Pitch_(music)

context: Pitch is an auditory sensation in which a listener assigns musical tones to relative positions on a musical scale based primarily on their perception of the frequency of vibration. Pitch is closely related to frequency, but the two are not equivalent. Frequency is an objective, scientific attribute that can be measured. Pitch is each person's subjective perception of a sound, which cannot be directly measured. However, this does not necessarily mean that most people won't agree on which notes are higher and lower.
qas: answers: auditory
question: What type of sensation is pitch?

answers: frequency
question: What is pitch closely related to?

answers: Pitch
question: Each persons perception of sound is called?

context: This creates a linear pitch space in which octaves have size 12, semitones (the distance between adjacent keys on the piano keyboard) have size 1, and A440 is assigned the number 69. (See Frequencies of notes.) Distance in this space corresponds to musical intervals as understood by musicians. An equal-tempered semitone is subdivided into 100 cents. The system is flexible enough to include "microtones" not found on standard piano keyboards. For example, the pitch halfway between C (60) and C♯ (61) can be labeled 60.5.
qas: answers: 12
question: Octaves in linear pitch are what size?

answers: 1
question: Semitones in linear pitch are what size?

answers: 69
question: A440 in linear pitch are what size?

answers: 100
question: An equal-tempered semitone is subdivided into how many cents?

answers: 60.5
question: The pitch halfway between C (60) and C♯ (61) is labeled what?

context: The relative pitches of individual notes in a scale may be determined by one of a number of tuning systems. In the west, the twelve-note chromatic scale is the most common method of organization, with equal temperament now the most widely used method of tuning that scale. In it, the pitch ratio between any two successive notes of the scale is exactly the twelfth root of two (or about 1.05946). In well-tempered systems (as used in the time of Johann Sebastian Bach, for example), different methods of musical tuning were used. Almost all of these systems have one interval in common, the octave, where the pitch of one note is double the frequency of another. For example, if the A above middle C is 440 Hz, the A an octave above that is 880 Hz (info).
qas: answers: twelve-note chromatic scale
question: What is the most common method of organization?

answers: the twelfth root of two
question: The pitch ratio between any two successive notes is?

answers: the octave
question: All these different methods have what in common?

context: According to the American National Standards Institute, pitch is the auditory attribute of sound according to which sounds can be ordered on a scale from low to high. Since pitch is such a close proxy for frequency, it is almost entirely determined by how quickly the sound wave is making the air vibrate and has almost nothing to do with the intensity, or amplitude, of the wave. That is, "high" pitch means very rapid oscillation, and "low" pitch corresponds to slower oscillation. Despite that, the idiom relating vertical height to sound pitch is shared by most languages. At least in English, it is just one of many deep conceptual metaphors that involve up/down. The exact etymological history of the musical sense of high and low pitch is still unclear. There is evidence that humans do actually perceive that the source of a sound is slightly higher or lower in vertical space when the sound frequency is increased or decreased.
qas: answers: sound
question: Pitch is the auditory attribute to what?

answers: frequency
question: Pitch is a close proxy for what?

answers: rapid
question: High pitch is what type of oscillation?

answers: slower
question: Low pitch is what type of oscillation?

context: A sound generated on any instrument produces many modes of vibration that occur simultaneously. A listener hears numerous frequencies at once. The vibration with the lowest frequency is called the fundamental frequency; the other frequencies are overtones. Harmonics are an important class of overtones with frequencies that are integer multiples of the fundamental. Whether or not the higher frequencies are integer multiples, they are collectively called the partials, referring to the different parts that make up the total spectrum.
qas: answers: sound generated
question: This produces many modes of vibration that occur simultaneously?

answers: numerous
question: A listener can hear how many frequencies at once?

answers: overtones
question: Harmonics are an important class of what?

answers: the partials
question: Integer multiples are collectively called? 

context: The pitch of complex tones can be ambiguous, meaning that two or more different pitches can be perceived, depending upon the observer. When the actual fundamental frequency can be precisely determined through physical measurement, it may differ from the perceived pitch because of overtones, also known as upper partials, harmonic or otherwise. A complex tone composed of two sine waves of 1000 and 1200 Hz may sometimes be heard as up to three pitches: two spectral pitches at 1000 and 1200 Hz, derived from the physical frequencies of the pure tones, and the combination tone at 200 Hz, corresponding to the repetition rate of the waveform. In a situation like this, the percept at 200 Hz is commonly referred to as the missing fundamental, which is often the greatest common divisor of the frequencies present.
qas: answers: ambiguous
question: The pitch of complex tones can be?

answers: two
question: A complex tone is composed of how many waves?

answers: the missing fundamental
question:  The percept at 200 Hz is commonly referred to as?

answers: divisor of the frequencies present
question: the percept at 200 Hz is commonly referred to as the missing fundamental, which is often?

context: The just-noticeable difference (jnd) (the threshold at which a change is perceived) depends on the tone's frequency content. Below 500 Hz, the jnd is about 3 Hz for sine waves, and 1 Hz for complex tones; above 1000 Hz, the jnd for sine waves is about 0.6% (about 10 cents). The jnd is typically tested by playing two tones in quick succession with the listener asked if there was a difference in their pitches. The jnd becomes smaller if the two tones are played simultaneously as the listener is then able to discern beat frequencies. The total number of perceptible pitch steps in the range of human hearing is about 1,400; the total number of notes in the equal-tempered scale, from 16 to 16,000 Hz, is 120.
qas: answers: the tone's frequency content
question: The just-noticeable difference, at which a change is perceived depends on what?

answers: playing two tones in quick succession
question: The jnd is typically tested by?

answers: 1,400
question: What is the range of perceptible pitch steps to human hearing?

context: It is still possible for two sounds of indefinite pitch to clearly be higher or lower than one another. For instance, a snare drum sounds higher pitched than a bass drum though both have indefinite pitch, because its sound contains higher frequencies. In other words, it is possible and often easy to roughly discern the relative pitches of two sounds of indefinite pitch, but sounds of indefinite pitch do not neatly correspond to any specific pitch. A special type of pitch often occurs in free nature when sound reaches the ear of an observer directly from the source, and also after reflecting off a sound-reflecting surface. This phenomenon is called repetition pitch, because the addition of a true repetition of the original sound to itself is the basic prerequisite.
qas: answers: snare drum
question: Which drum has a higher perceived pitch even though they both have indefinite pitch?

answers: the addition of a true repetition of the original sound
question: Repetition pitch is caused by what phenomenon?

answers: indefinite pitch
question: It is possible and often easy to roughly discern the relative pitches of two sounds of what?

context: For example, one might refer to the A above middle C as a', A4, or 440 Hz. In standard Western equal temperament, the notion of pitch is insensitive to "spelling": the description "G4 double sharp" refers to the same pitch as A4; in other temperaments, these may be distinct pitches. Human perception of musical intervals is approximately logarithmic with respect to fundamental frequency: the perceived interval between the pitches "A220" and "A440" is the same as the perceived interval between the pitches A440 and A880. Motivated by this logarithmic perception, music theorists sometimes represent pitches using a numerical scale based on the logarithm of fundamental frequency. For example, one can adopt the widely used MIDI standard to map fundamental frequency, f, to a real number, p, as follows
qas: answers: spelling
question: The notion of pitch is insensitive to what?

answers: A4
question: The description "G4 double sharp" refers to the same pitch as what?

answers: logarithmic
question: Human perception of musical intervals is approximately what?

answers: numerical
question: Music theorist represent pitches using what kind of scale?

context: Temporal theories offer an alternative that appeals to the temporal structure of action potentials, mostly the phase-locking and mode-locking of action potentials to frequencies in a stimulus. The precise way this temporal structure helps code for pitch at higher levels is still debated, but the processing seems to be based on an autocorrelation of action potentials in the auditory nerve. However, it has long been noted that a neural mechanism that may accomplish a delay—a necessary operation of a true autocorrelation—has not been found. At least one model shows that a temporal delay is unnecessary to produce an autocorrelation model of pitch perception, appealing to phase shifts between cochlear filters; however, earlier work has shown that certain sounds with a prominent peak in their autocorrelation function do not elicit a corresponding pitch percept, and that certain sounds without a peak in their autocorrelation function nevertheless elicit a pitch. To be a more complete model, autocorrelation must therefore apply to signals that represent the output of the cochlea, as via auditory-nerve interspike-interval histograms. Some theories of pitch perception hold that pitch has inherent octave ambiguities, and therefore is best decomposed into a pitch chroma, a periodic value around the octave, like the note names in western music—and a pitch height, which may be ambiguous, that indicates the octave the pitch is in.
qas: answers: autocorrelation of action potentials in the auditory nerve
question: The precise way this temporal structure helps code for pitch at higher levels is based on what?

answers: unnecessary
question: Is a temporal delay necessary to produce an autocorrelation model of pitch perception?

answers: ambiguities
question: Pitch perception  has inherent octave what?