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Articoli di riviste sul tema "Musical pitch"

Autore: Grafiati

Pubblicato: 4 giugno 2021

Ultima modifica: 1 agosto 2024

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1

Bispham, John C. "Music's “design features”: Musical motivation, musical pulse, and musical pitch." Musicae Scientiae 13, no. 2_suppl (September 2009): 41–61. http://dx.doi.org/10.1177/1029864909013002041.

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This paper focuses on the question of what music is, attempting to describe those features of music that generically distinguish it from other forms of animal and human communication — music's “design features”. The author suggests that music is generically inspired by musical motivation — an intrinsic motivation to share convergent intersubjective endstates - and is universally identifiable by the presence of musical pulse — a maintained and volitionally controlled attentional pulse — and/or musical pitch — a system for maintaining certain relationships between pitches. As such music's design

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2

Miyazaki, Ken’ichi. "Musical pitch identification by absolute pitch possessors." Perception & Psychophysics 44, no. 6 (November 1988): 501–12. http://dx.doi.org/10.3758/bf03207484.

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3

Deutsch, Diana. "Paradoxes of Musical Pitch." Scientific American 267, no. 2 (August 1992): 88–95. http://dx.doi.org/10.1038/scientificamerican0892-88.

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4

Burns, Edward M. "Perception of musical pitch." Journal of the Acoustical Society of America 101, no. 5 (May 1997): 3172. http://dx.doi.org/10.1121/1.419195.

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5

Miyazaki, Ken'ichi. "Absolute Pitch as an Inability: Identification of Musical Intervals in a Tonal Context." Music Perception 11, no. 1 (1993): 55–71. http://dx.doi.org/10.2307/40285599.

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Absolute pitch is generally believed to be a remarkable ability, whose possessors can quite accurately identify musical pitch characteristics (pitch classes) of single tones presented in isolation. However, identifying pitch out of context is irrelevant and even meaningless to music. It is unclear how listeners with absolute pitch process musical pitch information in more meaningful musical situations. The present experiment was done to examine how listeners with absolute pitch perform in a relative pitch task. Listeners tried to identify melodic intervals of various sizes (260–540 cents) pres

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6

Creel, Sarah C., Reina Mizrahi, Alicia G. Escobedo, Li Zhao, and Gail D. Heyman. "No Heightened Musical Pitch Weighting For Tone Language Speakers in Early Childhood." Music Perception 40, no. 3 (February 1, 2023): 193–201. http://dx.doi.org/10.1525/mp.2023.40.3.193.

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Numerous studies suggest that speakers of some tone languages show advantages in musical pitch processing compared to non-tone language speakers. A recent study in adults (Jasmin et al., 2021) suggests that in addition to heightened pitch sensitivity, tone language speakers weight pitch information more strongly than other auditory cues (amplitude, duration) in both linguistic and nonlinguistic settings compared to non-tone language speakers. The current study asks whether pitch upweighting is evident in early childhood. To test this, two groups of 3- to 5-year-old children—tone-language speak

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7

Aruffo, Christopher, Robert L. Goldstone, and David J. D. Earn. "Absolute Judgment of Musical Interval Width." Music Perception 32, no. 2 (December 1, 2014): 186–200. http://dx.doi.org/10.1525/mp.2014.32.2.186.

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When a musical tone is sounded, most listeners are unable to identify its pitch by name. Those listeners who can identify pitches are said to have absolute pitch perception (AP). A limited subset of musicians possesses AP, and it has been debated whether musicians’ AP interferes with their ability to perceive tonal relationships between pitches, or relative pitch (RP). The present study tested musicians’ discrimination of relative pitch categories, or intervals, by placing absolute pitch values in conflict with relative pitch categories. AP listeners perceived intervals categorically, and thei

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8

Gribenski, Fanny. "Nature's “Disturbing Influence”: Sound and Temperature in the Age of Empire." 19th-Century Music 45, no. 1 (2021): 23–36. http://dx.doi.org/10.1525/ncm.2021.45.1.23.

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Today, knowledge concerning the relationship between temperature and musical pitch shapes many dimensions of Western musical practice, from the ambient conditions of performance sites to the design of musical instruments, and performers’ routines and techniques. But the history of how temperature came to play such a defining role in musical cultures remains unexamined. This article lays the foundations for such work by approaching musical instruments as sites of negotiation between acousticians, instrument makers, and players on the one hand, and music's variegated environments on the other. F

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9

Cai, Jieqing, Yimeng Liu, Minyun Yao, Muqing Xu, and Hongzheng Zhang. "A Neurophysiological Study of Musical Pitch Identification in Mandarin-Speaking Cochlear Implant Users." Neural Plasticity 2020 (July 22, 2020): 1–11. http://dx.doi.org/10.1155/2020/4576729.

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Music perception in cochlear implant (CI) users is far from satisfactory, not only because of the technological limitations of current CI devices but also due to the neurophysiological alterations that generally accompany deafness. Early behavioral studies revealed that similar mechanisms underlie musical and lexical pitch perception in CI-based electric hearing. Although neurophysiological studies of the musical pitch perception of English-speaking CI users are actively ongoing, little such research has been conducted with Mandarin-speaking CI users; as Mandarin is a tonal language, these ind

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10

Repp, Bruno H., and Carol L. Krumhansl. "Cognitive Foundations of Musical Pitch." American Journal of Psychology 104, no. 4 (1991): 612. http://dx.doi.org/10.2307/1422945.

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11

Chalmers, John H., and Carol L. Krumhansl. "Cognitive Foundations of Musical Pitch." Leonardo 25, no. 2 (1992): 221. http://dx.doi.org/10.2307/1575725.

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12

Krumhansl, C. L., and Jerry V. Tobias. "Cognitive Foundations of Musical Pitch." Journal of the Acoustical Society of America 92, no. 2 (August 1992): 1193. http://dx.doi.org/10.1121/1.404005.

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13

Miller, Johanna L. "Musical pitch perception starts early." Physics Today 67, no. 10 (October 2014): 18–19. http://dx.doi.org/10.1063/pt.3.2537.

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14

Dolscheid, Sarah, Shakila Shayan, Asifa Majid, and Daniel Casasanto. "The Thickness of Musical Pitch." Psychological Science 24, no. 5 (March 28, 2013): 613–21. http://dx.doi.org/10.1177/0956797612457374.

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15

Miyazaki, Ken'ichi. "Absolute Pitch Identification: Effects of Timbre and Pitch Region." Music Perception 7, no. 1 (1989): 1–14. http://dx.doi.org/10.2307/40285445.

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Pitch identification by absolute-pitch (AP) possessors was tested with three different timbres. Twelve notes per octave in the equally tempered chromatic scale were presented randomly over a seven-octave range. AP subjects identified the note quite accurately but showed a considerable number of octave errors, indicating that they indeed responded primarily to pitch classes. By contrast, subjects lacking AP gave widely scattered responses, indicating that they could not perceive pitch classes at all but responded solely on the basis of the approximate pitch region (pitch height). The performanc

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16

Spitzer, Michael. "The Metaphor of Musical Space." Musicae Scientiae 7, no. 1 (March 2003): 101–20. http://dx.doi.org/10.1177/102986490300700106.

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Pitch space and Riemannian space offer divergent perspectives on tonal space in general. This article suggests that cognitive metaphor theory offers a means of understanding Riemannian space as a metaphorical mapping from pitch space; as an extension from a “deontic” to an “epistemic” musical category. My approach differs from other theorists of musical metaphor in considering mappings not between musical structure and extra-musical “real” space, but rather mappings between musical categories themselves. I illustrate this claim by reviewing recent writings both on pitch-space and Neo-Riemannia

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Dohn, Anders, Eduardo A. Garza-Villarreal, Lars Riisgaard Ribe, Mikkel Wallentin, and Peter Vuust. "Musical Activity Tunes Up Absolute Pitch Ability." Music Perception 31, no. 4 (December 2012): 359–71. http://dx.doi.org/10.1525/mp.2014.31.4.359.

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Absolute pitch (AP) is the ability to identify or produce pitches of musical tones without an external reference. Active AP (i.e., pitch production or pitch adjustment) and passive AP (i.e., pitch identification) are considered to not necessarily coincide, although no study has properly compared these abilities. Using a novel computerized pitch adjustment test, we investigated active AP ability in musicians with and without AP (ages 18-43). We found a significant correlation between active and passive AP indicating that AP possessors (APs) identify and produce pitch equally well. Furthermore,

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18

Weinstein, Nicole. "Pitch perfect." Nursery World 2021, no. 7 (July 2, 2021): 20–21. http://dx.doi.org/10.12968/nuwa.2021.7.20.

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19

Stronsick, Lisa M., Samantha E. Tuft, Sara Incera, and Conor T. McLennan. "Masculine harps and feminine horns: Timbre and pitch level influence gender ratings of musical instruments." Psychology of Music 46, no. 6 (November 10, 2017): 896–912. http://dx.doi.org/10.1177/0305735617734629.

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We examined whether timbre (instrument), pitch level, or both influence gender ratings of musical instruments. According to previous research, a variety of musical instruments are categorized or rated as masculine, neutral, or feminine in a relatively consistent way. Gender associations to musical instruments have been rather reliable across time and across participant populations. We investigated the gender ratings of nine musical instruments (three masculine, three neutral, and three feminine) each heard at low, medium, and high pitch levels within the playable range of each instrument. Both

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20

Rudenko, Svetlana, and Maria José de Córdoba Serrano. "Musical-Space Synaesthesia: Visualisation of Musical Texture." Multisensory Research 30, no. 3-5 (2017): 279–85. http://dx.doi.org/10.1163/22134808-00002562.

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I, Svetlana Rudenko, am a concert pianist. I am also a synaesthete and for me, sound is visual. It has shape. According to recent research (Akiva-Kabiriet al., 2014, pp. 17–29): “In musical-space synaesthesia, …unlike the vertical and horizontal representation of musical pitch tones in the general population, synaesthetes describe a linear diagonal organisation of pitch tones.” Different piano sounds have aroma and texture. The forms I have lived with since childhood are what I call ‘sound landscapes’. I am not alone. Composers such as Liszt, Scriabin, Gubaidulina and Messiaen, as well as arti

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21

Van Hedger, Stephen C., Shannon LM Heald, and Howard C. Nusbaum. "Long-term pitch memory for music recordings is related to auditory working memory precision." Quarterly Journal of Experimental Psychology 71, no. 4 (January 1, 2018): 879–91. http://dx.doi.org/10.1080/17470218.2017.1307427.

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Most individuals have reliable long-term memories for the pitch of familiar music recordings. This pitch memory (1) appears to be normally distributed in the population, (2) does not depend on explicit musical training and (3) only seems to be weakly related to differences in listening frequency estimates. The present experiment was designed to assess whether individual differences in auditory working memory could explain variance in long-term pitch memory for music recordings. In Experiment 1, participants first completed a musical note adjustment task that has been previously used to assess

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Miyazaki, Ken'ichi. "Perception of Musical Intervals by Absolute Pitch Possessors." Music Perception 9, no. 4 (1992): 413–26. http://dx.doi.org/10.2307/40285562.

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Previous studies have demonstrated that absolute pitch (AP) possessors can directly perceive the musical pitch quality (pitch class) of a tone presented in isolation. However, an isolated tone without musical context has no relevance to music, and AP ability should be examined in musically meaningful situations. In this study, AP possessors tried to identify the musical intervals between pairs of successive tones. The first tone (a reference) was either in-tune C according to the conventional pitch standard or out-of-tune C (a quarter-tone higher than standard C). The identification performanc

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23

Jeon, Seonkoo. "The Practical Humanities Implications of Pitch Standardization History." Korean Association of General Education 18, no. 2 (April 30, 2024): 157–67. http://dx.doi.org/10.46392/kjge.2024.18.2.157.

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Practical humanities, as a methodological approach for establishing the social value of humanities, embodies a proactive attitude and an effort to innovate the lack of social communication in the humanities, which has been identified as a root cause of the so-called crisis within this humanities. The standard pitch acts as an international linguistic convention within the musical domain, serving as a mediator for musical communication and is deeply linked to socio-cultural texts. These texts merge musical traditions with the modern era, significantly broadening the discourse-generating logic w

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Iușcă, Dorina Geta. "The Effect of Pitch Height, Timbre and Octave Error on Absolute Pitch Accuracy. Educational Implications." Review of Artistic Education 18, no. 1 (March 1, 2019): 353–58. http://dx.doi.org/10.2478/rae-2019-0040.

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Abstract The accuracy of absolute pitch has often fallen into mythical perspectives, as this rare ability tends to fascinate people through its spectacular results. Many people tend to think that a musician with absolute pitch is always capable of identifying the musical note of any sound in any circumstances. The research literature has revealed that this is rarely true. Although there is a significant difference between real absolute pitch owners and pseudo-absolute pitch owners, the accuracy of absolute pitch is highly influenced by a series of musical factors such as: pitch chroma, pitch h

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Tamir-Ostrover, Hila, and Zohar Eitan. "Higher is Faster." Music Perception 33, no. 2 (December 1, 2015): 179–98. http://dx.doi.org/10.1525/mp.2015.33.2.179.

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While determining an appropriate tempo is crucial to music performers, composers and listeners, few empirical studies have investigated the musical factors affecting tempo choices. In two experiments we examined how aspects of musical pitch affect tempo choice, by asking participants (musically trained and untrained) to adjust the tempi of melodic sequences varying in pitch register and pitch direction, as well as sequences typically associated with specific registers in common period music. In Experiment 1, faster tempi were assigned to higher registers. Specific melodic direction (rise vs. f

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Butler, David, and W. Dixon Ward. "Effacing the Memory of Musical Pitch." Music Perception 5, no. 3 (1988): 251–59. http://dx.doi.org/10.2307/40285399.

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Researchers who design tests involving judgments of pitch face the persistent problem that test subjects may remember a pitch associated with one test item and carry that memory over to the next item. This immediate memory does weaken with time, but it weakens quite slowly. Although a number of studies report attempts to "erase" subjects' impressions by inserting distracting sounds— white noise bursts, electronically generated tone glides, excerpts from Schoenberg's Piano Concerto— between trials, no systematic study of the efficacy of pitch eraser patterns has yet been undertaken. An initial

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27

Semal, Catherine, and Laurent Demany. "The Upper Limit of "Musical" Pitch." Music Perception 8, no. 2 (1990): 165–75. http://dx.doi.org/10.2307/40285494.

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Ten musicians were presented with a transposable melodic sequence of two monaural pure tones and were required to set the pitch of the higher tone in the sequence just above the upper limit of "musical" pitch. The overall mean of the frequency adjustments was 4.7 kHz, but subjects' individual means consistently differed from each other; their standard deviation was about three semitones. Subjects' adjustments depended on the range of possible adjustments and thus were influenced by context factors. However, the effect of range was 2.7 times smaller than it should have been if the upper limit o

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28

Moore, Robert E., Julie M. Estis, Fawen Zhang, Christopher Watts, and Elizabeth Marble. "Relations of Pitch Matching, Pitch Discrimination, and Otoacoustic Emission Suppression in Individuals Not Formally Trained as Musicians." Perceptual and Motor Skills 104, no. 3 (June 2007): 777–84. http://dx.doi.org/10.2466/pms.104.3.777-784.

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Research has yielded a relationship between pitch matching and pitch discrimination. Good pitch matchers tend to be good pitch discriminators and are often judged to be vocally talented. Otoacoustic emission suppression measures the function of the efferent auditory system which may affect accuracy for pitch matching and pitch discrimination. Formally trained musicians show pitch matching and pitch discrimination superior to those of nonmusicians and have greater efferent otoacoustic emission suppression than nonmusicians. This study investigated the relationship among pitch matching, pitch di

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Bogusz-Witczak, Edyta, Ewa Skrodzka, and Hanna Turkowska. "Influence of Musical Experience of Blind and Visually Impaired Young Persons on Performance in Selected Auditory Tasks." Archives of Acoustics 40, no. 3 (September 1, 2015): 337–49. http://dx.doi.org/10.1515/aoa-2015-0037.

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AbstractThe impact of musical experience on results concerning sound perception in selected auditory tasks, such as pitch discrimination, pitch-timbre categorization and pitch memorization for blind and visually impaired children and teenagers is discussed. Subjects were divided into three groups: of those with no experience of music, with small musical experience and with substantial musical experience. The blind and visually impaired subjects were investigated, while sighted persons formed reference groups. To date no study has described impact of musical experience on results of such experi

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Kohn, Dafna, and Zohar Eitan. "Moving Music." Music Perception 34, no. 1 (September 1, 2016): 40–55. http://dx.doi.org/10.1525/mp.2016.34.1.40.

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We examined how children (5- and 8-year-olds) associate changes in musical parameters with bodily motion, using movement and verbal tasks. In Task 1, participants moved to short musical stimuli involving bidirectional changes in pitch, loudness, or tempo. In Task 2, participants selected motion features appropriate to the same stimuli (forced-choice verbal task). In Task 1 the distribution of movement features significantly varied for different musical parameters: pitch change associated most strongly with vertical motion, loudness change with muscular energy and vertical motion, and tempo cha

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Miyazaki, Ken'ichi. "The Speed of Musical Pitch Identification by Absolute-Pitch Possessors." Music Perception 8, no. 2 (1990): 177–88. http://dx.doi.org/10.2307/40285495.

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Three experiments on absolute- pitch identification were performed to examine how quickly and accurately subjects with absolute pitch could respond to different pitch classes. Sixty different pitches in a five-octave range were tested. Subjects with absolute pitch tried to identify the tones as rapidly as possible by pressing corresponding keys on a musical keyboard or a numerical keypad, or by naming vocally. Converging evidence was obtained indicating that the speed and accuracy of responses were directly related. In general, responses to the white-key notes on the musical keyboard were fast

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Balzano, Gerald J. "What Are Musical Pitch and Timbre?" Music Perception 3, no. 3 (1986): 297–314. http://dx.doi.org/10.2307/40285339.

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This article is addressed both to psychologists interested in theories of pitch and timbre perception and to musicians interested in exploring pitch and/or timbral structures on a computer. A central assertion of the article is that these two enterprises are closely related and that both have been dominated by Fourier-analytic metaphors. I claim that Fourier analysis provides an inadequate model for both sound perception and computer analysis/synthesis of sound. In particular, it has led us to misconceive the relationship between musical pitch and timbre. Rather than modify or augment a Fourie

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Lamont, Alexandra, and Ian Cross. "Children's Cognitive Representations of Musical Pitch." Music Perception 12, no. 1 (1994): 27–55. http://dx.doi.org/10.2307/40285754.

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Several recent investigations of children's cognition of musical pitch have examined the nature of children's sensitivity to the "tonal hierarchy" identified by Krumhansl (1990a). These studies presented children with musical "contexts," asking them to make judgments about subsequent pitches, and have produced strikingly divergent results. Factors of age and of type of "musical material used in context" appear to play significant roles in determining subjects' sensitivities. This paper describes two experiments that examine the time course of the development of children's cognitive representat

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Galembo, Alexandre. "Musical pitchness evaluation through pitch extraction." Journal of the Acoustical Society of America 97, no. 5 (May 1995): 3390. http://dx.doi.org/10.1121/1.412600.

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Lepain, Philippe. "Polyphonic Pitch Extraction from Musical Signals." Journal of New Music Research 28, no. 4 (December 1, 1999): 296–309. http://dx.doi.org/10.1076/0929-8215(199912)28:04;1-o;ft296.

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Ariga, Atsunori, and Shiori Saito. "Spatial–musical association of response codes without sound." Quarterly Journal of Experimental Psychology 72, no. 9 (March 28, 2019): 2288–301. http://dx.doi.org/10.1177/1747021819838831.

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Humans tasked with pressing a key on a computer keyboard in response to a pitch can respond more quickly to a high-pitched sound by pressing a key higher on the keyboard and to a low-pitched sound by pressing a lower key, compared with the opposite configuration. This so-called spatial–musical association of response codes (SMARC) has been considered to reflect the spatial coding of sound pitch rather than to be an artefact of the verbal labels denoting spatial positions for localising sounds. In this study, we completely excluded the latter possibility, that is, the directional effects of aut

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Benguerel, André-Pierre, and Carol Westdal. "Absolute Pitch and the Perception of Sequential Musical Intervals." Music Perception 9, no. 1 (1991): 105–19. http://dx.doi.org/10.2307/40286161.

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When identifying musical intervals, most musicians appear to use only one strategy: they directly evaluate the musical interval between two notes (relative-pitch strategy). Musicians with absolute pitch (AP) seem to have two strategies available for identifying intervals: they can either use the relative-pitch strategy, or they can first identify the two pitches and then infer the musical interval between them (AP strategy). This study investigates the perception of sequential musical intervals by two groups of musicians, one group with AP and the other without AP. Most subjects in either grou

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Lerdahl, Fred. "Concepts and Representations of Musical Hierarchies." Music Perception 33, no. 1 (September 1, 2015): 83–95. http://dx.doi.org/10.1525/mp.2015.33.1.83.

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This paper undertakes a comparative study of concepts and visual representations of hierarchical aspects of musical structure. After consideration of the rhythmic components of grouping and meter, the discussion turns to pitch-event hierarchies and the tonal hierarchy (or pitch space). Contrasting notations are evaluated in terms of the efficacy of the concepts they exemplify.

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Broze, Yuri, and David Huron. "Is Higher Music Faster? Pitch–Speed Relationships in Western Compositions." Music Perception 31, no. 1 (September 1, 2013): 19–31. http://dx.doi.org/10.1525/mp.2013.31.1.19.

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We conducted four tests of the conjecture that higher musical pitch coincides with faster musical speeds in composition and performance. First, a ‘notewise’ examination of Western musical scores tested whether longer (i.e., slower) notes tend to have lower pitches. Results were genre-dependent, with three of six sampled styles exhibiting the predicted effect. A second study considered an independent sample of Western music part-by-part and found that lower musical voices tend to have significantly fewer notes than higher voices. The third study used instrumental recordings to directly measure

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Chen-Hafteck, Lily. "Pitch abilities in music and language of Cantonese-speaking children." International Journal of Music Education os-31, no. 1 (May 1998): 14–24. http://dx.doi.org/10.1177/025576149803100102.

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The relationship between musical and linguistic pitch abilities in young children was explored. Developmental research demonstrated that abilities in pitch perception and production in early music and language development are closely integrated. Cross-cultural evidence also illustrated the influence of language characteristics on music, children's songs and spontaneous singing. A close examination into the singing ability of the Cantonese-speaking children in Hong Kong showed that pitch abilities in language can possibly enhance pitch accuracy in singing. It was therefore suggested that musica

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Szczyrba-Poroszewska, Joanna. "Zabawowe sposoby wprowadzania zapisu muzycznego w zakresie wysokości dźwięku — propozycje dla nauczycieli klas I–III." Pedagogika Przedszkolna i Wczesnoszkolna, no. 2 (18) (2021): 61–71. http://dx.doi.org/10.4467/23537159ppw.21.018.15178.

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Fun ways to introduce of musical notation in terms of pitch — suggestions for teachers in grades 1–3 An important issue in music education of children is introduction of musical alphabet. The main aims are reminding teachers of two ways to record pitch, introducing the guidelines for learning formulated by psychologists, presentation of selected ways of introducing musical notation in a way adapted to the abilities of early school children.

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Yuan, Chenjie, Santiago González-Fuente, Florence Baills, and Pilar Prieto. "OBSERVING PITCH GESTURES FAVORS THE LEARNING OF SPANISH INTONATION BY MANDARIN SPEAKERS." Studies in Second Language Acquisition 41, no. 1 (January 2, 2018): 5–32. http://dx.doi.org/10.1017/s0272263117000316.

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AbstractRecent studies on the learning of L2 prosody have suggested that pitch gestures can enhance the learning of the L2 lexical tones. Yet it remains unclear whether the use of these gestures can aid the learning of L2 intonation, especially by tonal-language speakers. Sixty-four Mandarin speakers with basic-level Spanish were asked to learn three Spanish intonation patterns, all involving a low tone on the nuclear accent. In a pre-post test experimental design, half of the participants received intonation training without the use of pitch gestures (the control group) while the other half r

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Inabinet, Devin, Jan De La Cruz, Justin Cha, Kevin Ng, and Gabriella Musacchia. "Diotic and Dichotic Mechanisms of Discrimination Threshold in Musicians and Non-Musicians." Brain Sciences 11, no. 12 (November 30, 2021): 1592. http://dx.doi.org/10.3390/brainsci11121592.

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The perception of harmonic complexes provides important information for musical and vocal communication. Numerous studies have shown that musical training and expertise are associated with better processing of harmonic complexes, however, it is unclear whether the perceptual improvement associated with musical training is universal to different pitch models. The current study addresses this issue by measuring discrimination thresholds of musicians (n = 20) and non-musicians (n = 18) to diotic (same sound to both ears) and dichotic (different sounds to each ear) sounds of four stimulus types: (

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Miyazaki, Ken'ichi, Andrzej Rakowski, Sylwia Makomaska, Cong Jiang, Minoru Tsuzaki, Andrew J. Oxenham, Gregory Ellis, and Scott D. Lipscomb. "Absolute Pitch and Relative Pitch in Music Students in the East and the West." Music Perception 36, no. 2 (December 1, 2018): 135–55. http://dx.doi.org/10.1525/mp.2018.36.2.135.

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Abstract (sommario):

Absolute pitch (AP)—an ability to identify an isolated pitch without musical context—is commonly believed to be a valuable ability for musicians. However, relative pitch (RP)—an ability to perceive pitch relations—is more important in most musical contexts. In this study, music students in East Asian and Western countries (Japan, China, Poland, Germany, and USA) were tested on AP and RP abilities. In the AP test, 60 single tones were presented in a quasirandom order over a five-octave range. In the RP test, ascending musical intervals from 1 to 11 semitones were presented in four different key

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Tamboli, Allabakash Isak, and Rajendra D. Kokate. "An Effective Optimization-Based Neural Network for Musical Note Recognition." Journal of Intelligent Systems 28, no. 1 (January 28, 2019): 173–83. http://dx.doi.org/10.1515/jisys-2017-0038.

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Abstract Musical pitch estimation is used to recognize the musical note pitch or the fundamental frequency (F0) of an audio signal, which can be applied to a preprocessing part of many applications, such as sound separation and musical note transcription. In this work, a method for musical note recognition based on the classification framework has been designed using an optimization-based neural network (OBNN). A broad range of survey and research was reviewed, and all revealed the methods to recognize the musical notes. An OBNN is used here in recognizing musical notes. Similarly, we can prog

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Cross, I., R. West, and P. Howell. "Pitch Relations and the Formation of Scalar Structure." Music Perception 2, no. 3 (1985): 329–44. http://dx.doi.org/10.2307/40285302.

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Abstract (sommario):

The experimental study of the perception of pitch structure in music requires the use of a framework that is not necessarily tied to a particular musical culture or period. This article describes three sets of experiments in which rules governing the production of musical sequences are formally defined in terms of a closed system, the "circle of fifths." Experimental results indicate that important aspects of musical judgment are well accounted for by logical consequences of such formal definition, without the necessity of invoking either simplicity of frequency ratios or musical "well-formedn

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Weber, Robert J., and Suellen Brown. "Musical Imagery." Music Perception 3, no. 4 (1986): 411–26. http://dx.doi.org/10.2307/40285346.

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Abstract (sommario):

An objective indicator of musical imagery is developed that involves tracking the up and down movements of the tonal contour of an imagined musical phrase or tune. In two experiments, college students' imagery of music was examined. In both experiments, subjects learned musical phrases with words (songs) and without words (melodies). They then indicated as rapidly as possibly the tonal contour. In Experiment 1, the primary issue was whether musical imagery (as distinct from kinesthetic or visual imagery) drew on the same representation as overt song. Subjects processed the phrases by using eit

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Smith, Murray. "Against Nature? or, Confessions of a Darwinian Modernist." Royal Institute of Philosophy Supplement 75 (October 2014): 151–82. http://dx.doi.org/10.1017/s1358246114000174.

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A few years ago I gave a paper on the aesthetics of ‘noise,’ that is, on the ways in which non-musical sounds can be given aesthetic shape and structure, and thereby form the basis of significant aesthetic experience. Along the way I made reference to Arnold Schoenberg's musical theory, in particular his notion ofKlangfarbenmelodie, literally ‘sound colour melody,’ or musical form based on timbre or tonal colour rather than on melody, harmony or rhythm. Schoenberg articulated his ideas aboutKlangfarbenmelodiein the final section of hisHarmonielehre(1911). ‘Pitch is nothing else but tone colour

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Flagge, Ashley G., Mary Ellen Neeley, Tara M. Davis, and Victoria S. Henbest. "A Preliminary Exploration of Pitch Discrimination, Temporal Sequencing, and Prosodic Awareness Skills of Children Who Participate in Different School-Based Music Curricula." Brain Sciences 11, no. 8 (July 24, 2021): 982. http://dx.doi.org/10.3390/brainsci11080982.

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Abstract (sommario):

Musical training has been shown to have a positive influence on a variety of skills, including auditory-based tasks and nonmusical cognitive and executive functioning tasks; however, because previous investigations have yielded mixed results regarding the relationship between musical training and these skills, the purpose of this study was to examine and compare the auditory processing skills of children who receive focused, daily musical training with those with more limited, generalized musical training. Sixteen typically developing children (second–fourth grade) from two different schools r

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Finney, Steven A. "Auditory Feedback and Musical Keyboard Performance." Music Perception 15, no. 2 (1997): 153–74. http://dx.doi.org/10.2307/40285747.

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Abstract (sommario):

In an investigation into the role of auditory feedback guidance in musical performance, musically experienced subjects performed on an electronic keyboard under altered feedback conditions that included pitch and timing manipulations, as well as absence of auditory feedback. The results largely replicated the data reported by Gates and Bradshaw (1974): performance in the absence of auditory feedback showed no impairment, whereas performance under delayed auditory feedback showed significant impairment. In an extension of the Gates and Bradshaw study, however, it was found that altered pitch fe

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