobon 1II11111:S th\! natural 51tuatlon wh,r, ill of th. harrlonlcs
chlnQe ln an uactly proportlon.1 wly wh.n thl! pltch of ln acoultte: soure:e
.OV'I up and down. l'''egirds parallel lIIotlon, thl' sugguts th.a the
IItPOsltlon of iny tonal sCil. don to the iudltory world IIh.t a warpeo
.\rror (or 1 p.lr of spectacles III th Ifirp.d lensu) don to the Vl suai
149
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1. e. , 1t 1Qto th, 'llld of
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Fiqll!" 7.1.6 - Richird Str.uUl Ros'nkivdur, Act Il, 1 263-264.
For e)juple, Flgur. 7.1&, ln FI IUJor, shows .. dO.ln.ant four-twa
pechl chard" lustu ne( 1 n the 1 a ... lr" rlgi ster undl!, a ur Ils of Il qht
triads ln thl URper Wh1ch nec:llssar11y pus through non-}c.v tonll
,,' unel they progrus ln r l pudlel "lIohon. Th. chord on wn1cn
-.---
thl urles of chords ev.ntuall y corau t.o rllt 1 n ,..uurl 2Jol servit bath ..
ln the ser1.S of piraJl.l-motl?" chords and 15 a r.tu,.n ta tn.
.and th. prevuling llirlllony of the 10"'lr r.gut.r chard, \luth Mt'llh It tuill.
Although the sp.ctra of th. luperl_PQI.d chords perm t nd Intlrpln.trat,
. .
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ptrctuved llkl sol1d obJ'cts. Th.y "" lIIIp.rraeaoll to th. "hcts 0+ tnl

chard ln 'the 10,.er r.gut.r, 11nC. th. verttc'il that ,rtlt Oltwlin
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the., anl ar. by th. Audltory
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of b.lonqlngnnl. ln th. ,.ffect:of
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Despit. the h08'orllythllic synchr,ony pf vou;',. in exatiple, -al,
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plrlll.l .otian'and slI1Iple contrir.Y-liotlon ta' .
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one Inoth.r, Nlth the rnult that the withln-stl"eilCII <ilrl! enhanced,.
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and tht b'th dusontrlc:n arol <the .1'!lt'tlln-';,trealll. ," ,
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harllon1.C:lty (1 , consonance)' Hself to' coherence
,ir.'lms)
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c:iau1fubI'e '. 'th.y' are sufh<:'antlv"
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parhcular appt.rances, HIe!1r l.nd1vtdual. regl!Stratlon,. all13 cla"sihc:at\On".=7'
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HOM can MI, appr'ox lIIah the deqr'u of ,per:C:l!l:,-:ed\ ln
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pltt,rn ln a MI"Y that rl!flects the psyC:hoacousbc data? Flr!5t of
'. 01 , ,'.
ail,
1 t i s n'C:lIsy to pl Dt the ri se al'ld 'fan OT .coust1 c dU50nalJCe.
l' , \ 1 l \
Th. upper curve (Fion the' acoushc grap'h 'beloMi t". ',cDre '11'.'- ,
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Figur. 7.17 plots l 'SI'r.US of dusonilnc:e fictors IOIhHh are III
l' \'
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If th. slX-note I1l11u!tan.lties ... re tohtly fU$ld; i..f.,'lL1S plott.d 'Dy
, ( \ 1 1 "
flndlnq th. dIssonance hctors- for th. u)(-note !'chDrds., An'oth.r curve
l ," '. 1
,
(SI cln bt plotttd. shw1'ng il nras o'f f,actors WhlCh "
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cllcul&t'd il lf the ,scrun . Ntrl' totally,ugrtg.hd; 1.,;,,by SU!" .. lng
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th. dillonanc. factors 'Of the 5trun t,.aktn lndeptndently 'tor,
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,chord 1: su .. of. the .. GT .. (.2592),"
and th. dU'Dn.net futor for the trad B4-1>15-Fi5 (.04333\)' a .30253:
,l,
rtvu. pq. 125 for cOllputatlons). Fro. th.s. ho curyis on. c:in spleul At. "
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'FiqW'. 7.17,:, Ih,lhll,Schu'I", Thr .... ScorrS.t ,for puna solo, 11, ." p!ottto
an lh. graph btnllth the SCDr. fil thr .... n: F plDt. "OliltH dlUounc. hctbr:.f for tilt
Curve- S plots' til . su. of th.' 'COUltte dlSJQn.nu f,(lf' th.
Itr .... t.klf! lnd.ptnd'ently; .nd Curve P IPprou tllJ th. p.rctlvtd dlnonlnCi th.t ('.luH, wh,"
th. Itr ..... for.lnq IKhlnlsl 'orq.nuu thu pattern. ' , ,
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bout perc,el'Ved 'd1$so'nit!)ce curve iPi Ifhu::h ,reflects, t'he degree of dissonance
IS actuitlly hurd ",hen the Ptrcl!P'tal !ltrull-fortling lDechanlSIII organl:e!l
thu, p.ttern. Actordl ng ta the theory of' 'udltory streill segregatl on, ,
,
the 'Ille ,ynchronous tonu ln the flrst chard 5hould be hlghly' fused, but as
\ , 1
, th t, .';ditary strUIII conteKt bullds up, ugregatl.an 1ncruses. This 15 Sl\OW"
, , ,
, '
: by' WhlCh ,begl11! to the F-curve (at chord 1), but wiuch
.' , t ':l
'falls'off ta approach the S:'curve u the context,bul1d's up.
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Ch9rd SOn!)r1tv and 'Chard Fynctan: Perceqtual Rulu and Syntactlc Rule!
Throughout. the hlstary' of GlUSlC, the ways ln Whlch l'II! have deflned
haVI :alw.y, been .luent"l to our conceptlon of harlIIonY. Theorl!ts
have that ln our experlence or muslC, Just any
, ' 'Q ,
0+ ulI\lltaneous ton:u',sl1ced f,.,ol1l the f10w of acoust1c t1me 15 worthv
of' t hf l it bel ., ch 0 rd", n th it t th If r I!'f 0 r eth e l'li 0 st' su p e r ft Cl a 1 de t l,n 1 t 1 on -
, '
, .' "the, slIlIultan.O\u 50und1ng of two or more tOflas";:!! - falls to acc:ount for
, "
1 1 \,
the 10?t lilportant aspects Of chordal But th!y have not been
.01.,to agrlll! upon a lIlore exactlng deflnltlon of the term.
In tIIany "uys.
,th. problem cf seguntatlon ,- deterunlng /lus1c:al unlts of a compOSitIon
ar, to bfP regirded H anillytlc:al "obJects" - has alKays been the central
probllllll 0' 'harlllonH theory and analyu s.
it not unique to the anaiY515
'of atona,l and sfPrlal IIUSIC.
"DIssonance" 111 anoth"r deflned ccncllpl:. ln mUSlc theorv.
Ont of -thll ln talklng about harmonie dlssonance 15
th.a;t thfP term has aCQulred two distinct deflnltlons WhlCh nave not been
,'prO'p,rly InhgratlPd. Harmonie dUlIon.nee ha5 been def1nd both as il
Il.ltur, of the "roughne5s" of the sanon ty that re!lul t!l when twO tones
sound 5lllultllleously, and as a m"!lure of the stablilty and 5vnta(:tlc
. +ynctlOn thit Il hilrllon1 c lnterval IIXhlb1ts ln a glVen mU!l1C:ii contexte
153
'\
'- ....
1
The def1nltlon of 'c:hard has rUalned Vigue for the sue ,.euons.
Chqrds and the harlllonlc Intl!rvls that const'1tute them have also bun
r.garded a5 both functlonal !ntlties and 50norOU5 entIt1&PS, and
\
have not been tlble td agree ilbout the reltltlonshlp btttwetn th.1I
\
hlo aspects of our expenence of the vertlcal dllllenS10n Ot mUllC.
For lnstoance, the Sc:henker-Schoenberg !:ontroversy" plvoted on 1
fundallental dlscrepancy regardlng the deflnltlon of chord, pilrtleularlv
luth ,regard to Its abiiity to ubody dissonant lntervals.;:'" 5!:httnker
(1908/1954) relled on a largely functlonal deflnltlon of the terms "chord"
ilnd "d15sonance". He clalmed that ln dlatonlC IlIUSIC, tone'l thH are (1\I!Ulb'ers
of certun consonant key-assertlng trlads exert a powertul structural
welght and stabllity over the tones __ thetr surroundlngs. Hccordlng to
thls vlew, other slmultaneltles do not functlon .5 verbea] entltles OUt
o
ilrlr heard merely as the result of stepWI!H! horizontal embl!llishment ot
th.5e prunary" tri a'ds. 51 nce dissonant tones cannot beloog to any
prevalllng trlad, even If they occur slmultaneously wlth d, they are
AINay!! regarded a!l "non-chard tones" that are unworthy oi cnoro-membttr
statu' because they ultlmately serve thlS horizontal tunetton. ln splte of
th. filet that Schenkl!r rttstrlc:ted hlS analysls to the masterplece, ot the
c:olllllon-pracbce p!rlod, he clalmed that the foundatlon!l ,for hl!l 5ystU are
nct found ln any parhcu!ar composltlonal style or He belleved
the very "syntax" of mU!.!lC depends on ltS bung reduclble to a 51rl.S
of key-as5l!rtlng !:hords and progrllsslon, .. ,nch repreunt tne supportlnq
structure and around WhlCh everythlng els., 15 embell1shllleot; llIuch ln tn.
l'Itly th.1t the syntax of language depends upon sentencts bung reduClole te
fund .. menhl structures and th.nr eeab.llishea.nts on 1 nUlIIber 0,1''1.1,.
o
154
c
.
Schoenberg (1910i19781 , on the, other h.ind, \IIU lIa!;e \nterested
ln the usa of the 50norous quallty of chords and dlsson.nces.
Accordlngly, he HII able to extend hlS deflnltlon of the term "chard tone"
ta Iccoillmodatl! any -tone, whether consonant or dIssonant 1 sa lonq as l t
eontrlbuted to a partlcular sonorlty or quallty of the slmultaneous whole.
But he dld not speclfy Hhether any speclfle pattern condItions could
Influence the perceptIon of these vertIcal sonorltles. He 5eemed to feel
(and present-day analysts of hlS mUSIC ta agreel that any
lS Horthy of consIderation as a vertical
although both Schenker and Schoenberg asplred to a
of theory and practlce, twentleth-century composers have
qtn.r.lly pursued Schoenberg Il conception of c:hord, wh11e ,1lany mUSlC
have preoccupled wlth the posslble extensIon of SchenKer 5
Vltw ta twentleth-century musIC:.

The theory of audltory stream segregatIon shows that nelther of these
vlews are QUIte ln themselves, and that they c:an be reconClled.
1t show!! that th. sanon ty of dl lIlIonanc!! \ whl ch 1 ntere!lted Schoenoerg). and
th. horu:ontal "functlon" of dIssonance ln dlatonlc mU!!lC \WhlCn lnteresteo
Sc:h.nklrl, ;are not lndependent. olt denles the posslblltty that
dllsonant lntervals can eX15t as mUSlc:ally Important vertIcal entltles (as
Sch.nk.r "ould have), nor do!!s lt the powertul horizontal
fore., WhlCh c:an weaken the vertical Integrlty of dIssonant slmultaneltles
f
,ln Scholtnberg uems to havel. In short lt lIhoHS how Schenker s VleH,
.lthough style-bound, was based on careful observatIon of the llnear c:ontext
of dlSlonance ln dutonlc mUSIC:, "hde s VleW,' although lt do!!s
not account for the law! of perceptlon, wa! founded on a ralth ln the

155
0-
o
Whln lU! spe .. k, of the "control of dl '150nanCI" ln IIU'Il C. "''', are ,plukl ng
of SOntethlng !lubJect to two klnds of construnts: perelptual eonstralnts
and il!sthetlC: (or style) constralnts, The former are eonltruntl Imposed
by the audltory systu, the latter are uposed by the eOllposer t prlProg.ltlve
- and the' relatlonshlp between the ho depend, entlrely upon the authetlc
gOils of the composer, and hls knololledge of..,ho ... to successfully reilllze
thell on the score page. A knowledge of acoustlc' and iudltorv strlPil1l
."gregatlon hlm to understand the raw materlals he ha, recelved
from nature, but lt leaves free to employ them accordlng ta hls need
and to frame hl5 operatlng rules iccordlng ta purely ae!lthetlc motIves.
Slnee 1 have restrlcted myself to to demonstratlP the
effeets of the perceptual rules, 1 have ivolded referrlng to styllP-speclflc
rule'J or style-speclflc descrIptIons of phlPnomena, HI far as
possIble, 1 have trllPd to dlscuss only the purely acoustlc context Ot
chords and dlssonances IoIlthout reference to the musIc-specifIe aspects
of thlS cont!!xt WhlCh bnng eXperl!!nee, cultural Influenc!!s, 'learnlng,
and other hlgher cognItIve ractors lnto play. havQ done 50 noplng
that the reader would temporarlly suspend any prejudices he mlgnt nave
about style-rul!!5 and canslder only how the rules apply
to the examples. It IS my feelIng that ln theoretlcal Ol5CU5Slons
about the control of dIssonance and the of counterpolnt,
the5e percltptual rule!! are often obscured by consideratIon,' related
to the style-contuts ln whlch they happen ta manlhst
Furthermore, 1 bel uv. that ln thelr orlgln. the raie of uny 0; the
pattern prlnclples encauntered ln contrapuntal th.ory "'.s to control
th. "hu'Ih" sononty HSOclated wlth the d1550nancu, And that It IoIU
only later. when these prlnClple5 beClital! bodled ln liUlIlC.l
l5b
..
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c
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? 7
VI'" of mUSIC hlstory WhlCh regards the evolutlcn of the treatment
of dlsson.nce partly as li c:cntlnuill dlscovery of new WolyS to control
th. ,merg.nce of dIssonance, ilnd partly as a grilduill uanclpabon of
th. quallty 0,+ dissonant lntervals through the Loosen1ng of contrapuntil
rlltnctlons on the1r pattern context, It also stel1ls from the that
th. prlnclples of audltory stream segregatIon operate on a content-free
bUIS, 1 , that the., provlde the lnltlal or'ganlzatlon upon whlc:h
p.rt I forms of 1 ei.rnlng; such as the 1 earnlng to comprehend
lIus1c:.l or llngu1stlc: syntax, can take place. There can be no doubt that
go beyond thls organl:atlon and use muslc-speclflc rules to form
lIental representatlon of mus1cs, but 1t 15 l1kely that the prellmlnary
content-free of grouplnq remiln powerful determ1nants of tne
p.tt.rnlng of USlC even for the Soph1stlcated listener.
Audltory Str.am Segregatlon and the Psychoacoustlc DefinItion of Dissonance
Sp,c1flcally how mlght the theory of audltory stream segregation
contnbut, to the' p,ychoacousbc deflnltlon of dissonance' ln arder to
pl.c. Illy hypothe!lls ln context 1 wlll brafly 5uuarne the hlstorv of
th.orlzlng ha. led to the current psychoacoustlc oi dIssonance.
Pythagoras (6th century B.C.l dlscovered that th" !IIIIaller the Inhg"rs
- th.t 'XP"'S. th" ratIOS between lengths of vlbratlng stretched strIngs
(.11 oth.r propertu!! of the strlngll belng equall, the more c'onsonant the
1nhrvil; 1 , th, SImple lIathematlcil raboll (e.g., 1:2:3:4:5:6 and ail
th. r.tlOS bltweln thefll created consonances,'::: and' the lIIore ex os
( g., 9: 15 IlaJor sevlnthl cruted dIssonances. Sine!! the Greeks thougnt
th.t the CIUS. of consonlnc!! and dl !sonanct re51ded ln thes! !lo-call-ed,
,onoroui nu_b,r," the.s.lv.s, thl! Il1ght b, cililed th'e nulfterolog1cai VlI!W.
157
o
th. aesthetlcs of proportlonallty ahd the llke domlnatld not onlv the thlnklng
of the Greeks, but prevalled through the MIddle Ages and Has revltall:ed
ln the early RenaIssance, He can understand the longevlty of thl! Vlew.
GIovannI BenedettI 11530-1590) tran!ferred the cau!e of consonanc!' and
dIssonance the acoustic source to the He explalns hl! thlory
ln two letters addressed to the composer CiprIano de Rcre.":: l nltud
of relatlng consonance and dl$SOnance- dlrectly to numblrs, 1. e., ta o
strlng-lengths and thelr ratIOS, he related ta relatIons between th'
rates of VIbratIon of the stretched strIngs, WhlCh are manlfe!t ln the
VIbratIon of the lr. BenedettI flrst hypotheslzed that vlbratlng
.. "-
stretched strIngs glve rlse,to acoustlc waveforms whose wavelengths varv ln
proportIon to the length of the strIng and wnose freQuencles vary loversllf
o
with the length of the stnng, and he reasoned that It was th!!
'COlncldence of these perlods of VIbration that reached the ur that Qive
---
flse to consonance, and that noncolnCldent perlods of VIbratIon were nearo
as dIssonant. (He suggested that a slIlIple Index of perlodlc COlnCldence,
and hence of consonance, IS the product of the terms or tne rrequency-rauo.
th15 product, the more frequent the cOlncldence ana the greatlr \
consonance.) Later acoustlclans Ixcluded the posslblilty oi Benedetti S
perlodlc COlnCldencit theory when they found that the experlllnce 0+
conson' .. ncl!' 15 lndependent of the relatIve phase of the
The dlscovery of the overtone serles dites from aoout the SUI tllIIO.
ln a !lequel to hlS Harlonlt (1636) the Frlnch SClentlst
11."ln Hlrsenne nserts that lia strIng ,struck and sounded frlfl y ukes At
1
"
l st hve sounds the salle bllUt, of \4hlCh the hrst l" the natllral t.one
o
of the strIng, ",hlCh servIs as fundiluntal for the oth.rs thtll
156
1 II_
c
sounds follo" the ratio of nUlIlbers 1,2,3,4,5
113::1 11er senne had
found that Pythilgoras's ratiO! Kere IDilnlfest ln every eOlllplex tone, an
hypoth'51S that Wil! eonfIrmed a eentury later by Sauveur (1700), ilnother
French 9Clftntl!t, "ho pre5ented the flrst hard experlmental eVldence for
th. 'Klstence of the overtone 5er1es.:
6
The dlllcovery ot the overtone series gave rise to an explanatlan ot
conllonance and dl950nance "hleh, ln lts varloUS forms, ffilght be calied the
Qilthrn recognition approach. i h e basIc pre ml se for" t h 1 S V 1 e W 1 S th.il t
51nel, ln speech sound5 and the other pltched sounds ln nature, the Simple
harltOnle reiationships 01' the O'lertone serles pattern are presented
r.putedly ta the tar, lt 15 by aS!!Oelatl,on to thl! faOllllar 'chord of
nilturlt" that"e con!lder sorae Intervals consonant and others, ... hlcn conrorm
l.1I11 wtll to thlll "hmplate", dlssonant 1974,1984). Rameau
,e
(1722/1971) used th15 a5 a physleal foundatlon for hlS theory of narmony as
dld Sehenker blo hundred years later. The overtane serie! was also tne
foundiltlon for Stumpf's theory of TonvlHschltlzung (amalga/tlHlon of
sound,). Stumpf (1690, 1698) claued that lt 15 the InnarmonlClty Ot
dlS50nant tones that causes to reslst fUSion lnto overtone-serles-lIKe
Ij:actral group! <llke consonant tone!), and that It 15 th1!! reslstanee that
"'. experll!nc. ilS dl!l!onance. Ogden (1909) also speculated .that some !lort
of "p.ttlrn r'eeognltlon" proees! mlght be responslbll for the experlence of
,
con,on.nc!! and Slnee "th, Itxpltrlenee ot consonance mav ce salQ to
pO.SISI a unlqultness havlng IDueh the samit 50rt or quallty as attaches te
lt hi! .Iso blten suggested that there lIay be a neural
corrllib, to th15 "fu1l1arlty, su,h as set of "well-worn" networKs or
audltory nlurons that frtrquently fHe tagether (Hantant, 194>.
o
159
o
o
\
o
Flnally \lie ilrrlve at the ;nterferencll approach - the foundatlon for
the .ethod been used dlssonance throughout
thls.chapter. (1885/1954) felt that nelther the complexlty of
frequency ratIo! nor il deslre for slmultaneous tone, ta conform to the
overtone pattern w! dlrectly re!ponslble for our experlence of consonance
and dlssonance, but rather that dIssonance wa, 'lmpfy the reluit Ot an
Interference phenomenon between two tone, WhlCh l! dlrectly
observable at the pOInt of stImulatIon. He had ob5erved,raPld aeatlng
1
belween the close partlals of slmultaneou5 complex tones who!e fundamenlal
frequenCle! were relaled by complex and he lhat
th. presence of these rapldly beabng p<1rba15 was the phYlIlea! correlate of
dll150nolnCe ln mUS1C, and that lts wall the phYlIleal correlat!
of conllonance. To explaln how some paIrs of complex tones may hlgn
dllqree5 of beahng, but std l be Judged consonant. Helmhol t: aodeo trH,t
consonanc! IS assoclated not only wlth the relative aosance of beatlng but wltn
th. Qrellence Ot COl!llllon 10w harmonIes bet",een thll t",o tones; l.e.,lt one or more
-El-
P6
FlgUrt i.10 - Hfllholtz 11565/1954) thtOrllld that th. presenet of ripldly outlng u pny,\cii
corr.htr ai ch !lSonane, ln iintft'n IUSIC, ,nd th.t 1 ts abunc. 1 s th. phVIl cu corr.l H'
of conlonanCt. Ho.tvlr, h. addrd that censon.nc. IS not only .ssocl.trd .lth th. r,l.tlv,
of b'ltlng but Mlth tht gr,s,nc, of COllOn h.r.onlCS ott.ttn tn. t.o ton,s:
1 ., li ont or lore 0; the hrst tlqnt h.rlOnlCS cOlnudt, th. tonn .rt cgn,on.nt.
100
.,
(NB - the cOlnCldence of overtone frequencles ln the spectral dOllaln 15
not th. as BenedettI '5 COlnCldence af perlods ln the temporal
ThIS qualIfIcatIon had the advantage of maklng consonance and dIssonance
,'_gorlcal, u they had been treated ln musIc theory and composItion,' as
.
oppo5ed to a contlnuum, as they had been prevlou51y understood by acoustlClan,.
Plolllp .nd Levelt (L965) elaborated on 5 model .... hen thev oburved
that beats only occur betwl!en close partlals because Interference phenomena
,
occur between partIal! WhlCh dlffer ln frequency by less than the
"cntlcal bandwldth" of the "audltory hlter" (see P9' 122-125). Partuls
WhlCh dlffer ln frequency by greater than a "crltlcal band" exceed the range
.-1 of the fllter, and therefore do not Interact. ihus, the Helmholtz-Plol1lp/Levelt
model/also explalns why /ll1nute l1odlflcabons of a consonant Interval, wnlCh
glve riS!! to harlllonlcally very complex ratlo5 (and lthlCh, glven the Ij1lpreC15e
(
Intonation of most l'Du51cal l05trulllent5 and performance technl ques sucn as
vlbr.to, are the norlll ln JIl>\ulcal performance) are not heard as dissonant.
Wh,n onl of t.tO COlncld1ng harmonlC5 15 5hltted Sllghtly ln frequency, the
harmonlel beat 50 that they 5tlll are heard a5 a 51ngle
- ltlth 01 slowlv varylng amplltude. It 1S only when the partlais
art far .nough apart to beat rap1dly, but not 50 far apart as to exceed
th, crltlcai bolnd, that dl5sonance 15
Th. beatlng and cOlnCldence of partlals would s!lem to be reglstered at
a relatlvely low-level of the procl!sslog Ot the audltory Input. However,
wh.n btats Coin bl heard betwlen two tones that are presented dlotlcally
(1. both tonu ta both us of a set of stereo hl!'adphonesl they can aiso
b. h .,d betwf.'en the ton.s when they are prltunted dlCh9tl,olly \1.8., one
ton, to on. f.'ar .nd th. other ton!! ta the contralatl!rai e.rl \Groen, 1904>.
Llk'NIS', dlslon.nce contInues to be heard between two tone5 when thev are
lbl
n s
o
o
0,
,pr_tunted dichotlca'lly. Th. llblniural butlnq" ind "binaural dlSionanc."
.)
pheno ni can be Interpreted .5 ,vldenc. that th. lnterictlon thit M' n.ar

as !uats and dlUQnanCe .1Ight occur .t hlgher l.v.ls of th. iudltory n.rvous
Iystu, Slnce It 15 tt'll.re that lnformatlon frOI1l the t\110 urs -u lnteqrlted.
Tht' 15 \IIhere the aurhtory str.am segregatton apprOiCn tei
dissonance ttself. The audltary deCOllpO!ltlon ,procen probibly
occur! at Il very la" level of the processlng of th. Input (revuw Flgurn
2.1 and 5.1>, lt l! therefore possible that when tHO acoustlcal1v
d, on'nt ton by th ud,to,y <y.t , th,. 'oco.,o.,t'o'
proce!! could Intercede bef,ore the neural-"lnteractlon ... hlch glves rlse
to dissonance takes place. Wlthout such a theory of audltory stream
\
segregation, the above theorles are unable to explaln .. hat \Ofe thlnk ot i5
the control of d1ssonance" ln contrapuntal theory. ThiS lS because tlcn
of them has consldered consonance "and dlssonanc"ln Isolation, lndepeno':!nt
of pattern context, and underlYlng eaeh 15 an assumptlon that narmonle
relations and/or beats between !umultaneous tones are reglster:etl ana
!
.xperlenced on a oa515.
Acc:ordlng to the prtnClple5 stited expllCltly ln str,am-segregatlon '
thtory, ln contrapuntal theory, and supportt'd bv the tlstlmony
of musIc theorlsts and composers throughqut mUSIC nlstory, mUSIClans Cfn
.lItrCl'le cbntrol over the Intenslty of dIssonance by lIanlpuiatlnq nul1\ber
of pattern factors ln the tue and frequency domalns of Iluslcal texture.
In /lUSlC, the quallty of ha'rlllonlC lntervals lS apparently not
;:,
on a moent-to-momt'nt basls., The theory of strlam segregation
dlt!lcnbes a perceptual process WhlCh /lOnltcrs and analv;:es changes ln
the sptctrum cv!!r bu, and WhlCh enhancl!'I or
potent .. !! y ... r900t "O)'UIt",ous .ound'
Ib2
9 ,
suppress.s the qualltv

"
.'

"
h" 2
.t ..
;
",,'
and
I" .. drll
p.thrn conttxt ln Whlh
t-h.y
"pp.ar. Ac:cord''nq to thu
th,on, th.' phyucal products and f tur,s of the 1 nt,rJct 1 on of tWQ tonu
"
.. 111 b. dilr.g.rd.d by th. to the degru tht the
of th. acoulhc plU.tn cau .... th ... to b. IIllgn.d to "parte .
. ' J
Thul, dliionanee, 11k. \1 a p!operty ot sl.ultan,ous
ttt.t can b. luppr .... d by th. audl tory sy,Stl1ll 1f the acoust,l pattern
, "
,factors fayour th.1T orcuuhnclI IoIlnC:,h strdnqly ,
hyour th' I.gr.gallon of nO'hullon!'c: rinult.,
;
frOIll th.H '. a vacuou.s vOld se.ttS to e)llst betlotlte" ttfem.
Thu II not,ofhr.d Il ln iltlrrnativlt to
't, of dUlonlnce, but rathtr u a cOllpluent tO, th"" Tbe I:Cmpllllltv
<-
of th. T.latlon b.twlln Frequ.ncl., (and/or the of
, ,
b,at1nq te WhlCh thls glv.S rls.1, .. ay eXlst onlv a k1nd of
pot.ntl.1Ity" tar ta b or bv the
patt.rn factors whlel! !'X.rt 'the1r on greuplng. ;,
.
"FutuTi d,:,TeCtlons th.t thl s rls .,ch m,19ht tlke. wi 11 c.rtalnl y nav!
to Includ. many ot my clalm' te mort r\goroui
" .
, \ '
tht.laboratory. In uny l have 'Plculated'freeiy, and"tfU!.,
IPICul.tlon ha, b n ba.,d fro.
" .
, '
'lIurllltlnt, that have not br,n studVlng the Questlon bf. 'dl ,
dlrtctl'Y'. 'For lnstincl, on. of the obJlctlvs of ln
ar be to trv ta obtiln measurl5 ai
th. lupprUl10n of duson.nc. that '.lccuts ln spec1fIc pattlrn cQntlxts;'
WlthOUt 11101" u.ctlng, ellper1111ental eVldenc!, IIV approlCl/utlons 0:;' dl!qru,5
"il
.of lupprlSSlon of dInOnanC! (Flguru 7.5 and 7.15, for 1lutanC.,1 "'111
D
r un sp.CUlltlV'. ln' .ddltlon, psychoacoustlClans and n.ur010g1,5.4;5 I1llqht

Wl
f
fh to pur su. the. lllpllc .. tJOns of thfue org.n1;:at10n of
--- ........_----:--, -,
'. .
.",
-"
lbS

, '
auditory .nd th. pracIlllng of the ACOUltlC Input.
If the dils'on.nce of int,rvdl 15 supprtued 1'n c,rtun pltt,rn
, ,
.2 li..
-
o
'0
, ,
-,
, '
o
contnt., thl! !hould that elthel'"the Il.ch.n1111
.
, ,
the dlcolllpolitlon. trlls ta "discird" the btltlng thit 11 Input to
, .
it undlr the" hypothe! arl ln t.rml of
o
!,holt: they /Di 'Suggut ipout th, structur 1 of the iudl tory nenous syst u.
Ot the ln this chilpter ., bit.n pres.nt.d ur1ur ln
polp,r r.ad al: th.,Fltth Workshop on th. and N,uropsychologlCil
of (Osslach, AUStT11, August 10-14, 1995', ind-ln
.J.K. a,n'd. A "Audit.pry Struli and thr. Control 0'';
Di'ioni!,c, 111 PolyphonlC Contuporarv MUSIC RIV1.W, ln prIS'.
. .
O:,V Zut:ker'kandI, Sound Ind Sylllbol: t1uSlC and the External worid,
)ransliltlQ by Il.8. Truk (PrlIlCeton: Prlncet'on Unlvaruty Prut, p. 1(/-'.
, '. .
:s th. siu of thl cntleal bandwldth (CBIO 1!! calculil:.d al i
fraction of th. of the "fll't:er", 1 Sinc. thl crltlc.1
virl" oVlr the auolbIIP rang!, thls l' not i
but one that varies as a of frequ.ncy, alonq il
scah; cordlng 'ta the fo'rllula: .
"'6
'.
, .
.
AI gen.r.l rul" thls ,ans Its li:e betw.en on.-quirtlr and
on:.-half 'actilve (il 81nor-thud and a trltOn,'.
, . .
"G . ZarII!l0' The Art of Co.unterpolnt, Trinslated by'S.A. t1i1rc:o.
and C.A. Palucl (N,w Havln: hie Unlveruty PrIS!, 19b9l, P9. 9:;!-lv:;!.
t r an' 1 .. t1 0 no; . Put. Th rt e 0 f L ,ln j t 1 tut 1 0 n J ha r U 71 1 C hr, Ven 1 c: ., 1 5 S B l.
Th. flgur., wh". J:he dUlIo"'anc. "II qU'ltt.d by lup, 15 a 1)011101, 1
IlIceptlon ta UliS rul In the camb1ati1, how.v.r, st.pWlSt 41G-tlon ln th .
op.poute dU",ctton of th.'lup 11 lwaYI rlSumed aft,r- the lup, suth that It
eay b. regarded as lIer.Iy an of ess,ntlallv St'PW111 /lotion:
, * 1
'of gradlnq lnt'!.tva1 i1nd chord lntl!n!uty Ind of
graphing thelr progre!Sl0n polyphony lS not the flrst 0' lts k(nd.
In CraH of MU;lcal INew York: l'IU'IC PubllShe'r.,
PaQl Hind'.lth IUgqlSts wher. chordl clalllflid
ta thllr "lntlnuty.", iod he mU!!ltal tlCillpl "'1th gr.phl

J,
tt! l " ,
.. .
..
(.
(
..
t
.
, .
WhlCh approuute th. progr"!10n of chordal It lllportant,
to note th.t ln all of the icoustic qraphs whlch &ppear
throughout thu chapttr, the chordli dissonance are computed.
accordlnq ta the tables ln Appendlx "A, as, If' the tonu had an naver,age"
Ipectrll envelope: a complex tone where amplltudes ai' tne
hlr.onlcs vary as liN (l.t., HI:1, H2.-1,2, H3=1I3, ... 1. spectral
.nv.lope UI very'roughly !:hat'of a strlnged Instrument:. Therl!tore,
wh.r.v.r these graphs accoillpany example5 where the IhstruDl/mt IS specdled,'
the dlHonlnce factors are upreCI59. the ge'neral contour OT
the graph, as crud,e Indlcator o-f the cha'nge'l' ln dlsson'nce factor
frolll on. harmonlc lnterval to the next, IS of
the sp.ctral envelopes of the Instruments lnvcYfved.
,
.
.. H. Schenker, "The Dlssonar,ce 15 AI'ways a Pas!llng Occrr
1
nce" J
In Vol. II of Sylvan Kallb (trans., and "T,hlrteen Essays from the
rh r y l!t1 r b 0 0 k s 0 a s Mel 5 ter w e r 1 n der M li S 1 k (I 925 ): fi n li n n 0 ta t e d
TranlJlatlon," (Ph.D. 015st;datlon, Northwestern UnlVe,lty, 1913), p: 169.
l.
7 p. 197.
Il 'G. l'arllno, The Hrt of CounterpOlnt, Translated Oy. G.A .. Harc
and C.A. P.llsed INew Haven:'Vale unlverslty Press. 19:'8), Pq', 53.
of'Part ,ihree of Le Instltutlonl Venlee. '15581.'
Ajexilnder Tcherepnln (1999 employed this pdnClple ln the
.xtrlIIIIe. He cultlvated cl personal style of chrolDdtlc vOlc:e-leadlng, whlch
,
h. ca,lled " 1n terpolnt", ln whleh he trled to combIne polyphonlc VOlces
ln such a way as to stress thelr lndependence ("pl.ln.:tus JntH ounCtIlIt')
Il oppo5ed to thelr mutual dependente ("pundus con'tn pundul"}.
Tch.rapnln dehned "vertical Interpolnt" a poLyphonlc teY.ture ln \4hlCn
the vOlces alHays alternate thelr' respectlve attack pOInts Il.e., aVOlO
Iynchronyl. A. Tcher&pnln "SBIC E'iements of My MUSical Language."
phOt05t,it of the unpubllshed atograph manu5crlpt, New york. January,
[Clt.d ln G. Wuellner, "The Theory of InterpolnL" AmerIcan MUSIC Teacner,
(Jan. 1978). pp. 24';281.
10 the term5 "chordai s50nance" and "non-chordal dissonance'
ha". d&scended trom the terms "essentlal dissonance' and 'fnon-essentlai
duuon.nc!?", WhlCh appear ln Johann PhIlipp l\1rnberger 5 treatlse
Th. Art of Strict Huslcal CompOSItion, Translated by D. Beach and J: Thvm
IN.", Hav!n: Yale University Pres!!, 1982), p. H (flrst publlshed Berl1n.
li71-17791. Klrnberger 5 translatars have exerClsed some Intercretlve
liberty loth thls terlll, 51nce Ktrnberger actuaiiy called the
"non-e55.ntl4il" dissonance an "accIdentai" (zufilIJgl dissonance.'
l'\l G. 2arllno, ihe Art of Counterjlolnt. Translated bv G.H. Harco
ind C.A. Pallsea (New Haven: Yale Unlversl+'y Press, 198l, pg. 9i
(trinslatlon of Put Three of Le Instltutlonl harmonlche, Venlce, 15583.
12 the powlr of synchronv has bQen understated ln IlIUSIC theorv.
,Both the Glt3 ln the fourth uasure of Figure i.4b and the ln the seconQ
.... ur. of FlgUrt i.4il ire called po15slng tones'ln conventlonal /DUSIC
th.orv, !<I&th the onlv dutlnctlon between tnn oelng that the hrst 15
dllcrlbld as .n unaccentvd pilS51ng tone and the second as an accented
PUS1'1,9 ton Icc:ordlnq ta thelr POSitIon wtthln the prevall1ng llIeter.
1 wOI.dd.lrqu. that th. ton. In Figure 7.4b dlHers from the pa5S1ng
lu5
..
o
o
o
)
r
, /
Flgure 7.4a nct Sil. lIuch be-Ciuse of Ih rtlitlon te pulse but
be.tu91l of lts sync,hrony \luth th, ,eth." 'VOICI9. Would lt hiv, Illide any
ddftrence If the D-uJor chard ln lIIeiJ!l!ure thret of FIQure i.4b had bun
repeated t for a durat! on; on the" ftrst but of lUiSur, four,
and proceeded ta the synchroneu5 dissonance on the lIetrlcally we.k
eighth-note of the 5f!cond Ill' order ta d15pillce the d\'l50nllnCI froM Il
'1IItrlC.lly strong posltlon te a lIIetncally weoal< one" F4rtherlllore, lt 1,5
largely the rhythmlC pat"tern of the perceptually-conerent synchronous
events that dlctates pul.se ln mU!Illc. ThiS fact 15 dellenstrated bv the
"heml01a"r where a former pulse-patter\< lS qUlckly OVQrCOme to cOnform
te a new of syn,chrony.
1:: G. H. Artu!u, "Second Ducoursl! froll,'On the Imperfectlon,of
l10dern MUSIC ." tran51ated by G. ln O. Strunk \ed.l Source Readlng5
ln MUSIC Historv Norton, 1950), p. 394. (from Ito'u1r;:!()nl
d, Il a lad If r na 1 tl j ,[ ca, Ven 1 ce, 1 0 l) 0 1.
, 14 comllunlcattng seriai relatl0n5hlps to the llstener seem!i to nave
bun le55- unporta'nt to the later senalt'sts (e.g., Boulez, .nd ev!n
Schoenberg In'many of hlS later seriaI .... orks). It ha!! oHen oeen remarled
that relatlan!!hlpS are concealed ln lIuslCal to
an elltent that one wonders d thev are lntended ta be -neard, even l.
sUbconsclously, or are only used as an abstrac:t prlnC:lpe.
Thlll 15 why the Question of segmentation - deternllnlng whlch lIuslcai unlts
of il co m p 051 bon il r e t 0 ber e 9 a r d e d a 5 a n il 1 Y tiC: a lob' J e ct S - a ris e S
frequently as a problem ln the a..nalysls of atonal and seriai 11IUSIC IForte.
1977, pp. 83-93). Mnalyses of atonal and senal musIc are arten 5UQject ta
cnttC1sm due to the crlterlon that they use (If they use anv crlterlan dt
ail) to determlne segmentc'.tlon. "The prlnclples of aUdltory !!tream segregitlOn
m1tlht be taken lnto conslderabon as one n"hn!! of evaluatlng tne crlter:a
und to determlne WhlCh muslc:al unlt5 deserve the statu!! of analyttc; 'ooJect5'.
1:1 J.P. 'Klrnberger', The Art of StrICt MUSical Camposltlon,
Trilnslated by IL Beach and J. Thym, (New Haven: Tile Unlver51ty Pr es5,
1(82), p. 227 (ftrst publlshed Beritn, li7I-17Cfl. .
lb tMO contlnuous pltch glldes ln c:ontrary-motlon "oUld orO'lloe tne
tIIost dramatle delllon5tratton of the traJectary effect. Thire .. oulo o'e no
sense of the gildes movlng Pl and out ot consonance and Olssonance ln
relation to one another.
17 thls example 15 taken frOID J.K. and ti.S. Breqman,
" Hu dltOI"Y Stream Segregation and the Control of OI!50nanCe ln 'OllpnonlC
5ubmltted to Ccntemporarv MUSIC Revlew, 1'160.
\8 i -ail argulng that ln FIg'Jres .4c and .4d. the dissonances are
ln ill.f.!:.. thelr occ:urrence, oWlnq to tra)ect;orl
,ffeet. Accordlng to the theory 0+ audltory stream seqreqitlon. tne
audltarv system do!!!s not lDake dec15lon5 about vert'teai grOUPlnq on il.
lIIount-to-molllent basls - the grouplng proc!!s!! operAtes ln i brOdO
tll'lle'frame ln order to take !I!lguentt'al lnformatlon ilnd Ctlange5 ln spectroi
account.
'-'
, .. E. Kurth, rfuslkesycholoQlt IBern: verlag "'rUlllnolt;: il CO.,
p. 283 (Clted ln Fox (1948),
/
166
(
ff,)
G
. '
(
'(' ::0 C.\II. Fox, 'Iliodern Counter,polnt: A Phenallenolog'lcal iipproach."

(1948), p. 52.
::1 & technlque that has been explored recently by the "rlllnuallst"
ca.pours (Steve Reich, Ph1l1p Glass, et aIl.
\
.::: streu-5egrl!gatlon lS pre5ued to be a low-Ievel, pre-attentlon
.hQf ln the processlng of audltory Input. However, when llstenlng to
tughly redundilnt stimuli, an lnforl1latlan-proce5s1ng mechanlsm at the
stige Ill1ght aho glye rlse to Increased segregatlon effects.
Sailli psychl.couStlC re5earch support!! thlS poss1blllty. For Instance.
it hl!! be!Ul shown that the ablll ty of attention to keep two speech SI gnals
.Ipante 15 proportlona1 ta the redundancy of the InforruatlOn ln them
(Horay & Taylor, 1958). See .1150 Hlndu!'5 (!970i and Jones (1976).
;:3 the paraIlel organum ln the ScholliJ of the nlnth
c.ntury 15 the oldest preserved exallple of Western polyphonl:: musIc.
Exclrpts frolll the Scholla enchlrJadlS are translated ln O. Strunk \ed.)
_ SourCI! Readlng!!l ln Hustc H'lstorv (New York: Norton, 19501, pp.
Ethnomuslco10g1sts have .1150 found that song5 ln parailel octaves, tourths,
fifths, sllIths and ev en seconds can be hea'rd ln 150lated musIcal cultureS
ln Afrlca, and even ln parts of southern Europe where folK
IIU51CltlnS ImprOVISe ln sever al part!. See B. Nl':,ttl FolK and radltlonal
HUSIC of the Western Continents IEnglewood Cllffs, N.J.: Prentlce-tiall, l'1i3).
;ZoO K. W. Kennan, Counterpol nt (Engl ewood Cil ifs, New Jersev:
Prl!nbce-Hall, 1972), p. 19.
:::1 A. Schoenberg, Theory of Harmonv, iranslated 'Jy R.E. Carter
(London: Faber Faber, l'In), pp. Chrst- publlshed 'heona:
Unlv.rsa1, 1911J.
;b other well-known twentleth-century examples of raal parallel
motIon: Bartok, Concerto for Orchestra, II, mm. 6 - 41 \ODOe ouet) anc
Riyel, Bolero, mm. 149--150. Organlsts .1150 create real ptlraliei motion
through the use of mutatlon !!Itops and manuai coupl1ng. The pl tch Ot the
lIIutat1on-stop corresponds to one of the harmonlcs of tne unlson pltch wltn
WhlCh It \!! coupled. The coupl1ng mechan15/T1 a1iolols for a Degree ot
preCISIon ln attack !!Ivnchcony and paralle1 /lotIon that 15 not attalnaoie
by Insemble plilyers (Rasch. 19;9). Helmholtz had also ooserved that '.n
pr.clS.ly the sallie lIIanner as the naturally connect8d parbal tones rorm
& 'lngle source of sound, thl! partltll tones ln a compound stop on tne
or gin fuse lnto one, as ail are actlvated the sallie (kelll, ana
&11 1I0V. ln the !!ame melodlc proqr:I!!I!Ilon as thelr prime -tone.' \Helmholt:,
1885/1954, p. 60). An excel1ent''_scu5s10n of tne lIanOIlS degrees of
corr.loitlon between. the lIIobon of 1)91yphonlc VOlces 15 Tound ln Chapter
Thr .. ("Categorl es ot Independance and Interdependence') "br Hnne Mall S
Ph.O. dissertation, "Texture ln the Vlol!.n. Con erto s of Ber-g,
Sc:ho.nberg, and Bilrtlc." Unlvl!rslty of Hlchlgan 1971, pp.
;7 E. Toch, The ShaOlng Forces ln MUS1C ( w iork: Oller. 197i, p.34.
;. HarYlrd Olctlonary of I1US1C, 2nd ed.
I
, .v. "Chard".
00 C. ",'l'au", 'Sc'a'"'''9 .. , SCh,",J(. P"c .. d"9' of ch. ,avah,
"ullet1 100 (1973-74), pp. 209-215,.
lb 7
o
-
........ ...
'$0 A. Sch'oenoerg, Theory of Harmony, trinslated bv R.E. eutlr
(London: Faber St Faber, 1977), pp. 309-344.
:li ln /lUSIC theory cloa9srooDl9 Ife ire oftttn lncllned to propagate a
Scnenkenan fallac:y wh en l'le talk about dlatonlc IIIUSIC. Whln Ife reputfdly
clult that lt 15 the contrapuntal de5tlny of DIssonance to "func:tlon"
horuontally - as If dissonance lUS actually Itnvlng to fulflll
Inherltnt and uglCal "tendency' ta behave ln i horl:.:ontal or
forward-strivlng way and not as a vertical entlty - we ilscnbR to
dusonance i ts!lf a property ",hlch 15 l1Iore correctl y understood ,lS a
charachr19tlc of style! ln whlch the suppressIon of dissonance ana/or toe
,Iubtl. ten!Slon-release gesture of d1950nancll Ilovlng stepwue to consonance
are features. Any Il nur "tendenc:y' that lU! hear derl ves irom our
expenencl! l41th these styles and not olrectly frotll dl!l!lonance Itself.
The Alu!ucal uamples ln thlS chapter !lhow that the' pl!rceptual grouplng
prInclplel wt'11ch have been employed to SUppr!55 dIssonance transcend thes!
.st yI e-rule!5.
:l::! the "senarlo" IS Zarllno's de'Hgnatlon for the Tlrst SIX numbers
and the ratIos between them, froID whlch the con!lonances can be dl!rlvl!d:
octave (2:1>, flHh (3:2), fourth (4:3), llIo1Jor ttllrd (5:4), II'Ilnor thlrd
(o:S), and major 51xth (5:::;). G. Zarl1no, The Art of Counterpolnt.
Translated by G.A. Marco andC.A. Pall!lca <New Haven: Yale University Press,
1968), pg. 97 Ctranslatlon of Part Three of Le Instltutlonl harllonlche.
Venlee, 1558l.
:S:l these letters, addres!led te "Cyprlano Rore rlUS1CO celelarrllo"
and provlded wlth the tltl,e "Dt IncrrvalIls 3U51C15" ire clted ln Claude
V. Pilll!lca, "Scuntlflc ElIplrlCI511 ln MUSical Thought,' In H.H. Rhys \ed.)
SeventpH!nth Century SCience and the Arts (PrInceton, N.J.: Princeton
UnlVerlllty Press, 1961)". They also appear ln German translation ln Josef
R.ISS, "Jo. Sapt. Benedlctus, De lTItrrvallJs IUSIClS, ::ezt!hrzTt rJr
HUSlhlsHTlschaft, 7 (1924-1925), pp. 13-20.
H .. lthough accordlng to the lIIetaphySlcal !lpeculatlons of 5vensson,
It IS pOSSible that .. e reglster perlOdlclty r!!latlonshlps ln a Way tnlt
l!l Independent of phase. S.E. Svensson "TIll (ragan 01 IntervallerniH'
D"1 5 S 0 TI a TI S J n t TI S 1 t e t U :) v t n s k T 1 d s k r 1 f t for ri u S 1 k t 0 r S k TI 1 TI q, 1 95 1, pp. 9 - 1 :: .
, :::1 11. H@!rsenne, "arlOnle UnIverselle: The BooK5 on In5trument5,
Translah'd by R.E. Ch.pman <ih! Hague: l1artlnusN1Jhoff, 19571, pp. 20;-::!68
.:10 Hnstotle (Problems) had observed that the io .. tone cont.lniJ It'5
upper octave, but no s.atlsfactory IIlIplanatlon. And oth!r pnYS'lclst!l
(1.9 .. Fraca!ltoro, De syaoathla !t rHuI, 15401 n.d
oburvtd the sympathetlc Vibr.tlon o'f octave-r.!ated strlng!l. But Mtrunne
and Sauveur .lr,1t generally credlt.d luth the ducovery of thl ov.rton!! urus.
Lloyd P. Farru's l1.tstltr'5 thUl!1, "Thtl'Conctlpt of Qv.rton., ln
and MUSIcal Thought iDe!lcarte! to Rallluu)," Unlver51ty of Illln01s, 1950,
II an ItlCCtlllent of early thltorlzlnq about th. ovutone urus.
H R.H. Ogden liA Contn bubon to the Theory oT Tonal Con!lonanc >,
Psychologlc.! BulletIn, 0/9 (1909), p. 300.
Ib8
(
VIll. Retrospllct
HUllc thltory changed cour!e several tllle! ,Slnce It was tlrst establlsned
Il ln acad,mlC dllclpllne ln the unlVerutll!S of AuStrloi and Germany at the end
&

of th. nlneteenth century. GUido Adler stated that IIUSIC theory (for Adler,
th, "systelllatlc" or non-hlstorlcal slde of lIIuslcologyl had as Its objective
ths of artlstlc prlnclples represented a comparative
,tablilty wlthln the fluldlty of hlstoncal change.' Slnce Helmnoltz s
Ji t' fi
'lnfluentlal 'trllatl!le on the phYSlologlcal basls for the theory ai musIc
(H.llllholtz, lDany musIC had felt that one to go
looklng for these stable artlstIc prlnclples l'las ln the otretlon of dcoustlC5

and psychoacoustlcs, Slnee the laws of the physlcal Horld and of the audltory
nervous system Here presumed to be stable throughout the hl5tory of musIC.
Hugo RII/unn, I1ldely regarded as the "father of !Rodern muslcology", noped
(
th.t the musIc theory of the future would progress ln close cooperation wlth
th, sou n d - li cie n c e 5: ., f r 0 li the ID 0 1'0 e n t 1 de ter 1111 ne d t 0 de vot e Il ys e i T t 0 the
Itudy of mUSIC, lt lUS my greatest Hish to co-ordinate the advanc:es ln

IIUSlCill with the most r!l'cl!nt dlsc:overl!l'S ln clcoustlcS and the
phYSIOlogyof the I!U".":: SOIlE! years later, walter vhora. wIshlng to reVl'o'e
salle of these obJectives, remlnded musIC theortsts of the conunulng need for
a "rl.lndlagtforHhuflfl' ("foundatlonal research") ln IIU5lC theory, Hmong tne
"vItal new l/llpuJlIes" that \oilora felt would contrlbute ta thlS foundatlon, he
llsted "gestalt theory and other related SCll!ntlhc trends as they praVloe new
Itlllulatlans bslC con?epts for the InvntlgatlOn of llIuslcal structures. ,;
Th. approolc:h that have taken stus frt;lm thl" tradition of "foundatlonai
rn.uch" and the QUl!5t for unlYersal prtnClples ln the patterns of mUSIC.
"
In PArt On" l lIUllurlZlo'the theary of audltory stream segregatlon,
a th.ory NhlCh has glven rI!e ta a VItal nI!'" area ot pSYChOclcoUStlC rl!searcn
l
--' 109
t s
o
l
o
o
and WhlCh 1 promIses to do the same for !lUSIC theory. foind ln Part
TWQ, 1 have shown how the prlnclples of audltory stream segregation plaet,
lIolny concepts noltlve te mUSIC theory ln'd l'oder, .'IIore sCll!ntlflcally-grounded
context. 1 have argued that these prlnclples are embodled ln contrapuntal
practlce throughout the hlstory of mUSlC, and that they control tnl! patterns
and qualltll!s that \>le hear ln ail' mUSICS, Independent of !ltyle or ae!lthetU:
l
Slnee they govern the Hay that the audltory system decomposes dcoustlC
mixtures of sound ln any 115tenlng Sltuatlon.
The dlsclpllne of wrltlng eounterpolnt iles at the core of every
undergraduate musIc theory curriculum. propose that the study dceustlc
pattern, per se, and of the psychologleal grouplng phenomena te wnlch It
glves rlse, be adopted as a rudIment of counterpolnt, and tnat a
G
IntrDduclng the concepts of Gestalt Psychology, audltory decomposl tlon Ot
<lCOustle Illlxtures (I.e., "audltory scene analy515"), and aUDltory stream
segregation have Its place ln Introduetory counteroOlnt
In addItion to the speclflc heUrl!tlC grouplng lt 15
for the bf!glnnlng !ltudent of counterpolnt to un<derstand:
1) the relatlonsnlp the perceptIon of mUSIC and the perceptIon Ct
the acoustlc envlronment.
2> the nature of the transformation that takes place between the acoustlC
stImulus held and the "InternaI perceptual representatlon" to wnlcn It
glVI!S rl'I!.
3> wh.lt 15 maant by "eergent quo1ltty", and hOIf 1t".15 a controllaoie
by-prOduct of pattern organlzatlonj e.g., the dl!ltlnCtlon Oetween
aeoustlc dissonance and percelved
4) that the formatIon of audltory stream5 IS pnor te attentIon,
spatlal localt:atlon, recognItIon, and the proce!l!llng ot
syntictlc !Structures.
5> the relatIve strength of concepts based on spatIal orgo1nl:atl0n
vir5us musIcal concepts bued on orgtlnl:tltlon ln tlllle anO fraQuenCI.
liO
c
c
c
hM
2
In idv.nc.d courses, the prlnclples of audltory stream segregatIon
.lght b. lnvoked a5 a klnd of counterbalance to the Schenkerlan approacn
th.t ha5 b.come standard ln colleges and unlvers1t1es acros! Hmerlca.
The theory of .udltory stream segregatlon cautIon5 about the SchenkerIan'
t.ndency te "background" structures at the of mU51cally
foreground events such as rhythms, chord-colours. and leaplng
b.tween rl!gl,tl!rs (dn 111u510n, accord1ng to Scnenk!!r)::, etc. On tne
hand, the Schenkerlan concepts of ("d15tance-hearIng";
g., large-scale resolution of dlssonances) and "Urllnle" ("fundamental
Iln'"; l.e .. the I!Ild/U'f:- and background-l evel scal ar descents that

Scnlnkerlan5 flnd ln dlatonlc mU91c) may be vleHed as artlstic extenSIons
of th, grouping prlnClples of proXlmlty and traJectory.
My appllcat10n of toe theory of audltory stream segregat10n to mUSIC
ha, by no means Of!!" exhau,tlV!!. In Part Two, 1 generallv rl!5trlcted
to wlth conventional Instruments and more or less
conv.ntionai pitch and tonal But the concepts Of
JUdltory, segregatIon apply even reaolly ta electronlC and
computer mU51c, wnere acoustlc parameterl can bG manipulated wltn more
preCISIon (WIt!lSGl, 1979: I1cAdams & 8regman, 1979).
conv.ntl0n" Inciuding certain string and vOlce-prOductlon such
.?
IS portamento and vlbrato, and techniques such as desvncnronl:1ng ,
on. note ln a chord frot!! the rest ln ordlfr to glve lt ag091<: accent, mlgnt
.1'0 b,.beHer explalned ln terrIS of stream segregation. And 1 na,ve'onlv

br1.,1y orchestratIon - the 5tudy of the manipulatIon of aCoultlc
"
patt.rns ln the tlm. and frequency of mUSIcal texture 15 as
l.portlnt to the sWdy of orchestrabon as 15 the 5tudv of "InstrumentatIon'
(Erl.k.san, 1975; 8r'9I11n, 1965),
171
o
l
o
bic lUS' of th. conflnlng "ay! that w, sometlmls und,rst.nd the
.pISt'801ogy and objectIves of theory. Th, musIcal llt.ratur. and
th. long tradItion of that ha! bUIlt up .round lt I! a vast
reposltory of ,vidence concernlng the control of patterned audltory
- an lnvaluable resource for audltory perceptIon r.5earch.rl
Iteklng emplrlcal support for theorles and provocatIon for furth.r
r.s.arch. Llkewlse, in th. perception laboratory, wh.re audltory patt.rnl
have been 5ubJected to the mlcroscoplc and rl90roui Icrutlny charact.rlltlc
of the sClentlflc approach, coneeptual tools can be found whlch are ul,ful
,
te the thlnklng U51Clan ln nlS dally pr.etlcal "Ith sound.
1 6. Adler, "U.faD9, HethodJk uDd Zlel der HuslkMl$$en$chaft,
Vllrt,f,ahrschrlft fUr HuslkNlss,nschaft, 1 (1885), p. 5; also "HUSlk und
IfUSlkNlSsuichaft," Jahrbuch der HU!lkblbIJothek Pf!tHS, V (19SQ), p. 27.
[clt.d in A.D. McCredlt, Systematlc HUSlcology - Some Twentleth Centurv
Piltt.rnl ilnd PerspectlVes, ln H,P. Reln.ck. (ed.> Studllr'5 ln MU5IC, S-b
(1971-72), pp. 1-35],
:z New GravI! Olctlonary of HU!!IC and HU!!IClo1QS, 1980 ed., 'oVo
"Rl ann, by Hoff.o1n,
:1 W. Wlor.a, In F. Blue (lId.) Olt HUilk ID
GHdpchtt' und alqf!Dlifut, 9 (1961), p. 1192. CClted ln A.D. HcCrUdu,
'SystUoltlC l1ullcology ,-)ollle'Twentleth Century Polttlrns .nd P.rsptctIYIS,"
[n fl.P. Relnecke (.do) St.UdltU ln MUSIC:, 5-b (1971-72), pp.' 1-351.
4 lt hilS be.n ln ltl ta relate thll "quilltll'" of
.xp.rl.nclI to lom. sort of th.or.tICil fri work that th UI1C theory of
t.h. Pitt h.! filled cONposers and ptrformer,. 1 flnd thit the conc&pts oi
audltory strei. segregatIon t.ik. 50 of the out of tllklnq ibout
th.,. qualltles ind thelr control.
iccordlng to Schenk.r', prlnclple of obll9it. li9'
r.glstlr), regutril transfer IS structurally InSIgnifiant. S H. Sch.nk.r,
Er!! CglIDolutlon (Du Frtlf Satz)o Trilnslo1ted and .dlt1d by E. O,ter,
IN,,,, York: tonguns, 1979), p, 42 tfl,rlt publlth.d Vunni: Unlvtrul, 193:5],
172
( ,
c
c
\
"'-
"

.
N.8.:
-
Appenda A
AoustlC Dls50nane, for ail tnt,rvals of T.o Octaves or
!frai Hutchuon Knopoft (1978), pp. 17-29) ,
1. Hutchllon and Knopoif calculate th. follo.lng d1550nance fictors uSlng for.ul ahtch cOlpute th. alount
of bt.tlnq of partlals bet.,en tMO cOlpltx tont5. Ho.ev,r, th. dlssonant. tactors llsted belo.
ar. dlrlvld u!llng il Single spectral env.lop,: a t,n-harlonlc cOlpllX tone wher. alplltud.5 of the
hilnonaci vary u liN (1.1., HI-I,H2-1/2,H3-1/3, ... l. Thu spectral envrlop. 15 v,ry roughly thilt
of 1 Itrlng.d lnstru nt. Therffore, ln Chapt,r 7, wherever atOustlc dlssonilnce graphs acco.pany
IUllCil IXi.pIIS ln .hlch the InstruI.nts .r. sptclfl.d, the dl5sonance factors are lapreel!', Slnce
thty ar. cilcuht.d uSlng thlS 'n.rig!' spectral ,nvelope. HOMner jI th, gRnenl contour of the
,coultlc dliionilnce graphs, 15 a crUD! Indlc.ter of th. changes ln dl5,anance factor frai on. narlonlC
Int.rval ta the next, 15 rtliltlvely Independent of th, spectril envelope! of the Instrulents Invaived.
, , ,
2. Equ.l-t,.pered tunlng: wh.re C
I
32.7 cps, C:205 cp,; C
l
a130.B cps, C":261.0 cps, C=:523.3 cps,
cps, C
7
2
2093 cps. " 1
3. For th, s.kt of Slnc! th, followlng dlsson.nce fietors are cOlputed .ccordlng to th!
frtqu.nclIs th.t o,lir ;r"tl1u.l-tupered tumng, sharps wdl be uud throughaut ta represent ooth th,
! '<
.nArpl fnd flats th.t app,.r ln IUSIC. Thus, for eXi.ple, tb' Ilnar seventh IS
th. s.", for th", purposes, as the auq.ented 51xth and th, dIssonilnc, factor for bath
Il found ln th. table under SI:-FI".
IHTERYAl ACOUSTIC IHTERVAL ACOUSTIC IHTERVAL ACOUSTIC INTERVAL ACOUSTtC IHiERVAL
DISSONANCE DISSONANCE DISSONANCE DISSONANCE DISSONANCE
C' -CI
.08611
,
1
C: -c:s.
.\)351 C3 -C3
.0113 C' -CO
.0019
: c' -c" .0000
Cil-Cil
.0809 Clt-C=I\ /0'0322 CJt-CJt
.0101 C't-C" .0015 1 c'I-e't .000'
D' -D'
,-
.0755 0: -0:
() .02911
0:1
.00B9 D" -O' .0012 1 0" -'
.0000
l)lt-D't .Oi04 0:'-0=1 .02il Q
3
1-:l1
.0079
.O09 O'I-::1
.dOO
E' -E' .0&56 E: -E:
.0250 El -E= .0069
'E" -E' .0000 E' -p
.VOVO
Ft -F' .l)b11 F:: -p
.0228
F::, -p
.00bl F' -f" .0000\ P -F:I
.1)000
F'I-F l' .0568 PI-PI .0208 F:I-F:I
.0053 .0003 r:I-F::j
.OO
S' -6
1
.0527
.0189 -6:
-6'
.0132 -6::
.0000
G
I
I-6'1 .0488 6:'-6:' .0172 :I-6::1
.om .00ill 6::1-6::,
.0000
AI -AI
.0450 A: -A::
.0155 A:I -A=
.0034 A" -H" .0000 -A=
.vOOO
A't-A'I .0415 ,FI-A2J
.0140 A:lI-A:I,
.0029 A"t-A"I .0000
ti'hi't .00o
B' -8' .0'381 9:: -9::
.mb
al -9::
.0024 S" -8' .OOO 8:1 -a:l
.0000
Cl -C'I
.5135 -C=I
.501b C
3
-Clt
.500B ! C' -coI
.488b c= oC::,
.HU
C"-O' .5127 C1t-j)::
.5014 Cll-jp
.5005 : C"J-O' 864 .4;;86
DI -0
1
1
.5107 Dl -j)%1
.5013 0:: -Olt
.5001 -1 0" -O" .4839 0' -1)'1 .4325
D'I-E' .5090 D:t-P
.5013 IPt-P .4996 1 O"I-E'
.4812 D:lt-t ' .42115
E' -F' .5075 e: -Fl
.5013 P -Fl
.n91 ! E" -F" .Ha3 E:I
FI -F't .5062 Fl -PI
.4201
.5013 P -Pt .4964 : F" -F't .4150 F::I
.4134
F't-S' .5052 F::I-S=
.5013 F::t-G3
.4975 :
.4iH F::It-6=
.40113
6' -a'i .50"2
S: -6:1
.5013
.4905 : Sa -S'. oi5 6:1 -G=t
.39S8
G't-A' .5034 6=,-,\::
.5013 6::I-Al
.ml SAt-H'
.40311 6'1-1\= .3909
A' -A't .5027 A: -1\::,
.5013 -,PI .4940 A" -A'" .45n A!I -,PI
.3825
A't-B' .5022 ,\21-Bl
.5012 AJI-9:1
.m4 AI-S-
.-4540
.3737
B' -t
l
.5018 8: -Cl
.5010 -C'
.490b 8 -C:I
8:1

..-
r
0
o
\
CI- -D'
.5837 C'1 -D'1
.5205 C
3
-Os . ",3954
C' -D' .2690 C" -Da
.1493
Cil-Olt
sm C
2
t-0
2
,
.4947 Clt-Olt
.3843 C't-D" .2590 C"t-O
s
,
.1408
0' -El
.5711 0
2
-EZ .4868 Dl -ES
.3728 O -e' 0
11
-E" .13211
Oll-FI
.5047 02f-P
.478:!
Dll_P
.3608 O'I-F' .2390 O"t-FII
.1245
El -p,
.5584 E2 -flt
.4704 E3 -PI
.3506 E' -F', .2290 E" -F'" , 11117
FI -61
.5518 F2 -a::
.4621
FI _al
F" -S' .2190 F" -Sil
,1091
FII-6
I
,
.5451 F2f-6:1:t
.4530 F
l
l-S31
.3304 F'I-S" ,2089 F"t-6"t , 1017
6' -AI . .5383 6
2
-A2
.4447 6
3
-Al
,3202 6' -A' .19S8 6" -Ii" ,0945
6
1
t-A
1
I .5314 6
2
t-A2f ,4355 Sl'-Ali
.3100 S't-A" .laS7 6"'-A:I, / 0875
Al -BI
.5244 A2 -B2
.4261 Al -Bl
.2997 1\' -il' .1785 A" -B:I ,OBoe
Il1t-C
2
.5173 A:lt-C3
.416.3 IP'_{;4
.2894 A"I-C" .lb83 A"I-C- .0743
8
1
-C:' .5100 8
2
-Cl,
.4060 8
3
-coi
.mo 8' -C"t .1581 1 S'li -c, .0681
.
o
C' -0
1
1 ,5237 C2 -D'l'
.J6B3 C' -0
3
,
.2150 C' -O"t .1109 C" -D:l1 .0376
C'I-EI
.m2 C'1I-E2
.3562 Clt-P
.2132 C'I-E' .1032 C:lt-E" ,0334
Il -f 1
.4984 0
2
-F2
.3439 IP -p
.2015 D' -f' .0958 0" -p'
.0296
Pit-fit .4852 D
2
t-PI .3317 Oll-Pt
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Afllt'll, S. and Sudol, S. (1995) AdaptitlQn to Audltory Strelll1ng o,f
Fr.qu.ncy-Hodul at.d Tanu./I Journal of EXPIH"1 rlllntoll Psychology:
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