耳蜗波-棘波转换时的音高和音色辨别
Pitch and timbre discrimination at wave-to-spike transition in the cochlea
摘要：
提出了音高的新定义。耳蜗的时域差分（FDTM）模型用于计算由音调复合体和由记录的古典吉他音调引起的脉冲序列。所有的谐波音调复合体，音符，在音调复合体的各自基频处显示窄带峰间间隔（ISI）模式。此外，该基频不仅存在于保持该基频的相应最佳频率的树皮频带处，而且存在于由音调复合分音驱动的所有树皮频带处。这是由各个频带中基本上规则的、周期性的脉冲序列中的丢失引起的。这些丢失是由波形中的能量分布引起的，其中低能量的时间跨度不能驱动尖峰。所有树皮带中基本周期性的存在可以解释为音高。与音高相反，音色被表示为在树皮带上广泛分布的不同ISI。音高的定义也适用于剩余音高。在波形的低能量的时间中的尖峰脱落也导致低音，周期性的整数倍细分，但在任何情况下都不会出现泛音。这也许可以解释音乐小调音阶，这是由雨果·黎曼在1880年提出的，直到现在还没有关于这种低音的任何物理实现的知识。
英文摘要：
A new definition of musical pitch is proposed. A Finite-Difference Time Domain (FDTM) model of the cochlea is used to calculate spike trains caused by tone complexes and by a recorded classical guitar tone. All harmonic tone complexes, musical notes, show a narrow-band Interspike Interval (ISI) pattern at the respective fundamental frequency of the tone complex. Still this fundamental frequency is not only present at the bark band holding the respective best frequency of this fundamental frequency, but rather at all bark bands driven by the tone complex partials. This is caused by drop-outs in the basically regular, periodic spike train in the respective bands. These drop-outs are caused by the energy distribution in the wave form, where time spans of low energy are not able to drive spikes. The presence of the fundamental periodicity in all bark bands can be interpreted as pitch. Contrary to pitch, timbre is represented as a wide distribution of different ISIs over bark bands. The definition of pitch is shown to also works with residue pitches. The spike drop-outs in times of low energy of the wave form also cause undertones, integer multiple subdivisions in periodicity, but in no case overtones can appear. This might explain the musical minor scale, which was proposed to be caused by undertones already in 1880 by Hugo Riemann, still until now without knowledge about any physical realization of such undertones.
机构、总结、中文摘要均由AI分析而来，可能存在错误，请以论文正文为准。
