Multiple coding strategies in the retention of musical tones by possessors of absolute pitch

Eighteen musicians with absolute pitch (AP) confirmed by screening tests participated in tonal and verbal short-term-retention tasks. In the tonal task, subjects identified three successive piano tones by their letter names. Recall of these note names after 18 sec of counting backwards was near perfect. Recall after an 18-sec delay filled with random piano tones was also near perfect. In contrast, the same subjects demonstrated significant forgetting when required to retain letter trigrams while counting backwards for 18 sec. These results were essentially replicated in a second experiment using longer (27 sec) retention intervals, a more demanding verbal interference task, and an active musical interference task (singing a descending scale). We interpret these results as indicating that retention of note names by possessors of AP is not limited to verbal encoding; rather, multiple codes (e.g., auditory, kinesthetic, and visual imagery) are probably used.     

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.     

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.     

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.     

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。     

Frequency and coding responses in verbal discrimination learning

Ss were given a verbal discrimination task where correct and incorrect stimuli appeared in one, two. or four different pairs in a within-Ss design. For a group tested with the usual anticipation procedure, correct repetitions helped and incorrect repetitions hurt performance. The pattern of results suggested that frequency is a salient cue in verbal discrimination learning but that coding or paired-associate processing may occur at the same time. Data from a second group of Ss for which frequency was a less salient cue gave more direct evidence for coding.     

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.     

The influence of music-elicited emotions and relative pitch on absolute pitch memory for familiar melodies

Levitin's findings that nonmusicians could produce from memory the absolute pitches of self-selected pop songs have been widely cited in the music psychology literature. These findings suggest that latent absolute pitch (AP) memory may be a more widespread trait within the population than traditional AP labelling ability. However, it has been left unclear what factors may facilitate absolute pitch retention for familiar pieces of music. The aim of the present paper was to investigate factors that may contribute to latent AP memory using Levitin's sung production paradigm for AP memory and comparing results to the outcomes of a pitch labelling task, a relative pitch memory test, measures of music-induced emotions, and various measures of participants' musical backgrounds. Our results suggest that relative pitch memory and the quality and degree of music-elicited emotions impact on latent AP memory.     

Visual and verbal coding in the interhemispheric transfer of information

A manual response was used to record a decision of ‘same’ or ‘differ’ on two visual signals which were presented simultaneously, either both to the same hemisphere or each to different hemispheres. The signals were drawn from the set of letters A, B, a, b. Eight subjects were required to match on the basis of the names of the letters (irrespective of whether they were capitals or lower case) and eight subjects were required to match on the basis of the visual identity of the signals.Reaction times were measured for ‘same’ and ‘differ’ decisions.This experiment extends a previous study by the same authors (Davis and Schmit 1971). The previous finding, that when two signals are presented each to different hemispheres, reaction times are shorter than when both are presented to the same hemisphere, was confirmed for both visual and name matching. New evidence is provided on the role of each hemisphere in the analysis and comparison of signals, on either a visual or a verbal basis, for ‘same’ and ‘differ’ decisions. A model to explain the results in terms of the different functions of the two hemispheres is proposed.     

Absolute pitch: perception, coding, and controversies

Recent findings in cognitive neuroscience and cognitive psychology are converging to shed light on the nature of processing, categorization and memory for pitch in humans and animals. Although most people are unable to name or place pitch values in consistent, well-defined categories, as they do for color, stable long-term memory for pitch has been shown in certain animal species, in infants, and in both adult musicians and non-musicians. 'Absolute pitch', the rare ability to label pitches without external reference, appears to require acquisition early in life, and involves specialized brain mechanisms, now partially identified. Research on pitch coding strategies informs wider theories in cognitive science of semantic memory, and the nature of perceptual categories.     

Recognition of notated melodies by possessors and nonpossessors of absolute pitch

Musically trained listeners compared a notated melody presented visually and a comparison melody presented auditorily, and judged whether they were exactly the same or not, with respect to relative pitch. Listeners who had absolute pitch showed the poorest performance for melodies transposed to different pitch levels from the notated melodies, whereas they exhibited the highest performance for untransposed melodies. By comparison, the performance of melody recognition by listeners who did not have absolute pitch was not influenced by the actual pitch level at which melodies were played. These results suggest that absolute-pitch listeners tend to rely on absolute pitch even in recognizing transposed melodies, for which the absolute-pitch strategy is not useful.     

Recognition of notated melodies by possessors and nonpossessors of absolute pitch

Musically trained listeners compared a notated melody presented visually and a comparison melody presented auditorily, and judged whether they were exactly the same or not, with respect to relative pitch. Listeners who had absolute pitch showed the poorest performance for melodies transposed to different pitch levels from the notated melodies, whereas they exhibited the highest performance for untransposed melodies. By comparison, the performance of melody recognition by listeners who did not have absolute pitch was not influenced by the actual pitch level at which melodies were played. These results suggest that absolute-pitch listeners tend to rely on absolute pitch even in recognizing transposed melodies, for which the absolute-pitch strategy is not useful.