Absolute Pitch Research Articles

Absolute pitch in involuntary musical imagery

Memory for isolated absolute pitches is extremely rare in Western, English-speaking populations. However, past research has found that people can voluntarily reproduce well-known songs in the original key much more often than chance. It is unknown whether this requires deliberate effort or if it manifests in involuntary musical imagery (INMI, or earworms). Participants (N = 30, convenience sample) were surveyed at random times over a week and asked to produce a sung recording of any music they were experiencing in their heads. We measured the “pitch error” of each recording to the nearest semitone by comparing participants’ recordings to the original song. We found that 44.7% of recordings had a pitch error of 0 semitones, and 68.9% of recordings were within ± 1 semitone of the original song. Our results provide novel evidence that a large proportion of the population has access to absolute pitch, as revealed in their INMI.

Effects of absolute pitch on brain activation and functional connectivity during hearing-in-noise perception

Hearing-in-noise (HIN) ability is crucial in speech and music communication. Recent evidence suggests that absolute pitch (AP), the ability to identify isolated musical notes, is associated with HIN benefits. A theoretical account postulates a link between AP ability and neural network indices of segregation. However, how AP ability modulates the brain activation and functional connectivity underlying HIN perception remains unclear. Here we used functional magnetic resonance imaging to contrast brain responses among a sample (n = 45) comprising 15 AP musicians, 15 non-AP musicians, and 15 non-musicians in perceiving Mandarin speech and melody targets under varying signal-to-noise ratios (SNRs: No-Noise, 0, −9 dB). Results reveal that AP musicians exhibited increased activation in auditory and superior frontal regions across both HIN domains (music and speech), irrespective of noise levels. Notably, substantially higher sensorimotor activation was found in AP musicians when the target was music compared to speech. Furthermore, we examined AP effects on neural connectivity using psychophysiological interaction analysis with the auditory cortex as the seed region. AP musicians showed decreased functional connectivity with the sensorimotor and middle frontal gyrus compared to non-AP musicians. Crucially, AP differentially affected connectivity with parietal and frontal brain regions depending on the HIN domain being music or speech. These findings suggest that AP plays a critical role in HIN perception, manifested by increased activation and functional independence between auditory and sensorimotor regions for perceiving music and speech streams.

Encoding of melody in the human auditory cortex.

Melody is a core component of music in which discrete pitches are serially arranged to convey emotion and meaning. Perception varies along several pitch-based dimensions: (i) the absolute pitch of notes, (ii) the difference in pitch between successive notes, and (iii) the statistical expectation of each note given prior context. How the brain represents these dimensions and whether their encoding is specialized for music remains unknown. We recorded high-density neurophysiological activity directly from the human auditory cortex while participants listened to Western musical phrases. Pitch, pitch-change, and expectation were selectively encoded at different cortical sites, indicating a spatial map for representing distinct melodic dimensions. The same participants listened to spoken English, and we compared responses to music and speech. Cortical sites selective for music encoded expectation, while sites that encoded pitch and pitch-change in music used the same neural code to represent equivalent properties of speech. Findings reveal how the perception of melody recruits both music-specific and general-purpose sound representations.

Is Hey Jude in the right key? Cognitive components of absolute pitch memory.

Most individuals, regardless of formal musical training, have long-term absolute pitch memory (APM) for familiar musical recordings, though with varying levels of accuracy. The present study followed up on recent evidence suggesting an association between singing accuracy and APM (Halpern & Pfordresher, 2022, Attention, Perception, & Psychophysics, 84(1), 260-269), as well as tonal short-term memory (STM) and APM (Van Hedger et al., 2018,Quarterly Journal of Experimental Psychology, 71(4), 879-891). Participants from three research sites (n = 108) completed a battery of tasks including APM, tonal STM, singing accuracy, and self-reported auditory imagery. Both tonal STM and singing accuracy predicted APM, replicating prior results. Tonal STM also predicted singing accuracy, music training, and auditory imagery. Further tests suggested that the association between APM and singing accuracy was fully mediated by tonal STM. This pattern comports well with models of vocal pitch matching that include STM for pitch as a mechanism for sensorimotor translation.

Auditory Ensemble Perception (Summary Statistics) for Music Scale Tones by Listeners with and without Absolute Pitch

ABSTRACT Ensemble perception refers to our ability to summarize complex information across individual items in a group. Ensemble perception of pitch in the auditory domain can be achieved remarkably well: listeners can accurately judge whether the pitch corresponding to the mean frequency of a set of six music scale tones is higher or lower than the pitch of a test tone presented after the set. Ensemble perception for music scale tones was performed by absolute pitch (AP) possessors (n = 16) and musically experienced non-AP listeners (n = 14). They performed a set averaging experiment (Experiment 1), and a tone recognition experiment, in which they judged whether an individual tone had been part of the set or not (Experiment 2). AP listeners obtained a significantly higher percentage correct and a smaller just noticeable difference than non-AP listeners when comparing the (average) pitch of the set and the test. Remarkably, though, AP listeners did not significantly outperform non-AP listeners in individual tone recognition. These results suggest that a cognitive tone-labeling strategy, as predominantly used by AP listeners, enhances ensemble perception for music scale tones. Musically experienced non-AP listeners, however, can achieve recognition of individual tones without tone labeling at a very high level as well. Possible strategies used by the listeners in both groups were discussed.

Timbral cues underlie instrument-specific absolute pitch in expert oboists.

While absolute pitch (AP)-the ability to identify musical pitches without external reference-is rare even in professional musicians, anecdotal evidence and case-report data suggest that some musicians without traditional AP can nonetheless better name notes played on their musical instrument of expertise than notes played on instruments less familiar to them. We have called this gain in AP ability "instrument-specific absolute pitch" (ISAP). Here, we report the results of the first two experiments designed to investigate ISAP in professional oboists. In Experiment 1 (n = 40), superiority for identifying the pitch of oboe over piano tones varied along a continuum, with 37.5% of oboists demonstrating significant ISAP. Variance in accuracy across pitches was higher among ISAP-possessors than ISAP-non-possessors, suggestive of internalized timbral idiosyncrasies, and the use of timbral cues was the second-most commonly reported task strategy. For both timbres, both groups performed more accurately for pitches associated with white than black piano keys. In Experiment 2 (n = 12), oboists with ISAP were less accurate in pitch identification when oboe tones were artificially pitch-shifted. The use of timbral idiosyncrasies thus may constitute a widespread mechanism of ISAP. Motor interference, conversely, did not significantly reduce accuracy. This study offers the first evidence of ISAP among highly trained musicians and that reliance on subtle timbral (or intonational) idiosyncrasies may constitute an underlying mechanism of this ability in expert oboists. This provides a path forward for future studies extending the scientific understanding of ISAP to other instrument types, expertise levels, and musical contexts. More generally, this may deepen knowledge of specialized expertise, representing a range of implicit abilities that are not addressed directly in training, but which may develop through practice of a related skill set.

Enhanced sensitivity to pitch perception and its possible relation to language acquisition in autism.

Fascinations for or aversions to particular sounds are a familiar feature of autism, as is an ability to reproduce another person's utterances, precisely copying the other person's prosody as well as their words. Such observations seem to indicate not only that autistic people can pay close attention to what they hear, but also that they have the ability to perceive the finer details of auditory stimuli. This is consistent with the previously reported consensus that absolute pitch is more common in autistic individuals than in neurotypicals. We take this to suggest that autistic people have perception that allows them to pay attention to fine details. It is important to establish whether or not this is so as autism is often presented as a deficit rather than a difference. We therefore undertook a narrative literature review of studies of auditory perception, in autistic and nonautistic individuals, focussing on any differences in processing linguistic and nonlinguistic sounds. We find persuasive evidence that nonlinguistic auditory perception in autistic children differs from that of nonautistic children. This is supported by the additional finding of a higher prevalence of absolute pitch and enhanced pitch discriminating abilities in autistic children compared to neurotypical children. Such abilities appear to stem from atypical perception, which is biased toward local-level information necessary for processing pitch and other prosodic features. Enhanced pitch discriminating abilities tend to be found in autistic individuals with a history of language delay, suggesting possible reciprocity. Research on various aspects of language development in autism also supports the hypothesis that atypical pitch perception may be accountable for observed differences in language development in autism. The results of our review of previously published studies are consistent with the hypothesis that auditory perception, and particularly pitch perception, in autism are different from the norm but not always impaired. Detail-oriented pitch perception may be an advantage given the right environment. We speculate that unusually heightened sensitivity to pitch differences may be at the cost of the normal development of the perception of the sounds that contribute most to early language development. The acquisition of speech and language may be a process that normally involves an enhanced perception of speech sounds at the expense of the processing of nonlinguistic sounds, but autistic children may not give speech sounds this same priority.

The effect of musical training and language background on vocal imitation of pitch in speech and song.

Vocal imitation plays a critical function in the development and use of both language and music. Previous studies have reported more accurate imitation for sung pitch than spoken pitch, which might be attributed to the structural differences in acoustic signals and/or the distinct mental representations of pitch patterns across speech and music. The current study investigates the interaction between bottom-up (i.e., acoustic structure) and top-down (i.e., participants' language and musical background) factors on pitch imitation by comparing speech and song imitation accuracy across four groups: English and Mandarin speakers with or without musical training. Participants imitated pitch sequences that were characteristic of either song or speech, derived from pitch patterns in English and Mandarin spoken sentences. Overall, song imitation was more accurate than speech imitation, and this advantage was larger for English than Mandarin pitch sequences, regardless of participants' musical and language experiences. This effect likely reflects the perceptual salience of linguistic tones in Mandarin relative to English speech. Music and language knowledge were associated with optimal imitation of different acoustic features. Musicians were more accurate in matching absolute pitch across syllables and musical notes compared to nonmusicians. By contrast, Mandarin speakers were more accurate at imitating fine-grained changes within and across pitch events compared to English speakers. These results suggest that different top-down factors (i.e., language and musical background) influence pitch imitation ability for different dimensions of bottom-up features (i.e., absolute pitch and relative pitch patterns). (PsycInfo Database Record (c) 2023 APA, all rights reserved).

Symphonies and Cultural Cognition in Perfect Pitch

Symphonies and Cultural Cognition in Perfect Pitch

Deviants violating higher-order auditory regularities can become predictive and facilitate behaviour.

The human auditory system is believed to represent regularities inherent in auditory information in internal models. Sounds not matching the standard regularity (deviants) elicit prediction error, alerting the system to information not explainable within currently active models. Here, we examine the widely neglected characteristic of deviants bearing predictive information themselves. In a modified version of the oddball paradigm, using higher-order regularities, we set up different expectations regarding the sound following a deviant. Higher-order regularities were defined by the relation of pitch within tone pairs (rather than absolute pitch of individual tones). In a deviant detection task participants listened to oddball sequences including two deviant types following diametrically opposed rules: one occurred mostly in succession (high repetition probability) and the other mostly in isolation (low repetition probability). Participants in Experiment 1 were not informed (naïve), whereas in Experiment 2 they were made aware of the repetition rules. Response times significantly decreased from first to second deviant when repetition probability was high-albeit more in the presence of explicit rule knowledge. There was no evidence of a facilitation effect when repetition probability was low. Significantly more false alarms occurred in response to standards following high compared with low repetition probability deviants, but only in participants aware of the repetition rules. These findings provide evidence that not only deviants violating lower- but also higher-order regularities can inform predictions about auditory events. More generally, they confirm the utility of this new paradigm to gather further insights into the predictive properties of the human brain.

Absolute pitch judgments of familiar melodies generalize across timbre and octave.

Most listeners can determine when a familiar recording of music has been shifted in musical key by as little as one semitone (e.g., from B to C major). These findings appear to suggest that absolute pitch memory is widespread in the general population. However, the use of familiar recordings makes it unclear whether these findings genuinely reflect absolute melody-key associations for at least two reasons. First, listeners may be able to use spectral cues from the familiar instrumentation of the recordings to determine when a familiar recording has been shifted in pitch. Second, listeners may be able to rely solely on pitch height cues (e.g., relying on a feeling that an incorrect recording sounds "too high" or "too low"). Neither of these strategies would require an understanding of pitch chroma or musical key. The present experiments thus assessed whether listeners could make accurate absolute melody-key judgments when listening to novel versions of these melodies, differing from the iconic recording in timbre (Experiment 1) or timbre and octave (Experiment 2). Listeners in both experiments were able to select the correct-key version of the familiar melody at rates that were well above chance. These results fit within a growing body of research supporting the idea that most listeners, regardless of formal musical training, have robust representations of absolute pitch - based on pitch chroma - that generalize to novel listening situations. Implications for theories of auditory pitch memory are discussed.

The use of a thin guide-wire for urethral definition in prostate SBRT treatments with Cyberknife.

To study and analyze the effect of the use of a thin guide-wire instead of a Foley catheter for urethral definition in prostate stereotactic body radiation therapy (SBRT) treatments and to compare treatment parameters in both situations. Thirty-seven prostate SBRT patients were employed in this study. A Foley catheter was employed in nine of them, and a guide-wire was employed in the other 28 patients. For each of the 28 patients in which the guide-wire was employed, a comparison between urethral positions in both situations was performed, allowing for a margin definition of the urethra when a Foley catheter was employed. Displacements of the prostate during treatment were obtained, allowing for an analysis of prostate positions in both situations. Also, different treatment parameters such as the number of treatment interruptions, couch movements performed, and x-rays needed were gathered. Large differences between urethral positions can be found in the anterior-posterior (AP) directions compared to those in the lateral (LAT) direction. Differences are also larger in areas closer to the base of the prostate, where margins applied in the case of using a Foley catheter are 16mm with a mean displacement of 6mm in the posterior direction. No differences in the treatment parameters were found during treatment in both situations. The difference found in absolute prostate pitch rotations suggests that the Foley catheter provokes a shift of the prostate position, which does not occur when employing the guide-wire. Foley catheters shift the urethral position, making them a wrong surrogate of the urethra when no catheters are present. The margins needed to assess uncertainties introduced by the use of a Foley catheter are larger than those usually applied. The use of a Foley catheter did not present any additional difficulty during treatment delivery in terms of images employed or interruptions produced.

Mobilizing Citizens' Ears: Aural Training as Civil Defense, 1941-45.

In the mid-twentieth century, the Japanese state trained its citizens to identify the sound of a falling bomb. This article explores the little-studied impact of audio-based military technology on wider society, beyond the military sector and beyond Western contexts. In 1941, Japan's elementary schools-renamed National People's Schools-provided new musical training in perfect pitch to strengthen Japan's national defense efforts in wartime. "Explosive sound training" taught children to identify recorded explosive sounds of enemy aircraft, though ultimately such training could not mitigate widespread destruction. This article argues that the recent discussion of "the story of acoustic defense" can benefit from a much broader historiographical framework, one focused not just on the military frame. In the Japanese case, the story was shaped through the active interactions between the military, society, and educational institutions. A multidisciplinary analytical perspective provides a more critical and nuanced understanding of how modern sound-politics overlapped with exercising wartime power.

Key-Specific Structure in Mozart's Music: A Peek into his Creative Process?

Theories of tonal music take for granted that all keys of the same mode (i.e., all major and all minor keys) are employed by composers in essentially the same way; however, newer analytical and cognitive research challenges this view by pointing to aspects of transpositional nonequivalence among the keys. The present study offers possibly the first systematic, data-driven investigation of correlations between the choice of absolute key and structure across a composer's body of works. By performing an extensive corpus-based analysis of music by Wolfgang Amadé Mozart (1756–91), we derive 55 prototypes, subsuming phenomena from three independent domains: dynamic-rhetoric gestures that launch orchestral works, digressions to the parallel minor in sonata-allegro movements, and the occurrences of a particular six-note motive across Mozart's complete oeuvre. Ten prototypes display a significant association with a specific key after correction for multiple comparisons, amounting to a statistically significant total. Investigation of key-related musical structure offers fresh insight into Mozart's compositional decisions and the relation between schemata and their instantiations in his works, at the same time suggesting a revised perspective on traditional key characteristics. Mozart's perfect pitch offers one possible explanation for the role of key-related structure in his works; however, we also contemplate other possible explanations.

Al-ʿūd, pípá, Lute: An Ancient Greek Perspective on Their Prehistory

Abstract Starting from early Arabic sources, the absolute pitch of the Early Abbasid ʿūd is considered and related to evidence on pitch usage in Roman-period sources. Similar instruments, it is argued, must have existed already in late antiquity. Iconographic evidence takes us back to late Classical Greece, whose music would have provided especially fertile ground for designing such a lute. In contrast to the traditional tuning in fifths and fourths throughout, lutes with equidistant design had also existed for a long time, likely also on precursors of the ʿūd. The association of this style with the name of Manṣūr Zalzal must therefore be reassessed.

Absolute pitch: A literature review of underlying factors, with special regard to music pedagogy.

Absolute pitch: A literature review of underlying factors, with special regard to music pedagogy.

Temporal hierarchy of cortical responses reflects core-belt-parabelt organization of auditory cortex in musicians.

Human auditory cortex (AC) organization resembles the core-belt-parabelt organization in nonhuman primates. Previous studies assessed mostly spatial characteristics; however, temporal aspects were little considered so far. We employed co-registration of functional magnetic resonance imaging (fMRI) and magnetoencephalography (MEG) in musicians with and without absolute pitch (AP) to achieve spatial and temporal segregation of human auditory responses. First, individual fMRI activations induced by complex harmonic tones were consistently identified in four distinct regions-of-interest within AC, namely in medial Heschl's gyrus (HG), lateral HG, anterior superior temporal gyrus (STG), and planum temporale (PT). Second, we analyzed the temporal dynamics of individual MEG responses at the location of corresponding fMRI activations. In the AP group, the auditory evoked P2 onset occurred ~25ms earlier in the right as compared with the left PT and ~15ms earlier in the right as compared with the left anterior STG. This effect was consistent at the individual level and correlated with AP proficiency. Based on the combined application of MEG and fMRI measurements, we were able for the first time to demonstrate a characteristic temporal hierarchy ("chronotopy") of human auditory regions in relation to specific auditory abilities, reflecting the prediction for serial processing from nonhuman studies.

Absolute pitch: neurophysiological evidence for early brain activity in prefrontal cortex.

Absolute pitch (AP) is the ability to rapidly label pitch without an external reference. The speed of AP labeling may be related to faster sensory processing. We compared time needed for auditory processing in AP musicians, non-AP musicians, and nonmusicians (NM) using high-density electroencephalographic recording. Participants responded to pure tones and sung voice. Stimuli evoked a negative deflection peaking at ~100ms (N1) post-stimulus onset, followed by a positive deflection peaking at ~200ms (P2). N1 latency was shortest in AP, intermediate in non-AP musicians, and longest in NM. Source analyses showed decreased auditory cortex and increased frontal cortex contributions to N1 for complex tones compared with pure tones. Compared with NM, AP musicians had weaker source currents in left auditory cortex but stronger currents in left inferior frontal gyrus (IFG) during N1, and stronger currents in left IFG during P2. Compared with non-AP musicians, AP musicians exhibited stronger source currents in right insula and left IFG during N1, and stronger currents in left IFG during P2. Non-AP musicians had stronger N1 currents in right auditory cortex than nonmusicians. Currents in left IFG and left auditory cortex were correlated to response times exclusively in AP. Findings suggest a left frontotemporal network supports rapid pitch labeling in AP.

Generalizing across tonal context, timbre, and octave in rapid absolute pitch training.

Absolute pitch (AP) is the rare ability to name any musical note without the use of a reference note. Given that genuine AP representations are based on the identification of isolated notes by their tone chroma, they are considered to be invariant to (1) surrounding tonal context, (2) changes in instrumental timbre, and (3) changes in octave register. However, there is considerable variability in the literature in terms of how AP is trained and tested along these dimensions, making recent claims about AP learning difficult to assess. Here, we examined the effect of tonal context on participant success with a single-note identification training paradigm, including how learning generalized to an untested instrument and octave. We found that participants were able to rapidly learn to distinguish C from other notes, with and without feedback and regardless of the tonal context in which C was presented. Participants were also able to partly generalize this skill to an untrained instrument. However, participants displayed the weakest generalization in recognizing C in a higher octave. The results indicate that participants were likely attending to pitch height in addition to pitch chroma - a conjecture that was supported by analyzing the pattern of response errors. These findings highlight the complex nature of note representation in AP, which requires note identification across contexts, going beyond the simple storage of a note fundamental. The importance of standardizing testing that spans both timbre and octave in assessing AP and further implications on past literature and future work are discussed.

Uncovering How Musicians Develop Perfect Pitch: A Literature Review

Introduction: Absolute pitch (AP), or more commonly known as “perfect pitch”, is the rare ability to label pitches without needing a reference note. While its mechanisms are still unknown, there are many different theories regarding how and why some individuals develop AP, while others do not. Some argue that the ability is genetically inherited, while others argue that AP is a skill preferentially learned at a young age, with links to musical training and tonal language learning. This review investigates the possible factors that lead to AP development, as well as possible neurobiological underpinnings of the ability. Methods: A literature search was conducted using scientific databases to reveal studies examining the impact of genetic, learning, musical training, language, and neuroimaging on AP development. Empirical studies written in English were examined for this review, with emphasis on how AP is differentially reflected in developmental and neuroimaging perspectives. Results: Genetics, learning, musical training, and language all play a role in AP development, with some having a greater impact than others. Young children are easily taught absolute pitch using training programs, while it is much more difficult in adults. Furthermore, the apparent critical period for AP development closely resembles the time frame of the critical period of language acquisition. The phenomenon of AP is apparent through localized brain function, which differs from non-AP individuals. Discussion: Genetic, musical training, and language all play an interconnected role in the development of AP. However, neuroimaging research is vastly separate, not integrating findings from other areas. Overall, looking at the various factors combined allows for a more complete understanding of AP. Conclusion: Currently, there is a lack of research linking genetic and environmental influences on AP development with specific brain structure and function, which future neuroimaging research should seek to do. Understanding AP development benefits musicians and furthers an understanding of human perception of the auditory environment.