重新定义音乐中的音高，揭示其感知本质与多变性。
Evolving music theory for emerging musical languages
- 音高是听觉构建而非客观存在，受听众和情境影响。
- 同一音可呈现多个音高，导致音高分裂现象。
- 适合音乐理论研究者与电子音乐创作者阅读。
本文重新审视当代流行音乐（CPM）中的音高概念，尤其在电子音乐语境下，传统假设可能失效。基于现象学与归纳方法，论证音高并非本体论上的客观属性，而是由听觉主体与环境共同塑造的感知构造。对准谐音的分析显示，单一音可传达多重音高，引发音高分裂现象；同一听者在不同时刻对音高的感知也可能发生多稳态变化。在此框架下，调音系统可能源于音的内部结构。类比海岸线悖论，提出一种以感知变异性为基础的音高模型，挑战了既有的理论规范。
原文摘要 · Abstract (English)
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.
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