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arXiv · 2506.12405

Methods for pitch analysis in contemporary popular music: multiple pitches from harmonic tones in Vitalic's music

Emmanuel Deruty·David Meredith·Maarten Grachten·Pascal Arbez-Nicolas·Andreas Hasselholt Jørgensen·Oliver Søndermølle Hansen·Magnus Stensli·Christian Nørkær Petersen
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Abstract

Aims. This study suggests that the use of multiple perceived pitches arising from a single harmonic complex tone is an active and intentional feature of contemporary popular music. The phenomenon is illustrated through examples drawn from the work of electronic artist Vitalic and others. Methods. Two listening tests were conducted: (1) evaluation of the number of simultaneous pitches perceived from single harmonic tones, and (2) manual pitch transcription of sequences of harmonic tones. Relationships between signal characteristics and pitch perception were then analyzed. Results. The synthetic harmonic tones found in the musical sequences under study were observed to transmit more perceived pitches than their acoustic counterparts, with significant variation across listeners. Multiple ambiguous pitches were associated with tone properties such as prominent upper partials and particular autocorrelation profiles. Conclusions. Harmonic tones in a context of contemporary popular music can, in general, convey several ambiguous pitches. The set of perceived pitches depends on both the listener and the listening conditions.

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Emmanuel Deruty, David Meredith, Maarten Grachten, Pascal Arbez-Nicolas, Andreas Hasselholt Jørgensen, Oliver Søndermølle Hansen, Magnus Stensli, Christian Nørkær Petersen. 2025-06-14. Methods for pitch analysis in contemporary popular music: multiple pitches from harmonic tones in Vitalic's music. https://doi.org/10.17743/jaes.2022.0264

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