Pitch Memory Research Articles

Echoes from Sensory Entrainment in Auditory Working Memory for Pitch.

Ongoing neural oscillations reflect cycles of excitation and inhibition in local neural populations, with individual neurons being more or less likely to fire depending upon the oscillatory phase. As a result, the oscillations could determine whether or not a sound is perceived and/or whether its neural representation enters into later processing stages. While empirical support for this idea has come from sound detection studies, large gaps in knowledge still exist regarding memory for sound events. In the current study, it was investigated how sensory entrainment impacts the fidelity of working memory representations for pitch. In two separate experiments, an 8 Hz amplitude modulated (AM) entraining stimulus was presented prior to a multitone complex having an f0 between 270 and 715 Hz. This "target" sound could be presented at phases from 0 to 2π radians in relation to the previous AM. After a retention interval of 4 s (Experiment 1; n = 26) or 2 s (Experiment 2; n = 28), listeners were tasked to reproduce the target sound's pitch by moving their finger along the horizontal axis of a response pad. It was hypothesized that if entrainment modulates auditory working memory fidelity, reproductions of a target's pitch would be more accurate and precise when targets were presented in phase with the entrainment. Cosine fits of the average data for both experiments showed a significant entrainment "echo" in the accuracy of pitch matches. There was no apparent echo in the matching precision. Fitting of the individual data accuracy showed that the optimal phase was consistent across individuals, aligning near the next AM peak had the AM continued. The results show that sensory entrainment modulates auditory working memory in addition to stimulus detection, consistent with the proposal that ongoing neural oscillatory activity modulates higher-order auditory processes.

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.

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.

Auditory short-term memory for pitch loses precision over time.

The impact of retention interval duration on the fidelity of pitch memory was investigated. Listeners heard "target" pure tones, followed by a retention interval (2-8 s), then a response period in which the frequency of a novel sound was adjusted to match their memory of the target. The variability of pitch matches increased with retention interval duration. Supplemental analyses of the most accurate trials and temporal dynamics of matching suggest that decreasing precision was not due to differences in complete forgetting among intervals. Results suggest that the precision of short-term memory for pitch may continuously degrade over time.

Widespread but Limited in Context: Absolute Tuning Judgments are Disrupted by Relative Pitch Cues

Most listeners exhibit absolute pitch memory for familiar pitched sounds, ranging from simple tones (e.g., the “bleep” used to censor broadcast media) to rich, polyphonic melodies (e.g., excerpts from popular songs). Given that relative pitch is the predominant means of processing music for most listeners, this observed absolute pitch memory suggests that most listeners have hybrid representations, containing both absolute and relative pitch cues. The present experiment assesses how relative pitch cues influence absolute pitch memory in a variety of listening contexts, varying in terms of ecological validity. Participants were asked to explicitly judge different musical sounds (isolated notes, chords, scales, and short excerpts), varying in complexity, in terms of absolute tuning (i.e., whether a musical sound adhered to conventional, A440 tuning). Listeners showed robust above-chance performance in judging absolute tuning when the to-be-judged sounds did not contain relative pitch changes (i.e., isolated notes and chords), replicating prior work. Critically, however, performance was significantly reduced and was not statistically different from chance when the musical sounds contained relative pitch changes (scales and short excerpts). Taken together, the results suggest that most listeners possess some long-term memory for absolute tuning, but this ability has limited generalizability to more ecologically valid musical contexts that contain relative pitch changes.

Tonal structures benefit short-term memory for real music: Evidence from non-musicians and individuals with congenital amusia

Congenital amusia is a neurodevelopmental disorder of music processing, which includes impaired pitch memory, associated to abnormalities in the right fronto-temporal network. Previous research has shown that tonal structures (as defined by the Western musical system) improve short-term memory performance for short tone sequences (in comparison to atonal versions) in non-musician listeners, but the tonal structures only benefited response times in amusic individuals. We here tested the potential benefit of tonal structures for short-term memory with more complex musical material. Congenital amusics and their matched non-musician controls were required to indicate whether two excerpts were the same or different. Results confirmed impaired performance of amusic individuals in this short-term memory task. However, most importantly, both groups of participants showed better memory performance for tonal material than for atonal material. These results revealed that even amusics’ impaired short-term memory for pitch shows classical characteristics of short-term memory, that is the mnemonic benefit of structure in the to-be-memorized material. The findings show that amusic individuals have acquired some implicit knowledge of regularities of their culture, allowing for implicit processing of tonal structures, which benefits to memory even for complex material.

Music Assessment Techniques for Evaluating the Students’ Musical Learning and Performance in the Philippine K-12 Basic Education Curriculum

The primary objective of this study is to review and characterize research-based music assessments that might be used to guide and assist teachers and students in transforming their attitudes and perceptions, ability to express their ideas and concepts during the assessment process openly. This study employed descriptive and autoethnographic methods to elicit information about current conditions and practices through the library approach and literature review. The identified music assessment techniques were used to determine how well students comprehend important points in a session. It includes the Music Concept Memory Exercise and Instrumental and Vocal Schematic Processing for music lesson instructions and the Five-Letter Name Pitch Memory Test and Three-Chord Familiarization Assessment for basic instrumental music instructions. They are used as a core component deliberately designed to expose classroom teachers and prospective teachers to the essentials for effective instructional practices. Effective evaluation ensures that learners’ knowledge, understanding, and skills are transferred effectively in future contexts.

Modulating short-term auditory memory with focal transcranial direct current stimulation applied to the supramarginal gyrus.

Previous studies have shown that transcranial direct current stimulation (tDCS) can affect performance by decreasing regional excitability in a brain region that contributes to the task of interest. To our knowledge, no research to date has found both enhancing and diminishing effects on performance, depending upon which polarity of the current is applied. The supramarginal gyrus (SMG) is an ideal brain region for testing tDCS effects because it is easy to identify using the 10-20 electroencephalography coordinate system, and results of neuroimaging studies have implicated the left SMG in short-term memory for phonological and nonphonological sounds. In the present study, we found that applying tDCS to the left SMG affected pitch memory in a manner that depended upon the polarity of stimulation: cathodal tDCS had a negative impact on performance whereas anodal tDCS had a positive impact. These effects were significantly different from sham stimulation, which did not influence performance; they were also specific to the left hemisphere - no effect was found when applying cathodal stimulation to the right SMG - and were unique to pitch memory as opposed to memory for visual shapes. Our results provide further evidence that the left SMG is a nodal point for short-term auditory storage and demonstrate the potential of tDCS to influence cognitive performance and to causally examine hypotheses derived from neuroimaging studies.

Decoding Concurrent Representations of Pitch and Location in Auditory Working Memory.

Multivariate analyses of hemodynamic signals serve to identify the storage of specific stimulus contents in working memory (WM). Representations of visual stimuli have been demonstrated both in sensory regions and in higher cortical areas. While previous research has typically focused on the WM maintenance of a single content feature, it remains unclear whether two separate features of a single object can be decoded concurrently. Also, much less evidence exists for representations of auditory compared with visual stimulus features. To address these issues, human participants had to memorize both pitch and perceived location of one of two sample sounds. After a delay phase, they were asked to reproduce either pitch or location. At recall, both features showed comparable levels of discriminability. Region of interest (ROI)-based decoding of functional magnetic resonance imaging (fMRI) data during the delay phase revealed feature-selective activity for both pitch and location of a memorized sound in auditory cortex and superior parietal lobule. The latter region showed higher decoding accuracy for location than pitch. In addition, location could be decoded from angular and supramarginal gyrus and both superior and inferior frontal gyrus. The latter region also showed a trend for decoding of pitch. We found no region exclusively coding pitch memory information. In summary, the present study yielded evidence for concurrent representations of pitch and location of a single object both in sensory cortex and in hierarchically higher regions, pointing toward representation formats that enable feature integration within the same anatomic brain regions.SIGNIFICANCE STATEMENT Decoding of hemodynamic signals serves to identify brain regions involved in the storage of stimulus-specific information in working memory (WM). While to-be-remembered information typically consists of several features, most previous investigations have focused on the maintenance of one memorized feature belonging to one visual object. The present study assessed the concurrent storage of two features of the same object in auditory WM. We found that both pitch and location of memorized sounds were decodable both in early sensory areas, in higher-level superior parietal cortex and, to a lesser extent, in inferior frontal cortex. While auditory cortex is known to process different features in parallel, their concurrent representation in parietal regions may support the integration of object features in WM.

Absolute pitch is disrupted by a memory illusion.

An experiment is reported, showing that short-term memory for pitch in absolute pitch (AP) possessors, while substantially more accurate than in AP nonpossessors, is also subject to illusory conjunctions of pitch and time and so can be distorted or enhanced by a single tone embedded in a sequence of six other tones. Both AP possessors and AP nonpossessors performed a short-term memory task. A test tone was presented, then a sequence of six intervening tones, and then a probe tone. The test and probe tones either were identical in pitch or differed by a semitone. The AP nonpossessors judged whether the test and probe tones were the same or different, and the AP possessors identified the test and probe tones by name. In some conditions, a tone of identical pitch to the probe tone or an octave removed from this tone was included in the intervening sequence. In both the AP possessors and AP nonpossessors, this illusion-producing tone increased judgments that the test and probe tones were identical. These results accord with a model of the system underlying short-term memory for pitch proposed earlier and show that this system is bidimensional in nature, involving both pitch height and pitch class.

Impaired face recognition is associated with abnormal gray matter volume in the posterior cingulate cortex in congenital amusia

Congenital amusia is as a neurodevelopment disorder primarily defined by impairment in pitch discrimination and pitch memory. Interestingly, it has been reported that individuals with congenital amusia also exhibit deficits in face recognition (prosopagnosia). One explanation of such comorbidity is that the neural substrates of pitch recognition and face recognition may be similar. To test this hypothesis, face recognition ability was assessed using the Cambridge Face Memory Test (CFMT) and gray matter volume was determined through voxel-based morphometry (VBM) among participants with and without congenital amusia. As expected, participants with amusia performed worse on the CFMT test and showed reduced gray matter volume (GMV) in the middle temporal gyrus (MTG), the superior temporal gyrus (STG), and the posterior cingulate cortex (PCC) in the right hemisphere, when compared with matched controls. Furthermore, correlation analyses demonstrated that the CFMT score was positively related to MTG, STG, and PCC GMV in all participants, while separate analyses of each group found a positive correlation of CFMT score and PCC GMV in amusics. These findings suggest that face recognition is associated with a widely distributed microstructural network in the human brain and the PCC plays an important role in both pitch recognition and face recognition in amusics. In addition, neurodevelopmental disorders such as congenital amusia and prosopagnosia may share a common neural substrate.

Gradual decay and sudden death of short-term memory for pitch.

The ability to discriminate frequency differences between pure tones declines as the duration of the interstimulus interval (ISI) increases. The conventional explanation for this finding is that pitch representations gradually decay from auditory short-term memory. Gradual decay means that internal noise increases with increasing ISI duration. Another possibility is that pitch representations experience "sudden death," disappearing without a trace from memory. Sudden death means that listeners guess (respond at random) more often when the ISIs are longer. Since internal noise and guessing probabilities influence the shape of psychometric functions in different ways, they can be estimated simultaneously. Eleven amateur musicians performed a two-interval, two-alternative forced-choice frequency-discrimination task. The frequencies of the first tones were roved, and frequency differences and ISI durations were manipulated across trials. Data were analyzed using Bayesian models that simultaneously estimated internal noise and guessing probabilities. On average across listeners, internal noise increased monotonically as a function of increasing ISI duration, suggesting that gradual decay occurred. The guessing rate decreased with an increasing ISI duration between 0.5 and 2 s but then increased with further increases in ISI duration, suggesting that sudden death occurred but perhaps only at longer ISIs. Results are problematic for decay-only models of discrimination and contrast with those from a study on visual short-term memory, which found that over similar durations, visual representations experienced little gradual decay yet substantial sudden death.

The Effect of Research-based Music Classroom Assessment Techniques on the Students' Performance in Flute Recorder Education

This action research study utilized a quasi-experimental design to examine the effect of research-based music classroom assessment techniques on the students' performance in flute recorder education of one group using the pre-test and post-test design. The study used a purposive sampling of 30 eighth grade junior high school students from the eight sections of Espiritu Santo Parochial School of Manila, Inc. The participants were introduced to three research-based music classroom assessment techniques as an academic intervention in their flute recorder music learning such as Instrumental Schematic Processing, Music Concept Memory Exercise, and Five-Letter Name Pitch Memory Test. The results of pre-evaluation and post-evaluation were compared to determine its effect. The results showed that the students had a low performance in the pre-test and there was an increase in the post-test after its utilization with a mean score of 23.00 and a standard deviation of 2.83. The t-value of 12.717 significant at p < .01 has a significant difference in the performance of the students in flute recorder education. The computed value of normalized gain was 0.469 inferred to a moderate gain on the students' scores. The research-based music classroom assessment techniques as an academic intervention showed positive implications on the students' music learning and performance in flute recorder education. It could also be used as part of an integral domain in assessment and evaluation of learning intended to introduce the classroom teacher and prospective teacher to those elements of measurement and assessment essentials for effective teaching.

Short- and long-term memory for pitch and non-pitch contours: Insights from congenital amusia

Congenital amusia is a neurodevelopmental disorder characterized by deficits in music perception, including discriminating and remembering melodies and melodic contours. As non-amusic listeners can perceive contours in dimensions other than pitch, such as loudness and brightness, our present study investigated whether amusics’ pitch contour deficits also extend to these other auditory dimensions. Amusic and control participants performed an identification task for ten familiar melodies and a short-term memory task requiring the discrimination of changes in the contour of novel four-tone melodies. For both tasks, melodic contour was defined by pitch, brightness, or loudness. Amusic participants showed some ability to extract contours in all three dimensions. For familiar melodies, amusic participants showed impairment in all conditions, perhaps reflecting the fact that the long-term memory representations of the familiar melodies were defined in pitch. In the contour discrimination task with novel melodies, amusic participants exhibited less impairment for loudness-based melodies than for pitch- or brightness-based melodies, suggesting some specificity of the deficit for spectral changes, if not for pitch alone. The results suggest pitch and brightness may not be processed by the same mechanisms as loudness, and that short-term memory for loudness contours may be spared to some degree in congenital amusia.

Large-eddy simulation of temporally developing double helical vortices

This paper investigates the transient regime and turbulent wake characteristics of temporally developing double helical vortices via high-fidelity large-eddy simulation (LES) for circulation Reynolds numbers in the range $Re_{\unicode[STIX]{x1D6E4}}=7000{-}70\,000$, vortex-core radii between $r_{c}=0.06R$ and $0.2R$ and helical pitches in the range $h=0.36R{-}0.61R$, where $R$ is the initial helix radius. The present study achieves three objectives: (i) assess the influence of $Re_{\unicode[STIX]{x1D6E4}}$, $r_{c}$ and $h$ on the growth rates of the helical vortex instability driven by mutual inductance; (ii) characterize the type of vortex reconnection events that appear during transition; (iii) study the characteristics of turbulence in the far wake, and in particular quantify the anisotropy in the flow. The initial transient dynamics is conveniently described in terms of the non-dimensional time $t^{\star }=t\unicode[STIX]{x1D6E4}/h^{2}$, yielding the dimensionless growth rate of $\unicode[STIX]{x1D6FC}^{\ast }\sim 20$ and collapsing of all the LES data for a given $r_{c}/h$ ratio. The vortex-core displacement growth rate is found to be Reynolds-number independent, and decreases for larger $r_{c}/h$ ratios. Several vortex reconnection events are identified during the transition, mostly initiated by the leap frogging of helical vortices. This phenomenon causes the entanglement of orthogonal vortex filaments, leading to their separation, followed by the creation of elongated threads in the axial direction. The turbulent wake generated by the breakdown of the helical vortices is found to be highly anisotropic with the axial fluctuations being dominant compared to the radial and azimuthal fluctuations (near one-dimensional turbulence). The study of integral length scales shows the presence of a strong large-scale anisotropy, retaining the memory of the initial helical pitch $h$, in particular for the integral scale in the axial direction. The large-scale anisotropy is propagated through the inertial and dissipative ranges, determined from the computation of the moments of velocity gradients in the three directions.

Effectiveness of Classroom Assessment Techniques in Improving Performance of Students in Music and Piano

The primary objective of this study is to determine the effectiveness of classroom assessment techniques in improving the performance of students in Music. This study used an experimental design (paired t-test) to determine the effectiveness of classroom assessment techniques in teaching Music by using purposive sampling of thirty Grade 10 students from the eight sections of Espiritu Santo Parochial School for the school year 2018-2019. The results of pre-evaluation and post-evaluation were compared to determine the effect of classroom assessment techniques on the performance of the students in Music. The results revealed that the students had a low performance in the pre-evaluation and there was an increase in the students’ performance in the post-evaluation after its implementation with a mean score of 20.77 and a standard deviation of 3.32. The value of t is 6.680 which is significant at p < .01. The result showed that there is a significant difference in the performance of students in music learning in the implementation of classroom assessment techniques. The obtained value of normalized gain (gain of average) was 0.262 inferred to a moderate gain in scores of the students in music learning. The following are the classroom assessment techniques developed and implemented by the researcher (in a large class of 35 to 40 students per class): (1) Music Concept Memory Exercise, (2) Instrumental and Vocal Schematic Processing, (3) Five-Letter Name Pitch Memory Test, and (4) Three-Chord Familiarization Assessment.

Specialized neural dynamics for verbal and tonal memory: fMRI evidence in congenital amusia.

Behavioral and neuropsychological studies have suggested that tonal and verbal short-term memory are supported by specialized neural networks. To date however, neuroimaging investigations have failed to confirm this hypothesis. In this study, we investigated the hypothesis of distinct neural resources for tonal and verbal memory by comparing typical nonmusician listeners to individuals with congenital amusia, who exhibit pitch memory impairments with preserved verbal memory. During fMRI, amusics and matched controls performed delayed-match-to-sample tasks with tones and words and perceptual control tasks with the same stimuli. For tonal maintenance, amusics showed decreased activity in the right auditory cortex, inferior frontal gyrus (IFG) and dorso-lateral-prefrontal cortex (DLPFC). Moreover, they exhibited reduced right-lateralized functional connectivity between the auditory cortex and the IFG during tonal encoding and between the IFG and the DLPFC during tonal maintenance. In contrasts, amusics showed no difference compared with the controls for verbal memory, with activation in the left IFG and left fronto-temporal connectivity. Critically, we observed a group-by-material interaction in right fronto-temporal regions: while amusics recruited these regions less strongly for tonal memory than verbal memory, control participants showed the reversed pattern (tonal > verbal). By benefitting from the rare condition of amusia, our findings suggest specialized cortical systems for tonal and verbal short-term memory in the human brain.

The Nature and Nurture of Congenital Amusia: A Twin Case Study.

In this article, we report the first documented case of congenital amusia in dizygotic twins. The female twin pair was 27 years old at the time of testing, with normal hearing and above average intelligence. Both had formal music lesson from the age of 8–12 and were exposed to music in their childhood. Using the Montreal Battery of Evaluation of Amusia (Peretz et al., 2003), one twin was diagnosed as amusic, with a pitch perception as well as a rhythm perception deficit, while the other twin had normal pitch and rhythm perception. We conducted a large battery of tests assessing the performance of the twins in music, pitch perception and memory, language perception and spatial processing. Both showed an identical albeit low pitch memory span of 3.5 tones and an impaired performance on a beat alignment task, yet the non-amusic twin outperformed the amusic twin in three other musical and all language related tasks. The twins also differed significantly in their performance on one of two spatial tasks (visualization), with the non-amusic twin outperforming the amusic twin (83% vs. 20% correct). The performance of the twins is also compared to normative samples of normal and amusic participants from other studies. This twin case study highlights that congenital amusia is not due to insufficient exposure to music in childhood: The exposure to music of the twin pair was as comparable as it can be for two individuals. This study also indicates that there is an association between amusia and a spatial processing deficit (see Douglas and Bilkey, 2007; contra Tillmann et al., 2010; Williamson et al., 2011) and that more research is needed in this area.

Short- and long-term memory for pitch and non-pitch contours in congenital amusia

Congenital amusia is a disorder characterized by deficits in music and pitch perception, but the degree to which the deficit is specific to pitch remains unclear. Amusia often results in difficulties discriminating and remembering melodies and melodic contours. Non-amusic listeners can perceive contours in dimensions other than pitch, such as loudness and brightness, but it is unclear whether amusic pitch contour deficits also extend to these other auditory dimensions. This question was addressed by testing the identification of ten familiar French melodies and the discrimination of changes in the contour of novel four-note melodies. Melodic contours were defined by pitch, brightness, or loudness. Amusic participants were impaired relative to matched controls in all dimensions, but showed some ability to extract contours in all three dimensions. In the novel contour discrimination task, amusic participants exhibited less impairment for loudness-based melodies than for pitch- or brightness-based melodies, ...

The mutability of pitch memory in a tonal context.

The mutability of pitch memory in a tonal context.