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.     

Absolute pitch memory: Its prevalence among musicians and dependence on the testing context

Absolute pitch (AP) is widely believed to be a rare ability possessed by only a small group of gifted and special individuals (AP possessors). While AP has fascinated psychologists, neuroscientists, and musicians for more than a century, no theory can satisfactorily explain why this ability is so rare and difficult to learn. Here, we show that AP ability appears rare because of the methodological issues of the standard pitch-naming test. Specifically, the standard test unnecessarily poses a high decisional demand on AP judgments and uses a testing context that is highly inconsistent with one’s musical training. These extra cognitive challenges are not central to AP memory per se and have thus led to consistent underestimation of AP ability in the population. Using the standard test, we replicated the typical findings that the accuracy for general violinists was low (12.38 %; chance level = 0 %). With identical stimuli, scoring criteria, and participants, violinists attained 25 % accuracy in a pitch verification test in which the decisional demand of AP judgment was reduced. When the testing context was increasingly similar to their musical experience, verification accuracy improved further and reached 39 %, three times higher than that for the standard test. Results were replicated with a separate group of pianists. Our findings challenge current theories about AP and suggest that the prevalence of AP among musicians has been highly underestimated in prior work. A multimodal framework is proposed to better explain AP memory.     

Enhanced development of auditory change detection in musically trained school‐aged children: a longitudinal event‐related potential study

Adult musicians show superior auditory discrimination skills when compared to non‐musicians. The enhanced auditory skills of musicians are reflected in the augmented amplitudes of their auditory event‐related potential (ERP) responses. In the current study, we investigated longitudinally the development of auditory discrimination skills in musically trained and nontrained individuals. To this end, we recorded the mismatch negativity (MMN) and P3a responses from children who play a musical instrument and age‐matched children with no musical training at ages 7, 9, 11, and 13. Basic auditory processing was investigated by recording ERPs in the Multi‐Feature Paradigm that included frequency, duration, intensity, location, and gap deviants. The detection of musically more relevant sound changes was examined in an oddball paradigm with major chords as standards and minor chords as deviants. The musically trained children showed larger increase in MMN and P3a amplitudes with age for the chord deviants than the control children. There was also a strong trend (p = .054) for larger increase in MMN amplitude in the musically trained children for the location deviant. As no group differences in response amplitudes were evident at the early stages of the training, our results suggest that the superior neural auditory discrimination in adult musicians is due to training and not pre‐existing differences between musicians and non‐musicians.     

Left-hemisphere activation is associated with enhanced vocal pitch error detection in musicians with absolute pitch

The ability to process auditory feedback for vocal pitch control is crucial during speaking and singing. Previous studies have suggested that musicians with absolute pitch (AP) develop specialized left-hemisphere mechanisms for pitch processing. The present study adopted an auditory feedback pitch perturbation paradigm combined with ERP recordings to test the hypothesis whether the neural mechanisms of the left-hemisphere enhance vocal pitch error detection and control in AP musicians compared with relative pitch (RP) musicians and non-musicians (NM). Results showed a stronger N1 response to pitch-shifted voice feedback in the right-hemisphere for both AP and RP musicians compared with the NM group. However, the left-hemisphere P2 component activation was greater in AP and RP musicians compared with NMs and also for the AP compared with RP musicians. The NM group was slower in generating compensatory vocal reactions to feedback pitch perturbation compared with musicians, and they failed to re-adjust their vocal pitch after the feedback perturbation was removed. These findings suggest that in the earlier stages of cortical neural processing, the right hemisphere is more active in musicians for detecting pitch changes in voice feedback. In the later stages, the left-hemisphere is more active during the processing of auditory feedback for vocal motor control and seems to involve specialized mechanisms that facilitate pitch processing in the AP compared with RP musicians. These findings indicate that the left hemisphere mechanisms of AP ability are associated with improved auditory feedback pitch processing during vocal pitch control in tasks such as speaking or singing.     

Spatial representation of pitch height: the SMARC effect

Through the preferential pairing of response positions to pitch, here we show that the internal representation of pitch height is spatial in nature and affects performance, especially in musically trained participants, when response alternatives are either vertically or horizontally aligned. The finding that our cognitive system maps pitch height onto an internal representation of space, which in turn affects motor performance even when this perceptual attribute is irrelevant to the task, extends previous studies on auditory perception and suggests an interesting analogy between music perception and mathematical cognition. Both the basic elements of mathematical cognition (i.e. numbers) and the basic elements of musical cognition (i.e. pitches), appear to be mapped onto a mental spatial representation in a way that affects motor performance.     

绝对音高加工的认知神经机制

绝对音高(absolute pitch,AP)是一种比较罕见的音高加工能力,具有特殊的认知和神经机制。事件相关电位研究表明AP音乐家进行音高命名时,工作记忆参与较少但涉及多个认知策略。功能神经成像研究发现左侧额叶背侧后部和左侧颞叶平面对AP音乐家非常重要,而准AP音乐家(quasi-AP)的某些右侧脑区的参与则反映其增加的音高加工负荷和难度。结构神经成像研究发现AP音乐家具有特殊的灰质结构形态及白质连接。未来研究有待将AP能力进一步分为"具有相对音高能力"与"没有相对音高能力"两类并观察相应的认知神经机制,并通过影像基因组学来探索基因多态性对AP能力的影响,以及有必要观察以声调语言为母语的音乐家进行音高加工的神经机制。     

Non-Verbal Paradigm for Assessing Individuals for Absolute Pitch

Autistic individuals have been observed to demonstrate high intelligence through musical communication, leading to many empirical studies on this topic. Absolute Pitch (AP) has been a captivating phenomenon for researchers, although there has been disagreement regarding AP percentages among the population and appropriate testing methods for AP. This study analyzed data collected from 118 people, using a pitch matching paradigm designed specifically to be inclusive of those who are likely to have note-naming difficulty due to communication challenges. Thirty-eight participants were autistic individuals, 32% of which were considered to have severe language impairment. Twelve other participants had other developmental disorders. All but 1 of the 38 autistics (97%) demonstrated exceptional and instantaneous pitch matching abilities on piano. Ten of the 12 (83%) with other developmental disorders demonstrated this ability, and approximately half (53%) of neurotypicals were able to exhibit this ability. Our numbers indicate that with a more inclusive paradigm for assessing AP, it may be demonstratable in close to 50% of the population, and near 100% in the autistic population. This testing method represents a neurodiversity-friendly and fully inclusive, non-verbal paradigm for demonstrating AP.     

Change detection in multi-voice music: the role of musical structure, musical training, and task demands

This study evaluated the relationship between primitive and scheme-driven grouping (A. S. Bregman, 1990) by comparing the ability of different listeners to detect single note changes in 3-voice musical compositions. Primitive grouping was manipulated by the use of 2 distinctly different compositional styles (homophony and polyphony). The effects of scheme-driven processes were tested by comparing performance of 2 groups of listeners (musicians and nonmusicians) and by varying task demands (integrative and selective listening). Following previous studies, which had tested only musically trained participants, several variables were manipulated within each compositional style. The results indicated that, although musicians demonstrated a higher sensitivity to changes than did nonmusicians, the 2 groups exhibited similar patterns of sensitivity under a variety of conditions.     

Object recognition in Williams syndrome: uneven ventral stream activation

Williams syndrome (WS) is a genetic disorder associated with severe visuospatial deficits, relatively strong language skills, heightened social interest, and increased attention to faces. On the basis of the visuospatial deficits, this disorder has been characterized primarily as a deficit of the dorsal stream, the occipitoparietal brain regions that subserve visuospatial processing. However, some evidence indicates that this disorder may also affect the development of the ventral stream, the occipitotemporal cortical regions that subserve face and object recognition. The present studies examined ventral stream function in WS, with the hypothesis that faces would produce a relatively more mature pattern of ventral occipitotemporal activation, relative to other objects that are also represented across these visual areas. Using functional magnetic imaging, we compared activation patterns during viewing of human faces, cat faces, houses and shoes in individuals with WS (age 14-27), typically developing 6-9-year-olds (matched approximately on mental age), and typically developing 14-26-year-olds (matched on chronological age). Typically developing individuals exhibited changes in the pattern of activation over age, consistent with previous reports. The ventral stream topography of individuals with WS differed from both control groups, however, reflecting the same level of activation to face stimuli as chronological age matches, but less activation to house stimuli than either mental age or chronological age matches. We discuss the possible causes of this unusual topography and implications for understanding the behavioral profile of people with WS.     

A unique asymmetrical stroop effect in absolute pitch possessors

The Stroop task has been employed to study automaticity or failures of selective attention for many years. The effect is known to be asymmetrical, with words affecting color naming but not vice versa. In the current work two auditory-visual Stroop-like tasks were devised in order to study the automaticity of pitch processing in both absolute pitch (AP) possessors and musically trained controls without AP (nAP). In the tone naming task, participants were asked to name the auditory tone while ignoring a visual note name. In the note naming task, participants were asked to read a note name while ignoring the auditory tone. The nAP group showed a significant congruency effect only in the tone naming task, whereas AP possessors showed the reverse pattern, with a significant congruency effect only in the note reading task. Thus, AP possessors were unable to ignore the auditory tone when asked to read the note, but were unaffected by the verbal note name when asked to label the auditory tone. The results suggest that pitch identification in participants endowed with AP ability is automatic and impossible to suppress.     

Melody and pitch processing in five musical savants with congenital blindness

We examined absolute-pitch (AP) and short-term musical memory abilities of five musical savants with congenital blindness, seven musicians, and seven non-musicians with good vision and normal intelligence in two experiments. In the first, short-term memory for musical phrases was tested and the savants and musicians performed statistically indistinguishably, both significantly outperforming the non-musicians and remembering more material from the C major scale sequences than random trials. In the second experiment, participants learnt associations between four pitches and four objects using a non-verbal paradigm. This experiment approximates to testing AP ability. Low statistical power meant the savants were not statistically better than the musicians, although only the savants scored statistically higher than the non-musicians. The results are evidence for a musical module, separate from general intelligence; they also support the anecdotal reporting of AP in musical savants, which is thought to be necessary for the development of musical-savant skill.     

Musicians and tone-language speakers share enhanced brainstem encoding but not perceptual benefits for musical pitch

Behavioral and neurophysiological transfer effects from music experience to language processing are well-established but it is currently unclear whether or not linguistic expertise (e.g., speaking a tone language) benefits music-related processing and its perception. Here, we compare brainstem responses of English-speaking musicians/non-musicians and native speakers of Mandarin Chinese elicited by tuned and detuned musical chords, to determine if enhancements in subcortical processing translate to improvements in the perceptual discrimination of musical pitch. Relative to non-musicians, both musicians and Chinese had stronger brainstem representation of the defining pitches of musical sequences. In contrast, two behavioral pitch discrimination tasks revealed that neither Chinese nor non-musicians were able to discriminate subtle changes in musical pitch with the same accuracy as musicians. Pooled across all listeners, brainstem magnitudes predicted behavioral pitch discrimination performance but considering each group individually, only musicians showed connections between neural and behavioral measures. No brain-behavior correlations were found for tone language speakers or non-musicians. These findings point to a dissociation between subcortical neurophysiological processing and behavioral measures of pitch perception in Chinese listeners. We infer that sensory-level enhancement of musical pitch information yields cognitive-level perceptual benefits only when that information is behaviorally relevant to the listener.     

Segregated in perception,integrated for action: Immunity of rhythmic sensorimotor coordination to auditory stream segregation

Auditory stream segregation can occur when tones of different pitch (A, B) are repeated cyclically: The larger the pitch separation and the faster the tempo, the more likely perception of two separate streams is to occur. The present study assessed stream segregation in perceptual and sensorimotor tasks, using identical ABBABB … sequences. The perceptual task required detection of single phase-shifted A tones; this was expected to be facilitated by the presence of B tones unless segregation occurred. The sensorimotor task required tapping in synchrony with the A tones; here the phase correction response (PCR) to shifted A tones was expected to be inhibited by B tones unless segregation occurred. Two sequence tempi and three pitch separations (2, 10, and 48 semitones) were used with musically trained participants. Facilitation of perception occurred only at the smallest pitch separation, whereas the PCR was reduced equally at all separations. These results indicate that auditory action control is immune to perceptual stream segregation, at least in musicians. This may help musicians coordinate with diverse instruments in ensemble playing.     

Visual search in typically developing toddlers and toddlers with Fragile X or Williams syndrome

Visual selective attention is the ability to attend to relevant visual information and ignore irrelevant stimuli. Little is known about its typical and atypical development in early childhood Experiment 1 investigates typically developing toddlers' visual search for multiple targets on a touch-screen. Time to hit a target, distance between successively touched items, accuracy and error types revealed changes in 2- and 3-year-olds' vulnerability to manipulations of the search display. Experiment 2 examined search performance by toddlers with Fragile X syndrome (FXS) or Williams syndrome (WS). Both of these groups produced equivalent mean time and distance per touch as typically developing toddlers matched by chronological or mental age; but both produced a larger number of errors. Toddlers with WS confused distractors with targets more than the other groups; while toddlers with FXS perseverated on previously found targets. These findings provide information on how visual search typically develops in toddlers, and reveal distinct search deficits for atypically developing toddlers.     

Pitch perception in children with autistic spectrum disorders

This study investigated the accuracy of musical pitch detection in children with autistic spectrum disorders as compared with typically developing children. Seventeen children on the autistic spectrum (M(age) =9.34, SD(age) =1.12) and 13 typically developing, chronological age-matched children (M(age) =9.13, SD(age) =1.68) took part in the current study. Children were required to listen to four tones, which were paired with four different pictures and asked to learn the combinations. The children were then assessed for their ability to identify the previously learned tones, when they were presented as single tones and when they were embedded in chords and discords. No significant group differences were found. However, after subdividing the clinical group according to their diagnosis of autism or Asperger's syndrome, the results indicated a slightly superior disembedding ability in participants with Asperger's syndrome. The findings are discussed in terms of the weak central coherence concept.     

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.     

The extent of working memory deficits associated with Williams syndrome: exploration of verbal and spatial domains and executively controlled processes

The present study investigated verbal and spatial working memory (WM) functioning in individuals with the neuro-developmental disorder Williams syndrome (WS) using WM component tasks. While there is strong evidence of WM impairments in WS, previous research has focused on short-term memory and has neglected assessment of executive components of WM. There is a particular lack of consensus concerning the profile of verbal WM functioning in WS. Here, WS participants were compared to typically developing participants matched for (1) verbal ability and (2) spatial ability (N = 14 in each of the 3 groups). Individuals with WS were impaired on verbal WM tasks, both those involving short-term maintenance of information and executive manipulation, in comparison to verbal-matched controls. Surprisingly, individuals with WS were not impaired on a spatial task assessing short-term maintenance of information in memory (remembering spatial locations) compared to spatial-matched controls. They were, however, impaired on a spatial executive WM task requiring the manipulation of spatial information in memory. The present study suggests that individuals with WS show WM impairments that extend to both verbal and spatial domains, although spatial deficits are selective to executive aspects of WM function.     

The interplay between executive control and motor functioning in Williams syndrome

Previous studies suggest that individuals with Williams syndrome (WS), a rare genetically based neurodevelopmental disorder, show specific weaknesses in visual attention and response inhibition within the visuospatial domain. Here we examine the extent to which impairments in attentional control extend to the visuomotor domain using a well‐validated measure of choice stepping reaction time (CSRT) in individuals with WS. We examined the interaction between executive control and visually guided stepping using a verbal fluency dual‐task or Go/NoGo paradigm during CSRT performance. Relationships between dual‐task and inhibitory stepping and behavioural inattention and hyperactivity were also examined. Our results showed clear dual‐task costs in stepping response times when performing a concurrent cognitive task in the WS group when compared to spatial and verbal ability matched typically developing controls. Although no group differences in stepping accuracy were observed between the WS and typically developing control groups, the WS group showed progressive slowing and more variable response times across the duration of the Go/NoGo task. These results suggest dysfunction in circuits involved in top‐down attentional control processes in WS. These findings provide novel evidence that core executive control deficits in WS extend to the visuomotor domain, and impact on ADHD‐related inattentive symptoms.     

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.     

The role of pitch and temporal diversity in the perception and production of musical sequences

In two experiments we explored how the dimensions of pitch and time contribute to the perception and production of musical sequences. We tested how dimensional diversity (the number of unique categories in each dimension) affects how pitch and time combine. In Experiment 1, 18 musically trained participants rated the complexity of sequences varying only in their diversity in pitch or time; a separate group of 18 pianists reproduced these sequences after listening to them without practice. Overall, sequences with more diversity were perceived as more complex, but pitch diversity influenced ratings more strongly than temporal diversity. Further, although participants perceived sequences with high levels of pitch diversity as more complex, errors were more common in the sequences with higher diversity in time. Sequences in Experiment 2 exhibited diversity in both pitch and time; diversity levels were a subset of those tested in Experiment 1. Again diversity affected complexity ratings and errors, but there were no statistical interactions between dimensions. Nonetheless, pitch diversity was the primary factor in determining perceived complexity, and again temporal errors occurred more often than pitch errors. Additionally, diversity in one dimension influenced error rates in the other dimension in that both error types were more frequent relative to Experiment 1. These results suggest that although pitch and time do not interact directly, they are nevertheless not processed in an informationally encapsulated manner. The findings also align with a dimensional salience hypothesis, in which pitch is prioritised in the processing of typical Western musical sequences.