Meddis and Hewitt [14] implemented a similar computer model for harmonics perception.
Increasing the amplitude of one harmonic around F1 caused the perception of the vowel to change from /I/ to /ε/.
In music theory, Boethius presents the Pythagoreans as taking a middle position, which gives a role in harmonics to both reason and perception.
Overlap of the frequencies (band-width) of harmonics of maskers and the harmonics of signals may significantly influence perception of signals (i.e., increase masking) in birds and humans (Dooling et al. 2001).
A survey of computational models designed to estimate multiple F0s and segregate concurrent sources is followed by a review of the empirical literature on the perception and neural coding of concurrent harmonic sounds, including vowels, as well as findings obtained using single complex tones with mistuned harmonics.
Bigand et al. [44] showed that a subtle variation in harmonic processing interfered with phoneme monitoring in the perception of choral music sung with pseudowords.
The frequency-to-channel mapping for Cochlear implant (CI) signal processors was originally designed to optimize speech perception and generally does not preserve the harmonic structure of music sounds.
Word-in-noise perception does not relate to strength of neural harmonic representation or short-term memory.
Preserving the harmonic structure of individual tones is important for preserving the melody perception.
The processes of harmonic integration appear to resemble processes of semantic integration during the perception of language (indexed by the N400; e.g., [34]), and might at least partly reflect processing of musical meaning (irregular chord functions, and deceptive cadences, are prominent elements of major-minor tonal music that are used by composers as a means of expression [35], [13]).
However, for the two stimulus sets in which the harmonic part is most prevalent, that is, sets A1 and B, the perception of brightness seems to depend on the harmonic proportion.
