Pitch theories neglecting amplitude information cannot fully explain perception

Evidence

A well-struck kettle drum might have partials at 128, 192, and 256 Hz, which “should” give a residue pitch of 64 Hz, since these frequencies are all multiples of 64 Hz. However, almost everyone reports a pitch of 128 Hz instead. The 128 Hz component may dominate, but if the next two have a reasonable amplitude, a constant tone (as opposed to the kettle drumstrike) with these components does have a pitch of 64 Hz (although 128 can also be heard). The kettle drum, however, stubbornly seems to be 128 Hz. — Eric J. Heller, Why You Hear What You Hear- An…, 2132

Discussions of pitch often mention only frequencies, and not amplitudes. Granted, the perceived pitch may not change much for wide variations of the amplitudes, but it will change if the amplitude changes become extreme enough. Any discussion of pitch should include mention of the amplitudes or power spectrum used—distrust any theory or opinion that does not. Incredibly, that will eliminate most of the theories out there! — Eric J. Heller, Why You Hear What You Hear- An…, 2026

Categorization

• QUESTION: Why does transient duration shift perceived pitch up an octave? This mechanism is worth chasing into section 23.14 competition model.
• SEED: An investigative essay angle: why most explanatory theories of a phenomenon systematically omit a variable that actually matters — using pitch theory as a case study.
• corroborated: 2 independent passages support this claim — Eric J. Heller, Why You Hear What You Hear- An…, 2132; Eric J. Heller, Why You Hear What You Hear- An…, 2026