This article concerns a pattern of tones that provides a curious exception to the principle of equivalence under transposition. When the pattern is transposed by a half octave, the identical pitches are heard but they appear to be reversed in time. Further, the pattern in any one key is heard quite differently by different listeners. The implications of this new pitch paradox are discussed.
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Diana Deutsch; The Semitone Paradox. Music Perception 1 December 1988; 6 (2): 115–131. doi: https://doi.org/10.2307/40285421
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