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.     

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.     

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.     

On the interdependence of temporal and spatial judgments

Three experiments are reported on the tau and kappa effects, the dependence of judgments of distance upon duration (tau) and of judgments of duration upon distance (kappa). In Experiment 1, three lights in a horizontal sequence were used to define two temporal and two spatial intervals over a total duration of 160 msec. The subject was required to choose the shorter of either the two durations or the two distances. The results confirmed Collyer’s (1977) findings that the two effects are inconsistently observed across subjects when the display duration is brief. In Experiment 2, display duration was systematically manipulated from 160 to 1,500 msec. It is argued that relative temporal judgments should become easier as the total display duration is increased and that, hence, the kappa effect should become less marked. On the other hand, relative spatial judgments should become more difficult as the total duration of the display is increased, and the tau effect should become more marked. The data were in conformity with the hypothesis. In Experiment 3, data are presented for a tau experiment which fit the assumption that the effect depends upon a weighted average of distance and the expected distance which would be traversed in the given time at constant velocity.     

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.     

Ear advantage and consonance of dichotic pitch intervals in absolute-pitch possessors

Left-right asymmetry in the central processing of musical consonance was investigated by dichotic listening tasks. Two piano tones paired at various pitch intervals (1-11 semitones) were presented one note in each ear to twenty absolute-pitch possessors. As a result, a weak overall trend for left ear advantage (LEA) was found, as is characteristic of trained musicians. Second, pitches of dissonant intervals were more difficult to identify than those of consonant intervals. Finally, the LEA was greater with dissonant intervals than with consonant intervals. As the tones were dichotically presented, the results indicated that the central auditory system could distinguish between consonant and dissonant intervals without initial processing of pitch-pitch relations in the cochlea.     

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。     

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.     

Training the absolute identification of pitch

Two methods for training the absolute judgment of pitch, reference training and series training, were studied. Reference training concentrated during training on the identification of three reference tones in a set of nine pure tones, while series training gave equal weight during training to the identification of all nine tones. Results of pre- and posttraining tests, scored for the number of correct judgments, showed that reference training was more effective than series training for listeners with musical experience. In addition, discriminability (d′) scaling of pre- and posttest performance indicated that reference training was particularly effective for training listeners with musical experience when the nine tones of a set were grouped into three pitch classes—high, medium, and low pitch. Listeners without musical experience benefited from both training methods, but their overall improvement was less than that for musical listeners.     

Independence and interdependence of group judgments: Xenophobia and minority influence

A first experiment examined the effects of two methods of dividing resources between Swiss nationals and foreign residents in a study involving 118 subjects. Subjects gave judgments involving either interdependent allocation (resources allocated to the outgroup cannot be allocated to the ingroup) or independent allocation. The results indicated that the socio-cognitive functioning preferred by subjects varies as a function of their view of outsiders. Interdependence of judgments was more characteristic of the most xenophobic subjects, whereas the least xenophobic were more likely to reason in terms of independence. On the other hand, intermediate subjects (those who were clearly neither for nor against outsiders) were sensitive to these modalities of judgment: interdependence engendered an ingroup favoritism, while independence counteracted this bias. A second experiment further analysed the influence of a more or less imperative minority argument on the attitudes of 109 more xenophobic subjects. Independent as compared to interdependent judgment facilitated a latent influence by the source, especially when the source employed a more imperative rhetoric to urge a more favourable attitude to foreigners.     

Sequential effects in absolute judgments of loudness

The effects of preceding stimuli on the judgments of current stimuli were examined in a study using absolute judgments of loudness with feedback. It was found that the response on a given trial was dependent on the stimuli in the preceding sequence of at least five trials. Both assimilation and contrast effects were observed. The form of the dependency of a response on a prior stimulus was a function of the ordinal position of the stimulus in the preceding sequence of trials. The stimulus on the immediately preceding trial had an assimilative effect on the response and preceding stimuli two to five trials removed all showed a contrast effect on a given response. The extent to which these preceding stimuli contributed to the contrast effect was an increasing function of their recency. The reversal of the dependency of the response, from assimilation to the stimulus one trial back, to contrast with the stimuli two and more trials back, indicates a unique function of the immediately preceding stimulus in this task. Since there was a reduction in the variance of responses to those stimuli similar in value to the immediately preceding stimulus, it is proposed that the stimulus and feedback on the last trial were remembered and used asa standardin judging the presented stimulus. A model is presented in which it is assumed that the memory of the magnitude of the immediately preceding stimulus is contaminated in specified ways by prior stimuli in the series. The empirical findings of assimilation and contrastare expected consequences of the proposed memorial processes.     

Perceptual grouping affects pitch judgments across time and frequency

Pitch, the perceptual correlate of fundamental frequency (F0), plays an important role in speech, music, and animal vocalizations. Changes in F0 over time help define musical melodies and speech prosody, while comparisons of simultaneous F0 are important for musical harmony, and for segregating competing sound sources. This study compared listeners' ability to detect differences in F0 between pairs of sequential or simultaneous tones that were filtered into separate, nonoverlapping spectral regions. The timbre differences induced by filtering led to poor F0 discrimination in the sequential, but not the simultaneous, conditions. Temporal overlap of the two tones was not sufficient to produce good performance; instead performance appeared to depend on the two tones being integrated into the same perceptual object. The results confirm the difficulty of comparing the pitches of sequential sounds with different timbres and suggest that, for simultaneous sounds, pitch differences may be detected through a decrease in perceptual fusion rather than an explicit coding and comparison of the underlying F0s.     

Use of absolute and comparative performance feedback in absolute and comparative judgments and decisions

Which matters more—beliefs about absolute ability or ability relative to others? This study set out to compare the effects of such beliefs on satisfaction with performance, self-evaluations, and bets on future performance. In Experiment 1, undergraduate participants were told they had answered 20% correct, 80% correct, or were not given their scores on a practice test. Orthogonal to this manipulation, participants learned that their performance placed them in the 23rd percentile or 77th percentile, or they did not receive comparative feedback. Participants were then given a chance to place bets on two games—one in which they needed to get more than 50% right to double their money (absolute bet), and one in which they needed to beat more than 50% of other test-takers (comparative bet). Absolute feedback influenced comparative betting, particularly when no comparative feedback was available. Comparative feedback exerted weaker and inconsistent effects on absolute bets. Absolute feedback also had stronger (and more consistent) effects on satisfaction with performance and state self-esteem. Experiment 2 replicated these effects in a different university sample, and demonstrated that the effects emerge even when bets are placed after participants rate their satisfaction with their performance (although these ratings do not mediate the effect of feedback on bets). These findings suggest that information about one’s absolute standing on a dimension may be more influential than information about comparative standing, partially supporting a key tenet of Festinger’s [Festinger, L. (1954). A theory of social comparison processes. Human Relations, 7, 117–140.] theory of social comparison.     

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.