PITCH, CONSONANCE, AND HARMONY

[1] [Anonymous], 1910, Psychol. Stud

[2] CHROMA FIXATION AT THE ENDS OF THE MUSICAL FREQUENCY SCALE [J]. JOURNAL OF THE ACOUSTICAL SOCIETY OF AMERICA, 1948, 20 (05) : 704 - 705

[3] BILSEN FA, 1969, ACUSTICA, V22, P63

[4] BILSEN FA, 1972, S HEARING THEORY, P5

[5] BOER ED, 1956, THESIS U AMSTERDAM

[6] CREMER L, 1951, ACUSTICA, V1, P83

[7] OCTAVE GENERALIZATION AND TUNE RECOGNITION [J]. PERCEPTION & PSYCHOPHYSICS, 1972, 11 (06): : 411 - &

[8] FRANSSON F, 1970, STLQPSR23 KTH DEP SP, P41

[9] Helmholtz Hermann L. F., 1863, Die Lehre von Tonempfindungen als physiologische Grundlage fur die Theorie der Musik

[10] Hindemith Paul., 1970, Unterweisung im Tonsatz

[1] [Anonymous], 1910, Psychol. Stud

[2] CHROMA FIXATION AT THE ENDS OF THE MUSICAL FREQUENCY SCALE [J]. JOURNAL OF THE ACOUSTICAL SOCIETY OF AMERICA, 1948, 20 (05) : 704 - 705

[3] BILSEN FA, 1969, ACUSTICA, V22, P63

[4] BILSEN FA, 1972, S HEARING THEORY, P5

[5] BOER ED, 1956, THESIS U AMSTERDAM

[6] CREMER L, 1951, ACUSTICA, V1, P83

[7] OCTAVE GENERALIZATION AND TUNE RECOGNITION [J]. PERCEPTION & PSYCHOPHYSICS, 1972, 11 (06): : 411 - &

[8] FRANSSON F, 1970, STLQPSR23 KTH DEP SP, P41

[9] Helmholtz Hermann L. F., 1863, Die Lehre von Tonempfindungen als physiologische Grundlage fur die Theorie der Musik

[10] Hindemith Paul., 1970, Unterweisung im Tonsatz