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Dissertations / Theses on the topic 'Musical pitch'

Author: Grafiati

Published: 4 June 2021

Last updated: 1 August 2024

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1

Mate-Cid, Saul. "Vibrotactile perception of musical pitch." Thesis, University of Liverpool, 2013. http://livrepository.liverpool.ac.uk/16013/.

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Previous vibrotactile research has provided little or no definitive results on the discrimination and identification of important pitch aspects for musical performance such as relative and absolute pitch. In this thesis, psychophysical experiments using participants with and without hearing impairments have been carried out to determine vibrotactile detection thresholds on the fingertip and foot, as well as assess the perception of relative and absolute vibrotactile musical pitch. These experiments have investigated the possibilities and limitations of the vibrotactile mode for musical perform

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2

Cross, Ian. "The cognitive organisation of musical pitch." Thesis, City University London, 1989. http://openaccess.city.ac.uk/7663/.

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This thesis takes as its initial Premise the idea that the rationales for the forms of pitch organisation employed within tonal music which have been adopted by music theorists have strongly affected those theorists` conceptions of music, and that it is of critical importance to music theory to investigate the potential origination of such rationales within the human sciences. Recent studies of musical pitch perception and cognition are examined, and an attempt is made to assess their capacity to provide sustainable rationales for pitch organisation in tonal music. Theoretical and experimental

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3

Descombes, Valérie. "Discrimination of pitch direction : a developmental study." Thesis, McGill University, 1999. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=30159.

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The purpose of this study was to determine whether the ability to perceive pitch direction across a variety of melodic contours differs across grade levels. In addition, differences between responses to ascending versus descending patterns and between responses to two- versus three- versus four-note patterns were examined.<br>The main study involved two experiments; Experiment 1 examined children's ability to identify pitch direction using a visual aid; Experiment 2 examined children's spontaneous notations of the same melodic contours.<br>The results showed a subsequent increase in mean score

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4

Kim, Jung-Kyong. "Effect of degraded pitch cues on melody recognition." Thesis, McGill University, 2003. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=19681.

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Past studies of object recognition in vision and language have shown that (1) identification of the larger structure of an object is possible even if its component units are ambiguous or missing, and (2) contexts often influence the perception of the component units. The present study asked whether a similar case could be found in audition, investigating (1) whether melody recognition would be possible with uncertain pitch cues, and (2) whether adding contextual information would enhance pitch perception. Sixteen musically trained listeners attempted to identify, on a piano keyboard, pitches o

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5

Kim, Jinho. "Automatic Pitch Detection and Shifting of Musical Tones in Real Time." Thesis, Boston College, 2013. http://hdl.handle.net/2345/3057.

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Thesis advisor: Sergio Alvarez<br>Musical notes are acoustic stimuli with specific properties that trigger a psychological perception of pitch. Pitch is directly associated with the fundamental frequency of a sound wave, which is typically the lowest frequency of a periodic waveform. Shifting the perceived pitch of a sound wave is most easily done by changing the playback speed, but this method warps some of the characteristics and changes the time scale. This thesis aims to accurately shift the pitch of musical notes while preserving its other characteristics, and it implements this in real t

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6

McLeod, Philip, and n/a. "Fast, accurate pitch detection tools for music analysis." University of Otago. Department of Computer Science, 2009. http://adt.otago.ac.nz./public/adt-NZDU20090220.090438.

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Precise pitch is important to musicians. We created algorithms for real-time pitch detection that generalise well over a range of single �voiced� musical instruments. A high pitch detection accuracy is achieved whilst maintaining a fast response using a special normalisation of the autocorrelation (SNAC) function and its windowed version, WSNAC. Incremental versions of these functions provide pitch values updated at every input sample. A robust octave detection is achieved through a modified cepstrum, utilising properties of human pitch perception and putting the pitch of the current frame wit

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7

Ho, Kit-chun. "Development of pitch discrimination in preschool children." Hong Kong : University of Hong Kong, 1990. http://sunzi.lib.hku.hk/hkuto/record.jsp?B18035723.

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8

Lamont, Alexandra Mary. "The development of cognitive representations of musical pitch." Thesis, University of Cambridge, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.624265.

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9

Hamaoui, Kamil. "The perceptual grouping of musical sequences : pitch and timing as competing cues /." Diss., Connect to a 24 p. preview or request complete full text in PDF formate. Access restricted to UC IP addresses, 2006. http://wwwlib.umi.com/cr/ucsd/fullcit?p3236630.

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10

Weaver, Aurora J. "The Influence of Musical Training and Maturation on Pitch Perception and Memory." Ohio University / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1420490879.

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11

MacKenzie, Noah Aaron. "The kappa effect in pitch/time context." Columbus, Ohio : Ohio State University, 2007. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1173114654.

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12

McGeough, Carol Sigrid Westdal. "Absolute pitch and the perception of sequential musical intervals." Thesis, University of British Columbia, 1987. http://hdl.handle.net/2429/26449.

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The perception of musical intervals by musicians can be envisaged as being accomplished in one of two ways. Most musicians appear to have only one method for identifying musical intervals: they directly evaluate the musical interval between two notes. Musicians with absolute pitch (AP) appear to have two methods available for identifying intervals: they can either directly evaluate the musical interval, or they can first identify the two pitches, and then infer the musical interval between them. This study investigated the perception of sequential musical intervals by two groups of musicians,

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13

Ho, Kit-chun, and 何結珍. "Development of pitch discrimination in preschool children." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1990. http://hub.hku.hk/bib/B31955915.

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14

Gratton, Martine. "The effect of three vocal models on uncertain singers' ability to match and discriminate pitches /." Thesis, McGill University, 1989. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=59242.

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The purpose of this study was to investigate the effect of three different vocal timbres on uncertain singers' ability to match and discriminate pitches. Fifty-six children between six and eight year old were randomly assigned to one of four groups.<br>In the Own Voices group, subjects were training in pitch matching using subjects' own voices. They trained in pitch discrimination using a model child voice as stimuli. In the Model Child group, subjects were training in pitch matching and pitch discrimination using a model child voice of the same sex and age as that of the subject. Subjects in

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15

Tung, Anne An-Yi Lin. "A Study Of Lu-Pitch Name Signification: A Translation with Commentary." Thesis, North Texas State University, 1986. https://digital.library.unt.edu/ark:/67531/metadc500549/.

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The purpose of this thesis is to provide translation of documents on lu from two primary sources for a study of the theory of ,lu, with the main focus on the interpretation and the signification attached to each of the twelve lu-pitch names. To establish the background information of the lu-10 system, an explanation of its acoustical properties is first presented. Based on the most important and widely used tonal system in ancient China -- the san-fen-sun-i system, the illustration is provided for the process of tone generation. Methods proposed by the main theorists who engaged in the discus

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16

Kizas, Andrew James. "Pitch organization and form in Bartók's sonata for piano (1926)." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape9/PQDD_0003/MQ42164.pdf.

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17

Meyer, Hwa-Soon. "A computer system to improve violin intonation /." Access Digital Full Text version, 1993. http://pocketknowledge.tc.columbia.edu/home.php/bybib/1154319x.

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Thesis (Ed.D.)--Teachers College, Columbia University, 1993.<br>Typescript; issued also on microfilm. Sponsor: Robert Pace. Dissertation Committee: Harold Abeles. Includes bibliographical references (leaves 93-45).

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18

Warrier, Catherine M. "Contextual effects in pitch processing : investigating neural correlates using complementary methodologies." Thesis, McGill University, 2000. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=36848.

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This thesis includes four studies investigating neural correlates underlying pitch perception, and effects of tonal context on this percept. Each study addressed the issue from a unique methodological perspective. The first study confirmed that tonal context can affect the way a tone's pitch is perceived. In this study, normal listeners made pitch discriminations between tones varying in pitch and/or timbre, a difficult task when presented in isolation. Increasing tonal context increased performance, with melodic context providing the most facilitation.<br>A similar task was presented to patie

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19

Vincent, Dennis Richard. "Ensemble pitch and rhythm error discrimination : the identification and selection of predictors." Thesis, University of British Columbia, 1990. http://hdl.handle.net/2429/32443.

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This study investigated relationships between 36 predictor variables and ensemble pitch and rhythm error discrimination ability. Precollege musical background and other demographic data were collected by means of the Musical Background Questionnaire. Musical achievement was measured by the Aliferis-Stecklein Music Achievement Test, College Midpoint Level. Undergraduate musical coursework data were obtained from transcripts. The criterion variables were measured by the Ramsey-Vincent Test of Instrumental Error Detection; a test of aural-visual pitch and rhythm error discrimination for full-scor

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20

Walker, Jonathan. "Musique abstraite : numerus sonorus and the musical work." Thesis, Queen's University Belfast, 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.314157.

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21

Edwards, S. L. "Pitch perception, production and musical development of hearing impaired children." Thesis, University College London (University of London), 2014. http://discovery.ucl.ac.uk/1416297/.

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Children with cochlear hearing loss are offered a range of intervention devices to manage their hearing impairment. The most common devices fitted are hearing aids, cochlear implants or a combination of both (bimodal stimulation with a cochlear implant on one ear and hearing aid on the other). The main goal of these devices is to improve listening and communication for speech and language development. However in more recent years additional focus has been given to non-speech sounds such as music. Pitch is an important aspect of music because it carries the melody; however it is represented dif

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22

Ragozzine, Frank. "Investigations of the tritone paradox and perception of octave-related complexes /." Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC IP addresses, 1998. http://wwwlib.umi.com/cr/ucsd/fullcit?p9907595.

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23

Fancher, Joseph E. "Pitch organization in the Turangalîla-symphonie of Olivier Messiaen /." view abstract or download file of text, 2003. http://wwwlib.umi.com/cr/uoregon/fullcit?p3080583.

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Thesis (Ph. D.)--University of Oregon, 2003.<br>Typescript. Includes vita and abstract. Includes bibliographical references (leaves 304-313). Also available for download via the World Wide Web; free to University of Oregon users.

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24

Meredith, David. "Computing pitch names in tonal music : a comparative analysis of pitch spelling algorithms." Thesis, University of Oxford, 2007. http://ora.ox.ac.uk/objects/uuid:fa543bd6-cbdc-4206-a6f6-518f54c8c49a.

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A pitch spelling algorithm predicts the pitch names (e.g., C♯4, B♭5 etc.) of the notes in a passage of tonal music, when given the onset-time, MIDI note number and possibly the duration and voice of each note. A new algorithm, called ps13, was compared with the algorithms of Longuet-Higgins, Cambouropoulos, Temperley and Chew and Chen by running various versions of these algorithms on a ‘clean’, score-derived test corpus, C, containing 195972 notes, equally divided between eight classical and baroque composers. The standard deviation of the accuracies achieved by each algorithm over the eight

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25

Henry, Robert E. "Judgment of Intonation in the Context of Three-Part Woodwind Ensemble Performances." Thesis, North Texas State University, 1987. https://digital.library.unt.edu/ark:/67531/metadc331444/.

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The purpose of the study was to determine judgments of trained musicians regarding the intonation of complex tones in the context of synthesized woodwind ensemble performances. Problems included in the study were (1) estimation of the point in pitch deviation which would result in out-of-tune judgments, (2) investigation of timbral effects on judged intonation, and (3) investigation of effects of mistuning within differential voices.

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26

Wile, Daryl J. "On the electrophysiological correlates of missing fundamental pitch perception and nonlinear distortion in the frequency-following response." Thesis, McGill University, 2006. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=99212.

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The frequency-following response (FFR) is a scalp-recorded evoked potential which faithfully mimics an auditory stimulus waveform. Some research has attempted to relate the FFR to pitch perception based on FFR spectral peaks which correspond to the perceived pitch of the evoking stimulus, but these explanations are not definitive because the pitch of the evoking stimulus is often equal to the waveform envelope frequency or nonlinear distortion products also represented in the FFR. The experiments herein attempt to clarify the relevance of the FFR to pitch perception and as an assay of nonlinea

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27

Vande, Wege Renee Michelle. "The effect of tonal pattern instruction on the singing voice development of first grade students." Diss., Connect to online resource - MSU authorized users, 2005.

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28

Franks, Douglas Keith. "An Investigation of a Group of Third Graders' Pitch Matching Skills When Using Male Voice, Piano, and Resonator Bells as Melodic Models." Thesis, University of North Texas, 1992. https://digital.library.unt.edu/ark:/67531/metadc500493/.

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The purpose was to measure any statistically significant differences in pitch-matching skills among three classes of third grade students when using either adult male voice, piano, or resonator bells as melodic models for rote instruction of classroom singing. Each class was randomly assigned one of the three melodic models for a ten week treatment phase. Results indicated no significant differences in pitch matching skills between any of the three groups. No significant differences in pitch matching skills were found according to gender of subjects or among class piano students and non-piano

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29

Wood, Tabitha. "Recognition memory for musical pitch and rhythm is resistant to interference." Thesis, Wood, Tabitha (2019) Recognition memory for musical pitch and rhythm is resistant to interference. Honours thesis, Murdoch University, 2019. https://researchrepository.murdoch.edu.au/id/eprint/55030/.

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Recognition performance for most stimuli decreases as the amount of interference between exposure and recognition increases. However, for a few select stimuli—music, poetry and line drawings—recognition performance shows little to no disruption by interference. The novel Regenerative Multiple Representations (RMR) conjecture proposes that for these select stimuli, our experience influences how they are perceived and encoded into memory. In the case of music, conformity to the compositional rules of the music that a listener is accustomed to, influences whether or not they perceive a stimulus a

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30

Riegle, Aaron. "The pitch matching ability of high school choral students." Muncie, Ind. : Ball State University, 2009. http://cardinalscholar.bsu.edu/621.

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31

Suek, Daniel Sai Hang. "Dual-pitch separation for harmonically-related pitches and noisy sounds /." View Abstract or Full-Text, 2002. http://library.ust.hk/cgi/db/thesis.pl?COMP%202002%20SUEK.

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Thesis (M. Phil.)--Hong Kong University of Science and Technology, 2002.<br>Includes bibliographical references (leaves 56-61). Also available in electronic version. Access restricted to campus users.

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32

Cattley, Gary Thomas. "Cognitive Interference in the Perception of Pitch and Loudness in a Five-note Musical Pattern." Thesis, University of North Texas, 1999. https://digital.library.unt.edu/ark:/67531/metadc278446/.

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The purpose of the study was to explore whether musicians experience Garner interference among the auditory dimensions of pitch and loudness. Specifically, the study explored whether the dimensions of intonation and loudness, when presented to musicians in a five-note musical pattern, were perceived as integral or separable in nature.

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33

Wang, Dongning, and 王東寧. "The effect of augmented auditory feedback on pitch accuracy by untrained adults." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2013. http://hdl.handle.net/10722/196500.

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Accuracy in pitch production is fundamental to both singing and language. Since accurate control of pitch is a complicated motor control process, no conclusions can be drawn yet for the reasons why some individuals have trouble producing accurate pitches in singing, although different possible causes have been proposed in the literature such as deficits in pitch perception, pitch memory and mismatch of pitch range. Additionally, since auditory feedback plays a crucial role in the pitch control, some behavioral experiments have been conducted in the literature that involve manipulation of audit

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34

Watkins, Sharon C. (Sharon Carp). "Vocal Pitch-Matching: The Effect of Singing into the Right Ears of Fifth-Grade Students." Thesis, University of North Texas, 1992. https://digital.library.unt.edu/ark:/67531/metadc500713/.

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This study investigated whether fifth-grade students would sing more accurately when responding to pitch stimuli presented to the right ear as compared to left and both ears. Students were also classified as either strongly right-handed or other (left-handed or mixed) to see if ear treatment responses would differ with handedness. Sixty-six students were tested on their attempts to match 12 model pitches. Identical tests were given to each subject on 3 different days, with a different ear treatment each day. Vocal response scores were significantly better for both-ear presentation than for lef

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35

Genuys, Grégoire. "Non-commutative homometric musical structures and chord distances in geometric pitch spaces." Thesis, Paris 6, 2017. http://www.theses.fr/2017PA066576/document.

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Nous étudions deux thématiques principales : l'homométrie non-commutative dans des produits semi-directs, et une notion de distance entre accords musicaux. deux melodies sont dites homométriques si elles possèdent le même ensemble d'intervalles : nous transposons cette notion a un enchainement d'accords et plus généralement a des produits semi-directs, ce qui permet d'élaborer un cadre pour l'étude de l'homométrie dans des groupes non-commutatifs, tels que le groupe diédral. nous définissons dans une deuxième partie une mesure de distances entre des accord musicaux n'ayant pas le même nombre d

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36

Tommis, Yvonne. "Teaching pre-school children to perform from conventional music notation : an exploration of different methods." Thesis, Bangor University, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.342574.

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37

Mishra, Taniya. "Decomposition of fundamental frequency contours in the general superpositional intonation model /." Full text open access at:, 2008. http://content.ohsu.edu/u?/etd,654.

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38

Gates, Bernard. "The codification of pitch organisation in the early atonal works of Alban Berg." n.p, 1998. http://ethos.bl.uk/.

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39

Dennis, Walter Rudyard. "The conductor's toolkit : a diagnostic intonation software design proposal /." Thesis, Connect to this title online; UW restricted, 2003. http://hdl.handle.net/1773/11360.

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40

Byron, Timothy Patrick. "The processing of pitch and temporal information in relational memory for melodies." View thesis, 2008. http://handle.uws.edu.au:8081/1959.7/37492.

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Thesis (Ph.D.) -- University of Western Sydney, 2008.<br>A thesis submitted to the University of Western Sydney, College of Arts, School of Psychology, in fulfilment of the requirements for the degree of Doctor of Philosophy. Includes bibliographical references.

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41

Granzow, John, and University of Lethbridge Faculty of Arts and Science. "Ventriloquial dummy tones : embodied cognition of pitch direction." Thesis, Lethbridge, Alta. : University of Lethbridge, Dept. of Psychology, c2010, 2010. http://hdl.handle.net/10133/2558.

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Tone pairs constructed with the frequencies of the overtones moving in opposition to the missing fundamental frequencies they imply, produce expertise differences in the tracking of pitch direction. One interpretation of this result is that it arises as a function of rudimentary differences in the perceptual systems of musicians and non-musicians. Several experiments suggest instead a more embodied source of expertise to be found in vocal mediation such that the effect of musical experience in these tasks is the result of the most salient action of musicians: making sound.<br>x, 87 leaves : il

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42

Gerhardt, Kris. "The tritone paradox : an experimental and statistical analysis /." *McMaster only, 2002.

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43

Ling, Cheong Wai. "The late Scriabin : pitch organization and form in the works of 1910-14." Thesis, University of Cambridge, 1990. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.333287.

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44

Atwell, Scott David. "Cadence, linear procedures and pitch structure in the works of Johannes Ockeghem." Full text available online (restricted access), 2001. http://images.lib.monash.edu.au/ts/theses/Atwell.pdf.

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45

Moyer, Karen E. (Karen Elizabeth). "A Survey of Singers: Is Mental Imagery Used in the Conceptualization of Pitch and Vowel?" Thesis, University of North Texas, 1992. https://digital.library.unt.edu/ark:/67531/metadc500626/.

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Mental imagery is a common theme in research that clarifies how musical thought relates to musical performance. Unfortunately, minimal information exists regarding mental imagery and singers. The purpose of this study was to probe the role, if any, mental imagery plays in the conceptualization of pitch and vowel. By interviewing singers at differing levels of expertise, basic information was obtained about the mental processes used by singers. Through evaluations of the singers' mental processes, it was concluded that 95% of the singers in the study employed mental imagery. All singers desc

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46

Moreno, Sala María Teresa. "The influence of perceptual shift, cognitive abilities and environmental factors on young children's development of absolute and relative pitch perception /." Thesis, McGill University, 2005. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=85941.

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The main purpose of the present study was to investigate whether a shift from absolute to relative pitch perception occurs during early childhood. Other factors that can influence the development of absolute pitch, such as cognitive abilities and the child's environment were examined. Young children completed (n=88): (1) a variety of pitch tasks (absolute and relative pitch tests) prior to and after two months of focused instruction on absolute and relative pitch, (2) tests of cognitive abilities, and (3) a questionnaire gathering information about family musical environment.<br>The res

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47

Fukuchi, Hidetoshi. "The Pitch Content of Selected Piano Works of Toru Takemitsu." Thesis, University of North Texas, 1998. https://digital.library.unt.edu/ark:/67531/metadc278515/.

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The purpose of this study is to examine the pitch content and compositional techniques of Takemitsu's recent solo piano works, which have not been analyzed by Koozin, and to trace the evolution of his techniques in his solo piano works during his career. It also discusses how Takemitsu projects his philosophy and aesthetics of musical composition through Western musical idioms.

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48

Brown, Helen. "The effects of set content and temporal context of pitches on musicians' aural perception of tonality /." The Ohio State University, 1985. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487262825076471.

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49

Müller, Anna-Maria. "Intonasie in fluitspel [electronic resource] /." Pretoria : [s.n.], 2007. http://upetd.up.ac.za/thesis/available/etd-09302008-111355/.

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50

Malandraki, Georgia A. "Persisting effects of aspiration and penetration on voice quality and vocal pitch." Ohio : Ohio University, 2004. http://www.ohiolink.edu/etd/view.cgi?ohiou1103140461.

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