On the Sensations of Tone as a Physiological Basis for the Theory of Music

By H. Helmholtz, A. Ellis. 2005

1,048 citations recorded by the source corpus.

Subfields: Economics and Econometrics, Political Science and International Relations, Reproductive Medicine

View Paper: https://www.semanticscholar.org/paper/2ac8aef25b7d435c5ca793e32edd4b7645973c97

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Citations in the corpus

Cross-modal speech perception in adults and infants using nonspeech auditory stimuli. (1991, background): “…how one could create the impression of a series of vowels beginning with low-pitched vowels like /u/ and /a/ up to high ones such as /i/ by filling a "very deepe flaggon with a constant streame of beere or water ..." (Newton, 1665, cited in Ladefoged, 1967, p. 65; see also Helmholtz, 1885/1954).”
The Cognition of Tonality – as We Know it Today (2004, background): “The top pair of panels in Figure 4 shows a point in time when both humans and model find a strong tonality of A minor, the key of the piece.”
Auditory and visual objects. (2001, background): “In macaque monkeys, Jay and Sparks (1984) found that the auditory receptive ®elds shifted with changes in eye position, allowing the auditory and visual maps to remain in register.”
Acoustic Metamaterials: Negative Refraction, Imaging, Lensing and Cloaking (2013, methodology): “Several textbooks deal with wave and ultrasound propagation in solids [39, 59].”
A multi-pitch tracking algorithm for noisy speech (2002, background): “It is well known that a high-frequency channel responds to multiple harmonics, and the nature of beats and combinational tones dictates that the response envelope fluctuates at the fundamental frequency [12].”
The neuroaesthetics of music. (2013, background): “(Helmholtz, 1985, p. 370) By virtue of imitation (emotional contagion and visual imagery in Juslin & Västfjäll, 2008), musical structures can denote or refer to external entities of two kinds: first, physical objects and events; second, subjective states such as emotions via their behavioral…”
Self-oscillation (2011, methodology): “II D, echoes their insight early in his monumental treatise on acoustics, The Theory of Sound (first published in 1877), when he explains that Helmholtz’s fork-interrupter is a “self-acting instrument,” whose operation is “often imperfectly apprehended,” and that “any explanation which does not take”