| List of figures |
| List of tables |
| Preface and acknowledgements |
| Preliminaries / 1.： |
| Musical arithmetic / 1.1： |
| Musical sensations / 1.2： |
| Sound / 1.3： |
| Pitch and frequency / 1.4： |
| Transients / 1.5： |
| Auralising / 1.6： |
| Representing intervals / 1.7： |
| About hearing / 1.8： |
| Time in music / 1.9： |
| Aural archaeology / 2.： |
| The origins of music: making noises / 2.1： |
| Noise-making artefacts / 2.2： |
| Sustained-pitch instruments / 2.3： |
| Hearing selects intervals / 3.： |
| Introduction / 3.1： |
| The pentatonic scale / 3.2： |
| The pitch ratios / 3.3： |
| Derivation of the pentatonic scale / 3.4： |
| Using the scale / 3.5： |
| The octave / 3.6： |
| The extension of the pentatonic scale / 3.7： |
| The heptatonic scales / 3.8： |
| A visually determined scale / 3.9： |
| Drones / 3.10： |
| The historical puzzle / 3.11： |
| Non-harmonic scales / 3.12： |
| The beguiling harmonic theory / 4.： |
| Helmholtz resonators / 4.1： |
| Instrument harmonics / 4.2： |
| The flaw in the harmonic theory / 4.3： |
| The real questions about harmonics / 4.4： |
| Tone and timbre / 4.5： |
| Identifying instrument sounds / 4.6： |
| Defining tone / 4.7： |
| Timbre and discriminating pitch / 4.8： |
| Investigating tone / 4.9： |
| The harmonic contribution to pitch / 4.10： |
| Harmonicity and tone / 4.11： |
| The selection of instrumental tone / 4.12： |
| Timbre and the player / 4.13： |
| Vibrato / 4.14： |
| The susceptibility of hearing / 4.15： |
| Harmonic noise and the seventh fairytale / 4.16： |
| Conclusion / 4.17： |
| The imitating voice / 5.： |
| Hearing simultaneous pitches / 6.： |
| The medieval situation / 6.1： |
| The organ / 6.2： |
| The discovery of a twelve-pitch scale / 6.3： |
| The tuning problem / 6.4： |
| The just scale / 6.5： |
| Selecting intervals / 6.6： |
| Harpsichord interval sensations / 6.7： |
| Beats / 6.8： |
| How do we judge intervals? / 6.9： |
| Interval pitch patterns / 6.10： |
| The reality of simultaneous intervals / 6.11： |
| Equal-temperament / 6.12： |
| The piano / 6.13： |
| Consecutive intervals / 6.14： |
| Intonation and pitch stability / 6.15： |
| Patterns in harmony / 7.： |
| The basis of harmony / 7.1： |
| The harmonic sensation / 7.2： |
| Harmonic shorthands / 7.3： |
| Learning harmony / 7.4： |
| Other simultaneous-pitch phenomena / 7.5： |
| The three-tones paradox / 7.6： |
| Can we hear harmonics? / 7.7： |
| Loudness / 8.： |
| The basic dynamic scale / 8.1： |
| Loudness and frequency / 8.2： |
| Loudness and tone / 8.3： |
| Loudness and pitch / 8.4： |
| Varying loudness / 8.5： |
| Music through the hearing machine / 9.： |
| The questions / 9.1： |
| The evolutionary background / 9.2： |
| An overview of the hearing system / 9.3： |
| The hearing range / 9.4： |
| The sound receiver / 9.5： |
| The travelling wave / 9.6： |
| Signalling loudness / 9.7： |
| The hair cell's limitation / 9.8： |
| The discovery of the sound code / 9.9： |
| Pitch discrimination / 9.10： |
| Minimum duration for pitch / 9.11： |
| Producing a pure-tone sensation / 9.12： |
| Signalling sound with harmonics / 9.13： |
| The generation of hiss and buzz / 9.14： |
| Low and high frequencies / 9.15： |
| The creation of the pitch sensation / 9.16： |
| The creation of tone / 9.17： |
| Simple simultaneous intervals / 9.18： |
| Other simultaneous intervals / 9.19： |
| Chords / 9.20： |
| Harmonicity / 9.21： |
| Conclusions about intervals / 9.22： |
| Consecutive pitches / 9.23： |
| Polyphonic music / 9.24： |
| The general musical pitch phenomenon / 9.25： |
| Anomalies in pitch perception / 9.26： |
| A really aberrant hearing system / 9.27： |
| Tracking and the three-tones paradox / 9.28： |
| A sense of direction / 10.： |
| The direction-finding system / 10.1： |
| The timing system / 10.4： |
| Sensing transients / 10.5： |
| Noise amalgamation / 10.6： |
| The general characteristcs of hearing / 10.7： |
| Space sound / 10.8： |
| Conclusions / 10.9： |
| Time and rhythm / 11.： |
| The origin of time-patterned sound / 11.1： |
| Time in pitched music / 11.3： |
| Time and notation / 11.4： |
| Obtaining the pulse / 11.5： |
| The conductor / 11.6： |
| Time and the beginner / 11.7： |
| Variations on a pulse / 11.8： |
| You can't write it down / 11.9： |
| Metronomes and click tracks / 11.10： |
| What is rhythm? / 11.11： |
| We all hear the same thing / 12.： |
| The origins of music / 12.2： |
| Memory / 12.3： |
| Other pitch systems / 12.4： |
| Believing is hearing / 12.5： |
| Pleasure and wonder / 12.6： |
| Appendices |
| Interval names |
| Selecting pentatonic pitches |
| An alternative dodecaphonic route |
| Pitch discrimination and intervals |
| Tuning a keyboard by beats |
| The abominable cent |
| Repetition rates |
| Anatomical evolution |
| The primitive processor? |
| The ear structures |
| Hair cells |
| Recording auditory nerve pulses |
| The irregular distribution of pulses / 13.： |
| The length of resonant vibrations / 14.： |
| The place theory / 15.： |
| Memory storage and recovery of pitches / 16.： |
| Signalling direction / 18.： |
| Words and scents / 19.： |
| Bibliography |
| Index |
| List of figures |
| List of tables |
| Preface and acknowledgements |
図書
