Literatur

1

J.C. Adams. Ascending projections to the inferior colliculus. J. Comp. Neurol., 183:519-538, 1979.

2

L. M. Aitkin, D. R. F. Irvine, and W. R. Webster. Central neural mechanisms of hearing. PhD thesis, Monach University Clayton, Department of Physiology and Psychology, 1987.

3

J. Goldstein A.J.M. Houtsma. Perception of musical intervals: Evidence for the central origin of the pitch of complex tones. MIT Res. Lab. Elec. Technical Report, 484, 1971.

4

J. Smurzynski A.J.M. Houtsma. Pitch identifikation and discrimination for complex tones with many harmonics. J. Acoust. Soc. Am., 87(1):304-310, 1989.

5

M. Albert. Neuronale Kodierung und topographische Repräsentation sinusförmiger Amplituden im auditorischen Mittelhirn (MLD) von Perlhühnern. PhD thesis, TH-Darmstadt, 1988.

6

A. Bachem. Time factors in relative and absolute pitch determination. Jour. Acoust Soc AM, 26:751-753, 1954.

7

G. von Békésy. Zur Theorie des Hörens: Die Schwingungsform der Basilarmembran. Phys. Z., 29:793-810, 1928.

8

Ulrich Biebel. Psychoakustische Untersuchungen zur Tonhöhe unharmonischer Klänge und ihre Relevanz bezüglich verschiedenen Theorien zur Frequenz und Zeitanalyse im auditorischen System. Master's thesis, TH Darmstadt, 1992.

9

P.T. Brady. Fixed scale mechanisms of absolut pitch. Jour. Acoust Soc AM, 48:883-887, 1970.

10

John F. Brugge. Time structure of discharge in sibgle auditory nerve fibers of the squirrel monkey in response to complex periodic sounds. Jour. Neurophysiology, 32:386-401, 1968.

11

Edward M. Burns. Frequency and frequency-ratio resolution by possessors of absolute and relative pitch: Examples of categorical perception. J. Acoust. Soc. Amer., 96:2704-2718, 1994.

12

J. Cynx. Auditory frequency generlisation and a failure to find octave generalisation in a sonbgbird, the european starling (sturnus vulgaris). J. Comp. Psychol., 107:140-146, 1993.

13

E. de Boer. On the residue in hearing. PhD thesis, University of Amsterdam, 1956.

14

Diana Deusch. Paradoxien der Tonhöhenwahrnehmung. Spektrum der Wissenschaften, 1990.

15

Diana Deutsch. The octave illusion and auditory perceptual integration. Hearing Research and Theory, 1:99-141, 1981.

16

Diana Deutsch. Pitch proximity in the grouping of simultaneous tones. Music Perception, 9(2):185-198, 1991.

17

Diana Deutsch. Some new pitch paradoxes and their implications. Phil. Trans. R. Soc. London B, 336:391-397, 1992.

18

G. Stoll E. Terhardt. Algorithm for extraction of pitch and pitch salience from complex tonal signals. J. Acoust. Soc. Am., 71(3):679-688, 1981.

19

R. Feldtkeller E. Zwicker. Das Ohr als Nachrichtenempfänger. Hirzel Verlag Stuttgart, 1967.

20

Jos J Eggermont. The Correlative Brain. Springer-Verlag, 1990.

21

A. J. M. Houtsma et al. Auditory Demonstrations. CD.

22

R.J. Ritsma F. A. Bilsen. Repetition pitch and its implication for hearing theory. Acoustica, 22, 1970.

23

H. Fletscher. the physical criterion for determineng the pitch of a musical tone. Phys. Rev., 23:427-437, 1924.

24

R. D. Frisinia. Preservation of amplitude modulation coding in the presence of background noise by chinchilla auditory-nerve fibers. J. Acoust. Soc. Am, 99(1):475-490, 1996.

25

S. Bleeck G. Langner. Neuronal processing of periodicity pitch may explain the difference between ,,relative`` and ,,absolut`` pitch perception. In Soc. Neurosci. Abstr., volume 22, Washington, 1996.

26

C.D. Geisler. Coding of acoustic signals on the auditory nerve. IEEE Engeneering in medicine and biology magazine, pages 22-28, 1987.

27

J. L. Goldstein. An optimum processor theory for the central formation of the pitch of comlex tones. J. Acoust. Soc. Am, 54:1496-1516, 1973.

28

Steven Greenberg and William S. Rhode. Periodicity coding in cochlear nerv and ventral cochlear nucleus. In Auditory Processung of Complex Sounds. W.A. Yost and C.S. Watsen (eds), 1987.

29

Ernst Hadorn. Allgemeine Zoologie, volume 20. Thieme Verlag, 1978.

30

H. Helmholtz. On the Sensation of tone as a Physiologic basis for the theory of music. New York: Dover,1954, english edition, 1862.

31

Horst Peter Hesse. Die Wahrnehmung von Tonhöhe und Klangfarbe als Problem der Hörtheorie. Master's thesis, Staatliches Institut für Musikforschung, 1978.

32

A. Gerson J. L. Goldstein. Verification on the optimal probabilistic basis of aural processing in pitch of complex tones. J. Acoust. Soc. Am., 63(2):486-497, 1978.

33

T.Georg Bidder Joseph Profita. Perfect pitch. American journal of medical genetics, 29:763-771, 1988.

34

Wightman F. L. The pattern transformation theory of pitch. J. Acoust.Soc. Amer., 54:407-417, 1973.

35

Frederick G. Langendorf. Absolute pitch: review and spekulations. Medical problems of permoming artists, März:6-13, 1992.

36

G. Langner. Die Periodenmatrix: Ein Modell zur zeitlichen Freqeunzanalyse auf der Basis neuronaler Ableitungen im Mittelhirn (MLD) von Perlhühnern (Numida meleagris). PhD thesis, TH-Darmstadt, 1978.

37

G. Langner. Neuronal mechanisms for pitch analysis in the time domain. Experimental Brain Research, 44:450-454, 1981.

38

G. Langner. Evidence for neuronal periodicity detection in the auditory system of the guinea fowl: implications for pitch analysis in the time domain. Exp. Brain Research, 52:333-355, 1983.

39

G. Langner. Physiological properties of units in the cochear nucleus are adequate for a model of periodicity analysis in the auditory midbrain. In Auditory Pathway, pages 207-213, 1988.

40

G. Langner. Periodicity coding in the auditory system. Hearing Research, 60:115-142, 1992.

41

G. Langner and C.E. Schreiner. Periodicity coding in the inferior colliculus of the cat. ii. Journ. of Neurophysiology, 60:1823-1839, 1988.

42

Daniel J. Levitin. Mechanisms of memory for musical attributes. Master's thesis, Department of Psychology University of Oregon, June 1996.

43

J.C.R. Licklider. Periodicity pitch and place theorie. J.Acoustic. Soc. Amer., 26:945-987, 1954.

44

Bernd Lütkenhöner. Wahrscheinlichkeitstheoretische Betrachtungen zum Entladungsverhalten von Hörnervenfasern. Master's thesis, Wilhelms-Universität Münster, 1982.

45

K. Ogushi. Absolute and relative pitch. ICMPC, 3, 1994.

46

G. S. Ohm. Über die Definition des Tones, nebst daran geknüpfter Theorie der Sirene und ähnlicher tonbildender Vorrichtungen. Ann. Phys. Chem, 59:513-516, 1843.

47

R. Patterson. Noise masking of a change in residue pitch. J. Acousr. Soc. Amer., 45:1520-1524, 1969.

48

R. Plomp. Detectibility thresgold for combinations tones. J. Acoust Soc Amerika, 37(6):1110-1123, 1965.

49

R. Plomp. Pitch of complex tones. J. Acoust. Soc. Amer., 41:1526-1533, 1967.

50

F. Engel R. Ritsma. Pitch of frequency modulated signals. J. Acoust. Soc. Amer., 36:1637-1644, 1964.

51

Lord Rayleigh. The theory of sound. English ed., New York: Dover,1945, 1877.

52

Christph Reuter. Wie und warum in der Geschichte der Klangfarbenforschung meistenteils am Klang vorbeitgeforscht wurde. , 1996.

53

R. Ritsma. Existence region of the tonal residue. i. J. Acoust. Soc. Amer., 34:1224-1229, 1962.

54

R. Ritsma. Freqeuncies dominant in the perception of pitch of complex sounds. J. Acoust. Soc. Amer., 42:191-198, 1967.

55

J. F. Schouten. Five articles on the perception of sound. Master's thesis, Eindhoven: Institut for Perception, 1938-1940.

56

J. F. Schouten. The Residue Revisted, pages 41-58. R. Plomp, frequency analysis and periodicity detection in hearing edition, 1969.

57

A. Seebeck. Beobachtungen über einige Bedingungen der Entstehung von Tönen. Ann. Phys. Chem, 53:417-436, 1841.

58

Guido F. Smoorenburg. Pitch perception of two-frequency stimuli. J. Acoust. Soc. Amer., 48:924-942, 1970.

59

Guido F. Smoorenburg. Audibility region of combination tones. J. Acoust. Soc. Amer, 52:603-614, 1972.

60

Guido F. Smoorenburg. Combination tones and their origin. J. Acoust. Soc. Amer, 52:615-632, 1972.

61

R.P Williams Steven Greenberg. Experiments on the pitch of signals derived from three-tone complexes. Journal of Sound and Vibration, 41(4):451-461, 1975.

62

E. Terhardt. Zur Tonhöhenwahrnehmung von Klängen. Acoustica, 26:173-199, 1972.

63

E. Terhardt. Pitch, consonace and harmony. J. Acoust. Soc. Am, 55:1061-1069, 1974.

64

E. Terhardt. Calculating vitual pitch. Hear Res, 1:155-182, 1979.

65

I. Veit. Technische Akustik. Vogel Verlag, 1974.

66

P.E. Vernon. Absolute pitch: A case study. Br J Psychol, 68:485-489, 1977.

67

P.H. Smith W. S. Rhode, D. Oertel. Physiological response properties of cels labeledintracellulary with horseradish peroxidase in cat ventral cochlear nucleus. J. Comp. Neurol., 213:448-463, 1983.

68

Ward. Absolut pitch, parts 1 and 2. Sound, 2:14-21, 33-41, 1963.

69

N. Wertheim. Receptiva amusia: a clinical analysis. brain, 84:19-30, 1961.

70

E.G. Wever. Action currents in the auditory nerve in response to acoustical stimulations. Proc.Natl Acad. Sci., 16:344-350, 1930.

71

E.G. Wever. The evolution of vertebrate hearing. Edison Vesley, 1975.

72

F. L. Wighman. The perception of pitch. American Scientist, 62:208-215, 1974.

73

F. L. Wightman. Pitch and stimulus fine structure. J. Acoust. Soc. Am., pages 397-406, 1973.

74

V.T. Wynn. Absolute pitch - a bimensual rhythm. Nature, 230:337, 1977.

75

Robert J. Zatorre. Pitch perception of comlex tones and human temporal-lobe function. J. Acoust. Soc. AM, 84(2):566-572, 1988.