Memory for musical tempo: Additional evidence that auditory memory is absolute

We report evidence that long-term memory retains absolute (accurate) features of perceptual events. Specifically, we show that memory for music seems to preserve the absolute tempo of the musical performance. In Experiment 1, 46 subjects sang two different popular songs from memory, and their tempos were compared with recorded versions of the songs. Seventy-two percent of the productions on two consecutive trials came within 8% of the actual tempo, demonstrating accuracy near the perceptual threshold (JND) for tempo. In Experiment 2, a control experiment, we found that folk songs lacking a tempo standard generally have a large variability in tempo; this counters arguments that memory for the tempo of remembered songs is driven by articulatory constraints. The relevance of the present findings to theories of perceptual memory and memory for music is discussed.     

Stimulus-dependent flexibility in non-human auditory pitch processing

Songbirds and humans share many parallels in vocal learning and auditory sequence processing. However, the two groups differ notably in their abilities to recognize acoustic sequences shifted in absolute pitch (pitch height). Whereas humans maintain accurate recognition of words or melodies over large pitch height changes, songbirds are comparatively much poorer at recognizing pitch-shifted tone sequences. This apparent disparity may reflect fundamental differences in the neural mechanisms underlying the representation of sound in songbirds. Alternatively, because non-human studies have used sine-tone stimuli almost exclusively, tolerance to pitch height changes in the context of natural signals may be underestimated. Here, we show that European starlings, a species of songbird, can maintain accurate recognition of the songs of other starlings when the pitch of those songs is shifted by as much as ±40%. We observed accurate recognition even for songs pitch-shifted well outside the range of frequencies used during training, and even though much smaller pitch shifts in conspecific songs are easily detected. With similar training using human piano melodies, recognition of the pitch-shifted melodies is very limited. These results demonstrate that non-human pitch processing is more flexible than previously thought and that the flexibility in pitch processing strategy is stimulus dependent.     

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.     

Biological relevance of acoustic signal affects discrimination performance in a songbird

The fee-bee song of the black-capped chickadee (Poecile atricapillus) is a two-note, tonal song that can be sung at different absolute pitches within an individual. However, these two notes are produced at a consistent relative pitch. Moreover, dominant birds more reliably produce songs with this species-typical interval, compared to subordinate birds. Therefore, we asked whether presenting the species-typical relative pitch interval would aid chickadees in solving pitch interval discriminations. We found that species-typical relative pitch intervals selectively facilitated discrimination performance using synthetic sine-wave stimuli. Using shifted fee-bee song notes from recordings of naturally produced songs, birds learned the discrimination in fewer trials overall compared to synthetic stimuli. These results may reflect greater generalization among stimuli that occur outside species-typical production parameters. In addition, although sex differences in performance are rarely observed in acoustic discriminations in chickadees, female chickadees performed more accurately compared to males.     

Operant discrimination of relative frequency ratios in black-capped chickadee song

The two-note fee bee song of the black-capped chickadee (Poecile atricapillus) is sung at many different absolute frequencies, but the relative frequencies, or “pitch ratios”, between the start and end of the fee note (glissando) and the fee and the bee notes (inter-note interval) are preserved with each pitch-shift. Ability to perceive these ratios and their relative salience varies with sex of the bird and setting: while both sexes appear to perceive changes in the inter-note interval, males appear to attend to the glissando in the field, and females appear to attend to both ratios. In this study, we compared directly whether male and female chickadees could discriminate between normal fee bee songs and songs that had one or both of the pitch ratios altered, and whether birds attended to one type of alteration over another. Both sexes learned to discriminate normal from altered songs; songs lacking an inter-note interval were more easily discriminated than songs with only the glissando removed. Females performed slightly better than males, including in the most difficult task with the stimuli lacking the glissando. Our study illustrates the value of using perceptual tasks to directly compare performance between the sexes and to demonstrate the difference between perception of and attention to acoustic features of vocal communication.     

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.     

Judged similarity in pitch of octave multiples

Subjects with musical training, who could identify musical intervals within octaves, were tested on their ability to identify musical intervals when the higher note was at several different octave multiples. Some subjects (but not all) showed very high scores on such cross-octave interval recognition tests. Two other groups of subjects were tested on ability to recognize pitch similarities for octave multiples. Only a few subjects showed evidence of perceiving pitch similarities. Our results do not support the hypothesis thatall subjects perceive a common pitchchroma at octave multiples.     

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.     

Cross-modal bias and perceptual fusion with auditory-visual spatial discordance

Investigations of situations involving spatial discordance between auditory and visual data which can otherwise be attributed to a common origin have revealed two main phenomena:cross-modal bias andperceptual fusion (or ventriloquism). The focus of the present study is the relationship between these two. The question asked was whether bias occurred only with fusion, as is predicted by some accounts of reactions to discordance, among them those based on cuesubstitution. The approach consisted of having subjects, on each trial, both point to signals in one modality in the presence of conflicting signals in the other modality and produce same-different origin judgments. To avoid the confounding of immediate effects with cumulative adaptation, which was allowed in most previous studies, the direction and amplitude of discordance was varied randomly from trial to trial. Experiment 1, which was a pilot study, showed that both visual bias of auditory localization and auditory bias of visual localization can be observed under such conditions. Experiment 2, which addressed the main question, used a method which controls for the selection involved in separating fusion from no-fusion trials and showed that the attraction of auditory localization by conflicting visual inputs occurs even when fusion is not reported. This result is inconsistent with purely postperceptual views of cross-modal interactions. The question could not be answered for auditory bias of visual localization, which, although significant, was very small in Experiment 1 and fell below significance under the conditions of Experiment 2.     

Absolute pitch in infant auditory learning: evidence for developmental reorganization

To what extent do infants represent the absolute pitches of complex auditory stimuli? Two experiments with 8-month-old infants examined the use of absolute and relative pitch cues in a tone-sequence statistical learning task. The results suggest that, given unsegmented stimuli that do not conform to the rules of musical composition, infants are more likely to track patterns of absolute pitches than of relative pitches. A 3rd experiment tested adults with or without musical training on the same statistical learning tasks used in the infant experiments. Unlike the infants, adult listeners relied primarily on relative pitch cues. These results suggest a shift from an initial focus on absolute pitch to the eventual dominance of relative pitch, which, it is argued, is more useful for both music and speech processing.     

Are crossmodal correspondences relative or absolute? Sequential effects on speeded classification

Crossmodal correspondences have often been demonstrated using congruency effects between pairs of stimuli in different sensory modalities that vary along separate dimensions. To date, however, it is still unclear the extent to which these correspondences are relative versus absolute in nature: that is, whether they result from pre-defined values that rigidly link the two dimensions or rather result from flexible values related to the previous occurrence of the crossmodal stimuli. Here, we investigated this issue in a speeded classification task featuring the correspondence between auditory pitch and visual size (e.g., congruent correspondence between high pitch/small disc and low pitch/large disc). Participants classified the size of the visual stimuli (large vs. small) while hearing concurrent high- or low-pitched task-irrelevant sounds. On some trials, visual stimuli were paired instead with “intermediate” pitch, that could be interpreted differently according to the auditory stimulus on the preceding trial (i.e., as “lower” following the presentation of a high pitch tone, but as “higher” following the presentation of a low pitch tone). Performance on sequence-congruent trials (e.g., when a small disc paired with the intermediate-pitched tone was preceded by a low pitch tone) was compared to sequence-incongruent trials (e.g., when a small disc paired with the intermediate-pitch tone was by a high-pitched tone). The results revealed faster classification responses on sequence-congruent than on sequence-incongruent trials. This demonstrates that the effect of the pitch/size correspondence is relative in nature, and subjected to trial-by-trial interpretation of the stimulus pair.     

Absolute pitch in infancy and adulthood: the role of tonal structure

Despite many similarities in infant and adult auditory processing, the literature suggests that two aspects of music perception, pitch processing and knowledge of tonal structure, change over development. The current experiments assess the use of absolute and relative pitch cues in a tone sequence statistical learning task containing tonal structure. The results suggest that infants preferentially process absolute pitch patterns in continuous tone sequences, supporting the hypothesis that absolute pitch is present in infancy, whereas adults tracked both absolute and relative pitch patterns. Infants and adults detected the tonal structure in the input, suggesting that humans are attuned to basic aspects of tonality early in life.     

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.     

Auditory imagery and the poor-pitch singer

The vocal imitation of pitch by singing requires one to plan laryngeal movements on the basis of anticipated target pitch events. This process may rely on auditory imagery, which has been shown to activate motor planning areas. As such, we hypothesized that poor-pitch singing, although not typically associated with deficient pitch perception, may be associated with deficient auditory imagery. Participants vocally imitated simple pitch sequences by singing, discriminated pitch pairs on the basis of pitch height, and completed an auditory imagery self-report questionnaire (the Bucknell Auditory Imagery Scale). The percentage of trials participants sung in tune correlated significantly with self-reports of vividness for auditory imagery, although not with the ability to control auditory imagery. Pitch discrimination was not predicted by auditory imagery scores. The results thus support a link between auditory imagery and vocal imitation.     

Is auditory awareness negativity confounded by performance?

Research suggests that the electrophysiological correlates of consciousness are similar in hearing as in vision: the auditory awareness negativity (AAN) and the late positivity (LP). However, from a recently proposed signal-detection perspective, these correlates may be confounded by performance, as the strength of the internal responses differs between aware and unaware trials. Here, we tried to apply this signal-detection approach to correct for performance in an auditory discrimination and detection task (N = 28). A large proportion of subjects had to be excluded because even a small response bias distorted the correction. For the remaining subjects, the correction mainly increased noise in the measurement. Furthermore, the signal-detection approach is theoretically problematic because it may isolate post-perceptual processes and eliminate awareness-related activity. Therefore, we conclude that AAN and LP are not confounded by performance and that the contrastive analysis identifies both as correlates of awareness.     

Hard andsoft interacting dimensions: Differential effects of dual context on classification

In this article, we extend Garner’s speeded classification procedure to investigate processes underlying the interaction of the auditory dimensions pitch, loudness, and timbre. In the experiments reported here, subjects classified attributes on these three auditory dimensions. Our extended procedure, calledmulticlass, is based conceptually on our model of how such dimensions interact; the model explains the perception of attributes from an attended dimension through the action of contextual constraints created by variation along an unattended dimension. Two forms of context are present simultaneously in each multiclass task:intraclass context, variation along the unattended dimension that interferes with the classification of attributes, andredundant context, variation along the unattended dimension that enhances classification. We find that such dual-context situations reliably distinguish two kinds of interacting dimensions. Subjects classifying HARD dimensions, here pitch and timbre, resist the ill effects of intraclass.context and reap gains from redundant context. Subjects classifying SOFT dimensions, here loudness, show interference because the attributes are veiled perceptually in dual context, These findings, we argue, demonstrate the power of the multiclass procedure and fit well our view-that dimensional interaction entails processing both at the level of the stimulus whale and at the level of stimulus attributes.     

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.     

Discrimination by newborns of the intensity, frequency and temporal characteristics of auditory stimuli

The ability of 3- to 5-day-old neonates to discriminate between auditory stimuli, in terms of each of the dimensions of intensity, pitch and time, was studied using heart-rate responses in a habituation paradigm. For each of the dimensions a survey of the literature failed to provide results which could be used as the basis for later work involving auditory patterns. Further analysis of an earlier experiment (Stratton, 1970 a) involving stimuli at 80, 85 and 90 db showed that louder stimuli evoked larger initial responses and more rapid habituation. From the same experiment it was found that a change of pitch produced dishabituation as early as the 10th trial. There are reasonable grounds for attributing the increased response to the frequency characteristics rather than a change in the perceived intensity of the stimuli. Previous experiments suggested that fixed inter-stimulus intervals tended to produce anticipatory heart-rate changes and modify the magnitude and latency of the response. Two experiments designed specifically to examine temporal phenomena revealed time-linked behaviour. In both experiments acceleratory responses occurred at the first stimulus omission of a fixed-interval series. Not all of the subjects showed this effect, and in both experiments, only the subjects who failed to respond to the first stimulus presentation responded to stimulus omission. The findings are discussed in relation to general issues of neonatal psychophysiology, and it is concluded that neonates can discriminate in each of the auditory dimensions, but that preliminary work involving patterns should concentrate on varying pitch and intensity.     

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.     

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.