Describe two opposite people

Depression Part Two I remember being endlessly entertained by the adventures of my toys. Some days they died repeated, violent deaths, other days they traveled to space or discussed my swim lessons and how I absolutely should be allowed in the deep end of the pool, especially since I was such a talented doggy-paddler. I didn't understand why it was fun for me, it just was.

This interval is called a tritone. When one tone of a pair is played, followed by the second, some people hear an ascending pattern. This experience can be particularly astonishing to a group of musicians who are all quite certain of their judgments, and yet disagree completely as to whether such a pair of tones is moving up or down in pitch.

The Tritone Paradox has another curious feature. In general, when a melody is played in one key, and it is then transposed to a different key, the perceived relations between the tones are unchanged. The notion that a melody might change shape when it is transposed from one key to another seems as paradoxical as the notion that a circle might turn into a square when it is shifted to a different position in space.

When one of these tone pairs is played such as C followed by F a listener might hear a descending pattern. Another listener might hear the C-F pattern as ascending and hear the G -D pattern as descending.

When you listen to each pair of tones, decide whether it forms an ascending pattern or a descending one. This demonstration works best when you play the tones to a group of listeners. You will most probably find that the listeners disagree amongst themselves as to which pair of tones is ascending, and which is descending in pitch.

This is particularly surprising when the demonstration is played to a group of musicians who are all certain of their Describe two opposite people. Listen to four examples of Deutsch's Tritone Paradox The tones that are employed to create the Tritone Paradox are so constructed that their note names C, CD and so on are clearly defined, but they are ambiguous with respect to which octave they are in.

For example, one tone might clearly be a C, but in principle it could be middle C, or the C an octave above, or the C an octave below. This ambiguity is built into the tones themselves. So when someone is asked to judge, for example, whether the pair of tones D-G is ascending or descending in pitch, there is literally no right or wrong answer.

Whether the tones appear to move up or down in pitch depends entirely on the mind of the listener. The way that any one listener hears the Tritone Paradox depends on the names of the notes that are played.

The musical scale is created by dividing the octave into twelve semitone steps, and each tone is given a name: The entire scale, as it ascends in height, consists of the repeating occurrence of this succession of note names across octaves.

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So when you move up a piano keyboard in semitone steps beginning on C, you go first to Cthen D, then Dand so on, until you get to Athen B, and then C again.

At this point you have reached an octave, and you begin all over, repeating the same series of note names in the next octave up the keyboard.

Because all Cs sound in a sense equivalent, as do all C s, all Ds, and so on, we can think of pitch as varying both along a simple dimension of height and also along a circular dimension of pitch class - a term that musicians use to describe note names.

The pitch class circle. This corresponds to the twelve pitch classes within the octave. In experiments on the Tritone Paradox, pairs of tones are played that are opposite each other along the circle, such as C-For G -D. Let us suppose that listeners mentally arrange pitch classes as a circular map, like a clockface, as shown in Figure 1.

The results supported my conjecture - the judgments of most subjects varied systematically depending on the positions of the tones along the pitch class circle: Tones in one region of the circle tended to be heard as higher, and tones in the opposite region as lower.

Perception of the Tritone Paradox by a subject who perceived the illusion in a pronounced fashion. The upper figure shows the orientation of the pitch class circle with respect to height, derived from the judgments of the subject shown in the graph.

In addition, the orientation of the pitch class circle varied strikingly from one subject to another. Both these subjects heard the Tritone Paradox in a very pronounced fashion, but quite differently from each other.

So for the most part when the first subject heard an ascending pattern the second subject heard a descending one, and vice versa.

The upper parts of the figures show the two orientations of the pitch class circle with respect to height which were derived from the judgments of these subjects. For the first subject, pitch classes G and A stood at the top of the circle, but for the second subject, C and D stood in this position instead.

To further illustrate the differences between listeners in perception of the Tritone Paradox, the judgments of four more subjects are shown in Figure 4. Another surprising consequence of the Tritone Paradox concerns absolute pitch - the ability to name a note in the absence of a reference note.

This ability is generally considered to be very rare. But the Tritone Paradox shows that the large majority of people possess an implicit form of absolute pitch, since on listening to this pattern they hear tones as higher or as lower depending simply on their pitch classes, or note names.Cleave can be cleaved into two “homographs,” words with different origins that end up spelled the same.

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