Time Factors in Relative and Absolute Pitch Determination

Bachem, A.

doi:10.1121/1.1907411

Cited by 99 publications

(65 citation statements)

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“…Newman-Keuls post hoc tests revealed that in overall error rates, the 300-msec and I-sec intervals were not significantly different, nor were the 3-sec and 5-sec conditions (p> .05), but both the 3·sec and 5-sec conditions had significantly more errors than the 300-msec and I-sec conditions (p < .05). It is tempting to relate the greater errors in the longer intervals to previous fmdings of a decline in pitch recognition over longer silent retention intervals (Harris, 1952;Bachem, 1954). However, the interaction between temporal interval and intervening tone condition suggests a very different interpretation of the temporal interval main effect (see Figure 2).…”

Section: Intervening Conditionmentioning

confidence: 99%

Interference effects in tone memory

Olson

Hanson

1977

Memory & Cognition

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Memory for a standard tone in comparison to a subsequent test tone was examined in three experiments with three intervening tones between the standard and test tones. In each trial, the intervening tones were presented from one of seven frequency range and distance from the standard tone conditions. Experiment 1 tone patterns were played at four different presentation rates, and the subjects judged whether the test was higher or lower than the standard. Memory interference effects caused by the different intervening tone conditions could be accounted for by a directional shift in the standard tone memory toward the intervening tones and by a general decrease in the standard tone memory strength with more distant intervening tones. Interference effects were smaller for the rapid presentation rates because the intervening tones formed separate "perceptual streams." Two additional experiments presented the tone patterns in a task requiring the subjects to match a continuously variable tone to their memory of the standard (Experiment 2) and a task requiring them to judge whether the standard and test tones were the "same" or "different" (Experiment 3). These experiments showed large differences in interference effects as a function of the required judgment and the subjects' musical experience.Memory for the pitch of a tone is disrupted when it is followed by tones of a different pitch. Deutsch and her colleagues have explored this effect in a series of studies which typically involved the sequential presentation of a standard tone, several intervening tones, and a test tone that the subject judged as "same as" or "different from" the standard (see Deutsch, 1975, for a review). In most of these studies, the effects of intervening tones were closely examined only for relatively small frequency separations from the standard and test tones (e.g., Deutsch & Feroe, 1975). This line of research has provided some important insights into the "microstructure" of intervening tone effects on pitch memory, but relatively little is known about the effects of larger intervening tone separations from the standard tone.The present series of studies tested the effects of intervening tones which ranged from 1 to 20 semitones above or below the standard tone. (One semitone is equal to a frequency difference ratio of about 1 : 1.06.) The experiments were designed to explore both the

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Section: Intervening Conditionmentioning

confidence: 99%

Interference effects in tone memory

Olson

Hanson

1977

Memory & Cognition

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“…Generally, people tend to think that absolute pitch possessors are superior in all of their auditory abilities. However, in the field of auditory and music psychology, researchers have focused on the etiology of absolute pitch [1][2][3][4][5][6][7] or the merits and demerits of absolute pitch in music cognition [8][9][10][11][12], but have not closely studied the basic hearing abilities of absolute-pitch possessors for general sounds outside the context of music. Studying the basic hearing abilities of absolute pitch possessors may bring insights not only into the mechanisms of absolute pitch itself, but also into problems such as individual differences and the plasticity of auditory functions.…”

Section: Introductionmentioning

confidence: 99%

The basic hearing abilities of absolute pitch possessors.

Fujisaki

Kashino

2002

Acoust. Sci. & Tech.

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Generally, people tend to think that absolute pitch possessors or musical experts are superior in all of their auditory and musical abilities. However, not much data has been shown to prove whether any differences exist in the basic hearing abilities of absolute pitch possessors or musical experts for general sounds outside the context of music. In this study, we conducted four experiments to investigate if absolute pitch possessors or music experts are superior in their basic hearing abilities with respect to frequency resolution, temporal resolution, and spatial resolution. In Experiments 1 and 2, we measured frequency discrimination thresholds and thresholds to detect a tone in notched noise to examine the characteristics of frequency resolution. In Experiment 3, we conducted a gap detection task to measure the temporal resolution. Finally, in Experiment 4, we measured interaural time difference discrimination thresholds to examine the spatial resolution abilities. The overall results show that there were no significant differences in frequency, temporal and spatial resolutions among groups with different absolute pitch capability. This indicates that absolute-pitch possessors do not have particularly 'good ears' in terms of resolution.

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“…Notably, superior discrimination does not imply better learning and memory abilities. For example, while long-term retention of pitch is surprisingly accurate only in absolute pitch (AP) possessors (Bachem, 1954), AP listeners do not have superior auditory acuity compared to non-AP musician listeners (e.g., Fujisaki & Kashino, 2002;Levitin & Rogers, 2005). Here, we focus on the general ability of a listener to exploit acoustical information, without investigating the differential role of discrimination, memory and learning abilities.…”

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confidence: 99%

Integration of acoustical information in the perception of impacted sound sources: The role of information accuracy and exploitability.

Giordano¹,

Rocchesso²,

McAdams³

2010

Journal of Experimental Psychology: Human Perception and Perfor

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Sound sources are perceived by integrating information from multiple acoustical features. The factors influencing the integration of information are largely unknown. We measured how the perceptual weighting of different features varies with the accuracy of information and with a listener's ability to exploit it. Participants judged the hardness of two objects whose interaction generates an impact sound: a hammer and a sounding object. In a first discrimination experiment, trained listeners focused on the most accurate information, although with greater difficulty when perceiving the hammer. We inferred a limited exploitability for the most accurate hammer-hardness information. In a second rating experiment, listeners focused on the most accurate information only when estimating sounding-object hardness. In a third rating experiment, we synthesized sounds by independently manipulating source properties that covaried in Experiments 1 and 2: sounding-object hardness and impact properties. Sounding-object hardness perception relied on the most accurate acoustical information, whereas impact-properties influenced more strongly hammer hardness perception. Overall, perceptual weight increased with the accuracy of acoustical information, although information that was not easily exploited was perceptually secondary, even if accurate.

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Time Factors in Relative and Absolute Pitch Determination

Cited by 99 publications

References 0 publications

Interference effects in tone memory

Interference effects in tone memory

The basic hearing abilities of absolute pitch possessors.

Integration of acoustical information in the perception of impacted sound sources: The role of information accuracy and exploitability.

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