Ethnicity effects in relative pitch

Absolute pitch (AP), the rare ability to identify a musical pitch, occurs at a higher rate among East Asian musicians. This has stimulated considerable research on the comparative contributions of genetic and environmental factors. Two studies examined whether a similar ethnicity effect is found for relative pitch (RP), identifying the distance or interval between two tones. Nonmusicians (n = 103) were trained to label musical intervals and were subsequently tested on interval identification. We establish similar ethnicity effects: Chinese and Korean participants consistently outperformed other participants in RP tasks, but not in a “relative rhythm” control task. This effect is not driven by previous musical or tone-language experience. The parallel with the East Asian advantage for AP suggests that enhanced perceptual-cognitive processing of pitch is more general and is not limited to highly trained musicians. This effect opens up many research questions concerning the environmental and genetic contributions related to this more general pitch-based ability.     

Tune recognition with reduced pitch and interval information

Twenty subjects were tested on their ability to recognize simple tunes from which rhythm information had been removed. Only the first phrase of each tune was presented. The purpose of the experiment was (a) to determine whether stimuli containing only high harmonics can evoke a sense of musical pitch, and (b) to provide a set of data in normal subjects with which the performance of deaf subjects whose auditory nerve is stimulated electrically can be compared. Each subject was tested on five sets of stimuli presented in a counterbalanced order. These stimuli were (I) pulse trains high-pass filtered at 2 kHz, with repetition rates in the range of 100-200 p.p.s.; (2) as in (I) but high-pass filtered at 4 kHz; (3) sinusoids with musical intervals compressed, so that the “octave” was a ratio of I:I·3; (4) sinusoids with the musical intervals expanded, so that the “octave” was a ratio of I:4; (5) sinusoids of a constant frequency in which the normal frequency changes were translated into intensity changes, each semitone being represented by a 3 dB change in level. The results indicate that a pattern of intensity changes does not support tune recognition, and that, although the pitch contour alone allows reasonable performance, subjects do use musical interval information in recognizing tunes. Stimuli containing only high harmonics can provide such interval information, and thus can evoke a sense of musical pitch. Preliminary results from a deaf subject stimulated electrically with an electrode on the surface of the cochlea indicate that such stimulation can also evoke a sense of musical pitch. It is concluded that musical pitch information can be carried in the time-pattern of nerve impulses in the auditory nerve.     

绝对音高感对音乐句法加工能力的影响

绝对音高感是一种敏锐的音高知觉能力。拥有这种能力的人可以在没有标准音(A4)参照下, 对所听到的音高进行命名。本文通过对比绝对音高感被试与不具有绝对音高感被试对音乐句法基本规则的知觉以及对音乐句法结构划分能力的差异, 探讨绝对音高感与音乐句法加工能力之间的关系。结果表明, 绝对音高感被试对音乐句法基本规则的知觉水平高于控制组; 同时, 这种知觉上的优势也延伸到他们对音乐句法结构的划分。这一结果说明, 绝对音高感被试不仅可以对音高进行孤立命名, 而且表现出对调性音乐音高关系加工的优势。     

Expectancies generated by melodic intervals: Perceptual judgments of melodic continuity

The present study tested quantified predictors based on the bottom-up principles of Narmour’s (1990) implication-realization model of melodic expectancy against continuity ratings collected for a tone that followed a two-tone melodic beginning. Twenty-four subjects (12 musically trained, 12 untrained) were presented with each of eight melodic intervals—two successive tones which they were asked to consider as the beginning of a melody. On each trial, a melodic interval was followed by a third tone, one of the 25 chromatic notes within the range one octave below to one octave above the second tone of the interval. The subjects were asked to rate how well the third tone continued the melody. A series of regression analyses was performed on the continuation ratings, and a final model to account for the variance in the ratings is proposed. Support was found for three of Narmour’s principles and a modified version of a fourth. Support was also found for predictor variables based on the pitch organization of tonal harmonic music. No significant differences between the levels of musical training were encountered.     

Chickadees fail standardized operant tests for octave equivalence

Octave equivalence occurs when an observer judges notes separated by a doubling in frequency perceptually similar. The octave appears to form the basis of pitch change in all human cultures and thus may be of biological origin. Previously, we developed a nonverbal operant conditioning test of octave generalization and transfer in humans. The results of this testing showed that humans with and without musical training perceive the octave relationship between pitches. Our goal in the current study was to determine whether black-capped chickadees, a North American songbird, perceive octave equivalence. We chose these chickadees because of their reliance on pitch in assessing conspecific vocalizations, our strong background knowledge on their pitch height perception (log-linear perception of frequency), and the phylogenetic disparity between them and humans. Compared to humans, songbirds are highly skilled at using pitch height perception to classify pitches into ranges, independent of the octave. Our results suggest that chickadees used that skill, rather than octave equivalence, to transfer the note-range discrimination from one octave to the next. In contrast, there is evidence that at least some mammals, including humans, do perceive octave equivalence.     

Perceptual hysteresis in the judgment of auditory pitch shift

Perceptual hysteresis can be defined as the enduring influence of the recent past on current perception. Here, hysteresis was investigated in a basic auditory task: pitch comparisons between successive tones. On each trial, listeners were presented with pairs of tones and asked to report the direction of subjective pitch shift, as either “up” or “down.” All tones were complexes known as Shepard tones (Shepard, 1964), which comprise several frequency components at octave multiples of a base frequency. The results showed that perceptual judgments were determined both by stimulus-related factors (the interval ratio between the base frequencies within a pair) and by recent context (the intervals in the two previous trials). When tones were presented in ordered sequences, for which the frequency interval between tones was varied in a progressive manner, strong hysteresis was found. In particular, ambiguous stimuli that led to equal probabilities of “up” and “down” responses within a randomized context were almost fully determined within an ordered context. Moreover, hysteresis did not act on the direction of the reported pitch shift, but rather on the perceptual representation of each tone. Thus, hysteresis could be observed within sequences in which listeners varied between “up” and “down” responses, enabling us to largely rule out confounds related to response bias. The strength of the perceptual hysteresis observed suggests that the ongoing context may have a substantial influence on fundamental aspects of auditory perception, such as how we perceive the changes in pitch between successive sounds.     

Quantification of the hierarchy of tonal functions within a diatonic context

Listeners rated test tones falling in the octave range from middle to high C according to how well each completed a diatonic C major scale played in an adjacent octave just before the final test tone. Ratings were well explained in terms of three factors. The factors were distance in pitch height from the context tones, octave equivalence, and the following hierarchy of tonal functions: tonic tone, other tones of the major triad chord, other tones of a diatonic scale, and the nondiatonic tones. In these ratings, pitch height was more prominent for less musical listeners or with less musical (sinusoidal) tones, whereas octave equivalence and the tonal hierarchy prevailed for musical listeners, especially with harmonically richer tones. Ratings for quarter tones interpolated halfway between the halftone steps of the standard chromatic scale were approximately the averages of ratings for adjacent chromatic tones, suggesting failure to discriminate tones at this fine level of division.     

Categorical perception of tonal intervais: Musicians can’t tellsharp fromflat

Six musicians with relative pitch judged 13 tonal intervals in a magnitude estimation task. Stimuli were spaced in .2-semitone increments over a range of three standard musical categories (fourth, tritone, fifth,). The judged magnitude of the intervals did not increase regularly with stimulus magnitude. Rather, the psychophysical functions showed three discrete steps cor-responding to the musically defined intervals. Although all six subjects had identified in-tune intervals with >95% accuracy, all were very poor at differentiating within a musical category— they could not reliably tell “sharp” from “flat.” After the experiment, they judged 63% of the stimuli to be “in tune,” but in fact only 23% were musically accurate. In a subsequent labeling task, subjects produced identification functions with sharply defined boundaries between each of the three musical categories. Our results parallel those associated with the identification and scaling of speech sounds, and we interpret them as evidence for categorical perception of music.     

Tonal strength and melody recognition after long and short delays

In a continuous-running-memory task, subjects heard novel seven-note melodies that were tested after delays of 11 sec (empty) or 39 sec (filled). Test items were transposed to new pitch levels (to moderately distant keys in the musical sense)and included exact transpositions (targets), same-contour lures with altered pitch intervals, and new-contour lures. Melodies differed in tonal strength (degree of conformity to a musical key) and were tonally strong, tonally weak, or atonal. False alarms to same-contour lures decreased over the longer delay period, but only for tonal stimuli. In agreement with previous studies, discrimination of detailed changes in pitch intervals improved with increased delay, whereas discrimination of more global contour information declined, again only for tonal stimuli. These results suggest that poor short-delay performance in rejecting same-contour lures arises from confusion that is based on the similarity of tonality between standard stimuli and lures. If a test item has the same contour and a similar tonality to a just-presented item, subjects tend to accept it. After a delay filled with melodies in other tonalities, the salience of key information recedes, and subjects base their judgments on more detailed pattern information (namely, exact pitch intervals). The fact that tonality affects judgments of melodic contour indicates that contour is not an entirely separable feature of melodies but rather that a melody with its contour constitutes an integrated perceptual whole.     

Tonal strength and melody recognition after long and short delays.

In a continuous-running-memory task, subjects heard novel seven-note melodies that were tested after delays of 11 sec (empty) or 39 sec (filled). Test items were transposed to new pitch levels (to moderately distant keys in the musical sense) and included exact transpositions (targets), same-contour lures with altered pitch intervals, and new-contour lures. Melodies differed in tonal strength (degree of conformity to a musical key) and were tonally strong, tonally weak, or atonal. False alarms to same-contour lures decreased over the longer delay period, but only for tonal stimuli. In agreement with previous studies, discrimination of detailed changes in pitch intervals improved with increased delay, whereas discrimination of more global contour information declined, again only for tonal stimuli. These results suggest that poor short-delay performance in rejecting same-contour lures arises from confusion that is based on the similarity of tonality between standard stimuli and lures. If a test item has the same contour and a similar tonality to a just-presented item, subjects tend to accept it. After a delay filled with melodies in other tonalities, the salience of key information recedes, and subjects base their judgments on more detailed pattern information (namely, exact pitch intervals). The fact that tonality affects judgments of melodic contour indicates that contour is not an entirely separable feature of melodies but rather that a melody with its contour constitutes an integrated perceptual whole.     

The interdependence of pitch and temporal judgments by absolute pitch possessors

The auditory tau and the kappa effects show that there is time-pitch interdependence in our perception. Our judgments of pitch separation between two tones depend on the temporal interval between them (the auditory tau effect), and our judgments of the tones’ temporal interval depend on their pitch separation (the kappa effect). The mechanisms underlying this interdependence were investigated by studying the auditory tau and the kappa effect in three experiments. Comparisons were made between results obtained from subjects with absolute pitch and those who did not have absolute pitch, and two frequency ranges of pure tones (octave and whole-tone conditions) were selected. The procedures had been used in previous experiments (Shigeno, 1986), in which the auditory tau and the kappa effects were compared in speech and nonspeech stimuli. The present results demonstrate that the auditory tau effect does not occur when possessors of absolute pitch judge the closeness of stimuli in pitch, except when the stimulus continuum consists of tones that do not correspond to musical notes in the whole-tone condition. The kappa effect was obtained in the judgment of possessors of absolute pitch in both the octave and the whole-tone conditions. These findings suggest that the interaction between temporal interval and pitch judgment might be explained in terms of the two different memory modes for retaining the pitch of tones, and that these effects occur at the precategorical level.     

Perception of relative pitch with different references: Some absolute-pitch listeners can’t tell musical interval names

Two experiments were conducted to examine the effect of absolute-pitch possession on relativepitch processing. Listeners attempted to identify melodic intervals ranging from a semitone to an octave with different reference tones. Listeners with absolute pitch showed declined performance when the reference was out-of-tune C, out-of-tune E, or F#, relative to when the reference was C. In contrast, listeners who had no absolute pitch maintained relatively high performance in all reference conditions. These results suggest that absolute-pitch listeners are weak in relative-pitch processing and show a tendency to rely on absolute pitch in relative-pitch tasks.     

Music skills and the expressive interpretation of music in children with Williams-Beuren syndrome: pitch, rhythm, melodic imagery, phrasing, and musical affect.

This paper studied music in 14 children and adolescents with Williams-Beuren syndrome (WBS), a multi-system neurodevelopmental disorder, and 14 age-matched controls. Five aspects of music were tested. There were two tests of core music domains, pitch discrimination and rhythm discrimination. There were two tests of musical expressiveness, melodic imagery and phrasing. There was one test of musical interpretation, the ability to identify the emotional resonance of a musical excerpt. Music scores were analyzed by means of logistic regressions that modeled outcome (higher or lower music scores) as a function of group membership (WBS or Control) and cognitive age. Compared to age peers, children with WBS had similar levels of musical expressiveness, but were less able to discriminate pitch and rhythm, or to attach a semantic interpretation to emotion in music. Music skill did not vary with cognitive age. Musical strength in individuals with WBS involves not so much formal analytic skill in pitch and rhythm discrimination as a strong engagement with music as a means of expression, play, and, perhaps, improvisation.     

Music Skills and the Expressive Interpretation of Music in Children with Williams-Beuren Syndrome: Pitch,Rhythm, Melodic Imagery,Phrasing, and Musical Affect

This paper studied music in 14 children and adolescents with Williams-Beuren syndrome (WBS), a multi-system neurodevelopmental disorder, and 14 age-matched controls. Five aspects of music were tested. There were two tests of core music domains, pitch discrimination and rhythm discrimination. There were two tests of musical expressiveness, melodic imagery and phrasing. There was one test of musical interpretation, the ability to identify the emotional resonance of a musical excerpt. Music scores were analyzed by means of logistic regressions that modeled outcome (higher or lower music scores) as a function of group membership (WBS or Control) and cognitive age. Compared to age peers, children with WBS had similar levels of musical expressiveness, but were less able to discriminate pitch and rhythm, or to attach a semantic interpretation to emotion in music. Music skill did not vary with cognitive age. Musical strength in individuals with WBS involves not so much formal analytic skill in pitch and rhythm discrimination as a strong engagement with music as a means of expression, play, and, perhaps, improvisation.     

Spatial associations for musical stimuli: a piano in the head?

This study was aimed at examining whether pitch height and pitch change are mentally represented along spatial axes. A series of experiments explored, for isolated tones and 2-note intervals, the occurrence of effects analogous to the spatial numerical association of response codes (SNARC) effect. Response device orientation (horizontal vs. vertical), task, and musical expertise of the participants were manipulated. The pitch of isolated tones triggered the automatic activation of a vertical axis independently of musical expertise, but the contour of melodic intervals did not. By contrast, automatic associations with the horizontal axis seemed linked to music training for pitch and, to a lower extent, for intervals. These results, discussed in the light of studies on number representation, provide a new example of the effects of musical expertise on music cognition.     

Music perception and octave generalization in rhesus monkeys

Two rhesus monkeys were tested for octave generalization in 8 experiments by transposing 6- and 7-note musical passages by an octave and requiring same or different judgments. The monkeys showed no octave generalization to random-synthetic melodies, atonal melodies, or individual notes. They did show complete octave generalization to childhood songs (e.g., "Happy Birthday") and tonal melodies (from a tonality algorithm). Octave generalization was equally strong for 2-octave transpositions but not for 0.5- or 1.5-octave transpositions of childhood songs. These results combine to show that tonal melodies form musical gestalts for monkeys, as they do for humans, and retain their identity when transposed with whole octaves so that chroma (key) is preserved. This conclusion implicates similar transduction, storage, processing, and relational memory of musical passages in monkeys and humans and has implications for nature-nurture origins of music perception.     

Seeing what you hear: Visual feedback improves pitch recognition

The present study examined the effect of visual feedback on the ability to recognise and consolidate pitch information. We trained two groups of nonmusicians to play a piano piece by ear, having one group receiving uninterrupted audiovisual feedback, while allowing the other only to hear, but not see their hand on the keyboard. Results indicate that subjects for whom visual information was deprived showed significantly poorer ability to recognise pitches from the musical piece they had learned. These results are interesting since pitch recognition ability would not intuitively seem to rely on visual feedback. In addition, we show that subjects with previous experience in computer touch-typing made fewer errors during training when trained with no visual feedback, but did not show improved pitch recognition ability posttraining. Our results demonstrate how sensory redundancy increases robustness of learning, and further encourage the use of audiovisual training procedures for facilitating the learning of new skills.     

Musical training generalises across modalities and reveals efficient and adaptive mechanisms for reproducing temporal intervals

Expert musicians are able to time their actions accurately and consistently during a musical performance. We investigated how musical expertise influences the ability to reproduce auditory intervals and how this generalises across different techniques and sensory modalities. We first compared various reproduction strategies and interval length, to examine the effects in general and to optimise experimental conditions for testing the effect of music, and found that the effects were robust and consistent across different paradigms. Focussing on a ‘ready-set-go’ paradigm subjects reproduced time intervals drawn from distributions varying in total length (176, 352 or 704 ms) or in the number of discrete intervals within the total length (3, 5, 11 or 21 discrete intervals). Overall, Musicians performed more veridical than Non-Musicians, and all subjects reproduced auditory-defined intervals more accurately than visually-defined intervals. However, Non-Musicians, particularly with visual stimuli, consistently exhibited a substantial and systematic regression towards the mean interval. When subjects judged intervals from distributions of longer total length they tended to regress more towards the mean, while the ability to discriminate between discrete intervals within the distribution had little influence on subject error. These results are consistent with a Bayesian model that minimizes reproduction errors by incorporating a central tendency prior weighted by the subject's own temporal precision relative to the current distribution of intervals. Finally a strong correlation was observed between all durations of formal musical training and total reproduction errors in both modalities (accounting for 30% of the variance). Taken together these results demonstrate that formal musical training improves temporal reproduction, and that this improvement transfers from audition to vision. They further demonstrate the flexibility of sensorimotor mechanisms in adapting to different task conditions to minimise temporal estimation errors.     

Octave equivalence as measured by similarity ratings

Octave equivalence refers to the musical equivalence of notes separated by one or more octaves; such notes are assigned the same name in the musical scale. The present series of experiments was an attempt to determine whether octave equivalence would be incorporated into subjects’ similarity ratings of pairs of tones or tone sequences. In the first experiment, subjects on each trial rated the similarity of two successively presented tones. The results failed to show evidence of octave equivalence. In subsequent experiments, the range of frequency values presented and the musical context were manipulated. Evidence of octave equivalence was found only when the range of tone height differences presented was small; the effect of musical context was negligible. The implications of these results for theories of music perception and recognition are discussed.     

Contributions of temporal and place cues in pitch perception in absolute pitch possessors

Pitch perception is determined by both place and temporal cues. To explore whether the manner in which these cues are used differs depending on absolute pitch capability, pitch identification experiments with and without pitch references were conducted for subjects with different absolute pitch capabilities and musical experience. Three types of stimuli were used to manipulate place and temporal cues separately: narrowband noises, which provide strong place cues but less salient temporal cues; iterated rippled noises, which provide strong temporal cues but less salient place cues; and sinusoidal tones, which provide both. The results indicated that absolute pitch possessors utilize temporal cues more effectively when they identify musical chroma With regard to the judgment of height, it was indicated that place cues play an important role for both absolute and nonabsolute pitch possessors.