A kettledrum’s tone is perceived with a missing fundamental

Evidence

It can be seen that the frequency ratios of the remaining modes are very close to being the second, third, fourth, fifth and sixth harmonics—making the kettledrum an orchestral instrument whose output has a “missing fundamental”—but this does not affect our ability to perceive its pitch as being associated with the missing fundamental as discussed in Section 3.2.1. — David Howard, Jamie Angus, coustics and Psychoacoustics, 1328

Categorization

• DEFINE: Explains the ‘missing fundamental’ phenomenon as applied to kettledrums — an orchestral instrument whose contributing modes are harmonics 2-6 with no fundamental.
• corroborated: 3 independent passages support this claim — David Howard, Jamie Angus, coustics and Psychoacoustics, 1328
• XREF: connects to: The missing fundamental is still heard when all low harmonics are removed; A bell’s perceived pitch is usually absent from its actual partials; Combination tones fill in missing harmonics of a perceived fundamental — David Howard, Jamie Angus, coustics and Psychoacoustics, 1620 (+4 more)

Broader Connections

• Listeners perceive the fundamental frequency even when its lowest partials are absent #epitomizes (0.85) — Ville Pulkki, Matti Karjalainen, Communication Acoustics- An…, 1115
• Phantom tones are heard despite being absent from the presented sound #corroborates (0.80)
• Combination tones fill in missing harmonics of a perceived fundamental #expands (0.75) — David Howard, Jamie Angus, coustics and Psychoacoustics, 1620
• The ear generates audible combination tones not present in the stimulus #expands (0.75) — David M. Howard, Jamie Angus, Acoustics and Psychoacoustics, 1571