音乐声学与感知中的机械不变性因素(再访)

Akpan J. Essien
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引用次数: 0

摘要

音乐、声学和听觉感知方面的机械、声学和神经生理学研究都建立在毕达哥拉斯关于音高间隔的弦比理论(公元前6世纪)之上。近年来,弦比理论的力学有效性及其心理学意义因其不变性而受到质疑和否定。在这方面,Essien(2014)通过实验证明,与声音物理学的既定传统相反,即使施加在弦上的平衡力保持不变,当弦的长度改变时,弦的张力也不是恒定的。数据揭示了振动弦中存在两种力源:(1)施加在弦上的反向力(标记为fex);(2)弦的固有力(标记为F in)。后者是毕达哥拉斯听觉心理物理学中缺失的参数。这种遗漏吸引了研究人员进入声学和神经生理学的音高没有不变的物理关联。Essien(2014)的数据表明,对弦长或施加在弦上的平衡力的所有变换都是改变弦抗变形能力的各种方式。因此,弦上的力与弦长成反比,即使fex保持不变。在本文中,弦的长度对弦的振动频率和主观音高的影响很小或根本没有影响。由于听觉的心理声学理论是建立在弦比理论的基础上的,这些数据不仅提供了剥夺弦比理论科学地位的缺失的心理因素,而且还驳斥了欧姆的声学定律(1843)和亥姆霍兹的共振理论(1877)。弦上的力被描述为控制音高的机械参数,而与振动频率或频谱结构无关。讨论了未来音乐声学和听觉感知研究的意义。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
The Mechanical Invariance Factor in Musical Acoustics and Perception (Revisited)
Mechanical, acoustical, and neurophysiological investigations in music, acoustics, and auditory perception repose on the Pythagorean string ratio theory of musical pitch intervals (6 th century B.C). Recently, the mechanical validity of the string ratio theory and its psychological import have been challenged and denied on grounds of invariance. In this regard, Essien (2014) demonstrated experimentally that, contrary to established tradition in physics of sound, the tension of a string is not constant when string length is modified even though the balanced-force exerted on the string is held constant. The data revealed the existence of two sources of force in a vibrating string: (1) The oppositely-directed force applied externally to the string (labelled F ex); (2) The force that is the intrinsic property of the string (labelled F in). The latter is the missing parameter in Pythagorean auditory psychophysics. The omission lured researchers into acoustics and neurophysiology of pitch without an invariant physical correlate of pitch. Essien’s (2014) data showed that all transformations to string length or the balanced-force exerted on a string are various ways to modify the string’s resistance to deformation. Thus, the force in a string varies inversely with string length even though F ex is held constant. In the present paper, string length is shown to have very little or no effect at all on a string’s vibrational frequency and subjective pitch. Because psychoacoustic theories of hearing are founded on the string ratio theory, the data not only offer the missing psychological element that deprived the string ratio theory of a scientific status, but also refute both Ohm’s acoustical law (1843) and Helmholtz’s resonance theory (1877). The force in a string is portrayed as the mechanical parameter in control of pitch regardless of vibrational frequency or spectral structure. Implications for future research in musical acoustics and auditory perception are discussed.
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