This study examined Mandarin tone identification by 36 English-speaking musicians and 36 nonmusicians and musical note identification by the musicians. In the Mandarin task, participants were given a brief tutorial on Mandarin tones and identified the tones of the syllable sa produced by 32 speakers. The stimuli included intact syllables and acoustically modified syllables with limited F0 information. Acoustic analyses showed considerable overlap in F0 range among the tones due to the presence of multiple speakers. Despite no prior experience with Mandarin, the musicians identified intact tones at 68% and silent-center tones at 54% correct, both exceeding chance (25%). The musicians also outperformed the nonmusicians, who identified intact tones at 44% and silent-center tones at 36% correct. These results indicate musical training facilitated lexical tone identification, although the facilitation varied as a function of tone and the type of acoustic input. In the music task, the musicians listened to synthesized musical notes of three timbres and identified the notes without a reference pitch. Average identification accuracy was at chance level even when multiple semitone errors were allowed. Since none of the musicians possessed absolute pitch, the role of absolute pitch in Mandarin tone identification remains inconclusive.

Lexical tone languages make up the majority of all known languages of the world, but the role of tone in lexical processing remains unclear. In the present study, four form priming experiments examined the role of Mandarin tones in constraining lexical activation and the time course of the activation. When a prime and a target were related directly in form (e.g., lou3 'hug'--lou2 'hall'), competitors that differed from the prime in tone failed to be activated, indicating the use of tonal information to distinguish between segmentally identical words. When a prime and a target were not form-related but were related through a third word that was not actually presented (e.g., lou3 'hug'--jian4zhu0 'building', where lou3 is form-related to lou2 'hall', which was semantically related to jian4zhu0), a mismatch in tone prevented activation of minimal tone pairs at 250ms interstimulus interval (ISI) but did not prevent activation at 50 ms ISI. These results indicate that tonal information is used on-line to reduce the number of activated candidates, but does not prevent the minimal tone pairs from being activated in the early phase of lexical activation.

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Lexical tone identification relies primarily on the processing of F0. Since F0 range differs across individuals, the interpretation of F0 usually requires reference to specific speakers. This study examined whether multispeaker Mandarin tone stimuli could be identified without cues commonly considered necessary for speaker normalization. The sa syllables, produced by 16 speakers of each gender, were digitally processed such that only the fricative and the first six glottal periods remained in the stimuli, neutralizing the dynamic F0 contrasts among the tones. Each stimulus was presented once, in isolation, to 40 native listeners who had no prior exposure to the speakers' voices. Chi-square analyses showed that tone identification accuracy exceeded chance as did tone classification based on F0 height. Acoustic analyses showed contrasts between the high- and low-onset tones in F0, duration, and two voice quality measures (F1 bandwidth and spectral tilt). Correlation analyses showed that F0 covaried with the voice quality measures and that tone classification based on F0 height also correlated with these acoustic measures. Since the same acoustic measures consistently distinguished the female from the male stimuli, gender detection may be implicated in F0 height estimation when no context, dynamic F0, or familiarity with speaker voices is available.

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The purpose of this study was to explore the music-speech relationship by examining pitch height perception in lexical and musical tones. English-speaking musicians and nonmusicians identified multispeaker Taiwanese level tones without typical cues for speaker normalization. The musicians also identified note names of piano, viola, and pure tones without a reference pitch. In the Taiwanese task, both the musicians and nonmusicians were able to identify tone height above chance, but only for tones at the extremes of the speakers' overall vocal range. The musicians only had a slight advantage over the nonmusicians. In the music task, none of the musicians met the criterion for absolute pitch. Timbre did not affect how accurately the musical tones were identified. No correlations were found between performance in the Taiwanese task and that in the music task. It was concluded that musicians' advantage in lexical tone perception arose from the ability to track F0 contours. The ability to identify pitch height in lexical tones appears to involve calibrating acoustic input according to gender-specific, internally stored pitch templates.

The relationship between music and language processing was explored in two perception experiments on the identification of musical notes and Mandarin tones. In the music task, Mandarin-speaking musicians were asked to identify musical notes of three timbres without a reference pitch. 72% of the musicians met the criterion for absolute pitch when an exact match was required, and 82% met the criterion when one-semitone errors were allowed. Accuracy of identification was negatively correlated with age of onset of musical training, and piano notes were identified more accurately than viola and pure tone stimuli. In the Mandarin task, the musicians were able to identify, beyond chance, brief Mandarin tone stimuli that were devoid of dynamic F0 information and cues commonly considered necessary for speaker normalization. Although F0 height detection was involved in both musical note and Mandarin tone identification, performances in the two tasks were not correlated. The putative link between absolute pitch and tone language experience was discussed.

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