Pic (muzik)

Pic ialah ciri persepsi yang membolehkan aturan bunyi mengikut skala berasaskan frekuensi.^[1] Pic dikatakan "tinggi" atau "rendah" mengikut makna yang dikaitkan dengan melodi,^[2] yang memerlukan bunyi yang frekuensinya jelas dan stabil agar dapat dibezakan daripada bunyi bising atau hingar.^[3] Pic merupakan atribut auditori utama ton muzik bersama-sama tempoh, kenyaringan dan timbre.^[4]

Pic dapat diukur sebagai frekuensi, akan tetapi pic bukanlah ciri fizikal objektif semata-mata. Pic juga atribut Psychoacoustic subjektif sesuatu bunyi. Dari segi sejarah, kajian pic dan persepsi pic merupakan masalah utama dalam bidang psychocoustics, dan menjadi pendorong utama dalam pembentukan dan pengujian teori-teori berkaitan dengan perwakilan bunyi, pemprosesan, dan pengamatan dalam sistem auditori.^[5]

Persepsi pic sunting

Pic dan frekuensi sunting

Pic ialah kederiaan auditori; si pendengar menentukan ton muzik pada tempat letak pada skala muzik rata-rata berlandaskan frekuensi getaran.^[6] Pic berkaitan rapat dengan frekuensi, akan tetapi pic dan frekuensi tidak sama. Frekuensi merupakan konsep saintifik yang objektif sementara pic pula subjektif. Gelombang-gelombang bunyi tidak memiliki pic, dan ayunan gelombang-gelombang tersebut dapat diukur bagi mendapatkan frekuensi. Pemetaan mutu dalaman pic memerlukan otak manusia. Pic lazimnya dinyatakan kuantitinya sebagai frekuensi dalam Hertz (kitar per saat), dengan membandingkan bunyi dengan ton tulen, yang memiliki bentuk gelombang berkala sinus. Gelombang bunyi yang kompleks dan tak berkala sering kali dapat diberikan pic melalui kaedah ini.^[7]^[8]^[9]

Rujukan sunting

^ Anssi Klapuri and Manuel Davy (2006). Signal processing methods for music transcription. Springer. m/s. 8. ISBN 978-0-387-30667-4.
^ Plack, Christopher J. (2005). Pitch: Neural Coding and Perception. Springer. ISBN 0-387-23472-1. For the purposes of this book we decided to take a conservative approach, and to focus on the relationship between pitch and musical melodies. Following the earlier ASA definition, we define pitch as 'that attribute of sensation whose variation is associated with musical melodies.' Although some might find this too restrictive, an advantage of this definition is that it provides a clear procedure for testing whether or not a stimulus evokes a pitch, and a clear limitation on the range of stimuli that we need to consider in our discussions. Unknown parameter |coauthors= ignored (|author= suggested) (bantuan)
^ Randel, Don Michael, penyunting (2003). The Harvard Dictionary of Music (ed. 4). Harvard University Press. m/s. 499. ISBN 978-0-674-01163-2. Melody: In the most general case, a coherent succession of pitches. Here pitch means a stretch of sound whose frequency is clear and stable enough to be heard as not noise; succession means that several pitches occur; and coherent means that the succession of pitches is accepted as belonging together.
^ Roy D. Patterson, Etienne Gaudrain, and Thomas C. Walters (2010). "The Perception of Family and Register in Musical Tones". Dalam Mari Riess Jones, Richard R. Fay, and Arthur N. Popper (penyunting). Music Perception. Springer. m/s. 37–38. ISBN 978-1-4419-6113-6.CS1 maint: multiple names: authors list (link)
^ Hartmann, William Morris (1997). Signals, Sound, and Sensation. Springer. m/s. 145, 284, 287. ISBN 1-56396-283-7.
^ Plack, Christopher J. (2005). Pitch: Neural Coding and Perception. Springer. ISBN 0-387-23472-1. Unknown parameter |coauthors= ignored (|author= suggested) (bantuan)
^ Robert A. Dobie and Susan B. Van Hemel (2005). Hearing loss: determining eligibility for Social Security benefits. National Academies Press. m/s. 50–51. ISBN 978-0-309-09296-8.
^ E. Bruce Goldstein (2001). Blackwell handbook of perception (ed. 4th). Wiley-Blackwell. m/s. 381. ISBN 978-0-631-20683-5.
^ Richard Lyon and Shihab Shamma (1996). "Auditory Representation of Timbre and Pitch". Dalam Harold L. Hawkins and Teresa A. McMullen (penyunting). Auditory Computation. Springer. m/s. 221–223. ISBN 978-0-387-97843-7.

Pautan luar sunting

[1] Anssi Klapuri and Manuel Davy (2006). Signal processing methods for music transcription. Springer. m/s. 8. ISBN 978-0-387-30667-4.

[2] Plack, Christopher J. (2005). Pitch: Neural Coding and Perception. Springer. ISBN 0-387-23472-1. For the purposes of this book we decided to take a conservative approach, and to focus on the relationship between pitch and musical melodies. Following the earlier ASA definition, we define pitch as 'that attribute of sensation whose variation is associated with musical melodies.' Although some might find this too restrictive, an advantage of this definition is that it provides a clear procedure for testing whether or not a stimulus evokes a pitch, and a clear limitation on the range of stimuli that we need to consider in our discussions. Unknown parameter |coauthors= ignored (|author= suggested) (bantuan)

[3] Randel, Don Michael, penyunting (2003). The Harvard Dictionary of Music (ed. 4). Harvard University Press. m/s. 499. ISBN 978-0-674-01163-2. Melody: In the most general case, a coherent succession of pitches. Here pitch means a stretch of sound whose frequency is clear and stable enough to be heard as not noise; succession means that several pitches occur; and coherent means that the succession of pitches is accepted as belonging together.

[4] Roy D. Patterson, Etienne Gaudrain, and Thomas C. Walters (2010). "The Perception of Family and Register in Musical Tones". Dalam Mari Riess Jones, Richard R. Fay, and Arthur N. Popper (penyunting). Music Perception. Springer. m/s. 37–38. ISBN 978-1-4419-6113-6.CS1 maint: multiple names: authors list (link)

[hartmann-5] Hartmann, William Morris (1997). Signals, Sound, and Sensation. Springer. m/s. 145, 284, 287. ISBN 1-56396-283-7.

[plack-6] Plack, Christopher J. (2005). Pitch: Neural Coding and Perception. Springer. ISBN 0-387-23472-1. Unknown parameter |coauthors= ignored (|author= suggested) (bantuan)

[7] Robert A. Dobie and Susan B. Van Hemel (2005). Hearing loss: determining eligibility for Social Security benefits. National Academies Press. m/s. 50–51. ISBN 978-0-309-09296-8.

[goldstein-8] E. Bruce Goldstein (2001). Blackwell handbook of perception (ed. 4th). Wiley-Blackwell. m/s. 381. ISBN 978-0-631-20683-5.

[lyon-9] Richard Lyon and Shihab Shamma (1996). "Auditory Representation of Timbre and Pitch". Dalam Harold L. Hawkins and Teresa A. McMullen (penyunting). Auditory Computation. Springer. m/s. 221–223. ISBN 978-0-387-97843-7.

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