Video Examples on the CD-ROM
[V: 1] Challenging the Octave (challoct.avi 0:21). See also sound example [S: 1]. The spectrum of the sound is constructed so that the octave between f and 2f is dissonant while the nonoctave f to 2.1f is consonant.
[V: 2] Pitch of Periodic Sounds (pitchclicks.avi 0:21). The five buzzy sounds all have the same period; the pitch jumps up an octave somewhere between (a) and (e).
[V: 3] Virtual Pitch of Harmonic Partials (virtpitch.avi 0:29). Sine waves at frequencies 1040, 1300, and 1560 are presented individually and then together. With all three sounding, the primary percept is of a low buzzy sound at a pitch corresponding to 260 Hz.
[V: 4] Virtual Pitch of Inharmonic Partials (virtpitchX.avi 0:30). Sine waves at frequencies 1060, 1320, and 1580 are presented individually and then together. With all three sounding, the primary percept is of a low buzzy sound at a pitch corresponding to about 264 Hz, though this is less clear than when the partials are harmonically related, as in [V: 3].
[V: 5] Beating of Sine Waves I (beats1.avi 0:23). See sound example [S: 5].
[V: 6] Beating of Sine Waves II (beats2.avi 0:23). See sound example [S: 6].
[V: 7] Beating of Sine Waves III (beats3.avi 0:23). See sound example [S: 7].
[V: 8] Dissonance Between Two Sine Waves (sinediss.avi 1:06). See sound example [S: 11]. A sine wave of fixed frequency 220 Hz is played along with a "sine wave" with frequency that begins at 220 Hz and slowly increases to 470 Hz.
[V: 9] Tritone Dissonance Curve (tridiss.avi 1:04). See sound example [S: 35]. This is the auditory version of Fig. 6.2.
[V: 10] Tritone Chime (trichime.avi 0:42). See sound example [S: 36]. First, you hear a single note of the "tritone chime." Next, the chime plays the three chords from Fig. 6.3. The chords are then repeated using a more "organ-like" tritone timbre.
[V: 11] 11-tet Spectral Mappings: Before and After (tim11tet.avi 1:15). See sound example [S: 86]. Several different instrumental sounds alternate with their 11-tet spectrally mapped versions.
[V: 12] 12-tet vs. 11-tet (tim11vs12.avi 0:38). See sound example [S: 87]. A short sequence of chords are played that compare spectrally mapped 11-tet sounds to harmonic sounds when playing chords drawn from the 11-tet scale.
[V: 13] Tom Tom Spectral Mappings: Before and After (tomspec.avi 0:44). See sound example [S: 90]. Several different instrumental sounds alternate with versions mapped into the spectrum of a tom tom:
[V: 14] A Harmonic Cymbal (harmcym.avi 0:23). See sound example [S: 92]. A cymbal is spectrally mapped into a harmonic spectrum-the resulting sound is pitched and capable of supporting melodies and chords.