Identification Of Pitch Research Articles

Perception of Specific Musical Attributes in Dependence of the Insertion Depth of Cochlear Implant Electrodes Using the Montreal Battery of Evaluation of Amusia.

The insertion angle of the electrode array has an influence on the perception of different musical features. A deeper insertion of the electrodes is associated with a greater coverage of the cochlea with possible stimulus locations. This could lead to an improved or extended perception of pitches and pitch changes as well as to a better perception of contours in musical pieces. A Montreal Battery of Evaluation of Amusia test battery was conducted with a collective of 19 cochlear implant (CI) users and 9 normal-hearing subjects. For the CI users, the insertion angles of the intracochlear electrode arrays were calculated using Otoplan software. Compared with normal-hearing users, CI users performed worse in the detection of melodic features of music. CI users performed better with temporal features than with melodic features. An influence of the insertion depth of the electrodes on the results of the Montreal Battery of Evaluation of Amusia could be proven neither for Cochlear nor for MED-EL CI users. Deeper insertion of electrode arrays may only better approximate the spatial-frequency map. Alone, it does not have an effect on better detection and identification of pitch and tonality and, consequently, better perception of musical attributes. Anatomy-based calculation of electrode locations and matching to characteristic frequencies will be sought in subsequent studies.

Low tone bias during perception of period doubling

Period-doubled voice consists of two alternating periods with multiple frequencies and is often perceived as rough with an indeterminate pitch. Past pitch-matching studies in period-doubled voice found that the perceived pitch was lower as the degree of amplitude and frequency modulation between the two alternating periods increased. The perceptual outcome also differed across f0s and modulation types: a lower f0 prompted earlier identification of a lower pitch, and the matched pitch dropped more quickly in frequency- than amplitude-modulated tokens (Sun & Xu, 2002; Bergan & Titze, 2001). However, it is unclear how listeners perceive period doubling when identifying linguistic tones. In an artificial language learning paradigm, this study used resynthesized stimuli with alternating amplitudes and/or frequencies of varying degrees, based on a production study of period-doubled voice (Huang, 2022). Listeners were native speakers of English and Mandarin. We confirm the positive relationship between the modulation degree and the proportion of low tones heard, and find that frequency modulation biased listeners to choose more low-tone options than amplitude modulation. However, a higher f0 (300 Hz) leads to a low-tone percept in more amplitude-modulated tokens than a lower f0 (200 Hz). Both English and Mandarin listeners behaved similarly, suggesting that pitch perception during period doubling is not language-specific. Furthermore, period doubling is predicted to signal low tones in languages, even when the f0 is high.

Overview and tutorial on the identification and tracking of pitch and frequency

Many diverse areas of acoustics leverage the identification and tracking of frequency over time. Pitch tracking plays an important role in music information retrieval and performance analysis. Frequency contours are also important features in speech processing and bioacoustics applications, and the identification of frequency content in a signal is widely used. From a signal processing perspective, these applications vary drastically with respect to signal duration and frequency, desired resolutions, and amount of signal interference. In some cases, a single pitch is used to characterize a multicomponent sound, while other applications demand independent tracking of individual components. As such, a wide variety of algorithms exist in both the time and frequency domains. This presentation provides a general overview of commonly used methods and available implementations for tracking pitch and/or frequency. Potential sources of error will be emphasized, focusing on the considerations relevant to selecting and optimizing an algorithm for a given application.

Pitch Transcription of Solo Instrument Tones Using the Autocorrelation Method

Pitch transcription is basically identifying and copying pitch on an audio or music. In this case, the pitch of a solo instrument music is processed to find the composition of the music tones, the method used is autocorrelation. After processing, the system will produce pitch transcription results from the audio that has been processed. this research done digitalization of an old method of identifying pitches into an application that is able to transcribe pitches in an audio. This Pitch Transcription application was created using the Python programming language with Librosa library as a library for audio processing. The purpose of making this system is to facilitate the identification of pitch from a solo instrument music. This Application Feature itself besides being able to show the results of pitch transcription can also display the Onset Graph, Signal Graph play the results of the synthesis transcribed audio sounds. Testing in this study uses audio sourced from 4 single instruments, there are flute, piano, violin and acoustic guitar. The test results show that the implementation of the autocorrelation method in the solo instrument tone transcription application has an accuracy of 92.85%.

Hydrodynamic coefficients identification of pitch and heave using multi-objective evolutionary algorithm

The parameters of ship heave and pitch motions obtained by system identification is a popular approach in recent years. However, the single-objective optimization algorithm can only get one group of parameters, and these parameters are usually fail to achieve the optimal state of the heave and pitch motions simultaneously. To address this situation, we develop a multi-objective strategy to identify the parameters of pitch and heave coupled motions. We discuss the mathematical models for heave and pitch coupled motions and the unknown parameters in these equations are then identified using NSGA II, MOEA/D and MOPSO approaches. Firstly, the forming filters are modeled for the wave disturb and the wave force of heave and moment of pitch are simulated, and then the multi-objective functions and constrained conditions are designed and a decision maker are used to help the customer to select the proper parameters. At last, simulation result shows that the decision maker can choose the appropriate hydrodynamic parameter according to their prefer. The heave and pitch motions are agreement with the test data from the pool experiment under sea state 5, but the fitting accuracy of the sea state 3 needs to be further improved.

Perceptual tonal spaces in whispered speech

Whispered speech is made when no vocal fold vibration occurs. However, pitch from whispers can still be perceived for some listeners because it corresponds to the change in F1 and F2. Listeners rely on the laryngeal movements, which not only associate with pitch change but also result in the change of the tongue position as well as the shape of the oral cavity. This study examines the acoustical-perceptual relationships in the identification of pitch during whispered tone production. Listeners (English and Taiwanese) rate the similarity of fifty AX tonal pairs (Taiwanese [ka℧] and [ɕ] in modal voice vs. whispered voice). Multidimensional scaling (MDS) analysis is used to map English listeners’ and Taiwanese listeners’ perceptual tonal spaces regarding modal speech and whispered speech stimuli. The correlations between the similarity ratings, the reciprocal of their reaction time, and the selected acoustic measures are examined.

On the Identification of Coupled Pitch and Heave Motions Using Opposition-Based Particle Swarm Optimization

A mathematical model must be established to study the motions of ships in order to control them effectively. An assessment of the model depends on the accuracy of hydrodynamic parameters. An algorithm for the parameter identification of the coupled pitch and heave motions in ships is, thus, put forward in this paper. The algorithm proposed is based on particle swarm optimization (PSO) and the opposition-based learning theory known as opposition-based particle swarm optimization (OPSO). A definition of the opposition-based learning algorithm is given first of all, with ideas on how to improve this algorithm and its process being presented next. Secondly, the design of the parameter identification algorithm is put forward, modeling the disturbing force and disturbing moment of the identification system and the output parameters of the identification system. Then, the problem involving the hydrodynamic parameters of motions is identified and the coupled pitch and heave motions of a ship described as an optimization problem with constraints. Finally, the numerical simulations of different sea conditions with unknown parameters are carried out using the PSO and OPSO algorithms. The simulation results show that the OPSO algorithm is relatively stable in terms of the hydrodynamic parameters identification of the coupled pitch and heave motions.

Exploring the impact of congenital visual impairment on the development of absolute pitch using a new online assessment tool: A preliminary study.

A high incidence of absolute pitch has been reported among individuals with visual impairment (VI), while recent behavioral and imaging evidence has indicated that enhanced abilities in the auditory domain result from the cross-modal takeover of the visually deafferented occipital areas. In this study, we tested the identification of musical pitch associated with verbal labels in children with congenital VI, together with a group of fully sighted children who acted as a comparison group, using a novel online assessment tool. The results indicated superior naming of musical pitch in the group with VI compared with the control group. Moreover, a bimodal distribution was found in the VI group in terms of the number of accurate pitch identifications. These preliminary findings suggest that enhanced pitch-naming ability in individuals with severe VI may be due to early differences in neural development brought about by loss of sight.

가변 템포를 고려한 자동 음악 채보

시간에 따라 변화하는 노래의 템포는 자동 음악 채보의 음길이 부호화에 있어 오류를 발생시키는 원인중 하나이다. 본 논문에서는 변화하는 템포를 반영하여 음길이 부호화를 수행하는 개선된 자동 음악 채보방법을 제안하였다. 제안된 방법에서는 단음 노래에서 휴지기를 이용하여 마디를 찾고, 마디의 연주시간, 즉 템포를 추정하였다. 추정된 템포는 발성된 개별 음길이를 조정하는데 활용하여 음길이 인식에 반영하였으며, 악보와의 일치도를 증가시켰다. 남성 및 여성이 단음으로 부른 16곡의 동요에 대한 실험결과 14 곡에서 정확하게 마디위치를 찾을 수 있었으며, 음길이는 약 89.4%, 음정은 약 84.8%의 원본 악보와의 일치도를 달성하였다. Time-varying tempo of a song is one of the error sources for the identification of a note duration in automatic music recognition. This paper proposes an improved music transcription scheme equipped with the identification of note duration considering the time-varying tempo. In the proposed scheme the measures are found at first and the tempo, the playing time of each measure, is then estimated. The tempo is then used for resizing each IOI(Inter Onset Interval) length and considered to identify the accurate note duration, which increases the degree of correspondence to the music piece. In the experiment the proposed scheme found the accurate measure position for 14 monophonic children songs out of 16 ones recorded by men and women. Also, it achieved about 89.4% and 84.8% of the degree of matching to the original music piece for identification of note duration and pitch, respectively.

Visual Processing of Music Notation: A Study of Event-Related Potentials

In reading music, the acquisition of pitch information depends mostly on the spatial position of notes, hence more spatial processing, whereas the acquisition of temporal information depends mostly on the visual features of notes and object recognition. This study used both electrophysiological and behavioral methods to compare the processing of pitch and duration in reading single musical notes. It was observed that in the early stage of note reading, identification of pitch could elicit greater N1 and N2 amplitude than identification of duration at the parietal lobe electrodes. In the later stages of note reading, identifying pitch elicited a greater negative slow wave at parietal electrodes than did identifying note duration. The sustained contribution of parietal processes for pitch suggests that the dorsal pathway is essential for pitch processing. However, the duration task did not elicit greater amplitude of any early ERP components than the pitch task at temporal electrodes. Accordingly, a double dissociation, suggesting involvement of the dorsal visual stream, was not observed in spatial pitch processing and ventral visual stream in processing of note durations.

Encoding pitch contours using current steering

This study investigated cochlear implant (CI) users' ability to perceive pitch cues from time-varying virtual channels (VCs) to identify pitch contours. Seven CI users were tested on apical, medial, and basal electrode pairs with stimulus durations from 100 to 1000 ms. In one stimulus set, 9 pitch contours were created by steering current between the component electrodes and the VC halfway between the electrodes. Another stimulus set only contained 3 pitch contours (flat, falling, and rising). VC discrimination was also tested on the same electrodes. The total current level of dual-electrode stimuli was linearly interpolated between those of single-electrode stimuli to minimize loudness changes. The results showed that pitch contour identification (PCI) scores were similar across electrode locations, and significantly improved at longer durations. For durations longer than 300 ms, 2 subjects had nearly perfect 9-contour identification, and 5 subjects perfectly identified the 3 basic contours. Both PCI and VC discrimination varied greatly across subjects. Cumulative d(') values for VC discrimination were significantly correlated with 100-, 200-, and 500-ms PCI scores. These results verify the feasibility of encoding pitch contours using current steering, and suggest that identification of such pitch contours strongly relies on CI users' sensitivity to VCs.

Identification and discrimination of tonal pitch in speech and nonspeech stimuli for Chinese- and English-native speakers.

Given that Chinese is a tonal language while English is not, the present study is to examine how language background affects tonal identification and discrimination in speech and nonspeech signals for Mandarin-Chinese and American-English native speakers. The fundamental frequency (f0) contour was systematically manipulated from tone 2 (rising), to tone 1 (level), and to tone 4 (falling) for three types of signals: Chinese vowels /ɑ/, English vowels /æ/, and tonal sweeps. Both groups of listeners showed categorical perception in the identification of tones 1, 2, and 4, while Chinese-native speakers showed sharper boundaries across tonal categories than English-native speakers. Just-noticeable difference (JND) in tonal pitch was also measured for the standard tone 1, tone 2, and tone 4 of the three types of signals. JND was significantly smaller in speech stimuli for Chinese-native speakers than for English-native speakers, but quite comparable between the two groups of listeners for nonspeech stimuli. There results indicate that tonal pitch may be perceived specifically in speech stimuli, and for nonspeech stimuli, the capacity to process the tonal sweeps is similar across listeners with different language backgrounds.

Molecular and isotopic characterization of organic samples from the wreck of the Saint-Etienne merchant ship (XVIIIth century): Identification of pitch, fat, hair and sulfur

The wreck U Pezzo, excavated within the Saint Florent Gulf in northern Corsica was identified as the pink, Saint Etienne, a merchant ship which sank on January 31, 1769. In order to determine the composition of organic materials used to coat the hull or to waterproof different parts of the pink, a study of several samples, using molecular biomarker and carbon isotopic analysis, was initiated. The results revealed that the remarkable yellow coat, covering the outside planks of the ship’s bottom under the water line, is composed of sulfur, tallow (of ox and not of cetacean origin) and black pitch which corresponds to a mixture called “couroi” or “stuff”. Onboard ropes had been submitted to a tarring treatment with pitch. Hairs mixed with pitch were identified in samples collected between the two layers of the hull or under the sheathing planking. The study also provides a key model for weathering of pitch, as different degrees of degradation were found between the surface and the heart of several samples. Accordingly, molecular parameters for alteration were proposed. Furthermore novel mixed esters between terpenic and diterpenic alcohols and the free major fatty acids (C 14:0, C 16:0, C 18:0) were detected in the yellow coat.

Absolute Pitch in a Four-Year-Old Boy With Autism

Absolute pitch is the ability to identify the pitch of an isolated tone. We report on a 4-year-old boy with autism and absolute pitch, one of the youngest reported in the literature. Absolute pitch is thought to be attributable to a single gene, transmitted in an autosomal-dominant fashion. The association of absolute pitch with autism raises the speculation that this talent could be linked to a genetically distinct subset of children with autism. Further, the identification of absolute pitch in even young children with autism may lead to a lifelong skill.

Temporal integration in absolute identification of musical pitch

The effect of stimulus duration on absolute identification of musical pitch was measured in a single-interval 12-alternative forced-choice task. Stimuli consisted of pure tones selected randomly on each trial from a set of 60 logarithmically spaced musical note frequencies from 65.4 to 1975.5 Hz (C2–B6). Stimulus durations were 5, 10, 25, 50, 100, and 1000 ms. Six absolute-pitch musicians identified the pitch of pure tones without feedback, reference sounds, or practice trials. Results showed that a 5 ms stimulus is sufficient for producing statistically significant above chance performance. Performance monotonically increased up to the longest duration tested (1000 ms). Higher octave stimuli produced better performance, though the rate of improvement declined with increasing octave number. Normalization by the number of waveform cycles showed that 4 cycles are sufficient for absolute-pitch identification. Restricting stimuli to a fixed-cycle waveform instead of a fixed-duration still produced monotonic improvements in performance as a function of stimulus octave, demonstrating that better performance at higher frequencies does not exclusively result from a larger number of waveform cycles. Several trends in the data were well predicted by an autocorrelation model of pitch extraction, though the model outperformed observed performance at short durations suggesting an inability to make optimal use of available periodicity information in very brief tones.

Modeling, Identification, and Analysis of Limit-Cycling Pitch and Heave Dynamics in an ROV

The topic of this paper is the modeling, parameter identification, and analysis of the heave and pitch dynamics in a remote operated vehicle (ROV). The work presented here is motivated by an unusual dynamic behavior experienced on the Gaymarine Pluto-Gigas ROV: if the depth is regulated using a proportional controller, the ROV exhibits permanent oscillations at high forward speed. The purpose of this paper is to gain insight into ROV dynamics, so as to explain the reason for the oscillations. To this end, a dynamic gray-box model is developed and its uncertain parameters are identified from real data. The analysis of such a model shows that the nonlinear dynamics of the ROV contains a limit cycle. This discovery explains the observed oscillatory behavior. An interesting aspect of this limit-cycling behavior is that it is not due (as usual) to saturation effects of the actuators, but is intrinsic in the ROV dynamics.

Acoustical-perceptual correlates of "whisper pitch" in synthetically generated vowels.

The purpose of this investigation was to clarify acoustical-perceptual relationships in identification of "pitch" during whispered vowel production. The experimenters systematically varied selected acoustic features of synthetically generated "whispered" vowels to control which formant frequencies were shifted (F1, F2, or F1&F2), the direction of formant frequency shifts (up or down), and the magnitude of formant frequency shifts (20 Hz, 40 Hz, 60 Hz). Two sets of stimuli were produced to simulate the resonance characteristics of the vowel /a/: one set for male talkers and one for female talkers. Ninety-four pairs of synthesized vowel tokens were randomly presented to 17 listeners who judged if the "pitch" of the second member of the pair was the same, higher, or lower than the "pitch" of the first member. The results showed an inverse relationship between the magnitude of formant frequency changes presented to the judges and the number of perceptual mismatches in "whisper pitch." Also, fewer mismatches in the identification of whisper pitch occurred when both F1 and F2 were changed simultaneously than when either F1 or F2 was changed individually. No differences were found between the perceptual responses to "male" and "female" vowel simulations. The primary implication of this study is that whisper pitch is more influenced by simultaneous changes in F1 and F2 than by changes in only one of the formants.

How Single or Multiple Pitch Labels Affect Young Children's Identification of Pitch

How Single or Multiple Pitch Labels Affect Young Children's Identification of Pitch

Absolute and relative pitch identification by absolute pitch possessors

The identification of absolute and relative pitch was investigated with absolute pitch (AP) possessors and nonpossessors as subjects. In an AP experiment, isolated tones of different pitches (including microtonal pitches) were presented as stimuli in random order. Subjects were requested to select and press a key corresponding to each stimulus on a musical keyboard. While the responses of non‐AP subjects were widely dispersed, the AP subjects could categorize the presented tones quite consistently. Specifically, they identified white‐key notes more correctly and rapidly than black‐key notes. In a relative pitch experiment, isolated melodic ascending intervals from the minor second to the octave were randomly presented. The lower tone of an interval was either middle C, F♯, or a 50‐cent higher D♯. Then non‐AP subjects performed more or less successfully and almost equally regardless of transposition. On the other hand, the AP subjects made more errors and gave longer response times when the lower tone of an interval was F♯ or the higher D♯ than when it was C. These results suggest that at least some AP possessors have difficulty in dealing with musical intervals and tend to rely upon their AP sense in the face of a relative pitch task.

Individual differences, type of identification response, and practice in absolute identification of pitch

Sixteen tones of the same loudness but of different frequencies (80 to 4,400 Hz) were presented 100 times each for absolute identification by 10 subjects divided into two experimental groups (Groups A and B). Group A was composed of subjects with “good” identification ability (preexperimental median transmission = 2.75 bits), and Group B, of subjects with “poor” identification ability (median = 2.29 bits). Individual and group transmission indices (Fulgosi, KnezoviĆ, & Zarevski, 1983,1984) for the second half of the present experiment were compared, and a difference in favor of the two group indices appeared in both experimental groups. Two indices of the group identification performance (the indirect based on the dominant responses, and the direct based on group decisions) were larger than the median of the individual identification performance (21% and 24% in Group A and 24% and 29% in Group B, respectively). These results show that, even for “good” identifiers of pitch, group indices carry substantially more information than individual ones. Both groups also showed a further substantial increase in the amount of transmitted information during the present experiment.