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.     

Schema-based processing in auditory scene analysis

What is the involvement of what we know in what we perceive? In this article, the contribution of melodic schema-based processes to the perceptual organization of tone sequences is examined. Two unfamiliar six-tone melodies, one of which was interleaved with distractor tones, were presented successively to listeners who were required to decide whether the melodies were identical or different. In one condition, the comparison melody was presented after the mixed sequence: a target melody interleaved with distractor tones. In another condition, it was presented beforehand, so that the listeners had precise knowledge about the melody to be extracted from the mixture. In the latter condition, recognition performance was better and a bias toward same responses was reduced, as compared with the former condition. A third condition, in which the comparison melody presented beforehand was transposed up in frequency, revealed that whereas the performance improvement was explained in part by absolute pitch or frequency priming, relative pitch representation (interval and/or contour structure) may also have played a role. Differences in performance as a function of mean frequency separation between target and distractor sequences, when listeners did or did not have prior knowledge about the target melody, argue for a functional distinction between primitive and schema-based processes in auditory scene analysis.     

Memory for melody: infants use a relative pitch code

Pitch perception is fundamental to melody in music and prosody in speech. Unlike many animals, the vast majority of human adults store melodic information primarily in terms of relative not absolute pitch, and readily recognize a melody whether rendered in a high or a low pitch range. We show that at 6 months infants are also primarily relative pitch processors. Infants familiarized with a melody for 7 days preferred, on the eighth day, to listen to a novel melody in comparison to the familiarized one, regardless of whether the melodies at test were presented at the same pitch as during familiarization or transposed up or down by a perfect fifth (7/12th of an octave) or a tritone (1/2 octave). On the other hand, infants showed no preference for a transposed over original-pitch version of the familiarized melody, indicating that either they did not remember the absolute pitch, or it was not as salient to them as the relative pitch.     

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.     

Recognizing melodies: A dynamic interpretation

Two experiments explore hypotheses about rhythm and contour in recognition of simple pitch strings (melodies). Target melodies that differed with respect to pitch relationships (interval and contour pitch differences) and rhythm, were presented to ordinary listeners who were told to learn the melodies (Phase I). In a subsequent recognition test (Phase II), listeners had to recognize these same target melodies although they were transposed to a different musical key. In recognition, target melodies appeared in the original rhythm or in new rhythms that simulated some pause properties of the original rhythm. Target melodies were interspersed with decoy melodies that either preserved the pitch contour of targets or did not; all appeared in the original rhythm and in new rhythms. Results indicated that a new rhythmic context lowered recognizability of target melodies, and that decoys were most confusing when they possessed the same “dynamic shape” (contour-plus-rhythm) as targets (Experiment 1). Also, target recognition improved with Phase I familiarity (Experiment 2), although rhythmic shifts remained detrimental across levels of target familiarity. Confusions based on “dynamic shape” accounted for a relatively high proportion of errors where familiarity with targets is low. Findings were interpreted in terms of a theory of context-sensitive dynamic attending in which remembering is assumed to involve recapitulation of the original rhythmical activities involved in attending to melodies.     

The influence of height and key on the perceptual similarity of transposed melodies

In two experiments, the perceptual similarity between a strong tonal melody and various transpositions was investigated using a paradigm in which listeners compared the perceptual similarity of a melody and its transposition with that of the same melody and another transposition. The paradigm has the advantage that it provides a direct judgment regarding the similarity of transposed melodies. The experimental results indicate that the perceptual similarity of a strong tonal melody and its transposition is mainly determined by two factors: (1) the distance on the height dimension between the original melody and its transposition (pitch distance), and (2) the distance between keys as inferred from the circle of fifths (key distance). The major part of the variance is explained by the factor pitch distance, whereas key distance explains only a small part.     

Memory for surface features of unfamiliar melodies: independent effects of changes in pitch and tempo

A melody’s identity is determined by relations between consecutive tones in terms of pitch and duration, whereas surface features (i.e., pitch level or key, tempo, and timbre) are irrelevant. Although surface features of highly familiar recordings are encoded into memory, little is known about listeners’ mental representations of melodies heard once or twice. It is also unknown whether musical pitch is represented additively or interactively with temporal information. In two experiments, listeners heard unfamiliar melodies twice in an initial exposure phase. In a subsequent test phase, they heard the same (old) melodies interspersed with new melodies. Some of the old melodies were shifted in key, tempo, or key and tempo. Listeners’ task was to rate how well they recognized each melody from the exposure phase while ignoring changes in key and tempo. Recognition ratings were higher for old melodies that stayed the same compared to those that were shifted in key or tempo, and detrimental effects of key and tempo changes were additive in between-subjects (Experiment 1) and within-subjects (Experiment 2) designs. The results confirm that surface features are remembered for melodies heard only twice. They also imply that key and tempo are processed and stored independently.     

The perception of interleaved melodies

If the notes of two melodies whose pitch ranges do not overlap are interleaved in time so that successive tones come from the different melodies, the resulting sequence of tones is perceptually divided into groups that correspond to the two melodies. Such “melodic fission” demonstrates perceptual grouping based on pitch alone, and has been used extensively in music.Experiment I showed that the identification of interleaved pairs of familiar melodies is possible if their pitch ranges do not overlap, but difficult otherwise. A short-term recognition-memory paradigm (Expt II) showed that interleaving a “background” melody with an unfamiliar melody interferes with same-different judgments regardless of the separation of their pitch ranges, but that range separation attenuates the interference effect. When pitch ranges overlap, listeners can overcome the interference effect and recognize a familiar target melody if the target is prespecified, thereby permitting them to search actively for it (Expt III). But familiarity or prespecification of the interleaved background melody appears not to reduce its interfering effects on same-different judgments concerning unfamiliar target melodies (Expt IV).     

Recognition of transposed melodies: Effects of pitch distance and harmonic distance

People easily recognize a familiar melody in a previously unheard key, but they also retain some key-specific information. Does the recognition of a transposed melody depend on either pitch distance or harmonic distance from the initially learned instances? Previous research has shown a stronger effect of pitch closeness than of harmonic similarity, but did not directly test for an additional effect of the latter variable. In the present experiment, we familiarized participants with a simple eight-note melody in two different keys (C and D) and then tested their ability to discriminate the target melody from foils in other keys. The transpositions included were to the keys of C# (close in pitch height, but harmonically distant), G (more distant in pitch, but harmonically close), and F# (more distant in pitch and harmonically distant). Across participants, the transpositions to F# and G were either higher or lower than the initially trained melodies, so that their average pitch distances from C and D were equated. A signal detection theory analysis confirmed that discriminability (d′) was better for targets and foils that were close in pitch distance to the studied exemplars. Harmonic similarity had no effect on discriminability, but it did affect response bias (c), in that harmonic similarity to the studied exemplars increased both hits and false alarms. Thus, both pitch distance and harmonic distance affect the recognition of transposed melodies, but with dissociable effects on discrimination and response bias.     

Dynamic melody recognition: Distinctiveness and the role of musical expertise

The hypothesis that melodies are recognized at moments when they exhibit a distinctive musical pattern was tested. In a melody recognition experiment, point-of-recognition (POR) data were gathered from 32 listeners (16 musicians and 16 nonmusicians) judging 120 melodies. A series of models of melody recognition were developed, resulting from a stepwise multiple regression of two classes of information relating to melodic familiarity and melodic distinctiveness. Melodic distinctiveness measures were assembled through statistical analyses of over 15,000 Western themes and melodies. A significant model, explaining 85% of the variance, entered measures primarily of timing distinctiveness and pitch distinctiveness, but excluding familiarity, as predictors of POR. Differences between nonmusician and musician models suggest a processing shift from momentary to accumulated information with increased exposure to music. Supplemental materials for this article may be downloaded from http://mc.psychonomic-journals.org/content/supplemental.     

绝对音高者对音乐的加工及其神经机制

绝对音高感是一种特殊的音高命名能力。通过论述绝对音高能力与音乐加工的关系,发现绝对音高者具有对音高、音程和旋律的加工优势,但他们对相对音高的加工存在劣势。同时,与非绝对音高者相比,绝对音高者大脑结构和功能都表现出特殊性。未来研究应进一步厘清音乐训练对绝对音高者音乐加工的影响。     

Children's perception of certain musical properties: scale and contour

Children's perception of scale and contour in melodies was investigated in five studies. Experimental tasks included judging transposed renditions of melodies (Studies 1 and 3), discriminating between transposed renditions of a melody (Study 2), judging contour-preserving transformations of melodies (Study 4), and judging similarity to a familiar target melody of transformations preserving rhythm or rhythm and contour (Study 5). The first and second studies showed that young children detect key transposition changes even in familiar melodies and they perceive similarity over key transpositions even in unfamiliar melodies. Young children also are sensitive to melodic contour over transformations that preserve it (Study 5), yet they distinguish spontaneously between melodies with the same contour and different intervals (Study 4). The key distance effect reported in the literature did not occur in the tasks of this investigation (Studies 1 and 3), and it may be apparent only for melodies shorter or more impoverished than those used here.     

Infants’ perception of musical patterns

This paper examines infants’ ability to perceive various aspects of musical material that are significant in music in general and in Western European music in particular: contour, intervals, exact pitches, diatonic structure, and rhythm. For the most part, infants focus on relational aspects of melodies, synthesizing global representations from local details. They encode the contour of a melody across variations in exact pitches and intervals. They extract information about pitch direction from the smallest musically relevant pitch change in Western music, the semitone. Under certain conditions, infants detect interval changes in the context of transposed sequences, their performance showing enhancement for sequences that conform to Western musical structure. Infants have difficulty retaining exact pitches except for sets of pitches that embody important musical relations. In the temporal domain, they group the elements of auditory sequences on the basis of similarity and they extract the temporal structure of a melody across variations in tempo.     

A bidimensional model of pitch in the recognition of melodies

Pitch can be conceptualized as a bidimensional quantity, reflecting both the overall pitch level of a tone (tone height) and its position in the octave (tone chroma). Though such a conceptualization has been well supported for perception of a single tone, it has been argued that the dimension of tone chroma is irrelevant in melodic perception. In the current study, melodies were subjected to structural transformations designed to evaluate the effects of interval magnitude, contour, tone height, and tone chroma. In two transformations, the component tones of a melody were displaced by octave intervals, either preserving or violating the pattern of changes in pitch direction (melodic contour). Replicating previous work, when contour was violated perception of the melody was severely disrupted. In contrast, when contour was preserved the melodies were identified as accurately as the untransformed melodies. In other transformations, a variety of forms of contour information were preserved, while eliminating information for absolute pitch and interval magnitude. The level of performance on all such transformations fell between the levels observed in the other two conditions. These results suggest that the bidimensional model of pitch is applicable to recognition of melodies as well as single tones. Moreover, the results argue that contour, as well as interval magnitude, is providing essential information for melodic perception.     

Melody recognition at fast and slow tempos: effects of age, experience, and familiarity

Eighty-one listeners defined by three age ranges (18-30, 31-59, and over 60 years) and three levels of musical experience performed an immediate recognition task requiring the detection of alterations in melodies. On each trial, a brief melody was presented, followed 5 sec later by a test stimulus that either was identical to the target or had two pitches changed, for a same-different judgment. Each melody pair was presented at 0.6 note/sec, 3.0 notes/sec, or 6.0 notes/sec. Performance was better with familiar melodies than with unfamiliar melodies. Overall performance declined slightly with age and improved substantially with increasing experience, in agreement with earlier results in an identification task. Tempo affected performance on familiar tunes (moderate was best), but not on unfamiliar tunes. We discuss these results in terms of theories of dynamic attending, cognitive slowing, and working memory in aging.     

Online recognition of music is influenced by relative and absolute pitch information

Three experiments explored online recognition in a nonspeech domain, using a novel experimental paradigm. Adults learned to associate abstract shapes with particular melodies, and at test they identified a played melody's associated shape. To implicitly measure recognition, visual fixations to the associated shape versus a distractor shape were measured as the melody played. Degree of similarity between associated melodies was varied to assess what types of pitch information adults use in recognition. Fixation and error data suggest that adults naturally recognize music, like language, incrementally, computing matches to representations before melody offset, despite the fact that music, unlike language, provides no pressure to execute recognition rapidly. Further, adults use both absolute and relative pitch information in recognition. The implicit nature of the dependent measure should permit use with a range of populations to evaluate postulated developmental and evolutionary changes in pitch encoding.     

Maximum key-profile correlation (MKC) as a measure of tonal structure in music

Tonal structure is musical organization on the basis of pitch, in which pitches vary in importance and rate of occurrence according to their relationship to a tonal center. Experiment 1 evaluated the maximum key-profile correlation (MKC), a product of Krumhansl and Schmuckler’s key-finding algorithm (Krumhansl, 1990), as a measure of tonal structure. The MKC is the maximum correlation coefficient between the pitch class distribution in a musical sample and key profiles,which indicate the stability of pitches with respect to particular tonal centers. The MKC values of melodies correlated strongly with listeners’ ratings of tonal structure. To measure the influence of the temporal order of pitches on perceived tonal structure, three measures (fifth span, semitone span, and pitch contour) taken from previous studies of melody perception were also correlated with tonal structure ratings. None of the temporal measures correlated as strongly or as consistently with tonal structure ratings as did the MKC, and nor did combining them with the MKC improve prediction of tonal structure ratings. In Experiment 2, the MKC did not correlate with recognition memory of melodies. However, melodies with very low MKC values were recognized less accurately than melodies with very high MKC values. Although it does not incorporate temporal, rhythmic, or harmonic factors that may influence perceived tonal structure, the MKC can be interpreted as a measure of tonal structure, at least for brief melodies.     

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.     

Specific previous experience affects perception of harmony and meter

Prior knowledge shapes our experiences, but which prior knowledge shapes which experiences? This question is addressed in the domain of music perception. Three experiments were used to determine whether listeners activate specific musical memories during music listening. Each experiment provided listeners with one of two musical contexts that was presented simultaneously with a melody. After a listener was familiarized with melodies embedded in contexts, the listener heard melodies in isolation and judged the fit of a final harmonic or metrical probe event. The probe event matched either the familiar (but absent) context or an unfamiliar context. For both harmonic (Experiments 1 and 3) and metrical (Experiment 2) information, exposure to context shifted listeners' preferences toward a probe matching the context that they had been familiarized with. This suggests that listeners rapidly form specific musical memories without explicit instruction, which are then activated during music listening. These data pose an interesting challenge for models of music perception which implicitly assume that the listener's knowledge base is predominantly schematic or abstract.