Abstract
This chapter reconsiders the concept of pitch in contemporary popular music (CPM), particularly in electronic contexts where traditional assumptions may fail. Drawing on phenomenological and inductive methods, it argues that pitch is not an ontologically objective property but a perceptual construct shaped by listeners and conditions. Analyses of quasi-harmonic tones reveal that a single tone can convey multiple pitches, giving rise to tonal fission. The perception of pitch may also be multistable, varying for the same listener over time. In this framework, the tuning system may emerge from a tone's internal structure. A parallel with the coastline paradox supports a model of pitch grounded in perceptual variability, challenging inherited theoretical norms.
Abstract (translated)
本章重新审视了当代流行音乐（CPM）中的音高概念，尤其是在传统假设可能失效的电子音乐背景下。通过现象学和归纳方法，本文主张音高不是一个客观存在的属性，而是一种由听众和条件塑造的感知构造。对准谐波音调的分析表明，单个音可以传达多种不同的音高，从而导致声音分裂。音高的感知也可能具有多重稳定性，在相同听众的不同时间点上发生变化。在这一框架下，调律系统可能源自于一个音本身的内部结构。与海岸线悖论的类比支持了一种基于感知变化性的音高标准模型，挑战了传统理论规范。
URL
https://arxiv.org/abs/2506.14504
