Abstract
Samples of 24 and 12 college music majors were given tests of interval recognition and pitch recognition to investigate specific context effects. Absolute-pitch individuals were excluded. Conditions were: (1) single tones (pitch recognition), (2) isolated as cending intervals terminating in the same tones, (3) the same intervals, preceded by a distractor tone, and (4) the same intervals followed by a distractor tone. Conditions 3a and 4a were also run, with the distance of the distractor tone from its adjacent tone changed from a major third to a minor third. Recognition of the minor third, tritone, and minor and major sixths was enhanced by condition 4, as compared with the control condition 2. In condition 3 incorrect responses overestimated the targets, whereas in condition 4 targets were underestimated. There was no evidence that pitch recognition ability in nonabsolute pitch subjects aids interval recognition.
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