On the Perceptual Subprocess of Absolute Pitch

Kim, Seung‐Goo; Knösche, Thomas R.

doi:10.3389/fnins.2017.00557

Cited by 15 publications

(16 citation statements)

References 56 publications

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“…The perceptual and associative operations involved in the task may be useful to consider separately (Kim and Knösche, 2017), especially because much of the existing research on absolute tempo memory does not involve explicit labeling of tempo values. The tempo judgment task in our study asks participants to respond to each stimulus by estimating its tempo in beats per minute and hence involves a combination of perceptual extraction of the absolute tempo and an associative process of labeling this tempo with a numeric value.…”

Section: Discussionmentioning

confidence: 99%

“…An additional important aspect of the Gratton study is that their task involved explicit labeling of the test stimuli on an ordinal tempo scale. The participants were able to learn this novel tempo scale and then label items on the scale, which requires both the perceptual component of extracting the tempo on an absolute scale and the associative component of selecting a discrete name for the value (Kim and Knösche, 2017), as in the present task.…”

Section: Discussionmentioning

confidence: 99%

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Accuracy of Tempo Judgments in Disk Jockeys Compared to Musicians and Untrained Individuals

2021

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Professional disk jockeys (DJs) are an under-studied population whose performance involves creating new musical experiences by combining existing musical materials with a high level of temporal precision. In contemporary electronic dance music, these materials have a stable tempo and are composed with the expectation for further transformation during performance by a DJ for the audience of dancers. Thus, a fundamental aspect of DJ performance is synchronizing the tempo and phase of multiple pieces of music, so that over seconds or even minutes, they may be layered and transitioned without disrupting the rhythmic pulse. This has been accomplished traditionally by manipulating the speed of individual music pieces “by ear,” without additional technological synchronization aids. However, the cumulative effect of this repeated practice on auditory tempo perception has not yet been evaluated. Well-known phenomena of experience-dependent plasticity in other populations, such as musicians, prompts the question of whether such effects exist in DJs in their domain of expertise. This pilot study examined auditory judgments of tempo in 10 professional DJs with experience mixing by ear, compared to 7 percussionists, 12 melodic instrumental musicians, and 11 untrained controls. Participants heard metronome sequences between 80 and 160 beats per minute (BPM) and estimated the tempo. In their most-trained tempo range, 120–139 BPM, DJs were more accurate (lower absolute percent error) than untrained participants. Within the DJ group, 120–139 BPM exhibited greater accuracy than slower tempos of 80–99 or 100–119 BPM. DJs did not differ in accuracy compared to percussionists or melodic musicians on any BPM range. Percussionists were more accurate than controls for 100–119 and 120–139 BPM. The results affirm the experience-dependent skill of professional DJs in temporal perception, with comparable performance to conventionally trained percussionists and instrumental musicians. Additionally, the pattern of results suggests a tempo-specific aspect to this training effect that may be more pronounced in DJs than percussionists and musicians. As one of the first demonstrations of enhanced auditory perception in this unorthodox music expert population, this work opens the way to testing whether DJs also have enhanced rhythmic production abilities, and investigating the neural substrates of this skill compared to conventional musicians.

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Section: Discussionmentioning

confidence: 99%

Section: Discussionmentioning

confidence: 99%

Accuracy of Tempo Judgments in Disk Jockeys Compared to Musicians and Untrained Individuals

2021

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“…However, their tasks were limited to musical materials presented in silence; the proficiency of AP ability in relation to HIN performance with speech or musical materials has not been examined. In recent years, quasi-AP, a term that describes the continuum of varying degrees of "intermediate" AP ability observed among the general population, has gained considerable research interest [34][35][36][37] . This notion of quasi-AP is also known as implicit or latent AP and considers the ability as more widely existing, in contrast to the stringent criteria which restrict AP to 1-4% of individuals.…”

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confidence: 99%

Domain-specific hearing-in-noise performance is associated with absolute pitch proficiency

Hsieh

Tseng

Liu

2022

Sci Rep

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Recent evidence suggests that musicians may have an advantage over non-musicians in perceiving speech against noisy backgrounds. Previously, musicians have been compared as a homogenous group, despite demonstrated heterogeneity, which may contribute to discrepancies between studies. Here, we investigated whether “quasi”-absolute pitch (AP) proficiency, viewed as a general trait that varies across a spectrum, accounts for the musician advantage in hearing-in-noise (HIN) performance, irrespective of whether the streams are speech or musical sounds. A cohort of 12 non-musicians and 42 trained musicians stratified into high, medium, or low AP proficiency identified speech or melody targets masked in noise (speech-shaped, multi-talker, and multi-music) under four signal-to-noise ratios (0, − 3, − 6, and − 9 dB). Cognitive abilities associated with HIN benefits, including auditory working memory and use of visuo-spatial cues, were assessed. AP proficiency was verified against pitch adjustment and relative pitch tasks. We found a domain-specific effect on HIN perception: quasi-AP abilities were related to improved perception of melody but not speech targets in noise. The quasi-AP advantage extended to tonal working memory and the use of spatial cues, but only during melodic stream segregation. Overall, the results do not support the putative musician advantage in speech-in-noise perception, but suggest a quasi-AP advantage in perceiving music under noisy environments.

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“…The scientific literature focusing on absolute pitch reveals the existence of a very wide range of hearing abilities ( Takeuchi and Hulse, 1993 ; Levitin and Rogers, 2005 ; Schneider et al, 2005; Hsieh and Saberi , 2008 ; Deutsch, 2013 ; Kim and Knösche, 2017 ). We chose not to limit ourselves to individuals with self-certified absolute pitch, preferring to gather more information on this ability from the study itself: for example, in case of failure or difficulties in the task, a reference note was proposed to the participant.…”

Section: Introductionmentioning

confidence: 99%

Strategies Used by Musicians to Identify Notes’ Pitch: Cognitive Bricks and Mental Representations

2020

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On the Perceptual Subprocess of Absolute Pitch

Cited by 15 publications

References 56 publications

Accuracy of Tempo Judgments in Disk Jockeys Compared to Musicians and Untrained Individuals

Accuracy of Tempo Judgments in Disk Jockeys Compared to Musicians and Untrained Individuals

Domain-specific hearing-in-noise performance is associated with absolute pitch proficiency

Strategies Used by Musicians to Identify Notes’ Pitch: Cognitive Bricks and Mental Representations

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