The vocalization sounds of many mammalian species and the vowels of human speech consist of a series of harmonics (e.g. 900 Hz, 1200 Hz, and 1500 Hz). They are unified in the auditory brain of these animals into a single percept of one pitch (an equivalent of 300 Hz in the given example). This spectral synthesis supports the localization and the identification of single sound sources in natural, noisy environments.

The auditory midbrain is adapted to this task by its anatomy of stacked neuronal layers. Each layer processes sound signals from a specific bandwidth of the acoustical spectrum, and the separation into bands is optimal for the neuronal combination of harmonics that is needed for pitch extraction.

Because the auditory midbrain is hardwired for the processing of low-order harmonics in vocalization sounds, it is also hardwired for the processing of harmonic spectral components in music. The mechanism that provides pitch detection in speech does the same job in music as well. Our brain prefers harmonic tones and harmonic tone combinations, because it can extract more information from them.

Publications:

Braun, M.(1999) Auditory midbrain laminar structure appears adapted to f0 extraction: further evidence and implications of the double critical bandwidth. Hear. Res. 129, 71-82. Abstract, ask for PDF

Braun, M. (2000) Inferior colliculus as candidate for pitch extraction: multiple support from statistics of bilateral spontaneous otoacoustic emissions. Hear. Res. 145, 130-140. Abstract, ask for PDF

A testable account of a plausible mechanism underlying the major-minor perception is outlined here.

The bells of Zeng from 433 B.C. as an early example of the preference of the frequency ratios 5:4 and 6:5: Tuning system.

The gamelan pelog scale of Central Java as an example of a non-harmonic musical scale: Interval distribution.

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