We investigated perception of virtual pitches at missing fundamentals (MFs) in musical chords of three chromas (simultaneous trichords). Tone profiles for major, minor, diminished, augmented, suspended, and four other trichords of octave-complex tones were determined. In Experiment 1, 40 musicians rated how well a tone went with a preceding chord; in Experiment 2, whether the tone was in the chord. Mean ratings for nine non-chord tones were compared with predictions of four models: MFs, diatonicity, 5th-interval relations, and tones that complete familiar tetrachords (e.g., 7th chords). Profiles were accounted for by all four models in Experiment 1, and two (MFs, 5th relations) in Experiment 2. Overall, effect size was largest for MFs. In Experiment 3, listeners heard a chord and chose a matching tone from 12 possibilities. Profile peaks were predicted by pitch models (usually, the lower tone of a perfect 5th). Participants who more likely attended to MFs in isolated harmonic complex tones (fundamental listeners) were not more sensitive to MFs in chords, suggesting their responses instead depended on statistical properties of familiar music. We propose a speculative, psychohistoric explanation: MFs influenced the historical development of musical structure, which in turn influenced the perception of enculturated modern listeners.

中文翻译：

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孤立的和弦的音调概况：心理声学与认知模型。

我们调查了在三个色度（同时三和弦）的音乐和弦中缺少基本音调（MF）时虚拟音高的感知。确定主要，次要，减弱，增强，悬挂和其他四个八度复杂音阶的和弦的音调轮廓。在实验1中，有40位音乐家对前一个和弦的音调进行了评估。在实验2中，音调是否在和弦中。将九种非和弦音调的平均评级与四种模型的预测值进行了比较：MF，全音调，第5个音程关系以及完成熟悉的四和弦（例如第7和弦）的音调。实验1中的所有四个模型和实验2中的两个模型（MF，第5关系）都说明了轮廓。总体而言，MF的效应量最大。在实验3中，听众听到了一个和弦，并从12种可能性中选择了一种匹配的音调。轮廓峰值是通过音高模型预测的（通常是完美5th的较低音调）。较有可能以孤立的和声复调（基本聆听者）参加MF的参与者对和弦中的MF不太敏感，表明他们的反应取决于熟悉音乐的统计特性。我们提出一种推测性的，心理历史性的解释：MF影响了音乐结构的历史发展，而音乐结构反过来又影响了对现代听众的陶醉。