Chapter 4 References

(1) Seebeck, A. (1841). Beobachtungen über einige Bedingungen der Entstehung von Tönen. Annalen der Physik und Chemie, 53, 417–436.

(2) Ohm, G. S. (1843). Über die Definition des Tones, nebst daran geknüpfter Theorie der Sirene und ähnlicher tonbildender Vorrichtungen. Annalen der Physik und Chemie, 59, 513-565

(3) Helmholtz, H. L. F. Von. (1863). Die Lehre von den Tonempfindungen als physiologische Grundlage fu ̈r die Theorie der Musik. Braunschweig: F. Vieweg & Sohn.

(4) Schouten, J. F. The perception of subjective tones. Proceedings of the Koninklijke Nederlandse Akademie van Wetenscbappen, 1938, 41, 1083-1093.

(5) Schouten, J. F. (1940). The residue: A new component in subjective sound analysis. Proceedings of Koniklijke Nederlandsche Akademie van Wetenschappen, 43(3), 356–365.

(6) Ritsma, R. J. (1962). Existence region of the tonal residue, I. Journal of the Acoustical Society of America, 34, 1224–1229.

(7) (12) Terhardt, E. (1972). Zur Tonho ̈henwahrnehmung von Kla ̈ngen I. Psychoakustische Grundlagen.
Acoustica, 26, 173–186.   Terhardt, E. (1974). Pitch, consonance and harmony. Journal of the Acoustical Society of America, 55, 1061–1069.  Website: http://www.mmk.ei.tum.de/persons/ter.html

(8) De Boer, E. (1956). On the ‘residue’ in hearing. Unpublished doctoral dissertation, University of Amsterdam.

(9) Ritsma, R. J. (1962). Existence region of the tonal residue, I. Journal of the Acoustical Society of America, 34, 1224–1229. and also Schouten, J. F. (1962). Pitch of the residue. Journal of the Acoustical Society of America, 34, 1418–1424.

(10) Smoorenburg, G. F. (1970). Pitch perception of two-frequency stimuli. Journal of the Acoustical Society of America, 48, 924–942.

(11) Houtsma, A. J. M. (1979). Musical pitch of two-tone complexes and predictions by modern pitch theories. Journal of the Acoustical Society of America, 66, 87–99. and  Houtsma, A. J. M. & Goldstein, J. L. (1972). The central origin of the pitch of complex tones: Evidence from musical interval recognition. Journal of the Acoustical Society of America, 51, 520–529. and Houtsma, A. J. M. (1984). Pitch salience of various complex sounds. Music Perception, 1, 296– 307. and Zwicker, E. & Fastl, H. (1999). Psychoacoustics (2nd edn). Berlin: Springer.

(13) Arvind Venkatasubramanian. (2005) HIGH-FIDELITY, ANALYSIS-SYNTHESIS DATA RATE REDUCTION FOR AUDIO SIGNALS. Master’s Thesis. Music Engineering Technology, Frost School of Music, University of Miami , P.O.Box 248165 Coral Gables, FL 33124-7610.

(14) The Neural Basis of Individual Holistic and Spectral Sound Perception Peter Schneider and Martina Wengenroth  Contemporary Music Review Vol. 28, No. 3, June 2009, pp. 315–328

(15) Ernst Terhardt, Prof. Dr.-Ing. Extraordinarius i.R. (retired) Fachgebiet Akustische Kommunikation  http://www.mmk.e-technik.tu-muenchen.de/persons/ter/top/virtualp.html

(16) Reginald Smith Brindle. Contemporary Percussion. Oxford University Press. 1970. ISBN 978-0198162476.

(17) Rossing, Thomas D. (Editor) Springer Handbook of Acoustics. ISBN: 978-1-4939-0754-0 (Print) 978-1-4939-0755-7 (Online) ISBN-10: 0387336338, 2014