The perceptual reality of tone chroma in early infancy

Demany, Laurent; Armand, Françoise

doi:10.1121/1.391006

Cited by 108 publications

(78 citation statements)

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“…These findings together with earlier research indicate a clear developmental progression, beginning with effects of perfect fifth and octave intervals in the first year of life (Demany & Armand, 1984;Trainor & Trehub, 1993a, 1993b, and followed by effects of key membership by 5 years of age and implied harmony by 7 years of age. Implicit knowledge about key membership, although absent in 8-month-olds (Trainor & Trehub, 1992), is likely to be present well before 5 years of age, which is the youngest age that has been examined postinfancy.…”

Section: Discussionmentioning

confidence: 79%

“…Tones that are one octave apart (i.e., fundamental frequencies standing in a 1:2 ratio) sound very similar in musical contexts, are functionally equivalent, and are often assigned the same note name. Moreover, research with very young infants indicates that even they perceive the similarity of tones that are one octave apart (Demany & Armand, 1984). Another near-universal is the use of a small set of discrete pitches per octave (scales) and their repetition in successive octaves.…”

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confidence: 99%

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Key membership and implied harmony in Western tonal music: Developmental perspectives

Trainor

Trehub

1994

Perception & Psychophysics

154

134

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We investigated the role of key membership and implied harmony in adults' and children's perception of tone sequences. Listeners were evaluated on their ability to detect three types of changes in one note of a well-structured Western tonal melody. In one change (out-of-key) the new note was not in the basis key, in another (out-of-harmony) it was in the key but not in the implied harmony, and in the third (within-harmony) it was in both the key and the implied harmony. Adults and 7-year-olds performed better on the out-of-key and out-of-harmony changes than on the within-harmony change, reflecting their implicit knowledge of key membership and implied harmony. Five-year-olds performed better on the out-of-key change than on the other two changes, reflecting the influence of key membership but not implied harmony. We consider the developmental precedence of key membership over implied harmony in the context of cross-cultural and theoretical perspectives.Western listeners, including those who are musically untrained, process melodies according to music-theoretic rules oftonality (e.g

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Section: Discussionmentioning

confidence: 79%

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confidence: 99%

Key membership and implied harmony in Western tonal music: Developmental perspectives

Trainor

Trehub

1994

Perception & Psychophysics

154

134

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“…Nevertheless, the results provide little support for the claim that ratio simplicity is an important factor in perceptual processing. For example, evidence of octave equivalence has been absent in some instances (Kallman, 1982) and restricted to highly trained listeners in others (Allen, 1967; see also Thurlow & Erchul, 1977), which is at odds with the evidence of octave equivalence in infancy (Demany & Armand, 1984). Moreover, Burns and Ward (1978, Experiment 4) reported no evidence for natural categories of intervals based on the simplicity of frequency ratios.…”

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confidence: 98%

“…tones an octave apart (frequency ratio of2:1) is universal (Dowling & Harwood, 1986;Lerdahl & Jackendoff, 1983), being apparent in infants as young as 3 months of age (Demany & Armand, 1984). Octaves are unique, however, in that tones an octave apart have the same tone chroma (i.e., the distinction between any tone called X and any tone called Y) as well as the simplest frequency ratio of any interval (other than a unison).…”

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confidence: 99%

Frequency ratios and the discrimination of pure tone sequences

Schellenberg

Trehub

1994

Perception & Psychophysics

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We examined the effect of frequency ratios on the discrimination of patterns of alternating pure tones (ABABA). Listeners heard a repeating pattern presented in transposition (same frequency ratios between successive tones, different absolute frequencies) and were required to indicate when the pattern changed (different frequency ratios and absolute frequencies). Changes from patterns with simple frequency ratios to those with more complex ratios were more readily detected than were changes from complex ratios to simpler ratios.

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“…This study, therefore, shows that infants are like adults in perceiving equality between octaves. 11 Much research suggests that newborns as well as older infants identify a speaker from the unique complex of pitches in the individual voice as well as from the intonation (called prosody) or rising and falling contours of the pitches in a spoken phrase. 10 Eimas et al 12 showed in 1971 that infants are able at birth to perceive some of the complex frequencies inherent in phonetic showed that infants within a day of birth could identify the individual characteristics of their mother's voice having only heard the low frequency components of it from inside the womb.…”

Section: Newborn Hearing Behaviors Indicating Hearing In the Newborǹ`cmentioning

confidence: 99%

Hearing and Behavioral Responses to Sound in Full-Term Newborns

Philbin

Klaas

2000

J Perinatol

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NEWBORN HEARING Behaviors Indicating Hearing in the Newborǹ`Can the baby hear this sound?''``Can he appreciate the difference between this sound and that one?''``Does she recognize my voice?''`I s that noise keeping him awake?'' These and similar questions are of interest to those caring for newborn infants and also to researchers. The answers to them depend in part on the baby behaviors that adults attend to because human newborns, despite their large brains and fairly well-developed hearing, are limited in what they can do to indicate they have heard something. Researchers have, therefore, devoted considerable effort to defining newborns' behavioral responses precisely and to developing measurements that all but eliminate unintentional bias from behavioral observations. Humans at birth have reasonably good control over the muscles that govern eye movement. With careful support they also have control over the muscles that turn the head. These abilities coupled with an apparently innate tendency to coordinate vision with hearing lead newborns to orient toward (turn eyes or head or both toward) new or preferred sounds if the sounds last 1 second or longer. 1Term newborns also have a reliable blink reflex that can be used to test hearing for fairly loud sounds. Newborn infants have good control over the muscles involved in sucking and tend to suck faster or harder in response to a new or interesting sound Ð or sight. Additionally, they can indicate their attention to a sound with a package of body movements and facial expressions that a parent or trained observer can learn to identify reliably. Researchers have catalogued some of the details of newborn hearing by making careful measurements of these naturally occurring movement responses to sound. The observant parent or clinician can also use these behaviors to try to understand an individual newborn's responses to the sounds in his or her environment.Unfortunately, however, newborns as individuals and as a group are very variable. Their periods of alertness can be brief, they pay attention differently at different times, and they are easily distracted. Their 4-to 8-second lag before responding and slow or uncoordinated head-turn movements can lend the impression of not responding, particularly if the sound signal is shorter than 1 to 2 seconds. 2After several repetitions of the same, moderately loud sound they may habituate to it (tune it out) and stop responding altogether. Infants at birth may show less sensitive hearing than a few days afterward if there is amniotic fluid in the middle ear although this drains away or is absorbed within 2 or 3 days. Of course, newborns' responses will be atypical if they are not well or are affected by medications or street drugs that the mother has transmitted before birth. Moreover, animal studies indicate that some aspects of hearing may develop very rapidly in the immediate period just after birth so that responses to a particular sound at time A may be quite different from responses to the same sound at time B only a sho...

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The perceptual reality of tone chroma in early infancy

Cited by 108 publications

References 0 publications

Key membership and implied harmony in Western tonal music: Developmental perspectives

Key membership and implied harmony in Western tonal music: Developmental perspectives

Frequency ratios and the discrimination of pure tone sequences

Hearing and Behavioral Responses to Sound in Full-Term Newborns

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