Absolute pitch (AP), the ability to name a musical note in the absence of a reference note, is extremely rare in the U.S. and Europe, and its genesis is unclear. The prevalence of AP was examined among students in an American music conservatory as a function of age of onset of musical training, ethnicity, and fluency in speaking a tone language. Taking those of East Asian ethnicity, the performance level on a test of AP was significantly higher among those who spoke a tone language very fluently compared with those who spoke a tone language fairly fluently and also compared with those who were not fluent in speaking a tone language. The performance level of this last group did not differ significantly from that of Caucasian students who spoke only nontone language. Early onset of musical training was associated with enhanced performance, but this did not interact with the effect of language. Further analyses showed that the results could not be explained by country of early music education. The findings support the hypothesis that the acquisition of AP by tone language speakers involves the same process as occurs in the acquisition of a second tone language.

Absolute pitch (AP), the ability to name a musical note in the absence of a reference note, is extremely rare in the United States and Europe, and its genesis is unclear. The prevalence of AP was examined among students in an American music conservatory, as a function of age of onset of musical training, ethnicity, and fluency in speaking a tone language. Taking those of East Asian ethnicity, the performance level on a test of AP was significantly higher among those who spoke a tone language very fluently than among those who spoke a tone language fairly fluently, which was in turn higher than among those who were not fluent in speaking a tone language. The performance level of this last group did not differ significantly from that of Caucasian students who spoke only intonation language. An advantage to early onset of musical training was found, but did not interact with the effect of language. Further analyses showed that the results could not be explained by country of early music education. The findings support the hypothesis that the acquisition of AP by tone language speakers involves the same process as occurs in the acquisition of a second tone language.

Absolute pitch (AP)--the ability to name a musical note in the absence of a reference note--is a rare ability whose relevance to musical proficiency has so far been unclear. Sixty trained musicians--thirty who self-reported AP and thirty with equivalent age of onset and duration of musical training--were administered a test for AP and also a musical dictation test not requiring AP. Performance on both types of test were highly correlated (r=.81, p<.001). When subjects were divided into three groups based on their performance on the AP test, highly significant differences between the groups emerged. Those who clearly possessed AP showed remarkably high performance on the musical dictation test, the scores of those without AP varied widely, and the performance of the intermediate group of borderline AP possessors fell between that of clear AP possessors and clear nonpossessors. The findings support the hypothesis that AP is associated with proficiency in performing other musical tasks, and run counter to the claim that it confers a disadvantage in the processing of relative pitch.

Absolute pitch, the rare ability to identify or produce a musical tone without a reference tone, has been shown to be advantageous in some musical tasks; however, its relevance in musical contexts primarily involving relative pitch has been questioned. To explore this issue, 36 trained musicians-18 absolute pitch possessors and 18 non-possessors with equivalent age of onset and duration of musical training-were tested on interval naming tasks requiring only relative pitch. The intervals to be named were either ascending or descending with separation ranging from 1 to 12 semitones and equally involved all 12 pitch classes. Three different conditions were employed; these used brief sine waves, piano tones, and piano tones preceded by a V7-I chord cadence so as to establish a tonal context. The possession of absolute pitch was strongly correlated with enhanced performance on all these tests of relative pitch. Furthermore, no evidence was found that this absolute pitch avantage depended on key, interval size, or musical context.

Auditory and visual digit span tests were administered to a group of absolute pitch (AP) possessors, and a group of AP nonpossessors matched for age, and for age of onset and duration of musical training. All subjects were speakers of English. The AP possessors substantially and significantly outperformed the nonpossessors on the auditory test, while the two groups did not differ significantly on the visual test. It is conjectured that a large auditory memory span, including memory for speech sounds, facilitates the development of associations between pitches and their verbal labels early in life, so promoting the acquisition of AP.