Pitch (music)
Temporal theories offer an alternative that appeals to the temporal structure of action potentials, mostly the phase-locking and mode-locking of action potentials to frequencies in a stimulus. The precise way this temporal structure helps code for pitch at higher levels is still debated, but the processing seems to be based on an autocorrelation of action potentials in the auditory nerve. However, it has long been noted that a neural mechanism that may accomplish a delay--a necessary operation of a true autocorrelation--has not been found. At least one model shows that a temporal delay is unnecessary to produce an autocorrelation model of pitch perception, appealing to phase shifts between cochlear filters; however, earlier work has shown that certain sounds with a prominent peak in their autocorrelation function do not elicit a corresponding pitch percept, and that certain sounds without a peak in their autocorrelation function nevertheless elicit a pitch. To be a more complete model, autocorrelation must therefore apply to signals that represent the output of the cochlea, as via auditory-nerve interspike-interval histograms. Some theories of pitch perception hold that pitch has inherent octave ambiguities, and therefore is best decomposed into a pitch chroma, a periodic value around the octave, like the note names in western music--and a pitch height, which may be ambiguous, that indicates the octave the pitch is in.
Pitch perception  has inherent octave what?
ambiguities
Some theories of pitch perception hold that pitch has inherent octave ambiguities, and therefore is best decomposed into a pitch chroma, a periodic value around the octave, like the note names in western music--and a pitch height, which may be ambiguous, that indicates the octave the pitch is in.
Pitch perception