Dean Rickles: mental activity in the perception of music occurs on the frequency of wolf note.

 We may also mention musical understanding as another example of meaningful and sensible experience yet without conceptual structures of a kind that distinguish subject and object. Indeed, several commentators suggest that music is simply given, see eg., Budd (1985). It has recently been argued that there are curiously entwined subject-oject relations in the context of music, some of which music theorists are aware of. The subject and the objective are intertwined in such a way that it does not make sense to speak of a split at all (Rickes, 2017). This idea of experiencable implicit meaning waiting to be explicated may be related to all quantum-inspired dual-aspect approaches, as presented in Chapters 3-5.

p. 35 Dual-Aspect monism and the Deep Structure of Meaning

The problem of music psychology is directly examined by Dean Rickles, who claims that mental activity in the perception of music occurs on the frequency
of wolf note. ["For example, untrained listeners can barely distinguish a major from a minor third"] This pitch level, being the main feature
of the human mind, its reflexive process, allows saving
the musical structure and its melodic contour. Thus, as-
pects of cognitive performing musician phenomena are
related to the nature of music. ‘There are, of course, a
variety of elements, beyond tonality, that go into music,
forming the structure of a musical work (though it is pos-
sible to carve this structure in different ways, depending
on the method of analysis). This includes pitch, meter,
and loudness as important elements. Pitch is simply the
brain’s representation of the periodicity (frequency) of
sound waves. It is not frequency itself, but is linked to
perception, thus demanding a subject: frequency does
not. Relative pitch is central to music perception: we
can change absolute pitch leaving relative pitches in-
variant and ‘preserve the musical structure.’ In fact,
relative pitch recognition appears to be a rather basic
feature of the human mind: infants can recognize trans-
posed melodies as the same melody. But general melod-
ic contour information is easier to assess than interval
information... Hence, we see clearly how aspects of hu-
man cognitive architecture filter in to the nature of mu-
sic and musicology - this is what I meant by my phrase
“observer selection” above’ (Rickles, 2013, 4).

 Rickles, D. (2013): Musicology as an Object for
HPS? An Exploration. Journal of Aesthetics and Art Criti-
cism, 33(2), 4-8. https://aesthetics-online.org/page/RicklesMusicology?&hhsearchterms=%22dean+and+rickles%22

cited in pdf

Pitch is simply the brain’s representation of the periodicity (frequency) of sound waves. It is not frequency itself, but is linked to perception, thus demanding a subject: frequency does not. Relative pitch is central to music perception: we can change absolute pitch leaving relative pitches invariant and ‘preserve the musical structure.’

  Dean Rickles music talk on youtube