Pitch Judgments Research Articles

Adam Smith’s Theory of Moral Sentiments

This review identifies at least six different kinds of fellow-feeling in Adam Smith’s Theory of Moral Sentiments. The six kinds are (i) the mirroring of emotions; (ii) altruism; (iii) judgment of pitch of emotions/actions; (iv) judgment of merit of emotions/actions; (v) friendship-and-love; and (vi) aspiration that leads to admiration. Smith does not list them side-by-side. This side-by-side listing promises to help thinkers to see how to assemble them to construct a coherent and systematic framework on how to amalgamate three moments of behavior: the emotional, the rational, and the moral.

Talker adaptation or "talker" adaptation? Musical instrument variability impedes pitch perception.

Listeners show perceptual benefits (faster and/or more accurate responses) when perceiving speech spoken by a single talker versus multiple talkers, known as talker adaptation.While near-exclusively studied in speech and with talkers, some aspects of talker adaptation might reflect domain-general processes. Music, like speech, is a sound class replete with acoustic variation, such as a multitude of pitch and instrument possibilities. Thus, it was hypothesized that perceptual benefits from structure in the acoustic signal (i.e., hearing the same sound source on every trial) are not specific to speech but rather a general auditory response. Forty nonmusician participants completed a simple musical task that mirrored talker adaptation paradigms. Low- or high-pitched notes were presented in single- and mixed-instrument blocks. Reflecting both music research on pitch and timbre interdependence and mirroring traditional "talker" adaptation paradigms, listeners were faster to make their pitch judgments when presented with a single instrument timbre relative to when the timbre was selected from one of four instruments from trial to trial. A second experiment ruled out the possibility that participants were responding faster to the specific instrument chosen as the single-instrument timbre. Consistent with general theoretical approaches to perception, perceptual benefits from signal structure are not limited to speech.

Articulation posture influences pitch during singing imagery

Facial muscle activity contributes to singing and to articulation: in articulation, mouth shape can alter vowel identity; and in singing, facial movement correlates with pitch changes. Here, we examine whether mouth posture causally influences pitch during singing imagery. Based on perception–action theories and embodied cognition theories, we predict that mouth posture influences pitch judgments even when no overt utterances are produced. In two experiments (total N = 160), mouth posture was manipulated to resemble the articulation of either /i/ (as in English meet; retracted lips) or /o/ (as in French rose; protruded lips). Holding this mouth posture, participants were instructed to mentally “sing” given songs (which were all positive in valence) while listening with their inner ear and, afterwards, to assess the pitch of their mental chant. As predicted, compared to the o-posture, the i-posture led to higher pitch in mental singing. Thus, bodily states can shape experiential qualities, such as pitch, during imagery. This extends embodied music cognition and demonstrates a new link between language and music.

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.

How do perceptual benefits from musical experience compare with those from speech experience?

Acoustic consistency facilitates perceptual processing while acoustic variability challenges it. This is evident in perceptual interference tasks, in which listeners categorize a target word/pitch when produced by either a single talker/musical instrument or multiple talkers/instruments. Responses are faster and/or more accurate for single-talker (e.g., Stilp & Theodore, 2020 AP&P) and single-instrument conditions (e.g., Shorey et al., 2022 ASA). While patterns of results are parallel across domains, listening experience is not. Participants in speech tasks are experts at their native language, but in the music task the contribution of musical experience is unclear because Shorey et al. tested solely nonmusicians. This raises two questions: (1) does more musical training increasingly protect against timbral variability when making pitch judgments, and (2) how does musical expertise compare with speech expertise? To evaluate these questions, we tested native English speaking nonmusicians (<2 years of formal musical training), intermediate musicians (2–9 years), and experienced musicians (10 + years) in speech interference and music interference tasks. We predict that musical training offers resilience to variability, such that interference in the music task will decrease with increasing musical experience. We also predict correlated interference for advanced musicians (i.e., experts) across speech and music tasks. Results will be discussed.

Relative pitch representations and invariance to timbre

Information in speech and music is often conveyed through changes in fundamental frequency (f0), perceived by humans as “relative pitch”. Relative pitch judgments are complicated by two facts. First, sounds can simultaneously vary in timbre due to filtering imposed by a vocal tract or instrument body. Second, relative pitch can be extracted in two ways: by measuring changes in constituent frequency components from one sound to another, or by estimating the f0 of each sound and comparing the estimates. We examined the effects of timbral differences on relative pitch judgments, and whether any invariance to timbre depends on whether judgments are based on constituent frequencies or their f0. Listeners performed up/down and interval discrimination tasks with pairs of spoken vowels, instrument notes, or synthetic tones, synthesized to be either harmonic or inharmonic. Inharmonic sounds lack a well-defined f0, such that relative pitch must be extracted from changes in individual frequencies. Pitch judgments were less accurate when vowels/instruments were different compared to when they were the same, and were biased by the associated timbre differences. However, this bias was similar for harmonic and inharmonic sounds, and was observed even in conditions where judgments of harmonic sounds were based on f0 representations. Relative pitch judgments are thus not invariant to timbre, even when timbral variation is naturalistic, and when such judgments are based on representations of f0.

Vocal pitch perception with cochlear implants

Cochlear implant (CI) users often struggle to accurately perceive vocal pitch. This suggests that they are either not able to adequately use vocal pitch cues, such as temporal modulations resulting from F0, or they are using cues that do not correspond to vocal pitch. A potentially unreliable cue they may be using is formant spacing, which is correlated with vocal tract length. There is a gross, probabilistic relationship between vocal pitch and formant spacing since males tend to have both lower F0s and longer vocal tracts, but the relationship is weak, especially within gender. To examine if CI users are using the acoustic cues resulting from vocal tract length to make pitch judgments, CI users were presented with stimuli where the F0 was held constant but the formant spacing was systematically manipulated. Participants were presented with pairs of stimuli and asked to indicate the similarity of the pitch of the two stimuli using a seven-point Likert scale. The preliminary results indicate that CI users systematically perceived the changes in formant spacing as a change in pitch.

Talker adaptation or “talker” adaptation? Musical instrument variability impedes pitch perception

When perceiving speech spoken by a single talker versus multiple talkers, listeners show perceptual benefits such as increased accuracy and/or decreased response time. There are several theoretical explanations for this talker adaptation phenomenon; one way to distinguish among these is to test whether adapting to stimulus structure is speech-specific or general to auditory perception. Music, like speech, is a sound class replete with acoustic variation. Here, participants completed a musical task that mirrored talker adaptation paradigms. On each trial, participants heard a tone and reported whether it was the lower (D4, 294 Hz) or higher pitched tone (F#4, 370 Hz). Tones were presented in a single- or mixed-instrument block. We predicted that perceptual benefits from structure in the acoustic signal are not specific to speech but are a general auditory response. Accordingly, we hypothesized participants would respond faster in the single-instrument block, consistent with speech studies that used a similar paradigm. Pitch judgments were faster (and more accurate) in the single instrument block, parallel to results from talker adaptation studies. In agreement with general theoretical approaches to auditory perception, perceptual benefits from signal structure are not limited to speech.

Voice disadvantage effects in absolute and relative pitch judgments.

Absolute pitch (AP) possessors can identify musical notes without an external reference. Most AP studies have used musical instruments and pure tones for testing, rather than the human voice. However, the voice is crucial for human communication in both speech and music, and evidence for voice-specific neural processing mechanisms and brain regions suggests that AP processing of voice may be different. Here, musicians with AP or relative pitch (RP) completed online AP or RP note-naming tasks, respectively. Four synthetic sound categories were tested: voice, viola, simplified voice, and simplified viola. Simplified sounds had the same long-term spectral information but no temporal fluctuations (such as vibrato). The AP group was less accurate in judging the note names for voice than for viola in both the original and simplified conditions. A smaller, marginally significant effect was observed in the RP group. A voice disadvantage effect was also observed in a simple pitch discrimination task, even with simplified stimuli. To reconcile these results with voice-advantage effects in other domains, it is proposed that voices are processed in a way that voice- or speech-relevant features are facilitated at the expense of features that are less relevant to voice processing, such as fine-grained pitch information.

Deep neural network models reveal interplay of peripheral coding and stimulus statistics in pitch perception

Perception is thought to be shaped by the environments for which organisms are optimized. These influences are difficult to test in biological organisms but may be revealed by machine perceptual systems optimized under different conditions. We investigated environmental and physiological influences on pitch perception, whose properties are commonly linked to peripheral neural coding limits. We first trained artificial neural networks to estimate fundamental frequency from biologically faithful cochlear representations of natural sounds. The best-performing networks replicated many characteristics of human pitch judgments. To probe the origins of these characteristics, we then optimized networks given altered cochleae or sound statistics. Human-like behavior emerged only when cochleae had high temporal fidelity and when models were optimized for naturalistic sounds. The results suggest pitch perception is critically shaped by the constraints of natural environments in addition to those of the cochlea, illustrating the use of artificial neural networks to reveal underpinnings of behavior.

On musical interval perception for complex tones at very high frequencies.

Listeners appear able to extract a residue pitch from high-frequency harmonics for which phase locking to the temporal fine structure is weak or absent. The present study investigated musical interval perception for high-frequency harmonic complex tones using the same stimuli as Lau, Mehta, and Oxenham [J. Neurosci. 37, 9013-9021 (2017)]. Nine young musically trained listeners with especially good high-frequency hearing adjusted various musical intervals using harmonic complex tones containing harmonics 6-10. The reference notes had fundamental frequencies (F0s) of 280 or 1400 Hz. Interval matches were possible, albeit markedly worse, even when all harmonic frequencies were above the presumed limit of phase locking. Matches showed significantly larger systematic errors and higher variability, and subjects required more trials to finish a match for the high than for the low F0. Additional absolute pitch judgments from one subject with absolute pitch, for complex tones containing harmonics 1-5 or 6-10 with a wide range of F0s, were perfect when the lowest frequency component was below about 7 kHz, but at least 50% of responses were incorrect when it was 8 kHz or higher. The results are discussed in terms of the possible effects of phase-locking information and familiarity with high-frequency stimuli on pitch.

Response orientation modulates pitch-space relationships: the ROMPR effect.

Congruency between auditory and visuospatial stimuli has been previously shown to affect responses to multisensory stimulus pairs, and congruency between stimuli and response devices may play a role in response speed and accuracy. Across two experiments, we tested whether the accuracy and speed of pitch judgments were affected by a congruent or incongruent paired visual stimulus, and whether the relationship was modulated by response orientation. In Experiment 1, participants using a vertically (transversely) oriented keyboard demonstrated a large crossmodal vertical effect, but a minimal crossmodal horizontal effect. In contrast, Experiment 2 used a horizontally oriented keyboard, while also examining whether musical training impacts pitch judgments. As in the first experiment, we found an effect of response mapping on pitch judgments; these results suggest that vertical visual stimuli are processed automatically, while the effects of horizontal visual stimuli are decisional and require a compatible response orientation. Based on these findings, we propose an effect we call the ROMPR effect:response orientation modulates pitch-space relationships. Unexpectedly, non-musicians demonstrated significant ROMPR effects while trained musicians did not. We suggest that non-musicians are more likely to use visual information when making spatial location judgments of pitch: unlike musicians, they have not been trained to rely exclusively on auditory information during pitch processing. We also discuss alternative explanations of the data: namely, that there is a need to disambiguate audiovisual congruency from visual-response congruency with modulations of experimental design.

Automaticity of facial attractiveness perception and sex-specific mating strategies

The current literature shows mixed results regarding whether the perception of facial attractiveness is automatic, i.e. that it operates independently from attentional resources. We argue that an evolutionary perspective on mating strategies provides a comprehensive account of the findings. In two studies, we used the locus-of-slack logic in a psychological refractory period paradigm. Task 1 was a speeded judgment of tone pitch (low vs. high), and Task 2 was a speeded judgment of whether a face was attractive or unattractive on two difficulty levels. Male and female participants judged the attractiveness of opposite-sex faces (Study 1, n = 73) or same-sex faces (Study 2, n = 94) in this paradigm. Results indicate that men do not need attentional resources when processing female faces (Study 1), but require attentional resources when processing same-sex faces (Study 2). In contrast, women need attentional resources to process the attractiveness of opposite as well as same-sex faces.

The effects of timbre on absolute pitch judgment

This article reports the high prevalence of Absolute Pitch (AP) among students at Shanghai Conservatory of Music and explores the effects of timbre on AP judgment through a large-scale direct-test study. This study used two types of timbres (piano timbre and string timbre) to explore the correlation between the different types of timbre and note-naming accuracy. The participants included 71 undergraduate students majoring in piano and string at Shanghai Conservatory of Music, who had begun musical training at an age ⩽ 9 and focused on Western tonal music. The main results showed that the overall performance levels were very high and that the students scored 73% correct without semitone errors and 80% with semitone errors. All groups exhibited higher performance in judging pitches in piano timbre than string timbre. In addition, after listening to piano timbre, the accuracy in judging pitches in string timbre was significantly increased, and after listening to string timbre, the accuracy in judging pitches in piano timbre decreased but not significantly.

Effects of syllable name change on pitch comparison

Previous research has found that musicians’ pitch judgments, unlike non-musicians’, are influenced by syllable names. Although non-musicians fail to identify absolute pitches, they acknowledge the direction of pitch change. The present experiment investigated whether non-musicians’ judgments of pitch change can be influenced by the direction of syllable name change. Moreover, we examined the spatial, magnitudinal and sequential nature of pitches and syllable names. Participants ( N = 33) were asked to hear two successive tones sung by syllable name and to judge the direction of pitch change by pressing vertically arranged buttons. Participants’ accuracy of pitch change judging was found to be influenced by the direction of syllable name change. However, the response location was not found to interact with pitch change or syllable name change. The distance effect was found in pitches but not in syllable names. A sequence effect was found that trials with early-in-sequence syllable names were responded faster than trials with late-in-sequence syllable names. These results suggest that syllable names can influence non-musicians’ pitch judgments in a relative context. We suggest that it is the sequential order of syllable names that is the product of cultural activities that interfere with the judgment of pitch change.

Auditory Perceptual History Is Propagated through Alpha Oscillations.

SummaryPerception is a proactive, “predictive” process, in which the brain relies, at least in part, on accumulated experience to make best guesses about the world to test against sensory data, updating the guesses as new experience is acquired. Using novel behavioral methods, the present study demonstrates the role of alpha rhythms in communicating past perceptual experience. Participants were required to discriminate the ear of origin of brief sinusoidal tones that were presented monaurally at random times within a burst of uncorrelated dichotic white noise masks. Performance was not constant but varied with delay after noise onset in an oscillatory manner at about 9 Hz (alpha rhythm). Importantly, oscillations occurred only for trials preceded by a target tone to the same ear, either on the previous trial or two trials back. These results suggest that communication of perceptual history generates neural oscillations within specific perceptual circuits, strongly implicating behavioral oscillations in predictive perception and with formation of working memory.

Reaching for the high note: judgments of auditory pitch are affected by kinesthetic position.

Auditory pitch is represented on a vertical continuum (e.g., high vs. low). In three experiments, we examined whether the kinesthetic experience of moving in a particular direction (e.g., walking up vs. down stairs; reaching up vs. down) would affect judgments of auditory pitch. Participants listened to three tones twice each, once while moving upward and once while moving downward, and estimated the pitch of each tone. In all experiments, participants' judgments of the tones' pitch were biased in the direction of their movement. Moreover, this effect is not due to visibility of the movement or to using a numerical response method. Our results suggest that kinesthetic information from one's own bodily movements biases pitch estimation, and several possible mechanisms for the effect are discussed.

Time Is Not More Abstract Than Space in Sound.

Time is talked about in terms of space more frequently than the other way around. Some have suggested that this asymmetry runs deeper than language. The idea that we think about abstract domains (like time) in terms of relatively more concrete domains (like space) but not vice versa can be traced to Conceptual Metaphor Theory. This theoretical account has some empirical support. Previous experiments suggest an embodied basis for space-time asymmetries that runs deeper than language. However, these studies frequently involve verbal and/or visual stimuli. Because vision makes a privileged contribution to spatial processing it is unclear whether these results speak to a general asymmetry between time and space based on each domain’s general level of relative abstractness, or reflect modality-specific effects. The present study was motivated by this uncertainty and what appears to be audition’s privileged contribution to temporal processing. In Experiment 1, using an auditory perceptual task, temporal duration and spatial displacement were shown to be mutually contagious. Irrelevant temporal information influenced spatial judgments and vice versa with a larger effect of time on space. Experiment 2 examined the mutual effects of space, time, and pitch. Pitch was investigated because it is a fundamental characteristic of sound perception. It was reasoned that if space is indeed less relevant to audition than time, then spatial distance judgments should be more easily contaminated by variations in auditory frequency, while variations in distance should be less effective in contaminating pitch perception. While time and pitch were shown to be mutually contagious in Experiment 2, irrelevant variation in auditory frequency affected estimates of spatial distance while variations in spatial distance did not affect pitch judgments. Results overall suggest that the perceptual asymmetry between spatial and temporal domains does not necessarily generalize across modalities, and that time is not generally more abstract than space.

Pitch Class and Envelope Effects in the Tritone Paradox Are Mediated by Differently Pronounced Frequency Preference Regions.

Shepard tones (octave complex tones) are well defined in pitch chroma but are ambiguous in pitch height. Pitch direction judgments of Shepard tones depend on the clockwise distance of the pitch classes on the pitch class circle, indicating the proximity principle in auditory perception. The tritone paradox emerges when two Shepard tones that form a tritone interval are presented successively. In this case, no proximity cue is available and judgments depend on the first tone and vary from person to person. A common explanation for the tritone paradox is the assumption of a specific pitch class comparison mechanism based on a pitch class template that is differently orientated from person to person. In contrast, psychoacoustic approaches (e.g., the Terhardt virtual pitch theory) explain it with common pitch-processing mechanisms. The present paper proposes a probabilistic threshold model, which estimates Shepard tone pitch height by a probabilistic fundamental frequency extraction. In the first processing stage, only those frequency components whose amplitudes are above specific randomly distributed threshold values are selected for further processing, and whose expected values are determined by a threshold function. The lowest of these nonfiltered components is dedicated to the pitch height. The model is designed for tone pairs and provides occurrence probabilities for descending judgments. In a pitch-matching pretest, 12 Shepard tones (generated under a cosine envelope centered at 261 Hz) were compared to pure tones, whose frequencies were adjusted by an up-down staircase method. Matched frequencies corresponded to frequency components but were ambiguous in octave position. In order to test the model, Shepard tones were generated under six cosine envelopes centered over a wide frequency range (65.41, 261, 370, 440, 523.25, 1244.51 Hz). The model predicted pitch class effects and envelope effects. Steep threshold functions caused pronounced pitch class, whereas flat threshold functions caused pronounced envelope effects. The model provides an alternative explanation to the pitch class template theory and serves as a psychoacoustic framework for the perception of Shepard tones.

Shepard Tones and Production of Meaning in Recent Films: Lucrecia Martel's Zama and Christopher Nolan's Dunkirk

In December 1964, Roger Shepard published his article, ‘Circularity in Judgments of Relative Pitch’ in the Journal of the Acoustical Society of America. This idea lead to the development of the so-...