AES E-Library

B. Fox, and W. Bulla, "Preference for Harmonic Intervals Based on Overtone Content of Complex Tones," Paper 10316, (2019 October.). doi: B. Fox, and W. Bulla, "Preference for Harmonic Intervals Based on Overtone Content of Complex Tones," Paper 10316, (2019 October.). doi:
Abstract: This study investigated whether or not overtone structure generated preferential differences for harmonic intervals. The purpose of this study was to determine if the structure of a complex tone affects the perception of consonance in harmonic intervals. Prior studies suggest harmonicity as the basis for so-called “consonance” while others suggest exact ratios are not necessary. This test examined listener responses across three tonal “types” through a randomized double-blind trinomial forced-choice format. Stimuli types used full, odd, and even overtone series at three relative-magnitude loudness levels. Results revealed no effect of loudness and a generalized but highly variable trend for the even overtone series. However, some subjects exhibited a very strong preference for certain overtone combinations, while others demonstrated no preference.

@article{fox2019preference,
author={fox, benjamin and bulla, wesley},
journal={journal of the audio engineering society},
title={preference for harmonic intervals based on overtone content of complex tones},
year={2019},
volume={},
number={},
pages={},
doi={},
month={october},} @article{fox2019preference,
author={fox, benjamin and bulla, wesley},
journal={journal of the audio engineering society},
title={preference for harmonic intervals based on overtone content of complex tones},
year={2019},
volume={},
number={},
pages={},
doi={},
month={october},
abstract={this study investigated whether or not overtone structure generated preferential differences for harmonic intervals. the purpose of this study was to determine if the structure of a complex tone affects the perception of consonance in harmonic intervals. prior studies suggest harmonicity as the basis for so-called “consonance” while others suggest exact ratios are not necessary. this test examined listener responses across three tonal “types” through a randomized double-blind trinomial forced-choice format. stimuli types used full, odd, and even overtone series at three relative-magnitude loudness levels. results revealed no effect of loudness and a generalized but highly variable trend for the even overtone series. however, some subjects exhibited a very strong preference for certain overtone combinations, while others demonstrated no preference.},}

TY - paper
TI - Preference for Harmonic Intervals Based on Overtone Content of Complex Tones
SP - EP -
AU - Fox, Benjamin
AU - Bulla, Wesley
PY - 2019
JO - Journal of the Audio Engineering Society
IS -
VO -
VL -
Y1 - October 2019 TY - paper
TI - Preference for Harmonic Intervals Based on Overtone Content of Complex Tones
SP - EP -
AU - Fox, Benjamin
AU - Bulla, Wesley
PY - 2019
JO - Journal of the Audio Engineering Society
IS -
VO -
VL -
Y1 - October 2019
AB - This study investigated whether or not overtone structure generated preferential differences for harmonic intervals. The purpose of this study was to determine if the structure of a complex tone affects the perception of consonance in harmonic intervals. Prior studies suggest harmonicity as the basis for so-called “consonance” while others suggest exact ratios are not necessary. This test examined listener responses across three tonal “types” through a randomized double-blind trinomial forced-choice format. Stimuli types used full, odd, and even overtone series at three relative-magnitude loudness levels. Results revealed no effect of loudness and a generalized but highly variable trend for the even overtone series. However, some subjects exhibited a very strong preference for certain overtone combinations, while others demonstrated no preference.