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    Pitch is a sensory attribute on which sounds may be ordered on a series, called psychophysical scale, from low to high. Pitch plays an important role in the perception of both music and speech. In music, melody and harmony can be defined, respectively, as organization of sequences and simultaneous combinations of pitch. In speech, pitch is a central element of prosody, contributing to the definition of the meaning of utterances; moreover, in tonal languages such as Mandarin and Vietnamese, different pitch contours can give different meanings to otherwise similar words. Because of its centrality in utterances and musical messages, pitch is accurately differentiated perceptually and elaborated cognitively.

    Pitch depends mainly on frequency but is not independent of other elements. Research has shown that tonal expectations, as well as intensity, duration, and musical context in which the stimulus is heard, influence pitch perception. Researchers focusing on pitch perception delve into these issues and develop theories about how pitch is processed by the ear.

    Many scholars have focused on pitch perception. Some of them, such as Vincenzo Galilei and Marin Mersenne, gave primary attention to the physics of sound, whereas others, such as Aristoxenus and Joseph-Guichard Du Verney, addressed perception and musical experience. Many researchers elaborated theories of pitch perception, focusing on the way that the auditory system encodes the frequency of pure tones, which are simple sine waves at a single frequency. Pure tones are rarely heard in real life, because they are generated by mechanical devices or electronic oscillators. Other scholars concentrated on the way the auditory system determines the pitch of complex tones, which are naturally produced sounds, like notes produced by musical instruments. Any complex tone is made up of a number of different components, called partials. A complex tone is usually experienced as a unitary sound, but individual partials can be heard if attention is directed appropriately.

    Timing and Place Theories

    In the 19th century, Hermann Helmholtz described correspondences between physical properties of vibrating bodies, human ear physiology and perception, and musical intervals. In his resonance or place theory, he assumed that the basilar membrane, a cochlear structure of the inner ear, consisted of transverse fibers of different length, resonating at different frequencies, as it occurs in the strings of a piano when the sustaining pedal is depressed.

    A partly different place theory was developed in the 1950s. It assumes that the pitch sensation of a pure tone derives from the motion of a group of hair cells located on a specific part of the basilar membrane, which are most sensitive to sound in a certain range of frequencies. This theory claims that, as a consequence of the mechanical excitation generated in a particular region of the basilar membrane, the nerve fibers connected to the hair cells of this region are stimulated and fire. High-frequency sounds provoke an excitation of the hair cells of the section near the entrance to the inner ear, whereas lower frequencies put in vibration the hair cells located in more internal parts of the cochlea.

    In temporal theory (also called timing theory), the ear is conceived as performing a time analysis. Because of the neurons' ability to fire time-locked spikes to the stimulus, the incoming sound wave causes auditory nerve responses that vary periodically, at least for frequencies below 4 to 5 kilohertz (kHz). In turn, as the timing of neural impulses carries information about sound frequency, listeners can discriminate the pitch of pure tones, distinguishing the time intervals between neural firings.

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